Pyramid Planning and Dan Blank’s “Be The Gateway”

I’m reading Dan Blank’s Be The Gateway at the moment, a book about author platform and writing that is probably as close to my own philosophy that I’ve come across thus far. There’s a focus on identities and how they shape reaction to our work, and why “just telling good stories that entertain people” is frequently a failure to understand what you’re really offering readers.

What really caught me, reading through it this morning, was an exercise on judging the priorities in your life. In it, Blank advises getting a stack of index cards and writing down all the things that matter to you, whether it’s a single word (“Family”) or a long term goal (“Take better care of myself”).

Once you’ve got everything down, try and arrange all your cards into a pyramid: one things goes at the top, representing your highest priority. Two cards go underneath it, then, three, then four. It may take time to get the order down–Blank suggests you’ll usually start with a square and then refine as you go along–but the goal is getting some clarity over what you value and where the connections may lie.

It’s a great exercise for identity formulation, but right now I’m interested in how it can be used to get some clarity on a day-to-day level.

I usually have a list of fifteen projects or so I’m working on at any given time. A combination of writing stuff, book production, uni work, and personal projects around the house. Part of the struggle on any given day is figuring out when priorities have shifted, and how to balance them–particularly in weeks like this where getting a new release together frequently impacts on everything else due to the immediacy of the deadline.

With my next monthly check-in due next week, I think I’m going to create an index card for everything on the docket and pay attention to the ways my pyramid changes in response to certain days and events throughout the month.

BE THE GATEWAY: A PRACTICAL GUIDE TO SHARING YOUR CREATIVE WORK AND ENGAGING AN AUDIENCE, Dan Blank (Amazon)

Angela Slatter on What It’s Like To Finish a Trilogy

Angela Slatter has written a post about writing the third book in a trilogy and figuring out structures for the Always Trust In Books blog.

It amuses me because a friend of mine recently commented that I do not seem to like geeky things, citing the fact that I rarely seem to talk about Star Wars or Star Trek or Doctor Who.

Meanwhile, I suspect that I am the person referenced who banged on about story structure and Star Wars in Angela’s presence a little too often, because it’s spent a lot of time as my go-to for structure examples (back in the days before I banged on about story structure and Die Hard instead…)

For the record: I’m a fan of Star Wars, fan of Doctor Who. Usually irritated by Star Trek, outside of Discovery and Deep Space Nine, because it never fits what I want from the narrative and the abstract level in which their space battles never feels like it has much tension. I was a big fan of Babylon 5, courtesy of Sean Cunningham insisting we stop a late-night D&D game in order to watch episodes of the second series during its original run (Babylon 5 is aided by encountering it when once the continuity is in full swing–I suspect, if I’d watched Season 1 first, I would have been a lot less forgiving).

So…yes, I’m a fan of many things. Often quietly, because I learned to keep my mouth shut about such things over the years–the conversations I want to have about them usually don’t fit the things people think of as fan-like, and frequently involve the kind of analysis that is not-fun for folks who just want to enjoy things.

I am, for the record, a fan of Angela Slatter.

Restoration is out in mass market paperback on July 9, should you need it to finish off your collection.

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My partner has discovered TikTok recently, which means she’ll occasionally show me fascinating 15-second clips of real people moving and emoting like anime characters. Every now and then I start pondering the creative possibilities of the platform, thinking about how writers can use it to do interesting thing.

Then I come to my senses and try to think about other things, for I am old and grumpy and far too easily distracted by rapid bursts of movement in the corner of my vision.

I suspect that this is one of those tools I’m content to let other people explore, and report back with interesting treasures.

Right now, I’m reducing my cognitive load and eliminating online inputs that have gone from useful-things-I-enjoy-thinking-about-and-understanding-the-theory-of to online-distractions-that-get-into-my-head-and-distract-me. Generally, this means cutting out the podcast listening in the car and online communities focused on indie publishing, replacing them with the comparatively old-school approach of listening to music and actually writing things.

Partially, this has been done by picking up Freedom and setting “business hours” where I’m blocked from accessing various websites. Freedom have lured me away from RescueTime, which blends similar blocking functions with online tracking, through the simple expedient of offering one-and-done payment for the premium model instead of going for a subscription model.

Partially this has been done by going analogue and diving into notebooks, focusing my attention down to a single page and filling it with squiggly ink.

Bad Systems & The Republic of Newsletters

Criag Mod recently did a six-week walk across Japan during which he purposefully removed himself from the phone as a tool of social media.

Of course, such things aren’t new these days. 2019 seems to be the year everyone stopped and looked at social networks with a critical eye, evaluating the space they occupy in our lives. This is particular true of freelance artists and writers, for whom the promise of connection the internet offers is of great interest indeed if the cost-to-benefit ratio can be managed.

What separates Mod out is his background as an essayist, and in particular an essayist who frequently meditates on the intersection of technology and publishing. This mean he’s got a capacity to turn a lovely phrase when noting particular ironies:

 I consider “bad” to be design patterns that subvert impulse control. Anything that obviates agency over one’s attention. Bad is being manipulated by an algorithm in favor of the company over the human.

Bad is being stuck in a “tiny loop” of the mind and body — a senseless series of actions that span minutes, hours, days, consume years, and add up to nothing or almost nothing, and that benefit (ideally: tranquility, growth, curiosity) no one but the company (in reality: engagement, ad views) who owns the container in which the loop takes place.

To be a bit reductive, for example: Bad is Tinder getting you addicted to the pseudo-pornography of hundreds or thousands of potential mates, the high of a “match,” as opposed to helping you find, and sustain, a meaningful relationship. There’s a business model in helping you find true love, but it doesn’t have the same growth curve as making you think you can hump half of Manhattan.

Roden Explorers — 027 — June, 9, 2019, Craig Mod

It also means that when he sits down and thinks about his engagement, there’s a solid theoretical underpinning behind the decisions. He’s not rejecting technology outright, but looking at it with a calculating eye and figuring out what keeps it working as a useful tool. The internet is, at its heart, just a series of publishing engines, repurposed to deliver slightly different effects than reading a book or newspaper.

One of the insights that fascinates me, given my retreat from social media and more focus on both blogging and email newsletters, is his desire for seperate production and consumption systems.

Both the SMS and podcast publishing systems are “open” systems, with no single controlling entity like a Facebook or Twitter. And they are “quiet” systems, in that production and consumption spaces are separated. You don’t have to enter a timeline of consumption in order to produce.

THE GLORIOUS, ALMOST-DISCONNECTED BOREDOM OF MY WALK IN JAPAN, Craig Mod in Wired

Every now and then, I talk to writers who perplexed by the idea of a weekly newsletter: what do you write about every week? How do you produce something that doesn’t irritate people?

The answer, of course, is that I do irritate people and have the unsubscribes to prove it, but the content is almost never a problem. I post about the same things people post about to Facebook and Twitter. I gather thoughts and links and news, shepherd them together into a miniature zine that goes out every week (more or less), talking to the people who have elected to receive it.

It may be a less efficient distribution of information than sites like Facebook and Twitter, but that only matters when you think about reach. The newsletters’ role as a quiet system matters to me, as does the deeper engagement it offers. But it’s not just that, and again I can link to Mod being smart:

Ownership is the critical point here. Ownership in email in the same way we own a paperback: We recognize that we (largely) control the email subscriber lists, they are portable, they are not governed by unknowable algorithmic timelines. And this isn’t ownership yoked to a company or piece of software operating on quarterly horizon, or even multi-year horizon, but rather to a half-century horizon. Email is a (the only?) networked publishing technology with both widespread, near universal adoption, and history. It is, as they say, proven

Oh God, It’s Raining Newsletters, Craig Mod

Increasingly, I subscribe to newsletters instead of following people on Social Media. I’m starting to prefer the idea of reading what people really want me to read, rather than trusting in the algorithms to deliver what I’m looking for.