Pantsers vs. Planners – A panel of writers discuss two different approaches to writing, the advantages and disadvantages, varied approaches, etc.
Panelists: Bryan Thomas Schmidt, Travis Heermann, Matthew Rotundo, Jason Bougger
5:00 p.m., Room TBA
Saturday, August 1st
Editor AMA: Bryan Thomas Schmidt – Hugo nominated editor Bryan Thomas Schmidt who edits anthologies for companies like Baen Books and EDGE and novels for Wordfire Press will be on hand to answer everything you’ve wanted to know about editors. What do they do? How do they do it? Does it hurt? You name it.
Panelist: Bryan Thomas Schmidt Room: Colorado B 10:00 a.m.
Reading – Bryan Thomas Schmidt reads from the Author’s Definitive Edition of his critically praised debut novel, The Worker Prince, releasing October 2015 from WordFire Press.
Panelist: Bryan Thomas Schmidt Room: Wyoming 11:00 a.m.
Everything You Ever Wanted To Know About Anthologies – Learn everything from how to create and sell.anthologies to how to find them and submit your stories to how they work behind the scenes. A Hugo nominated editor for Baen Books leads the discussion.
Panelists: Bryan Thomas Schmidt, Jason Bougger Room: Colorado B 1:00 p.m.
Swimming in Slush: What Editors See – A panel discussion of what editors and agents experience in a typical day, sure to include a long list of dos and don’ts for writers of every skill level. What is it like to sift through a hundred manuscripts and query letters a day? And how does the writer leverage this knowledge in the best possible ways?
Panelists: Travis Heermann, Bryan Thomas Schmidt, Jason Bougger Room: Colorado B 6:00 p.m.
Sunday, August 2nd
It Ain’t the Writing, It’s the Rewriting: The Power of Revision – Rewriting and revising are arguably the most important part of the writing process. These experienced authors talk about revision techniques to make your story shine, without polishing the shine right back off again. How do you find your invisible weaknesses? How do you work around those weaknesses?
Panelists: Travis Heermann, Bryan Thomas Schmidt, Matthew Rotundo Room: Nebraska A 12:00 p.m.
Editing 101 For Writers – Key techniques for self-editing writers need to know taught by a Hugo nominated editor.
Panelist: Bryan Thomas Schmidt Room: Nebraska A 1:00 p.m.
For two years, my editing partner and I have been attending Cons and doing our panel Editing 101 for Writers to great success. We continue to do so, but I wanted to offer a different version of that panel as a class online for writers who might be interested in improving their self-editing skills. I am a Hugo-nominated editor and author with anthologies under contract or published by Baen Books and St. Martin’s Griffin, amongst others. I also am a Junior Editor for WordFire Press, the small press founded by Bestselling authors Kevin J. Anderson and Rebecca Moesta. I have been a professional editor since 2015 and worked extensively with writing and copyediting as a technical and non-fiction writer for a decade before that. But now my focus is fiction, specifically Science Fiction, Fantasy and Horror for children and adults.
This Self-Editing class with cover topics such as passive vs. active tense, showing vs. telling words (intruder words), compound sentences, flow and pace, and more. It will be held via either Skype or Google Hangouts (whatever works best for the attendees and myself.) I am taking the first 10 applicants and the fee is $35 per person paid via PayPal. It will be at 12 noon CDT on Saturday, July 25, 2015 (90 minutes) so people from all coasts should be able to participate. Attendees will also be allowed to send me 5 pages of a story or novel to edit so we can discuss your personal weaknesses and areas on which to focus. To sign up or for further questions, contact me here. I look forward to helping you grow.
Jay McShann A (Kansas City Marriott Downtown, 200 West 12th Street, Kansas City, MO 64105)
Moderators: Bryan Thomas Schmidt Panelists: Lou Antonelli, Claire Ashgrove, Robin Wayne Bailey, Chris Gerrib
Look forward to seeing some of you there. I am also throwing a party Friday night at 8 p.m. with Robin Wayne Bailey. We will be signing copies of SHATTERED SHIELDS, the Baen fantasy anthology for which co-editor Jennifer Brozek and I are nominated for Hugos this year and in which Robin has a story. And Jenn has signed them, too. You can get the for $14, no shipping and $1 off. My other anthologies will be available as well.
Bryan Thomas Schmidt is a critically praised author and Hugo nominated editor whose works include THE SAGA OF DAVI RHII space opera trilogy (Wordfire Press, 2015), GALACTIC GAMES (Baen, 2016), MISSION: TOMORROW (Baen, 2015), SHATTERED SHIELDS (Baen, 2014), BEYOND THE SUN (Fairwood Press, 2013), RAYGUN CHRONICLES (Every Day, 2013) and many more. His debut novel, THE WORKER PRINCE, received Honorable Mention on Barnes and Noble’s Year’s Best Science Fiction Releases of 2011. He regularly hosts Science Fiction and Fantasy Writer’s Chat on Twitter under hashtag #sffwrtcht and can be found on Twitter as @BryanThomasS or via his website at www.bryanthomasschmidt.net.
So I got nominated for a Hugo for Short Form Editing. Wow. Found out two weeks ago and it surprised but thrilled me. I didn’t campaign. A group of people deemed me worthy and nominated me. Since nominating people you think are worthy is how the system works, I didn’t say a thing, except thank them for their confidence and wait to see what happened. I know I was nominated by people who are not Sad Puppies because they told me. Several, in fact. Some were Sad Puppies, but most who told me were not. The only thing I know is I have worked very hard and this is a major achievement and career moment, and it is unfortunate some people are choosing to attempt to spoil that. I just discovered April 8 that I am was on a slate called Rabid Puppies. I would have demanded removal had I known but I didn’t know it existed until nominations and had no clue who was on it. I don’t associate with the person running that campaign and am deeply disappointed by how he conducts himself and his presence on the slate. I deeply regret this but there is nothing I can do.
Thing is: forever on I am a Hugo nominated editor. The only change. I will do what I’ve always done: strive to make the best books possible. From the beginning I have worked hard to do so, by picking the best new and old pros I can find to write stories, seeking diversity in the pool from right to left, white to POC, LGBT to straight, etc. With a diverse pool in place, I then pick the best stories and hope what I get reflects that well. So far, I think it has. It has varied, of course, but that is the way it goes for every editor. Still, when you want to make books with broad appeal to a broad and diverse readership, that is the only way to do it right. I have always believed that, no matter what some detractors may say. Taking someone’s ambiguous statements and twisting their interpretation does not make them fact.
A few figures of my anthologies so far:
SPACE BATTLES
11 male writers
7 female writers
2 LGBT (that I know of)
11 Progressive (that I know of)
6 Conservative or independent (that I know of)
BEYOND THE SUN
9 male writers
9 female writers
2 LGBT (that I know of)
11 Progressive (that I know of)
7 Conservative or independent (that I know of)
RAYGUN CHRONICLES
14 male writers
11 female writers
3 LGBT (that I know of)
Not sure of the political alignments but some each stripe
SHATTERED SHIELDS
1 female co-editor
10 male writers
7 female writers
3 LGBT (that I know of)
10 Progressive (that I know of)
7 Conservative or independent (that I know of)
And none of this reflects the content itself which includes diverse subject matter and stories.
Don’t believe me? Go check the Tables of Contents posted online. Research it yourself. 3 of these were edited solely by me. I made all decisions. The last was co-edited by my fellow nominee Jennifer Brozek. We made decisions jointly in full. She has written about it on Locus.
The stats on my 9 forthcoming anthologies are not finalized so I can’t post them but these are the works that got me to where I am. The last is the one that qualifies me for a nomination.
I have spent a good portion of my life working with the disadvantaged from poor to non-westerners to LGBT. I have friends I love of all stripes. Anyone who actually knows me will tell you I do not discriminate. I also avoid kerfluffles unless I am dragged in. And even then I try to be gracious. My philosophy is treat others how you want to be treated. Help people when you can. And live and let live.
I take pride in having accomplished all these things. A number of writers have made first sales to me, including Anthony Cardno, who is gay, for example. Many have gotten to find new audiences and appear alongside their writing heroes. I love that I can make that happen. Getting to work with my heroes is part of the thrill of doing this as well.
I love diversity. Don’t believe the critics. I always have and I seek it out. It is the single best gut check I know for keeping me honest and widening my point of view to see outside the box in which I live. That’s so important that I seek it out. I don’t have to agree with everyone to listen to them. But hearing how they see the world makes me see it bigger. Makes me better.
From day one, it has been a privilege to make books and I only seek to serve the SFF community as best I can. It’s such an honor to be a part of it (most days). And I really am humbled that I get to do what I love. If I get rewarded for that with awards, that will be mindblowing. But make no mistake. I did not campaign for awards. I just try and do good work. And I will continue to do so, hoping people will give it a fair chance.
To the nomination voters, thank you for your confidence in me. Sorry for the uproar. Don’t let it spoil the moment if you can. You made me part of science fiction history. It’s so amazing, and I am truly grateful. Now, may the best person win, whomever they are. I leave it to the works.
Bryan
Bryan Thomas Schmidt is an author and Hugo nominated editor of adult and children’s speculative fiction. His debut novel, The Worker Prince received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His first children’s books, 102 More Hilarious Dinosaur Books For Kids and Abraham Lincoln: Dinosaur Hunter- Land Of Legends appeared from Delabarre Publishing in 2012. His short stories have appeared in magazines, anthologies and online. He edited the anthologies Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, Beyond The Sun for Fairwood Press, Raygun Chronicles: Space Opera For a New Age for Every Day, and Shattered Shields with coeditor Jennifer Brozek for Baen Books with nine more forthcoming, including Gaslamp Terrors, Mission Tomorrow: A New Century Of Exploration (BAEN), Galactic Games (BAEN), Speculations KC, and several others. A Junior Editor for Wordfire Press, he acquires and develops books of all kinds. He also hosts #sffwrtcht (Science Fiction and Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.
I became an editor for three primary reasons: 1) I love reading stories; 2) I love working with and discovering new writers; 3) I like helping others. For me, editing combined all these loves, so it seemed a natural fit. After all, I could get a chance to work with my heroes and legends as well as up and coming and new writers who are legends yet to be, and in the process, have fun and make some really interesting books, giving great, diverse stories life.
I’ve interviewed a lot of editors, and I think most of them said some combination of the above as well.
But for me, it also stems from years spent working with nonprofits to help artists from different backgrounds and cultures come together and create art and be heard. There’s no greater gift you can give an artist than a chance to share their voice, I think. And it’s such a joy helping them polish and refine their work, giving them a venue and audience, and watching them shine. I found it very addictive. So addictive that when one camp I was working with moved cross country, I created my own nonprofit and started doing the work in other ways, taking it across the world to Ghana, Italy, Mexico, Brazil, and other places, usually places where such training is too expensive or too elite for the poor, and focusing our work on artists denied those opportunities. Doing that work was life changing and has forever shaped by beliefs, my life, my goals, and my art, and I continue to long to find ways to do more of that work in the future. So anthologies and editing had natural appeal.
And the first anthology opportunity proved to be a challenge for sure, but also a whole lot of fun. It’s as much of a challenge sometimes attracting writers to trust a new editor as it can be for writers to get a shot, and I wound up short on submissions and thus late on deadline, but this did give me a chance to work with some writers to improve their stories. There were at least three that made into into the final book after such collaboration. Space Battles: Full Throttle Space Tales #6, the end result is a book I’m proud of. It’s not as good as the books that followed in some ways, but the reviews have been solid and it’s a fun read, and above all, when creating anthologies, I want to create fun reads. For me, reading should be fun. Science Fiction and Fantasy should be fun. Above all other concerns.
So creating opportunities for authors has been a huge part of what I got into this to do, thus, when I didn’t have the editorial credibility quite yet, I looked toward Kickstarter and put together Beyond The Sun, somehow being lucky enough to get four of my writing heroes as headliners. That experience proved yet another great one and shortly after that Kickstarter, friends from a Canadian small press approached me with the idea for Raygun Chronicles: Space Opera For A New Age, and so a few months later, we Kickstarted that with even more big names. That was my biggest anthology yet.
Again, the highlight of both of these was working with writers. Even as the fanboy in me thrilled at getting to work with Silverberg, Rusch, Kress, and more, I enjoyed seeing the up and coming writers’ eyes light up and the chance to be in a book with such luminaries as well. I enjoyed working with them to develop stories, polish them, and assembling the books, etc.
Then Baen bought an idea I had come up with and recruited Jennifer Brozek to co-edit, the military high fantasy anthology Shattered Shields. Like Raygun, we had a full on professional budget and this time we were buying all originals. So I had the chance to work for a major publisher for the first time, again, an incredible experience. And despite our different tastes, Jennifer and I wound up agreeing on almost all the stories, the exception being a couple, and, of course, she liked some more than I did and vice versa. Still, a great creative partnership. What a talented lady!
And having such opportunities to partner with great people is the highlight of being an editor. I just really appreciate that. It’s why I don’t want to work with people that don’t share a mutual respect. Time’s too short. I want to be able to enjoy working together. After all, collaboration should be fun, I think. And it’s why I keep pitching and developing anthologies of various types. It’s also why I wanted to use my credibility to reach out to new voices in projects that might be tougher to find publisher homes for like World Encounters and Enabled, but which still have important subject matters which deserve to be explored.
I love reading. Reading has changed my life. It’s made my world bigger. It’s made me a better person. And it’s opened up possibilities I could have never imagined. As reading amongst new generations decreases in popularity, I also want to create books parents and kids can read and enjoy together, that will provoke discussion and nurture a love of reading and genre. That’s why I always push for an educational accessibility aspect in all my guidelines and books, and why I try and keep content PG13 at worst, so it can reach the largest audience. And my background with diversity and cross cultural encounters makes me desire to include writers of diverse backgrounds and beliefs in every project. Sometimes you are limited by who’s available and who connects with the concept, but I try nonetheless. And I have had some great successes.
In any case, just a few thoughts on why I love being an editor and why I wanted to be one. I admit, I’m hooked now, and I hope I get to continue doing this for a long time to come.
For what it’s worth…
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut novel, The Worker Prince received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His first children’s books, 102 More Hilarious Dinosaur Books For Kids and Abraham Lincoln: Dinosaur Hunter- Land Of Legends appeared from Delabarre Publishing in 2012. His short stories have appeared in magazines, anthologies and online. He edited the anthologies Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, Beyond The Sun for Fairwood Press, Raygun Chronicles: Space Opera For a New Age for Every Day, and Shattered Shields with coeditor Jennifer Brozek for Baen Books (forthcoming). He is currently working on Gaslamp Terrors, Mission Tomorrow: A New Century Of Exploration (BAEN), Galactic Games (BAEN), Enabled, and several others. He hosts #sffwrtcht (Science Fiction and Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.
Yesterday at ConQuest, a panel discussion led to talks about editors and writers and how much editors love discovering new writers and great new stories. And in the midst of it, I got reminded how intimidated writers often are by editors, especially writers who don’t know any personally. I’ve experienced this myself as a writer and as an editor. So I wanted to offer a little perspective.
The most important advice is this: “NO” is almost never personal. The only times it is personal, you’ll know it because the person will make it obvious. And this is very rare. Seriously. The reality is that hearing “No” is just part of being a writer. And saying “No” is part of being an editor. Editors take no more glee in saying it than writers do in hearing it. Unless, of course, you’ve pissed the editor off. So don’t do that.
Editors say “No” for lots of reasons, many of which have to do with factors besides simply elements of your story and certainly besides who you are. If they have a similar story already, you’ll hear “N0.” If they have too many stories with a particular theme, setting, etc., it’s “No.” If they have budget issues because of length of stories they bought–especially with the headliners whose name cache helps sell the books– then it will be a “No.” And so on and so forth.
The only things you can do to lessen the likelihood of rejection are to:
a) respect and follow the guidelines. Doesn’t matter if they are annoying or sound stupid. Just do it. You can be rejected simply for ignoring them, because you are saying, “I’m an exception and my story’s so good you won’t care.” Well, wrong. We do ask for guidelines for a reason, and you’re not going to be that exceptional.
or b) Write an awesome story.
c) Submit early in the open reading period. This will make it more likely that if similar stories come in, yours was chosen first and you won’t be rejected for the other reasons mentioned above.
Those are the best ways to avoid rejection, honestly. Beyond that, it’s a matter of timing, luck, and finding the right market. Just like everyone tells you.
People who reject you for personal reasons almost always reveal that in some way, from comments to a later post or off the cuff comment, etc. But most professionals leave that stuff aside when choosing stories. Because all we care about is that the story is awesome and whether we can work with you in a respectful relationship. Don’t be an asshole and the rest won’t matter. If you’re an asshole to the editor, it tells them you don’t respect them and likely wouldn’t take edit notes. And it’s not worth the bother for them. It’s that simple.
So how do you respond to a “No?” Don’t email them to criticize their taste. Don’t badmouth them on social media. Don’t even graciously thank them in an email for considering the story. Chances are they are overwhelmed with emails already and won’t want to have to sort through another.
Instead, send the story elsewhere or polish based on any suggestions offered that you find useful and then send it out.
Write another story and submit to them again.
And the cycle repeats. Seriously. There’s no magic trick here. Persistance, Politeness, Professionalism — these are the keys to success. Ask successful writers.
Short but sweet, but I hope it’s helpful. Seriously. It will also help your self-confidence and morale to remember this: “No” is rarely personal, it’s just part of the process.
Now, go write more stories! And good luck!
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut novel, The Worker Prince received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His first children’s books, 102 More Hilarious Dinosaur Books For Kids and Abraham Lincoln: Dinosaur Hunter- Land Of Legends appeared from Delabarre Publishing in 2012. His short stories have appeared in magazines, anthologies and online. He edited the anthologies Space Battles: Full Throttle Space Tales #6 for Flying Pen Press,Beyond The Sun for Fairwood Press, Raygun Chronicles: Space Opera For a New Age for Every Day, and Shattered Shields with coeditor Jennifer Brozek for Baen Books (forthcoming in November). His first YA anthology CHOICES will be out from EDGE Science Fiction and Fantasy in 2015. He is currently working on Gaslamp Terrors, Mission: Tomorrow (BAEN) and Galactic Games (BAEN), amongst others. He has also edited novels, including the New York Times Bestseller The Martian by Andy Weir. He hosts #sffwrtcht (Science Fiction and Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.
Well, for the third year in a row I am a panelist and moderator at CONQUEST 45, the local Kansas City Con on Friday May 23rd through Sunday May 25th. Well attended, with, as usual, a great lineup of guests and panelists, CONQUEST is the largest local Science Fiction, Fantasy and Horror convention. And it’s always a blast, but also always hectic for locals like me, especially those of us who are members of the local fan club KacSFFS.
This year’s Guests of Honor are Glen Cook (Author GOH), David Lee Pancake (Artist GOH), Bridget Landry (Science GOH), Ray and Barbara Van Tillburg (Fan GOH), and also Caroline Spector (Toastmistress). Also attending (besides myself) are local professionals like Robin Wayne Bailey, Kij Johnson, Rich Horton , K.D. McEntire, Mark W. Tiedemann, Rob Chilson, Selina Rosen, Claire Ashgrove, Bradley Denton, H.G. Stratmann and Chris McKitterick. A full list can be found here.
Returning to downtown this year, CONQUEST 45 takes place at the Downtown Marriott, just off the famed Power and Light District, pretty much the center of Kansas City’s nightlife.
Room assignments are not final, but here’s the panels, panel descriptions and list of panelists in which I’ll be participating. As you’ll see, it’ll be a really hectic weekend for me. I also hope to have books on sale at Glen Cook’s dealer table, and we are working on a possible Raygun Chronicles party. When details on room assignments and the party are final, I’ll do another post, closer to the Con.
Here’s the schedule as it stands now:
Friday – May 23, 2014
Reading (Big Joe Turner A) Friday 1400
Author/Editor Bryan Thomas Schmidt reads from his forthcoming epic fantasy series The Dawning Age.
SpecNoir (Count Basie Ballroom A) Friday 1700
Speculative fiction and noir mix particularly well in many subgenres and forms. What is noir and what are some examples of who’s writing what and good reads out there?
Moderator: Bryan Thomas Schmidt Panelists: Glen Cook, Mark W. Tiedemann
Raygun Chronicles Launch Party Friday 2130 (Room 619)
Authors Todd Hunter and Robin Wayne Bailey join me to celebrate our pulp-style space opera anthology, Raygun Chronicles: Space Opera For A New Age. Party with snacks, drinks and giveaways.
Saturday – May 24th, 2014
Military Fantasy (Lester Young A) Saturday 1000
What is it? Who’s writing it? How does it differ from high fantasy? What are some examples?
Moderator: Bryan Thomas Schmidt Panelists: Glen Cook, Kij Johnson, Robin Wayne Bailey
What makes a hero/heroine? (Jay McShann A) Saturday 1200
A discussion of what defines heroism today and what qualities we want to see in our heroes and heroines that make them heroic. And how are definitions evolving in the modern age.
Moderator: Bryan Thomas Schmidt Panelists: Dennis Young, Gera Dean, Kij Johnson
Writing for younger audiences (Jay McShann B) Saturday 1300
Writing for adults and writing for YA, MG and Children differ. Authors and Editors discuss the differences, the approaches, and fine examples.
Moderator: Bryan Thomas Schmidt Panelists: Chris McKitterick, Deanna Sjolander, K. D. McEntire
KID’S READING: Bryan Thomas Schmidt (Big Joe Turner A)
Saturday 1500
Children’s author Bryan Thomas Schmidt reads from his chapter book series ABRAHAM LINCOLN DINOSAUR HUNTER, a humorous, action adventure, alternate history for all ages.
Self-Editing 101 For Writers With Finish The Story (Mary Lou Williams A/B) Saturday 1600
Editorial team Bryan Thomas Schmidt and Claire Ashgrove discuss tips for basic editing of manuscripts, how to get perspective, common issues, and more.
Moderators/Panelists: Bryan Thomas Schmidt, Claire Ashgrove
Sunday – May 25th, 2014
GOH Interview: Glen Cook (Count Basie Ballroom A)
Sunday 1000
Come here me do a live SFFWRTCHT-style interview with the amazing Glen Cook. And you can ask questions, too!
Moderator: Bryan Thomas Schmidt Panelist: Glen Cook
Editors are not the Enemy (Mary Lou Williams A/B) Sunday 1100
What editors do, why it matters to writers, and why writers should consider them an asset not an enemy. An exploration of author-editor relationships.
Self-Publishing — Taking the Leap! (Mary Lou Williams A/B) Sunday 1300
Considering self-publishing your novel? It isn’t as easy as publishing a book and reaping the royalties, nor is it for every author. Discover pros and cons of the Indie market, tips to launching a successful book, and whether you’re prepared for the business demands.
Moderator: Claire Ashgrove Panelists: Karin Gastreich, Bryan Thomas Schmidt, Brett Williams
Hope to see some of you there. Be sure to come by and say hello!
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut science fiction novel, The Worker Prince, received Honorable Mention on Barnes & Noble’s Year’s Best Science Fiction Releases of 2011, and was followed by two sequels The Returning and The Exodus (forthcoming).His children’s books include 102 More Hilarious Dinosaur Jokes For Kids and Abraham Lincoln: Dinosaur Hunter–Land Of Legends. Schmidt has edited edited anthologies Space Battles: Full Throttle Space Tales #6, Beyond The Sun, Raygun Chronicles: Space Opera For a New Age and, with Jennifer Brozek, coedited military high fantasy original anthology, Shattered Shields. Several more anthologies are under contract and forthcoming. Schmidt hosts #sffwrtcht (Science Fiction & Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.
Update: SFFWRTCHT has always been a celebration of community: what unites us, not divides us. Although I can’t keep up with the weekly grind any more, given other obligations, we will continue with twice monthly chats beginning in early 2015 after a brief hiatus. More details to come.
160 shows, 165 guests, hundreds of thousands of hits–when I started SFFWRTCHT (Science Fiction and Fantasy Writer’s Chat), I did it for two reasons: 1) I wanted to network and learn from so many awesome writers and editors who were using twitter, and 2) I wanted to contribute to my new SFF community and family in a positive way. I never expected how successful it would become, not how time consuming it would be. But I don’t regret a minute.
However, after a lot of soul searching, I have decided the time has come to end the weekly live twitter chat that is SFFWRTCHT. Much of this is selfish, I admit. I spend 25 hours a week, including reading time, question and guest prep, booking guests and more per episode. And as I get busier professionally, that is coming to feel more like a chore than the delight it once was. It’s hard to find time to read for fun or to research for my own projects. I am locked to home or at least a place with good Wifi every Wednesday night. And trying to keep it fresh requires me to search for guests who are new, not just repeats, so that I am not asking the same stuff of the same people over and over. In the beginning, with my being out of work with plenty of free time, this was easy. And the industry embraced it which made booking guests easy. But as I’ve burned through the most active Twitter users, and become an almost full time editing professional, it’s more and more work to find time for SFFWRTCHT, a volunteer effort, which, while rewarding in its own way, requires a serious time commitment to do right.
When our original host site for the cleaned up interviews shut down for similar reasons to my own expressed here, SFSignal welcomed us. But I also find myself competing with their interviews with the same people, and that makes my interviews less useful and relevant, and less helpful as promotional tools for our guests. I don’t think repeating what someone else is doing is a compelling use of my time or our guests.I’ve toyed with recruiting help. But even my regulars, who are delightful and whom I adore, have their own lives and no one has jumped up to volunteer. I toyed with cutting back some, but then how would people know when to look for us or where?
So, in the end, it seems best to back off the weekly grind of live interviews and instead convert to regular email interviews. Whether this will be weekly or monthly, I don’t know. Where they will appear, I don’t know. But I have several month’s worth of past transcripts I can start with cleaning up and posting, and as I plan to continue to December in present format, I’ll have even more by then to give me time to sort all of this out.
In the meantime, I express my thanks for the kind support and regards of the Science Fiction, Fantasy and Horror writing and publishing industry and fandom. It’s a pleasure being a part of the family and I appreciate the opportunity to contribute positively to community building. I hope to do so in the future in new ways. I know many books have been purchased and many writers encouraged and even taught through SFFWRTCHT. I’m humbled an honored by that.
In the meantime, you can still find transcripts, links, reviews, etc. on our website, which I will be maintaining here. I look very much forward to what the future brings.
Kind regards,
Bryan
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut novel, The Worker Prince received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His short stories have appeared in magazines, anthologies and online. His anthologies as editor include Shattered Shields with coeditor Jennifer Brozek for Baen, Mission Tomorrow: A New Century of Exploration, also for Baen, Space Battles: Full Throttle Space Tales #6, Beyond The Sun and Raygun Chronicles: Space Opera For a New Age. He hosts #sffwrtcht (Science Fiction & Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter as @SFFWRTCHT.
This week’s Write Tip addresses a question I get a lot. I have been fortunate enough to get blurbs on my books from many well known authors, and people want to know how I manage it. So here are some tips for getting blurbs from name authors.
1) Ask. — It sounds really obvious but it’s the truth. If you don’t ask, you won’t succeed. When it comes to asking for blurbs, you just target the desired authors, and politely ask if they’d consider reading for a blurb. Authors won’t put their name on something they don’t feel good about, and not every author who agrees to read the project will blurb it, but getting them to take a look is the first step. So ask.
2) Pick Appropriate Authors. — This one may be less obvious to some of you. Don’t just ask your favorite authors. Ask authors who are known for writing the genre in which your book falls. These will be people who typically enjoy reading books like yours. They will also have names familiar and most enticing to your targeted readers. There’s no point putting a blurb on your book from someone who might not be considered informed on the topic and genre. Unless it’s a meganame like Stephen King, having inappropriate blurbers may not add any benefit at all.
3) Give Them Time. — If you can get permission from your publisher, the time to ask for big name blurbs is after the book is turned in to the editor or goes to copyediting. Don’t wait for galleys. By the time most galleys show up, your turn around time is usually very short. By starting early, you can offer several months to potential blurbers which gives them a lot more flexibility to work such an obligation into their own very busy schedules and makes it more likely they’ll agree to take a look. For our Baen anthology Shattered Shields, Jennifer Brozek and I got permission from Toni Weisskopf to ask for blurbs just after we turned in our manuscript. This gave us the opportunity to ask people like Mike Resnick, John Marco, Catherine Asaro, and Ken Scholes for blurbs. All four said yes, and before we even have copyediting marks to review, three of them have sent us great blurbs for the book.
4) Pick People You Have a Relationship With. — In the age of social media, building relationships with authors you admire is simpler than ever. All you have to do is engage smartly. Strike up a conversation. Encourage. Ask thoughtful questions. And soon you’ll find yourself in dialogue with them. Over time, this can develop into a familiarity and even friendship that will make requesting blurbs not only much easier but much more likely to be well received by them. It’s not like they don’t have to do the same thing themselves. But if they don’t know your work, knowing you are cool and likeable will make them much more willing to both help you and to assume you’re not sending them crap.
5) Be Grateful. — Whether they say “yes” or “no,” be grateful that they considered it. Graciously thank them either way, and consider it a positive that you even got to interact. You never know what possibilities that may present in the future. Even if they say “no,” they may see you at a con later and ask how things are going with your book. That opens a door to dialogue and building a relationship which might lead to a future “yes.”
6) Do Not Abuse The Privilege. — Don’t over ask. Don’t ask people constantly for help. Be careful who you ask and how often. This shows consideration for both the level of your relationship and their own busy schedules. They have deadlines of their own, and those come first. Whenever you’re asking someone to take time out from those and help you, be respectful of the fact that they have limited time to do such things. They have to make choices. They are more likely to choose you, if you are considerate and don’t over impose.
7) Offer To Return The Favor. — Okay, if you’re not a known author yourself, your blurbs are likely meaningless for them. But what you can offer is to proof or review their books on Amazon, Goodreads, etc. and authors are almost looking for help with that. You can’t repay them. You shouldn’t pay them, as it’s really not standard and it violates most people’s ethics. But you can offer to do them a favor in return.
8 ) Send Them Quality Projects. — This tip may seem obvious but I guarantee it’s not. The better quality your project, the more likely the askee is to agree to consider a blurb. Make sure the manuscript is clean, copyedited, and formatted professionally. If you are self-publishing or working with a small press, this is especially important. Authors know the Big Five New York houses will clean up the manuscript to make it professional. Small presses and self-publisher are less reliable. If their name is going on it, they want to be sure it’s worthy, and besides content, that means presentation, so send them a quality project with quality presentation and they are more likely to say “yes.”
Well, there you have 8 tips for getting blurbs from name authors. Remember, they’re doing you a favor. So “no” is never personal. A “yes” is always a gift. And treat them accordingly. If you follow these guidelines, use good common sense, and are professional, you’ll likely have a good chance of getting blurbs from known authors in the future. Maybe not for every project, but then again, if you follow these tips, you won’t send them every project. Regardless, these tips have worked well for me.
For what it’s worth…
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut novel, The Worker Prince (2011) received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His short stories have appeared in magazines, anthologies and online. He edited the anthologies Space Battles: Full Throttle Space Tales #6 (2012), Beyond The Sun (2013), Raygun Chronicles: Space Opera For a New Age (2013) and coedited Shattered Shields (Bean, 2014) with Jennifer Brozek and is working on Monster Corp., A Red Day, Mission Tomorrow, and Gaslamp Terrors, among others. He hosts #sffwrtcht (Science Fiction & Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.
You may have noticed there’s a lot of yelling going on in Science Fiction and Fantasy these days. Some yell because they’re angry. Some yell because they’re sick of the yelling. Others yell to be trolls. And the cycle never seems to end. I’m not much for yelling myself. It may serve as a great vent for your emotions, but it rarely actually serves to change anyone’s mind. Instead, it often makes people tune you out. BUT on the other hand, there are things I and every writer can do to make things better. So for this week’s Write Tip, I thought I’d suggest a few.
1) Don’t Write the World as it is but As You Want It To Be. — It’s real easy to complain about the world not changing or wishing it were better. But one of the great advantages of speculative fiction is that writers can invent worlds and make them into what they want them to be. Take advantage of it. Don’t just imagine the pessimistic world in which you live. Imagine one that’s better. Write a world that models what you’d like our world’s future to be. It’s a great way to demonstrate possible viable changes in attitude, culture, etc. without preaching at people. It’s also often a lot more pleasant experience for yourself and readers. And it certainly would help avoid a lot of cliches and rehashing that so commonly occur.
2) Avoid Placing Female and Minority Characters Solely in Traditional Roles. — Just as the world can be whatever you want it to be in your imagination, so can people. NO housewives or Mexican gardeners. Instead, you can write of black women in power or gays in a majority, etc. You can invert the norms you see around you and imagine roles for people that might not exist yet. This is another way to demonstrate a viable future without preaching, and to promote positive change in the process.
3) If You Want Diversity, Write It. — Seriously. It’s very easy to write what you know. And sometimes that means falling back into writing about people like you. But the world is full of people who don’t look and act like you, and if you’re creating a world that can be even more so the case. So if you want to see it, make it so, as Captain Picard might say. If you can imagine it, you can write it, and what a great way to paint images that stimulate the imaginations of others by doing so.
4) Don’t Preach A Message, Show It In Action. — Yep, Show vs. Tell even applies to this. People hate being preached at. Sometimes, even if they agree with you. So instead of pounding them over the head with message fiction, just demonstrate the results of what you desire to see. Not just with the setting and characters, but the actions, dialogue and culture surrounding them. Model the future you’d like to see. Write it so it’s real for readers. Because chances are, if they couldn’t imagine it before, you can enable them to. And imagination is always a key step to real change in cultures and societies. That’s one reason the arts have always been so powerful.
5) Channel Your Passions. — There’s a lot of anger going on for many reasons in our world today. And the Science Fiction and Fantasy community is certainly no different. Channel your passion into great storytelling. Worry less about preaching or arguing with people and more about telling stories that will inspire them to change themselves and want to change the world. Sounds hard, I know, but the list of books that have influenced the world for the better is a long one. And I know more top selling authors who avoid politics and religion and instead bring out their ideas through good stories than I do who spend hours and hours arguing and angrily decrying those who don’t share their beliefs. Certainly there’s a time and place for that, but being nasty creates an ambiance, frankly, whether you’re wrong or right, and that can affect readership and publication. Readers want to read pleasant people. And publishers want to work with pleasant authors. I know you’re passionate. You’re an artist. You have to be. But just remember that the bigger the audience and outlet, the more people hear you, and it’s easier to be heard with great art than angry diatribes. By channeling your emotions into characters and story, you can add a vivid reality to your storytelling that will speak louder than you ever could alone, really affecting and connecting with reader’s hearts.
6) Be The Kind Of Citizen You Want Others To Be. — Okay, I admit, this one is inspired by my belief in “doing unto others,” a biblical notion. But it really does ring true. If you treat others with respect and kindness, most will return the same to you. If you want equality, treat others as equals. If you want respect, be respectful. If you want to see diversity, surround yourself purposefully with diverse people. Go where you can meet them, get to know them, interact and befriend them, and hang out. I could go on and on, but I won’t. I just know that some of my best friends and best teachers have been people I met in places an upper middle class white boy from Kansas would never expect to be. And those have stuck with me for a lifetime. It’s transforming to see the world through others’ eyes, but you can’t do it if you don’t take time to know others who aren’t like you and listen to them. Chances are, if you surround yourself with diversity, readers will be encouraged to do the same. It’ll also infuse your writing and worldbuilding for all the suggestions I made above. And you’ll be seen as someone who lives what they believe, not just someone who suggests it in words alone.
Well, there you have six suggestions, some easier than others, but all truly possible, for how you can make Science Fiction and Fantasy better. I hope some of you will try them. I have been and will continue to do so. I know there’s room for improvement, but I want to make change, not just talk about it. How about you?
Bryan Thomas Schmidt is an author and editor of adult and children’s speculative fiction. His debut novel, The Worker Prince (2011) received Honorable Mention on Barnes & Noble Book Club’s Year’s Best Science Fiction Releases for 2011. His short stories have appeared in magazines, anthologies and online. He edited the anthologies Space Battles: Full Throttle Space Tales #6 (2012), Beyond The Sun (2013), Raygun Chronicles: Space Opera For a New Age (2013) and coedited Shattered Shields (Bean, 2014) with Jennifer Brozek and is working on Monster Corp., A Red Day, Mission Tomorrow, andGaslamp Terrors, among others. He hosts #sffwrtcht (Science Fiction & Fantasy Writer’s Chat) Wednesdays at 9 pm ET on Twitter.