writing life

Contributor Copy Reading – An Eclectic Mix

I’ve decided that, since people seem interested, I’ll be making the writing roundups of contributor copies I read a regular feature of the blog.  I’ve recently gone through three contributor’s copies of books that contained my work from 3 or 4 years ago (I make no apologies for this.  If you saw my to-be-read-pile, you’d understand).

For those of you who are not writers, a quick reminder: a contributor’s copy is a magazine or book containing a writer’s work that the publisher sends the writer to keep for his own records or to show it to his friends and brag about it.  They make writers happy, unless the writer’s name is spelled wrong, in which case they make writers homicidal.

Falling Star December 2014

The first of today’s eclectic mix is a small saddle-stitched magazine (saddle-stitching is when the sheets are folded in half and then stapled – a popular magazine binding format) entitled Falling Star.  This one contained my story “A Time to Reflect” which is the sequel to the ever-popular “Dangerous Skies”.  The mag was a quick read not only because of its short length but also because the weird holiday themes were very entertaining.  Recommended.

Love, Time, Space, Magic Cover

Next up is an antho we’ve featured here before.  You may remember that Elizabeth Hirst, the editor of Love, Time, Space, Magic, was here to tell us about the unique challenges of creating an SFF / Romance antho without offending the readers of both genres simultaneously.  She paints a much more edifying picture of that antho in her note than I ever could, so I will only say she succeeded.  I almost never read romance, but this book both entertained and, occasionally, moved me.  It’s a wonderful book.  This one holds my story “Modern Love”.

Apex Book of World SF Volume 2

The third book is perhaps the most interesting of all, as The Apex Book of World SF Vloume 2 aims to showcase the best of non-anglocentric genre work (the “SF” in the title is open ended and includes fantasy and slipstream).  A book like this will always be limited by what is available in English, but the effort to locate these stories is commendable. The book does do a good job of finding good examples and most people, especially anglo-centric people, will enjoy it.

In my case, the only criticism I have for this series is that it tended to focus a little too much on colonial concerns (as in how colonialism affects everyone) and not enough on the real stuff that happens in all these other wonderful countries. What most First World citizens seem to have trouble understanding is that post-colonial thought is of interest only to Americans, Europeans and certain academics or activists within the former colonies.  The rest of the people there don’t care, and aren’t interested in fiction that speaks to it.  However, as World SF which speaks to the concerns of the Americans and Europeans (its target audience, after all), this one works very well.

My story “Eyes in the Vastness of Forever” is reprinted here. It speaks to the concerns of post-colonial thinkers… because I write mainly for American and European audiences… (what, me, a hypocrite?  How can you say such a thing???).

This batch left me shaking my head at just how diverse the genre is thematically speaking.  SFF is wonderful when you stop to think about it.

 

Gustavo Bondoni is an award-winning novelist and short story writer who has just launched a new comic fantasy book in the Douglas Adams / Terry Pratchett vein.  He thinks you should read it.  It’s available here.  And also on Kindle.

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Books About Writing – There is At Least One You Should Read

When non-writers learn that you are a writer, the reactions are generally classified into two major groups: the ones that think you’re some kind of celebrity who bathes in champagne and is airlifted everywhere on specially modified helicopters and the ones who assume (based on the fact that they haven’t seen your books at their local bookstore window) you are an unpublished novice who needs all the help you can get.

That second group wants to assist, so they tend to give you writing books as gifts.

I’m certain that there are newbies out there who call themselves writers who genuinely need these books.  In my own case, I never told a soul about my writing until I had a number of published stories under my belt (published by other people, not self-published), so I was pretty familiar with messrs Strunk and White (even though I never read their book until much later) when my friends started giving me writing books.

Writing books, I’ve found, are mostly aimed at the writer who’s never sold a word of prose in his life (I assume there are similar tomes aimed at the aspiring poet, but I have no first-hand knowledge of these).

Still, other writers will know that writerly self-image–even those of people who have published a lot–tends to be a fragile thing, so I always read the ones that people give me.  Can’t risk having hubris make you miss the piece of advice that turns you into the next gazillion dollar bestseller.

The latest batch I read included two books.

Writing Tools by Roy Peter Clark

The first was Roy Peter Clark’s Writing Tools: 50 Essential Strategies for Every Writer (since updated to 55 it seems – god, I hope that the one I need to become a gazillionaire isn’t one of hose extra 5!)  This one is one of those that I consider a standard writing guide.  My impression as that it’s a solid primer that lists the things you need to do to avoid embarassing yourself and cut down on the unnecessary rejections (as well as the unfinished projects and the badly edited work sitting in your hard drive).

Perhaps the main thing I can say about this one is that it’s a great guide to what you need to learn and an even better list of the rules you have to break once you learn them.  A friend of mine says that you need to transcend the rules, not merely break them.  For that, I guess you have to know them first.  This is, as far as I can tell, a reasonable place to start.

Published authors may want to give it a miss, though.

The second book is the one writeng book I’d recommend to absolutely everyone.  The author starts by saying that he doesn’t know s**t about what works and what doesn’t and goes from there.

Stephen King On Writing

Most of you will already have guessed that I’m talking about Stephen King’s On Writing.

I won’t pretend that I’m an expert on King.  I don’t read that much horror, so I’ve read three or four of his books at most, and find his style accessible to point of annoying me at times…  but no one who can’t tell a story extremely well will have sold as many copies of any genre as he has.  Any writer who doesn’t respect King is likely either a snob or a wet-behind-the-ears newbie with no clue what publishing looks like.  He has earned the right to make us listen.

And his writing book is marvelous.  He doesn’t try to tell us what we have to do.  He tells us what he did, and what he does.  He tells us his life story, and how he came to be a storyteller.  He tells us what it felt to make a life-altering (at least on the economc front) sale. He tells us how important it is to have a support structure in place.

Then, in the least interesting part of the book, he goes on to tell us what works and what doesn’t, contradicting himself, but giving us value for our money.  “If this is what works for Stephen King…” we say, and try to do it.  Even these bits are well written and a lot less dry than most writing books out there.  So, yeah recommended.

Anyway, if you’re just starting out, then read both of these.  The Clark first.  But if you know what you’re doing, and haven’t done so, pick up the King.  It is so much more than just a book on writing.  It’s the writing memoir you wish you could have written.

 

Gustavo Bondoni is an Argentine novelist.  If you followed a link here because you saw Stephen King’s name on the post, and are a horror fan, you might like Gustavo’s story Pacific Wind – available for Kindle at 99 cents!

Why Write?

On more days than I care to admit, I sit around and try to understand why writers write.  There are probably as many answers to this as there are internet sites devoted to writing out there, but I still wonder.  The fact that many sites title themselves with names such as Writing and Other Forms of Insanity (this is just an example I happened to see today, but many writing sites have a variation on this title) should be a pretty strong clue that even writers aren’t quite sure why we do it.

Is it the fame and fortune?

Sorry, I’m back.  Had to stop and laugh.  Even writers with a long career and several excellent books to their name, published by the right houses and available on bookshelves aren’t precisely rich.  Other than the hyper-famous ones, the lucky writers make about the same amount of money as anyone else does from their job… but with less benefits.

As for fame, I personally know a los of brilliant, successful authors whose names, if you mentioned them to a random stranger on the street, would elicit a single word reply: “Who?”

All right.  Yes, Stephen King exists, and so does J.K. Rowling.  It’s possible to become rich and famous through writing in a way that you probably can’t by pursuing a career as an accountant.  The golden dream is always there, but most writers who start along the path chasing these things exclusively abandon their ambitions for some easier way to make a buck.  You may get there through writing, but it will be neither easy nor quick.

So it’s not money and it’s not fame.  Recognition, then?

Again, some starry-eyed folk might, armed with their mother’s kind words and their college professor’s admiration, embark on a publishing career expecting unlimited praise and adulation.  That usually lasts until the first rejection.  If they can get up after that, the next ten usually finish the job.

What the world thinks of your book

Then why? (Btw, I have a print of the above cartoon sitting on my desk)

All I can give you is my case.  I’ve been telling stories since I can remember.  I had a brother who is two years younger than I was who had to listen to a lot of them when we were kids.  He still reads my novels because I give them to him, so he is likely to be canonized once his story gets out.

And then, I discovered that, when not sweating blood over a keyboard (yes, this happens), I often enjoy writing.  Yesterday, for example, I wrote 1800 good words without even realizing it (this is in no way, shape or form normal).  I had fun and wrote a scene which made me chuckle.

But it isn’t all fun and games.  Now I have to write the next bit, and I have no clue as to what comes next.  Time to sweat those bullets.

So, habit and occasional enjoyment.  Is that it?

Probably not.  The sheer joy of getting an acceptance email has never disappeared.  I no longer dance down hallways as I did when I learned of my first sale, but I still have a nice warm glow that lasts all day.  Kind of like when you drink Irish Coffee in front of a roaring fire.

That many writers give up before experiencing this is a true tragedy.

Also, no matter where you are on your writing career, there’s always another hill to climb.  You sold a story to a magazine?  Great!  Now sell another to a bigger mag.  Published a novel?  Cool, now publish a better one, or sell one to a bigger publisher, or hit the NYT bestseller list.  Already a millionaire bestseller?  All right, but are you a critical darling?  If not, that could drive the next book.

In my own experience, it might have been possible for me to stop when I was just writing for fun – I might not have stopped completely, but I might have just written occasionally for a laugh – but once that first acceptance happened… there was no question of ever giving it up.  Worse than crack, better than sex.

So there’s something.

And finally, there’s the fear of death.  The fact that our writing, even if it was just printed in a photocopied local rag, has the potential to connect with people long after we are gone.  If just one copy of one story survives to be puzzled over by scholars in a few hundred years, it will have left a much greater mark than several lifetimes of accounting or marketing or managing a restaurant.

To incorrectly quote Queen:  Who doesn’t want to live forever?

 

Gustavo Bondoni is an Argentine novelist and short story writer.  His novel Outside explores immortality in a much different and less obvious way than this post.

Themed Anthos – A Good Foot in the Door

Today continues the set of two articles on my own writing experience that began on Wednesday. If people like these (and possibly even if they don’t, I’ll likely continue them in the future).

At the risk of seeming like a complete jerk (and yes, I’m aware that many of you feel that that ship sailed long ago) I will tell you a story about how I got started as a writer.

I sat down and wrote a story over a couple of days.  I fixed some typos and I sent it out on submission. I sent it out to three markets that rejected it.  The fourth bought it.  That story, entitled “Tenth Orbit” not only gave its title to my first collection, but has been reprinted in seven languages and still sells as a reprint now and then.  Also, the news sparked what was probably the ugliest celebration dance in history, but you really, really don’t want to know the details.

The point of this isn’t to make you hate me.  I’ve had the same amount of rejection and heartbreak as every other writer, but the fact that my road into print was comparatively easy meant that I never had to listen to that nagging voice in my mind that said “nothing you write will ever be good enough to sell.”

Nevertheless, I often get the feeling that nothing I write from now on will ever be as good as what came before, and that the prose I’ve produced over the past six months is simultaneously infantile, pompous, pretentious and shallow.  Being all four might seem impossible, but I often feel that way, especially when a dry spell comes along.

I’ve found that a good way to break through this is to go to your favorite marketplace report (I use The Grinder and Ralan for genre projects) and select a themed anthology looking for submissions – make sure you choose one with a deadline far enough off to give you a chance to write a story.

I’ve found this approach to have several benefits.  The first is that the guidelines and theme will tell you exactly what you need to write.  If you can’t follow instructions telling you to send over a 2500 word story about alcoholic koala bears in space, then, sadly, you’re never going to be a writer.  Reading comprehension is a good part of writing, after all.

The good part of the above is that for many projects you will only be competing against other stories written specifically for that antho.  While a place like Asimov’s might get thousands of subs in a month, an antho of this type might get only a few hundred.  Many of those will be by illiterates or people who don’t know what a koala bear actually is.  Yes, the odds are still long – that’s part of being a writer – but they are better than at other places.

The second benefit is that you probably don’t have an alcoholic koala story lying around, which means that you will have to stop and create something completely new, break out of a rut.  I’ve always found this to be a cool way to refresh the writing spirit.

A third benefit (assuming you write a good story and they buy it) is that at the end of it, apart from the money, you’ll have a shiny contributor’s copy filled with the work of a bunch of amazingly talented authors who love alcoholic koalas as much as you do.  It will feel amazing to be surrounded by these people, and you’ll also ask yourself what the editors were thinking when they bought yours as well…  but don’t worry, every author thinks that.

Strange Bedfellows Edited by Hayden Trenholm

This is often the best part.  I recently read a couple of anthos with my work in them, and I thought it would be fun to use them to exemplify the range of what’s possible here.  They’re both from 2014 (my TBR pile needs a new type of mathematics to describe it and it takes me a looong time to get to any book mired therein) and I place them here for your perusal.

The first is a pro-rate-paying antho (as defined by SFWA) entitled Strange Bedfellows, Edited by Hayden Trenholm. The guidelines for this one were pretty open: the story had to be about politics.

So I sent them a tale called “Gloop”, which, though not espousing any particular political leaning, clearly showed the effects of politics on the lives of the characters and their society.  The other stories were well-written, mostly left-leaning, but with a couple of more conservative stories to balance it out, and overtly political.  As one expects with this theme, philosophy and thought-out ideas (as well as a certain amount of pontification) were everywhere, but there was plenty of action and entertainment as well.

Undead and Unbound Cover

The second seems, at first glance, to be the polar opposite.  Undead and Unbound, edited by Brian M. Sammons and David Conyers, does exactly what it says on the tin.  Anything walking around after someone killed it was fair game.

Honesty compels me to admit that I was invited to this one, but it still made me sweat.  My problem was that I didn’t want to write a story that was just like everyone else’s.  I didn’t want to be a zombie in a sea of zombies, or just another vampire.

So I decided that a wight might do the trick, especially if that wight came alive during the Blitz and called it “Thunder in Old Kilpatrick”  To my relief, they accepted it…

The most interesting thing about this one, however, is that when I came to read it, it defied all my expectations about what an “undead” theme would include.  The writers went to great lengths to make their stories memorable, and the antho is extremely well written.  Definitely not just a piece of fluff for people with short attention spans.  So you can toss those prejudices out the window – your average call for zombie stories is going to require a lot of talent and imagination to get into.

And speaking of throwing out those prejudices, here’s another one that contains one of my stories.  I think you’ll agree that there’s an antho out there for everyone.  It’s just a question of finding the right call for submissions and writing the right story.

Sinisterotica Anthology Cover

 

Gustavo Bondoni was interviewed today by Jessica A. Scott.  His latest novel is Incursion.  You can buy it here.

Shared-World Anthologies – One Writer’s Experience

This week, I’ll be looking at the very different experiences I’ve had in publishing my short work.  Time permitting, I’ll do a post on Friday about a more typical antho (if not Firday, then next week for sure), but today, I’ll be discussing a pretty specific and unusual market type: the shared-world antho.

Like many readers, I was originally introduced to the concept of a shared world by the Thieves’ World anthos in the 1980s (they might have been created earlier, but I was reading in the 80s).   Memory is a bit fuzzy, but I was probably drawn to them because Robert Asprin‘s name was on the cover and I had just discovered his Myth books.

They were delightful books which I devoured (I was about twelve at the time and they were perfect).  Looking for more of the same, I came across the Heroes In Hell Series. And I saw something interesting:  many of the writers in both series were the same.  Strange.

Years later, I was invited by a friend to take part in a volume of the Sha’Daa series, edited by Michael H. Hanson  and Edward F. McKeon.  The basic premise is that, once every ten thousand years, the Sha’Daa – a demonic invasion of Earth – occurs.  And it’s due soon…  I was stunned and delighted, because I’d been watching from the sidelines as these books attained a bigger and bigger readership.  I didn’t take very long to give them a resounding “Yes”.

When I asked why he’d thought of me, my friend said the following: “I asked around and people like working with you because you deliver clean, quality prose on time.”  So yeah, I’m a hack, but it may be the nicest thing anyone has said of me as a writer.  Professionalism is something I value and, it appears, so do others.  It gave me my first Inkling of why so many writers were the same people across those eighties anthos: evidently, they played well with others, got things in on time and didn’t try to blow up the sandbox.

Next, of course, I had to produce a decent story.  Flop-sweat time! Not only did I have to produce a decent story on command, but it needed to fit.  Luckily, I had reviewed one of the first two books for SFReader so I knew what I was getting into.  I also read the other volume and took copious notes on what worked well and what had already been done.

Sha Daa Pawns Cover

Then I sat down to write my own tale for Sha’Daa Pawns.  I wanted to do something different that fit the dark spirit of this amazing series well.  I set my own tale, Blood Stone in an African diamond mine, a milieu which I’d never really seen explored in speculative form.

When they accepted my piece with some minimal edits, I was delighted.  When they showed me the cover I was stunned.  And then they invited me back for the next one: Facets… which made the whole process and insecurity start over.  They wanted this one to be in epistolary/documentary text form, a style I’d always shied away from but, for reasons having to do with the structure of the planned book, fit perfectly.

When someone says “epistolary” I immediately think two things: Dracula and Victorian era.  So I went in that direction style-wise (albeit I made the setting a bit more modern) and, to my surprise, the story came together really well.  I managed to tell the tale I wanted seamlessly without stretching the form past its breaking point (or at least past the point where the reader would break, which would have been worse).

Sha'daa Facets Cover

The entire experience was different from anything else I’ve ever done in publishing.  Sometimes a detail had to be changed to fit another story.  At other times, the editors would ask you to change a little thing here or there to avoid a demonic apocalypse (always a danger in this series).  I recommend it to everyone.  The dynamic will certainly help you grow.

Once the stories were published (a couple of years apart) and I received my copies, I realized that this series is going from strength to strength.  My thoughts on these volumes pretty much reinforced the initial impression of the one I’d reviewed back when I was an impartial observer: the author lineup is strong, the action is excellent and I feel honored to be among them – and each of them had to play nice with others to earn their place there.  Cool to see, and I can only imagine what the editors went through to create those.

So, for the writers who have asked me how to get into the shared-world antho business, that’s the answer: be easy to work with, deliver your edits on time, and word will get around.  Oh, and write the best stories you can, too.

If you happen to hear of one of these being formed, write an author or editor already on the team who’s worked with you before.  You never know what might result!

 

Gustavo Bondoni’s latest novel, Incursion: Shock Marines, was released in September.  He recommends that you read it before something else comes out and he has to change this signature.  If that happens, you might miss it and you do not want that to happen (he says to trust him on this)!