rushthatspeaks: (sparklepony only wants to read)
[personal profile] rushthatspeaks
Wow, I've been doing the editor thing for some time now, and I continue to love it. I get to work with amazing people, both as magazine staff and as authors. Kelly Link won the Sturgeon Award for "The Game of Smash and Recovery" and that was delightful. (Basically I did nothing to that story except figure out how to get it into our site's HTML, because it came in as an incredibly clean and polished manuscript; the HTML was actually non-trivial, but I think it came out okay.)

Anyway, I've noticed that as I read slush, the things that I tell people when I'm writing encouraging rejection slips-- you know, the kind of rejection slip where you're like 'I liked x, I liked y, z was prohibitive, send me more of your work', as opposed to sending the form letter-- these things do, in fact, boil down to a few suggestions that I would like to tell writers* in general because maybe it would help. I'd like to get them out of my head, because maybe they will help, and maybe it will be less frustrating that I do not have time to write a full critique letter to every single slush author. There are several, but I'm going to go over them one at a time, because if I try to write them all up at once I'll never manage.

The really major one is length.

My magazine theoretically accepts anything up to 10,000 words. We buy longer lengths rarely, because anything longer than about 6K is going to be run split over two consecutive weeks, and therefore must not only be amazing enough to take up the space, but also have a splitting point where we can break it for serialization. But we do take up to 10K.

You will notice there is no limit on how short a piece can be. This is intentional.

Over the last year-and-change, I have lost track of how many times I have said 'That needs to be shorter'. I have lost track of how many times I have said 'This would be great if it lost 2K words'. I lost track of that within three or four months of starting as an editor.

Over the same amount of time, I have said 'This needs to be longer'-- not 'There's one element that needs to be expanded and others diminished', not 'This doesn't include the scene that would really interest me', not 'You stopped before the ramifications of the plot played out', all of which can and should be fixable without changing a piece's length, but 'You wrote this too efficiently and it flat-out just needs to be longer'-- once. ONCE. I was shocked to discover myself saying it at all.

What I'm talking about here isn't specifically actual length, as an objective thing, so much as it is a pacing issue. From what I've seen, the amount of content (plot, characterization, setting, backstory, etcetera) that new and newish writers tend to put into their short stories tends to be spread out too much over too long a length. Generally, the longer a piece is, the more drastic a length cut it could sustain. When we get a 10K piece, it could often be 5K and have exactly the same content in every way. If it comes in at 6K, I'd like to see it at 4K, or at 3.5. If it comes in at 4, I'd like to see it at 3.

And so the main piece of advice I have for new short story writers, based on editorial experience, is to get a submission draft ready, the best one you can, and then sit down and remove half the wordcount while changing absolutely none of the content. It will be difficult. It may well physically hurt. You may feel as though you are hair-splitting by rejuggling entire paragraphs to get rid of only two or three words. You will believe that it cannot be done, or that if you manage it the thing will proceed to suck. Think of it as a hard boundary, the way 10K is a hard boundary for our magazine, a boundary where we throw everything out unread that goes over it, and persevere.

After a while, you will find that you are able to pry fewer and fewer words out of your drafts, because you won't be putting the extraneous ones there in the first place. This is how you internalize the kind of word multitasking, the way that every scene and every sentence does more than one thing to help the story move, that makes a professional. This is how you get the kind of density that really sucks your readers in and makes the piece come to life in their heads.

And this is how I get to write fewer 'I love it, but it's three thousand words too long' rejection letters. Seriously. Halve your wordcount, keep your content.

Best advice I have.




* If you're selling short stories reliably, you probably are not my audience for this, although it's always worth checking to see whether this advice happens to apply. But it probably doesn't, because you learned how to do this already.

Date: 2016-09-05 12:23 am (UTC)
msilverstar: (Default)
From: [personal profile] msilverstar
I have the opposite problem, I'm too terse.

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