Writing Words Fantastical and Otherwise

Tag: science fiction

Perseverance and Publishing Short Fiction


I offer this as a tale of perseverance.

Neil Clarke at Clarkesworld has accepted a story from me, which is my first original sale to them. They previously reprinted a piece that Gardner Dozois chose when he was working as their reprint editor (it was a story Gardner also included in his YEAR’S BEST anthology in 2010).

They have been using an online submission system since at least 2010 where I can view my submissions. I see that the story Neil is taking now is the 55th piece I’ve submitted to them. Many pieces made it to “round two” before being bounced.

I like to think of the submissions process as being a kind of pen pal arrangement. I’ve sent Neil 55 long, self-revelatory letters in the last 13 years. While his responses have been somewhat shorter, and a little repetitive ?, I have enjoyed our continued correspondence.

Almost all the other bounced stories found homes in other magazines. My submissions records at the major magazines who have taken pieces from me also contain WAY more “no” than “yes” replies.

That’s the case for most authors . . . except the late Mike Resnick who claimed during a panel at a WorldCon that he didn’t know what a rejection from ASIMOV’S looked like, so he couldn’t comment on its tone when asked.

This is my 190th short story sale since 1989.

Where Ideas Come From

Fairly frequently someone will ask where I get my ideas, and like most authors I am at a bit of a loss for a good answer. However, a couple days ago, an FB writer friend asked for reasons a teenager might be laid up for weeks but not cause long term damage.

Their question question made me think this at first:”Not totally related, but an anecdote about how medical research can be fraught. For story purposes, I wanted to know if a teenager with bone cancer might have to have both legs amputated. I called my doctor, and he immediately went into a diagnostic mode. “What symptoms do you have? When did you start experiencing discomfort? How long have you been ignoring this condition?” It took quite a bit of talking to convince him that I wasn’t sick myself. I’m pretty sure he worried about me for years after.”

Amazon - The Radio Magician and Other Stories: Van Pelt, James:  9780982073025: Books

I added, “I have written three stories with bed-ridden young people: “The Radio Magician,” about a boy with polio in the 30s, also the story about a boy who had his legs amputated because of bone cancer, “Roller Derby Dan'” and the piece I’m working on now with a boy in the 60s who has both legs in external fixators after surgery to correct severe bow leggedness. I think the antecedent to my interest in this trope is Ray Bradbury’s “The Emissary” from THE OCTOBER COUNTRY.”

The FB friend asked why that situation interested me, and I realized I had a partial answer to where I get ideas, at least this idea.”Besides the awesomeness of the Bradbury story, a friend of mine when I was 12 had both legs broken to correct for extreme pigeon toed alignment of his feet. His legs were casted from ankle to hip. He was miserable but suffered gamely. We pushed him in his wheelchair everywhere we went that summer. I’ve often thought since what his experience must have been like. Also, of interest in this situation, H.G. Wells broke his leg when he was eight. He was bedridden while it healed (they were much less into getting patients on their feet at that time). He spent his convalescence reading. He said that’s what made him H.G. Wells. He became devoted to books and writing.”

That’s where the idea came from.

Catching up with Van Pelt News

So here’s what’s happening lately:

  1. The May/June Asimov’s will be out soon with my story, “The Way Lost Cafe.”
  2. Daily Science Fiction published my latest with them, “NPC.”
  3. Analog Science Fiction bought “Party On” from me. It will appear sometime soon.
  4. I will be attending World Fantasy in New Orleans in November.

In the meantime, I continue my 200-word minimum a day writing streak that started in November of 1999. Right now I’m working on a near-future science fiction about a retiring high school English teacher directing her class through Hamlet for the last time.


Science Fiction Prompt Night

I lead a prompt night for the Western Colorado Writers Forum this Thursday. It was a unique event for me on a couple levels. First, I haven’t been to any kind of public gathering since March. Non-family members in the same room with me, even masked, felt odd. Second, the presentation was a hybrid of Zoom meeting and live audience. The whole time I didn’t know if I should pay attention to the computer screen or to the people in the room.

Science Fiction, Sci Fi, Futuristic

Overall, though, it went well. They asked me for prompts bent toward science fiction, but most of them don’t write in the genre, so I felt like I was breaking in novices, even though most of them have been long-time writers.

I over-prepared, writing out the complete script of what I would say. A detailed script encourages me to read instead of teach, so I worked hard not to keep looking at this.

Here is the entire script. With 20-minute writing sessions and discussion after, this took exactly two hours:


Zach Berkson said, “Science fiction, perhaps more than any other modern genre of fiction, is often written with a social purpose or a goal. 

“Reading science fiction enables us to reflect on the ways people interact with each other, with technology, with our environment. A good science fiction work posits one vision for the future, among countless possibilities, that is built on a foundation of realism. In creating a link between the present and the future, science fiction invites us to consider the complex ways our choices and interactions contribute to generating the future. 

“Why do we read science fiction? The immediate answer for some is escapism: to enter into fantastic worlds that are more exciting than mundane reality. But that’s a simplistic answer that fails to explain why we’re drawn to science fiction, which, while speculative, often nods to realism and presents a thoughtful perspective on the future – frequently one that’s informed by scientific and technological reality. The draw of science fiction is more nuanced than a desire to escape the mundane.

“Science Fiction expands the mind, considering ideas and possibilities outside our normal experience.  It explores not only what is, but what might be, or could be.” 

Ray Bradbury said, “”Science fiction is the fiction of ideas. Ideas excite me, and as soon as I get excited, the adrenaline gets going and the next thing I know I’m borrowing energy from the ideas themselves. Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.”

One way to think of what makes a science fiction different from non-science fiction is the setting. A science fiction story has something in the setting that does not exist today or in history, but is scientifically possible.  The change in the setting is what the story is about, really, in the end. How does that difference in the setting reveal the human condition, or comment on today’s conditions, or warn us about the future?

A love story during a trip to Mars isn’t much of a science fiction if the trip doesn’t impact the love story in some way. If the love story is no different than the same story told on a Royal Caribbean cruise ship, for example, where every place in the story where you could have said “Jamaica” you replaced it with “Mars,” you haven’t done much with the setting. Putting a ray gun into the holster and making no other changes doesn’t turn a Western into a Science Fiction.

So one technique to create a science fiction story is to incorporate the change or changes in the setting that make it a science fiction, and then write your path into it.

Dialogue Prompt:

One strategy is to just have a pair of characters talking. This is a dialogue prompt. Dialogues that are good reading often have a tension in them, otherwise they’re just two people who aren’t really talking or who are just agreeing with each other. To make the dialogue pop, start with some kind of tension. Maybe the two characters are fighting. They have a disagreement that displays itself in the dialogue. Maybe one character is trying to convince another character of something. Maybe one character knows something that they want the other character to understand. Maybe the two characters are talking about a subject that is so sensitive to them that neither one is willing to name the real subject of the discussion. Maybe one character is trying to sell something to the other, or convince them to change a political position. Maybe the discussion is a disagreement in parenting styles. 

Whatever. For this prompt, write a dialogue between two characters that takes place in a science fictional setting. Their discussion needs to either be about the science fictional element, or be impacted by the science fictional element. In other words, this dialogue could not exist without the science fiction in it. You can show the science fiction within the quotes, or in your description of the characters’ thoughts and actions outside of the quotes. Don’t agonize over anything! Close your eyes. Let them talk. Don’t worry about where the discussion will end up. You have fifteen minutes.


Setting Prompt:

Setting, of course, is where your story takes place, and we’ve already said that what makes science fiction what it is is setting, so clearly you’ll need to give it some thought. Also, there’s a convincing argument that one reason we read is to be taken out of our reality and into another. Most writers know this, so they spend considerable amount of time describing setting, some of them to the detriment of story. Just like when we wrote dialogue with tension, setting should be a part of the action in the story. Description of setting should be tied to what your characters are doing. People hardly ever just stop and inventory the world around them, and reading about people who do that can create a boring story (unless you are just brilliant in writing descriptions that are worthy all by themselves—Tolkien seemed to be able to do it).

For this prompt, give your character, maybe you could use one from the dialogue you’ve already written, something to do. Maybe your character is doing their job. Maybe they are trying to hide. Maybe they are looking for something. Maybe they are discovering a place that is new to them. Maybe they have a plan to change the setting they are in, drastically, and they are thinking of the contrast.

Remember two constraints:

  • This is a science fiction setting. Make sure you included details that make it one.
  • The setting shouldn’t be static. Your description should include your character’s actions and reactions. The story shouldn’t stop because you are describing. You can include dialogue.

Set yourself some goals while writing this:

  • Use at least three of your senses more than once (sight, sound, touch, taste, smell)
  • Include some ferociously specific details. It shouldn’t just be the forest; it should also be a single leaf, brown and dying, stuck to the porch rail from the last rain.
  • Make sure the reader knows through the description what mood your character is in. Do they like being there? Are they afraid? Are they mad? Are they tense? Don’t forget emotion.


Character Prompt:

For the third prompt we will focus on character. Character comes out in a variety of ways. Here are the nine most common:

  • Appearance
  • Mannerisms
  • Actions
  • Speech
  • Thought
  • Contemplation of their past
  • How they control their own environment
  • How others react
  • What the narrator tells the reader directly (avoid using this one unsupported from the others)

My guess is that if you used the same character in the dialogue and setting prompts that you already have done some work toward creating a character. Write a scene with that character or start a new one, where your character has a moral quandary. This is a situation where the character has to take an action that no one else will see or know about. How the scene plays out will reveal to the reader a world about your character.

A good situation might be to make a science fictional version of an old favorite: your character is walking down the street alone. On the sidewalk in front of them is a wallet. What does your character do? Write the scene. Use all of your writerly tricks. This is an introductory scene. Your narrator can describe the character if you want to (self-descriptions are tough in first person!). Use at least five of the techniques listed above to write the scene.


Colorado Public Radio Interviews James Van Pelt about Covid-19

Actually, what they wanted was a science fiction writer’s angle on possible impacts of the pandemic, and since I’d written a pandemic novel, Summer of the Apocalypse, they chose me. I suggested that a short story of mine, “Friday, After the Game,” was a better fit for the topic, so we talked about that instead.

Here is the interview.

The Best of James Van Pelt

This is the BIG project I’ve been working on for the last few months. Sixty-two stories chosen from almost three decades of publishing, including some previously uncollected work.  Only 200 copies will be released in a signed, numbered, limited edition hardcover with gorgeous wrap-around art. Available at Fairwood Press right now!

Available for preorder now for a November release

The Old Stuff vs. the New Stuff

1953-10 The Magazine Of Fantasy And Science Fiction by Ed EmshwillerYou know how sports fans will sit around the table and argue about today’s teams vs. the teams of the past? How would the 1985 Chicago Bears who went 15-1 do against the Superbowl champion 2015 New England Patriots, for example? This is an evergreen topic, and I think it’s an interesting one for the modern science fiction/fantasy writer.

How do the old market conditions (pre computer era) and the new market conditions compare? My premise is that computers and a proliferation of markets who accept e-submissions, among other factors, has increased the number of writers. Here are my complete thoughts on why I think there are more writers than ever competing for the publishing slots.  Are the conditions more difficult now for a writer to break into the big three print magazines?

To get to my question, do you think that the bulk of what Analog, Asimov’s and F&SF is better than what they used to print, say, twenty to thirty years ago? I know better is an arguable term, but if you assume there is a kind of “middle of the road” story for the three markets, which would be stories that are fine on their own terms but not award winners, has the bar for the middle of the road gone up? Does a writer have to be “better” now to get into those magazines than they used to have to be?

By the way, when you consider this question, be sure to factor in the rosy-goggles-of-time factor that eliminates all the forgettable stuff you read, leaving only the glittering jewels of your favorite stories.

Or here’s another way to ask this question, if you could take your current writing skills, climb into a time machine, say to 1975 (or 1955) and try to make your way in the world as a SF writer, do you think you would have more luck then than now?

Just wonderin’.

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