It must be spring: the swallows have returned and the parking lot at QFC has drifts of fruit blossom petals, blowing across the pavement. I took this shot out at the Marymoor P-Patch garden, where all the gardens are getting ready for the growing season.I’m trying a one day workshop called Sudden Fiction. Here’s the description:
Flash fiction, short-short stories under 1000 words, present stories in microcosm, slices of life that illuminate and change us. In this writing class, students will use writing prompts and word games to create 3-4 pieces of flash fiction, as well as learning what magazines specialize in flash fiction and how to submit their efforts to them.
I’ll be drawing on the experience of a workshop I taught for Johns Hopkins Continuing Studies a while back. That class ran six sessions, if I’m remembering correctly, and we had an amazing time.
I’ll also be teaching the Blogging and Social Networking 101 class. It runs two classes, the first of which is used to talk about setting up a blog, establishing your online presence, personal branding and the second of which is devoted to social networks, Google Analytics, and other Internet tools.
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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."
~K. Richardson
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Tracking Story Submissions
One of the problems with submissions is the guesswork involved - there is no way to predict what market will love a particular story.Part of today is going to be spent sorting through my spreadsheet of what stories are out where and getting stuff out. That’s one of the really tedious things about being a writer – all the paperwork.
So how do I track submissions and figure out where to send them?
I have an Excel spreadsheet. One page has short stories that are circulating, a second does the same with flash pieces, a third tracks sold stories, a fourth audio reprints, and a fifth foreign reprints. When a rejection comes in, I mark the story on the sheet as freed up and put it in bold red. Once it’s been submitted, I switch the color to blue. That lets me look over the sheet and get an idea of what needs to go out. Right now it’s looking pretty red, so I’ve compiled a list of five flash pieces and ten short stories that need to go out, making a note of the word count.
After that I usually go to a market list, usually Duotrope.com or Ralan.com and look. I have some markets that stories always go through, but once they’ve been through those, it becomes a matter of finding the right place. I’ll look to see what anthologies are open first and see if I’ve got anything that fits into a particular theme.
Another system that can be used to track submissions is the excellent Story
Before I submit anywhere, I read their guidelines and do my best to read an issue or two (if they’re free online fiction, I don’t think there’s any excuse for not doing a little research there.)
Things that up a market’s attractiveness:
Good pay – I make my money through writing and editing, so this is a big factor to me.
Fast response time – When sending via snail mail, for instance, that adds at least a couple of weeks to the response time. A good resource for checking how fast they’re responding is the Black Hole.
Circulation – Do people read the magazine? Is it getting discussed/reviewed? Are many year’s bests coming from its pages?
Good editor – A good editor is a joy to work with.
Audio reprints and foreign markets are usually separate passes, since I’m working with different lists there – the best of the stuff that’s been published. I absolutely would be lost in looking at the latter if I didn’t have Douglas Smith’s Foreign Market list. I’ve been bad about audio reprints and need to get more of those circulating, so that will probably come after this pass.
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I wrote this beginning of a steampunk Western story at ArmadilloCon this year. I’m transcribing a lot of stuff from my notebooks and thought people might enjoy this excerpt.
We came out of Texas with fire and iron in our blood. Our maker set us loose, said get ’em, gals! Then he stood back and spat.
She was in Kansas. Our leader, our model. We had to get to her.
So we walked, all thirty of us, dressed in tough black serge that tore nonetheless, got pulled away by thorns, and rough fingers of grass, and sand burrs. Bit by bit the clothes fell away and we weren’t a pack of black-bonneted little old ladies anymore. We were glittering steel and a spark of bright blue electricity in each eye.
Robot Carrie Nations, ready to spread the Temperance Word.
Let us backtrack and tell you the why and how that our Maker would have come up with. He talked about her all the time, had been in an Oklahoma saloon when she came through! Smashed it to flinders, used her famous axe on a whisky barrel till an alcoholic sheen covered the floor and old man Harcourt was there trying to lap it up off the planking. That was what made him see the Light, he said. A grown man, old enough to be his father, lapping up whiskey like a dog. That was when he took the Pledge, the same one engraved over each of our hearts.
We’re going to find Mother Nation. We’re his gift to her — thirty automatons, powered by phlogiston and hot blue liquid, ready to be set to work on the Crusade. His tribute. Another man might have sent flowers, or a diamond the size of a buffalo’s eye, or lengths of paisley silk. Not Thomas Y. D. Swift (or so the soles of our left feet read). Is he wooing her or enlisting in her army? We’re not sure. Humans are confusing sometimes.
