Coyote Con

Panel: Cindy Lynn Speer, Tim Mulcahy, John Rosenman, Kal Cobalt, Heather S. Ingemar, J. A. Howe, C. G. Bauer
4PM EST, May 2, 2010

CindyLynn: Let’s start by introductions. Tim, would you like to begin?
Tim Mulcahy: Sure.
CindyLynn: (also, remember, if you have any problems, feel free to PM me.)
Tim Mulcahy: I’m Tim Mulcahy. I have a dozen short stories sold or published. I write some long fiction as well. I also have three stories in Drollerie’s Bump in the Night Anthology
John Rosenman: I’ve published about 350 stories and around 15 books, mostly in SF/H/F. Please check out my website at www.johnrosenman.com/ One of my SF adventure novels, Beyond Those Recent Stars, recently won Allbooks Review Editors Choice Award.
kalcobalt: Hi! I’m Kal Cobalt. I’ve had about two dozen short stories published, and my first ebook collection of short stories, Robotica, has just come out. I’ve been flogging stories to publishers for about a decade. And I have free stuff on my website, kalcobalt.com, shameless plug.
Heather Ingemar: Hello everyone; I’m Heather S. Ingemar. I’ve been writing professionally for about six years. My favorite genre is some weird mix of paranormal, horror, romance, and fantasy. You can find more about me on my website, http://ingemarwrites.wordpress.com/ I love hearing from people. I’ve got several short stories and novellas out from Indie publishers, and a slew in literary mags, so it’s all good.
JA Howe: Hi, JA Howe here, and I’ve written and published short stories for about a decade now, in various magazines, ‘zines and anthologies. You can find a lot of my stuff from following the links on my site http://howewriter2000.4t.com. I’ve also an ebook about to come out from Drollerie.
chrisbauer: I write as C. G. Bauer, or hopefully sometime soon also as someone else when I’m able to get some of my odd(er) and arguably more grossly inappropriate pieces published. I’m fessing up here to let folks know I earned my first publishing contract with a novel (Scars on the Face of God: Drollerie)
CindyLynn: And finally, you have me. Short stories are one of my favorite mediums, and they were my first publications with Drollerie press. I’ve been writing professionally for…eeek…15 years. Soon my short story anthology, “But Can You Let Him Go?” will be available through Drollerie. More about me can be found at www.apenandfire.com. Now, let’s get started with the conversation…tell me, what do you find inspiring about short stories as a medium? Why write them?
Tim Mulcahy: I write them because they allow me to explore an idea or a concept without having to devote all the energy that goes into a novel. Short stories allow my to take more risks and experiment
Heather Ingemar: Well, I like the brevity and focus of them. Novellas and short stories — there’s not so much “fat” in them as in a novel. Short fiction is, by its very nature, lean.
kalcobalt: I love them as ways to get to know characters, explore a singular central idea, or take narrative chances. It’s not as much of a commitment as a longer work, so I can experiment with less fear of failure.
John Rosenman: Cindy, one thing great about them is that sometimes you can finish a good story in days rather than months or years as in a novel. And sometimes the inspiration sweeps you along and you get almost instant pleasure from realizing a concept.
CindyLynn: I write them for a silly reason…because that’s what the idea that came to me is. I love how the short story medium works…how you have to explain and fit everything into a small area of space. @John, I love that.
Heather Ingemar: I agree John; there’s a sense of immediacy about the story that you don’t get in longer fiction
Tim Mulcahy: When I wrote Vampire Lounge, I did it on a dare from one of my friends. It was my first attempt at horror. I never would have done that if I had to write a novel.
John Rosenman: I’ve gone to a local B & N, seen something that triggers an idea almost from nothing, and have gone home and written a complete story that night. A lot of them I’ve sold.
Heather Ingemar: @Tim
kalcobalt: CindyLynn, it’s funny, I like them for the opposite reason: I don’t feel like I HAVE to explain everything in a short story. In a novel, I feel like I should have a bit more backstory/world-building explanations.
JA Howe: I write a lot these days in one or two specific worlds, and short stories are a good way to explore snippets of those worlds — try out characters and settings.
CindyLynn: Well, when I say explain…I mean, you have only this much space to tell the reader everything they have to know to understand and enjoy the story?
kalcobalt: CindyLynn, I see what you mean, and thinking further, I think I mean that I feel more pressure to “show” rather than “tell” in short forms. Which probably says more about me than it does about short forms!
Tim Mulcahy: Yeah. When you have 5000 words to get it all in, there isn’t much room for backstory.
JA Howe: Yup, so it needs to be tight, and I like that. Helps me focus characters more than they might be if put in a larger format.
CindyLynn: Chris, I can’t wait to see some of your other pieces.
John Rosenman: Show rather than tell is perhaps the most important principle in writing short stories, though it can be broken.
Heather Ingemar: @Kal I agree. In longer forms you can just go off on wild tangents, explaining your world and all the nuts and bolts of it; in a story, you’re limited to the most crucial bits
Heather Ingemar: The stuff you can show
JA Howe: Ohh yeah.
CindyLynn: No…and showing rather than telling is the most important point to any story. (Am I the only one who has some old faculty person standing in the back of your head going “Show don’t tell! in a loud voice?)
JA Howe: nope
Heather Ingemar: @Cindy Not hardly!
John Rosenman: One of the best stories I ever read was by my friend, who told or explained rather than showed. Rarely, this can work.
chrisbauer: that person would be John, cindy
kalcobalt: @CindyLynn If I’m lucky that’s the only thing it says.
CindyLynn: With this in mind, is it possible that writing short stories can be an important exercise, to teach you how to tighten your writing? @Kal, you just make me laugh out loud for real.
chrisbauer: I find it as an end to in and of itself
kalcobalt: Absolutely! I’ve done this a number of times (and published the work afterward). It’s can be a great self-teaching tool under the right conditions.
Heather Ingemar: I’m of two minds about that; yes, it can help you tighten your craft, but on the other hand, short fiction is an entirely different animal from long works.
chrisbauer: I absolutely LOVE being able to create full-blown pieces with (hopefully) satisfying resolutions in works that are shorter. It’s very gratifying for this writer, and many readers I’m sure, to see a plot idea fully arced and presented in one sitting.
John Rosenman: Tighten — yes. After I finish a story, I often go back and prune prune prune. A magazine once accepted a story on the condition I had to cut 2000 words. It was good experience.
Heather Ingemar: @Chris AMEN!
JA Howe: yes, for me too… it’s great for that
Tim Mulcahy: Sure. I agree with that. I think people well versed in short stories not only right tight but their stories move. Pacing is key now. Look at Stephen King. His novels are well paced I think because he writes a lot of short stories
kalcobalt: @Heather I agree, but I also think there’s some value in the idea that a scene should rise, climax, and fall and so should a chapter, and a part, and a novel, and a trilogy, and a series, etc. — so learning the essential structure in short fiction can sometimes be ported to long.
CindyLynn: That’s why short stories are a relief for me, because it takes some discipline. But I love the mindset I have when I write…do you guys find that your…writing mind feels different when you write short stories as opposed to other things? Because when I’m writing a short story, I definitely feel different muscles move.
Heather Ingemar: @Kal Agreed. You can definitely get a better grasp of the basics.
CindyLynn: Kal does raise a very good point.
chrisbauer: I prefer writing pieces with a beginning, middle and end.
Tim Mulcahy: For sure. I often write short stories, at least the first draft, in one or two sittings. Sure they’re marathons with lots of coffee, but there’s a sense of urgency about them that I don’t get in novels.
chrisbauer: I do feel some of what’s being published today by the more literary magazines is long on contemplation and short on action/resolution.
Heather Ingemar: @Cindy Since I’m a short fiction person through and through, I don’t notice so much of a difference, although I find I use a little different voice with my novellas than my short stories, or even than in my flash fic
John Rosenman: Well, I’ve been a member of a writers group for 21 years, and it feels different when I lay a story before them as opposed to a chapter. The story is finished and is good or bad based on its merit. OTOH, a chapter can be great but the whole novel can fail.
JA Howe: I have more difficulty doing longer stuff, yeah. Short stories definitely feel different than novels do in my head; I’ve found that they require a LOT less management in my case at least.
kalcobalt: @JA agree about management. Novels for me are more about planning it all out and putting the puzzle pieces together, whereas short works are like crazy little sprints of ideas (which, even if they take some plotting, aren’t as intense in that regard as novels).
John Rosenman: Of course, in a short story, one thing can be wrong and the whole thing can collapse. In a novel, there can be defects but the whole thing can still be a success. That’s part of the “feel” too.
chrisbauer: @john. But you find out a lot quicker with a short story, thank goodness
John Rosenman: Yes, you usually do, Chris. But sometimes, what prevents a short story from working can still be a mystery.
JA Howe: I’m still very new to getting novels complete, so I think that might be part of why I don’t get that particular thing yet — the “doing ok even if a piece of it doesn’t” thing I mean
CindyLynnSpeer: (It’s the same CindyLynn…the electricity went out
for a second. I apologize.)
chrisbauer: I adhere to the “enter late, leave early” approach in
constructing a story. I prefer putting the reader into the middle of the conflict,
a hit-the-ground-running slant to getting the reader in and out of the action
or conflict. No different perhaps than constructing scenes or chapters in
novels.
CindyLynn: (May I be so rude as to ask one of my fellow
Drollerie Press authors to copy and paste the chat so far and email it to me,
so I can make a transcript later? I am sincerely sorry.)
Heather Ingemar: @Chris I like doing that too.
kalcobalt: @chrisbauer I’m getting more and more into that
method with my short fiction, to the point where sometimes I don’t even
know all the back-story I used to think I needed! Amazing how well it works —
but I’m uneasy about trying that with long forms.
Tim Mulcahy: That’s what I’m doing now. I’m experimenting with
Flash Fiction. The story begins and ends at the climax.
Heather Ingemar: Ah, flash fic rocks!
Heather Ingemar: It’s like a little shot of adrenaline
CindyLynn: Should we explain flash fiction, for those who
may not know?
Heather Ingemar: Probably.
chrisbauer: @ Kal: Put another way: Give the reader credit for
being able to fill in some of the blanks or back-story by not indulging in it,
then tell the story, then get out so you don’t overstay your welcome.
Tim Mulcahy: Sure. To my mind it’s a story in under 1000 words
Heather Ingemar: Flash fiction is a story that’s super-short,
usually under 1000 words, but can go as low as under 100.
chrisbauer: @ tim. wow. interesting. love it
kalcobalt: @chrisbauer Oh, I definitely agree with that in
whatever form, but I’ll push it further in short fic.
CindyLynn: I love drabbles…those are stories that are…is i9t
exactly 100 words, or under 100 words?
Heather Ingemar: @Cindy I think they’re under 100
Heather Ingemar: Fun stuff!
Heather Ingemar: Every word has to count — almost like poetry
Tim Mulcahy: Eek. I don’t know if I can do that
chrisbauer: I know someone who is selling 140 character twitter
stories. Not sure what he’s earning on them but he did say
“sell”.
Heather Ingemar: fascinating, Chris
CindyLynn: Drabbles are one of my favorite writer’s block
breakers. I’ll sit and write silly drabbles over odd things just to make me work.
chrisbauer: about queries: my approach is make them short and
to the point, with bio info that’s not too grandiose. The story is the thing, so
let it do the talking. Short stories are also a great way to earn your stripes
and a purple heart in the publishing industry. One can pile up rejection
slips/emails in a hurry nowadays because of the ease of submitting online.
kalcobalt: I often get flashes of ideas that don’t get fleshed into
a full story, so I’ll craft it into a Twitter story to flex my writing muscles and
exorcise the tale from my mind somehow.
CindyLynn: @ Chris, very good point.
Heather Ingemar: I *love* online submissions.
Heather Ingemar: I agree, Chris, about letting the story do the
talking.
chrisbauer: and rejection slips can be a learning experience also
CindyLynn: I try and craft mine short, as well, adding a
reason why I choose that publication. That way they don’t feel like I’m
employing the shot gun approach.
kalcobalt: Goodness yes. I never got cranky about rejection
slips (and still don’t). They’re trophies for trying and they tell me things about
the work/my approach.
Heather Ingemar: I try not to put too much in my queries, and
I’ve even had magazine editors say they don’t want to know anything about a
story other than the title and word count
Tim Mulcahy: I typically don’t query short fiction. Most markets
just want you to send the story.
CindyLynnSpeer: What’s the best rejection slip you’ve every
gotten?
chrisbauer: I see more of that too nowadays, Tim
kalcobalt: I agree about keeping queries short, if you feel you
should query at all – just a brief question about whatever it is that you aren’t
sure would match between the story and the guidelines.
Heather Ingemar: Hehe, Cindy! I got one from a magazine
that said the technical details of the story weren’t up to snuff, but they loved
my twisted imagination.
JAHowe: Aw, best rejection slips have been those that actually
tell me something — it doesn’t have to be a huge amount, just something
about what the editor didn’t like or didn’t think worked…
CindyLynnSpeer: *laughs* Cool, Heather! My least favorite was “I
really loved your story!” written on the corner of a form rejection, because I
was like, erm, if you really loved it, why are you saying no?
chrisbauer: for me it was a third of an 8×12 piece of paper
hand-torn with maybe one or two sentences on it. I still have it
Tim Mulcahy: The best I got was asking for a rewrite because I had
a male or female calico cat (don’t remember now). They loved the story but I
had to change the cat.
Heather Ingemar: ROTFL, Tim!
CindyLynnSpeer: Those are always nice. It’s good to feel like you
meant enough that they wanted to write something. and @Tim…did they tell
you why?
kalcobalt: @Tim and CindyLynn, I believe male calicos are
extremely rare — was that the beef? And this definitely trumps any “best
rejection” story I could drum up!
Tim Mulcahy: Yeah, the editor was a cat person, knew way more
about them than I did. She told me that it was impossible for a male (or
female) calico to be born.
Tim Mulcahy: Exactly.
CindyLynnSpeer: Ahhh! OK.
Tim Mulcahy: Made it a Siamese cat. She bought that story.
Heather Ingemar: Oh, yeah, Kal! Calico cats can only be female;
it has something to do with the genetics
JAHowe: yup
Tim Mulcahy: It’s called “Taming Kitty.” btw.
Heather Ingemar: Great title, Tim
CindyLynnSpeer: What other tips can we give to people who want
to sell their short works?
Heather Ingemar: Persistence!
chrisbauer: Got a comment about what rights you should not
sign away when handing over the story for publication.
Tim Mulcahy: Go to www.Ralan.com. Learn your markets. After a
while you’ll learn the likes and dislikes of editors.
Heather Ingemar: Duotrope (http://duotrope.com/) is great too
JAHowe: You want to read it out loud once or twice. What does
this sound like that you’ve just created? Not everything written sounds like the writing
within it. You want to be sure they match as best they can.
chrisbauer: In one deal I was asked to sign a contract that
would give the publisher rights to publish my short story on his ezine plus
lock in royalty terms for venues other than online (example, movie idea, video
game, etc.) for $25. In effect he was looking to lock in author royalty terms
for these venues right there and then, and they weren’t all that attractive.
CindyLynnSpeer: I love Ralan, but never heard of Duotrope. Cool.
kalcobalt: Be brief in your “cover letter” (now an email, in most
cases) and don’t be afraid to talk up affiliated experience if you’re new to
publishing works. Learn the formatting your markets want and follow it to the
letter — it counts!
CindyLynnSpeer: Wow, that sounds…shifty.
chrisbauer: he also reminded me of the Stephen king short
story Stand By me that became a movie.
kalcobalt: @Chris, I completely agree. Learn about rights and
which ones are typically in play for short works, then go over anything you
receive which deviates wit a fine-tooth comb.
CindyLynnSpeer: Is there anything that the speakers would like to add
before we start?
Heather Ingemar: I think I’m ready for questions.
JAHowe: yup
kalcobalt: Just that I love talking about this stuff and am happy
to answer any questions, now or later!
CindyLynnSpeer: Cool. If you would like to ask a question, please
type ?, a comment, please type !. You will be called in order. Also, don’t
forget to type GA when you’re done.
emalcohn: Re drabbles: Sam’s Dot Publishing puts out a series of
anthologies called The Drabbler: stories of exactly 100 words; nominally
paying market. Each anthology has a theme. And Thaumatrope is a
speculative Twitter zine that pays for micro-fiction. Tim: If you need to use a
male cat that has calico-like markings, you can make him a tortie. g/a
Tim Mulcahy: thanks
Tammy: For everyone: Is there a resource you can point to which
shows the typical rights asked by short story publishers?
Heather Ingemar: Tammy, I’m particularly fond of The Writer’s
Legal Guide by Crawford and Murray
CindyLynnSpeer: Heather’s got the book I use.
kalcobalt: Tammy, the Writer’s Market that comes out each year
(you can find it at the library if you don’t want to buy the giant tome) often
has great introductory articles before the market listings. They usually not
only cover the rights but also the state of publishing in general for the year.
Good stuff!
Heather Ingemar: That book handles just about everything.
JAHowe: SFWA also has a mess of that information on their
website
CindyLynnSpeer: Also, may I suggest you keep an eye on Predators
and Editors? Sometimes they give good tips and comments. g/a
Tammy: Thanks so much!
chrisbauer: P&E is a great resource
jamileigh17: From some research I’ve done, and several buddies,
seems the common twitter story payrate is like a dollar or so per. But given
how little time is often taken up with them, they can be worth it. And people
may want to check editors and predators on contracting info
jamileigh17: as they often have a lot of good guides on those. GA
(sorry for the delay, puter’s spazzy)
decode1863: How much detail, and character description should go
into a short story that is typically…say, 4-5k?
Heather Ingemar: However much you need. Honestly, there’s
no hard and fast answer to that.
chrisbauer: For me, it’s less literary, more minimalism. I know,
“more” plus minimalism equals an oxymoron but you get the idea. I like
Raymond Carver. I also like crime fiction which tends to be more in line with a
just-the-facts approach. Hence my draw to ezines like Thuglit, Bad Things,
Plots With Guns, Pulp Pusher, The Back Alley, Out of the Gutter, Over My
Dead Body, etc.
kalcobalt: Depends entirely on the story, I would say. If it’s a
character-driven, internal story it’s going to have more character in it,
whereas if it’s got a massive global/interplanetary scope there might be less
detail and more action. It varies hugely by genre/author/tale.
JAHowe: Hmmm… you want enough to give a taste of the
character and setting, but not enough to bog down the tale.
CindyLynnSpeer: Yes, I’m (again) with Heather. You just put in
what you need to make the story work? I try and keep it down to just what
we need?
Tim Mulcahy: tough question Decode. It really depends. You need
to do a lot with a little. Describe characters with how they move in action.
pale coughing with a cigarette hanging out of his mouth while skinning a
squirrel. Paints a picture with few words.
Heather Ingemar: (Tim: “Paint a picture with words” is what my
mother tells me all the time, heheh)
decode1863: Great description! I’m STILL learning how to
construct a short story. I usually have a whole novel to tell a story with.
John Rosenman: If you have a lot of info, keep it brief and blend it
in here and there. Avoid info dumps.
decode1863: Something else I’m learning. Thanks @John
Rosenman. ga, everyone.
basletum: I’ve found that doing short story spin-offs involving the
world or characters in one of your novels can be a good way to get new
readers introduced to that world. g/a
CindyLynnSpeer: That’s true. I know people who put up free short
stories in a world to attract readers. g/a
kalcobalt: @basletum, definitely. I have a short story published
in a best-of anthology and am working on a novel in the same universe —
very excited to have the inner workings of the world already out there for
consumption. g/a
JAHowe: I have as well, basel! It’s something I do a lot with
Kritter tales for instance
FrancesP: A lot of the anthologies listed on both Ralan and
Duotrope don’t offer royalties, only a small one time payment. How do you
guys feel about that, when the antho will stay in print earning $ Is there a
better source for legit anthologies that are open? Or do you have to watch
specific publishers one at a time? g/a
Heather Ingemar: Unless the proceeds go to charity, I generally
avoid contracts stating I give up my story for free, while the antho/publisher
earns.
chrisbauer: You, I, all of us may need to build up our resumes,
so publishing credits with ezines not able to offer any payment are fine, far as
I’m concerned.
Tim Mulcahy: Depends on how bad I want the story out there.
John Rosenman: If I’ve published a story before and been paid, I
don’t mind those markets, Frances. If it’s a first time thing, start with the
better genre prozines, themed anthologies, and the like.
CindyLynn: I don’t think anyone really likes it, but I think you
have to accept that it’s a possibility in order to get published. You need to
build credits somehow, to prove that you are publishable.
Heather Ingemar: But I’m with Chris; ezines are a whole ‘nother
kettle of fish
JAHowe: Both, as far as I’ve learned. You want to look at the
big picture, because you don’t know where this or that magazine is going to
be in a year.
kalcobalt: @FrancesP, that does seem to be the industry norm.
It’s just a defect/feature of the state of the industry at the moment. I have a
set $ amount I won’t work under and consider the lack of royalties made up
for by the “free publicity” of having my work in a book. g/a
CindyLynn: I just would keep watching everything…you never
know what you might find. Sometimes you can really luck out…if an editor
likes your work, they can really help you. I believe in the try everything and
pray a lot approach. XD g/a
John Rosenman: Some electronic markets do pay. I sold a first
time story to Damnation Books, for example. They pay pretty well.
Oliver: I think my question has been answered… but, -You all
make writing short stories and flash sound so simple… I REALLY have
a hard time of it (tho no problems with anything over 40,000 –
90,000.) With that being said, I have won a couple of short story
contests in magazines(2000 words) but I still felt the story was
‘lacking’ and amateurish. I REALLY want to learn – What is the ‘secret’
to writing ‘fulfilling; shorts? (desperately trying to get the concept
) Thank you for your answers. g/a
kalcobalt: Oliver, I would suggest reading A LOT of short fiction
and finding stuff that you yourself find fulfilling as a reader. Then deconstruct
it, paragraph by paragraph, and find out what the inner workings are that
make it fulfilling.
Tim Mulcahy: Sit down with Ted Chang sometime. He’s never happy
with his work.
John Rosenman: I’ll tell you a trade secret, Oliver. Find a good
writers group. They’ve helped me to hone both my short and long fiction and
make sales.
Heather Ingemar: Yes, I don’t think any of us can stress the
reading portion of it enough
John Rosenman: When I was 18, I had an English prof tell me to
read all I could.
CindyLynn: It’s going to sound trite, but practice? I see the
writing mind as a place that needs worked out to build the muscles, for lack of
a better way to pout it. So you need to exercise the muscles that create short
stories, and as you work them, then short story shaped ideas start to form
to be written on. Also, read a lot of short stories…Neil Gaiman, Stephen King
are some of my faves.
kalcobalt: A good writer’s group is hard to find, but they do
work wonders. (Just be aware that bad writer’s groups are easy to find and
work the same wonders in the opposite direction — take care!)
chrisbauer: I agree with John. I’m in 2 groups. they’ve helped
me immensely
JAHowe: Well, you look at what concept you want. It sounds like
you’re used to doing novella – book length stuff, and well if you think of a
short as one section of a novella, like Character Xs tale, then that could help
g/a
Tim Mulcahy: And the muscle needs work. Write every day
John Rosenman: I wrote a long blog on writers groups which I’ll be
glad to send anyone; it covers the good and the bad.
riversway: what is the length of a short story and a novella
and what is the difference between them?
John Rosenman: A story usually goes up to 7500 words and a
novella is usually between 20,000-40,000.
Heather Ingemar: Everyone has their own definition. I
consider flash to be 1000 words or less, short stories up to 15k, and novellas
between 15k and 40k
CindyLynn: And really, the only difference is what you have to
put into them to make one a short story and one a longer story? Is that
makes sense? It’s about how much room you have, and how much you have
to say in that space.
John Rosenman: There’s a lot of variety. One pro antho I sold
fiction to didn’t want a story over 750 words.
JAHowe: Short story is one concept, and a novella can be a little
more complex, can do a little weaving of a couple concepts together.
kalcobalt: I second John’s definition from my market experience.
In terms of the difference, it really is just the length, and the plotting
differences that come with that (more plot than a story, less plot than a
novel).
Tim Mulcahy: I was just on Wikepedia: Novella 17,500 to 40,000
or 10,000 to 70,000. Clear as mud
riversway: thanks all g/a
John Rosenman: For SF, especially, novelette and novella-length
stories can be advantageous for exploring in-depth concepts without
sprawling out to novel length.
DavidKM: storypilot.com also has market info. A little out of date
sometimes, but interesting markets. online markets: www.strangehorizons.
com pays $20 for poetry & more for fiction. g/a
K.T. Hanna: Just in relation to the write every day thing. If you
have an Ipod touch, or an Iphone – there is an app called: WriteChain. It
allows you to set a goal for each day, and if you can have a day off and not
break the chain. And then it adds to your chain for every day you write. It’s
just nice to look back and see you’ve been writing for 55 days straight and (in
my case for example) written at least a page a day every one of those days.
Just a suggestion for those trying to get into the habit of
Tammy: Just asking for John R’s blog post link, thanks!
kalcobalt: Nice one, K.T.!
K.T. Hanna: (Oh it also has wordcount totals g/a
ClarkWriter: @John R. – Please send me that blog on writers’
groups, I would love to read it! cclark40@comcast.net
John Rosenman: My website is www.johnrosenman.com/ I also
blog once a month at www.storytellersunplugged.com/ That’s late on the
thirteenth. It’s a community of about thirty writers.
Dragonlots: I haven’t noticed anyone mention networking.
kalcobalt: I network constantly online. Seriously, my iPhone is
the best thing that’s ever happened to my writing career.
John Rosenman: Oops, I see you’re talking about the blog on
writers groups. It was posted at www.storytellersunplugged.com, I’m not
sure what month as I’ve been blogging there for four years. You can
probably find it, though. If you query me at jroseman@cox.net, I’ll be glad 2
send it to you.
CindyLynn: The best networking, for me, has been via
researching and joining writer’s groups. I belong to several that I like, and we
often pass news to each other that helps.
Tim Mulcahy: Cons help. You learn a lot. I made my most recent
sale to an editor I met at Minicon a couple of years ago. He wouldn’t have
read my story if he hadn’t met me.
Coyote:: rafeal_mj has entered at 5:13 pm
decode1863: I do a lot of networking online. That’s actually how I
found out about CoyoteCon! ga
kalcobalt: LinkedIn and Twitter are amazing little connection
machines for me. I’ve had more work come from them than face-to-face
connections! g/a
Heather Ingemar: Networking is VERY helpful. I’m everywhere;
blog, twitter, myspace, goodreads…
JAHowe: Well, in what sense do you want to know? (regarding
networking) Networking is done in various ways — I have a livejournal, I hang
with the guys at Drollerie, I’m on facebook and linkedin and various other
places….
Heather Ingemar: It’s great meeting new people, writers AND
readers.
decode1863: Yes, actually. I wanted to know if you guys ever
have…those moments. Where a short story….seems too long to be a short
story.
kalcobalt: @Heather me too, to the point where I just tell people
“look up ‘kalcobalt’ wherever you are” because I can’t list all the sites anymore!
John Rosenman: Duotrope is good for checking out markets.
chrisbauer: Facebook is excellent for meeting other writers
CindyLynn: We’ll be winding up soon, so if you have any
questions, please type ?
chrisbauer: who can clue you in on what’s selling, etc
kalcobalt: @decode1863 ALL THE TIME. I went through a phase
where I used to “promise” myself it was “just” a short story. 10,000 words
later…
JAHowe: absolutely, decode! I’m constantly wondering
Tammy: Can anyone suggest a good writers group in Boulder, CO?
Also, kalcobalt, can you elaborate on how the iPhone has been good for your
writing?
CindyLynn: Decode, I look over the story and see if there’s
anything that needs fixing. If it’s as polished as I can get it, and I’m happy
with it, I stop worrying about length.
kalcobalt: @Tammy, it helps me stay in touch on social networks
much easier (many apps are better-designed than the web equivalents), and
also allows me to do minor business during breaks at my day job. Also, I write
directly on the device sometimes. Maximize every moment! g/a
JourneyMouse: Devil’s advocate moment: I’ve heard it said a
number of times that it’s necessary to publish short fiction before trying
longer works – particularly of science fiction. You all touched on how short
fiction might improve one’s style but how do you feel about that kind of
generalized advice? Do you agree? Do you consider it a good idea if
someone’s “heart” or “muse” isn’t really in it? Does a writer _have_ to be able
at a particular length or all lengths?
Dragonlots: @Tammy. Check Rocky Mountain Fiction Writers. They
have several writing groups. Plus, make contacts at MileHiCon in October.
Tim Mulcahy: I just bought an Ipad and downloaded Pages, the
word processing program. Totally great. You can write anywhere.
JourneyMouse: (And I’ll stop bouncing in my seat now – all wasted
because you couldn’t see me going “me next! me next!”)
Heather Ingemar: @JourneyMouse I don’t agree with that. My
creative writing prof said once that some people ARE story writers, and some
ARE novel writers
CindyLynn: JourneyMouse, not at all. I think you need to
write what you want to write. There are many authors with huge publication
credits who’ve never written a short story…and a few I can think of who have
and who I’d rather had not.
Tim Mulcahy: Journeymouse. I’ve heard that from a lot of
published novelists. They say that they just don’t have short stories in
them. They write novels and sell them. You can’t argue with success.
Heather Ingemar: I’m much more of a novella writer and story
writer than a novelist.
kalcobalt: @JourneyMouse I don’t agree with it. Some novelists
write great novels and don’t write great short stories, or don’t want to. I see
no problem with that! g/a
Heather Ingemar: However, I think if you work at it, you can
master the different lengths
JAHowe: yes, write what’s there
John Rosenman: Mouse, it’s just generalized advice. Writing short
fiction can help you build up to a novel, but folks are different. If your novel
isn’t any good, it’s going to be hard to sell it no matter what.
CindyLynn: I think that it’s important to follow your muse?
Write what you want, and what feels right to you.
Heather Ingemar: @Cindy That’s the nail on the head
CindyLynn: Have I missed anyone?
kalcobalt: Cindy, definitely. A novel is a larger commitment, and I
think that’s why some try to dissuade new writers from tackling them first.
But if it’s a novel trying to come out of you, writing short stories won’t help!
g/a
JourneyMouse: Lol. Thanks, guys It’s interesting hearing the
difference between people who are confident about themselves and what
they’re doing and those still following some formula Thanks for all the
answers you’ve given us all tonight
Heather Ingemar: Don’t beat yourself up for not writing a novel
if stories are all that comes out. And vice versa.
John Rosenman: What’s in you will come out. Cindy, do you need
that transcript, or are you good?
chrisbauer: I sometimes get a great idea after too much Dunkin
donuts coffee and I know it’s not something that will work in a novel so I’ll
look to get it out in something shorter
decode1863: Especially when you have to re-write it.
CindyLynn: @John, I’m fine. Thank you.
CindyLynn: OK, if no one else has any questions or
comments, I think I shall open this up as a free for all, and officially end the
transcript. You have all been wonderful.
CindyLynn: Extra thanks goes to K.T. Hanna, for saving my
bacon. Thank you.
kalcobalt: Thanks for your moderation, Cindy!
CindyLynn: And thanks to my fellow panelists. And most of
all, to all who came.