Cover and Interior Art from NOWA FANTASTYKA, Apr 2015

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Earlier this year, Polish SFF magazine NOWA FANTASTYKA translated and published my story, “Mrs. Henderson’s Cemetery Dance”. The cover is above (click on it to see a larger version). It’s my first translation and my first international publication; I couldn’t be more pleased with how it turned out.

I don’t have the right to scan/post the entire story, but I did want to share this bit:

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That’s original art, drawn for my story, by Maciej Zaganczyk. It shows a disgruntled Mr. Liu chasing after the dog who stole his arm. It’s the impetus for the rest of the tale: this risen corpse, this bad dog. (And we can all agree, it was a very bad dog.)

“Mrs. Henderson’s Cemetery Dance” was originally published at Red Penny Papers, in their Summer 2012 issue, and is no longer available to read online. However, you can still get it as a part of my short collection, Women and Other Constructs, here (including free downloads).

HOW TO FAIL AS A WRITER

1. GIVE UP IN DESPAIR, AND STOP WRITING. FOREVER. PERMANENTLY.

2. Or, keep writing but:

  • Stop trying to improve. Focus on racking up publication credits, or sales, or reprints, rather than whether this story is noticeably better than the last one.
  • Refuse to listen when your writing is criticized, regardless of the quality or thoroughness of the critique or review. Only listen to your fans, the people who tell you how great you are, and suspect — quietly, to yourself, or loud and indignantly to your loved ones — that your critics just didn’t “understand” what you were “going for”.
  • Stop sending your writing out for feedback (either to alpha/beta readers before you consider it done, or publishers afterward).
  • Stop trying new things, whether it’s different genres, different styles, different markets, or different character types.
  • Complain, constantly, that your work isn’t selling enough. Post on social media that people you know, your friends and family, “clearly” don’t love you enough because they’re not forcing your work on enough people. Publicly dismiss or insult markets or editors who rejected your writing, regardless of why. Insist that your kind of writing — novels, short stories, genre, stories with a certain kind of characters, whatever — must not be marketable anymore, since you’re not profiting enough from it.
  • Tell yourself you’re a failure, every day, regardless of what anyone else says about your work. Use  your certainty that you’ll never be any good as an excuse to take out your sad/bad/angry feelings on the people who care about you most.
  • Ignore your editors, rebel angrily against them, argue with every suggestion, or decide that okay fine, this one change you’ll make and then never submit to their market again.
  • Be desperately impatient. Demand respect, sales, an answer to every email you send a prospective editor… if you think you need it, expect to get it immediately.
  • Stop reading other people’s work. Stop reading anything. Stop learning.
  • Stop living your life. Only write, and forego family, love, school, hobbies, friends, experiences — the sort of thing one generally writes about.

If you’re not doing any of the above, then don’t worry. Keep writing. Keep growing. Keep submitting. You’ll be just fine.

#SFWAPro

 

 

Where to Start When You Want to Start Reading My Work (Fiction)

If you’re new to me as a writer (hi there!) or you’ve read a story here or there and you’d like to read more in the same vein, this sorted list might help you choose what to read next…

If you like fiction with female main characters:

If you like fiction about love, sex, and relationships set in SFF worlds:

If you like HPL-inspired/Mythos fiction:

If you like horror:

If you like fiction about robots:

If you like fiction about zombies:

  • “Mitch’s Girl” Edge Publishing’s Rigor Amortis anthology. October 1, 2010. (TW: zombie sex!)
  • “Dear Mom, This is Serious” Livingdead Press’s Emails of the Dead anthology. September 2010.

If you like mad science:

If you like noir:

  • A Different LeagueMondays are Murder web series, Akashic Books. August 26, 2013.

If you like darkly humorous or otherwise happily-ending stories:

If you want to be sad when you’re finished:

If you like stories with fighting, hunting, or soldiers:

If you like stories about books and maps:

If you like flash fiction of any stripe:

If you like Twitter Fiction:

If you like poetry:

And, if you want to read a bunch of these stories all together, please check out my first collection, Women and Other Constructs (published June 2013). Get it from me (print, epub or mobi), or from Amazon (print or Kindle).

Note: This list is presented with the most recent sales/publications first. When the story name is hyperlinked, click to read it for free online; if the title of the publication is linked, you can buy it online as well.

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New Lakeside, New Publication, and Readercon

We launched the second issue of Lakeside Circus over the weekend with a brief Letter From The Editor, followed by the outstanding short story by Fran Wilde, “The Naturalist Composes His Rebuttal”. We paired it with a podcast — our first — read by Don Pizarro, who’s not only contributed a story to this issue but has been working tirelessly with me as our audio producer.

Fran said, “Bravo, Don BRAVO. This sounds exactly as I’d imagined it,” so take a moment and listen to it here.

You can see the full issue Table of Contents and publishing schedule here, along with links to subscription options. Please do consider subscribing if you haven’t yet; the more readers we have, the more podcasts and stories I’ll be able to fund.

My story, “How to Recover a Relative Lost During Transmitter Shipping, In Five Easy Steps“, is now online at Unlikely Story, for their Cartography special issue. Though it is technically about a map, for me the story is more about the idea of a map as a description of the places you’ve been along the way to where you’re going. The map you draw for others isn’t always accurate, even though you may think it is. The path is bent as you react to obstacles along the way, or filled in from hazy memories and half-guesses. Looking back, you’re tempted to see the past as the whole of the map, when it’s only your perspective on display. It may be true. It might not.

“How to Recover a Relative Lost During Transmitter Shipping, In Five Easy Steps” is told as an interview with a woman who accidentally became part of something enormous, when she thought she’d lost someone whose impact was only enormous to her. Here’s an excerpt:

Interviewer’s note: Amrita Chakrabarty agreed to this meeting only after several concessions were agreed to. First, that we wouldn’t discuss the contentious court battle she and her family had only recently settled; second, that we wouldn’t discuss the theoretical science in more than a passing way, as it applied to the events themselves; and third, that I didn’t ask about her relationship with her younger brother, Shikhar, beyond what she was willing to disclose on her own. The reader, no doubt already familiar with the hundreds of other articles on what’s now called “The Chakrabarty Wormhole Map,” can piece together for themselves why that might be the case.

Q: Let’s go back to the very beginning. What was your first hint that your brother and his friends had done something monumental?

AC: Nothing feels monumental until after it’s over and you realize what’s happened. This thing, which is so huge and impossible to escape now, was annoying to begin with. Frustrating, and then scary, but looking back, I can see why it’s been painted as something of an adventure. That sounds fun, right? A grand escapade.

The title of your book, which comes from the first set of instructions you wrote, makes it sound simple.

Yeah, that was a marketing thing. It wasn’t simple at all.

You can read the rest of the issue here. It also includes work from Sarah Pinsker, Rhonda Eikamp, Kat Howard, James Van Pelt, and Shira Lipkin.

I don’t have the schedule yet, but I’ll be on a panel at Readercon discussing imaginary cities and invented cartography, along with other folks from the Unlikely Story issue. Last version of the description I read was:

This summer, Unlikely Story will publish their Unlikely Cartography issue, featuring stories by Shira Lipkin, Kat Howard, Sarah Pinsker, Carrie Cuinn, and others. Together with editor A.C. Wise, these authors will discuss their stories, and other authors (historical and modern) who similarly explored the cartography of the fantastic. Influences and discussion topics may include Calvino’s Invisible Cities, Eco’s Legendary Lands, Post’s Atlas of Fantasy, Mieville’s The City and the City, and more.

I can’t wait!

Coming back around to Lakeside Circus again: I’ve update the website to include a main page button for podcasts (like we already had for short stories, flash fiction, and poetry), included the Issue Two information, and added rotating news posts to share important information on the front page. We’re keeping the design simple to translate well to your mobile devices, but still want it to be useful, easy to navigate, and aesthetically pleasing. Take a look?

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10 Things You Should Never Say Before Your First Book Is Actually Written, and 3 Things You Should

I get it. I really do. Writing your very first* novel, travel guide, collection of short stories**, how-to text, or any other long form work is exciting. You think ahead to how it will be received, how much money you’ll make, and it’s tempting to jump forward to the good parts… especially when the act of writing it can sometimes be slow. Or painful. Or, impossible, at that particular moment.

So much more fun to talk about it as if it’s a real thing, with potential!

But there are 10 things you should never let yourself say out loud, online, or to other humans, before at least a solid first draft of the project is complete. Some are cardinal sins, some are merely pointless, but all should be avoided (caveats noted):

1. How do I get my book published?

Variations include: Do you have any advice on how to make my book sell? What do think I need to do to make my book popular?

The shortest, truest, answer is: “How would I know?”

Authors, editors, agents — none of us can tell you the “secret” to getting published because there isn’t one. “Write the best book you can” is standard advice, because it’s true, and because each book is different. If you’re writing exactly the same novel as I did, sure, maybe I can tell you who loved mine and wanted to buy it, but why would you want to write a book that’s already been published? Unless it’s the same all the way down into its bones, I couldn’t tell you for certain who would buy it. Acquiring editors base their decisions on the quality of the work, but also on marketing trends, what’s selling now, what’s already been bought but isn’t yet published, how long it will take to get your book out compared to how current/trendy it is, and so on. Generally, a book takes a year or more to see the light of day, and if you’re offering a work “just like that new book that’s selling so well!” by the time a buyer accepts it, gets it edited, laid out, proofed, printed, and distributed, you’re too late. Readers will have moved on.

Once a book is finished, edited, revised, and ready to be shopped around, then you can ask for advice. Once you have a tangible item that your mentor can actually read, it’s so much easier for them to say, “I think XYZ House would love a book like this because their editor was just telling me she wanted the [specific bits] I see here” or “I’ve seen two or three of these exact books out last year, but none of them had your chapter 11 — I’d expand that section to make your work stand out”.

Until then, you’re basically saying: “I’m going to make cookies with lemon juice and ginger in them. Can you tell me if they’ll be delicious? How many people will buy them? I don’t have any for you to taste, but can you tell me what I need to do to make them better?”

Exception: Certain types of non-fiction publishers will hire writers to create books that fit a pre-established line (like the “For Dummies” series). If you want to write specifically for them, you need to first contact them and pitch your idea. This isn’t true for most types of publishing, and if you’re planning to write the book your way, and find a publisher who won’t want to have strict control over every single aspect of it, you need to write it before you worry about publishing.

Your unhatched chickens? Do not count them yet.

Your unhatched chickens? Do not count them yet.

2. How do I get an agent?

Variations include: Will your agent read my book? Hey, agent, my book isn’t finished yet but do you want to read it?

You get an agent by submitting a cover letter about your book. Sometimes they’ll want a sample as well, but mostly it’s the cover letter. Sure, you can write that before your book is finished, but if the agent likes the letter, they’ll want to see a sample. If they like the sample (often a complete outline and the first 3 chapters), they’ll want to read the whole book. This process could take months, giving you time to finish the project — or it could take a week. What do you think will happen when the agent finds out you don’t even have a first draft done yet?

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