I love anthologies. It’s great to be in a book with other writers, some of whom have many credentials, others who are newcomers. I figure it’s good exposure too. I can always use
another member in the Steve Shrott fan club. (Right now there are two. Although I probably shouldn’t count Aunt Frieda.)
Anthologies are also fantastic for the reader. She gets to sample all these different writers so when she’s ready to choose a book, she knows who she’s going to like.
So what makes a good anthology? I believe it comes down to one thing--a group of writers who have allowed their imaginations to soar.
And the publisher should do everything to make that happen.
Here are my three rules to decide if I want to be in a particular anthology. I’ve developed these after having been in ten of them. Of course these are simply my opinion. And when I say my
opinion, I mean, I’m right!
1)The idea behind the anthology should be simple.
In The Whole She-Bang, the publisher just wanted a variety of stories on any idea. I was
thrilled with that. I could submit whatever I wanted.
In Fish Nets, you had to write something about fishnets—the nylons or the nets
fishermen use. I chose the nylons. I thought I could write a sexier story with that. Sexy and
fishermen are not words that normally go together.
In The Gift of Murder, you had to write mystery stories that occured at Christmas.
The reason a simple idea works for writers is that their imagination can soar. The
writer can think of many many ways a story can go. That’s how greatness happens.
If the idea is too complex the writer has to constantly ask himself, does this fit? Is this right? Rather than concentrating on the story idea, he has to constantly second guess himself.
I participated in an anthology where the idea (to me) was not simple. Even after the person
in charge explained it to me personally, I didn’t get it. I knew at that point I wouldn’t be able
to write a great story. I tried anyway, and it turned out I was right. The story was not good.
The reason to keep it simple from the reader’s perspective is that a simple idea attracts her to the anthology. A complex idea does not attract. If you notice most book titles are very simple and mysterious.
2) The publisher shouldn't tell the writer how to write the story
By this I mean they should not say you need a section where the main character makes a decision to do, or not do something. Or that you need to have a female character that gets angry in the middle of the story. These are just some examples.
When they tell the writer how to write rather than what to write, they are actually imparing a writer’s creativity. He wants to write the story the way it takes him, not have to artificially insert things to make the story go a certain way. This is the opposite of creativity.
I think a publisher telling you what to write doesn't work for the reader either. If all the stories are going the same way,( anger in the middle, or whatever.) that’s going to make the whole anthology a dull read.
3) In exchange for the story, the publisher should give the writer the car of his
choice.
This is good for the writer and the reader. The writer gets a nice gleaming cadilac and the reader gets great stories. Seems fair to me.
Have fun every day!
Steve
another member in the Steve Shrott fan club. (Right now there are two. Although I probably shouldn’t count Aunt Frieda.)
Anthologies are also fantastic for the reader. She gets to sample all these different writers so when she’s ready to choose a book, she knows who she’s going to like.
So what makes a good anthology? I believe it comes down to one thing--a group of writers who have allowed their imaginations to soar.
And the publisher should do everything to make that happen.
Here are my three rules to decide if I want to be in a particular anthology. I’ve developed these after having been in ten of them. Of course these are simply my opinion. And when I say my
opinion, I mean, I’m right!
1)The idea behind the anthology should be simple.
In The Whole She-Bang, the publisher just wanted a variety of stories on any idea. I was
thrilled with that. I could submit whatever I wanted.
In Fish Nets, you had to write something about fishnets—the nylons or the nets
fishermen use. I chose the nylons. I thought I could write a sexier story with that. Sexy and
fishermen are not words that normally go together.
In The Gift of Murder, you had to write mystery stories that occured at Christmas.
The reason a simple idea works for writers is that their imagination can soar. The
writer can think of many many ways a story can go. That’s how greatness happens.
If the idea is too complex the writer has to constantly ask himself, does this fit? Is this right? Rather than concentrating on the story idea, he has to constantly second guess himself.
I participated in an anthology where the idea (to me) was not simple. Even after the person
in charge explained it to me personally, I didn’t get it. I knew at that point I wouldn’t be able
to write a great story. I tried anyway, and it turned out I was right. The story was not good.
The reason to keep it simple from the reader’s perspective is that a simple idea attracts her to the anthology. A complex idea does not attract. If you notice most book titles are very simple and mysterious.
2) The publisher shouldn't tell the writer how to write the story
By this I mean they should not say you need a section where the main character makes a decision to do, or not do something. Or that you need to have a female character that gets angry in the middle of the story. These are just some examples.
When they tell the writer how to write rather than what to write, they are actually imparing a writer’s creativity. He wants to write the story the way it takes him, not have to artificially insert things to make the story go a certain way. This is the opposite of creativity.
I think a publisher telling you what to write doesn't work for the reader either. If all the stories are going the same way,( anger in the middle, or whatever.) that’s going to make the whole anthology a dull read.
3) In exchange for the story, the publisher should give the writer the car of his
choice.
This is good for the writer and the reader. The writer gets a nice gleaming cadilac and the reader gets great stories. Seems fair to me.
Have fun every day!
Steve