A good friend and author, Sam Claussen, wrote an endearing poem.
A good friend and author, Sam Claussen, wrote an endearing poem.
A few things concern me about the current state of the short story publishing industry. Some of these may apply to the book publishing at the same time. Let me elaborate.
Names are not acceptable on story submissions.
Some authors argue that stories are published by publishers more often because of the name of the author than on the merit of the writing. Along those lines, critics of Stephen King once said he could have published his laundry list and it would sell. And so, in response, a growing number of publishers are expecting authors to send in stories ‘without a name’ so that the work may be read ‘blind’. This has got to stop.
My concern is copyright. Without your name on your story, you have no way to claim you own it. If publishers want to remove your name after you send them a story, that’s fine. But they are just lazy. They refuse to accept your story with any identifying information in the file you submit. But that is like asking you to give up your rights to your work.
The O. Henry Prize organization does it right. They receives stories with names (printed in magazines) but remove the names when the judges are asked to read the work. Bravo! Why couldn’t more places be this professional?
Ask yourself this. Would you ever submit your book to a publisher without your name on it? Absolutely not.
Simultaneous submissions are not accepted.
Some publishers say you may not send your story to other publishers while you work is under consideration. It’s not easy for a publisher to decide, and over time, they tend to fall in love with certain stories, so they claim. And then, when they ask you to publish your work, you have to tell them the story has already been published somewhere else. Which might lead to you getting blacklisted by a publisher.
Most publishers that allow you to submit work simultaneously simply ask you to let them know as soon as you get an offer somewhere else. This is reasonable and professional. Authors need to stay on top of this.
Lately, though, it seems like the number of publishers who outright say you may not simultaneously submit stories to multiple publishers is growing. This practice seems especially rampant at the top-tier publishers, but it’s moving down to the mid-tier publishers as well. They want you to wait three to six months only to be told no, your work is not what they want. Meanwhile, you could have sent a story to a dozen places and found a home for it.
Think of submitting stories as something like going to job interviews. Two things are happening simultaneously. You’re hoping to get the best offer from multiple companies and they are hoping to snag the best job candidate from multiple interviews. The basic rule of thumb is simple: if you snooze, you lose. It’s a lot like playing the lottery, according to Nobel Prize winner Michael Spence. If the company holds out too long, they lose you to the competition. If you hold out too long, you lose that company to someone else who is interested in the job.
Now imagine that you’ve finished an interview at a company and they tell you that you must wait to do an interview somewhere else until you hear back from them. That would never fly. But that’s what goes on in the story publishing industry. They want you to submit and wait. And wait.
How do companies handle it? They make you an offer so great that you hold out for the job. They tell you you’ll get a gigantic bonus each year and keys to the president’s bathroom. Of course, if you hold out to long, you may not find a job at all. But they offer you such a sweet deal that you tell the other companies you’re still thinking things over. And likewise, if the magazine you are submitting to is good enough, you will wait. But what I see more and more are mid-tier magazines acting like they wear the big pants in the house. They think they can just demand that you wait for them, indefinitely.
Some authors tell me they ignore the ‘no simultaneous submission’ policies of publishers. That’s bending the rules, so I can’t condone that. I think it’s time that publishers show more respect for what writers are facing. Stories rarely fit with a particular publisher, for any number of reasons, which the writer can’t foresee. A writer needs to hit ten magazines at a time, if possible. Simultaneous submissions are the writer’s friend.
More publishers are charging fees for story submissions.
It used to be considered a big no-no if a publisher charged you a fee to read your work. You’d pay them and then they might just say no thank you to publishing your story. Today, it’s becoming more and more standard that they charge fees.
Paying for a reading service is not necessarily bad, because you’re getting something in return. If you’re paying and a publisher will offer feedback on your work, that might be worth it to you. But I’m talking about paying for nothing.
There are plenty of tools for tracking your story submissions these days. People used to write down where they sent stories, and then we used spreadsheets, and now it’s common to use platforms that track submission/rejection rates. Here are some highly different ones, and also some places to find publishers, but without any stats to go on.
Already, you’ve probably figured out what I’m going to say. I point the finger at Submittable. Publishers using the site routinely charge authors a ‘token fee’ to submit a story with no guarantee of getting published. Fees range anywhere from $3 to $50. They claim this token amount weeds out all the rookie authors. They say they get too many stories and don’t have time to wade through all the bad ones. Only writers who are serious will pay, they claim.
Although they charge you for submitting stories, they don’t all pay to publish your work. In business that’s better known as a ‘cash cow’ or easy money. In rock n roll it’s called: money for nothing.
It also weeds out talented writers who are too poor to pay. Some rumors floating around say the publishers never look at what you submit, anyway. Who knows if they take your seriously, or just take your money? You’re totally paying blind. At the very least, they could be transparent. They need to show where the money is going and how much they are getting. They need to do something for your cash.
It’s a publisher’s market.
At the end of the day, the three points I’ve talked about say one thing. Writers don’t have a lot of choice. The supply of stories is high and the demand is low. Well, that’s life. All we can do it grin and bear it. Hopefully, though, some common sense will prevail and some of these questionable practices will stop.
In a previous life I worked in the music business. I’d studied this nebulous topic in college, along with music theory and recording techniques. When I graduate, I got a job working here:
Among my better moments I got to work on sessions with Bob Dylan. I was young and naive and he was this wizened legend. I tried to appear amiable but I don’t think he paid much attention to me. In fact, I was somewhat speechless around the guy. Dumbstruck. But if I were to meet him today, I know exactly what I’d say. I’d talk about the weather and hot dogs and the price of tea in China.
As fate would have it, I made it into the rock and roll history books. I’ve been quoted by a Dylan biographer here:
More about the music is here:
Dylan and Bromberg had a different take on what the mix should be. Final credit for the production work was given to someone else, as seen on this Wikipedia page:
Let the good times roll.
My books are advertised in the magazine Longshot Island: Face Forward.