As I did with Robin Carson, here are the same questions I put to Barb Galler-Smith. Barb has been a Fiction Editor with On Spec Magazine since 2008:
1). What kinds of stories appeal
to you most? Do you lean towards a particular type of story or style?
I especially like science-based stories and stories with realistic
aliens who are not just people dressed up in rubber suits. A story can be either
science fiction or space fantasy, but it must end with a positive
emotional impact. I don't mean the end needs to be lovey-dovey or that the
good guy wins; I mean that the end must be a logical one and it must satisfy, so I
can say, "Yup, that's just right." As for style, I like it
straightforward. Exquisite prose can woo me, but only if the story has a real
engagement factor. A character without some kind of conflict that keeps him
from getting what he wants will not work for me. I love getting to the end and
saying, "Wow. That ended perfectly." I also like plot and characters
in interesting settings. Lately, I've been drawn to stories based upon non-European myths.
2). What types of stories don't appeal to you? What are your pet peeves,
writing-wise?
Most unappealing: stories with gratuitous violence, unnecessary gore,
vulgarity (I will not read past the C-word unless it's in a context in which it's appropriate–that's never happened), or sexism, or racism for its
own sake. I want a story, not a bunch of expletives that add up to nothing more
than shock-value.
I am disappointed by stories that start strongly with a gripping first
paragraph, and then back up to explain how the protagonist got where he was. If
you need a back-story that's too big to tuck into the narrative, you're not
writing a short story. I'm also not fond
of present tense. If an opening is strong enough for me to read three or four
paragraphs before I realize it's in present tense, the author has used it
properly. Since I've been with On Spec, that's happened to me twice.
Not so much a peeve is my desire for a complete story, usually with a
middle. I hate HAITEs–Here’s An Idea, The End. Too many come across my desk. No development of plot or character means 'no
sale' to me, no matter how well-written the story is.
Worse than that is a really good story that ends without a clear
resolution. I'm left scratching my head and muttering, "WTF?"
3). What advice would you give to a writer submitting to us?
Make sure we are the right market. Child protagonists are a hard sell
to us, and we will never buy anything, no matter how fabulous, if it doesn't
have at least a hint of a speculative element integral to the story.
Just tell the best story you can. Then make sure your punctuation and
grammar are right. A lot of errors will get past me if I am engaged in the
story, but there are a few things that will pull me out: wrong word usage,
getting facts wrong (especially getting the science wrong), and too many
fragments that suggest the author is unable to write a simple
sentence.
4). Please list any credits you'd like mentioned (ie. book pubs,
editing/publishing involvement), followed by a small bio:
I've had a great working life: I've been a wildlife biologist, a
librarian, a Humane Educator, a quarterly magazine editor, a science and language
arts teacher, and a writer. I have both short and long fiction credits. My novels
(in collaboration with US author Josh Langston) include an historical fantasy
trilogy, The Druids Saga: "Druids" (2009), "Captives"
(2011), and "Warriors" (forthcoming, August, 2013), through Edge Books Publisher, and, just for a
change, a contemporary romantic comedy called "Under Saint Owain's
Rock".
Barb's Bio: Barb Galler-Smith loves all
things science, living things, and history. And of course Shakespeare and her
Super Spouse. They're all shiny.
(Thanks, Barb.)
Next Post: Barry Hammond, On Spec Poetry Editor
Stay tuned.
No comments:
Post a Comment