Общополезности

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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 12:52 pm

Ahahahaha ... time for revenge!

Douglas Smith wrote:If the editor does comment on what worked or didn’t work for them in your story, whatever you do, do NOT revise your story to address that feedback.

Huh? (you say) What? Why not?

Because that editor is just one person. Their feedback is just one opinion. It’s too small a sample. I’ll give you an example from my very first story, “Spirit Dance,” for which I received the following two early rejections:

#1: “A nice effort but a bit too slow going in the first half for our tastes.”

#2: “Opens well, but doesn’t quite hold up to my expectations. Otherwise a solid effort.”

So exactly what change should I have made to “Spirit Dance” based on that feedback? One liked the opening but not the rest. The other didn’t like the opening, but liked it after that. Two diametrically opposed opinions. And their feedback reminds us that these are personal viewpoints: “for our tastes” and “my expectations.”

So I changed nothing. The story didn’t work for those editors for completely different reasons. I kept it in the mail. It sold after eight rejections to a professional anthology, giving me my first sale. That story, in its original form, has sold thirty-two times, been published in eighteen languages, and won the Aurora Award.


Don't agree entirely--there may be useful feedback out there--but still bear in mind. Here's Doug's caveat:

If you’ve accumulated multiple pieces of feedback (at least a half dozen) on a story that all cite the same specific problem, then fix that problem. Also, if an editor requests a rewrite, then, yeah (duh), do the changes.


If you get half a dozen personal rejections, you must be a top-notch writer already. :o
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:04 pm

When to give up: NEVER!

Douglas Smith wrote:Is there a point where you should tell yourself that this particular story is never going to sell? Is there some magic rejection count that signals that this story should go on the shelf?

The short answer is NO. As I said last week on how to best deal with rejections: keep it in the mail.

But, you say, surely any story that’s been bounced twenty times can’t be a very good story?

Trust me, at twenty rejections, it’s still a virgin. (...)

Here’s a more recent and even more telling example. I mentioned last week that the first story I ever wrote, “Spirit Dance,” was also the first story I ever sold, to the Canadian anthology series Tesseracts. It sold after eight rejections. Eight rejections. That’s not many, right?

The second story I wrote, also set in my Heroka shape-shifter universe, was “A Bird in the Hand.” After “Spirit Dance” sold, I figured that “A Bird…” would also shortly sell. Nope. It didn’t. I continued to write and sell stories, but “A Bird in the Hand” remained unsold, year after year.

But I kept it in the mail. I never gave up on it. And finally, in 2011, the story appeared in Warrior Wisewoman 3, a popular anthology series. This sale came fifteen years after I wrote the story and after (wait for it) sixty-five rejections. It even got some nice reviews.


Whew ... I haven't beaten the 30 mark yet, anywhere. ;)
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:24 pm

Rights to give--or not

Douglas Smith wrote:(...) if you sell to an online magazine, they may request the rights to maintain your story in an online archive, even after rights revert to you. I never agree to this. First, they generally don’t offer any additional fees for this right. Second, why would any other editor ever agree to purchase reprint rights for my story if it’s freely available online?
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:27 pm

Legal liabilities in contracts

Douglas Smith wrote:Every contract will have a clause, intended to protect the publisher, that asks the author to warrant that they are the sole author of this story, that they haven’t plagiarized any of it, that it does not contravene any laws, etc., etc.. With this clause, the publisher is asking you to declare that nothing about this story is going to prompt a lawsuit against them.

That’s fair. But you need to ensure that any such clause also includes the underlined part in the following example (which is an amalgam of multiple contracts I’ve signed):

“You, the Author, warrants that the Work is original; that you are its sole creator and owner; that you have full power to make this agreement; that neither the Work nor any part of it is in the public domain; that neither the Work nor any part of it infringes on another’s copyright; and that the Work does not invade anyone’s right of privacy nor is contrary to law. You agree to indemnify and hold harmless the Publisher from any and all costs and expenses (including reasonable legal fees) arising from any claims, suits, judgements or settlements resulting from a breach of the above warranties that are sustained in a court of law.”

The underlined part protects you from being hit with covering legal fees and expenses required to defend nuisance suits brought against the publisher and you by your bitter ex-spouse or some random nut job who is convinced you stole their story idea of possum shape-shifters. Without the underlined wording, even if those suits are thrown out of court, you’ll still be on the hook for covering costs up to that point and likely would remain out-of-pocket for some of the costs. With the underlined part, you’ll be liable for claims that are upheld against you in court–that is, you’ll only pay for situations where you are proven to be in the wrong.
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:30 pm

What if the story is never published?

Douglas Smith wrote:(...) you need to look for (or request) a clause that specifies a strict time limit on when rights will revert to you regardless of whether the story is published. I’d suggest something like one year after the date of the signing of the contract for a magazine, or two years after for an anthology.

You can pick any time period that you’re comfortable with, but be reasonable. For most magazines, a year is reasonable; less than a year not so much. Some magazines buy well in advance of expected publication. For my twenty-five cent a word market I mentioned above, I’d be fine with giving them two years, since they pay so well.

The other issue to deal with in this situation is payment. Most markets that include this type of reversion clause will also agree to pay the author even if they don’t publish their story. The logic here is that they’ve tied up the rights for that story for all that time, so the author deserves to be compensated for not being able to market the story elsewhere. If your contract does not deal with the issue of payment on delayed or non-publication, then you should add that as well.

Putting this all together, you should look for (or suggest) a clause something along the lines of the following: “If the Story remains unpublished one year after the date of signing of this agreement, then all rights granted under paragraph xx above shall revert to the Author, and the Author shall remain entitled to all payments under paragraph yy.”


What if the market folds/is sold?

Douglas Smith wrote:A contract should also deal with what happens to your rights should this market suddenly cease to exist. The easiest way is to include a clause that states something like “In the event that [magazine name] ceases to publish (or the publication of [anthology name] is cancelled), then all rights granted under paragraph xx above shall immediately revert to the Author.” You can also include the clause about still getting paid, but if they’re folding, good luck on collecting.

The contract should also deal with happens to your rights when the market or publisher that bought your story is purchased by another publisher. The safest option is to include a clause stating something along the lines of “No assignment of this contract by the Publisher shall be binding without the written consent of the Author.” That way, the original publisher cannot assign your contract (include your contract and the associated rights to your story in the assets they sell) to the new publisher. You get to decide if you still want to sell your story to the new kid on the block or just get the rights back. If the new publisher wants your story, they’ll need to offer a new contract.
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:43 pm

Content editing, line editing, copy editing, proofreading: finally some clarity

Douglas Smith wrote:Content edits are at the story level, not the line or word level. A content edit is substantive. It will focus on the big stuff — plot confusion, pacing issues, story structure, information flow, weak characterization or character arcs, unclear motivation, lack of setting, etc.. (...)

Line edits will focus less on the story and more on the prose (...):
    Strengthening weak prose, including fixing awkward sentences, addressing weak verb forms, making better word choices, killing adverbs, etc.
    Varying sentence structure and improving the rhythm of the prose
    Changing paragraph breaks
    Replacing repeated words in close proximity
    Correcting grammatical and spelling errors
    Reducing use of unnecessary speech attributions
    Strengthening dialog
    Eliminating clichés
    Changing to conform to the house style

Copy editing will be a final check for all the small stuff: typos, spelling, house styles, missing or repeated words, punctuation, etc..

Proofreading (...) is an editing step that will fall on you as the author. If you’re dealing with a professional market, you should expect to receive a copy of the page proofs–a copy of how your story will look in the actual publication where your story will appear. This is typically sent to you as a PDF these days. It’s your responsibility to review these page proofs to catch any remaining minor problems that need to be fixed.
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:53 pm

Courtesy of Douglas Smith:

Kristine Kathryn Rusch: Editorial Revisions (novels)

Introduces Acquiring Editors, Content Editors, Line Editors, Copy Editors, Proofreaders (who become more mysterious by the essay :/) and various other beasties.
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 1:59 pm

Handling Edits: the Douglas Smith way

    Read the suggested edits without making any decisions. Just read looking for patterns and issues that the editor has found.
    Set the edited version aside for at least a day.
    Go through the story again, doing a triage on the suggested edits: ones that are easy to say yes to, ones that you will not bend on, and ones that you’re not sure about.
    Go though the story one more time, ensuring that you’re serious about your “No’s” — serious, meaning that you’d pull the story before you’d agree to those changes.
    Next, deal with the edits that you weren’t sure about, moving them to the Yes or the No category.
    Do a count of your Yes’s and No’s. If you’re declining more edits than you’re accepting, you’re making a mistake. Fix that.
    Accept the edits you agree with, and reject the others, explaining why you’re saying no, either in the manuscript or in your cover email back to the editor.
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 5:18 pm

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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 5:30 pm

And justice for all--or translators, at least

Douglas Smith wrote:Solaris, a long running and award winning Québec magazine, also publishes in French but unlike Ténèbres, it only accepts stories written in French. But I now had a French version of my Heroka stories. Benoît provided the translated versions to me, and I submitted these to Solaris, who bought two of them. (A related point: if you sell a translated story, the typical approach is that you will split the payment 50/50 with the original translator.)
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Re: Общополезности

Postby Кал » Fri Nov 29, 2013 5:56 pm

Wannabe self-indie publishers: check out Doug's word to the wise

For his indie publishing needs, Doug finds helpful: Lucky Bat Books
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Re: Общополезности

Postby Кал » Sat May 17, 2014 9:11 am

Jim C. Hines: First Novel Survey Results

(It's from 2010, though--and in 3 years of ebooks, a lot can change ... anyone knows a more recent resource?)
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Re: Общополезности

Postby Кал » Mon Aug 04, 2014 8:06 pm

Thesaurus.com

For instance, I'm looking for synonyms of "at first."

Check out the Relevance and Complexity meters. ;)
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Re: Общополезности

Postby Кал » Wed Oct 29, 2014 6:23 pm

How to: Make Sure the Timing Is Right

Cynthia from Goodreads wrote:6 months before publication
• Update your author profile. Make sure you have a current author profile picture and that your bio is complete.
• Review the titles attributed to you. If you see books on the list that you didn’t write, email us and we’ll fix it.
• Review the information on each of your book pages, and email us if anything needs to be corrected.
• Start or import your blog. Keep the content fresh and relevant to cultivate your personal brand.
• Optional: Do a cover reveal for your upcoming title.

4 months before publication
• Shelve some books. Log books you’ve read in the past—including the ones in your physical bookshelves!—so that readers can get a sense of who you are based on what you read. Some other ideas:
- Create a bookshelf of the books that you used for researching your book.
- Browse the list of best books of the 20th Century and add the ones you’ve read.
- Suggest books for “Further Reading” about the topics in your book.
• Join groups that interest you. Start reading the conversations, and feel free to chime in. Begin to build relationships with the people you meet.
• Upload an excerpt from your new title to the book page. Give readers a taste of what’s to come! You can also use your blog or writing section for this.

3 months before publication
• Schedule a giveaway for galleys. The more that books are circulating, the more likely you’ll get reviews, and the sooner you do this, the better. Galleys don’t need to be typeset or have the final cover, but the content should not change.
• Actively participate in groups. Join the ones that genuinely interest you and participate in the conversations. Don’t just talk about your own book!
• Create an editorial calendar if you plan to maintain a blog, or post an “evergreen” message to make use of the space on your profile. (Check out Khaled Hosseini’s profile for an example of such a blog post.)

1 month before publication
• Schedule another giveaway for advance reader copies. These should have the final cover. Read some tips for running a giveaway on Goodreads.
• Turn on Ask the Author. Don’t expect too many questions yet, but decide when you’ll answer questions. Here are five tips for using Ask the Author.
• Create events for both in-person and online events. Tip: Answering questions on a particular date via Ask the Author—that’s event worthy!
• Schedule an ad campaign to start on your publication date. Create several ads in the campaign, each uniquely creative.

Publication week
• Schedule a giveaway for your signed, finished copies to start the day after your publication date.
• Answer pending questions via Ask the Author.
• Enjoy your publication day! The sky is just a little bluer today…

1 month after publication
• Review ad campaign stats. Edit ads if needed.
• Continue to participate in group activities, answer Ask the Author questions, and shelve books that you’re reading.
• Share some special content, like an alternate point-of-view story or a recorded video message, to delight fans looking for more.
Last edited by Кал on Tue Jul 12, 2016 9:46 am, edited 1 time in total.
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Re: Общополезности

Postby Кал » Wed Oct 29, 2014 6:26 pm

Ideas for Goodreads events

Cynthia from Goodreads wrote:Some suggestions for events:

▪ Ask the Author. Enable this feature from your author dashboard, and set a specific date and time to answer questions “live.” Manage readers’ expectations by stating when this will take place in the message that appears on your profile as well.

▪ Cover Reveal. You can provide details of your cover reveal on this page, and keep it updated as the reveal gets unlocked.

▪ Book Signing. Help your readers keep track of where they can snag an autograph.

▪ Book Release Date. This is an important day for you–tell people about it and celebrate.

▪ Media Appearance. Invite people to tune in to a radio show, podcast, or TV appearance.

▪ Festival Appearances. Appeal to an even larger audience by being associated with a festival.
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Re: Общополезности

Postby Кал » Tue Dec 02, 2014 1:05 pm


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Re: Общополезности

Postby Люба » Tue Dec 02, 2014 11:35 pm

Скрит текст: покажи
Тази тема според мен е изцяло заформена като Общополезности: за публикуване на книги и чуждоезикови удивителни (като това над моя пост).
Ако основният принос-ител се съгласи, може би е редно да се преименува?
Last edited by Кал on Tue Dec 02, 2014 11:43 pm, edited 1 time in total.
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Re: Общополезности

Postby Кал » Tue Dec 02, 2014 11:42 pm

Скрит текст: покажи
Любе, това е подфорум „Фантазийска преводаческа школа“. За какво друго биха могли да се отнасят Общополезностите в него?

(Нали обръщате внимание в кой подфорум се намирате? Възможно е в различни подфоруми да има теми, кръстени еднакво: разликата в съдържанието им зависи от мястото, на което се намират.)
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Re: Общополезности

Postby Люба » Tue Dec 02, 2014 11:59 pm

Скрит текст: покажи
Факт, не обърнах. Тоз път просто влязох от линка в непрочетени. Извинения. Но и ... може би това мое подхлъзване е повод да се помисли дали е добре да има еднакви заглавия на темите в отделните големи теми? Можеш да ни изтриеш след като ме прочетеш, Калински
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Re: Общополезности

Postby Кал » Wed Dec 03, 2014 12:15 am

Скрит текст: покажи
Аз съм бивш програмист. Там правилото на трите R гласи Reuse, reuse, reuse. ;) Защо ще мисля нови заглавия на теми, като съм открил някакви работещи?

Сега сериозно: Това не е въпрос на мисловна леност, а на организация на пространството. Може да обясня някой път на живо как работи. Важният урок за объркващите се е да гледат къде се намират. Свиквайте със структурата на тия форуми – тя увеличава полезността им поне толкова, колкото конкретните заглавия на темите.

Нека си седят тия размисли – може да са полезни за още народ.
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Re: Общополезности

Postby Люба » Wed Dec 03, 2014 12:26 am

Скрит текст: покажи
Последно откъм полезност тогава - тези размисли в 1 изречение според мен е добре да са в "Пътеводител за Фантазия" - като NB! oт какво да се пази новодошлият/негрАмотен участник, който броди и се губи, губи се и броди ...?
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Re: Общополезности

Postby Кал » Fri May 01, 2015 12:18 am

Onomatopoeia Dictionary

Found it while trying to nail down the sound of a drop plunging into a pool. ;)

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Re: Общополезности

Postby Кал » Wed May 13, 2015 10:05 am

Кал wrote:Playing the Short Game: How to Sell Your Short Fiction: a 32-part series by Douglas Smith


Doug has collected and expanded his advice in a book called, surprisingly, Playing the Short Game: How to Market & Sell Short Fiction.

The new points (or reminders) I found particularly useful so far are:

- moral rights: you'd better not give them away ;)

- cover letters: find out the editors' names and actually use them ("Dear first_name last_name" is a good format)

- the "Read Like an Editor" exercise: during a writing workshop, ask everyone where they stopped reading a piece (and why) + Kristine Kathryn Rusch's "three strikes and out" rule (similar to Jefferson Smith's "Immerse or Die")

- getting positive feedback from an editor: send 'em another story right away (or when their next submission window opens; or after the "hold your horses" period they've asked for ;))
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Re: Общополезности

Postby Кал » Thu May 14, 2015 10:03 am

More useful points:

- World Rights and language: if a market requests World Rights without stating a language, always add a clause that makes it explicit: "World Rights in English"

- legal liability: add a clause about costs and expenses that are sustained in a court of law

- why you should NOT self-publish your short fiction:

In Playing the Short Game, Douglas Smith wrote:Most importantly, if you publish your short stories yourself, you will have no measure for knowing whether your fiction is any good or whether your writing is improving. If editors of magazines and anthologies keep rejecting your stories, then your writing isn't good enough yet.

Don't think of those editors as gatekeepers, blocking you from reaching readers. Think of them as your coaches, advisors, and protectors. They are helping you become a better writer and protecting you from exposing your work before it has reached a professional level.

So please, don't damage your career by trying short cuts. If you want to be a professional writer, you must become one by learning your craft and your profession. Selling to professional short fiction markets is the surest way of knowing when your writing has reached that level.

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Re: Общополезности

Postby Кал » Tue May 26, 2015 10:55 am

In 500 Ways to Write Harder, Chuck Wendig wrote:(...) exposure is not a measurable resource. If someone asks you to write for exposure, ask them how much exposure. Like, have them measure it. "Will it be ten picameters of exposure? I usually ask at least seven nanoliters' worth." If they can prove it, fuck yeah, great. But exposure is a hard thing to prove. Let me utter my refrain yet again: Writers, like hikers, can die from exposure.
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Re: Общополезности

Postby Кал » Fri Jan 08, 2016 6:17 pm

Как да пресметнете цената на превода си

Направете:

- превод на ~1800 знака, с отчитане на времето
- първа редакция след 24 часа, с отчитане на времето
- втора редакция след още 48 часа, пак с отчитане на времето.

После съберете трите времена – воала, вече имате представа колко ви отнема една страница. :)

Идеята е да взимате поне 11 лева на стандартна страница за художествен текст към чужд език; или поне 5 лева към български. (Като си сметнете времето, ще видите защо. ;) )
Last edited by Кал on Fri Jan 08, 2016 11:34 pm, edited 1 time in total.
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Re: Общополезности

Postby Mokidi » Fri Jan 08, 2016 11:20 pm

Може да съм малко гръмната в момента, но не си ли имал предвид да не взимате?
Щото стандартен надник на ден е 40 лв. ... и "реално" се правят 4-5 страници на ден (с редакциите и всичкото); и по-малко от 40 лв. заработка е подигравка със себе си...

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Re: Общополезности

Postby Кал » Tue Feb 23, 2016 7:41 pm

Translation Software Comparison Tool

(Лично аз съм ползвал само Trados, и то само в университета. За художествени преводи, в които няма голяма повтаряемост, не са особено полезни.)
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Re: Общополезности

Postby Кал » Wed Mar 23, 2016 6:52 pm

Покрай моите Seven Nights with the Sea възникна въпрос при какви условия можем да цитираме откъси от песни (или въобще чужди произведения) в нашето собствено.

E. Catherine Toble, редакторката на Shimmer, ми препоръча следния линк:

Lyrics and Poetry in Fiction—Copyright, Drawbacks, and Other Problems

Полека ще изкарам най-интересното от него тук.

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Re: Общополезности

Postby Кал » Mon Aug 21, 2017 5:36 pm

Courtesy of Daniel Bensen:

Google N-grams

I still have to fiddle with the options--but it looks like a great tool for exploring collocations and usages.

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