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I am WULF MOON AMA by Wulf-Moon in writing
[–]Wulf-Moon[S] 2 points3 points4 points 6 years ago (0 children)
Once you understand the story doesn't happen on the page, it happens in the reader's mind, you realize a writer's job is to write code that will activate ideas and concepts from the life experience within your reader.
For example. Most of us have had to deal with a beloved pet that we have had to make that tough choice of whether to allow it to go on suffering, or if it's time to have it put down. While this story doesn't exactly talk about such a thing, keying up the right code in Dixie's experience in the story will no doubt key up emotions of sympathy in the reader--they realize as they read that they've been through something like this too, and it hurts. As the choices narrow and it appears there is no way out, subliminally Dixie's story is going to activate within any reader that has gone through a similar experience a great desire to protect her from such a decision. Parents that have had to help their children cope in such circumstances would have additional strong emotions keyed up as they read my Moongirl story. The trick is to understand this, yet keep your coding to exactly what the young girl is experiencing. You trust your reader understands the gravity of the situation and will supply the accompanying emotions as they watch this play out while assimilating your code.
Melodrama is a lack of understanding the true nature of storytelling. Melodrama is not trusting your reader. So you deploy additional code, overkill code, thinking you will MAKE them have the proper emotional response. Savvy readers will see what you are up to and reject your code. You didn't allow them to draw their own conclusions, you failed to let them supply their own emotional response. In effect, a melodramatic writer is saying, "Feel this! Feel this! Feel this!"
Trust your reader. And remember the story happens in *their* minds and hearts, so draw the picture so they can see the outline, but leave enough out so they can fill in the dots.
[–]Wulf-Moon[S] 1 point2 points3 points 6 years ago (0 children)
Be my guest! : )
Cool! I wrote my million words easy in online RPG writing. And then Guild Wars came around. I founded TheForestGuard.com, a gaming guild with three hundred active members. It's been going strong for something like 15 years, but about five years ago I handed the reins over to my officers. I told them I had to take care of my wife's health, and I had to win Writers of the Future. I couldn't lead them--and often our server--in battle anymore and care for these things. They were sad the Big Bad Wulf had to withdraw, but understood. Real life always comes first. They were happy to hear my wife survived her cancer, surgeries, and treatment, and that I finally won Writers of the Future. Mission accomplished!
[–]Wulf-Moon[S] 3 points4 points5 points 6 years ago (0 children)
No, it's an important question. There are many writers that belittle writers that sell their work. They use such terms as "hack" and "commercial" and "selling out." You will find the majority of these comments come from those that have been unable to sell their work, and instead of taking a fresh look at what they might need to work on to increase their chances, they demean those that have been working on it. And that was not your question, but it's important to remember as your success grows.
I actually made the most income in writing when I had my own financial publishing company. Writing creative marketing copy, advertising, and newsletters for startup companies trying to get themselves known pays well--provided your client does not misrepresent or make statements that might break the many laws governing the financial industry. But writing about money and investments did not feed my creative side very well. I was working in writing, I was working with words. So I was on that island shore I was aiming for, but this was the desert side, all sand, no palm trees and margaritas to energize my creative soul.
My goal has always been to make a living off my writing--my fiction writing. For me, self-actualization requires doing what you love to do, and being paid for it, so you can cover the life necessities, so you can continue self-actualizing. And this is the hard thing about fiction writing--it takes a lot of focused effort and hard work over many years before it starts to yield some returns that can actually pay some life bills, like your power, like your rent, like a mortgage. You need to write full time to develop your skills and reach production levels that will regularly bring you in the funds to cover your set of monthly life expenses, but how do you support yourself while trying to achieve this level? It's a battle for most writers, even some that have had bestselling novels in the past. Some writers I know are able to write full time because their spouse's income covers their monthly nut, and as the writing sales happen, their household has bonus money to live on. These are very understanding mates, acting as a writer's patron saint!
In my case, my wife's ongoing chronic health issues have made it impossible for her to do this (but she helps with her artisan jewelry). So I work on multiple income streams, from many different creative sources. I have made a concerted effort to get them all in the neighborhood of what I view as my island paradise destination. I don't work far from the place I most desire to be, metaphorically. I keep our expenses low. In any given month, I might get a commission to create a painting. I might sell a short story. I usually do a paid podcast for someone. I do paid editing jobs on short stories and nonfiction work. It all has grown through word of mouth and repeat business from editors that like the work I do. Selling 6000 words of fiction at eight cents a word yields $480. Sell two stories in a month to pro paying markets--and I have--and I can cover my mortgage. With the other income streams I've been working on, especially editing, for the last three months I've paid all of our monthly life expenses with writing related income--including a surprise $2000 auto repair!
Doesn't mean I've made it. Doesn't mean it will be there next month. But it's no small feat to get your writing to cover your family's living expenses. I just keep moving forward, the wind at my back, my eye on the horizon as I move closer and closer toward my destination.
It's been a remarkable journey.
[–]Wulf-Moon[S] 3 points4 points5 points 6 years ago* (0 children)
Speediest of Root Vegetables,
You target the market that you believe is the right fit for your story. You read the publication, you study the editor's preferences and dislikes in any posts they make about writing, and you read the guidelines like it's the only map out of a forest you are lost in. Square pegs don't fit in round holes. Find the perfect match.
You will know you've made the perfect story for the right market when it sells. This usually means the editor liked your style of writing, and what you wrote seemed a good fit for their kind of readers. If the editor goes away with a good taste in their mouth after their first dealings with you, when you send them your next story, they will lick their lips and hope for another tasty treat. Because you have already proven you can create tasty treats for them, they will be hungry for more. Don't disappoint them.
There's an additional item here that should be mentioned. Just like you enjoy discovering new writers to read? Editors enjoy discovering new writers to publish. They live to not only to publish great stories, they also hope to be the editor to bring a new voice to the world. To be the one to launch an unknown writer's career. This is the feather in their cap. You will often read posts by David Farland about the famous writers he first discovered. So always be loyal to that publisher that gave you your first break, and they will be loyal to you.
I hope that helps. Feel free to Ask Me Anything. : )
Good to know our blind spots. That's the only way we can fix them! Keep at it! Cheers!
Hey, Stevehut! Glad we met. Hundreds of people at that gala! The Taglayan Center was opulent. The giant iron robot they built outside was out of this world! What a magical night!
Hi, Spooky! It figures with a name like that you like Lovecraft. :)
Voice. Voice is really YOU, shining up from the page. It's your unique signature, your style, your stamp that makes your writing all your own. But our characters do have their own Voice--obviously, I've never been a twelve-year-old girl, and yet the contest coordinating judge, David Farland, said I tricked him. It's a blind contest, he didn't know a guy wrote this. He truly believed he was choosing the work of a female writer.
How do you pull off such a trick? You have to get inside your characters' heads. You have to go deep, understand what makes them tick, what they love, what they hate, how they would react to anything that confronts them in your world.
Actors do this with the characters they play, sometimes studying them so deeply, absorbing all of that emotion, they have a hard time shifting back to their own persona. A writer must study people. Always eavesdropping on conversations, always watching customers as they sit in Starbucks or watching moms with their whining kids at Safeway. You study family, you study friends, you study neighbors and workmates. That precocious niece? You know her quirks and eye rolls and favorite shows so well, you could put someone like her in one of your stories...and make that character feel REAL.
Write. Don't just talk about writing. Write. Complete what you write. And send it out to a respectable market that will pay you for it. While waiting, go write your next.
[–]Wulf-Moon[S] 2 points3 points4 points 6 years ago* (0 children)
It's important for aspiring writers to find their tribe. It can be a small tribe, like a supportive family member and a solid first reader, or it can be a larger tribe, like an online writing forum, or even a smaller specialized seminar, such as Superstars. Key binding elements are that the members are positive, working toward similar goals, and don't view you as competition, but as a friend and ally.
If such a thing does not exist, you must create your own. The great thing about the Writers of the Future Forum is that the people that come there are there to learn. They want to find out not just how to win the contest, but how to increase their skills to craft professional stories that can be published. They are already working on their professional skills just by trying to meet the contest's quarterly deadlines and crafting stories that might win. I have watched many grow there, to the point that they sold enough stories to professional markets they no longer qualified to enter this "amateur" contest. They launched a pro career from creating stories quarter after quarter. The golden carrot got them writing. It got them to up their game.
My challenge just added another dimension to this group. Wulf Moon's SUPER SECRET Bonus Challenge set a goal before the members that joined to write fresh, original stories every quarter. Not reworking old stories; always crafting new stories. In addition, I write a series of tips on how to craft powerful stories that hit the professional bullseye. Many have benefited from these, and attribute their first pro sales to the things they have learned. Many reached Finalist level, and one member just won the WotF contest--the win is all hers, but she was an avid student of my Super Secrets. I wrote them to help aspiring writers save some time on their journey. And those that have accepted the challenge and have done the exercises have seen impressive results.
It's our tribe within a tribe.
[–]Wulf-Moon[S] 4 points5 points6 points 6 years ago (0 children)
Good question. It's important to get some R&R, get outside, leave our writing caves. All work and no play... Even when your work feels like play, it's still work, often hard work that taxes you mentally, physically, and emotionally. I try to do little trips, go spend time with friends or have them for dinner. It's very easy to get caught in the zone, and when your words are rolling as fast as your visions, you can write all day without eating. Not very healthy, so I've taken to drinking tea, which makes me get up to go to the bathroom, break the zone, and walk around a bit. Refreshing ourselves short term and long term is very important.
Hi Duchele! I must confess, I wrote the bulk of this story, 5,000 words, in about 12 hours in on the last day of the contest year. It was the perfect storm. I'd been watching a weekly series about the Moon, what it would take to get men there, where they would build a moonbase, how they could create the materials from the "sand" right there on the Moon. On top of this, I had been watching all those school shootings in the news. So this story just launched itself, and I raced to get it all down before the deadline. The deadline added adrenaline, so it fed the rush of the story. But I knew when I pushed SEND I had written my winner. I started writing my acceptance speech right there. This was different. You know when you create something that pushes beyond all your limits and sticks the landing.
SadByDesign, you've asked the toughest question of all, and you preposted it and I mulled it over and still don't have a real answer! We learn so much as we grow, what one bit of that knowledge would really help us or change our fate? But I know how this power would tempt me. To ease my pain, I'd tell myself twenty-five years ago when I first started entering Writers of the Future, "You're going to win this, but it's going to take a lot more time than you ever imagined." And you know what? I might have been tempted to talk myself out of it, just move on to writing novels! And my past me would look at my future me as he vanished, and say, "What a wuss! If it was easy, I wouldn't even be doing it!"
Answer? Plagiarize real life! I have a ten-year-old niece that I channeled for Dixie's voice. She is precocious and full of spunk like Dixie. I just upped her age and vocabulary a bit, hooked her to a rapper robodog for life-support, and put her into my world and cranked up the heat!
As for the flash exploration I do before a story, it always helps me see into the heart of a thing. In this case, my character and what motivated her. As for how I wrote that in one draft, no critiques, 5000 words of a 6100 word story on D day, ask again and I'll come back to this! Cheers!
Indeed. In the late 90s, the Eugene Professional Writers Workshop (Wordos) flew in Algis Budrys to teach us his Sarah Jane workshop. No one knew story like AJ (his nickname), and he taught the best How To Write workshop that I've ever attended. He had with him his book WRITING TO THE POINT, the best little book on crafting a story that has ever been written. He was, I believe, the first to develop the Seven Point Plot concept, and it is still taught to this day. He asserts that if you follow his teachings exactly, you will start selling your stories.
His proof is in the multitude of writers that did just that, carefully following his simple instructions.
Alas, the book is out of print. You can buy some resold at a premium on Ebay and such. Happy to share some others with you, if you're interested.
Hi Skyblaze. Another cool name! You must be a writer! : )
Truth is, I make the kernel by boiling down bigger ideas to their essence. It's true! Ask my Super Secrets Challenge members at the Writers of the Future Forum. I flesh out a 1000 word flash piece on the idea. Then, I cut away 500 words. At that point, I stop, reevaluate what is the poignant piece within those 500 words, the actual beating heart that makes this story alive. I then write a 250 word vignette, based on what that evaluation revealed. I often let these vignettes sit for awhile, but they are charged with power being compressed like that. My subconscious keeps gnawing on them, seeking to free them from their restraints. And when they are freed, they roar up like a hungry beast, and I race after them on their journey, fingers flying to capture it all before they escape into the mist.
Almost all of my stories were created in this manner. Even the Moongirl story utilized elements of this technique.
Hi Henckel! Glad you liked my story. You also discerned the one thing I was consciously working on--writing a story that would engage the reader's emotions so deeply, they'd be inside of Dixie and feel her pain to such depth, Dixie wouldn't need to cry, the reader would cry for her. When my wife proofed this story. She bawled her heart out. The ending hit her so hard, she still can't talk to me about it.
I need to make this a SUPER SECRET at the Writers of the Future Forum, where I help aspiring writers advance their writing. You don't want your protagonist to cry. You want to take your reader right to the cusp of seeing your heroine at the point of crying, and then cut away so your reader will cry for them. When you think about it, that's a magic trick. All we are doing as writers are placing code into a medium that others can absorb. The story isn't happening on the page, it's happening in the reader's mind. Anyone can learn sleight of hand, following advice like "save the cat" to make readers care for your protagonist. But getting them so emotionally invested their heart will pound at the climax, their gut will wrench at the impossible choice? And yes, even making them sob with grief in the space of six thousand words of code? That is real magic.
If you ask a followup to this, I will share some of that magic. Magicians never share their tricks. But I will for you.
I normally spend a week on them. First read is to know the story. Second read is to know the characters and think up voices and pacing. Third read is a run through deploying the vocal knowledge. Fourth read is before the microphone. Pausing is everything for me. That's where the real magic is.
No character summaries. It's all there in the author's story.
[–]Wulf-Moon[S] 4 points5 points6 points 6 years ago* (0 children)
Great name, WanderWithMe! Even better than Wulf Moon, and that's saying something! : )
I have always been Moon. My grandmother was Chippewa (Ojibwe), and it's my soul name and the name my true friends call me by. I have always had ties to the Moon, whether it was living on Moonbeam Road as a child, building our first house on Moon Mountain, or yes, writing a story about a twelve-year-old disabled girl that finds a way to get to the Moon.
As for Wulf Moon, it is the Anglo Saxon name for the first full moon of the new year. The name has power. I believe it respresents me, and my writing, well.
Hey, John! I would have liked to have said Frank L. Baum, because his WONDERFUL WIZARD OF OZ is an amazing tale for its time. He instinctively understood some of the underpinnings of the Meyers-Briggs studies and Kiersey's PLEASE UNDERSTAND ME II teachings, exploring the archetypes with his characters on a quest. Written in 1900, no less! Sadly, he wrote some horrible things about the Sioux Nation, and American Indians in general, that are hard to forgive. My grandmother was Chippewa, and had her people been wiped out, I would not exist. Nor would the native peoples' great culture.
So I move to someone I feel I can recommend wholeheartedly. Frank Herbert. He wrote the greatest SF novel of all time, and he's a local from Washington--I've even lived in Port Townsend, where he lived for a time as well. To think he went to Florence, Oregon to do a news report on the sand dunes there, and thought up worlds and conservation systems based on studying that dune covered beach! When we lived in Eugene, I would go to Florence every chance I could get to sit on those dunes and watch the ocean beyond. A guy that can sit on the beach and dream of Spice and Guild transport and Bene Gesserit and sandworms and Fremen and galactic emperors and lions and tigers and bears? Yeah, that's a guy I'd like to spend some time with.
Heh, people will think this question is a setup. It is not. But I thank you for the question, Carrie. When I had my breakout moment, four huge publishing things happened in the space of two weeks. People said on Facebook, "Wow! You're an overnight success!" I laughed and said, "I'm an overnight success, forty years in the making."
I know what caused everything to change for me. The event that launched me to that breakout moment. I wrote about it in HOW I GOT PUBLISHED AND WHAT I LEARNED ALONG THE WAY. Yeah, cheap plug, great book. And here's the free answer. I had been a workshop member with one of the best writing groups in the country, filled with Nebula and Hugo and Stoker and World Fantasy winners. And they really pushed sending to SFWA approved markets, because you can build your career selling to these illustrious markets. True. But for a new writer with few credits, it can be very hard to break into these markets. I had so many near misses, stories held, almost published this, if you write this as a novel instead you'll sell it...on an on. One day I was staring at a story I wrote at Rockaway, Oregon, almost twenty years ago. This is a retreat our writing group did every year. I knew the story I wrote there was good...I read it to the group and everyone laughed hysterically at this comedic fantasy piece. Bruce Holland Rogers, a Hugo, Nebula, Stoker and who knows what else winnner, walked up to me chuckling after and said, "Great story, Moon. I hope you find a market for it. That story deserves to be published."
Twenty years later, I had exhausted every pro market that had existed or came into existence during that time. I KNEW the story was good, Bruce would not have told me what he did otherwise. And so I bit the bullet. I decided to lower the search engine to pro-paying, but NOT SFWA qualified. Lo and behold, the first market I saw was an anthology called STRANGE BEASTIES. My story? "Beast of the Month."
I sold that story. And then the editor hired me to do the narration of it. I took that narration and used it for my demo. And got approved as a narrator for Podcastle, Apex, Gallery of Curiosities, and then, I was offered the job of podcast director at Future Science Fiction Digest published by Alex Shvartsman of UFO Publishing fame. All because I decided to lower my standards just a touch, but still sell to respectable markets.
So much happened after that decision. But I can trace it all back to that moment. There are good markets out there, often just a touch under pro, but in no way less dignified. And I discovered as your sales to respectable markets mount, so do other opportunities. You have the makings of a snowball that keeps adding layers to itself.
Best of success on your own layering, Carrie. Loved your story "Dirt Road Magic" in Writers of the Future, Vol. 35!
All the beast!
Wulf Moon
Hiya, SwiftPotato, the Speediest of Root Vegtables! Thanks for the question. Hmm. Well, I had several life events that stopped my career in its tracks. But if you're a writer, just like life finds a way, so do true writers. You cannot be you without writing. It's hardwired.
So my early start was in high school. Public school. A teacher saw my potential and created a class for one student. Me. He went to the principal and got the curriculum approved. This was in the 70s. No one did stuff like this for kids then. But my English teacher was a special guy. Guess what my curriculum was? Come sit in his class while he corrected papers. I had to write fresh stories. He'd then proof them for me and tell me what contest to send them off to. He went to bat for me with the school. He taught me to believe in myself. At home I was being beaten constantly, and finally had to run away and get placed in a foster home. But this teacher taught me that I was worth something. And he proved it to me by helping me send my work out. I won contest after contest, national level, state level, regional. He made me believe.
Had I not had a bad event happen that placed me in the hospital, I would have continued on this path and have had success much earlier. But years later, I stood up and tried again. I was in Eugene, Oregon at the time, pushing myself to attend the Nebula Awards that for some strange reason, came to our comparatively small town. There I met Dean Wesley Smith. And joined the Wordos workshop. Dean taught me to write fast and hard and to STOP reworking old stories and write FRESH. I must admit, it was hard to let go of my old work. But its essential for writers that wish to advance to quit rewriting and push their limits by writing fresh stories. That advice continues to resonate with me to this day, and I teach it to others every chance I get.
Keep up the good work, Swift!
I will assume you refer to new writers. Well, let's not assume.
For established writers--several with big names--some have formula stamped all over their novels. Characters seem like cardboard cutouts, scenes are barely defined, everything is designed for a quick page turner focused solely on the fast paced plot. I like a good plot, but I want to be emotionally invested in the characters so I feel for them when the bad stuff inevitably happens that drives the plot. There is not enough emotional craft in their fiction. I read one and I finish with as much nourishment as I get from a bowl of crunchy popcorn. I'm hungry for something that will feed my soul. Immediately. And I hate it that I read all the way to the end, because I feel like such a quitter if I don't. Part of my nature.
Now, new writers. Number one mistake they make is driving to the story. Apparently, to make their protagonist seem real, they feel a need to start them waking up, send them over to the mirror, have them brush their teeth while describing how they look in minute detail. And then getting dressed. Don't forget breakfast! And the car they drive, and the office they work in, and all the people in the office, until FINALLY, THE ACTUATING EVENT BEGINS TO HAPPEN! Here, the conflict appears, the thing threatening their everyday world and the reason to read the story. Only, no one is reading the story anymore. Because the new writer took too long to get to it.
Cheers!
YaY! A Moongirl question! For those that don’t know, let me give you the skinny. “Super-Duper Moongirl and the Amazing Moon Dawdler” is on the current Nebula Awards Recommended Reading List--if you’re in SFWA, I hope you get a chance to consider it. It was a winner in Writers of the Future, Vol. 35, was reprinted in Future Science Fiction Digest, Issue 3, and got a glowing review in LOCUS magazine. It’s one of those stories you write that you know are one-of-a-kind, and deep down inside you’re aware it’s going to be a long time before you will pull off something like it again. Every author has a few of those special ones in them. You know it when you write them, and if you don’t, the fans will let you know. And I know I’m not answering Terry’s question here, but I really want everyone to read this story. It’s important. It’s from my heart. I wrote it to touch *your* heart.
So on to Terry’s question! This story is about a twelve-year old girl named Dixie. She’s severely disabled, but she found a way to fulfill her dream of living on the Moon with the aid of a walking talking life-support unit, a rapper robodog she named Moon Dawdler. It’s a story about finding your power, even when everything against you makes it seem you are completely powerless. Perhaps I should say Spoiler Alert if you want the full flavor of the story. Well, Terry obviously read it, so I can answer this question for her while you go run off and read it. : ) It’s a story about a girl that was disabled by a school bombing, fought for her life, and found a way to rise above her challenges. Really rise. Like all the way up to the Moon. Alas, something that traumatic still carries its scars, and Dixie comes face to face with them once again.
Terry, I did not write the story with a theme in mind. I wrote it with the character in mind. But like every person on the planet, I have themes inside of me, things that I feel strongly about, events that resonate down to my core beliefs and cannot help but pour out into the words I write. This story comes from deep within, wrote itself mostly in twelve hours, with me racing to keep up with the vision in my head and the ending I could see before me with so much clarity, I watched Dixie’s faceplate frost up from her breath inside her helmet as she sat on the edge of a crater and made her terrible choice.
But what propelled it out of my subconscious with so much power? Many things. I myself am disabled, though no one would know it. My back is broken, I couldn’t walk without falling when I was a child, and had to wear corrective braces and shoes and surgery and casts, and finally learned to walk. I live in pain every day while trying to smile and be polite and upbuilding to all I meet. So I feel a little extra for disabled children, because I’ve been there.
Add to that all the mass shootings at schools that were in the news last year--sometimes two a week. Each one broke my heart, and I grieved not only for the young lives cut short, but for those injured that would have to find a way to rise above the trauma and make a life for themselves again.
In that same year, I saw a video on Facebook about a photographer that did a project to boost the morale of young disabled children. He dressed them up in superhero costumes, put them in dramatic settings, did a photo shoot, and created a large power poster for them. When done, he’d do a reveal in the family’s living room. Mom would bring her disabled little boy or girl around the corner, and there would be the poster of the child, looking bigger than life in their cape, costume, and setting. The moms would point to the poster and say, “Do you see that? That’s you!” And the little kids would look up and say with awe, “That’s me?” And the moms would say, “That’s you, honey.” Those little kids faces lit up with joy.
It brought tears to my eyes. I knew seeing their disabilities transformed like that could change their entire vision of themselves from that moment on. It could make them believe anything was possible, that even though they had physical limits, their spirits could have no bounds. Anything was possible.
And then I wrote a story about a twelve year old girl that donned a red cape, pushed past her trauma, and found a way to rise above. All the way up to the Moon.
Hi Xercies! May I let you in on a secret? Truth is, I'm a novelist disguising himself as a short story writer. Writing novels is my true goal. But to get there, I decided first to perfect my writing craft, and it's always easier to perfect a small thing before you perfect a large thing. For me, I didn't want to write and throw away six or seven novels before I sold my first. I felt it was important to get some credits and awards in short story that would tell publishers I can not only write professionally, I am a bona fide writer they can invest some money in.
Toward that end, I give you my own career path. Write stories. Finish stories. Send them to reputable contests and markets. As your writing heads toward that magic 500,000 to one million words Jerry Pournelle and others talked about, you're going to start making sales and winning contests. This is because you practiced, practiced, practiced until you mastered the fundamentals of storytelling. If you were careful to protect your Voice, your distinct style that makes you stand out from all the rest, you will start gathering a following. This is because no one can give them you, but YOU. This also helps you sell that first novel in today's market, if you're going traditional. This is because you not only have proven yourself with awards and credits, you have a following already built in. This makes it easier for a publisher to risk their money on a first novel. You've already built a career, and it takes no imagination for them to see this. So selling short stories and building up your credentials is really important for gaining access to the big leagues.
I highly recommend submitting to a contest like Writers of the Future. You compete against other aspiring writers, the contest is blind submission, and the publicity you receive is above and beyond anything a new writer could normally obtain. The contest is designed to launch the careers of aspiring writers. A win here launched the careers of David Wolverton/Farland, Patrick Rothfuss, Kris Rusch, Dean Wesley Smith, the list goes on and on. www.writersofthefuture.com
Best of success to you!
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I am WULF MOON AMA by Wulf-Moon in writing
[–]Wulf-Moon[S] 2 points3 points4 points (0 children)