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Publishing

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Book reviews Conlangs Folklore and Mythology Freelancing advice Publishing advice Worldbuilding analyses Writing advice Writing prompts and exercises Other sundry thoughts and musings

Book reviews

The Actual Star by Monica Byrne Afterparties by Anthony Veasna So Alien Clay by Adrian Tchaikovsky All That Was Asked by Vanessa MacLaren-Wray Before the Coffee Gets Cold by Toshikazu Kawaguchi Binary Star by Sarah Gerard Can You Sign My Tentacle? by Brandon O'Brien Chilling Effect by Valerie Valdez A Deepness in the Sky by Vernor Vinge Dune: Book vs. Movies The Dying of the Golden Day by Carrie Gessner The Fallen Odyssey by Corey McCullough Goddess of Filth by V. Castro The Guilty by Juan Villoro Hardboiled Wonderland and the End of the World by Haruki Murakami Herland and With Her in Ourland by Charlotte Perkins Gilman How to Carry Bigfoot Home by Chris Tarry Itzá by Rios de la Luz Kindred by Octavia E. Butler The Last Vanishing Man by Matthew Cheney Leech Girl Lives by Rick Claypool The Librarian (anthology) Maya's Notebook by Isabel Allende Orlando by Virginia Woolf Outside by Gustavo Bondoni The Princess Bride: Book vs. Movie The Raven Tower by Ann Leckie The Rust Maidens by Gwendolyn Kiste The Savage Detectives by Roberto Bolaño The Secret Book of Frida Kahlo by F.G. Haghenbeck Sister Suite by Christine Stroud Star Eater by Kerstin Hall Swarm Theory by Christine Rice Symbiosis by Nicky Drayden The Things We'll Never Have by Hilary Hauck This. This. This. Is. Love. Love. Love. by Jennifer Wortman Unsaid Things by Joanna Acevedo Waiting for the Miracle by Jason DeYoung Welcome to Nightvale by Joseph Fink & Jeffrey Cranor What It Might Feel Like to Hope by Dorene O'Brien Whiskey, Etc. by Sherrie Flick The Wizard's Homecoming by Elwin Cotman

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Conlangs

5 Star Trek Episodes Every Conlanger Should Watch A Brief Survey of Interesting Conlangs from Across History Grammatical Gender 101 for English-Speaking Conlangers Passive vs. Active Voice (+ Other Options for Conlangers) Tips for Using Other Languages in Fiction

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Folklore and Mythology

13 Fun Monsters from World Mythology that Haven't Been Written to Death Yet in Western Fiction 18 Nonbinary Deities from World Mythology 27 Cryptids and Monsters from the Americas The Epic of Gilgamesh Worldbuilding Analysis Harvest Gods from Around the World A Litany of Little Folk Mythology and Folklore Research Resources The Myths of the Maya On Adam and Eve, the Suspension of Disbelief, and the Power of Stories On Ghosts, Wraiths, Revenants, and Other Things that Linger On the Hero's (And Heroine's) Journey On the Pervasiveness of Dragons Wheel of Time: Myth Connections (And Potential Inspirations) for the Forsaken The World's Oldest Stories

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Freelance advice

3 Tips to Start a Successful Freelance Writing Career 7 Handy Things to Always Pack for Traveling Writers and Digital Nomads Must-Have Skills for a Freelance Writer (Other than Writing) On Career Progress as a Freelancer On Work/Life Balance as a Creative Human Why Slow Traveling is Better for Digital Nomads

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Publishing advice

3 Tips for Introverts to Make the Most of Writing Conferences, Conventions, and Book Festivals 7 Unique Lit Mags to Read and Send Your Stuff To 15 Journals with Guaranteed Feedback that Are Open Now (January 2024) 17 Publishers of Fiction Chapbooks 30 Publishers that Pay for Reprints 60ish Markets for Novellas and Long Short Stories Advice on Live Pitching From Agents, Editors, and Writers AWP 2024 Bookfair Discoveries How to Know When a Short Story Is Ready to Submit How to Submit Work to Journals Step-by-step How to Suss Out What a Journal Publishes When You Can't Read Their Back Issues How to Write Cover Letters for Fiction Submissions in 2023 Insights from Duotrope's Editor Interviews Let's Talk Rejections On Journal Acceptance Ratios, What They Mean, and Why They Matter Should You Self-Publish? Should You Submit to Contests? Why Do Editors Reject Stories and Poems?

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Worldbuilding analyses

Dune (part 1) Dune (part 2) The Epic of Gilgamesh Nope (Jordan Peele) Star Trek: Deep Space 9 (part 1) Star Trek: Deep Space 9 (part 2) Wheel of Time Books 1-7 (part 1) Wheel of Time Books 1-7 (part 2)

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Writing advice

3 Amateur Fiction Writer Mistakes (and How to Fix Them) 3 Tips to Write Better Dialogue 3 Ways to Learn More About Your Characters 5 Free Newsletters for Writers 6 Steps to DIY an MFA 9 POV Approaches for Fiction Writers Authentically Alien: What Makes a Non-Human Character Read as Truly Other? The Challenges of Writing Sports (and Tips for Dealing with Them) Creative Feedback: How to Give It Effectively (and Get the Most Out of It) Genres Explained Part 1: What Does Genre Even Mean, Anyway? Genres Explained Part 2: The Big List of Speculative Fiction Subgenres Genres Explained Part 3: The Many Shades of Realism Grammatical Gender 101 for English-Speaking Conlangers How to End a Story How to Focus a Story Using Orson Scott Card's MICE Quotient How to Know When a Short Story Is Ready to Submit How to Start a Writing Group Insights from 2023 Confluence Convention and Wildcat Lit Fest Insights from the In Your Write Mind Conference Literary Worldbuilding: Why You Need It (and How to Do It Right) On Formatting Dialogue On Found Fiction as a Storytelling Form On Ghosts, Wraiths, Revenants, and Other Things that Linger On High Body Counts, Horror Tropes, and the Fall of the House of Usher On the Hero's (And Heroine's) Journey On Worldbuilding Fairy Tale Style On Writing Food in Fiction Online Feedback Resources for Fiction Writers Passive vs. Active Voice (+ Other Options for Conlangers) Planning Tips for Choose-Your-Own Narratives Punk Subgenres 101 Simple Steps to Develop a Sustainable Writing Habit Tips for Using Other Languages in Fiction Tools to Help You Build a Writing Habit The Tricky Wicket of Writing Flash Speculative Fiction What Actually Is the Difference Between Science Fiction and Fantasy? What Makes a Character Three-Dimensional (And Do They Always Need to Be?) What's in a Name? When Characters Sleep (Perchance to Dream) Why Fiction Writers Should Watch Reality TV

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Writing prompts and exercises

3 Ways to Start a Story Everything's a Writing Prompt part 1: Board Games Everything's a Writing Prompt part 2: Everyday Objects Everything's a Writing Prompt part 3: The Grocery Store Everything's a Writing Prompt part 4: Traveling The 12 Prompts of Christmas (Everything's a Writing Prompt part 5) Everything's a Writing Prompt Part 6: Pets Everything's a Writing Prompt Part 7: TV Everything's a Writing Prompt Part 8: Cryptids and Monsters Everything's a Writing Prompt Part 9: Other Art Forms Everything's a Writing Prompt Part 10: Work

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Other sundry thoughts and musings

5 Star Trek Episodes Every Conlanger Should Watch A Brief Survey of Interesting Conlangs from Across History Every Zodiac Sign if They Were Alien Cultures from Star Trek Fun Finds from the International Cryptozoology Museum Just What Is a Cryptid, Anyway? On Becoming Human: The AI in Star Trek On Cats in Space On Ghosts and School Spirits On Killgrave, Preacher, and the Power of Suggestion On NaNoWriMo, Writing Goals, and Creative Productivity On Reading in a Second Language On the Cage in the Menagerie (or How a Failed Pilot Spawned a Franchise) On the Evolution of Captain Pike On Trills and Timelords

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I have a few manuscripts I’ve been shopping around to agents and presses: A linked short story collection, a speculative micro-fiction chapbook, a 200,000-word sci-fi novel—in short, not the types of projects most publishers are look for.

This has, naturally, gotten me thinking about self-publishing. Especially since I know a good number of people who have done it successfully: My partner self-published his novel, Hungry, through Amazon; a member of my writing group released his comic book series, Theme of Thieves, with funding from Kickstarter; another workshop colleague serialized his novel on the now-defunct platform JukePop, leading to its eventual publication by Spaceboy Books as Lars Breaxface: Werewolf in Space.

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I’m a sucker for a mailing list. Anytime I research new journals and presses to submit to, or go to a conference or bookfair, I end up subscribing to a plethora of new lists.

Of course, doing this, I’ve signed up for a bunch of newsletters that were…less than helpful. Inevitably, I’ll come to realize my inbox is getting inundated and embark on a purge. But there are newsletters I’m always excited to see pop up in my inbox, and a few I’ve come to anticipate, to the point I’ll go searching through my spam folder to double-check if I don’t see them.

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Writing great stories is all well and good, but for most writers that’s just the first step. What we really want is to have other people read them, and if you’d like that audience to go beyond your friends and family, odds are that will mean sending work to journals.

The process of submitting can be intimidating and confusing when you’re first starting to send work out, but it’s not actually complicated or difficult. If you’ve never submitted work before, this step-by-step guide will tell you everything you need to know. I’ve also included some links to resources that can be helpful for newbies and experienced submitters alike.

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“What genre do you write?” On the surface that seems like a pretty straightforward question, but anyone who’s spent some time in the literary world knows it can get weirdly complicated—especially for those of us who write in the styles often shoehorned under “genre” (AKA anything that’s not literary realism).

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Chapbook-length manuscripts are admittedly more common for poetry than for fiction, but that certainly doesn’t mean they’re off-limits for prose writers. This length of around 20-40 pages is ideal for collections of micro-fiction and micro-essays, as well as stand alone short stories and essays that aren’t quite big enough to be novellas (if you write things that straddle that length divide, you can check out my list of long short story and novella publishers to find more places to send them).

Since this length and style of book has been considered the domain of poets for so long, though, searching for fiction chapbook publishers can be frustrating. They’re definitely out there—it can just take creative search terms and time spent scouring press guidelines to find them.

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Submitting work to journals and presses can be frustrating for a variety of reasons, but for those of us who write longer fiction, just finding places willing to consider stories can be a challenge. Many journals max out at around the 5,000 mark for prose, while many presses aren’t interested in stand-alone manuscripts smaller than around 40,000 words. That leaves a pretty big gap where stories fall into a kind of publishing limbo.

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