Yesterday I withdrew a story from a market because we were starting to near the one year mark, and the couple of queries I’d made all got the usual “It’s in the queue, we’re swamped, just a little longer” reply. I don’t mind waiting a little longer, but I do mind when it gets used to keep you going for months.
So that’s cool, and no hard feelings over them having sat on it a while. I end up withdrawing a story for similar reasons once every couple of years. But here’s the reply I got regarding the withdrawal:
Thanks for the note. Your story is officially withdrawn from our reading queue. One thing you might want to consider in the future is that pro markets take a lot of time. So I’d tailor a story for a certain market and then move on while you wait. That’s what Bradbury and Matheson and all those guys do. Some pro markets such as Cemetery Dance take up to two years. So that’s why I say. But the credit one receives when they break pro is worth everything. I hope this helps you future endeavors. You can send along something else in the future when we reopen for subs in [identifying information redacted]. Just make sure it’s a different story as I don’t accept stories that have previously been withdrawn.
Some pro markets do take up to two years, but it’s darn few of them. Most of the professional magazines are professional; they get stuff back to you fast. Even without e-submissions, Gordon Van Gelder manages to wade through swamps of rejections and still return them in a timely manner. Sure, Tor.com is slow, but given that they pay five times as much as most, I’m willing to give them five times as much time in which to reply. Asimov’s, Analog, Lightspeed, Clarkesworld, Fantasy Magazine, Beneath Ceaseless Skies, and Strange Horizons all pay professional rates and yet manage what is apparently a highly unprofessional rapid reply rate.
We got 550-600 subs a month towards the end of my tenure with Fantasy, and I would have felt terrible making people wait over a month, let alone more. And I’m going to say, this particular rejection is a great argument for form rejections, because the patronizing tone here really put me off, plus this is TERRIBLE advice for a new writer. Write what you want to write, not what you think a magazine wants to see.
I dunno. Maybe the editor is working off a different definition of professional than I use.
Couldn’t agree more. I cannot think of a single pro market for short fiction that feels it is OK to hang on to a submission for a year, let alone two. A good number of the so-called semi-pro (based on smaller payment, not necessarily quality) are just as speedy in their editorial decisions. My last sale to one of those markets, a highly respected UK magazine, had a 30-day response time from the editor. The layout spread and payment arrived within another thirty days. We’ve all had a few incidents where a story languished for a very long time, but they’re the exception, thankfully. (I personally strongly dislike it when an editor or publisher holds a story for eight months or longer and then sends a form rejection — if they held the story that long through a cut or two I think they owe the author some concise feedback.) And yes, writers should always write the stories that inspire them, and not attempt to imitate stories they read in F&SF or Clarkesworld in hope of making an easier sale. Good luck with that strategy.
Oddly enough I got a very similar note recently, and the wording was only slightly different. I decided to give the editor another couple of months, but perhaps I made the wrong decision. Many thanks for posting this. If the 1-year mark rolls around without an answer, I’ll withdraw the story.
This editor doesn’t seem to be very abreast of the field, either, given (a) you’re hardly a newcomer and (b) as you mentioned, several highly respected pro markets have very timely turnaround, including the big 3. An editor so unaware of today’s oft-published authors and his competition would turn me off permanently.
Naw, I can’t fault anyone for not knowing who I am, there’s plenty of short story writers out there and I have only been publishing for a few years.
But they -should- know better than a) equate long reply time with professionalism and b) to assume a submitter has never made a pro sale. The latter is just plain condescending (imo).
Well, I’m pretty new to the field — just started submitting professionally in December — but I’ve done my reading, and I have an idea who the established names are in the field. Okay, you’re not Bradbury or Matheson, but if I ran a magazine, I think I’d be keeping up with what was being published elsewhere. Seems like good business sense to me, knowing one’s market. Heck, just a visit to this website’s “Fiction” page would have told the editor you’ve published in many of the leading magazines over the past five years, and hardly need advice on “breaking into” the field.
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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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Trimming Down
Going through my filing cabinet has yielded plenty of detritus from the past: notes from Armageddon staff meetings, my transcripts from Hopkins, countless Christmas cards, and a decade's worth of old credit card receipts and checks to lit magazines for sample copies.Continuing to pack and sort and dispose of stuff. This morning I’ll take a box over to PC Recycle, send my brother yet another box of books, and haul one more trunk’s worth of stuff to Value Village. I find myself increasing ready to pitch things, but I still cling to some: a plastic crate full of notebooks I want to sort through, a few knick knacks, a favorite mug. Taco goes to the vet this afternoon and will be suitably appalled by the process, I’m sure, but I want to make sure the cats get all their shots and a good check-up before I leave them.
All the art is off the walls, carefully bubble-wrapped and ready to be stored, and the apartment is starting to feel empty. There’s plenty of little (and some major) maintenance work to do, including putting Pergo down in the bedroom, and culminating with painting all my turquoise and pink and green walls white again. Two weekends from now, I’ll rent a truck and take a couple of pieces of furniture over to my mom’s but all in all, we’re not keeping much. My bookcases, luckily, were bought several decades ago and disassemble easily to pack small. They’re recycled rainforest wood, purchased through some green catalog, and have served me very well through all my wandering. There’s a storage unit’s worth of stuff to get through still, but the ultimate aim is to get it all in a storage pod while we’re gone.
Stress levels are high but manageable. I find myself talking to the cats during the day, and worrying about them, despite the fact that I know both will be in excellent hands while we’re traveling. I am afraid that Raven will die while I’m gone, and I won’t be with him and that will break my heart. At the same time, I can feel an exhilaration creeping up as some stuff falls away, and right now there’s plenty of possibilities as we continue planning. Worldcon has become more optional — it ties us to Europe in August and we’re wondering if maybe there’s more pleasant ways to schedule that visit. Yesterday I was reading a book and ran across mention of the gardens at Menton, which hold the oldest living olive trees in the world. Now there’s a new push pin on the map, because I want to go commune with those trees.
If you’re interested in taking a class with me this year, be aware there aren’t many chances left. There’s a Podcasting Workshop on April 27 and a Flash Fiction workshop May 14, and that is it for 2014. I’m very happy with both the Writing F&SF and Advanced workshops in this last round; they’re full of strong and interesting writers, and that’s a nice way to end this round of teaching.
So much left to do. But so many possibilities are opening up. Planning how I’ll write on the road is something I’m thinking about. I think ipad plus wireless keyboard plus Dropbox should serve me well, as long as I’ve got a notebook and pen along too.
Will anything other than the words themselves survive?When I first advertised that I’d be teaching an online writing class, Todd Vandermark, the tireless editor of the SFWA blog, mailed me asking if I’d write a blog post about it. Sure, I said — only let me do it first so I have something to write about. I’m two thirds of the way through, and now I’ve got something to say, finally. 🙂
I love teaching online. I feel that I’m connecting with the students in a more meaningful and interesting way than in a once a week, face to face classroom. Through Google+, I can have a channel that is dedicated to the students, which means we’re talking and passing links back and forth throughout the week.
I use Google Hangouts. They are awesome. If you’re never tried them, here’s some basic information. I create a circle for each class, and another that is the students from all classes, and use those. I share the class circle with the class, so they have it as well, and can post to it. If you’re utterly confused by what I’m talking about when I say “circle,” this may be helpful. When I am ready for to a class to start, I open up a Google hangout and share it with the class circle.
The video is smooth in a way that makes me feel that I’m actually in the 21st century. It’s much lower key than I thought it would – after you’ve done it once, some of the nervousness fades away, and it doesn’t feel as though you’re “on stage” in the way one is when in the classroom. There’s been some adjustments with mikes and such, but one thing I did beforehand was have a “dry run” session, where people could log in and confirm that everything was working fine for them. A couple of times we had people participating with audio only — that worked fine. The format also means that people have been able to attend class while on the road – I just finished a session where one participant was logged on from the train station.
Google Hangouts includes a chat window, which I love, because while I’m lecturing, students can be typing questions, comments, and other feedback into the chat, which allows me to then look at it and incorporate it into the flow of the lecture. Instead of writing on the board, I can put things that are particularly important into the chat window. Google+ also allows people to share their work with the group through it, rather than sending out stories to be workshopped via e-mail.
The capability for watching Youtube videos as part of class is there, which is nice, but given the limited amount of time we have in class, I’d rather not use it on that for the most part. Still, I could see using some pieces in class instead of assigning them to be watched outside of it. Here’s some examples of ones I think would work well: Kurt Vonnegut on the shapes of stories, Terry Bisson’s “They’re Made Out of Meat,” Jack Kerouac on writing.
Things that I have learned:
Do a dry run beforehand, so everyone can see the technology in action and iron out any problems. I simply set up a hangout one night the week before the class and had people stop in to confirm they could log in successfully. This was also a nice, low-key way to chat with students beforehand about what they were hoping to get out of the class.
Don’t wait till the last minute to get things set up, because then there will be some microphone issue requiring a reboot.
Have people mute microphones when they’re not using them.
Feed the cats beforehand or else resign yourself to them crawling over you throughout the course of lecture. (May also apply to children and spouses.)
Ask questions beforehand. In prepping a lecture, more than once I’ve asked what questions people have about the topic on a social network and been able to use the answers as part of the lecture.
Be organized. Have your lecture prepared and mapped out ahead of time. I’ve always done this in teaching, but it feels even more crucial when doing it online.
Time expands and contracts according to the number of students. A class with a lot of student will take more time than the section with just a few, so have some back-up exercises that can be inserted into the lecture for that occasion. My notes say what point in time I am supposed to reach each section, so as I go, I can see if I’m running early/late and slow down or speed up accordingly.
No matter how carefully you plan, there will be at least one class where you find yourself at the end too early.
Remember that time zones differ. I have one session that meets early to accomodate the East Coasters, another that holds most of my West Coasters, and a Saturday that ranges all over the map. Next session I’ve got someone who’ll be attending at 1 a.m. his time, which I think speaks volumes for the lack of availability of such classes internationally.
It’s not for everyone. A few find the format anxiety-producing. But once you’ve tried it, it’s a lot smoother and easier than you might suspect, and god know videochatting’s not a trend that is going to go away so you might as well learn how to do.
I’m hoping to make the classes a regular part of how I make my income, and I still need some sign-ups for the upcoming batch, so I’m going to extend the special rate through midnight mext Friday. Here’s the details for those classes – please spread the word!
7 Responses
Couldn’t agree more. I cannot think of a single pro market for short fiction that feels it is OK to hang on to a submission for a year, let alone two. A good number of the so-called semi-pro (based on smaller payment, not necessarily quality) are just as speedy in their editorial decisions. My last sale to one of those markets, a highly respected UK magazine, had a 30-day response time from the editor. The layout spread and payment arrived within another thirty days. We’ve all had a few incidents where a story languished for a very long time, but they’re the exception, thankfully. (I personally strongly dislike it when an editor or publisher holds a story for eight months or longer and then sends a form rejection — if they held the story that long through a cut or two I think they owe the author some concise feedback.) And yes, writers should always write the stories that inspire them, and not attempt to imitate stories they read in F&SF or Clarkesworld in hope of making an easier sale. Good luck with that strategy.
Hee hee. Sound like a very new editor, rather unsure of his/herself. They’ll learn.
Oddly enough I got a very similar note recently, and the wording was only slightly different. I decided to give the editor another couple of months, but perhaps I made the wrong decision. Many thanks for posting this. If the 1-year mark rolls around without an answer, I’ll withdraw the story.
This editor doesn’t seem to be very abreast of the field, either, given (a) you’re hardly a newcomer and (b) as you mentioned, several highly respected pro markets have very timely turnaround, including the big 3. An editor so unaware of today’s oft-published authors and his competition would turn me off permanently.
Naw, I can’t fault anyone for not knowing who I am, there’s plenty of short story writers out there and I have only been publishing for a few years.
But they -should- know better than a) equate long reply time with professionalism and b) to assume a submitter has never made a pro sale. The latter is just plain condescending (imo).
Well, I’m pretty new to the field — just started submitting professionally in December — but I’ve done my reading, and I have an idea who the established names are in the field. Okay, you’re not Bradbury or Matheson, but if I ran a magazine, I think I’d be keeping up with what was being published elsewhere. Seems like good business sense to me, knowing one’s market. Heck, just a visit to this website’s “Fiction” page would have told the editor you’ve published in many of the leading magazines over the past five years, and hardly need advice on “breaking into” the field.
I agree wholeheartedly on both your points.
I appreciate and enjoy your story/comments. And I believe you are instinctually a “professional”.