Spotlight on Local Author: J Dianne Dotson

I won’t be shy about admitting this: Dianne’s one of my personal heroes.

A trained scientist, turned science writer, and now indie publisher, Dianne’s one of those people that makes me wonder how they find the time for it all.

Did I mention she also has two kids, did a cross-country tour to promote her books, and was on a panel with Cory Doctorow at Wondercon last year?

Dianne was kind enough to take some time — over Skype, given current circumstances — to talk with me about her writing process, going indie, and what’s it like to work on one long story for thirty years.

The first two books — Heliopause and Ephemeris — in her Questrison Saga are out now, and the third’s on its way soon.

Writing Process

Let’s start with your writing process. Are you a pantser or a plotter?

I would say that everything is in my head. I already know what’s happening. I basically just sit down and write it out. I don’t really follow an incredibly structured situation, I just write it. Things can come up as I write that influence where I think things might go and the characters have minds of their own. They might do things I didn’t expect.

But I don’t do outlines.

What about editing? Do you do multiple editing passes or do you do everything in one big push?

For the most part, I will go through the book and I will do my first pass, and then I’ll go back and do it again.

Then I hand it off to beta readers.

Then the beta reader feedback, I get back. If there need to be edits or anything expanded upon, then I incorporate that. I read through it again.

Then at that point, I need to hand it off to the editor.

Do you mind going into a little more detail about your editing passes? I know some writers will break it up, so first they do a dialogue pass, then a consistency pass, etc

No, I just go through it all. It’s just in literal order, line by line, chapter by chapter to the end, and I fix things as I go.

Do you take any time between writing a draft and then doing the edit?

I don’t like to, because I feel the fire. I feel like I want to get this done. That’s very much a “me” thing. I’m very much like that. Once I finish something, I want to make sure it’s really, really done. I can’t stand waiting on stuff like that. I tend to just jump right in.

Do you give any guidance to your beta readers?

Well, I don’t like to frame things for them in advance. I do it more after they read. I do ask them, I say, “Hey, if you see anything blatant, let me know. If you have any questions, let me know.” I keep it simple.

After they’re done, that’s when I really ask them the questions, because then they read it. That’s what I want to know about, as a reader, what worked for you, what didn’t work? I’ll ask things like, “Who is your favorite character? What made you laugh? What made you cry?” Different things like that. “Do you think that this particular passage worked?”

Do you do an editing pass per beta reader?

No, because they’re finishing at varying times. I thought, well, I want to ask my questions now that it’s fresh on their mind, they just read it. Then because of that, then I’ll go ahead and incorporate right after that, their feedback, if I felt that it merited changing.

Not everything does. In some cases, I’ve had to say, no, this is the way it is supposed to be.

You have a lot of really strong characters in your books. Are those based on real people?

Some of them are.

Sumond, the alien chef in Ephemeris, I based on this chef that I knew from San Francisco from when my brother lived there in the early ’90s. This guy, this chef was hilarious. He had been an opera singer. That’s where Sumond comes from.

Or take Troy in Heliopause. We all know Troy. He’s a lounge lizard kind of a guy. He’s loosely based off some people I know and he’s named after my dad’s cousin, Troy, who was more like an uncle to me than a cousin. It’s a little bit of family nod there.

Then who else? Let’s see. Even Veronica is influenced a little bit by people I know. I won’t say who.

Everybody’s got a little bit of influence from here and there, but nobody’s an outright translation now.

Aeriod, though, is full-clothed from a dream that I had as a young teen.

Wait, what?

I dreamed that this alien Brit rocker had taken me up in basically a boat with some friends of mine up to this island in the sky, this land that he had with palaces. He showed me around and he talked to me.

There are some direct lines in Ephemeris from that dream, when Galla is dreaming about Aeriod showing her around. That dream was my dream.

Aeriod was just straight out of my head like somebody I knew. He seems very real to me. That’s one reason I guess people say he’s complex. It’s because he’s been in my head this whole time.

Does that happen often? You dream of characters for your stories?

I have very vivid dreams, and sometimes they do lend themselves to stories.

In fact, the first little scenes of Forster in Heliopause, where he’s walking along the soft floors with the dim lights, that’s from a dream.

I had already made his descendant, Kein, but Forster himself I dreamed separately later. It’s funny.

Indie Publishing

You’re publishing the Questrison Saga yourself, rather than go through a traditional publisher. Why go indie?

When I had worked on this for so long and then didn’t really know what to do after that, I knew I should submit to a publisher. I realized that, oh, you can’t really do that anymore, that there’s a gateway to publication and it’s called a literary agent.

That was about 2017, around the time that I started going regularly to the Writers Coffeehouse at Mysterious Galaxy Bookstore. I was going to get an idea of what I needed to do.

I started there and I queried quite a few agents. I got some bites.

At the end of it, there were four that I came very close to using.

One of them turned out to be a shyster.

The other one was just really sitting on it, and sitting on it, and not getting back to me.

The third one had a very strange reaction to it. She’s like, “I think it has too many characters,” but then she kept going back to read it. I’m like, “Just make a decision.” What’s the decision? She couldn’t make one.

Then the fourth one, I really hit it off with, and she had loved the samples that I had sent her. She read the whole book. But she actually wanted me to kill more people than I was ready to kill at that time.

That was when I decided: I don’t want to do this anymore. It’s my story. I’m going to tell it the way I want it. I’ve had it in my head for years.

I can write other stories and submit to this process all over again, they won’t matter as much to me. This particular one, I’m doing myself.

Plus, I was uniquely positioned in a time in which you could make a really good quality independently published book by having professionals do the covers and having professionals edit it.

When you set it side by side with a traditionally published book you can’t tell, that was the goal. That was accomplished.

Would you do it again?

I will not do this again, because it is a lot of work. It is expensive. You are the publisher, the agent, the promoter, and all these other things when you’re still a writer.

If you’re taking a lot of time to promote this book yourself, that’s time taken away from your writing. Even though I’m a very fast writer, it can be exhausting to keep on top of it.

I still feel that it was the right decision for this series.

But for everything else I’m doing, I will submit to traditional publishing.

How much did it cost you to produce Book One? Was it any cheaper to finish Book Two?

About the same. It is actually a little bit more expensive for Book Two because the editing, it was bigger book.

Do you mind talking about those costs?

I don’t remember exactly all the costs. For the first editor of Book One I think was $1,200 and then the copy, the final proof was mostly $600, the art was $600, and then I actually had to buy the books myself from IngramSpark to be able to supply to bookstores and to conventions. That’s a significant expense.

Advertising, promotional materials, posters, everything ranging from postcards to business cards to just all kinds of stuff, it was a few thousand at the end of the day.

Have you made that back?

I have made it back for Book One.

I have not made it back for Book Two, I don’t think. Not yet.

I think what was interesting was that the minute Book Two came out, more people bought Book One. I think people just like a series.

How did you find all the people that you’ve ended up working with: the editors, the artists, the graphics people, and the web designers?

Well, everything about this process has been throw something at the wall and see if it sticks, literally. Because I didn’t know what the heck I was getting myself into, piecemealing it, but I figured it out.

I got the website going first. For that, I had gone through a couple of web design people and logo designers.

I ended up asking a food and lifestyle blogger, Michael Wurm Jr., who runs “Inspired By Charm”, because he had a really sleek website. He gave me the contact information for Dash Creative. That’s who I’ve used the last couple of years.

In terms of the editing, I had gone to San Diego Writers Ink. They had a class on book publishing.

The woman who hosted the class, Laurie Gibson, said she was also an editor and so I contacted her after I’d finished the draft of Heliopause. That’s how I met my main editor.

Then through her, I met Lisa Wolf who did the proof edit who is actually the editor for Book Three.

It’s a chain of contacts, basically. My cover designer was a parent at my kids’ school and he knew the artist, Leon Tukker. That’s how that happened.

Can you talk about distribution? I think you mentioned you use IngramSpark?

IngramSpark prints and distributes most of the books that you see.

When I upload a book and it’s ready to go and I purchase the option for both paperback and eBook, they upload it to everywhere: Kobo, Amazon, Google Books.

They do all that and they also put the links up all across the world on various international bookseller websites.

I chose Ingram because of its reputation, it’s worldwide distribution, and the fact that it would not be limited to Amazon. I wanted independent bookstores to have my books and not feel competition from an Amazon published book.

Did you have to form your own publishing company to own the copyrights or deal with IngramSpark?

I filed copyright. I immediately copyrighted it through the U.S. government.

If you’re an indie author, I highly recommend that you get an entertainment lawyer to help you with policies because we don’t have big publishing companies behind us.

We need legal help. We need contract help. That’s what an entertainment lawyer is for. I secured one of those.

He recommended that given the uniqueness of the name Questrison, that I trademark the Saga. I did that. That was extremely expensive, but I feel good about it.

Because now I can put the circle R, it’s a registered trademark. The Questrison Saga. You can’t use it. It’s my baby.

Questrison Saga

You’ve mentioned before that you’ve been working on these books for thirty years. Can you talk about why you decided to finish these books when you did?

All through college, even though I was overwhelmed with schoolwork, the stories were always in the back of my head. I had also drawn a lot of the characters in them. I sometimes would still sketch those while I also learned how to do actual watercolor art from classes.

After I had graduated college, it was a nightmare just entering the workforce. I ended up moving to the West Coast from Tennessee in 2000, and did work for Fred Hutchinson Cancer Research Center in Seattle for a number of years.

Then after that, I briefly lived in San Francisco. That’s when I thought “I have to get back to these stories.” They’re been in my head all this time.

That’s when I started working on what is now Ephemeris. I even made a brief little comic of it with my own sketches, outlining the story a little bit. That was the closest thing I’ve ever come to an outline, was this storyboard.

After that, I had children. And I was very busy with them. laughs I worked as a science writer for four years. I felt that I was preoccupied by writing nonfiction.

After the recession, I was laid off. I decided to apply to graduate school and I chose epidemiology, which is very topical at the moment.

I came to San Diego to start a Master’s Degree in epidemiology. I would have finished it, but I never saw my family and my younger child, who at the time was two, did not cope well. I chose to withdraw from the program. I have no regrets about doing that, because it was the right thing for the family.

Then I meet another parent at my kid’s school, who was an editor. He edited scientific papers, not fiction. I mentioned I had these stories, and I showed him the first few chapters of what become Heliopause.

Not being a fiction editor, it wasn’t really something he could work on, but he did encourage me to finish the story. I hadn’t had that kind of encouragement. It was a kick in the pants. For that, I’ll always be grateful to him.

I call him the man that saved Heliopause.

It’s funny how encouragement or discouragement at just the right times can make a huge difference.

Yes, and I definitely had been discouraged a few times.

Some people would say, “Maybe it’s time you just let that story go and work on something else.”

I hated hearing that. I thought, no, I want to finish the story. It’s been in my head for most of my life.

Positive encouragement is more powerful than discouragement. Because when somebody believes in you at the right time, and I hope that everyone has that person, it makes all the difference.

Having worked on these for so long, how many drafts do you think you’ve been through for Ephemeris in particular?

Well, it’s funny because what is now Book Four was actually the first book.

I started with what is Book Four now and then morphed it around, and what is now Ephemeris then came after that.

Ephemeris is an interesting book because it takes place before, during, and after Heliopause. It’s giving you a preview of things to come as well as things that happened in the past, and tying everything together later in the book with people from Heliopause.

I’ve had so many drafts of these stories over the years. In my closet here in the office, there are binders full of handwritten drafts from over 30 years ago, including maps that I made, travel guides, glossaries, everything.

My handwriting is just garbage, and that never got better.

There were some typed versions too. I had a terrible typewriter, but a lot of it was handwritten.

There’s so many drafts. It’s ridiculous. I kept a lot of them. I threw out a lot of them too. I don’t even know how many there were to be honest with you.

Basically, we have to talk in terms of the Questrison Saga instead of just one of the books, the whole saga. I knew the endgame from the beginning when I was a young teen. Just the journey to get there changed along with me as a writer in developing the craft as well as maturing as a person in experiencing life.

When reading Ephemeris, it felt like I could point to certain locations and go, I think this is such and such a place that I know Dianne has lived. Like reading about Perpetua, is that Seattle?

Heliopause, I’ve often said, is a love story to Oregon. Because Forster keeps remembering Oregon, and the time he was with Auna in Oregon.

That’s why when Aeriod presents him with the possibility of such a place as a planet [Perpetua], basically an untouched Oregon, he’s delighted.

Aeriod sets him up that way. He’s thought it out. He knows what Forster cannot say “no” to. He’s already thought through all the scenarios. “How can I get Forster to do what I need him to do? Let’s throw out everything that he could just never say no to.” And that’s what he did.

When I write about Galla on Perpetua, that’s her first experience on a forested planet, near an ocean or anything like that. It’s very instantly different than anything else she’s experienced. That is similar to when I moved to Pacific Northwest in 2000.

Not Seattle per se, which I don’t have a lot of love for, but Oregon I absolutely adored.

Are there other planets in the books that are also drawn from places that you’ve lived before?

Well, I’ve driven a lot of roads.

There’s definitely some influence from my road trips because I have gone across the country several times in the past several years by car.

Now there’s a world in Book Four that is heavily influenced by my time in both Tennessee and San Francisco. Because I know that planet the longest, it feels very real. I feel like I’m there when I’m reading it.

You’ll see connections to a lot of the places I’ve lived in that book. It will seem very intimate. It will seem very real, I think.

Books One and Two are already out. When is Book Three due?

Early April for pre-order, with an intended release the end of May.

Keeping Score: November 1, 2019

3,026 words written this week.

Most of those are on the novel, but about a third are edits on the short story I wrote back at the SoCal Writers Conference in September.

Reading the story now, I think I like it more than I did before. Not necessarily the language the story’s told in; I can see plot holes and awkward phrasing. But the story itself: The characters and the setting, how the protagonist’s heart gets broken, and how she pieces herself back together. That’s what I’m in love with.

A good sign, maybe? Certainly it motivates me to finish, to edit and polish the story until it’s the best version I can produce.

But it also means I might miss flaws in the telling. I have to beware of liking my own voice too much, instead of the voices of the characters.

How do you balance being critical of the work versus liking it enough to keep going? Do you tend to err on the side of hatred, or do you fall too much in love with your work?

Keeping Score: October 4, 2019

I’d heard that the bubble of elation you feel when you first have something accepted for publication doesn’t last long.

I only half-believed it, of course. Surely I would be different, my expectations set better, my heart both more and less trusting.

Because if one acceptance happened, couldn’t another? And another? And even if rejection came, wouldn’t that one acceptance be enough to keep me going?

Turns out the answer is no, no, and nope.

I’d had a story out to one magazine for a good while — close to three months — and as the time stretched out without getting a rejection notice, I began to hope. The acceptance of another story just made that hope bigger, and my dreams with it: What if all the stories I had out currently got accepted? What if I was able to join SFWA this year, all in a rush, with three stories that I’ve spent years working on all getting accepted in a short window of time?

But the rejection came yesterday, and my little bubble of hope popped with it.

Now I feel like half a success, half a failure. It doesn’t help that I’ve heard nothing from the magazine that’s accepted a story since that acceptance; no signed contract, no payment, nothing. So even that success feels ghostly, as if one strong wind could blow it away, and I’d be back where I started. Unpublished. Always-rejected.

I’m telling myself to be patient. That the only thing I can control is the writing, so I’d better damn well do that part.

And it does comfort me, a little, that I wrote 2,223 words this week. I’m back to making good progress on the novel, and I’ve got two stories to edit into shape before sending them out into the world.

Chances are they’ll probably be rejected, too. But I can’t control that. What I can do is write another story, then another, and keep writing. Keep improving. And keep submitting.

One story got through. I can keep writing until another one does, too.

Keeping Score: March 8, 2019

Finally getting back to the good part: the writing.

Or rather, the re-writing.

Finished off the sequential outline earlier this week, after going back through the workbook outline and my manuscript to slot in missing scenes.

Then I took all the scenes from the first draft and shoved them into a single folder, marked “Original.” That way I can keep them around for reference, and pull what I need from them, without them being in the way of the scenes I need to completely rewrite.

Starting with the opening sequence.

Early feedback on those scenes said they lacked tension, and they were right. Thankfully, after going through the workbook, I’ve got much better ideas for them. I’m going to introduce some antagonists earlier than before, and tie the bigger conflict arc to their early conflicts with the protagonist.

I will, most likely, eff up these scene drafts, too. But they’ll be better than before. And hopefully, if I get the story beats at least down correctly, I can work more on language and dialog later.

Alive by Scott Sigler

Intense.

The prose is stripped clean of excess, going down so smooth it injects the story right into your bloodstream. And hot damn, it’s a good one.

I haven’t read a lot of YA, but this is the first one I enjoyed, start to finish.

Three things I learned about writing:

  • First-person, step-by-step, can be brutal: by sitting right inside the character’s head, it’s easy to get sucked in, and then when the shit goes down, you feel every victory and defeat like they’re happening to you.
  • Every group has a jerk. Every group in fiction needs a jerk.
  • One way to handle writing a large group, where each person needs their own personality, is to write scenes in which the group rotates through different configurations. The numbers stay manageable, but the composition of the group in the scene changes, giving each member a chance to shine.

Ancillary Sword by Ann Leckie

Generally excellent. Where the first book was broad, with multiple locations and times, the second one goes deep, diving into the political minutiae of a single system. And it works, drawing us further into the world of the Radch.

Three things I learned about writing:

  • Be careful of “I knew that she suspected I thought I knew about this lie that she told me three days ago” plots. Unless your narrator is very explicit about their thoughts, you can lose the reader in too many significant looks that aren’t explained.
  • If a cool gimmick from the first book isn’t available (lost because of story), instead of bringing it back (and reaching for a retcon), try to find a different way to achieve the same thing. Here, the data relayed to the narrator by Ship gives us the ability to view scenes we wouldn’t otherwise, preserving the narrative trick of the first book by a different means.
  • For a sequel, you might be tempted to go broader than the first book (especially if the story of the first book was epic in scope already). But you don’t have to. A smaller scope can work just as well to let you show who your characters are, and deepen their relationships.

Crooked by Austin Grossman

Another strong portrayal of a villain from Grossman.

Avoids the trap of completely rehabilitating Nixon. He’s sympathetic without being likable, and interesting to follow without the reader always cheering them on.

Loses steam in the second half. There’s plot lines that go nowhere, scenes that could have been cut without changing anything, and the climax happens completely off-screen, with no buildup or release of tension.

Still, I learned a few things about writing:

  • Delivering most of your plot via dialog — so long as you’re not data dumping — can be a great way to keep the story moving.
  • The best villains think they’re the hero.
  • Restricting your book to one POV can be too confining. Multiple POV can let you explore other aspects of your world, which you might need if your story takes place somewhere very different.

White Horse by Alex Adams

Frustrating and disappointing. Adams’ writing is stuffed with metaphors, giving everything a dreamy quality that makes it hard to take anything seriously.

Didn’t help that I just came off reading Octavia Butler’s Earthseed books, which do a much better job of narrating a woman’s journey through a post-apocalyptic world.

Three things it taught me about writing:

  • If readers already know the narrator survives a scene in a flashback, don’t try to wring tension out of their survival.
  • Readers need to know not only what your characters are doing, but why, if they’re going to care.
  • When writing a character from a different country, do several editing passes to be certain their dialog, analogies, and expressions all match where they’re supposed to be from.

Notes from WorldCon 2016: Day Four

Non-anglophone authors you should know

  • dr schaff-stump: japan and russia
  • kastersmidt: born in texas, living in brazil
  • dr lyau: specialty is french sci-fi
  • takacs: hungarian, lots of hungarian sf has not been translated yet
  • schwartzmann: reads russian, ukrainian and polish; has done translation work
  • schwartzmann: russian writers: bulgakhov (magical realism, 1920s and 1930s)
  • takacs: strugatsky brothers; stanislaw lem, especially the cyberiad; rana ras;
  • lyau: france produced second-most varied scifi tradition; planet of the apes; their golden age was the thirty years following jules verne’s heyday; maurice renard; french new wave post-1968; robita; de nizorres
  • kastersmidt: hector hermann oesterheld (argentinian, was killed by junta for publishing comic)
  • schaff-stump: has handout with japanese names; since japanese novels are often turned into manga and anime, can often find those in translation even if the book hasn’t been
  • schwartzmann: for chinese scifi, start with three-body problem, first volume had to adhere to communist standards, second was a little looser, third volume he completely jumps out of the box; tor is releasing “invisible planets” collection of chinese short stories translated by ken liu
  • takacs: yerg dragoman (the white king; bone fire); adam bodor (the sinister district)
  • fantastic planet: was based on french novel called “humans by the dozen”
  • lyau: start with the pulp novels to brush up on your french
  • kastersmidt: if you haven’t read borges, do so; camilla fernandes (brazilian); also check out the apex book of world science fiction, runs to four volumes, collects stories from new authors from around the world
  • schaff-stump: hex (from dutch author) was rewritten for us edition, not available in strict translation
  • tiptree award is going out of its way to bring non-english scifi to anglophone attention (check past award winners)
  • takasc: african sf: afro-sf anthology series; african speculative fiction society website will soon go live
  • first emeriati science fiction publishing house is opening its doors
  • omenana: african sf in english (online)
  • german scifi: andres eschbach, the carpet makers (?)
  • ukrainian literature: vita nostra, available in english, by sergey and marina ____, basically the magicians

Promoting Yourself as an Introvert

  • tamara jones: writing since seven yrs old
  • doesn’t leave the house much
  • lives in small town iowa
  • has four novels, first won compton cook award
  • had to suddenly start speaking to a lot of strangers and big crowds
  • hard to relax
  • introverts are like onions, have awesome core, but many many layers of protection on top of it that prevent people from getting to know your core
  • on panels, need to let hair down, but you can hide behind the table for safety
  • editor liked just first 66 pages of first book she bought, had to rewrite everything else, which completely changed her plans for the second book; so: don’t write the next books in a series until you sell and finish the first one
  • some people don’t want to let you talk on a panel, but don’t get aggressive, that doesn’t come off well
  • readings are the worst
  • but: get your ass out of the chair, gives you better diction, more control; move around, even though there’s no where to hide; it’s performance art: talk about self, talk about book, read short pages (two pages), then talk about it, then two more pages, then talk about it (make it different works or passages for variety)
  • find whatever it is that gives you feeling of safety (small sweater, lucky socks, etc) and wear that to the reading to help you feel safe and able to be yourself
  • has had three stalkers already, so no one knows where she lives (deliberately)
  • tries to avoid the parties; but when you’re starting out you have to go because editors and agents will be there; grab a drink, wander around and listen, take a drink if you get nervous
  • what do you do when drained? Find a capsule of solitude somewhere: a quiet corner, maybe even the restroom stall, close your eyes and be alone for 15 min
  • editors love to talk about their work; her typical question is “what’s the best thing about your job?”
  • need one sentence description of each of your books
  • also need one sentence description of yourself “i slaughter people on paper for money”
  • thinks introverts should not moderate, have to insert self and take control, which introverts are not good at
  • don’t overprepare for panels; whatever you prep for will probably be thrown out the window as soon as the panel starts
  • at end of the day, selling self, if you do that people will want to buy your books

Notes from WorldCon 2016: Day Three

Flash Fiction: Short but not easy

  • betsy dornbusch: writes mostly epic fantasy, used to buy flash
  • anna yeatts: flash fiction online owner/publisher, also writes flash
  • caroline m yoachim: just launched collection with fairwood press
  • flash: definition varies greatly; over 1,500 wordsis definitely not flash; something you could read in five minutes
  • yeatts: want a full complete story in a coffee break; still want a complete story arc, pared down to the essence
  • vonallmen: looking for the pop of “oh, wow” in just a five minute read
  • wowell: couldn’t write GoT in flash
  • yoachim: now i want to write that
  • wowell: customer service call for death ray works really well in flash format; sci-fi comments thread works really well as flash
  • dornbusch: don’t do vignettes about the sun, they don’t get bought
  • yoachim: great focusing on small piece; focused emotion, etc; great for putting hints of the larger world in the story, rest up to reader’s imagination
  • favorite stories?
    • yeatts: grobnak ama
    • running of the robots
    • first story from daily science fiction: story with three substories, and the meta-story, all in 1,000 words
    • strain of sentient corn writing to monsanto
    • if you were a dinosaur, my love
    • six names for the end
  • what skills are important?
    • dornbusch: editing; revision; the shorter the length, the more powerful
    • dornbusch: likes humor in flash, but not the punchline
    • wowell: need to recognize how many plots and subplots you can fit into each story length
    • vonallmen: ability to focus on tone
  • send mothership zeta your cat stories (joke)
  • yoachim: so much needs to happen in the first paragraph: need to tell reader what they’re in for, little about their world, the action, tone, everything
  • dornbusch: try telling story where reader knows the secret, usually it’s better than hiding the secret from the reader
  • wowell: if you like twists, do it at the beginning, not the end; starting with the twist will get me reading
  • yoachim: remember can play with your title, do a lot of setup there
  • current markets?
    • flash fiction online; daily science fiction
    • unsung stories (uk)
    • fantasy and science fiction takes some flash
    • mothership zeta
    • vestal review
  • lots of calls for flash, but don’t give it for free
  • yoachim: targets markets that specialize in flash fiction
  • uncanny magazine does flash
  • fireside fiction does flash and shorts
  • nature runs flash fiction
  • flash one of the few markets where second person won’t overstay its welcome

The Art of Worldbuilding

  • amanda downum: necromancer chronicles
  • luc peterson: runs civic innovation office
  • peter tieryas: fiction where japanese won world war ii?
  • downum: need fresh ideas, sense of wonder, in showing this new world
  • bear: burroughs first to do world-building in science fiction
  • downum: likes to start with character and scene, let world unfold from there; likes characters to pick up and interact with objects in the world, rather than just moving on a sound stage
  • patel: starts with what a society values most, and what they fear most; what do they invest in, what do they build walls and defenses against
  • bear: receives a vision; might take years to stitch visions together into a story
  • what do you need to know? How many doctorates?
    • bear: english major, don’t know anything
    • downum: ditto
    • patel: need to know what touches your characters; need to have lots of prior work done to know what this is before writing
  • downum: has someone ask her questions, to reveal those things she hasn’t thought of, those pieces she hasn’t built out herself; really good if someone that doesn’t read genre, they come at it from a completely different angle
  • tieryas: even things (research) that don’t show up in the book can be valuable
  • bear: history of asia a target-rich environment for mining world-building ideas
  • how do you put limits on the research?
    • downum: hard, but do a little at first to get started; when come across detail to fix later, mark in brackets and keep going; do more research afterward to fill in details, etc
    • patel: timebox your research time so you push yourself back into writing; can be iterative, don’t have to answer all questions at beginning, questions that come up during writing can give you chance to do focused dive into research again
  • patel: shorter work is, less research you’ll have to do, but you may have to do very detailed research into a single focused topic
  • downum: likes first person for short form, but at novel length it’s like being stuck in an elevator for a very long time, so prefers third person multiple perspective
  • patel: look for opportunities for drama and conflict in all worldbuilding; how would your characters tell their history? How would their enemies tell it?

How to Handle Rejection

  • gail carringer
  • wallace: stopped counting at 1,000
  • worst rejections: ones that are really really close to acceptance
  • wallace: never count on money until the check clears
  • carringer: rejection is evidence that you’re trying, that you’re sending stuff out
  • best rejection?
    • carringer: rejection was so nice, went back with later work, has been her agent for ten years
  • carringer: don’t fall in love too much with a particular book, be willing go move on and write more and try something else
  • reader reviews are not for you, they’re for other readers
  • carringer: would tell younger self to try different genres and styles earlier
  • carringer: never ever ever respond to a rejection
  • wallace: btw, anything you post online, anywhere, is a response, and is a bad idea
  • carringer: some agents/editors will be full up with authors in your genre, and so will reject you because they don’t want to take on any more
  • remember that they’re rejecting the product, not you