Podcasts, Projects
ISBW #272 – Feedback
Podcast: Play in new window | Download (Duration: 36:38 — 33.6MB)
Subscribe: Email | TuneIn | RSS
Feedback is back!
Podcast: Play in new window | Download (Duration: 36:38 — 33.6MB)
Subscribe: Email | TuneIn | RSS
Feedback is back!
I’ve been bemoaning – for YEARS – my inability to get organized and disciplined. I’ve tried many, many tools, apps, books, systems, and advice. I’ve been depressed, having so much time and so little efficient use of it.
The Magic Spreadsheet has solved one of these problems, making me write for 52 straight days, for 32,202 words. So I’m writing at least. But it’s still not solved completely, because I’d let myself get pulled into the lure of the Internet and email and Facebook and squander the whole freaking day, and then write at night after the kiddo went to bed. Fail.

I needed something else, something in addition to the Magic Spreadsheet. And I finally bought a book on the Pomodoro Technique. I was skeptical that just a timer would “fix” me when I’d felt broken for years, but once I read the book I understood that it’s more than a timer. You have to look at your work in a different way, making lists in the morning of your plans, and then – and this is the big deal – working for the full 25 minutes on your task.
Why is that a big deal? Let me explain what the Tomato Getting Things Done plan did for my wordcount in the past two days:
My current daily wordcount goal is around 800 words. I try to push it to 1000 just to get one more coveted point on the Magic Spreadsheet. I can do this writing in less than an hour- but it takes MORE than 25 minutes. So I get to 600 or 700 words in my 25 minutes, the timer goes off, and I force myself to take a break. When I come back, I have 25 more minutes to write. Do I write just the last few hundred words? Well, I could, but if I really want to embrace this technique, my goal is to write the full 25 minutes, wordcount be damned.
The past two days I’ve logged over 1500 words both days. This is huge for me.
And other stuff is getting done, too.
It’s tough, though. I don’t have the system down completely, as I am currently guilty of messing around online before I officially start my day of pomodoros (pomodori?), but I think as I continue the program, I will work on minimizing those rabbit holes and the delays to start work.
I’ve been so disorganized for so long that I hesitate to say I’m finally getting a hold on my life, but I think I might be getting a hold on my life…
PS- if you haven’t checked out the Magic Spreadsheet, or read about it, feel free to look at it, look at the Instructions tab, and join up. Just remember it’s shared so don’t mess with anyone else’s numbers but your own.
Podcast: Play in new window | Download (Duration: 36:56 — 33.8MB)
Subscribe: Email | TuneIn | RSS
At WorldCon I spoke to Paul Cornell, author of London Falling and many other things in many other media.

“Run!” he screamed.
“I am running!” she retorted.
“Then keep running!” he ejaculated.
These words are called “said bookisms” – identified at the Turkey City Lexicon.
Artificial, literary verb used to avoid the perfectly good word “said.” “Said” is one of the few invisible words in the language; it is almost impossible to overuse. Infinitely less distracting than “he retorted,” “she inquired,” or the all-time favorite, “he ejaculated.”
I get some emails from authors who worry about using the same word over and over. If they’re using a lot of dialogue, they think that SAID SAID SAID SAID SAID jumps out from the page, so they try to throw in different words to “spice” up their work.
If you use a word, like a noun or a verb or, Thor forbid, an adjective or adverb over and over again, those stand out. “Richard ran to the hospital. As he neared the hospital, he noticed the footprints of others who had run to the hospital before him. Why were they running to the hospital? he wondered.”
(Incidentally, this is a mistake I commonly make.)
But the words that are invisible are words that we skim over, we may not even read them in our heads, they are simply there to anchor us. If we didn’t have “he said” and “Regina said” and “Algernon said” then we would lose the trail of who was talking. Other words that serve this purpose are pronouns. If you have two people, one male, one female, in a conversation, you need use their names only a few times, “he” and “she” will do fine from then on. *
If the conversation has two of the same gender, or more than two speakers, the you need to use names and pronouns, and possibly other descriptors (but be careful, this can lead to overuse that is like a said bookism, Calling a man “Carl” and then “the big man” and the “the retired fireman” and then “the half-caucasian, half-Indian with a limp” and then “the alcoholic” can be very distracting from the story.)
People can get really, really hung up on these things, and there’s no need for it. Because this is something you can fix in edits. Have someone read it, go over it yourself, see what sounds weird and forced and what flows so naturally that you don’t even see your invisible words like “he” and “she” and “said.”
* Unless the character is neither male nor female, or they are both. If you don’t want to assign them a binary gender, you can use their name all the time, but it’s difficult to do. See John Scalzi’s The God Engines for an example of this done expertly.
Freelance writer, novelist, award-winning screenwriter, poker player, poet, biker, roustabout, Travis Heermann is a graduate of the Odyssey Writing Workshop and the author of The Wild Boys, the Ronin Trilogy and Rogues of the Black Fury, plus short fiction pieces in anthologies and magazines such as Weird Tales, Historical Lovecraft, and Shivers VII. As a freelance writer, he has produced a metric ton of role-playing game work both in print and online, including Legend of Five Rings, d20 System, and the MMORPG, EVE Online.
They are masters of stealth. You never know they’re there, but they’re right behind you every single time you sit down in front of a computer screen or a blank page.
They are masters of deception. Things are never really as they seem.
They are masters of disruption. They throw all your best efforts into complete disarray. Without breaking a sweat, they’ll set fire to your meticulously constructed castle and throw your ideas, your schedule, and your psyche into chaos.
They are masters of psychology and asymmetrical warfare. They know exactly what makes you tick, how to press your deepest, most sensitive buttons, and they know precisely how to strike at those weaknesses for greatest damage.
They are, without question, the writer’s arch nemesis. Even worse than the literati who thinks your beloved genre of fiction is utter crap, or the editor who ignores your queries for 18 months, or the agent who won’t give you the time of day, or the book reviewer who is so clueless that his capacity for perception and insight rivals that of a paramecium, there is one enemy who stands in the way of your dreams more staunchly, steadfastly, implacably than all others.
Yourself.
As a quick For-Instance, since I sat down to write this article about procrastination, I have gone off to surf Facebook, email, and Twitter no less than three times each. Mix that in with running a Kickstarter campaign right now, which is its own special mix of terror and elation, and I’m getting mighty little accomplished.
Because it’s so easy! And I want to hear about stuff! And I’m organizing for cons this year! It’s work! And I have to tweet!
And then I get sucked into cat photos and clever memes, or fly into a spasmodic, spittle-flecked rage about some asinine political story and have to spend the next several hours blasting Enya into my skull, kicking the heavy bag, and breathing incense in a sensory deprivation chamber with half a bottle of Lagavulin 16 to feel like a human being again.
But I digress.
Oh, and there’s laundry.
And the kids!
And oh! Dishes!
And that magazine I haven’t read.
And the cat needs a perm.
You don’t need me to give it all a name. You know it already. You know it just like you know the ninjas in the dark, the ones that your mind creates to fill the emptiness of shadows. Ninjas resist names; they are shadow itself.
And they come from the places that are already inside our defenses. From our own internal resistance. I’ll go out on a limb and say that all writers possess an innate fear of success. We yearn for validation, for publication, for having created some work of art that sets readers on fire with emotion and inspiration. We just don’t want to work on it right now.
Because if we don’t work on it right now, it will never be finished.
If it’s never finished, then we don’t have to worry about whether it’s any good.
No one will ever be able to tell us, “Wow, this is awful. Are you a native English speaker? Did you steal this plot from Twilight?”
No editor or agent will ever be able to send us an empty, soulless rejection.
If we never finish this project, we don’t have to worry about how it will be received, or how hard it is to get it published, or whether our mothers will lose sleep over what they did to make us so sick and twisted.
For these reasons and others, we get in our own way when it comes to bringing to screaming life these critters within us we call stories and books. No one knows you better than your subconscious mind; therefore, the ninjas lurking in those depth are preternaturally adept at bringing your work to a crashing halt.
But here’s the most important thing to remember. The stronger your internal resistance, the more important this project is for your career or creative well-being. The greater the multitude of ninjas that emerge from the shadows to stand in your way, lead you astray, the more vital it is for you to fight your way through them, wrap your fingers around the pen or keyboard, and get busy. If you have reached the point where you just cannot make yourself work on that novel again, ask yourself, “Could this be the most important thing I have ever done?”
And listen to the little voice for the answer, not the big one.
If the answer is “Yes, this is important!” how do put the ninjas to rout?
First, you must identify where the time is going. I just spent thirty minutes on e-mail, Facebook, and Twitter without even trying. Just now, and you didn’t even see it go.
Hmm, perhaps a theme is emerging…
If the internet is your biggest procrastination tool, and you recognize it as such, do you have the internal fortitude to disconnect? How about just for a little while? And this includes smart phones. If have even 30 or 45 minutes to write, then make that time sacrosanct. Turn off the phone, and disconnect your Wi-Fi. If even that is not enough, there are tons of simple programs out there that will disconnect your computer from the internet for a set period of time. Or put the computer away, loosen up your wrist and try writing in a notebook. Besides, you look more like a writer carrying around a tattered leather journal. It’s cool, trust me.
Some fascinating new research from Harvard professor Dr. Shelly Gardner also shows that the more pressure you are under to produce, the more your brain’s creativity centers kick in. People are often just as productive when they have only fifteen minutes to write (or five!) as those who have two hours to stare at a screen. So find little blocks of time to bang out a couple of paragraphs.
Another key ingredient to a little bit of self-care. Don’t get too down on yourself for getting your ass kicked by the ninjas again. Just get up, dust yourself off, and say, “Yeah, you guys got me this time, but hey, you’re trained for it, and you’ve had my whole lifetime to practice. I’m just a writer. And now I’m going to do that. Next time, you might not get me.”
Thank you for coming along, dear reader. All writers, even the pros, and creative people in general, struggle with these things, so you’re not alone. You’ll never kill all your personal ninjas, but you can learn to circumvent them. That’s what successful writers have to learn to do.
I’m running a Kickstarter campaign until February 4, 2013, to fund the publication of the second novel of my RoninTrilogy. There are plenty of ninjas over there, along with samurai, demons, Mongols, magic swords, and talking animals. If this sounds like your kind of thing, or even if you enjoy supporting independent artists, please give it a look by clicking here.
One time I got a feedback email from someone who said that he had been laid off and wanted to start writing “to make some money.” And I wanted to cry.
My first writing paycheck was $300 and it was paid about a year after I got the initial assignment. (It was for RPG writing, and it paid on publication.)
And I know someone out there is going to say, “Heck, MY first paycheck was an “attaboy!” and a dirty sock that smelled like despair and cheese” – I know $300 was more than a lot of people get, but I think we can all agree that if you need money now and you start writing and you get paid 9-12 months in the future, you’ll be dead of starvation or dysentery long before that fat three hundred rolls in.
I’ve not been one to offer transparency with my income- I’m not comfortable doing so, and I seem to remember Carrie Vaughn writing an interesting comment about how it’s different for a woman revealing income, which I quite liked, but now can’t find it to quote it properly, so I apologize if it wasn’t, in fact, Carrie who said it.
But I do appreciate it when others do. And I’ll get to that in a moment.
I will offer a little breakdown of a book deal, and why when you hear someone got a $100,000 book deal, it’s not as awesome as you think.
Publishers Weekly: Jane Q. Author received a $100,000 book deal!
John Q. Wannabe: Dang, I only make $40,000 a year at my crappy job! I wish I could get that kind of fat money for writing!
Fact- This is a three book deal. So it is, in a way, three $33,333 deals. (In a way it is a $100,000 book deal, which I will also get to later.) Jane will get 1/3 of each book on signing, 1/3 on delivery of each final draft, and 1/3 on each publication.
In four years, even without a cost of living raise, John Q. Wannabe made $120,000 before taxes.
Jane Q. Author made $85,000 before taxes.
Wanna know the worst part? If Jane earns $40,000 on book 1, and $35,000 on book 2, and only $20,000 on book 3 (total of $95,000, which is less than $100k) – she will not earn royalties on books 1 and 2, even though she made over $33,333 on each, because the full advance of $100,000 hasn’t been reached.
Suppose her books do well, something we all hope for. Once those advances earn out (for a total of > $100k) she will start earning royalty checks and those will be paid every quarter or every year. That is, as I understand it, how authors make regular money. That and frequent book deals of course.
(My nonfiction book with Que that I wrote in 2006 pays monthly, a fact I would be much more excited about if I had earned out the advance. Now I just get an email every month saying, “Yep. No sales this month.” Only they do it in publishing speak with attempts to show me mathematically how the book has sold no copies.)
Now, as I said, I am not comfortable giving out my numbers (I am not a thinly veiled Jane Q Author- I did not receive a 3 book deal, nor did I receive $33,333 per book.) But some authors are comfortable, and the information is helpful and illuminating. John Scalzi recently broke down his income percentages for Redshirts to commemorate the launch of the paperback version. And Jim C. Hines recently gave a pie chart of his yearly income as a writer. (Please note that Jim also has a day job.) I urge you to look at both of these blog posts to discover why writing is not a quick path to streets paved with gold.
Anyway, the numbers are sobering, even the magical “six figure advance.” This is why being a writer depends on persistence, because even if you work you butt off to get that first deal, you still have to keep busting ass to make it to a place where you’re making a living wage.
I’m still in. Go eagle go!
Podcast: Play in new window | Download (Duration: 50:44 — 46.5MB)
Subscribe: Email | TuneIn | RSS
One of my favorite guest stars, Jim Kelly, and I did a presentation on podcasting as another form of self publishing at Stonecoast, and part of the presentation was a live ISBW in front of the audience. Thanks to everyone for being a great audience, and thanks to Jim!