This week on Hide and Create, Moses Siregar, Jordan Ellinger, Diana Rowland, and Joshua Essoe continue the show about short story markets with Electric Velocipede editor, John Klima.
We finish our discussion of with John and pick his brain about cover letters, hooks, what will turn John off of a submission, common mistakes, and where in the world that name came from. You know of what I speak.
Bonus! As requested, William Shunn’s guidelines for short story MS formatting!
This week on Hide and Create, Jordan Ellinger, Diana Rowland, Joshua Essoe and Moses Siregar talk to John Klima, editor and creator of Hugo award winning short fiction magazine, Electric Velocipede, about short fiction markets.
Every so often we will invite a prestigious guest to the show to get a fresh perspective and to pick their brain. John Klima created the speculative short fiction magazine, Electric Velocipede, back in 2001, and has edited several anthologies. We go behind the scenes with John on what he likes, how to submit, going digital, hints and tips, and good short fiction markets to which you should submit your work.
So do you want to know the secret handshake? Do you want to know what an Electric Velocipede is? Of course you do. Let John Klima tell you.
This week on Hide and Create, Diana Rowland, Jordan Ellinger, Moses Siregar and Joshua Essoe talk about the Writers of the Future short story competition.
Entering the competition can be a nerve-wracking experience, but those crazy days of repeatedly checking for results can lead to some very strong affirmation. The third story I entered got an Honorable Mention, and after I got over the moment of disappointment that I didn’t win the Gold Award that year, I was thrilled. I was on the right track. I was in the top ten percentile. And I knew that with a few tweaks, my story could be publishable.
So this week you can learn some hints and tips for placing, how you can win without even entering the quarter, and what the workshop for the winners is like. We also touch on the sticky issues of scientology and why you shouldn’t hate Diana for winning with her first entry (it’s hard, but try).
This week on Hide and Create Moses Siregar, Diana Rowland, Jordan Ellinger and Joshua Essoe discuss the differences between writing a short story and writing a novel.
The old advice was to train yourself writing short fiction, then graduate to novel-length works. The short fiction market was an easier sell, you could cut your teeth in publishing doing that while you worked up to your magnum opus.
That’s no so true anymore. Short story markets have decline greatly in the last couple decades, and the ones that are left are overwhelmed with submissions for their limited space. Just like novel publishers.
So what’s the advantage of writing short? Why not just write long? There’s more money in it and it’s no more difficult, right?
I advise all writers to learn how to write short. It will teach you brevity and will teach you power. You can practice technique, voice, theme and genre, try them all out and find what’s right for you. You can finish, submit, get feedback, sell, and do it rapidly, and start building up deposits in the “Maybe I Can Do This” bank. It is wonderful training, not for writing novels, but for being a writer.