Merry
06-17-2008, 11:47 AM
http://www.strangehorizons.com/guidelines/fiction-common.shtml
I was looking for a market for my story, 'On Suing the Undertaker During an Election Year' and I thought these guys looked like a pretty good fit. Anyway, they do kindly include in their submission guidelines, this list of plots they are sick of seeing. (Thankfully, mine doesn't show up in there.) But I thought it was a good list and thought I'd share.
Here's the list:
1. Person is (metaphorically) at point A, wants to be at point B. Looks at point B, says "I want to be at point B." Walks to point B, encountering no meaningful obstacles or difficulties. The end. (A.k.a. the linear plot.)
2. Creative person is having trouble creating.
1. Writer has writer's block.
2. Painter can't seem to paint anything good.
3. Sculptor can't seem to sculpt anything good.
4. Creative person's work is reviled by critics who don't understand how brilliant it is.
5. Creative person meets a muse (either one of the nine classical Muses or a more individual muse) and interacts with them, usually by keeping them captive.
3. Visitor to alien planet ignores information about local rules, inadvertantly violates them, is punished.
1. New diplomat arrives on alien planet, ignores anthropologist's attempts to explain local rules, is punished.
4. Weird things happen, but it turns out they're not real.
1. In the end, it turns out it was all a dream.
2. In the end, it turns out it was all in virtual reality.
3. In the end, it turns out the protagonist is insane.
4. In the end, it turns out the protagonist is writing a novel and the events we've seen are part of the novel.
5. An A.I. gets loose on the Net despite the computer it was on not being connected to the Net.
1. An A.I. gets loose on the Net but the author doesn't have a clear concept of what it means for software to be "loose on the Net." (Hint: the Net is currently a collection of individual computers, not some kind of big ubercomputer; software doesn't currently run in the wires between computers.)
6. The future is soulless.
1. In the future, all learning is electronic, until kid is exposed to ancient wisdom in the form of a book.
2. In the future, everything is electronic, until kid is exposed to ancient wisdom in the form of a wise old person who's lived a non-electronic life.
7. Protagonist is a bad person. (We don't object to this in a story; we merely object to it being the main point of the plot.)
1. Bad person is told they'll get the reward that they "deserve," which ends up being something bad.
2. Terrorists (especially Osama bin Laden) discover that horrible things happen to them in the afterlife (or otherwise get their comeuppance).
3. Protagonist is portrayed as really awful, but that portrayal is merely a setup for the ending, in which they see the error of their ways and are redeemed. (But reading about the awfulness is so awful that we never get to the end to see the redemption.)
8. A place is described, with no plot or characters.
9. A "surprise" twist ending occurs. (Note that we do like endings that we didn't expect, as long as they derive naturally from character action. But note, too, that we've seen a lot of twist endings, and we find most of them to be pretty predictable, even the ones not on this list.)
1. The characters' actions are described in a way meant to fool the reader into thinking they're humans, but in the end it turns out they're not humans, as would have been obvious to anyone looking at them.
2. Creatures are described as "vermin" or "pests" or "monsters," but in the end it turns out they're humans.
3. The author conceals some essential piece of information from the reader that would be obvious if the reader were present at the scene, and then suddenly reveals that information at the end of the story. (This can be done well, but rarely is.)
4. Person is floating in a formless void; in the end, they're born.
5. Person uses time travel to achieve some particular result, but in the end something unexpected happens that thwarts their plan.
6. The main point of the story is for the author to metaphorically tell the reader, "Ha, ha, I tricked you! You thought one thing was going on, but it was really something else! You sure are dumb!"
7. A mysteriously-named Event is about to happen ("Today was the day Jimmy would have to report for The Procedure"), but the nature of the Event isn't revealed until the end of the story, when it turns out to involve death or other unpleasantness. (Several classic sf stories use this approach, which is one reason we're tired of seeing it. Another reason is that we can usually guess the twist well ahead of time, which makes the mysteriousness annoying.)
8. In the future, an official government permit is required in order to do some particular ordinary thing, but the specific thing a permit is required for isn't (usually) revealed until the end of the story.
10. Someone calls technical support; wacky hijinx ensue.
1. Someone calls technical support for a magical item.
2. Someone calls technical support for a piece of advanced technology.
3. The title of the story is 1-800-SOMETHING-CUTE.
11. Scientist uses himself or herself as test subject.
12. Evil unethical doctor performs medical experiments on unsuspecting patient.
13. Office life turns out to be soul-deadening, literally or metaphorically.
14. In the future, criminals are punished much more harshly than they are today.
1. In the future, the punishment always fits the crime.
2. The author is apparently unaware of the American constitutional amendment prohibiting cruel and unusual punishment, and so postulates that in the future, American punishment will be extra-cruel in some unusual way.
15. White protagonist is given wise and mystical advice by Holy Simple Native Folk.
16. Story is based in whole or part on a D&D game or world.
1. A party of D&D characters (usually including a fighter, a magic-user, and a thief, one of whom is a half-elf and one a dwarf) enters a dungeon (or the wilderness, or a town, or a tavern) and fights monsters (usually including orcs).
2. Story is the origin story of a D&D character, culminating in their hooking up with a party of adventurers.
3. A group of real-world humans who like roleplaying find themselves transported to D&D world.
17. An alien observes and comments on the peculiar habits of humans, for allegedly comic effect.
1. The alien is fluent in English and completely familiar with various English idioms, but is completely unfamiliar with human biology and/or with such concepts as sex or violence and/or with certain specific extremely common English words (such as "cat").
2. The alien takes everything literally.
3. Instead of an alien, it's people in the future commenting on the ridiculous things (usually including internal combustion engines) that people used to use in the unenlightened past.
18. Space travel is wonderful and will solve all our problems. (We agree that space travel is pretty cool, but we'd rather that weren't the whole point of the story.)
19. Man has an awful, shrewish wife; in the end he gets revenge on her, by (for example) killing her or leaving her.
1. Man is entirely blameless, innocent, mild-mannered, and unobjectionable, and he kills his awful, shrewish wife entirely by accident, possibly in self-defense, so it's okay.
20. Some characters are in favor of immersive VR, while others are opposed to it because it's not natural; they spend most of the story's length rehashing common arguments on both sides. (Full disclosure: one of our editors once wrote a story like this. It hasn't found a publisher yet, for some reason.)
21. Person A tells a story to person B (or to a room full of people) about person C.
1. In the end, it turns out that person B is really person C (or from the same organization).
2. In the end, it turns out that person A is really person C (or has the same goals).
3. In the end, there's some other ironic but predictable twist that would cast the whole story in a different light if the reader hadn't guessed the ending early on.
22. People whose politics are different from the author's are shown to be stupid, insane, or evil, usually through satire, sarcasm, stereotyping, and wild exaggeration.
1. In the future, the US or the world is ruled by politically correct liberals, leading to awful things (usually including loss of freedom of speech).
2. In the future, the US or the world is ruled by fascist conservatives, leading to awful things (usually including loss of freedom of speech).
23. Superpowered narrator claims that superhero stories never address the mundane problems that superheroes would run into in the real world.
24. A princess has been raped or molested by her father (or stepfather), the king.
25. Someone comes up with a great medical or technological breakthrough, but it turns out that it has unforeseen world-devastating consequences. (Again, this is a perfectly good plot element, but we're not thrilled when it's the whole point of the story.)
26. It's immediately obvious to the reader that a mysterious character is from the future, but the other characters (usually including the protagonist) can't figure it out.
27. Someone takes revenge for the wrongs done to them.
1. Protagonist is put through heavy-handed humiliation after humiliation, and takes it meekly, until the end when he or she murders someone.
28. The narrator and/or male characters in the story are bewildered about women, believing them to conform to any of the standard stereotypes about women: that they're mysterious, wacky, confusing, unpredictable, changeable, temptresses, etc.
29. Strange and mysterious things keep happening. And keep happening. And keep happening. For over half the story. Relentlessly. Without even a hint of explanation.
1. The protagonist is surrounded by people who know the explanation but refuse to give it.
30. Hell and Heaven are run like businesses.
31. Brutal violence against women is depicted in loving detail, often in a story that's ostensibly about violence against women being bad.
1. Man is forced by circumstances or magic to rape a woman even though he really doesn't want to, honest.
2. The main reason for the main female character to be in the story, and to be female, is so that she can be raped.
32. Evil people hook the protagonist on an addictive substance and then start raising the price, ruining the protagonist's life.
33. Fatness is used as a signal of evil, dissolution, and/or moral decay, usually with the unspoken assumption that it's completely obvious that fat people are immoral and disgusting.
1. Someone wants to kill someone else, and that's perfectly reasonable because, after all, the victim-to-be is fat.
2. The story spends a lot of time describing, over and over, just how fat a character is, and how awful that is.
3. Physical contact with a fat person is understood to be obviously revolting.
34. Protagonist agrees to go along with a plan or action despite not having enough information about it, and despite their worries that the thing will be bad. Then the thing turns out to be bad after all.
35. Teen's family doesn't understand them.
Return to main fiction guidelines page.
Reprinting this list
Feel free to reprint as much of the list as you like, up to and including the whole thing, with the following provisions:
* If you want to reprint this in some online venue, you might consider just quoting a brief excerpt and linking to it instead of quoting the entire piece. We add to the list over time, so if you reprint a full copy of it, your readers will only get a snapshot of a particular version of the list, whereas if you link to it, they'll get to see the latest and fullest version. One great thing about the web is that if there's one copy of a work online, everyone else can link to that copy instead of having to copy it in full. But if you feel you must reprint the whole thing, then go ahead; just be sure to follow the rest of the guidelines below.
* Please format your reprint reasonably nicely—in particular, if you're reprinting online, then please use something similar (or identical) to the HTML code that we used, so that the numbering and indentation will be readable in most browsers. (Please don't just copy the text of the page as displayed in your browser; that will not retain the formatting.)
* Please provide a link back to the original.
* Please mention the name Strange Horizons, and a brief description of our magazine. For example: "This list is part of the submission guidelines for Strange Horizons, an online speculative fiction magazine."
* Please don't describe this as a canonical list of bad stories (or of story cliches) per se.
Oh, and thanks! We're glad you like the list.
I was looking for a market for my story, 'On Suing the Undertaker During an Election Year' and I thought these guys looked like a pretty good fit. Anyway, they do kindly include in their submission guidelines, this list of plots they are sick of seeing. (Thankfully, mine doesn't show up in there.) But I thought it was a good list and thought I'd share.
Here's the list:
1. Person is (metaphorically) at point A, wants to be at point B. Looks at point B, says "I want to be at point B." Walks to point B, encountering no meaningful obstacles or difficulties. The end. (A.k.a. the linear plot.)
2. Creative person is having trouble creating.
1. Writer has writer's block.
2. Painter can't seem to paint anything good.
3. Sculptor can't seem to sculpt anything good.
4. Creative person's work is reviled by critics who don't understand how brilliant it is.
5. Creative person meets a muse (either one of the nine classical Muses or a more individual muse) and interacts with them, usually by keeping them captive.
3. Visitor to alien planet ignores information about local rules, inadvertantly violates them, is punished.
1. New diplomat arrives on alien planet, ignores anthropologist's attempts to explain local rules, is punished.
4. Weird things happen, but it turns out they're not real.
1. In the end, it turns out it was all a dream.
2. In the end, it turns out it was all in virtual reality.
3. In the end, it turns out the protagonist is insane.
4. In the end, it turns out the protagonist is writing a novel and the events we've seen are part of the novel.
5. An A.I. gets loose on the Net despite the computer it was on not being connected to the Net.
1. An A.I. gets loose on the Net but the author doesn't have a clear concept of what it means for software to be "loose on the Net." (Hint: the Net is currently a collection of individual computers, not some kind of big ubercomputer; software doesn't currently run in the wires between computers.)
6. The future is soulless.
1. In the future, all learning is electronic, until kid is exposed to ancient wisdom in the form of a book.
2. In the future, everything is electronic, until kid is exposed to ancient wisdom in the form of a wise old person who's lived a non-electronic life.
7. Protagonist is a bad person. (We don't object to this in a story; we merely object to it being the main point of the plot.)
1. Bad person is told they'll get the reward that they "deserve," which ends up being something bad.
2. Terrorists (especially Osama bin Laden) discover that horrible things happen to them in the afterlife (or otherwise get their comeuppance).
3. Protagonist is portrayed as really awful, but that portrayal is merely a setup for the ending, in which they see the error of their ways and are redeemed. (But reading about the awfulness is so awful that we never get to the end to see the redemption.)
8. A place is described, with no plot or characters.
9. A "surprise" twist ending occurs. (Note that we do like endings that we didn't expect, as long as they derive naturally from character action. But note, too, that we've seen a lot of twist endings, and we find most of them to be pretty predictable, even the ones not on this list.)
1. The characters' actions are described in a way meant to fool the reader into thinking they're humans, but in the end it turns out they're not humans, as would have been obvious to anyone looking at them.
2. Creatures are described as "vermin" or "pests" or "monsters," but in the end it turns out they're humans.
3. The author conceals some essential piece of information from the reader that would be obvious if the reader were present at the scene, and then suddenly reveals that information at the end of the story. (This can be done well, but rarely is.)
4. Person is floating in a formless void; in the end, they're born.
5. Person uses time travel to achieve some particular result, but in the end something unexpected happens that thwarts their plan.
6. The main point of the story is for the author to metaphorically tell the reader, "Ha, ha, I tricked you! You thought one thing was going on, but it was really something else! You sure are dumb!"
7. A mysteriously-named Event is about to happen ("Today was the day Jimmy would have to report for The Procedure"), but the nature of the Event isn't revealed until the end of the story, when it turns out to involve death or other unpleasantness. (Several classic sf stories use this approach, which is one reason we're tired of seeing it. Another reason is that we can usually guess the twist well ahead of time, which makes the mysteriousness annoying.)
8. In the future, an official government permit is required in order to do some particular ordinary thing, but the specific thing a permit is required for isn't (usually) revealed until the end of the story.
10. Someone calls technical support; wacky hijinx ensue.
1. Someone calls technical support for a magical item.
2. Someone calls technical support for a piece of advanced technology.
3. The title of the story is 1-800-SOMETHING-CUTE.
11. Scientist uses himself or herself as test subject.
12. Evil unethical doctor performs medical experiments on unsuspecting patient.
13. Office life turns out to be soul-deadening, literally or metaphorically.
14. In the future, criminals are punished much more harshly than they are today.
1. In the future, the punishment always fits the crime.
2. The author is apparently unaware of the American constitutional amendment prohibiting cruel and unusual punishment, and so postulates that in the future, American punishment will be extra-cruel in some unusual way.
15. White protagonist is given wise and mystical advice by Holy Simple Native Folk.
16. Story is based in whole or part on a D&D game or world.
1. A party of D&D characters (usually including a fighter, a magic-user, and a thief, one of whom is a half-elf and one a dwarf) enters a dungeon (or the wilderness, or a town, or a tavern) and fights monsters (usually including orcs).
2. Story is the origin story of a D&D character, culminating in their hooking up with a party of adventurers.
3. A group of real-world humans who like roleplaying find themselves transported to D&D world.
17. An alien observes and comments on the peculiar habits of humans, for allegedly comic effect.
1. The alien is fluent in English and completely familiar with various English idioms, but is completely unfamiliar with human biology and/or with such concepts as sex or violence and/or with certain specific extremely common English words (such as "cat").
2. The alien takes everything literally.
3. Instead of an alien, it's people in the future commenting on the ridiculous things (usually including internal combustion engines) that people used to use in the unenlightened past.
18. Space travel is wonderful and will solve all our problems. (We agree that space travel is pretty cool, but we'd rather that weren't the whole point of the story.)
19. Man has an awful, shrewish wife; in the end he gets revenge on her, by (for example) killing her or leaving her.
1. Man is entirely blameless, innocent, mild-mannered, and unobjectionable, and he kills his awful, shrewish wife entirely by accident, possibly in self-defense, so it's okay.
20. Some characters are in favor of immersive VR, while others are opposed to it because it's not natural; they spend most of the story's length rehashing common arguments on both sides. (Full disclosure: one of our editors once wrote a story like this. It hasn't found a publisher yet, for some reason.)
21. Person A tells a story to person B (or to a room full of people) about person C.
1. In the end, it turns out that person B is really person C (or from the same organization).
2. In the end, it turns out that person A is really person C (or has the same goals).
3. In the end, there's some other ironic but predictable twist that would cast the whole story in a different light if the reader hadn't guessed the ending early on.
22. People whose politics are different from the author's are shown to be stupid, insane, or evil, usually through satire, sarcasm, stereotyping, and wild exaggeration.
1. In the future, the US or the world is ruled by politically correct liberals, leading to awful things (usually including loss of freedom of speech).
2. In the future, the US or the world is ruled by fascist conservatives, leading to awful things (usually including loss of freedom of speech).
23. Superpowered narrator claims that superhero stories never address the mundane problems that superheroes would run into in the real world.
24. A princess has been raped or molested by her father (or stepfather), the king.
25. Someone comes up with a great medical or technological breakthrough, but it turns out that it has unforeseen world-devastating consequences. (Again, this is a perfectly good plot element, but we're not thrilled when it's the whole point of the story.)
26. It's immediately obvious to the reader that a mysterious character is from the future, but the other characters (usually including the protagonist) can't figure it out.
27. Someone takes revenge for the wrongs done to them.
1. Protagonist is put through heavy-handed humiliation after humiliation, and takes it meekly, until the end when he or she murders someone.
28. The narrator and/or male characters in the story are bewildered about women, believing them to conform to any of the standard stereotypes about women: that they're mysterious, wacky, confusing, unpredictable, changeable, temptresses, etc.
29. Strange and mysterious things keep happening. And keep happening. And keep happening. For over half the story. Relentlessly. Without even a hint of explanation.
1. The protagonist is surrounded by people who know the explanation but refuse to give it.
30. Hell and Heaven are run like businesses.
31. Brutal violence against women is depicted in loving detail, often in a story that's ostensibly about violence against women being bad.
1. Man is forced by circumstances or magic to rape a woman even though he really doesn't want to, honest.
2. The main reason for the main female character to be in the story, and to be female, is so that she can be raped.
32. Evil people hook the protagonist on an addictive substance and then start raising the price, ruining the protagonist's life.
33. Fatness is used as a signal of evil, dissolution, and/or moral decay, usually with the unspoken assumption that it's completely obvious that fat people are immoral and disgusting.
1. Someone wants to kill someone else, and that's perfectly reasonable because, after all, the victim-to-be is fat.
2. The story spends a lot of time describing, over and over, just how fat a character is, and how awful that is.
3. Physical contact with a fat person is understood to be obviously revolting.
34. Protagonist agrees to go along with a plan or action despite not having enough information about it, and despite their worries that the thing will be bad. Then the thing turns out to be bad after all.
35. Teen's family doesn't understand them.
Return to main fiction guidelines page.
Reprinting this list
Feel free to reprint as much of the list as you like, up to and including the whole thing, with the following provisions:
* If you want to reprint this in some online venue, you might consider just quoting a brief excerpt and linking to it instead of quoting the entire piece. We add to the list over time, so if you reprint a full copy of it, your readers will only get a snapshot of a particular version of the list, whereas if you link to it, they'll get to see the latest and fullest version. One great thing about the web is that if there's one copy of a work online, everyone else can link to that copy instead of having to copy it in full. But if you feel you must reprint the whole thing, then go ahead; just be sure to follow the rest of the guidelines below.
* Please format your reprint reasonably nicely—in particular, if you're reprinting online, then please use something similar (or identical) to the HTML code that we used, so that the numbering and indentation will be readable in most browsers. (Please don't just copy the text of the page as displayed in your browser; that will not retain the formatting.)
* Please provide a link back to the original.
* Please mention the name Strange Horizons, and a brief description of our magazine. For example: "This list is part of the submission guidelines for Strange Horizons, an online speculative fiction magazine."
* Please don't describe this as a canonical list of bad stories (or of story cliches) per se.
Oh, and thanks! We're glad you like the list.