How Ticonderoga Publications Selects Short Stories

Welcome to the second post in my series on short story editors. Recently an editor-friend of mine shared his editorial selection process on Facebook. Watching it was difficult at first because I hadn’t realised how emotionally draining the process of putting together a short story collection can be for editors – whether for an anthology or magazine edition.

So, over the following posts, I’m going to interview the editors of Fablecroft, Ticonderoga, CSFG, Aurealis and Midnight Echo to find out more.

Here’s what Ticonderoga editor-extraordinaire Russell B Farr told me about his process…

Firstly, some stats:

“Dreaming of Djinn”

The title of your latest project: “Dreaming of Djinn” is Ticonderoga’s most recent anthology. However, I’ve also been working on Juliet Marillier’s collection “Prickle Moon” and Cat Sparks’ collection “The Bride Price”.

Its release date: all April 2013

Published: print and (later) ebook

One-sentence description: “Dreaming of Djinn” is a collection of 18 incredible tales of romantic Orientalism.

Great! Now let’s get stuck in…

1. What’s the hardest part of putting together a short story collection, be it for a magazine edition or an anthology?

The least fun bits. Often it can be finalising the contents, deciding which out of a handful of maybes is going to make the cut. But generally putting together a book is an enjoyable experience that I look forward to. For me the hard part is then getting people to buy the book – the frustration of knowing that readers will love the book if I can just convince them to buy; the challenge of getting the message out when there are so many books out there.

2. What’s the easiest part of that process?

Probably the layout. I’ve been putting together books and professional publications for a good few years, so most things fall into place with minimum fuss. Once I’m in the zone I can format the inside of a book in a matter of hours.

3. What’s the most emotional part (and which emotion)?

It varies based on the project. Being able to put a finished copy of a collection into the author’s hands is truly one of the joys that makes this whole thing worthwhile. When a writer passes away before they see the finished book hits me hard – this has happened to me twice and I wouldn’t wish this experience on any editor.

Holding a copy of any finished book in my hands brings a big feeling of relief, joy and satisfaction that lasts until someone finds a typo.

“The Bride Price” by Cat Sparks

4. Often editors have a vision for their collection, so select stories that support that vision. Do you ever worry that readers won’t ‘get’ your vision once it’s presented to them and, if so, how do you cope with that worry?

I’m paraphrasing Joe Strummer here, but there’ll always be readers that will get the vision, and those who won’t. There’s no point worrying about the latter – in some ways their views validate the vision, as I’m not convinced that any strong vision will be grasped by everyone. And I’ve been doing things unconventionally for some time. Once I know that all the stories are good, I’m satisfied.

5. Do you read stories blind, or know which author wrote each story as you read? Why do you prefer that method?

I don’t read blind – simply it would be too hard to set that up, and not worth the effort. Sometimes it’s neat to know who the writer is, if I’m familiar with their work and can see how it represents their writing journey. But if the story is good, really good, it’s easy to not care about who the writer is until I’ve finished the last word. And then I want to know who they are straight away so I can contact them.

“Prickle Moon” by Juliet Marillier

6. Once you’ve selected your favourite stories, how do you put them in order – by theme, by author, to develop a given theme…?

There’s a lot to building the right order, it’s in many ways based on an implicit understanding of the work. I like to start strong, something that grabs the reader and at the same time provides an introduction to the theme: the story has to have a great opening. I like to finish strongly, with a story that is also gripping but has a sense of resonance, the sort of story that lingers with the reader once the book is closed. Something generally hopeful at the conclusion, with maybe a smile. Author doesn’t come into the equation, it’s all about the story.

Some themes work well if the stories are grouped into similar subcategories, while others don’t. Word count is important, I like to keep a good rhythm going, mix long and short. Point of view and voice matter, I try to mix these up so the reader gets a very clear change between stories to make each stand on its own. Some stories just complement each other, while others benefit from being kept apart. Sometimes when the whole picture is in sight, a really good story just won’t play well with the others and needs to be dropped.

7. Have you ever rejected a story that then went on to achieve greatness elsewhere? If so, what did you think about that, and did you alter your processes to avoid it happening again?

Angela Slatter and I considered her first collaboration with Lisa L. Hannett, “The February Dragon”, for her The Girl With No Hands and other tales collection. Excellent, fantastic, wonderful story. Won the Aurealis Award. Would not have worked in the collection at all. Fortunately my fabulous partner Liz Grzyb was across the table, working the Scary Kisses anthology. I passed it to her, she loved it too and put it in that book.

Hindsight is great. I don’t think it’s always possible to know how a story will be received or awarded. I know every story is really good. It’s more of a concern when I publish an absolutely amazing story and it doesn’t get the props it deserves. That’s what I lose sleep over.

8. How often do you second-guess your judgment?

Sometimes, all the time, and never. I know that all of our books are first rate, worthy of being bought and read and treasured. They don’t get printed until they are. I never wonder if we’ve published the best book we possibly can. I know that our writers are among the best. I constantly wonder if starting a small press was the best decision I’ve ever made, and I have no answer for this.

Russell B Farr & I
Speculative Fiction Festival 2013

9. If you had just one piece of advice for writers submitting to you, what would it be (apart from to follow your guidelines)?

Give me characters that live and breathe and feel and dream. I’m a sucker for powerful character-driven stories. Give me wonderful characters and treat them right.

10. If you had just one piece of advice for editors thinking about putting together a short story collection, what would it be?

Turning in the manuscript shouldn’t be the end of your work. If your name is on the cover, tell everyone about the book, promote it, be passionate about the work. Take pride in what you’ve done and let that show.

Thank you Russell!

Just one thought, Zena… You ask about the easiest, hardest and most emotional aspects of editing… what about the “best”? Mind if I write an answer to that, too?

*Rolls eyes* Why not? Go for it Russell… What’s the best part?

Working with writers, editors, artists, all manner of creatively driven folk. There are moments where it can feel like herding cats, but it is worth it to get so many magical glimpses of strange and fantastic worlds. I’m incredibly lucky to be able to work with so many talented people. That these crazy creative people let me share their visions regularly feels me with awe.

Second best is being able to spend a chunk of my time talking about books. I love books and reading, the whole experience, and it’s great to be able to share this passion.

Exactly right, Russell – it’s all about books and reading and passion – which is why starting your small press was absolutely the best decision!! Thank you for sharing with us 🙂