Posts Tagged ‘writing life’
The tech writing hasn’t entirely gone as planned (although it has had some interesting twists). So instead I’ve ended up redoubling my efforts in the novel writing department. I polished up and submitted Sky Pirates of Calypsitania for publication, and have spent the past week on a second draft of Tend on Mortal Thoughts, my first completed Michael Macbeth novel.
(Speaking of Michael Macbeth, I will probably post “The Unfortunately-Worded Affair of Mister Fox,” an unpublished MM short story, for my Patreon supporters soon. It’s languished too long in development heck waiting for the would-be publisher to move on it.)
Anyhow! As I’ve been chewing on how to make writing pay, I’ve been thinking quite a bit on prolific… ness? Prolificitude? (Bah. There isn’t a good word for “the state of being prolific.” The closest one is “prolificacy,” which is the sort of word that makes me wince and reach for another cup of coffee.) Point is, the writers with the most financially-rewarding careers, are the ones who write and publish a lot.
Well, I’m halfway there: I write a lot. Unfortunately, it tends to come in the form of blog posts or miscellaneous stuff related to my D&D game! But as I’ve truly committed to “writing IS my day job,” this is shifting. James Van Pelt recently posted on the subject of prolificitatiousness, saying, “I feel more professional when I produce stories and submit them at a regular interval. I feel less like a hobbyist. This is not a dig on writers who are not prolific. It is only a comment on how I feel. Everyone’s path up the mountain is their own.” It’s a good article in general and I highly recommend it, but this particular post resonated the most strongly with me.
I have suffered for most of my writing career from a perfectionist streak that has often led to paralysis. Just look at Michael Macbeth: I created the character back in 1995 or so, and have started and discarded at least five novels trying to “get him right” (and being increasingly frustrated that none of them were as good as his inspiration, Dirk Gently’s Holistic Detective Agency). I recently had a long and frustrated rant on Twitter (later repackaged to my LiveJournal) about problems with the entire concept of a Brigid and Greg novel, and so on.
But the thing is, all of these issues stem from a place of shortage: if I only have one or two books, then those one or two books have to be TEH TOTALLY AWESOME because they’re all I’ve got to show! On the other hand… if I have a lot of books? The qualities of any one book are considerably less self-defining. Yes, Brigid and Greg have a diversity problem… but on the other hand the heroine of Sky Pirates of Calypsitania is a bisexual woman of color. By writing a lot of books, and a lot of different books, I can build a career that hits all the bases, instead of just sitting there fretting about how to “make this book do everything.”
Strange as it sounds, a lot of this was prompted by that crazy ghostwriting gig offer, because when I was looking at that, for the first time I actually thought in terms of “If I was writing 40 hours a week, 52 weeks a year, how much could I really produce?” Obviously, if I could crank out the “15,000 original, quality words per week” the gig wanted, I’d be set for life, and I sure as heck wouldn’t need to be ghostwriting (although I would probably need a pen-name or two).
But with the Snowflake Method, and with Scrivener, and the various other tools and techniques I’ve been teaching myself, I do think it’s within my power to write a novel every three months or so, which would make four a year. With time and practice, I might be able to go even faster. And that would not exactly be a career to sneeze at, either!
So that’s what I’m gonna do. 🙂
Last night I received an offer that both delighted and perplexed me. It was a ghostwriting gig, except it wasn’t a single gig so much as an open-ended contract. It can best be summarized as “I give you a list of genres and you write me 60,000 quality-and-totally-original words per month forever.”
I’m going to take the high road and assume this person doesn’t know anything about writing. Suffice to say, if it were that easy to just churn out 60,000 quality-and-totally-original words per month every month in whatever genre I felt like, I would have a bibliography the size of Agatha Christie by now– and I sure as heck wouldn’t need a ghostwriting gig.
As ridiculous as the proposition was, it did kinda make me squee, on the grounds that it’s a sign I’m moving in the right direction. The timing of it, coming as it did on the same day that I sent my first novel submission off to a major New York publisher, is just too good.
However, it also prompted me to do some number crunching about just what being a dedicated and businesslike wordsmith should entail. Working backwards from my desired annual income, and picking an arbitrary (but reasonable) estimate of “words per hour,” I worked out both an hourly rate and a “per word” rate, suitably padded to allow for things like self-employment taxes and stupidly expensive American insurance. Applying that rate to a novel also told me how much each one should make in order to hit that goal, which means I now have an idea of what my minimum to negotiate for should be.
I haven’t decided whether or not to send the final rate back to the ghostwriter gig guy for chuckles. I have a feeling he would hiss and curl up like a dead spider. On the other hand, it would be disingenuous of me, because as I say, if I were writing 60k quality-and-totally-original words per month? I’d be selling those guys under my own name and be an A-list author.
Which is not a bad plan, actually. Think I’ll get to work on that.
So last Friday, Business Guy put together a running tally of income vs. expenses for last year, in preparation for tax time. The results were, in a word, bleak.
My gross income for 2015 (not counting a brief spurt of Starbucks salary) was somewhere around $5,000. The good news is that this is up from 2014… the bad news is that it’s only up by $300. This was feasible when Mrs. Gneech was making enough money for the both of us, but with the disintegration of her job as well, this has left us in an uncomfortable spot.
We are not in any immediate danger of being out on the street, thanks to savings and other resources held aside for such things, but financially speaking we are currently at 5,000 feet in a plane with no engine. My artistic pursuits, at least as I practice them, are not making me a living. If I want to avoid returning to the days of hand-to-mouth, I need to make a serious change.
One possibility is returning to a “day job,” and I am currently investigating options. My previous career shunted me down a blind alley into dead-end technology and left me burned out in the process… so even if I wanted to get back into that particular grind (which I don’t especially) there isn’t any work to be found there anyway. In fact most of my professional experience (word processing, graphic design/desktop publishing, web page design) is in stuff that was cutting edge from 1995-2005 and is woefully out of date now.
At this stage, I have little idea what is actually useful in the world, and no real idea how to effectively look for work in 2016. Once upon a time I would sign up with a handful of temp agencies and that would be my doorway into the professional arena, but even temp agencies don’t seem to exist in any appreciable way any more. To that end, I have signed up for The Oxford Program and am currently going through it in an attempt to reboot my career, but it’s not a short-term fix.
I have also been brainstorming on creating a “brand,” with the intention of using my creative talents to build a franchise, such as name designers or the Life Is Good guys. I’ve done some stuff along those lines with Snerks’N’Quirks but it’s very much a sideline right now. The hard part of this kind of thing for me is that while it does use my creative skills, it doesn’t hold my interest. Coming up with buttons just for the money is not that different from putting together webpages just for the money (or doing anything else just for the money). I have to find some way to make it vital or it will be just a different sort of grind.
I keep thinking of people like Steve Jobs, who set out with a mission and sorta got rich on the side, and that’s what I want out of life myself. But for the moment at least, I don’t know what that mission is, besides drawing Suburban Jungle and writing the occasional book… which is sorely lacking in that “get rich on the side” element.
But I have to do something different from what I’m doing right now, before the plane crashes.
I have never been a good businessman. Coming up with products and marketing ideas is like an alien environment to me, and frankly looking at numbers just fills my brain with a high pitched whine not unlike the Emergency Broadcast System. If you remember the moment in Forbidden Planet when Robbie the Robot is ordered to kill someone and it short-circuits his brain, that’s pretty much how my brain responds to anything that smacks of accounting.
I was blessed for some years to have an amazing business partner who dealt with all that stuff for me; however, it falls on me now and if I’m going to succeed and not end up in the code mines again, I have to make it work.
To that end, I’ve been studying other creators who’ve made it work, including Brad Guigar, John Scalzi, Seanan McGuire, and most notably (for this post) Maggie Hogarth, whose Three Jaguars provides a working real-life template of just this process.
To that end, I have decided to cultivate Three Lions (and an Otter), who are my own Artist, Marketer, and Business Manager analogues. Except in my case they are Content Guy (Lion), Business Guy (also a Lion), Muse (a Lioness Spirit), and Fandom Guy (the Otter).
Content Guy is the writer/artist. He’s the one who writes the stories, draws the pages, does the commissions, and grinds out those fourteen hour days of just making content when the creative fires are burning. Considering that Content Guy writes humor, comics, and pulpy adventure stories, he’s remarkably serious about his work. Business Guy and Fandom Guy largely exist to bring his work to the rest of the world, and he in turn is something of the group’s priest/medium to Muse.
Business Guy is the one in charge of handling money, making travel arrangements, signing contracts, tracking ALL THE THINGS, and so on. This poor dude is strung out on espresso drinks and is currently in WAY over his head, but he’s the only one available to do the job and so he’ll have to rise to the occasion. He needs training, he needs resources, but most importantly he needs patience and love. He and Fandom Guy hang out a lot.
Fandom Guy is a silly happy bouncy otter who loves tuna sandwiches and meeting with fans and making crazy pop references! He also loves manga, furry comics, and geeky STUFF and is therefore in charge of thinking up things that geeks will want to buy, as well as promotion in general. His duties also include making sure that everything Content Guy makes gets an AWESOME PASS to punch it up and make it better, from making the jokes funnier to making the art slicker to making sure that covers have Buster somewhere in a corner whenever possible.
Muse is a spirit of some kind, unable to interact with the physical world and probably, to be honest, barely able to comprehend it. She is shrouded, mysterious, elusive, and beautiful. She’s also capricious and does what she wants, the rest of us be damned. On the other hand, she informs everything we do from start to finish and to a large extent we are all simply manifestations of her, which is probably what leads to her treating the rest of us this way. She works most directly through Content Guy, who occasionally chafes at being her slave, but also worships her like a goddess. Business Guy obeys her without question to best of his ability, and Fandom Guy thinks she’s totally awesome but wishes she would consider making his job easier by getting Content Guy to do some more mainstream stuff from time to time.
So What’s the Point?
Largely, the point of all this is to give me a mental framework to keep myself organized. My general schedule has sorta been that Mondays are Fandom Guy days, while Tuesday through Thursday are Content Guy days, and Fridays are Business Guy days, but that’s never been explicit so much as it just worked out that way. But now I can make that not only “official,” but also plan for it. “I need to add some merch… Fandom Guy, do that on Monday. Oh, taxes are coming due soon? That’s Business Guy’s job, I’ll do it Friday.”
By personifying them this way, I have also been able to analyze my own strengths and weaknesses and I know what to work on. Poor Business Guy, he needs some serious love! On the other hand, Content Guy is kind of a workaholic (and not the happiest of lions, it seems), so I need to keep that in mind, while Fandom Guy is fun and exuberant but also kind of an airhead who will probably need reining in from time to time, etc.
Plus, what the heck, it’s just fun and helps me know myself a little better. It also makes the creative process a little less lonely: yes, it’s often a very solitary process, but within myself I contain a whole team. 😉 So c’mon, gang, we’ve got work to do!
So, can I just say here, I love my fans? <3 Not prompted by anything specific, I'm just remembering all the awesome things fans have done for me over the years. They've come to see me at conventions; they've supported me by buying books, prints, art, buttons, shirts, even weird little things like magnetic dress-up dolls; they've made me Guest of Honor at conventions; they've given me random presents ranging from music CDs to computer hardware to hand-knitted blankets; and best of all, they read and comment on my work. Many of them have become my good friends; many more of them have simply read, smiled, and gone on with their day. I don't want to let this go unappreciated! Yes, Fandom February is about getting the word out and growing the audience, but it's also about making sure that you crazy peeps know that you mean a lot to me, and I'm grateful, for all the things you have done, and all the things you keep on doing. You rock. 🙂 -The Gneech
One of my goals with the new year has been to beef up my Patreon campaign a bit, as it was originally assembled in a fairly slapdash “This is good for a start and we’ll see how it goes!” way. To that end, I started poking around Patreon to find campaigns that were working well, ones that weren’t, and others in “my space” generally to look for best practices.
I was surprised (but pleased) to see that my campaign was actually pretty healthy compared to most– there are a depressing number of “no supporters, no pledges” campaigns out there. That said, there’s still plenty of room for improvement! Four-digit campaigns, while rare, are certainly out there, and many of them are comparable to mine in output and bennies, which gives me hope that I can get there myself!
So over the course of this week I have been working on updating, tweaking, and “fluffing” my Patreon campaign, including adding a new banner that showcases my art and trying to diversify both the goals and bennies, while being careful not to over-promise on things I couldn’t deliver.
I’m quite pleased with the results! But I’m also curious and eager for feedback and suggestions. Whattya think? I’d love to hear from you.