Editor and Author Interview — Rie Sheridan Rose

SteampunkRie-e1302614168720Today I’m delighted to welcome Editor and Author Rie Sheridan Rose to the world of Poseidon’s Scribe. She’s the editor of the forthcoming anthology Avast Ye Airships! as well as being an accomplished author. Among her published novels is The Marvelous Mechanical Man. Mechanical Man Final COVER ONLY

On to the interview:

Poseidon’s Scribe: When did you begin writing fiction?

Rie Sheridan Rose: Technically, I began writing when I was a kid, but I began doing it for publication in 1998 when my children’s story “Bedtime for Benny” was chosen as a finalist in the Half-Price BooksSay Goodnight to Illiteracy” contest.  My first novel was published in 2000 (after I started it at 12 originally…)

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

R.S.R.: The hardest is having the discipline to actually do the work. I’ve been very bad about procrastination, though I am working on it. The second hardest part is finding markets–but places like ralan.com can help with that.

The easiest is…oh, wow…I’ve never thought about that. For me, the easy part is talking about my writing once it is done. 🙂

P.S.: On your website, you refer to yourself as the Barbadee Poet. What does that mean?

R.S.R.: When I originally coined that title, I was very enamored of the Brobdingnagian Bards. I wanted to be a bard myself…but I didn’t feel I was quite there. So I was a “wannabee” bard — or a “bardabee”.

One of the proudest moments of my career was when Marc Gunn named me Bard. Now I have to figure out the requirements to make it official…

P.S.: Who is the audience you’re trying to reach in your stories?

R.S.R.: My audience varies as widely as my subject matter. I wouldn’t expect the people who like my fantasies to necessarily be comfortable with my horror stories. I can’t decide if being so diverse is good because it expands the potential markets or bad because it dilutes the fan base…but I get bored if I stick to one genre. I am pretty sure that I have at least something for everyone though.

P.S.: What are your favorite genres to write in?

R.S.R.: Poetry — always number one; horror; and Steampunk. But I dabble in everything from Weird West to noir to science fiction.

AvastYeAirshipsP.S.: Where did the idea for Avast Ye Airships! come from, and can you briefly describe the idea of the anthology?

R.S.R.: The idea was first proposed on the Mocha Memoirs Authors Facebook page when Dahlia DeWinters was bemoaning the fact that she couldn’t find enough good Steampunk romances. Particularly with Steampunk Airship Pirates. Then Wynelda-Ann Deaver suggested we do our own anthology and graciously volunteered me to edit it. I thought about it…and said “Why not?” The rest is history.

The premise was to provide a collection of stories representing the vast diversity to be found in the world of Steampunk piracy. And we do have a very diverse group of stories from fantasy to science fiction to romance with the unifying characteristics of Steampunk and piracy.

P.S.: You have a story, “Hooked,” in the anthology Avast Ye Airships! What inspired you to write “Hooked”?

R.S.R.: From the moment we started talking about the anthology, Captain Hook kept popping into my head. Who is the most famous pirate of all time? Well, some might claim Blackbeard, or Jack Sparrow, but I think Hook trumps them all. And the Jolly Roger? It already flies!

I wanted to have a story in the anthology, but I didn’t want to take too much of the space away from other authors, so I wrote this very short piece to satisfy both of those requirements. 🙂

P.S.: Have you ever edited an anthology before? What was the most difficult aspect?

R.S.R.: No, I have never edited an anthology before, though I have always been curious about it.

The most difficult aspect is the logistics of it all. What stories do you choose? What factor decides this well-written story beats out that well-written story (in the end, for me, it was space.) Which story goes in what order? How do you decide on the length of the submissions period? How will it be marketed? How do you coordinate everything?

I have learned a lot doing this anthology…and hope to do another one some day. But not for a little while. I need to recover!

P.S.: What is your current writing project?

R.S.R.: My personal project at the moment is to get the second volume of my Steampunk series The Conn-Mann Chronicles through a second draft before I start edits in March. Hopefully, we will release in June or July. I love my characters, and can’t wait to let the world see what Jo and Alistair are up to next.

Poseidon’s Scribe: What advice can you offer to aspiring writers?

Rie Sheridan Rose: Set goals. You might not meet them, but have them. Two years ago, my husband challenged me to get 300 rejections by the end of the year. His theory was that immersion therapy would have me get over the fear of rejection — and therefore of submitting — by making it a routine thing. You can BET my submissions went up astronomically from ever before. And I’ve gotten in the habit of sending most things back out the day they are rejected to see if another market wants it.

That first year, I got 145 rejections and felt terrible because I was so far below his mark. On the other hand, I got 43 acceptances, which was the most I have ever gotten in a year.

Last year, I cut it back to 200 rejections…and slacked off a lot. Only 70 rejections and 21 acceptances.

So this year, I am changing things up and coming at it from a different direction. I have a personal goal of trying to make a submission every day this year. It doesn’t necessarily have to be a new piece, but it has to be something sent out to a new market every day. As of the time I am writing this, I’ve made that goal…but it is difficult some days!

I have cut the rejection number again to 100, but with the increase in submissions, I hope to do better. I’ve got three so far…

 

Thank you very much, Rie! I wish you every success in your writing endeavors. Readers of the Poseidon’s Scribe blog can find out more about Rie Sheridan Rose on Facebook, at her website, on Goodreads, and at Amazon.

 Poseidon’s Scribe

January 14, 2015Permalink

Fiction Market Ratings

If you’ve just finished writing a short story and would like to get it published, the array of available markets can be confusing. I’ve blogged before about some websites with valuable information about markets and also about how you can prioritize a list of markets for your story. Today, I thought I’d delve into how the markets are divided up according to rates of pay.

The short story market is chaotic. Although there are several long-lived publication markets, there are many that are born each year, and many others (particularly during downturns in readership) that die off.

At any given time, though, there is a spectrum of markets running from those who charge readers a great deal, pay authors well, and publish high quality fiction; all the way to those who charge readers nothing, pay writers nothing, and publish fiction of variable quality. It’s that spectrum that the rating system is trying to map.

Just to make things confusing, there are various rating systems. Most have Pro (or Professional) at the top, followed by Semi-Pro, then Token, then Non-Paying (or For-the-Love).

Fiction Market RatesAs you can see from my chart, FictionFactor sets their Pro category at 3 cents per word and their Semi-Pro starting at 1 cent per word. However, their term for markets paying between 0 and 1 cent per word is Low. They use the term Token for markets paying a flat rate between $5 and $15 per story.

Both The Grinder and Duotrope set their Pro category starting at 5¢/word.

Ralan uses 6¢/word as the lower bound of Pro markets. Ralan also includes a Pay category between Semi-Pro and Token.

Confused? I don’t blame you. You might be asking why such ratings matter, either to a writer or to any of the markets. One reason is that some professional societies, like Science Fiction Writers of America and the Horror Writers Association use market ratings to determine some membership categories. That is, you need to have published some number of stories in Pro markets to qualify for certain membership types.

Romance Writers of America categorizes some of their membership groupings by the amount of advances or royalties from a single work, not by the market rating.

A more important reason why you might care about these market rating systems is that they serve as a gauge for you to rate your own development and advancement as a writer.

Think of Non-Paying, Token, and Semi-Pro as being analogous to the minor league in baseball. Many players in that league would like to get to the majors, though some might be content where they are. The fans don’t see quite the same level of play as they would in a major league stadium, but they don’t pay as much either. Also, the fans get a chance to see players at an early stage who may very well make it to the major leagues.

Unlike the baseball analogy, though, I advocate first aiming for the top with every story. Keep sending to Pro markets until you get sick of the rejections. Only then aim at the Semi-Pros, and on down the list. Whether you get to Token or Non-Paying markets depends on how badly you want that particular story to be published. You might decide to shelve it rather than accept a lower payment.

There are some who contend that any markets not paying Pro rates (especially Non-Paying markets) are “ripping off” writers. I disagree. It’s good to have a spectrum of markets available, especially for beginning writers who want to get in print and are satisfied with a lower rate of payment while they hone their craft.

Once again, there’s another aspect of the world’s confusion and chaos cleared up for you by—

Poseidon’s Scribe

December 28, 2014Permalink

Prioritizing the Markets

What’s that?  You say you’ve finished writing a story but you’re not sure which market to send it to first?  It can be confusing, selecting among all the markets listed on Duotrope and Ralan and other similar sites.

Every writer makes these choices differently, so I’ll just share my method and the reasons for it.  As always, you’re free to do as you wish.

First, prepare yourself mentally for the probability—the near certainty—of rejection.  I’ve already discussed how to deal with rejection.  My purpose now is to get you to make a prioritized list of markets you intend to send the story to, with the understanding that, most likely, the story won’t be snapped up by the first one.

Market Priority ListHow do you make this prioritized list?  If you wrote the story in response to an announced anthology, then the anthology would top your list.  After that, I recommend going in order of highest-paying market to lowest based on searches of sites like Duotrope or Ralan.  Each market on the list should be appropriate, in the sense that they’re asking for stories of the type that yours is.  Don’t waste your time or some editor’s by sending to a market for which your story isn’t suited.

Why am I suggesting the order be based on payment?  I suspect some of you are objecting that, as a beginning writer, your story couldn’t possibly be good enough for the highest-paying markets, so why start with them?

My response is—have some faith in your story.  I’ve said before that editor’s reasons for rejecting your stories have everything to do with how the story clicks with them, how it matches what they’re looking for, and the quality of the writing.  Their reasons have nothing to do with you personally.

The flip side of that should be obvious.  An editor’s reasons for accepting a story have to do with the same criteria, and the writing quality is the only one of those criteria within your control.  They don’t necessarily know you’re a raw beginner.  It’s every editor’s dream to latch onto a beginning writer who shows considerable talent; they all want to be in at the start of a best-selling author’s career.  All famous authors started out as beginners, tentatively sending out their work and wondering if it was good enough.

Wouldn’t it be a shame if you sent your story to a semi-pro, or token market, not knowing that a pro market would have accepted it?  That’s why I say to aim high, then with each rejection, work your way down.

Later, as you gain experience and have some publication credits, you may establish relationships with one or more markets.  At that point, those publishers may well move to the top of your market listings.  Considerations other than payment alone may drive your priorities.

I welcome your comments about the advice I’ve offered.  If you follow it and get your first story approved at a pro market, one person you should be sure to thank is—

                                                    Poseidon’s Scribe