7 Things I Wish I’d Known When I Started Writing

When you see books for sale online or in stores, do you ever fantasize about seeing your name on the cover as the author? Decades ago, before I began writing fiction, I pictured that and wondered, “how hard can it be?”

Beginner Me, Current Me

At that time, I had a great story idea and estimated I’d achieve bestseller status in a year or two. Many facts about writing remained unknown to me then, things I wish someone had told me. Today, I’ll tell you.

  • Make Characters Appealing. To Beginner Me, stories consisted of plot. The author just dropped characters in to have things happen to them. Not true. Readers yearn for engaging characters. Give them a protagonist they can love, or hate—just feel strongly about. Many authors come up with characters first, then figure out what happens. An exciting plot might provide a literary sugar rush, but all truly great books showcase memorable characters.
  • Start Short. These days, novels predominate over short stories. Readers tend to take novelists more seriously. For that reason, beginning writers often tackle a novel first. Beginner Me did that. His unpublished novel sits on my shelf. It served the purpose of getting Beginner Me accustomed to daily writing, and of learning things about the craft. I wish someone had suggested I start with short stories. Some time after I switched to them, I started getting published. You can crank short stories out faster. The submit-reject-submit cycle runs more rapidly. You can establish a readership and move on to novels later.
  • Accept Long Odds. A few—a very few—inexperienced writers get their first novel or short story accepted early on. Most—a vast majority—pile up many rejections before their first acceptance. You might be one of the few, but odds are, you won’t be.
  • Understand the Tiers. Those books you see on bestseller lists, on lists of what to read next season, on the top of Amazon’s ‘Featured’ lists, and on the prominent bookstore shelves, have one thing in common. They’re published by one of the ‘Big Five’ publishers based in New York. If your novel gets accepted by one of them, an army of workers will design your book’s cover, arrange for book reviews, publicize your book, put out press releases, and line up interviews for you. If your story or novel gets accepted anywhere else, that army dwindles to one person…you.
  • Market and Network. Beginner Me thought writers typed up prose while others took care of marketing details. For those few who land contracts with the Big Five, that’s true. The rest of us do our own marketing. You may not see yourself as the glad-handing, back-slapping used car salesman type, but you’re going to have to abandon your introvert comfort zone and learn those skills. It helps to network with other writers to watch and learn from them.
  • Be Realistic. Beginner Me had heard of writers getting paid advances of thousands of dollars. I’d jot down some words, submit the manuscript, sign a contract, and soon I’d be sailing my yacht to my private island, where I’d have a mansion. Yes, a few authors receive large advance payments, but most writers work a day job. Their writing hobby pays for lunch, once a week.
  • Get Help. At least Beginner Me knew this one and didn’t have to be told. Others have trod the writing path before you and are willing to share their knowledge. You may read How-to-Write books, take college writing courses, and go to writing conferences. Beginner Me did all of those. You may also attend writing workshops. I got the most help from critique groups. Find whichever type of help works best for you.

I meant this list to inspire you, not discourage you. You may see some items as depressing, but that’s not my intent. If the writing dream burns within you, if your story demands to be written, nothing I say will dissuade you. You’ll take the journey. Best to take it in an informed way, and not learn everything along the way, as did—

Poseidon’s Scribe

September 17, 2023Permalink

How to Write for Anthologies

If you write short stories, consider writing for anthologies. I know a great how-to book to get you started.

Perhaps you’d like to write fiction, but don’t know where to start or what to write about. Or maybe you’ve been writing what you want and can’t sell it, and now you’re wondering what you could write and sell.

Anthologies might be your answer. That market puts out numerous and constant calls for submissions. Anthology editors beg for your short stories and give you a prompt—a subject to write about. No wonder so many authors get their start writing for anthologies. It worked for me.

But the antho market offers no guarantees. After writing and getting rejected, you might become discouraged.

That’s where this book comes in. How to Write for Anthologies And Make More Money With Your Writing by Kelly A. Harmon and Vonnie Winslow Crist (of Pole to Pole Publishing) offers practical and actionable advice about this sort of writing.

Kelly and Vonnie take you through all the steps including finding anthology markets, coming up with story ideas, submitting your story, dealing with rejections, understanding contracts, dealing with editors, and more. They also include appendices with helpful sample query letters and cover letters.

You may undergo an interesting transformation as you read the book. Bit by bit, you’ll find yourself thinking less like a part-time scribbler or writing hobbyist, and more like a professional author. That attitude shift will serve you well.

Even if you’re more experienced, with several stories already published in anthologies, this book will help you, too. It provides guidance on how to gather all your stories and publish them as collections. In addition, you’ll learn about opportunities to move beyond writing into editing the works of others.

I’m honored to have contributed the foreword for this book. It’s a valuable resource written by experts in every facet of anthologies. As I mentioned in the foreword, ‘This book does about everything except write and submit your story for you.’ But you’ll find those two tasks much easier after you’ve read How to Write for Anthologies.

If only the book had existed early in the story-writing career of—

Poseidon’s Scribe

Learning to Write Stories—Analysis or Practice?

What’s the best way to learn how to write stories? Should you just start writing a lot and work to improve? Or should you study the works of the best writers and understand their techniques before setting fingers to keyboard yourself? Or a combination of the two?

Image from Picjumbo

A writer friend enrolled in a literary master’s degree program and took a short story workshop class. The instructor told the students to dissect a literary work and analyze it. My friend discovered the entire workshop would consist of these analyses, and suggested to the instructor that students wouldn’t actually learn to write stories that way.

Picking a good metaphor, my friend said you can’t learn to build a house by taking apart other houses and studying them. You have to learn by doing.

The instructor disagreed, leaving my friend dissatisfied with that conclusion to the argument.

Let’s call the instructor’s way the ‘analytical approach’ and my friend’s way the ‘practice approach.’ (Note: I don’t mean to imply my friend only wrote and never read—this student objected to the 100% analytical approach imposed by the instructor.)

Who’s right? Both approaches seen to hold some merit, unless taken to extremes. A person who just analyzes famous writer’s works may develop expertise in analysis but never write a story of value. A writer who never reads seems equally unlikely to produce enjoyable prose.

I envision an experiment performed in two classrooms of second or third graders. One class simply writes stories without prompts. The other spends a year studying high quality children’s literature and discussing those books, and then the students write a story at the end. Which classroom’s students would end up crafting the best stories?

Imagine a line, a spectrum, with the pure ‘analytical approach’ at one end and the pure ‘practice approach’ at the other. My guess is, few of the great authors cluster at either end. They learned to write classic stories by some combination of approaches—by analysis and by practice. Perhaps an optimum exists on that curve, and I suspect it’s past the midpoint, toward the ‘practice approach’ end.

We might gain further insight on this by considering the artificial intelligence program ChatGPT. You may ask this chatbot to write a short story, and even prompt it with a subject, setting, mood, and style. The program will produce a short story for you in minutes.

How does ChapGPT do that? From what I’ve read, ChatGPT’s developers gave the chatbot many, many such prompts, graded the results, and provided feedback to the program regarding the grades. This seems analogous to the practice approach.

To produce a short story for you, ChatGPT scours the internet for information about the words in your prompt (for example, the subject, setting, mood, style, or other parameters you provided). That research seems analogous to the analytical approach.

Thus it appears ChatGPT learned to write short stories by some combination of approaches, someplace between the ends of the spectrum.

Note: ChatGPT does much more than write short stories. I don’t mean to sell it short. It also writes poems, essays, the answers to questions, and accomplishes many other tasks involving text.

In the end, my friend learned little about how to write a short story from the course. The analysis of classic short stories seemed, to my friend, better suited to undergraduate or even high school level, rather than a master’s degree course.

When learning to build a house, examining other houses helps, but so does building one yourself, and that’s similar to learning to write.

An appropriate mix of the analytical and practice approaches seems the best choice, at least for—

Poseidon’s Scribe

January 22, 2023Permalink

The Ray Bradbury Challenge

“Write a short story every week. It’s not possible to write 52 bad short stories in a row.” – Ray Bradbury

Bradbury said that in 2001 at The Sixth Annual Writer’s Symposium by the Sea, sponsored by Point Loma Nazarene University. Let’s call it the Ray Bradbury Challenge. (The first part, I mean, not the challenge to see how many bad short stories you can write in a row.)

Would you take that challenge? Could you write one short story every week for a year?

The challenge is part of the larger context of his talk. It’s worth watching the whole 55-minute video. His speech included great pieces of writing advice, and I’ll address those in a future post.

Bradbury thought it best for most beginning writers to start with short stories, rather than novels. (How I wish I’d done that when I started out!) He reasoned that the short story form trains you to focus on one idea, to compact your words. Moreover, every week you’ll complete a finished product, a tangible output.

It might seem a daunting challenge, but let’s break it down. Typical short stories run 1000 to 7500 words. That’s an average of 150 to 1100 words per day, though you’d more likely write a first draft at high speed and spend the rest of the week editing it.

By contrast, the NaNoWriMo challenge drives you to an intense burst of activity for one month (November), during which you must average almost 1700 words per day. Ideally, the end product is a 50,000-word novel, but in most cases, it’s an unpublishable one.

Bradbury’s challenge helps you form the daily habit of writing. It allows for—even expects—that you’ll enjoy concentrated, focused bouts of feverish, unconstrained flow, followed by periods of calm, dispassionate editing and revision to round out the week.

Moreover, his challenge grants frequent glows of happiness, satisfaction, accomplishment. Each week you affirm you’re a writer.

Think about the probabilities implied by his challenge. You’ll write no fewer than 1 good story out of 52. If you spent each year writing a novel instead, how long might it take before you wrote a good one?

Some might object that readers don’t read short stories, and publishers prefer novels. Perhaps, but you could do what Ray Bradbury did and publish themed collections of related short stories—so called ‘fixup novels,’ as he did with The Martian Chronicles, The Illustrated Man, and others.

Consider accepting Bradbury’s Challenge. You could write one short story a week for a year, couldn’t you? Even if 51 of those stories turn out to be terrible, you’ll have spent time learning the craft and discovering your voice. And you’ll have at least one good story to submit for publication.

I know, I know. You’re asking if I, Poseidon’s Scribe, am so willing to foist a challenge on others, would I be willing to accept it myself? Maybe I will set aside a year to do that sometime. Right now, I’m working on two novels. I’ve already written over eighty short stories, and had three dozen of them published. Though the writing took many years, I could claim I accomplished the Bradbury Challenge in slow motion.

If you do accept and complete the Bradbury Challenge, remember that all credit goes to the late Ray Bradbury, not to—

Poseidon’s Scribe

What’s in a Title?

Last week I wrote about the opening lines in a story. But before you read the opening, you read the title. Do you struggle to come up with appropriate, catchy titles for your stories? Read on…

Some writers have no problem with titles. In fact, there are authors who think up a clever title, and write a story to suit it.

On the other hand, some start with a ‘working title,’ intending to come up with a real title later. When that time arrives, they get stuck, unable to create a suitable title. Writing the 5000-word story was no problem, but coming up with just 1-10 words is maddening.

Author Stephen Pressfield offers some great advice in this blogpost. He says to let the theme of your story suggest the title, and he gives some great examples.

In her post on titles, author Lynne Lumsden Green goes a bit further. She says a title should (1) be memorable, (2) encompass the theme of the story, and (3) not give too much away.

I agree, though I don’t think you should agonize over your title. I’d spend more time on the story’s opening and closing lines. Even so, I often brainstorm about 20-30 titles before hitting on the right one.

Be aware, when choosing your title, even words like ‘the’ can be important. That word denotes one particular thing. To take an example from my stories, “Moonset” (from the Re-Terrify anthology) evokes a periodic event that happens daily. “The Moonset” suggests one particular setting of the moon. The one-word version was more appropriate for my story.

Here are some explanations for the titles of my stories:

Broken Flute Cave” is also the setting of the story, a cavern so-named because a modern discoverer found what looked like broken flutes inside. My story is the origin story, or pourquoi story of the last Native American flute player to occupy that cave.

Reconnaissance Mission” (in the Not Far From Roswell anthology) has a double meaning in this story. The tale follows Army Sergeant Major Edgar Allan Poe as he participates in a recon mission to Nuevo México. There he finds his is not the only team conducting such a mission.

The Unparalleled Attempt to Rescue One Hans Pfaall” (in the Quoth the Raven anthology) is a sequel to Edgar Allan Poe’s story “The Unparalleled Adventure of One Hans Pfaall.” I could hardly have titled it any other way.  

Instability” (in the Dark Luminous Wings anthology) is another title with double meanings. A medieval monk builds wings and tries to fly, but can’t control his flight. Moreover, some of the other monks question his sanity.

Time’s Deformèd Hand” is a phrase from the Shakespeare play “The Comedy of Errors.” My story—in the clockpunk genre—has many references to time, clocks, and calendars, and errors associated with time measurement. The grave accent mark (`) means to pronounce that usually-silent ‘e’ as you would in ‘ranted.’

Last Vessel of Atlantis” (combined in one volume with “Rallying Cry”) evokes the wonder of that legendary lost continent. The word ‘vessel’ has two meanings in the story—a ship and a container of liquids. In fact, the first published version of that story was titled “The Vessel.”

The Six Hundred Dollar Man” references the 1970s TV show “The Six Million Dollar Man” but mine is a steampunk version taking place in the American Wild West.

The next time you’re stressing about how to title a story, you’ll remember the profound and timeless advice of the one who titles himself—

Poseidon’s Scribe

7 Ways to Start Your Science Fiction Short Story

Oh, those choosy readers! So pressed for time, so easily distracted. If you don’t begin your SF short story in an imaginative, attention-grabbing way, they won’t read further. Let’s find out how to hook them.

Author Charlie Jane Anders wrote a great post citing seven killer openings for SF short stories, with classic examples for each one. I highly recommend her post.

Here, in brief, is my take on her list, with examples from my stories:

1. Set the Scene. Put us ‘there’ right away. Immerse us in the strangeness of your setting. Most SF stories begin this way. Use when setting is important, but get to the plot’s action soon after.

Personal Example, fromThe Sea-Wagon of Yantai:”

2. Introduce Conflict. Hit us with the problem first. What is your character dealing with? Fill in other details later. Good way to hook readers, but a bit chancy if your bomb’s a dud, or if the rest of the story doesn’t live up to its start.

Personal Example, fromA Tale More True:”

3. Mystify. Intrigue and confuse us. Cast us in without knowing our bearings yet. A risky way to start, but when it works, it works well.

Personal Example, from The Cats of Nerio-3:”

4. Gather ‘Round, Children. Have a talkative narrator speak to the reader in third person, often addressing the reader as ‘you.’ Often used in humor stories, but you need to keep that narration intriguing, and sustain it.

Personal (though approximate) Example, from Reconnaissance Mission:”

5. There I was. Have the talkative narrator, the main character, self-identifying as “I,” speak to the reader in first person. Often these stories start in a reflective, essay-like tone. Helps readers identify with the main character right away, but you need to get to the plot action and the scene-setting soon after.

No Personal Examples

6. Start With a Quote. This can be a quote from another document, or (more often) a character speaking. Good way to introduce a character’s personality right away, but if done wrong, this beginning can come off as juvenile.

Personal Example, from The Unparalleled Attempt to Rescue One Hans Pfaall:”

7. Open With a Puzzle. Combine 2. and 3. above to introduce a conflict while also mystifying. This is the most difficult of the seven methods. Great when it works, but awful when it doesn’t.

Personal Example, from Moonset:”

You should work hard on the opening lines of your short stories. Try several, or all, of the examples above until you hit on one you feel is right. Attempt, in a sentence or two, to (1) grab the reader, (2) introduce the main character, (3) present or suggest the conflict, (4) set the mood or tone of the story, and (5) perhaps give a hint of the ending for circular closure.

Now go out and grab your readers, using the methods of—

Poseidon’s Scribe

Time to Re-Enlist

How do I get myself into these things? Hot on the heels of 20,000 Leagues Remembered, I’m now co-editing another anthology. This one is called Re-Enlist, from Pole to Pole Publishing. My co-editor is the wonderfully talented author and editor Kelly A. Harmon.

Re-Enlist will consist of previously published short stories (reprints) related to the military and war. Re-Enlist will join Pole to Pole’s previous anthologies in the Re-Imagined series: Re-Launch, Re-Enchant, Re-Quest and Re-Terrify.

If you’ve written a dark SF tale that’s military in nature, a short story between 3000 and 5000 words that’s been published before and the rights have reverted back to you, send it our way.

For all the details and to submit, go to this site.

Will you Re-Enlist? I know one editor who’s anxious to read your short story submission, and that’s—

Poseidon’s Scribe

February 5, 2021Permalink

Celebrating Short Story Month

It’s Short Story Month, also known as May. Why they didn’t pick February—the shortest month—I’ll never know.

What is a short story? According to Wikipedia, it is a prose tale you can read in one sitting, one that evokes a single effect or mood. That ‘single effect’ idea can be difficult to understand. Edgar Allan Poe called it ‘unity of effect.”

Think of the effect as the emotional response induced in the reader by the story. The intent of a short story is to produce a single such effect, and every paragraph, sentence, and word of the story must support that goal.

There’s something ancient and primal about the short story form. It hearkens back to stories our tribal ancestors told around the fire at night. Those storytellers had to hold the attention of tired listeners as they fought fatigue, so had to keep them focused and interested.

There’s something new and trendy about the short story form. It’s well suited to our fast-paced age of commuting, smart phones, and hectic schedules. Given our brief snatches of time available for reading, it’s easier to enjoy and appreciate a short story than to maintain focus on a novel read a piece at a time.

I know what you’re thinking: Thanks for all that background, Poseidon’s Scribe, but how do I celebrate Short Story Month? Sadly, this occasion hasn’t captured the public’s imagination yet. There are no relevant songs to sing, or particular food items to prepare and eat. It’s not a traditional gift-giving month. No short story parades appear on the schedule.

However, don’t despair. I’ve come up with six ways you can celebrate:

  • Read. Well, this one’s obvious. You can celebrate by reading one or more short stories. You can re-read a past favorite or find a new one. I could crassly suggest you read one of mine, but I’ll resist the temptation.
  • Analyze. Select your favorite short story and re-read it, but this time, jot down what you like about it, your favorite parts, and maybe some notes about the overall structure and plot. You’ll likely learn new things and come away with a deeper appreciation for the story.
  • Write. Even if you haven’t written a story since your school days, you might find it fun to write your own short story. You have a story to tell, and short stories are, by definition, short. You can do this.
  • Submit. As long as you took the time to write one, you might as well submit it for publication. You can use The Submission Grinder to search for potential markets. Pick one, follow its submission guidelines, and submit your story.
  • Promote. We’re in the age of social media, so tell the whole world how you’re celebrating this month. Whether you love a short story by another author, or had your own short story published, tell everyone about it on Facebook, or on Twitter using @shortstorymonth, or on some other platform.
  • Party! Invite some like-minded friends over to your place. Decorate using themes from your favorite short story, and serve appropriate food based on that story. The highlight of the party will be when someone does a dramatic reading (or acting) of the story.

And you thought another Short Story Month would pass you by without notice. Not so. Now you know six ways to celebrate it. Lucky for you, this is just the sort of helpful service provided free by—

Poseidon’s Scribe

The Envelope Please…

All the votes are in, and the critters.org site has released the unofficial tally of their critters_header2015 Preditors & Editors Readers Poll. In the Horror Short Story category, Steven R. Southard’s RippersRing72dpiRipper’s Ring” came in…

…drum roll, and dramatic pause…

4th out of 17.

That’s great, and I’d like to thank all the wonderful people who voted for my story. It’s an honor to make the top top10shortstoryhten (top five, even) of the nominated horror short stories of 2015. I’m proud of “Ripper’s Ring” and gratified that readers think enough of it to send in their votes.

One caveat—apparently the results are unofficial at present. If those standings change, you’ll learn that news right away from—

Poseidon’s Scribe

January 17, 2016Permalink

Time for a Story to Launch

I just learned my next story, “Time’s Deformèd Hand,” is scheduled to be launched by Gypsy Shadow Publishing in just three days, on November 15th. It’s the 12th book in that What Man Hath Wrought series everyone’s talking about.

Here’s the blurb: It’s 1600 in an alternate Switzerland, a world where Da Vinci’s mechanical automatons and human-powered flight almost work, thanks to magic trees. Long-separated twins, Georg the reluctant groom and Georg the clock thief, roam the clocklike village of Spätbourg, beset by more time and date errors than you can shake an hour hand at. Will Georg get married after all, and repair the town’s central tower clock? Will Georg—the other one—purloin more timepieces, or give up his pilfering ways? Will William Shakespeare lend a hand, and some iambic pentameter poetry, to reset the cogs and gears of this zany comedy? Only time will tell…or maybe not, in this ultimate clockpunk tale of mistaken identity and temporal mix-ups.

I’ll be sure to let you know when “Time’s Deformèd Hand” is launched and where you can buy it. You know if there’s one person who’d never leave you uninformed, it’s—

Poseidon’s Scribe

November 13, 2014Permalink