Writing Short Fiction: Suggestions for Academics

I've published fifteen short, philosophically-themed science fiction stories in pro and semi-pro magazines, including in some of the most prestigious venues. Recently, a colleague asked my advice for academics interested in publishing short fiction. I figured I'd oblige with a blog post.

Write and Discard

You're a beginner. You're a beginner with a head start, because you can already write decent academic prose. But still, you're a beginner. Don't expect your first few efforts to be a publishable stories. So don't work on them too hard; don't get too invested in them; don't devote months to them and then abandon the whole enterprise when they aren't published.

Instead, write quickly. Write part of a story as a sketch. Write a whole draft, give it to someone who will provide honest feedback, and learn from that feedback. Then move on to a different story.

Most short fiction writers have large "trunks" of unpublished stories: early efforts, creative experiments, stories that didn't quite work out, stories they couldn't publish.

Writing is a process of discovery. In the course of writing, as the story takes shape, you find out how good the idea really was.

You'll find your voice better, and you'll cook up more interesting ideas, if you write lots and fast than if you belabor and belabor the same few pages.

Cherish and Protect Your Joy in Writing

If the thought of writing and discarding discourages you, ask yourself: Do you want to write? Or do you want, instead, to be someone who has written? If it's mainly the latter, then your approach might be too instrumental. You'll find it difficult to practice and to cultivate the traits that will set you apart.

Writing fiction should be a joy, for three main reasons:

First, if it's a joy, then if you discard many of your efforts, well, at least you enjoyed yourself!

Second, if you write joyfully, your writing will carry your distinctive voice and style. We are more distinct and memorable in our joys than in our forced labors.

Third, joy is intrinsically good, and the instrumental value of your writing fiction is at this point (let's be honest with ourselves) probably dubious. So whatever joy you derive is the most secure ground of value here.

Writing joyfully doesn't mean that you need to wait to write until inspiration strikes. I accept the standard "butt-in-chair" writing advice: Planting yourself in a seat before a blank page for an hour or three at regular intervals can do wonders. So yes, you might need to needle yourself a bit to get rolling. But then, when the words start to flow, follow your joy.

Writing joyfully doesn't mean writing only for yourself. It doesn't mean not valuing publication. Just don't let instrumentality poison your process.

[from my author page at Clarkesworld]

Write for the 10%

I don't care for mariachi music. The world contains, I'm sure, many great mariachi bands -- but however great they are, I won't enjoy them. Your writing is mariachi music.

Most of your friends won't like your writing enough to want to read it. (Maybe they'll politely read one story and say something encouraging.) Forget them. Don't try to please them. Ignore advice from the majority of people. Instead, find the mariachi lovers -- the people who like the particular, narrow type of thing that you are doing -- and notice their reactions. Otherwise, you'll be like a mariachi band taking musical advice from a country-music fan.

Far, far better to write something that 10% of readers will love than something that 70% of readers will think is okay.

The worst is to read some writing guide, or take some writing course, then follow the advice to the letter, trying to write some generic "good" story according to a formula. How depressing. You might as well set ChatGPT on the job. Be weird. Have fun by being different, expressing your quirky self.

Expect Rejection; Where to Submit; Critiques

Expect many rejections. Leading fiction magazines have rejection rates far worse than leading academic journals, often well over 99%.

Notice where short stories you like have been published. Potentially more helpfully, notice other venues -- maybe less prestigious -- where authors you like have also recently published.

You might be interested in my annual ranking of the most prestigious science fiction and fantasy magazines -- a good list for starting to think about venues in that genre. I also highly recommend the Submission Grinder.

If you're interested in exchanging critiques with amateur aspiring writers, Critters Writers Workshop is a good resource. Once you've made your first "pro" sale (at the SFWA qualifying rate or at least $100 cumulatively), Codex Writers Forum is invaluable for community, critique-trading, news, and information.

The Emotional Rollercoaster of Fiction Writing

Writing academic prose is hard. Sometimes I think my stuff is great. Sometimes I grumpily cut and discard, feel disappointed with my work, restart. It varies considerably with mood. (And actually I think the mood fluctuations can be helpful.)

In writing fiction, the ups and downs are -- for me and most others, I think -- substantially more intense. Take heed.

This, plus the rejection, makes cultivating the joy both harder and more important. It can be easy to feel like everything you do is mediocre and you've wasted your time. Avoiding instrumentality is the most reliable cure. To repeat myself: Try to love the writing at least as much as the having written.

Also, look, even if it's bad, there's a lot to be said for the value of bad art, enjoyed by one or a few. I plan to write a post on this topic, but in the meantime, consider my daughter's art car and The Vengefull Kurtain Rods.

The Rhythm of Stories and Articles:
initial hook → engagement of interest → developing trust → satisfying resolution

You're already familiar with the intellectual arc of an academic article. Your title is your initial hook. Your introduction builds up interest. By several hundred words in, your reader should feel they are in competent, trustworthy hands, headed along the path of a worthwhile argument or exploration. By the end, the reader should feel that you've presented a satisfying overall package.

For a short story, you need to transpose that knowledge into a different key.

Initial hook: The initial hook of a story is the title and the first few sentences. You can't yet emotionally engage the reader, but you normally (1.) convey something about the style, tone, and topic of the story, (2.) give the reader a little something to be curious about.

On 1: If it's a humorous space comedy, that should be evident right away. Same if it's an emotionally dark story of witchcraft. Of course you can't convey everything immediately and shouldn't overburden those sentences. But readers judge by their first nibble. If the first nibble doesn't match the overall meal, then readers who like that nibble might not like the whole story, and those who would have liked the whole story might not get past the first nibble.

On 2: Although you can't really emotionally engage readers in the first paragraph, you can draw them along by piquing their curiosity. This could be a bit of action you've dropped them in the middle of or an unusual social or physical event that has begun to unfold. Or it could be a more intellectual curiosity: an intriguing term, idea, event, or action they don't quite understand.

Engaging interest: The title might be great, but if the introduction isn't promising, you'll give up on reading an academic article. Same with a story. By about the end of the first page, the reader should move from initial curiosity to engaged interest.

In fiction-writing circles, you'll often hear advice to start the story in the middle. This isn't really necessary, though there's nothing wrong with it. Beginners often make the mistake of opening with not-especially-interesting background or scene-setting. Starting in the middle is one way to avoid this error -- and if it's slightly confusing as a result, that can actually serve as a bit of a curiosity hook.

The first page of your story serves some of the same purposes as an academic introduction. It's not of course an overview, but it is a promise. The reader should think, "Interesting, let's see where this goes."

Developing trust: By about page three or four of an academic article, the reader should feel that they are in good hands. It should be clear how the author is building toward the essential moves. Otherwise, you won't trust the author enough to give them more of your valuable reading time.

Analogously, in a short story by about page three or four the reader must feel emotionally invested or intellectually intrigued. They should trust your storytelling. They should feel the arc building. They should care about what happens next, due to engaging characters or fascinating ideas. If and only if they care by page three or four will they read to the end.

Reach a satisfying conclusion: Of course! Every scene, every thread, should come together by the end -- ideally, but not necessarily, with some development or revelation, not out of the blue but neither entirely expected, that suddenly shows the beginning and middle in a new light. Unless, of course, you don't want to.