Your Questions Answered, Part II: Short Story Submission and Publication

While I was writing this post, I discovered an amazing review of my short story "The Blade of Tears" at HORRORTALK. If you're curious, click HERE and read the third paragraph. I always expect the worst from official reviewers, so this was a pleasant surprise today!
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Matthew said:

I would love to hear about short story submission.

I talked about some of the details of this in my guest post at Janice Hardy's blog, HERE. In that article I emphasized the importance of polishing a short story with as much effort as you would a novel, the importance of knowing the markets and how to define a short story in terms of word count, and how to determine what will be the best market option for your finished piece.

So I'm not going to repeat any of that here. I highly encourage you to read that article.

Let's say you have a finished short story of about 6,000 words, and you didn't write it for a specific anthology or contest or with a specific magazine/ezine in mind, and you go through the process of researching different markets and select the market you wish to submit to first-- your top choice.

For example,

(1) This market is looking for stories of the same genre and theme, and your final word count falls within their accepted range.
(2) This market pays 5 cents/word and counts toward a SFWA membership.
(3) This market has a 30-day response time.
(4) This market accepts electronic submission through email.

Those are just a handful of the things you should know before submitting. Different editors have different preferences. Always always always comb through the submission guidelines before you send anything anywhere. Even if you've submitted to them in past-- things can change very quickly.

The next thing I would do is check the formatting on my story to make sure it is in line with the editor's preference. Many editors simply say "use standard manuscript format." I love those editors. Because I write my first drafts in standard ms format and keep them that way through the revision process. It's less overwhelming to me that way, one less thing to have to "fix" later.

Sometimes editors-- especially those of ezines-- will have their own specific preferences that deviate from standard ms format. If this is the case, they will detail it in the submission guidelines. If they do not detail any specifics and also do not specify that standard ms format is preferred, then I would use standard ms format. You really can't go wrong with it.

Since I've never actually covered what standard ms format is, on this blog, now is as good a time as any. So here it is.

Standard Manuscript Format (this applies to short fiction and novels):

• one-inch margins all around
• double-spaced
• 12-pt font, either Courier or Times New Roman
• left justified, ragged right margins
• no spaces between paragraphs
• standard indent 1/2" at the beginning of every new paragraph, even if the "paragraph" is only one line

In the upper right corner (this will be in the "header", not in the page text), insert page numbers, the author's last name and the story title. "Author name" is whatever name you want the story to be published under. It looks like this:

Sharp/ CHASING DREAMS/ 1

If your title is longer than three words, shorten it in the header to only the key words, or three words that will make it distinct. For example,

"The Blade of Tears" looked like this:

Sharp/ BLADE OF TEARS/ 1

"Spread Your Wings and Die" looked like this:

Sharp/ SPREAD YOUR WINGS/ 1

To get it all on the right side, simply "right justify" your header. Insert page numbers. Then add the other info to the left of the page number. Title is in ALL CAPS. I put one space after each slash because I think it makes it easier to read. This is not required, though.

On the first page of your story, add your contact info in the upper left corner, single-spaced. The rest of the page will be double-spaced, as is the rest of your manuscript. Again, the single spacing is not truly required. I do this for the sake of appearance. It looks more professional that way, in my opinion. There's no reason to have your contact info all spread out like you do the story.

Contact info looks like this:

Olivia [last name] (real name here!)
[street address]
[city, state, zip]
[phone number]

[author email address]
[author website url]

Then go back to the first line of your contact info, just after your name, and tab over to the other side. This is where you state your word count for the piece, always with "about" in front of it. ESTIMATE your word count. Depending on the total length, you can estimate to the tens or hundreds.

Like this:

About 6,050 words

About 6,000 words

About 5,900 words

[Side point: For novels, I always estimate to the thousands. If the final word count is 75,897 words, I would say, "about 76,000 words."]

Next, go to just below your contact info, make sure the page is double-spaced from that point on, and hit a few "returns" until you get to about the middle of the page. The whole page, not just the distance between the bottom of your contact info and the bottom of the page. It usually takes about three double-spaced returns. If you're not sure if you're in the middle, go to "print preview" or change your "page view" so you can see the whole page on the screen.

This is where you enter your title, in ALL CAPS, and your byline. The byline will include the name you want the story to be published under. All of this is CENTERED, not left justified like the rest of it.

Mine would look like this:

CHASING DREAMS

by Lydia Sharp

If you use a pen name, read this next part carefully.

You really don't have to worry about stating anywhere specifically, in the cover letter (which we'll discuss in a minute or two) or otherwise, that you are writing under a pen name. It is very clear on your first page that whatever name is in the contact info is your real name, and whatever name is in the byline is your pen name. Editors aren't stupid. They don't need you to spell it out for them.

Because, even if they do forget which is which, later down the road, if this is a paying market all of that will be detailed in your contract.

Once you've centered your title and byline, hit the "return" a few more times (eh, like two or three hits, double-spaced should put you where you need to be-- if it's off by a line or two no editor will hold this against you, honest). This is where your story begins. On the title page.

[Side point: For novels, I keep the title page as it's own separate page, hit a "hard return/page break" under the byline, and start the story on the next page. Inserting a page break = ctrl + "enter". Use this in your novel manuscripts at the end of every chapter if you don't want your formatting to go apeshit when an agent or editor downloads your pages.]

Standard scene breaks look like this, centered on their own line:

#

That's it. No spaces in between the paragraphs or scene breaks either, throughout the whole thing. This is the same for both short stories and novels. For example (and I'll have to use something of mine that isn't published or under contract or on sub, so this is not part of "Chasing Dreams", which I've been using in the examples thus far):

    "You're gonna be okay," I tell her. But we both know it's a lie. No one in this family, myself included, seems to be able to keep themselves from making the same mistakes over and over and over.

#

    After dinner I go right to bed and Kenny follows me. I'm too exhausted to tell him not to and then have him ask why and… whatever, I can't think about this now.
    "Saw your wheels in the garage," he says, inviting himself into my room. "Pretty sweet."
    "What of it?"

SOCIAL GRACES © 2011 by Lydia Sharp

That would all be double-spaced, but the point is there are no extra spaces in between anything.

If an editor wants this "*****" or something else to be used for a scene break, they will state so in the guidelines. We're still talking about Standard Manuscript Format here.

At the end of your story, center this on its own line:

--END--

Yes, that is required. The editor needs to know they got the full story, didn't lose a page anywhere in the transfer.

Now that your manuscript is all squared away, you can write your cover letter. I always recommend sending a cover letter, whether or not the editor states they want one. The only time I won't is if the editor specifically states they do not want one. All other times, it's perfectly okay. It's professional.

Please understand that a cover letter is not the same thing as a query letter.

I use a standard cover letter, every time, and it's no longer than a few sentences. If this is a printed submission, the page is going to look too empty. That's okay. The editor can use the space to make notes if they want.

My cover letter for "Chasing Dreams", which was an email sub, looked like this:

Dear Editor:

Thank you for considering my science fiction short story, "Chasing Dreams" (about 7400 words). I have pasted it below this message. My short fiction has been published in three anthologies from Pill Hill Press (www.pillhillpress.com) -- SHADOWS & LIGHT (2009); FLESH & BONE (2010); SHADOWS & LIGHT II (2011). Thanks again, and I look forward to hearing from you!

Sincerely,
Olivia [last name]

[contact info here, same as what is on page one]

Short and sweet. Even shorter if you don't have any publication credits to mention. Which is nothing to worry about if you don't have anything published yet. We all have to start somewhere.

All of that was in the email. Then I "pasted the story below" in the body of the email, because that was how the editor specified she wanted it.

There are 3 main ways to e-sub:

• document attached to the email (editor will state which file format to use)
• story pasted in the body of the email
• submission form provided by the publisher on site

Again, I can't stress enough how important it is to go through submission guidelines with a fine-tooth comb.

Now let's breakdown what is actually in that cover letter.

1. Dear Editor

If you know the editor's name, use it. If you don't, "dear editor" is perfectly okay.

2. Thank them for reading your work. I mean... it's a professional editor taking the time to read YOUR story. By God, you had better be grateful even just for that.

3. Briefly tell them what it is. Genre, title, word count. No need to say anything else about the story. Not even "I saw you have a particular interest in cryogenics and thought this would be right up your alley." Seriously. This is not a query letter in the slightest. You're subbing the entire story with this cover letter. The editor will find out what your story is about when they read it.

(And yes, if you're wondering, "Chasing Dreams" is about cryogenics, among other things. It hasn't been published yet, but it's under contract.)

4. Mention any RELEVANT publication credits. I've actually changed my credit detail since using this letter. When your credits start to rack up, you can't list them all in the cover letter. At some point you have to just list your best two or three and/or your most recent publications, or else the cover letter is too long. In all honesty, some editors skip the cover letter entirely and go straight to the story.

You can add a sentence that says, "a full list of my published fiction can be found on my website" or something like that, if you want them to see all of it. But realistically, they're not likely going to check out your website or your other stories unless they like THIS story that you've submitted. Not necessary to say anything about it in the cover letter, but it can't really hurt, either.

Short story titles go inside quotation. Book titles (including anthologies) go in ALL CAPS. Give the publisher's name and the year it was published, or the month and year it was published.

[Side point: This is also standard for the bio section of a query letter.]

5. Another thank you. Brownie points. Show them you are a pleasant person who they would be happy to work with.

6. Sincerely, real name, contact info.

PROOFREAD PROOFREAD PROOFREAD!!!

Proofread your manuscript a million times. Then proofread it one last time. Then proofread your cover letter and triple-quadruple check that you've included everything you need to include. Make sure you've attached the file to the email, if that's how you're submitting.

(I've forgotten to attach the file before. Not for a short story, but for a request from an agent. It's sixteen shades of embarrassing but you'll survive.)

NOW YOU HIT SEND.

Go ahead, hit send. I know you're scared as shit, but it's liberating, I promise.

After that...

You work on something else and you wait. I'm sure you'll check your email fifty times a day. That's okay, if it's what you need to do. Just make sure you are also still writing in between that.

You wait.

And you wait.

And you wait.

If you don't get a response within the stated response time, follow the procedure laid out by the editor in the submission guidelines. Stuff does get lost sometimes. It happens. This is also not the end of the world.

Your response will be one of the following:

• form rejection (these are common; expect them)
• personal rejection that includes feedback (sing your praises; feedback is rare)
• ACCEPTANCE

If you get the third one, take a few minutes to congratulate yourself (I usually break out in some kind of awkward dance move that I didn't know existed until that moment). DON'T DO ANYTHING PUBLIC YET. Wait until you have something official to announce. Keeping quiet is one of the hardest things you'll have to do.

The editor should lay out for you what the next step in the process is. Quite often this includes:

• sending you a contract
• allowing you a reasonable amount of time to review the contract
• answering any questions you might have, in a timely and professional manner

If everything looks kosher and you're getting good communication from the editor, you sign the contract, send it back, and then they sign it and send you a finalized copy.

What happens from there is entirely dependent upon the editor and what has been detailed in your contract.

You may have to wait for the editor to send you revision notes (which is what I'm currently doing for "Chasing Dreams"). You may have your story accepted "as is" and published right away. You may have your story accepted "as is" and published within 90 days. Etc, etc, etc.

Payment and royalties are also detailed in the contract. Quite often, you don't get paid right away, but the editor has to pay you within a certain amount of time from either (a) the time of acceptance, or (b) the time of story publication.

If you are lucky enough to get this far in the process, REVIEW YOUR CONTRACT with as much, or even more, effort as you reviewed the submission guidelines before you submitted.

You DO NOT have to commit to anything, even if the editor says they want your story, until you sign the contract. Nothing is final until there are official signatures involved. So make sure you are 100% okay with whatever is in that contract. You have every right to withdraw your story if something feels off, but you don't have that option once you're bound under contract.

Don't let your giddiness over "holy frack someone likes me, they really, really like me!" cloud your better judgement. This is a business, and the decisions you make at this step in the process will affect that story for the rest of forever. Even if you have rights reverted back to you after a stated period of time, your story is no longer "new" after that-- it can only be considered for publication as a "reprint", which limits your options and almost always pays less.

Any further questions? Ask in the comments.

Happy writing (and submitting and publishing),
~Lydia