I was listening to the Writing Excuses podcast and one of the presenters mentioned that there is something of a short fiction renaissance market happening right now. The presenter mentioned that there were more fairly well paying markets for short fiction (speculative–sci-fi/fan) right now and that in the past there used to be only the big three (such as Asimov’s, The Magazine of Fantasy and Science Fiction, and Analog). As someone who is currently “in the trenches,” I have to take a bit of an issue with that characterization of the market.
With all due respect to the presenters on the podcast, they are named authors. They don’t have to worry nearly as much about the fierce competition from all of us unnamed authors trying to earn recognition and money in this system. No matter how much people may say having a recognizable name doesn’t matter, it does. I received another rejection letter yesterday (it noted that the story was well-written, but the publisher decided not to publish it (one of these days I may do a postmortem on a rejection letter in a blog post, but I digress). That lowered my average acceptance rate (tracked via Duotrope) to 7.9%,. Try going to your boss and telling him or her that you have succeeded in 7.9% of your tasks and because you’re doing more than others, you deserve a raise.
Also, what the presenters on the podcast don’t realize because they are both named authors and they don’t have to try to make a living at selling short fiction/this isn’t their primary “gig” so to speak, is that only half of the markets are available at any given time. Sure, there are a lot of markets, but many of the higher paying markets that they are alluding to are either “on hiatus” or “temporarily closed,” or worse yet, “permanently closed.” Some even have fairly ludicrous submission requirements just to limit the number of submissions that come in. Nearly half of the places where I’ve submitted stories to in the past are currently unavailable for submissions and those that are available either pay little to no money or are brand new on the market place (& usually can’t afford to pay writers or pay them very much as they have no audience yet).
For example, Lightspeed, a well paying market is temp. closed and has been for most of the year. The Leading Edge (where supposedly a couple of the named authors on the podcast got their start as listed in mag’s description on Duotrope) has 0.00% acceptance rate of authors who have tracked their submission through Duotrope and currently has an astounding 444.9 day(!) response time to authors who submit stories to them. That’s a year and half (approx.) for short-fiction. Imagine waiting 444.9 days for your next burger and fries! One magazine is only open for submission 4 weeks out of the year (one week in Apr., June, Sept., and December) and if you miss those periods, too bad. One magazine is only open for submissions between for about 24 hours every Monday/Tuesday, and I could go on. Looking at my list of submissions, I see so many Temp. Closed, On Hiatus, Closed, Defunct, and Does Not Qualify (DNQ–the publisher has made some change, no longer lists guidelines, no longer accepts submissions from unagented writers, etc) listings that it gets harder and harder to find places that I haven’t sent the story (that actually pay money).
So, while I enjoy listening to the podcast and I have learned a lot about writing, and being successful in writing, I simply must take issue with the characterization that we’re in short fiction market renaissance. I respectfully submit, having been in the trenches for way longer, that the waters are as turbulent as ever for writers trying to make a name for themselves through short-fiction markets so as to make the jump to the more lucrative novel writing profession.