writing life

The Reasons We Write – Yet Another Take

Writer at a Typewriter

I’ve mused in many articles about the reasons anyone would do something as completely barking mad as writing… and I’m not the only one.  Analysis of the writerly life can be delightfully variable, as witnessed by the fat that everyone has a different take.  Isaac Asimov used to consider writers as a species of supermen, an activity not everyone was cut out for.  He even had fun with it, saying (and I paraphrase from memory) that if, as was extremely likely, you couldn’t make it as a writer, you could be president of the United States (this was written back in the era when that was probably the world’s most respected job).

A more modern take on writing would be more like “O woe, writing sucks” (and then the person who wrote that profound thought goes on to whine about how they never get anything published).

My own take is somewhere along the middle path.  While I accept that writing can be a grind, it also brings about great rewards.  There are few feelings comparable to holding a book that contains something you wrote in it, if it’s there on merit (I have no clue how vanity publishing or self-publishing feels, as I’ve not really had experience there – for all I know, it’s awesome).  The daily grind of rejection, on the other hand, is a very effective counterweight.

In my own case, the balance falls on the side of “keep writing”, so that’s what I do… but I often wonder if there isn’t another component: hope of immortality.

Before I look into the immortality game when it comes to writing, I wanted to say that I, personally, believe that all art is motivated, at least a little bit, by that dream of being remembered after you’re gone.  Whether it be a commercially successful film director making a film to cement his critical reputation as opposed to raking in the dollars at the box office or a small child giving you a drawing (and crying if you happen to lay it on a table for a second), artists want one thing: to be remembered.  Yes, approval at the time of creation and presentation is important, but it’s the legacy that matters more.

It’s deeply ingrained.  A small child probably doesn’t have too much of a fixation on death or a true understanding of the stark fact that, someday, he will no longer be around, but even so, the instinct to live on through a piece of art is there.

And, from the Lascaux Paintings to Moby Dick, that hope is sometimes fulfilled…  more often, it isn’t, but the lightning in a bottle can happen.

Moby Dick - Herman Melville

I mention Moby Dick because, in literature, period popularity doesn’t necessarily track to immortality.  Melville died believing Moby Dick was another failure in a career filled with them.  Also believing he was a failure on the day he died was F.Scott Fitzgerald.  And Poe, of course.  Emily Dickinson’s poetry was, for the most part, discovered after her death (only about a dozen of her 1800 poems saw the light while she lived).  Lovecraft and Howard are two men that the SFF genre anointed well after they were gone.

Of course, critical reevaluation and fame aren’t necessarily the rule.  For every rediscovered author or poet who joins the canon once safely buried, there are ten that are universally accepted to be creating literary history as they write, a million who will never be recognized at all and a thousand whose bestsellers are no longer read by anyone (an amazingly interesting read is this page of bestsellers from a hundred years ago).

But writers who were establishing themselves forever were sometimes easy to spot.  Dickens was writing history and everyone knew it.  Harper Lee cemented her position in the pantheon and retired (well, mainly… let’s pretend Watchman never happened).  Then there was Joyce, who established not only his reputation, but will, now and forever, define modernist literature.

But those are classic writers.  Much more important to those writing today is the question: “So what about MY writing?”

Short answer?  No one knows.  Stephen King might be the next Dickens, a man whose work was wildly popular in its day and had staying power as the best reflection of an era, or he might be completely forgotten.  The same could happen with the writers on the other end of the commercial spectrum (although it’s more likely that they will be forgotten, as there are less people around that would remember them).

Me?  I always have this image of a scholar in 500 years or so coming across a brittle anthology containing one of my stories, a precious relic of the final days of print, and writing a misguided book-length dissertation on the way my characters reflect my subconscious manifestations of my desire to retire to a monastic existence on Ceres.

If that, or anything equivalent, ever happens, my work shall be done.

 

Gustavo Bondoni is a novelist and short story writer whose latest book is called Timeless.  The theme of why authors write is also explored in that one… although the motivations are very different than what he cites above, proving, once again, that you can’t trust writers to keep the same idea in their heads for more than a few weeks.  Timeless can be purchased here.

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Writing Ennui and the Finished Novel

 

Siege

Fiction writing, as has been mentioned nearly everywhere, is not a particularly happy profession.  It almost seems like the writers who aren’t busy actually killing themselves are writing about it constantly.

Yes, there are undoubted perks.  Having a story accepted for publication by a traditional publisher–one with a slushpile and gatekeeper editors–is an incredible feeling, one that I’ve not found anywhere else.  When a random reader you’ve never met enjoys the story and comments or writes a review–or drops you a note–is another beautiful sensation.  Most important, perhaps is the ability to reach strangers with your ideas.

Unfortunately, the highs are offset by a number of lows.  The first and perhaps most clichéd, is rejection.  All writers get rejections except for those whose name sells by itself.  If a publication rejects something sent to them by Stephen King, all of the accountants will immediately resign.  Some established writers get few rejections… but most writers get lots and lots of them, all the time.

Timeless

But that’s not all.  So your story or novel ran the gauntlet, convinced an editor and a publisher and saw the light… the reviews might not be as good as you hoped for: the words ‘imbecilic’, ‘moronic’ and ‘stupid’ are bandied around quite lightly in the Amazon review areas.  So is the term ‘semi-literate’.  Worse, sometimes the reviewer really doesn’t like it.

And then there’s the feeling that your novel has launched to widespread indifference…  They don’t like it. They don’t hate it.  Hell, did anyone even buy this thing?

Worst of all is the fact that these things don’t come in neat packets.  They arrive in bunches.  I can virtually guarantee that just when you’re sitting in a bar drowning the unhappiness of a particularly vitriolic review in Publisher’s Weekly under a few gallons of alcohol, you will glance at your phone to find a rejection of your very best story, the one you’d pinned all your hopes on, sitting in your inbox.

And did we mention writer’s block and stories with endings that don’t come together and deadlines and watching others get publishing contracts that you’d cheerfully kill for?  It can become a bit of a grind.

Malakiad-Gustavo-Bondoni-Cover

Nevertheless, most writers will tell you they love writing.  Hell, I’ll do it for them: I love writing.  I do.  Maybe not the rejections or the nutso reviewers with an ax to grind, but telling stories is one of the greatest activities you can be a part of.

In my own case, I’m fine with most of the above.  Rejections are a part of the game… everyone and his kid brother wants to be a writer.  A lot of them are sending stories out.  Slushpiles everywhere are overrun.

So what?  I’m selling regularly, so I know that a rejection only means that story is one step closer to finding a home.  Good to get it out of the way.  Rejections hurt, but then I get to send the story back out, and depression is replaced by renewed hope.

 

And bad reviews?  In my mind, they mean that my stuff is getting read a little more widely than just my close circle (they never give bad reviews because they know that a bad review will mean that I will visit them in the middle of the night and throw tarantulas on them while they sleep).  It’s a good thing – and you can often learn from a good shellacking.

There’s one thing, though, that really gets to me: finishing a novel.

Writing ‘The End’ is a moment that should be cause for celebration.  And yes, there’s a sense of accomplishment but… it’s not the same kind of happy dance that accompanies a sale, more of a ‘whew, glad that’s done’ kind of moment.  Writing a novel is not a light-hearted lark.  It’s hard work and you feel a lot of relief when it’s done.

And if you’re like me, you are burdened with the awful knowledge that editing a novel is as fun as being hit by a train.

Outside

For whatever reason, after a novel gets done, I fall into a few weeks of utter ennui, in which hitting wordcounts is a struggle and every rejection hurts more than it should.  It’s the only time when I find myself seriously asking myself… is it worth it?  Why do I even try?  There are a bazillion writers out there, and only a handful will ever become critical and commercial successes.  It would be a better use of my time to play the lottery.

It’s this time when one seriously considers things like going back to work for a corporation–it’s both less stressful and less publicly humiliating–, robbing a bank–how hard or dangerous can that be, really?–or moving to some underdeveloped island nation and putting a marijuana kiosk on the beach.

It’s a sense of ennui that I don’t have when I finish short stories.  There’s always another short project to attack, another deadline coming up.  But novels?  Every.  Single. Time.

Perhaps, to steal the oldest, most hackneyed metaphor ever, writing a novel is exactly like running a marathon.  It takes so much out of you that you need a certain amount of time to recover, and while you do, you feel about as frisky as a squirrel who just got flattened by an eighteen-wheeler.

Anyway, I finished my latest book about a month ago.  This is the first week since then that I’ve felt like life has meaning.

I should probably stick to the short stuff.

Or maybe rob a bank.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  His latest book, Timeless, is a modern day thriller that takes place along the beautiful Greek coast.

Writing Humor – A Classically Educated List

Few things are, I was rudely reminded, more difficult than writing humor.  I used to write a lot of humor until I discovered that writing things that aren’t humor is often both more lucrative and more rewarding.

The Malakiad Cover Image

But that changed last month.  I sat down with one of my contributor’s copies of The Malakiad and found myself laughing out loud at my own jokes (I know this is bad form, but for a bit of perspective, please bear in mind that Eddie Murphy would laugh at his own jokes on a certain Saturday night TV show before telling them.  That means that I can do whatever I like).

I realized that, huge effort or not, I had to write the sequel to this one, even if the publisher refuses to buy a sequel (to avoid this sad outcome, please go out and buy several copies of the first book at your earliest possible convenience, and gently persuade your friends to do the same.  At gunpoint if necessary).

Of course, I immediately found it tough going.  Humor is not for the faint of heart.  Want to know why?  Cool, because we’ve created a list.

1.  Humor uses up ideas at a breakneck pace.  If you’ve ever been to a standup comedy show, you’ll have realized that (unless it was really, really bad) the rhythm of the jokes is pretty rapid, with setup following punchline and vice-versa.  The idea is to keep the audience engaged.  Of course, it’s impossible to keep this kind of pace up in a 300 page novel (and if you know of exceptions, I want to read them, so drop me a line in the comments), but the temptation to make the book funny all the time is there.  Even so, all those funny ideas about Greek heroes and anachronistic secondary characters you thought would fill up a whole series, disappear quite quickly.

2.  Different kinds of people have a different kind of sense of humor.  This is probably the deepest pitfall of all.  My own sense of humor ranges from dry British wit to no-holds-barred, absolutely-nothing-is-off-limits humor of the type form the 1980s.  I don’t get offended at any kind of joke, no matter who it lambasts, as long as it’s funny.  I accept that humor is often cruel, and still revel in it.  But even though I’m extremely liberal in what I’ll accept, there is stuff that some people find hilarious that I think is juvenile and, not to put too fina a point on it, just plain dumb.  Nose-pick jokes.  Fart jokes.  The kind of stuff that makes four year-olds giggle has it’s place, just not in my library.

3.  There are different narrative structures to humor, and you have to choose between them.  Beyond the different types of sense of humor, the way its presented also makes a huge difference.  You can structure humor as a series of punchlines peppered within a different context, or you can tell, completely deadpan, a story whose premise is funny per se.  Or, you can go after the absurd.  In a novel, you will have the space to attempt all three, which makes attempting to balance them out a bit of a daunting task.

Example of Offensive Humor

4.  Humor is cruel.  This is the biggie.  We live in sensitive times in which most people who actually read are likely to be offended by perceived lack of sensitivity in a humorous work.  The problem is that humor often laughs at the subject as opposed to laughing with him.  Much of what humans find funny is based on taking a stereotype or common situation and then either turning it on its head or presenting it in such a way as to become ridiculous.  The problem is that those stereotypes are often offensive to someone, and the common situations are common because a lot of people do certain things, and they don’t necessarily want to be made fun of.  My solution to this one is to ignore the possible backlash and to write whatever the hell seems like a good idea at the time.  So The Malakiad pokes fun at everything from Greek Heroes to Jehova’s Cooking to Political Correctness.  I try to be an equal opportunity offender because everyone and everything has inherent humor in them… if only they also had the capability to laugh at it.  I strongly believe that the humorless, whether it be Puritans, Prohibitionists or any other holier-than-thou group are the ones who most need to be laughed at.

5.  The readers of your serious work might hate your humorous novels.  This is a risk, of course.  My SF novels tend to be aimed at people who enjoy thinking things through, a reasonable adventure or mystery, with a love story and usually an underlying philosophical question in there somewhere (I don’t do message fiction–I prefer readers who think to readers who want to be immersed in an echo chamber).  It’s quite likely that a lot of the readers attracted to that kind of book will find a novel about a Greek called Kopulus somewhat… well, I’d better leave it there.  Let the critics think up their own insults.

6.  If the book is actually funny, not funny is a painful Muriel’s Wedding sense, but actually funny, the critics will hate it.  Critics have no sense of humor.  Live with it and move on.

Hope that is enough to keep anyone from attempting a humorous novel.  The marketplace is crowded enough without you, so go write that deep, heartfelt experimental piece instead.  We won’t miss you in the least!

 

Gustavo Bondoni is an Argentine author with several novels and over 200 short stories published.  You can buy The Malakiad here.

A Writer’s First Sale

Typewriter Blues

I think most writers will identify, at least a little bit, with the article below, which I wrote ages ago to try to convey the wonderful feeling and circumstances of my own first sale… I give it here as a public service to those who may not have felt the joy of publication yet.  Hopefully, it will inspire you to push onwards… If I could do it, so can you!

Like most writers, I have a regular job that pays the bills.  And my first sale, in 2005 actually came on a day when I was regretting a recent job switch.

The problem was my new boss, who seemed bent on removing all self-esteem and will to live from his subordinates. With the rest of them away on business, I had been left to bear the brunt alone.  It had been the worst week of my professional life.

Jupiter SF - Issue VII - Pasiphae

Arriving from work depressed and exhausted after nine o’clock, I was handed a manila envelope, with handwritten address.  Inside was a copy of Jupiter SF, a genre magazine printed in black and white.

At first, I was unsure what to make of this.  I had sent them a story, maybe this was a strategy to get me to subscribe.  But then it occurred to me that they might have decided to print my story, and had been unable to inform me due to my change of email.  I leafed through it quickly, and there it was!  “Tenth Orbit” by Gustavo Bondoni.  The magazine in my hand was a contributor’s copy.  The first payment of any kind for my writing.

I must honestly admit that, since changing jobs, I had let my writing slide.  I hadn’t written anything at all in months, and hadn’t even bothered to send rejected stories out to new markets.  Not enough energy.

Nevertheless, at the moment I realized that I was now a published author; my other worries were forgotten.  The satisfaction I felt was not monetary (although, having submitted by email and received a magazine worth four dollars, I had, unusually, come out ahead), but because someone had thought that my story was good enough that people should hand over their hard-earned cash in order to read it.  And that, somewhere, people were doing precisely that.

My drive to write and publish was instantly rekindled.  And I felt I had achieved something truly significant.

Which was something I had really needed.

 

Gustavo Bondoni is still writing, and has since sold over 200 stories and a number of novels.  His book Outside deals with the consequences of posthumanity and transhumanism.

Contributor Copies Continued

Unlike many authors, I read every single contributor’s copy I am sent.  Why, you ask?  For many reasons.  The first and most obvious is that It helps me keep up with what’s happening in those corners of the genre that I frequent.

In a less pleasant vein, I sometimes find that the places that published my work might not be up to the expected standards–which means I won’t sub there again.  Or, conversely, the other stories might be so good that I feel like a third grader walking taking that stroll with Virgil and Dante… completely out of my depth.  I always send my best stories to people who make me feel that way.

So I get a lot more than just reading pleasure from this practice–it’s professionally useful, too.

It’s nice to have a serious-sounding excuse to read more stories, isn’t it?

Anyway, before this digression gets overly long (yes, I know it’s already too late for that), today’s post deals with a couple of contributor’s copies from a couple of years ago (never said I was fast, did I?).

51HG-GZoCfL._SX331_BO1,204,203,200_

Visions III: Inside the Kuiper Belt is one of those anthos that did the Dante thing to me.  To be completely honest, I didn’t like the cover art, so wasn’t expecting too much from the stories inside.  And then, one after another, they all turned out to be absolutely brilliant.  Every one of them was a space adventure that was both well written and entertaining, a combination which, as anyone who’s picked up a Year’s Best antho lately can attest, is getting as rare as three dollar bills.  Better still, middle-class guilt and political concerns are nearly completely absent.  What joy in this day and age!

Not only do I recommend this anthology wholeheartedly, but I also put my money where my mouth was and sent the editors stories for two more anthos in this series, both of which are sitting in my TBR pile, and both of which I am looking forward to anxiously!  Go out and get one, you won’t regret it.

Strangely Funny 3

Strangely Funny III is a different animal altogether.  Humor can often be hit-or-miss, but this series takes the risk and handles it well.  Of course, there are a few stories that don’t quite work for me, but most of them do really well in both telling their story and getting some laughs – admirable goals both!

The stories skew towards horror and the humor sometimes tends to the ghoulish over the slapstick (or combines both).  Not something I’d normally pick up at a bookstore, but definitely a genre it’s good to be familiar with – especially since I have been known to write humor every once in a while.

So yes, I’ll keep reading my contributor copies, and let the cutsheet bandits to do their own thing.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  His novel Siege is for those who think they’d enjoy Visions III, and The Malakiad for those who think Strangely Funny would be more their cup of tea.  He aims to please!

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.

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)!