Career Plan for Fiction Writers

1. Introduction
2. Learn how to write better.
3. Learn how to critique.
4. Seek clips of your writing being published by others.
5. Submit manuscripts.
6. If you are writing novels, seek an agent.
7. Submit new material via your agent.
8. Pay attention to the 'business of writing'.
9. Treat editors as human beings too.
10. Keep in mind these helpful hints.
11. Other internet sites for writers
12. Acknowledgements

1. Introduction

This is a posting of ideas for a career general plan to succeed as a fiction writer. Non-fiction writers may pursue a different path.

It is meant as a GUIDELINE ONLY and was compiled from the ideas of many postings to the Usenet newsgroup misc.writing as well as other sources. This is not intended as a strict edict but rather as a list of possible steps a beginner may follow to a career in fiction writing, benefiting from some of the collective wisdom of many who have gone before them.

The author Victory Crayne is solely responsible for typos and misquotations.

1. READ! READ! READ! in the area of your interest in writing AND other areas/genres as well. This will help you recognize good writing when you see it.


2. WRITE! WRITE! WRITE! every day. The best way to achieve this is to set a goal of how much you will write every day, either in words or pages. Write even if you don't feel like it. The mere act of writing can stimulate your creativity.

   "By making writing a part of your daily routine -- just like brushing your teeth -- you'll discipline yourself to work as a writer instead of a hobbyist who only writes when there's some fun to be had." - Theresa Grant

3. Lurk on the net and read paper copies of other people's writing and critiques of same. You may pick up some useful ideas on how to improve your own writing.


4. Attend a class on creative writing. This will help you learn more about many aspects of writing well.


5. If possible, take a class in writing in the field you want to pursue, e.g. science fiction, horror, fantasy, mystery, romance, historic novels, etc.


6. If your grammar has been criticized on a number of occasions, attend a class on grammar. Poor grammar will turn off any editor and will reduce your chance of having your piece accepted.


7. Try to complete something to submit to magazines, critique groups, or newsletters as often as you can. The guideline here is: 'learn to fail fast'. That is, test the waters with your best efforts, submit them for review, and study carefully the feedback you receive with an open mind to self improvement. Realize that you will not learn as fast if you wait till your material is 'perfect' before sending it out.


8. However, never submit something that is not your best effort to date. One good way is to critique your own piece. Can you find the weaknesses BEFORE you send it to anyone?


9. Remember that the secret to success is revising.

   "I have never thought of myself as a good writer. Anyone who wants reassurance of that should read one of my first drafts. But I'm one of the world's great rewriters." - James A. Michener.

10. Ask some fellow writers to review you piece before you send it to the 'outside world'. Be willing to return the favor by critiquing their works promptly when asked.


11. "Never ask a friend, family member or coworker to review your ms. Get a writer who is on the same level or higher than your own experience; you'll then be assured that you're getting feedback you need from someone experienced, instead of someone who will pull punches or tell you what they think you want to hear." - Theresa Grant.


12. There is some debate on whether posting your writing to public outlets like the newsgroups alt.prose and rec.arts.prose could be interpreted by some editors as 'publishing' and would decrease the attractiveness of your submissions to them. This subject is being hotly debated on the Internet.

    "Copyright, publication and the net are hotly debated. Putting something in rec.arts.prose is no more 'publishing' than making a printout of your ms. and letting someone else read it for fun and/or feedback." -Theresa Grant.

    "I think it makes no difference any particular way, except perhaps to some on-line, non-pay 'zines' that are in competition with the newsgroups, in a sense. Real publishers wouldn't know or care." - Jack Mingo.

13. Another way to get reviews by others is to join a writers critique group, either in your local area or on the Internet. In all fairness, you should also read and post your critiques of other writers' contributions to such a group. To get information on online critique groups or workshops, see "Writer's Resources" at: http://www.crayne.com/wri-res.htm. In addition, you will find other web sites there for writers, many of which list writers workshops on their home pages.


14. Some people use the 'buddy system' to help their productivity, asking another writer to communicate with them FREQUENTLY, to help each other develop a better habit of writing daily.

1. Learn to critique others' writing. The better at critiquing you become, the better writer you will become. In your critiques, try to list positive steps for improvement in the story from the other person.


2. Read my article "How to Critique Fiction" at http://www.crayne.com/howcrit.html, which goes into detail on points to look for and questions to ask yourself as you prepare a critique.

1. Seek information on publications that might be interested in what you have written.


2. Try to get samples of the publications to which you are interested in submitting. Ask yourself: will my piece fit in here? If not, then the editor is not likely to buy your story. Editors get a lot of material every week. Don't waste their time and your postage submitting to the wrong publication.


3. If you are sending a short story, send your entire manuscript.


4. If you are sending a long piece, first send a query letter. Write a brief one paragraph description of your story to send with your query letter. Send multiple query letters for the same piece to different publications, to save time. This is different from 'multiple submissions', where you send complete copies of your long piece. Besides, it saves money on postage.


5. Do not use a vanity publisher, which is like paying someone to say they liked your writing. Not credible if you wish to get paid by an editor for another piece. The key here is: which other editor has thought enough of your work to publish it?


6. Send your work to the appropriate market.

   "Don't sell yourself short; dare to dream. You might sell to a top market before you ever sell to a non-paying market - you won't know unless you try. In the same way, it's good to be cooperative, but don't be too humble either." - Rheal Nadeau.

   "Start your marketing at the top; that is, with the best magazine that you think has a chance at wanting your story. Work down the list from the top. The 'best' means different things to different writers. If you're writing for money, it means the magazine that pays best. If you're looking to be widely read, it may mean the one with the highest circulation. To some people, 'best' is an intangible; the magazine that you think has the best reputation, the best production values, one that puts you alongside other writers you respect. If you're an academic looking for tenure, it may mean the one that's most respected in the academic world." - Geoffrey A. Landis

7. If you have some non-fiction writing to your credit, mentioning it might help. For example, writing articles for non-fiction magazines, press releases, pamphlets, etc.


8. Keep a goal of getting published for money - which earns more respect. Therefore, after a limited number of these easier targets, start sending your work to paying editors only.


9. Be willing to closely follow the guidelines for submission of each editor you use.


10. Format your work professionally for the editor's reading and run it through a spelling checker before mailing. If grammar is still a weak spot, run it through a grammar checker AND have someone who has a good eye for grammar look it over. An electronic spelling and grammer checker will never be perfect. Proper formatting is better covered in books, other magazines, etc. and will not be covered in detail here.

1. The concept of submitting manuscripts 'simultaneously' to different editors is a very controversial subject in misc.writing.


2. If the editor's guidelines say 'simsubs' are okay, then by all means do it. That increases your chances of finding acceptance for publication. Tell the editor you are submitting simultaneously to other publications, for example "This piece is being submitted simultaneously." They know what that means; you don't have to apologize.


3. If the editor say 'NO simsubs', then by all means send out ONLY ONE copy to ONE editor and wait for their response before sending out to another editor.


4. Keep the number of simsubs at a level you can keep track of. The more you send, the better your chances. But -- when one editor accepts a piece, you MUST inform those other editors PROMPTLY!


5. Discipline yourself in handling submissions.

   "Earmark a day of the week as 'submissions day.' On that day you WILL get out at least one submission. Do it on a regular day of the week. If you pick one solid day to ALWAYS generate a submission or query, you'll start snowballing the effect of acceptance and rejections. As responses pick up you'll get into the 'business' of being a writer, all because you earmarked one day where submissions and queries WILL be done." - Theresa Grant.

6. In your cover letter, you may wish to OFFER to send a floppy disk or email attachment containing your complete work.

   "In general, editors don't want to see a floppy with submissions; it clutters up their desk, and, worse, it won't stay paperclipped to the manuscript. It will probably be discarded before the manuscript is read. If editors want an electronic copy, they will ask for one *on acceptance*. (If you want, you can put in your cover letter that you will send a floppy on request.)" - Geoffrey A. Landis

7. Of course, some publications will accept email submission. CAUTION: Do not send your manuscript via email unless that is stated as acceptable in the editors' guidelines! Editors do NOT appreciate having their email inbox full of unsolicited manuscripts. Don't bite the hand that feeds you.


8. Don't stop writing while waiting for replies. Realize that you may have to submit 5 or more different stories before you gain recognition.


9. "Keep good records of which story has been to which market and where it is now. You may think, on starting, that you couldn't possibly forget where you sent something. Wrong; you can and you *will*, if you don't keep good records. Start out right with your first story. Records don't have to be *elaborate* --the name of the story, the market submitted to, and the dates of submission and response, written on a piece of paper, is fine." - Geoffrey A. Landis

1. "Having a few stories published will help you to get an agent to read your material seriously. However, this is not absolutely necessary to getting an agent. Many of my friends have gotten agents simply on the basis of submitting a good manuscript. [On the other hand, other people I know have had their agent contact *them* after seeing several stories in reputable magazines.] An agent is important for novels but not for short stories or articles." - Geoffrey A. Landis


2. "You can also submit novels directly to a publisher without an agent. Selling a novel will *definitely* increase your chances of getting an agent." - Geoffrey A. Landis


3. "Most agents do not bother with short story and article writers. The money isn't there, and the representation hinders timely publications. Story and article writers crank ms. out like candy..." - Theresa Grant


4. "...why an agent? Only if you're planning to do books and already have some dynamite proposals ready. Agents don't handle articles or short stories, and won't take on a new client until they're ready to submit something really good. Better advice: publish a few freebies if absolutely necessary, but simultaneously work on getting published by 'real' (paying) magazines and newspapers. Use this to make some money and eventually step into higher paying jobs." - Jack Mingo


5. Get advice on good agents for your area of writing interest.

"If writing books, get copies of the books by authors you most admire in the field and find out who the agent was for that book. Target that agent FIRST before farming/trolling for unknowns. You'll often see the same agent's name popping up over and over within the same genre. It's not coincidence." - Theresa Grant

6. You may find the names of agents in the many books in the library or bookstores, in the back of writer trade magazines, or by asking other writers.


7. Remember that agents are people too and they wish to make a living from professional writers who write good stuff. Do not expect them to cater to your emotional whims. You are NOT YET a well known writer! You can bargain for more after you establish your reputation in print. The best reputation will come from getting published by editors who PAY for your work. Agents are your best way to get the attention of these valuable and very busy editors.


8. A good agent is worth their commission.

1. Deal with an agent who will work 'on commission only' and not require an upfront fee.


2. Monitor your agent's efforts and results to verify that you have chosen the proper agent for you.


3. Treat your agent professionally.


4. Question: should you be willing to pay a 'reader fee' for independent professional readers when asked?

   "YES. Sometimes it can really pay off. For example, I read and critique novels on the side. I charge a fee to read, to edit, to critique, etc. Paying a professional to read your work pre-submission is like paying someone to detail your car before you take it in to use as a trade-in for something better. It's a little bit of money, but a shiny car (or manuscript) really does get the better price." - Theresa Grant

   "NO. Or, at least, if you do, be very wary. Any agent who charges a reading fee are not making money from selling your stuff, they are making money from accepting manuscript fees. Be especially wary if an 'agent' tells you that you need your manuscript worked on (at a hefty fee) and then gives you the name of a person to do it." - Geoffrey A. Landis

Remember at all times that to make money as a writer you must pay attention to the 'business of writing', a rational activity. This is not the same as the process and emotions of writing, a creative activity.

1. Some editors are also writers and appreciate what you are going through. However, they have their own demands, perhaps even an autocratic, unreasonable publisher who expects them to come up with winners in every issue, and 'do it now!'


2. Be patient when expecting a response from an editor. Pay attention to their posted response times and remember they have many other manuscripts to look at also.

   "It's one thing to be meticulous about response times, and even better to realize that the editors are also human, have lousy days, kids with chickenpox and days where we just don't want to deal with a manuscript. - Theresa Grant

3. If you have not received a response after TWICE the quoted response time, then is the proper time to send a letter asking something like "How goes the war? Have you read my manuscript yet? I realize you may be swamped, but when can I expect a response?"


4. If you still don't get an answer in a couple weeks, withdraw your manuscript and send it elsewhere.


5. Your best bet? Keep writing and submitting new stuff all the time. Don't place all your bets in one basket.

1. Keep your day job until your writing income is STEADY enough and HIGH enough to pay all your bills and then some.


2. Accept total responsibility for producing something that someone else WANTS strongly enough to pay money for it. Do not expect anyone else to pay for your way as you learn. Expect them to only pay for what you provide that is of value to THEM.


3. Learn to live with the rules of the trade and 'pay your dues' before you can expect success. Strive to learn what works and what does not work for your market niche.


4. Strive at all times to act as an adult. Be polite at all times. Remember that editors belong to their own networks of editors. You want to create a reputation as someone who is nice to do business with. You can practice being an eccentric AFTER you are a great success.


5. Remember that a lot of success in writing comes from learning the craft. And a lot of that can be learned by almost anyone who commits themself to learning.


6. Keep up the firm conviction that you have or will get the talent to be a good writer.

   "Believe in yourself, even at 2:00 a.m. and surrounded by rejection slips." -Theresa Grant

7. For your mental health, remember to have a life outside of writing. Be kind to yourself.


8. Try to write with enthusiasm.

   "If you don't feel enthusiastic about what you are writing, readers (and editors) won't feel that way about it either. I say this to people who talk of having "writers' block" because they think of writing as drudgery. If they're going to have to slog through it, so will the reader, so the writer may as well just go become an accountant!" - Kim Costello

Here are some internet sites which devote articles, Web links, references, etc. that are helpful for writers. The Web sites offer a HUGE supply of useful materials for writers.
1. Inkspot Has Resource For Children's Writers and a whole lot more for writers in general. By Debbie Ridpath Ohi.


2. Circuit Traces -- The Writer's Home Page by Christopher Hunt


3. bricolage by Trevor Lawrence


4. Victory Crayne Home Page The section titled "Writing" has many articles and resources for writers.
5. Internet Writer Resource Guide

   In case you don't have World Wide Web access, you might look at the document Internet Writer Resource Guide, compiled by Trevor Lawrence and available via ANONYMOUS ftp from ftp:/bel.avonibp.co.uk/~ftp/pub/bricolage/IWRG

The author wishes to express sincere gratitude to the following people who have contributed valuable ideas to this document: Kim Costello, Theresa Grant, Geoffrey A. Landis, Rheal Nadeau, and Jack Mingo.

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