Stories, Writers Co-op Anthology, writing technique

Anthology April

Curtis Bausse Book a Break Short Story Competition

A big thank you to all who submitted stories for the first Rabbit Hole anthology – 56 submissions in all, a very healthy number for our first outing. Now the hard part begins – the selection process. We aim to get this done over the next 2 to 3 weeks, and all authors will be notified one way or the other before the end of the month. After that, it’s editing, revision, proofreading, formatting… a process on which I’d rather not put a concluding date right now.

But it’s already begun, and for me not once but twice: for The Rabbit Hole and for The Second Taste. That’s the title of this year’s Book a Break anthology (which will also be its last year). The title comes from Anaïs Nin: We write to taste life twice: in the moment and in retrospection. And in the anthology, as befits the theme of nourishment, there will be many flavours. With more still to come – there’s room for another half dozen stories, so if you have anything you’d like to submit, send it along before the end of this month to curtis.bausse(at)outlook.com. Maximum length: (more or less) 2000 words.

So April for me will be anthology month. All this has got me thinking about what makes a good short story. It’s far easier to say what doesn’t work than what does, which I’m not even going to attempt here. Instead I’ll let Atthys Gage give an idea – this is from the announcement of the first Book a Break competition, which he judged:

Let’s admit one thing. You may need to ignore everyone’s favorite writing tip: “show, don’t tell”— or at least, take it with a grain of salt. Telling is okay, just tell it well. Sometimes it’s necessary. You need a quick set up to get the reader involved quickly, because in a very few pages, you’re going to pull a fast one, yank our expectations out from under our feet, drop us abruptly on our backsides. Consider The Open Window by Saki, or The Lottery by Shirley Jackson, or The Nine Billion Names of God by Arthur C. Clarke.

Or maybe your story doesn’t feature a last minute reversal. Maybe it’s all one slow-burn, building to a frantic boil. Think Young Goodman Brown by Hawthorne, or A Good Man is Hard to Find by Flannery O’Connor. These stories play with our expectations, but you can see the ending coming. By the time it comes, you know it was inevitable all along.

Then there’s this from Heidi Pitlor: A successful short story does not expose its mechanics. Hell, it most likely does not have mechanics, rather a set of characters, a voice, an arc, momentum and a raison d’être so indivisible that to examine one of these aspects might seem pointless without the context of the others.

There’s only one thing I can say for sure – a good short story makes you want to come back for a second taste.

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publishing, Stories, Writers Co-op

Call for Submissions

The Writers’ Co-op invites submissions of short stories (and poems) for an anthology to be released later this year. No theme is set, but stories should broadly fall into the category of ‘weird’ (see below).

There is a maximum word count of 5000. But this is more a guideline than a strict limit – quality is the main criterion, not length. So a great story will be accepted, whether it’s 6000 words or 200 (flash fiction is welcome). But we’re looking for short stories, not novellas or extracts from novels – the story should be complete in itself. Though the anthology will be comprised mostly of stories, there will also be room for some poems or pieces of an experimental nature.

The deadline is 31st March 2018. Submissions should be sent in an attached file to curtis.bausse(at)outlook.com with the subject ‘Co-op submission’. They may have been previously published on personal websites (or elsewhere) but authors must have full rights to them when submitting. Authors will retain said rights after the story or poem is published in the Writers’ Co-op anthology.

All proceeds will go to the Against Malaria Foundation. Why? Because the (hopefully not meagre but probably far from spectacular) royalties can make a big difference: $3 buys a long-lasting insecticide-treated mosquito net which protects two people for up to three years.

That’s for the practicalities (if you have further questions, don’t hesitate to get in touch via the contact page). But what is meant by ‘weird’?

The question is addressed in the previous post, but since I’m here I get the chance to add my two cents’ worth (or grain of salt as they say in French). Like many categories, it’s fuzzy, because it stands in distinction to ‘normal’, and there’s no common acceptance of what is normal. Not all writers will approach it the same way, and so much the better – we hope for plenty of variety. At the core of weirdness, though, is the upsetting of expectations: normality, in the sense of what we’re accustomed to, doesn’t follow the course that led to us form those expectations. Where it goes – somewhere disturbing or hilarious – is entirely the writer’s choice. Or why not hilariously disturbing? Indeed, one advantage of ‘weird’ is that it allows for humour as much as for horror, so go for it!

How weird does it have to be? Anything from full on, over-the-top freaky to subtly odd and unsettling. So no worries if weird isn’t your usual style – a few deft touches can suffice. Those little moments of strangeness that don’t fit into what we know of the world or the people around us, those hints of a deeper mystery that defies explanation. Give us writing that shifts our perceptions, leads us to experience, bubbling up through the regularity and routine, the fundamental weirdness of life. To quote the Count of Lautréamont, author of the Chant de Maldoror, if your piece is ‘beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella,’ there’s every chance that we’ll love it.

We look forward to reading you.

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Agnès Varda: La rencontre fortuite
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publishing, Stories, Writers Co-op

Anthology Q&A

The Writers’ Co-op has decided to put together an anthology of short stories. To start off, here’s a short list of practical aspects to consider. All comments and suggestions welcome.

How many submissions do we need?

It depends (a) if there’s a maximum word count and (b) how long the anthology itself should be. I’d suggest a maximum word count of 5000, with a small tolerance if it goes above. For a book of 60,000 words, that’s 12 stories. But the book could be longer and the stories shorter, so 12 is a minimum and it could stretch to around 30.

How do we find them?

Invite submissions. It’s not a competition, so won’t be listed on a competition page like the one on Almond Press, which attracts a lot of views. The Book a Break got 75 the first year, 123 the second. Slightly less than a third made it into the anthology. How many submissions will we get by publicising on social media? No idea, but it would be nice to get 40-50. We can also send direct invitations to writers we know and appreciate.

Is there a theme?

The question is still open but there appears to be a majority saying no. And a theme adds virtually nothing to the marketing possibilities. A genre, on the other hand, makes it easier – readers type it as a search word on Amazon. Carl has suggested ‘weird’, which I like. It’s broad enough to allow for a lot of variety, from humour to horror by way of talking cats. Could even be stylistic.

Who will take care of selecting submissions, editing and formatting?

I’m quite happy to do that as it’s what I’ve been doing for the Book a Break, but ideally with someone I can call on for help when needed. Any volunteers?

What’s the calendar?

The Book a Break anthology will be released in September or October. I’d rather it didn’t clash with that, so either before or after, June/July, say, or November/December. But for the moment I’d rather not commit – let’s post submission invitations wherever we can with a deadline, I suggest, of 31st March. Some people might already have pieces ready but for anyone starting from scratch, that seems reasonable. We’ll see what happens.

How do we market it?

We will be creative, tenacious and cooperative! A committee of three or four people would be useful to come up with and implement ideas.

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Uncategorized, writing technique

Raise Your Voice… uh, Voices!

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I am not a sarcastic person. Sarcasm strikes me as mean — snarky condemnations passive-aggressively issued by arrogant people desperate to feel superior to those they ridicule. Those who are not the target may think it’s witty, but maybe they’re just relieved and smugly enjoying the fact it wasn’t aimed at them. After all, does anyone really deserve such ridicule? I’m inclined to give all* people the benefit of the doubt, and accept their occasionally foolish, irritating, mind-raspingly stupid behavior as an entitlement every human may claim. Even I could claim it if I were ever foolish, irritating, or stupid. None of which, of course, I ever am.

That’s the reason Romero Russo was such a revelation. More than two years ago, Romero started writing a book called Sarcasm Font. My first public view of him was on Inkshares during a marketing contest. After completing the first five chapters of his ambiguously fictional story, he started blogging. People found his writing funny and thoughtful:

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Here’s the thing. I am him.

 

That’s right. Following an unexpected series of events leading to my brain slurring two words into a word you won’t find in the OED, a fit of whimsy took over. I began writing Sarcasm Font in a voice so unfamiliar to me that I couldn’t even claim author credit. Romero Russo was born. He had a life of his own. He didn’t speak to me; he spoke through me. No doubt other authors have had the same out-of-voice experience. I suspect they would agree: it’s freeing.

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The elusive Romero Russo (Photo credit: S.T. Ranscht)

 

Like many authors, I’ve written characters who say sarcastic things. Readers have commented that each of my characters has an individual, identifiable voice. But writing and living from inside a character whose voice differs drastically from your own is more like acting. If you allow that person to tell the whole story, the writing experience is more like watching the story than creating it.

When Romero went public on Inkshares, the circle who knew about the two of us was small: two of my sisters and my son. They were kind enough not to share Romero’s secret, but they weren’t shy about letting me know they thought it was kind of creepy that I talked about him as if he were real. He and I shared a Venn diagram overlap of followers, and we followed each other. Why wouldn’t we? We were marketing separate works by separate authors.

But when we started blogging, we were sharing our “selves” with strangers. That’s when it became a hoax. No one questioned it. Why would they? He said things I would never say. It was just so darn much fun to be Romero Russo.

After the 2016 A to Z Blogging Challenge, Romero went silent on WordPress. I was still working on Sarcasm Font, and planned to promote it under his name. I began to question the practicality of that when I wrote the short story behind one of his… um, life events, and entered it in a contest. Entry required a bio and a photo. I had those, no problem. But on the chance — however remote — that it won a cash prize, or was short-listed to be published in the anthology, wouldn’t I want the cash and/or credit to be mine? Yes. Yes I would. I submitted it under my name, and while it didn’t win any cash, it was published in the contest anthology. I got all the credit.

I also gave myself up. Someone — I leave the choice to acknowledge this to him — who follows both Romero and me procured a copy of the anthology and read my story, which I, appropriately though perhaps indiscreetly, called “Sarcasm Font”. He allowed that I might merely have appropriated Romero’s premise, but he also suspected that we might be one and the same, despite the difference in voices. When he asked me directly, I couldn’t bring myself to resort to “alternative facts”. I confessed.

My hope is that others may take some inspiration from this tale. If you haven’t yet written an out-of-voice story, I highly recommend it. It will open your mind to discover voices you didn’t know you had. Ideas that have never occurred to you before will flow. You might find your very own Romero Russo.

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*(Except for one person to whom I gave a chance, but whose consistently reprehensible behavior has depleted my ability to tolerate. I might need Romero to speak for me for the next four years.)

fullsizeoutput_174 S.T. Ranscht lives in San Diego, California. She and Robert P. Beus co-authored ENHANCED, the first book in the young adult Second Earth Trilogy. She is currently submitting their baby to literary agents, determined to find the one who is their perfect match. Her short story, “Cat Artist Catharsis”, earned Honorable Mention in Curtis Bausse’s 2016 Book a Break Short Story Contest, and is available in its anthology, Cat Tales. “Sarcasm Font” appears in the 2016 To Hull and Back Short Story Anthology. Find her online: on WordPress at Space, Time, and Raspberries, Facebook, Twitter @STRanscht and Instagram @stranscht. You can follow ENHANCED on Facebook, Twitter @EnhancedYASyFy, and Instagram @secondearthtrilogy.

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About Writers, Stories

Operation Anthology

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A short while ago, D.J. Lutz told us of the advantages of participating in an anthology. Well, I haven’t done that myself, but I recently compiled, edited and published one. So following on from Carl’s recent POV Explained, this post is from a different point of view.

What do you need? First of all, obviously, stories. I was fortunate here in having plenty to choose from. With 75 entries to the Book a Break short story competition, the difficult part was deciding when to stop. Naturally, quality was the main criterion, but not the only one. I was keen for variety too, so rather than treat them all as finished products, I did select a handful on the basis of potential, knowing that a fair amount of work would still be needed. This might have meant that some more polished stories didn’t make the cut because they were too similar to others. Entirely my fault: the competition prompt was too restrictive. This year’s is far more general.

Whatever your criteria, though, the beauty – and occasionally the pain – of an anthology is that practically every story has room for improvement. Which is where it can start to get tricky. The Book Country experience helped – we gave and received peer reviews, and learned how to do it in the process. Only up to a point, though, because here you’re not just critiquing (where it’s no big deal if the author accepts your points or not), you’re editing. And you want the product to be as good as possible.

There are as many different ways of reacting as there are writers. Some will argue their corner with pugnacity; others will be happy to go with whatever you say. Corresponding with each author, I quickly sensed the sort of writer I was dealing with, adjusting my comments accordingly. There’s a difference between ‘I suggest deleting’ and ‘Delete’, and the question mark can come in handy too – ‘Delete?’

From the editor’s point of view, one big advantage is being able to call on the contributors themselves for second or third edits and for proofreading. Half a dozen helped with this, which didn’t just make for a lighter workload but was also reassuring – you’re not making all the decisions alone.

Mistakes, I made a few but then again… Actually, only a couple stand out. I tried to be democratic, for one, especially with the title. Asked for suggestions, organised a vote which triggered a revolt, and ended up with the initial result overturned. Brexit, Trump, The Book a Break Anthology – 2016 has shown just how dangerous democracy can be. So next time round, the title will be imposed. Which is fine by me. I’ve often fancied myself as a dictator. Benevolent, natch.

The other mistake was waiting till the stories were practically edited before working on the cover and illustrations. That probably set back the release date a couple of months. It doesn’t much matter, but next time I’ll aim for a shorter lag between selection of stories and publication.

Formatting – not as horrendous as I’d feared. Maybe because I got myself into the right frame of mind. Take a deep breath, tell myself it’s not going to work, set all other concerns aside, stay calm, be prepared to spend as long as it takes. Formatting a book is like DIY.
The result has just appeared and to be honest, I’m quite chuffed with it. So all that remains is for me to plug it here:

What happened to the cats? In these 21 submissions to the first Book a Break short story competition, cats of many different kinds appear and disappear, roam far and wide, behave in mysterious ways. From dark and chilling to light-hearted and humorous, these stories focus on the power and mystery of cats. From ancient Egypt to modern Japan by way of war-time Crete, the cats you’ll meet here will entertain you, frighten you, intrigue you and surprise you.

Each of the 21 stories is accompanied by original illustrations and the collection is prefaced by Smith, the terrifying tabby from Taunton who, when he’s not fighting other cats, likes nothing more than to read.

The prize-winning authors of these stories come from many countries and backgrounds. Some are starting out as promising young writers, some are confirmed authors. All used the prompt for the short story competition to craft a highly original tale.

The proceeds from this book go to two charities, Cats Protection and the Against Malaria Foundation.

The 2016 Book a Break short story anthology is available now in print (black & white, $9.50) and as a kindle ebook in colour ($3.99).

A PDF colour version is available directly from this site by clicking below. Alternatively, you can donate directly to one or other of the two charities supported by the anthology, Cats Protection and the Against Malaria Foundation. Forward their thank you email to me (curtis.bausse(at)outlook.com) and I will send you the PDF file straightaway.

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Stories

The Book a Break short story competition

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There are competitions and competitions. There’s the Man Booker and the Book A Break. As I have no inside knowledge of the former, let me tell you about the latter. A short story competition I ran this year from my website.

All you need to run a competition is a prize, a judge and some entrants. The prize could be £30,000 (The Sunday Times Short Story Award) or publication in an anthology. If the prize is cash, you’ll no doubt want to charge a fee for entering. Since I neither wanted to charge a fee nor dip into my pension pot, I made the prize four days at our home in Provence (excluding travel costs). Casting about for a judge, I hit upon a certain Atthys Gage – you may have heard of him – whom I knew from Book Country. He kindly agreed. ‘Don’t worry,’ I said. ‘I should think there’ll be a dozen entries at the most.’

I set up a page on my website and waited. Three or four people got in touch. Then I thought it might be a good idea to advertise it a bit, so I sent the details to Almond Press, who added it to their list of competitions. Lo and behold! The number of views and visitors soared off the scale: in the first two months of this year, 8000 views and 3500 visitors. And the entries started to come in. A couple a week at first, then half a dozen, then more and more as the deadline approached. I removed the names, gave them a number, and every so often sent off a batch to Atthys, accompanied by ever more apologetic emails. Fortunately, he took it all in good humour. You won’t be surprised to hear that he was as good a judge as I could have hoped for.

The final count of entries was 75. The winner, Ingrid Jendrzejewski, duly took up her prize in July; all in all, her stay was a fitting conclusion to a highly successful competition. Not quite the conclusion, actually – reading the entries, many of which were excellent, I had the idea of publishing an anthology. All being well, Cat Tales will be released on December 15th. But that’s another story in itself.

But why, you might ask, did I run the competition in the first place? What did I stand to gain? Well, obviously, nothing as direct as a spike in sales of my book. On the other hand, it did no harm to have all those visitors to the website, even if the numbers have now returned to normal. Looking back, though, I’d say the greatest benefit lay in getting to know other writers. No doubt that’s more through the anthology than the competition itself, but the two go together. And overall, there’s another, slightly unexpected aspect – you may think it’s corny, but I found that providing the impetus for writers to create stories is quite enchanting. Some of them, perhaps, were already there in people’s minds, and might have found expression anyway; others came into being for the occasion. Either way, I find it almost as satisfying to have nurtured that whole process as if I’d written them myself.

All of which leads to the simple conclusion: coming soon – the second Book A Break Competition. I look forward to reading your entries!

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book sales, reading, Stories

Writing – A Team Sport?

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As a writer, my quest to become an overnight success began nine years ago. Since that time, I have written numerous short stories, flash fictions, blog serials, novellas, novels, and a tome rivaling in word count the Icelandic Sagas. My undeniably clever, witty, yet strangely unsuccessful query letters are probably well known to vexed agents and publishers alike. Soon, however, I may achieve a modicum of success, depending on how you define the term. The overnight part? Let’s move on.

How am I doing this?

One word: Anthologies. You know, anthologies: those collections of stories, poems, vignettes, and what have you from one author or many, and often self-published. These collective works traditionally receive an instant rejection from most literary agents, the high and mighty gate-keepers to the hallowed halls of literary fame and fortune. However, I have found a path to success through anthologies and without the help of an agent. But before you label me an industry neophyte, order another pumpkin spiced espresso martini and let me ‘splain.

Gone are the days of waking up at 907 Whitehead Street, dropping a Spanish onion into a glass of chilled gin with the requisite splash of vermouth, putting paper into the typewriter and cranking out an iconic piece of literature as a seven-toed cat wanders between your legs. Not anymore. Today’s writer must do it all: write something worth reading, sell it to an agent or publisher, create a business model and social media platform, market your work and you, sell again, this time to the consumer, and then deal with insurance and taxes.

Now you know why publishing houses have so many employees. Faced with such a daunting task, how can you alone break into the business and rise above the din without having written the next Harry Potter?

Yes, you got it. Anthologies.

When I researched agents, none represented anthologies. Too difficult to manage the legal and financial issues of multiple authors on one project. Didn’t fit the paradigm. Publishers were of the same mold. If the anthology contained only your works? No different. We don’t accept poetry, picture books, screenplays, or anthologies. I’ve seen that statement on many websites.

That was then. This is now. We are in a different world today. I pay three bucks for a fifty-cent cup of coffee. My phone has more computing power than Apollo 11 had in their command module. Agents still shy away from anthologies, but...and this is my point: publishers are now embracing them.

What kind of sorcery is this?

I’m not saying literary agents no longer have value. Far from it. Get one. Everyone else has one. All the cool kids have one. Agents bring a lot to the table. But an agent isn’t an absolute necessity for you to get a start as a professional writer.

Anthologies can give you that first bit of street cred. My first short story, The Crucible, was accepted for the premier volume of The World Unknown Review (WUR), edited by L.S. Engler. Was the story good? I thought so; still do. Was the anthology a runaway bestseller? No, for a variety of reasons. But friends bought it. I think it is still on Amazon if you are curious. Did my story gain me anything? No Pushcart nomination, perhaps, but this solidified in my family and friends’ minds that I was a writer and not a retired guy with a hobby. And L.S. paid me with a $20 Starbucks card.

WUR used a vetting process – some works were accepted, others not. Mine made the cut. Success. And what about L.S.? She created and sold the anthology into a series which is now collecting stories for a third volume. Her effort created enough credibility that, when coupled with her excellent writing, she has become a contributor to The Saturday Evening Post. And to think I knew her when. To push my point home some more: L.S.s first book was an anthology of her own stories. Check out Bowl Full of Bunnies. It’s actually a very good read.

My story being in the first volume of WUR provided a nice bit of filler for my query letters. You are always asked to mention your previous success as a writer. Sure, it was just an anthology, but it proved I was serious about my writing. Effort goes a long way, even for writers.

My second (and current) anthology project has me intertwined with a cohort of 17 other writers. Many of these writers were in a local mystery writers club that had produced four anthologies earlier. The most recent book sold over 10,000 units, which for a regional book is amazing. I asked one of them how they went about creating the project, and seeing my interest, they asked me to submit a story for their fifth book.

Here’s where it gets interesting.

My story, Wyld Women and Wine, will be in their next anthology, titled 50 Shades of Cabernet. The regional publisher, Koehler Books, is taking on the project based on the success of the club’s previous efforts. They also admit the anthology having 18 sales agents, I mean writers, helps boost sales. As I said, today’s writer must do it all – including sell. This should not be a secret to anyone by now.

Before I committed to the anthology, I did my usual stalking, make that due diligence, and checked out the Koehler website. Turned out they had just put a notice up saying they were accepting unagented manuscripts. What the heck – what did I have to lose?

I sent in my manuscript, then received an email reply a few days later. I was to meet with Koehler’s chief editor, who called my writing quick paced, interesting, and very clean – meaning the text was in better shape than what he had seen from most first time novelists. After another phone call, this time from Mr. Koehler, I received an offer for publication next year. This deal comes with a content editor, copy editor, cover artist and book designer, and bonus: a marketing team. Haven’t signed yet, but we have the details pretty much carved in wood.

All this happened because of an anthology.

Will this happen to you? Maybe. Maybe not. Providence played a part in my success, I am sure. But like they say in the lottery business, you can’t win if you don’t play.  So go find yourself an anthology, get that street cred, get those personal connections, learn more of the business of writing, and maybe, just maybe, your short story will lead to something else.

Where to find anthologies? I Googled Anthology Accepting Submissions and found 420,000 entries. Mystery writers can check out MWA – they have started a yearly anthology. Sci-fi writers have one, too. Even Carina Press has a call out for romantic/erotic stories for their new anthology. I found these with less than a minute on the Internet. If all else fails, start your own. L.S. Engler did and her career is taking off. In fact, if you have something now, her World Unknown Review is still accepting stories for volume three.

Anthologies. Give ‘em a try. You can’t win if you don’t play.

Safety tips when considering participating in an anthology:

Check out the other authors – and the editor. You can have a great story, but if the rest of the book is amateurish, you lose. Guilt by association as the old saying goes.

Get the money figured out. And written into a contract. Are you paid a flat fee for the use of the story? Are you going to receive royalties? Was there an advance on royalties? Who received it? How does it impact your royalties?

Know your rights. How restrictive is the agreement when it comes to control of your story? Never sign away the copyright (I don’t think any editor or publisher would even ask this.) Does the anthology have an exclusive on your story for a certain amount of time? What about other rights? Can you concurrently shop your story to Hollywood or Bollywood? My goodness, what about licensing action figures?

My experience: L.S. paid outright for the use of my story for one year while I maintained copyright ownership and all other rights. 50 Shades of Cabernet? My story is exclusive to the anthology for two years. I retain all other rights. Royalties are 50-50 between the cohort and the publisher. I get 1/18th of that 50%. That works out to about 50 cents per book sold. Doesn’t sound like a ton of money, but remember – their last anthology sold over 10,000 units. Five grand buys me and my wife a nice trip to the Bahamas. But let’s not get ahead of ourselves.

And finally, be prepared to make a few decisions by consensus. Be ready to have some decisions handed down to you by the editor. And expect to make other decisions on your own. In the business world this is called managing uncertainty.

Maybe that’s why the writing business is best described as a business.

Good luck. And keep writing!

http://www.douglaslutz.com/

 

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