SNUFFLES FOR EVERYBODY

Still packing. Still writing. Still having a rather stressful week at the dayjob, courtesy of unruly technology that insists on not-working even after months of people trying to address the not-working issues. Suspect that I’m going to go into work tomorrow and be told there’s nothing we can do to fix the issue, which promises to be the kind of adventure people have in mind when they curse you to live in interesting times. This despite working late tonight in order to try and rectify things, or at least get the news now so I won’t fret about it for the next thirteen hours.

On the plus side, today’s email brought the news of a potential reprint sale that means I may be able to cross yet another goal off my not-so-secret-list-of-writing-goals-I-have-no-control-over-and-therefore-don’t-talk-about – news, as always, once contracts are signed and things are official – and I’ve been quietly filling out the forms that will officially mean I no longer live in my flat, and there copies of books I’d pre-ordered in the post and new books to be pre-ordered so they can arrive in the midst of next year and the dayjob contained one of those conversations you get to have, very occasionaly, with someone who really loves the short story as much as you do.

So I guess, overall, it washes out as a win.

Or, as the Spokesbear puts it, SNUFFLES FOR EVERYONE!

Anyway, it’s, er, eight o’clockish about now. I figure I’ve got another four hours of writing ahead of me before I collapse from mild exhaustion. Tim to go back to the story du jour and see what’s what.

Wish me luck.

Hear Me Roar

A few days ago I sat down and with the Spokesbear and had a talk. It wasn’t a pleasant talk. It never is when the Spokesbear isn’t happy, even when he’s trying to be nice about it, and in this instance he was both very unhappy and very pleasant about his unhappiness.

The gist, more or less, went something like this: “Your process over the last twelve months has been arsetastic and full of whine. Perhaps you’d like to do something about this, dumb-ass.”

It’s very hard to argue with spokesbear when he’s right. Also, it’s hard to argue with him when he makes the face. You know, this one:

Listen to the Spokesbear

It’s the face he makes when he’s disappointed by things. The Spokesbear is wise, but the Spokesbear is not particularly patient, and refusing the face usually ends up with me getting mauled in the night. Which, lets face it, is slightly embarrassing when the thing doing the mauling is a stuffed bear that just happens to be the repository of your own subconscious for the purposes of having conversations about your process.

Look, don’t judge me. I’m an SF writer whose allergic to cats and talks to a bear, I’ve got enough problems.

Among them is this – for the last nine months, my process has been very Oh god, I must write, oh woe is me. I’ve said this shit in public. Very recently. Somehow people didn’t hit me, which is quite frightening, to be honest, because I felt like punching myself in the face. There have been plenty of things to whine about over the last twelve months: my dad’s health problems; summer in Brisbane while living in a shack made of asbestos sheeting; Australia’s increasing inability to elect a government that is not composed of pragmatic fucktards willing to throw everyone and anyone under a bus in order to get re-elected; the day-job I worked up until July, which achieved levels of suck I didn’t know existed in dayjobs and entirely validated my decision not to get one prior to my thirty-forth year on the planet.

But writing, fuck no. You do not get to whine because writing is hard. You do not get to whine because you have to do new things. You do not get to whine about selling things before they’re written and having deadlines. You do not get to complain that things are scary.

You just have to harden the fuck and up and write the things that need writing, then move on.

You will fail at some things and it will suck, but you’ll feel much better about things if you go down swinging.

You will feel like arse if you hit the canvas without throwing a punch, content to wallow in your own self-pity. Mindset is everything in writing, and things work so much better when I actually believe I can take over the world using the written word as a weapon.

My self-image as a writer has taken some heavy body-blows this year. I’ve failed to hit deadlines. I’ve been unable to write due to real-world messes. I’ve lost track of projects. And really, arse to the lot of it, because my self-image as a writer has been part of the problem. I let myself think, “its okay, I can write fast when I have to,” which is a blatant load of bollocks. I don’t write fast, I write persistently. I can manage 5oo words in an hour on a good run, but lots of free writing days and a dogged determination to reach wordcount goals created the illusion I could do more. It didn’t even require big wordcount, just regular practice and the refusal to give in.

So we have a plan, me and the Spokesbear. It goes something like this:

1) I do not work faster, I work harder.

2) Treat your business like a business.

3) Get shit done. Take over the world. 

If I fail at this, I hereby request people punch me. Hard.

Now if you’ll excused me, there’s a very smug Spokebear who’s offering a rewarding snuffle for getting today’s wordcount done and going back to the wordmines for more.

Spokesbear Snuffles for Everyone

Credit Where Credit’s Due

On Friday night, after a panel at the QWC’s One Book, Many Brisbanes program, I got the opportunity to go hang out with Cat Sparks, Trent Jamieson, and the elusive Ben Payne. There was beer and chatter and hot chips with tomato sauce. The true value of this experience probably doesn’t sink in unless you know Cat and Trent and Ben, but fortunately for me I do, so I got to be there (although, given I had to drive home, I elected to drink coke. This seems to keep happening when I find myself in pubs; somehow I seem to have lost the ability to get my drink on).

Should you not know Cat and Trent, the short version goes something like this: one is the author of Death Most Definite and Managing Death and more quality short stories than you can poke a stick at, while the other possesses a resume similarly stacked with quality short stories and recently took up the position of fiction editor for Cosmos magazine. Should you come across them in bar, they may look remarkably like these two:

Trent Jamieson & Cat Sparks, Brisbane, Feb 2011. Documenting the fact that Cat drinks a glass of water.

Should you not know Ben, you will just have to imagine him, for he’s not among the photographs on my phone (such are the perils of being an elusive gentlemen). I can point out that he edits a zine with one of the quirkiest titles in Australia and he’s known for his damn fine taste in writers.

– ahem –

Er, sorry, the spokesbear gets snarky when I sneak that sort of thing into blog posts. He also points out that I should publicly thank Cat for coming up with the title Horn back in 2007, back when TPP and I were stumped in terms of possible titles that would work for the weird little noir novel about unicorns. My original title, and many of the replacement titles that followed, were awful and far less pointed than Cat’s suggestion.

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A friend of mine from uni pointed out that the Motel I was talking about in yesterday’s post is still in existence, although there’s no real reports on whether it’s still got its alien-abduction motif going or there’s a motley crew of long-term residents in addition to the visitors using it as an actual motel. The website does feature the graphics from the gloriously kitsch signs they used though. I lived in the one featured on the left-hand side of the header.

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I recently bought Amanda Palmer’s new album, and one of the surprises on the album was a duet she did with a member of the Jane Austen Argument on the song Bad Wine and Lemon Cake. After three or four days of listening to that song, over and over, in the car I finally broke down and went searching for the band’s website.

Turns out they have an EP out.

Ordinarily this wouldn’t be much of a story – roughly once a month I’ll find myself going to a band website and checking out their list of albums and such. I tend to listen to a lot of music, after all, and it’s really only the limitations of my budget and the rapid closure of CDs stores in all my favourite shopping centres that keeps me from spending as much money on music as I do books.

Despite these limitations, I’ve been highly resistant to buying music in electronic formats. I like the tactile pleasure of having something physical to play, and I like album art and liner notes, and I generally just like CDs and cassettes and LPs before them. Plus I have the kind of luck with computers that says backing up daily isn’t actually one of those things you ought to do; it’s a necessity that keeps me from wailing and gnashing my teeth. As a general rule, I don’t buy MP3s.

It would appear I can’t make that claim anymore. And, well, I’m not entirely sure how it happened, only that it did. It’s one of the things that always leaves me envious about music – it’s much better at beguiling us than fiction is, if only because it takes far less effort on the part of the audience on the receiving end.

I still miss the album art though. And the liner notes.