Turtleduck Press is Open for Submissions

Turtleduck Press, an independent publishing co-op specializing in science fiction and fantasy, is now open to submissions for people wishing to join.

Information about TDP, membership perks, and submission guidelines are available here.

While you’re looking at the submission information, you’re welcome to have a look around the rest of the site. Of particular interest may be our monthly free shorts, as well as the novels and anthologies we have available for sale.

Basically, myself, Siri Paulson, KD Sarge, and Erin Zarro have been having a grand time with TDP over the last three years, and we want to share the wealth and fun. If you think you’d be a good fit, please send a query our way!

And let me know if you have any questions about anything.

Oh, Distractions

Guys, I cannot focus on anything. Well, I mean, I can, because things must be done, but it’s kind of like being a kid at the end of the semester, knowing that summer is coming, and if you can just get through the last few assignments, you’ll be free, free BWHAHAHAHAHA

And that’s where the analogy falls apart, because, sadly, I am adult and I am never free.

But! My work is actually really fun this week, and if it wasn’t for nervous excitement, I would be quite pleased. I’m finally getting to dig into my edit for Shards, which feels lovely after so much plotting and prepping and making sure my characters were adding things to the story and making sure my chronology made sense and blah blah blah. And all my freelance editing work is on novels, and on novels where people understand how to tell a story, so that is lovely and not stressful as well.

But! This is the second paragraph I’ve started that way! Tomorrow! Tomorrow, my indie publishing co-op Turtleduck Press is opening for submissions!

And this is very exciting; when we started three years ago (!!!) we weren’t sure we ever would, but we’re having so much fun, and I’ve been so impressed with the work we put out, both the monthly shorts and the novels, and I’m super excited to hopefully find someone who fits, and then there will be even more awesome to go around.

But, on the other hand, it’s terrifying. If you’ve ever stepped foot into some writing communities, you know that they can be brutal on publishers, and while we’ve done our homework and done all the legal stuff and the procedural stuff (and are, technically, not a publisher), I also live in fear that we’ve somehow managed to commit some sort of heinous sin against the worldwide writing community and that we will have our heads mounted on pikes next to everyone else who’s messed up.

So the result is that my nerves are all a-tingle, and I’m excited and hopeful and fearful and anxious all at once.

So! You will see a formal announcement from me on Thursday about submissions, and until then I shall flail about like Kermit the Frog and distract myself with work and Deep Space Nine. (♥)

(And don’t be confused if you go to TDP and don’t see a submission page up. We’re going to spring it on the world all at once tomorrow.)

eeeeeeeeeeeeeeeeeee

Fighting With the God of Thunder

I’m working on what I call my chainsaw edit of a paranormal romance novel (where I look at the overall structure of the novel and make all major changes to plot, character, flow, etc.) and I’ve found myself running into some issues with a side character.

But not just any side character–this particular one is Thor, God of Thunder.

I don’t particularly like writing side characters. I think they’re hard to do well and they complicate things. I like to stick to important characters (this isn’t necessarily main characters–it’s pretty much any character that is present throughout the story and directly affects things) and background characters.

When I originally wrote this book, Thor was unplanned. For that reason alone, it was necessary to look hard at him to see if he was affecting the plot in a negative manner. But he’s not, and he’s fun, and I rather like him a lot, so after careful consideration, I’m going to keep him.

Of course, you can’t just have a character in a book because you like them, however. So I’ve been working at integrating him into the plot. This has been slightly difficult. I need him to be important enough to justify his being there, but not so important that he’s pulling things away from the main characters and/or making major modifications to the plot at this juncture.

I may have finally figured things out, however. I hope to start any necessary rewrites next week, so we’ll see how things go.

Have you ever had a character that didn’t quite fit the first time through? Did you take them out or leave them in? Or can you think of a character in a book/movie/TV show/whatever where you’ve wondered why they were there?

Writing Communities: Pros and Cons

I can’t help it, Squiders. I love bulleted lists. It is a horrible addiction, and I swear that I am searching for help so that one day, hopefully soon, I can be free of their indented glory.

If you’re a writer and on the internet, you’ve probably come across a writing community. They do tend to be everywhere, from social media such as LinkedIn and Twitter, to individual websites, to special “invite-only” communities where you have to meet some criteria to get in. You could have a different one for every day of the week–or month–if you really wanted.

It’s hard to know which one is right for you, and it’s entirely possible that you could belong to one forever and then realize, over time, that it’s not providing what you need anymore. So, is it worth it?

To the bulleted list!

Pros

• Other people who understand you and what you’re going through
• People who can offer advice and are willing to work through issues with you
• Support system
• May offer challenges and contests to help you practice and try new things

Cons

• Can be highly distracting and a time drain
• Like all organizations, there will probably inevitably be drama
• May not get the support you need or may be at a different stage than everyone else
• May find it hard to break into established groups

How do you feel about writing communities, Squiders? Are they essential or a distraction? Any that you’ve found useful over the years?

Anthologies: Pros and Cons

Ah, anthologies. I love to write for them. I am usually disappointed when I read them. It boggles the mind.

Just to make sure we’re all on the same page, an anthology is a collection of stories from different authors that all center around a theme. I just finished one where the theme was “fantasy tropes turned on their heads,” for example, though they called it something else. Basically, someone says “I want to put together an anthology about strong women with swords,” people submit stories that fit the theme, the editor(s) picks the ones they like, and then they publish the anthology.

(Themes can be any number of things, from clear cut things like “pirates” to completely arbitrary things like “I think this famous person may have been influenced by these stories” or “the best whatever of the year.”)

I love to write for them because I like the exercise of writing to a prompt, especially if it’s a little out of my comfort zone. I tend to not like reading them because by the time I get used to a story/character/voice/whatever, that particular story is over and it’s on to the next. It makes me grumpy.

The exception, for me, seems to be Shared World anthologies. Shared Worlds still are multi-author works, but the world, and in some cases the characters, are the same from story to story. Sometimes one story directly flows into the next. (Examples of this include the Thieves’ World anthology series, the Star Trek Corps of Engineers series, and Turtleduck Press’ Seasons Eternal.) Since I’m left with something to hold on to, I don’t find these as jarring.

Anyway, I promised Pros and Cons.

Pros

• Show many different authors’ interpretation of a theme
• Stories tend to be short, allowing for easy breaks in reading
• Can find new authors to try out

Cons

• No commonality between stories makes it hard to transition
• Open interpretation means stories can seem completely unrelated
• Story quality may vary and you might not find any voices you like

How do you feel about anthologies, Squiders? Love them, loathe them (either from a reading or writing point of view)? Any to recommend?

Dealing with Side Characters

You know, Squiders, main characters are bad enough. They don’t do what you want them to do, or they forget the plot in a moment of passion, or you turn your back for a moment and they’ve decided being a bad guy sounds like a pretty good gig. But at least you know they’re important. When a scene goes the wrong way, at least they’re still in the center of it.

Side characters, however, are tougher. They walk a fine line between being important and being in the background. These are your sidekicks, your lackey bad guys, your friends and relations. They’re important to the characters somehow. They contribute to the plot…somehow. But they can’t do too much, or they become main characters. And they can’t do too little, or your reader wonders why they’re there.

It’s a hard line to tread. Each story, each plot, has different character needs. And very few novels can get away with no side characters at all. People, unfortunately, do not exist in a vacuum. And each side character provides their own issues. It might be your character’s mother, whom they obsess about constantly, but, in the end, provides little of use to either plot or characterization. It might be your character’s best friend, who is always around, providing witty banter, but isn’t there when your character needs her most so your reader wonders why you bothered to build her up so much. It might be the professor your character fights with the whole first half of the novel, only to disappear for the second half.

Unfortunately, there’s only one thing to do. You look at a side character, decide what they need to contribute to the plot, and then you either build them up so they fit their goal, or you dial them back (or, sometimes, get rid of them completely).

I’m having to do this right now. I’ve got a side character named Thor (yes, that Thor) that at the moment, sits on the cusp. I’m not quite sure which way he’s going to have to go to fit the story.

(Hopefully I will by the end of the day, though.)

Anything you’ve found helps with side characters, Squiders? Any you’re having issues with at the moment?

What is a Subplot?

We all know what a plot is, don’t we, Squiders? The plot is what happens. It’s the series of events that takes us from the beginning to the end.

So, what’s a subplot?

A subplot is a series events that enhances the main plot.

So, what does that mean?

It means that a subplot gives the plot or the characters more depth. They can show why characters other than the main character are doing what they’re doing, what makes the main character the person to do the job, or create additional obstacles for the characters to overcome.

But it is important to note that subplots are directly related to the main plot. They must connect to it somehow.

In other words, they don’t stand alone. They don’t make sense without the main plot. If a “subplot” does, it’s not a subplot. It’s a stand alone plot, and it’s very difficult to pull off multiple plots in the same work. Mostly it just confuses people. In fact, if you have a “subplot” that doesn’t relate at all to your main plot, people are going to wonder why it’s there at all.

Like a plot, subplots need to make sense. They need to have a beginning, a progression, and an end. If you don’t have an end, you’re going to have dangling plot strings, and people will wonder what the point was.

Subplots also need to have less importance than the main plot. If they don’t, well, maybe your plot is in the wrong place.

Any thoughts on subplots, Squiders? Tips?

As You Know, Bob

You may not be familiar with this term, but you know it. You’ve seen it on movies, read it in books, maybe used it in stories of your own creation.

Used well and subtly, it can be a useful tool. But, unfortunately, it is not easy to use well. Or subtly.

“As You Know, Bob” is a type of conversation where the point of the conversation is to relay key background information to the reader/viewer.

Sounds good, right? Key information! We like that sort of thing, yes? So what’s the problem?

Here’s the problem:

Two scientists are standing over a computer panel. The first one turns to the second one and says, “We’ve finally done it.”

“Yes,” says the second one. “As you know, we’ve managed to create the perfect weapon. It works by taking carbon dioxide out of the atmosphere and turning it into a concentrated beam of death.”

“No one has ever managed to get this to successfully work. There hasn’t been a weapon this powerful since the end of World War III and the disarming of the major world powers through the Peace Treaty of 2365.”

“This is our last, best chance against the alien race which has tried to mine our planet for its resources.”

Do you see the problem? While this conversation may tell you important information, it is also a conversation that no two people would have, ever. These characters already know this information. This is basic information for this world. No one needs to say this stuff because everyone already knows it.

The only reason this conversation exists is for the reader. It does nothing for the characters. And so it rings false.

You’ve probably noticed conversations like this that bothered you, even if you didn’t know why.

There’s ways to make things like this work. You can have a character explain things to a character that doesn’t know (and, hopefully, has a reason to know). You can weave bits and hints through the narrative, so readers can pick it up gradually, naturally.

Even a line here and there can be okay, if there’s a reason for the character to say it.

But overall, it’s something to be avoided.

Any tips for integrating information in a less jarring manner, Squiders? Examples of this that drive you crazy so people know what to avoid?

Research Makes a Story Richer

Ah, research. I know it doesn’t necessarily sound fun (unless you’re one of those people, like me, who goes, “Oh, I don’t really know anything about evil spirits. Time to go to the library! Glee!”) but a little realism can go a long way.

Even if it’s something as simple as looking at a map to see where things are in relation to each other, research can be the difference between taking your reader on a fantastic read and distracting them to the point where they’re pulled out of the story.

To continue on with the post from a few weeks ago, I have a book I’m editing that partially takes place in Greece. I wrote that section based off random tidbits I’ve picked up from pop culture over the years. However, one of my beta readers had been to Greece, and the whole section distracted her because she could tell how wrong I was.

But it’s not just places that can benefit from research. Mythology, science, history, societal customs, languages–all of these can bring richness and fullness to your story. It’s one thing to have a Hispanic character, but another to look into common customs in Hispanic households. Looking into mythology can teach you little known facts about legends that provide the direction you need to bring your story together. And it’s one thing to write about a Victorian-esque society, but actually knowing something about the Victorians will help you sell it.

So, how do you go about researching? Well, I recommend choosing the media that appeals to you the most. I always hit the books first because that’s my preference. (Assuming the library has books on the particular subject.) Then I head to the internet. I try to stick to somewhat legitimate sources, such as Wikipedia. But if you find it hard to pick up facts from the written word, you can listen to podcasts or watch movies.

Take notes as you go, or you’ll never remember everything you want to.

Any researching tips you’d like to pass on, Squiders? Any books you’ve read recently where someone obviously didn’t bother?

Pen Names

Pen names. Nom de plumes. In simple terms, when you put out work under another name that is not your own, but is still meant to be you (i.e., not ghost-writing for someone else).

Some people do, some people don’t. I don’t. I just use my name, and it just happens to be wonderfully alliterative. (I’ve had people at writing groups and conferences compliment me on it. Ha!)

Why do people use pen names? Because they don’t want to be associated with a work. Because they think their real name is boring or unmarketable. Because they write two wildly different genres and don’t want their readers to confuse the two. Because they value their privacy.

Why do people use their real names? Because they don’t have to remember another alias. Because their real name is awesome. Because they don’t want there to be confusion about who did the work.

Which do you prefer, Squiders? Do you use a pen name, and if so, what is it? What are issues/perks you’ve found with using a pen name versus using your real name?