AUTHOR INTERVIEW: Cat Rambo

Note from Nayad: The series continues. This week I'll post interviews with authors contributing to my speculative fiction anthology, WHAT FATES IMPOSE: Tales of Divination. If you want to read strange tales about predicting the future, you've found the right book. I hope you enjoy these author interviews!

As of this afternoon we have only four more days to go on the Kickstarter Fundraising Campaign for WHAT FATES IMPOSE. We're up to $4,356 from 183 Beloved Backers. That's 87%, but we still need $644 to get to $5,000. The Countdown Is Happening. But we're so close!

If you'd like to help out, you can easily tell friends about the book by clicking here. If you contribute any amount from $1 on up at our Kickstarter page, you will get our first bonus art download in addition to whatever rewards you choose, and we're only 17 backers away from making that TWO bonus art downloads. Will you help us? Because we would love to create this book and pay our authors pro rates for their work.

 

(Photo by On Focus Photos, http://onfocusphoto.com)

Cat Rambo lives, writes, and teaches by the shores of an eagle-haunted lake in the Pacific Northwest. Her 200+ fiction publications include stories in Asimov’s, Clarkesworld Magazine, and Tor.com. Her short story, “Five Ways to Fall in Love on Planet Porcelain,” from her story collection Near + Far (Hydra House Books), was a 2012 Nebula nominee. Her editorship of Fantasy Magazine earned her a World Fantasy Award nomination in 2012.

Cat's story in WHAT FATES IMPOSE, "To Read the Sea," is a powerful and unsettling flash fiction story about the magical objects that come from the ocean, and the dark motivations of the people who want them.

Here's Cat to tell you about divination and the many ways to do it, as well as her thoughts on writing. *tides around the world impossibly rise all at once*

AUTHOR INTERVIEW: Jamie Lackey

Note from Nayad: The series continues. This week I'll post interviews with authors contributing to my speculative fiction anthology, WHAT FATES IMPOSE: Tales of Divination. If you want to read weird stories about fortune-telling, this is the book for you. I hope you enjoy these author interviews!

As of this morning we have only five more days to go on the Kickstarter Fundraising Campaign for WHAT FATES IMPOSE. We're up to $4,116 from 171 Beloved Backers. That's 82%, but we still need some help to get to $5,000. The Clock of Let's Get Serious is now ticking.

If you'd like to help out, you can easily tell friends about the book by clicking here. If you contribute any amount from $1 on up at our Kickstarter page, you will get a bonus art download in addition to whatever rewards you choose! Will you help us? Because we would love to create this book and pay our authors pro rates for their work.

Jamie Lackey lives in Pittsburgh with her husband and their cat. Her fiction has been published by over a dozen different venues, including The Living Dead 2, Beneath Ceaseless Skies, and Daily Science Fiction, and she has appeared on the Best Horror of the Year Honorable Mention and Tangent Online Recommended Reading Lists. She reads slush for Clarkesworld Magazine, works as an assistant editor at Electric Velocipede, and helped edit the Triangulation Annual Anthology from 2008 to 2011. Her Kickstarter-funded short story collection, One Revolution, is available on Amazon.com.

Jamie's story in WHAT FATES IMPOSE, "Another Will Open," gives us a look at the difference between easy answers and hard choices, and how to pick a direction. Here she is with her thoughts on where that story came from and some advice for aspiring writers.

Are Writers Really Insane?

The title of my blog is kind of a joke, and kind of not. I mean, the word "insane" is a strong word. It's an exaggeration. . . mostly.

This is not a scientific observation here—I haven't taken a survey, and I wouldn't know how to design a scientific survey anyway—but what do you suppose most people think about writers? How about some suggestions: we're eccentric, depressive, spacy, weird. We use big words all the time and we are aloof. We are disorganized and we have no sense of time.

Are you going to sit there and tell me people don't say that? Go on, the comment section is below. No? Because you know they do. The ones who don't say it are THINKING it. They are.
It is certainly possible to list writers who are pretty together as individuals. They turn in their stuff on time, dress well, and even remember to eat. But there are reasons why the general sense people have about writers is that we're DIFFERENT. Why is that?

WisCon Book Haul

Over the weekend, I spent a lot of time at WisCon 37, socializing and doing my best to make sure other writers don't starve (also known as buying books, my favorite strategy). I feel the need to tell you what I selected.

Before and Afterlives, by Christopher Barzak. From the back cover: "These are tales of relationships with unearthly domesticity and eeriness: a woman falls in love with a haunted house; a beached mermaid is substituted for a lost missing daughter; the imaginary friend of a murdered young mother stalks the streets of her small town; a teenage boy is afflicted with a disease that causes him to vanish; a father exploits his daughter's talent for calling ghosts to her; and a wife leaves her husband and children to fulfill her obligations to a world from which she escaped." In case you were wondering what kinds of things I like to read about in short stories, now you know. It sounds like a great collection, and I have already enjoyed reading the first story in the book, "What We Know About the Lost Families of – House."

Seeing Things, by Kater Cheek. Description: "Coffee shop barista (and part-time treemaker) Kit Melbourne’s life turns upside down when her tea-leaf reading brother predicts that someone will rob her, break her heart and oh yeah, murder her. Kit suspects it has something to do with the priceless jewel she inherited from their infamous witch uncle. As the jewel’s powers begin to reveal the secret, supernatural side of the town of Seabingen, Kit realizes she has to uncover the mysteries of her uncle’s past, to find out which of his many enemies wants the jewel badly enough to kill for it." I've read enough of Kater's short stories to know that I enjoy her writing style, and I'm always psyched up to read about the secret, supernatural side of anything.

Trampoline: An Anthology, edited by Kelly Link. This book is not new—it came out about ten years ago—but I had been meaning to get this for a long time. It is a matter of public record that I'm a huge fan of Kelly Link's stories, so I'm certain that other stories she chose to put together will also make me very happy.

Scatter, Adapt, and Remember: How Humans Will Survive a Mass Extinction, by Annalee Newitz. From the book jacket: "In its 4.5 billion–year history, life on Earth has been almost erased at least half a dozen times: shattered by asteroid impacts, entombed in ice, smothered by methane, and torn apart by unfathomably powerful megavolcanoes. And we know that another global disaster is eventually headed our way. Can we survive it? How?" You might not know this about me, but this topic is something I fret about. A lot. I'm also curious about what other people have to say about it. Given the fact that Annalee Newitz is a particularly interesting person (and also fun to chat with!), I can only believe that this book will be just right for me, especially since it seems to be angled toward fascinating science and optimism.

Which books have you picked up lately?

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Disclosure of Material Connection: None! I have not gotten and will not get any financial compensation for mentioning these books. I don't do affiliate links.

Things I've Written and Edited

Here's a list of non-blog things I've written and where you can find them.

My Original Speculative Fiction Anthologies

• What Fates Impose - edited by Nayad Monroe
• Not Our Kind - edited by Nayad Monroe

My Fiction

• "An Assessment of the Incident at Camp Righteous", in Space Grunts: Full-Throttle Space Tales #3, edited by Dayton Ward: Science Fiction. During a militaristic theocracy's invasion of an alien planet full of harsh conditions, a young soldier tries to fulfill his mission while his mind deteriorates.
• "The Emperor Everlasting", in Steampunk World, edited by Sarah Hans. An alternate history story in which the Incas were much more successful in the world than they were in the actual past you may have learned about. Intrigue unfolds as a royal Deviser is thwarted in her every effort to complete the most important job in her nation's history. Features battle llamas!
• "Quintuple-A", in Sidekicks!, edited by Sarah Hans. Science Fiction, Humor. A low-budget academy that trains sidekicks for superheroes is suddenly up for review, and Daltona Doyle has just one day to prepare an athletics-challenged student for testing.
• "Running in Wonderland", in Space Tramps: Full-Throttle Space Tales #5, edited by Jennifer Brozek. Science Fiction. An unwanted homeless woman with medical problems, and no money, has 24 hours to get in and out of a space station full of trouble that's her best option for finding a permanent place to live.
• "Three Transformations", in The Crimson Pact: Volume Two, edited by Paul Genesse. Horror. The owner of a no-kill animal shelter has her worldview and self-image broken all at once when she must cope with an intruder and an invading demon.
• "Tipping Point", in Ghost in the Cogs, edited by Scott Gable and C. Dombrowski

My Non-Fiction

• "An Interview with Tim Powers" in Writers Workshop of Science Fiction and Fantasy, edited by Michael Knost. A conversation about writing with award-winning author Tim Powers, who has written many extremely awesome books that everyone should read.
• "A Thousand Words You Can Hear All at Once: An Interview with Todd Lockwood" in Clarkesworld Magazine. A conversation with award-winning artist Todd Lockwood about art and writing, because he does both!

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Disclosure of Material Connection: I am the author of these stories and articles, so purchasing some of the books listed above will result in me getting a tiny bit of money. They're not affiliate links, though! Use your best judgment. :)

Corrections and Friday Reads

Good Friday! This will be a brief post, but I will fill it with links to make it worth your time.

First, a correction: I know I said in my upcoming schedule that I would be going to Odyssey Con this weekend, but I'm not going to be there due to a need to reallocate my time. I'll miss going, but nobody would want me coughing in the con's airspace, anyway. This recent respiratory ailment has been way too tenacious.

And now for the fun stuff. Books! On Twitter there's a tradition of posting #fridayreads, and I'm bringing it to my blog. I'm currently reading Paper Cities, edited by Ekaterina Sedia (whose website is beautiful. Click!). I have a thing about fantasy set in cities, but not necessarily always the Urban Fantasy category as we know it today with the vampires and the werewolves, so what I am saying is that this anthology is very good for me, so far. I'm not even halfway through it, but I want to recommend three outstanding stories: "The Bumblety's Marble," by Cat Rambo, "Promises: A Tale of the City Imperishable," by Jay Lake, and my favorite so far, "Ghost Market," by Greg van Eekhout. The book is worth its cover price for just these three stories, as far as I'm concerned, but I'm looking forward to reading the rest, because there are amazing writers all over the table of contents.

The other book I just started to read is Flash Fiction: 72 Very Short Stories, edited by James Thomas, Denise Thomas, and Tom Hazuka. I have to admit that I've never paid much attention to flash fiction before, but recently I've read several excellent stories under 1,000 words long, and I've become nearly what one might call "obsessed" with the category. I've developed the ambition to write some, which by all accounts is not easy to do, especially when you're writing a genre story that might need a few words to go toward how the story world is fantastical or science-fictional.

That's it for now. I hope you have whatever kind of weekend you want to have!

Coming soon: Five Important Reasons to Worry about Divination

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How Choosing Anthology Stories Is, and Is Not, Like Making a Mix Tape

The idea for this post came from the awesome Ferrett Steinmetz, who told me he thought choosing stories for an anthology was like making a mix tape. So here's what I think of that.

There are different kinds of anthologies. Reprint anthologies are made up of stories that have been published before in other places. The editor picks a theme and chooses stories to fit that theme. Making a reprint anthology is very much like making a mix tape. When I make a mix tape, I'm usually making it for someone else, to combine songs I like in a way that I hope they'll enjoy, that might create a different effect from listening to the songs as part of their albums of origin. I might include more obscure songs so that I can be a showoff about the range of my musical interests, while bringing some more popular songs to keep the mix accessible. Likewise, with a reprint anthology you look at stories that have already been chosen for publication in various places, and evaluate how well they would fit into the effect you're trying to achieve. You can select from a huge range of stories, published over a long period of time, and this gives you the opportunity to use stories written by Big Names with Big Followings, although many people will have already read at least some of those.

Then you have original anthologies, for which writers are asked to submit previously-unpublished stories to fit a theme, and that means they may be writing new stories specifically in the hope of having work published in that anthology. This process is a little bit like making a mix tape, but it's a lot more like commissioning musicians to write songs for a new album. It's about bringing something new into the world. There's collaboration involved. The editor needs to be able to write effective guidelines that will get writers to understand what kind of stories she wants, and for that to happen, she needs to have a clear idea of what she wants in the first place.

Deciding who to ask to submit a story is complicated. Do you ask everybody, making it an open call for submissions and posting about it all over the place, to bring in lots of potential material and maybe some surprising gems in the form of a huge slush pile to read through? Or do you think about which writers are already doing the kind of work you like, and invite a select list? Because that way you minimize the work and maximize the likelihood of getting the kind of stories you want, but you don't give anyone new any opportunities and you don't get major surprises. It's in your best interest to ask some well-known authors to submit stories, but they're the ones most likely to be busy or to not need to be in your little anthology because their collection of every story they ever wrote is coming out next month. But if you're paying attention, maybe you can interest some emerging writers who have been steadily writing new, awesome work and getting new, awesome fans eager to see what they'll write next.

Once the submissions come in, the editor needs to be able to evaluate them on an individual basis for: 1) how well they suit the anthology's theme, 2) how well they work as stories, and 3) if they're not quite right in either of the above areas, whether or not they can be edited into becoming right, and whether or not the amount of editing necessary will be worth the effort. It's possible that a story that doesn't work for this anthology might be perfect for another one, or might sell somewhere else without much editing.

There are decisions to be made about how well the stories will work together. Maybe some of them are too similar to each other. Maybe one is great, but so different from the others that it wouldn't make sense to keep it. Then there's the order of the stories to decide. Given the way they all go together, which one is the strongest candidate to go first? Which one will be best to finish off the book and leave the final impression? (These are considerations in a reprint anthology, too).

Another way is to combine both types and create a book with some original stories and some reprints. This may be the strongest option if you prefer the original type, combining the unknowns of novelty with the flexibility to fill gaps with known authors' work. If you don't receive enough of the kind of stories you were hoping for, you can go shopping in the store of magazines, collections, and other anthologies to find already-polished stories that have been tested and reviewed. Or if you're starting from the reprint plan, you might want to tempt readers with a few stories that have never appeared anywhere else.

In conclusion, what I'm doing with What Fates Impose--an original anthology of fantasy stories about divination, which may include a few reprints--is bigger and messier than making a mix tape, but it gives me the chance to contribute more and make more decisions than a reprint anthology would, and I love it.

What Fates Impose: Inside the Anthology

When I was on Twitter yesterday, I mentioned that I'd like to tell people about the anthology-editing process, but I wasn't sure what or how much to say about it. It would not be right to discuss details about the stories for a variety of reasons, but I think it would be good for me—and possibly for other people—if I wrote down some of what goes on behind the Veil of Editing.

My friend Beth had a few good questions about it, so I'm going to answer those in this post:

"What has been the greatest delight so far? The biggest surprise? The hardest part?'

The greatest delight so far has been receiving and reading submissions. I came up with the idea for What Fates Impose, an anthology of original stories about divination, more than a year ago. I found a publisher who was interested in the idea last September. We had to work out the details of how we were going to do the project, and then I had to get authors to agree to write stories for it, and give them enough time to write. THAT'S A LOT OF WAITING. But when I finally started to get the stories, it was like presents arriving in my email, because look: I love to read. How much of a buzz do you suppose it is to have an idea of what kind of stories I'd like to read, and then be able to simultaneously support good writers and be the instigator of a bunch of stories like that being written? BIG BUZZ. Delightful!

The biggest surprise has been seeing how each of these writers work when handed a request to submit a story on a theme. Some of them communicate with me a lot, respond to email quickly, and ask a lot of questions to clarify what I'm looking for. Others are quieter, thinking things over for themselves. Some are super enthusiastic about an idea and agree to try it immediately. Others take a while to think about it before even deciding whether they want to try, and give me a more reserved answer about being willing to see what they can come up with. Maybe they'd all respond differently if given a different topic, or maybe this is their style all the time. I'll see about that over a variety of projects, because I already want to do this again. It's also a semi-surprise, every time, to see how each person chooses to approach the theme. I have an idea of what they're like as people, and in many cases I've seen some of what they've written before, but I get a different idea of the way they think when I see where they go within the guidelines I've sent them.

The hardest part is knowing for a fact that I can't accept all of the stories. I don't want to reject anybody's work! But I have to if I want to make the book I'm trying to make. There's only so much room, and some stories match what I want better than others, and that's the way the process goes. I'm also going to have to articulate what kind of changes I'd like to see in some of the stories, and get satisfactory changes back, before I accept them. That's work for me and for the writer, and I don't know how people will react to my comments on their stories. I want to make this as easy as possible for everyone, but I also want the stories to be the best they can be for the book.

I like it, though. This is the most satisfying work I've ever done. It suits me so well!

Coming soon: How Choosing Anthology Stories Is, and Is Not, Like Making a Mix Tape

(People under a certain age: replace "Mix Tape" with "Playlist.")

On Becoming an Editor

Anthologies are awesome.

I've spent large amounts of time with short stories for the last five years. As part of learning how to write them, I worked at Clarkesworld Magazine for three years as a slush reader, evaluating over 5,000 of the stories that were submitted during that time; for each of those, I had to write a few sentences about why I liked or did not like the story, and send my recommendation about it to Neil Clarke, the editor. That's a job that wears you out because practically all of the stories aren't good enough to get into a magazine that accepts only one per month from the slush pile (as it did then), and even the ones that I loved often did not make it into the magazine.

Whenever I recommended a story and Neil rejected it, he would send me a note to explain what hadn't worked for him, and I would learn from that. Sometimes, later on in the same year, I would see that a different magazine had accepted one of those rejected stories, and that taught me that publishing fiction is not just a matter of quality, it's a matter of taste. When you're the editor what you're really doing is demonstrating your taste. The stories Neil publishes win awards and get reprinted in "year's best" anthologies all the time, but guess what? Several times, stories I loved that Neil passed on ended up winning awards and getting reprinted in "year's best" anthologies, after other editors decided to publish them. If anyone out there reads this as me attempting to criticize Neil, who is a fantastic person with excellent taste, I will give you many, many demerits. Pay attention. What I'm saying is that everybody has different taste, and that's okay. But not everybody gets to be the editor.

I have finally worked my way into being an anthology editor, so this month I get to be the one who decides on what's going into a book, and what isn't. This makes me extremely happy. Here's what I've done so far.

I've already shaped the book's outcome by choosing the people I've asked to submit stories. I decided that an open submission process would be a bad choice for my first anthology, because who knows how many submissions I would get? REMEMBER THE SLUSH PILE. So I asked writers I either knew, or was familiar with online, to send me stories. I chose people for a few reasons: 1) I already knew I liked their writing, 2) they seemed interesting because of the way they presented themselves online, and/or 3) they seemed reliable and unlikely to screw me over with flaky behavior. Not all of them fit all three criteria, but you can't have everything! Most of them said they would send me a story, but several of them said they wouldn't. That's okay; you never know what people are working on, what will interest them, or what else is going on in their lives. I ended up with a great list of writers that impressed my publisher, so yay!

Because of dealing with reality, I knew I had to ask a greater number of people to submit stories than the number of stories the book would require. I am not looking forward to having to reject stories, but when you ask a bunch of people to write for your theme, you are absolutely never going to get only stories that work for what you want. That would be literally impossible. Can't be done. Won't happen. So you need to think hard about the number of people to actually ask, realizing that some percentage of those people will say no, and some percentage of the people who say yes may actually not end up sending you a story for an astonishing variety of reasons that may or may not be respectable. And of the stories you get, some just won't work for you as stories, and others will show symptoms of "did not read the guidelines" syndrome, and others will probably overlap in some unforeseeable way, or not go together. I'm starting to freak myself out. Maybe I should have asked a hundred more people to send me stories. I'm a worrier.

The submission deadline is tomorrow. I've already received a bunch of early submissions, which is good; that's kept me from losing my mind while waiting for the majority of them, which I assume will mostly come in at 11:59 pm tomorrow night. It is FASCINATING to read stories that I've asked for. Way better than the slush pile. Do you even realize how amazing it feels to send out guidelines and get stories back that fulfill them? Editing an anthology is THE BEST. Even though I'm anxious about the outcome, every step so far has been so satisfying. I love this. I'm looking forward to seeing what other stories I get, and putting the best ones together in an order that makes sense--ideally, that creates its own overarching story through the whole book, if possible.

I'm building a fantasy anthology called What Fates Impose. Watch for updates on the process! There's going to be a Kickstarter project to make this book the best it can possibly be.

My CapriCon Schedule

Here's a lot of what I'll be up to for the weekend of February 9th to the 12th, at CapriCon! Note that I will be on panels with Cory Doctorow, Gene Wolfe, and many other excellent writers! If you're within reach of the Chicago area, why not stop by?

Retro-futurism Sure Beats the Boring Truth! - Thursday, 02-09-2012 - 4:00 pm to 5:30 pm - Birch B

A celebration of looking backwards to look forwards. Steampunk, the Jetsons, and NASA all had cooler ideas about how the future looked than it really did. Why is our imagined future so much hipper than the one we live in?

Tim Akers, Kerri-Ellen Kelly, Nayad Monroe (M), W. A. (Bill) Thomasson, Michael Z. Williamson

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Dystopia Now - Thursday, 02-09-2012 - 6:30 pm to 8:00 pm - Botanic Garden A (Special Events - Programming)

The Dystopian sub-genre of Science Fiction has seen a resurgence over the last few years. Why does this bleak sub-genre remain so popular? What are the definitive dystopian works?

Cory Doctorow (M), Paul McComas, Nayad Monroe, Gene Wolfe

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You Are Not Alone: Writers Groups and Critique - Thursday, 02-09-2012 - 9:00 pm to 10:30 pm - Birch A

Many SF/F writers, from Asimov to Tolkien, have belonged to writers groups or benefited from critique partners. How do these groups help an author hone her craft? Some members of writers' groups discuss their experiences.

Tim Akers, Eileen Maksym (M), Nayad Monroe, Michael D. Thomas

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Reading: Nayad Monroe - Friday, 02-10-2012 - 12:30 pm to 1:00 pm - River C (Cafe)

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Religion in Worldbuilding - Friday, 02-10-2012 - 4:00 pm to 5:30 pm - Botanic Garden A (Special Events - Programming)

Authors too frequently just change around the fixtures on a real world religion and insert it into their fantasy world. These writers will talk about how they go about creating original religions, and how the use of religion can drive worldbuilding and shape the story's narrative.

Tim Akers (M), Alex Bledsoe, Phyllis Eisenstein, Nayad Monroe, Gene Wolfe

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Welcome to the Glamorous World of Writing - Saturday, 02-11-2012 - 11:30 am to 1:00 pm - Botanic Garden B (Special Events - Programming)

Every writer began in the same place with some ideas and a blank page or screen. In this panel, SF/F writers discuss their origins and give advice to people who are just beginning their journey in the glamorous world of writing.

Phyllis Eisenstein, Roland J. Green, E.E. Knight (M), Holly McDowell, Nayad Monroe

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The SF/F Short Fiction Club Scene - Saturday, 02-11-2012 - 1:00 pm to 2:30 pm - Botanic Garden B (Special Events - Programming)

The SF/F short fiction markets have been described by author Elizabeth Bear as a "club scene" where authors experiment and bat ideas back and forth. These SF/F professionals talk about the current state of the short fiction markets and some of the exciting things happening in the medium.

Richard Chwedyk, John Klima, Mary Anne Mohanraj (M), Nayad Monroe, John O'Neill, Lynne M. Thomas

Five Great Books for New-ish Writers

Although the most important thing about writing is the act of writing (and lots of it), there are books that can help with writing better. That way, you can "work smarter, not harder," which is also known as "not flailing at the keyboard like a monkey."

No offense to monkeys intended. Some monkeys may be super-genius monkeys. Your monkey may vary. I digress.

These books are for "new-ish" writers because it can take years to get published for the first time, or years between first and second publications, so a person can be a rather experienced writer while still struggling with questions of how to write stories that editors will buy. I haven't read all of the writing books in existence, but I've read many of them. Here are five of the books I consider to be the most useful for the earlier stages of learning to write fiction (and re-readable, because you can get more out of them over time).


How to get writing into your life and keep it there

Page after Page, by Heather Sellers: This is the only writing book I've read that gets into the subject of why you want to write in the first place. Lots of people think they want to write. Do they really? Do you? Once you have that all figured out, the book covers the importance of regular writing practice, and includes ways to keep yourself writing even when you don't feel like it. It also does a great job of explaining why it's important to interact with other writers, and how you can do a good job of that. This is the book that convinced me to start going to conventions, and going to conventions is brilliant! (I will definitely write a whole separate post about that sometime).


How to actually create a story

Creating Short Fiction, by Damon Knight: This, in my opinion, is the best basic, how-to-write-stories book. By "basic," I do not mean "for beginners only." You can read it, and then go forth and write stories for a while, and then read it again and get more out of it because you'll be at a different point in your writing ability. Many writing books get into the same topics as this one, but don't explain them as well.

Writing Fiction: A Guide to Narrative Craft, by Janet Burroway: Each chapter of this long-lived book includes discussion of a topic in creating fiction, as well as at least two short stories that demonstrate that topic - such as characterization, atmosphere, or structure - done well. The chapter on revision contains stories by Heather Sellers, who wrote Page after Page, listed above. DO YOU SEE HOW THIS ALL CONNECTS TOGETHER IN THE SCHEME OF THE COSMOS? Ahem. Got carried away there.

From Idea to Story in 90 Seconds, by Ken Rand: This is a short but absolutely excellent book about getting ideas, making them distinct from everyone else's, and developing them into the kind of stories you want to write. It's entertaining, it won't take long to read, and it's all good, useful stuff. If you tend to have trouble with knowing what to write, start here.


How to tighten up your prose after you've written a story

The 10% Solution, by Ken Rand: Another short and completely great book. This explains the reasons for editing unnecessary words out of your stories (and any writing that you do, really) and then leads you through an easy system that will literally cut at least 10% of your words out, unless you're already writing like Hemingway. Raise your hand if anyone has ever said you wrote like Hemingway. If you raised your hand and your work is getting published in venues that pay you money, please stop reading this, start writing a blog about how you do what you do, and send me a link to it when you're done. Thanks in advance! If you didn't raise your hand, be like me and use this book's system to cut out extra words, which will make your story easier to read and harder to stop reading. That's the goal.


Bonus! Not a book! How to put a story into Standard Manuscript Format before you submit it (but only do it this way if the guidelines don't tell you to do it another way)

William Shunn : Manuscript Format : Short Story


No two people will get the same things out of a given book, but my opinion is that there's always something to learn in good books about writing, even if you're going back and reinforcing ideas that you've heard before but never completely internalized. The main thing to remember, though, is to read about writing a little, and write a LOT.