These places recently put out a call for submissions. I wanted to kind of round them up from my resources and let you all know about them, and keep myself reminded as well. If you're a writer and you're looking to get your book out there, these are your people. I am in no way endorsing them, just sharing the information. If you know of others, feel free to post into the comments section. Here you go:
EROTICA MARKETS - short and long fiction
Mischief Bookseries
http://www.mischiefbooks.com/pages/contact/
Mischief is a new series of ebook erotica and erotic romance fiction exploring romantic and explicit sexual fantasies for the purpose of pleasure. Each month Mischief will publish original ebooks featuring contemporary stories by the very best authors worldwide. We publish an extensive list of original erotica and erotic romance in themed short story anthologies, petite novels of 40K minimum word length, novels and single author collections of 80K minimum word length. We are looking for fiction that really is a cut above tired, formulaic, hurriedly written and mass produced erotica in a saturated genre. Founded by Harper Collins, UK.
eXtasy Books
http://www.extasybooks.com/index.php?route=information/information&information_id=9
Fromt the site: "eXtasy Books is looking for new voices to add to their already busy stable! Like all publishers, we are always on the hunt for the next best-selling author. This could be you! Of course we realize that not every author can be a best-seller, and we don't promise mega sales, but we do promise to give writers with fantastic stories the chance to be read. We look for stories from mildly sensual to super hot. As long as your novel /novella has an intriguing storyline, and not just a string of sex scenes laced together by a thin plot, we will evaluate it for publication. We look at all genres. Novels/novellas can be from 16k and up. eXtasy Books pay standard royalty rate, 40% of listed price. 40% at third party sellers, except Fictionwise, it's 50%. Our contract is for ebook rights for 3 years from day of publication."
He Looks Like Trouble: Bad Boy Erotica
Editor: Shane Allison, Cleis Press in late 2012
Payment: $50 and 2 copies of the book on publication
Deadline: July 1, 2012 (earlier submissions encouraged and preferred)
"Bikers, tatted up punks, dirty cops and crime bosses. Do you love a bad boy as much as I do, men who live their lives everyday on the wild side? The type of boys you dream of riding up on their hogs, or in a muscle car to carry you away from the mundane? Shane Allison is in search of the best bad boy based erotica around, focusing on a range of techniques, implements, characters and scenarios, from new blood to seasoned scribes. The bad boy theme should be a central focus of the erotic element of the story but the plot does not have to hinge on it. Original, unique, creative characters, settings, scenarios and forms are encouraged. As befitting the title, I’m looking for the best, hottest, most creative erotica for this collection.
Original stories strongly preferred, but reprints of work will be considered but will be given lower priority than original work. All characters must be over 18; no incest or bestiality. Let your imagination run wild.
How to submit: Send double spaced Times or Times New Roman 12 point black font Word document with pages numbered (.doc, not .docx) OR RTF of 1,500-4,000 word story. Indent the first line of each paragraph half an inch and double space (regular double spacing, do not add extra lines between paragraphs or do any other irregular spacing). US grammar (double quotation marks around dialogue, etc.) required. Include your legal name (and pseudonym if applicable), mailing address, and 50 word or less bio in the third person to helooksliketroubleantho@gmail.com.
If you are using a pseudonym, please provide your real name and pseudonym and make it clear which one you’d like to be credited as. You will receive a confirmation within 72 hours. I will get back to you by August 2012. Be sure to include contact and bio information on the FIRST page of your story."
Big Man on Campus: Gay Erotic FictionShane Allison, Cleis Press
Payment: $50 and 2 copies of the book on publication
Deadline: June 1, 2012 (earlier submissions encouraged and preferred)
Hot on the heels of the Gaybie award-winning College Boys, Shane Allison goes back to school with Big Man on Campus in search of the best college based erotica around, focusing on a range of techniques, implements, characters and scenarios, from new blood to seasoned scribes. The collegiate theme should be a central focus of the erotic element of the story but the plot does not have to hinge on students, frat boys or professors. Think of late night study sessions in the library, a horny professor fantasizing of that beefy jock that sits teasing him from the back of the class, randy foreign exchange students and of course an anthology of this theme would not be complete without a college jock being thrown in. Original, unique, creative characters, settings, scenarios and forms are encouraged. As befitting the title, I’m looking for the best, hottest, most creative erotica for this collection. Original stories strongly preferred, but reprints of work will be considered but will be given lower priority than original work. All characters must be over 18; no incest or bestiality. Please see College Boys: Gay Erotic Stories and Frat Boys: Gay Eroitc Stories to get an idea of the kinds of stories I dig.
SEE ABOVE ENTRY FOR DIRECTIONS AND GUIDELINES, then send to collegeboysantho@gmail.com.
NON EROTICA
ARTFUL DODGE
http://www3.wooster.edu/artfuldodge/
An Ohio-based literary magazine that publishes work with a strong sense of place and cultural landscape. Besides new American fiction, poetry and narrative essay, we're also interested in contemporary literature in translation -- from all over the globe. Pays $5/page.
BIG BAD ANTHOLOGY
http://johnhartness.com/big-bad-anthology/
Send me your best short story (6,000 words max, if it has to be longer contact me first) that features a bad guy or evil character as the protagonist. It can be fantasy, urban fantasy, superhero, horror, whatever. Just send me your best bad guy story. I'm taking twenty. Email submissions tojohnhartness@gmail.com
as a .doc or .txt attachment. Include a brief author's bio, please. Paying $50 for one year's exclusive electronic and print rights plus two contributor's copies. After that we retain rights to publish electronically in the anthology only, and in print in this anthology only, but you can take it and sell it somewhere
else, or sell it yourself as a standalone. Deadline July 31, 2012.
ALCHEMY PRESS ANTHOLOGY
http://alchemypress.blogspot.com/p/pulp-heroes.html
The Alchemy Press is seeking submissions for THE ALCHEMY PRESS BOOK OF PULP HEROES, edited by Mike Chinn. Sports stories, spy stories, aircraft & zeppelin stories, sea & pirate stories,
Westerns, medieval romance, horror, science fiction and fantasy, movies and car racing; there's no limit. Successful contributors will receive a copy of the book and a £10 advance against royalties on publication. We are after original fiction, but reprints will be considered if they are exceptional. Contributions must be in the range of 2,000-6,000 words firm, with full contact details on the front page. Deadline May 30, 2012.
Wednesday, April 18, 2012
Monday, April 16, 2012
Are You Being Too Nice?
When I am starting a new story, I ask myself: who is the most likable character in this book? Then I kill him.
Okay, not always. But we all know that some of the most interesting stories come from writers who are downright nasty to their readers. They don't give a shit what you want. Take George R. R. Martin for example. Plot spoiler: everybody dies. Of course, this makes it all the more rewarding when he does do something nice, and say whacks one of the bad guys on the john with his pants down. That's kind of the point, I think. In life, we all know shit goes our way maybe half the time, but some things are largely dependent on effort, while others are 9/10ths luck. As writers, we need to strike a similar balance. If we give too little, then the reader gets mad. If we give too much, the reader gets bored. What I like is to strike a nice tension between expectation and delivery, or pleasure and pain, if you will.
Know your audience. Know your genre. But don't be afraid to change it up. Writers should never be too nice to the reader, or they risk loosing the sense of anticipation that comes from diving into a new story, and meeting new characters, and experiencing their individual failures and successes. By being too nice, writers risk not having much of a story to actually tell.
Five ways a writer can be "too nice" to their readers
1. Yummy! A plot cookie! On a plate! On the table!
If you have ever roleplayed (showing my geek roots here), then you know the type: the storyteller who describes a whole room, but pays very very close attention to one giant tomb constructed of human flesh, amid piles of other books similarly constructed of human flesh. By drawing the players', or in this case the readers', attention to the ONE THING THAT DOES NOT BELONG you can be sure that they get it when the book becomes the center of attention. Problem is, this handholding technique might be fine for a kid's book, but for the majority of the reading public, such obvious plotting backfires. They don't get the fuzzy feeling of treasure hunting among your words, of being a little Sherlock and constructing the clues for themselves. A good writer matches a protagonist's conclusions and timing with that of the readers. That way, the reader doesn't think the main character is stupid, nor do they think you stuck a DRINK ME sign on the side of the bottle.
2. It's not you, it's me
Maybe your character is too likable. Maybe because he's such a swell guy, you really want him to succeed. But there's not much story to be had in a charmed life. Many amateur writers are way too nice to their characters. I don't know why this is. I've also seen it's opposite, usually in the form of the teen male writer who graphically depicts every stabbing, beheading, and bleeding gunshot wound. In either case, the issue is that the writer has put too much of themselves into the character's success. It may not be a case of the Mary Sues, but being too attached to the imaginary can prevent you from telling the real story. remember that your reader may want your character to win, but winning is not where the tension is.
3. Death becomes her
Some characters seem to walk on stage wearing a red coat. We don't let the reader get to know them because we are bound and determined for them to just play their part and get the fuck out. We do this because we are afraid of hurting our reader's feelings, of letting them expect more out of us as storytellers. But shouldn't they expect more? Remember that every character has a life beyond the story you are telling. You don't want to share the whole thing, but breathing life into each face that makes an appearance, whether they are destined for greatness or to be dismembered in auto accident five minutes into the story, this is what makes a story feel complete.
4. But the genre told me to
In any genre, expectations abound. Devoted readers ask, and it is your job to deliver. You're about as predictable as a pregnant woman eating pickles and ice cream. You've got your genre down to a mathematical science. Whatever the greats have done, you do as well. It worked for them, right? Actually, you just slid down the slope of uniqueness into a pile of poo that is your prescribed and generous conclusion. It's what they wanted, right? And you want them to like you. Cuz that's how you make sales, right?
5. And they all lived happily ever after...
My roommate writes romance. In her genre, it's damn well expected that every character come away with their heart's desire, as well as their true love, the house, the car, and a fine slice of pie. Sometimes there are weddings. And babies. All the shit that makes the romance reader's heart go all flippy with emotion. Because that's the point. But say you're not writing romance. This is the opposite of #4, in a way. Regardless of genre, you are delivering a neat little package that makes the world all sacchrine sweet for all your darling characters when most genres don't work like that. Real life doesn't work like that.
Writers thrive on their readers' expectations and distrust. Readers want surprises, but not so much that they have no clue where shit is coming from. It comes down to finding a balance between want and do-not-want, or getting your reader to cry and jump gleefully along with the protagonist. You can't do that if you aren't moved. Moving the reader to experience the story and not just move their eyes along the page is the fundamental goal of every writer, no matter the genre.
Okay, not always. But we all know that some of the most interesting stories come from writers who are downright nasty to their readers. They don't give a shit what you want. Take George R. R. Martin for example. Plot spoiler: everybody dies. Of course, this makes it all the more rewarding when he does do something nice, and say whacks one of the bad guys on the john with his pants down. That's kind of the point, I think. In life, we all know shit goes our way maybe half the time, but some things are largely dependent on effort, while others are 9/10ths luck. As writers, we need to strike a similar balance. If we give too little, then the reader gets mad. If we give too much, the reader gets bored. What I like is to strike a nice tension between expectation and delivery, or pleasure and pain, if you will.
Know your audience. Know your genre. But don't be afraid to change it up. Writers should never be too nice to the reader, or they risk loosing the sense of anticipation that comes from diving into a new story, and meeting new characters, and experiencing their individual failures and successes. By being too nice, writers risk not having much of a story to actually tell.
Five ways a writer can be "too nice" to their readers
1. Yummy! A plot cookie! On a plate! On the table!
If you have ever roleplayed (showing my geek roots here), then you know the type: the storyteller who describes a whole room, but pays very very close attention to one giant tomb constructed of human flesh, amid piles of other books similarly constructed of human flesh. By drawing the players', or in this case the readers', attention to the ONE THING THAT DOES NOT BELONG you can be sure that they get it when the book becomes the center of attention. Problem is, this handholding technique might be fine for a kid's book, but for the majority of the reading public, such obvious plotting backfires. They don't get the fuzzy feeling of treasure hunting among your words, of being a little Sherlock and constructing the clues for themselves. A good writer matches a protagonist's conclusions and timing with that of the readers. That way, the reader doesn't think the main character is stupid, nor do they think you stuck a DRINK ME sign on the side of the bottle.
2. It's not you, it's me
Maybe your character is too likable. Maybe because he's such a swell guy, you really want him to succeed. But there's not much story to be had in a charmed life. Many amateur writers are way too nice to their characters. I don't know why this is. I've also seen it's opposite, usually in the form of the teen male writer who graphically depicts every stabbing, beheading, and bleeding gunshot wound. In either case, the issue is that the writer has put too much of themselves into the character's success. It may not be a case of the Mary Sues, but being too attached to the imaginary can prevent you from telling the real story. remember that your reader may want your character to win, but winning is not where the tension is.
3. Death becomes her
Some characters seem to walk on stage wearing a red coat. We don't let the reader get to know them because we are bound and determined for them to just play their part and get the fuck out. We do this because we are afraid of hurting our reader's feelings, of letting them expect more out of us as storytellers. But shouldn't they expect more? Remember that every character has a life beyond the story you are telling. You don't want to share the whole thing, but breathing life into each face that makes an appearance, whether they are destined for greatness or to be dismembered in auto accident five minutes into the story, this is what makes a story feel complete.
4. But the genre told me to
In any genre, expectations abound. Devoted readers ask, and it is your job to deliver. You're about as predictable as a pregnant woman eating pickles and ice cream. You've got your genre down to a mathematical science. Whatever the greats have done, you do as well. It worked for them, right? Actually, you just slid down the slope of uniqueness into a pile of poo that is your prescribed and generous conclusion. It's what they wanted, right? And you want them to like you. Cuz that's how you make sales, right?
5. And they all lived happily ever after...
My roommate writes romance. In her genre, it's damn well expected that every character come away with their heart's desire, as well as their true love, the house, the car, and a fine slice of pie. Sometimes there are weddings. And babies. All the shit that makes the romance reader's heart go all flippy with emotion. Because that's the point. But say you're not writing romance. This is the opposite of #4, in a way. Regardless of genre, you are delivering a neat little package that makes the world all sacchrine sweet for all your darling characters when most genres don't work like that. Real life doesn't work like that.
Writers thrive on their readers' expectations and distrust. Readers want surprises, but not so much that they have no clue where shit is coming from. It comes down to finding a balance between want and do-not-want, or getting your reader to cry and jump gleefully along with the protagonist. You can't do that if you aren't moved. Moving the reader to experience the story and not just move their eyes along the page is the fundamental goal of every writer, no matter the genre.
Tuesday, April 10, 2012
Work Space
When I find time to write, I am usually so grateful to feel inspired that I hardly notice my surroundings. I could be on a train, in bed, at a café or a restaurant, or even in my car (I’ve been known to use the voice recording feature on my cell phone, though I have returned both mp3 recorders I purchased because I so seldom found a use for them). When inspiration strikes at an inopportune time, I resort to whatever materials are available, which includes notebooks, napkins, or even ink on skin. But these are all exceptions. For the most part, I require some basics before I can work seriously. For me, a perfect setting for writing is about creating a mood that is conducive to inspiration and free of basic distractions. Because much of what I write is “dark,” the mood is often easier set at night or when it’s dreary out. This isn’t to say I haven’t picked up my laptop on a sunny summer day, seated myself in an open air café, and written passages on cannibalism and suspension art. It happens.
Lighting in general plays a large role in how productive I am. I am not a fan of overhead lighting. I like antique lamps and yellow colored lights, dark rooms where there are too many shadows to count. It gives my brain something to do when it’s not focused on the story. This goes for my writing space at home, as well as finding those little places away from the house. These past few days, people have been posting pictures of a “writing nook,” though I know too few people that would actually fit inside it comfortably. I like a little elbow room, and I’m not a very big girl. Also, not sure if there are any lamps in there. It makes me want some candle niches, like the ones in the stone walls at the villa I stayed in in Malta. Let’s be real though. Could I write in it? Not likely. Poor lighting is part of it. These days, you can find me at First Slice in Andersonville. One, because the coffee is good and cheap, and two, because there is pie. While the big windows are a challenge to my dim netbook screen, I have found a few usually vacant spots that I can work in without too much eyestrain.
I know a lot of people talk about putting on music to help themselves write. However, I am one of those odd weirdos that requires damn-well-close to silence in order to get going on a project. Some ambient people noise in a public space is doable, and I make soundtracks to fuel my thoughts when I am away from the keyboard. Having people I know surrounding me and lapsing into intermittent conversation can be distracting, since I ordinarily want to chime in. This is why we use the age-old writing sprint technique when we want to get something done at Writer’s Group. If you’re not familiar, this technique lets you pick a set time, usually anywhere between 15 minutes to an hour, and writing without talking. Then when the time is up, you’re free to share and gab and whatever else for as long as you need until another sprint is called.
It’s apparent I have gone through some development in terms of finding the ideal writing space. One of my major transitions was to change from composing primarily by hand to writing directly on a computer. The challenge to me was to conquer the feelings of permanency that came from putting my work right on a computer. Counter-intuitive, yes? Yet, I still get asked this question by burgeoning new writers. My advice is simple: unless you are 16 and writing in a secret diary, or away from all computers and software programs known to man, avoid the pen and paper, son. Unless it works for you. In which case, embrace your renaissance ways, compose your prose in notebooks of Moleskein, then by God put it on the computer before you lose it, or burn it in a fit of hatred.
Looking back, there are only two cardinal rules here: do what makes you work best and back that shit up. ‘Nough said.
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