The seventh class of my 12-week Creating Science Fiction course at George Brown College is all about short story writing. I’m by nature a progressive—and an itinerant explorer; so, I am updating materials for my students and sharing them with you.
One resource I’m eager to introduce to my students is Canadian SF short story writer Douglas Smith’s recent guidebook, Playing the Short Game: How to Market & Sell Short Fiction. Smith’s guidebook is a Tardis-style smallish yet comprehensive guide on what it takes to be a successful short story writer from starting & finishing to marketing & publishing to leveraging & promotion.
Smith is an accomplished short story writer and marketer, who has always openly shared his treasures of acquired wisdom with others. His stories have appeared in thirty countries and 25 languages. He’s won three awards and has three acclaimed collections—so far. For years, his Foreign Market List has helped writers—including me—sell their work all over the world. To date, I have sold short stories (mostly reprints) to markets in Greece, Poland, Romania, Israel, and Italy—thanks to his list.
Why Write Short?
I’m a petite five foot-three height and purposely wear flat shoes. I love short. I prefer my espresso pulled in short shots—or ristretto—in my flat white. Described as bolder, fuller, with more body and less bitterness, the ristretto is like a burst of intense flavor with a lingering finish.
Douglas Smith gives seven excellent reasons for writing short fiction, even if you are ultimately a novel writer, like me. Writing short stories:
- Helps you learn your craft in easy, short-term, bite-sized amounts and over a reasonable time for you to learn, apply, and relearn
- Helps you test the waters of literature, to discover what excites you, provokes you and what ultimately you NEED to express
- Builds your resume, again more easily and quickly than a novel, toward that ultimate novel; publishers of magazines and publishing houses are more likely to take your work seriously if you have a publishing history
- Helps you explore ideas for your novel, by “pinging” certain premises you may wish to explore in further detail or take elsewhere in a novel
- Helps you build a backlist of published stories, which you own, once rights have reverted back to you
- Helps you build a network in your writing community of publishing houses, editors, other writers and so forth as you submit and exchange through your works and letters (including all those rejections!). Eventually, a pleased editor/publisher may invite you to submit to a “Best of” anthology or provide a collection. This has happened to me several times.
- Helps you learn the publishing business (well, sort of, says Smith…). Through exposure to the business side of publishing, you will gain an appreciation of how the publishing world works.
Know What You’re Writing
A short story only has 7,000 or less words to get your tale across while a novel has over ten times that many words to do the same. It follows then that the short story format is a simpler one. This does not necessarily mean easier.
Novels provide a sense of change, growth and solutions to problems and conflicts. “The short story doesn’t have the luxury of depicting change; the closest it can come is awareness,” writes Shelley Lowenkopf in her 2007 article “Telling Tales” in The Portable Writer’s Conference: Your Guide to Getting Published by Quill Driver Books.
She goes on to describe the short story as a close-up to a novel’s landscape. The short story is, therefore, often more intense and powerful. A short story, more than a novel, has the power to transport, disturb and enlighten.
Renowned short story authors like Edgar Allen Poe, Nathanial Hawthorne, and Somerset Maugham, emphasize the importance of striving for one effect when writing a short story: the single effect you wish to leave with the reader at the end. This is accomplished by selecting events or situations that build quickly into a combustible response. Even Alice Munro, who is known for cramming long timeframes into her short stories, focuses framing time through a single event: a meal, family gathering, wedding or funeral, for instance.
Jack Bickham, in his book, Elements of Fiction Writing: Scene and Structure by Writer’s Digest Books (1993) writes that, “story length, author intention, traditional expectations of the audience, and all sorts of things may affect the form a story may take.” Choosing the appropriate length to tell your story relies on the complexity of your premise and theme.
Understanding the Short Story Format
Here are seven tips toward writing a compelling and memorable short story:
- Open in the middle of something happening (e.g., action/in a “scene”)
- Make your opening provocative (raise the stakes as high as you can)
- Write scenes and write sparingly (avoid describing the obvious—use description to show something odd, memorable, exotic)
- Have characters define themselves and their goals through what they do and observe (e.g., show more than tell)
- Define characters with dialogue (a great way to reveal while keeping a high pace)
- Withhold vital information for as long as possible
- Don’t explain the ending (cut down on the denouement; let the reader make those conclusions—a key in the short story format)
Selling Your Short Story
Smith’s guidebook provides several chapters of excellent advice in logical steps toward a successful career.
Here are just a few gems that I will be sharing with my students.
First of all, remember that you are not selling your story; you’re licensing a particular set of rights for someone to do something with that story. Before you do anything else, do your homework: know the rights you’re selling; and which ones to keep. Smith describes five major types of rights: media; language; geography (less and less relevant); occurrence; and time.
Media rights include print rights, electronic rights and audio rights. Markets include magazines, anthologies and collections for short stories. Language and geography rights are pretty self-explanatory. Occurrence rights relate to whether the publisher is buying first or second and onward rights (otherwise known as reprints). Most publishers prefer to pay for the right to publish your work for the first time in that particular format (e.g., in print and in English, for instance). Having said that, I’ve had a lucrative history of selling reprints to some of my more popular short stories. I’ve furthered gone on to selling other rights, such as foreign language rights and audiobook and e-book rights. I’ve also sold two short story collections, one to an Italian publisher (coming out this year) and shorts in several anthologies. No movies yet… But I did have a serious discussion with a writer/producer on one of my shorts. Recall how many Philip K. Dick short stories have been adapted to movies (e.g., Total Recall, The Adjustment Bureau, Paycheck, Minority Report, and Blade Runner).
Heinlein’s Five Rules of Writing
Smith evokes SF writer Robert J Heinlein’s 5 rules of writing to succeed as a short story writer (as any kind of writer, actually). These are:
- You must write
- You must finish what you write
- You must refrain from rewriting, except to editorial order
- You must put the work on the market
- You must keep the work on the market until sold
I know… Number 3 sounds pretty suspicious, or arrogant at the very least. As Robert J. Sawyer concludes on his site in reference to the five rules, number 3 is open to reasonable interpretation. Of course, it must mean AFTER you’ve finished and edited the story with some level of confidence that you’re happy with it—never mind what other people think of it.
Nina’s Bus-Terminal Model
In my writing guide The Fiction Writer, Chapter L (for “Long or Short?”), I talk about how I launched my own successful short story writing career. I’d been writing short stories for a few years without much success (I was getting interesting rejection letters, so I knew I was getting close); then I settled into a kind of model/routine. I call it The Bus Terminal Approach. As Smith attests—several times—it’s a numbers game. That’s how I played it. It starts with one story and relies on you not waiting until you write the next, and the next and the next. Here’s how it works:
- You list at least 3 markets that you’ve researched for Story A and send it to the first of the three
- You start right away writing Story B, send it to the first of 3 markets you’ve researched and listed for it
- When Story A rejection arrives, you do not revise but send it right away to the second market
- Same thing for Story B
- Write Story C and treat similarly
Remember to keep track of what you send where and when and what happens to it. It can become a very confusing bus terminal otherwise, with someone ending up in Seattle when they are headed to Toronto! What happens with this approach is several things: you begin to treat the whole marketing/publishing process as a business (which it is) and because you have so many “buses” out there coming and going, the rejections don’t hurt quite as much and instead become part of the learning process, which they should be. You adopt a more business-like approach, which translates into your relationship with editors and publishers. A win-win situation results. Believe me; this works. Once I fell into this method, my sales increased by over 70%.
My guidebook, The Fiction Writer, can be purchased in various online and onsite bookstores, including Amazon, Kobo, Chapters Online, Barnes & Noble, and several others even I don’t know about.