Showing posts with label publishing. Show all posts
Showing posts with label publishing. Show all posts

6 Writing Dragons: How To Slay Them...and Realize Your Writing Dreams in 2014


by Ruth Harris

Why Tough (Self-) Love (and Some Dragon-Slaying) Will Get You Where You Want To Be Next Year


The reasons (excuses?) for not writing/not getting your book finished often come down to six usual suspects:

1) The Procrastination Dragon

As if you don’t know what I’m talking about. ;-) But, just in case you only recently landed on Planet Earth, here’s a short list:
  • You’re tweeting instead of writing.
  • You’re surfing the web instead of writing.
  • You’re making coffee instead of writing. 
  • You’re answering emails instead of writing.
  • You’re cleaning the bathroom instead of writing.
  • You’re organizing your spices instead of writing.

Bottom line: You’re doing anything and everything you can think of exceptwrite.

2) The Interruption Dragon
  • The phone.
  • The kids.
  • The dog. 
  • The cat.
  • Your husband/wife/significant other.
  • The Amazon drone delivering 3 pairs of gym socks you ordered half an hour ago.
  • You lose your train of thought. If you were in the zone, you’re now out of the zone. If you weren’t in the zone, you’re now out in Siberia.
How can you be expected to write if you’re being interrupted all the time?

3) The What-Happens-Next? Dragon

Your MC is on the top branch of a burning tree and the bad guys are down below. With guns, knives, IEDs, RPGs, snarling tigers. machetes and blowtorches.
  • So now what happens?
  • What does the MC do?
  • What do the bad guys do?
  • What does his/her husband/wife, cubicle mate, best friend, bridge partner, girl friend/boy friend, Pilates teacher, dog walker, nutty neighbor, favorite TV comedian or movie star do?
  • Who says what? And to whom?
You mean you don't know? Don't even have a clue?

4) The Fear and Loathing Dragon 

  • You forgot why you’re writing the damn book and you hate every word anyway because you’re a no-talent nobody.
  • You can’t figure out whether it’s a comedy, a thriller, urban fantasy, horror or romance. 
  • You can’t remember why you started the stupid thing in the first place. 
  • You have no idea what you’re doing, why you’re doing it, and how you got from there to here.

Excessive, much?

Not really.

Writers, like everyone else, have mood swings. Not enough for clinical intervention but enough to—at least temporarily—undermine confidence and forward progress.

5)  The "Dream Big" Dragon

You’re writing the Great American/Latvian/Cambodian novel. It’s so wonderful you’ll reach millions and millions of readers everywhere.

An invitation to the White House, to a billionaire’s yacht, to a fabulous mansion on a private island in the Caribbean is in the mail. Beautiful, brilliant people are lined up, just waiting to experience the exquisite pleasure of your company.

And, while you’ve unleashed your imagination about the rewards about to come pouring down on you, please, definitely do not forget the prizes:

  • The NBA (Not the one that’s played by tattooed seven feet tall men aka hoops. The other one.). 
  • The Booker. 
  • The Legion of Honor. 
  • The Nobel. 
  • The Pulitzer.


The list is endless.

Which leads us to—

6) The Perfection Dragon
 

Every word chiseled in marble. Every syllable a treasure for the millennia. So, of course, it has to be perfect. That’s why you have that infallible misery-maker, your own personal internal critic, to tap you on the shoulder and remind you of every terrible thing anyone ever said about you, your crappy taste in clothes and your rotten books.

  • You’re so terrible, even your dog hates you.
  • You write. And rewrite.
  • Consider and reconsider.
  • Contemplate and then contemplate some more.
  • You hit the delete button. Then the undo. You open the sentence-in-question in two documents and review them side by side. Still can’t decide which one is better so you write a third version.
  • Which just adds to the confusion and misery as you scratch your chin and tear your hair (at the same time if at all possible because—don’t forget!—we’re going for perfection here) and try to decide whether or not afourth version is called for.

Getting to the point: 

Here is where tough love comes in because, believe it or not, every item on this gruesome list is identical. Each one, no matter the superficial differences, is a self-inflicted wound.

That’s right: you caused your own suffering.

It’s your fault.

You did it to yourself.

You’re the dragon.

Once you truly understand that you are the cause of your dilemmas and frustrations, you are halfway to conquering them.

We are not in “it-hurts-so-good-don’t-stop” mode here. We are in destructive, self-defeating territory, a lethal terrain in which you will never get your book written, much less edited, revised, proof read and published.

Which is actually the good news and the point of this post. Since whatever is going wrong is something you are doing to yourself, you are the one who can undo the damage.

Let’s slay them one by one:

1) Procrastination 

Are you an adult? Or a kid who doesn’t want to go to school because there’s a history test today and you haven’t done your homework? The real answer is—or should be—that you’re a professional and professionals get the job done.

  • You shut down the internet.
  • You let the soap film remain on shower curtain. Until later. Afteryou’ve done the day’s work.
  • So the oregano is next to the thyme, not next to the pepper where it belongs? BFD.
  • You’re the boss of you. You’re a grown up. You do not give in to your self-defeating tendencies. You go back to your desk and get back to work. If you can’t do that, then you have to wonder how committed you are to your work.

Are you serious? Or are you just fooling around—and fooling yourself in the process?

2) Interruptions
  • Turn off the damn phone.
  • Close the door.
  • Put up a “do not disturb” sign.
  • Make a deal: Trade a hour of uninterrupted work for an hour of errands/child care/chores: you’ll walk the dog (the one who hates you)/do the grocery shopping/take the kid to soccer practice in exchange.
  • If your family doesn’t respect your work, doesn’t that mean you have somehow given them the signal that it’s OK to barge in and interrupt you with whatever?

Nora Roberts famously said that she will allow interruptions only in the case of blood and/or fire. NR is as professional as it gets. Isn’t her no-nonsense attitude something to emulate?

3) The What-Happens-Next? Syndrome


You’re stuck and then what? You got yourself into this pickle and it’s up to you to get yourself out.

Here is where experience is crucial. Every writer, no exceptions that I’ve ever known of or heard of, faces the blank wall, the blank screen, the blank brain. Every writer has been there before and every writer has escaped because, if they hadn’t, no book would ever have been finished.

What you need to do is develop a backlog of techniques that will get the work moving again.
  • Brainstorm with a trusted friend.
  • Go to your junk file. By that I mean drafts you wrote but junked. Never delete unused paragraphs or scenes, just put them in a junk file. When you’re stuck, open the file. You may well find just the right route forward in something you once rejected.
  • Make a list. Steven Sondheim spoke of making a list of all the words that might apply to the song he was writing. That list, SS said, revealed hidden connections he hadn’t seen before. There’s no reasons that approach can’t work for a writer.
  • Have a glass of wine. I am not talking about getting rip-roaring drunk. I am talking about having a glass of wine with dinner. The combination of a small amount of alcohol, a relaxed mood and diverting conversation can spring open a door that has been stubbornly closed.
  • Go for a walk. Take a shower. Weed the garden. Very often just getting away from your desk and engaging is a different activity is enough to break the block.
  • Face up to your own tics and twitches. For me, it’s beginnings. When I’m stuck, I go back and reread. Almost invariably, the hang up is somewhere in the beginning: either I’ve told too much or not enough. 

After I figure out the problem and make the necessary edits, I can go forward again. Once you see a pattern to your own bad habits, you will be able to develop coping techniques you can turn to again and again.

4) Fear and loathing 

Happens to everyone. I’m not joking, either.

In fact, fear and loathing are so predictable that I and many other writers have come to see F & L as a normal part of the process.

  • Going back to your original outline can help. So can reading over your notes and research.
  • Having someone else read your manuscript and report back can also help.
  • Maybe it’s not as mind-blowingly vile as you think.
  • Maybe it is, and you have to rewrite/revise.
  • F&L is why god created beta readers, crit groups, and editors.
  • Patience, perspective, persistence, and, if necessary, a pair of outside eyes are called for.

5) Dream big, dreamer 

Dreams, even big dreams are OK and, for many, come with the territory.

They can motivate but if they lead to paralysis, you will need to ask yourself why you are allowing a dream to interfere with the necessary real-life work required to make the dream come true. Only you will be able to answer that question but unless you can look at yourself with an unflinching eye, no dream can come true.

6) Perfection 

Doesn’t exist. Everyone knows it. So why do some writers torment themselves trying to achieve something no one—not Einstein, not Picasso, not Shakespeare—ever achieved?

If you are in that group or even if you have tendencies in that direction, try a dose of reality.

Go to the Amazon page of any famous writer and check out the one-star reviews. They’re guaranteed to be there even for famous and successful writers.
  • John Grisham, The Racketeer: “this book stinks”
  • Donna Tartt, The Goldfinch: “a meandering mess”
  • Stephen King, Doctor Sleep: “one-dimensional, amateurish”

Need I go on?

So you still think you’re going to write the perfect book? ;-)

Bottom line: more times you rescue yourself from perfectionism, procrastination, a block, unrealistic dreams, the more you will become a professional, dragon-slaying writer and the closer you will be to where you want to go. 

We want to thank all our fantastic readers who have made this blog such a success in 2013, and we wish for you all to achieve your writing goals in 2014! 

We'd love to hear in the comments about your goals for next year, and what dragons you need to slay. 


Book of the Week

On SALE for the Holidays!
CHANEL and GATSBY: A Comic two-fer. Only $2.99!
Hollywood and Manhattan: it's Bi-Coastal Comedy!

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The Chanel Caper

JAMES BOND MEETS NORA EPHRON. OR IS IT THE OTHER WAY AROUND?

Blake Weston is a smart, savvy, no BS, 56-year-old Nora Ephron-like New Yorker. Her DH, Ralph Marino, is a très James Bond ex-cop & head of security for a large international corporation. At a tense time in their relationship, Blake & Ralph are forced to work together to solve a murder in Shanghai & break up an international piracy ring.


A totally fabulous, LMAO adventure with some of the best one-liners I've ever read!!! Ruth's wit is just a hoot, and her characters have the best sassy mouths in the biz!!!...bestselling author D.D. Scott

The Gatsby Game

A POSSIBLE SOLUTION TO A 40-YEAR OLD UNSOLVED HOLLYWOOD MYSTERY

When Nicky Conway meets Fitzgerald-quoting Alistair at a Princeton mixer, she falls for his retro, Jazz-Age charm. But she discovers he’s a con man obsessed with his own “Daisy”—British actress Delia Kent. After Alistair manipulates Nicky into nannying for Delia’s daughter on the set of a Hollywood film, Delia finds Alistair dead in her motel room. Local police can’t decide if it’s accident, suicide—or murder, in which case, Nicky is the prime suspect.

"For anyone who likes their books to be witty, with great characters, an atmosphere which it is a delight to experience, and a fast moving plot, this book is one you definitely shouldn't miss." ...Gerry McCullough of Gerry's Books


Opportunity Alerts

FREE HOUSES FOR WRITERS.  Yes, you read that right. With its "Write A House" project, the city of Detroit is giving away houses to writers. If you're a promising writer, AND a responsible homeowner (who's handy with tools) and want to be a proud member of the Motor City intelligentia, check out their website for details. Applicants will be asked to submit a writing sample, a resume, and a brief description of why they think they should receive the Write-a-House award. Applications taken starting in Spring 2014.

Screenwriters!! 16th Annual Scriptapalooza Screenplay Competition. Over $50,000 in cash and software prizes. Every script entered is read by either a producer, manager or agent. Scriptapalooza will promote, pitch and push the semifinalists and higher for an entire year. They have relationships with producers, managers and agents that are actively looking for material. Only $45 to enter if you get it in by the early bird deadline January 6th.

Dog Lovers! Here's one for you: AMERICAN KENNEL CLUB FICTION WRITING CONTEST NO ENTRY FEE. Submit one short story, maximum 2,000 words. Entries can be on any subject, but must feature a dog. (But it can't talk) Prizes $500, $240, $100. Deadline January 31.

CRAZYHORSE PRIZES IN FICTION, NONFICTION, POETRY $20 fee (includes subscription). This is a biggie, well worth the fee. This venerable literary magazine has published the likes of John Updike, Raymond Carver and Billy Collins. Winners in each category receive $2,000 and publication. Submit up to 25 pages of prose or three poems. All entries considered for publication. Submissions accepted in the month of January only.

2014 BETHLEHEM WRITERS ROUNDTABLE SHORT STORY AWARD $10 ENTRY FEE. Submit 2,000 words or fewer on the theme of "Food Stories". In addition to a $200 prize, the first place winner's story will be considered for print publication in the Bethlehem Writers Group's next anthology or as a featured story in Bethlehem Writers Roundtable. Their last anthology won Indie Book Awards for Best Anthology and Best Short Fiction. Second place will receive $100 + publication in the BWG Writers Roundtable. Deadline January 15th.

Author Collectives: The "Third Path" to Publication. Is it Right for You?


Liza Perrat contacted me a few months ago, asking for permission to quote me in a book about her author collective, Triskele Books. I've been fascinated by the idea of authors forming their own publishing companies, so I asked if she'd like to guest post for us. I was eager to hear more about her experiences and share them with our readers.

Some writers take to the "indie" route easily, but others prefer to work with a team, the way it's done in traditional publishing. But traditional publishing can be very scary these days. Not only is breaking in daunting, but "non-compete" and "in perpetuity" clauses, rigid rules, low royalties and glacial schedules can turn a lot of writers away from the whole process.

The author collective offers a way to have the best of both worlds. If you're a "team player" who wants the control indie publishing offers, but you don't want to go it alone, the collective may be for you. But you do need to choose your team carefully, and dedication is a must, as you will see from Liza's story.

The Triskele Books website is stunning and professional and the covers are beautiful. I could tell they have a team that includes a fantastic designer. Triskele was formed in 2011, by UK authors Gillian Hamer, JJ Marsh and Liza, who's originally from Australia and lives in France. In 2012, three more authors joined the team, Jasper Dorgan, JD Smith and Catriona Troth.

Although they write in slightly different genres, their books are aimed at a similar audience. All the books are "serious" works of fiction, mostly historicals, set in exotic times and places. They look fascinating.

They've also jointly written a non-fiction book that details their journey as a collective. The Triskele Trail A Pathway to Independent Publishing, which debuted in November.

As they put it, The Triskele Trail is a story about "a writers' collective who made some mistakes and some smart decisions; who discovered opportunities, found friends and dodged predators in the independent publishing jungle...This is not a How-To book. This is How-We-Did-It."

I'm so grateful to Liza for guesting for us while I recover from the flu and the loss of my mom. Liza has been amazingly gracious while I've been kind of a dragon-lady. Thanks a bunch, Liza! ...Anne

An Alternative Route to Publishing – The Author Collective
by Liza Perrat 



Once upon a time there were three authors. They met via an online writing group where they honed their writing skills, critiqued each other’s work, and where, attracted by the quality of each other’s writing, they gravitated towards each other. Around the end of 2011, each with manuscripts they believed were fit for the public eye, these three writers found themselves in a similar predicament.

‘Cross-genre won’t sell,’ Gillian’s agent said, of her historically-based crime thrillers with a touch of
the otherworldly.

‘Your crime novels are far too cerebral,’ one agent said about JJ Marsh’s European crime series.

‘Love it, but can’t see how to sell it,’ publishers told Liza’s agent, of her Revolutionary France novel.

Frustration at traditional publishing routes became a common topic of conversation so, spread across Europe and the UK, they got together and discussed their fears, hopes and plans.

At that stage, even as self-publishing was becoming an increasingly attractive option, the market was still littered with poorly-written, badly-presented vanity projects. They expressed their reservations about this, and about the lonely prospect of trying to tout their books in such a crowded marketplace, not to mention the frightening thought of taking on all that responsibility alone.

The idea of a team emerged. Sharing it between three, with that sense of mutual support, made it not only appealing but quite exciting. Apart, they were nothing, but together, they could make one hell of a team!

With all the administration of establishing a business, and because, legally, each member wanted to retain her own rights, they did not want to be a small press. So, they became simply a group of authors working as a team to promote their writing. Along the way, they picked up two more valuable members, and today the Triskele Books Author Collective remains a core group of five, inviting associate members from time to time, to publish under their label.

This is their story.



Getting the Author Collective off the Ground …


The three of us began by hammering out a philosophy founded on three principles:

  • High quality writing
  • Professional presentation
  • A strong sense of place
To brand ourselves, we chose the triskele as our logo, with its three independent, yet connected,
circles. We had already designed our marketing materials when we realised that the triskele symbol is also an identifier for the BDSM community. What the heck, we thought … all welcome, BYO whip and chains!

The question of finances arose next. Even though each author retains her own rights and profits, for Triskele Books to get off the ground, there had had to be a certain financial commitment. We voted in our cash-savvy member as financial manager, she opened a bank account and we all deposited an initial float to cover website, promotional material, design and initial launch. She sends out bank statements for all expenses and, as and when we need to add funds, we all chip in equal sums.

Our biggest mistake in the beginning was everyone trying to do everything. After losing a website, dragging books across London on a hot Saturday afternoon and putting noses out of joint by forgetting to use “REPLY ALL” for emails, we soon learned it was better to assign tasks to individual strengths. Each had a skill, and we should focus on that.

So, our admin girl now draws up monthly workplans, assigning each member –– based on her particular skills –– certain tasks, which the others know will be done to the best of her ability.


The Nitty-Gritty of our Author Collective…


For the actual book-writing aspects we basically hold each other’s hands throughout the process. We critique, edit and advise on each other’s drafts before they go for final professional proofreading. You might think that four editors could be counter-productive, but we all try and keep in mind what the author wants to achieve, and how we can help her to get there.

For marketing and promotion, we share the workload. In today’s crowded marketplace, an author has to shout pretty loudly to be heard over all the other voices, and it’s hard to keep thinking up new and witty things to say. Being part of a group means there is no lone wolf crying into the wilderness; we take turns out there, spreading the word, which leaves more time for actual writing. We argue. Not often, but we do. However, among five voices, we always find a solution.

Each writer self-publishes her own books. Choices regarding print and/or e-book, distributors, exclusivity or otherwise, translation rights, etc., are all up to the individual author. So far, we have all shared the same designer, but that’s not mandatory. Of course, we examine and discuss all the options together, but it’s as simple as that.

We have come to rely on each other for all these things, and take comfort in the knowledge that these mammoth tasks are far less daunting when shared. Not only that, but the pressure not to let the others down is even more of an incentive.

Tips for Writers Considering an Author Collective …


  • First and foremost, we believe you should look at quality, or level, of writing. Don't join with someone who can talk the talk and has a thousand Facebook and Twitter friends, but who lacks the skill, or ambition, to match your level of writing. 
  • One of the main reasons many people self-publish is to maintain absolute editorial control. All members of your Collective should be dedicated to quality and making each book the best it can be. It’s a good idea to say that all members must unanimously agree on any decisions concerning the Collective, and that you will never publish a book that does not have the full backing and agreement of the others. 
  • Look at diversity of skills. Who can do what? Who has business sense, financial nous, organisational skills? Who can market, and where? 
  • Don’t collaborate with anyone you do not like as a person. You might adore their writing, but if the very sight of them irritates you, it’ll never gel. 
  • Ask yourself if you would be happy to go into business with these people. Because even though this isn't a company set-up in the strict sense, the commitment is identical. There’s a lot of work and energy involved in self-publishing, and no ship can afford to carry unseaworthy passengers. 
  • But the most vital question is: who is reliable? Basic trust has to be the foundation stone of a workable Collective. You need members who can be honest about every aspect of the game; who are not afraid to tell each other the unpalatable truth. You also need people who are trustworthy on an emotional level. The route to independent publishing is bloody hard work, so someone will always be hyper, another despondent and another neutral. Whenever one hits a wall, she needs to be able to rely on the others to prop her back up. And of course, you have the slightest doubt that any of your colleagues might high-tail it to Rio with the Collective booty, best not to consider working with them. 
Founding a Collective is not something to be taken lightly, but with a team of like-minded, motivated people, it is becoming a truly viable option in today’s publishing world.

Our Author Collective Two Years Down the Line …


Eighteen months after launching the first three Triskele Books, our strategy seems to be working. In addition to practical advantages such multiple critiquers, editors and proofreaders, not to mention the emotional benefits of being able to crow or cry to sympathetic ears, the key gain has been the mutiplying of our marketing network.

We have launched our titles in sets of three or four, every six months. Each book carries an ad in the back for the others in its set, as well as a complete list of all Triskele titles.

People seem to respond more positively to the concept of a Collective rather than just another self-published book. Our sales are on the rise, we have supportive and enthusiastic readers, books ready to publish through to 2016, and a queue of authors
lining up to jump onto the Triskele team.

We’ve gained valuable advice from successful independently-published authors, swapped marketing and networking opportunities. We’ve grown to depend on each other whilst retaining our individuality.

Instead of feeling sorry for ourselves and letting out books stagnate on a hard drive, we have taken on the publishing industry, our way. Independently publishing novels to a professional standard has proved to be hard work, frustrating and exciting. We’ve shared the angst, the uncertainties, the mistakes, and learned a lot in a short time.

In conjunction with our latest release of Triskele Books at the Chorleywood Literary Festival, we’ve collated everything we’ve learnt –– our mistakes, our successes, our experiences ––into a short eBook titled The Triskele Trail.

***

What about you, scriveners? Have you ever thought of joining up with other writers to form your own indie publishing company? Have you had any experience with a collective that you'd like to share? Do you know of other successful collectives? Are you thinking of self-publishing, but have put it off because you prefer working with a team? 

***

Liza grew up in Wollongong, Australia, where she worked as a general nurse and midwife for fifteen years. When she met her French husband on a Bangkok bus, she moved to France, where she has been living with her husband and three children for twenty years.
Her stories have been published widely in anthologies and small press magazines. Her articles on French culture and tradition have been published in international magazines such as France Magazine and France Today.

She has completed four novels and one short-story collection, and is represented by Judith Murdoch of the Judith Murdoch Literary Agency.

Spirit of Lost Angels is the first in the historical L’Auberge des Anges series set against a backdrop of rural France, and published under the Triskele Books label in May, 2012. The second in the series –– Wolfsangel –– was published in October, 2013, and Liza is working on the third novel in the series ––Midwife HĂ©loĂ¯se – Blood Rose Angel –– set during the 14th century Black Plague years.

Liza reviews books for the Historical Novel Society and Words with Jam magazine.

Contact and Other Information:

Book of the Week

Only $2.99 at Amazon US Amazon UK and Amazon CA





Once upon a time, there were five writers.

They believed there was a third way of publishing, somewhere over the rainbow. So they packed their books and set off to explore. This is what happened on the journey.

The Triskele Trail is a true story. About a writers' collective who made some mistakes and some smart decisions; who discovered opportunities, found friends and dodged predators in the independent publishing jungle.

Fourteen books later, here are the lessons we learned.

This is not a How-To book.

This is How-We-Did-It.

This is The Triskele Trail.

"Triskele stands out in the world of indie authors as an author collective that is focused and mindful of their writing, publishing and marketing processes. In this book, you'll learn their views on the fundamentals of being an indie author, as well as the benefits of a collective, who to trust on the journey, plus tips on time management and researching historical fiction. The Triskele Trail is a smorgasbord of useful tidbits and the book will definitely help authors make decisions in this rapidly changing publishing environment." –– Joanna Penn, Author of #1 bestseller How To Market A Book. www.TheCreativePenn.com

Opportunity Alerts

Dog Lovers! Here's one for you: AMERICAN KENNEL CLUB FICTION WRITING CONTEST  NO ENTRY FEE. Submit one short story, maximum 2,000 words. Entries can be on any subject, but must feature a dog. (But it can't talk) Prizes $500, $240, $100. Deadline January 31, 2014. 

CRAZYHORSE PRIZES IN FICTION, NONFICTION, POETRY $20 fee (includes subscription). This is a biggie, well worth the fee. This venerable literary magazine has published the likes of John Updike, Raymond Carver and Billy Collins. Winners in each category receive $2,000 and publication. Submit up to 25 pages of prose or three poems. All entries considered for publication. Submissions accepted in the month of January 2014 only.

2014 BETHLEHEM WRITERS ROUNDTABLE SHORT STORY AWARD $10 ENTRY FEE. Submit 2,000 words or fewer on the theme of "Food Stories". In addition to a $200 prize, the first place winner's story will be considered for print publication in the Bethlehem Writers Group's next anthology or as a featured story in Bethlehem Writers Roundtable. Their last anthology won Indie Book Awards for Best Anthology and Best Short Fiction. Second place will receive $100 + publication in the BWG Writers Roundtable. Deadline January 15th, 2014

DRIFTLESS REVIEW ANNUAL FLASH FICTION CONTEST $15 ENTRY FEE for up to three stories. Each short-short story limited to 500 words. $500 prize. Deadline December 31

Dark Continents Publishing's Guns and Romances anthology. They're looking for previously unpublished short fiction from 3500-9000 words. Any genre as long as there's a tough protagonist, weapons, and... at least one reference to music. Sounds interesting. Payment rate is a one-off of $20 per story plus a percentage of the ebook royalties. Publication estimated in late-2014. More info on the website. Closing date for submissions is February 28, 2014.

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