Futurismic

Hard-workin’ Futurismic fiction editor Christopher East doesn’t post here very often; not only does he spend hours combing through the slush pile for this very organ, a lot of his time is taken up by, y’know, having a life, and a job and a family. That sort of stuff. Not that I’m jealous or anything. Ahem.

So, if you want to know a bit more about him (and you should, because he’s not only one of the sharpest unpaid fiction eds in the business, but also a jolly decent chap, as we Brits might say), Chris has been interviewed recently by Andrew Porter of writer/reader blog The Science Of Fiction. Here he is talking about how he knows when a story is the right one, and on how he writes rejections:

Chris East: Of course, now that I’ve been at it for a while, I understand why most editors don’t [write personal rejections].  It’s not always possible (crush of time, number of submissions), it’s not always warranted (sometimes there’s not much to say – the story just doesn’t do it for me), and really, the effort rarely pays off (I mean, except for personal satisfaction, there isn’t much incentive).  It’s also not really an edtior’s job to teach writers — it’s the editor’s job to find stories.  But as a writer I always appreciate it when the editor says something helpful, so I do still try to provide some feedback.  I’m also proud that I’ve never resorted to using a form rejection.  I can see how people might think I do, of course – you do tend to repeat yourself once you’ve written a few thousand responses!  But take my word for it, I write every rejection from scratch.

Andrew Porter: As a zine that only publishes one story a month I would imagine that you are often sitting with several stories that you would like to publish but can’t. How do you make final determinations between near equals (i.e. topical relevance, good title, etc.)

Chris East: This has never been a real problem for us, actually.  In fact, our inventory tends to run on the thin side most of the time.  I suspect this is a combination of high standards and a fairly specific focus on near-term future SF – I guess there aren’t that many available stories that fall perfectly into our wheelhouse. So I honestly don’t recall having the kind of one-or-the-other decisions you describe.  The exception might be when we’ve  received a story very similar to something that we’ve already published.  If we’ve recently featured a story about brain implants, for example, we might hesitate to publish another brain implant story close on the first one’s heels.  (Which, since we publish so infrequently, equates to “the past several months.”)  But mostly, it’s kind of a know-it-when-I-see-it situation.  In other words, “Yep, this is a Futurismic story!”  Or, “Nope, it isn’t!”

Lots more after that… some of it quite surreal, in fact. Enjoy!

Here’s a heads-up for podcast fans from the Futurismic mailbag – Dunesteef is an audio fiction magazine that mainly deals in material with SF/F/H tropes, and they’ve just run a version of Jason Stoddard’s “Willpower”.

Looks like they’re knocking out about ten stories per quarter, which is pretty respectable… so those of you with the (enviable) spare time in which to listen to great stories read aloud should probably add it to your podcast aggregator, RSS reader or preferred software of equivalent function.

Short fiction writers would be well advised to follow the Apex Book Company blog, as I think I’ve mentioned before; they have lots of guest posts from writers, editors and other niches in the fiction food-chain, containing plenty of sound advice. Like this post from submissions editor Maggie Jamison, for example, which offers a little hope and solace for those of you who fear the anonymity of the slush pile:

Believe it or not, a submissions editor can remember your name, particularly if you wrote something she liked, even if she passed on it. If you pay attention to rejection comments (if she gives any), and keep working to hone your understanding of her market, chances are your next attempt will be closer to what she wants.

And here’s the funny thing (though maybe it’s just me): we want you to succeed. Of all the other submissions editors I’ve spoken to, the vast majority would much rather send an acceptance letter than the typical form rejection. Heck, even a personal “This was so, so, SO close!” rejection is more fun than the form. I think most magazines want to be the one that nabs the first few publications of a great up-and-comer, and I’ve always enjoyed the vicarious excitement when a manuscript from my slush pile is accepted and bought.

I know that’s the attitude Futurismic’s very own hard-workin’ Chris East takes to the slush pile… if we didn’t want to publish good stories, we wouldn’t offer $200 per story and throw submissions open to all and sundry! [image by misscrabette]

Maggie makes some sound points about rewrites and re-submissions, too:

Unless I’ve specifically asked you to tweak the story and send it back, DO NOT resubmit the same story. The only other way it might be acceptable is if you rewrite the story so completely that I can’t tell I’ve read it before. But then, it wouldn’t be the same story, would it?

As a submissions editor, I do try (when I have time) to give suggestions for what might make a rejected story just a little bit better. I do this so the author knows and can utilize this information to avoid the same issue in her next story submission, not so the author can tweak her story and send it right back to me. If I want to see a rewrite or a reworking, I will be very, very clear.

Of course, all this advice follows on from the basic rule of making sure you read the submission guidelines carefully for the venue you’re sending your story to. As Chris has pointed out here before, a great many of the stories we reject aren’t bad per se, they’re just not the sort of stories we publish. Researching your market is a great way to lessen the chance of the dreaded “thanks, but no thanks” response.

Hey, writer-types – remember when we plugged the soon-to-open Lightspeed Magazine, a new online science fiction magazine curated by the inestimable John Joseph Adams?

Well, Lightspeed won’t be publishing anything until June 2010, but for the fictioneers among you (especially those who find Futurismic’s pickiness on topics and sub-genres restrictive!) it’s worth noting that they’re already open to story submissions. To quote from the Lightspeed submission guidelines:

Lightspeed is seeking original science fiction stories of 1000-7500 words. Stories of 5000 words or less are preferred. We pay 5¢/word for original fiction, on acceptance. To see which rights we’re seeking, please view our contract template for original fiction.

All types of science fiction are welcome, from near-future, sociological soft sf, to far-future, star-spanning hard sf, and anything and everything in between. No subject should be considered off-limits, and we encourage writers to take chances with their fiction and push the envelope.

We believe that the science fiction genre’s diversity is its greatest strength, and we wish that viewpoint to be reflected in our story content and our submission queues; we welcome submissions from writers of every race, religion, nationality, gender, and sexual orientation.

There are further details on that page, along with a link to their online submissions form. So why not give your latest masterpiece one final edit and send it off? Good luck!

I’ve been reading and responding to Futurismic fiction submissions for going on five years now, and hundreds and hundreds of stories have passed through our slushpile. If you do something long enough, you start to see patterns, and I thought I’d write up a list of common reasons for rejection that might give potential contributors a better idea of our sensibility as a market, and mine as an editor.

So, read on for the top six reasons stories are rejected by Futurismic… Continue reading “Why we reject stories”