A week or so back, John Scalzi tore into Black Matrix Publishing for their short fiction pay rate of 1/5 of a cent per word. Black Matrix responded, explaining that this is a “labor of love.” They never implied that they were a pro market, and isn’t a token payment better than none at all? (I believe Publish America uses the same rationalization with their $1 advance.) Scalzi promptly shredded their arguments.
Cat Valente weighed in as a “mid-career author” who writes a lot of short fiction. Sarah Monette offered a third perspective, including examples of her own fiction which sold for fairly low rates, and a discussion of when and why she chooses to submit her work to semi-pro markets.
Looking at my own bibliography, there are two stories I received no payment for, and at least a half-dozen more that fall into the semi-pro category, whether that’s a $5 flat rate or a penny a word. A careful reading will also show that this stopped around the end of 2003, after I “sold” a flash piece to a royalties-only e-book that, as far as I can tell, never sold a single copy.
Around 2004, I began submitting only to markets that paid SFWA pro rates (Then three cents a word. ETA: Current SFWA pro rate is 5 cents/word). Not because I was insulted by lesser pay rates. Not because I felt exploited by the smaller markets. But because my goal as a writer was to be read.
Publishing in those smaller venues was good for my ego. Of course it feels better to be accepted than rejected. But aside from that ego boost, those sales did little else for my stories or my career. Sure, I could go out and buy a slice of pizza with my earnings. But almost nobody read my work.
The contributors got their copy, so it’s possible some of my fellow authors glanced at my story. Maybe. (Authors, how many of you read every story in every contributor copy of an anthology or magazine?) Aside from that? Well, one friend in college did pick up a copy of World Wide Writer, so that’s something, right? What’s World Wide Writer, you ask? Oh, right. They were a tiny startup ‘zine that died after two issues.
I don’t use pay rate as an absolute rule. Sure I’d rather make $250 than $25. But I sold a story to Andromeda Spaceways recently, and they pay significantly less than 5 cents/word. On the other hand, they’ve been around a long time, put out a nice magazine, and have a good reputation and readership for a semi-pro. There are a handful of others, publications that pay less than pro rates, but have earned a lot of critical acclaim or developed a broader readership.
In general though, minuscule pay rate correlates to minuscule readership. I suspect there are more markets listed on the for-the-luv page at Ralan than there are readers for those markets.
When I started aiming for pro markets in 2004, several things happened. I got rejected more. I was forced to improve as a writer. And eventually, as I broke into those markets, more people began reading my work.
Is Black Matrix exploiting writers? Token payment is better than nothing. (Chtulhu spare us from markets promising “exposure” as compensation.) But there’s “token” and there’s “spare change I found in my sofa.” I don’t believe Black Matrix is trying to scam anyone. But I won’t submit to them, and I wouldn’t recommend them as a market for new writers who want to build a career and be read.
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Mirrored from Jim C. Hines.
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My reaction to this is all over the place. The goblin books went over well with younger boys, and I can understand why a teenage boy might be hesitant to walk around with a book that has three women surrounded by swirling pastels on the cover. I also think it sucks that we’re still raising boys to think it’s shameful to be caught reading something “feminine,” but having been a teenage male myself, I can understand that reluctance.
I like the cover for Mermaid better, less because we lost the pastels, and more because I think it’s just a great image. But I still get the questions. This is obviously a book about three girls, so doesn’t that mean it’s written for girls? (Much as Name of the Wind was written for red-haired boys, and the Zombie Raccoons anthology was written for decaying scavengers.)
pleased
exanimate
annoyed
amused