Category Archives: Professional Behavior

Road Writing

 

There are times during NaNoWriMo where one has to become mobile. This does not mean you’re off the hook for your daily goal! It means you need to adapt, improvise, and overcome. Here’s a couple of suggestions to help you.

Phone Apps and Thingies

  • There are several apps that you can use to translate voice to text. On my iPhone, I use Nuance’s Dragon Dictate, the free version. It works great and the price is right.
  • You can use Siri or the Android assistant to text or email yourself.
  • There are plenty of third party apps you can discover, both free and paid. Make sure you read the reviews and watch when it was last updated.
  • You can always record your voice and play it back to transcribe when you’re done driving for the day.
  • Make sure you bring along your headphones with a microphone. They tend to record better than the built-in microphone.
  • I would recommend you get a foldable keyboard that allows you to type normally with your cell phone. It plugs in like a piece of paper in a typewriter, and the bonus is some of them allow you to charge the phone as you write your NaNo story.

Laptop(s)

I normally bring along a Samsung Chromebook when I go to conventions. Chromebooks are lightweight and have excellent battery life. While it would seriously suck if someone were to walk off with your hardware, I’d rather lose a Chromebook that synced to the cloud (my cost was $160 a few years ago) versus losing my writing laptop (HP G650, $400 + $100 in maxing out the memory) or, heavens forbid, my main graphics laptop (Toshiba gaming beast, $1200 with RAID drives). You can also use an inexpensive Android tablet. I have a couple that cost me less than fifty bucks each.

The McDonald’s Mantra

I worked at a McDonalds back when I was 18 years old. I was more interested in dating the manager than doing actual work, but the folks who were there for a long while had a saying: “Time enough to lean, time enough to clean.”

Considering I was a lazy lout, that stuck with me over the years. Now I adapt it to writing, where if you have more than fifteen minutes of spare time you can get some words down. Use your laptop, Chromebook, tablet, phone, or a handy pen and paper. As Depeche Mode says, everything counts in large amounts.

If I’m waiting for a panel to start, I’m usually actively puzzling out a section of one of my in-work projects. If I have an hour until the next panel, I whip out my Chromebook and start typing. I learned this from author Kevin J. Anderson at a convention in Colorado. Whenever he had some downtime, he was quietly tucked away in some corner working on a novel. It was a good lesson — writers should be writing.

I’m scheduled to appear at Windycon 44 in the Chicago area tomorrow through the 12th of November. You can rest assured that I’ll be working on my projects, but please make sure to stop and say hello. Writing is important, but so is life and interaction. Tonya L. De Marco will be there with me, so you’ll probably be more interested in meeting her.

On November 17th and 18th, Tonya L. De Marco and I will be appearing at The Cosplay Convention and Anime Experience in Little Rock, Arkansas. We hope to see you there!

What are your suggestions for writing while traveling?



About the Author:
DeMarco_Web-5963

Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist and poet; an invisible man with superhero powers; a game writer (Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, MWG, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

September is Con-Fabulous!

Welcome to September on The Fictorians! This month is all about Cons, or Conventions to you non-Con-goers who don’t spreckidy the same lingidy as us cool kids. I love Cons. I love the noise. I love the topics. I love the vendors and celebrity guests and…I love the smell of Fandom in the morning, but not in the afternoon. As an author, I love working a table or booth and talking to people and books and writing and publishing and whatever. Bonus if they happen to be wearing a Queensryche t-shirt because then we talk about music too. For me, though, it’s not all about the sale. Sure, selling books is important. We writers need to cover the expense of the Con plus travel and hopefully walk away with a little extra.  

But beyond the sale, I want to connect with readers and I believe many other Con-attending/working writers will agree with me.  

As we near the end of the Con season, I thought it would helpful to run down some of the events we’ve attended this year to assist in planning for next year. The more information you have about an event, especially a new one you’re considering, the better.  

Now, we’re not just going to say, “Hey this Con was cool. You should go.” Oh no. I mean, we might use those words, but we’ll back them up with super neato factoids from a writer’s perspective. Cost and attendance are easy to look up on the Con’s website. What you won’t get from the site is the writer’s perspective on how the con “went”. How were sales? Were the attendees into books/reading? What was the atmosphere – cool and laid back, edgy, frenzied? How was the Con run? Was the Con staff friendly and supportive? Can Indy writers get on or host panels? Does the Con even allow panels on writing topics? You know, the good stuff…the stuff not typically covered in the marketing white-papers. We’re shooting for info that can help the writer decide if she wants to attend next year.  

Here’s an example. I found a new Con, SwampCon, that I thought of attending and asked a fellow writer about it since I’ve seen him post about it in the past. He said it was a nice Con, great people, but writing wasn’t a high priority topic. And, here’s the kicker, because SwampCon is hosted in Gainesville on the University of Florida campus, the campus bookstore is not too keen on anyone but them selling books. I know I said I wanted to connect with readers, but I at least want the chance to sell books. Glad I know and can take that into serious consideration for next year. 

As the month progresses, I hope you’ll walk away with some interesting new destinations for next year. In addition to the Cons, I believe you’ll find a few posts discussing major writing seminars and events that have proved amazing, transformational even, and should be seriously considered in your travel plans.  

Got it? Good. See you around the Blog this month.  

Have fun, 

Scott 

Brand Identity

A guest post by Kevin J. Anderson

Kevin J. AndersonWhen I started my career with traditionally published novels, my editors and publicists encouraged me to make sure I mentioned the publisher whenever I talked in interviews and panels. I would promote my novels and proudly announce that it was “from Signet Books” or “from Bantam Books” or HarperCollins, or Warner, or Tor. I would print up my own postcards and bookmarks, sometimes even take out ads in publications. Once, I was roundly criticized for forgetting to put a publisher’s logo on the back of a postcard (that I paid for out of my own pocket).

It’s a basic commercial principle to promote brand loyalty among your consumers. Coke drinkers always drink Coke. Budweiser drinkers always drink Bud. Car owners are loyal to Ford or to GM. But…publishers?

I was an avid reader, a dedicated writer, earnestly trying to get a foothold in the industry. I paid attention to the news, to the editors, to shifts in publishing, but even I would have been hard pressed to define the difference between, say, an Ace science fiction book and a Roc science fiction book (yes, they are now under the same parent company). Or a Tor epic fantasy instead of a DAW epic fantasy.

Sure, there are some exceptions, most notably Baen Books, which has not only carved out a niche and a brand for themselves in the types of fiction they publish—generally reader-driven and fast-paced rather than literary and artsy-fartsy—and they even have a distinctive brand look with their cover art and type design. Baen has also drawn together a very devoted group of their core readers through parties at conventions, online forums, and extremely loyal authors.

But that’s the exception. As an author, I’ve been published by Signet, Tor, Bantam, Ace, HarperCollins, Simon and Schuster, Pocket, Gallery, Kensington, Hodder & Stoughton, Warner, Baen, and more. Some of those books or series went out of print from one publisher to be picked up by another. Did my readers really notice the brand name on the spine, or did they go for the author or the series?

The dramatic changes in the book industry lag behind similar changes in the music industry. When was the last time you actually paid attention to what record label your favorite band or album was on? Who released Led Zeppelin? Pink Floyd? Celine Dion? Taylor Swift? My favorite band Rush was on Mercury Records for their first several albums, but at some point it changed to “Anthem Records.” As an administrative matter with behind-the scenes paperwork and distribution, it made a difference to the band, but as a listener, it made no difference to me.

Same with movie studios. I’m pretty sure everyone knows the original Star Wars movies were from 20th Century Fox because of the seminal fanfare before the rollup text, but—quick!—which studio released the Predator movies? The Transformers movies? The Twilight movies?

One of the little-recognized consequences of the widespread changes in publishing and the surge in indie authors is that it has almost entirely erased the lines of brand identity for publishers. Most indie authors create a “publishing house” and a logo for their own books. In a few years, what used to be a dozen or so major publishing houses and hundreds of smaller ones including university presses, has become hundreds of thousands of imprints, all of which look “real” on the amazon listing.

When you order a book called The Ogre’s Toothache because the title is intriguing, the cover art looks good, the story sounds amusing, and you’ve read something by that author before, do you really notice—and more important, does it affect your buying decision—whether the publisher is listed as Gallery Books or Moonglimmer Books? (Gallery Books is real, an imprint of Simon & Schuster, but I just made up Moonglimmer Books…though I wouldn’t be surprised if such an imprint actually exists somewhere.)

When Rebecca Moesta and I formed WordFire Press, it was merely an exercise to release the eBooks of my own out-of-print backlist, to which I had reacquired the rights. We had called our own company WordFire, Inc. for many years, so WordFire Press was the obvious name. We had no intention of building it into a much larger publishing company. Rebecca herself created our original WFP logo with a graphics program, and then other author friends of mine, seeing the success of our original releases, came to us with titles of their own, and our publishing company unintentionally expanded.

At first, we took all kinds of books from author friends, some out-of-print romances, some unusual nonfiction titles. (In fact, technically, our very first book was a rather esoteric religious treatise by Rebecca’s father, which we published as a gift for him.) We didn’t really have a brand identity, nor did we intend to, but as we grew and we saw which books performed well and which ones didn’t, we started to focus on particular types of fiction, mainly the kind of stuff I liked.

As we revamped our website, we also got a snazzy new logo. We built up our author and title list, and we started to get a little more attention through word of mouth. But the real thing that began to draw recognition as “WordFire Press” rather than “Some Publisher” was our monumental effort of exhibiting at numerous conventions, comic cons, and pop-culture shows around the country. We gave our authors a chance to meet fans face to face, hand-sell and autograph their books, an opportunity to be seen by thousands of potential readers in a day. In 2016 we did 22 shows with a total attendance of 1.5 Million people. (That was insane, and those operations are now run by Rabid Fanboy, so that I can concentrate on the publishing end and, more importantly, my own writing career.) But even under Rabid Fanboy, the “Bard’s Tower” gives ambitious WordFire authors the opportunity to have the “famous author experience.”

But do I think that readers have a strong brand loyalty, that they pick up a book because it has the WordFire Press logo on the spine, rather than because it has a story that fascinates them, an author they’ve enjoyed before? No, I don’t think so.

Now, more than ever, you can’t rely on the brand of a publisher. You have to rely on your own brand as an author or the brand of your series. You have to rely on YOU.

Guest Writer Bio: Kevin J. Anderson is the author of more than one hundred novels, 47 of which have appeared on national or international bestseller lists. He has over 20 million books in print in thirty languages. He has won or been nominated for numerous prestigious awards, including the Nebula Award, Bram Stoker Award, the SFX Reader’s Choice Award, the American Physics Society’s Forum Award, and New York Times Notable Book. By any measure, he is one of the most popular writers currently working in the science fiction genre. Find out more about Kevin at Wordfire.com.

Waking Up from a Nightmare

I had a nightmare last night, and it was bad. There was no natural disaster, no fire, no car accident, no home invader, no endless falling through the abyss—indeed, no violence. I was at a writer’s convention, which for introverts can be almost as bad, and I didn’t know anyone there. Not a soul. The dream consisted of me making concerted efforts to join conversations and mingle with the other con-goers, and time after time it went badly. I stuck my foot in my mouth. I suddenly remembered that I hadn’t brushed my teeth that morning and had bad breath. Suddenly everyone spoke a foreign language and I couldn’t keep up. The reasons varied. The results didn’t.

It was a story of constant rejection. Which is a worse fear than falling through an endless abyss.

Eventually I did find someone I knew, a writing friend from my hometown. She was gregariously holding court with a bunch of people, and the sense of relief I felt when she welcomed me in and facilitated introductions was so intense that it literally woke me up.

Such is the power of friendship.

I’ve said before that I find friendship to be a more powerful force in many ways than romantic relationships. Going by my own personal tastes, it’s a more powerful force in fiction (sorry, romance readers, I know you outnumber me). In a larger sense, I think the argument could be made that it’s a more powerful force in the world. It seems to me that friendships often outlast romantic partnerships. How does the average length of a friendship compare to the average length of a spousal relationship? I wonder! Calculating these averages would be extraordinarily tricky.

I’ll take Thelma and Louise over Romeo and Juliet, thank you very much. I’ll take Han and Chewie over Han and Leia, Geordi and Data over Riker and Troi, Norm and Cliff over Sam and Diane. But maybe that’s just because fictional couples are plagued by narrative-mandated drama in a way that many real-life couples aren’t. Maybe.

When I think about my best friends, they’ve been with me for an awfully long time. Many of them have been in my life since high school or college, and they are crucial supports. If I lost my boyfriend (whom I love dearly, are you reading this?), I would be devastated. Devastated. But I’d need my friends to get through it.

Friends support us in a multitude of ways, but for now I want to focus on those who support us professionally. I’m talking about writer friends, and how until seven years ago I didn’t have any. Talk about the dark ages. The good times started to roll when I first attended Superstars Writing Seminar, a story I’ve told many times before and won’t go into now, since it’s a story shared by just about every writer on this blog and most of its guests.

But those friends still weren’t local. I couldn’t call them up and go out for a coffee. I didn’t manage to find those kinds of friends until four years ago, and it turned out they were right under my nose all this time. It’s hard to imagine being successful in my career without them. I see some combination of them once a week, often on Mondays, and they play a big role in kickstarting my productivity.

They also hang out with me at those otherwise scary writing conventions, pretty much ensuring that nightmares like the one I woke up from this morning can’t possibly happen.

Evan BraunEvan Braun is an author and editor who has been writing books for more than ten years. He is the author of The Watchers Chronicle, a completed trilogy. In addition to writing science fiction, he is the managing editor of The Citizen. He lives in Niverville, Manitoba.