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-- Writers' Frequently Asked Questions --
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Note: This file was last updated 12/26/1998. Recent changes are noted
by a bar '|' in column 1.)
What is DargonZine?
Hmmm. If you don't know the answer to this one, you should go
read the DargonZine Readers' FAQ first!
What is the Dargon Project all about?
The project was founded in 1985 as a way for amateur fantasy
writers on the Internet to meet and become better writers
through mutual contact and collaboration. The focus of the group
is on mutual support, encouragement, and improvement.
The duchy of Dargon is the common thread that all stories share.
All Dargon Project works take place in that environs, and
authors are encouraged to share and borrow the places and
characters and events that are part of that milieu. Authors are
expected to comment upon other writers' works in progress, use
other writers' events and characters from other stories within
their own, and even co-author stories.
Does DargonZine accept submissions that aren't Dargon fiction?
No. There are several Internet emags that will accept your
non-Dargon fiction and nonfiction submissions. We print strictly
Dargon Project material.
Do I have to join the project in order to submit stories?
Yes. Because this is a collaborative project, as a non-member
you can't just submit a story for publication. Submissions must
integrate with both the existing body of published work, and any
work that is currently planned or in queue.
You will also be expected to critique others' works and
contribute to the shared world. People who don't want to
participate in a communal project should consider submitting to
other emags.
How do I become a project member?
To become an official Dargon Project member, send email to the
editor, Ornoth Liscomb, at <dargon@shore.net>, requesting that
you be added to Dargon-L, the Dargon Writers' Forum. Once you're
on the list, you're a member, and will start receiving mail from
the writers' forum. Once you start seeing list mail, send out a
brief hello to introduce yourself to the group.
How do I send a brief hello to introduce myself to the group?
Any email that you send to <dargon-l@brownvm.brown.edu> is
echoed to all the Dargon Project authors. This list is similar
to others all around the Internet and the usual rules of
netiquette and polite posting apply.
Another thing to bear in mind is that the Listserv software that
redistributes your mail doesn't like seeing its own name in your
mail, so when you reply to Dargon-L mail, it's best to not
include mail headers in your citation. If Listserv sees its name
in your mail, it will probably delete it rather than
redistribute it, and no one will see your comments.
How do I find out who is on the Dargon-L list?
Send an email to <listserv@brownvm.brown.edu>, with the text
"send dargon-l list". You'll be sent a copy of the file that
lists the current Dargon-L members.
What if I'm not on the network?
Being an effective member of the project really requires that
you have the ability to get mail to and from the Dargon-L
discussion list. Although one could technically produce stories
without access to Dargon-L, participation in the discussions and
reviewing others' work are requirements for submitting your own
| stories. Relatively inexpensive email access can be obtained
| through several online services.
How do I get started writing?
| Very shortly after you are added to Dargon-L, you will also be
| assigned a "mentor", another writer in the group who has a lot
| of experience and knowledge about how DargonZine works, the
| details of the milieu, and so forth. Use that person as your
| first sounding board for ideas, and the first place you go to
| get answers to your questions. Your mentor should be supportive,
| and if you aren't getting what you need from that person, speak
| to the person who assigned your mentor and see if you can be
| assigned a different mentor.
How do I get up to speed on Dargon and all the things in it?
Once subscribed to Dargon-L, you need to get up to speed on what
is currently going on in the project, and what has gone on in
the past. Ideally, you should read all the back issues, but we
realize that's expecting a little much; a few back issues
(especially the ones that are pertinent to current storylines)
are sufficient to get the flavor of what's going on in the
project.
The biggest thing to remember is to speak up. If you have
questions, ask away! Don't be shy. We can't anticipate all the
information you'll require.
| Start bouncing your story ideas off your mentor, and then the
other writers. Bear in mind that many of your ideas just won't
be appropriate for Dargon, but be patient and try to work within
the structure. Don't try to make your first story the be-all and
end-all.
Once you've got an idea that everyone thinks is workable, start
writing!
How frequently will I be expected to publish?
Well, it'll probably take some time for you to get up to speed,
so your first story may take some time. We have a general rule
that authors are dropped after failing to publish for two years,
but the hope is that you'll publish more frequently than that.
One to three stories per year would be great!
All authors are expected to post status reports at the beginning
of each month, indicating the stories they are working on, where
| those stories are in the pipeline, and what progress they have
made in the previous month.
What is the submission procedure?
The first step in the creation of a Dargon story is coming up
with a story idea. Bear in mind some of the concerns discussed
in the "Guidelines" section, below. Once you've got an idea of
| what you want to write about, you should send a brief
| description or outline to your mentor, who will discuss it with
| you. When your mentor approves, you should post the outline to
Dargon-L, so that the other authors know about it. They'll do a
sanity check to make sure that it fits in with the project and
what's gone before, and may suggest alternative storylines and
point out potential problems. Iterate as necessary.
Once there's general acceptance of your storyline, you can go
off and write your initial draft. Bear in mind the items
discussed in the "Stylistic Concerns" section, below. When
you're done, spellcheck it, proof it, and have some of your
| friends read and comment on it. Then send it to your mentor.
| Iterate as necessary. When you're satisfied that it's in good
| shape, post it to Dargon-L. Be aware that if you post a story
which has obviously not been spellchecked or proofed by another
person, you are likely to receive strong feedback.
The other writers will make general and specific comments on
your story and recommend changes. Allow a couple weeks for
people to read and comment, but don't hold the story up by
waiting for comments after a reasonable period (say, four
weeks). Consider what they have to say and make any changes you
think are appropriate and re-post the story. Iterate as
necessary!
Keep doing this until everyone's pretty happy with the story as
is. You are the person who decides when the story is ready to
print. When it is, send a copy of the story to the editor for
publication and get started on your next story!
Do I get paid for publishing in DargonZine?
| No. DargonZine is oriented toward the aspiring amateur writer,
| and as such is thoroughly noncommercial. We have no funds with
| which to compensate writers. No one receives monetary
| compensation for the work they put into the project. The value
| our writers derive is from sharing ideas and techniques with
| other writers.
Do I need to pay in order to participate in the Dargon Project?
| Kinda sort-of, but not much. Let me explain...
|
| For the past dozen years, the editor handled all costs incurred
| in producing DargonZine. However, it now takes over $1500 to run
| DargonZine for a year. In order to relieve the editor of these
| costs and more fairly distribute the burden of our "vanity
| publishing", the authors recently voted to institute what we
| think is a fair system of dues for writers. It works like this:
|
| The only people who *have* to pay dues are those who have been
| with the project for more than a year, and who have had at least
| one story printed in DargonZine. That way new writers have a
| "free trial" period to determine whether the group is of value
| to them.
|
| Furthermore, the fees are graduated. People who have full-time
| jobs are expected to contribute the full fee: $25 per year. But
| students, part-time workers, and other people who are cash-poor
| are only expected to contribute $12.50 per year.
|
| We hope that is a fair system. The intent is to try to offset
| some of the costs associated with running the magazine, and all
| dues and expenses are strictly tracked by the Assistant Editor.
|
| Note that paying dues doesn't relieve a writer of their other
| requirements such as actively working on stories and
| participating in discussions. Even if you have paid dues, you
| are still subject to removal from the project if you aren't an
| active participant.
Who retains what rights to stories printed in DargonZine?
DargonZine retains the right to reproduce its own issues and
reprint stories for special collections such as "Best Of"
issues. The names "Dargon" and "DargonZine" are copyrighted by
the editor. The author retains all other rights. A copyright
notice to that effect appears in every issue.
Be aware that most publishing houses and magazines consider
publication in DargonZine to constitute surrender of "first
publication rights". This has implications for writers who wish
to print their Dargon stories elsewhere.
Also note that your use of other writers' characters is with
their permission -- they retain the rights to those characters.
Unauthorized use of characters and things that are not yours, in
stories that are printed elsewhere, constitutes a violation of
copyright laws.
Because of these issues and the essentially collaborative
nature of stories which take place within the shared milieu,
DargonZine stories cannot be published outside DargonZine itself
unless reworked so that they no longer reference the shared
world or any other elements which the publishing writer does not
have exclusive ownership of.
Do I retain control of the characters and things I contribute?
Once you have introduced something to the project, anyone can
(with your permission) use it. After you leave the project,
your characters and things become free game for anyone to use.
Writers are encouraged both to use other writers' characters
and places, and also to create characters and places and things
that other writers can reference in their stories.
While you are an active Dargon Project member, you are the
"curator" of the characters, places, and things that you create.
You are the authority on those things, and have final say
in what can be printed regarding it, unless you are overruled
by the group as a whole. However, if you leave the project,
the project retains the right to use those characters and
things within future Dargon Project stories. "Curatorship" of
those entities may also be transferred to other active writers.
Can I use other peoples' characters and things?
As this is a collaborative anthology, authors are highly
encouraged to use other writers' characters, but there are some
important factors to be kept in mind. Above all, check with the
curator of the character. That character may be destined to do
something else or be in the wrong geographic location or be out
of touch in terms of timeframe. If the original curator is no
longer with the project, check with the group to see if someone
else has adopted or is using the character in their work.
How do you keep track of all the characters and references and all?
| Our primary tool is a database called the Author's Master
Database (or "the AMD"), which lists all stories, writers,
characters, things, references, curators, and so forth. The
database is regularly updated, and is one of the most important
resources a Dargon Project writer can have.
A subset of the AMD is the Online Glossary, which lists all
characters and places and such, along with their definitions and
what stories they appear in. This is available on the DargonZine
| Web site at <http://www.dargonzine.org/glossary.shtml>.
What other resources are available to Dargon Project writers?
There is also an email daemon called "The Dargon Project
Library", which is designed to be a quick reference for Project
staff and readers. To request a document, send mail to
<khaytsus@cs.colorado.edu> with the text "Request <document
name>" in the subject line. For a listing of available
documents, send "Request DARGON".
There are also several facilities available on the DargonZine
Web site through the DargonZine Writer Menu at the URL
| <http://www.dargonzine.org/bin/writer_menu.pl>. From there you
can view the Global Status Report, which shows all the stories
currently in progress and where they are in the pipeline. From
this menu you can also obtain the current list of DargonZine
writers. There is a full-text search which allows you to specify
a character string, and you will be shown every instance of that
character string in every FSFnet and DargonZine issue which
| contains it. There is also a form for updating Glossary items
and the details of each time that item is referenced in a story.
Note that the Writer Menu is password protected. If you are a
participating writer and need a password, please contact the
editor. This Writer Menu will be the place where future
| facilities for the writers will be made available.
Can I co-author a story with someone?
Sure! Unless you're geographically close to someone or have the
money for a lot of phone calls, true co-authorship may be
difficult. But don't let that stop you from trying!
Two ways that we've gotten around this are as follows. We've
produced several stories where different authors wrote different
sections of the text. For example, one person would write a
specific encounter between two characters, while the other
writes a larger context: one of the characters' visit to Dargon.
Another alternative is to write about the same events from two
different characters' perspectives.
But feel free to experiment with whatever you think might work!
The main thing to be careful of is plotting out a lengthy
storyline that requires multiple people to get their parts done.
We've had problems in the past where a storyline took years (of
real time) to develop, and in the meantime some of the key
writers left the project. Be careful that you don't put yourself
in the position of having to clean up after someone who left you
holding the bag!
How do you resolve conflicts?
Obviously, the first thing to try is compromise. If differences
of opinion continue, the opinion of the majority of active
Dargon Project writers rules. When people are in a receptive
mood, the editor can occasionally get away with issuing edicts.
Is material posted to Dargon-L canon?
If someone discusses (for example) an idea about a new coin, it
doesn't become an immutable fact unless it sees print in a
story. As authors, we are bound by what the readers have seen
within the pages of the magazine. We are not bound by ideas that
have been presented in Dargon-L. The ultimate test of whether
something is a fact is whether or not it has seen print.
Is there anything else I have to do as a project member?
As a project member, you are expected to be an active
participant in the discussions that take place on Dargon-L. You
are expected to provide opinions and critiques of other authors'
ideas and stories in a timely manner. Your comments on stories
should be turned around within two to three weeks at most. And
don't forget those monthly status reports! In short, Dargon is
not a place for lurkers!
Individuals who do not actively participate in the project and
are "idle" for several months at a time will periodically be
removed from Dargon-L at the editor's discretion.
When you join Dargon-L, you will find some people who are better
writers than you, and some who aren't as good, and many with
specific areas of knowledge. One of the difficulties you face is
taking blunt criticism of your writing maturely, without getting
emotional. Remember that criticism is intended to improve your
writing.
You are also expected to provide criticism of others' works in a
sensitive and constructive way. Be considerate in your comments.
The goal of the project is to provide a supportive environment
for aspiring writers who wish to improve.
Above all else, be a professional.
It is also hoped that you'll help promote the magazine by
telling your friends and encouraging people you meet on the net
to subscribe. The magazine's success is in your hands, and we
hope that you can help us make it better.
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-- DargonZine Writers' Guidelines --
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Over the course of a fifteen-year collaborative writing project, we've
learned quite a bit about writing fantasy. What follows is a list of
general suggestions to bear in mind when developing a story idea. While
some may sound arbitrary or unnecessarily restrictive, the collaborative
nature of the project requires that we accept certain limits on what we
can write about.
Set your stories in the vicinity of Dargon.
New writers should base their first stories in the immediate
vicinity, rather than strike off on their own. All writers are
expected to set stories in or near Dargon on a regular basis.
Don't use powerful magic.
Magic is exceedingly rare in Dargon because it is very
destabilizing. Magic can be used, within limits, but it cannot
be used so liberally as to effect society. If you do use magic,
make it very rare and unique. There's nothing more pathetic than
reading a story full of spells and items that are right out of a
Dungeons and Dragons rulebook. It's also a good idea to
"dispose" of powerful magic by the end of your story.
Don't introduce new technologies.
This is a medieval society, and introduction of new technologies
can have the same destabilizing effect as introducing powerful
magic. Don't do it.
There are no explosives in Dargon.
Don't overuse nonhuman races.
The world of Dargon is a human one. There are a few nonhuman
races around, but don't use them too liberally. Again, if you
use them, make them unique -- and please don't lift species from
roleplaying games or similar sources.
No superheroes!
Powerful characters are also destabilizing, and are often the
sign of a writer who is trying to overcome a sense of personal
inadequacy. Similarly, don't introduce anti-heroes. Like our own
world, Dargon is populated with relatively ordinary people who
occasionally find themselves in extraordinary circumstances.
Don't be a worldbuilder!
New project members must overcome the desire to "leave their
mark" on Dargon by creating lots of new continents and kingdoms
and cities and other named items. You'll be much more fondly
remembered for a single good, powerful story than for the mess
you make of the map. Write your stories to be consistent with
the landmarks and people who are already there.
Don't start anything you can't finish.
When you introduce a character or a plot, be sure that it's
something that you will have the time and energy to finish.
There have been a large number of plotlines that petered out,
because the person writing that thread left the project. Don't
leave a mess that other writers will have to clean up.
Know what you're writing about.
If you're writing a story that takes place on the high seas, do
some research into it. Learning about your subject matter not
only gives you a passable understanding of it, but will also
give you the ideas and vocabulary to make your story vibrant.
You'll only damage your own reputation as an author if you write
about impossibilities such as castles with 300-foot towers.
Don't steal names.
It may be tempting to name characters after your friends, but
it's unprofessional, juvenile, and usually illegal. Come up with
your own names for people, places, and things.
In addition, stories which feature "real" people or which
feature "cross-overs" between Dargon and "reality" aren't
allowed.
Don't use "modernisms".
One of the things that Dargon writers will check you on is your
use of modern phrases, such as "Cool!" or "policeman" or
"gastroenterology", especially in dialogue. Use of "modern"
language can destroy the reader's willing suspension of
disbelief.
Don't borrow roleplaying game plots.
The Dargon Project is for serious, aspiring writers, not for
people who want to document their gaming sessions. People who
lack the originality necessary to come up with their own plots
and who rely on others to make a story interesting have no
business calling themselves writers.
The Gods.
We've already got several pantheons, thank you, we don't need
any more.
The gods do not actually manifest themselves in Dargon. Period.
What time is it?
All Dargon stories must indicate the date they take place, and
should reflect events happening at that time.
There is a vague sense of a "current" time in Dargon, which
writers should stay within. If you write a story that takes
place in the comparative past, be aware of other things that
happened at that time.
If you write in the comparative future, be aware that your work
will be very closely scrutinized. Any references to people or
things gives the reader some foreknowledge about what will occur
in the "present".
For example, if Dargon is being attacked by Beinison hordes, and
I write a story in which Clifton Dargon appears that takes place
two years in the relative future, the reader knows that Clifton
will not die in the intervening time. For this reason, we try to
keep most stories within the relative past or present.
Is there a message in your story, or is it purely entertainment?
This is perhaps the most important question you have to face as
a fantasy writer. To be sure, there are many commercially
successful fantasy writers who fall into both camps, but the
presence of a message is what differentiates most fantasy from
being considered "good literature".
The message doesn't have to be profound or delivered in a
heavy-handed way. In fact, many fantasy stories' message is
"It's tough being a teen," which is why so few adults take
fantasy seriously.
A good writer writes because he has something to say about
life, and the Dargon Project encourages amateur writers to
experiment with the message. It can be as simple as "Losing a
friend is hard," but be aware that it is there. The skill with
which you develop and communicate your message is what separates
the mediocre writer from the artist.
Do you involve the readers' emotionally?
A story cannot succeed if it doesn't involve the reader. He
must be made to care about the protagonist(s) and feel for them
in their plight. A successful story isn't one where the good
guys beat the bad guys, but a story that makes the reader feel
intense emotion. How that is accomplished is the art that we,
as writers, pursue.
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-- DargonZine Writers' Style Guide --
-----------------------------------------------------------------------
This section details how submissions should be composed and formatted.
Dashes:
When using dashes to set off an independent phrase -- such as
this one -- use two characters, and set them off as if they
were a separate word. Something -- well, exactly --- like that.
Ellipses:
Ellipses should appear as a single three-character word, set
apart from other words. Like ... this. When an ellipse ends a
statement or sentence, additional punctuation is not used in
addition to the ellipse; it stands by itself and ends the
thought or statement. If the ellipse begins or terminates a
quotation, the quotation marks directly abut the ellipse.
Emphasis:
Use *asterisks* around words to indicate emphasis, rather than
_underlines_ or CAPITALS.
Format:
Submissions should be mailed as ASCII text. Anything else won't
be read, to include ZIPped or UUENCODEd text, word processor
files, or text with imbedded control words.
Headers:
All stories must begin with a header, and all the lines in the
header must be centered.
The first header line contains the story's title. If it is part
of a serial, the second line will contain the part number, and
an optional title that is specific to that part.
The next line will contain the word "by" and the author's full
name, and then a line with his network userid if he wishes it
to be known to the readers.
The following line will contain the Dargon date when the story
takes place. All stories *must* have a Dargon date.
The header will be followed by a blank line, after which the
text of the submission begins.
For co-authored stories, the first attibution line will contain
"by" and both the author's full name and (optional) network
address. Subsequent attribution lines will contain "and" and
subsequent authors' full names and (optional) network addresses.
Hyphenation:
Do not hyphenate words. Words that would otherwise exceed
the line width should be spilled to the next line rather than
split, as they will be reformatted by the editor before
publication.
Indenting:
Don't indent your base text. Whenever a space appears in
the first column of your text, this will be interpreted and
formatted as a paragraph break.
For text that should be indented, adjust both left and right
margins inward by 5 characters.
Justification:
Submissions should never be right-justified or contain more than
one blank between words.
Length:
Stories should range from 80 to 800 lines. Stories that exceed
800 lines must be serialized into two or more stories that will
be published separately.
Paragraphs:
Paragraphs should be indented 5 spaces.
Quotes:
Use double quotes for dialogue. When single quotes are needed,
use two 'apostrophes' rather than `open and close' quotes.
Sections:
Submissions will often be divided into separate sections by a
single blank line. This indicates a change of setting, time, or
viewpoint.
Serialization:
Stories in excess of 800 lines must be serialized. The author is
responsible for breaking the submission into parts and writing
appropriate prefaces (remember that parts won't appear in the
same issue).
Ideally, a serial story should either be submitted and approved
by the group as a whole, or individual parts should be able to
stand on their own as independent stories. We don't want to get
into a situation where a series is left only partially completed
when an author leaves the project or loses interest in the
storyline.
Spacing:
All submission should be single-spaced.
Spelling:
Run your submission through a spelling checker and have live
humans proof it *before* you sent it to Dargon-L. Spelling and
grammar are basic skills that any writer must master, and it's
extremely unprofessional to expect the other writers to perform
this function for you. The purpose of the project is to teach
the art of good writing, not fourth grade spelling and grammar.
Trailer:
Stories should end without any trailer. All pertinent
information must be given in the story header.
Width:
80 columns maximum, 70-72 columns preferred.
