What Fiction Editors Want 2013

[Mouse]

For all you super quick writer types. http://www.andrewlownie.co.uk/2013/01/12/what-fiction-editors-want

 

[ctg]

Thank you Mousky. I'll leave you some cheddar here by your hole.

It's interesting to see that a lot of them are interested on finding a new voice, but what that new voice really means isn't clearly specified. A lot of them are interested on traditional crime and thrillers, but there are also those who are willing to take on board people who write for e-only. So we see how this develops.

 

[Brian G Turner]

Cheers, Mouse.

 

[Handsome John]

Thank you Mousky. I'll leave you some cheddar here by your hole.

It's interesting to see that a lot of them are interested on finding a new voice, but what that new voice really means isn't clearly specified. A lot of them are interested on traditional crime and thrillers, but there are also those who are willing to take on board people who write for e-only. So we see how this develops.

True, there's not much SFF there but I guess when you walk into a book store it's only one section of fiction, isn't it?

What's a "new voice", though? Writing in a different style? A different angle on SFF? If it's true that there's nothing new under the sun then how new can a voice be?

If someone has an interesting and unique-ish idea, good attention to detail (world building, etc), an understanding of people (character building) and a good writing ability then they probably have the best chance of being that "new voice", wouldn't they?

I wouldn't have much of a clue about myself, though. I've never really had anyone read my stuff (apart from some mates, haha!) and just like everyone else I think what I write is unique, entertaining and engrossing (my friends tell me so, anyway!) so I guess I just have to wait until I get some neutral folks to have a squiz before I find out how good/crap I really am.

Seriously, though, if you've written something then get it out there. There's only one way to find out if you have that new voice and that's to shout out loud until someone says something back to you!

 

[Toby Frost]

For some reason I'm reminded of the video dating sketches from Smack the Pony: "He should have a high-powered job, but not be motivated by money at all... He should be really spontaneous, but only give me things that I already wanted..."

 

[Stephen Palmer]

In other words, editors are human too and scared witless of missing something good.

 

[prizzley]

She says: For me to publish a book passionately, I want it to give me palpitations because I haven’t read anything like it before, or because it is twisting the genre, bringing a unique voice to the table, taking me into a world not so different from my own and terrifying me.

But is that what readers want? Don't most stick with the same authors and genres?

 

[Montero]

The mantra I used to hear was "more of the same but different" - just heard in general around conventions.

 

[Ursa major]

The mantra I used to hear was "more of the same but different" - just heard in general around conventions.

I would assume that's exactly what is meant by "new voice": a tale using a sure-fire theme and story but written so that it looks new and shiny.

(Sorry if that sounds like taking vampires and turning them into Twilight, but that may actually be a good example of what is wanted, at least in terms of shifting books.)

 

[J Riff]

Hmmmm... (looks up from book - New Voices of 1946)

 

[Warren_Paul]

What I saw through most of that was they are just after really good stories. The theme and subgenre doesn't seem to be important, as long as the story is told well.

 

[allmywires]

What I saw through most of that was they are just after really good stories. The theme and subgenre doesn't seem to be important, as long as the story is told well.

Yes, but not stories that are too risky, just different enough to be comfortable. Don't want to take risks now, do we, no no no...

*is bitter*

 

[Warren_Paul]

I don't know, AMW, aren't you being too hard on yourself? Publishing has never been an instant success story. It can take years to get your foot in the door. For those where it doesn't, they are the very, very rare and incredibly lucky exceptions to the rule.

Lots of people liked my first book, yet it still got turned down by agents/publishers.

Keep trying.

 

[Brian G Turner]

Yes, but not stories that are too risky, just different enough to be comfortable. Don't want to take risks now, do we, no no no...

*is bitter*

Did you check any of the examples given in the what agents want thread? I remember one particularly strong YA opening given, where someone tries to mug the protagonist for his drugs ...

 

[alternatesanity]

One feature that is pretty much a constant is the insisting on a story being well written, very well written. Then I go down to the book store and pick up a few new releases and read a few lines here and there to get a sense of the book before parting with money and find many of them to be poorly written, amateurish and all too often little more than clones of other stories. So the only conclusion I can come to is to try and get a few independent reviews on your book, some sound critique and when it all comes back good try submitting, and submitting, and submitting ...
You could be lucky if your work is reasonable but no matter what, it has to catch the reader and that is very subjective.

 

[Warren_Paul]

I think that comes down to peoples opinions about what is good and not being different. There are always going to be books you didn't like that other people thought were great, and vice versa.

 

[AJB]

One common thread I noticed (if I remember correctly - I read the list the other day) was (as well as being well written) stories that grabs the attention of the reader, engages them in a powerful way - so much so that they can't stop thinking about it after reading it, makes them want to stay up into the late hours reading, and also want to tell their friends and family members about. This last part is key I suppose for publishers since it creates that word-of-mouth advertising. Also - a 'story that must be told'.

I know all aspects of writing should be great to get published, but it seems that this is a reminder that the PLOT is very key. I have in my mind publishers and agents in recent times talking about great characters and 'character driven stories'. Of course this is also key but I suppose it's still worth being reminded of ALL the key elements of fiction writing every now and then.