Category Archives: Meaningful Post

Thus Spake Drusilla the Ditmar Diprotodon

Some of you might remember last year when I introduced you to Drusilla, the Ditmar Diprotodon. This time-travelling spokesmammal of Australian SF has apparently remained in our time-stream, mostly for the fiction. Rumours of the secret megafauna invasion are still largely exaggerated and (for now) she is an ambassador of literature and peace. Today, she joins me on the Fisch-blog to talk about all things Ditmar.

JF: Hi Drusilla the Ditmar Diprotodon, thanks for stopping by.

DDD: My pleasure, Jason. Thanks for the huge bushel of vegetation.

JF: I’d do the same for any of my guests. Now, my sources tell me that you’re a passionate advocate of the Ditmar Awards.

DDD: Indeed. I think it’s wonderful to reward creative minds. We had a similar popular-vote award back in the Pleistocene Epoch, “The Mammal’s Choice Award”. Though our categories were more along the lines of Best Survivor, Species Viability, Most Effective Predator and the like. We still had a Fan Art category though.

JF: Megafauna are nothing if not organised. So, Drusilla, do you know who you are nominating in this year’s Ditmar Awards?

DDD: Oh yes! I’ve perused the 2013 Ditmar Eligibility List and cobbled together a list of my favourite books, novellas, short stories and even some reviews and podcasts that I got into last year. The beauty of the Ditmar is that I can nominate as many things in as many categories as I like. You don’t dilute or divide your nomination by doing so.

JF: So, if you were a creative type nominating your own work (which is okay to do) it doesn’t hurt you at all to list other works in the same category?

DDD: Indeed. You’re a mug if you don’t. I think that this mechanism effectively neutralises any self-touting – by the time the self-nominations are tallied up, the real results would come from the additional “I also liked this stuff” nominations.

JF: So, you’re saying the system works?

DDD: I know the Ditmars are not without their own controversies. Nary a year goes by without some sort of battle royale about the results, accusations of bloc voting, all of that drama. It reminds me in many ways of the “Mammal’s Choice Award” of 50,000 BCE. Brutor the Marsupial Lion was accused by many of rigging the vote for Most Effective Predator, but it turned out he really was the Most Effective Predator, as numerous corpses attested to.

JF: So do you think there was bloc voting, both now and then?

DDD: Probably. But that’s the law of the savana. No doubt many of Brutor’s relatives put their paws to the ballot, but it was probably a statistical blip when compared to the other terrified votes. At least the result was accurate! The Ditmar nomination process resembles a circus of touting and enormous lists of eligible works, but I think it’s a necessary process. After the initial flurry of activity, the overall numbers would float to the surface, and then the most representative value appears on that final ballot paper.

JF: I heard mention that you were frustrated by one of the rules?

DDD: Yes. As a fan, I was stymied by rule 4.1 “Nominations will be accepted only from natural persons active in fandom”. Stupid homo sapiens, of course you try to keep the fun all to yourselves. But ultimately I got around it by signing up to each Natcon, and I quote “or from full or supporting members of the national convention of the year of the award.”

JF: That’s clever.

DDD: [munching sounds]

JF: We need another wheelbarrow of lettuce in here.

The Rabbit Hole of Research

It’s bloody great fun to fall down the rabbit hole of research. One of my favourite parts of writing is the conception stage, where you get to play fast and loose in the land of what-if. You know, collect shiny things, see how they fit together, woolgather and generally daydream about a topic.

When I was a little boy, I used to love poring through all sorts of books, encylopedias, whatever was lying around. I remember jumping from factoid to factoid, and used to love learning little bits of everything. Outside of pub trivia and writing, this sort of scatter-brain learning doesn’t have much practical use. Luckily I’ve parked my bum behind a keyboard once or twice (and pub trivia’d with the best of them).

And even now, one of my happiest joys is to faff around on Wikipedia or similar, rolling around in knowledge like a dog in poop. It’s almost like a game that I play with my own mind, where everything in a made-up scenario has to comply with its own logic. When I was writing the zombie novellas for Black House Comic’s After the World series (that have been repurposed into my novel Quiver, which is on sale here – wow, see what I did there!) I was a research NERD. I’m serious, I think I’ve learnt more about England, southeastern USA, the US military, Cuba, golf-carts, the English correctional system and about 1000 other things than I ever needed to know. In one instance, I needed to know where one of the characters lived in Gravesend, Kent. To get this information, I had to look up teacher salaries, and real estate, and figure out roughly what sort of house this man could realistically afford, and what would be a nice area to raise a family. This was all to get a street name, which I used ONCE.

This is an essential part of my what-if process – grab many disparate elements, find a way they fit together, and follow that thought for as far as it can go. Before you know it, you’ve got yourself a story sunshine 🙂

Of course there’s more to writing than just the outlining/conception phase, but by Jove’s bearded toothbrush, that’s the most fun bit for me.

If you must NaNo, don’t forget Fallow February

Ah, NaNoWriMo. That’s National Novel Writing Month to the uninitiated, a global event where aspiring writers crank out 50,000 words of first-draft during November. There are criticisms against this event by some, affirmations of its usefulness by others, and if you’re a writer you’re either gonna love or hate it already.

I won’t go into any of that here. One thing I thought worth mentioning is this – one frequent bit of writer advice is that You Must Produce. Write, write, and write some more. Work those fingers until they are bloody stubs and your keyboard the cheese grater. You can’t send out the story that hasn’t yet been written. And this is all true. When the time is right, you must apply arse to chair, and just bloody get on with it. It’s so easy to talk about writing, but if you’re serious about it, you’ll get into the hard slog when needed. It’s exhausting but worthy, otherwise why would anyone do it?

But I would like to gently point out something that I’ve learnt the hard way. Despite all the rhetoric and chest-banging to the contrary, it’s Okay to Take a Break. I’m serious. If you write day after day, you just might burn out. Some people can and do write each day, and if that works for them, kudos. As for me, I like to take at least one decent holiday from writing each year.

I call it Fallow February. Going by the theory that overfarming a plot of land can make it barren and infertile, I like to let my mind go fallow around February-March of each year. Play video games with no guilt. Faff around with movies and books. Socialise, and just relax. DON’T EVEN THINK ABOUT WRITING.

This year, I’m actually having Fallow February in November. Apart from some work with my lovely AHWA Mentorees, you’ve caught me in the middle of a luxurious stretch of Doing Fuck All. And it’s great. Earlier this year I was actually bombarded by deadlines, so I had to take a raincheck on Fallow February. The last time I tried to write, I really struggled to get into it. And that’s when I knew it was time to hang up my GONE FISHING sign (aka play lots of Skyrim).

I know this is the right thing to do, because my muses are starting to go nuts. I’m getting lots of “what if?” story ideas. The creative fly-wheels are starting to whir and hum, greased by the oil of relaxation and fired by the brand new sparkplugs I plug in once a year.

You’d have a holiday from your job, wouldn’t you? Don’t be a dickhead 🙂 Fallow February FTW!

A Synopsis Shouldn’t Have to Hurt Your Synapses

Ah, the synopsis. That most painful of things, where an author has to compress a novel’s worth of organic sproutings into one or two concise pages. And oh, how we wail and gnash our teeth when called upon to do so.

“It’s just so HARD,” we say. “I don’t WANT TO.”

But here’s the truth; you have to. This is the way a publisher can a) determine your ability to get to the point b) determine that you actually have written a book with a defined beginning/middle/end c) be sold on the sizzle of your steak.

It’s a marketing document, and I don’t think they’re actually that difficult to do. Some folks I know and respect spend inordinate amounts of time on these – with all due respect, I think they’re all crazy. We’re talking weeks, even months of time. On a 1-2 page marketing document.

Here’s what I believe: if you can’t get a synopsis right in an afternoon, you need to hand in your writer card. Here’s the Fisch One-Page/One-Afternoon Synopsis Method.

1) Present tense throughout. Limited or no adjectives.

2) Three or four biggish paragraphs. The first one briefly introduces your protagonist, one or two tag-line style descriptors of your setting, and brushes over the opening act of your novel.

3) Second paragraph introduces the antagonist/conflict, and brushes over the second act of your book. Again, broad strokes, and don’t worry too much about your subplots and the nitty gritty. We’re talking how you would convince someone at a bar to sleep with your book (if that makes sense). If you bore the poor person with a detailed description of your stamp collection, you’re going home alone.

4) Third paragraph goes over your final act, and resolves everything. Don’t do rhetorical questions here: “does she survive the assassination attempt? BUY MY BOOK AND FIND OUT.” the point of the thing is, you have to tell the reader, in present tense, exactly how the conflict is addressed, and how the story resolves.

5) Connect these three biggish paragraphs with one sentence movie-style taglines, just to keep it interesting. This also proves your ability to write succinctly, and provides a bit of life to what might otherwise be a boring marketting document.

6) Close off with a pitching paragraph, something along the lines of this: ‘”Papa Lucy and the Boneman” is a complex fantasy, designed to appeal to readers of Jack Vance and Gene Wolfe. If Gilgamesh found himself on the set of Mad Max, this is the story that might result.’

And that’s IT. That’s all you have to do. Go back over it of course, tighten everything up, take out every unnecessary word, and make it as interesting as you can. If an adjective pops up, kill it dead. I maintain that you can knock one of these out in an afternoon, anything else is just an exercise in masochism.

Frame this, look at it daily: Diagram of the Writing Process

The scarily brilliant Angela Slatter has whittled up this simple chart of her writing process. I’ve sat in on all sorts of weird and wonderful writing classes, groups, all of that schtick –  but I’ve never seen a writing workflow summed up so well.

Ponder this well, my padawans, because Angela Slatter? She’ll write your FACE off. The lady knows her biz.

The rest of the advice lies here: http://www.angelaslatter.com/reminder-to-self/

It’s all good :-)

For the first time in ages, I feel on top of this writing gig! I’m meeting my goals, I’m not overwhelmed by things, and the business side of things is set up and working smoothly. I’m approaching writing in a balanced and conservative way – allowing plenty of fallow down-time in between projects, but still coming up with the goods and meeting deadlines. Rather than the manic mad-puppy style that characterised my first few years behind the keyboard, I’m running on a quiet sort of excitement. For the first time, it’s not about the slapping out of fifty first drafts a year…it’s about writing work I’m proud of. Polishing, editing, loving the words. I feel like I’ve been missing that for a while, so it’s a welcome return.

A while back, I read through Jeff Vandermeer’s excellent Booklife, and while I probably don’t adhere to the lessons as much as I should, it all seems to be working well. I set some goals around about the time I read it, will have to dig them up and see if I stuck to them. From memory I wanted to diversify my writing income, and try out some different mediums. So far I’ll call that a success, with some comics, game writing and podcast stuff under my belt. There’s a novel coming out soon (more when it’s all official-like), and a collection on the horizon.

Probably best of all, I seem to have beaten writer envy for good – to be honest, I had a real problem with it for a while there. Now, I’m chipper whenever a buddy does well, and that energy has been redirected into positive ways. You can only be you, after all, and you can only control your own output. Sales, awards and accolades, you have power over none of these things. So why fret and grind your teeth? 🙂 Again, Booklife is a great resource.

Sometimes I think about legacies and what I hope to achieve by writing. And I still don’t know. I’m still stoked whenever I sell my words, doubly so whenever someone else chooses to spend their valuable time reading them. The only problem with toiling in the word mines is that it’s hard to see what’s going on around you, or which direction you’re digging in. A list of publications isn’t much of a gauge – for all I know I could be eventually known for love-yarns or children’s books. As a creator you’re only in charge of so much, and opportunities seem to shape a career as much as productivity.

I guess what I’m trying to say is this – things seem to go easier in life when you surrender control. Rather than building cement drains, I’m tipping water into valleys. Sure, water seems to follow the path of least resistance, but damn, rivers are interesting 🙂 Whatever plans I make, I’m pleasantly surprised when they turn out differently.

Hope your rivers run wild!

Your pal, the Fisch.

Because you’re running a goddamn small business, that’s why.

I’ve said it before, I like to live my life as a warning to others. Those of you who have aspirations of becoming a professional writer, gather around and hear my tales of woe.

It’s great to work in a creative field, even better to get paid for your efforts. Having a second income is not the reason I got into writing (payment for art is its own contentious issue which you should wade into at your own peril) but finance becomes a fact of life once you’ve been doing anything for a while.

Save your receipts (especially if you’re going to conventions or awards nights). Set up a detailed spreadsheet of how money’s coming in, and where it’s going out. Get an ABN if you’re in Australia. Keep on top of your invoices, politely chase up any money that’s been a long time coming your way, and of course, always pay your own bills on time. Be wise as to what you can claim for a deduction.

I’ve been writing since 2001, and making money from it since about 2004. This is the first year I can honestly say I’m on top of my financials, and the lodging of a tax return wasn’t all that painful. Don’t be a dickhead like me, be organised from the get go 🙂 even if you’ve only got a dribble of money coming in at the moment, it makes good sense to get into practice. After all, you ARE running a small business. And most small businesses get themselves into trouble through disorganisation and lack of forward thinking.

Thus sayeth the Fisch.

A Funny Thing Happened On The Way To My Novel

For those coming in late, I was fortunate enough to take a six month sabbatical from my employment, with the assistance of an Arts SA project grant and all of the leave I could scrape together. I became a hybrid stay-at-home-dad and a full-time writer. Went through all of the cliched agonies and tribulations that accompany this creative lunacy.

I approached my writing as a job, with deadlines and productivity goals. End result, I came up with approximately 2 novels worth of new material in that time. My grant novel “Papa Lucy and the Boneman” was jolted into its lurching, horrific life. Several write-for-hire projects were vanquished, and in the latter half of 2011 I was one busy beaver.

So what I have found interesting is this: I now cannot enter my study for fun. There was a time when I would quite happily sit in that room, looking at my brag shelf, enjoying the collateral of my writing career. There’s laurels in yon study, and I enjoyed resting on them. This would be followed by a lot of faffing around online (“research”), maybe a game or two, and eventually some writing.

No longer. The moment I walk in and sit in that chair, I feel like it’s game on. Any faffery tends to be done on the iPhone now, or the laptop. It appears that 6 months of strict discipline is not so easy to cast aside. Just an interesting observation!

Know Your Achilles Heel, Edit Accordingly

Bad habits, we’ve all got them.

And that’s okay 🙂 when it comes to the bad habits in one’s writing, you are in the unique position where you get endless do-overs. Before you release your brain-babies into the wild, you get to carve, polish and refine them to your heart’s content. The flip side of this is, you are almost always too close to your work. “A face that only a mother could love” most definitely applies to artists and their creations, perhaps moreso.

With that in mind, when it comes time to tweak your writing, my advice is this: identify your weaknesses. Find the ways that you frequently break the rules, look at lazy habits that you might have gathered along the way. Case in point, I know that I’m shocking with passive voice, throw cliches around like confetti, and my endings almost always have to be thrown out and rewritten. But right after typing “THE END”, that creative post-coital glow sets in, and like everyone else I can see no wrong in my child. I’m a genius, it’s perfect, and naught need be changed.

BOLLOCKS. I’m as awful as I’ve always been, and committed almost all of the writing sins I swore off last time. My recommended process is to go off, have a cuppa, hell, take a week or two off if I can. Stuff the hubris and ego back under the stairs. Then I look at my slab of word-vomit with fresh eyes, and unleash the editing chainsaw. Next step is to find that Achilles Heel, and carve it up like Leatherface.

“Just a second, I’m in the middle of this edit.”

Goddamnit, that was MY idea

Me, circa 2004: “Hey, wouldn’t it be awesome to write a sweeping epic, with sentient elephants who have established a complex society and family groups? I think I’ll call it Tusk.”

 Me (in a bookstore, circa 2005): “Goddamnit, that was MY idea!”

Me, circa 2009: “I’ve got a great idea to pitch to that zombie series: postapocalyptic world, sassy teenage girl, skilled with a bow and arrow. I’m gonna write that sucker.”

 Me, circa 2012 (everytime I see this poster): “Goddamnit, that was MY idea!”

Me, circa 2006: “OMG, best idea ever. So, when Ned Kelly was holed up at Glenrowan? And there was that train bringing all of the policemen to arrest him? What if it NEVER arrived? It would change everything! That’s a great idea for an alternate history novel! I’m gonna research it RIGHT NOW.”

Me, about 15 minutes of internet research later: “GODDAMNIT THAT WAS MY IDEA.”