Last week, during my week four anthology update, I mentioned how fascinating I’d found it that more than half the people visiting the Hint Fiction page didn’t click on the contest winners and honorable mentions to get a better idea of the form. Then, in the comments, Jess mentioned how most of the writers she comes in contact with want to be spoon-fed. They want the easiest route possible. They want that instant gratification of seeing their name in print (or, as it is nowadays, online).
Has it really gotten to this point? I suppose it has. The Internet is to blame, of course. Now there are just so many outlets for writing. New “journals” are popping up every week. More and more writers are self-publishing. They find the route of trying to get an agent too difficult. They also find the route of trying to get a publisher to at least look at their manuscript too tiresome. So what is a poor writer to do? Why, self-publish, of course!
(A few years back I worked with a guy who had written this sort of nonfiction book. He immediately decided to self-publish it, and not only that, self-publish it with one of those places that charges an arm and a leg. I asked him why didn’t he try getting an agent first, find a real publish. His response? “Why would I want some stranger sitting in an office, some person I don’t even know, tell me my book’s not good enough to be published?” Um, because that’s their friggin job, dumbo. People just don’t walk into a publishing house and sign up to be an editor; they start at the very bottom and work their way up. They know what they’re doing. They know what sells. That’s why they can sit in an office and tell you your book’s not good enough.)
Anyway, as September is now upon us, that means most journals have reopened for submissions. Trolling around Duotrope, I saw Tin House was open and clicked on the link to their guidelines. And what did I see there?
I’m sure many of you know about Word Hustler by now. I’d heard about them in passing awhile back but never gave them much thought. As far as I cared, they were a scam, and as with most scams, I try not to give them the time of day.
For those aren’t familiar with Word Hustler, basically it’s a site that will submit your work to magazines — for a fee. For the low, low price of $2.99, they will send out something under four pages (query letter or poetry submission). For $5.99, they will send out something under 20 pages (short stories, partial mss, articles, essays). It goes on and on.
Now I know what you’re thinking. You’re thinking, That’s ridiculous! But wait, it gets even better. Because then they say:
All of our prices include tracking, postage, and free SASEs! And remember, our database of more than 5,000 literary markets is 100% free. So go on, check out our markets and put yourself on the path to publishing success, today!
Now what I find distressing is not so much the fact that a site like this exists (come on, people, it’s the Internet, you’re apt to find just about anything). What I find distressing — outright fucking ridiculous, really — is that enough writers are using this site to keep these people in business.
And why?
Is it really that inconvenient to submit to magazines? Yeah, okay, it takes up time, but so what? So does sitting in front of the TV for two hours watching shows you’ll barely remember in a week. Personally, I don’t enjoy printing out stories and cover letters, making up SASEs, printing up labels, taking them to the post office, but I do it. In fact, I don’t even like e-mailing submissions or even using those nifty submission managers everyone seems to have nowadays (which are really really nice, actually), but I do it. Because I’m a writer, and I write things, and I would like to publish those things, and since publishers aren’t going to come to me I have to go to them.
Look, if you want to use Word Hustler, be my guest. I’m sure there are writers who can rationalize using their services. For me, the whole experience — the writing, the submitting, the rejecting, the accepting, the eventual publishing — is what makes it all worth it in the end. If you haven’t figured it out yet, I personally think using Word Hustler is a waste of money. Especially when magazines like Tin House have a link to their own submission manager in the paragraph right above the Word Hustler link (and I don’t know about you, but I find it disappointing that Tin House even acknowledges them). If that’s too much for you — you know, uploading your own story for free — then by all means, pay someone else to do it. After all, you’re a writer, aren’t you? You shouldn’t be submitting to magazines. You should be writing.
But don’t worry, my friends. One of these days a new website will come along, a site that will not only submit your stories for a fee, but will also write them. Won’t that be great?
Yeah, sure, okay. Crazy thing is, if that site existed, people would probably use it.
Ah, the future of publishing.
I can’t wait.
P.S. Anyone else catch the bad grammar in that demotivational poster?
Ahh yeah the “d” is missing.
Yeah I mean I don’t necessarily know if you’re getting laziness mixed up with vanity, when talking about self-publishing a book.
Ohh and you are right about word hustler. Where I come from to hustle is to kind of cheat or mislead.
As my 19-year-old son starts his novel (two chapters in, so far), he’s already thinking about fame and glory. I’m trying to be supportive but teach him a few lessons about patience. He likely will have a hit on his hands, while my little books are known more by college professors and their bored students.
Say, Wikipedia has an entry for “Flash Fiction”:
http://en.wikipedia.org/wiki/Flash_fiction
There’s no mention of hint fiction. Perhaps you should pay a visit to Wiki and add to the entry.
The only folks getting hustled are the chumps using a service like that. Self-publishing, like most complex human behaviors, has a variety of motivations.
Lazy is as lazy does.
I’m actually fairly resistant to the idea of using an agent – but in a way, I’m making more work for myself. Because then I have to do more research to figure out which publishers will accept queries from non-agented writers, do my own cover letters, prepare my own submission packages, etc. I realize it would probably be a lot less effort to find an agent. But in a weird way, I resent the idea that I would need to (eventually) pay an agent a fee out of my advance or my royalties for placing my book for me. This is MY novel, MY work, and I’d rather put forth the effort of submitting myself rather than pay someone to do it for me.
I also haven’t ruled out the possibility of self-publishing, but that will only be taken into consideration after all traditional publishing routes have been exhausted. But only for my novel. I’m going to be self-publishing a small nonfiction work (a guide to independent bookstores in my area), but I’m doing it because traditional publishing doesn’t seem right for this work. It’s rather timely, too long for a magazine feature but too short to be a full book, so I’ll be self-publishing it as a pamphlet and having e-copies for sale on my website. I see self-publishing as the best possible route for this particular work, whereas it may not be the best for my novel.
Oookaaay sparky. That grammer makes my comma addiction just fade right into the background. The abbreviated ‘because’ whithout the apostraphe I’ll add, no ‘e’ in doesn’t and ‘too’ instead of ‘to’. Wow. I must say I laughed out loud at the picture though.
As far as submitting goes, I don’t cut corners. That said, I have no agent and I haven’t been published beyond a short story in a local magazine. But you know what? I’ve LEARNED things. I’m STILL learning things. And God willing and the crick don’t rise, I will still be learning long after I’m successfully published. Every damn word you write gives you a one-word chance to improve something about your writing, your process, your entire way of seeing something and thinking about it. Letting someone – or something – else do it is just sad, and a little creepy.
Jonny — I don’t know about a missing “d” but “doesn’t” is spelled wrong, and that last “too” should be “to” … I think. I wonder if it was written that was on purpose …
Daniel — wish your son good luck for me. Even if he doesn’t get instant fame and glory, the fact that he actually completes his novel is something impressive. Makes it easier then to write the second one, and then the third one, and so on. Also, I’m not sure if I would be able to update Wikipedia, as I’m so very close to the form; I know certain magazines that had been posted were eventually taken down because their editors were the ones who put them up in the first place, and that was against Wikipedia’s rules or something. So *I* can’t do it, but somebody else could *wink wink*
Aaron — yes, Word Hustler really is the best name for them. And don’t get me wrong, self-publishing isn’t terrible. It can be good. But it depends on the reason the writer is doing it. If it’s because they just don’t want to spend the time and effort trying to get published more traditionally, then obviously they’re being lazy.
Dorla — I can understand your resistance to getting an agent. Yes, they do take a cut of your money, but believe me, the really good ones earn it. Because they do more than just submitting your MS to publishers — they work with you on your ideas, your books, and then are able to open doors you wouldn’t be able to open yourself. Not only that, if an offer is made, they will negotiate the best price they can, which is something an author can very rarely do on his or her own. Basically, they work as the go-between between the writer and publisher, doing the dirty work so it becomes nothing personal between the writer and publisher. All this is stuff I’m sure you already know, but I think it’s important to reiterate. However, yes, certain publishers don’t require agented submissions, but still, I’d recommend trying to find one first. There are many agents that are not-so-great (I ended up leaving my first agent for just that reason), but then there are those who go above and beyond and really earn their cut, plus some. Also, keep in mind that many submitted books don’t sell; an agent might make NOTHING off an author for a couple years as they try to sell book after book after book … so yes, once they do make a sale, that 15% seems like 1.5% after all the time and energy they put in. And yes, in terms of your nonfiction project, I think you’re right … though I wonder since it’s a local thing, maybe you could get local businesses to help fund it by including advertising. Just a thought
A — exactly: every word you write helps you improve, and it’s true. Just like they say you learn something new every day, that should be doubly true for writers. With every story I submit, I learn more about a magazine, about an editor, their tastes, etc. It’s a learning experience, and with services like WH, there isn’t much learning going on. And yes, it is a bit creepy. How do you know for a fact they’re even sending stories in the first place? A form rejection is a form rejection; they could just use the same one for every writer wanting to submit to a certain market.
Good gravy! I hadn’t even considered it that deeply! Wow, I already have a ‘Throw Momma From the Train’ syndrome when it comes to someone ‘stealing’ my work (it’s not about how great I think it is, just that it’s ‘mine’). To think that someone is ignoring my work and simply sending me form rejections is actually worse, in a way, than have someone like it enough to try and ‘steal’ it! The whole Word Hustler just moved up to ultra creepy! Give me a pen and paper any day! Hmmm, I wonder how many people would even want to be writers if the world suddenly got ‘shut off’ and computers ceased to exist?
Yeah, I spotted that missing ‘e’ and it fits with the idea that you should proof read, but then again doesn’t mean you need to.
I find it puzzling that given the opportunity to submit directly for free to the editors via e-mail, which is the easiest thing to do in the world, people would go through a third party that charges for the same service. It’s insane. I hate to do the SASE and so far have never sent one ever, because I live in Eastern Europe and getting a submission perfected and sent and received within the deadline, considering the array of X factors intercontinental posting can harbor I avoid it to a stage I have seen my work published and that would be a logical next step. However I hate doing the online submissions for another reason. I always fear that I may get the parameters for submission wrong: not space properly and such. It’s based on nerves, but I am happy that things are simplified to that degree.
And yes, people love the idea of seeing their name in print or online and just feel like celebrities… It doesn’t matter how or for what. As far as self-publishing goes I agree with you, but to everything there is a second side and I know authors, who have tried the agent hunt, failed, self-published only to then find a house for their work.
Robert – Yeah sorry about that, it’s just my sad and depressing sense of humour trying to creep its way into my life again.
Lol, I missed the bad grammar in the poster. I’m sleepy.
It’s nuts that people would pay someone else to spam agents. There are lots of clueless would-be writers out there. People ask me the strangest questions. I didn’t even know that site existed. Thanks for sharing that, Robert. 
TIN HOUSE? Sigh… big, big sigh.
There is a website that will pen haiku for you. It’s pretty good stuff, too. Perhaps they should hook up with WordHustler.
I can’t afford the Hustler rates. I’ll plug away on my own, thank you. Great rant. I’m especially mojo-ing on this writing is not easy stuff because I’m in the thick of TOTALLY revamping my novel-in-progress. Suckola, but you do what needs to be done. Peace, Linda
Harry is so right. People do love to see their name in print or online. Example: I got so excited that you quoted me, Robert, I even read it out loud to my husband. Yep, I did feel like a celebrity, but I don’t think hubby was too impressed.
Most of the writers I know take their work very seriously, and I really don’t see how web stats support the idea of writers wanting to be “spoon fed.” Not everyone who came to the site entered the contest — I’m guessing there were around 1500 entrants since multiple entries were allowed. That number comfortably fits in 3000+ that clicked on the contest winners, so quite possibly a majority of those who submitted could have visited that page.
And then there are those who learn by failing, which as painful as it can be, is still a valid way of learning. And some people are going to approach hint fiction as a quick diversion to their longer fiction, which is also fine. Stories should be judged on their merit, and I don’t see the point of speculating how much work writers put into their stories and the submissions process, or making sweeping statements about the laziness of writers in general. Honestly, it’s sort of off-putting.
Based on your comment, Nicole, you must not know many writers.
Look, if you had actually read the post, you would see my mention of the web stats was more a note of fascination that anything else. Yes, not everyone who came to the site also looked at the winners and honorable mentions. I wouldn’t expect everyone to. But out of the 2,500-plus stories submitted, it’s clear the majority did not really take the time to learn the form or even glance at some examples. Are you telling me that those writers take their work very seriously?
Also, how am I not judging each individual story on its own merit? Either the stories are good or they’re not. Keep in mind this isn’t my first rodeo; I’ve worked as an editor before for many years, so this has been nothing new. In the end this is a business, and I’m not looking to pat writers on the back but instead to put together a great anthology (that’s not to say I won’t try to be encouraging in my rejection letters). Does that mean I will outright reject a story for something minor? Absolutely not. I’m willing to work with writers who want to put forward the effort, and while I know there are writers like that out there, in today’s digital world they seem to be in the minority.
And besides, I wasn’t the one who said most writers want to be spoon-fed. I was just repeating what someone else had said — that most of the writers SHE came in contact with seem to want to be spoon-fed. I just used that as a starting off point for my rant about Word Hustler, a site which shouldn’t exist but does exist and why do you think that is? Obviously not a handful of writers are using their “services” but instead A LOT of writers. How are those writers not being lazy?
Am I making sweeping generalizations about all writers? No, again I’m specifically talking about those writers using Word Hustler. The truth is, everyone for the most part is lazy. We’d all love the take the easy way out in just about everything. Of course that can’t be the case, which brings up what you had said about learning by failing. It’s a good point. That’s what writing is, after all, trial and error. But if I understand you correctly, are you saying these writers who take themselves very seriously would rather learn by failing than take a couple moments and learn more about a specific market before they submit to it? You’re right — writers like that shouldn’t be called lazy. They should be called clueless.
I know plenty of writers both novice and professional, and I can honestly say I would find it hard to call any of them lazy. Inexperienced, sure. Delusional, sure. Some even clueless. But anyone who spends hard hours glued to their keyboard instead of in front of a television doesn’t deserved to be labeled lazy, especially based on what links they did and didn’t click.
I understand that your opening statement was a lead in to Word Hustler, and thought the demotivational image was hilarious, but the point of hint fiction is to read between the lines right?
Again, Nicole, I’m not calling all writers lazy based on what links they did or did not click (I’m sure some writers who did not even look at the examples will become successful with the form as, with most everything else, some people just get it and some people don’t). Though I think it’s a safe bet to assume this isn’t an isolated incident. I’d say that the most visited page for almost all online journals is the “submission guidelines,” followed maybe by the “about” or “aesthetics,” followed then by the actual individual stories published in each issue, and even those page views (people actually reading those stories) will be a small percentage. Writers don’t seem to care so much about sending out a story suitable for a particular market but hoping their story ends up being liked enough by that editor. Is that wrong? No. Does that necessarily make them lazy? Not completely, but it definitely shows lack of effort.
In regards to novice and professional writers (and for the sake of argument, let’s agree that a professional writer in this case is someone who makes a living off their writing and has no other source of income), I think the most guilty party of being lazy is the in-between writer. The novice writer is going to keep writing and writing and writing, and if it’s too hard for them, they stop, and if they don’t, they keep plugging away no matter what. The professional writer lives and breathes by their writing contracts, so of course they can’t be lazy, or how else will they put food on the table? The lazy writer — again, this is all assumption — is the writer who has managed to make a couple of sales, seen their name in print, and they try to work toward “professional status” but realize that it’s much too hard, almost impossible, and so they stay in a sort of limbo. They become content publishing stories to certain markets because they know those markets will most likely accept their work, and they don’t like being rejected, so they never try to sell their stories anyplace else. I don’t know what you would call those writers, but I think they tend to slide toward the lazy (if not also insecure) part of the scale.
I agree with all of your commentary, Robert, except for this one statement: “…and for the sake of argument, let’s agree that a professional writer in this case is someone who makes a living off their writing and has no other source of income…” Yikes! Most writers I know (including myself) actually make a living doing something else (in my case, government lawyer). I know writers who teach, practice medicine or law, work in coffee joints, you name it. I am a writer with four books published, another coming this fall, and two more coming in the next two years. Though I don’t sell like Stephen King, my writing is studied in colleges, high schools, and grammar school (I have one kids’ book to my credit). Despite all this, I simply could not pay the bills with what I make from those book contracts. Nor could I make a living with my pieces for the Los Angeles Times, Jewish Journal, California Lawyer, dozens of lit mags, literary anthologies, speaking engagements, etc. I have little doubt that many if not most “professional” writers are not living off of their writing. In fact, I think that I am more creative and daring in my fiction and poetry because I don’t have to rely upon my writing to pay the bills. Other writers might operate the other way: they get creative only when the fear of starving pushes them. Say, this sounds like a good theme for an anthology of essays: writers who earn a living doing other things. Good night!
Don’t worry, Daniel, I know exactly what you mean and where you’re coming from. That’s why for the previous example I wanted to use the extreme case of a professional writer. I have many friends who are published by major publishing houses, who have won big awards, that I would consider professional writers but who still have to work another job to pay the bills. That’s just the way it is. One friend of mine who’s married and has kids said he would just like to eventually get to the point where he could work part-time so he could spend more time writing. As Joe Konrath once put it, more people play in the NFL then there are people writing full-time. Plus, there’s an argument on just what “professional” means. I’d say some novice writers could be considered professional in the way they go about their writing and whatever else. That’s why I’m not fond of some writers’ organizations making writers think they’re only “professional” if they are published by magazines that pay five cents or more (or “active” status in most cases). Anyway again, just so we’re on the same wavelength, my previous point was to use the extreme case of a professional writer, not what is no doubt the normal, more realistic case.