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 Friday, September 07, 2007
Friday's Feast
Posted by Rachel
Insight into office life at Writer's Digest Books
This morning I was reading the SF Signal blog and deciding whether I wanted to watch the Wookie/vacuum cleaner clip when I heard a Wookie. Now, my head phones were plugged in but not on my head, so it wasn’t coming from my computer. Who else would be listening to a Wookie? None of the other resident nerds are close to my cubicle. Then I heard it again. And again. My curiosity was up, so I went exploring. On the far side of the cubicle aisle next to me, I found Amy Schell (editor for HOW and WDB) kneeling on the floor of Grace Ring’s (designer for the WDB, HOW and TOW lines) cubicle, watching a video clip on the computer.
The clip is for a DVD to be included in one of our upcoming books (something about inkblot monsters whose title is completely escaping my memory). Anyway, the author speaks backwards, and then plays the tape backwards so you can understand what he’s saying. When it goes backwards, he sounds like a Wookie. It was a mystery solved for each of us. I found out what the noise was, Amy figured out what he was saying (Welcome to Daily Monster), and my Wookie comment elicitated a "That's what he sounds like!" from Grace. All in all, a nice little adventure.
On to the nitty-gritty useful stuff.
Contests
The second annual Penknife Press Short Story Writing Contest. Entrants must be 21 years of age, and not immediately related to anyone who works for Penknife Press. Contest is open now until 11:59:59 p.m. Central Time on Sunday, September 30, 2007. Send your 5000 - 10,000 word ms to contest@penknifepress.com. “The story should have a social and/or political theme that reflects current events.” One entry per person. The prize winners will be selected by a neutral judging panel and will be rated on writing skill, story content, and social relevance. First Prize: $1,000. Second Prize: $600. Third Prize: $400. Selected winners and runners-up shall be included in a collection of winners' stories to be published by Penknife Press at the end of the contest. Authors will be paid in copies of the e-book.
The deadline for the StoryQuarterly Fiction Contest has been extended to November 30. The contest offers a First Prize of $2,500, a Second Prize of $1,500, a Third Prize of $750, and ten finalists will each receive $100. Categories are short stories, short short stories, and novel excerpts. Entry fee of $20.
The Tonka Fiction Contest. Competition for short stories sponsored by the Minnetonka Review. Prizes: First prize $1,000, publication and plaque; Second prize $100; Third prize $50; 10 Honorable Mentions. Finalists are chosen by editorial staff and readers. Winners are chosen by guest judge Robin Lippincott. Entry fee: $10 and includes copy of award issue. Make checks payable to Minnetonka Review. Contest open now through Nov 30. Entries should be unpublished. Open to all writers living in the USA. Length: Max 6000 words. Cover letter should include name, address, phone, e-mail, word count, novel/story title. Title only on ms. Results announced February.
Submissions
Here’s something else to do with your published work. Virginia Arts & Letters Live is seeking short stories by Virginia writers to be read by actors. Stipend of $150, deadline is December 1st. Query or submit via iziegler2@gmail.com.
If you have a story on the subject “Freak,” then you might want to send it to Fiction International. They’re actively looking for stories on that subject from now until December 15th. Submit hardcopy text or images to Harold Jaffe, Editor, Fiction International, Dept. of English, San Diego State Univ., San Diego, CA 92182.
Brand new literary journal! The Packingtown Review out of the University of Illinois, Chicago. "Packingtown Review publishes imaginative and critical prose by emerging and established writers. We welcome submissions of poetry, scholarly articles, drama, creative nonfiction, fiction, and literary translation, as well as genre-bending pieces." They need comics/graphic novels, ethnic/multicultural (general), experimental, feminist, gay, glitz, historical (general), literary, mainstream, military/war, translations. Does not want to see "uninspired or unrevised work. We also would like to avoid fantasy, science fiction, overtly religious, or romantic pieces." Length: 3000-8000 words. Publishes short shorts. Writers receive 2 contributor's copies. Pays on publication. Acquires first North American serial rights. "We are looking for well crafted prose. We are open to most styles and forms. We are also looking for prose that takes risks and does so successfully. We will consider articles about prose."
Revolving Door
It's been a busy week. These are just the editors and agents who have been moving around.
Random House Trade Paperbacks: Porscha Burke has been promoted to assistant editor, reporting to Jane von Mehren.
Books & Such Literary Agency: Etta Wilson was hired as an agent specializing in representing young adult and children's books for both the general and the Christian markets.
Susan Rabiner Literary Agency: Holly Bemiss was hired as an agent focusing on young authors, narrative nonfiction, and graphic novels.
Atlas Books: Janet Min Lee has been promoted to associate editor.
Wildstorm: Ben Abernathy has been promoted to Senior Editor in response to the firing of Scott Dunbier as Executive Editor.
Holiday House: Regina Griffin, v-p and editor-in-chief, will leave the company September 14 to pursue other opportunities. Mary Cash, v-p and executive editor of Holiday House, has named to succeed Griffin.
A final note
Author Madeleine L’Engle died last night in Connecticut, at the age of 89. I’m truly saddened. After work I’m going to hit the used bookstore and pick up the rest of the A Wrinkle in Time quintet like I’ve been meaning to do for years.
P.S. The New York Times just put up a nice article on Madeleine L’Engle.
Market Info | Revolving Door
9/7/2007 3:24:08 PM (Eastern Daylight Time, UTC-04:00) 
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Thursday, September 06, 2007
2008 NSSWM excerpt and a bit of fun
Posted by Rachel
The following is an excerpt from romance writer Roxanne St. Clair's article entitled "Blockbusters and Breakouts." St. Clair discusses what makes a novel a BIG book, and which of those elements writers have control over.
At the root of many big books, there is a struggle between good and evil, whether it is on a grand, international scale pitting country against country or planet against planet, or simply one good guy trying to take down one bad guy. However, many thriller writers will tell you: the bigger the evil, the bigger the book.
There are other factors at play, too. The depth of research and realism will add to the scope of the book, as will the wow factor of the pacing and structure of the story. Even the genre can impact the perception of a book--thrillers and suspense novels generally have a better shot at being labeled as "big" than most romances or mysteries, however there are numerous exceptions to that rule.
In general, an author can simply "think big" while writing, and the best way to do this is not to limit the work. Editors repeatedly say they are looking for the "really" factor: the books that push the envelope, regardless of the genre. Really sexy, really scary, really dark, really funny, really thrilling. A big book doesn't hold back.
This is true in nonfiction as well, whether it is a memoir, a biography, a cookbook, self-help or essays of a bemused dog owner. Even in nonfiction, the "really" factor will help a book to be perceived as one that tackles a subject matter more thoroughly than the competition, one that entertains as it educates, and inspires as it informs.
Check out the full-length article for more insight and advice.
And now for a bit of fun. The Hugos were awarded over the weekend, and you may have heard about the extemely entertaining award ceremony. It featured different incarnations of Ultraman fighting monsters. Imagine my glee when SF Signal directed me to Bowing to the Future for the video (he got it via Chris Roberson via Gavin Grant and Kelly Link). Don’t you wish all literary awards ceremonies were such fun? I am impressed the guys in the monster suits could move so much.
9/6/2007 11:40:56 AM (Eastern Daylight Time, UTC-04:00)
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Wednesday, September 05, 2007
Contest-win Writer's Market Books
Posted by Rachel
Quick-and brief-note: Writer’s Unboxed is running a contest. Make up a word, win the 2008 Market Books. Opened yesterday, closes Friday, Sept. 14th.
9/5/2007 3:26:20 PM (Eastern Daylight Time, UTC-04:00)
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Q & A: Margins and title pages in mss
Posted by Rachel
Yeah, my first question! It's one I’m sure lots of people have, or at least one similar:
“I recently purchased the 2008 Novel & Short Story Writer's Market. On Page 84, it says always leave a one inch margin on all sides of the paper. In my 2003 version, it says leave one and a quarter inch margin on each side. The two versions also disagree on how to set up title page. Have most editors decided they want a different format, or is one of the two a typo? I would like to know which is correct - the 2003 version of your book, or the 2008 version. Thanks for you help.“
The one-inch margin is a general rule, and when editors and agents want something different they usually say so. Most editors won’t throw out your manuscript because it had one and a quarter inch margins unless they specify other margins in their submission guidelines. ALWAYS do what they tell you in the submission guidelines (even if they say use 13.5 pnt Tahoma font and 7/8 inch margins), but if they don’t specify fall back on the one-inch margins.
Use the title page guide from the 2008 edition, but I want you to note a few things. It is only the placement of the information that has changed, not the content. Still needed are your name and contact information, name and contact information of your agent (if you have one), word count and title with byline. That's it. No more, no less. Following proper formats is important, but it doesn’t help much if your page looks beautiful but the content is lacking. It is more important to make sure you have the correct information on the page and that it’s clear and easy to read. I would also like to note that agents and editors don’t want, or need, a title page for your sample chapters; they only want a title page for a full manuscript (novel, not short story).
While we're on the subject of formatting, I want to cover the query letter. There are also a few differences between the sample in the 2008 NSSWM and earlier editions. The date is now on the right instead of the left. Your phone number is under your address instead of under your signature. Your contact info is now lined up neatly. These are relatively minor changes. No editor I know will throw out your query letter because you have the date on the left side instead of the right. Focus on the things that have stayed the same. All of your contact information is present and grouped together. The letter is addressed to a specific individual. The body of the letter concisely states what the story is about and gives the credentials of the writer. This is the part of the sample to really study.
As long as you're not writing on neon green paper with red ink and decorating your envelope with unicorn stickers CONTENT TRUMPS FORM. If you don't believe me, go read the archives in Miss Snark on formatting.
Q&A
9/5/2007 11:53:28 AM (Eastern Daylight Time, UTC-04:00)
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Tuesday, September 04, 2007
Major publisher does podcasts
Posted by Rachel
I thought I would do two posts today since I didn't post yesterday because of the holiday.
Tor and Forge books have kicked off their new podcast series with interviews from Worldcan in Japan. While they are primarily sci-fi/fantasy publishers, some of these podcasts are of interest to writers of any genre.
In the first podcast, Tom Doherty and Patrick Nielsen Hayden (Tor editor and winner of the Hugo for Best Editor) discuss the nature of publishing, the real value of publishing and the effect of "free" information on publishing. Hayden makes an excellent point that editors are still needed, and will be needed for a long time because "Publishing isn't printing. Publishing is the act of finding cool stuff and making it public, of bringing it to the attention of the people who are most going to want it."
Cory Doctorow and Hayden discuss "Facing Digital Reality" in the Aug 31st podcast. They discuss how science fiction has set up an expectation of free information and the ability to access it, and how that expectation is effecting the market. They also touch on copyright (is it for writers or investors?) issues and the use of e-books.
Later podcasts include interviews and coverage of events at Worldcon. I believe the plan is to have weekly podcasts once Worldcon is over, but I'm not sure what the topics will be, or if Hayden will continue to host them. I think author interviews are a safe thing to expect, but I'm hoping to get more podcasts like these first two in which larger areas of concern are covered.
What do you think of Tor's decision to do podcasts? What kinds of things would you like to see them do with this new venture?
Oh, and congrats to the winners of the Hugos! Winner's list here.
9/4/2007 2:11:23 PM (Eastern Daylight Time, UTC-04:00)
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From the world of comics
Posted by Rachel
Sorry about not posting yesterday, I was enjoining myself at my church's picnic. I hope everyone else also had a wonderful Labor Day weekend.
While sifting through my email I found that Icv2 has an interview with DC President and Publisher Paul Levitz. They talk about the state of comics in general and some of the DC family, including Minx and Zuda Comics.
Every once in a while I check out Zuda Comics to see what they’ve added to the site in preparation for the October launch. Levitz said something in his interview about postcards, so I thought I’d check them out. It’s quite the range of style and ability. Some are really simple drawings that I think were done by a ten year-old, while others are spectacularly well done, and one is done in full color. There are a couple funny ones, three that I think are just creepy (in a good way), and several look like professionals drew them. I think Sarah Hanley’s comic with the dragon (way down near the bottom) is my favorite because there is a full story in this one panel.
Also now on the Zuda Comics website is clarification, from Levitz, regarding copyright and payment for comics purchased by DC via Zuda. "The copyright for each comic submitted to Zuda will be owned by its creator. DC will publish the winning/chosen comics under fairly conventional publishing agreements adapted to the peculiarities of the digital platform: initial payments for the work that is done, with royalties from revenues based on other uses, such as books, merchandise and movies/television shows. In the next couple of months the contracts will be going up on the site, and we're doing our best to make them as clear as possible, so people can make an informed decision about submitting their work."
It's nice to have an idea of what the terms are, but I know people will be very interested in seeing the actual contracts and reading the fine print.
9/4/2007 1:50:22 PM (Eastern Daylight Time, UTC-04:00)
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Friday, August 31, 2007
Friday's Feast
Posted by Rachel
As we enter into a beautiful Labor Day weekend (well, at least here in Cincinnati it will be), here's the weekly round-up of places you can submit your stories.
Erotic Romance. Total e-bound produces a themed anthology every quarter. They want erotic stories of various types, both short stories for the anthologies and full-length manuscripts. Go here to see what they’re actively seeking. The story must be British, but the writer doesn’t need to be. Pays 40% royalties.
Short stories. I found a new magazine! (Okay, it’s new to me.) This one gets mentioned just for its name. Zyzzva is dedicated to west coast writers (those living in AK, HI, WA, OR, or CA) of any genre. They are especially looking for translations of Latin and Asian writers. They only take snail mail, but they pay $50 and 7 contributor’s copies.
Chapter One Fiction Contest. Sponsored by the Bronx Writer’s Center, NYC authors submit 4 copies of up to 20 pages of the first chapter of your unpublished novel, a novel synopsis, and a biography. Deadline is Sept 21st.
Chautauqua Literary Journal Annual Prose Contest. Offered annually to award literary excellence in unpublished prose (short stories and/or creative nonfiction). Winner receives $1,500 plus publication in the Chautauqua Literary Journal. Entries are judged by the editor and editorial staff of the Chautauqua Literary Journal. Entry fee is $15 per entry. Entries must be postmarked by September 30.
Dogwood Fiction Prize. The winner of the fiction award receives $1000 and publication. The finalist judge is Abby Frucht. Submit mss of up to 7500 words and a $10 reading fee per story; make check payable to Fairfield University. Announcement of winning entries will be made in Spring 2008. Submission deadline is October 15, 2007
And as a bonus, there is an upcoming writing conference for those in the Virginia area, the James River Writers Conference. There are lots of options for the Friday and Saturday lectures, plus an agent elevator pitch option. It's coming up fast, September 28-29, at the Library of Virginia. Registration is $155 for the weekend.
Market Info
8/31/2007 2:22:01 PM (Eastern Daylight Time, UTC-04:00)
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Thursday, August 30, 2007
The End-Result Rush
Posted by Rachel
Just to point it out, Peter Selgin, the author of By Cunning and Craft from Writer's Digest Books, has a nifty article about the long road to publication and that one novel that still hasn't sold after umpteen revisions. Unfortunately, "A Short History of Everything: The End is Nothing, the Road is All" is not one of the articles on the Poets & Writers website, so you’ll have to track down the print copy to read the article.
I wanted to point it out because I find it amazing that I know who he is, and I got to help with the proofs for his book. I'm still surprised to see articles and books written by people I have a connection to. I remember when I saw an article from one of my professors in Writer’s Chronicle years ago and I finally realized that there is a world outside of my college, and there might be more to my professor than I thought. That naive awe catches up with me on occasion.
Seeing others succeed is wonderful, but seeing something you worked on appear in print is something altogether different. It’s a rush to see the end results of your dreams and efforts.
I was on the staff of Ellipsis, my college literary magazine, the first time I felt the end-result rush. I had a few sleepless nights as the prose editor trying to choose which stories to include, and then a few more bad nights when one of the stories I picked had already been accepted elsewhere and the author had neglected to inform us (PLEASE don’t do that to editors, especially if it’s a college publication. Student editors are fragile creatures). Finally it was done. Our beautiful magazine. I almost cried the first time I held it (Yes, I know I'm emotional). I'm NEVER getting rid of my copy.
One of the proudest moments of my life was when I was in a Barnes & Noble in Boston with my mom back in March and I took her over to the writing reference section. I was able to pull out book after book I had helped on in some way. From choosing illustrations to developmental edits to going over the final proofs, these were all texts I had touched in some way to make them (I hope) a little better than they were before, to be the best version of themselves.
I understand the thrill writers get in seeing their first book in print, because even as an editor I feel it too. How do you feel when you see your stories in print? Is the second time different from the first?
Inside Peek
8/30/2007 2:38:26 PM (Eastern Daylight Time, UTC-04:00)
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Wednesday, August 29, 2007
Another perspective on cover art
Posted by Rachel
I got my September copy of Poets & Writers yesterday and I had to laugh when I discovered an article by Timothy Schaffert entitled “The Big Cover-Up: A Writer’s Role in Book Jacket Design.” It seems great minds do think alike. It's nice that Schaffert’s article gives a slightly different perspective on cover development from what I discussed in my earlier blog.
Poets & Writers has the article online, but missing from the online version is a list of “Ten Things an Author Can Do to Facilitate the Design Process.” Here’s the basic list (more details on each of these points in the print version):
1. Ask your agent [Or editor] about “jacket consultation.”
2. Ask to see the final cover.
3. Consult with your editor.
4. Collect images.
5. Keep your suggestions simple.
6. Change your perspective.
7. Don’t conduct a market survey.
8. Trust the designer to do the job well.
9. State any objections clearly and concisely.
10. Know when to concede.
That seems like decent advice to me.
8/29/2007 1:40:44 PM (Eastern Daylight Time, UTC-04:00)
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Tuesday, August 28, 2007
What do you do at a workshop?
Posted by Rachel
This is something a lot of writers ask, just after “Is it worth my money?” The answer to both is “It depends.”
When you are thinking about going to a workshop the first question you should ask is directed to yourself: What do I want to get out of this? Do I need to work on general writing skills, genre issues, or just need somone to tell me why my story isn't working? It’s easier to pick a workshop, and decide if it's worth the money to go, once you know what you want.
For those of you who wonder what goes on during a workshop, here is one you can peek at. Peter Breyer does a blog for Writers of the Future and he has posted pictures and descriptions of their recent Writers & Illustrators of the Future workshop. Their workshop included making up a story based on an object given on the first day and taking some classes on the business aspect of writing.
Not all workshops are structured like this, but it does give you an idea of the kinds of things that go on.
Q&A
8/28/2007 1:10:57 PM (Eastern Daylight Time, UTC-04:00)
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Monday, August 27, 2007
2008 NSSWM Excerpt: Sigrid Nunez
Posted by Rachel
Time for some more shameless promotion of the latest edition of NSSWM. I guess I'm making a habit of posting interview excerpts on Monday. Here's a bit from Sigrid Nunez:
Looking back on your experiences writing and publishing five successful novels, what is the lesson you've learned with respect to craft that you most wish you could travel back in time and tell your pre-Feather self in order to save her anxiety and/or grief? What bit of publishing knowledge would you share with her?
To begin with publishing knowledge, I think many writers believe that if they could just get that first book sold, all their problems would be solved. The truth is, only one problem would be solved, and a great many others would arise. If you're going to survive as a writer, you need a lot of patience in order to deal with the inevitable frustrations and disappointments of being published. Few writers I know have not been dismayed to learn they have almost no say in how their book will be produced, presented to the world, and marketed.
With regard to craft, I wish I'd learned earlier to be braver and more ruthless about cutting or abandoning drafts. Just because you spent hours or weeks, or perhaps even longer, revising and polishing something doesn't mean in the end it will be any good. It may still have to be discarded, and you have to learn to see this not as failure, or as wasted time, but rather as part of the process. Writing well is something you have to learn, and as with most human endeavors, much of what is essential can be learned best by doing it wrong first.
Check out the book for the full interview by Lauren Mosko. Nunez talks about the inspiration for some of her books, blending fact and fiction in her stories, the disclosure of self in writing, teaching, and the usefulness of fellowships and conferences.
If there's a specific topic you'd like to see addressed, shoot me an email at nsswm AT fwpubs DOT com.
8/27/2007 2:31:32 PM (Eastern Daylight Time, UTC-04:00)
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Friday, August 24, 2007
Friday's Feast
Posted by Rachel
Here's your weekly round-up of what's going on. Press Innovations
Bellevue hospital has had the Bellevue Literary Review for a while, and now they’re branching into book publishing. Bellevue Literary Press released several books this spring, including a novel, with more on the way. Bellevue Hospital is the only hospital publishing fiction. Erika Goldman is the editorial director.
Bantam is launching a new imprint,
Bantam Discovery, to publish some books in mass market and trade
paperback format to try and maximize the number of venues for each book
and get the books to a wider audience. Their first book will debut in
February and they will publish general fiction.
Tor is joining the information super-age with daily podcasts of interviews and event coverage from the World Science Fiction Convention in Japan August
30th - September 4th, 2007. The series of podcasts will be the launch
for Tor’s new feature, which will start having regular podcasts on
Sept. 14th. This is part of Tor’s strategy to become the place to go for science fiction on the Web.
Market news
Wm. B. Eerdman’s Publishing Co. is at a new location:
2140 Oak Industrial Dr. NE
Grand Rapids, MI 49505
Eerdman’s does not accept electronic submissions. Full submission guidelines may be found at their Web site.
I got an email from Anne Hillerman about the Tony Hillerman Writers Conference: Focus on Mystery “This year at our 4th
annual Writer’s Conference, we’re offering something new--agent pitch
sessions. This is opportunity for attendees to talk to agents
interested in mysteries and is free with registration-but only a
limited number of slots are available.
The conference, Nov. 1-4 in Albuquerque, also features top mystery
authors, sessions on the craft of writing and a conversation with Tony
Hillerman.”
Peeks and Valleys: A Fiction
Journal has new owners/editors. Mary Anne DeYoung is the new editor and
they now pay $10 per story (up from $5). They still do reprints and
want character-driven stories of less than 2600 words.
Revolving Door
Larry
Roberts of Bloodletting Press has announced that he has added a new
associate editor, James A. Moore. Moore is the author of Blood Red, Bloodstained OZ with Christopher Golden, and the Serentity Falls series.
Shannon White has taken Judy Zylstra’s place as the main at Eerdman’s Books for Young Readers. That's it for today. Enjoy your weekend!
Market Info | Revolving Door
8/24/2007 8:19:23 AM (Eastern Daylight Time, UTC-04:00)
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