Prose Writing for Publication. Mr Jason Erik Lundberg GEB Literature Seminar 23 August 2008. Table of Contents. Introduction Narrative Hooks Sustaining Reader Interest Originality vs. Polish Effective Endings Submitting to Publishers Protocols with Editors Online Magazines
Mr Jason Erik Lundberg
GEB Literature Seminar
23 August 2008
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“Beginning writers are not competing with the well-known established writers who can get away with whatever they choose. They compete among themselves. Your competition is with all the others in the slush pile, and if you can come up with a clear, straightforward opening that draws the reader in, you are already ahead of three out of four of your competitors.” —Kate Wilhelm, Storyteller
“It does not take pages and pages to establish what normality is. [...] Indiana Jones is teaching his university class when he is summoned. That is enough. We know he is a professor and there is a real setting of his classroom. Now he can go off and have adventures.
We can see Dorothy [Gale], her aunt and uncle, the farmhands, the house. We have a character and a real setting. Now the tornado can blow her away.
In the case of the unplotted story, the writer must know the significance of what is to be shown, and care taken of what events or days will reveal that significance. The writers must know what to leave out as well as what to include.” —Kate Wilhelm, Storyteller
Stories are rejected for lots of reasons:
…and resubmit the story elsewhere
Congratulations! You’ve sold a story! If you get paid for it, even better!
So what happens now?
After basking in the glory of publication…
Keep working on your story, building upon your opening hook, and fleshing out the conflicts
Pass up your story, and I will read your opening section aloud; the class will listen and give feedback