Monica Valentinelli's Blog: booksofm.com, page 61

WisCon Day 1: The Drinking, Eating Edition

Worked on Firefly for most of yesterday, so didn’t get down to WisCon until later. As I mentioned before, this is primarily a meet-and-greet weekend for me and the chance to catch up with old friends. I’ve got some panels I want to go to, but I won’t be diving into loads of details here. It’s been a long time since I’ve had the chance to go to a con and simply enjoy myself. No speaking on panels. No moderation. No meetings. Nada. Strange feeling!

To all those who complimented me on my “fantastic hat” thank you. Grabbed dinner and drinks with my friend Alex Bledsoe and author Melissa Olson. We talked shop some and I found out Alex is going on his first book tour. A mighty congratulations to him! Mostly though, it was shop and I feel bad about that because I went straight from work to try and unwind. And failed miserably though I had some odd concoction with Jameson in it.

But, that happens. I have the coolest day job in the world, working and writing for a Firefly game published by Margaret Weis Productions, in a continuation of cool jobs like being Marketing Director for Steve Jackson Games. I have nothing to complain about other than the fact that I wish the dust bunnies in my house would magically disappear and there’d be more hours in the day to create.

To some, probably, it seems I’m behind on fiction since I’ve been talking about Violet War and obsessing about the world for some time. But, like I told you earlier, I’m a turtle. I had to start working on this, for myself and my readers, when it made sense for me to do so. Now that I can worry less about income coming in the door, I can devote a portion of my passion (and it is abundant) to The Queen of Crows universe… Among other stories…

Anyhoo, the subject of writing advice came up and I said: There’s only one piece of writing advice I have. Stop reading it and write. This, my friends, is courtesy of the Talk Is Cheap administration. Which is why, circling back to the point above, I’ve stopped talking about what’s in development until it’s done. Day job aside, because there’s a business plan/licensing in place there, though I have a business plan for Violet War that’ll survive even if my situation changes, I’d rather not talk about what you can’t read.

Getting to hang out was fun and I got to see friends and local writers LaShawn Wanak, Bill Bodden, and Patrick Tomlinson. Bill, Patrick, and Alex read from their stories for the Sidekicks anthology. There was laughter. There were tears. There were sidekicks.

I also lost my badge, but it was found later. In true, Monica fashion. In my pocket…

Then it was back to BarConTM where Matt McElroy and I had drinks with Christopher Shy, too. The waitstaff was absolutely the best I have ever encountered and though I tried like hell to say: “No, you don’t have to wait on me hand and foot, I’m not a diva,” they weren’t listening. Mentioning Chris here, because really, anyone who’s announced a Guest of Honor for San Diego Comic Con deserves a mighty congrats.

I’m running late today and missed the interstitial meet-and-greet I wanted to attend, but bringing along Rory’s Story Cubes for (hopefully) some impromptu storytelling fun tonight. After this weekend, it’s back to the slave mines of Kessel for me.

Or, in other words, I have wandered far from the path of first, second, and third drafts into revisions and proofreading land. The words are starting to blur together… Well, not really, ’cause I’ll be damned if any product of mine goes out half-ass.

Anyway, off to shower and be social. Shocking, I know! But, I’m going to get all full up on crowds and crowds of people now… So I can chill out before CONvergence and the mighty to-do list I’ll have waiting for me on Tuesday.

I don’t know what I’d do without one.

Mood: Give me coffee or give me death.

Caffeinated Beverages Consumed: There was a lot to offset other adult-based beverages.

Work-Out Minutes Logged Yesterday: Moderate number of steps.

In My Ears: Birds chirping. I wish they’d shut the hell up.

Game Last Played: Final Fantasy IX

Book Last Read: The Shadowmarch Series by Tad Williams (Re-Read)

Movie Last Viewed: Mission Impossible

Latest Artistic Project: *Still* *still* *still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology and for gaming, a fun Scion: Extras (Supplemental Yet Can Be Somewhat Useful On Occasion Scions)

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Comics and Opportunity

This conversation started on my Facebook page, but I’m continuing it here so you understand my perspective on the subject. I read comics and prefer graphic novels to the stand-alone issues. There is something very visual about a graphic novel and I love the art form. I’ve got my first comic coming out in the Unfashioned Creatures anthology this Summer from Red Stylo Media and I’ve got *at least* two graphic novels I need to script.

Now, I frequent a comic book store. I walk in and it’s depressing — because the majority of the comics in the store are written by men. You have to really dig to find one written by a woman and this discourages me because my gut reaction is this: it’ll be that much harder to get on the shelf. A handful of female writers for mainstream publishers doesn’t qualify as saying “Oh, yeah… There are women in comics.” Women are under-represented in the print art form. No, this isn’t true across the board, so what I’ve found valuable is to follow up on a publisher’s catalog — like Archaia or Dark Horse, for example — to see what I’m interested in and get to know the creators.

The question came up about whether or not there was opportunity in comics for women writers.

This is where the disconnect comes in, right? If you go to a comics book convention, you will see lots and lots of women there: fans, small presses, artists, etc. Webcomics offers ways for many women to get into comics because it allows them to participate in the form without going through a traditional publisher like Marvel or DC or any of the other mid-tier folks. But here’s the thing: webcomics may be booming, but it’s a separate form than a stand-alone comic or graphic novel, and as such — it’s a different business model.

I can “distribute” webcomics online if I had a) a reliable artist b) a way to pay said person c) costs associated with hosting and d) time to dedicate one-to-three times weekly to grow and audience and promote it there. Or, to put it in a fiction context, this is very much like self-or-small publishing to get readers to get the “book deal” and generate demand. This is more time-consuming and less financially viable for me to do than to focus on original storytelling. Twenty years ago? When I was first starting out as a writer? Sure, but not now, in part because I’d have to draw folks to read a free webcomic. But what are they buying to help me off-set costs? Monetizing a webcomic takes time. If I self-to-small publish stories, novellas, and novels, I can get polished work up for sale.

The way comics is set up, though, I have less chance of bridging from webcomics to traditional comic publishing and get in *stores* than I would with self-to-small publishing fiction. Part of this is how comics distribution has changed, but it’s also how small-to-medium size comic book presses are featured in stores. I’m ignoring the larger comic book publishers for the moment, because there is a serious lack of opportunity for new writers — both male and female. Comic book writers are a dime a dozen and, to be truthful, this form cannot exist fully without an artist, colorist, and letterer. Writing is the “easy” part.

Now, I “could” write a best-selling novel and get the opportunity to write a graphic novel based on that. Plenty of female writers in that sphere. Novels are on my writing plate, but two things: a) can’t predict success and b) I’m not writing novels just to break into comics. I’m writing novels because I want to write novels as part of my overall plan.

Ergo…

What am I left with? Contests and open calls for existing properties, self-publishing, or pitching. Most likely, I’d take the latter option, write the full script, then pitch to a publisher. Or, have an agent do that for me. The question is: who will I be pitching to? And what? Well, if it’s my original work, I would typically need to find/hire an artist to do the pitch, have the novel totally completed/polished, and find a publisher with comic book store distribution (e.g. through Diamond) that accepts pitches. I would do that knowing the artist may leave in favor of other projects, too, but pitches are usually done with a creative team in place.

Of course, I “could” pitch without writing the full script, but that would be unprofessional. It’s in everybody’s best interests if the script is done and polished with the knowledge that the publisher may request changes to fit their needs. However, I have no control over the art, so even if I have my script done and find an artist to join me on a creative team, AND get accepted — if the artist leaves halfway through the project or doesn’t finish? I have to start over or cancel the project, which affects my reputation.

I could get everything done art-wise and written out of the gate for the pitch, but then I’m back to hiring artists to do work-for-hire on a project that is on “spec.” I could ask an artist to work for free, but if you’ve ever been involved with comics, you should know that they are a LOT of work. For many reasons, I cannot do that and won’t do that — especially if I want good art.

Contests and open calls are *very* rare and competition is fierce. Most companies with comic book distribution don’t accept pitches, either, though there are exceptions (Dark Horse being one of them) and this changes frequently. But, the ability to accept pitches based on the script *alone* is the exception rather than the rule. Being in the position that I am, Marvel and DC aren’t going to reach out to me unless I have a proven ability to write and publish comics in a more mainstream fashion. Even if they’ve done that in the past with new writers, again… This is the exception rather than the rule.

Is this doom and gloom? For male and female comic book writers? No, it’s not. Both exist and both are abundant. Just because you don’t see equal amounts of male and female comic book writers sitting on the shelf at your local comic book store don’t think there aren’t any women who love the form. There are loads and loads of fans, too, and the internet has helped change that. It’s given more people access to comics because they’re not required to go into a store. Something I hope publishers will continue to keep in mind: there isn’t one comic book customer, anymore. That’s why these kinds of talks exist, because there’s an audience out there begging to be heard, and if folks aren’t listening, they’ll speak out anyway. (See The Hawkeye Initiative as an example.)

The only thing any of this means, is that though the road to a graphic novel in comic book stores may be narrow, I know what direction *I* need to take and will seek a way forward.

I’m not giving up, I’m just doing what I do with fiction: pay attention and when I’m ready to submit and pitch I do. I have a vision and everybody who knows me understands how passionate I am about my work, but I have no intention of waiting around for 40 years for that right moment or going broke because I banked everything on one piece of my overall dream. I have to be smart about what I’m doing, because though writing is my calling, it’s also my career.

Mood: Sleepy

Caffeinated Beverages Consumed: Caffeeeeiiiiinnnnnneeee.

Work-Out Minutes Logged Yesterday: A shit-load of steps.

In My Ears: Puirt by Julie Fowlis

Game Last Played: Final Fantasy IX

Movie Last Viewed: Mission Impossible

Latest Artistic Project: *Still* *still* *still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology and for gaming, a fun Scion: Extras (Supplemental Yet Can Be Somewhat Useful On Occasion Scions)

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Production Mode. Engaged. GenCon Campaign. Activated.

Yep, it’s true. I’m in production mode and channeling all kinds of busy bees. This t’aint all that glamorous, but it’s part of being a working writer. Annnnnd I hate that, right? Because it isn’t super sexy or amaze-balls or something where I can reveal the details of everything I’m doing at every minute of every day. Sigh. I know I owe you a progress report and that’s been on my mind, but I’m not ready to do that just yet. I’m hearing the death rattle of a major project that’ll combine five releases for the Firefly RPG line, so my head has mostly been focused on that. Well, and a business plan, but that’s a story for another day.

I’m also in the death throes of a story titled “My Compliments to the Tailor” that I’m contributing for a campaign. Get Industry Pros and Reviewers to GenCon is a way to help folks like Christina Stiles get to the biggest tabletop convention in the U.S. You’ve probably seen other initiatives like this for fiction writers, too, and the reality is that the money most writers, artists, and game designers make don’t cover travel costs for professionals. This is a way to help offset basic costs and get folks in front of the fans. But, in this case, fans will get something else in return. If you’re up for helping some folks out? You’ll get a selection of games and stories.

Mood: FIREFLY ZOMG.

Caffeinated Beverages Consumed: Not enough. Rectifying that now!

Work-Out Minutes Logged Yesterday: Up and down.

In My Ears: Background noise of some sort…

Game Last Played: Final Fantasy IX

Movie Last Viewed: Mission Impossible

Latest Artistic Project: *Still* *still* *still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology and for gaming, a fun Scion: Extras (Supplemental Yet Can Be Somewhat Useful On Occasion Scions)

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Another Day, Another World of Amazon

Today, Amazon announced that they’ve set up a new program for writers called “Kindle Worlds.” Scalzi has a lot to say on the subject and really, it’s quite rare when I don’t agree with his business assessment, so I’ll link to Amazon’s Kindle Worlds: Instant Thoughts here.

Now that the dust has settled in my brain, here’s the thing folks: regardless of how this program is marketed and to whom, this is NOT fan fiction. This is, however, a form of work-for-hire. Writers get paid a royalty by Amazon when their stories sell. Amazon pays a licensing fee to (in this case) Alloy Entertainment. Alloy farms the best ideas (if they opt to do that) and may repurpose them elsewhere. It is not guaranteed that the writers will get credit for those ideas nor get any further compensation.

However, this program is not what I would consider true fan fiction. It isn’t. This is a program designed to tap into the fan fiction communities, but it’s not the same thing for many reasons, one of which is that there is money exchanging hands and fans cannot consume these stories for free. (Or, to put it another way… 4theluv) And really? Amazon Worlds is inventive and it’s quite beneficial to licensing arrangements because it’s another way of having an existing community, on Amazon, that all parties involved can get fiction sales data for. I’m assuming this will be yet another way to discover a break-out hit like 50 Shades of Gray. Good for them.

Will I participate? No. Did I have a knee-jerk reaction? Yes. Because if this works, this affects the perception of how media/tie-in writers should be treated and paid. Or, in other words, it’d make my life a hell of a lot harder — even though writing-for-hire is not my only path. I did sign a contract for Redwing’s Gambit and many other properties that I’ve done work-for-hire for. (I own the rights to that story, by the way.) I had an arrangement with the publisher. I was edited. I had parameters. And my job was to best represent the property according to the needs of the owner married to what I could provide. That’s what work-for-hire writers are for. The company is hiring you do to a job. Long-term, I *have* to think about my copyright and what I have to show for all this work I’m doing. I cannot financially afford not to. If I didn’t? I might as well stop writing right now.

Couching any program like this as an opportunity to make money or get noticed is akin to becoming an intern for a larger firm or American Idol. Instead of the company reaching out to you, you’re reaching out to them. Show ‘em what you got for the promise of money, fame, and fortune. Well, if 1,000 writers do this all at once, then it’s the company who primarily wins no matter what. They get 1,000 fresh ideas and can pick the best of the best of the best to monetize risk-free. The writers, on the other hand, bank on a “chance” they’ll be picked for a larger project and royalties. Even if the company chooses a writer’s *idea,* that is NOT something that’ll further your career. Talk is cheap, but in this case, even “unpopular” or “poorly edited” stories could spark fresh concepts for those who can make money off of what you’ve done. This is ESPECIALLY true if you’re not the one writing up your own idea.

Anyway…

I wish everybody involved the best of luck. If it works, cool. If it doesn’t? It doesn’t. There will be another initiative, another program on the horizon. This is inevitable.

However, I would hope that every publisher and writer sits up and takes notice of one, simple fact: the times my friends, the continue to be a-changin’. I have said this many, many times but I firmly believe this: get a five-year business plan together. If you love to write as much as I do, you need to figure out how you will be resilient in the face of so many changes — whether you take advantage of a new initiative, program, method or not. It may not sound sexy. It may not sound like it should be part of your platform. But with these many changes floating about, it cannot hurt you to have a back-up plan and know Business 101 so you can make your own decisions.

Or, to quote an old fish wives’ tale. For the love of Nyarlathotep, do not put all of your cultists in the same town.

Over and out.

Mood: Godfather-ish.

Caffeinated Beverages Consumed: Ditched the caffeine in favor of margaritas.

Work-Out Minutes Logged Yesterday: Steppin’ steppin’.

In My Ears: A fan. (No really.)

Game Last Played: Final Fantasy IX

Movie Last Viewed: Star Trek: Into Darkness

Latest Artistic Project: *Still* *still* *still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology and for gaming, a fun Scion: Extras (Supplemental Yet Can Be Somewhat Useful On Occasion Scions)

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On Business Models for Creatives

Before I get started on this pile o’ mumblings: a few memorandums and factoids to share… Feedburner has decided to stop being a crab-ass and is now working again. I could say my lack of blogging on the fact that it completely ceased to update for three months or so, but no — I only have myself to blame. In my defense, I’ve been a *touch* embroiled in the Firefly RPG line for Margaret Weis Productions and was helping Rich put together the background work on the Exalted 3rd Edition Kickstarter. It’s Spring here, which means I’m getting outside more (ergo, I’m avoiding Spring cleaning by getting outside and waiting for the weather to warm up so I can re-plant my dead things.)

Definition-wise: I use the word “creative” here to represent “creative professionals” along the lines of sculptors, beaders, painters, musicians, writers, etc. It’s not a left versus right brain sort of a thing. It’s a “this is what I do for a living” thing — either part-time or full-time.

So on that note… Putting on my consultant hat today…

There’s a lot of talking about the publishing/music/etc. industry and “helpful” solutions/advice for creatives to navigate the changes. There’s also chatter about piracy and a lot in defense of it, because who wants to turn down FREE?

Now, I believe that fans don’t necessarily need to know the underpinnings of what a creative does in order to enjoy their work. Some care; some don’t. They tend to care when they love a property or creator and they’re not getting what they want/need in a timely fashion or if their expectations aren’t met. That’s when you’ll start seeing helpful suggestions and whatnot — most of which are not based on business, but perspectives from personal experiences on the consumption end of things. This is natural. There’s nothing wrong with it. It’s going to happen regardless, but that’s not the point of this post.

What’s more interesting to me are the opinions being broadcast from other creatives. Industry commentary is always going on behind-the-scenes. It’s part of being in the business. So, let me get this out of the way by saying I’m not “coming down” on anyone for providing their opinions. That’s not what this is about. What I’m fascinated with is the substance of these discussions and how that might influence my consulting sphere.

Tailoring Thine Model

Most consultants (like myself when I wear that particular hat) don’t make demands on what people should/shouldn’t do. That’s not why we’re hired. My technique to handle consulting is to ask questions, to enable folks to get some perspectives and make decisions applicable to themselves. Usually, making a decision isn’t the hard part, it’s understanding the scope in terms of time (e.g. short-term or long-term). Some people do know their business inside and out, but they may not know how to express what it is they do. Others are primarily focused on a steady income stream — and financial needs vary widely. It’s unique to everyone.

This is part of the reason why proposed solutions fascinate me, because they’re often indicative of that person’s perspective. There’s a *huge* difference in business models between someone who writes-for-hire 100% of the time and those who pen creative works. (As a writer, I have a hybrid model myself, which won’t kick in totally until later this year.) But, it’s not just money… It’s process, rights, and contracts, too. Ages-old turf wars ensue. To agent up or not. Writers-for-hire pen “fan” fiction, so it’s not real work. Original writers aren’t in touch with reality. Etc. Etc. Etc. All of which is total bullshit, IMHO. I never understood the turf wars. You get paid? WRITER. Who cares what you write? When? Happy doing what you’re doing? Good for you! (Personally, I think it does fans a disservice when writers attack one another. I’m sorry, but that’s the way I feel about it. It doesn’t happen very often, but pissing matches have nothing to do with “the work” and more about “ego.” Let’s get excited about reading and enjoying books!)

Now, most of this is pretty typical and the internet is making this more apparent. But, the internet is for public consumption and the way people think about business in general is changing as a result of creatives opening up — sometimes their facts are right, and sometimes they’re really not. Most people are aware that the publishing industry works on volume. Publishers make decisions based on the number of copies sold. Some are dipping into fan communities and online retailers to assess the number of copies read. Even the perception of volume can influence decisions, just like perceived success does. Whether or not that’s based on reality will eventually sort itself out or, as they say: “The truth will out.”

Writers who work within this industry have a thousand different ways they can make money, but when their income stream dries up, because their volume decreases due to market factors, then adjustments have to be made that are uncomfortable and, at times, impossible to manage. I’m not saying it “can’t” be done, but writers have not typically been hired for their business prowess — that’s what agents are for. So the writer can go off and do what they need to: write.

But that’s just one business model. There are others and, arguably, KS is one of them. What you’ll likely see more of, is creatives taking the Amanda Palmer or Matt Forbeck route, and doing a hybrid or “octopus” model. (e.g. It’s dumb to put all your eggs in one basket.) That’s part of what this change is doing, it’s fracturing businesses on a personal level, and because of that, emotions and tensions are running very high right now. This is different from a John Kovalic model, where he has some hybridization right now, but he also has steady work from Munchkin that hasn’t changed from year-to-year for some time.

What’s your model? Do you know where the holes are?

A Sample Assessment

Now, I want to talk about Amanda briefly, as an example of how I normally do these sorts of business-related assessments. Unlike many writers, I’ve never met her yet I did back the KS, I do own her music, and have followed what she’s been doing to varying degrees. (e.g. Totally safer for me to shoot my mouth off ’cause she’s a total stranger and probably will be forever and ever. Heh.) People like Amanda, who incur opinions no matter what they do, are harder to deal with from a business perspective. There’s a few reasons for that and it’s situational. It’s not “All managers are bad” or “All artists are bad.” (Not in a Michael Jackson kind of a way, mind you.)

Ego aside, if you’ve dealt with your fair share of haters, those tend to stand out more than those who adore you. Oscillating between the two is the only way you can survive depending upon your personality. When someone uses strong words, even *if* they have a grain of truth, that message gets lost because of the tone. Same goes for overly positive: “You’re great! Now give me ‘x’” Or a simple: “Keep doing what you’re doing.”

If anything, though, the stormy sea is what sticks in people’s heads, so that’s where I usually start as I balance out the positivity/fandom.

There’s been a lot of criticism aimed at Amanda, most recently due to her poem about the Boston bombing. I am *not* talking about the specifics, but rather something I see as the composite whole. Some artists have a hard time with the business aspects because they’ve a) had a bad experience with a business manager and b) all business is “corporate” ergo evil and counter-intuitive to the creative experience. But, more than that, what I see is someone who either doesn’t want to be a celebrity or doesn’t realize what her recent, meteroic rise has done — Amanda may (or may not) be aware of the fact that she has less freedom than she had before, but this is part of what’s obscuring her message. Her celebrity, coupled with (What I think is ridiculously stupid) the association of “her” in the context of her marriage with Neil Gaiman, has taken on a life of its own.

Do I believe Amanda has something she’s trying to express? A message? Yes, I do. But, I feel, from a business perspective, that her Art is now getting marginalized and shoved aside because of her celebrity and financial success instead of the other way ’round. It’s not the music folks are commenting on, it always seems to come down to the money she raised in the KS or the money she has because of the way people assess her marriage. When she tries to do something for herself, like you or I would, folks come down on her hard. This is a consequence as a result of her celebrity status. Or, what I feel a portion of her audience is trying to say, is that she’s “out of touch.”

If she is/isn’t? Well, I wouldn’t know that without actually talking to her, because her messaging is very erratic. There’s a huge, huge difference between online and off, and though we (e.g. on the consumer side) can only see what that highly visible person is posting — there’s a human being there. I do my best not to make assumptions based on online personas. The reality is often very different from the “image.”

So what would I suggest for her? Find people she’s comfortable with to help her manage her image/message, so she can focus on her Art and to better get her goals across. That’d be where I’d start based on my limited view. They (these people) don’t have to be visible. They don’t have to be corporate. But, having an outsider to bounce ideas off of wouldn’t be a bad thing, because it may help her get more out of her Art and reach the right people. Sure, doing things haphazard is likely part of her overall experience, but I feel she’s getting to the point where that will start backfiring. When it does, a portion of her audience will stop listening. Depending upon how vocal they get, she could have other issues based on the perception that feedback (and how she deals with it) creates.

Now, the aforementioned insight may not mean much long-term in Amanda’s case. Maybe she’ll always have enough fans no matter what she does. Maybe she doesn’t care. Maybe she’s got enough money she doesn’t need to worry about it. Or, maybe she’s perfectly fine with whatever happens. That’s okay. Good business relationships allow for failure because it’s not the consultant’s job to say: “DO THIS OR ELSE.” But, to state: “Here’s something to consider.” However, I do feel there’s a lot of value that can be had through outside perspectives. (There’s a Machiavellian story I could toss at you, but I’ll spare you the details on that, given how long and rambling this post is getting already.)

For the consulting portion of my business, this is an example of the line of thought I’d use to get an outline together for an initial meeting. My thoughts here are based on anecdotes; I’m not looking for right versus wrong. I’m seeking, even for myself, different types of perspectives — and this is a small glimpse into that process. Then, I’d tailor my advice/plan to what that person’s situation is and provide them with options for choices.

Hopefully… HOPEFULLY… This long post will also spark your own ideas about your business model. The stars only know that as my own creative efforts grow, I’ll definitely be seeking out a manager myself!

Mood: Write. Rinse. Repeat.

Caffeinated Beverages Consumed: Bzzzzzzzzzz.

Work-Out Minutes Logged Yesterday: A very long walk.

In My Ears: Whiny cat.

Game Last Played: Final Fantasy IX

Movie Last Viewed: Brave

Latest Artistic Project: *Still* *still* *still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology and for gaming, a fun Scion: Extras (Supplemental Yet Can Be Somewhat Useful On Occasion Scions)

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Pre-Order Q&A, Firefly, and Me

Last week, we launched a pre-order for a full-color, softcover edition of the Gaming in the ‘Verse: GenCon 2013 Exclusive in the Margaret Weis Productions online store. Today, we also offered a digital pre-order on DriveThruRPG.com.

This Exclusive will have playable material in the book and give you a good idea of the basic approach we’re using for the game. It will not be available in retail stores. Be sure to read the product description for more information! You can also drop by GeekNative for Andrew’s take on what we’re doing.

Gaming in the ‘Verse: GenCon 2013 Exclusive will include:

* Sample Art and Full-Color Map Previews

* Select Chapter Previews

* “Wedding Planners” a playable Echoes of War adventure written by Margaret Weis

* “Shooting Fish” a playable Echoes of War adventure written by Andrew Peregrine

* “Serenity Crew” a collection of stand-alone characters compatible with the Echoes of War line

* Chinese pronunciation guide

* …and more!

Here are some frequently asked questions and insights that have come up.

What’s your release schedule look like?

The Echoes of War line will be a series of stand-alone PDF adventures that *will* be fully playable. The Serenity Crew release, which is compatible with these adventures, will have stats for the main crew and [redacted] as well. Margaret’s adventure, “Wedding Planners,” and the “Serenity Crew” will be released in two systems: Cortex Classic and Cortex Plus. We are doing that to help older fans get acclimated to the new system. Nothing else is planned for a dual release; we have an introductory letter going into both products so you can see our approach.

The GenCon Exclusive, which will feature Margaret’s adventure as a Cortex Plus debut and Andrew’s, is available in print/PDF through the MWP website and as a PDF in digital. It will also clearly highlight the basic approach we’re taking with the line and offer lots of other easter eggs for fans.

After that? The corebook. My team doesn’t even know what’s debuting after the fact right now. We’re focused on launching Echoes of War and getting the Exclusive done. Then, we’ll hyper-focus on the corebook.

Who are some of the artists you’re hiring?

Daniel Solis, our Art Director, has dropped a few names on his blog when he talked about the pre-order. I am *giddy.*

Why Winter 2013?

We can’t set a target date because even when *our* portion is done, we still have to submit for Fox approval, and make changes after the fact. Q4 is our likely target for the game’s release. What’s more? This is not Serenity 2.0. This is a brand new game — NOT — an update.

How has the pipeline news (Marvel) affected Firefly?

Short answer? It hasn’t. I’ve been a consultant for Firefly since past November and, when the license was officially announced, I was already working behind-the-scenes to get fans playing in the ‘verse. The reason why I was hired was because the company’s goals shifted to ensure that releases came out in a more timely manner. I don’t know the history of the company and I don’t know the people very well. This is my first project with many of them and they’re getting used to my management style. We’ve all been nose-to-grindstone and I typically operate about six, eight months ahead of everybody else.

It’s an unhappy coincidence that fans are associating what happened with Marvel with this license. I understand what’s happening and there’s nothing I can do to change people’s minds. What’s more, Marvel has nothing to do with me at all. I can’t comment, because it’s not my line.

The only thing I can do is this: under-promise. Over-deliver.

Where can I find more info and keep up-to-date?

We are taking a more transparent approach with the line and I am available for questions. Once we get through this crunch period, I can open up the floor to other members of my team, too.

Follow my Margaret Weis Productions blog to stay up-to-date.

So What Goes Into A Firefly Game Anyway?

Fans are excited and I’ve had non-stop questions about when the game is coming out. I mentioned this earlier, but I tend to err on the conservative side of announcing releases because, in my experiences, there IS such a thing as marketing/publicizing too early. This is also why we’ve been more transparent about what’s happening and when. Fan expectations are high and that means better (more) communication as this process continues. See also: talk is cheap and doesn’t get the words down or the game/album/story/novel/comic/etc. out the door!

Or, to put it a little more blunt: you really don’t want us to rush and put out a crappy game — do you?

Still, I realize there’s probably a ton of folks who have no idea what goes into game design and production. Hence, the reason for my post today. I thought I’d take a minute and show you what goes into this process. Mind you, these are very common components that relate to a lot of games and this one happens to be a little more complex because we have to get approval from our friends at Fox television studios. (This doesn’t include any of the other business-related elements like marketing, putting the game into distribution, convention planning, etc.) We’re not creating the game in a bubble, you see. They’re very much involved in what we’re doing.

Oh! Almost forgot! If any of my friends out there in RPG-land on the publishing side spot a missing piece or want to chime in to offer links or more visibility, feel free. Without further adieu…

Personnel – Who’s working on the game? What talents do they have? When will they be available?
Time And Resources – How much time do folks have to work on this? What’s the budget? How do different roles overlap/complement each other?
Scheduling – Deadlines, deadlines, deadlines. So far, we’ve coordinated them for almost a dozen people. Without them, nothing for this the game would ever come out in a reasonable timeframe.
Brainstorming – What is the definition of a Firefly Role-Playing Game? What do players do at the table? What’s the mechanic going to be? What characters will they play? What releases do we want to make?
Setting Bible – Where the heck is this game being played? What’s the timeframe? What can we/can’t we do?
Development/Management – A developer works with the writers and knows the system to shape the game according to the overall vision of what we’re trying to do. We have a developer on Echoes of War and, in many ways, multiple developmental roles for the Firefly RPG. That’s partly what a Brand Manager (e.g. me) does in addition to people wrangling, outlines, etc. This is a step-up from brainstorming, because once the vision is clear, it has to be honed and sharpened for multiple people.
Writing – There are layers to writing the Firefly RPG because of the voice we use. First, we need good content. Then, it needs to be spruced up. Content here comes in multiple pieces and it all needs to fit together seamlessly. Now, here’s the thing. Right now, the estimated word count of the Firefly RPG is likely going to be 150 to 200K words. The Echoes of War adventures we announced will likely be between 20 to 30K a piece. The corebook may change pending game development; right now all we have are estimates. This does not include revisions; for every draft, there will likely be changes to fit the larger context.
Designing – Game mechanics don’t just grow on trees. The rules are important and that’s where the design team comes in. Even with a base system, everything has to tie together and that’s why we have a systems team in place. Remember, we’re making a Firefly Role-Playing Game. While there will be worldbuilding for fans to draw from, everything we do is in the context of a game — even the episodes.
Playtesting – The best games have been playtested and played a number of times before they’re released. We’re doing the same thing, but with closed groups. Playtesters have to be managed for feedback and the larger the number of groups, the more time it takes to wrangle the communication.
Editing – Our editors are QC – Quality Control. If something isn’t written clearly, they’ll revise it. If a paragraph has typos, they’ll fix it. But, they need a reasonable amount of time to review existing text. Yes, even text that is perfectly acceptable needs to be edited. A good editor (and we have two) is crucial to production. You can see how important it is to ensure the writing is sharp — especially for a game like this!
Art/Layout – Art can take anywhere from a month to three months to receive, or longer depending. There are layers to that process, too, and I think folks sometimes forget that art doesn’t just pop out of nowhere. After the final text and art is done, the layout artist needs to put together the book for whatever formats (e.g. print versus digital) it’ll be available in. This does not count time spent for revisions. And I didn’t even mention the indexing!
Approvals – Whether you work for your own company or not, the game has to be approved before it gets released. In our case, we have internal approvals and our friends at Fox. So, even when the game is finished, it still has to go to Fox before we can release it. If there’s changes, then the release is delayed.

I’m pretty sure I forgot something in this list… Hopefully, even with what I have written here, you can see why games are a lot more complex and time-consuming to create than you might have thought. Back to it then!

Mood: WRITE. REVISE. RINSE. REPEAT.

Caffeinated Beverages Consumed: Too many!

Work-Out Minutes Logged Yesterday: There was a hill. And I beated it.

In My Ears: The screaming cries of my thoughts.

Game Last Played: Final Fantasy IX

Movie Last Viewed: Ted

Latest Artistic Project: *Still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology

The Plants That Never Were And May One Day Be

Today, I tell you a sad, short tale of living things destroyed by creatures furry and cute. To say that it’s difficult for us to have plants is an understatement. Plagued by spring fever and seeds that have yet to be planted, I vow to try again. This is an impossible task, for we live with two plant destroyers. Don’t be fooled by the innocuous appearance of this pair.

They have decimated every type of plant imaginable, from cacti to lettuce, and have made it difficult to have greenery around the house. BUT NO LONGER! We shall not submit to the cuteness of Zakar, so named after a Mesopotamian god of dreams, who can open doors and likes to complain loudly.

NOR, shall we bow to the demands of this particularly mischievous dastardly foe. Rimmon, the god of storms, lives up to his reputation daily.

So, to get around said terrifying beasts of fuzziness — terrariums and plant confinement. We shall overcome! Let us hope this works. And, if it does, then pictures aplenty for there shall be greenery!

P.S. Those white spots you see in the soil are fertilizer. Not cat litter. That container happens to be empty, because cat litter plus planty, greeny, growy things is a full on yuck. I just figured that the hydroponic garden is so bright the seeds may benefit. We shall see, for my thumbs are as black as my soul.

Mood: WRITE OR DIE

Caffeinated Beverages Consumed: There was ice in my tea.

Work-Out Minutes Logged Yesterday: Oddly enough, I breathed fresh air. WTF?

In My Ears: The soothing noise of the computer fan.

Game Last Played: Final Fantasy IX

Movie Last Viewed: Ted

Latest Artistic Project: *Still* need to take pictures…

Latest Release: “The Button” We Are Dust anthology

Inside Voices

People ask me why I’m not aggressive with self-promotion and why I walk my own path. This has been on my mind lately, and after posting this to places like my Tumblr account and Google+, thought I’d expand the topic here. I’d also like to say that I’m having problems with my RSS feed, so alerting you in advance.

If everybody’s shouting different things, then no one is heard.
If everybody’s demanding a unique reaction, then no one will give them the one they want.
If everybody’s screaming “Help me!” “Fix this!” “You owe me that!” — then no one gives.
If you get bombarded with “Buy me!” “Review me!” “Share me!” from multiple people at the same time, then those acts turn into a chore and an obligation.
If you’re fully vested in what people do for you, especially in a social media context, then you get upset by the actions other people take online, jumping to the worst sorts of conclusions.
If everybody’s shouting, then they’re all competing. And that, my friends, can be very bad for the craft of writing and reading in general.

To me, this is a cacophony of conflicting sounds that hurt the work and the intent therein.

All the shouting and screaming and yelling in the world doesn’t get people to pay attention to what you’re doing or “validate” you. In many cases, it’s starting to have the opposite effect — right now popularity is influencing what people read, but it’s not always satisfying to them and attention spans wane. The space is changing rapidly and, if you’ve viewed similar trends in the history of publishing, you’ll see that this can’t last. Eventually, the market will get so saturated it’ll tip back in favor of gatekeepers or forever remain fractured in micro-communities. (I believe the former rather than the latter is true.) Remember, everybody thinks they have a book in them. This is not like dentistry. This is writing. If you can type on your keyboard, then you’re physically performing the act of a writer. While it’s not the same thing as the craft of writing, it’s still something anyone “can” do on a basic level.

The same is true for so-called book publicity. Anyone can own a Twitter or Facebook account. Anyone can say: “BUY MY BOOK!” Combined, it’s making it that much harder for writers, indie or “pro”, to do any sort of publicity because you have to turn up the volume even more.

Or do you?

I don’t shout or yell or scream “PAY ATTENTION TO ME NOW!” because I have work to do. I inform, yes, but I’d rather ask than demand. When I have something to promote, I put together a plan. For bigger projects, it’s a larger plan. But it doesn’t happen before the work is done or as an afterthought. I’m careful with it, and there’s a very, very, very important reason why. This work, my friends, is for you. It’s the core of my growing business, but it’s built on relationships. The trust with the reader. The unspoken social contract with my followers. Relationships with editors and publishers and agents.

This is what I have to give. Not a shout, but a whisper through the pages of every game and story I work on. I will keep whispering. Sometimes, those are soft and barely audible. Other times, they’re loud. But, they’re never silent. I am always whispering.

Come and listen.

Come and play.

Come and wonder.

Mood: Fifty degrees? It’s a heat wave!

Caffeinated Beverages Consumed: Blargh-ness.

Work-Out Minutes Logged Yesterday: Well, there’s this thing called “sore muscles.”

In My Ears: Hoodoo by Muse.

Game Last Played: Ascension

Movie Last Viewed: Ted

Latest Artistic Project: Need to take pictures…

Latest Release: “The Button” We Are Dust anthology

Author Copies from Stone Skin Press

Received these in the mail from Stone Skin Press last Friday. I love getting contributor copies. The smell of fresh ink… The other stories lurking in these anthologies… Mmmmm… Like Christmas only better.

Mood: Blargh due to weather-related conditions.

Caffeinated Beverages Consumed: I’m on my first cup.

Work-Out Minutes Logged Yesterday: Point and click and point and click.

In My Ears: Nothing

Game Last Played: Eternal Sonata

Movie Last Viewed: Ted (It was very wrong.)

Latest Artistic Project: Need to take pictures…

Latest Release: “The Button” We Are Dust anthology