The Slush Formula

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Writers, can you estimate the chances that your story will make it through the slush pile?

I’ve come up with a formula.

Some background: A couple of years ago, I saw a post on a forum somewhere by a writer who said their story had “zero chance” of being passed on to the Publisher.

They may have been right, unfortunately. But why?

The chance that I will recommend a story to the Publisher is directly related to the quality of the story, the clarity of the storytelling, and the appropriateness of the subject matter. Each of those is a subjective measure, yes — what I think is a great story you might think is mediocre; what’s crystal clear to you might be indecipherable to me; etc. — but all three must be present in sufficient measure for a story to make it through.

Factoring & Expansion Formulas

It’s really not as complicated as all that. (Image: “Factoring & Expansion Formulas,” by CMLorenz16, on Flickr under Creative Commons.)

 

Thus I express the probability of any given story being passed on to the Publisher as

P ≈ Q * C * A

So if a story really has a “zero chance” of being passed on, it is only because one or more of those factors approaches zero.

The good news is that’s rarely the case. (For us, “zero chance” is only when someone submits a memoir or children’s book or something else we don’t publish; then, appropriateness = 0.) So writers who have an accurate assessment of the strength of their story, how well it’s written, and if it’s appropriate should be able to estimate their chances pretty well.

But the thing to realize is that for the probability to be high (we’re talking percentages here, so it will almost never be 100%) each of those factors — story quality, writing clarity, and subject matter appropriateness — must rate very high indeed.

That’s the challenge.

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Monday Morning Insight: Failure and Greatness

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(Another in the continuing series of quotes to start the week.)

 

Today is Herman Melville’s birthday (1 August 1819 – 28 September 1891), so let’s unpack a Melville quote:

It is better to fail in originality, than to succeed in imitation. He who has never failed somewhere, that man cannot be great. Failure is the true test of greatness.

Most of us fail at something or other before we find something we do well, and most of us will not achieve “greatness” no matter how often we fail and try again.

And “better” in this case is definitely a value judgment.

Since Melville was a writer let’s examine this quote as it relates to the literary world, where it is plainly possible to “succeed in imitation.” We have plenty of writers who have found great success presenting essentially the same stories as someone else, and no shortage of others who continue to do so in search of their own success. The authors bring something of their own viewpoints and voices to the stories, but the common term is “filing off the serial numbers” to make it a bit less obvious that our fantasy story is essentially a repackaging of Tolkien or Rowling, or our science fiction story is a direct descendent of Heinlein or Bujold or Niven or some other famous author.

It’s not too surprising that this is the case. Authors continue to produce Tolkien-esque fantasy stories because the audience has yet to tire of them. From military science fiction to urban fantasy, space adventure to steampunk, the audience yearns for more — so much that authors who have not been able to break in with publishing companies have found their own fans through self-publishing. And if their fans feel they receive good value for their entertainment dollars, then that’s all that matters; after all, if being original means starving, then succeeding by being imitative isn’t all that bad. (We might even disagree with Melville and say that really is better.)

Yet success is not guaranteed, even when imitating examples of success.

Authors and publishers often do not know what story will resonate with a large audience, but that is especially true when it comes to more original stories — ones that are difficult to categorize into existing genre niches. Some works are so original that they define entire new subgenres, but they still have to be good enough (for whatever the audience considers “good”) beyond just being original in order to attract an audience.

But Melville refers to greatness, and I like to work backward from there. The authors we consider “great,” even if they were not pathfinders of their genres, produced work that hums with originality in some respect: depth of detail that puts us firmly in the setting and the story; emotional power that elicits deep sympathy for the characters; pacing and action that set our hearts to racing; all these and more elevate their work from entertaining to spectacular. Did the authors we consider “great” risk failure, or even endure failure, on the way to creating their monumental stories? I think they did, particularly when those stories were fresh and original compared to other things being produced at the time.

Failure

Are you striving for anything great? (Image: “Failure” by Andrea Small, from Flickr under Creative Commons.)

 

It may be, however, that they were not trying for greatness. Indeed, it may not be wise to strive for greatness when striving for success is hard enough. Greatness will be determined by history, by whether our stories continue to resonate down through time — but that doesn’t help us very much in the here and now.

Here and now, every writer risks failure with every story they start. It seems safe to say that writing a story that lasts, that impacts generations, involves taking more risk than writing a story very much like another. And even when taking only moderate risks some writers will fail more often, or more spectacularly, than others — but that’s true of every human endeavor.

What about you? How have you failed, and what have you learned from your failures? Don’t let it hinder you too much; remember, Melville considered failure the true test of greatness.

Keep striving!

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There, but for the Grace of God …

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I found myself thinking, as the second major party convention came to a close, about the twists and turns our lives take, about how remarkable it is that anyone rises to fame or prominence, and about how the major party candidates got started on their journeys.

Athletes, for instance, may be gifted physically but they put in long hours of training and practice and preparation before competing, and the competition at higher and higher levels is so fierce that only a tiny fraction of all who ever played the game — whatever game it might be — will make it to the professional ranks. Artistic pursuits are much the same — whatever natural gifts we may have still need to be nurtured and developed, and only a very few professional (as in, making a living from the pursuit) writers, painters, actors, or musicians will ever emerge from the vast numbers of people who have dabbled from time to time in the creative arts.

In each case, the transition from amateur to professional to world-renowned is based on the performance, the output of all the work, as evaluated by the audience.

Can the same be said for politics?

Some politicians have natural gifts of charisma, charm, and attractiveness, and many of them “train” long and hard by networking, developing positions on issues, communicating with partisans (and opponents), and raising money. But political performance seems to be measured by intentions rather than results, promises rather than productivity, and politics is a game in which the influence of others plays a much bigger role than in other areas of life.

The influence of others may be natural to the political game. The intent for the candidate is not to appeal to everyone but to just enough people to get elected — for the party, not to attract everyone but to attract enough to get enough of its candidates elected to enact its preferred policies — so patrons and pathfinders and big-time players who can lend their own influence to a potential candidate become very important to success. Not so in other fields, where a player touted by a superstar must still perform on the court or an artist mentored by a master must still paint something worthy of recognition: in politics, notoriety and the right connections seem to be far more important than doing the actual work of governing or legislating. (Were actual voting records and accomplishments important, ineffective incumbents would be voted out far more often and certainly not be advanced to higher offices.)

Presidential Election Results 2016

Seems reasonable. (Image: “Presidential Election Results 2016,” by KAZ Vorpal, on Flickr under Creative Commons.)

 

With that in mind, I can’t help but wonder if we would ever have heard of Hillary Rodham — if she would ever have been on a trajectory to being a candidate for the presidency — had she not married Bill Clinton, or had he been satisfied with remaining the governor of Arkansas rather than running for President himself. In the same way I can’t help but wonder if we would ever have heard of Donald Trump if his father had not been a real estate developer and provided him with seed capital and connections to start dealing in New York real estate and to branch out into other enterprises. Would they both be spectators had their paths not been paved by others?

Which brings up a more interesting question: which of us, with the right connections or having gained some degree of notoriety or power, might have found ourselves on such a stage? Why them, and not you, for instance?

Perhaps “there, but for the grace of God,” go we.

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Five-and-a-half is Still Less than Nine, Isn’t It?

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Authors: Here’s a lesson in how not to respond to rejection.

As the “Slushmaster General” for Baen Books, I have the unenviable task of sending out rejection letters. I don’t particularly like it — I know well how it feels to be on the receiving end — but I do it. And because we get a lot of submissions, I send out a lot of rejections.

rejection

This applies to more than just publishing! (Image: “rejection,” by Topher McCulloch, on Flickr under Creative Commons.)

 

Now, Baen Books could go the route some publishers and literary agents have gone and simply not respond at all if we’re not interested. We haven’t done that, though, and I don’t believe we ever will. As I tell people at convention panels and workshops, as an author myself I like to make sure that we treat every submission the way I hope other publishers are treating my submissions.

Which brings me to today’s lesson: keep your expectations realistic, and think twice before complaining.

Our guidelines note that we typically respond to new submissions within nine to twelve months, though we’ve gotten to the point that it’s usually six to nine. Why so long? Because in any given month we receive upwards of 120 submissions, and while there are always a few I can respond to quickly — e.g., short stories instead of novels; memoirs or poetry or children’s books or other things we just don’t publish — it takes time to look at each submission and judge it on the merits.

Anyway, last week I sent an author a rejection and the author e-mailed back,

This book has been published for months! You should try and better manage your time with submissions.

Hmmm.

Published, you say? Meaning … not available anymore? Meaning you could have told us that, and saved us the trouble of considering it, but didn’t? Or meaning that you expected us to respond in a few weeks instead of the several months it usually takes?

And published “for months,” you say? (With an exclamation point, no less.) Publication cycles usually take many months to over a year, depending on the publisher’s editorial, art, and production schedules … so was your book already accepted somewhere else before you submitted it?

I decided this response warranted a little investigation. I know when the book was submitted to us and when I responded, and since I have this fancy tool called the “Internet” — maybe you have it, too — I could find out exactly when that book was published. Let’s check the record, shall we?

  • Submitted 3 February 2016
  • Rejected 23 July 2016 (elapsed time, 171 days — c. 5.6 months)
  • Published 1 April 2016 (58 days after submission)

Hmmm.

So, you published (self-published, if I read the Amazon listing correctly) your book less than two months after submitting it but didn’t withdraw it from our consideration? And then when we respond in a little over half the time we advertise you decide to berate us for not responding sooner?

Oh, aspiring author out in Internetland, I trust that you, and most other people reading this post, would know not to do this. But, just in case, let me be clear: don’t do this.

Know what to expect when you submit something; specifically, bear in mind that your submission is one of many. (We will get to it. If you’re worried that we might have lost it, just ask.) Be professional and courteous enough to withdraw your submission if you decide to publish elsewhere. And when we respond, if you think it took longer than it should have, be sure your expectation was realistic before you start complaining about our time management.

Otherwise, your complaint might end up as a prompt for a blog post.

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Monday Morning Insight: The Government We Deserve

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(Another in the continuing series of quotes to start the week.)

 

Something to think about with the Republicans’ national convention over and the Democrats’ national convention just getting started, a quote from the Sardinian — though considered French — political philosopher Joseph de Maistre (1753-1821):

Every nation has the government it deserves.

I heard a version of this quote back in the late 1980s, in a graduate management course at Edwards AFB taught by Rob Gray: “Management gets the union it deserves.” It makes sense in that context, since benevolent and enlightened corporate leadership may succeed in forming lasting partnerships with workers and any unions that represent them, while exploitative management is more likely to anger workers and encourage confrontations with their unions.

Only much later did I find the Maistre quote, the political quote, which I also think makes sense.

Maistre lived in a period of great political upheaval, and following the French Revolution he became a counter-revolutionary and supported a return to monarchy. He believed in the divine right of kings to rule, and perhaps in this quote he had in mind that nations with beneficent rulers deserve them while nations with despots likewise deserve their rulers. He was a devout Catholic, and may have considered it part of God’s favor or disfavor of a given nation.

I think his quote to apply to democratic nations as well, and accounts for natural consequences as much or more than any divine discipline.

Consider our current political climate in the U.S. We are fractious, self-absorbed, and fearful, and we have given ourselves a government that frequently acts to benefit select few, but which few depends on whim, caprice and political calculation; a government that we seem content to let grow without limit so long as we get what we want from it, though in the process it will eventually consume all we produce; a government that appears to view its own citizenry with suspicion and disdain, and thereby seems less and less disposed to acquiesce to the will of the people but continually asks the people to acquiesce to its will.

My wallpaper in tribute to its author

I like this as a metaphor for the 2016 campaign: D. Trump and H. Clinton contending for the Presidency. (Image: “My wallpaper in tribute to its author” by JP Freethinker, from Flickr under Creative Commons.)

 

Would you say we have the government we deserve? I’m afraid I would, and I wish we governed ourselves such that we deserved better.

Moreover, I’m afraid that no matter how the campaigns run or what the election results are in November, we will still have the government we deserve — and many of us won’t like it.

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If I Had Been Mrs. Trump’s Speechwriter

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A thought experiment, of sorts.

I’ve been avoiding overt political topics lately, but Melania Trump’s apparent plagiarism in her speech at the Republican National Convention created quite a buzz in the speechwriting community (and everywhere else, it seems). My thoughts, as a speechwriter…

I understand Mrs. Trump gave the staffer who helped with the speech some passages she liked from Mrs. Obama’s previous speech. If the provenance of those lines was clear and I had been Mrs. Trump’s speechwriter, I would have recommended (if she really wanted to use them) that she preface them with something along the lines of, “like another woman whose husband was privileged to earn his party’s nomination,” etc. The way I see it, if she didn’t want to change the lines so the same message came through in a new way, then it wouldn’t have hurt to acknowledge the source (even if obliquely). But I hope I would have recommended, instead of using the same words, that she think of an example or two from her own life to illustrate the same points, because the strongest part of Mrs. Trump’s speech was when she focused on her own personal story. And this type of speech works best when it is deeply personal, heartfelt.

Mrs. Trump’s delivery was pretty good, especially considering that English is not her native language. But if I had been Mrs. Trump’s speechwriter, I would have encouraged her to deliver the speech in two parts. First, a short version — maybe three to five minutes — delivered in Slovene, because that would be more comfortable for her and her delivery would (I think) have been more fluid and consistent. Second, a little bit expanded version — perhaps ten minutes — covering the same material and delivering essentially the same message, in English.

(I have seen this work before, for a helicopter pilot from Cameroon who was in my flight at Squadron Officer School. When we gave presentations, he spoke first in his native French and second in English; even though most of us did not understand his French we could clearly see how much more confident he was presenting in his native tongue.)

I think if Mrs. Trump had prefaced her remarks with a brief explanation, the audience would have appreciated the interlude in her own language because her delivery would have been more natural and she would have been even more poised and confident.

144070_2_1DA8023

Melania Trump addressing the Republican National Convention. (Image: “144070_2_1DA8023,” by Disney | ABC Television Group, on Flickr under Creative Commons.)

 

If I had been Mrs. Trump’s speechwriter, my aim — as it has been with everyone for whom I’ve written speeches — would have been to help her sound like her most authentic self, not to make her sound like anyone else. That would extend beyond trying to help her avoid copying anyone else, to helping her find wording that complemented the natural cadence of her voice and stories that resonated with her and could connect her to her audience.

To me, she seemed at her best when talking about coming to the U.S. from Slovenia; that was a good springboard for her message. I think if she had spent a little more time talking about her story, and tied elements of her story to the problems we face and the upcoming campaign, her message would have been stronger — and she would not have had to endure the repercussions of lifting those lines from Mrs. Obama’s speech.

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Monday Morning Insight: the Obstacle to Discovery

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(We missed posting last Monday due to travels, but here’s another in the continuing series of quotes to start the week.)

 

This week’s quote interests me more in its paraphrased form than its original form — which is unusual, because I think most originals are better by far than any adaptation — but the message in it is what’s important.

Famed historian Daniel Boorstin wrote, in his marvelous book The Discoverers:

The great obstacle to discovering the shape of the earth, the continents, and the ocean was not ignorance but the illusion of knowledge.

Removing the geographic references and increasing the magnitude a bit produces a shorter, much more general version:

The greatest obstacle to discovery is not ignorance but the illusion of knowledge.

I appreciate that, because I see it in action all the time. What blocks me from learning more about a subject, what interferes with my discovering some new truth about a person or an event or a situation, is my own misguided belief that I already know what I need to know about it — and my surety that what I think I know is true. But often that’s an illusion, and a self-made one.

Hubble View of a Nitrogen-Rich Nebula

So much to know in this wide, wondrous universe; so little time to learn everything we might. (Image: “Hubble View of a Nitrogen-Rich Nebula” by NASA; public domain, from Flickr.)

 

Maybe you can relate to that idea. Maybe you’ve had the eye-opening experience of realizing that what you thought you knew wasn’t quite accurate. I think it happens to each of us at one time or another; the question is whether we regularly recognize that, as Dr. W. Edwards Deming once said, “We know a lot that isn’t so.”*

Can you think of any illusions of knowledge that you hold on to? Despite them, this week I hope you discover something new!

___
*Attributed to Dr. Deming by one of his proteges, Bill Scherkenbach.

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Music and More at ConGregate

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This weekend is the ConGregate science fiction and fantasy convention in High Point, North Carolina. The Author Guest of Honor is Steven Barnes, the Artist GOH is Lindsey Look, the Special Writer Guest is my friend A.J. Hartley, and the Special Musical Guests are the incomparable Valentine Wolfe.

Even though I’m not the Master of Ceremonies at this convention, and don’t have any readings or panel discussions on my schedule, I’m going to be fairly busy — and doing a lot of music!

Friday

  • 5:30 p.m. — Concert
  • 10:30 p.m. — “Campfire Songs” — a fannish singalong!

Saturday

  • 2:00 p.m. — “Songs and S’mores” — kid-friendly songs and yes, I understand actual s’mores will be served
  • 4:00 p.m. — Baen Books Traveling Road Show and Prize Patrol — see what new releases Baen has coming out, and possibly score a free book!
  • 8:00 p.m. — “Confronting the Publishing Gatekeeper” Workshop — known at other conventions as “Face-to-Face with the Slushmaster General”
  • 9:30 p.m. — “Camp ConGregate: the Final Jam” — a musical roundtable “from filk to gothic and everything in between”

Sunday

  • 9:00 a.m. — Nondenominational Prayer (and Praise) Service
  • 11:00 a.m. — Filking Workshop

I was pleased to be part of the first ConGregate two years ago, and it’s gotten better every year. I expect the trend to continue, and I’ll do my best to help ConGregate be its best!

Hope to see you there!

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Mastering the Ceremonies at LibertyCon

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I’m on the road again today, this time to the 29th annual LibertyCon science fiction and fantasy convention! The Author Guest of Honor is Jonathan Maberry, the Artist GOH is Todd Lockwood, the Science GOH is Dr. Ben Davis, and the Special GOH is artist Melissa Gay.

If it’s not obvious from the title, I’m the Master of Ceremonies for this convention. Here’s what I’ll be doing:

Friday

  • 1:00 p.m. — Face to Face Critiques from the Slushmaster General
  • 4:00 p.m. — Reading
  • 5:00 p.m. — Opening Ceremonies
  • 9:00 p.m. — Concert

Saturday

  • 10:00 a.m. — Autograph Session (with GOH Jonathan Maberry and Chuck Gannon)
  • 12:00 noon — Horror-themed Luncheon Banquet and Guest of Honor Speeches
  • 2:00 p.m. — Baen Books Traveling Road Show and Prize Patrol
  • 10:00 p.m. — Filk Sing!

Sunday

  • 10:00 a.m. — Kaffeeklatsch
  • 2:00 p.m. — Panel, “Changes in the World of Publishing”

My two big ceremonies to master are, of course, the Opening Ceremonies today and the Luncheon tomorrow. I will make the rounds of some other panels and events, though, and expect to make an appearance at the Closing Ceremonies on Sunday as well!

Let’s have some fun!

___
Shameless plug: I brought many copies of Distorted Vision and Truths and Lies and Make-Believe that I’d love to get rid of, plus a few other goodies as well. Flag me down if you want something!

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