Writing to the Point is a short (152 airy pages) yet deep (spanning everything from “Chapter 1: The Basic Basics” to dealing with agents and who to format a manuscript) writing advice book. It took me slightly less than an hour-and-a-half to read, and I haven’t come away from a writing how-to book this turbo-charged in a long, long time. Read More
You’ve written your novel, published your stories, signed an autograph or two1. And then you get the question: so, what’s your platform like?
What the hell is an author platform? Have you got one? Is it contagious?
Easy there, buckaroo. Help is on the way.
An author, or author’s, platform is all the online presence you’ve got2. It’s your website, Twitter feed, Instagram account, and forum moderator powers put together. And the most basic, and easiest to do, part of your writer platform, is your author website. Read More
There are some things that work plain better than others, that resonate with your needs better than others. When it comes to writing, I have tons of resources that I use on occasion, some that I use repeatedly and a few that I use all the time.
This is my Top Ten List of Writing Resources for the fall of 2016 (with some bonuses and honorary mentions). Read More
For a while I felt on a roll. Then I had the week from hell…
David Farland, in his Drawing on the Power of Resonance in Writing has the answer: because some events or experiences in the story are alike to what we ourselves have experienced and been moved by. Of course, different readers will react differently. If you ate a cheese-and-baloney sandwich when you found out that your beloved kitten had been run over by a bulldozer, you might cry at the thought of baloney, while I may not1. Different people have different experiences.
But what if there was a way to create these sorts of emotions within the story itself, regardless of who the reader is? Read More
Until very recently I had no idea what being a professional writer meant. I had a vague idea that I wanted to get paid for writing, and that I should be able to make a living from my writing and game design combined, so that, you know, I wouldn’t need to go to work anymore.
I bet that you’ve had that kind of dream: if only I’d strike it big/win the lottery/accidentally buy a Ferrari made out of solid gold I’d be able to retire, live my dreams and eat lunch in my pajamas1. But it never happens does it?
It sits there, right at the end of your book. Your author biography1. That little blurb where you’re supposed to put interesting facts about yourself. But what do you put in it? And, more importantly, why?
Because an author bio has but one function – and it’s got nothing to do with introducing yourself.
Here’s why. Read More
But here’s an update about what’s been going on.
I broke my arms. Opening my skin with a set of industrial shears was easy, and there was hardly any leakage. Removing my torsion bars went badly though. They were a titanium beta alloy, cut with aluminium and vanadium to give them extra strength, and wouldn’t break easily. I inserted my left arm into the vice and told Neleen to start it. Read More
For about two minutes. Then I was ready to see if I could commit suicide by paper cut. That’s what my first, solo playtests usually do to me.
But let’s recap. I’ve written about the spark, the part where creativity reigns free and I spew ideas the way a first-year computer science student spews regurgitated lager1. I’ve written about building the first prototype. This post is about what happens next: the solo playtesting, where crappy games are beaten into gold2. Read More