merielxwritings

[merielxwritings]

Writing a novel when you imagine all you stories in film format is hard because there’s really no written equivalent of “lens flare” or “slow motion montage backed by Gregorian choir”

[merielxwritings]

so I’m looking at short story publishers (fantasy)

Tor, cream of the crop. 25 cents a word. Stories can be read for free (YES). Slowish response time at ~3 months. Prefer under 12k, absolute maximum is 17.5k. Don’t bother if it’s not highly professional quality. SFWA qualifying.

Crossed Genres. 6 cents a word. Different theme each month (this month’s is “failure”). Submissions must combine either sci-fi or fantasy with the theme. Response time 1 month. 1k-6k, no exceptions. SFWA qualifying.

Long Hidden, anthology from CG. 6 cents a word. 2k-8k, no exceptions. Must take place before 1935. Protagonist(s) must be under 18 and marginalized in their time and place. Must be sci-fi/fantasy/horror. Deadline 30 April. Response by 1 October.

Queers Destroy Science Fiction. Sci-fi only right now, author must identify as queer (gay, lesbian, bi, ace, pan, trans, genderfluid, etc, just not cishet). 7.5k max. Deadline 15 February. Responses by 1 March. You can submit one flash fiction and one short story at the same time. (My network blocks the Lightspeed site for some reason, so I can’t get all the submission details. >_>) Probably SFWA qualifying?

Women in Practical Armor. 6 cents a word. 2k-5k. Must be about 1) a female warrior who 2) is already empowered and 3) wears sensible armour. Deadline 1 April. Response within three months.

Fiction Vortex. $10 per story, with $20 and $30 for editor’s and readers’ choice stories (hoping to improve). Speculative fiction only. Imaginative but non-florid stories. 7.5k maximum, preference for 5k and under. (I kind of want to support them on general principle.)

Urban Fantasy Magazine. 6 cents a word. 8k max, under 4k preferred. Must be urban fantasy (aka, the modern world, doesn’t need to be a literal city). 

Nightmare. 6 cents a word. 1.5-7.5k, preference for under 5k. Horror and dark fantasy. Response time up to two weeks. SFWA and HWA qualifying.

Apex Magazine. 6 cents a word. 7.5k max, no exceptions. Dark sci-fi/fantasy/horror. SFWA qualifying.

Asimov’s Science Fiction. 8-10 cents a word. 20k max, 1k minimum. Sci-fi; borderline fantasy is ok, but not S&S. Prefer character focused. Response time 5 weeks; query at 3 months. SFWA qualifying, ofc.

Buzzy Mag. 10 cents a word. 10k max. Should be acceptable for anyone 15+. Response time 6-8 weeks. SFWA qualifying.

Strange Horizons. 8 cents a word. Speculative fiction. 10k max, prefers under 5k. Response time 40 days. Particularly interested in diverse perspectives, nuanced approahces to political issues, and hypertexts. SFWA qualifying. 

Fantasy and Science Fiction. 7-12 cents a word. Speculative fiction, preference for character focus, would like more science-fiction or humour. 25k maximum. Prefers Courier. Response time 15 days.

Scigentasy. 3 cents a word. .5-5k. Science-fiction and fantasy, progressive/feminist emphasis. Fantastic Stories of the Imagination. 15 cents a word. 3k maximum. Any sci-fi/fantasy, they like a literary bent. (psst, steinbecks!) They also like to see both traditional and experimental approaches. Response time two weeks. 

Beneath Ceaseless Skies. 6 cents a word. 10k maximum. Fantasy in secondary worlds only (it can be Earth, but drastically different—alternate history or whatever). Character focus, prefer styles that are lush yet clear, limited first or third person narration. Response time usually 2-4 weeks, can be 5-7 weeks. SFWA qualifying.

Clarkesworld. 10 cents a word up to 4000, 7 afterwards. 1-8k, preferred is 4k. Science-fiction and fantasy. Needs to be well-written and convenient to read on-screen. Appreciates rigour. No talking cats. Response time 2 days. SFWA qualifying.

Orson Scott Card’s Intergalactic Medicine Show. 6 cents a word. Any length. Science-fiction and fantasy (along with fantastic horror). Good world-building and characterization. Clear straightforward prose. Response time three months. Yes, OSC is editor-in-chief. SFWA qualifying.

Interzone. Sub-pro rates if anything (but highly respected). 10k max. Short cover letter. Science-fiction and fantasy.

[merielxwritings]

Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

[merielxwritings]

Writing tool for your fight scenes.

[merielxwritings]

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

[merielxwritings]

I am a(n):

⚪ Male

⚪ Female

🔘 Writer

Looking for

⚪ Boyfriend

⚪ Girlfriend

🔘 An incredibly specific word that I can't remember

[merielxwritings]

How to show emotions

Part IV

How to show bitterness

tightness around their eyes

pinched mouth

sour expression on their face

crossed arms

snorting angrily

turning their eyes upward

shaking their head

How to show hysteria

fast breathing

chest heaving

trembling of their hands

weak knees, giving in

tears flowing down their face uncontrollably

laughing while crying

not being able to stand still

How to show awe

tension leaving their body

shoulders dropping

standing still

opening mouth

slack jaw

not being able to speak correctly

slowed down breathing

wide eyes open

softening their gaze

staring unabashingly

How to show shame

vacant stare

looking down

turning their head away

cannot look at another person

putting their head into their hands

shaking their head

How to show being flustered

blushing

looking down

nervous smile

sharp intake of breath

quickening of breath

blinking rapidly

breaking eye contact

trying to busy their hands

playing with their hair

fidgeting with their fingers

opening mouth without speaking

Part I + Part II + Part III

If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰

[merielxwritings]

Writer Beware makes posts on which publishing houses to avoid at all costs, which words to look for and which words to watch out for in contracts, and several other things that will keep you in control and knowledgeable about the publishing process.  I’d suggest reading through the website if you want to avoid getting ripped off, cheated, or scammed.

[merielxwritings]

Time between events

The number of words you use between two events gives your readers a rough idea of how much time occurs between them. This means that if you want to tell your readers that one event happens right another with no pause, it’s a bad idea to say that between the two events.

Good:

“Do you love me?” asked Maria.

“Yes,” said Tyrone, without hesitation.

Not so good:

“Do you love me?” asked Maria.

Tyrone didn’t hesitate. “Yes.”

In the second one, the time it takes to read “Tyrone didn’t hesitate” feels to me like time Tyrone is hesitating.

[merielxwritings]

Hiding Chekhov's gun

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

-Anton Chekhov

While it’s important to both take out unnecessary elements and provide the readers with adequate foreshadowing, it can be hard to do so and still have plot twists and unpredictability. Say the gun going off in the second act is supposed to be a surprise. How do you prevent readers from figuring it out as soon as they see the gun?

Make it seem like the gun is a natural, background part of the setting. If your story is set in a hunting lodge, it makes sense for there to be a rifle on the wall and readers may assume it’s there for flavor.

Use the gun for something besides its main plot purpose first so readers think its plot significance is over. This can work at any time, including when the gun is first introduced.

Introduce enough other interesting plot threads between when the gun is introduced and when the gun goes off that the readers get distracted.

Make the gun go off for an unexpected purpose. People will expect the gun to be used for shooting somebody, so if the gun goes off as a way to make a loud noise to distract somebody, the readers will be surprised.

[merielxwritings]

Did I daydream this, or was there a website for writers with like. A ridiculous quantity of descriptive aid. Like I remember clicking on " inside a cinema " or something like that. Then, BAM. Here's a list of smell and sounds. I can't remember it for the life of me, but if someone else can, help a bitch out <3

[merielxwritings]

Anybody else got that Evergiven sized writers block

[merielxwritings]

Cheat Code #3 for accommodating disabled characters in sci-fi/fantasy:

If you want your setting to be accommodating, change the environment more than the person.

i.e.: On a worldbuilding level, if you want to portray a society that keeps disabled people in mind, then that needs to be reflected more broadly, even without your disabled character on screen. Because this means that your society was considering disabled people as part of itself when it was figuring out what's necessary.

If your computer takes voice commands, it should also have an optional keyboard in case someone can't speak.

If your magic school has multiple floors, it should have a teleporting rune circle for those that can't take the ever-changing stairs.

Whenever you have a feature you're adding, ask yourself—"If my character couldn't use this, what would they do instead?" And if the answer is "they'd have to wait until they could" or "they need someone else to use it for them," then your setting isn't accommodating. An accommodating setting always has an actionable answer to that question.

And as a bonus, if you follow through with it, oftentimes you'll end up with a more interesting world and story overall. Spells most people can speak can be written in ancient elven instead? That means you can have a character sneak a spell into a magic-banned city by writing it on their hair ribbon, and that it's possible that a book might be a self-generating spell on its own. Your spaceship has textured lines on the walls to let blind people navigate without guidance? Not only can you make it look artistic (different colored paints, glowing patterns), but now your engineer can make it to the warp core when the power's out and oxygen's finite.

Don't limit yourself just to what's needed in the moment. Figure out interesting alternatives to your setting's features, and your world will automatically feel more alive.

Cheat Code 1: How to avoid eliminating disability in your setting

Cheat Code 2: What kinds of aid to use to accommodate disability

[merielxwritings]

“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.

[merielxwritings]

CHARACTER FACIAL EXPRESSIONS (WRITING REFERENCE)

EYES/BROWS

his eyes widened

her eyes went round

her eyelids drooped

his eyes narrowed

his eyes lit up

his eyes darted

he squinted

she blinked

her eyes twinkled

his eyes gleamed

her eyes sparkled

his eyes flashed

his eyes glinted

his eyes burned with…

her eyes blazed with…

her eyes sparked with…

her eyes flickered with…

_____ glowed in his eyes

the corners of his eyes crinkled

she rolled her eyes

he looked heavenward

she glanced up to the ceiling

she winked

tears filled her eyes

his eyes welled up

her eyes swam with tears

his eyes flooded with tears

her eyes were wet

his eyes glistened

tears shimmered in her eyes

tears shone in his eyes

her eyes were glossy

he was fighting back tears

tears ran down her cheeks

his eyes closed

she squeezed her eyes shut

he shut his eyes

his lashes fluttered

she batted her lashes

his brows knitted

her forehead creased

his forehead furrowed

her forehead puckered

a line appeared between her brows

his brows drew together

her brows snapped together

his eyebrows rose

she raised a brow

he lifted an eyebrow

his eyebrows waggled

she gave him a once-over

he sized her up

her eyes bored into him

she took in the sight of…

he glared

she peered

he gazed

she glanced

he stared

she scrutinized

he studied

she gaped

he observed

she surveyed

he gawked

he leered

his pupils (were) dilated

her pupils were huge

his pupils flared

NOSE

her nose crinkled

his nose wrinkled

she sneered

his nostrils flared

she stuck her nose in the air

he sniffed

she sniffled

MOUTH

she smiled

he smirked

she grinned

he simpered

she beamed

her mouth curved into a smile

the corners of his mouth turned up

the corner of her mouth quirked up

a corner of his mouth lifted

his mouth twitched

he gave a half-smile

she gave a lopsided grin

his mouth twisted

he plastered a smile on his face

she forced a smile

he faked a smile

her smile faded

his smile slipped

he pursed his lips

she pouted

his mouth snapped shut

her mouth set in a hard line

he pressed his lips together

she bit her lip

he drew his lower lip between his teeth

she nibbled on her bottom lip

he chewed on his bottom lip

his jaw set

her jaw clenched

his jaw tightened

a muscle in her jaw twitched

he ground his jaw

he snarled/his lips drew back in a snarl

her mouth fell open

his jaw dropped

her jaw went slack

he gritted his teeth

she gnashed her teeth

her lower lip trembled

his lower lip quivered

SKIN

she paled

he blanched

she went white

the color drained out of his face

his face reddened

her cheeks turned pink

his face flushed

she blushed

he turned red

she turned scarlet

he turned crimson

a flush crept up her face

WHOLE FACE, ETC.

he screwed up his face

she scrunched up her face

he grimaced

she winced

she gave him a dirty look

he frowned

she scowled

he glowered

her whole face lit up

she brightened

his face went blank

her face contorted

his face twisted

her expression closed up

his expression dulled

her expression hardened

she went poker-faced

a vein popped out in his neck

awe transformed his face

fear crossed her face

sadness clouded his features

terror overtook his face

recognition dawned on her face

SOURCE

[merielxwritings]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[merielxwritings]

Writing Tips

Punctuating Dialogue

✧

➸ “This is a sentence.”

➸ “This is a sentence with a dialogue tag at the end,” she said.

➸ “This,” he said, “is a sentence split by a dialogue tag.”

➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”

➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”

➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”

➸ “Use a comma when a dialogue tag follows a quote,” he said.

“Unless there is a question mark?” she asked.

“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”

➸ “Periods and commas should be inside closing quotations.”

➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”

However, if it’s not dialogue exclamation points can also be “outside”!

➸ “Does this apply to question marks too?” he asked.

If it’s not dialogue, can question marks be “outside”? (Yes, they can.)

➸ “This applies to dashes too. Inside quotations dashes typically express—“

“Interruption” — but there are situations dashes may be outside.

➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.

➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”

➸ “Use paragraph breaks to indicate a new speaker,” he said.

“The readers will know it’s someone else speaking.”

➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.

“This shows it’s the same character continuing to speak.”