Earn Money Writing Short StoriesMake money writing short stories
Do you make money with short stories?
Don't let anyone tell you that short stories are gone and you can't make money. There' s still a short feature film industry. I' ve got a listing of over 100 paid journals in my data base. Woman's World Magazin, for example, has several short stories in each edition and is published once a weeks.
That other place is a 700-word dun-it mystique paying $500. When you' re writing enigmas, try Ellery Queen or Alfred Hitchcock. Kids' newspapers are paying very well. The Country Magazine is paying $250. The Foghorn will give you $1000. $100, Boulevard $300, Crazyhorse $200, Clarkesworld $400, Chicken Soup for the Soul $200...... die Liste geht weiter.
The Saturday Evening Post is buying short stories. The New York Times is paying $300 for modern love. A lot of other English speakers have literature in their journals. Almost, Best, The Weekly News, etc. Mays who take fiction: This is an incomplete listing of English language journals that are publishing short stories.
There' a lot more journals out there paying..... this is just a rehearsal to get you going.
Making Money Writing Short Fiction with Douglas Smith
Short-stories are creative, but they can also generate several revenue flows through different IP license types. Today's programme features award-winning short novelist Douglas Smith explaining how to make money with short stories. And the Harry Potter Boot thing. Funded by Kobo Writing Life, this webcast will help writers publicize themselves and engage audiences in the world' s leading economies through the Kobo ecosystem.
They can also sign up for the Kobo Writing Life interview podcast for interviewing popular independent comedians. A multiple award-winning writer of books, short stories and non-fiction, Douglas Smith is described by the Library Journal as one of the most inventive creators of speculation literature. He is also auch der Autor von Playying the Short Game : How to Market & Short He is also auch der Autor von Playying the Short Game : How to Market & Short Writ.
Are the magazines and books markets as disturbed as the publishing world? A multiple award-winning writer of books, short stories and non-fiction, Douglas is described by the Library Journal as one of the most inventive authors of spectacular literature. He is also the writer of "Playing the Short Game: How to Mark t & Send Short Fiction", what we are discussing today, very interesting.
Doug, tell us a little more about yourself and your writing trip, a little tale if you want. So, adequately, I started writing a short ruse. And I think I spend way too many month writing my very first short film. I' ve entered a writing group, which is a kind of motivation for me to come up with a definitive design.
I' ve sent out my very first short film. This year was somehow just writing, writing, writing, writing and submitting what is one of the slogans in my text. I think what I found when I began writing was that it was simply important to get this confirmation. I' ve only concentrated on the short films of the first 10 years.
I' ve found that my stories are getting longer and longer. So what is a short novel or short novel against a novel? However, in the fictional speculation, certainly for the honors, things like the Hugo and the mist, etc.. There are less than 7,500 words or perhaps 7,500 words or less in a short film.
But, anyway, that's the edge of a short novel. That'?s where I found most of my stories. So the longer the narrative, the more difficult it is to make a sale. However, most publishing houses, whether they' re publishing small or large newspapers, will not be publishing anything so short. You have to be at least 80,000 to be able to offer it.
For me that's natural, because I am a very short writer. Returning to you in short invention, why do you or why you concentrated so strongly on short invention? Which is it that fans of the genres or the shape of short films like? It all began when I was imagined as a hedge.
When I was a child, I was reading a bunch of short stories. In the past there were so many of the best of....could be the best stories from outer space or reading certain services. In such a few words, I like the way an writer could tell a whole storyline.
I think, as a novelist, one of the things I began with short feature films is that when you begin, you're not sure if you can do it. You' re not sure you' re ever gonna be selling anything you wrote. And, if you've been writing short feature films for a few years, it doesn't mean you have everything in the author's toolkit to become a novelist, but you do have a whole bunch of the necessary utilities.
It is a good opportunity to acquire the art of the fictional, the point of vision, the tempo, the dialog and the settings. As a short feature film maker, I wanted to try to become a novelist, also in a way that I could test the water bodies that you find out if you write more quickly, because, say, we use the 80,000-word novel again.
That' probably somewhere between 16 and 20 short novels you could compose if you were writing 80,000 words. In 16 to 20 short stories you can try out many different things to experiment with ways oftelling. I think you can get to know how to spell much quicker, the essential skills you need when writing short films than in a novel.
The other advantage is, when you end the tale, you' re sending it to town. You' re starting to get your feed. If it is denial, denial, denial, denial, denial, denial, you probably need to continue writing. But, as I said, when I began to write, I got my first sales in a year.
Denials are a way of giving feedbacks, especially when they begin to become a little more concentrated and actually comment on the narrative of how to get into it. You' re not just a short novelist. You' re an award-winning short novelist. I wanted to refine myself on the ship.
Have you noticed, is it just what, a series of words or experiences or do you have the feeling that there are certain kinds of stories that are winning prizes? This is the only non-fiction about writing that I have written, and it is deliberately on the corporate side, not on the recreational side. It is very difficult, I think, to give lessons in writing creatively.
You shouldn't try to tell me what the award-winning stories are. They can certainly comprehend why they are good, and that will help you with writing. I don't think that's what you should be aiming for: "Oh, I have to make that kind of history to get a prize. "I think the award-winning stories are more than just incredible good, well-written stories.
They' re usually all over the menu, in regard to the nature of the history or theme, etc. Presumably the number statesman once you person your message and what you deliberation is a publicizable body kind you class it. The stories that will attract people' s interest are usually those that appear in the top specialist stores.
Anybody who publishes a best-of-anthology for a year will always look at the top professional stores, journal stores, the big manuscripts and perhaps some of the big collection. But, if you have an notion, how do you know that's a good notion for a short film?
I' ve done a few short stories, for example, but I've done a whole bunch more of the 60,000 words. If you have an ideas about short films or if you have wrote much more, how do you know that it is a short one and not something that would be much more?
I' d say I' m a typist. I' m inclined to begin with a personality. Roger Zelazny, the deceased US author, is one of my favourite authors of all times in the world of conjecture. The better stories were the ones where you got two at once.
Most of my notions come in one of these three ways, but I know whatever the first core of a narrative is. I can' t begin to write the history until I know my own or my own people. Usually I see my bow history is the nature bow or the signs arches as they cut each other.
I' m not sketching short stories anymore. That' probably what I did at the beginning. "And usually that's probably somewhere in a 3,000-word or 8,000-word comedy. Then when I began to compose fiction, I had the same interesting thing. The more you type, I think, and that's another good thing I strongly recommend when they think about writing short stories creatively.
Try for at least a year, because you get an impression of it after trying to make stories, and you have to do it. At times, when you begin a short novel, you find: "Well, I could go that way. But the other benefit I've found in short feature films is that it's a great way to discover new things.
Five years later I visited my very first short novel. When you get to the point where you market the novel, it's really good to have a short history, which is also the foreword to a novel. Shortfiction is another great way to research longer works such as books and to provide you with the right promotional tool.
My only response, I think, is to begin with a short fictional and you'll really get an appreciation after you've posted a few, probably at least a doze. If you have an notion, you will have a better sense of whether this is a short novel or a short novel, or a short novel, or maybe even something that could make you so.
Let us then discuss the short feature film market, because it was very clear, as you said, you would make a short film, you would send it to a journal or an editorial office, and you would receive a negative or it could be out. There are indie people who publish themselves.
There seems to be an exploding number of opportunities for short films. Where do we know what a good one is, as you said, a pro-market versus another one? Sure. I may have to deal a little more with the issue of licencing permissions. Hopefully I won't take this too far out of line, but it's difficult to discuss where you should put your history first when I haven't talked about it.
The most important thing that authors should be learning when they begin to understand is the ownership of the IP you create your work. The most important thing is that when you sell a history, you don't really sell it. Publishers who want to buy a narrative and release it will license a certain number of your copyrights for a certain amount of years.
The publishing house will try to obtain as many copyrights as possible at the lowest possible cost. And, as the writer, you should try in a kind negotiating environment to give them as few privileges as possible for as good a cost as possible. Usually you cannot bargain prices for short stories, but sometimes you will come across a situation where a publishers asks for more copyrights than they need.
When it' a printed mag, all they need is printing privileges. When they ask for an e-right, you can request that it be deleted, as this may restrict some of your prospective resale history market. The most important right, however, is what I call the right of appearance.
The very first timeyou ever make a sale, you start sellin' the first right. They can only resell the first right once. Secondly, first-right products are very precious because they can only be purchased once. Since it can only be oversold once, you should try to try to get your first right to a history to the best possible notions.
When I say best possible fair, I go through the Science Fiction Writers and Fantasy Writers of America rules. However, it defines most of the top pros. So, my first guideline is, when you pick a store, you pick the top. Ensure that you find a good cached, pros, and a good place to go.
Suppose you are selling for the lovemarket or for a copy or for a semi-professional price and you are selling it. However, your next thought could be: "Wow, if they had purchased it, what if the next store could have made it. And what if the top end markets had purchased it?
They can no longer ship it to these countries because they do not accept reproductions or so-called secondary protection. The top stores only want the first right. That is, you want to be the first to release your stories. So, if you have already released it in Semi-Pro-Magazin, you will not be selling it to a top-of-the-line store.
You do not licence second privileges. The first thing I advise all beginning authors is when you begin to submit your work, do your research on the stores in your category and submit it to the topstores. You' ll find out what you want to be the top performer, but there's a pile that pays per price and get it to them first.
If you write a great many stories, it doesn't make any difference if it takes them three month to get back to you. You' ve just sent it to the next person when you come back in and send all your stories on. That'?s how you begin. I asked you how you defined the top stores.
You want those first-right. Well, I suppose when folks start, sure, they will. Since many of my audiences publish themselves, there are many pure electronic stores. There are also indie artists who now publish themselves, so write short novels and just publish a tale about Kindle or Kobo or wherever and add it to their lists.
Not even close to the markets. So what are some of your thoughts on other stories you have? As I was writing the script, it was directed at the beginning author, who begins as a short film. There is no other motivation for them when they commercialize a history than to selling it to the best people.
It is logical for me to publish a short novel, to publish it as a kind of delicacy for your reader and possibly as a kind of guide to losses in order to win more reader for this one. However, what I'm speaking about in the work is someone who starts out as a fictionalist and I recommend the way to start with short stories and mark them on conventional market.
When you start, I strongly discourage you from releasing your short films. I think if you're just doing this to publish the whole thing, you're just gonna throw your work away. You will not get most of the advantages you can get from the sale to a top-quality, professionally managed store.
You will not create a CV if you present a novel to a small newspaper and only have a short movie shortlist. You' re not going to waste your chances on a résumé if you start with short films. So, I'd say that Independent has released short stories, one as soon as it's on your backup album.
That is to say, the right goes back to you. One part of the purpose I wanted to speak to you on the show was because I think this is a good way for many independent writers to put things on the local markets. You don't need an operative for what you say about short films, do you?
Will you say that a hybride short feature film can be good for both distribution and advertising? While I deliberation location may be explanation to put an tract message without difficult to sale it point, but I would advisable that you do. So the only real excuse I would release a short novel directly to the public is if I released this novel series.
I would probably try to try to market them to some of the good ones if I could come up with some short stories idea. However, I could consider publishing this directly, perhaps for my mailinglist subscription. It is not like the big New York publishing houses when I talk about short game stores.
We' can discuss how you can find easy to find marketplaces for your short stories. Append it to an e-mail, or go through an input-ready or some kind of on-line submissions system used by the industry. There are about eight different things I think I'll concentrate on in the short fictitious contract work.
These are the privileges you betray when those privileges come back to you, and a few others I miss. You are not complicated. If you take this piece of advice, where you have done it a few time, you would quickly want to look for a short fictitious deed.
All that matters is that the privileges come back to you. No, you write more stories and send them out. Just get it in the post or e-mail and continue with the next one. So you just keep the stories out there in the entry procedure. Whoever has the most stories in front of most market will be the winner.
We don't compete against each other, but the viewpoint of advancing your fictional careers. You' ll be a winner if you keep them in front of the market and keep writing a bunch of papers. I' ve got a big table with exactly what I have now, IP, which, as I said, is mainly longer, with short stories and sometimes also the name of a short history, if you have a heap.
that he' been writing. Sure. Yes, when you begin submitting your stories, you need to keep an overview of where they are when you do. Well, you just need to do it. And, in fact, all the stores on the lefthand side and all my stories on the other.
They don't want to submit another tale to a store that turned it down two years ago or something like that. Related to the mention of some of the listings that exist. There' s a street vault named The Grinder. It' a good sales directory. If you are looking for short stories by category, you can also use the submit-tracer.
As we' re on the subject of sci-fi and phantasy listings, for genres, ralan.com, R-A-L-A-N.com. It' been around since I began writing. It is led by a Danish author. He is an English author, but resides in Denmark and is named Conley Royal. All you have to do is look at pros and cons in my eyes if you follow my counsel to start at the top.
The short stories in the fact that the way of filing and tracing has remained quite similar almost felt like the short stories may be. Is it in any way distracting or have new stores developed or are these journals still the best you've faced in years?
Which I saw in the short story when I began in the early 1990' s, when you sent in your physical post and submitted your work. I have seen an increase in the number of stores and the number of paid stores. There are probably more magazines stores that are now prorate than there were when I began.
For my part, I think it is a very sound short feature film industry. They may find that when you are selling it and it is released, you get to look at it there. In my opinion, it has become a flourishing short game store again. A few of them have a good cause, the big journals and I think imagination and sci-fi.
You have firm arrangements with some non-English journals around the globe in which these journals will release select stories from the British issues. Usually they don't have to ask for non-English privileges. When you keep your linguistic privileges, what you can do.... you can do it now. When you have a history, you can submit it to a popular francophone without endangering the sale in german, because you will not be granted the first german permissions.
You will license the first linguistic copyrights in France. However, what I do is waiting until I sell the book in anglophone and then turn to a magazine in a different country. They consider it to be the submission of a reprint that they regard it as the purchase of first-right. But, from their point of views, they are more likely to want to buy a history from you if it appears in a top UK mart.
You' re more likely to read a good short novel. So, it's a different kind of fair. That is another why I emphasize to the authors that they need to know how to license their copyrights. Don't give privileges if you don't need them. After all, if you have a history to sell and they all have linguistic permissions, you can't file it in a linguistic-marketplace.
And, by the way, if you are looking for overseas stores when you go to my website, I keep a foreign-language store listing, foreign-language significance non-English. I don't need you to spell in their tongues. They' ll be translating your history into their own tongue. Many of them are paid for.
It even found you money in English. I' ve been selling a tale to a francophone mag. It' one of my shape-shifter stories. Now, I don't spell in czech. So, I got an honor for a blow-by-blow history, which is interesting. I was nominated for two prizes in France.
All this came from the submission of a short novel to this journalist. The interesting thing about short stories is that you are improving your crafts. It can also be a merchandising tool to find people you will never contact in any other way because they are traditionally read.
There was one more right-wing issue I wanted to ask, and that is the tone. We are both doing a pedcast in this revival of sound. Does it pay to licence audiovisual or anthological audiovisual copyrights or to publish your own short films? How do you feel about short films?
That'?s all right again. When you sign a short stories agreement, make sure you don't get sound privileges because it's another thing you can resell seperately. You could be a web-based journal, so you'll be asking for EPR. In my agreement I always include "exclusive sound rights", as sound is also electroni-cal.
Let us assume that you did this and you have your back list of short films. The sound industry has many different sectors, especially in the fields of sci-fi and phantasy. When they get something released in the top professional consumer goods store, they'll say, "Okay, it's a good one. Well, usually most audiomarkets I know are in this area.
It' still found money. That'?s a history you've already oversold. It' pretty awesome to hear someone reading your tale. I had a horrible tale, the tale was just horrible. And then I had..... my last one was just a nice short novel based on my novel.
It will be really nice to point out to your reader someone who tells one of your stories. I' m sure I know where to focus on my own short diction. However, I think that for short films, I strongly suggest that you join the audiomarket once you have retailer.
So where can you and your textbooks be found and then stories and everything you do onlin? This has it all and gives you access to all my literature, various points of sale where you can buy it, sign up for my newsletters. Every months I publish a free e-book, short history e-book.