by Ossandra White

Getting your work published in an anthology can be a wonderful thing. It can provide experience working with other authors and companies, sometimes even allowing you to lend creative input beyond your individual submission. Anthologies can expand your portfolio with more accomplishments to add to your roster. It can broaden your audience, exposing you to the followers of those you are collaborating with.

Depending on the nature of the anthology, you may also expand your skill set and gain practice doing new things. If the collection calls for a certain word count, storytelling style, genre, format, or plot element, take it as a challenge to do new things. Jump on the opportunity to show off your diverse talents and skills in writing varied works other than your main project. OR you can use the anthology as a sampler of sorts to introduce people to the works you are really trying to push.

These things are what can happen if projects go right. But, to ensure they do, it is essential to conduct proper research.

Anthology projects vary in nature. Some are highly structured and professional. They have printed rules, signed contracts, and a final product in the form of a digital or physical book that may be sold (or otherwise distributed). Some may even directly earn you monetary profit.

Other projects may be looser in style. Some feature authors and their posts on social media platforms or websites without actually compiling the works into a separate book. These don't deliver much besides a few more likes and views. It is a good idea to familiarize yourself with what types of projects exist and whether or not you want to join them. Research is priceless, communication is key, and not everything is everyone’s cup of tea.

Project Types and Collaboration Styles

While I can provide a brief overview of several project types, it is ultimately up to you to decide which kinds you prefer to work with. Each anthology project has its own set of rules and guidelines to keep in mind. Some forbid you from sharing your submitted works elsewhere outside of the collection. Some allow you to share after a certain time period has passed. Others even require payment to submit. It is very important that you thoroughly familiarize yourself with all rules and guidelines before collaborating with anyone at all.

If an anthology project involves the final compilation being sold, things have the potential to get even more messy. Some offer you upfront compensation for your participation. This allows the seller of the anthology to keep all profits gained through sales. Others pay you nothing up front but are supposed to be responsible for getting your royalties to you if and when copies of the collection have been purchased by customers. I would advise you to think about your own best interests (and the best interests of your works) before committing to something.

It’s better to be safe than sorry.

Ask “too many questions”. Read the fine print. At the end of the day, there are worse things than being embarrassed by trying to do the normal thing and communicate clearly. It would be a nightmare to realize that you signed your work away without paying attention, wouldn’t it?

Now, don’t let this scare you out of collaborating with anyone at all. I only bring this up because these are things you must be cautious about as an author. A lot of anthology projects don’t aim to be malicious. Sometimes, especially if run by individuals or less experienced collaborators, these issues are simply something the organizers didn’t even take into consideration. A lot of people who are fresh on the scene display uber enthusiasm once they realize that they can collaborate with other creatives in the space. Your caution can help them to realize things they hadn’t previously focused on, which can make things better for them and any other collaborators on their projects in the future.

Good and Bad Experiences

It is impossible to anticipate every issue that may arise when working with others, but it is good to review the experiences of others so that you can try to avoid such problems if similar things occur when it’s your turn.

I participated in an experimental anthology project hosted on Substack. The idea was interesting and involved several authors writing different legs of an interconnected interactive fiction piece that allowed the readers to decide which character to follow. There was also a quite complicated peer-to-peer voting process that happened among the authors behind the scenes.

The early win...

The concept was intriguing, but the execution was poor. It didn’t seem like the two officiants were on the same page. The one who had invited me was overly enthusiastic, while the other seemed to lurk in the shadows. There was also a lot of mix-up with communication and voting, but we managed. I was surprised to find myself consistently voted highly in every round and consequently wrote four sections of the connected story. 

Warning signs...

Unfortunately, it all ended abruptly as the overly enthusiastic officiant suddenly withdrew themself and announced that those they had invited would not be participating any longer, either.

I was one of the people they invited. Very confused at the change of tone, I reached out to them and was told of allegations against the other officiant that I could not verify. They let me know that they were upset, but it was my decision whether or not to continue with the project. I decided to stay on, as I had put a lot of time and work into it. I also wanted to maintain professionalism with all collaborators. Suddenly exiting a project for petty reasons or baseless claims can cast one in a flaky light.

The end...

Sadly, the project still failed due to other complications primarily caused by all the sudden withdrawals. Now, I have a set of four stories I wrote that aren’t connected to anything. I’m sure the experience was frustrating for all involved. Does this mean I won’t join another experimental project? No. But when things are still being built and nothing is clear, there is almost a guarantee that something will go wrong. This is a risk you need to be aware you are taking. If just starting out, I suggest you go for an anthology project that is more stable and established.

Setting Standards and Boundaries

Even with established, professional collaboration projects, everyone has their own preferences. As you explore the space and become more familiar with the general processes, you may develop your own list. For now, here are a few traits I look for when collaborating.

1. Retained Rights

It is very important to me that I retain the rights to my works. Even if I never use the story again for anything else, it’s good to have the ability to share it without fear of being actioned for something I wrote. If there is a designated window of exclusivity, that can be fine. Many anthologies at least want a week or two to capitalize on some kind of incentive that will make the compilation appetizing. The whole purpose is to expose readers to varied authors.

If I let my readers know I am featured in something, they might get the book to support me and consequently discover others they were previously unfamiliar with. If I simply published the story for my readers to see without needing to reference the anthology, the project will be less successful. All participants should be smart about marketing for the benefit of everyone involved. However, if I desire to share a snippet of it on social media, or as a perk for my Patreon donors after the fact. I want to know that I can do so without punishment.

2. No Submission Fee

Some anthologies and magazines charge authors a fee to submit. This is understandable, as they are using this method to raise funds for the project. Personally, I would rather not pay, especially if my spot is not guaranteed. Writing takes work. Stories have value. And, to be honest, I am not currently in a financial situation that could accommodate this style of collaboration. Even if you can afford it, I would advise you to be extremely cautious of scams. If you are prompted to provide a monetary contribution in order to participate in something, it is a good idea to get second opinions and reviews of the person or company you are paying.

3. Useful Compensation

On the other side of that coin, we authors appreciate compensation for our works. If our stories are being used in a book that is published and sold for monetary gain, it is only fair that we also gain something.

Depending on the project, I may not mind contributing unpaid work to an anthology that is being sold for profit. If I feel the platform could help me gain a lot of exposure, it might pay off indirectly in the long run. I may also just want to help out friends or folks I know, which pays off in its own way. Or, maybe it’s just a fun project that compensates with dopamine.

But in these sorts of situations, you must be aware that, even if the book becomes a New York Times Best Seller, you have no right to suddenly beg the officiants for a piece of the pie. You already agreed to let them use your work for free (or your minimal upfront compensation).

Hearing from Anthology Experts

My experiences and preferences are good to know, but it’s great to gain other perspectives.

Amy Winters-Voss

Author and worldbuilder Amy Winters-Voss actually had experience hosting her own anthology zine series called In Threads. It had several issues and was compiled using VSS from several writers.

VSS stands for Very Short Stories. In the height of Twitter (the social media site currently known as X.com), authors began challenging themselves and others to write short stories using the limited character count that each post was constrained by.

When the platform introduced ‘threads’, users began to string short posts together into more coherent trains of thought. This gave Amy the idea for the title of this zine.

In February 2022, the first issue was published. As of now, a total of five editions have been released, showcasing a variety of authors (including myself)! They are all available to be read online for free.

“In Threads was my favorite of the anthologies I got to work with, mainly because I got to read everyone's amazing stories and learn about beautiful new worlds,” Amy recalled fondly. “I was also able to get to know and become friends with the group that would consistently submit. Even though all participants were given the same set of prompt words, the authors always had such different stories and takes on how to use them. I loved it, and I actually miss it.”

Link to In Threads:

https://www.worldanvil.com/w/vsscollab/a/in-threads-zine-issues

George Sanders

George Sanders, another author and worldbuilder who was featured in several anthologies (including some of Amy’s), shared one of the things he likes about these types of collaborations.

“For me, the nice thing about anthologies is you can just write and not worry about layout, publishing, and a lot of the backend work,” George Sanders told me. “You still need to write, edit, and market, but keeping to a writing schedule is hard enough. Anything to help you get through that process is nice until you are ready to tackle your own book.”

George currently works in conjunction with Storytelling Collective, a company that hosts creative challenges, fiction courses, and more. They also frequently open calls for anthologies.

Link to Storytelling Collective:

https://www.storytelling-collective.com

Martin Klubeck

Author and streamer Martin Klubeck (known online in some places as Tiberian64) shared his experience writing for The Monsters Next Door, an intriguing anthology of creepy, spooky, and eerie stories by several authors. Some were subtle thrillers, while others involved haunting creatures. Each author was inspired to write their own take on the prompt.

“The anthology accepted free submissions. Personally, I wouldn’t have done it otherwise, as I believe you should be paid, not pay. Though the book is being sold by the publisher, I don’t receive royalties. Instead, I was given a flat fee and a free copy of the book for myself,” Martin shared.

“Short stories notoriously don’t pay well. Even in magazines, you are usually only compensated a flat rate per word. That’s why I look at these sorts of opportunities as more of a way to get noticed and build your resume. You are normally able to purchase copies at a discounted author rate, so you may make a little money if you buy a few to sell at book fairs.”

Link to Critical Blast:

https://www.criticalblast.com/content/publishing

Finding Open Calls for Collaboration

Now that you’ve learned all about anthologies, you may wonder how you can get involved. One of the easiest ways to locate collections that are currently seeking submissions is to go to your search engine and type “Open Call Anthologies” or a similar phrase. Remember, as discussed previously, don’t just apply to the first thing that pops up. Do research. Find the risks. Ask questions. Be curious. Keep yourself and your work’s best interest in mind.

Writing Communities

If you are part of any writing communities, you can ask within those circles. Many authors follow newsletters or other informational channels and may be happy to pass the details on to you. This method might feel a little safer and more comfortable than jumping into the deep end. Though you will still need to do your own research, gaining input from others who are already familiar with the programs can be super helpful.

Social Media

Social media is another space to find open calls. Bear in mind that, while some anthologies hosted on social media platforms are professionally officiated by reputable companies, most that can be found in this space are community-run projects. These days, it’s so incredibly easy for absolutely anyone to do absolutely anything. Unfortunately, not a lot of people have project management experience, nor have many of them thought of all the necessary components of a successful collaborative endeavor.

Caution

Messy situations, such as the one I spoke about previously in this blog post, are likely to occur. If you are to join a more unprofessional anthology, it is of utmost importance to communicate. Ask questions concerning things you are confused about. Many of these impromptu endeavors have no websites where you can research. Much is taken by word of mouth, which can turn into he said/she said/they said situations quite quickly.

If you do decide to get involved, please keep yourself safe. Even if other participants don’t seem to be as concerned as you are, your ultimate priority should be protecting yourself and your works. If you don’t feel comfortable asking questions or starting tough conversations, it may be best to skip out on the project altogether.

Let’s Talk About It!

Have you ever been featured in an anthology? Did you have a good or bad experience working with others? What are some things you wish you had known before getting into it? If you haven’t participated in these kinds of collaborations before, what are your highest concerns? Let us know in the comments below!

About Ossandra

Ossandra White is a Jill of all Trades with too many ideas and not enough time. Lover of all things creative, you can often catch her making or admiring art of every kind. She also enjoys writing in every genre. When she’s not juggling seventy-one projects and working multiple jobs, she helps others as a freelancer for hire and as a teacher at the No Stress Writing Academy.

She can be found online almost everywhere under the username WordiGirl. Her current main project “Secret Agent Someone” immerses its followers in the mysteriously wonderful world of W.I.L.L.O.W.I.S.P., home to spies, lies, disguise, surprise, and a man with malachite eyes. Find books, short stories, audiodramas, games, and more at https://willowisphq.com or visit https://www.wordigirl.com to check out everything Ossandra is up to.

Photos in this post are all (c) Ossandra White.

By G.L. Gooding

My path to becoming a published author didn’t begin with a burst of confidence or a degree in creative writing. Instead, it was driven by a long-standing promise to my elderly mother.  I had once promised her I would write a book. She was nearing her 100^th birthday, I was retiring, and the time to write that book was now or never. 

So, I dived in.

I soon was challenged in unexpected ways that nearly stopped everything before any of it could really begin.  

What I learned could help you with your own promises to write.

1. Use Your Limits as Launchpads

The first draft for my first book was too long.  It clocked in at over 800 pages. Turns out I wasn’t just wordy, I was epically so. 

But editing that monstrous manuscript wasn’t going to be my biggest hurdle. Chronic illness and caregiving were the real challenges ahead.

Just as I began writing (and rewriting) in earnest, my vision—which had already suffered through four retinal detachment surgeries—took an even more serious turn. I was diagnosed with Ocular Histoplasmosis, which left me with blind spots scattered across my visual field. Soon after, although I was not living in blackness and could see in a very limited way, I was declared legally blind.

I had already been struggling with what to do with the litany of recommended changes to my 800-page masterpiece. Now my vision issues made me consider the idea of giving my lengthy draft to my mother and declaring victory in completing the book. 

But that didn’t feel right. So, I tackled a complete rewrite. 

Since I could not see the pages myself, my wife Sarah patiently read aloud all 800 pages of the draft. I stopped her constantly so I could make endless changes. Whole chapters vanished. Characters died. Hundreds of my darlings laid murdered at my feet. It was truly amazing that our sanity and marriage survived, barely.

Tip: What I learned in this process that may be helpful to anyone confronting such a daunting task accompanied by daunting barriers:

Don’t wait for perfect circumstances. They rarely show up. Instead, write within your limitations—and let them shape a voice only you can offer.

2. Ask for Help (Then Say Thank You a Lot)

My first novel was torturously whittled down to 323 pages from 800 using my existing tools --- traditional computer and saintly wife. Before starting another book, I looked long and hard for more help. I was fortunate to find excellent support from the Earl Baum Center for the Blind. Besides traditional skills training --- using a cane, traversing busy streets, managing clothing, preparing meals - they introduced me to tools like large monitors and voice-activated software, which made writing easier for me. I still had Sarah—my committed editor, critic, and cheerleader—by my side during this transition to a new way of writing.

Ironically, as my quest to be an author continued, a second shoe of challenges fell. My dear Sarah was diagnosed with Early Onset Alzheimer’s. Our supporting roles slowly began to reverse. I became her primary caregiver, which was not difficult at first but quickly intensified. Ultimately, we moved closer to her family in Ohio, and with the help of kind and capable paid caregivers, I continued writing—even as my pace was slowed by evolving circumstances.

Tip: During this phase of my journey, I learned what likely should have been obvious but wasn’t: 

Writing is not a solo endeavor. Accept help—whether it’s assistive technology, a loved one’s support, or community services. Find tools.  Welcome the tools. Support is the road to overcoming barriers and building resilience.

3. Redefine Success—and Keep Going

Since retiring, going blind, and becoming a caregiver, I’ve published seven books. I have many more in the works. Some days, just finding the right file on my computer feels like an Olympic event. 

But I keep going.

Writing helps me stay connected—to my purpose, to my memories, and to my late-night conversations with the woman who once sat beside me, reading every word out loud. Plus, reading my drafts helps me maintain my sense of humor. I have laughed myself silly reading some of the “new” words I invented in my writing. 

Keeping a sense of humor every day is, in itself, a success.

Tip: Success doesn’t have to look like a bestseller or having 5,000-word writing days. Sometimes success is showing up. Sometimes it's one paragraph. Sometimes, it’s just thinking about optional directions. Sometimes it's simply not quitting.

Think about what success means to you and consider resetting the bar if it is impossibly high. But don’t allow yourself to make excuses, either.

I have realized I cannot blame being blind or needing to care for Sarah as justification for not writing.

But, I have also discovered it is normal to get frustrated when writing feels hard. 

I still silently curse my screen. 

But I also feel blessed. Writing through a chronic illness and caregiving hasn’t just made me a writer. It’s made me a real writer—the kind who knows that stories don’t wait for the perfect time. Your stories simply wait for your courage to hit that first letter.

What tips do you have for writing with a chronic illness and/or juggling writing and being a caregiver?

About G. L. Gooding

G. L. Gooding is an American novelist with a growing catalog of mysteries and historical novels.

He’s best known for Where Courage Began, the first book in his uplifting Velma series inspired by his mother’s life in Depression-era Iowa—a sweeping family saga that has captivated readers with its heart and historical detail. 

https://www.glgooding.com Check out G.L. Gooding books

Featured image by WikiImages from Pixabay

Second image purchased from DepositPhoto.com

by Julie Glover

When Christina Delay and I became critique partners, we didn’t imagine the deep friendship we’d develop. But even more surprising, and welcome, was becoming coauthors.

Could one of your writing friends become a valued writing partner?

Getting Started

We decided to cowrite a series out of frustration with our individual writing careers not yielding the results we’d anticipated. If we could self-publish a nine-book series within a year or two that made money, we’d have more options for our individual writing careers.

Very soon, we discovered that: (1) we weren’t willing to lower our standards and thus needed more time to produce our best work, and (2) life has a way of intervening. Many of you can relate to having your plans interrupted by a worldwide pandemic as well as personal challenges. C’est la vie!

Even so, we have published five novels together, with four more planned, as well as our most recent release, a nonfiction book for writers titled Together, We Write: An Author's Complete Guide to Cowriting. Throughout this process, we have learned a lot.

First of all, your coauthor should be a friend.

They don’t need to be a close friend, like we are, but you should enjoy spending time with this person, because you’ll spend a lot of time together when you cowrite a book.

Second, you should adore their writing.

You’ll be reading a lot of your coauthor’s words, so you should already enjoy their independent work before becoming partners. I’m regularly in awe of Christina’s viscerals and plot-twist brilliance, and she has often told me that my dialogue is spectacular. (I’m wincing at that characterization, but it is what it is.) That mutual respect has made it much easier to work together.

Third, you should agree that the prefix co means a lot.

You’ll each need to check your I’m right arrogance at the door and let yourself be edited and challenged by your coauthor. Such openness has made us not only better coauthors for our shared books but better authors for our individual novels.

Choosing a Process

Once you find The One—and wrangle them into writing with you—there’s still plenty to figure out. You must discover the how of writing together.

Will you write in the same room? Pass the manuscript back and forth? Divide up points of view? Lean on one of you to write setting and dialogue while the other focuses on internal thoughts and viscerals? Or something else altogether?

Coauthors have many options available. Take stock of your personality preferences, writing strengths and weaknesses, and time constraints to determine how to proceed.

For us, having a story structure was key. Even though I’m not a super-structured writer on my own, that framework helped us to navigate the path forward. We also discussed when we’d each write, with the happy coincidence that Christina wrote best in the mornings and I wrote best in the evenings. You’ll need to decide what software to use, what editing approach you’ll take (Track Changes or something else), deadlines, and all that coauthor jazz.

Navigating Challenges

While cowriting has been an amazing experience we’ve loved, we won’t deny that it comes with some challenges.

For one thing, you’re sharing profits with another author. Your per-book income won’t be as much. That said, you’re also sharing the work of writing, editing, and marketing with someone else. It’s half the work for half the profit, but we believe our profits are exponentially improved with an ally at our side!

Other challenges include working through different perspectives on plot or characterization, finding time to write and edit with one another, and deciding what promotion opportunities to embrace or let pass. But honestly, none of these has come close to insurmountable.

Because we respect one another, we’re committed to resolving any differences and embracing a third way that works well for both of us.

If you’re worried that cowriting will keep you from your solo projects, breathe easy. For us, cowriting doesn’t keep us from doing our own thing. Christina also writes psychological suspense that’s definitely darker than I write, while I pen novels about teen friendship and romance. We enjoy reading one another’s books! But we write in different genres—except when it comes to our shared series.

Loving the Story

What we’ve created with our supernatural suspense series is bigger and better than what we could have done alone. We’ve fallen in love with characters the other writer introduced, plot twists the other devised, and prose that kept us on the edges of our seats. Just the mention of Muse Island (the name of our series) takes Christina and me to a magical place in our minds and hearts—a world we built together.

But that’s not the only story we love. We love our story of writing together. It has deepened our friendship and helped us grow as authors. This journey isn’t always smooth, but it’s the sort of adventure you wouldn’t trade for anything. And we’re excited to tell others about it, knowing that some other authors would really relish the cowriting experience.

If you’re intrigued about cowriting, consider who you might want to take that adventure with! And then pick up our book, Together, We Write; this short read will walk you through everything you need to know to have a successful coauthor experience.

 What questions do you have about cowriting? Julie is here to answer them for you down in the comments!

About Julie

Julie Glover is an award-winning author of young adult and mystery fiction. She has also coauthored five supernatural suspense novels and two short stories in the mythology-based Muse Island series under her pen name Jules Lynn. With her coauthor, Christina Delay, she recently published Together, We Write: An Author's Complete Guide to Cowriting, currently available as an e-book and soon coming out in print.

Julie holds a master’s degree in counseling, has taught conference workshops and online courses, and served as sidekick and sometimes-host for Cruising Writers. A native of Texas, she now lives in Denton with her hottie husband, her loquacious cat, and her large collection of cowgirl boots.

Top image by GaudiLab via Deposit Photos