Category: Short Stories

A New Short Story Plan

So I’ve been thinking a lot recently about how best to leverage my short stories, not just from the traditional publishing angle, but from the indie publishing side as well. The problem is that self-published short stories really don’t sell much, so after you’ve sold them to a traditional market, what are you supposed to do?

I’ve tried all of the following things, with varying levels of success:

  • Publish single short stories and charge only 99¢.
  • Publish single short stories and charge $2.99.
  • Bundle 3-5 stories together and charge $2.99 to $4.99.
  • Bundle 10-12 stories into a collection and charge $4.99.
  • Give the singles away for free.
  • Turn the singles into newsletter magnets to gain new subscribers.

Taken individually, there are problems with all of these strategies. Short story singles don’t earn very much at any price, and while they garner a lot of downloads if you make them free, they don’t really lead to sales of other books unless they’re part of a larger series. Even then, not so much.

The bundles and collections don’t do much better. Dean Wesley Smith says you can bundle 3-5 short stories together just fine, (or at least, he used to say that) but I tend to think that readers prefer collections with at least 10-12 short stories in them. At this point, I don’t self-publish a collection unless it has at least 40,000 words.

Short stories can be useful as newsletter magnets, but I’ve found that first-in-series books get a higher CTR than standalone shorts. Besides, it’s much more useful to send a follow up email to a first-in-series book (“Have you read ____ yet? Here’s what comes next.”)

So what’s the best way to self-publish short stories?

Let’s take a look at this from a reader’s perspective for a moment. These days, most short stories from the magazines are available for free. They’re either available on a podcast feed, like Uncanny or Escape Pod, or they’re published on a website for a limited time (sometimes for an unlimited time.) There are a handful of magazines like Asimov’s and F&SF that put their content behind a paywall, (usually a subscription of some kind) but there are also magazines like Clarkesworld that put their content up for free on the podcast AND offer an optional subscription. In fact, I believe it was Clarkesworld that discovered that revenue actually went up when they put everything out for free.

So as a short story reader, there’s really no need for me to purchase single short stories, since so many of them are available from the magazines for free. In fact, I would probably prefer to get my stories from a magazine, since I know they’ve been vetted by an editor. If I like a particular author, I may pick up some of their short stories, but I’m more likely to wait until they’ve bundled them into a collection of some kind, just to maximize the value.

Anthologies are a different story (sorry for the pun.) I have yet to see a short story anthology that isn’t priced like a regular book—no free or 99¢ ebooks. That’s probably because, as a short story reader, I know I’m getting a bunch of stories for that price. It’s kind of like buying an album, back in the days before Spotify: I know I’m going to get a couple of stinkers, but I also know that I’ll get some really great ones too. But if there are only 3-5 stories in that bundle, I’m going to think twice before buying it unless it’s at a super deep discount price. After all, I can always get my short story fix for free.

So if there are enough high-quality short stories availabe from the magazines for free, and self-published singles don’t really earn much at all, what’s the best way to go indie? Here’s my thought: sell anthology-sized collections at full price and make all the singles free, with the backmatter in the free stories pointing to the collections.

As a short story reader, I’m already used to paying for anthologies—and I’m more likely than other readers to buy them, since I’m the kind of reader who seeks out short stories. So if I pick up a handful of free short stories from an author and come to really enjoy her work, I’m already primed to buy her collections when I finish each story—and that makes the backmatter of each free single the best place for her to advertise her collections.

It’s a bit like first-in-series free, except instead of the one free book pointing to the rest of the series, there’s a bunch of free short stories all pointing to the same one (or two or three) collections. The typical reader is probably going to need to read a few of an author’s short stories anyways to really become a fan, so making all of the stories free could really be the way to go.

Of course, the big downside to this as an author is that you probably can’t sell reprint rights to the stories that are available as free singles. Why would an editor buy your story for their publication if it’s already available for free? So you would have to make the singles free for a limited time, if selling the stories to the reprint markets is part of your strategy.

But if you’re going to eventually bundle those stories into a collection, that’s not really a problem. Publish them as free singles as soon as the rights revert back to you, and then take down the singles when you have enough of them to put into a collection.

So under this hybrid publishing system, the typical lifecycle of a short story would look something like this:

Stage One: Submitting to the Traditional Markets

The goal of the first stage is to sell first publication rights to a professional or a semi-pro market (typically a magazine or an anthology.) So before self-publishing, you would submit to all of the traditional markets, and keep the story on submission until it has sold. But you would have to limit yourself to the markets with a pay rate that you’re willing to accept, otherwise you might as well just self-publish.

If my goal is to be a 6-figure author, I should value my time at $50/hour at least (since $50/hour X 40 hours/week X 50 weeks/year = $100,000/year.) That means I can use my writing speed to calculate my minimum pay rate. If I can write 2,000 words in an hour, then that’s $50/2,000 words, or 2.5¢ per word. Round that up to 3¢ per word, and that’s the minimum pay rate that I should be willing to accept.

Once the story has sold, the contract will dictate when I can self-publish. Most contracts have an exclusivity period of a few months to a year. Every contract is different, so how long the story remains in this phase depends on each contract.

Stage Two: Self-Publishing as Free Singles

This is where you start to implement the strategy that I discussed above. As soon as the rights revert back to you, you self-publish them as short story singles—but rather than trying to make money with them, you give them away for free in order to point readers toward your collections.

In other words, after a short story has been traditonally published, it goes through a temporary period where it’s used as a free loss leader. This period ends as soon as the author has enough shorts to bundle into a novel-sized collection—but since there are always at least a few free singles floating around, it serves as an effective way to attract new readers and win over new fans.

Stage Three: Collections and the Reprint Markets

This is the final stage, where you take down the free singles and bundle them into collections instead. Once that’s done, you update the backmatter in all of the other free singles to include links to buy the new collection, and the story starts to earn money for you again.

Because the story is no longer a free self-published ebook, it makes sense to start submitting to the traditional markets that buy reprint rights, since why not? At this point, it’s free money. I generally don’t accept anything less than 1¢ per word, since I’ve found that the token-paying markets don’t make an appreciable dent in any of my stories’ lifetime earnings, but that’s just me.

I think this three-stage lifecycle may be the best way to extract the maximum value from my short stories. Like pawns in the game of chess, it’s not what each story individually is doing, but how they’re working together. A self-published single that sells only a dozen copies (if that) per year isn’t doing much for me, and while I can use them to gain new subscribers, there are more effective tools for that than standalone short-stories.

In any case, I’m going to give it a try. It will be interesting in a few months to see how it turned out!

2019-09-26 Newsletter Author’s Note

This author’s note originally appeared in the September 26th edition of my author newsletter. To subscribe to my newsletter, click here.

So for this newsletter’s author’s note, I thought I’d do a roundup of all the magazines that have published my short stories in the last six months. There’s a surprisingly large number of them. They’re all great publications, so if any of them look interesting, feel free to give them your support and pick up a copy or two.

(As a side note, I’ve found that some email clients break my hyperlinks if I have too many of them in one email. I’m going to put the links in anyway, but if they’re broken for you, please let me know.)

First, my story “The Janus Anomaly” appeared in Kasma Magazine in May. It’s still up on the website, if you want to read it. They did a great illustration for it too!

The story is about a science officer on a scout ship that encounters an alien anomaly, and she can’t tell if she’s losing her mind or if she’s the only sane one while everyone else is crazy. Also, the story takes place in the same universe as the Gunslinger Trilogy.

Second, my story “The Gettysburg Paradox” appeared in the July issue of Bards and Sages Quarterly. The ebook copy of the magazine is available on most ebookstores, and you can find the link here.

The story is about a time traveling tourist at the Battle of Gettysburg who learns that almost all of the combatants are (not so secretly) time travelers themselves. In their efforts to reshape the world, they’ve all converged on this one turning point in history, making it the largest battle ever fought on American soil.

Third, my story “The Curse of the Lifewalker” appeared on The New Accelerator just last month. This is my third story that the good folks at TNA have picked up, and they publish new stories weekly with a very reasonable subscription model to their site.

The story takes place in Utah Valley a couple of hundred years after the apocalypse. Humanity has been afflicted with a blight that shortens all of our lifespans to 25 years, but the main character is one of the few people who is immune. But because of how things have changed in the intervening centuries, his immunity turns out to be more of a curse than a blessing, as he gradually becomes an outsider in his own community.

Fourth, my story “Lizzie-99XT” appeared in last month’s issue of Serial Magazine. The digital copy of the magazine is $2.99, and the print copy is $4.99. There are a bunch of other stories in this issue, and all of them are about life and death decisions.

Next month, I have a couple more stories coming out. “Starchild” will appear as a reprint in Bards and Sages Quarterly, and “The Infiltrator,” a never before published story, will appear in the anthology Not Far From Roswell. So be sure to keep an eye out for those!

Finally, here is the cover art for Edenfall. Check it out!

I’m very happy with how it turned out. The illustration is by Hideyoshi, aka Lorenz Ruwwe, who did the cover art for Genesis Earth. I still have to go through the edits, but that shouldn’t take longer than a week, and the ebook will be up for preorder shortly after. The release date will be in December.

“Lizzie-99XT” published in Serial Magazine!

It’s another week, and I have another short story out, this time in Serial Magazine! Here’s what the editor has to say about it:

We kick off ISSUE TWELVE with “Lizzie-99XT” by Joe Vasicek. This futuristic sci-fi tale follows a half-human, half-AI space pilot as she travels the galaxy to fight in an interplanetary war. She’s doing all she can to protect the lives down on Earth, but what type of life can this pilot truly have if most of it is spent lightyears away from those she loves?

“Lizzie-99XT” is a hard military SF piece about a starfighter pilot whose consciousness merges with the starfighter’s AI in order to fly it. She’s tasked with saving the world from a horde of alien invaders, but when battles are fought at near-light speeds, everything can change in an instant, and the home that she returns to may not be one that she recognizes.

Basically, it’s a cross between Neon Genesis Evangelion and Joe Haldeman’s The Forever War, except more uplifting. Probably. Also, it’s a short story, not a novel (or an anime series… yet). If that sounds intriguing, pick up a copy and read it today!

Buy Serial Magazine Issue 12

The Paradox of Choice: A chilling glimpse of an all-too possible future.

In cases where there may be severe deformities… I can tell you exactly what would happen. The infant would be delivered. The infant would be kept comfortable. The infant would be resuscitated if that’s what the mother and the family desired, and then a discussion would ensue between the physicians and the mother.

The Paradox of Choice

Enough small talk, Ruth. You didn’t come here to chat.

Is it really that obvious?

I’m afraid so. Who’s the father?

I don’t know, Jezebel. I can picture his face, but I can’t remember his name. I don’t even have his number. It was just one night—this was never supposed to happen.

Mmm hmm.

I’ve made a horrible mistake.

Don’t say that about yourself, dear. You’re a very strong woman. I’m sure we can find a way to fix this.

You are?

Absolutely. This is the current year, after all. Women have rights.

I know, but I think it may be too late. This is something I have to live with now.

Don’t be ridiculous, Ruth. It’s your choice.

Yes, but my baby is already three weeks old. I mean, look at him. He has my eyes.

You can’t seriously think of that as your baby.

Why not? He’s mine, isn’t he? I’ve already given birth to him.

Yes, you have. But the Supreme Court ruled that personhood does not extend to infants until they possess the ability to comprehend language. Until then, that thing is no different from a dog, or a cat.

But Jezebel, this is my child!

Not until its brain develops well enough that it can speak. Until then, there’s no legal difference between terminating him or putting down a dog.

How can you say that? Look at him, Jezebel! Look at how expressive his face is—how his eyes follow you—how he smiles.

Ruth, please. Don’t let your emotions cloud your judgment. Do you know how much other women have sacrificed to give you this choice?

No, but—

You are an empowered, modern woman. This is your choice. Don’t be ashamed of that. Be proud. Celebrate it.

But what if I don’t want to go through with it?

Come on, Ruth. Be reasonable. Are you really in a position to raise a child?

No, but I—

Then the most merciful thing you can do is terminate it, while you still can.

What?!

It’s true, and you know it. If you decided to keep it, you’d most likely find yourself trapped in the cycle of poverty, a single mother for the rest of your life. And is that any way to raise a family? Trust me, Ruth. Better to let it go.

But how is that worse than killing him?

The statistics don’t lie. A life trapped in poverty is not worth living.

How do you know that?

Are you seriously going to fight with me on this? You’ve led a privileged life, Ruth. We both have. It’s cruel and barbaric to bring a human life into the world under lesser circumstances than you’ve enjoyed.

But I already have.

No, you haven’t. Not according to the law.

But—but what if the law is wrong?

Ruth, dear. Please. You’re changing the subject. We aren’t talking about the law, we’re talking about you. About your life. About your freedom. About your choice.

I don’t know, Jezebel. It’s just… it doesn’t feel right to kill my child.

There you go again, calling it a “child.” Do we need to go over this again? It’s not a real child until it can speak.

But some babies can learn to make signs when they’re only a few months old. They can make gestures for food, for play, or for when they’re tired or hurt. Doesn’t that count?

Don’t get caught up in the minutiae of it, Ruth. The truth is, this is your choice, and anyone who tells you otherwise is just trying to shame you into silence. Don’t be ashamed. Don’t let them silence you.

I don’t know.

What do you mean, “I don’t know”? Do you doubt the science of brain development? Do you think you know better than the Supreme Court of the United States?

Okay, okay. I’m sorry.

Then what is holding you back?

Look at him, Jezebel. Isn’t he the cutest thing you’ve ever seen?

I know you feel attached to it, Ruth. And I know how hard this must be for you to hear. But I promise you, there is nothing wrong with letting it go.

Are you sure?

Yes. In fact, it would be a mercy.

But Jezebel—I can’t.

What do you mean?

I can’t put down my baby. It doesn’t seem right. Even if it is a mistake, it’s my mistake.

Then why should you have to carry it with you for the rest of your life? Why do you refuse to let it go? There’s still time for you to make this right. Be brave, Ruth.

How is it “brave” to kill my child?

We’ve been over this, Ruth. It’s not a “child.” Not yet.

Child or not, it’s still my own flesh and blood. I carried it to term and gave birth to it. I gave it life.

Yes, but it’s not a real person.

How can you say that? It laughs, it cries. It has feelings. If I don’t put it down, it will one day grow up to be a man. To be my son. His children will be my grandchildren. And who knows but what he’ll accomplish more in his life than I will in mine?

There you go, letting your emotions get the best of you again.

But where’s the line, Jezebel? When does he become a real human person? I’ve already brought him into this world.

Yes, you have. But until the law says he’s a person, he’s not one.

Is that what it all comes down to, then? The law?

I didn’t come here to argue with you about the law, but if that’s what it takes to convince you, then so be it. Yes, it all comes down to the law. If the law says you’re a person, you’re a person. If it doesn’t, then you’re not. Why make this more complicated than it needs to be?

Because… what if the law is wrong?

It isn’t wrong. This is your right. Your choice.

But isn’t murder a choice, too?

No, Ruth. Murder is a crime. It breaks the law.

But is that the only thing that makes it wrong?

Why should it matter?

Because putting down this child—I mean, terminating this life—it feels a lot like murder.

It’s not, Ruth. The law says so.

But what if the law said that I’m not a person? What if it said that you were within your rights to kill me? That would be murder now—would it still be murder then?

Ruth, I—

And who makes the law, anyway? How do we know that they’re right? I mean, yes, I know that without law, we can’t have a functioning society, but what if our laws are bad? What if following the law is wrong?

Don’t be ridiculous. Following the law isn’t wrong, because it’s the law. And the law says that you have a choice.

But—

Enough arguing, Ruth. Are you going to make your choice, or not?

What if I choose not to?

Ruth, Ruth, Ruth. How many times must we go over this?

But you said it was a choice. That means that I have options. I don’t have to kill—I mean, terminate it. If I did, it wouldn’t be a choice, would it?

That’s not the point.

Yes, it is. And it feels like you’re trying to make the choice for me.

Only because it’s the right one.

Why?

Because it’s empowering.

Then why does it feel like you’re trying to force it on me?

Don’t argue with me, Ruth. This is for your own good. One day, when you’re a happy, successful woman, you’ll look back on this conversation we had and thank me. Oh look, it’s beginning to snow.

It’s too warm outside to be snow.

My mistake. At least it’s good for the plants. Now, do you need me to come with you to the crematorium? I’m here to help you, Ruth. Every step of the way.

I don’t know. I just—

You just what?

Never mind.

Author’s Note

On January 22, 2019, New York enacted the Reproductive Health Act, which legalized abortion up to the moment of birth and repealed criminal charges for harming unborn children. A few weeks later, the Repeal Act was proposed in Virginia, which would have similarly repealed abortion restrictions in the state. In discussing this bill, Governor Ralph Northam said the following:

“In cases where there may be severe deformities… I can tell you exactly what would happen. The infant would be delivered. The infant would be kept comfortable. The infant would be resuscitated if that’s what the mother and the family desired, and then a discussion would ensue between the physicians and the mother.” (Julie, Cary, Ralph Northam, Ask the Governor with Va. Gov. Ralph Northam, WTOP-FM, 30 January 2019)

Governor Northam’s hypothetical case bears a striking resemblance to the 1939 case of baby Knauer, one of the first victims of child euthanasia in Nazi Germany. Baby Knauer was born with many severe deformities, including blindness, imbecility, and missing limbs. Hitler himself authorized the killing of the child. (Staatsarchiv Nürnberg, United States of America v. Karl Brandt et al., zitiert nach Ulf Schmidt: “Outbreak of War and Euthanasia. Results of Recent Research into the ‘Knauer Child’ in 1939.”) After baby Knauer, the Nazi eugenics program rapidly expanded to include forced euthanasia of the mentally ill and handicapped, and ultimately evolved into what we now know as the Holocaust.

In today’s political discourse, we have a tendency to use the Nazis as a proxy for the ultimate evil. Nazis don’t just exist on the spectrum of good and evil; Nazis are the scale. However, a compelling argument can be made that abortion in the United States exceeds the evil of the Nazis.

First, consider the numbers. Six million Jews were exterminated in the Nazi Holocaust, plus several hundred thousand Romani, Homosexuals, Jehovah’s Witnesses, and disabled. However, since Roe v. Wade, more than sixty million babies have been aborted in the United States alone. (Number of Abortions – Abortion Counters. http://numberofabortions.com/ accessed 9 March 2019) The number of babies aborted in the United States is an order of magnitude larger than the Holocaust.

Second, consider the historical context. In the 1920s and 30s, Germany was a shattered nation laboring under the burden of war reparations, hyperinflation, and starvation. In contrast, we are living in an unparalleled era of prosperity. The Germans turned to the Nazis out of fear and a sense of national crisis; we “shout” our abortions out of the apathy and selfishness of our own decadence.

Third, consider the victims. The German Jews were a distinct people with their own unique culture and religion. It wasn’t very difficult for the Nazis to “otherize” them, because they were already a peculiar people. In contrast, we are slaughtering our own flesh and blood, the fruit of our loins—our children.

The United States was founded on the principle of three unalienable rights: life, liberty, and the pursuit of happiness. And yet, when we look back at our own history, we find it difficult to comprehend how our fore-bearers could believe these things and still own slaves. I believe that future generations will look back on us in much the same way, and question how a people who claim to believe in the unalienable right of life could assent to the wholesale slaughter of the unborn.

Any woman who has carried a child to term will tell you that the baby inside of her has their own tastes and personality; that they sleep at certain times and wake at certain times, and get angry, happy, upset, or calm while still inside the womb. The science of biology tells us that from the moment of conception, a fetus possesses its own unique DNA, which determines hair color, eye color, sex, genetics, personality—everything that makes us human, short of actual lived experience. The point of viability is constantly being pushed back by developments in lifesaving technology, making it a poor moral standard. Is a child aborted at twelve weeks today any less of a human being than a child born in future decades, when we will have the technology to save that baby outside of the womb?

I don’t want to judge anyone who has had an abortion. I don’t know the details of every case or what lies in every human heart, and I cannot say with certainty that every abortion is wrong. However, I can say with certainty that every abortion ends a human life. When I look at what my nation has done, and the blood on our hands of the most innocent and powerless among us, I feel to echo Thomas Jefferson’s words: “I tremble for my country when I reflect that God is just, that his justice cannot sleep forever.”

This story was very difficult for me, and I wasn’t originally going to write it. The idea for it came to me several years ago, but it wasn’t until April 2017 that I felt impressed that this was something I needed to write. Even then, I only wrote it halfway. But the events of 2019 convinced me that I needed to dust off this old manuscript and bring it to completion.

Because I want this story to have the furthest reach, I am publishing it under a Creative Commons Attribition 4.0 International license (CC BY 4.0). Feel free to download it, upload it, meme it, rewrite it, and even resell it for your own profit. All I ask is that you copy this license and provide a link to the original.

I’ll end with this quote from Defying Hitler by Sebastian Haffner:

“We watched the earlier events unfold. They occupied and excited us… but they did not confront us with ultimate decisions of conscience. Our innermost beings remained untouched. We gained experience, acquired convictions, but remained basically the same people. However, no one who has, willingly or reluctantly, been caught up in the machine of the Third Reich can honestly say that of himself.”

I believe that we are living in a similar time. The assault on the sanctity of life deeply affects us all, both individually and as a society. In writing and publishing this story, I hope to have done some small part.

Thank you for reading.

Creative Commons License

The Paradox of Choice by Joe Vasicek is licensed under a Creative Commons Attribution 4.0 International License.

Reworking The Paradox of Choice

The events in New York and Virginia of the past couple of weeks have been interesting, to say the least. The abortion debate has escalated dramatically, with talk of fourth-trimester abortions and keeping the infant “comfortable” while “a discussion would ensue between the physicians and the mother.”

Without getting too much into the politics of it, this discusion has put me in a very awkward position regarding one of my stories. It’s a very short piece, titled “The Paradox of Choice,” and it depicts two women having a conversation about whether or not to “abort” a baby who’s already been born. The narrative is entirely dialog, so it isn’t clear until the middle of the story that they’re talking about a living, breathing baby who happens to be sitting between them.

I wrote the story as a bit of a shock piece, to show that the line between infanticide and aborting an unborn child isn’t as clear as people think. When I wrote it, though, I thought that infanticide would still be considered abhorrent. I had no idea that the Overton window would shift as quickly as it has.

Hence the awkward position. Clearly, this story needs to be rewritten, but how? Expanded, perhaps? By adding more descriptions to actually show the baby? Or do I need to abandon the “shock piece” aspect and turn it into more of a reasoned discussion of evil?

I wasn’t originally going to write this piece, but a couple of years ago I felt a strong impression that I needed to. Even then, I only did about the minimum of what I needed to do to get it onto the page. This isn’t the sort of thing that I usually write. But now, I suppose I need to revisit it and put in the effort to make it properly shine.

Either way, it’s insane how quickly the debate is shifting.

Politically incorrect thoughts on intersectional authorship

I’m subscribed to six or seven short story podcasts, and I’ve noticed a trend on them recently. Before they start the story, they introduce the author by first listing all of the intersectional minority identities that the author qualifies for, like “queer,” “transgender,” “immigrant,” “disabled,” “person of color,” etc.

Whenever story starts off like this, I immediately delete it form my podcast.

I’m a busy guy. I’m subscribed to far too many podcasts to listen to every episode. There’s just not enough time. If I have a reason to skip it, I will.

When the first thing you tell me about the author of a story is where he/she/ze/your majesty falls on the intersectional victimhood stack, that tells me a couple of things. First, it tells me that the editors subscribe to this bullshit idea that victimhood makes you virtuous. It doesn’t.

Second, it tells me that the editors didn’t think that the story could stand on its own. Instead of giving a typical author bio, with a few incidental facts and a cute aside about the author’s wife/kids/pets/plans for world domination, the editors decided to lead with the author’s victimhood status. Because that’s why I should listen to the story. Because victimhood is virtuous, and if you don’t listen to this story after learning just how much of a victim the author is, that makes you a racist sexist transphobic Nazi fascist.

Fuck that.

I’m sure this post will generate outrage among some circles. There was a time when I would try to respond genuinely to such outrage, apologizing for causing offense and vowing to try better to understand, sympathize, and accept the experiences of…

Fuck that.

If it offends you that I automatically delete these sorts of podcasts, go fuck yourself. Seriously. Call yourself an autosexual and see where that put you on the intersectional victimhood stack. I don’t give a shit about your outrage. I couldn’t care less about how triggered you are right now. If that makes me a fascist, so be it. To paraphrase Syndrome from the Incredibles, when everyone’s a fascist, no one’s a fascist. (Which is very convenient for actual fascists.)

By the way, I’m not actually opposed to stories written by immigrants, or lesbians, or transgenders, or people of color. I’ve listened to quite a few good ones. “And Then There Were N – 1” from Escape Pod was really fun. So was “Octo-Heist in Progress” from Clarkesworld a couple of months back. Neither of which were introduced by describing just how many oppressed victimhood classes the author qualified for.

If there’s one thing we’ve learned from the Trump era, it’s that when people call you a racist sexist transphobic Nazi fascist, they really just want to bully you into silence. But all bullies are cowards at heart. If they want to silence you, it’s because they know that they’re wrong.

Can we please return to the time when everyone acknowledged that stories should stand or fall on their own merits, not on the merits of the author? Mur Lafferty did quite a few ISBW epidodes on this, and she’s hardly a right-wing type. By all means, let’s bring all the queers and wierdos along. Science fiction wouldn’t be the same without them. But let’s not use a double standard when it comes to their stories.

After all, that would be racist.

“The Open Source Time Machine” now available on The New Accelerator!

The good folks over at The New Accelerator have picked up another one of my stories! This time, it’s The Open Source Time Machine. If you’re already a subscriber, be sure to check it out, and if you’re not a subscriber, it looks like they put out a new weekly story for the very reasonable fee of £1 per month. If they’ll publish me twice, you know they can’t be that bad. Be sure to check it out!

Read “The Open Source Time Machine”
at The New Accelerator

New short story goals

In the last few months, as I’ve reworked my business plan, I’ve put a lot of thought into what I want to do with short stories. I’ve written about two dozen of them so far, and while I don’t expect to be known as a short story writer, I do expect that short stories will play an important role in my career, especially with the way that the publishing world is changing.

Objectives

Short stories are a great way for readers to try out new authors, without all the cost in time or money of a novel. It’s also a great way to build a hybrid career, as the professional short story markets have few of the hangups of publishing a longer work with a traditional publisher. It’s not extremely lucrative, though there is money to be made. More than that, it’s a way to gain cache and build your brand, especially if your stories get picked up by a major magazine or anthology in your genre.

So that’s my main objective with short stories: to use them to build my author brand and grow my readership. Self-publishing plays a role in that, but not nearly as much as the professional markets.

Writing

To get picked up by the professional markets, I need to have stories to submit to them, which means that I need to be prolific. Consequently, my goal from here on out is to write a new short story each month. That’s a pace I can maintain that doesn’t interfere too much with my other writing. It can be refreshing to take a WIP break from time to time, and short stories only take a few days at the most.

I know that Dean Wesley Smith says that you should never revise anything, and I’ve been following that advice until now with my short fiction. However, I do feel that it can strengthen my writing significantly to cut the word count by 10%, especially for short fiction where the strongest writing tends to be economical. So I’ll most likely do that to all my stories from now on.

Submitting

In general when submitting, it’s best to start with the top-tier markets and work your way down. This is the order in which I prioritize my submissions:

  1. SFWA qualifying markets
  2. Professional paying markets (6¢ per word or higher)
  3. Semi-pro paying markets (between 1¢ and 5¢ per word)

I’m not sure if I’m going to bother with token paying markets (less than 1¢ per word). Probably not for anything other than reprints. They don’t really put me any closer to my goals. Also, I’m not sure if I actually want to join SFWA, but I do want to qualify for it through my short story sales. Never join a club that would have you as a member, etc etc.

As for non-paying markets, I’ve decided not to submit to them after all. It’s been pointed out to me that giving something away for free after you’ve charged other people money for it is a dick move. Also, there aren’t really any non-paying markets that would bring me closer to my goals. All of the markets with serious cache also pay professional rates, at least in science fiction.

Self-publishing

Until now, I’ve self-published my short stories either immediately after their first sale, or after I’ve submitted all of the professional markets. My guiding philosophy has been that unless there’s a significant opportunity elsewhere, it’s better to self-publish something than to keep it on your hard drive.

However, self-publishing short stories doesn’t help me get much closer to my objectives. Certainly keeping a bunch of singles up for sale doesn’t help much, and it might actually hurt by cluttering up my book pages. They’re good for the occasional newsletter giveaway, or for first-in-series and other stuff, but that’s about it.

Dean Wesley Smith says to charge $2.99 for individual short stories in order to get the higher royalty rate, but I’ve tried that for the last couple of years and haven’t seen much benefit from it. Unless you’re known as a short story writer, I just don’t think short stories are good for making money. Because of that, and also because I’m going to be using them for giveaways and promotions, I plan to sell all of my short fiction (under 10k words) for a token 99¢.

Considering how it’s rude to give something away for free immediately after selling it, I plan to refrain from self-publishing until both the first-publication and reprint markets have been exhausted. That’s because I plan to make my short stories free when I first self-publish them, at least for the initial few weeks. Again, better to put something out for free and raise the price than it is to charge for it at first and make it free later.

When enough short stories have accumulated to put into a bundle, then I’ll unpublish all but the one or two best-rated or most popular singles, and put a link to the bundle in the back of those. In that way, the short story singles will help to sell the bundles, which make more money anyway, since I plan to charge $4.99 for them. This also helps to clean up the book pages, by replacing singles with bundles over time.

So that’s the plan. Submit until all professional and semi-pro markets have been exhausted, then self-publish as singles until there’s enough to put in a bundle. And hopefully sell a bunch of stories to the major markets.

Should I submit to non-paying markets?

I’ve recently gotten back into writing and submitting short stories, and this is one of the questions on my mind.

Don’t get me wrong: I still believe in the top-down approach to short stories, where you start with the highest paying markets and work your way down. And I’m not going to write anything specifically for a non-paying market, unless it’s a charity anthology. That just doesn’t make any sense.

But what about a story that you’ve already sold somewhere, already self-published, and the non-paying market only wants non-exclusive reprint rights? I understand the pay-the-writer argument, and that’s certainly one approach, but there’s also the Jonathan Coulton, song-a-day, be prolific and fill the world with your work approach.

As far as I can tell, here are the pros and cons of publishing a short story with a non-paying market after it’s already been published:

Pros:

  • Improved chances of winning an award
  • Improved chances of appearing in a “best of” anthology
  • Networking opportunities with other publishing professionals
  • More readers will find you
  • More publishing credentials
  • Makes you part of a community

Cons:

  • Could damage author brand if publisher is non-reputable
  • Violates Kant’s categorical imperative
  • Costs too much in time and effort

What sayest thou?