A Rebel Tales editor isn't going to be every other editor you've known and worked with, because I'm aiming for a different publication model with Rebel Tales. That's going to take a special breed of editor.
Here's what the job is about:
Building Authors
Once upon a time there were great editors---editors whose mission in life was to nurture and build writing careers one writer at a time, editors who worked for years with those same writers, buying story after story from them, building backlists, creating careers...
...And then publishing changed, and editors went from nurturing writers with individual voices to finding the next "more of the same"---from Stephen King clones to Tom Clancy clones to J.K. Rowling clones to Stephanie Meyer clones.
Writers became disposable, backlists and careers died, and editors got trapped on the "sell more copies" treadmill that ignored simple bottom-line profitability in favor big numbers, best-seller status...and massive churn.
At Rebel Tales, my intent is to create a home for editors focused on building writers, for editors capable of nurturing careers, for editors who get pleasure from working with writers whose work they love over a long period of time without the constant pressure to sell a million copies.
Simple bottom-line profitability means that your series all stay in print as long as they sell enough copies for me to pay people. I'd like for it to sell enough for me to pay them (and you) a lot, but I expect for sales to start small and build by word of mouth.
I've now had a lot of experience in running businesses and staying in the black. You make them "pay as you go," you don't spend more than you're bringing in, you give people a better-than-average stake in their own success, you pay everyone else first and yourself last. From the beginning, I've planned Rebel Tales around that model because it works.
Better yet, it works over the long haul. No, you don't burst out of the gate with a 21-gun salute, marching bands and full-page ads in the New York Times and Today.
But you aren't bankrupt a year later, either.
So if you're editing for me, know that you'll get paid at the at the same time your writers get paid (and before I get paid) that you'll have the liberty to build your stable of writers and your line of fiction as broadly and deeply as you care to take both, and that you being onboard for the long haul means as much to me as it does to you.
ALSO know that because everyone is working as an independent contractor, there's no guarantee how much you'll get paid, and know that neither you nor I nor the writers get paid until the season is done and the readers come. It's going to be a gamble.
I've proven good at making gambles like this one pay off. But there are no guarantees.
We are setting out to build careers by building deep backlist for our writers, by encouraging them to stay current with creating frontlist, and by promoting and maintaining both.
The backlist means that every sale from every story in every older season (all of which will stay in print) counts toward your profitability...meaning the longer you hold on to your good writers, and the more they build readership, the more they build careers, the more money they make, the more money you make...and the more profitable they become.
There are no shareholders wanting a rapid return on investment. There is no board of directors demanding to see percentages of growth (which look good on paper but neither correlate with nor cause profit).
Profit is simple, clean, effective even when it's very small...and it's the only number that can keep a business's doors open.
The Rebel Tales business model focuses on building and maintaining author backlists---and the backlist is the foundation of an writer's long-term career.
Because I WANT to keep my authors in print and pay them monthly royalties as close to forever as I and they can manage, I'm looking for editors who can recognize good stories and the people who can tell them. Who are willing and able to work long-term with folks whose stories they value. Who are willing to put themselves into their work, willing to be patient, willing to guide and encourage and cheer success.
Whose goal is to find and nurture talent over the long haul.
Building A Stable
Each of my editors will build their list of go-to writers over time. You'll choose stories based on my Writers' Guidelines, and encourage your writers to explore their areas of passion over multiple stories, guiding them to make each book or short story better than the last. You and your writers will get feedback from readers on each issue of each season you create. From your feedback, YOU will decide which writers to keep buying from, and in which new directions you want to go with them.
Building A Genre
Within the writers' guidelines requiring good storytelling, you'll pursue your own passion.
If you want to seek out just steampunk werewolf stories and build a season around those, you'll pitch it to me, and if you and I agree, you'll do it. If you have a idea for a season of themed stories---say "Explorers in Alternate Worlds," or "Archeologists in Space," again, I'm the only person you have to win to the cause.
And I'm not looking for a proven history of "everyone is buying these right now."
Do NOT pitch me angsty teenage girls pouting over vampires.
What I'm looking for is cool ideas you love that I think will inspire writers to create fascinating, compelling stories.
Over the years, and working regularly with writers from your stable, as well as seeking out new writers who can meet your needs, your seasons will develop a distinctive feel---they will bear your shaping, imprinted by your selections, your vision, and your choices of side material (reviews, artwork, columns, and so on) to support and fill them out.
And speaking of imprints, your name will be on the cover of each season you develop. People who discover that they like most of the stories you select for your seasons will be able to purchase seasons based on the fact that you edited them.
Who Can Be A REBEL TALES Editor?
If you have editing experience, that will help tremendously. If you don't have editing experience but are a graduate of either of my big writing courses (but especially How To Revise Your Novel), you may also know what you'll need to know to do this.
However, every potential Rebel Tales editor has to be able to:
- read objectively and find stories that meet the objective Rebel Tales guidelines. ("I'm not sure...I just like it" is the wrong answer to the question "Why do you want to publish this story?")
- clearly and objectively state the problems you find in stories to the authors (and me, if you're pitching a story that's borderline)
clearly and objectively state what the writer will have to do to make the story acceptable
- recognize storytelling talent in writers who may lack polish, and guide those who will work with you to develop the skills to help their work shine most brightly
- say "No" when that's the right answer
- build lasting relationships with writers
develop marketing plans for your seasons (ask yourself "Why would a reader want to buy this?" and then come up with approaches to help the readers who would love your season find us)
- develop relationships with regularly contributing columnists, artists, reviewers and others who will each add to your seasons' distinctive flavor (yes, along with writers, you will also establish your own stable of supporting matter contributors)
- Beyond that, you have to have excellent communications skills---and in a print-dominated medium, that means you have to know how to spell, capitalize, and use correct punctuation and grammar yourself
You also have to recognize when the stories submitted to you have failed to use any of the above
- you have to be able to write coherently, logically, and objectively about work that to its creators will frequently be emotionally charged
- you have to be able to say calm (and having a fairly thick skin won't hurt, either)
- You have to want this...and you have to know why you want it, and be able to explain your vision to me
How Do You Get The Job?
Step One: You read and KNOW the Writers' Guidelines
While I'm still working out the payment model (because I don't have the working software yet), and the method by which writers will submit there stories has been streamlined considerably from my initial concept (and will be updated before the writers start submitting stories), the writers' guidelines are your guidelines.
If what they've written does not fit those guidelines, they get an automatic NO.
Step Two: You fill out an application for an Editor position.
You can apply for one of four positions:
- Science Fiction Editor
Note: If you apply for Science Fiction Editor, PLEASE know science. I want to create a market for writers and readers of good, hard-edged science-based science fiction---and the editor of these stories is going to have to know which stories contain science, and which don't.
- Fantasy Editor
- Paranormal Editor
- Suspense Editor
Step Three: If I accept your application, I'll contact you for a try-out.
Here's how the try-out will work.
I'll set up a temporary account for your in the Editors' and First Readers' section of Rebel Tales' story submission software:
http://rebeltales.com/writers-and-editors/
You will go in, read queries and synopses, and contact the writers whose stories interest you for partial submissions. They'll upload the first 50 pages of their story to your private editing desk.
From the stories you request, you'll select five and block out on our season form a sample mini-season. You'll create an order for the stories, write an editorial foreword introducing your season, and include a breakdown of each of the five samples and synopses you send to me, why you chose them, what work would need to be done on them for you to find them acceptable, and why. You'll also pitch to me your concept for the season, and possible follow-ups for future seasons.
Yes, I know this is a lot of work, and most job applications don't work this way. I'm looking for the long-term, though, and I need to know you understand what I want to do with Rebel Tales, and that you want to do the same thing.
Those editors who submit sample mini-seasons that include stories fitting my guidelines and who demonstrate the ability to recognize good storytelling and to clearly communicate where the stories need work (and WHY) will make the final cut.
The several editors whose mini-seasons center around a clearly-defined theme I find appealing, who feature an interesting and compelling introductory foreword to the season, who have ideas I like for follow-up seasons, and who demonstrate to me that you are someone I'll want to work with for a long time will receive job offers.
Step Four: If you accept my job offer and become an independent contractor with Rebel Tales, you'll contact the authors whose stories you've chosen and request completed manuscripts.
You'll also create a description of your season to go up on the website, and start soliciting additional stories to fit that season, as well as supporting material to fill it out.
For your first seasons, I'll have direct input and final approval on every story, every piece of artwork, and every column or review. Once you and I have established our working relationship and each know what to expect from the other, I'll drop back and let you build on your own.
I will always retain final publisher's veto. My name will be on every issue of every season, and I insist on guaranteeing the quality of the content before offering ANY season publicly.
ALTERNATE STEP FOUR, for editors who made the final cut, but whose seasons I did not choose.
You can still become an editor as I build Rebel Tales.
Here's how.
If you like, you can stay on as an editorial first reader for unsolicited stories, or as an editorial assistant for existing editors.
You'll either read unsolicited slush and direct stories to appropriate seasons and editors, or help editors put their seasons together.
Both of these will be intern (unpaid) positions, but while you're in them, you can continue to work on proposals for your own seasons.
When you pitch something to me that I love (using the same method outlined above), I'll give you your own season, and we'll work together to publish it.
How Do You Keep The Job?
Publish stories readers love. You and I will both know when this happens, because the community discussion board for you and your season will have enthusiastic comments, your writers will be receiving requests for more stories, and you and your writers will be working steadily to create great new seasons.
You'll have direct feedback because you will be a visible part of the process of bringing stories to readers. Your name will be on each cover, too.
Writers will talk to other writers about how you are to work with, readers will encourage other readers to check out the season, word will spread.
The more effectively and enthusiastically you do your job, the more your writers and you will be paid, because you, like they, will receive direct monthly payment of your portion of each of your season's gross sales.
The better each of your seasons reaches and enchants your readers, and the better each season connects to other seasons and feeds them, the better all of you will be paid. And me, too.
This is the ultimate succeed-through-competence business model. Each of us depends on ourself to do our own job to the absolute best of our ability. And each of us depends on everyone else to do the same.
If we all do spectacularly, we can create a hub for wonderful fiction. Over time, if we all do spectacularly, we can expand the genres we offer, create new genres, build writing careers, give readers a steady supply of wonderful stories...
...And we can have a lot of fun doing it.
And that matters, too.
I'm looking for spectacular people who love fiction and who want to build something brilliant by editing.
If that's you, please apply.
Create your account.
Select EDITOR in the first application field.
Select your genre in the second application field.
Fill out all the rest of the fields, and submit your application.
You'll hear from me as quickly as I'm able.
I look forward to hearing from you.
Holly Lisle