The Duotrope Conundrum

December 1, 2012

If you’re a working writer who actively submits short stories to markets for publication, one of the most useful sites on the Internet for you is Duotrope.com

Duotrope collects and displays information about markets. Let’s say you wrote a 5000 word epic fantasy story and want to sell it for at least 5c a word. Using their search function you can quickly generate a list of markets that accept stories at that length and pay pro rates, and are open to submissions. You can then sort them by average response time, or even by perceived difficulty of the market (i.e. what % of reported submissions has been accepted).

Anyone who follows this blog knows how much I love stats. As such, it’s no surprise that I really enjoy DT. So much so that I have donated money to help defray their costs last year, and was going to donate again in December (when I will be supporting several worthy writing-related sites with my dough).

But this morning I woke up to learn that Duotrope will no longer be a free site. Furthermore, they’re asking for a whopping $50 a year (or $5 a month) for their services. And while I was happy to give them $20 a year when I didn’t have to, I won’t pay $50. Here’s why:

Duotrope does three things that are relevant to me:

1) Track submissions.

I’m able to see all my active submissions at a glance and quickly pull up my submission history for that particular market.

Pro: Ease of use
Con: Only marginally better than an Excel spreadsheet. In fact, I use both. Partly because I want access to my data on my local hard drive and partly because while DT lists MOST markets, it doesn’t list ALL markets I submit to, such as private anthologies, invitation-only projects, etc. There are also other programs and web sites I can use if I ever felt that Excel was’t sufficient.

2) Track new markets.

DT lists dozens of new markets every week. Many of them are useless (to me) no-pay sites read by the editor, his mom, and maybe 15 other people per month. However, it does list all the pro and semi-pro start-ups as well, and makes it easy to find them.

Pro: Ease of use, very thorough.
Con: There are other sites out there that track new markets. Most notably, Ralan.com which has been around longer than Duotrope, specializes in speculative markets, and often posts new market info before DT has it. Their site isn’t pretty to look at, but it gets the job done.

3) Wiki-fy the submission process.

What makes DT really, really good is its volume of users who are willing to report their rejections and acceptances. Say I have a story on submission at Daily Science Fiction. A quick look at DT’s recent reports lets me know where the editors are in their slushing process. Are they responding to submissions in about 2 weeks, or should I expect to wait 3? Hundreds of DT users reporting their subs provides a very useful and relatively accurate snapshot of the slush status at various markets.

Pro: Amazing at helping users track the slush habits of various markets/editors.
Con: Only works if enough users are reporting their data.

And therein lies a problem. With Duotrope being a free service, about 10-20% of all submissions are reported there (as per my experience comparing actual slush numbers at UFO with what’s been reported there, as well as talking to other editors.)

Once DT becomes a paid service, a vast majority of their users will leave. They will no longer report  their submissions, which will make the DT system far less accurate. A critical mass of users is needed in order to maintain the usefulness of a Wiki-style site, and I don’t feel that DT will be capable of holding on to nearly enough people at their proposed rates.

I am not mad at the DT folks. It’s their web site and they can do whatever they want. We writers certainly shouldn’t expect them to operate at a loss for our benefit.

However, I feel that they’re making a very poor decision from a business standpoint. $50 is a lot to pay for a web site subscription. And anyway, can you think of many *successful* Wiki-style sites that charge for membership? the only one I can think of that remotely qualifies is Angie’s list.

By charging these rates, DT is likely to cause a downward spiral whereas even those users who’re willing to fork over $50 won’t be happy, because DT will no longer have the critical mass necessary to provide those paid users with a meaningful service.

So what could Duotrope do to raise funds? There’s no silver bullet, but there are a number of options to pursue:

* Lower rates. Personally I’d pay $20/year. Even at the risk of much worse results, I would fork over a $20 bill just to help them with the experiment and see if DT could sustain itself as a useful service. $2 a month or so is an amount a lot of users might actually pay.

* Charge markets a small annual fee to list them. Once again, I wouldn’t fork over $50 as a publisher, but I’d pay $10 a year or something to that tune in order to have UFO Publishing listed on Duotrope. Obviously having too many markets unwilling to pay would ruin the service, but DT could still offer some data about the other listings with “premium” markets offering a greater level of detail.

* Sell advertising. I’m guessing that plenty of fledgling markets would fork over some money in order to have their banner ad appear at the top of the DT listing.

There’s no perfect solution and someone will be unhappy regardless. But I mourn the end of the Duotrope era as we know it and hope that they will either reevaluate their 2013 strategy or someone else will step up and design a free-to-use bare-bone Wiki site to help accurately track response times.

 


“Seven Conversations in Locked Rooms” YouTube trailer

April 11, 2012

Check out the awesome YouTube trailer produced for my upcoming  story:

 

Special thanks to Justin Swapp for designing and producing promos for this and other stories included in The Memory Eater anthology.


New Sales & A Milestone Achieved

March 24, 2012

I have a couple of recent sales to report.

A new publication titled “Nine” picked up my post-singularity flash story “Putting It All Together” for their inaugural issue. “Nine” has an ambitious concept – they will buy 9 short stories per issue and pay each author a royalty of 9% of gross sales. There’s also an advance against royalties, so authors are paid something for their work regardless of the publication’s success.

Issue 1 lineup has been announced and features stories by such notables as Ken Liu and Peter Swanson, among others. It will be available for sale in April and I can’t wait to see how their business plan pans out.

Yesterday I also found out that Nature magazine will be publishing “Ravages of Time” in their Futures section. This is very exciting for a number of reasons.

First of all, Nature has, by far, the largest circulation of any publication that has published me so far, online or in print. It is a highly respectable print publication, that will not only print my story with awesome original artwork created just for it in their magazine, but will also post it online and likely podcast it as well. Finally, this marks my third SFWA-qualifying sale, which means I will be able to upgrade my SFWA membership from Associate to Active, definitely an item straight off of my bucket list.

And to make it even more exciting, the voting deadline for the Nebula awards is March 30 — so I may yet get to vote this year, depending on how quickly my membership upgrade is processed.

 


“The Take” now live at DSF

March 19, 2012

For those of you who aren’t e-mail subscribers (shame on you!), “The Take” is now live on the Daily Science Fiction web site and can be read by following this link.


RealFeel Technology Implications

March 13, 2012

Warning: The following post contains spoilers about “The Take.” If you haven’t read it yet, you may want to avoid reading further until you do. 

Since “The Take” was e-mailed out by DSF yesterday, I received a lot of wonderful feedback. Some people loved the story, some hated it (as is always the fact with such things), some enjoyed it overall but had issues with certain aspects of it. 

Several readers took issue with the main character claiming that no one would want to watch movies or plays once RealFeel recordings became available. Dani Atkinson sent me a wonderful e-mail which, while critical of this aspect of the story, was an amazing examination of possible uses for RealFeel as it pertains to the arts. With Dani’s permission, I’m quoting it in full:

 Just received and read The Take. It fascinated me, but kinda frustrated me too. See, the story has the line “Who would bother to watch another movie or play, after that?” Which would make sense on the face of it, except…

Why would anyone read a book, when they could see it acted out in a play?

Why would anyone watch a play, now that there are movies?

Why would anyone watch a movie, now that there are video games?

But people DO. See, old art forms NEVER GO AWAY. They offer different experiences, that people seek out at different times and for different reasons.

And all I could think of while reading this story of this failed actor was how this technology would have REVOLUTIONIZED acting, instead of killing it.

Have you ever acted? In say, community theatre? It’s an incredible high. The adrenaline rush is every bit as intense as climbing a mountain. How many people dream of being actors? Who WOULDN’T pay top dollar for the chance to feel what it’s like to be a Broadway legend or a star of the silver screen?

And the really hardcore method actors, the ones who make a point of forcing themselves to really feel what the character feels, living the role from the inside out… I could see those guys as both the RealFeel’s biggest customers AND some of the biggest content generators.

This could bring live theatre from the audience perspective to dizzying new heights as well. For decades it’s been lamented that recordings can never truly capture the experience of live theatre. What if they could? I would have sold ORGANS for the chance to be in the audience at Patrick Stewart and Ian McKellan’s “Waiting for Godot.” I would happily shell out cash for a RealFeel recording from somebody who was.

And as for movies… my god. Just… My god…

Can you fathom… can you IMAGINE… if every single time you watched Star Wars… was your VERY FIRST TIME?

I could see parents sitting their kids down to watch timeless classics, and strapping those things to their heads so they would always be able to recapture that glorious first experience. Until the copyright lawyers finally caught up and banned the practice.

Hell, I could see filmmakers deliberately selecting an audience of people that they knew were exactly the sort to be thrilled to pieces by whatever film they’re peddling in order to make and sell their OWN RealFeel recordings.

It could be a whole new format. The RealFeel edition. “Star Wars IV: A New Hope, As Watched By an Enthralled Ten Year Old Child.” “Artsy Classic That You Always Felt Guilty For Not Enjoying As Much As You Thought You Should, As Enjoyed By An Intellectual Film Historian And Critic Who Is Totally Geeking Out”

I could see some filmmakers refusing to release movies in anything BUT RealFeel, once they had a taste of that level of control over an audience’s responses and experiences. That could get creepy pretty fast. And conversely you’d get the rebel filmmakers who are all retro and refuse to have anything to do with RealFeel and it’d be like the current 3D or not 3D debates except more so.

Heh. So, the story fascinated me enough that I tracked your blog down so I could argue at you, but it felt like a bit of a missed opportunity. In my personal canon, I’m pretty much deciding that the protagonist in The Take is using Charlie Tan as a convenient excuse for why his career never took off, and willfully ignoring the actors who are doing just fine in a post RealFeel age. 😛

Dani’s assumption is pretty spot on. When writing this story I imagined the main character as a bit of a failure–he didn’t succeed in his career as an actor, and is also very low on the totem pole as RealFeel recording artist–which is why he’s involved in the third-rate production described.

The main character blames others for his problems, but this is him speaking and not the author. I don’t think future entertainment technologies (RealFeel? Holodeck?) will eliminate the need for books, plays and other pre-existing art forms for much the same reasons quoted above.

Also, it sounds like there will be a podcast version of “The Take” in a few months. I won’t go into details until this is finalized, but I’m thrilled that there are folks out there who liked the story well enough to want to produce it.


Publication: “The Take” in Daily Science Fiction

March 11, 2012

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Those of you who subscribe to e-mails from Daily Science Fiction will receive my flash SF story “The Take” late tonight. Subscription is free, so you should sign up! And if you’re one of those holdouts who don’t like receiving free, awesome stories via e-mail, you’ll be able to read this story on DailyScienceFiction.com in one week.

“The Take” was inspired by the “Memory Eater” anthology. Although the story made it to the final round of consideration there, they ultimately passed on it. I made minor changes to remove references to the Memory Eater technology and sent the updated version of the story to Daily Science Fiction. I love DSF to death and they are almost always the first to see my stories, so I was thrilled to have “The Take” accepted there.

But wait, there’s more.

There’s a supporting character in the story named Charlie Tan. It wasn’t until after the story was accepted at DSF that I realized that my character shares a name with a well-known SF blogger Charles A. Tan. The editors at DSF realized this too, and wanted to know whether the reference was intentional.

My first instinct was to change the character’s name. But the more I thought about it, the more amused I became by the coincidence. So instead of changing the name, I reached out to Mr. Tan and asked his permission to leave it in. He was amenable to the idea and has officially become the first person to be tuckerized in one of my stories.

So read “The Take” and, if you enjoyed it, be sure to stop by the DSF Facebook page and leave a comment. Because I almost always have another submission in their slush pile, and a well-received story can’t possibly hurt 🙂


From The Desk of Mr. McFetridge

January 20, 2012

The following is a comment left in the “Rejecting Faulkner” thread by G.D. McFetridge, the essayist whose actions I took issue with in that post, and my response. Enjoy:

G. D. McFetridge says:

January 20, 2012 at 4:25 pm

Alex (who?),

You’re hardly worth the effort, but I’m bored. First of all, you don’t know who I am, I’m published under more than one name. Your shallow attack reveals more about you than me. Are you a republican, or just a cohort of FJ’s? The selective way in which you drew from my essay excluded any chance of your rant being objective, a rant clearly meant to elevate your little ego at my expense. Good for you. But you’re way out of the loop. “Show Us, Mr. Faulkner” was first published over ten years ago; in its various evolutions it has now been published 10 or 11 times, including the UK, where, unlike any of your work, it got high praise from John Jenkins. It also won an academic literary award in 2006 for the year’s best creative nonfiction. The editor of the “Harvard Review” said: “Although we do not have a place for your work in the upcoming issue, we thought your nonfiction essay stood out from the rest of the crowd.” Arkansas Review (Janelle Collins wrote: I found your submission, “Show Us, Mr. Faulkner,” a fascinating read … It’s well written and witty. And a fine reminder that journals exist because of writers and that each submission deserves the resepct of a careful reading.” In closing I want to thank you for adding to my celebrity, because of course the second best thing is good press, the best thing is bad! Just ask Charlie Sheen. Go to Temple and talk to someone, you’ll feel better about yourself. Oh, and by the way, how many of your essays have been published ten times? Love ya, sweetie, say hi to your wife, GD

GD,

Thanks for stopping by and sharing more of your wisdom with my readers. Taking the time out of the busy writing schedule your alter egos and pseudonyms are having, and all that.

Clearly my shallow attack on your person has failed. In my inadequate attempt to warp and subvert the meaning of your essay I foolishly linked to your actual essay. My idol FJ (whoever that is) will be sorely disappointed in me.

I’m glad to hear that you’ve had more success in shopping around your essay than your fiction. Having it published 10 or 11 times in as many years must’ve been quite a feat. Especially in the UK. Personally, I was only published in the UK once and I humbly concede that getting paid in Pound Sterling is quite nice.

I should have known better than to express my disagreement with your assertions on my blog. I’m definitely outmatched. From a mere 1000 word “rant” you’ve been able to draw conclusions about my political affiliation, religious beliefs and state of mind. If I could jump to conclusions like that perhaps one day I’d be eligible for an academic literary award, too.

I was especially impressed with the rejection letters you quoted to prove that you wrote a good essay. It was easy to convince me since I, too, stated in my “rant” that your essay was well-written. I had no issues at all with the style or wit of your article.

My issue was with the fact that you put your name on other authors’ work.

My issue was with you wasting the time of editors and slush readers and then calling them out for a totally subjective and personal decision of rejecting the manuscripts you sent them, under false pretenses.

And my biggest issue was with your conclusion that the system is rigged and that you can’t (or at least aren’t likely to) get published based purely on the merit of your writing. I strongly disagree with this assertion, which is why I chose to discuss your essay on my blog.

You did not address any of these points in your reply, choosing instead to concentrate on “winning” the debate, Charlie Sheen style, the crux of your argument being that I’m a nobody, and how dare I speak out.

Oh, and I actually feel quite good about myself, thanks for asking.

Alex


Interview at Rick Novy’s Blog

December 15, 2011

Rick Novy was kind enough to interview me on his blog.

Rick is an excellent writer in his own right, with short stories appearing at places like Scott Orson Card’s Intergalactic Medicine Show and Flash Fiction Online.  His novel, “Neanderthal Swan Song,” is available for the Kindle at Amazon.com:


Moving On Up

December 2, 2011

Welcome to my new and much improved home on the web.

I finally overcame my inertia and spent a few hours setting up a WordPress blog. After a year+ of putting up with the geriatric dinosaur that is LiveJournal, I feel like Robin Williams’ character in “Moscow on the Hudson” when he gets his first taste of freedom. WordPress is a far more powerful platform. In fact, it can do way more cool stuff than I even know how to use at this time.  As you can see, all the content from the previous blog has been ported over. I also spent a few bucks and registered alexshvartsman.com – so no more clunky web addresses. If you can remember how to spell my surname – which in itself is no small feat – you can find your way over to this page.

Over the next few days I plan to play with my shiny new toy. I’ll check out all the bells and whistles WP has to offer. Who knows, I might even manage to update this blog a little more often. Stay tuned!

 


Spidersong

October 16, 2011

"Spidersong" will be published at Daily Science Fiction tomorrow. Or a week from now, depending on how you look at it.

DSF offers an e-mail subscription service. They'll send a shiny new story to your mailbox 5 times a week. Four of these are flash stories, short enough to read on your cell phone or during a lunch break. On Friday you get a longer story to enjoy over the weekend. If you don't subscribe to their mailing list (and there's really no reason not to, it's free and the fiction is of excellent quality), you can read the same stories on their web site. The only catch is that they are posted online a week later. So if you want to read "Spidersong" it'll be in your inbox on October 17 and then posted on their front page on October 24.

"Spidersong" was originally written for a flash fiction contest sponsored by the Shock Totem magazine. The prompt for their contest was a number of photos of trees shrouded in spiderwebs, like this one:

This surreal image is a result of heavy flooding in Pakistan. Thousands of spiders escaped the rising water into the trees, and made a home there. You can see more photos over at National Geographic or read about it at Gizmodo.

So, of course, after looking at the photos what immediately came to my twisted mind was giant alien spiders. Giant alien *telepathic* spiders. Who sing.

I had a lot of fun with this story along the way. I chose to write it in plural first person AND in present tense, which is a very unusual format in which to frame fiction. Hope you like the end result!