Showing posts with label markets. Show all posts
Showing posts with label markets. Show all posts

20 April 2019

Please Consider the Attached Story . . .


by John M. Floyd




A lot has changed, in the 25 years I've been submitting short fiction for publcation. The best thing, I suppose, is that almost all manuscripts are now sent electronically, and the worst is that it seems there are fewer short-story markets out there to submit to. Everything considered, I think we writers still have it better now than we did in 1994.

One of the things about marketing short stories, though, has remained the same: our need for the submission guidelines--also called writers' guidelines--of whatever publication we target.


The not-so-thrilling days of yesteryear

For those of you who weren't around, or who don't remember, this was the way short-story writers once obtained submission guidelines:

1. Find a publication you want to submit to
2. Write a letter to them, requesting guidelines
3. Snailmail it to them, along with an SASE
4. Wait a couple of weeks
5. Receive the guidelines via return mail

This reply usually contained a list of requirements about story formatting and content. Sometimes the guidelines were short and sweet, maybe a three-fold brochure; others were long and detailed. I remember requesting and receiving the guidelines for Weird Tales (I think I still have them)--and they were four printed pages, single-spaced.

(Oddly enough, the more detailed the guidelines, the better off you usually were, because there were always those who didn't bother to read them. Those who did--and who followed the instructions--had a definite advantage over the competition.)


Fast-forward to (how's that for a cliche?) the Present Day

Now, obviously, we can locate guidelines merely by accessing the publication's website and clicking on the "submissions" page. Here are some typical pieces of info we might find there:

- wordcount requirements
- font requirements (usually TNR, sometimes Courier or others)
- spacing requirements (single or double)
- editor's name (for the cover letter)
- preferred file type (usually .doc or .rtf)
- whether reprints are considered
- submission deadline (if an anthology)
- genre and theme requirements, if any
- submission type (email, snailmail, website submission box, etc.)
- payment information


Occasionally there'll be further requirements:

- the character(s) you should use to indicate a scene break (usually # or ***)
- what you should put in the header of each page
- what you should type at the end of your story (END, THE END, -30-, etc.)
- what you should use for a dash (hyphens, em dash, etc.)
- whether you should underline or italicize to indicate emphasis
- what you should put in the subject line (if email)

Nitpicky, you say? Maybe so. But they're the buyers and we're the sellers, so they have the right to make the rules. (It's good to be da king.)


Their wish is my command

One quick story, on that subject. I once received guidelines that included this: "Staple your manuscript in the upper righthand corner." That confused me a bit. Guidelines NEVER tell you to staple a manuscript; one of the first things I learned was to always use a paper clip--or if the story was more than 25 pages, a butterfly clip. But I did what they said, and I sold them a story. The obvious question: Why would they put such a strange request in their official guidelines? Was the entire editorial staff left-handed?

I never found out for sure, but I suspect they did it as a test. The writers who complied proved that they could do what they were told. Those who didn't comply proved that they couldn't or wouldn't follow directions, or hadn't even bothered to check the guidelines at all.

I saw an old poster the other day of Mr. T saying, "I pity the fool who doesn't read the submission guidelines." Me too.


Random points

I know what you're thinking. If you submit stories only to large and respectable publications, you don't need to worry much about guidelines for style and formatting. Just do the standard stuff: double-space, Times New Roman, one-inch margins all around, indent every paragraph, etc. Right?

Not necessarily. To use just a couple of examples, AHMM and EQMM still prefer underlining rather than italics, and they also prefer a centered pound-sign to indicate scene breaks. And BJ Bourg at Flash Bang Mysteries likes single-spacing and using two adjacent hyphens instead of an em dash. Small things, yes, but you want to format your manuscript exactly the way the editor wants it.

Another thing: Woman's World has several times changed their maximum wordcount. Romances were once 1500 words and mysteries 1000. Those were lowered years ago to 800 and 700, respectively, and recently the mystery max was lowered again, to 600 or so. Requirements sometimes change when the editors change, so you can't rely on old guidelines.


Resources

This is probably a good place to mention Shunn's Proper Manuscript Format, because in their guidelines many publications still point writers to that site and to the sample manuscript page shown there. I don't follow that model the way I once did--I now always use TNR and em dashes and italics and one space after a period unless told otherwise--but Shunn's is still considered by many to be the industry standard.

Last but not least: I'm not sure I could get by without my friend Sandra Seamans's My Little Corner website. It's a great place to find anthology calls and writers' guidelines for publications in many different genres. I check her site at least several times a week, and as a result I've sold a lot of stories to markets I probably wouldn't even have known about otherwise.

That's my pitch for today. Good luck and good hunting! May the odds be ever in your favor.






26 February 2018

To Pay or Not to Play...

by Steve Liskow

A contest I used to enter regularly (It was free, see below) now sports the following headline on its web page: "Submissions for the 2017 **** Contest are closed. The 2018 contest will open on January 1, 2018." Today is February 26 and that banner was still there when I uploaded this essay.

Yesterday, I found a website for a magazine with exactly the same message. Their submission period will open "sometime after January 1, 2018."

Not encouraging...

When I was trying to break into publishing (An accurate phrase for a crime writer, right?), people urged me to enter contests. If I won, I'd catch the attention of editors and agents, and they'd take me more seriously.


But not all contests and awards are created equal. Winning a Pulitzer, an Agatha or an Edgar means something. Second runner-up in the Oblivion County Limerick Derby won't raise many eyebrows.

There are a few problems every writer encounters in writing contests--or even submitting to a magazine or anthology--but I've learned to recognize warning signs.

One is a website that's hard to navigate, or that's out of date, like the two I mentioned above. If you can't find details like a theme, length, formatting, or if there's an entry fee (more about that in a few minutes), you should look elsewhere.

Another is weird judging or criteria.
Yes, no matter how much the judges have a rubric, at some point personal preference will come into play. Every time you send something out, subjectivity is a fact of life, but it should be less crucial in a contest than for regular publication...especially if you pay an entry fee. You won't know this until it's too late, but don't make the same mistake twice.

One judge doesn't like profanity, another doesn't appreciate your humor, and a third wants more violence or a sympathetic female character. I have withdrawn stories from two anthologies (Both later published somewhere else) because I discovered the judges didn't understand their own criteria.

I added one sentence to one story to make it fit a theme, and on a scale of 1 (low) to 4 (high) the three judges gave me 1, 3, and 4 on how well I adhered to that theme. Not possible. 

In another contest, the sponsors sent me my scores and I saw ratings of 56, 94, and 89. Two judges loved the story and the other gave me low scores on almost every standard. The judge who gave me a 94 total only gave me a 1 (out of 5) for relative quality of the story compared to the others he or she read. Really?

I've mentioned cost a because I'm cheap. If the submission involves a reading fee, look at the prize. I won't pay $25 for a $100 prize. I enter few contests that involve reading fees anymore. There has to be a good return, meaning at least two of the following: money, exposure, prestige.

I avoid one contest because it published the deal-breaker right up front. They offered a $250 prize (not bad) with a $20 reading fee (ummm...) BUT the judges reserved the right to award no prize if they felt on entry deserved it. Nothing was said about refunding the fees.

Oops.

Yeah, I still enter a few contests, but now I need a Plan B, other places I can send a story if it doesn't win. Last summer, I sent a story to an anthology. It wasn't chosen, so I entered it in a contest with a hefty cash prize. I learned last week that it didn't win and sent it to two regular markets. I have three other places to send it if neither of those pick it up.

Prestige is nice, and so is exposure, but in the words of Samuel Johnson, "No man but a blockhead ever wrote except for money."

01 December 2017

Interview: 7 Crime Fiction Editors on the State of the Short Story Market


by Thomas Pluck

I've only been writing crime stories regularly for seven years, but I've been a reader for thirty. We have the big two of Ellery Queen and Hitch, and various smaller venues. Many have come and gone. I made my first sale to Blue Murder in 2001 which promptly folded. That was after Pulphouse accepted it in 1996, to my great joy. And then they folded. Blue Murder actually published "We're All Guys Here," which you can read at [PANK] Magazine. Blue Murder paid twenty-five bucks, I think.

Sixteen years later, we've seen many rise and fall. The Big Click, an online with subscriptions edited by Nick Mamatas. ThugLit, edited by Todd Robinson, which had many stories chosen for The Best American Mystery Stories, and my Jay Desmarteaux yarn "The Last Detail." Spinetingler, an online magazine that had a brief Kindle edition (my story "Two to Tango" appears in it) and they have announced a print edition. All Due Respect, which was online, and now gone, published "White People Problems," which later became "Mannish Water," published in Betty Fedora, which is still around, publishing irregularly. A newcomer is Down & Out Magazine, by the press of the same name (my publisher) which has published two print issues. Another is Black Cat Mystery Magazine, from Wildside Press, which just published its first issue.

There are many more that have come and gone. Needle, a Magazine of Noir. Shotgun Honey, the forefront of flash fiction, remains publishing. Powder Burn Flash, Hardboiled Magazine, started in 1985 by Wayne D. Dundee and taken over by Gary Lovisi, a print-only pulp, shuttered a year or so ago. Murdaland (RIP), Manslaughter Review (alive, a yearly publication), Plots With Guns (I can't tell, they're like the killer in a slasher movie, never count them out), The Flash Fiction Offensive, Out of the Gutter, Dark City. There's also The Strand and Suspense Magazine in print, but I've never gotten a response from either editor for stories or interview queries. I know The Strand publishes one new story a month, so they're a tough one to break into, but you'll be among the legends if you do.

One mag that came up, in bitter memory, was the short-lived NOIR Magazine that raised $36,000 by crowdfunding for a digital-only release on iPad. I was a contributor. With such a limited market, iPad owners, I didn't understand how they would last. I read it on my mom's iPad. It was buggy and I couldn't read it. And then NOIR Magazine was gone. I hope the authors were paid well, because that was a big chunk of change for one issue. Gamut Magazine was multigenre and raised $55,000 - Editor Richard Thomas just announced they're shuttering after a SINGLE YEAR. After a 30% increase in subscriptions. I'm not sure they had a sustainable business model if a 30% jump in subs wasn't enough to keep it afloat. It's rough out there. If you read on, you'll see that getting $2.99 an issue for a magazine that produced regular award-winners can be like pulling teeth.

What's the deal?

Another thing that hasn't changed is that some pay pro or semi-pro rates, others don't pay at all, and a few pay the Mystery Writers of America minimum of $25, which lets them be anointed as official markets and be considered for the Edgars. If you write a 2500 word story, that's a penny a word. Considered pulp rate in the '30s, maybe you can buy lunch with it these days. No offense to the magazines who pay this rate, but I wish the MWA looked toward the SFWA and set a higher bar for professional rates. It would shrink the pool of "official markets," yes. But wouldn't it be nice to be paid a nickel a word? But to do that, you have to sell copies. And fewer and fewer are sold these days. I couldn't find Alfred Hitchcock or Ellery Queen at Barnes & Noble. You can get them at The Mysterious Bookshop in Manhattan, or you can subscribe.

So I wanted to get an idea of what could be done to enrich the short story market for crime fiction, so I asked six editors a few questions about the state of things. My questions in bold.

Carla Coupe, Black Cat Mystery Magazine (in print and accepting submissions)

Carla Coupe has been at Wildside Press for over 7 years, and co-edits Black Cat Mystery Magazine, their newest ​publication. Her short stories have appeared in several anthologies, and two were nominated for Agatha Awards. One of her Sherlock Holmes pastiches, "The Book of Tobit," was included in The Best American Mystery Stories of 2012. (Read her full interview with Barb Goffman here.)

Why do you think a market should pay, and does the MWA minimum have a bearing on your payment structure?
​Markets should pay because writers are talented artists who deserve payment for their works. We pay a competitive per word rate, so the total amount depends on story length.

How much do you charge for an issue, and did raising or lowering the price have a severe impact on readership?
Paper copies are $10 each, plus shipping (but if you subscribe you get a price break), and the e-versions are $3.99 each (ditto regarding subscriptions). We want to keep both versions affordable and set our prices with that in mind.​

Do you think the free online magazines cut into sales?
​They probably do to some degree, but just as important is that they set the expectation​ that everything on the web should be free. It's very frustrating for many artists, authors, and musicians.

Does paying for a story raise the bar of quality of what you'll accept?
​We've been very fortunate to receive many amazing stories--more than we can include in the next two issues--so that isn't an issue for us.

What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?
​Since we have just started Black Cat Mystery Magazine, we don't have a lot of experiences to share yet. So far it's been very positive, if a bit hectic. We're fortunate that we have such a large pool of talented writers to draw from, and time will tell regarding our success in the marketplace. I'm not sure why there are fewer paying markets in the mystery and crime field -- perhaps because there are so many crime shows on TV? It could be that fans of the genre can get their mystery fix on the box, and/or don't have the time or inclination for reading. But that's just a guess.


Nick Mamatas, The Big Click (defunct, but back issues are online)

Nick Mamatas is the author of several novels, including The Last Weekend, I Am Providence, and Hexen Sabbath. His short fiction has appeared in Best American Mystery Stories, Year's Best Science Fiction & Fantasy, Tor.com, and many other venues. Nick has also co-edited several anthologies, including Haunted Legends with Ellen Datlow, The Future is Japanese, Phantasm Japan, and Hanzai Japan with Masumi Washington, and Mixed Up with Molly Tanzer. His fiction and editorial work has variously been nominated for the Hugo, World Fantasy, Bram Stoker, Locus, and International Horror Guild awards.

Why do you think markets should pay, and does the MWA minimum have a bearing on your payment structure?
I think MWA's minimum is too low. It should be higher. A minimum of $100 per story is essential.

How much did you charge for an issue, and do you think raising or lowering the price would have a severe impact on readership?
We were a free online magazine that sold advertising, and also sold ebook editions of our issues for $2.99 each. We also offered subscriptions via Weightless Books. Once upon a time, Amazon allowed for direct subscriptions via Kindle, but small magazines with no print component are no longer allowed in that program. The ones you can subscribe to are grandfathered in.

Do you think the free online magazines cut into sales?
No, it's a different model. Does radio cut in to live music ticket sales? Maybe in some abstract sense, but they're really just two different ways of making money from songs.

Does paying for a story raises the bar of quality of what you'll accept?
No, it raises the ceiling on the quality of story we received though.

What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?
The sense I got was that the novel is so important to the genre that short fiction was always ever a sideline. One thing we categorically refused to take was the "enhancement" story about some side adventure of a novelist's series character, which agents often encourage their writers to produce. We didn't want afterthoughts. We were offered many many afterthoughts.

I think SF and horror have more paying markets because of organized fandom in those genres—it's generally fans with a little money to burn who start magazines these days, and they do it because of their love of the genre and to become prominent in the "scene."  The various awards in SF and horror have multiple short fiction categories, which also encourages writers to participate more. Crime/mystery doesn't have nearly the same level of organized fan activity.

Jack Getze, Spinetingler Magazine (in print and accepting submissions)

Former newsman Jack Getze is Fiction Editor for Anthony-nominated Spinetingler Magazine, one of the internet's oldest websites for noir, crime and horror short stories. His screwball mysteries -- BIG NUMBERS, BIG MONEY, BIG MOJO, and BIG SHOES -- were published by Down and Out Books, as is his new thriller, THE BLACK KACHINA. His short stories have appeared online at A Twist of Noir, Beat to a Pulp, The Big Adios, and several anthologies.

Why do you think a market should pay, and does the MWA minimum have a bearing on your payment structure?
We like to think everything we do is for the newer writers, including the small payment of $25. Getting paid for fiction meant a lot to Sandra and I when we started, and I think writers appreciate the token payment today as well. We'd like to raise that number if future sales allow it. The MWA minimum has not been a factor.

How much do you charge for an issue, and did raising or lowering the price have a severe impact on readership?
We've been online only, and thus free, for almost a decade, but we've just re-launched our print magazine in November. We're charging $5.95 for the ebook and $10.95 for the printed copy. Down & Out Books, our contract publisher, had considerable input on pricing. It could change in the future. Can't answer the second part because we haven't had enough time to gauge readership.

Do you think the free online magazines cut into sales?
No, personally I don't. I don't think readers buy a ton of short stories unless they're already interested in the writer. I might be wrong. Many people think it's the format, that apps and shorter stories you can read quickly on the telephone might be a more salable product. That takes money and investment that Spinetingler doesn't have right now. When Sandra calls me Spinetingler's "owner," it's because I get to pay the bills.

Does paying for a story raises the bar of quality of what you'll accept?
No. We've paid since inception, and my criteria is pretty simple: I buy the stories I personally enjoy reading.

What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?
We run some horror at Spinetingler, although not as much as crime, suspense and mystery. I'd run more horror if I saw stories I liked because our readers enjoy the it, but many submissions seem too gory for me. I had to call a fairly well known writer once and apologize. The writing was so good, the story intriguing, but damn it was gory with lots of body parts and blood. I couldn't finish, told the man somebody else would buy. Not me.

I believe sci-fi and horror have captured young readers' hearts more than mystery. Not sure why, but my guess is the tired image of Sherlock Holmes dooms the genre to a sitting room where old people sit and drink tea. Solving crimes is not as much fun as running from zombies. Every young person I know personally -- anybody under 50 is young to me -- loves sci-fi, horror and speculative fiction. I hope mystery isn't on the way out but I worry whenever I attend a mystery conference. Not many young readers.


Eric Campbell and Rick Ollerman, Down & Out Magazine (in print and accepting submissions)

Eric Campbell is the founder and publisher of Down & Out Books.  After spending twenty-five years in healthcare finance, Eric started Down & Out Books as an avenue to help develop and build “lost” authors. Since then, the company has published over 200 books and is home to several imprints including All Due Respect, Shotgun Honey and ABC Documentation.  The company specializes in the crime, thriller and suspense genres. 

Rick Ollerman was born in Minneapolis but moved to more humid pastures in Florida when he got out of school. He made his first dollar from writing when he sent a question into a crossword magazine as a very young boy. Later he went on to hold world records for various large skydives, has appeared in a photo spread in LIFE magazine, another in The National Enquirer, can be seen on an inspirational poster shown during the opening credits of a popular TV show, and has been interviewed on CNN. He was also an extra in the film Purple Rain where he had a full screen shot a little more than nine minutes in. His writing has appeared in technical and sporting magazines and he has edited, proofread, and written numerous introductions for many books. He’s never found a crossword magazine that pays more than that first dollar and in the meantime lives in northern New Hampshire with his wife, two children and two Golden Retrievers.

Why do you think a market should pay, and does the MWA minimum have a bearing on your payment structure?  
Eric: To get good stories from top name authors, yes, we need to pay.  They've taken time to write the story and, while the payment is pretty small, I hope to see that grow over time.  If we get the the big names then we should be able to submit to MWA for consideration.  So yes, the minimum did come was discussed when Rick and I first talked about launching the magazine.
Rick: The MWA minimum has a huge bearing on payment. The minimum is not large but it does several things: it makes each story we buy a professional transaction for the writer, it makes their work eligible for awards consideration (which would be wonderful for circulation), and as Eric says later, free does not work as a business model in the book and magazine business. If we don’t respect your work enough to pay for it, how willing are you going to be to work with me on the editing—some of which gets extensive, I’m not just a pass/fail type editor (two stories in the new issues have endings from me, and a story in the next issue will as well. Why do that much work for free? It’s because we’re all bonded by the desire to make each of these stories the best they can be). I only wish we could start out paying a per word rate like the two biggies in the field.

Interestingly, most of the writers have been surprised they get paid at all, even though it’s clearly stated on our submissions web page. They just want a story in our magazine. Which is another recurring thing I heard at Bouchercon: I want a story in your magazine. When Eric and I first talked about this and he asked, what should we call it, I immediately said, “Down & Out: The Magazine. D&O Books already has the image and identity you want to put out there. It would be up to us to put out a magazine worthwhile enough to bear the name.” And there’s no doubt in my mind we’re doing it, even though we’re young. I can tell you as editor I am uncompromising as to the stories that I’ll buy. And the idea is to get magazine readers to discover a writer’s books—which a number of people have told has happened with your own—and vice versa. We’re hoping contributing authors will publicize the existence of their work in the magazine, too.

How much do you charge for an issue, and did raising or lowering the price have a severe impact on readership?
Eric: The cost of each issue is $11.99 for TP and $5.99 for EB  for a number of reasons.  First, the authors are names you know and have been paid for their efforts. Second, until readership reaches a reasonable number to justify a print run, the book is POD so the cost to publish is a little higher. Third, the stories have been professionally edited and proofread. Bottom line, Down & Out: The Magazine is a high quality product with well-written stories. While lowering the price may result in a few add'l purchases, I don't think it would be substantial.
Rick: If you made the book free, or two dollars, the consumer values it lower than they would a competitive magazine with inferior stories that carries a higher retail price. Free doesn’t work. Occasional free can work wonderfully, occasional cheap can give you a nice boost in the arm and build loyalty from your customers, but an all the time free or cheap project simply means that’s the place your product will occupy in the consumer’s mind—at the bottom.
Show me one of the new magazines that has an all-new Moe Prager story by Reed Farrel Coleman? Or one that has a new Sheriff Dan Rhodes story by Bill Crider? In the next issue it’s a new Jim Brodie story by Barry Lancet? It doesn’t happen anywhere else.
Other magazines have used public domain short stories to fill pages because they’re cheap but we actually curate the stories we reprint and pay the entity that currently owns Black Mask. The short essays I write to introduce those stories should give readers an interesting peek into how we got here from there, then they get to read a story that may use language a bit looser than we do today but they’ll see that, damn, they’re fun to read.

Do you think the free online magazines cut into sales?
Eric: Free hurts everything we do. At some point though, free isn't sustainable. If you don't pay for content, then what kind of content will be available to you, the reader?  As a publisher, you pay for the cover, edits, proofreading, layout, etc. and if something is free, then how to you recoup your costs and, more importantly, pay the author for their hard work.
Rick: Free also robs the spirit and the heart out of what we do. What a sad state for poets who get paid with a contributor’s copy of the digest that took their poem. There’s no payment, token though it may be, the magazine doesn’t sell much, so it’s not like they’re looking at a hot growth curve, so they muddle along. No, what we do is exciting. And so very hard. Working with writers whose stories may almost work but not quite, or don’t have an adequate ending, or are too fat in the middle, or have a twist ending that you can guess from the first page—these are all problems we work on in the editing if despite these problems there’s an actual story there. By the time the issue’s almost done, all the stories have run together in my mind and they all start to read the same. Why do I do that? Because I am going to make this thing a success. And that’s something more than that weekly 8-pager they hand out at the grocery store on Fridays.

Does paying for a story raises the bar of quality of what you'll accept?
Eric: Absolutely, without a doubt.
Rick: It does, but more it’s the reputation of Down & Out, it’s the personal invitations I extend to writers (because face it, us writers don’t get a ton of love that way), and there’s a sense out there that this is going to be something and they want to be a part of it.

What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?
Eric: Thus far we've published two issues and we're still crawling.  We're trying to get the word out and grow this into a sustainable venture.  It takes a lot of hard work from numerous folks to pull it together.  Each issues will consist of 7 or 8 stories so if we do 4 issues a year, you're really talking about putting out 2 anthologies a year.  That's a TON of work.  I think there are fewer paying markets because total readership is down due to the aforementioned free content.  Again, I don't believe that's sustainable when no one is making a penny.  As much as we love what we do, you've still gotta eat.
Rick: I have no idea of the number of paying vs. non-paying magazines among different genres. I do know that for a while I was buying all the new magazines because I wanted to support not only the magazines, but my friends who were writing stories for them. But I found what I think most people find—I don’t like most of the stories. I just don’t. Maybe the writing’s okay but the poor endings ruin the experience. Or the writing’s just plain weak, on more of a high school level. Or the ideas are non-original and we’ve seen this story innumerable times before. Whatever. But I’d read these things and when I’d finish I’d have this funny twisted up feeling in my brain, like I’d just read something nobody had any business asking me to put down money for. That what I’d just read had been inconsistent. Three mediocre stories and one bad one can give me a feeling as though I’ve thrown away an entire day.

Everything we’re doing here is all aimed at accomplishing one thing: No. Bad. Stories. Not everyone can like every story. I can see one in particular in this second issue that is a good story but it is dark. And it’s that way because sometimes you just write a dark story. The point is, it’s good, and even if you read it and say, “That’s too dark for me, honey turn on all the lights,” you’ve already read it, it’s over, and you know you read a good story. Although you might not read that one again.

Todd Robinson, ThugLit (defunct, though back issues are available at Amazon)

Todd Robinson created and ran THUGLIT magazine for over a decade. He's not shilling anything in this bio. Sure, he wrote a couple of novels, but let's save us both the embarrassment of having to pretend you give a flying fuck.
Hi, Todd! That's Todd. Because like Conan, Cimmerian, he will not cry (or shill) I will shill for him. The Hard Bounce and Rough Trade are his Boo Malone mysteries, about a bouncer in Boston who runs an investigative agency called 4DC (as in Dirty Deeds Done Dirt Cheap) with his buddy. Good reads, Have at 'em.

Why do you think a market should pay, and did the MWA minimum have a bearing on your payment structure?
A market should pay, because any artist should be paid for their work. Even when we were a free online mag, I paid the writers with a t-shirt. And this was when we generated NO income whatsoever. It cost me almost three-hundred dollars per issue to produce the mag.

And while I think the offer of exposure is utter bullshit, we did legitimately give the authors that. I would never claim that it was a reason to submit to us (if you can get paid, you sure as shit should do so), but over time, the proof was in the pudding with regards to how many of our authors moved up the ladder by getting pubbed by us as a starting point. We worked our asses off to make sure as many people saw the work as possible. And that's a pride I still carry with me today. Every time I see a book on a shelf that started with the author having been published in Thuglit, Bitterness takes a short coffee break and allows Pride to have a small "Fuck, yeah" moment.

MWA made no impact whatsoever on our pricing. I'm not a member. The organization and I aren't friends. Part of it is that they even HAVE a fucking minimum, as though the price paid for a story is an indication of quality. Check the bookshelves, Best American Mystery Stories, the Anthony Awards, The MacCavity Awards…fuck it, ALL the awards (except the Edgars) to see if we presented amazing work from truly talented writers. According to the MWA, those stories aren't worth shit because of monetary ratios.

How much did you charge for an issue, and did raising or lowering the price have a severe impact on readership?
I started with the lowest price point at $0.99, and our readership dropped ninety-six percent. Apparently, thirteen cents a story was too much to ask. Once we rocketed up to six percent of the original readership, I raised the price to $1.99 and raised the author pay. Our readership dropped another third, and kept dropping until we were almost operating in the red in order to maintain the pay rate, and I shaved a decade off my life stressing daily about why we got all the acclaim, all the "love" and no sales.

Do you think the free online magazines cut into sales?
Absolutely. But like I said, we were free for years. And some of those free e-zines offer great material from editors who truly care about presenting quality fiction. Some just operate as a Mutual Admiration Society for authors to self-publish their own writing along with the works of their friends in order to impress their knitting circles. Those are usually fly-by-night productions that don't last six months, or whenever the jackasses realize how much work goes into it.

I made a lot of enemies with rejections, and never published a friend for being a friend. You can ask any writer that I'm close with personally. If the story wasn't good enough, it didn't get in. Period. Don't give a fuck who you are—or more importantly, who the fuck you thought you were. To do so would be a disservice to the few loyal readers we had, and a disservice to the writers themselves by presenting what amounted to a piece that didn't represent their talents to the fullest of their abilities.

I've said it before—we live in a society that would rather go to a free turd buffet with the off-chance that there's a shrimp hiding under a mountain of shit, than pay two bucks for a curated meal from a restaurant that built a reputation for high quality. I thought that over the years, we'd built a status that would have earned both us and the writers that much.

HOO boy, was I wrong.

Did paying for a story raise the bar of quality of what you'll accept?
Not at all. It increased the number of submissions we received, but the over/under on how many stories were quality over those that didn't live up to our standard remained the same. Our bar was set high with issue one. It never lowered. I never accepted a story from a "name writer" because I thought it would increase sales at the expense of a story I though was better. Would that have made sense business-wise? Sure. Am I as smart as I sometimes like to think I am? Fuuuuuuuck no.

What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?
It sucked. It was exasperating as hell. When I put up a video stating that I was ending the magazine, the goddamn thing got 7000 views in ten days, along with the wailing and gnashing of teeth that always accompanies a mag when it goes down. Problem was, we didn't move 7000 units of the magazine during the two years prior. If everyone who watched the video was willing to pony up what amounted to a buck a month, they wouldn't be watching that video!

I think it was that realization at the end that pushed me from straight-up frustration in to outright bitterness. Writers love having a market, but don't support them while they're in operation. But they sure will bitch and moan when they're gone.

The markets are disappearing because nobody wants to pay for the magazines. Fewer and fewer people read. Even fewer want to pay for it. That's the beginning, the middle, and the end of the problem. Writers can't get paid from a magazine when nobody is buying the magazine. Even the writers themselves.

Chris Rhatigan, All Due Respect (defunct)

Chris Rhatigan is a freelance editor and the publisher of All Due Respect Books

Why do you think a market should pay, and does the MWA minimum have a bearing on your payment structure?
I don't think there's any particular amount a market should pay. It's nice if the magazine can at least send a contributor's copy. If the magazine is just a website, then there's no way in hell it's making any money, so it's a bit unreasonable to expect payment. MWA had no bearing on our payment structure. 



How much do you charge for an issue, and did raising or lowering the price have a severe impact on readership?

We charged $2.99. When we did promos at 99 cents, we would sell triple the number of copies. The problem is Amazon's payment structure--you make 66% at $2.99 and up, but 33% at 99 cents. Of course, the idea is that you "hook new readers" with the lower prices, but I'm not convinced that ever happened. 



Do you think the free online magazines cut into sales?

No. I've never perceived the short fiction market as a zero-sum game. Many of the free sites I used to read are gone now and I highly doubt this has caused an uptick in readership for paying magazines.



Does paying for a story raises the bar of quality of what you'll accept?

Yes. ADR was a website that didn't pay writers for a few years. Later, we decided to release a magazine (Amazon and POD) and pay writers $25 a story. We received about ten times as many submissions. We ended up turning down some excellent stories.  



What has been your experience running a magazine in the crime genre, and why do you think there are fewer paying markets in Mystery than SF and Horror?

I enjoyed running the magazine and that's why it grew into All Due Respect Books. We still publish short stories in the form of collections by individual authors. About two years ago, it became clear that the magazine was taking up a significant amount of our time but was losing money. People in the crime fiction community were enthusiastic when we started and our first few issues sold a lot of copies. That didn't last. It was also a question of time. Running a magazine and a publishing house at the same time wasn't going to work. We chose the publishing house and that was the right choice. I think we have a long future ahead of us publishing excellent crime fiction while not going bankrupt. That's been my goal all along.   

To respond to the second part of your question, SF and horror sound like the exception to the rule. It's difficult to run a magazine that pays writers. I don't know anyone who reads short story magazines who isn't a writer. And writers often submit work to publications they've never read. I don't want to blame anyone here--writers, readers, editors, "the industry," etc.--but, for whatever reason, short story publications have a tiny audience, and I don't see that changing. 


Takeaways:


"Free hurts everything we do." 
I agree. I've heard it time and time again, readers who wait for a book to drop to free or 99 cents. BookBub has made a living at it. But unless readers buy the next book at a profitable price, writing is not sustainable.
"I hope mystery isn't on the way out but I worry whenever I attend a mystery conference. Not many young readers."
This will be the subject of a future post. Bouchercon may not be the perfect con to become the "Comicon of Crime" ... but we NEED a "Comicon of Crime," that is hosted in one place or by one group.
"Crime/mystery doesn't have nearly the same level of organized fan activity." 
This needs to change, but how to do it? 
"I wanted to support not only the magazines, but my friends who were writing stories for them. But I found what I think most people find—I don’t like most of the stories."
This is a big problem. When I read EQMM or AHMM even the stories that aren't my cup of joe are of high quality. I can't say that about every magazine. You need a place to cut your teeth, but that doesn't mean the story should be published. There are sites like Fictionaut and others where you can share your work and get feedback.
"The markets are disappearing because nobody wants to pay for the magazines. Fewer and fewer people read. Even fewer want to pay for it."
Big problem. But it ties into the quality issue. I loved ThugLit's high quality level and bought print issues from Amazon (I hate reading e-books now that I need glasses). But it wasn't easy to subscribe. If a mag can't do print subs--and I get it, it's a LOT of work--they need an email mailing list, minimum, to alert readers of new issues.
"writers often submit work to publications they've never read."
Much to editors' chagrin. Live and learn, writers. 

I went through the trouble of interviewing these editors to generate a discussion. Let's keep it civil, but what solutions do you see for these problems? Or do you think there's no problem at all?

24 November 2016

Messages in a Bottle, or Notes from the Pen

For the next several days, our band of authors will be writing about writing— for magazines, especially non-mystery magazines. We’ll have a couple of surprises and a lot of expertize. Thanks to Eve for kicking off the program with non-traditional penmanship. You'll see.
—Velma
by Eve Fisher

I just got back from a weekend workshop at the local penitentiary, which (as always) was full of interesting moments, hard work, and definite characters.  If nothing else, the weekend confirmed (even if I do say so myself) that I really nailed the young meth-head who's the centerpiece of my latest story, "Iron Chef", in the November, 2016 issue of AHMM.  ("He thinks he's a lady's man because he wants to get laid," and more here...)

I did not tell the guys that.  Actually, I don't tell them much about my writing, because (1) That's not why I'm there (I'm there to facilitate an Alternatives to Violence Project Workshop, not talk about myself all the time) and (2) most of them don't really want to hear it.  Including the writers.
(Sometimes especially the writers.  Recent dialog between myself and an inmate:
Me: "There's a place on-line that lists publishers and -"
Inmate (interrupting): "I HAVE an agent. Or I will soon."
Me: "Okay."
Inmate: "Yeah.")
And there are a lot of writers (and artists) at the pen.  Interestingly, I haven't met one yet that writes mystery or crime stories.  I'm not sure if that's because it doesn't interest them, or they don't know how to do it, or if they're afraid if they put anything in writing, it might be held against them in a court of law.  Like a confession or a plan for future criminal activity...  Anyway, most are poets and/or songwriters.  Some write sci-fi and/or supernatural/horror. And a few write autobiographies.

Getting prison writing published is easier than you might think, thanks to the internet.  Here are just a few of the on-line resources for magazines, newsletters, anthologies and e-zines dedicated to prisoners' writing:

From South Dakota, The Prisoners for Prevention blog.
The Prisoner Poetry Page.
The on-line Prison Poetry Workshop podcasts.
The Prisoner Express which publishes poetry, journals, essays, etc.

One of the main problems, of course, for prisoners is that these days so many places only accept on-line submissions, and access to the internet is hard to get in the pen.  And sending out ms. in hard-copy is expensive when you only make 25 cents an hour.  (Not to mention that getting access to a typewriter is hard to come by, too.)  And almost all of the markets specifically set up to publish prisoners' work are non-paying.

In the search for paying markets, Writers' Digest is invaluable to prisoners:  I'd bet there's a (more or less) old, battered copy in every prison library.  I know inmates who've sent stories to Glimmer Train, Analog, Asimov's Science Fiction, and Playboy.  (No, I don't know any who've been accepted yet, but at least they're trying!)  I've read a couple of the stories, and even given a critique here and there. When I am specifically asked.  Again, not every inmate wants to hear any opinion other than that it's a great poem/story/song.  For that matter, not every writer OUT of the pen wants to hear anything else...

Doing Time: 25 Years of Prison Writing from the Pen ProgramAnother place where inmates writers can get published is with the PEN Prison Writing Contest. Prizes and publication in an anthology make this very prestigious.
And, for all of us, let's not forget sites like Angie's Desk and My Little Corner, both of which list anthologies and markets of all genres (although primarily mystery and science-fiction/fantasy).  Thank you, ladies!  Your hard work has opened up markets for us all!

Most of the work the inmates finally do get published is and has been edited by someone outside for content.  What gets passed around in the tier, chow hall, and our sharing circle is unedited, raw, and cannot be reprinted on this family blog.  Besides the poems of suicidal despair (since this is NOT the Gingerbread House of Corrections)

http://rhymeswithorange.com/comics/november-20-2016/
gangsta rap is HUUUUUGE.  Personally, I get bored with gangsta rap, because they all say pretty much the same thing:  ultra-explicit rap symphonies in F Major on drugs, bling, fights, arrests, killings, and sex.
(It's like the prison tattoos:  the first few times you go in the pen, you see these guys who are absolutely COVERED in tattoos, and it's hard to look away.  But after a while, you realize that they're mostly skulls, naked women, snakes, names, etc., in endless repetition, and the only reason you study them is to figure out what gang they're in.)
But there are those stories that show real creativity and thinking, and poems that take your breath away, like the following from PrisonerExpress.org/?mode=poetry

The thirteenth amendment, Amended

by Name Withheld by Request
A coffle of state slaves shuffles
Slowly into the radiant rays
Of dawn's early light.
Spartacus nowhere in sight.
Flight scarred all, and bone
Weary from strife and stress,
Destined to toil under the sun til
Twilight's last gleaming brings rest.

The tools are issued:
One hoe per man, each
Dull the blade, each
Seven pounds of sweat-stained misery,
Each, in proper hands,
Seven pounds of peril.

Let there be no peril today, we pray:
No quick and vicious fights, where, sweat stinging,
Fists flying, we cull living from dying:
No riots fought for fast forgot reasons__
Swinging steel scintillating in sunlight,
Blood gouting from the too slow heads__
Brown, black, white___
Our blood ruby red and thick with life,
No respecter of color or creed.

Let there be no peril today, we pray;
No dry crackling reports of leaden soldiers,
Chasing wisps of smoke from forge fashioned barrels,
Speaking the ancient tongue of Authority;
Guns guardgripped fast by bossfists,
In confederate gray cloths,
Their fire felling friends, freeing foes.

Let there be no peril today, we pray:
Today only__hard work, for no pay.

"Neither slavery nor involuntary servitude, except
as a punishment for crime whereof the party shall
have been duly convicted, shall exist within the
United States or any place subject to their jurisdiction."

So let it be rewritten.
So let it, at last, be done.


15 October 2016

Anthopology


by John M. Floyd



An-tho-pol-o-gy: The study of various aspects of writing stories for books that include the work of several different authors.

Okay, I made that up. There's no such word. But maybe there should be.

I like to tell my students that there are two primary markets for the short stories they write: magazines and anthologies. Personally, I tend to explore magazine markets first, because some anthologies are receptive to reprints, and I like to get double duty out of my creations--but anthos can be profitable also, in both payment and exposure. And recently I've found myself sending a fair number of my stories, original and reprints, to anthologies. (There are actually four markets out there for short stories: (1) mags, (2) anthos, (3) self-publishing, and (4) collections of your own stories. I've not yet self-pubbed anything, but I have had five collections published, plus a sixth that was released this past week.)

Besides the fact that there are anthos that take reprints and those that don't, there's another distinction that should be made. (1) Some anthologies send out "calls for submission," where writers can submit stories for consideration in much the same way they would to a magazine market, and (2) some anthologies hand-pick and invite certain authors to contribute stories. A few anthos do a little of both: they invite a few specific authors and they also put out a call for unsolicited work.

As a writer, I've recently placed stories in anthologies that I "auditioned" for after being told they were seeking submissions (examples: the Blood on the Bayou Bouchercon antho, We've Been Trumped by Darkhouse Books, etc.) and I have other stories uncoming in books that I was asked to contribute to (examples: a Private Eye anthology by Down & Out Books and a horror antho by a Bram Stoker-winning editor I've worked with before). And sometimes even that can be a combination of processes. I submitted an unsolicited story to editor Tom Franklin for Mississippi Noir (Akashic Books) that didn't fit his guidelines (it was a reprint, which was stupid of me), so he asked me to send him an original story instead, which he accepted and included in the book. Writing and publishing, as I've said before, is a strange business.

NOTE 1: One advantage of anthologies that issue "calls for submission" is that there's always a deadline. The stories have to be sent in by such-and-such a date because the antho needs to be published by such-and-such a date. And that sometimes-narrow window of time automatically cuts out part of the competition, and ups the odds for acceptance/inclusion. Some writers won't even be aware that there is a call for submission until it's too late to send a story in, and even those who do see it and are interested might not have a story available (or enough time to be able to produce one) that fits the guidelines.

NOTE 2: I'm not talking here about annual "best-of" anthologies like Otto Penzler's Best American Mystery Stories. When your already-published story winds up being selected for and reprinted in one of those, that's great, but that's also pretty much out of your control. I'm talking more about anthologies that either request stories from certain writers or choose from the unsolicited submissions of others.

The best situation, obviously, is for the editor to contact you and ask you to submit a story. It's flattering, it involves no marketing effort, and when it happens you can be fairly certain that your "solicited" story will be included. But the funny thing is, even though I'm always honored to be asked to contribute to an anthology (who wouldn't be?), I'm also one of those odd folks who find it harder to conform to someone else's idea for a story than to dream up an idea of my own. So when the theme/mood/genre of an anthology is very (sometimes too) specific, I often find it more difficult to write a story that I'm satisfied with. Don't get me wrong: I do it. And I work on it until I am satisfied. But I still think it's easier to come up with my own ideas, make up stories from those ideas, then search for matching markets than to create stories with the pre-set themes and ideas of others.

What are some of your experiences and opinions on all this? Do you actively seek publication in anthologies? If so, how do you find them? Have you always been able to squeeze through the submission window in terms of time and story-theme? Are you often asked by an editor to contribute to an antho? Have you ever turned down such a request? Do you find it easy to write a story-on-demand? Have your published stories ever been selected for some of the "best-of's"?

On the subject of Best American Mystery Stories, let me again congratulate my SleuthSayers colleagues Rob Lopresti and Art Taylor on making the newly-released 2016 edition of B.A.M.S.--Good work, guys! (And I noticed that R.T. Lawton, David Edgerley Gates, and I managed to make the "close-but-no-cigar" list in the back of the book, this time. It's not the Top 20 of the year, but it's the Top 50; when I saw my story in the list, my head swelled until I had to adjust the strap on my baseball cap.)

Since I seem to be wallowing in self-congratulatory mode, I have another announcement: my latest collection of short mystery fiction was released on October 10, with a launch at Lemuria Books here in Jackson, Mississippi. It's hardcover, thirty stories, 352 pages, 90,000 words, and titled (appropriately) Dreamland.


And yes, a few of the included stories previously appeared in . . . anthologies.

I'm not an anthopologist for nothing.








19 March 2016

Let's Hear It for MMs

by John M. Floyd

No, not mss (the plural of "manuscript").  MMs (the plural of "mystery magazine").  In fact, let's hear it for MM mss.

Several years ago I was Googling markets for short mystery stories (I do that from time to time) and stumbled upon a site called, believe it or not, Better Holmes and Gardens. When I investigated, I found submission guidelines for a publication I hadn't heard of before: Sherlock Holmes Mystery Magazine. That's right--yet another MM.

Like all mystery writers, I love AHMM and EQMM, and I also submit a lot of stories to other current magazines that regularly feature mystery fiction, like The StrandWoman's WorldOver My Dead BodyCrimespreeMysterical-E, BJ Bourg's Flash Bang Mysteries, etc. But the truth is, there aren't a lot of markets out there anymore--paying or non-paying--that specialize in mystery shorts.

Holmes Sweet Holmes

Back to my discovery. Sherlock Holmes Mystery Magazine is a product of Wildside Press, which I believe also publishes the iconic Weird Tales. As soon as I found SHMM I sent them a story, a little mystery called "Traveling Light," and was pleased and surprised when they accepted it. They paid me promptly, and when the piece was published they mailed me several copies of what turned out to be a smart-looking magazine, with an attractive cover and a wealth of interesting stories inside. Since then they've been kind enough to publish four more of my mysteries, all of them installments in a series featuring a female sheriff and her crime-solving mother.

My latest is in Issue #19, and appears alongside tales by my friend Jacqueline Seewald and my fellow SleuthSayer Janice Law. I've not yet read all the stories in the issue, but I've read Jacqueline's ("The Letter of the Law") and Janice's ("A Business Proposition") and they're excellent as usual.

Anytime mystery magazines are the topic, I find myself thinking about those that have come and gone, over the years. A few were receptive to my stories and a few rejected everything I sent them (sort of like some of the magazines that are still around), but I think I tried them all. And I thought it might be fun to take a quick trip down MM-memory lane:

Mystery mags of the past

Murderous Intent Mystery Magazine -- One of my favorites. Margo Power, editor.

Crimestalker Casebook -- Andrew McAleer, editor. Boston-based.

Mystery Time -- a small but wonderful little magazine. Linda Hutton, editor.

Blue Murder -- I think I remember trying these folks and getting rejected every time.

Red Herring Mystery Magazine -- RHMM published two of my stories, accepted another, and disappeared.

Mike Shayne Mystery Magazine -- Sadly, before my time.

Mouth Full of Bullets -- BJ Bourg, editor. Loved this magazine.

Whispering Willows Mystery Magazine -- Short-lived. I barely remember this one.

Heist Magazine -- Australian, featured stories only on CD-ROM.

Crime and Suspense -- This had some fine stories during its short run. Tony Burton, editor.

Nefarious -- Online-only, if I remember correctly. One of the first e-zines.

Black Mask -- Again, before my time.

Raconteur -- Like RHMM, this one accepted one of my stories and then put all four feet in the air.

Detective Mystery Stories -- Print publication, editors Tom and Ginger Johnson.

Orchard Press Mysteries -- This was an early e-zine as well. I had only one story there.

The Rex Stout Journal -- Another short-lived print magazine.

Futures -- Babs Lakey, editor. Later became Futures Mysterious Anthology Magazine.

NOTE: Please let me know if you remember some of the many that I've overlooked--or if any of these I've listed have taken on new life.

Square pegs, round holes

Besides the obvious choices, I also continue to try to sell my mystery/crime shorts to places that don't specialize in mysteries but that occasionally publish them anyway--and there are more of those than one might think. Here are some, from both now and long ago: GritDogwood Tales, Spinetingler Magazine, Untreed Reads, Writers on the RiverYellow Sticky NotesPrairie TimesMindprintsSniplitsPages of Stories, Amazon Shorts, Just a Moment, Kings River LifeReader's BreakWriters' Post JournalShort Stuff for GrownupsChampagne Shivers, and The Saturday Evening Post. (Remember, it's generally accepted that a mystery is any story in which a crime is central to the plot. It doesn't have to be a whodunit.)

Now and then, even so-called literary magazines will feature a mystery story: Pleiades, Thema, Glimmer TrainPhoebe, some of the college lit journals, etc. Tom Franklin's short story "Poachers," which won an Edgar and appeared in The Best American Mystery Stories 1999, was first published in The Texas Review.

Anthopology

Finally, any discussion of mystery markets should include a mention of anthologies. I usually find them by Googling "anthology calls for submission" and checking Ralan's Webstravaganza, which is advertised as a science-fiction site but doesn't limit itself to that. The two advantages of anthologies over magazines, I think, are that (1) anthos usually request submissions in a fixed window of time, which can be a plus if you hop in right away, and (2) they are often "themed." If you happen to have a finished story that fits their theme--or can write one quickly--you'll already have a leg up on the competition. Another excellent site to check, for mags as well as anthos, is Sandra Seamans's My Little Corner.

Anthologies that I've been associated with, all of which contained some mystery stories and most of which you've never heard of, include Seven by SevenTrust and TreacheryMagnolia Blossoms and Afternoon TalesAfter DeathFlash and BangCrime and Suspense IMad Dogs and MoonshineThe Gift of MurderQuakes and StormsShort TalesFireflies in Fruit JarsSweet Tea and Afternoon Tales, Ten for TenThou Shalt NotA Criminal Brief ChristmasRocking Chairs and Afternoon Tales, and Short Attention Span Mysteries.

A leading anthology for mystery writers is of course the "noir" series produced by Akashic Books, in Brooklyn. Several of my SleuthSayers colleagues have graced those pages, and one of my stories will be in the upcoming Mississippi Noir. Other anthology possibilities are the annual "best of" editions that feature stories published during the previous year, like Otto Penzler's Best American Mystery Stories series.

And that's it--I'm out of examples. I'll end with a question: What are some of your favorite short mystery markets, past and present?

May the ones we have now last forever.




01 August 2015

Now, That's a Different Story


by John M. Floyd



As some of you know, I write mostly short fiction. I've done SF, fantasy, romance, Westerns, horror, and all kinds of combinations, but most of my stories are mysteries, and for good reason: that's what I prefer to read. My favorite books, stories, and authors have always been in the mystery/crime/suspense genre.

I have also come to realize that a mystery story can sometimes fit into a non-mystery market. It probably won't surprise you that most of my mystery/crime stories are submitted first to either (1) themed anthologies or (2) magazines like AHMMEQMM, and The Strand. If you're a writer of that kind of fiction, I suspect that you do the same. But occasionally it makes sense to also send mystery stories to other kinds of magazines and anthos.

Post-production notes

A few months ago, I wrote a story called "Saving Grace," that was sort of a sentimental paranormal mystery. In fact I wrote it with the mystery mags firmly in mind, and planned from the start to submit it first to Hitchcock because they sometimes seem a bit more receptive than the others to stories with otherworldly plots. When I finished it, though, it had a "literary" feel to it as well--it dealt heavily with family relationships and the main character changes his outlook on life in the course of the story, etc.--so I decided to send it first to The Saturday Evening Post, which has been kind to me lately anyway. I was pleased to find that they liked it, and it wound up being published in their current print issue (July/August 2015). It will also be released online on August 7 at their web site--I'll try to remember to post a link to it in my next SleuthSayers column.

The idea for that story came to me years ago, from a Sidney Sheldon novel--I can't remember its name--that included what I considered a clever way to emotionally "connect" the reader to a protagonist. In that book, as I recall, an always-reliable female prison inmate had been asked by the warden to watch over his small child each day, out in the off-limits area near the prison gates. As any fan of crime fiction knows, routines can be risky, and sure enough, the inmate winds up planning an escape via the laundry truck that departs through that area every morning. But on that particular day, as she prepares to jump into the truck and hide on its way out of the prison grounds, the child she's babysitting slips and falls into a water tank and is about to drown. The inmate abandons her escape attempt, dives into the tank instead of into the truck, and saves the child. This happens early on and is not really that big a plot point in the novel, but it's one that stuck in my memory. After all, few things are more endearing to readers than the sacrifice of personal gain--the prisoner's freedom, in this case--in order to perform a noble and selfless act.

With that idea in the back of my mind, I built a story that begins with a situation happening in the present, goes back twenty-five years to tell a different story with a different plot, and then flashes forward again to the present for the conclusion. I sort of like that kind of "framed" story-within-a-story construction anyway, where the events of the past connect directly and unexpectedly to the protagonist's current dilemma. That of course doesn't work for every story, but for some it does--and when it does, it creates a "circular" ending that seems to appeal to readers.

The long and short of it

Consider this. My "Saving Grace" story is multi-genre, about 5000 words in length, uses two different storylines, teaches the protagonist a "life lesson," and features sixteen different characters and several different settings. I sold another story last week, called "A Friend in Need," that's a straight mystery, less than 700 words long, teaches no lessons at all (but is, hopefully, entertaining), and uses only one setting and a total of three characters, one of whom is only a voice on the telephone. That second story, not that it matters to this discussion, marked my 70th sale to Woman's World magazine. (If someone had told me, years ago, that I would write 70 stories for a women's magazine, I would probably have asked him to give me some of what he was smoking.) The really strange thing is, both those mysteries--different is so many ways--were equally enjoyable to write. And as it turns out, I was paid almost the same for both of them.

My point is, I think there will always be places to sell mystery/crime stories, short or long, lighthearted or profound, straight or diluted--and not just to the mystery pubs. All good stories need conflict, and I believe one of the two advantages of crime stories is that a degree of conflict is always there, already built in. (The other advantage is that in crime stories justice usually prevails, and readers are attracted to that.) If you don't like that kind of story, if you prefer reading/writing only "literary" fiction, so be it--or, as Arthur Fonzarelli might've said, Go sit on a watchman. Seriously, as for myself, having now read both of Harper Lee's novels, I've decided that one of the many reasons I prefer Mockingbird to its sequel (prequel?) is that TKaM was, at its core, a mystery story. It was of course many other kinds of fiction as well--Southern, coming-of-age, historical, courtroom drama, literary, etc.--but I think the mystery/suspense element involving Boo Radley was what made it special, and enduring.

Let's hear it for crossing genres



All of you are readers, and many of you are writers. To those of you who (exclusively or occasionally) write short mysteries: Do you always have certain markets in mind when you craft your stories? Do you write them and only then think of where they might be sent? Have you tried submitting any of your mystery/crime stories to a non-mystery publication? I'm a firm believer that some mystery stories and novels can be just as "literary" as the Zhivagos and the Cuckoo's Nests and the Grapes of Wraths of this world; in fact I would put crime/adventure novels like Mystic River and Deliverance and The Silence of the Lambs up against any of them, literaturewise. Pet peeve alert: Why should the fact that a crime is central to the plot (the widely accepted definition of mystery fiction) make it any less literary? Over the years, my mystery stories have sneaked in under the wire at Pleiades, Thema, The Atlantean Press Review, and several other so-called litmags.

You might even consider trying your mystery/suspense stories at other genre publications. I've not published any mysteries in places like Asimov's or Analog, but I see no reason you couldn't. Again, the presence of a crime doesn't exclude the elements of another genre as well. Look at the stories that spawned Blade Runner, or Minority Report, or even 3:10 to Yuma. I've sold plenty of crime stories to Western magazines.

The only advice I would presume to give, about all this, is (1) write the story or novel you want to write, without worrying much about the category; (2) submit it to an editor or publisher who'll make you proud if it's accepted; and then (3) forget it and write something else. I've been doing that for twenty-one years now.

God help me, I love it.








27 June 2015

Fee or Free?



by John M. Floyd



I was talking to a beginning writer the other day (a writer of short stories, since most of what I do is the short stuff), and she said to me, "Yeah, I want to get published--but the main thing is, I want to get paid."

Hard to argue with that. All writers--including me--want to be paid for what we produce. And while I didn't tell her that she shouldn't aim for that (I'm dumb but I'm not stupid, and neither is she), I did tell her that there are times when she might want to also consider publishing something for which she's not paid. At least not in dollars.

Here you go, buddy--no charge

Let's say you're an aspiring writer of short stories, and let's say I'm a teacher who's smarter than I really am. What I would tell you is, I believe it can be helpful to a shorts writer, especially when starting out, to occasionally submit something to a magazine or anthology that pays only "in copies"--which means they will send you a least one copy of the issue containing your story, sometimes called an "author copy" or a "contributor's copy." This gives you a couple of things besides just something to put on your coffeetable and brag to your friends about. It gives you (1) a publishing credit and (2) exposure.

Well, whoop-de-doo, right? Credentials and exposure won't pay the rent--they won't even buy you a burger and fries, or a stamp to put on your next snailmailed submission. But, hey, if you build up several respectable credits that you can use later in your cover letters and bios, or if a publisher or agent or another editor happens to see your story in, say, a non-paying university litmag, and likes it . . . well, that's not a bad use of your time and your effort.

The same thing goes for speaking engagements. Most writers are regularly asked to visit libraries, schools, senior centers, civic groups, book clubs, etc.--any venue that needs someone to come in and teach a quick workshop or fill a program slot. These places will sometimes reward you with a payment or cover your travel expenses or both, and when they do, that's great. But sometimes they don't, or can't. IF they don't, or can't, why should you do it? Well, if you're Stephen King or J.K. Rowling, maybe you shouldn't. But if you're me, and probably if you're you, there are times when doing these events can be a good move. For one thing--as mentioned earlier--it's exposure. It lets you get your name and your work out there in front of more readers and potential customers. Once again, this kind of goodwill gesture won't pay the light bill--but it can pay off in the long run. And free events often lead to fee events.

On the other hand . . .

Show me the money!

There is a second school of thought--and the longer I write, I find myself inching more and more into that camp--that says "If I'm creating a product and providing a service, I expect to be paid for it." Those who take this approach insist that it's not only sensible but time-saving. It involves less research and fewer submissions. You just concentrate on the publications that pay, and avoid all the others.

While there aren't a ton of paying markets these days, there are some, including  AHMMEQMMThe Strand Magazine, Over My Dead Body, Sherlock Holmes Mystery Magazine, and Woman's World. And a good many more if you consider anthologies, and the so-called literary markets that are sometimes receptive to mystery/suspense stories: Zoetrope, The Sun, Thema, The Missouri Review, Harper's, The Saturday Evening Post, Ploughshares, Glimmer Train Stores, Pleiades, Tin House, and so on. We've talked many times at this blog about what it takes to make a story "literary," and the fact that crime fiction sometimes fits into that category. My friend and fellow Mississippian Tom Franklin's short story "Poachers," which won an Edgar Award and appeared in The Best American Mystery Stories 1999, was originally published not in AH or EQ but in The Texas Review.

Questions: 

If you're a writer of short fiction, what's your opinion on this kind of thing? Are you ever willing to send your work to a non-paying publication? If so, which ones do you prefer? If not, under what conditions might you be willing?

Also, what paying mags and anthologies do you submit stories to? At which of these have you been successful, and which ones might you recommend? What do you think about fee vs. free speaking/teaching engagements?


This little piggy went to market . . .

In closing, here are some Web resources I've used in the past, to find possible homes for my work:

Ralan's Webstravaganza -- This isn't just for SF/fantasy stories (even though it says it is). The big mystery magazines, for example, are included. It also lists anthologies.

My Little Corner 

The Short Mystery Fiction Society Blog 

Mystery Readers International

Writer-On-Line

Fiction Factor 


Those last two sites might be a bit dated, but there are still some good listings and good tips to be found there.

Another place--and a great print reference--that lists pay and no-pay markets is Novel & Short Story Writers Market (WD Books). A new edition is printed every year, and it features a "genre index" section that lists those places that consider mystery submissions. And sometimes the best approach is the simplest: Forget the market listings altogether and just key something like "short mystery markets" into Google and check out the resulting links.

Wherever you go and however you do it . . . good hunting! Or, to paraphrase one of my boyhood heroes: Write long and prosper.