Guild news, October 2016

New members

Welcome to our newest members: Bruno Schafer, Jako Malan, and Stephen Coglan! In addition, welcome Sean and Andrew Rabbitt–perhaps better known as Rabbit Valley–to the FWG as associates! If you’re not a member of the Guild and you’d like more information about joining, read our membership guidelines.

Member news

Tor Books has bought the sequel to Lawrence M. Schoen’s Barsk: The Elephants’ Graveyard. In addition, Les Editions de L’Instant has bought the French language translation rights for Barsk.

Thurston Howl Publications released Wolf Warriors III: Winter Wolves, the third edition of their charity anthology in support of the National Wolfwatcher Coalition. It includes works by, among others, Alice Dryden, Amy Fontaine, Renee Carter Hall, Bill Kieffer, BanWynn Oakshadow, Frances Pauli, and Televassi.

Madison Keller’s Flower’s Fang is now available as an audiobook.

Donald Jacob Uitvlugt’s short story “In the Days of the Witch-Queens,” originally published in the Menagerie of Heroes charity anthology, is now available as a 99¢ ebook on Amazon.

Fred Patten published a large article on The State of Furry Publishing on Dogpatch Press.

New markets

  • Speaking of Lawrence Schoen, his press, Paper Golem LLC, is accepting submissions of novellas (20,000 to 40,000 words) for the fourth volume of the novella anthology series Alembical. Submission guidelines.

For ongoing markets previously covered but still open (and occasionally, open in the future), visit the FWG web site:

Remember to keep an eye on the Calls for Submissions thread on the forum, as well as other posts on the Publishing and Marketing forum.

Furry Book Month!

October is Furry Book Month! The Furry Writers’ Guild has joined forces with some of our fandom’s great authors and publishers to offer special deals during the month. Visit the Furry Book Month page for more details and links to deals, talk about the books you’re reading on the FWG Forum, and make sure to leave a review of what you’re reading on Amazon or Goodreads—it really helps! Follow along on social media with the tag #FurryBookMonth.

Odds and ends

The Tuesday Coffeehouse Chats continue to take place on the FWG Slack channel, while the Thursday chats continue to take place on the shoutbox. There’s some discussion of moving the Thursday chats, too, or going to just one chat a week—if you’d like to weigh in, visit the forum. Visit the forum anyway.

As usual, we’d like to keep recruiting you to the FWG Goodreads group: add things to our members’ bookshelf (see the instructions here on how to do that), start conversations, indoctrinate people.

The FWG blog desperately needs more love. If you would like to love it, consider writing a guest post. See our guidelines for the details.

Have a terrific (furry book) month! Send news, suggestions, feedback, and spare hashtags to, or leave a comment below.

Book of the Month: ROAR 7

September 2016’s Book of the Month is ROAR 7, edited by Mary E. Lowd.

Welcome to a LEGENDARY volume of ROAR! That’s right, the theme for the seventh volume is legend, and it will take you on a journey from a fortune teller’s bamboo hut to the end of the world in the coils of a dead snake god, back in time to the Cretaceous and then up to the stars. You’ll meet tigers and cranes practicing Kung Fu, a singing frog, a gambling pigeon, a rap-star bearded dragon, a rhinoceros who’s friends with a goat, and several creatures you’ve probably never seen before.

The seventh volume of FurPlanet’s annual general audience anthology has 17 stories:

  • “Crouching Tiger, Standing Crane,” Kyla Chapek
  • “The Frog Who Swallowed the Moon,” Renee Carter Hall
  • “The Torch,” Chris “Sparf” Williams
  • “A Rock Among Millions,” Skunkbomb
  • “The Pigeon Who Wished For Golden Feathers,” Corgi W.
  • “Unbalanced Scales,” Bill Kieffer
  • “Reason,” Heidi C. Vlach
  • “Old-Dry-Snakeskin,” Ross Whitlock
  • “Kitsune Tea,” E.A. Lawrence
  • “A Touch of Magic,” John B. Rosenman
  • “Long Time I Hunt,” Erin Lale
  • “The Butterfly Effect,” Jay “Shirou” Coughlan
  • “The Roar,” John Giezentanner
  • “Trust,” TJ Minde
  • “The Golden Flowers,” Priya Sridhar
  • “A Thousand Dreams,” Amy Fontaine
  • “Puppets,” Ellis Aen

ROAR 7 is available in print from FurPlanet and DRM-free ebook from Bad Dog Books, as well as from Amazon.

Guild news, September 2016

New members

After a big July, we didn't induct any new members in August. Maybe our next new member will be you? If you'd like more information about joining, read our membership guidelines.

Member news

Members Mary E. Lowd, Skunkbomb and Frances Pauli sold stories to Scratchpost Press's The Society Pages, a forthcoming anthology.

Televassi will have a poem in Thurston Howl Publications' Wolf Warriors III, their charity anthology. In addition, his story from Gods With Fur will be reprinted in THP's 2017 wolf anthology.

From Spring's Storms, the sequel to Patrick "Bahumat" Rochefort and Keith Aksland's novel From Winter's Ashes, has begun serializing on the web.

GoAL Publications released the third (and final?) issue of their eponymous magazine.

New markets

  • ROAR 8 is open for submissions (as of September 1). This general audience anthology always has a loose theme; 2017's is "Paradise." Editor: Mary E. Lowd. Publisher: FurPlanet. Length: 2,000–18,000 words; prefers 4,000–12,000. Payment: 0.5¢/word. Deadline: February 1, 2017. Submission call.

For ongoing markets previously covered but still open (and occasionally, open in the future), visit the FWG web site:

Remember to keep an eye on the Calls for Submissions thread on the forum, as well as other posts on the Publishing and Marketing forum.

Cóyotl Awards

The 2015 Cóyotl Awards were awarded at Rocky Mountain FurCon! The winners:

  • Novel: Barsk: The Elephants' Graveyard, Lawrence M. Schoen
  • Novella: Koa of the Drowned Kingdom, Ryan Campbell
  • Short story: "The Analogue Cat," Alice Dryden
  • Anthology: Inhuman Acts, Ocean Tigrox (editor)

Congratulations to all the winners! Remember, to the best of our knowledge, the Cóyotl is the only literary award you can hug. (Okay, you could hug a Hugo, but it wouldn't be comfortable.)

Odds and ends

Thurston Howl set up a FWG Submission Deadlines Calendar using Google Calendar; you can visit it on the web, or subscribe in a calendar app of your choice. The calendar not only hits the markets that get picked up in this monthly newsletter; he does a good job of finding "furry-adjacent" markets.

While the Guild blog is not blogging as hard as it should be these days (your president-slash-editor accepts full blame), the forum remains quite active. If you are not part of the activity there, go add to it! Also, consider writing a guest post. See our guidelines for the details.

As always, the FWG Goodreads group needs more good reads. (Get it? I'm here all week.) Go add things to our members' bookshelf—see the instructions here on how.

Have a terrific month! Send news, suggestions, feedback, and legal awoos to, or leave a comment below.

FWG Member Spotlight: Madison Keller

Tell us about yourself and a recent published project of yours.

I have been writing since 2012 and published my first novel near the end of 2014. My newest project is The Dragon Tax Book One, which came out in June 2016. This originally was published in 2015 as a short story in the anthology A Menagerie of Heroes, which went out of print just a few months later.

I’d had so much fun with the characters I’d already written several more stories of their continuing adventures. I’d planned on perhaps doing a series of linked short stories, but with the very first one out of print and hard to find, I scrapped that idea. However, I’d had to cut some scenes to fit in the word count limit and I had the idea to add back in those missing scenes and tighten up the story, making it a novella length work and republishing it as a stand alone first in the series.

The Dragon Tax Book One

Why do you like using “furry” characters in stories?

I enjoying figuring out how furry features and characteristics would change a society’s fundamental values. I also like using it to explore aspects of human behavior that wouldn’t come up in non-furry fiction.

What made you want to become a writer? Are there authors or books that strongly influenced you?

I was a huge bookworm and devoured the entire science fiction/fantasy section of the local library as I was growing up. I wanted to be a writer to tell the stories that filled my own head. However, I let others talk me out of pursing a career in writing and threw away everything I’d been writing in junior high and high school. With the advent of the Kindle I began reading many self-published works and was re-inspired to again put pen to page.

In high school I was inspired by the likes of Piers Anthony, Tracy Hickman, Walter Jon Williams, and Barbara Hambly. Lately I’ve been devouring A.E. Marling’s Enchantress series, Charles Stross’s Laundry files, and Jonathan Howard’s Necromancer series as well as many other books.

Tell us a bit about your writing process. Do you see yourself as a “pantser,” an outliner, or somewhere in between?

I’m an outliner all the way. Before I write a single sentence of my manuscript I’ll outline the plot, define all the major characters, and do high-level worldbuilding. As I write I will expand character profiles, add world-building details, and tweak the outline.

Do you have any advice you’d give other writers?

Don’t let other people discourage you and never stop writing. Read a lot, everything you can find, but especially books in your chosen genre.

What’s a project you’re working on now, or that may be coming out soon?

I’m currently juggling three projects—working on the next books in the Dragon Tax series, finishing up the final planned book in my Flower’s Fang universe, and outlining a new werewolf urban fantasy trilogy set in central Washington state that is as of yet un-named.

Where can people find you and your work?

All of my work can be found on Amazon or on my website,

Book of the Month: Sixes Wild: Echoes

August 2016’s Book of the Month is Sixes Wild: Echoes, by Tempe O’Kun.

Sixes Wild: Echoes cover

Life’s not all whiskey and revelry for this bunny gunslinger. In a recent tangle, Six had cause to dynamite a lion crime lord in his silver mine. The kitty had the nerve to survive and vanish with one of the guns tied to her dead father’s spirit. A sensible hare would go to ground, lying low while she tracked down the varmint. And that’s just what she’d do, had she not stumbled into love with the local fruit bat sheriff. Love’s all well and good, but courting a gentleman when you’re no proper lady is a challenge Six never thought she would have to tackle.

All told, Frontier life is enough to trounce anybody. But then, Six Shooter has never been just any bunny.

Echoes is the sequel to Sixes Wild: Manifest Destiny, which won a Cóyotl Award for best novel in 2011. It’s available in print from FurPlanet and Kindle ebook from Amazon. (It should be available as a DRM-free ebook from Bad Dog Books soon.)

Guild news, August 2016

New members

Welcome to our newest members: Kris Carver, Jay “Shirou” Coughlan, TJ Minde, and Mog Moogle! If you’re not a member of the Guild and you’d like more information about joining, read our membership guidelines.

Member news

Sean Rivercritic has started a new publishing imprint, Goal Publications. (Also see Market News, below.)

The novel From Winter’s Ashes, co-written by member Patrick “Bahumat” Rochefort (with Keith Aksland), is available on Amazon as an ebook.

Editor Fred Patten was interviewed on the Furry Times blog.

Madison Keller’s steampunk short “Poppy and the Great Expo,” originally in the 2016 Furlandia program book, is now available as an ebook. In addition, her novella Snow Flower is now available as an audiobook.

Member (and past president) Renee Carter Hall launched a bimonthly newletter.

Kris Schnee’s novel The Digital Coyote has been released in ebook and print form.

Mary E. Lowd sold two stories in July, one to Daily Science Fiction and one to Analog (which she notes is a furry story, “about a dragon/lizard-like alien”).

Daniel Potter published the second volume in his successful Freelance Familiar series, Marking Territory.

New markets

  • Seven Deadly Sins: Furry Confessionals, themed around Dante’s seven deadly sins. Publisher: Thurston Howl Publications. Length: 2,500–8,000 words. Payment: contributor’s copy. Deadline: December 1, 2016. Submission call.
  • Species is a projected anthology series in which each volume presents three sections—folktales and myths, reprints, and original stories. The first volume is Wolves. Publisher: Thurston Howl Publications. Length: 2,500–8,000 words. Rating: PG-13. Payment: contributor’s copy. Deadline: January 1, 2017. Submission call.
  • Heat #14, annual anthology “in which sex or romance play an important role in the overall plot but are not the sole purpose for the story’s existence.” Editors: Dark End and Teagan Gavet. Publisher: Sofawolf Press. Length: 4,000–8,000 words. Payment: 1¢/word. Deadline: September 19, 2016. Submission call.
  • While Goal Publications has wound down their eponymous magazine, they are now looking for “full-length works,” novels and novellas. Submission guidelines.
  • The Symbol of a Nation, anthology themed around “furries that are the national animals of country.” (The guidelines get somewhat complex.) Editor: Fred Patten. Publisher: Goal Publications. Payment: 1¢/word. Deadline: December 1, 2016. Submission call.

For ongoing markets previously covered but still open (and occasionally, open in the future), visit the FWG web site:

Remember to keep an eye on the Calls for Submissions thread on the forum, as well as other posts on the Publishing and Marketing forum.

Odds and ends

Member Malcolm F. Cross appeared in a brief profile on seminal science fiction blog File 770.

The World Fantasy Convention programming this year offers an “animal fantasy” panel which refers to Watership Down and The Book of the Dun Cow as being “in recent years.” We have a lot of work to do, people. (With some pressure, they added Kij Johnson’s The Fox Woman, so they’ve at least hit 1999. Progress! That also nearly doubles the number of women authors their programming refers to.)

The Tuesday Coffeehouse Chats have been successfully transplanted from the FWG forum shoutbox to the now-official FWG Slack. If you have no idea what any of this means, you haven’t visited the forum in a while, have you? Go visit it. There’s cool stuff there.

The FWG Goodreads group needs more love. Go add things to our members’ bookshelf (see the instructions here on how to do that). Start conversations. Put subversive happy faces with cat ears in your reviews of non-furry books. (No, don’t do that.)

The FWG blog also needs more love. If you would like to love it, consider writing a guest post. See our guidelines for the details.

Have a terrific month! Send news, suggestions, feedback, and steampunk bats to, or leave a comment below.

Let’s talk about publishing: contracts

New small presses explicitly targeting the furry market have been springing up over the last few years, while some of our older presses have been producing more titles. Meanwhile, the number of furry authors has grown steadily. Submission calls that might have received only a couple dozen submissions even three years ago receive three or four times that in mid-2016.

As fantastic as this growth is, the furry publishing scene is still tiny. Not only do writers know each other, writers tend to know publishers and vice-versa. For the most part, we’re all friends with one another, and we’re all figuring out this “creating a market” thing as we go. As far as I know, all the editors and publishers in furrydom became editors and publishers by fiat; some of us might have worked at college presses, but I’m not aware of anyone who worked for a major fiction publishing house or periodical, even as a slush reader. A lot of business gets conducted in…let’s call it a relaxed fashion.

As it turns out, “handshake contracts” are surprisingly common in the literary small press world, particularly poetry journals that pay in contributors’ copies rather than money, to the point where there’s a de facto industry standard for it. But when money changes paws, it’s important for both parties to nail down exactly what they expect of one another.

So let’s talk about contracts. What a publishing contract should do is fairly straightforward:

  • Define the rights the author grants the publisher. In most cases, these are first publication rights—the story hasn’t been published anywhere else, including archive sites like Fur Affinity—with limited exclusivity: after an amount of time given in the contract passes, the author can publish the story somewhere else that accepts reprints. A six-month period of exclusivity is typical. (Note that magazines buy serial rights, but books and anthologies buy rights to a geographical region: North American rights, World rights, etc. You’re free to sell the book again to other publishers outside that geographical region; this is why novels often have different publishers in the US and Europe.)
  • Define the amount the publisher is paying for those rights, how they’re paying it (check, Paypal, doubloons, etc.), and when they’re paying it. If you’re being paid by the word, the total amount you’re being paid should be specified here. Some contracts specify payment on acceptance; many specify it on publication. In either case, the contract should give a window (“within 30 days of publication”).
  • Cover appropriate electronic and subsidiary rights. If the contract allows the publisher to archive your work indefinitely on a web site, do you have the right to withdraw it after a certain length of time? If this is a novel, are you granting the publisher rights to produce the ebook? (Some authors, like Kyell Gold, self-publish their ebooks.) What about any other subsidiary rights, like audiobooks?
  • Give the publisher a deadline, so they can’t sit on the work indefinitely (“if the publisher fails to produce Great Furry Stories within one year of the execution date of this contract, rights revert back to the author”).
  • Guarantee approval over content editing changes. The publisher should be able to fix spelling errors without running them by you, but not change your grizzled Vietnam vet protagonist to a twelve-year-old kid.
  • In furry, it’s not unheard of for authors to end up paying for art out of their own pocket and have the publisher repay them. If you do this, get the reimbursement amount of the art in the contract, too, even if it has to be a single-paragraph addendum.

What a publishing contract shouldn’t do is also straightforward: it shouldn’t take any more rights than necessary, and it shouldn’t leave anything significant undefined. If the answer to “when do I get paid” or “when can I sell reprint rights to this story or put it up for my fans on FA” isn’t answered by the contract, there’s a problem. And it shouldn’t ask you to assign exclusive rights in perpetuity. (Carefully consider assigning even non-exclusive rights in perpetuity, especially for a flat rate.)

The SFWA Model Magazine Contract runs 8 pages, but there’s extensive annotation explaining each clause—and a few somewhat unusual clauses. In practice, most publishing contracts, at least for magazines and anthologies, don’t need to run more than a couple pages.

If you’re concerned about a clause in a contract, ask. If you’d like a clause changed, bring it up with your publisher and explain why. Contracts are negotiations, not “take it or leave it” propositions. And if a publisher insists on a clause you’re worried about, bring it up with the Guild. We may not be able to negotiate on your behalf, but we can let other members know about potential issues.

And one more thing. Contracts should be signed before work starts. Before the publisher sends the author any money, before the publisher starts going back and forth with the author on editorial changes, and for the love of Judy Hopps, before the publication goes on sale. If your story is a month away from publication and you haven’t seen a contract, ask the publisher. Better yet, ask when it’s two months away.

I suspect the advice in this column may make some publishers tear their fur out, and I’m sorry. But I’ve been sent contracts when—or even after—books and magazines went on sale. Sometimes I’ve never received a contract. As far as I can tell, my experience isn’t unusual. The more the furry publishing scene grows, the greater chance being lackadaisical has of causing serious problems for publishers, writers, or both.

Because we are all friends with one another, this subject can be hard to talk about. But getting contracts right helps everyone, publishers and writers alike.

I’ll talk about other considerations for publishing in other articles, including marketing, production and editorial. These are good for writers to know—and it’s good for writers if publishers know them, too.