Social Media - Cat Photos Required

Jake the Cat 

Topic this week: Author behavior tips for social media.

Rather than offer a list of tips, I’m going to explain my own approach to social media because as with anything else about being an author, no one way works for every single person.

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The primary directive I keep firmly in mind is why I’m on social media in the first place. It’s because Veronica Scott is an author, who wants to connect with other authors and readers and enjoy conversation with these and other interesting people. I didn’t start up my various social media accounts for a personal reason like staying in touch with my high school graduating class (although I do). I did not and do not share much in the way of personal details and photos and etc., of my life online. Pictures of Jake the Cat are okay. No, they're mandatory!

I don’t discuss my politics or any of the other subjects my Mother always said to avoid when in company. I have strong opinions and I will voice them to you if you’re here in my personal everyday life.  I vote, I donate, I take action, I’m involved, but not on social media because – going back to point one – that’s not what brought me to twitter or Facebook.

I keep firmly in my head the fact once an item is put out on the internet, it NEVER goes away.

I do my best to remember that humor and sarcasm may not  transmit very well in a text, tweet or post, and to be careful when tempted to quickly send a flippant response (or a heated one).

I try to stay out of the many mini, micro and macro dramas of the author world.

If it’s something I have to discuss or take action in regards to, I do it offline.

I keep firmly in mind that in a large group of thousands of people on Facebook, one truly never knows who is a member, who is a friend of who else, or an enemy of who else, who might be grabbing screen shots and sharing them – nothing is private, nothing can truly be held confidential on a social media platform. Even a private group is never truly private.

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I keep in mind that there’s no way to go behind the screen and make sure everyone is actually who or what they claim to be. I accept people at face value BUT I maintain an awareness of how easy it is to put up a fake identity. Bots and scammers are everywhere, sadly.

I’m not the “mother of the internet” so it’s not my job to point out the error of their ways to folks who aren’t going to listen to me anyway because I don’t believe you can change a person’s mind by arguing with them on social media. If someone asks for an opinion (and seems as if they’re truly open to feedback, on a blurb or a cover for example, not just fishing for compliments) and I have something to add to the discussion, I may weigh in or I may not.

I also don’t overshare (I hope) about my books. I regard myself as a content curator and I like to tweet and share interesting tidbits and articles about writing, science fiction, science, movies, art, TV, books, travel, animals, military and veterans’ concerns, space travel, blingy earrings, cats – a wide range of things I’m fascinated by. I do a certain amount of retweeting book news from my author friends. I like to be supportive to others and I really appreciate their help.

I interact with readers about my books and other scifi romance or fantasy books and that’s fun. I always stay on the positive side though.

I do talk about my writing and my new releases and share snippets (usually on the weekly hashtags like #Bookqw or #SciFiFri) but it’s not my only reason for being at the social media party. I enjoy conversation with my friends in the social media world. I really loved the Sunday afternoon #rwchat on twitter (which sadly disbanded earlier this year) because it was a good chance to ‘talk’ with other writers and share experiences and suggestions.

I’ve tried new platforms on occasion but pretty much I’ve settled on twitter as my favorite, FB a close second and Instagram as one I’m working on utilizing more. I’m most comfortable on those three for now.

Social media helps me keep up on breaking news and trending topics...

In previous weeks we’ve discussed how easy it is to spend too much time online so I try to remember that as well but some days I’m just having too much fun, or I’m too appalled to walk away or I just feel like ‘faffing’ (a useful word my author friends in Australia taught me), so I stay.

So that’s me, doing what I do. Hope to see you online!

Blog: https://veronicascott.wordpress.com/

Twitter:  https://twitter.com/vscotttheauthor

Instagram: https://www.instagram.com/veronica_scott_author/

Facebook Page: https://www.facebook.com/VeronicaScottAuthor/

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Ms. Socially Awkward's Tips for Social Media

Ms. Socially Awkward's Tips for Engaging on Social Media

1. Use your indoor voice. Ms. Socially Awkward assumes you were not reared in a barn, but if you were, welcome to the Socially Awkward club, my dear. No yelling on social media. No cursing unless it is for specific, and preferably, fucking humorous effect.
2. Opinions are like assholes. We all have them. Be very, very careful about which one you're exposing. To whit, Ms. Socially Awkward cannot help noticing that occasional bruhahas mar the fabric of social media, usually in the form of some accusation or another. Never in the limited time Ms. Socially Awkward has spectated such events has all of the information, much less *accurate* information emerged with the first several (thousand) tweets or posts. There are benefits to doubts about what one speaks into a vast, public echo chamber.
3. Your grandmother was quite correct. You do catch more flies with honey than with vinegar, though why you want to catch flies at all is -- well -- it is quite frankly none of Ms. Socially Awkward's business, I'm sure. Was there a point here? Ah. Yes. Spread the honey of kindness liberally. You still have the vinegar of blocking someone held in reserve should it be necessary.
4. Take frequent breaks. We are soft and squishy creatures, fragile and prone to breakage, some of us more so than others. If you begin to think of social media as a friend, you're breaking. It is a tool that allows you to connect to friends and possibly to readers. Social media cannot change the weather. It cannot undo disaster. It can, however, allow friends and family to notify one another of their statuses during crises and for that it is to be commended and valued.
5. Remember the golden rule of social media - it is for enjoying your fellow human beings. And maybe a few animal videos here and there. Enter into it in that spirit and pace yourself well. Do this and perhaps you'll find enjoyment.

Too-real tips for author social media behavior

I have to be honest with you, I don't use social media properly. I don't grow my followers or time my posts or even know what SEO means. (Sorry. I just looked it up. Search engine optimization. Who knew?! I mean, besides every other human on the planet.) So I'm probably the last person to give advice on how authors ought to behave on social media. I'm mostly a you-do-you sort of gal. But I do know a lot about how to, as K.A. Krantz so perfectly put it in her post, not be a dick. Some tips:

1. Don't follow someone on Twitter, wait for them to follow you back, and then immediately DM them with buy links and newsletter signups. See, when you followed them, they thought you cared about what they had to say. For a moment they were really excited to meet you! When you revealed that, no, you really only wanted to sell them something, that was an insult. And it hurt.

2. Don't follow someone, wait for them to follow you back, and then immediately unfollow them. You are literally telling them they're only a number on your follower-count ambitionfest.

3. Don't post a whole lot about a super secret project that exactly ten of your besties know all about--and refer to, and giggle and swoon over--while all the rest of us have no idea what you're talking about. This gigglefest doesn't make me want to know more about your secret. It only makes me feel left out.

4. Don't post something provocative, wait for someone to be provoked or push back even a little, and then drill that person into the ground. Especially don't get all your friends to chime in on how awful that person is because they didn't agree with you. 

5. Don't imagine that you are the only or the best or the most knowledgeable, and for dog's sake don't condescend or patronize. Especially don't assume that strangers you meet on social media are always less informed than you are. Most of the people out there have brains and something to say. Maybe listen to them sometimes. 

6. Don't lie, but don't be a hundred percent honest. See, the thing about social media is that it isn't real life. No one in anonymous social media land cares that you hurt, that you're scared, that everything is moving too fast and you can't keep up. The good folks out there will be uncomfortable if you admit vulnerability, the excellent folks will private message you (maybe), and the assholes will kick you while you're down. Assholes kick hard. Don't open yourself up for that. Text a friend instead. If you don't have one you can trust, DM me. I may not have all the answers, but I promise not to kick.

7. Don't mock. I mean, just don't. Mockery on social media isn't as funny as you think it is, and it's exactly why we can't have nice things.

8. Don't rile up your mob unless you literally have all the facts about a thing. 

9. Don't pretend you've never made a mistake. If you said something doofussy, own it and work to do better.

10. Don't shit on someone else's cupcake. This guy I know used to have a tee-shirt that said "Your Favorite Band Sucks," and that's kind of the tone of social media sometimes. If you hate a Star Wars movie or a rom-com or a news story, it's okay to give your take. It's not okay to troll around looking for someone who actually likes or supports that thing and then proceed to inform them that their opinion is not as valid as yours. 

Oh man, I could go on. And on. Social media is a mess, and I both loathe it and love it with all my heart. It has connected me with the people I love most in this universe, and it's also introduced me to some really awful humans. Maybe the best advice is what Mama used to say about medicine: don't take it on an empty stomach and don't expect it to taste good, but it might help you feel better some.

#1 Social Media Tip for Authors

As Jeffe mentioned on Sunday, social media isn't that new anymore. Sure, which service is the "trendy" one changes regularly as teens seek ways to communicate without being followed/stalked/annoyed by us fusty old people. Authors trying to "be where their audience is" keeps our ilk to the bigger providers like Facebook and Twitter (Reddit and Instagram are up there too).

As a curmudgeon who survived Usenet, People Connection, MySpace, and Yahoo Groups (and who is waiting for the current generation of online communities to implode like their predecessors) I have one piece of advice for authors engaging publicly--be it on social media or IRL:

Don't be a dick. 

It's a simple thing, but seemingly hard for a lot of folks to grok. Don't worry, not being a dick doesn't equate to being a doormat. You can be firm in your convictions without making shit personal. It's also okay to ignore the misanthropes. Some comments shouldn't be acknowledged, much like some people aren't worth your time. Some of the worst offenders aren't even people, they're bots.

On the internet where things never die, take the high road and don't be a dick.

Talk Less. Listen More.

Found art. Literally. I was looking at my camera uploads to choose a pic for today's post and found this. No idea what it is or how it happened, but what a gorgeous mistake. Art can be like that.

Our topic at the SFF Seven this week is Author behavior tips for social media.

My first reaction was to mentally groan. Not again. But I suppose it is an evergreen topic. The challenge is to tackle a topic like this as if it's my first time addressing it.

There's a #protip for you author types out there - or for anyone who answers questions from people on a regular basis. You will hear the same questions over and over and over. The trick to being a gracious human being is to never hint that you've heard the question before, but to answer it as if it's as fresh to you as it is to the person asking it.

Of course, I've already blown past my own advice, but we could argue that I'm not truly a gracious human being.

It's amazing to realize that we are firmly a decade into social media for most of us. Maybe the most startling part to me is that it's ONLY been a decade plus a few years, considering how firmly it's taken over the world and our lives. Facebook opened to anyone over the age of thirteen in 2006. I joined in October of 2008. I joined Twitter in September of 2009. I recall using email - called A1 mail - sometime around 1989, which is when our university department adopted Gateway desktop computers, delivered in those iconic heifer-spotted black and white boxes. I tried online shopping for the first time sometime around 1993, and got spammed with internet porn for the first time when I tried to use Hotspot to search for Barenaked Ladies tickets.

Good times.

So, is the question really still about author behavior? I mean, we might as well have a topic about author behavior in ice-cream parlors or at car dealerships. We're all pretty much in this boat together at this point.

My advice, which works for ice-cream parlors and all internet spaces, maybe less so at car dealerships is: Talk Less. Listen More.

The thing about social media, especially for busy people, is it becomes a place to post stuff. Most authors remain on the social media platforms they no longer enjoy entirely because they feel like it's a part of their job. We have our Facebook profile and author pages, maybe a series page, some reader groups, and private groups. There's Twitter - sometimes several accounts there - Goodreads, Instagram, our websites, personal blogs, group blogs (*waves*), and probably several others. I have a mental list - I really should have a written checklist, but I'm resisting that - of places I should remember to post news, updates, and the latest book cover.

Post. Post. Post. Post. Post. Post. Post. Post. Post. Post. Post. Post.

There. I posted to all of my social media properties. Whew!

And I just did the internet equivalent of racing around and slapping up a flyer on every bulletin board around, whether I could find a spot or not.

Talk. Talk. Talk. Talk. Talk. Talk.

Talk. Talk. Talk. Talk. Talk.

Talk. Talk. Talk. Talk. 

Talk. Talk. Talk.

Talk. Talk. 

Talk.

Ever feel like the internet is just an unending roar of babbling voices? I sure do.

We change that by listening. By engaging. By asking questions, considering the reply, and giving back something to encourage the conversation.

Talk Less. Listen More. 

7 Things to Avoid When Trying to Meet a Writing Deadline

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The topic for the week: Seven Deadly Sins: the list of things you MUST avoid if you want to finish a project on time…

My fellow SFF7 authors have written a series of fun and useful and deeply felt posts on the subject this week!

I don’t really have deadlines for my novels, since I’m independently published. I have exactly one hard and fast deadline each year for getting a polished, edited, complete story turned in and that’s August 1, for our Pets In Space anthology. Otherwise it’s really just about me having a desire to release a new book in a certain month and trying to work steadily toward that self-imposed goal.

The common folk wisdom for assignments of this type is to list the things that come to mind first so here’s what I’ve got for you:

DepositPhoto - cats on the keyboard can also be a problem

AVOID:

Too much time on social media – it’s so easy to get sucked into the latest drama on Facebook or twitter or wherever you like to hang out. Or to enjoy cat memes …. The time flies….

Comparing yourself to other authors – don’t get paralyzed to even touch the keyboard because you know you can’t write 10,000 words a day like Name Author XYZ says she does, so what’s the point in you struggling??? Umm, the point is, you’re YOU and you write at your speed and even one word a day adds up to a novel at some point.

Worrying whether you’re writing the book at the right time – who the heck knows what will be hot by the time you hit publish (or your publisher does if you go traditional or hybrid). And maybe you’ll be the new trendsetter the rest of us ooh and ahh over! So keep writing.

Chasing the shinier object – unless you know for sure your successful process is to work on many projects at once (and some people do), avoid the temptation to abandon your WIP to go off and start another WIP on some bright new idea that just came to you in the shower or on the drive home. Now obviously there are times when plot lightning STRIKES you and the new idea genuinely is what you need to be writing. In those cases, trust yourself and your Muse and scribble those words as fast as you can because this will be gold. This suggestion does conflict with the part of our topic today that frets over finishing a project “on time”. But in general, keep a notebook or file of the new shiny plot ideas for later and keep going with the current WIP.

Losing your file – BACK IT UP. I learned this the hard way a long time ago when I lost an entire, completed 100K novel. Luckily at the time I was on a huge software project at the day job with some of the best software guys in the business and one of them took pity on me and recovered the file in about 5 minutes from some dusty buggy back alley on the personal computer I had then. The formatting was messed up but I could fix that…

Losing yourself in the research – I adore doing research. I have an entire library of scholarly tomes on ancient Egypt and I can happily spend a lot of time researching abstruse topics like tax liabilities of the temple of Amun in Thebes in 1500 BCE. But I’m only going to insert about one sentence of all the great cool stuff I found along the way into the novel…so you have to make your research forays self-limiting.  Google is your frenemy in this regard, helping you find information but dangling other enticing avenues to also explore. Find the answer or the detail you need and hasten back to the WIP.

Failing to safeguard your health – human beings tend to have confidence they can power through anything. Beware of ergonomic repetitive stress injuries, as well as other emotional burnout hazards lurking. TAKE CARE OF YOURSELF FIRST.

A word about negotiation...

I spent a long time at the day job involved with massive government subcontracts for flight hardware. (Think Mars rovers and other complicated spacecraft.) Yes, there were absolute launch windows that had to be met – the planet Mars would only be in the right place every two years for a brief span of days – but these gigantic Project schedules had slack time built into them because stuff happens.

And at the worst? A launch might need to be delayed two years. Or longer.  Which is pretty bad. But no one dies. We were not living in the movie “The Martian” with an astronaut stranded on Mars growing potatoes. Neither are you.

The part that’s relevant here is we expected our suppliers and partners to keep us apprised of emerging difficulties and challenges well in advance and there were contingency plans on our end of the project.

Even if you have a contract with a publisher and an iron clad delivery date in writing, stuff happens in the life of a human being. Tell your publisher if you’re struggling or if you’ve got family issues or health issues or whatever. (Work with your agent if you have one.) Negotiate a new due date.  

Don’t wait till the due date to do this.

Not to downgrade the importance and significance of the publication of your book but the world will not end if it doesn’t go out on a certain date. No one dies.

I understand disappointment and frustration will ensue and there may be problems for you going forward, in terms of your relationship with the publisher and their trust level with you if the situation happens more than once.

Worst case? Maybe the publisher does cancel the contract entirely, although as a negotiator, I’d be amazed if they wouldn’t work with you at least somewhat before taking that drastic step. In this day and age, you can always self-publish when the book is ready.

But if you owe someone a book for whatever reason and are going to miss that due date, and there’s a serious issue for you in meeting the due date, open communications and negotiate.

But take care of yourself.

Tiny pitch for my newly released novella, Badari Warrior’s Baby!

The blurb:

Dr. Megan Garrison, mate to the Badari Warrior pack’s senior enforcer Mateer, is perilously close to the due date of their baby when she’s kidnapped by human malcontents in Sanctuary Valley. The kidnappers threaten to harm her and intend to ransom the half human-half Badari child to the evil Khagrish scientists in return for their own lives.

Mateer and his fellow Badari launch a desperate effort to save his mate and child but the situation is made more complicated as Megan goes into labor. Can they rescue her in time to save mother and child?

A 25K word novella…

Genetically engineered soldiers of the far future, the Badari were created by alien enemies to fight humans. But then the scientists kidnapped an entire human colony from the Sectors to use as subjects in twisted experiments…the Badari and the humans made common cause, rebelled and escaped the labs. Now they live side by side in a sanctuary valley protected by a powerful Artificial Intelligence, and wage unceasing war on the aliens.

This is the ninth book in the Badari Warriors world (and the eighth book in the numbered series) and each novel has a satisfying Happy for Now ending for the hero and heroine, not a cliffhanger. Some overarching issues do remain unresolved in each book since this is an ongoing series but romance always wins the day in my novels!

BADARI WARRIORS Timeline:

AYDARR

MATEER

TIMTUR

JADRIAN

DARIK

GABE

KIERCE

CAMRON

BADARI WARRIOR’S BABY: MEGAN AND MATEER

Amazon     Kobo

Your Tour Guide Through Procrastination Mire

And on your right, you'll note Procrastination Mire. Never understood why anyone would want to wander around in there. Big, nasty, thorns that pierce dreams and determination alike. Insecurities and time sinks that'll take the legs clean off your projects. But people wander in there all the damned time and then wonder why they get lost. There are no maps, y'all. Soon as you think you got the Mire figured out, it rejiggers. All I can say is mind the signs. DO NOT ENTER.

But if ya do, there're a couple of features you gotta look out for. They'll sneak up on ya and that'll be the end.

1. The Excuses Sands - this one comes with a bonus cause it's easy to get lost in excuses, right? Eh, not feelin' it, I'll do it later cause <insert excuse du jour>.  Presto. Ain't nothing happenin' but yer butt parked on a sofa mainlining six seasons of some shitty series you coulda written better. Fine, you say. You're a big deal adult. You'll master your excuses. That's real nice, ain't it? Now, you get hit with the bonus. Yer friends, family, and bystanders will start makin' those excuses FOR you. They'll pat you on the head and say, you've had a lot goin' on, poor dear. Whatever you do, don't agree. You read The Odyssey? Yeah, don't care if it was the Cliffnotes. You'll recall how Odysseus blocked sailors' ears so they could get past the sirens? That's you in the Excuses Sands. It's the only way out.
2. Mastering the Mundane Sinkholes - the sinkholes are sneaky and they shift under yer feet. You'll think you got it all under control. Life. The universe. Everything. The answer ain't 42 in this case. The answer flexes and bends as you navigate around it. If you want out of the Procrastination Mire, yer gonna have to master the mundane. Do ya even know what that means? It means sleeping. It means exercising. It means eating yer greens and leaving the pastries in the damned they come in. No matter how sweetly they sing, potato chips ain't yer friends. Yeah, yeah, once in a while, sure. Monks don't get outta the Mire any faster than mere mortals. But ya get me, right? Ya can't neglect any part of the life that supports yer calling and still hope to get a lick of anything done. It's seductive, though, ain't it? Cause you just know that shaky ground can support your weight for awhile - and you can neglect yer support structures for awhile and pull all-nighters. But there's always a price tag. Sometimes, that price tag is everything (or possibly you) collapsing around ya. Due diligence. Balance your fool checkbook. Patch the roof. It's easier to pay attention to your project when you ain't living in a cardboard box letting the rain in on yer head.
3. The We're All Doomed Island - Aw. This one. It's the only solid land fer miles around and it sits dead center of this danged swamp. Ya scramble up on its shores, dirty, tired, and half drowned. Ya can't leave. Where ya gonna go? You'll just sink again if ya step one toe off and wasn't that a gator that just swam past? So ya sit there, hopeless. Helpless. This one ain't no joke. It's dangerous. Flat dangerous. People die here. The only way out is to get off that island. Don't matter how. There are no maps, mind, but there IS help. Talk. Ask for help. Sing. Dance. Learn something new. Don't matter what. What matters is getting yer brain workin' for ya rather than against ya. Ain't easy, but it can be done and if ya can get that done, you'll figure that someone afore you worked out a way to harness that there gator and ride it far away from We're All Doomed Island and straight out of The Procrastination Mire. 

Now. If you look to the left side of the swamp buggy, you'll get a gander of I'm Not Good Enough Canyon. . .

Seven Deadly Writing Sins

All right, if you want to WRITE BOOKS and GET THEM DONE, you've got to do the work.  There's no getting around that.  So, do the work, and avoid the Seven Deadly Sins:

SLOTH- Don't be lazy. Sit down, but in chair, and do the writing.
GLUTTONY- Don't try to shove EVERYTHING into a story.  Save some ideas for something else.
WRATH- Don't get angry and destroy the work you've done when it's coming out wrong.  Walk away, cool down, look at it fresh.
PRIDE- Take your critiques with humility and grace.  Seek out critique partners who will challenge you.
LUST- Avoid the lure of the New Shiny.  Work on the project you've got going on, get it DONE.
ENVY- Eyes on your own paper. Don't worry about what other writers are doing.
GREED- ... ummmm....

Greed's fine in this business, actually.  Go after whatever money they'll pay you.  You've earned it.   Don't work for free.  Or "exposure".  Or copies that you need to sell.  GET PAID.  Don't let anyone tell you otherwise.


So what are you still here for?  Get down in those word mines, get to work.  I'll see you down there.

Seven productivity killers

1. Should.
2. Could.
3. Can't.
4. Shouldn't.
5. Always.
6. Never.
7. Don't.

In other words, assumptions and preconceived notions about what being a writer is all about are the things that kill productivity and sometimes even stall a career. Trust me. I know these things from the inside out.

In her Write Better Faster productivity class -- which I cannot recommend enough; it is literally life-changing -- Becca Syme encourages writers to always "question the premise" (QTP). To put a few of those aforementioned seven-deadlies through the QTP wringer:

1. I should write every day, at least 500 words.
2. I could finish a book. Real fast, even, and it would be a bestseller. Anybody could.
3. A good book can't have prologue or flashbacks or a dream sequence or a scene where the character looks into a mirror or a scene where the fantasy hero wanders off to gather herbs or ... etc.

or, perhaps worse

I can't write as well as [some other person]. I can't get an agent. I can't write in the genre I want to because it's not selling. I should put my first manuscript into a drawer, even if I think it's pretty good because the first manuscript is always crap.

and worst of all

I don't.

All the others lead to that last one, and it's a doozy. Just remember that all these premises are lies, and lies kill [productivity].

3 Deadly Deadline Distractions

Wow, Jeffe's Top 7 Distractions is spot-on, especially the NO INTERWEBS. So, what, oh what, could I possibly contribute to such a great list? Three things:

1. Pets Who Want To Play
• Let's face it, it's hard to resist the puppy eyes or the entreating mew. It's damn near impossible to ignore the animal on the keyboard. Be they 5 pounds or 50, if Fluffy wants your attention, Fluffy will find a way to get it. 
2. Toppled Drinks
• That cup of coffee, stein of wine, or balloon of brandy seemed like a great idea until a Random Act of Gracelessness upended all that sweet sticky substance into the keyboard. Why, after all these years, haven't hardware manufacturers developed waterproof keyboards/bottom decks?
3. Spawns
• Dear Reader, I spent the long weekend looking after my three niblings and two fur-babies. I ask you parents, how do you do it? Up at dawn, always on, and holy moly the energy required just to get through breakfast. The wee nieces weren't ill-behaved by any reasonable measure; they were simply being typical school-aged children. But hooboy I barely had time to sit, much less turn on the laptop. Thoughts remotely related to my WiP? Didn't happen. My gray cells overheated from functioning as a surveillance system, always alert and continually revising strategies for copacetic coexistence. Hat-tip all you who do this every day.

Seven Things You Must Avoid If You Want to Write

These three books are on sale right now. THE MARK OF THE TALA, the book that started it all, first in The Twelve Kingdoms series. Also THE PAGES OF THE MIND, my RITA® Award-winning novel, which kicks off a new phase in the overall series, and PRISONER OF THE CROWN, first in a stand-alone spin off trilogy, The Chronicles of Dasnaria. If you've been thinking about reading my books or this series, it's a great time to start!

Our topic at the SFF Seven this week regards the writer's Seven Deadly Sins: the list of things you MUST avoid if you want to finish a project on time. Of course, if you're supposed to be writing, and you're reading this, you've already broken three of mine. Oops. But never fear! There is still hope for you. Read on.


1.  Avoid the internet, full stop. 

We all know this, right? And in a different world, we could avoid the time suck and distractions of the internet entirely. But with so much tied to the internet - from our phones to messages to mail - it's not viable to ignore the internet entirely. There's always the cabin in the mountains, but people still want to that you haven't been eaten by a grizzly bear.

2. If you must internet, avoid social media.

So, if you do have to check something connected to the internet, don't open Facebook, Twitter or Instagram. I disable my notifications (which they really hate and are always messaging me to change) so I only see that stuff if I actually go to the site. That takes some willpower, yes, but nothing like what it takes to break free of the gravitational pull once I do look. 

3. Stay away from click bait and rabbit holes (like this).

When I inevitably see an internet something, I have to exercise additional will power not to click on links. Remember: they're designed to make you WANT to click. (I made this post title click bait on purpose to illustrate the point.) Once they have your attention in their greedy clutches, they use all sorts of tricks to keep you there and spiraling ever downward. Best not to look in the first place. If I see something I really want to know about, I save the link. 

4. Prioritize your work over peopling.

There's a good reason so many writers are introverts: because they find it easier to avoid peopling. Even then, however, socializing can really disrupt a writing schedule. For me, I have to block out more time to write than I use actually writing. I need time to settle in, to ramp up, to take breaks. People who don't write rarely understand this. They also don't understand the trancelike focus writing requires and that their "one quick question" can derail a writer for hours.

5. Ignore people who don't (or won't) get it. 

Which is why you have to draw a bright, hard line for the people in your life. Do whatever it takes to get them to understand and respect your writing time. If they still don't get it? Well, I'd venture to say that we don't need people in our lives like that. A hard stance, I know, but if they won't respect your passion and livelihood, what exactly DO they add to your life?

6. Kick other people out of the room.

Not physically, because we did this in #5, right? These are the people in your head who like to yammer on about what you're writing. Some might be positive influences. Others might be severely critical. There's always someone yelling about what you CAN'T POSSIBLY DO. How can a person write in all that noise??? That's right, we can't. So kick them all out and enjoy the blessed silence.

7. Acknowledge fear and let it go.

I have a sign over my desk that says, "What would you write if you weren't afraid?" Sometimes when I tell people this, they reply that they're not afraid of anything. Bully for them. Also, I don't believe them. Any time I worry about how something I write will be received, that's fear. Ignoring that concern does nothing. Instead, whenever I fret over something in a story, I try to acknowledge that fear, look at my poster, and then write what I would if that worry had never occurred to me.

If I can avoid these pitfalls, I just might get my book finished on time. 

No Spiderweb Plots Here

Depositphoto

Our topic this week: "Spinning the Spiderweb of Complicated Plots."

I’m assuming perhaps whoever posed the question was thinking of intricate and complex series like Game of Thrones? Or all the Tolkien novels?

I write fast paced action adventure tales, whether set in ancient Egypt or the far future. My hero and heroine get plunged into danger pretty shortly after the book starts, they work their way through it, fall in love along the way, Happy Ever After ending achieved…and we’re done.

No spiderwebs (although there are deadly alien spiders in my latest book, CAMRON).

Even with my series, the Badari Warriors, although I have an overarching series plot, I don’t think it rises to the level of a spiderweb.

I’m not a plot-in-advance-too-much author. I can’t even imagine juggling a huge cast of characters and multiple plot lines and etc etc over numerous books. I also don’t much read novels of that type. I write what I like to read for the most part.

I do read and enjoy what Jeffe referred to earlier in the week as novels with ‘braided plotlines”, driven by characters. I love her books and Nalini Singh’s and others who take that approach. I don’t have any desire to try writing such a series, at least not at this point.

So, there you have it for me, this week. (I’ve been bitten by black widow spiders – does that count?)

A snippet of Camron doing battle with the alien spiders while trying to save the heroine...

Road Maps for Complex Plots

News: I have a release date for Enemy Within - July 17, 2019. 

I also have a new foster cat. She doesn't have a name yet. She had been dumped at the feral colony a few months ago. She integrated very well with the other cats, so we assumed she was fine, then one day, she showed up limping. We managed to pick her up and run her to the vet. Something bit her - either one of the other cats or a racoon. She's got an infection brewing in there, so she's had antibiotic shots. She'll have oral antibiotics for a few weeks, too. 

She's a sweet girl with a deep love for being brushed. She'll be with me until she's healed up. We'll be looking for a rescue placement for her so she'll have a chance to find a home that won't discard her ever again. 

Complicated plots. That's what we're here for today. You, my friend, have come to the right place. Complicated plots (some might say convoluted) R I. How do I keep it all straight? Pff. Who says I do? 

I absolutely lose track of what the hell I'm doing and have done. But there's almost always a roadmap that I can refer to - not an outline. Character profiles guide my way. Because for me, all plot comes from what the characters need in order to force them into their arcs, all the complications arise from what the characters need, too. I do pretty intense character work, digging into psychology, deep motivation and the bits of my characters' natures that lead them astray.

Any time I lose my way, I return to my character profiles and remember why we all called this party in the first place. From time to time, like the book I just shipped to beta readers, I *really* lose my way and not only do I have to go back to the character maps, I have to redraw those maps entirely while inching my way along the story, trying to figure it out as I go. We'll see what the beta readers have to say about how I did. 

To keep track of specific threads for complex plots, I keep a notebook for each story. Mostly, it's silly notes about DON'T FORGET THE THING! Remember you meant to do x with this event and this character! Stuff like that. It's one of those things - if I write it down, I'll remember it and not need to consult my notes. If I don't write it down, I will only remember that I'd meant to do something cool AND I'd failed to make any useful notes. O_o I do try not to get too het up about continuity until the editing stages. That's really where I get a little OCD about making sure every thread is caught up in the larger weave of story. If they aren't, they either have to be snipped, or woven in and tied. 

It isn't a foolproof process, but it does seem to work for me so far. I hope.

Juggling the cat herders of interwoven plots

So let's talk about plot weaving.

Just a reminder that novel writing is an industry where you have to fight REALLY HARD to get to do something and when you win the fight, you ask yourself, "Why did I agree to do that?" https://t.co/h0JvDfwPDn

— Marshall Ryan Maresca (@marshallmaresca) May 22, 2019

I'm working right now on the draft for People of the City, which is the culmination of Phase I of the Maradaine Saga, and... friends, it's a lot.
I mean, I've been the person who's been all "YES LET'S DO THIS" but bringing together the threads of four different series in a way that comes together in a single book that needs to be A. a solid story in its own right, B. the third Maradaine Elite novel and C. the twelfth Maradaine Saga novel that closes and caps and satisfies a bunch of storylines, while setting the stage for more things in Phase II and beyond.
It's a lot.
I've been saying it's like juggling a chainsaw, a flaming machete and a baby.
However, this is what all those outlines have been for.  I've been working up to this moment, and I've known what this one was going to be about, and how the different elements were going to come together here to unite the plot lines into what the plot of this book needed to be about.  I knew what I needed to seed in the previous eleven books.  The work has been building to this.  Seven main characters from four different series coming together into a big event.

But that doesn't change the fact that it's A LOT.  And I'm more than a little scared I won't pull it off.  But I've done the work, laid the foundation, and I think I've got it.
Because I fought to do this, and wow, I'm really getting to do it.  That's incredible.
So mark your calendars for Fall 2020.  We're going to have something awesome.

Plotting mischief

You know how sometimes the safest course of action is to admit when you don't know much about a thing? That's me and plotting. So if you're looking to learn plotting from a maven, you've got the wrong girl. I've taken scads of workshops and read even more craft books about how to properly plot a book, but I still do it all backwards.

By that I mean I typically start a book or story not with a plot but with the theme, the why. "Why am I even writing this story? What can I, and by extension my characters, learn form it? Why does it matter?" To mangle a Nietzche quote, if I know the why of a story, I feel like I can get away with a whole lot of absurdity in the how.

After figuring out how I want readers/characters/me to feel or what I want us to think about, my next priority is character arc. Because the best way of getting readers to think about or feel things is to put a character through some harrowing experiences, right?

And I ... guess that's plot? The experiences the characters have to endure?

In reality, I don't think too much about plot until a book is done. At that point, I lay structures over the top of my just-drafted mess -- I like Save the Cat and Michael Hauge's structures for this step, and Jami Gold has wonderful resources on her site for beat-sheeting these things -- and see how well my organically-grown series of hows fits. Usually they align fairly well. There are patterns in how Western folks tell stories, and we tend to follow those patterns even when we don't realize we're doing it.

After tweaking to make sure the story roughly fits a recognizable shape, I do a hunt for story promises. If I have a character behave one way at the beginning and a different way at the end, I need to make sure something plotty has happened to effect that transformation. Sometimes this step requires new scenes or scene rewrites or complete re-thinking of a whole section. Identifying and making sure to pay off story promises is my second layer of plotting, and it's probably the most important one for genre fiction. People on airplanes and beaches and up late at night don't read to be confused or dismayed, and if I promise them something, I for damn sure must deliver. (Can't say the same for students in literature classes, so the rules in literary fiction may vary.)

Finally, I have my poor critique partners read the story, and they almost always tell me my ending sucks. It's okay. They are of course right. You sort of expect endings to suck when they haven't been precision engineered by an expert plotter. But even at this point, when I'm trying to hit the final beats strong, it's still more about the why than the plot. I don't do a five-point finale for the sake of having five points. If the princess actually is in the tower and the why of the story doesn't need a high-tower surprise, I won't add stuff just for the sake of tidy structure.

Here's what I never do: plan plot twists before I start writing. If a plot twist happens and it's right for the story why and the character arc and it passes all the structure and promises tests after the draft is done, that is the BEST MOMENT EVER. I love plot twists!

I just don't know how to craft them from outside the story. I gotta be in the trenches when those bombs land on me. And you know what? That's okay. Your process is not my process, and we all need to do this writing thing the best way for our unique brains.

My brain plots by flinging why-sauced spaghetti. And I own that.

How Complicated Is The Plot: Depends On Word Count

Oh, dear readers, complicated plots are my jam...and often jam me up. I love them. Simple storylines aren't fun for me to write. I don't believe characters live one-dimensional single-thread lives, so the plots cannot, by definition of having "well-rounded characters," be simple. And yet, feedback on my early works was often "this is too complicated."

~record scratch~

Wait. Wut? There's such a thing as too complicated?  Alas, yes. Yes, if you've: a) tried to pack too much in too short a work; b) haven't properly led the reader through the maze you've created; c) withheld crucial information in a mistaken attempt to create mystery.

Complicated plots and short stories aren't impossible, but they take a real master of the craft to pull off that combo well. Last week we talked about leveling up; penning a well-executed complex short would be my "11." Now, give me 250k words and I can spin some hairy scary complicated stuff. With that kind of word count, it's only natural that I'd find my favorite genre is fantasy, right? My high fantasy stuff is infinitely more complicated than my urban fantasy stuff because of word count. In high fantasy, I have the room to guide the readers along many paths, gotchas, and oh-no-they-didn't's. In UF, I have less than half that; at 90k I have to pare back the options and challenges my protag faces in order to keep the reader's head from exploding.

Knowing how much information to include/reveal and when is what separates the novices from the masters. Too often, we authors think we're being tricksy, sneaky, or slick by hiding information from the reader to make the Big Reveal surprising. Too often, we're just annoying the reader because what we're leaving out are the frickin' clues necessary to move to the next stage of the story. Not our best moments. Hopefully, our CPs and editors catch those "insert vital info here" gaffs before the book goes to press.

None of this is to say that I always strike the right balance of complications to chapters. It's a point of continual improvement for me--I always want to do more--but I've learned that it's better to remove a plot thread than to lose the reader.

Come Into My Parlor....

Spinning the Spiderweb of Complicated Plots.

I like Machiavellian maneuvers.

One of the things I've enjoyed most about writing fantasy is that the genre allows for that.

One of my absolute favorite things is hearing readers or reviewers comment that they did NOT see that coming.

How do you do it?

No Idea.

My suggestion is simply to remember that some people lie. SOme people lie a lot. And some people, the truly scary ones, remember all of their lies.

I can't get into details but I had a character do two full novels of lying to another character> I gave a few hints and then walked away and continued the story. When the reveal came, everyone was surprised. Well, everyone but me. I had already laid out the groundwork.

Yeah, I think that's the secret. Plant the seeds and walk away for a while. 

Sorry. I got nothing else.

I have finished the first draft of the last novel in my BLOOD RED series. On to new projects.

Keep smiling,

Jim

Best Fantasy and Science Fiction

The first book in my Chronicles of Dasnaria series, PRISONER OF THE CROWN, is up for Best Science Fiction and Fantasy Book at Fresh Fiction! You can go there and vote for your favorites in multiple categories. I'm super delighted that this book was nominated. It's up against tough competition, so I don't expect it to win, but getting the nod is so gratifying. 

Our topic this week at the SFF Seven is "Spinning the Spiderweb of Complicated Plots."

I'm finishing up a week at SFWA's Nebula Conference and running low on brainz at this point. But I also think that, on the best of days, I wouldn't have much to say about this topic. I don't really think in terms of plots, since I'm a character-driven writer. When I do think about my own plots, the spiderweb analogy doesn't work at all. Plots feel more linear to me than that. They go from beginning to end, with many threads weaving along the way.

The most complicated effort I ever dealt with was what I called a braided timeline. In THE PAGES OF THE MIND, THE EDGE OF THE BLADE, THE SNOWS OF WINDROVEN and THE SHIFT OF THE TIDE, events in each story co-occurred with events in other places with characters in the other books. Making sure they interfaced correctly gave me headaches.

But I don't have much more to say about it than that.

To assuage your thirst for great blog posts, however, here's one from Jaycee Jarvis: IN DEFENSE OF BETA HEROES. She mentions THE TALON OF THE HAWK and Harlan. Really wonderful words!

My Levels Are Not Your Levels

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This week’s topic:  "People always say they want to take their writing to the next level. Well, what are the levels, as you see them?"

Do people always say this?

Well, ok then…

Far be it from me to try to define levels for anyone but myself. Each author’s path is different, in my opinion, based on what they write, what they prioritize and care about, what they want to give their readers, their own goals, events happening in their real lives…so what I might think in terms of my own writing career is only applicable to me.

I’m pretty much content, actually, just writing away.

In the past, in 2010 I made a conscious effort to get a much better grasp on the craft itself (i.e. not ‘just’ be an unpublished storyteller who scribbled the story once and didn't edit or revise) and learn not to head hop, not to tell vs show, not to rely on lazy words (adverbs ending in –ly or the word ‘that’) etc. The result of that was my first published book, which sold in 2011.

Then I concentrated on getting another book released, this time as an independently published author, which required me to learn some new skills on the business side (getting a cover, having the formatting done, uploading to ebook seller sites, navigating production of a paperback and an audiobook…)

Simultaneously I was working on learning to write the second book in a connected series, not just standalones.

At that early stage of my career, I thought I could never write an actual SERIES, with the same characters recurring and advancing a series plot arc. I was in total awe of people who could do that. (Well, I still am! Jeffe, Nalini, Ilona…there are some authors who do it so well and with such richness of plot and world building…) As one who is pretty much a total pantster, I believed it was beyond me to do such a thing and keep my Muse interested in writing the books, because if I plan out a book too much in advance, the Muse clams up, dusts off her hands and says “We’re done with that book.” So how was I ever going to keep a series moving forward?

Well, now I’ve done that, with my award winning Badari Warriors scifi romance series (released the 8^th book, more on that below)…

So my next self-challenge is to start a new series at the same time I’m continuing to write the Badari Warriors.

I don’t really know what other ‘levels’ I might want to tackle someday. I guess I’ll wait and see!

I just released CAMRON and here’s the blurb:

Dr. Gemma Madarian is far from her home in the human Sectors, kidnapped along with hundreds of other humans to be used for horrifying experiments conducted on a remote planet by alien scientists. 

She and another prisoner, Camron of the Badari, are the only survivors of a deadly crash landing. She’s paired up with the genetically engineered soldier by their mutual enemies and sent fleeing through rough country, hunted for pleasure by an enemy officer and his ferocious trackers.

The enemy wants a triumphant kill. Gemma and Camron want to survive.

Camron never dreamt of having a mate but Gemma shatters his preconceptions and makes him desperate to do everything in his power to save her life and claim her for his.

There’s no help or refuge to be had in the desert where they’re fleeing for their lives.

Or is there?

Will Camron and Gemma live to fight another day and explore the growing attraction between them, or will ancient secrets and bitter rivalries end their bid for freedom?

This is the eighth book in the Badari Warriors world (and the seventh book in the numbered series) and each novel has a satisfying Happy for Now ending for the hero and heroine, not a cliffhanger. Some overarching issues do remain unresolved in each book since this is an ongoing series but romance always wins the day in my novels!

BADARI WARRIORS Timeline:

AYDARR

MATEER

TIMTUR

JADRIAN

DARIK

GABE

KIERCE

CAMRON

Amazon     Apple Books     Nook     Kobo     Google

Leveling Up Ain't for Sissies

Ah, video game metaphors. I do love them so. 

Leveling up. Within geek culture it's accepted terminology for gaining new skills after time and effort spent integrating the last set of skills acquired. Toons get stronger. Fireballs crit more often. Mana pools deepen and armor gets better. I'd love for the same to be true for writers. 

If only.

The parallels are there. We add skills on top of skills, building our craft and customizing our 'build'. So why is there a photo of a bloody lioness in this post? Because when it comes to leveling up as a writer, it's a take no prisoners sport. 

Jeffe did a great job of breaking down the ways in which writers talk about leveling up. However. I will argue that the only meaningful way to level up as a writer is to keep your eye on what you can control. You. Your craft. How you do your job. You can absolutely set a financial goal and begin working toward it. But the fact of the matter is that you cannot force anyone to buy. You hope what you produce is compelling enough to bring all the readers to the bookstore. But, ultimately, what appeals to people is out of your control. (Yes. Even if you know your market and deliver reader expectation. Sometimes shit just happens.) But look. What can you control: 

1. comprehending your market and your readers

2. comprehending reader expectations and writing a story that delivers in spades

3. mastering your personal process

4. mastering boundaries both for yourself and for your loved ones and readers

5. setting and mastering craft goals that build one atop the other

6. accepting your current level rather than postponing writing because you're ulcerating for the next level

Last book, I went after telling words. Knew. Thought, Felt, Wondered, Saw. Heard. All the telling words. Next book, I'm going for murdering narrative and going for action attached to dialogue. These skills relate to one another and follow in logical order. I couldn't go for action without having put a stake through the heart of the telling words and finding better ways to talk about what my characters experience. Yeah, there are days I'm that lioness above - the blood I'm covered in is my own. In order to level up, I have to dig into my bad habits. I have to be brutal about my excuses and my own BS. There may be ice cream and chocolate occasionally involved. If I'm doing this right, if I really am leveling up, I should be providing my readers with better, more engaging books. Even if somedays are bloodbaths. 

Next Projects, Next Level

My friends, I've been a bit radio silent the past few weeks, but it's because THINGS HAVE BEEN AFOOT.

Some of those things involve just doing the work.  At any given time, I'm drafting one thing (currently, PEOPLE OF THE CITY), expecting or working edits on another thing (THE FENMEREJOB) and copy-edits/final proofs on yet another (SHIELD OF THE PEOPLE). And if you've been paying attention to my blather, you might recall that PEOPLE OF THE CITY will mark the end of Phase I of the full Maradaine Saga, but also that it's the last thing I've got currently announced, and if things go to schedule (things are currently on schedule), the drafting of that will be done later this year.

So, I needed to have something to do next.

WELL GUESS WHAT.  I can now tell you a bit about that.  I have signed contracts for two more novels with the wonderful people at DAW Books: THE VELOCITY OF REVOLUTION and A CONSTABULARY OF ONE.

First, what these books are NOT.  They are not Phase II of Maradaine.  And not because I don't have EVERY INTENTION AND PLAN for Phase II-- I do, and I hope I've earned some good faith about delivering books in a timely manner.  BUT, I also feel I need a bit of a palate cleanser before diving into Phase II.  But it is definitely on the agenda.

So what are VELOCITY OF REVOLUTIONand A CONSTBULARY OF ONE?

First, VELOCITY OF REVOLUTION.  This is going to be a standalone dieselpunk fantasy novel, in a brand-new secondary-world setting. In a post-war, post-colonization city, occupied by foreign administrators, rebellion is being sparked by a mysterious messiah figure, and an undercover cop of mixed heritage has to infiltrate the local cycle-racing rings to find his way to this leader.  

Or, as I've been pitching it: FAST AND THE FURIOUS meets JESUS CHRIST SUPERSTAR with MOTORCYCLES and PSYCHIC MUSHROOMS.

Second, A CONSTABULARY OF ONE.  This is not Maradaine, but it is set in the same world.  If you've read A PARLIAMENT OF BODIES, then you might have an idea of what this book is about.  Briefly, it follows one secondary character from the Maradaine Constabulary as she ends up stuck in a city on the other side of the world.  She'll have to navigate her way through the foreign culture, struggle to earn her way home, and fight for the new chosen family she forms there.

So, it's not part of the Maradaine Saga, strictly-- it's more or less standalone.  But with the comparisons of Maradaine to the MCU: This is the Guardians of the Galaxy of the world.

With both of these novels, I've set a new high bar for myself, taking on new challenges.  Both of them are going to be hard, but I think I'm ready.  I'm super excited about both of these books, which should be coming out in 2021.

(And then?  We'll get to Maradaine Phase II.  But let me get Phase I done first, and we'll talk.)

Back to work.

Writers: Level Up...to 11

When I hear any type of creative say "I want to take my [art] to the next level," I inevitably think of the Rock Opera Album (ROA).

No, no, it's not the cold medicine having its way with me. 

The ROA is a one-off for a band who usually release 3-minute story bites in a collection of 10 or 12 songs. The ROA, on the other hand, is usually one dramatic story told over the course of multiple wall-of-sound 12-minute sagas that are more akin to orchestral works than 5-piece sets. The ROA never quite makes it to Broadway territory because the ROA is still performed by the same rock band through every song. A better way of saying it might be that Broadway brings you into the story and makes you a part of it; the ROA are bards regaling you with an epic saga. Classic "show vs tell," yeah? Naturally, all the "respected" critics commenting within a decade of the release date always hate the ROA, regardless of the band. "It's too too," is usually the review in a nutshell. However, 20 or 30 years later they change their tunes. Examples? Tommy, when it dropped, was panned as a self-indulgent, ego-stroking, drug-fueled-delusional flop. These days, it's iconic and often credited as launching the genre of rock opera. Pink Floyd's ROA The Wall is their second best-selling album.

Thus, to me, "taking it to the next level," means to push boundaries, try new things that break away from what the artist is best known for. The artist is itching to throw off the shackles of expectations--both consumer and record label/publisher/gallery--that have dictated previous works.

What's the "next level" in writing? Whatever pushes the author to let go of their formula and take a risk--be it the type of story they're telling or in how they're telling a story.

Level up, my friends, all the way to 11. 

People always say they want to take their writing to the next level. Well, what are the levels, as you see them?

I don't know. What is YOUR definition of success?

I've been writing professionally for around 27 years now. for the last five or so, I'm actually making a full living at my writing. Sometimes just barely, but there it is.

here are a few levels I'd consider.

Level one: I'm writing.

Excellent! What are you writing? When are you writing? Are you following a schedule? ARE YOU FINISHING THE PROJECTS YOU START?

The last two are the important ones. Make a schedule and stick to it. Finish what you start. That last one is a killer for a lot of careers.

Level Two: Are you submitting?

if you aren't you're never gonna sell a damned thing.


Level three (interchangeable with level two.): Did you finish a project?

Same answer. In this day and age, the chances are incredibly slim that any publisher especially among the big 5, is going to consider your work if the manuscript isn't complete.
No. Seriously. Not kidding.

Level Four: Did you get an agent?

Gonna have to happen. Good luck! Mind you, I spent most of my career until five years ago without an agent. Yes, I sold the vast majority of my work all by myself. Do you know about contracts? No? Either learn or get an agent They're about equally difficult.

But, Jim, what if I want to self-publish?

Knock yourself out. SERIOUSLY consider an editor, a layout freelancer and an artist for book co0vers because 1) You can't edit yourself worth a damn. no matter how good you think you are. 2) Layouts are a nightmare and sometimes it's worth the invested time and money to get it done right. 3) You nephew's picture? The one you keep on the fridge? Probably isn't going to be good enough to catch anyone's attention. There are, of course, exceptions, but they are rare.

Level Five: Did you finish a novel? Did it get into print?

Excellent! Rinse and repeat.

Level Six: Did you survive the reviews?

We've discussed this before. G0od review? Cool! Move on. Bad review" Sucks! Move on.

Level Seven: Have you developed a thick skin?

Work on it You'll need it.

Level Eight: Are you making a living at this yet?


Dance,

monkey, dance!

Leveling Up - What Does It Mean to You?

This week at the SFF Seven we're talking about leveling up and what that means to us.

Actually, the topic is phrased as: People always say they want to take their writing to the next level. Well, what are the levels, as you see them?

It's a really good question. I think we're trained - by school, and job performance appraisals, and so forth - to regard the work we produce in terms of levels. Ladders to climb, milestones to reach, levels of income, acclaim, and success. But is that really valid with creative endeavors?

I'm thinking no.

At the same time, however, we absolutely want to progress, to grow and do... more and better.

I've been doing a fair amount of mentoring, largely for SFWA but also answering questions for aspiring writers informally, and I find myself having the same conversation with all of them. At some point, I end up asking them to list out what they want from their writing careers. This is because my answers to the questions they ask - on whether they should try for this workshop or if it's time to look for an agent or countless other choices - all depend on what their priorities are.

Basically, there's no one career path for a writer. There are tons. And whether you prioritize making money to earn a living at it, whether you want to create ART (in capital letters), whether you want to win big awards, and so on, all of these things require different priorities.

So I ask these younger writers to make a list of the various categories:

• Financial
• Artistic
• Ego
• Altruistic
• Practical

They can add more, but those are mine that I came up a long time ago, to categorize my goals for my writing career. Then I ask them to list goals in each category. So they might look like this:

• Financial
• earn $70K/yr at least
• Artistic
• Write books I'm proud of and love
• Ego
• Win the PEN/Jerard award
• Altruistic
• Honor Grandmother & Papa's lives
• Practical
• Great agent for both fiction and nonfiction

These are actually the top goals in each category from my own list from a LONG time ago. I wouldn't make the same list now. Revising this list of priorities would be part of the process of leveling up.

So, I I know I'm not really addressing the question, which is really more craft-based. For that I'd say leveling up in my craft is pushing myself to write things I think I can't, to go for more complex and deeper-reaching stories.

But I also think that levels come in many forms, and what those levels are to each of us is tremendously personal. Maybe that's why we put this so vaguely, calling it "leveling up." Always reaching and growing, no matter what form that may take.

Covers That Don't Know What They Ought to Be - AND Cover Reveal

What a serendipitous topic for this week. Deceptive marketing/book covers. I was just given the new cover for Enemy Within. You'll be the first to get a look. And we can analyze. 

This cover had a very tall order standing behind it. I wanted it to do several things: 

1. Convey Science Fiction

2. Convey Romance

3. Convey that this story isn't entirely a light read - I hope to all the gods it's fun, you know? But there are -- issues. And there's a body count. The heroine has PTSD for a reason. So I really, really wanted the cover to not be all sunshine and roses. Basically, I didn't want my cover to sell the promise of a light SFR when I've been told I'm writing grim SFR. 

How do you think the cover does?

Because this is a rerelease, several of you will remember that this book was originally pubbed with a very different cover (which I cannot link in because it is the property of the publisher.) THAT cover had a very different look and feel. It was sunnier. The background was bright yellow. The heroine was in a very different posture on the cover. Over all, I felt like that print cover did a better job of conveying Urban Fantasy than SFR. But I'll never be able to prove that hindered the sale of the book in any way. I can only speculate. 

Keeping in mind that this rerelease is coming out as an ebook, I have to say I like this new cover. It's clean. It's simple (apparently TWRP has done a serious bit of reader surveying about covers and came up with a 'no more than three elements per cover' rule to accommodate thumbnails). I feel like it communicates more than it shows, if that makes any sense. Now, granted, I have no idea whether that will translate into book sales, but hope springs eternal. Or maybe wishful thinking does. 

I think above all things (and as a great surprise to me) I really love that the woman on the cover comes across as both vulnerable and capable all at the same time. That, to me, feels like a hit out of the park. Now I hope readers will agree.