For me, short stories and poetry take a lot of time and dedication to polish up to a standard whereby anyone but my nearest and dearest can read them. It was therefore surprising to me that, after writing the majority of this article, I could sit back and understand that my best story ideas do not come from a place where I’ve painstakingly honed my skill (as if!). All the stories that I love (and stick with) originate from a place of fun...
We are expanding our team of readers for Edition 9.
Last issue we peaked at nearly a thousand submissions and want to ensure that each piece gets the attention it deserves. Our readers look at 20 submissions a week and recommend whether or not the editorial team takes each one forward to publication. Submissions open twice a year (so you will only be asked to help out at these times) and Edition 9 will be opening at the start of October. If you are interested then please email/tweet us with your email address and we can send you further details.
This expansion is extremely exciting to all of us. Your preferred style and interests will be completely unique; therefore, your preferences will automatically bring something new to Firewords.
If you are successful, you will
Read twenty submissions per week (or more if you request this)
Notify the editors whether you would reject or accept each piece
Provide feedback for the writer on all submissions.
This is an unpaid position. Please don’t hesitate to contact us if interested. We would love to hear from you.
The answer is, yes and no.
Put very simply, you shouldn't walk away from everything that gets you frustrated. In every story I've written I've felt that way at some point. It is a natural part of the writing process. The trick is to realise when enough is enough...
This week, I am extremely excited to be writing an article about the illustrations used in Firewords. I deal with the proofreading and editorial side of each issue so I approach the illustrations as an enthusiastic reader. This article will come from the eyes of a novice. It will describe what illustrations can bring to the ordinary reader who wants to enjoy a good story or poem at bedtime, over a cuppa, on the train on the way to work or relaxing on a park bench.
To demonstrate this, I have used a few examples from the recently published Firewords 8. Unfortunately I cannot mention all our artists below.
The cover art
Each edition of Firewords has a particular theme and this is encapsulated by the cover. It sets the tone for each story and poem, no matter if it is dark or light-hearted. Take the cover of Firewords 8 by Luisa Rivera, for example...
All we hope to do here is give examples of the kind of endings you could use. However, whatever you choose will completely depend on the entire context of the story you have written. The list below is quite comprehensive but endings come in all shapes and sizes, so something completely different may better suit your piece. For each ending, we’ll also be using example stories from the latest edition of Firewords.
The twist ending
This kind of ending is one that takes the reader completely by surprise. Often (though not always!) the success or failure of this kind of story hinges on hoodwinking your reader. Here a real challenge arises...
Those of you who read our article about the middle of short stories and how important it is to keep reader engagement will remember that we touched on the significance of strong verbs. These can be replaced by writers who think it is more effective to use adverbs say, for example, ‘He laughed heartily’, when using one great verb to say ‘He guffawed’ would in fact be far more effective. Like everything in the world of writing, there is no hard-and-fast rule as to when to replace an adverb with a verb but we did think it was an area that was often overlooked and was worth revisiting.
I will firstly make a comparison between well-chosen verbs and adverbs, and then mention why I believe it is important to make the right choice when deciding on the verb to use...
This is part 2 of a series of articles about the different elements of a short story. If you followed Part 1, you’ve now got a strong opening and the reader is in the palm of your hand. The middle can be difficult to get right because it’s the meat of the story. The start and end are exciting – you can begin and close with a bang – but if the middle fails to engage the reader, a strong beginning and ending are useless.
If the middle of your story is weak, here are three options to consider that could spice it up and ensure your reader remains engaged...
Writing with a good degree of sentimentality is a tricky thing for any writer to do well. There is a fine line to walk between being sickeningly sweet and turning your back on emotion altogether. These two pitfalls, which we see regularly, are:
- Writing for sentimentality’s sake. Here, the writer seems more concerned about the effect on the reader than the content of the story. The images used to convey emotion are carefully constructed, yet the reader is aware of the construction...
This is the first of a series of articles in which we split the short story form into 3 parts: the beginning, the middle and the end. Each is important to get right in order to grab your reader’s attention, keep them entertained and make the whole thing worth their while. No pressure then!
We’re starting in a logical place with arguably the most important sentence of your whole short story: the very first one. Crafting the perfect beginning to a story is an art form in itself and should not be taken lightly...
In the last episode of the Firewords podcast we talked all about the submission process and everything it involves. The following question was one we received afterwards, asking us to delve deeper on a specific point.
“You mentioned past publishing credits briefly in this week’s podcast but I just wanted to ask a few follow-up questions as it’s something I’ve been struggling with lately. I haven’t had work published in many magazines yet, so will this make me look less desirable as a writer that editors will want to publish? And when I do build up more credits, should I just list them all when submitting?” - Sarah A
In short, ‘no’ to both questions. However...
‘Write with an active voice’ is advice that is often doled out, but what does it mean? Even if you know this already, brushing up on the basics is never a bad thing.
Most verbs, or at least those that are related to something or someone (known as transitive verbs), have both an active and passive form. Both of these are correct ways of using the verb, but it's definitely beneficial to know the difference between the two and why active is almost always better...
This week’s article is going to come with a mainly editorial, rather than writer’s, hat on. It’s important to know that we expect some short stories to be submitted to other publications as well as to Firewords. We don’t think it’s right for a journal to demand any kind of exclusivity before they have even read a piece, which is why we accept simultaneous submissions. A writer wants to utilise their time effectively and capitalise on their chances of success, so if an editor is too slow to read it and misses out, then too bad.
First off, what are simultaneous submissions? It means a writer is submitting the same piece of work to multiple publishers at the same time but is offering exclusive rights to the ‘winning’ publication, so when they receive an offer of acceptance then they must be willing to negate all other publishers’ offers...
1. Start small
When motivation is high, it’s easy to jump in feet first and commit to more than you can realistically achieve. It’s a vicious cycle because when you fail, you lose the motivation and beat yourself up. I would recommend starting with a manageable target like 7 days of daily writing.
7 days may not seem like a long time...
The word count range that a short story fits into is a hard one to pin down. They can range anywhere from a couple of hundred to 10,000 words and up. But where does a short become flash at the lower end, and when does it become a novella at the high end?
Edgar Allen Poe liked to a class a short story by its suitability to be read in one sitting. That’s quite a nice way to look at it, but how do you quantify one sitting? Does that mean as long as the reader stays engaged? Obviously everyone is different and attention spans vary wildly...
It’s great to write from your own experience; true events that are unique to you and that no one can take away. This is not about perfectionism in writing but about having fun and enjoying the memories of experiences you have had, even if doing so is far from perfect. Only last week, I wrote about my own fond memories from my travels. The trip itself was one that many people have done before but my experience was nonetheless unique. For me, this was due to a relationship and the strength of character I saw in my travelling companion.
Beware, though. This emotional connectivity did lead me to a certain degree of clinginess. I did not want to edit my piece once it was written, did not want to cut it down, and I did not want to take out any passage, whether it be about a fox-bred dog or a crying child. I was too emotionally attached to the real life events and I only loved it because of the personal connection...
Readers and writers are notorious for being difficult to buy for, which is why we’ve put together this gift guide to help you out. Let's be honest, this could also make a perfect personal wish list. It's been a long year and you definitely deserve a literary treat...
Our competition, in partnership with Bloomsbury and Writers & Artists, has now come to a close! Reading so many stories that all originate from one prompt image has been such an exciting and fun experience. We were blown away by the quality of submissions and it's been a real challenge to choose only 10 entries to make up the following shortlist...
- The Visit by Toni Allen
- Last Man Standing by Jen Falkner
- After the Dark by James Hatton
- Stars by Liam Hogan
- Homeland by Katherine Mezzacappa
- A Mother Whale Lifts Her Head by Jeanne Panfley
- A Good Thing by Megan Parker
- Mountain Ash by Nicole Pearson
- The man with no shadow by Stephanie Percival
- The Seventh Sense by Dee Takemoto
Next, we have to narrow it down even further! The two runners up and overall winner will be announced at the end of November. Watch this space!
Thank you to everyone who took the time to enter this competition. If you didn't make the shortlist, please don't be too disappointed. We received over 550 entries so a lot of amazing stories didn't make it.
Many writers use pen names. I’ve actually never written anything under my real name. But why do writers feel the need to use an alternative guise?
Speaking for myself, the main reason was confidence. A writer bares their soul when they put pen to paper. It doesn’t matter what the subject matter is, what the genre is, or what the setting is; the moment a writer puts pen to paper it’s personal. I went into this writing lark expecting a sea of rejection slips. I didn’t want that level of rejection under my real name.
Writing under a pen name allowed me to hide, but it also gave me a freedom to express myself in a way that I wouldn’t have been able to under my real name...
My intention is not to insult you with that tongue-in-cheek title but to make you think. How much are you pushing yourself and your writing abilities?
This is your chance to do something out of the ordinary in one easily-attainable step.
Why do we gravitate to our comfort zones?
It’s not rocket science: a comfort zone feels safe and secure. It’s human nature to avoid stress and risk. We know we are good at a certain style of writing so we stick to it. That’s not necessarily a bad thing as we develop our skills in that area and hopefully build a reputation for that style.
Developing a personal style and voice is important, but so is trying new things every now and then. If you find yourself falling back on the same tried and tested characters or similar plots, it might be time to mix things up...
While I will go on to say what makes the most effective cover letter, it is important to remember that your short story will speak for itself. The ‘greatness’ of a cover letter may slightly colour the editor’s preconceptions and help to either add or detract from how memorable your writing is, but shouldn’t have any bearing on the acceptance or rejection of the piece (and, if it does, it is a reflection on the editor of the publication you are submitting to rather than any reflection on you).
Why even have a cover letter, then? Well...