What NOT to say to publishers or editors on social media

I’m writing this post because of comments I have seen recently on social media in response to publishers’ “open submissions” announcements. Of course I will not name names–it’s not a burn post. But many of us have had to learn the submissions process the hard way, and I hope this post will help folks avoid the mistakes I’ve seen and the mistakes I’ve made myself. Now I can’t cover every faux pas here, and most publishers will absolutely overlook small mistakes and mixups. (Like, if someone wrote to “Undertaker Press” by mistake rather than “Undertaker Books,” no biggie.) Here are a few things to try to avoid, though, with some tips on what to say or do instead.

  1. Do not announce yourself like a boxer jogging into the ring.

This imagery comes to you courtesy of Heather Daughrity of Watertower Hill Publishing and Parlor Ghost Press. It’s the perfect analogy for what I have seen on these social media posts and in emails I’ve gotten as an editor.

Some authors, before even mentioning their current project or submission, feel they need to yell through a megaphone, often exaggerating their accomplishments, and generally putting their ego first. Not a good look, I promise you.

The place for information about you is in a short, factual, third-person bio paragraph you would include in a cover letter/email with your submission. Stress on “short.” (And do not put it on social media in a comment on a publisher’s post.) Start that paragraph with a personal note about yourself and follow it up with a few publications/accolades and then where folks can find more information about you (hopefully, your author website).

2. Do not beg, grovel, put yourself/your work down, or share a sob story.

Be friendly, confident, and at least a little bit professional. I have seen statements in the comments section like “I have a book that is like Star Wars meets Anne of Green Gables but you probably wouldn’t want to read it.” Problems: zero confidence makes me think it’s probably not that good, but also, you made up my mind for me, which is kinda rude and presumptuous. So let’s revise that. It would be much better if the person said something like: “I have a novel manuscript ready that could be described as a mashup of Star Wars and Anne of Green Gables. Beta readers have told me it’s a fun read and not like anything else they’ve read. If you’d like to take a look, I’ll send it along.” Of course, only say that if it’s true.

Other cringeworthy comments, which of course I’m paraphrasing/imitating:

“Wow I’m so glad to see this sub call. I haven’t had anything published in over a year because I had to move and then my cat died and I lost my job. I wanted to self-publish but I never really got around to it and I thought I’d never write another thing but hey, I could send something to you!” (TMI, and a weird vibe right away; might also signal to the editor, rightly or wrongly, that you would be difficult to work with and/or clingy.) Instead, how about “This looks like a great submission call and I have something that would fit. I’m excited to send it!”

“Oh cool I love your books! You put out the best books in the industry and I tell everyone you’re the best! Publishing with you would be a dream come true and would be the best thing that ever happened to me!” (Even if that is totally true, it SOUNDS like corny flattery. Compliments are appreciated, but in moderation.) Instead, try “You put out great books and have an impressive reputation. I’m definitely sending you something!”

3. Try not to ask questions in the comments section that could be answered by the publisher’s post itself or by a quick look at their website or social media.

Comments in this category of “Please No” are “What kind of submissions do you want?” (That will be in the post or on the website.) “What books have you published?” (Go to the website.) “Who else has books with you?” (Again, go to the website.)

It is absolutely fine and great to ask questions. Just make sure the questions you are asking can’t be answered by a one-minute review of the post or a quick website search. And, of course, since we all miss things that are right in front of our faces (because I have done this a million times), when you realize your goof, offer a quick apology. “Sorry! That was right in the post. My bad!” Editors and publishers are humans too. But you want them to know you don’t take their time and attention for granted.

4. Do not say rude things.

I cannot count the times I have seen absolute rudeness in response to publishers’ submissions calls: “Why would I even submit to you? You’re a joke.” “My work is worth money. Recognition doesn’t pay my bills!” “You aren’t a professional magazine if you don’t pay writers!”

Lordy. This is one of those “Don’t like it? Keep scrolling” situations. It’s true that editors/publishers should announce whether or not it’s a paying publication. But when it does not pay, or when the payment is token, don’t be nasty, and don’t assume every other writer out there has the same publication goals you do. A friend of mine submits work to non-paying calls, because he’s just trying to meet other authors and folks in the industry, and get his name out there. I have submitted to non-paying calls because the publication’s theme is really cool, or I like what they put out, or it’s for a charity I care about , or because I know the editor to be great, or because I know that publisher submits authors’ work for awards like the Pushcart Prize and Best of the Net. Maybe a writer is just starting out, and getting a story or poem in a non-paying publication would mean the world to them. Do what you want to do, submit or don’t, but keep the vitriol to yourself.

“I’d never submit work to you! You’ve published [author I hate/author who has behaved badly]!”

Okay. I know this is a tricky one. But think before you type.

It could be that yes, a publisher has put out a book by someone who acted badly. We’ve seen it all too often in the horror community. But when did they put out the book? Was it BEFORE the author in question was known to be a jerk? Could the contract have been signed before that point? Contracts are legal documents, and before you type an angry comment to this here post lemme ask you: Are you a lawyer? A judge? If not, still those itchy fingers. Some publishers have what is often called a “behavior clause.” This usually means that, should an author behave badly, in any number of ways, the publisher can immediately cease production of their book and the contract is void. But if a publisher does NOT have this clause, they may be stuck with that author and that book, at least for the duration of the contract, which can range from six months to several years.

Here’s something else that a lot of righteously angry people won’t want to hear: People change. PEOPLE CHANGE. They are capable of personal growth, and learning, and repentance, and behavioral correction. It’s possible that a person did or said something terrible a long time ago, and has since become a better person. (This applies to like, non-felonies, of course–I’m not saying you should forgive every murderer and assaulter out there.) There is an expression I love: “When you know better, do better.” I’m not going to hate anyone because of something they said 20 years ago. I’m sure that I myself said horrible things 20 years ago, when I was young and ignorant and sheltered. I’m sorry for all of them, even the ones I don’t remember saying (because alcohol and I were way too close in my 20s). So I will give people the grace that I hope to receive. People. Change.

I’m going to stop there. Happy posting and happy commenting, everyone.

‘New Press, Who Dis?’ (Undertaker Books is born)

Life is weird and I know it frequently surprises us with heartache and tragedy. But sometimes amazing things happen, kind of out of nowhere, leaving us wondering what we did to deserve such good fortune.

Undertaker Books is one of those amazing things.

At the beginning of 2024, I worked for a different small press (name tactfully withheld; I’m keeping it positive here). There, I met D.L. Winchester and Cyan LeBlanc. We quickly allied ourselves, and then bonded–the three of us had similar work ethics, and acted on the same principles: do a good job for the authors. Conduct ourselves in a way that allows us to respect ourselves. Put out books that make us proud.

Well, that press fell apart. And because phoenix analogies are a little tired, I’ll use a different one: D.L. and Cyan and I looked at the house that had fallen down around us, and we inventoried what we could salvage. Then we hauled it away to a new site, put on our damn overalls, and got to work building something new.

While we planned carefully, the paint on the shutters was still wet when we got our first houseguest: Elizabeth Broadbent, with her breakout Southern Gothic novella Ink Vine. Her stock of copies sold out at AuthorCon III, and Ink Vine topped Amazon’s charts all that weekend (and hovered there afterward). Reviews are still coming in, and they are great! The Horror Tree just gave it five out of five crows. (Do you like sexy scary swamp magic? Then get yourself a copy!)

Quickly, one guest became a whole party, and only a couple months in, our new little publishing house is full to bursting with good people and good cheer. Our calendars for the rest of 2024 AND all of 2025 are full, and the lineup is amazing. Just to name a few, in addition to Eliza, we’ve signed Kathleen Palm, Robert Ottone, Emma Murray, C.M. Saunders, and, through an agreement with anthology guest editor T.J. Price, Christi Nogle, Ai Jiang, Carson Winters, Caleb Stephens, Ivy Grimes, and Erik McHatton. More news is coming soon–watch our social media feeds for signing announcements!

Because the hosts are allowed to celebrate, too, we are also putting out a few of our own books–have a look at Cyan’s new releases, Mastering the Art of Female Cookery and The Taste of Women, and D.L.’s chapbook story collections, Shadows of Appalachia and A Terrible Place (forthcoming). My ghost story collection, The Hauntings Back Home, with an introduction and thirteenth story by Jonathan Gensler, will be out next year.

And if you will allow me to gush about my publishing partners (and who’s gonna stop me? This is my blog. Ha!), I want to say how much I appreciate them. Cyan is our publisher and formatter, and also the handler of most of our marketing. (Wanna get on an ARC/galley list? Message us!) D.L. is our head of business development and manages all of our contracts and our master schedule. He is also our short fiction editor, running most of our anthology calls. (He will also be editing my story collection and a few long fiction projects.) Yours truly is editor in chief–I edit most of our long fiction projects and scout talent (and by that I mean pester people whose work I love–you know who you are–your DMs haven’t seen the last of me). All of us are novice cover designers who are determined to learn new skills and improve. (I still throw out nine of ten designs, but that’s okay–art is all about trial and error.) The three of us work well together, and we’re so excited to be a part of bringing so many wonderful books into the world.

Undertaker Books runs on integrity, professionalism, honesty, and transparency. We communicate openly with our authors and expect them to do the same. We want to sustain our business but we know money doesn’t fall from the sky, so we will work hard to make sure we are successful. We’ve heard from a lot of authors who have been let down by their former publishers–some of those authors have signed with Undertaker, and we vow to be the rebound who makes them believe in love again.

Undertaker Books: Stories You’ll Take To Your Grave (and folks who will be nice to work with).

Hard Work Works (thank you 2022!)

This is basically a “part two” to my recent “Failing at NaNoWriMo & Winning at Rejections” post.

This year (2022) has been pretty incredible. I’ve met dozens of cool writers, joined writers’ groups, and I’ve gotten more acceptances than I have in several past years combined. What made this magic? I worked my ASS off.

Which is really good news. That there is nothing ethereal or fate based that leads to writing success. Just good old-fashioned sweat and tears. And that also means there are no shortcuts (at least not for most folks).

Success is relative, I know. And people take different paths to the same or similar places. Mine went like this:

-Joined the Horror Writers Association in early 2022 (March?) after earning an Honorable Mention in the 2021 Etched Onyx Winter Contest. That story, “A Bargain at Twice the Price,” (a ghost story) earned enough that I qualified to join the HWA as an Affiliate Member.

-After joining, figured “What the hell? I’ll go to StokerCon” (May). I knew no one. I mean no one. But I had the best time there, and met so many wonderful people, from big-name authors like Brian Keene to other people like me, struggling to find a path.

-Was so inspired by StokerCon—the people and the presentations and the panels—that I decided on the way home to quit my second job as the managing editor of Leapfrog Press. I deserved time to write, and my writing deserved my time and attention. This realization hit me with a stunning clarity at about midnight on the plane from Atlanta to Buffalo.

-Wrote. Wrote and wrote and wrote. I produced so much new content in 2022, especially over the summer, when I was finishing up with Leapfrog and before the fall semester started (I teach at SUNY Fredonia).

-But I didn’t just write. I joined a workshop with other writers in the horror community who ended up with me the same way folks end up owning cats—I was dumb and hungry; they were kind. I started another workshop with a few people I’d met at StokerCon. I workshopped with other students from Lindsay Merbaum’s independent studies (we are her happy little cult members). And I continued to workshop with my friends from grad school. Outside of those groups, I also beta read for people who needed it and joined social media groups of people with similar goals. I learned so much from those other writers, by reading their work, getting feedback on my own stuff, and sharing our successes and challenges.

-Took every chance I got for affordable independent education. With Lindsay, I learned about Feminist Horror and Queer Speculative Realism, and more recently, witches. I’ll be taking another independent study with her in 2023 on ghosts. (If you are interested in joining us, let me know and I’ll connect you with Lindsay.) I paid for a few developmental editing sessions with an awesome writer and friend. I took workshops through Defunkt Magazine’s Litfest. And I went to other one-off virtual workshops and panel discussions I found through Event Brite.

-Along with all that, I submitted a ton, too. My goal for 2020 was #100rejections. That meant I’d have to submit over 100 times, because I had to factor in the likelihood of a few acceptances. I just hit 150 submissions, with about a ten percent acceptance rate. I sailed past 100 rejections. A friend called submitting work “sending tiny missives of hope out into the universe,” and that’s exactly what it feels like.

-Finished my manuscript of speculative and slipstream stories—you can call it quiet horror or eerie horror or feminist horror or dark fiction. It’s a collection of 13 stories, and I’m currently trying to find a home for it. Some of those stories patiently waited to be revised for ten years. I’m so glad I kept my faith in them.

-I also put together a poetry chapbook manuscript, after being surprised I had enough poems to do so. (I’m primarily a fiction writer.) But I saw a chapbook contest being advertised by Mausoleum Press, and I took a chance. My poetry made their shortlist, but did not ultimately get selected. Getting that far, though, told me my poems had merit. That was further proved by Nocturne Magazine nominating my poem “Still Love” for a Pushcart Prize. The second press that got my poetry manuscript said it came close. Then I got an acceptance! More on that when I have details to share.

-There were so many “firsts” for me in 2022. In addition to being nominated for the Pushcart Prize, I was nominated for a teaching award at work. I was invited to be a part of an upcoming anthology-magazine hybrid (and my story was accepted). I was invited to be a guest on a podcast (still in the works, so no details right now). I made it into a dream anthology that I thought was such a longshot (Shakespeare Unleashed). And of course, there’s the to-be-published poetry collection that I’m so happy about.

-Oh! And I started and abandoned a novella, then started another novella that I’m happy with (and still need to finish), and the novel notes I mentioned before from my first NaNoWriMo.

I’ve got big hopes for 2023. I hope to get my collection picked up. I hope to finish my novella (spicy ghosty gothic), “Forgive Us Our Trespasses.” I hope to make lots of progress on the novel I tried to start during NaNoWriMo.

And I hope I will get another #100rejections.

Happy Writing to you all!

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