Archives for posts with tag: editor

Today, Friday, and as promised, I bring you Dan O’Brien and his interview with some of the characters from his Sci-Fiction novel The Path of the Fallen. Not that his characters are happy to just be interviewed, but they turn interviewers too at times….Don’t miss the great characters and don’t forget to click on the links!

And here I leave you with Dan and his characters!


As I sit down at my computer, I am struck by the eerie presence of someone behind me. Leaving behind the blinking cursor, I realize that the cast of my latest novel, The Path of the Fallen, are standing behind me. E’Malkai, sullen and burdened by the weight of the pilgrimage he has undertaken, stands behind the immovable figure of his Umordoc guardian, Elcites. Arms crossed over his chest, his gaze unsettles me despite how much time I have spent in his company whilst writing The Path of the Fallen. Arile, proud hunter of the north, leans against his spear and inspects the wall with a carefree look upon his face. Fe’rein, shrouded in the darkness that complements him so well, seethes with a dark mix of irritation and confidence.

E’Malkai: I heard that you wanted to speak to us.

Me: (clearing my throat) In a manner of speaking, yes.

Fe’rein: (glowering) What do you want? We have business left unfinished.

Me: I am releasing The Path of the Fallen, after nearly a decade hiatus, and wanted to let potential readers know a little more about it. Instead of giving them a dry summary or an adjective-laden exposition, I thought getting to know the characters might be a fun exercise.

Arile: (not making eye contact and looking away with a bored look on his face) What precisely would these potential readers want to know about us? We are an open book (snickers).

Me: Let’s start with something simple: Describe yourself to the readers.

Fe’rein: Darkness. Death. There is little else to know.

E’Malkai: (shifting uncomfortably behind his guardian) I do not know what to say about myself. I thought I knew what I supposed to do with my life, but there was always something missing. When I learned about the history of the Fallen and the journey my father began, I realized that I had to find out more, learn about where I came from.

Elcites: (grunting) I am no more than what is expected of me. I guard E’Malkai. That is all that matters.

Arile: I am the last of my people. We once could hear all the voices of the earth. The world has been broken. I can no longer hear what I once could. My people have been scattered into the winds, but I can still hear their distant voices. They speak of a new age, and of a final war.

Me: That all sounds quite dire. You make it seem like there is only darkness and sadness. Are there no happy moments in your life, memories that give you pause and hope when you consider them?

Elcites: The day I was given my charge, when I first met young E’Malkai, was the greatest and saddest day of my life.

E’Malkai: (looking up at the stoic look on his guardian’s face) I recall playing with my uncle once upon a time. (Pausing) The world changed, and so too did those memories. I cannot seem to look back upon the strained moments of my life and see happiness.

(Fe’rein scoffs and crosses his arms over his chest. He clearly is not going to answer the question.)

Arile: Each day is full of happiness and sadness, joy and terror. I find grace and importance in the simplest of tasks. This day is a gift. We must not look upon it with sorrow.

(I start to speak, but Fe’rein interrupts me, his power crawling over his skin like a swarm of frightening insects.)

Fe’rein: What makes this story any different than any of the other drivel available?

Me: That is a bit strong, isn’t it? I would like to think that my writing offers a fresh perspective on the fantasy and science fiction genre. I always try and include elements of ethics and philosophical assumptions in my novels, and this one is no different. I love to explore the elements of good and evil, as well as the murky gray area that is exposed when decisions and choices and are no longer easy. I think it captures the essence of the monomyth, or the hero’s journey, as well as being a rousing adventure tale that a reader of any age can enjoy.

E’Malkai: How is it doing so far?

Me: It is a bit early in the game to really say much about it. I released it almost a decade ago and it was well received, but it was in desperate need of a strong editing session. Now, I feel like it accurately reflects my growth as a writer and that it has a strong chance of being pretty successful, perhaps my most successful work yet.  Let’s put the focus back on you: What do you want from life?

E’Malkai: I want to set things right…

(Fe’rein stands suddenly. Elcites turns, interceding between the Dark Creator and the youth. Arile moves soundlessly behind the mion.)

Fe’rein: There is nothing to set right. I did what was necessary. They took Summer away from me. They had to pay.

Me: (standing) It seems as though I have struck a nerve. Let’s try something a bit easier, shall we? What’s the most important thing in your life? What do you value most?

Arile: (lowering his weapon) The search for truth, questioning my place in this world. Complacency weakens the mind. I value knowledge, intelligence, and logic.

Fe’rein: (sitting once more with a huff) Solitude. The power to do what I must to keep what I have claimed. Once, I valued family and love, but those times have passed.

Elcites: My charge, my mission.

E’Malkai: My family, the people who depend on and believe in me, even if that faith is misplaced.

Me: Speaking of family, did you turn out the way you expected? The way your parents predicted?

(Elcites maintains his ambivalent stare and Arile inspects something deeper in the darkness of the room.)

Fe’rein: I did not know my mother and father well. I have memories of them, brief glimpses of who they were, moments in time frozen and exaggerated. I used to wonder how they would judge me, but that doesn’t matter to me any longer. I turned out the way I did because of the choices I made. My father could not have known what would fall into my path. His plan for me is irrelevant.

E’Malkai: (looking at his uncle, Fe’rein, with sorrow) I did not know my father, but as I traveled north I learned much about the man he was and who he wanted me to be. My mother was secretive of my past, but I do not blame her. I realize now that she did not want me to die as my father had.

Me: That is quite sad. The path of the fallen began when Seth, your father, was cast from the Fallen and then ends when you return. Were you afraid of traveling north by yourself, E’Malkai? What is your greatest fear?

E’Malkai: Not being able to do what is necessary. Turnabout is fair play: At what point in your life did you realize you wanted to be a writer?

Me: A meaningful question indeed. I think I always knew I wanted to be a writer. When I was about six, I designed an entire play for my cousin’s birthday: sets, script, and little figures on Popsicle sticks. As the years went by, I found that the notion of storytelling was very attractive. This pursuit led me to writing my first novel in high school, a space opera that I published in 2002. Since then I have published ten novels and plan on telling stories until someone spreads my ashes over the sea. (Turning to Fe’rein) Fe’rein, what is your greatest regret?

Fe’rein: Beyond being summoned to this ridiculous farce, I would imagine the content of my life was the result of walking down a path to darkness. It was not sudden or abrasive, but instead incremental and engrossing. My greatest regret is taking my brother’s life. It was too late for me by then. I could only see darkness, despair.

Elcites: (clearing his throat) What was your intent with writing The Path of the Fallen? Why did you set us down this path?

Me: I wanted to tell a very particular story: one in which the line between good and evil become blurred and the consequences of a hero’s actions mean much more than defeating the bad guy. I liked the notion of a family saga wrapped up in an epic science fiction/fantasy novel. The hero’s cycle makes for a powerful story and often answers fundamental questions about the human condition. Hopefully, my book is successful to that end. (Taking a step forward and gesturing to Arile) Arile, how do you decide if you can trust someone? Do you test the person somehow? Or are you just generally disposed to trust or not to trust?

Arile: Trust, like respect, is earned. When I first met E’Malkai, it was his naivety and simple manner that let me know that I could trust him. Generally, the test of whether or not a person is trustworthy is created by the environment, selected for by pressures that challenge a person. The idea of being predisposed to trust, or not to trust, is born of not trusting oneself. Have you written many more stories? Are we to carry on, storyteller?

Me: As the book closes, the story does not end. The path has ended, at least metaphorically, but the journey is far from over. Book of Seth returns to the beginning, giving us a glimpse of the life of Seth Armen, as well as Ryan Armen before he was corrupted. The sequel, which takes place after The Path of the Fallen, is called Breath of the Creator and weighs in on what comes next. There are several other novels with transient beings not of your dimension: a supernatural detective solving murders in San Francisco; a young man who discovers what it takes to be responsible as the world falls apart; a love story set in an epic fantasy world. (Spreading my hands wide, acknowledging all of them) This question is for all of you, what is one strong memory that has stuck with you from childhood? Why is it so powerful and lasting?

Arile: I will never forget when I returned home from a hunt and found my village decimated, wiped from this earth by Umordoc. I took the long walk into the tundra, to die, but found peace and a new home. The winds have been my companion ever since.

Fe’rein: Your question is foolish, storyteller. My childhood was a lifetime ago. I am no longer that frail boy who walked beside his brother on the tundra.

Elcites: I do not recall my childhood. I was born on Terra and raised in Culouth. My youth was devoted to learning everything I could about human beings and their ways so that I might one day protect E’Malkai.

E’Malkai: Once I had fond memories, but now they all seem like lies meant to obscure my path. Storyteller, do you read other stories? Are you reading anything right now, or have you read anything recently that is worth mentioning?

Me: I have been reading A Dance of Dragons by George R. R. Martin. I have become very invested in that world, though I will admit that the pace of the narrative has slowed dramatically. I find myself undulating between being surprised and intrigued by the story and then suddenly being quite bored.

Elcites: How did we come into being?

Me: I am assuming you are asking me about my writing process. For The Path of the Fallen I wrote it for four months straight, including Book of Seth. Generally, I like to create a living outline that evolves as the characters come to life and begin to guide the narrative. It is dependent on the world I am invested in at any given time.

E’Malkai: Are our names meaningful?

Me: They are not derived from other lore, if that is what you meant. E’Malkai was named as homage to the naming scheme of the tundra people. It really depends on what I am writing. For instance, The Journey has names that are quite significant in terms of their meaning. Otherwise, I like to invent names for a particular world.

Arile: How do you define success as a writer? Have you been successful?

Me: Success is elusive once you define it. It becomes something that you aspire for regardless of the process and the craft. I would like to think that success is writing stories that people in enjoy and connect with, even if it is negatively. I think I have been successful in a very limited way: people have read my books and enjoyed them.

E’Malkai: Do you have words of wisdom about writing that you want to pass on to novelists and writers out there who are starting out?

Me: Write what you love and learn from criticism. The publishing world has changed. I have been writing for nearly a decade and I find that every year there seems to be a new opinion on which way the wind is blowing for fiction. Stay the course and do what you love. If writing novels and telling stories is what you want to do, then do that.

Fe’rein: I have noticed that you ask this ridiculous question of other storytellers: What is your End of the World Playlist? Why do you ask this question?

Me: I like hearing what people think about the notion of an end-of-the-world scenario. Also, I have a zombie novella of the same name and I like having the vibes out there for it. Do you guys have anything specific that you want to say to the readers?

Arile: E’Malkai of the South will do what he must to set the world right. His story will be passed on for generations.

Elcites: The path of the fallen is filled with both adventure and sadness. Follow E’Malkai and be transformed.

Fe’rein: I will have my day, in this life or the next. I am not evil, nor is E’Malkai good. We are merely opposite perspectives. You decide who visited more harm upon the world.

E’Malkai: I would like to think that I have done the right thing, taken the right path. The storyteller will not give away his secrets, but he might give you a glimpse. The greater question is: Do you have anything specific that you want to say to your readers, storyteller?

Me: I am honored for anyone to read my novel. I hope that it will foster and appreciation of reading and the arts that is slowly disappearing among children and adults alike. I love to hear back from readers, so if you would like to get in touch with me, please be sure to check out my links below.

Bio: A psychologist, author, philosopher, freelance editor, and skeptic, Dan O’Brien has published several novels and currently has many in print, including: The End of the World Playlist, Bitten, The Journey, The Ocean and the Hourglass, Deviance of Time, The Portent, The Twins of Devonshire and the Curse of the Widow, and Cerulean Dreams. Follow him on Twitter (@AuthorDanOBrien) or visit his blog at

He also works as an editor at Empirical, a national magazine with a strong West Coast vibe. Find out more about the magazine at



Path of the Fallen (US):

Path of the Fallen (UK):


Bitten (US):

End of the World Playlist (US):

Cerulean Dreams (US):

The Journey (US):

The End of the World Playlist (UK):

Bitten (UK):

Cerulean Dreams (UK):

The Journey (UK):



Thank you for reading!

Hi all: As you know on Friday‘s usually we have a guest author. Dan O’Brien, who as he’ll tell us is also an editor, has been kind enough not only to agree to come and talk to us about his books, but also about his experience as an editor, to give us the view from the other side of the fence. He’ll also be our guest next week, when he’ll offer us an interview with his characters, but today, he has some invaluable advice:


A Writing Perspective from the Other Side of the Fence

A Guest Post by Dan O’Brien

Life as a writer can be hard sometimes.

Success is elusive; fans shift as often as a summer wind.

Yet, we persevere, writing into the late hours of the night and waking in the early hours of the morning to log the hours and enter, for a time, the worlds we create. When I first started writing, more than a decade ago, it was because I loved the idea of immersing myself in a place where I could construct the narrative; walk through dense forests and to the tops of mountains. Over time the process became more about writing as a tool to move through emotions and languishing memories that required catharsis.

Writing takes on many forms, for many different writers, over the course of our lives.

For me, the process is the reward.

I love to write.

When I ask myself that silly question of what I would do if I had all the money in the world, the answer is always quite simple: write. Now more than a decade later, I have a renewed sense of purpose and have become quite adept at balancing the spinning plates of responsibility.

Recently, between being a full-time graduate student and writer, I joined Empirical magazine as an editor – among other responsibilities. A national magazine similar in spirit to Harper’s or The Atlantic, the magazine is firmly rooted in a West Coast sensibility. There is a little something for everyone, and honestly, the hope is that everyone will take a look. Contributors to the magazine come from around the globe and cover everything from politics to fiction.

Working at a magazine, especially at this point in its maturation, is a wonderful experience. There are so many moving parts that enliven your day. Sometimes I spend the day sorting through fiction and poetry submissions, searching for that piece of prose, or perhaps a stanza, that ensnares my imagination. Other days I am editing, constantly referring to the Chicago Manual of Style to ascertain the correct usage of an archaic sentence structure. As a writer, the prospect of editing and rummaging through the work of others might not sound exciting, but there are some wonderful consequences:

  1. You learn to become a better editor of your own work
  2. You begin to recognize redundant sentence structures and overused phrases
  3. Your grasp of language grows exponentially

However, the most important component for me is:

  1. You get to help others bring their work into a public forum

For many writers, and certainly for me early in my writing career, the notion of being picked up by a magazine or a small press was foremost in my mind. It was that distant promise of publication and everything that goes with it that pushed me forward. When I got rejection letters, most of which lacked a personal touch, I would get down on my writing, denigrate my ability.

The years passed, during which thousands of rejection letters amassed, and I realized that the pursuit of writing for a purely extrinsic reward was dooming myself to Vegas-style odds. I became clear to me that I needed to write because I loved it, and then find a way to share it with others – even if it was not through traditional routes. I found that I was more comfortable with my writing when I did it for the pure joy of it.

Now that I am on the other side of the fence, so to speak, I have noticed a few myths about submitting to paying publications that otherwise mystified and frustrated me prior to becoming an editor and being responsible for interacting with first-time and established authors.

I have decided to provide a humorous, but serious, collection of things you should do and things you shouldn’t do when submitting and entering into a discourse with a publication – sprinkled, of course, with some anecdotes. And without further ado (or perhaps slight ado if you count this sentence here):

Things You Should Do

  1. Read the publication you are submitting to before sending an email. This one sounds obvious, I know. However, it happens so often that it warrants mentioning. If you have written a brilliant piece of prose that is about zombies, it is quite likely that Popular Mechanics will not be that interested in it. Pick up an issue of the magazine you are interested in submitting to and familiarize yourself with the kinds of stories they publish. The next part is the hardest part: be honest. Does your piece fit with what they publish?
  2. Read and follow the submission instructions. Again, a no-brainer. If you are thinking that you don’t know where to find the submission instructions and you just have an email address, be prepared for disappointment. Your email might go to submission purgatory with a one-liner response about having received your correspondence – if you’re lucky.
  3. Address your submission to the appropriate person. If you are thinking that I am giving you the obvious pointers, then you are quite right. With that in mind, imagine that I still receive hundreds of emails a month that manage to ignore these simple suggestions. If you are writing a stunning expose on corporate greed, the poetry editor is probably not the best destination for your work.
  4. Edit your work. I tell this to students a lot, so I will mention it here as well: spell check in Microsoft Word is not sufficient. I am not saying that you need to be a copyeditor to submit to a magazine, but do yourself a favor and read it out loud. If it something sounds funny when you read it, you can only imagine how it will sound to an editor who is choosing among thousands of articles and stories to determine what goes to print.
  5. Be cognizant of turnarounds. By this I mean, the amount of time between when you sent in the work until you hear back from an editor about the status of your submission. Nothing will send your work to the bottom of a slush pile than to send a follow-up email the day after you submitted, wondering whether or not you are going to be in the magazine. Most publications will post how long it takes to hear back from them about the status of a submission, and an amount of time after which you should contact them if you haven’t heard from them.


Things You Shouldn’t Do

  1. Send an email telling an editor that they would be stupid not to publish your work. It always surprises me when I get an email telling me that I need to publish a story, poem, or piece of nonfiction because it is the next best thing. Top this off with letting me know that I would be a fool not to accept it, almost guarantees a trip to the trash can.
  2. Send a photocopy of your story by registered mail.  If you want to have your story in a magazine, start by giving it to editors in a format that they can actually use. By sending a faded and blurry photocopy of your forty-word poem and declaring that it is a soul-searching masterpiece does not inspire as much confidence as you would think.
  3. Contact an editor on a frequent basis about the status of your submission. I have to sort through hundreds of emails a day, edit for the current issue, and work on editing an anthology; not to mention a thousand other intangibles. We posted a time table about getting back to you for a reason: read it.
  4. Be discouraged by a form rejection letter. This is a bitter pill to swallow for many writers. They think the form rejection letter means that the editor didn’t read their work, or simply had things already planned and was stringing writers along. The reality is on any given month I send out hundreds upon hundreds of rejection letters. There is simply not enough time in the day to offer feedback to every single person. This not to say that I do not offer feedback, or that editors do not offer feedback in general, but instead the process is streamlined so writers can be responded to in a reasonable amount of time.
  5. Call the magazine to find out about your submission. This is subsumed by not contacting an editor about the status of your submission before enough time has passed, but I thought it warranted a special mention considering it is really going the extra mile in terms of being an irritation. If we haven’t gotten back to you yet, calling us is not going to suddenly make us more accessible.
  6. Send another email with corrections. Read twice, send once. If you don’t think what you sent is ready for publication, then please don’t send it. You get one chance at a first impression, and nothing speaks to being underprepared and unprofessional than sending a draft and immediately following up with another draft. If your piece needs work, note that in your submission, but don’t send a series of emails chronicling the different stages of the edits for that story. The exception, of course, is if you have already been accepted and you have been asked to make edits.
  7. Contact the magazine to air your frustrations about not being selected. I say this with all seriousness. It is very likely that you got rejected because the piece was not a good fit and not that the magazine has decided to order a hit on your writing career. Please don’t treat it that way. Lashing out at a publication for sending a form rejection letter, or passing on a piece you have written, reeks of a lack of professionalism and could impact your ability to publish elsewhere. Many editors are friends, especially in the digital age, and word spreads fast.
  8. Contact the magazine to ask if you think a story you are working on would be a good fit elsewhere. I can appreciate the sentiment. A lot of editors are writers themselves, and they love talking about the process and the product. I find myself building friendships with writers, those we publish and those we do not, and often I will give them suggestions about their work. However, if you don’t know me personally and have never been published or solicited in any way to use me as a sounding board, then do not contact me and ask if a poem or story would be a good fit at another magazine. If you think it is ready for publication, then submit it here. An obvious exception would be if the writer knew the story would not be a good fit and asked because they were uncertain in venturing into new territory.


I could probably keep listing things you shouldn’t do, but I will wrap it up there. I encourage you to keep trying and keep writing. Things only get better with time, and time is all we really have. I love to hear from other writers and potential readers, so please stop by and say hello.



Bio: A psychologist, author, editor, philosopher, martial artist, and skeptic, he has published several novels and currently has many in print, including: The End of the World Playlist, Bitten, The Journey, The Ocean and the Hourglass, The Path of the Fallen, The Portent, and Cerulean Dreams. Follow him on Twitter (@AuthorDanOBrien) or visit his blog He recently started a consultation business. You can find more information about it here:

Path of the Fallen (US):

Path of the Fallen (UK):


Bitten (US):

End of the World Playlist (US):

Cerulean Dreams (US):

The Journey (US):

The End of the World Playlist (UK):

Bitten (UK):

Cerulean Dreams (UK):

The Journey (UK):




And a quick reminder that today (1st March), for one day only, my Young Adult novella ‘Twin Evils?’ is free in Amazon. Check it out!

And thanks for reading!

Twin Evils cover11


Hola a todos: Como sabéis casi todos los viernes os traigo un autor invitado. Esta semana es algo especial, ya que Dan O’Brien es también editor de una revista literaria, y ha decidido ofrecernos su perspectiva como editor. Como premio por su amabilidad, la semana que viene volverá de invitado para hablarnos de sus libros. Pero ahora, os dejo con sus observaciones y consejos:


Un punto de vista sobre la escritura desde el otro lado de la valla.

Post de invitado de Dan O’Brien

La vida de un escritor puede ser dura a veces.

El éxito es elusivo; los fans son más cambiantes que la brisa veraniega.

Aún y así perseveramos, escribiendo hasta tarde y levantándonos temprano para tener más horas y adentrarnos, por un rato, en los mundos que creamos. Cuando empecé a escribir, hace más de una década, fue porque amaba la idea de sumergirme en un lugar donde yo podía construir la narrativa; andar a través de los bosques más densos y subir las montañas más altas. Con el tiempo el proceso se convirtió en escribir como herramienta para moverme a través de emociones y memorias tenues que requerían catarsis.

La escritura toma muchas formas, para escritores diferentes, a través de nuestras vidas.

Para mí, el proceso en sí es la recompensa.

Amo la escritura.

Cuando me pregunto esa tontería, ¿qué haría si tuviera todo el dinero del mundo?, la respuesta es siempre muy simple, escribir. Ahora, más de una década más tarde, tengo un renovado sentido del propósito y me he vuelto bastante habilidoso en evitar que se hagan añico los platos girantes de la responsabilidad.

Recientemente, entre mi tiempo como estudiante de postgrado a jornada completa y escritor, me uní al equipo de la revista Empirical como editor- entre otras responsabilidades. Una revista nacional similar en espíritu a Harper’s o the Atlantic, la revista está firmemente enraizada en la sensibilidad de la Costa Oeste. Hay algo para todos los gustos, y con toda honestidad, espero que todo el mundo echará un vistazo. Contribuidores a la revista vienen de todas partes del globo y de todos los campos, desde la política a la ficción.

Trabajando en  una revista, especialmente en este punto de su maduración, es una experiencia maravillosa. Hay tantos momentos emotivos que animan el día. A veces me paso el día seleccionando las obras de ficción y poesía recibidas, buscando ese fragmento de prosa, o quizás una estrofa, que captura la imaginación. Otros días estoy editando, refiriéndome todo el rato al Manual de Estilo Chicago para comprobar el uso correcto de la estructura arcaica de una frase. Como escritor, la tarea de editar y andar rebuscando el trabajo de otros puede que no suene fascinante, pero tiene consecuencias maravillosas:

  1. Aprendes a ser mejor editor de tu propia obra.
  2. Empiezas a reconocer frases con estructura redundante y notas el excesivo uso de otras.
  3. Tu conocimiento del lenguaje crece exponencialmente.

Sin embargo, el componente más importante para mí es:

  1. Llegas a ayudar a otros a presentar su trabajo en un foro público.

Para muchos escritores, y ciertamente para mí al inicio de mi carrera de escritor, la noción de ser escogido por una revista o pequeña editorial estaba siempre presente en mi mente. Era la promesa distante de  publicación y todo lo que va con ello lo que me empujaba hacia delante. Cuando recibía cartas de rechazo, la mayor parte sin toque personal, mi escritura sufría, me sentía deprimido y mi habilidad  menospreciada .

Pasaron años durante los cuales acumulé miles de cartas de rechazo, y me di cuenta de que seguir escribiendo puramente esperando recompensas extrínsecas me daba tanta probabilidades de ganar como jugando en un casino de las Vegas. Se me hizo claro que necesitaba escribir porque amaba la escritura, y que debía encontrar una manera de compartirlo con otros – incluso si no era a través de rutas tradicionales. Descubrí que me sentía mucho más a gusto con mi escritura cuando lo hacía simplemente por la alegría de escribir.

Ahora que estoy al otro lado de la valla, por así decirlo, me he dado cuenta de que existen un número de mitos sobre los métodos de enviar material a publicaciones que pagan por las contribuciones que me mistificaban y frustraban antes de convertirme en editor y ser responsable por interacciones con autores, ya sean noveles o establecidos.

He decidido ofrecer una colección humorosa, pero seria, de cosas que se deben y que no se deben hacer cuando se envían escritos y cuando se entra en contacto con una publicación –salpicadas, por supuesto, con anécdotas. Y sin más (o quizás un pelín más si contáis esta frase):

Cosas que deberíais hacer

  1. Leed la publicación a la que vais a enviar vuestro material antes de enviar un correo electrónico. Esta suena obvia, lo sé. Pero, pasa tanto que vale la pena mencionarlo. Si habéis escrito una brillante obra en prosa sobre zombies, es probable que Mecánica Popular no esté demasiado interesada. Coged un número  de la revista a la que pensáis enviar vuestra obra y familiarizaos con el tipo de historias que publican. Lo siguiente es lo más duro: sed honestos. ¿Encajan vuestras obras con el tipo de cosas que publican?
  2. Leed y seguid las instrucciones. De nuevo, evidente. Si contestáis que no sabéis donde encontrar las instrucciones para presentar material y solo tenéis una dirección de correo electrónico, preparaos para una decepción. Vuestro correo irá directo al purgatorio de las presentaciones con una respuesta de una línea sobre haber recibido vuestra correspondencia –si tenéis suerte.
  3. Dirigid vuestro material a la persona correcta. Si pensáis que toda la información que os doy es obvia, tenéis razón. Con eso en mente, imaginad que aún recibo cientos de correos al mes que ignoran estas simples sugerencias. Si habéis escrito un increíble artículo denunciando la avaricia de las compañías de negocios, el editor de poesía probablemente no es el más adecuado para la obra.
  4. Editad vuestra contribución. Se lo digo a los estudiantes todo el tiempo, así que lo repetiré aquí: comprobar la ortografía con Microsoft Word no es suficiente. No digo que haga falta ser editor profesional para presentar material a una revista, pero haceos un favor y leedlo en voz alta. Y si algo suena raro cuando lo leéis, ya os podéis imaginar como le sonará a un editor que tiene que escoger entre miles de artículos e historias para determinar qué va a la imprenta.
  5. Familiarizaos con lo que pueden tardar en responder. Quiero decir el tiempo que puede pasar entre enviar la obra y que el editor os responda. Nada enviará vuestro artículo al final de la cola como enviar un correo de seguimiento  al día siguiente del envío, preguntando si saldrá o no en la revista. La mayoría de las publicaciones mencionan cuanto tiempo pueden tardar en responder sobre una obra específica, y el intervalo pasado el cual deberíais contactarles si no habéis oído nada.

Cosas que no deberíais hacer.

  1. Enviad un correo diciéndole a un editor que será estúpido si no publica vuestra obra. Siempre me sorprende cuando recibo un correo electrónico diciéndome que debería publicar una historia, poema, o una historia no-ficticia porque es lo mejor que leeré en mi vida. Si completáis esto diciéndome que sería un idiota si no lo publico, y casi garantiza el cubo de basura.
  2. Enviad una fotocopia de vuestra historia por correo certificado. Si queréis tener vuestra historia en una revista, empezad por entregársela a los editores en un formato con el que puedan trabajar. Enviando una fotocopia borrosa y descolorida de vuestro poema de 40 palabras y declarando que es una obra maestra salida  de lo más profundo de vuestra alma no inspira tanta confianza como creéis.
  3. Contactad a un editor a menudo para preguntar qué pasa con vuestra obra. Tengo que leer cientos de correos al día, editar el número actual, y trabajar editando una antología; sin mencionar miles de otras cosas. Publicamos información sobre lo que tardamos en responder por algo: leedla.
  4. Descorazonaos por una carta de rechazo estándar. Ésta es una píldora amarga de tragar para muchos escritores. Creen que una carta rechazo estandarizada quiere decir que el editor no ha leído su obra, o simplemente tenía las cosas ya planeadas y solo estaba engañando a los escritores. La realidad es que en  un mes cualquiera envío cientos y cientos de cartas de rechazo.  Simplemente no hay tiempo suficiente para ofrecer comentarios y razones a cada persona. Eso no quiere decir que no ofrezco comentarios, o que editores no ofrecen comentarios en general, pero en lugar de eso el  proceso está organizado para asegurar que los escritores reciben respuestas en un tiempo razonable.
  5. Llamad a la revista para saber cómo va vuestra obra. Esto entra dentro de la categoría de  no contactar al editor antes de que haya pasado tiempo suficiente, pero pensé que merece mención especial porque significa ir más allá de lo usual en términos de convertirse en un irritante serio. Si no os hemos respondido, llamarnos no va a hacernos más accesibles de forma mágica.
  6. Enviad otro correo electrónico con correcciones. Leed dos veces, enviad una. Si no pensáis que lo que habéis enviado está listo para publicación, por favor no lo enviéis. Sólo tenéis una oportunidad de dar una buena primera impresión, y nada hacer peor impresión de falta de preparación y profesionalidad que enviar un borrador inmediatamente seguido por otro borrador. Si vuestra obra necesita más trabajo, comentadlo cuando la enviéis, pero no enviéis una serie de correos comentando el progreso de las ediciones de la historia. La excepción sería, por supuesto, si vuestra pieza ha sido aceptada y os han pedido que la editéis.
  7. Contactad la revista para ventilar vuestra frustración por no ser elegido. Lo digo en serio. Es probable que la revista la haya rechazado porque la obra no encajaba en la revista y no porque haya decidido destruir vuestra carrera. Por favor, no lo tratéis como tal. Insultad a la publicación por enviaros una carta de rechazo, o por no aceptar algo que habéis escrito, demuestra falta de profesionalidad y podría impactar vuestras probabilidades de publicar en otros sitios. Muchos editores son amigos, especialmente en la era digital, y las noticias vuelan.
  8. Contactad la revista para preguntar si creen que una historia que estáis escribiendo sería apropiada para alguna otra publicación. Entiendo la lógica. Muchos editors también escriben, y les encanta hablar del proceso y el producto. Yo a menudo acabo haciendo amistad con escritores (a los que publicamos y a los que no), y a menudo les hago sugerencias sobre sus obras. Sin embargo, si no me conocéis personalmente y nunca os hemos publicado o hecho sugerencias, no me contactéis para preguntarme si un poema o una historia      encajaría bien en otra publicación. Si creéis que está lista, enviádmela a mí. Una excepción obvia sería si el escritor sabe que la historia no      encajaría y preguntaba porque tenían duda al adentrarse en nuevo territorio.

Probablemente podría seguir con la lista de cosas que no deberíais hacer, pero lo dejaré aquí. Os animo a seguid intentándolo y escribiendo. Las cosas solo mejoran con el tiempo, y tiempo es todo lo que tenemos. Me encanta saber cosas de otros escritores y lectores en potencia, así que pasaos por aquí y saludad.

Biografía: Un psicólogo, autor, editor, filósofo, experto en artes marciales, y escéptico, ha publicado varias novela y tiene muchas disponibles, incluyendo: The End of the World Playlist (La lista de canciones del fin del mundo), Bitten (Mordido), The Journey (El Viaje), The Ocean and the Hourglass (El Océano y el reloj de arena), The Path of the Fallen (El sendero de los caídos), The Portent (El portento), and Cerulean Dreams (Sueños Cerúleos). Seguidle en Twitter (@AuthorDanOBrien) o visitad su blog Recientemente ha abierto un negocio de consultas. Podéis encontrar más información aquí:
Path of the Fallen (US):

Path of the Fallen (UK):


Bitten (US):

End of the World Playlist (US):

Cerulean Dreams (US):

The Journey (US):

The End of the World Playlist (UK):

Bitten (UK):

Cerulean Dreams (UK):

The Journey (UK):





Y recordaros que hoy y por un día sólo, mi novela corta juvenil ‘Gemela Maldad’ es gratis en Amazon. También disponible en versión inglesa (‘Twin Evils?’) Gracias por leer!
‘Gemela Maldad’

Gemela Maldad cover

A.J.Lyndon - author

Historical fiction - a gateway to war-torn 17th century England

Critical thinking for Human Community

Critical thinking for Human Community via #PublicDomainInfrastructure: Public Transit, Public Libraries, Public Education, and Public Health Care

Just Reading Jess

Book Blog: Book Reviews and other Bookish Posts


I speak my heart out.

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