Apple-Obsessed Author Fella

Tag: rantsandramblings (page 4 of 7)

Rants And Ramblings

Beware Of Writer II: Revenge Of The Teenage Penmonkey From Mars

See that guy over there? The one in the alleyway with no pants, his big beard braided with bird bones? The guy twitching like he’s covered in ants? The dude stabbing an invisible demon with an invisible knife?

Now, see this guy here? Ahh, the writer. Sitting at his desk. Typing away. Clickity-clack. Clackity-click. Coffee by his side. Hair slightly mussed. Writing about murders and lost love and space opera.

Let’s say you have a choice to cozy up to one of these two individuals. Hang out with them for a day.

The one you’d choose would seem obvious.

And that’s where you’re fucked.

Seriously. Choose the Charlie Manson-looking motherfucker every time. He wears his crazy on his sleeve, same way he wears his poop on the outside of his body. But the writer? The writer hides his crazy. It’s like a little secret present inside filled with bees. A Pandora’s Box deep in the writer’s troubled heart.

It is time, once again, to beware of writer.

Your Attention Is Our Creative Heroin

Newsflash: we are needy little goblins.

Makes sense when you think about it. Our work — and thus, our lives — becomes geared toward seeking the approval of others. We’ll kill a dude just for the chance to have an agent request a full manuscript. It’s not just editors, agents, publishers, and producers. It’s the audience. We tell you we write because we love it, but the dark reality is we write because we need you to love us.

If you don’t justify our existence, we will wither like a frost-bitten petunia. We are junkies for your love and appreciation. The other night, I had my wife sit in front of the computer and read something I’d wrote. Thirty seconds in, I said, “You didn’t laugh.”

“What?” she asked.

“That part there. It was supposed to be funny. You didn’t laugh. Means it’s not funny.”

“It was funny.”

Squint. Shift. Twitch. “But you didn’t laugh.”

“I smiled. I laughed inside.” She saw the tendons in my neck standing out. Wet eyes trembling like those of a sad Japanime samurai girl. “Listen, if I’m going to read this, you can’t stand there over my shoulder.”

“Okay,” I said, not actually moving.

She rolled her eyes. Kept reading. Finally, I couldn’t take it. I said, “I will give you fifty dollars and a foot massage if you just laugh sometime in the next 30 seconds. Let me sweeten the pot. If you don’t do it, I will know that you don’t love me, and more importantly, you don’t love my writing. My only response will be to run to the bathroom and drown myself in the toilet.”

The lady knows the drill. She accepted the deal. Twenty-eight seconds later, a convincing little laugh. I could’ve licked the computer screen that felt so good. Creative heroin, indeed.

We Bite When Cornered, And Also, When Not Cornered

We look harmless. But we’re like hooded cobras. Very angry humans, we writer-folk. Not sure why, exactly. Maybe all those words get caught up in the pipes and chutes of our brain-plumbing, causing something along the lines of a spiritual arterial blockage.

A whole dictionary full of profanity and rage gumming up our think-machine.

Doesn’t take much to set a writer off. You tell us, “You know, I don’t like pie as much as I used to,” and next thing you know you’re wiping a gob of spit from your eye. Gets worse if you try to talk to us about writerly things. “I don’t think writers should self-pub–” but before you finish that sentence, we’ve broken a laptop over your head and shanked you in the jugular with a fountain pen.

In your blood we shall ink our first bestseller.

You Can See Our Libraries From Space

We like books the way crackheads like crack rock.

We collect books. We hoard them. Anybody who has ever moved from house to house with a writer in tow learns a very unfortunate lesson, very fast: books are the heaviest substance known to man. You’ll be thankful you get to move a fire-safe filled with dumbbells after you move 50 boxes of our books. Many of which we’ve never even read. Or we didn’t even like. Go ahead. Try to take one of our books away. “You didn’t even like this book,” you’ll say. “You said you hated it. That you wanted to find the author and shove this book so far up his ass he could taste his own shit-shellacked prose.”

“But I might like it someday.”

“We’re getting rid of the book,” you’ll say, and you’ll reach for it.

“YOU CAN’T STEAL MY DREAMS,” you’ll cry, then tip over the bookshelf. When the cops drag you away, you’ll casually note how much those feet look like the Wicked Witch’s feet from beneath Dorothy’s house.

We’re Probably Drunk

That coffee cup next to the desk? That’s probably wine in there. Or whisky.

Or paint thinner.

Yeah.

You Shall Be Destroyed! (Uhh, In Our Heads)

Revenge is a dish best served to a character who is secretly you inside a book we’re writing and in that book the dish is actually a platter full of scorpions and then you the character eats them and the scorpions sting your mouth and throat and they keep stinging you and your pants fall down and you slip screaming into a trough full of horseshit and all the townsfolk gather to laugh at you and throw Justin Bieber CDs at your head and finally the scorpions have babies inside your colon. The End.

Uhh. What I mean is, you know that disclaimer you read inside books? “Any resemblance to real persons living or dead is purely coincidental…?” That one? Coincidental, my left nut. We may not punish you in reality, but ye gods and little fishies, watch what we will do to you in our fiction.

“This character sounds like me. He looks like me.”

“I’m sure it’s just coincidence.”

“My name is Burt Smith. The character’s name is Bert Smythe.”

“Still. It’s a… common name?”

“He shows up in Chapter Seven, then is promptly beaten to death by a pack of housewives with double dildos. One of them says something about child support. Then they pee on his corpse.”

“Well, your ex-wife did write the book, Burt. Maybe you want to pay that money after all.”

Spoilery Spoil Heads Are We

“That guy did it,” we’ll say, pointing to some character on the TV. Or we’ll say, “She’s going to shoot him… right now.” Or, “No, you think she’s a hooker, but actually, she’s a he. And he‘s a space elf.”

Sadly, we’re usually right. We don’t mean to be. It’s not because we’re smart. It’s more because we’re obsessives. We watch a metric butt-ton of films. We consume gallons of television. We read a billion books and a trillion comic books. We play video games till our fingers look like rotten kielbasa. We write this shit. For a living. We know the tricks. We know structure. We know about Chekov’s gun and the bomb under the table and the act turns and the subtle-not-so-subtle clues. And we’ll blurt them out uncontrollably. Probably because we’re so goddamn needy.

We may be trying to impress you. Answer unclear, ask again later.

We won’t spoil things we’ve already seen. Well, not unless we didn’t like it.

“The unicorn killed her,” we’ll tell you.

You’ll punch us in the shoulder but we always feel justified. As if it’s not a spoiler if we think it sucks.

Man, we’re jerks.

As Writers, We’re Very Easily Distracte — Oooh Shiny!

When we’re supposed to be writing, we’re distracted by everything else: video games, the dogs, the vacuum cleaner, somebody else’s book, our genitals, a loaded handgun.

When we’re supposed to be doing something other than writing, we’re distracted by the writing.

“Honey, can you put the keyboard aside and stop typing for a minute?”

“Fine. Fine. What is it, you chirping harridan?”

“Well, you’ve been writing for the last fifteen minutes and I’d rather you be doing that thing you’re supposed to be doing? You know? Feeding the baby?” (Or, washing the clothes, driving the car, inserting the nuclear fuel rods into the containment unit, loading the handgun, etc.)

Our Stories Grow Like Viagra-Charged Erections

We are not only lying liars who lie, but we’re also wanton embellishers — the narrative equivalent of someone who cannot stop bedazzling an otherwise boring denim jacket.

When we’re telling a story, feign interest. Because that’s how you get the truth out of us. If you start to drift off — you start going through the mail, you stare off at a distant nowhere point, rivulets of drool begin creeping down your chin — we will crank the volume knob on the story louder and louder until we regain your interest. “I was at the post office today,” we’ll start. “Man, the line was crazy.”

“Nn-hnn,” you’ll say, paying only half attention.

Our eyes will narrow. We’re suspicious. Okay. Fine. Fine. You want to play it that way? Done. “The guy in front of me smelled.” This is true. This is part of the story. But then, we add: “He smelled like a corpse stuffed with a dozen Italian hoagies. He smelled like a dead guy exuding hoagie oil from his pores. I almost threw up.” Ah. Ah-ha. Yes. We’ve started to hook you. You’ll look up.

“Really?” you’ll ask.

“Oh yeah. And then he was mauled by a bear.”

“A bear.”

“Yep. A Kodiak bear. Not a record-breaker or anything.”

(We don’t want to seem like we’re embellishing, after all.)

“And where did this bear come from?”

Pause. “Uhhh. A hang-glider.”

“He came down from a hang-glider.”

“I took it too far, didn’t I.”

“Probably.”

Of course, on the other side…

We Have Judged Your Story, And We Have Found It… Lacking

We wish the rest of the world would embellish. Everybody tells stories. We’re just dicks about it because we think we’re the experts. We’re not. We’re just bloviating gas-bags. (But don’t tell us that.)

You’ll finish up your five minute story: “… and then Jenkins gave the boss a look like, whatever, and he went back into his office. Then we all went to lunch.”

“That’s it?”

“What do you mean?”

“I mean, that’s all you got? That’s the story?”

You frown. “What the hell were you expecting?”

“I give that story a D-plus. C’mon. It had no third act turn. The escalation was mostly a flat line from zero to zero, and I didn’t see a lick of character development. Jenkins didn’t have any kind of catharsis. God. Couldn’t you have thrown in a screaming porn star or a ninja or something?”

“You know, I don’t think that’s particularly fair –”

“A SCREAMING PORN STAR OR A NINJA OR YOU WILL GET THE HOSE.”

See? Beware of writer.

The first “Beware Of Writer” post can be found here. That post is this blog’s easily most popular, having gotten by now over 200,000 looky-loos by you, The Internet Public, and collecting 139 comments. Thanks, you crazy cats and kittens, for checking it out. If you like the post, spread the love.

 

The Care And Feeding Of Your Favorite Authors

Mmm. The $0.99 e-book kerfuffle continues, and continues. And also: continues.

Some required reading, before I yammer.

Zoe Winters asks, “Does low-balling attract the wrong kind of reader?

Cat Valente points out that if you’re willing to plunk down $5.99 for a latte, you should be willing to shell out more than a piddly buck on an e-published novel.

And finally, sticking the landing, Scalzi makes the electronic publishing BINGO card.

Go on. Go, read those.

I’ll wait.

Back already? Excellent. Here, have a cookie and a coconut water.

So. Do I think that, at its core, a buck is too cheap for novel-length fiction? I do.

Do I think that self-publishers saw the larger prices put forth by big publishers and decided to counterbalance too dramatically with a race-to-the-bottom price? I do.

Do I think that $0.99 represents something of a slippery slope for book values? Do I think readers are accustomed to, even in the cheapest used book format, paying more than a buck for fiction? Do I think that publishing is a totally different ball-game than the music industry and that ultimately you can’t compare the two meaningfully in part because musicians have other ways of earning out while writers have only one, which is the value of their words, and nobody long-term can sustain bottoming-out story values? Do I think that alpacas are part of a giant fuzzy-headed pyramid scheme?

I do.

But that’s not what I’m talking about.

Really, this is inside baseball. I’m sure readers at some level are aware of this and have an opinion, but the larger readership does not yet understand it. My mother doesn’t know about it, and my mother is a voracious reader. None of the authors she reads price their books like that. Frankly, they may never. Will we start to see Jodi Picoult and Stephen King throwing around $0.99 e-books? I’m not sold on that.

What this is about is that it’s hard out there for a pimp writer.

I don’t have stats, but from what I can tell, it’s getting harder to make a living as a writer. The money is down. The work isn’t there. Part of it is the recession, but it goes deeper: the Internet democritized content and creation but it also softened the value of that content. Maybe it’s a supply and demand thing. The marketplace is flooded with storytellers. At this point we’re like wandering troubadours. We swarm your town. You throw us your bread-scraps and we move on. Maybe it’s an illusion. Maybe we’re all floating around on yachts and I just didn’t realize it.

It may be true that you consider a dollar a reasonable price point for fiction. It may be true that you don’t feel any responsibility to the marketplace now or in the future.

But hopefully, it’s not true that you don’t care about authors. Authors are awesome. Batshit crazy, maybe. Functional alcoholics, most certainly. But they’re fulfilling a critical task that mankind has needed filled since forever: they’re telling stories. And that’s some pretty nifty shit.

Here’s what I’m exhorting. I’m asking that you take care of your authors. Think of them, perhaps, as little whisky-guzzling Tamagotchi. They require care and feeding lest they wither and die in a cubicle farm.

If you find an author you like, support them.

What does this mean?

It means, if they have other books? Buy ’em. Now. Right away. It means, get on social media and say, “Hey, this book, this author? Some hot shit right here.” Ultimately, it means you’re spreading the word and trying to keep it so that they can buy things like food and mortgages and Bourbon. See an author at a con? Buy him a drink. Does the author have a Cafepress store? Buy something from it. Or donate on his donate button. Become a fan. Expect good storytelling in return. This is doubly true if you’re buying books at a bottom-dollar price. You do that and you like what you got out of the deal, then it’s up to you to make sure they don’t starve in a gutter somewhere while wasting away from a Bourbonless life tuberculosis.

Writers are part of your creative ecosystem. Don’t damage that ecosystem. Give back to it. I know that writers need you. I hope that it turns out that you need writers, too.

This has been a public service announcement from the Bourbon Distilleries of America.

Do You Speak The Ancient Baby Language?

And so our intrepid heroes descended into the dank, rank dungeon — the portcullis before them shuddering and shedding rust as it rose into the stone. Down below, they heard the gibbers and wails of… babies. Human babies, hungry for attention, their glistening teeth emerging from pink gums hungry for the blood and souls of heroes! Our two protagonists knew that this day would not be won easily; the babies were armed with Binkies, Boppies, and Bjorns, the wretched weapons of goblin children.

— From The Heroic Cycle Of Der Wendighaus, Book 72, Tenet 17

This past weekend, we went to Babies R’ Us.

The horror. The horror.

First and foremost, let me express my utterest disappointment that you cannot, despite the name of the store, procure any actual babies in this place. I figured, hey, we’ll pick up a baby for rent or purchase, we’ll see how we like it. We’ll train and practice on this baby so that when we finally expel our own into the world, we’ll have a little practice. Nope. They do not rent or sell babies at the inaptly-named Babies R’ Us.

Second and nextmost, let me express my complete amazement and jaw-dangling astonishment at the sheer wealth of baby goods for sale (“wealth” being a bit of a double entendre here given the cost of many items). You walk in there and it’s like, “Here, presented for your edification, are seven thousand strollers.” I don’t believe that adults have as much choice in automobiles as they do strollers for their children. Or car seats. Or carriers. Or bouncy things. Or formula. Or, or, or.

I feel like I’m an explorer trying desperately — and failing with equal desperation — to understand an alien culture. Boppy? Bjorn? “Have you checked out Badger Basket? What about My First Nuk? Foogo! Fuzzibunz? You probably need butt paste. I love my Bumbo!”

I just want to throttle someone and be like, “FOR GOD’S SAKE SPEAK ENGLISH OR I WILL SLAP THE PACIFIER OUTTA YOUR MOUTH.” Like babies aren’t going to be complicated enough, now I need a translator just to figure out what crucial products will help keep my progeny alive and not utterly ruin him as a human being? Can’t I just wash the baby in a tin pail? Can’t I rig up something with duct tape to keep the little tyke upright? Is it really unethical to feed him breast milk from a Super Soaker? Were there always Babies R’ Us installations throughout time and space? Did travelers on the Oregon Trail stop at the Babies R’ Us along the way? “You have killed a buffalo. Your baby requires a Bumbo. You have died of dysentery.”

What would the pilgrims have done if the Indians hadn’t already set up a store at Plymouth Rock?

Up until walking into that store, I figured I at least had a primate’s understanding of how to take care of my young. Feed him. Put him to sleep. Don’t try to shove rocks into his soft spot. Make sure to bathe him once every six months so that he doesn’t build up some kind of exoskeleton composed of calcified baby grime. But walking in there, you’re suddenly confronted with a wall — an actual wall — of bottle options. Big bottles, little bottles, various nipple attachments, some help with Colic, others give your baby the strength of five angry chimps, AHHHHH *head asplode*

Every piece of baby minutiae — every object one could ever imagine buying for your infant — comes in a thousand varieties. Choose the wrong one, and your child may grow up a con-man, a serial killer, or worst of all, a politician. It’s a whole lunatic industry. A churning hell-beast belching diaper-scented steam and leaving behind a crass rime of baby powder like the ashes of the dead. And this shit ain’t cheap, either. We spent a little while testing out “gliders” — aka the future’s version of a “rocking chair” — and of course, the lower-end cheaper gliders felt like you were sitting on a concrete drain embankment studded with broken abalone shells. The moment you sit in one of the gliders that’s actually comfortable you note, “Oh, this glider is $5,000 dollars. And it doesn’t come with an ottoman. Or arm-rests. Or the actual chair. It just comes with a little baggy full of screws, and then I have to special order the rest, and coupons don’t work on special orders and AHHHHH” *head asplode*

Me, I actually liked their one rocking chair. Seriously. It was comfortable as heck. Firm back. Snug. Good even rocking motion. I told the wife, “I like this one.” She stared at me like I’d grown a dick for a nose.

We got to the store early, and it was nice and quiet. But an hour later, the place was overrun by wailing, keening crowds of mothers-to-be and families checking items off of registries.

Oh, and everything for boys either has a football or a monkey on it. First, I never owned a football as a child. I want something with baseballs, goddamnit. Second, I love monkeys. I do. But ten minutes in that store, dang, I’m over monkeys. Done with primates. It took us forever and a day just to find one crib set with woodland creatures on it (owl, fox, bear, Snooki). And given that they were having a weekend sale, we decided to go ahead and procure some of that set — including this cute li’l lamp that we’d seen on Amazon before — and of course we get the lamp home and it’s crooked. Like, really crooked. So, back it goes.

Still, we managed to get out with our lives and, more importantly, our sanity intact. But next week we have to go back to return to the lamp. Once more, into the dungeon.

Maybe by then we’ll have hired a translator.

The Freelance Writer’s Guide To Stabbing Oneself In The Eye With A Highlighter, A.K.A., “Taxes”

It’s that time of the year again! When I go to a lady and I vomit forth a bushel of faded crumpled receipts and then we talk for a half-hour or hour about my “work,” and then a week later she writes up this very nice helpful packet detailing exactly how much money the Tax Imp is going to steal from me while I sleep… the way cats thieve breath from infants. Good times.

I’ve had a few people now say, “Chuck, you should do a post about freelancers and taxes. It would be helpful!” to which I ask, “How would a post in which I weep and gnash my teeth and headbutt the computer monitor help anybody?” But, apparently, it will, so here goes.

Let me put forth this most critical of caveats: I am not an expert. I write stories about vampires. I write blog posts about unicorns and Bourbon. I am not to be trusted with critical financial information. You want help on the tax code, you go see Dan O’Shea, who is both a) a really great writer and b) a guy whose brain has been shattered by the intricacies of the American tax system. Anything you read here should be taken with a grain of rice big enough to hollow out and use as a luxury cruise liner. Capiche?

Do Not Pass Go, Do Not Collect Your $200: Get An Accountant

The tax code is a labyrinth, and at its heart lurks a terrible minotaur that will hold you down, teabag you, poke you in the eyes with his horns, then eat your bowels for brunch.

In much the same way that you would not arrange a trip up into the Himalayas without getting yourself a bad-ass Sherpa, you should not attempt to handle the trip into Tax Hell yourself. Taxes are not merely complex. They are downright Byzantine, and this is doubly true for the freelancer.

You may say, “But what about software? Like Bobo’s Tax App or the Tax-Bot 12000?” My opinion is: get an accountant. A human accountant. Because we cannot trust robots with our financial future. Robots secretly hate us for our ability to have tickle fights and eat ice cream, and so they will betray you. Seriously, though, a human being will tell you things, respond to questions, and explain stuff that software cannot.

That being said, not every accountant is born equal. (And ohh, they are born, not made. Anybody who is willing to do this is the product of nature, not nurture — like the birth of a hero willing to slay dread beasts.) I had one accountant who was a real dog-fucker, that guy. Didn’t tell me shit. Didn’t interact with me. Didn’t get me squared away with critical information. The next accountant was the polar opposite. Informative, interactive, actually friendly. Mileage varies. Get recommendations. Test ’em out.

Also To Be Gotten: Booze, Booze, Boozy Booze

Listen, I’m not condoning the use of alcohol during the varying stages of tax prep and resolution, I’m just saying — *wink wink, mimes drinking from a big bottle of wine, whisky, or motor oil, then goes on to mime crying in the shower, shooting heroin in between toes, and praying to all the gods in all the heavens for a glimpse of forgiveness* Booze is your little tax buddy. Like that animated Paper Clip in Microsoft Office?

Except, y’know, less annoying.

Pay Your Shit Quarterly

Throughout the year, you must, you must, you must increase your bust pay your taxes quarterly. When I first started freelancing, nobody told me this. Not even that dickwad accountant I had. Turns out, yeah, you actually really need to. Otherwise, they penalize you. I always wondered, “Hey, why is it every year a big bare-chested dude in an executioner’s mask breaks down my door, steals my money, then pummels me in the kidneys with his giant hamhock hands? Did I order this over the Internet? Damn you, Amazon Prime!” But, no, no, it’s because I wasn’t paying quarterly.

If you don’t want to pay more than you already do, pay quarterly. An accountant can get you set up with estimated quarterly taxes. The accountant is a mighty wizard who can read the languages of madmen.

Sweet Deductions Born From Between An Angel’s Thighs

*chorus of singing Cherubim*

Provided you’re not spending more than you make and shooting up a signal flare for the IRS to see, you have at your luxury the ability to deduct lots of wonderful things as a freelance writer. Take a meeting in a coffee shop? Buy books for research? Blog hosting fees? Travel to cons? Lunch with other writers? Magazine subscriptions? Office supplies? Electronics? Porn? Okay, maybe not porn. But if a purchase is for your business, ta-da, deduction. I have a room in my house that is my office, and any resources that go toward maintaining this space (including oil, electricity, etc) are figured into the equation.

All this only works if you save your receipts.

Invest, too, in highlighters. And accordion folders. And small foreign children to put it all together (in fact, you can deduct what you pay them!).

It really is critical if you keep some kind of organization. Like, what I do is I shove receipts in various pockets, drawers, wallets, cubbyholes and orifices, and then when tax time comes, I run around like Mike the Headless Chicken gathering up all my lost and forgotten receipts. So. Yeah. … On second thought, maybe use a file drawer. (To be fair, I have a file drawer set up for this purpose thanks to my wife. But halfway through the year I sort of… usually forget about it? Ennhh. Oops.)

Are You Your Own Corporation?

Some freelancers will tell you that they performed the grim magical mechanics (re: paperwork) and have become their own corporation and that this helps them come tax time. This may be entirely accurate, and they can (and should!) sound off below on the value of doing so. I am not yet that guy, as my accountant has advised me that it wouldn’t be all that beneficial for me at this time. I am not yet Chuck Wendig Enterprises, Inc (Terribleminds Division). I do not have my own corporate cyberpunk army of dudes in suits and sunglasses with powerful ocular implants and laser fingers. But I will. You just watch! Pyoo! Pyoo!

What I’m Saying Is, Prepare To Pay Out The Crap Can

Everybody pays a lot of taxes, but freelancers also don’t put in for things like Social Security or, I dunno, paying for your state senator’s anal bleaching fees or whatever. So, freelancers kick in a little extra cream. It’s not actually more than other people pay, I don’t think, but it feels like it, and so we often emerge from tax season wondering exactly who bent us over a trashcan and took us at both ends with a corncob.

Sound Off

I know a number of freelancers — writers, artists, knights of the realm, hobo warriors — orbit in the space around this blog, so feel free to descend from the rheumy nebula and sound off on your tax strategies. Do you use software, or an accountant? Are you the mythical “S-Corp?” What do you deduct that others do not? What booze do you drink? Where are your pants? Have you found a way to deduct pantslessness?

Everybody Can Do Everything: DIY Days

Ahh. Another DIY Days come and gone.

If you don’t know DIY Days, then simply put it’s a free conference for people who really want to do shit — or, as I apparently said last year, “Make Shit, And Make It Awesome” (via mighty Guy “The Dread Pirate LeCharles” Gonzalez). This is a crowd who doesn’t want to sit on their hands. Who doesn’t want to kowtow to gatekeepers, who has no interest in asking for permission. Many are storytellers, but just as many are the makers of the tools that help storytellers tell their stories. As Guy said yesterday in a tweet, the energy there is different than at other conferences, and because of that, feels more inspiring.

I was afraid I wasn’t even going to make it to the conference, honestly. Night prior I spent awake every hour or so with stomach problems — morning came and I felt hollowed-out. Like a gutted pumpkin. Could barely drink a cup of coffee, ate like, 1.5 pieces of sourdough toast. But I felt better than I did at night, so the wife sent me off with cookies and Gatorade (a good substitute for meth and Four Loko in a pinch!), and I drove to Jersey to catch a train into the city.

On the train, got to hear two strangers have a conversation, which is a thing that I love to witness. A Latino man and a black woman had a long conversation about all kinds of things — Facebook, child predators, gang initiations, how gangs used to leave civilians out of their business, movies new and old, etc. At the end of the train ride, they’d formed an actual connection as like, temporary friends. She asked him his name, he hers, they shook hands. She said to him, “God bless you,” and he to her. It was this kind of neat, connective moment — which, perhaps unexpectedly, sits nicely in-theme with DIY Days.

City was great. Weather was — *mwah* — so good. Fifty-five, sunny. Fuck yeah, Spring. Put your earthen boot on Winter’s icy neck and press down until you hear the crinkly snap of an icicle spine.

Still, got there later than I wanted. Missed Lance’s talk about Storytelling Pandemic, though one supposed I didn’t really need to see that talk given my involvement.

First person I met was Jeanne Bowerman — a truly rockin’ Twitter pimp if ever there was one — and this would unfortunately be my only real encounter with her for most of the day. Actually, this is a theme: I met a number of people and really only got to spend so much time with them. Next time I’m in the city, I need to somehow earmark more time to actually be in the city. Which probably means staying over somehow. *makes note — start collecting couches in NYC and LA on which I can crash* I met Iris Blasi, Caitlin Burns, Nick Braccia, and of course Guy Gonzalez, Andrea Phillips and Jim Hanas. Dave Turner — @electricmeat — is an officer and a gentleman. Jonathan Reynolds — @therealjohnny5 — was not lying and did indeed sneak me a little bottle of 15-yr Glenfarclas. Fortunately, not before my talk.

Some takeaways from the day’s events:

• Data can tell a story, says Nicholas Diakopoulos. Though, to play Devil’s Advocate, does it really? Is that how data is intended? Human nature is such where we must draw connections — in many cases, narrative connections — between two unlike things to find understanding and context. But that also doesn’t mean that human nature is correct. Data may tell a story, but seems just as possible that we create stories out of data, or find data to fit our stories. Or something. Here’s some data for you: I wear pants only 35% of the time. What story does that tell? Either way, engaging presentation with some really awesome visuals.

• Mistress of the DIY Empire known as “Dr. Sketchy’s Anti-Art School,” Molly Crabapple, is awesome and full of snark. She tells you how to deal with haters by imagining that the best and most wonderful artist that you love has, when Googled, someone out there calling them fat or telling them they suck or whatever. You would then respond, “That person is crazy,” which is how you should envision your own haters — as crazy people. Love, too, that Dr. Sketchy’s is basically an art-school version of Fight Club, with “franchises” worldwide. Doubly love that she makes sure the franchises pay their models. Finally, she notes that too many artists spend too much time on the “swoosh” in their logo and don’t get down to business. This is true for writers, too — some writers become so obsessed with [fill-in-the-blank] (platform, strategy, worldbuilding, etc.) that they forget they need to actually write something and then get it out there.

• Brian Newman says that if you get involved in any one issue, let it be Net Neutrality. He notes that the name “Net Neutrality” sucks, and if you want to help fix it, then as an artist and a creative human being it’s your job to help re-frame that problem in a way that people understand it. Because, right now? They don’t. Also, don’t let it be DIY — let it be DIWO. Do It With Others. Which sounds sexier than intended.

• Michael Margolis helps you reframe your bio online — the short form takeaway here is “Character Trumps Credentials.”

• Ted Hope and Christine Vachon had a very organic back-and-forth: love the idea that somewhere in the middle of art and business is where we find the way to get our work out there. Like too that neither producer is afraid of digital work, and notes that some of the work being done in that arena is better, sharper, stronger than what you find amongst Oscar hopefuls. Sidenote: if you haven’t watched it, you really need to check out the SUPER trailer (Rainn Wilson, Nathan Fillion, Kevin Bacon). I want to see that pretty badly — in reference to it, Ted noted that girls are taught to be supermodels and boys are taught to be superheroes, and from this kind of diseased mindset comes the movie. Another true notion: creating art and putting your craft out there is an act of running full speed at a wall and praying for it to open. Sometimes, it does open for you.

• Andrea Phillips — of the excellent Deus Ex Machinatio — noted, in her Ethics of Transmedia talk, that her work has been denounced by NASA. This is awesome in ways that cannot be described. I long one day to be denounced by NASA. That’s good press, right there. NASA’s had it too good for too long. Also, in private conversation, Andrea and I talked about how what’s important in fiction (whether in transmedia or in gaming or in the written word) what’s most important isn’t realism so much as it is authenticity. Stay true to the story you’re telling and the world it lives in. Don’t be so concerned with reality and fact.

• Transmedia is becoming an overused word, say some.

• From Faris Yakob and Brian Clark (who probably now thinks I think he’s Mike Monello), an interesting idea: charge as much as possible for half your time so that the other half of your time you can create what you want to create. Basically, become your own investor.

• From Scott Lindenbaum, of Electric Literature and Broadcastr: “When not monetized, creative endeavors are mere hobbies. It’s crucial we protect them as professions.”

• Further proof why nobody should let me speak out loud to other human beings: I will discuss teabagging and hookers. Thankfully, Greg Trefry was there to balance me out. Greg’s an awesome dude. In fact, he’s the kind of awesome dude who runs roleplaying game sessions for his students and asks me questions like, “How important is it that they get to roll their own dice?”Anyway. I think our talk went well?

Overall, the theme of the day orbited around the democritization of creative tools — where once it was expensive and prohibitive to create music or film or transmedia endeavors, it’s getting cheaper and cheaper. This mirrors the publishing world, obviously — where once big publishers were necessary to do X, Y, and Z, we’re seeing a Renaissance (for good and bad) of DIY storytellers saying, fuck it, I don’t need to pay the gatekeeper, I don’t need to ask for permission, I’m going to do as I like — I can hire my own cover and book designers, I can get my own editor, I can find my own distribution channels online. The trick is, democritization of tools does not also mean the democritization of talent. There is in self-publishing communities the idea that the cream will rise to the top — what you might call “Talent Will Out” — but I don’t know that this is proven yet. Which to me shows that the most important component to balance the democracy of tools is filter. We need more meaningful filters across the ‘Net. Vast procedural filters from Google and Amazon and so forth just don’t cut it.

Final takeaway:

Be energized. Get creative. Find a way to put your work into the world. And don’t let me speak in public unless you want to hear about ramping a mini-bike over 100 hookers.

Thanks, as always, to Lance Weiler for putting this thing together.

Can’t Finish That Novel? Try Dopamine!

So, you’re writing a novel.

Sure, sure.

Let’s see if this has happened to you.

Somewhere around the 20,000 word mark, or maybe at 40,000, a slow, creeping dread settles in your bones. It’s cold, like saline in your arteries.

You stop and think:

“Okay, let’s figure this out. I’m going to write this novel for three months. Then I’m going to need another month, maybe two, maybe three, to get it read, get it cleaned up, get a second draft out. Might need to do a third draft. Or a fourth. This could take me a year. And then what? A month to find an agent? Six months? Then it’ll take that agent the same amount of time to sell — or, more likely, not sell — the book. Then it’ll be a year before it comes out. God only knows how well it’ll even sell. Is it original? What if someone beats me to market? Dolphin Vampires are hot right now, but in… let’s do some math here… two years? Advances are shrinking. Borders just fell into a pile of its own sick. I heard a rumor that nobody’s publishing any new authors. This book isn’t even that good. I’m not really that good. I’m, what, C+ at best? What am I doing? Who are these characters? Why are they saying these things? Are these even sentences? Should three commas be shoved together like that? Where are my pants? Why can’t I feel my legs? My mouth is dry. I need a drink. I need a gun. I need a gun that will shoot a drink into my brain. The Scotch-Gun. The Wine-O-Blaster. I don’t think I want to write this novel anymore. By god, what’s the fucking point?”

Then you kind of melt into a puddle of insignificant goo.

Problem is, writing a novel is like a walk across an endless expanse. You only start to see the end when you’re, duh, near the end. The rest of the time, you’re left wandering. Uncertain. The sun is bright. The land is bleached. The peaks and valleys you found when you started have evened out.

It’s time for —

No, wait, I need to do this in all caps.

IT’S TIME FOR SOME MOTHERFUCKING DOPAMINE.

Dopamine is released when we complete or achieve something. It’s why those stupid Xbox achievements are small but meaningful — that little bubble window that lets us know bloop, we just earned the 10 point achievement for “Donkey Wrangler” gives us a tiny spike of dopamine. Video games mete out achievements and successes in a smart way — a mini-boss here, a new weapon there.

Writing a novel has none of that.

Not really, anyway.

So, we need to trick our brains into releasing some dopamine along the way, into convincing us that this is indeed a worthwhile endeavor. Because it is. Because telling a story is a glorious thing deserving of mighty praise. You are laying down legendary footprints. You are ripping open the Bigfoot’s stomach and showing the world its contents for the first time. Storytelling is some awesome shit.

As writers, we need something that rewards us — like how when the rat does something good, he gets a food pellet or a mouse comes out and tickles his nuts with a feather.

Part of me thinks, dang, those god-awful goblins that plague a writer — lack of discipline, procrastination, self-doubt — could be cured if we just figured out a way to trigger dopamine in our penmonkey brains.

Some of it we can do ourselves, right? We set benchmarks and, at each benchmark, gain rewards. Could be graded like experience points in a game. “When I get to 1,000 words, I get a cookie. When I get to 5,000 words, I get an ice cream cone. When I get to 10,000 words, I get a handjob.” And the rewards continue to escalate from there: oral sex, new video game, ice cream cake, a day off, a pet komodo dragon.

And what-have-you.

We can certainly incorporate others into our Quest For Dopamine, too. Have friends, loved ones, sex monkey partners and writing buddies help you out — high-fives and offered rewards for achieving certain milestones.”Get to 5k, I’ll send you an e-card. Get to 50k, I’ll send you a bushel of apples. Finish the novel, I will grant you the power of God.” Or whatever.

But dang, it’d be great if we could programmatically do that. Like, when you literally hit that mark, your computer bings and you get some kind of Storyteller Badge. You could get achievements for using a certain rare word or for utilizing alliteration without appearing like a douche. (Shut up, I love alliteration, stop dumping pig’s blood on me at the Prom.) This sounds like a hot mod for Scrivener.

I’m not just being glib. I’m actually serious.

We writers need to trick our brains into ejaculating a creamy packet of dopamine.

And so I put it to you, Internets. Let’s talk about this. Let’s figure out how to set up rewards to get us through the grim, tireless expanse of writing a novel. We need to crowdsource this bee-yotch. We need to hive-mind it. We should smash all our brains together until it is one treacly ball of mind-clay.

Writing.

Rewards.

Go.

(Sidenote: I now want to create and market a new brand of candies called DOPAMINTS. They will be crisp peppermint suckling candies that dissolve sweet, sweet dopamine into your body. Nobody can take that idea from me. I call dibs. I call dibs! By the Law of Dibs, it shall be mine!)