From the Editor's Desk
Hi and
welcome once again to Fiction Factor! And, as always,
welcome to our new subscribers.
Firstly, my apologies in advance if this issue is a
little shorter in substance that our usual issues. A
quick trip to the hopsital for some simple day-surgery
turned into something a bit more major, requiring a much
longer recovery period than I expected or planned for.
I'm pleased to say all is well now, but it did leave me
more than a week behind with my usual tasks and
schedules.
I receive a lot of emails most months from subscribers
and I'm happy to encourage questions and correspondence
at any time. I do my best to answer them all personally
as soon as I have the time. The vast majority of emails
are lovely and I look forward to receiving your comments
or questions. However it does get a little worrying to
receive emails like this:
I wrote a story. Tell me where to send it so I can get
paid.
...or I'll receive wonderful emails just like this:
I attached my 600 page novel for you to read. Plz
critique my novel and get back to me. After you've read
it let me know which publisher will pay me the most for
it so I know where to send it. Thx.
These aren't made-up emails. These are copies from two I
received in the last week that deserved a mention.
Now, I'm not one to stand on formality. I don't expect to
be addressed with a formal "Dear Ms.
Masterson...". Just a simple "Hi Lee" kind
of greeting will do fine - just as long as there is some
form of greeting. It's also kind of nice to know your
name too so I know who I'm addressing when I do respond
to you. It feels very surreal to press the reply button
and write "Hi fluffy_bunny_69" based on the
sender address because the writer forgot to tell me a
name.
While I'll always do my best to answer any questions on
writing you have and I'll definitely answer every email I
receive (eventually), sometimes it's very difficult to
find adequate answers for unrealistic expectations like
the ones above.
Finding paying writing markets and publishers wanting to
see novel submissions is really easy. I could probably
spend a few moments looking up some great submission
guidelines to try and help readers like the ones
mentioned above, but sometimes I'm just really busy with
my own writing and deadlines and schedules for this kind
of thing.
If you really want a question answered, then always feel
free to email me (or contact me on Facebook). Just be aware that while I will
look for and try to provide whatever answers I can find,
I won't do your job for you!
Enough about that. Let's get into the writing stuff!
Did you know that the topics featured in each issue of
Fiction Factor are chosen from the most active topics on
our forum each month? The forum is always busy and
everyone's very friendly and helpful. If you have a
writing question, feel free to ask. Not only will
everyone do their best to help you out, but we'll
probably end up featuring it in the ezine as well!
http://fictionfactor.1.forumer.com
This issue Lee Masterson looks at ways plot your novel
and also looks at some things you can do to guarantee
failure as a writer. Vicki Hinze answers the question of
how to determine in which genre your novel belongs.
It's time now to grab a beverage of choice, sit back, and
enjoy this issue of Fiction Factor!
Lee Masterson
Editor-in-Chief
http://www.fictionfactor.com
Pop by and hi
to me on Facebook. I enjoy getting to know our readers! http://www.facebook.com/people/Lee-Masterson/1569278962
"A professional writer is an amateur who didn't
quit."
-- Richard Bach
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Determining
Genre
by Vicki Hinze
I am
ready to search for an agent, except that I don't yet
have a title for my novel. Here's my dilemma: My story is
both a mainstream novel and a mystery novel. I have two
questions.
1. Is it okay to let a potential agent decide what my
book should be?
2. How should I select an appropriate title? Should I
offer the potential agent two title options?
The agent will conclude which market provides the best
opportunities for selling your novel to a publisher, but
ultimately, a publisher will decide how to best market
your novel. Given a choice between the mystery
genre--which has an established reader base that has
already been identified--and mainstream--which is a
catchall for books that don't fit into a defined
genre--most publishers will choose the genre.
Their rationale is a solid one. It's extremely difficult
to market a first book mainstream. It requires an
enormous amount of ground work and marketing/promotion.
Then, it's still very risky business with at best an
uncertain level of success. Conversely, the mystery genre
is established. With a strong reader base already
established, marketing can be more intensely focused and
honed. Booksellers know where this book on the bookshelf.
More importantly, wholesalers--who often are not
readers--know where it belongs on the racks. So the odds
of potential readers finding the book are enormously
enhanced. Most importantly, readers who like to read this
type of book know where to find it on the shelves/racks.
From identified readers to obtaining reviews to getting
word-of-mouth going about the book is easier. This makes
placing the book in the mystery genre very attractive to
publishers.
Agents, of course, know this, and since their goal is to
maximize odds of placing the book with a publisher, they
are prone to follow that path. This is typically the
agent's best shot at creating a win/win situation for
publisher, author, and agent.
That said, I'm reluctant to agree that an agent should
decide whether to market a novel mystery/mainstream. The
agent is a partner, but having even the best partner in
the world doesn't absolve the author from understanding
his/her industry and how it works. I know. Some say
ignorance is bliss, and some authors just don't want to
get involved in the business end of the business. But
more often than not, that isn't in the writer's best
interest. It leaves the author vulnerable to making
career and life-altering decisions based solely on the
judgment of other people. And regardless of how well
qualified and trustworthy those people are, the author is
going to have to live with those decisions.
You can read the
online version of this article here: http://scifi.fictionfactor.com/articles/genre.html
(This link will take
you to Sci-fi Factor)
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How to Guarantee Failure as
a Writer
By Lee Masterson
During the
course of trying to gather research for this article, I
peered very closely at a number of best-selling authors.
My aim was to pinpoint the things they have in common,
the traits that stood out as being required to become
successful.
I learned
very quickly the only thing they all have in common is
that they WRITE. They all have different reasons for
writing, and they seem to hold different ideals for their
career paths, but they all physically make time to write.
Not much
information there, huh?
At the
same time, I joined in the conversations on several
mailing lists for writers. I also spent a lot of time
reading and critiquing new authors on various workshops.
During this stage of my research I spoke to aspiring
writers from all over the world. I read some great work,
and some not so great work, and I met some amazing
people.
I freely
admit that I have absolutely no idea how to tell who is
going to make it and become famous in the publishing
industry.
But I did
learn to tell which writers will NOT make it!
These
doomed writers are fairly easy to spot - once you know
what to look for.
Spot
the Excuse
"...but
it's supposed to be slow-paced. I wanted the reader to
think"
"...my character is supposed to be
inconsistent."
"...you weren't reading it right. You misunderstood
what I meant."
"...but I wanted to leave the readers in
suspense."
There's
nothing wrong with your story containing any of the
elements above. What is important is that the reader must
be able to understand why you wrote it that way.
For this
reason, a writer who needs to make excuses for his or her
writing is missing the point. The idea of writing a story
is to be sure your writing conveys exactly what you want
the reader to see. I'm not talking about describing every
tiny thing that goes on in your fictional world. I mean
write so that your words are clear enough to carry the
picture you created with your imagination into the minds
of your readers. If you feel the need to explain it, then
you haven't achieved the goal of telling your story yet.
Remember,
you're not going to get the chance to explain to a reader
in another country that you meant something else.
Poor
writers make excuses for their work. Good writers revise
and polish their words until every point shines.
Have
You Learned It All?
No matter
how much advice becomes available, there's always more to
learn about the craft of writing, about correct
submission procedures and about the publishing industry.
Yet I am amazed by how many would-be writers feel they
don't need any further education. They believe they
already have everything they need to write a blockbuster
novel stored in their heads.
Refusal to
learn about current trends, ignorance of changing
requirements and a lack of regard for the advice from
already-successful authors will mark you as an amateur.
Refreshing
information you already know is not learning - but it is
almost as important. It serves to strengthen the
knowledge you already have.
A true
writer never stops seeking new knowledge.
I'm Too
Busy
"I'm
too busy to write today."
"I'll write later."
"I'll get around to finishing my novel
eventually."
There are
thousands of writers with this same lament. And they're
right - life is busy.
You can
read the rest of this article here: http://www.fictionfactor.com/articles/failure.html
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Plotting Your Novel
By Lee Masterson
"By failing to plan, you are
planning to fail."
Benjamin Franklin (1706-1790)
A good story is made up of a
logical beginning, a bumpy middle and a satisfying end.
But a good plot is made up of more than just
these three basics.
Plotting an entire novel is a complex task, best summed
up by saying it is the author's way of showing the reader
the events as they are unfolding. A successful plot
depends largely on how the author chooses to display
those events as they unfold.
A carefully crafted plot-line, interwoven with clever
characterizations, tightly written dialogue and enough
action to hold a reader's attention are only some of the
factors which determine whether a book is a memorable
journey, or merely a story moving through the motions
from start to finish.
Let's look at some of the ingredients you will need to
include into a successful plot-line.
The Hook
Beginning a long story, such as a novel-length work, with
a detailed description of the surroundings, the setting
and the people who will be involved in the rest of the
story is no fun for a reader. The author has offered his
reader no real temptation to continue turning pages to
find out what happens next.
You must lure the reader into wanting to continue deeper
into your fictional world by introducing some form of
action at the outset. This will throw your audience into
the thick of things, and tempt them to keep turning pages
to find out what happens next. All the creatively-crafted
description in the world won't hold a reader's interest
as well as a strong opening action scene.
Action, in this instance, does not specifically mean a
wild car chase, or a shoot-out. But it should involve
some aspect of conflict, difficulty or obstacle which
will entice a reader into wanting to find out how your
character got himself into that predicament in the first
place.
Characters
The best stories are usually about interesting, likeable
people facing extraordinary situations. Heroes are never
perfect. In fact, it is usually because of his or her
flaws that a hero becomes more endearing.
Work on displaying your protagonist's strengths and
weaknesses through his actions and dialogue. Showing your
reader how a character reacts to a situation tells more
about that person than a lengthy, boring chunk of
narrative can. Similarly, how your hero reacts to the
characters around him can highlight much about his
personality.
Villains should be no exception to this rule. Allowing
your protagonist to defeat the 'bad guy' just because he
is a bad guy will make your villain appear weak and
one-dimensional. Creating a worthy opponent capable of
defeating your hero, complete with intelligence, skill
and charm, will make your story more engaging because of
its realism.
It will also force your audience to care more about what
happens to your hero, especially when you make it clear
that your hero could possibly be beaten by this worthy
opponent.
Introducing strong leading characters during your 'hook'
will involve your reader with their situation
immediately, but it is ultimately the characters
themselves, and how they handle their predicament, that
will remain fixed in the memory of a reader long after
the book has been finished.
Conflict
Once you have your reader firmly hooked, and you have him
caring about what happens to your characters, you must
step up the tension by creating conflict.
You can see
the rest of this article here: http://www.fictionfactor.com/articles/plot.html
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~ "Outside of a dog, a book is a man's best
friend. Inside of a dog, it's too dark to read." ~
~ Groucho Marx ~
Paying Market Listings
You can find the complete
Market Index here: http://www.fictionfactor.com/markets.html
Happy Market Hunting!
(Disclaimer: Mention of a market/ contest in Fiction
Factor is not necessarily an endorsement. Check all
guidelines in full before submitting)
The Way of the Wizard
http://www.johnjosephadams.com/?p=1760
One-time print anthology by Prime Books. Your story
should be about a wizard, witch, sorcerer, sorceress or
any user of magic. Stories should be no longer than 5,000
words
Pay: 5 cents per word plus 50% of earnings plus
contributor copy.
Deadline: 31st March 2010
Submission Guidelines: http://www.johnjosephadams.com/?p=1760
Skulls and
Crossbones
http://mindancerpress.wordpress.com/books/skulls-and-crossbones/
'Skulls and Crossbones' is a collection of short stories
that feature women pirates in any setting and any time
period. All stories should be between 4,000 and 7,000
words. Editors may consider reprints. Stories should NOT
focus on romantic hook-ups or erotica - rather the
editors prefer stories that feature adventure, intrigue,
battles, trickery, thievery and/or assorted banditry and
outlaw behavior.
Pay is $35 plus one contributor copy of anthology.
Deadline is 1st September 2009
Submission Guidelines: http://mindancerpress.wordpress.com/books/skulls-and-crossbones/
Best Horror of the Year, Vol. 2
http://www.ralan.com/antho/listings/besthorror09.htm
Annual print anthology is seeking reprints of horror
that were published throughout 2009. All branches of
horror will be considered, from traditional-supernatural
to the borderline, including high-tech sf horror,
supernatural, psychological horror, dark thrillers.
Guidelines are quite specific. Please read guidelines in
full prior to submitting.
Deadline: 15th December 2009
Submission Guidelines: http://www.ralan.com/antho/listings/besthorror09.htm
Brio
Magazine
http://www.briomag.com/
Seeking
short fiction up to 2,000 words to suit teenaged girls.
Romance stories, sibling rivalry and situations faced
daily by teen girls are especially welcomed. Brio’s
target audience is teenaged girls from 12-15 and Brio
& Beyond’s target audience is older teenaged
girls from 16-19.
Both Brio and Brio & Beyond pay between 15 and 35
cents per word on acceptance.
Submission Guidelines: (downloadable) http://www.family.org/sharedassets/correspondence/pdfs/GeneralInformation/Brio_Writers_Guidelines.pdf
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