no, seriously, pull up the floorboards, i mean it
- 100 words (if poetry, lines) long
- 3,330 words (if poetry, lines) long
Today's Submission Procedures session was extremely productive. I logged a new rejection letter--"It's For You" came back after only 6 days out. I logged it in my own database, and at the Submission Grinder, and I posted about it to a forum where people post about such things. Scrolling up through other people's posts, I saw mention of another pro-paying market I have never submitted to. So I began preparing another story for submission to it. (I didn't quite finish because I ran out of time before derby. I'll send the submission out tomorrow.) Meanwhile, I tweaked my database so that I could use it to note submissions that I plan to make, and it could remind me so I don't lose track. All that, and I still haven't sent "It's For You" back out. Tomorrow!
Rejection letters aren't so terrible. They're the industry's way of confirming that yes, you've been playing the game, and, by the way, it's your turn again.
So, this other submission I'm planning to make. It's an expansion of an existing and unpublished drabble. And it gave me fits today. It's not that I don't know the shape I want it to be. It's that I'm realizing the story lives in that weird borderland between magic realism and psychological suspense-and-dread. It's "The Telltale Heart," that's what the problem is. The speculative element could be easily written off as the protagonist having a nervous breakdown and imagining things. Now, I was that kid in class who insisted that the hideous heart really was beating under the floorboards. But apparently the rest of the literary world agrees that Poe's murderous protagonist is hallucinating, the spoilsports.
So I'm trying to come up with anti-spoilsport ideas. Here's what I've got so far.
Put it in 3rd person to give the protagonist's perspective a sense, however illusive, of authority. Like, look, you don't have to just take the protagonist's word on this; here's a totally reliable narrator voice confirming it for you. It's not a promise on a factual level; obviously you can write an unreliable narrator in 3rd person point-of-view. But it's an attempt to create a particular emotional experience for the reader, encourage them to trust more. It's like painting an oncology waiting room sky blue to induce a sense of calm and comfort in the patients. You're not telling them that everything's going to be all right; you're just trying to help them feel like everything's all right. All right? Right. See also titles like "The facts in the case of..." or "An account of events witnessed at..."
Create internal consistency in the speculative element so that it looks more like an actual coherent thing that's happening and not a series of random weird events. Though it'll never wind up on the page, I need to decide on the complete reality behind these glimpses of the uncanny, and then have every manifestation conform to that. Basically, we're talking about worldbuilding.
Highlight the theme at every opportunity. The story will be submitted to a themed submission call; the theme is "anticipation." The theme of the issue is already present in this story, of course, but it can be underscored, made to do double, triple duty in every scene. Not just waiting, dreading, and anticipating in the context of the spec element itself, but in every incidental detail. In each scene's setting, in each situation, in the protagonist's interactions with other characters, there should be an element of are we there yet? is it over yet? how long to my bus stop? why aren't we done with this meeting? will the person in line before me please hurry up? when will I find out what's going on? what are you waiting for, just tell me! Done right, this will make the story more of a seamless whole, and a claustrophobic one, sort of compressing the reader into identifying with the protagonist. I hope.
Actually, having written them out, they look like pretty decent ideas. For now, anyway. Enough to go on until I think of better ones.