Category: Writing Advice – Business & the Writing Life

Fun fact about writing: it’s going to feel like you’ve fucked up, a lot. There will be days where it feels like things are so fucked up that your career is 100% over, never to be resurrected or rebuilt, and the best thing you can do is wander off and get a job in the fast food industry. The reasons it feels like you’ve fucked up are varied. Maybe it’s been caused by a decision that seems stupid in hindsight, or a book has come out and done not-as-well-as-expected for reasons outside your control. Perhaps you said something you shouldn’t have in a professional context, or vomited on the first agent you met because you were nervous. It matters not, in the end, because the feeling that settles over you is invariably the same – like someone’s fitting you for cement shoes and escorting you to the nearest pier. You have fucked up, and you are done. Hasta la vista,

A thing I’ve been thinking about this week. It’s tempting to say there are no shortcuts to becoming a published writer. The default published writers tend to give is simple: write a lot, keep improving your craft, submit a lot, keep going. This is how many of us got our start, and its how many of us keep our careers going, year after year. It’s tempting to say there are no shortcuts, but it isn’t exactly true. Every now and then people do find a work-around to the old ways of getting published. They wrote a novel and published it to their blog, only to have it picked up by a publisher. They launched their backlist as ebooks after years of being rejected, and suddenly they had a massive career. There are people who fanfic on Wattpad that got picked up, or they cultivated a project on social media, or they podcasted their story, or they did an early iteration

The folks over at Writer Unboxed recently put up a pretty good post about what going to a writers conference really buys you. As someone whose in the thick of organising a major writers conference myself, it’s always good to see these things discussed and get some idea of how other people are placing value on the conference experience. It’s also a useful reminder of something that’s been true ever since I first started working with writers: writers will map their future success onto some pretty weird-ass things. Which means there’s a big difference between the things that will have the most benefit for attendees, versus the things you actually have to sell in the marketing to get them at the conference. I make very little secret about my personal belief that networking and discussion between writers is the most valuable thing an event like GenreCon can offer the writers who attend. Attending a course or panel where you learn

I just put a full slate of 2018 deadlines up on a whiteboard. With the first semester of my PhD over I’ve had a little time to start thinking about writing work again, and the presence of a significant other in my life has generated a lot more focus on my long-term strategies and short-term tactics than I’ve managed in a long while. There is something about having to tell someone else about your day that makes it easier to navigate the garden of forking paths that make up a writing career. Also, rule one, when you’re a writer in any kind of relationship: do not be a wanna-be heavy metal bassist sponging off a series of significant others. Which seems unfair to a number of heavy metal bassists who work incredibly hard at their art, but it’s John Scalzi’s metaphor, not mine. July is also a useful month for taking stock – looking at what’s worked for the past six months,

I never really got the knack of outlining books, but I keep trying to do it. Notebooks are filled with rough sketches and scene ideas, documents pile up on my hard drive. I’ll boot up scrivener and diligently create file cards that work out my plot, step by step, along with the details about what will happen in the scene. The logic of outlining makes sense to me, and I have the kind of obsession with story structure that makes the planning and deconstruction fun, but it isn’t the way my story brain works. I blame it on too many years of running RPGs, where your approach to narrative is 30% replicating the feel of big, iconic genre moments and 70% responding to the immediate input of player choices that complicate things. I work better when I’m in the middle of things, looking for hooks to latch onto and take things in a new direction. And yet, it’s time to

I started writing a pen-and-paper journal for three reasons.First, because I spent months as a reasonably well-paid blogger and worked around the corner from a store with a wide range of notebooks. Then people started giving me notebooks as presents. And now my flat is overrun with blank Moleskins and Leuchtturm’s and Decomposition notebooks, and I’m working my way through them as quickly as I can (mostly, so I can buy new notebooks without guilt). Second, because I need a place to process things and make notes about what’s going on in my life in way that is not blogging, Facebook, or Twitter. The years I spent writing on Livejournal, and the early days of this site, have been incredibly valuable when looking back and figuring out yearly patterns, and occasionally I need a black-box which reminds me why I made certain decisions that look considerably worse in hindsight. Thirdly, and most importantly, I’d hit a point where various research into why

I spent a hair over six hours on social media last week, which is considerably more extensive than usual courtesy of the extra time spent losing my mind over Riverdale with friends. And I used to think my approach to managing Facebook so it didn’t eat all my time was pretty goddamn tight. Then I read this post on Lifehacker about unfollowing everyone on your friends list to transform the default feed into a desolate wasteland and I was all, holy fuck, that’s genius.   I haven’t quite gone scorched earth yet, but did elect to get really, really aggressive. Yesterday I opened up the new Newsfeed Preference system which makes it far, far easier to see who you’re actively following and began to really, really ask myself if everyone on that list was posting stuff that I either a) wanted to engage with on a daily basis, or b) actually cared about on a daily basis. An hour later,

It’s 5:16 on a Tuesday afternoon. The day is starting to cool and I am sitting on my couch without shoes on and I am Youtubing Cure songs as I type this. I’ve written a bunch of words today. I discovered a structural flaw in the novella I’ve been trying to write, which means there’s a bunch of rewrites on the way. When I’m done with this, I’ll be heading off to write a bunch more words. But for the moment I’m sitting here, on the internet, thinking about the scene from Rob Epstein and Jeffery Friedman’s Howl where Allan-Gisberg-by-way-of-James-Franco says: In San Fansisco I had a year of psychotherapy with Doctor Hicks. I was blocked. I couldn’t write. I was still trying to act normal. I was afraid I was crazy. I was sure that I was supposed to be heterosexual and something was wrong with me. And Doctor Hicks kept saying, “what do you want to do? What is your hearts

It starts with the question you get asked when you’re young, and the answer that comes into your head is something to do with books, maybe? It starts with being shy, and moving around a lot all through your childhood. It starts with the trinity of SF from your childhood: Star Wars, Buck Rodgers, and G-Force. It starts with David Lynch’s adaptation of Dune, which you saw far too young because you liked science fiction and there was no home video back then, so it wasn’t like you could just watch Star Wars again. It starts with hearing your dad read The Hobbit in his classroom. It starts with the soundtrack of your pre-teen years, inherited from your father: Jeff Wayne’s War of the Worlds, Queen singing Flash, the Rocky Horror soundtrack. It starts with your first William Gibson short story at fourteen and having your mind blown. With Neil Gaiman comics at sixteen, which blow your mind again. With

Every night I take 25 mg of Valdoxan before I go to bed, nudging my brain towards a healthier normal. Every morning I start tracking data on my preferred stress, depression, and anxiety management app, marking hours of sleep and minutes of exercise and whether I’ve had contact with the outside world. Every week I’m learning to pay more attention to the default narrative in my head, and the defence mechanisms set up because of those narratives, so I can better at identifying which are actually useful and which need to be dismantled. Every couple of months I get a blood test to see if the Valdoxan is doing unhappy things to my liver enzymes. I still have bad weeks. I was in the midst of one seven days ago. My stress responses still need work, because they’re currently front-loaded with the message: for the love of god, procrastinate to the point of self-destruction. I was stressed last week, but

I am surprisingly tolerant of cluttering in physical space. I take comfort in stacking books around me like a defensive wall, scatter notes across my coffee table along with errant mugs, and pile my laundry by the doorway leading from the bedroom to the balcony/laundry because I’ll remember to actually do it that way. I’m far less tolerant of clutter in digital systems, to the point where I actually feel excessively uneasy and reluctant to work when my email, RSS feeds, or work folders start to get out of control. Talking to people who leave thousands of emails in their inbox make me break out in a cold sweat, and I will say nothing of tab junkies who just keep opening a new page on their browser every time they want to add something to their to-read list. Dealing with any kind of shared server within a company or organisation, where files are often layered seven folders deep via arcane and confusion

Yesterday was my final day at my blogging gig with Queensland Health, and I am not yet contracted for my GenreCon gig or have the details of my PhD scholarship set in place. I am, technically, unemployed and bereft of income until the two latter things get sorted in the coming week. Even after those are resolved, I will be a student who has a day-a-week contract gig. I do not know what my days look like now that I do not have to work around a day-job. Lots of people dream of quitting their job to write or read, but that often fails to take into account there is something comfortable about work that you don’t realise when it’s there. Even if you hate your job, there are decisions that do not need to be made: where will you be on a given day? What will you do? Who are you going to see? Your obligations as an employee