Author Archives: Renee

Titling is Important or, Is Your Interview Outfit a Crumpled T-Shirt?

A good title can make or break your story submission. That is, unfortunately, not an exaggeration. Many writers and artists title as an afterthought: a title is a necessary evil, and the story is the real attraction. It will speak for itself! While it is true that a stellar story will trump a bad title, you have to remember that despite all attempts to make judging art fair, neutral, and unbiased, reading is an inherently subjective task. Your title—and not the story itself—is the very first interaction anyone will have with your work. It’s the suit & tie your story wears to the interview.

There are a few things you must keep in mind when titling your piece.

  1. Its ability to stick in the mind. We read hundreds and hundreds of submissions each period. If I can remember what your story was about, but not what it was called, I’ll have a much harder time finding it again to promote internally. In our first issue, there was a flash story titled Scientifically Mapping a Missed Attraction (Teffy Wrightson), and I’m still thinking about the way the title made me feel. A title that strong means I can easily direct a future audience to the story; I know exactly how to find it again. This is, understandably, harder to do for something titled Short Story 3.
  2. Remember that we HAVE to read your submission. It’s literally our job. You have an opportunity with your title to make this seem like a pleasure or a chore. Say you pick a title meant to shock; Bad Santa and the Naughty Elves. I’m instantly making judgments despite all best intentions. Do I really want to read what appears to be fan-fic erotica about Santa? Doesn’t matter, I have to: again, literally my job. A racially charged or misogynistic title may be perfect for your story, but a reader may start out with a bad taste in their mouth. To a lesser extent than shock titles, boring titles can disadvantage you. Short Story 3, Interlude, and Luck are a few examples that suggest you perhaps did not put great thought into your title. The problem here is that you have inadvertently primed your reader to suspect that you put a similar level of care into the story itself. Of course, there are cases where a title like Interlude or Luck may absolutely be a spot-on moniker and reading will make that absolutely clear to your reader. Just do yourself a favor and double check; I guarantee you want your reader rooting for you and not against you as they start out with your story so try to give yourself a leg up and give readers an appetizer instead of a bowl of gruel.
  3. Related to the above point, your title can affect how early your story is read. Picture a queue with 50 new submissions in a single day; our intrepid volunteer reader is tasked with reading, let’s say, 5 of them daily. Our reader may be a diligent, type A person who reads in order of earliest submission until their task is complete. They may just as easily be a diligent person who likes to skip around in the queue as various titles grab their attention. Seeing the issue? Maybe I decide Bad Santa can wait a day or two and pick something else to read today. Maybe Bad Santa sits in the queue unread for a week. I assure you Bad Santa will eventually get read, but there are some advantages to having it read earlier. First of all, you get an answer sooner. Second, the earlier a story is read in a submission period, the more time there is for someone to champion your work internally. This means that given two good stories read at the end and beginning of a submission period, respectively, the latter is more likely to be accepted for the upcoming issue. The good story read later will most likely still be accepted, but placed in a future issue if the current issue is already full. You, the author, are now waiting longer to see your story in print.

With that in mind, here are some suggestions on how to go about crafting your next title.

  1. Borrow from your own content. Is there a particularly evocative line or image from the text itself? Even a line that ended up on the cutting room floor during editing could be repurposed as your title.
  2. Do you have a trusted reader or editor who can help you workshop titles?
  3. Think of an elevator pitch; if you had to describe what your story was about in 3-5 words, what would you say? A title that tells or hints at what the story is about can be a great choice in short fiction. Remember that your reader is often sandwiching a short story in between activities or during a commute—title shopping is more common than you’d think.

Next time you send a story off, take a moment to review its title. Imagine your story going to an interview and deciding between shirts. Don’t be afraid to try a new look.

– Renee Jackson

Orca Blog for June: Asking for Feedback, a Micro Guide

Have you ever shared a draft with friends and colleagues to see what they think and been disappointed with the feedback you received? Conversely, have you ever read a friend’s manuscript and been unsure of how to give them actionable critiques?

Feedback can be uncomfortable on both sides of the fence: we feel put on the spot, we aren’t sure how to articulate how we felt, or we aren’t even sure whether what we have managed to articulate is useful! I’d like to share a couple strategies to reduce this stress and optimize your results.

Gather volunteers

Hey! I was hoping you could read the attached story and let me know what you thought! Thanks so much! 🙂

Don’t send this email unless you already have an ongoing critical relationship with the recipient; surprises are for your stories. An email like this out of the blue can cause many people to panic. What if I don’t like it? What if I don’t give the kind of response they’re looking for? Your email may get a quick “Great job, this was a fun read!” or it may get relegated to the deep recesses of your friend’s unread pile. Instead, ask your friends and colleagues if they’d be willing and interested in reading and critiquing your work in advance of sending them your latest draft. This way they are prepared and have a chance to bow out gracefully if they haven’t the time or inclination.

Ask specific questions

Are you wondering whether the dialogue works? Whether the twist on page 20 is too out of the blue? Ask! It’s much easier for someone to give you useful feedback when it’s specific. Sending your story along with 1-3 specific questions you’re trying to answer will help your reader target their commentary in a way that they and you both feel is useful. “Did you like it??” doesn’t count —it may be what you want to know, but it’s not very useful as you head into your next draft.

A handful of our favorite questions:

  • What is your favorite part of the story? This is fun to talk about and usually gets people primed to give you honest responses. Readers will be more comfortable if they can give you some positive words off the bat.
  • What do you feel is missing or unclear? Were there parts you felt like skipping over? Is there anything you wished there were more of? These are good for identifying deficiencies—maybe a character or plot point needs further development. The implied reverse questions are also a fair ask.
  • Do the climax and resolution make sense? Sometimes we get so wrapped up in getting to the climax of a story that we forget that our readers have to buy into the plot that gets them there.
  • Is the main character sympathetic? Stories often fail because readers can’t identify with or sympathize with the main character. Asking them to consider this aspect can be very helpful.
  • Is the dialogue in this scene realistic? Sometimes we tend to make dialogue too explanatory in an effort to make things clear. But dialogue needs to sound natural, like people actually talking.

– Renee Jackson

Image by Dean Moriarty from Pixabay