Six Tips on Submitting a Story

  • If you don’t submit a story, it will never be accepted
  • Read the submission guidelines
  • The editor is always right. If they found your story boring, unconvincing or unoriginal, then that’s their opinion.
  • If you want to know what the editor finds interesting, convincing and original, then read the stuff they choose to publish. If you don’t like it, then you’re submitting to the wrong market.
  • Everyone hates having their work rejected. Every writer has their work rejected. Successful writers are the ones who learn from past rejections and keep submitting.
  • The best thing to soften the pain of a rejection is to be working on your next story

See Also

My Emacs Writing Setup

A few years ago, due to the interest in my post on Writing Tools, I published an HTML document on my Emacs writing setup. 

I continue to use Emacs to write, however I’ve now adopted Doom Emacs. You can read about my Doom Emacs Writing Set Up here.

If you want to know how I plan and plot stories, you may find the document interesting.  You’ll probably find it more interesting if you use Emacs yourself.

A Note on Emacs

I think of Emacs as a text editors’ tool. As I spend most of my life working with text, either programming or writing, I want to do it as efficiently as possible.

It first struck me when I was editing my novel Divergence just how inefficient I was being in pressing the arrow key and waiting for the cursor to get to where I wanted. That got me thinking about the time spent deleting text, transposing words, moving around paragraphs… I realised there must be a quicker way.

And then I remembered Emacs.

It makes sense for someone who spends most of their time manipulating text to learn a group of obscure key combinations. It saves time and increases productivity. Learning to use Emacs properly reminds me of playing Jazz on the piano. I’ve learnt all those chords and runs and fills so that I can use them without thinking when I’m improvising. Likewise, I’ve practiced using Emacs key strokes such as M-f, M–M-c and C-M-<Space> so often I use them without thinking when editing. I rely on M-/ to complete words, and I can’t do without M-h and C-e to select and move around text.

I practice using Emacs because it makes me a more productive writer. If you’re interested, I’ve written up some of those tips and exercises on my Emacs Workout.

Six Tips on Beating Writer’s Block

  1. Go for a walk
  2. This is the age of the word processor, you don’t have to write your story in a linear fashion. Write a later section, one that interests you.
  3. Always have two or three things on the go at once of different lengths. If you don’t feel like working on the novel, have a go at the short story. Don’t feel like fiction? Work on non-fiction
  4. Stop trying to get it right. Just follow a character and see where s/he goes. You don’t have to use everything you write.
  5. Change things around. What if a character was the opposite sex? What if they were younger/older?
  6. Still can’t write? Then take a break. If you’re not enjoying writing your story, then it’s unlikely that anyone’s going to enjoy reading it.

See Also

Concatenation: If Only…

If you haven’t visited the rather excellent Concatenation website before, you might want to take a look: http://www.concatenation.org/

There’s lots of very interesting stuff on there, including… er … me…

New up we have our usual Christmas treat, an extra one of the Nature multidisciplinary science journal, one-page ‘Futures’ short stories that we consider among the best of the 51 published by Nature the previous year. This time it is a Tony Ballantyne short. Tony is the only author to have more than one ‘Futures’ story selected by us each year. In fact this is now the third story we have of his over the years and that should tell you something about his writing. (His novels are nifty too.) For the link to the story see below… ‘Most recently added’.

Recursion

“Overflowing with provocative ideas, Ballantyne’s debut displays enviable mastery of both suspenseful storytelling and technological extrapolation.  Mark him as a writer of considerable promise”

Booklist

“An exceptional first novel.  A new British writer has arrived to join the likes of Hamilton, Reynolds and Banks”

Vector

It is the twenty-third century. Herb, a young entrepreneur, returns to the isolated planet on which he has illegally been trying to build a city–and finds it destroyed by a swarming nightmare of self-replicating machinery. Worse, the all-seeing Environment Agency has been watching him the entire time. His punishment? A nearly hopeless battle in the farthest reaches of the universe against enemy machines twice as fast, and twice as deadly, as his own–in the company of a disarmingly confident AI who may not be exactly what he claims…

Little does Herb know that this war of machines was set in motion nearly two hundred years ago–by mankind itself. For it was then that a not-quite-chance encounter brought a confused young girl and a nearly omnipotent AI together in one fateful moment that may have changed the course of humanity forever

Buy Recursion on Amazon UK | Buy Recursion on Amazon US

Extract

Herb 1: 2210

Herb looked at the viewing field and felt his stomach tighten in horror.  He had been expecting to see a neat cityscape: line after line of silver needles linked by lacy bridges, cool silver skyscrapers shot through with pink tinted crystal windows; artfully designed to resemble the spread of colours on a petal.  Instead he saw… bleak nothingness.  Cold, featureless, gently undulating wasteland spreading in all directions.

Something had gone badly wrong.  Suddenly the cosy white leather and polished yellow wood lounge of his spaceship was not the safe cocoon he had grown used to over the past few months.  Now they would be coming to prise him from this warm, cushioned shell to cast him shivering into the real world, all because he had made one tiny mistake.

Somehow he had made a mess of the code that should have told the Von Neumann Machines to stop reproducing and start building.

Herb’s machines had eaten up an entire planet.


But there was nothing to be gained now by crying about it.  Herb had known he was on his own when he embarked upon this project. It was up to him to figure out what had gone wrong, and then to extract himself from the situation.

He opened a second viewing field next to the first and called up an image of his prototype Von Neumann Machine.  A cylinder, nine centimetres long, with eight silver legs spaced along its body giving it an insectile appearance. Six months ago Herb had dropped out of warp right over this planet, opened the hatch of his spaceship, and stood in solemn silence for a moment before dropping that same machine onto the desolate, rocky surface below.

What had happened next?

Herb liked to pace when he was thinking, and he had arranged his spaceship lounge to allow him room to do so. Two white sofas facing each other occupied the centre of the room.  A wide moat of parquet flooring filled the space between the sofas and the surrounding furniture that lined the walls of the room. The smell of beeswax polish and fresh coffee filled the cabin.   Herb closed his eyes as he ran through the order of events after he had released the Von Neumann Machine- a mental dry run to try and isolate the problem.

He imagined that first VNM turning on six of its spindly legs, lifting them in a high stepping motion as it sought to orientate itself.  The remaining two legs would be extended forward, acting as antennae, vibrating slightly as they read the little machine’s surroundings.  It would have walked a few paces, tiny grains of sand sticking to its silver grey limbs, then maybe changed direction and moved again, executing a random path until it found a patch of rock of just the right composition and then settled itself down, folding its legs around itself to bring its Osmotic shell in contact with the surface.

His thoughts on track, Herb began to pace in a circle around one sofa, soft ships’ slippers padding on the wooden floor.  He was naked except for a pair of paper shorts.  Two hairs grew from his sunken chest; whose pallor had caused the ship’s computer to steadily increase the UV content of the lighting over the past two days, in order to stimulate vitamin D production.  Okay, what next?

In his imagination he saw that first machine, absorbing matter, converting it, working it, and sending it around that half twisted loop that no human mind could comprehend.  Soon there would be two identical machines standing on the rock, their legs waving in an explorative fashion. And then four of them, then eight…

The program was perfect, or so the simulations had told him. When they reached the optimum number the machines should have begun constructing his city out of their own bodies.  Clambering on top of each other using the sticky pads on the ends of their feet.  Herb was proud of the design of those pads: each seemingly smooth foot ended in a chaotic branching of millions upon millions of tiny strands.  Press one foot down and the hairs would spread out, reaching down and around to follow the contours of the surface beneath them so perfectly that they were attracted to it at a molecular level.

Not that any of that mattered now. This was the point where the error lay.  The machines hadn’t paused to build his city.  They’d just gone on reproducing, continued eating up the planet to make copies of themselves until there was nothing left. He opened his eyes again to look at the view field.  Maybe he had only imagined it.

No way.  Herb groaned as the view zoomed in on the cold grey shifting sea beneath.  He could make out the busy motion of thousands, millions of VNMs walking over and under each other, struggling to climb upwards to the surface only to be trodden on and forced down by other VNMs, each equally determined about seeking the light.  Wasn’t that part of the end program?  City spires, growing upwards, seeking the light in the manner of plants?  Herb groaned again at the endless perpetual motion beneath his ship. Everywhere he looked, everywhere the ship’s senses could reach; out to the horizon, down to the submerged layers of machines; it was the same:  frenzied pointless activity.

He paused and felt a sudden thrill of horror. That wasn’t quite true.  Something was happening directly below.  He could see a wave building beneath him: a swelling in the grey, rolling surface.  Thousands of pairs of tiny silver antennae were now waving in his direction.  They sensed the ship hanging there.  They sensed raw materials that could be converted into yet more silver VNMs.  Herb felt a peculiar mix of horror and betrayal.

He croaked out a command. “Ship. Up one hundred metres!”

The ship smoothly gained altitude and Herb began to pace again.   He needed to think, to isolate the error; but he couldn’t concentrate because one thought kept jumping in front of all the others.

He was in serious trouble.  The EA would have been upset enough by the thought of a private city being built on an unapproved planet.  Never mind the fact that the planet was sterile and uninhabited, they would still point out the fact that a city wasn’t part of this planet’s natural environmental vectors.

“We are uniquely placed to manipulate not only our environment, but also that of other races as yet unborn.  It is our responsibility not to abuse that privilege.”

The message was as much part of Herb’s childhood as the smell of damp grass, the dull brown tedium of Cultural Appreciation lessons and the gentle but growing certainty that whatever he wanted was his for the asking.   Everything, that is, but this.  Everyone knew the EA’s philosophy.

So what would the EA think when they discovered that in failing to build his illegal city he had accidentally destroyed an entire planet instead?

Herb didn’t remember setting out a bottle of vanilla whiskey on the carved glass slab that served as a side table.  Nonetheless, he poured a drink and felt himself relax a little. His next moves began to fall into place.

First he had to try and destroy any evidence linking this planet with himself.

Next he had to get away from here undetected.

Then he had to slot back into normal life as if nothing had happened.

Then, and only then, could pause to think about what had gone wrong with his prototype.

The first objective should be quite straightforward.  The original VNM had been designed with anonymity in mind: standard parts, modular pieces of code taken from public libraries.  The thought that someone might accidentally stumble across his planet had always been at the back of his mind. He gulped down some more whiskey and an idea seemed to crystallise from the concentrated alcohol. He prodded it gently.

Of course, so far as Herb knew, no one else even knew that this planet existed.  He had jumped across space at random and set his ships senses wide to find a suitable location.  What if this planet were just to disappear?  What if he dropped a second VNM onto it- one with a warp drive and access to a supply of exotic matter?  Set it loose converting all the original machines, and then, when that work was done, just jump them all into the heart of a star?

Could he do it?

Getting hold of enough exotic matter to build the warp drives of the modified VNMs would be a problem; but his father had contacts, so that could come later.  He had to get away first.

He could do that.  A random series of jumps around the galaxy, eventually returning to Earth.  Enough jumps, executed quickly enough and nothing would be able to retrace his course.

Good.  Now, how about slotting back into normal life?  Would anyone suspect him?  More to the point, would the EA suspect anything?  Their senses were everywhere.  They said the EA could look into someone’s soul and weigh the good and evil contained therein to twenty decimal places, and yet… and yet…

Herb was different.  He had known it since he was a child.  Sometimes it was as if he was merely a silhouette.  Like he was there in outline, but they couldn’t fill in any of the specific details.

If anyone could get away with it, it was Herb.

A gentle breeze brushed his face and he felt his spirits lift. He took another gulp of whiskey and felt its reassuring warmth as he swallowed.  Alcohol and the flooding sense of relief made the lounge resume its feeling of comfort and security.  The plan was good.  He could get away with it.

“I can get away with it,” he whispered to himself, his confidence growing. Another drink of whiskey and that familiar sense of his own invulnerability swung slowly back into place.  Get back home, and he would be able to examine the design of his VNM and discover what had gone wrong with it. He drained the glass and began to stride around the room, feet padding on the wooden floor, energy suddenly bubbling inside him.

“I’m going to get away with it!” he said out loud, punching at the air with a fist, whiskey slopping from the glass held in his other hand. And then, once he was home, once he had found the error in his design, he could find himself another planet.  Build his city there instead.

“I will get away with it!” he cried triumphantly.

“No you won’t.”

The glass slipped from Herb’s fingers.  He spun around and fell into a crouch position; ready to run or fight, though where he would run to in a three room spaceship his body hadn’t yet decided.

A slight, dark haired man with a wide, white, beaming smile and midnight black skin stood on the sheepskin rug between the facing sofas. He wore an immaculately tailored suit in dark cloth with a pearl grey pin stripe.  Snowy white cuffs peeped from the edge of his sleeves; gleaming patent leather shoes were half hidden by the razor sharp creases of trousers. The man raised his hat, a dark fedora with a spearmint green band, to Herb.

“Good Afternoon, Henry Jeremiah Kirkham.  My name is Robert Johnston. I work for the Environment Agency.”

Buy Recursion on Amazon UK | Buy Recursion on Amazon US

Six Tips on Showing not Telling

  1. Remember, the reader isn’t stupid; you don’t have to explain everything. They’ll probably understand what you’re getting at.
  2. Describe effects, not causes: she shivered not she was cold
  3. Unless you happen to be a Victorian novelist, there’s no need to describe everything in a scene.
  4. Writing about how characters react is often better than simply stating. The smell of the eggs made him feel sick is better than He didn’t like eggs
  5. If you don’t know the meaning of pragmatics, Google it. Now use that when writing conversations.
  6. Finally, don’t tie yourself in knots. Sometimes it’s okay just to tell.

See Also

Six tips for Writing Character

  1. Giving a character a colourful hat or a stammer does not make them into a character. It may fix them in the reader’s mind, which can be a good thing, but it won’t give them a character
  2. Don’t be arbitrary. Some people construct characters by putting together a list of contradictions. You end up with a character that is original, but it won’t seem authentic.
  3. Don’t fall into the trap of trying to capture every passing character in detail. Focus on what’s interesting.
  4. Some people accuse others of the faults they see in themselves. Do your characters do that?
  5. Characters come alive in their interactions with other characters. Does one character irritate another, annoy them, make them laugh, make them jealous… ?
  6. Even better: what do your characters think of each other? How do your characters talk about other characters currently off page?

See Also

Connoisseurs

Everyone’s a connoisseur nowadays. Patisserie, whiskey, cheese: all the little pleasures in life are seen not be enough, they need to be ranked and properly appreciated. You can’t just enjoy a bar of chocolate any more; it has to be 85% cacao and handmade by a master chocolatier.

When she was about 3, some friends of mine saw my daughter eat a piece of 85% cacao chocolate (they didn’t see her spit it out afterwards) and were impressed by this, for some reason. I’m not exactly sure why. If anyone had asked me I would have said I was prouder of the fact that I’d managed to train her to use a knife and fork at the table to eat most of what was given to her. I’d have been more impressed with myself if I’d managed to develop her palate to the point where she’d eat cabbage without complaining.

Being a connoisseur is the new gluttony. CS Lewis wrote about something similar in The Screwtape Letters. Being a connoisseur means rejecting perfectly good pleasures in pursuit of something better.

Worse, though, being a connoisseur means being blown about by the vagaries of fashion. What is regarded as good whiskey today was seen as being second rate 50 years ago. Being a connoisseur isn’t about recognising what’s good and bad – there’s good SF and bad SF, and I hope I write the good stuff – but it’s about identifying the smallest possible subset of the good and rejecting the rest.

Marketing people love this, it allows them to distinguish between brands. Shops love it, it means they can charge higher prices. We’re fools to fall for it.

Sometimes good enough is good enough. We’re snobs to think otherwise.

 

Working to Deadlines

If you’ve been reading this blog you will be aware that in between Marching to Time I’ve been writing a serial, Cosmopolitan Predators!  for Aethernet Magazine.

Aethernet Magazine was launched so that readers could rediscover the joys of serial fiction. One side effect has been that the writers are rediscovering the joys of writing to deadlines.  Take, for example, Ian Whates who pulled out all the stops to complete the final part of The Smallest of Things in style, or Juliet E McKenna whose fascinating take on the process of writing The Ties that Bind is detailed here on her blog.

What has my experience been like?

I went into Cosmopolitan Predators! with the story half planned. This is my usual way of writing. I find if I’ve planned a story in too great detail I lose interest in writing it, besides which, my stories tend to have a habit of wandering off course when the characters take on a life of their own. Even so, my original aim was to keep two episodes ahead of the current issue, and I’m now barely one issue ahead. This is not so bad, as I tend not to write stories in a linear fashion but rather in a random order: filling in scenes that interest me here and there and adding them to the finished piece or dropping them as the mood takes me. This means that as deadlines approach I find that I’ve already got half the story written.

But what about the deadlines? I like to follow my subconscious – my muse clearly has a butterfly mind, but nothing focuses her attention like a deadline. Cosmopolitan Predators! is a better story for being written to a deadline, I’m sure of it.

Deadlines are a writer’s friend. Deadlines focus the mind. Deadlines get you writing. Deadlines are the difference between a completed novel and three years spent with nothing more than a file detailing your imaginary world and no actual story to speak of.

I sold my first SF short story ten months after I made an agreement with myself to write one 2000 word story a month. I wrote my first novel after making an agreement with myself to have it completed by the end of 2002. I only wrote Dream London, my first Fantasy novel, after realising that if I didn’t set a deadline I would just keep on piling up ideas indefinitely.

And now the deadlines on Cosmopolitan Predators! are bringing out the best and the worst in me. Have you read the latest episode? I originally had that final line pencilled in for the end of the penultimate episode. But as the deadline for Episode 7 approached something began bubbling inside me and little voice whispered “Do it now! Shoot him now!”

“But that’s too soon!” my sensible self replied.

“No it’s not. Listen to your subconscious. You know you should.”

So I did. And I think it was right. I got Episode 7 finished and I’m now working on Episode 8. All the balls of the plot have been thrown in the air and I’m working to catch them in their new order and go on juggling, but my subconscious is having a great time and my sensible self is reluctantly agreeing that it was right.

I just hope I can rely on it as the next deadline approaches…