My story of a writer begins with the rejection and insecurity of a young boy who was searching for his place in the world. I was a tall, scrawny kid with glasses who was always on the honor role. One of the first things you learn is that the world is a cruel place, but no matter what troubles befell you in life, you could always find a little respite in the pages of a book.

The first books I can remember reading were books like Boxcar Children, My Teacher is an Alien, or Bunnicula. They were fun books, written for children and they were great to get me into reading. They didn’t fully capture my attention yet. They were nice distractions, but were too simple and eventually I began to crave more.

The first book I read that completely blew me away was Redwall. It took place in another world, filled with anthropomorphic animals who had to act together to save their home from outside invaders. This book, while still written for a younger audience, taught me how worlds can truly change the world and your vision of reality. These books had combat, struggles, and death. They also had bravery, honor, and true courage. Even now, I look upon the cover of this book and remember fondly the world that I would frequent so often as a child and miss my time there.

Other books came along that amazed me in other ways. Dragonlance taught me the power that magic can bring to even a frail wizard, and believe me, as a lanky teenager, such power was very alluring. I began to learn how each author could create a new existence, create so many emotions, with nothing more than a pen and paper. Dragonriders of Pern. Lord of the Rings. The Wheel of Time. They all drew me in. They let me experience power and loss, the struggle for glory and the failures that connect us. I wanted to join them in their world, and leave mine behind, and so I did the next best thing.

I began to write my own worlds, create my own rules and find my own glory. I experimented with different realities, new physical rules and boundaries. I no longer have these early manuscripts, but I’m sure they were amazing. I dedicated my life to reading and building my own world. I wrote a whole story in second-person narrative just because I was told that it doesn’t work. You, the protagonist, was pulled into another dimension to fight for your world. In the end, you failed and all was lost. But at least you got to fight, and you went down giving it your all.

I don’t remember what my grades were on those papers, but I know I didn’t get much support in those years. As I’m sure is evident, much of my world resolved around existing and creating worlds that didn’t exist. Parents and teachers seem to fear these other worlds and believe they are depths that should be avoided. I began to gravitate toward other hobbies, such as computer and science. I would receive more approval from my teachers for a little program I wrote in a few hours than I would from a story that took me weeks to write.

Approval is a strong motivator, and I still wonder where I would be if I had received more of it for my writing. I still enjoy computers and science, and I make a great living at it, but I never lost my love for fantasy. The two loves would merge every now and then as I wrote games and interactive stories on the computer, but in the end I let that side of me sleep. I would play games, read books, and live in others world, but only let mine exist in memory.

Eventually, after finishing school and leaving the military, I was able to look back on my life and try to determine who I was and who I wanted to be. You would think that such a reflection should happen when you’re younger, but society doesn’t really allow for that. I’m lucky that the job I chose still happens to be one I enjoy, but those fantasy worlds that I created in my head still lurked in the background and I missed exploring them. The people on those worlds demanded resolution, and I needed to give it to them.

I took up worlds that I had created as a child and rebuilt them. I began to create new worlds, entirely new planes of existence. I jump back and forth between novels, but it works for me. Now I write for myself, and I write the world that needs to be written at that time. One of these days, soon I hope, I’ll get to the point where I’ll be happy enough to submit one of my novels to the world. I understand that they may never be perfect, but I love these characters that exist in my worlds. I care for them, rejoice in their triumphs, and cry with their sorrow. They are a part of me, and their world is real to me. Their story needs to be told, and I’m the one to tell it.

My hope is that someday some kid will read it, and it will show them just how magical the world can really be. Perhaps it will the catalyst to create their own worlds, their own stories that need to be told. And perhaps, even if they don’t get the support they needed at the beginning, they’ll soon realize that they don’t need to please anyone else. The stories exist, and they just need to tell the tale.

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Now that you’re at the end, and either reveling in success or suffering in defeat, you’re in a good position to look back and decide if it was worth it.  There are two sides of the story that I generally hear.  The first is positive.  It helps show people who don’t write that it’s possible to write a novel.  It grants extra motivation.  It teaches good habits.  I also hear the opposite.  It just burns people out.  It tries to force people into a pace that some can’t handle and teaches them that they can’t write.  We are already authors, we do this every day.  We don’t need some stupid contest to show us something we already know.

So, what do you think?  Is it a good thing or a bad thing?  Give your reply in the comments and lets see which side gets the better arguments.

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World Fantasy Convention starts in less than a week. This year the focus is on urban fantasy and gothic fantasy. If you’ve never been to a convention, going to your first convention is almost a magical experience by itself. You’ll meet authors left and right that have been in your shoes. You’ll see editors and agents who are willing to give you advice and may tell you to send a copy of your new novel their way. And, if nothing else, you’ll have a great time. So, if you’ve never been to a convention before, let’s look at why you should go to the next one, and what you should do when you arrive.

As you finish a novel or two, you’ll want to start submitting them to publishing houses and editors. Usually this ends up with your work starting at the bottom of a slush pile and you waiting impatiently for someone to read, and hopefully pick up your novel. The other option is to meet these publishers and editors and if they like you and your pitch, they may ask you to send them your work. While it will still end up on the slush pile, this can get you put to the top.

Even if you’re still not finished with your novel, conventions can be a great place to go for that little push. There is a common saying that says you should group yourself with people who are doing what you want to do. You can look pretty much everywhere and you’ll notice a trend of authors emerging into the publishing world in groups. You’ll have people that will push you to succeed while understanding the troubles you’re facing. Along these lines, conventions can act as a support group. For a couple days a year, you’ll be immersed into the middle of your peers and idols. You’ll hear about success and everyone will tell you that it can, and will, happen to you if you persevere.

If you’re still not convinced, Brandon Sanderson tells a story about when he was trying to get published. Brandon was taking a class with David Wolverton/Farland and David learned about the books Brandon had written. David told Brandon that he needed to make it to the next convention, even if it required selling everything he owned. Brandon listened to that advice, met his editor, and the rest is history.

So, you’ve made it to the convention that fits your work, now what? The best advice I can give you is to be social. The panels and talks are good and you should definitely attend the ones you find of interest, but the real magic usually happens outside the convention hall. Learn where the parties are happening and make an appearance. Hang out at the bar and introduce yourself. Be friendly and be ready to give that elevator pitch you’ve worked so hard on. Get business cards and email addresses. Start building up your circle of authors and industry professionals who know your name. It might give you the edge you need in the future.

If you have a novel ready to be published, you’ll want to do your homework before the convention and put on the dreaded marketers cap. Many conventions, such a world fantasy, have a list of who will be attending. If not, you should be following the publishers you want to submit to on twitter and facebook anyway, so you should have an idea of who is attending. Take this list and learn everything you can about the publishers and editors that you want to submit to. You should remember that they’re people as well, and like talking to people who appreciate their work. Ask them about the novels they’re currently working on, and how the last batch has done. Be friendly, and not pushy. If all goes well, they’ll reciprocate and ask what you’re working on.

Just remember to be friendly and listen to social cues. Being too pushy or problematic can hurt your chances as well. If the other person is in a hurry or trying to leave, wait for another opportunity. Talk to others in the group and make friends. Even if you don’t kick it off with your favorite editor, there are plenty of people around willing to talk to you and give you the push you need.

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A year ago, fellow fictorian Kevin Cioffi wrote about starting a writing group, and I thought I would give my own advice on starting and existing within a writing group. I personally find that having a writing group provides one of the best benefits I could ask for, a deadline. I write for the joy of telling an awesome story, and that’s really about it. Without the weekly deadline, I find myself putting off my writing to pursue other hobbies. With a writing group, I know I have two weeks to finish the next chapter. If nothing else, that’s reason enough for me to find and stay in a writing group. So, lets say you take my advice and follow Kevins steps to find or create your own writing group, what steps can you take that will help both you and your group?

First, learn to step away from your work. This may be one of the hardest things to do, but when your work is being critiqued you should step back and stay silent. Pull out your notebook and write down what the other members talk about, but don’t defend your work! We all love our writing and we want to correct every misconception or issue that arises. If someone says something that is wildly different from what you meant, write it down and listen to everyone else. Wait to see what the other members of the group thought. If you need to, feel free to ask other members if they agree or how they felt about a section, but don’t stop the conversation or try to point it in a certain way. If you do this, you may give information that is crucial to later parts of the novel, which your group will understand but will be lost on any other reader. Use your common sense to give only as much info as needed and make sure your group makes the connections you wish.

Similar to the prior suggestion, be as detailed as you can when you read others works. I like to write emotions or idle thoughts in the margins as I read. I may not bring a lot of these thoughts up during the group meeting, but it might be useful to the author as he reads it after the fact. Something that I idly wrote down and didn’t think was important enough to bring up could have been the plot hole nobody noticed. If someone else mentions feeling odd about a certain point of the novel, I can respond with my feelings and give another point of view.

Feel free to experiment. Writing groups are the best place to try that bit of trickery that might not work. If it doesn’t work, you’ll know right away and maybe even get advice on how to fix or improve the idea. You’re all there for each other and you should feel comfortable around your group. If not, you might want to find/refine your group until you are.

Make sure you have something for every meeting. This may seem obvious, but you might get stuck on a chapter and have no clue how to precede. It happens to all of us, so be prepared and have other things to contribute. Take a character and write a small side story, or step away and write something wildly different. I’ve heard of two authors in a writing group who both got stuck so they switched novels for a week and wrote the others next chapter. It helped give ideas while keeping the creative juices flowing. As the mantra goes, keep writing!

Have fun. You want your writing groups to be something you look forward to. Prepare fun writing exorcizes to start each session or save extra time for word games. Bring food or drinks and enjoy the company of your friends. Make it an environment that keeps bringing you back.

The real goal of a writing group is to provide a forum for you to go over your work and receive feedback on the fly. You understand your novel more than anyone, but your writing group will provide your first real insight into what the rest of the world will think.

Have your own suggestions or experience with a writing group? Don’t agree with my suggestions? Add a comment below. I’m looking forward for more tips or suggestions that can improve my writing groups.

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One of the most common complaints I hear from fellow writers is how hard it can be to write and be productive with all the distractions prevalent on the information superhighway. While the usual advice “Just Write” still burn strong, when you write every day the temptation can be too much. It can be an email notification, or just a quick pause to look something up. Next thing you know you’re lost in the throes of reddit and the time you allotted yourself to finish this chapter ended hours ago. If you’re one of these types that often find the allure of the web a little too much to resist, here are some ideas that may help. I’ll start out easy and move to the most extreme so you can choose a solution that works best for you.

1. Close all programs that distract you. This means your email program, instant messenger windows, web browsers, and other alert programs. Keep a notebook in front of you to write down all ideas that pop in your head or items you want to research. Stay in your writing window as much as possible.
2. If you absolutely need to have internet access for research, but find yourself always clicking on those same websites, look at getting a browser add-on that blocks websites for certain time limits. Examples are leechblock for firefox and StayFocusd for chrome. These apps let you choose a website and set up access restrictions. You can block the site for the entire writing session, or grant brief access to the site for 10-15 minute breaks every other hour or so. While this method is easy to circumvent, it will remind you to write when you absent-mindedly click on that reddit or facebook link.
3. If nothing else works, block the problem sites permanently. Almost all routers have an access control functionality. The access control pages, much like the plugins, let you choose a website and a time period. If you have it in your schedule to write every morning from 7-9am, you can have your router block these pages during that time. You can even specify the computer so your family/roommates aren’t blocked as well. You can even turn off the internet during this time so there is literally nothing online to distract you. If you’re really desperate, bring a friend in and have them change the password to the router. That way, it’s blocked from the router and you’re free to work.

While this won’t solve all distractions, it does help get you away from the ones online.

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There are many parts of creating a new novel, and creating realistic characters is probably one of the most challenging ones. Characters need to be believable. They need to have their own personality, habits, and traits that set them apart from others. If done correctly, the reader will be able to relate. They’ll understand and feel concerned. It’ll pull them deeper into the novel and they’ll keep reading to figure out what will happen. If done poorly, it will throw them out of the novel. They won’t be able to believe and before long, they’ll look elsewhere and leave your novel behind.

When I create new characters, I focus on the conflicts. Everyone has conflicts they face and have to deal with. It’s the sum of all these conflicts that can lead them on the road of hero or villain. These conflicts will generally take on the shape of external and internal, two sides of a fight that is always raging in everyone.

Internal conflicts are anything that tears your character apart from inside. This can be dealing with a phobia, memory, or other psychological barrier. It can be need to be the best, or look the prettiest. It can be the fear of the dark that makes your character abandon others he could easily save. Or the pride that keeps him from admitting he was wrong. The internal conflicts are generally the deeply ingrained problems that the character spends the entire novel attempting to overcome.

External conflicts are everything else that keeps your character on track. The broken home he has to deal with, the abusive parents. They can include the weather, environment, wild animals, or other characters. Anything that goes against what the character would do and forces them to make decisions.

When you create a new character, consider all the conflicts that they have to deal with. Write them down and keep them in your mind as you write them. They’ll keep your character constant and provide motivation to act, even if it’s running away. Once these conflicts are established, your character can show true heroism by not only saving the day, but by having to overcome their natural reaction to do so.

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Matthew Jones: At the last World Fantasy Conference, I had the privilege to meet a new author named Myke Cole. Just out of the blue, he showed up and asked if I wanted to play some first-person shooter (FPS) game with him and some friends. I’m pretty crappy at console FPS games, but I decided, sure, why not. Later, I saw him in his full Coast Guard uniform, and we started talking about our time in the military. I spent six years in the Air Force, one of those in Iraq. Thus, when I found out he had written a military fantasy novel, I was pretty excited to read the novel.

Since the convention, I’ve both read the novel and quite enjoyed it. His writing expertly blended the military life and culture I remembered with the fantasy I’ve enjoyed for so long. The foreign settings, combined with the quickness of the battle and the uncertainty that was always riding on your shoulders definitely reminded me of my time overseas. Add to that the emotions of a man who just had everything he has ever known taken away from him, surrounded by people who had the ability, and often the duty, to kill, adds to the tension.

As I read, I wondered about the Military feel and how he was able to achieve that forward operating base (FOB) feel. He agreed to do a guest post for us and answer this question. He does use a lot of military lingo in his response, so I tried to go through and add definitions to many of the terms. You can hover over the abbreviations for the full term, and I added a quick glossary after his post. Feel free to comment if you have any other questions.

Myke Cole: I think it’s true that there’s a certain “FOB Feel” that exists in military culture these days. There are jokes and catch words (remember calling someone who’d never been outside the wire a “Fobbit?” Heck, “outside the wire” is a term that evolved from our use of FOBs and COPs, right?). Inside jokes are always the first signs of an emerging culture, and there’s definitely a shift from cold war garrison life to the new reality of COIN ops on a FOB or COP where you have a PX that’s as big and well-stocked as any Walmart, but you’re also at risk of getting killed by indirect or a rogue contractor who was hired to take out the trash or serve your chow.

That FOB Feel was something I definitely tried hard to evoke in CONTROL POINT. I did this for a few reasons, the first was that it is the most authentic indicator of modern combat experience I can think of these days, and one that sets our generation of war-fighters apart from our fathers. Our dads (if they served) could probably draw parallels to Vietnam, but it lacks certain reference points. For me, many of these were visual. The concrete T-Wall and the enduring mud were two important ones. The T-Walls were always in my peripheral vision, providing eerie analogies to my current life in New York City (that same feeling of the sky being cut off, of walking the rainforest floor), and serving as a constant reminder that indirect was coming, and with it, the shrapnel those T-Walls had been built to stave off.

I also wanted to evoke the FOB Feel because, when I sat down and thought about it, it made the most sense for a US military presence in a magical universe. The US military does many things well, but self-sustaining logistics in a forward AOR is perhaps what we do best, and one of the reasons we’ve been so successful in our military history. The FOB/COP model was the logical one for an American unit unsure of resupply and confronted by an uncertain landscape populated by hostile unknowns. Like the Romans, we turtle up, trying to buy ourselves the time for intel to catch up to the environment and give us a good look at what we’re dealing with. There really wasn’t a lot of difference between goblin clans and the Jaysh al-Mehdi in this case. Both were totally alien to us. Both were potentially deadly.

I was also really impressed by the tight integration between uniformed personnel and military contractors (Mercenaries. My first two tours were as an employee of these firms). This is, of course, nothing new (The East India Company, the Hessians, heck, Balearic slingers), but the resurgence of the mercenary and the public’s willingness to accept them in the cloud of fear immediately post 9/11 was a phenomenon I wanted to capture. The resurgence of magic in the SHADOW OPS universe is every bit as frightening to the public as the towers coming down, and their reaction had to extrapolate realistically. Mercenaries were a logical piece of that, and so, Britton’s ultimate fate (and Marty’s as well) resulted.

It’s funny. I never really thought of writing CONTROL POINT as all that . . . cathartic, but I am realizing in writing this guest post that it was a way to at least consider what I had experienced, if not to reconcile it in some way. If vets like you see their own experience reflected in the story, then I am enormously gratified.

Glossary

FOB

Forward Operating Base. A secure military base that is within a hostile territory.

COP

Combat Outpost. A well prepared, armored outpost designed to confront enemy forces.

PX

Post Exchange. Think of this as the Walmart of military bases.

AOR

Area of Responsibility. The area that a command has authority to operate in.

Guest Writer Bio:As a secu­rity con­tractor, gov­ern­ment civilian and mil­i­tary officer, Myke Cole’s career has run the gamut from Coun­tert­er­rorism to Cyber War­fare to Fed­eral Law Enforce­ment. He’s done three tours in Iraq and was recalled to serve during the Deep­water Horizon oil spill.All that con­flict can wear a guy out. Thank good­ness for fan­tasy novels, comic books, late night games of Dun­geons and Dragons and lots of angst fueled writing.Myke is the author of Shadow Ops #1: Control Point.

You can find Myke online at www.mykecole.com, or on Facebook, or Twitter.

 

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Evan Braun: Back in the winter of 2010, I was absolutely nowhere. I thought of myself as a “writer,” but I was stalled with several unfinished projects and low ambition. The publishing world seemed impenetrable. I didn’t belong to any writing groups. I didn’t have a critique partner. Really, I had almost no writer friends at all, and I had never thought to venture to a convention or seminar.

And then I saw a post on Brandon Sanderson’s blog about an upcoming seminar he was teaching at: Superstars Writing Seminar. I had been following Brandon’s progress for some time, mostly due to his Wheel of Time connection, and I respected him as a writer. The other writers represented were no less respectable: Kevin J. Anderson, David Farland, Eric Flint, and Rebecca Moesta. The promise was that this seminar was different than all the others, that it would emphasize the business of writing over the craft of writing. Craft is important beyond measure, no question about it, but the business end of things is where so many up-and-comers trip and fall.

I’m from central Canada and the conference was in Pasadena, so attending was no small investment, and yet I made a split-second decision to take a gamble, hoping this would enliven my flagging writing career.

It did, and without hesitation I can chalk up most, if not all, of my growth since, both as a writer and as a professional, to that split-second decision. Not only have I finished writing several novels since then, but I’ve mapped out a half-dozen others and even published one with a small press.

The third annual Superstars Writing Seminar is coming up this April 30-May 2 in Las Vegas, and to help promote that event, several contributors here at the Fictorian Era decided to band together and do a week of posts about our Superstars experiences. You see, the Fictorian Era only exists because of Superstars. All of us came together at that fateful 2010 seminar. So, to pay homage to the event that brought us together and changed our collective course as writers, we ask you to consider Superstars.

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Colette Vernon: I attended the 2010 Superstars Seminar in Pasadena. It exceeded all my expectations. Throughout the entire seminar, Kevin, Brandon, Dave, Rebecca, and Eric made themselves available for questions and sincerely did all they could to help us publishing wannabes. They didn’t run to their hotel rooms as I’ve noticed many other well-known writers do during conventions, but spent their time with us.

They brought in unexpected guest speakers, from Joni Labaqui with Writers of the Future to famous Hollywood script writers. Their presentations helped us understand the possibilities available through writing contests and film. They were as open, easy to talk to, and available for discussion as the writers hosting the seminar.

In the two blocks to the Authors Dinner and back I learned more than from any convention I’ve ever attended. One of the authors took time to discuss a recent partial request I’d received from an agent. He asked me questions about my manuscript and the agent, helping me analyze the situation for myself in order to make important decisions. On the way back, he answered specific craft questions, basically giving a twenty-minute, mini-writing class to our group. I believe the tips given in those few minutes jumped my writing ability to the next level.

Of course, I have to mention the connections I’ve made with my fellow Fictorians. Our friendships continued beyond the seminar into the eventual creation of this blog. Many of us have started getting our feet wet in the publishing world. I doubt I would have been remotely prepared for that experience without my attendance at Superstars. With the recent changes in publishing, I’m looking forward to learning more, and asking questions I wouldn’t have thought of two years ago, at the 2012 Las Vegas Superstars.

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Matt Jones: I’ve been going to conventions for years. I’ve been to countless panels talking about every topic under the sun. Some have been interesting, others not so much. Sometimes they would touch on the chosen topic just to drastically change course and start discussing something off the wall, never to return to the original topic. These panels helped give me confidence to write, knowing that if these people could do it, why couldn’t I?

And then I attended the Superstars Writing Seminar, and I was treated to something completely different. At Superstars, you’re treated not as a wannabe writer, but as a professional who is ready to be an author. Instead of questioning your ability to come up with a story or an original thought on your own, they prepare you to take your manuscripts and get them published. It was an entirely new direction for me. It taught me how to deal with agents and publishers, the pros and cons of each. It even touched on self-publishing.

You’re taught the secrets of pitching your work, choosing the best agent, and getting the best deals on the contract. Best of all, they make you feel like you’re not just another author who is begging for scraps, hoping someone who walks by takes pity on you. You’re an author, and the world is waiting for your novel. Superstars is there to show you how to give it to them.

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From now until Wednesday, come back to read more about the seminar and the specific ways it has helped each of us Fictorians—and, more importantly, how it can help you—take your fledgling career to the next level. Starting on Thursday, we’ll be hearing from a couple of the Superstars themselves in a pair of Q&A guest posts. You won’t want to miss what they have to say.

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As a Software Engineer and Security Analyst, one of the things that always bothers me in modern media is how programmers and hackers are portrayed. There seems to be a common belief that they have almost magical powers to pull usernames and passwords out of the air or complete complex tasks in seconds. I know my complaint is common and that anyone in a specialized profession can share my angst, but I thought I would write a little bit on how it actually works. In order to maintain the tempo of your novel, you may be inclined to skip all my advice and use HollywoodOS (the fake Hollywood systems) but at least you’ll be more informed. I’ll try to talk about where we are and where I believe we’re going in the future.

Starting with programmers, we’re a group very similar to writers. All of our work is creative in one way or another. Most of us are given (or help create) a specification that defines what the finished project will be like. Consider this your outline that talks about each chapter and how the characters move around in it. And much like writing the pages of the novel takes time, writing a full application takes a while to code. This is changing even in our lifetimes, however. Frameworks exist that give the developer the ability to create fully functional applications in a short time. Consider this like having a library of plot snippets that you can freely take and insert into your novel. All that is left is to customize the look and flow between the parts. As this advances, I can easily see a future where ‘programmers’ just tell a system what they want, how they want it to look, and the resulting application is built for them.

Next we have the hackers. I will say that the term ‘hacker’ has many connotations and many of them are negative when they shouldn’t be. The word hacker itself is used to describe a group that enjoys the challenge of building new things. This can be that kid down the road that turned his wagon and lawnmower into an awesome go-cart, or even you as a writer. It also commonly talks about people who break software or computer security. Technically, this group should be called a cracker, but since using the term hacker to refer to this group is so common, I’ll bear it and follow suit.

Hackers have many different subsets and it’s hard to classify them as a group. I’ll touch on a couple of the subsets here, but I can’t touch on all of them. First, I’ll talk about the lower class members commonly (and usually derogatorily) called script kiddies. This group attacks using software or scripts obtained from various sources. While their methods are effective, they often do not understand the full mechanics of the attacks they are carrying out. They are quick to take advantage of systems that are out of date and not very well maintained, but are unable to penetrate well maintained systems that may not have any vulnerability already exploited. I wouldn’t be surprised if there was a well organized group that gathered and used these scripts as a form of cyber-warfare.

The other side of that coin, and in my eyes the elite group, are the security experts. These are the members who write the code and find the exploits that the other groups use. This group looks the systems and start prodding them to try to figure out how they work. The simple way of looking at this group is like a spy attempting to enter an enemy’s base. They first scout it to determine how it’s configured and look at all the entrances. With enough information they can pretend to be someone else and walk through the front door, or learn the weak points and attack there. Most commonly, unlike the movies would have you believe, this process does not involve the user sitting at the login screen trying to guess the password. They involve lots of surveillance, analysis, and a great deal of luck.

There is one final group that should probably be included and that’s the social engineer. This is probably the most common type of hacker in television and tv. The social engineer doesn’t look at exploiting the computers, but rather the people who work on them. A social engineer attempts to deceive the users to give them information that can then be used to access the system. This information can be usernames, passwords, secret information concerning the infrastructure, or even just access to the secure systems themselves.

While this only briefly touches on these technological roles, I hope you find them useful in building your characters and perhaps making them a little more realistic. If you have any questions or comments, please ask them below!

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Christmas Tree

Looking at Christmas, we can see different elements coming from different cultures with different priorities, the two that jump to the front being religion and harvest. Religion has been with us since the first cognizant person witnessed the first lightning storm or felt his first earthquake. To their primitive culture, such acts could only be accomplished via a supreme being. It’s not surprising then that many of the holidays surround the worship or appeasement of a god. Even the name holidays comes from Holy Days.

The date is centered around the Winter Solstace, or December 21st. The Norse celebrated Yule, which focused on the return of the sun. If you watched the sun in the sky, each day it would drop lower and lower as the days got shorter. On solstice, the sun would stop its movement and start rising as the days got longer. To celebrate, they would get large logs and light them on fire and feast until the flames went out. The Norse believed that each spark from these Yule logs, which could burn for around 12 days, symbolized a new life that would be born in the forthcoming year.

The Romans celebrated Saturnalia in honor of Saturn, the god of Agriculture. Since farming and agriculture paused for the passing of winter, it provided time for celebration and feasts. Saturnalia also centered on the rebirth of the sun and the hopes of a good new year. One big part of the celebration was the day of Gift-giving on December 23rd. On this day, people gathered to give gifts to friends, family, and patrons.

Finally, with the coming of Christianity, many of these celebrations were converted in an effort to bring more people into the religion. As society progressed and became industrialized, the rebirth of the sun and the worry about growing crops for the next year subsided. Despite this, the history and concerns of our people in the past is still evident in how we celebrate now.

Looking back at fiction, you can put these same ideas into your holidays. If the people of your world never had to worry about food or the loss of the sun, then having them celebrate a Christmas like celebration wouldn’t make sense. Also, in a world where Gods are not only worshiped but actively walk and affect the lives of their followers, certain requirements may be demanded upon them. Think of how these requirements would change through the years. Perhaps a past god required one thing and was replaced with the current god who actively protested the celebrations. How would this effect the world and those living in it?

Even if you don’t tell the world of all the history, it can help give ideas and really give color to the world. If nothing else, it will give you, the author, a deeper understanding of your world and the people who live there. And that can only help improve a novel.

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Following in the line of writers who are giving encouragement to the millions who are taking part in National Novel Writing Month, I would like to throw my encouragement at you.  I understand the rigors of life are time consuming, even on the best days, but the greater the challenge the sweeter the reward, right?  Take a moment to envision this:  You’ve given up time to play the new epic video games that were released this month.  You’ve ignored the new Brandon Sanderson novel that everyone is raving about.  You woke up early on thanksgiving to write before succumbing to the food induced coma.  You apologized profusely to friends and family for ignoring or flat out hiding from them.  But the end is near.  On that last day, you find a secluded place and write.  You’re focused on the scene, not even looking at the word count.  All the hints and threads you wove throughout the book are coming together to form an awesome conclusion.  The battle rages and the protagonist, against all odds, succeeds!  You look at your word count and, like a second victory, it’s over 50,000 words!  Success is yours!

It may seem far away, but it’s within your grasp.  The friends and family you abandoned will welcome you back and will be proud of you.  Most will probably be jealous at your ability to do something so amazing as writing your own novel.  It doesn’t have to be good, it doesn’t even have to be coherent, it just has to be 50,000 words.  Simple as that.  Once you reach that goal, the rest will be easy.  It’s the proof that you have it within you to write.  Afterwards you can edit or even start on your next project.  You’ll be able to take your time and make a masterpiece.

For those of you who are finding they’re behind, look at this as an opportunity.  I’ve talked to people who went on mad rushes to finish before the deadline.  They start writing down anything that comes into their mind.  Random scenes.  Conversations that they’re half hearing around them.  Anything at all.  In these moments, they seem to tap into their inner muse and pure magic flows out of them.  I’ve heard a few say that during the last mad rush, some of the scenes they wrote became their favorite pieces they’ve ever written.  A couple say that the scenes written during that last week were what made their novel great.

Just remember that you have it within you to be great!  Just being one of our readers guarantees that.

Best of luck and I’ll see you at the finish line!

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While surfing a few writing boards, one topic that I see appear quite often is the subject of music.  Usually it’s someone asking what music a writer listens to while writing, and how it affects them.  In other cases, I’ve seen people list a few bands and almost ask if it’s ok to listen to it while writing.  My answer has and always will be, if it helps you write, do it!

Neil Gaiman states pretty elegantly in the liner notes to his music cd “Where’s Neil when you need him:” “music was always part of the writing process — different music for different stories.”  Brandon Sanderson wrote in in his blog: “Music is a large part of the writing process for me. Listening to particular songs, with particular beats, can really get me into the writing mood, sparking images and ideas in my head. I depend on it in many cases to make me write when, sometimes, I don’t feel like it.”  Sanderson, when asked specifically what he listens to, he goes from classical, Metallica, Daft Punk, etc.

Personally, I listen to rock when I want a fast paced scene, and classical or Celtic when I want a softer feel.  I try to match the beat to the rhythm of the scene.  Look at the music you like and look at your scene.  Whichever genre or song you think best matches how you want to write, use it.  You don’t need permission, you just need to write!

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The enemy of every writer is the same:  the blank page.  We each have different weapons that we use against this common foe, but being a programmer by trade, I tend to use software in my arsenal.  Being my first post, I thought it would be a good idea to list some of the common software tools that many authors, including myself, use.  Just to note, these are all my own personal recommendations and I have not been influenced by their publishers.

The Word Processor

Microsoft Word: ~$149.99 with office. (https://office.microsoft.com)
Openoffice: Free (http://www.openoffice.org/)
Google Docs:  Free (https://docs.google.com/)

A common theme you’ll hear when writers give advice is to use what works best for you.  It doesn’t really matter which word processor you use, as long as you have something you can use to write with.  When you write, you should use something that is familiar to you and lets you work with very little thought on how it goes down on paper.  If the line that appears under misspelled words throws you off your game, disable the feature.  You can always run a spell check at the end.  Just write!

Plotting:

Wikidpad: Free http://wikidpad.sourceforge.net/

When I first started plotting my books, I would create a lot of files in Microsoft Word and put my thoughts down there.  As my novels grew larger, my system began to fall apart.  Another author suggested wikidpad to me and it has been a huge time-saver ever since.  It has a small learning curve that takes a little getting used to, but once you’re familiar with it, things begin to fall into place.  As you plot out elements, you can quickly link to other elements and world elements.  This can easily turn a convoluted mess into a well-structured system.  The price is hard to beat as well.

Backup

Dropbox: Free http://www.dropbox.com
Carbonite: $59/year http://www.carbonite.com/

Computer backup services have been around for a while but still tend to go unused by many writers.  Some claim that they don’t want their unpublished works stored somewhere online, while others just haven’t taken the time to set it up.  As with any type of insurance, it’s not a problem until something goes wrong.  I personally keep all my transcripts on dropbox.  The advantages are numerous.  I can access my documents from my home or work.  I can start writing on my desktop at home, and finish from my laptop in a café with no worry of how to transfer it between the two computers.  If I’m at a conference, I can pull out my iPhone and instantly pull up a transcript to show off, or even email to potential agents or publishers.  One other feature I like about Dropbox is that it will keep a revision history.  If you have a bad night and delete half the document in a fit of rage, you can go back and pull up a prior version, restoring the lost chapters.

I will continue to look at other software that may be useful to writers to battle the blank page.  If you have ideas or suggestions, please leave a comment, and I may look at them in future posts.

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