Matthew Wayne Selznick's Blog, page 8

All Writers Should Learn From This Strategy Of Comicbooks and Pop Fiction

I read my first comicbooks in the early seventies. I’m not ashamed to say—in fact, I’m proud to say—that comics helped shape my character and, yes, my approach to writing and storytelling more than any other single influence.

They were my gateway to other literature, and I don’t just mean genre or pop fiction, either. As one rather esoteric example: as I write this, I can look at the bookshelf to my right and see Julian Jaynes’ The Origin of Consciousness In the Breakdown of the Bicameral Mind, which I bought and read thanks to a footnote in Micronauts number 29 (1980).

Right behind comicbooks on my list of core influences would be the works of Robert Heinlein, Larry Niven, Michael Moorcock, and Stephen King (among others)… but not for their speculative fiction, hard science fiction, fantasy, and horror stories.

Rather, it was my exposure at an early age to the way each of these authors chose to incorporate most of their stories in internally consistent “mega-settings” of their own design.

Heinlein had his “Future History” and larger “World as Myth.” Moorcock, his “Eternal Champion.” Niven, “Known Space.” King, his, well, whatever it is that his spaghetti-bowl multiverse is called.

That the vampire-cursed town of Jerusalem’s Lot was just a couple hours north of Castle Rock, where a rabid St. Bernard caused so much grief… or that Lazarus Long and Valentine Michael Smith have mutual friends… or that the ancient, patient Pak might have built the Ringworld…

This was all just like Marvel comicbooks, where the Fantastic Four lived in the same New York City as Daredevil and Spider-Man, and they all read the same newspaper.

The notion you could carry the same concept into prose fiction blew my young mind.

Later, I would see that, while the idea is most often found in genre fiction, there are plenty of examples in literature / mainstream fiction, too. Armistead Maupin’s Tales of the City, or Jan Karon’s The Mitford Years, or even Patrick O’Brian’s Aubrey–Maturin series spring to mind.

Today, I (and others) refer to the idea as a “storyworld.” Loosely defined, a storyworld is a body of creative work sharing the same milieu or setting but not necessarily dedicated to a single protagonist.

I strongly believe one of the most savvy things a writer of fiction can do is create a storyworld framework early in their careers, and incorporate most, if not all, of their stories into that framework.

As you build a body of work, each novel or short story can serve as a hub to lead readers to others: a supporting character in story A is the lead in story B… or perhaps a character mentions something in passing in one story that becomes the subject of another. Over time, you’ll create a sort of mosaic history your readers can explore.

As a bonus, by planting little story seeds in your works, you provide yourself with a steady stream of story-fodder.

Going Deeper

As I worked on Reading The Amazing Spider-Man Volume One: A Critical Review With Storytelling Lessons From A Writer’s Perspective, my nonfiction, light-hearted analysis of the first twelve issues of that comicbook, I realized there were hidden “master lessons” of storyworld creation to be found in there.

I won’t give them all away here (after all, I want you to buy the book!) but here’s one that helped a character originally introduced sixty years ago in a throw-away last issue of a failing comicbook become one of the enduring pillars of modern mythology:

Your storyworld can be much more than a setting or “universe” in which to tell your stories.

The most effective, enduring storyworld is not just a collection of creative works, each with their own themes and dramatic and character arcs.

The most compelling and successful storyworlds have over-arcing (pun not intended) themes and dramatic arcs themselves.

My own Humanity Continuum storyworld (actually a multiverse containing a number of linked storyworlds..!) is a long-form epic that, assuming I live long enough, will eventually consist of many novels, short stories, and other media, in a variety of genres. Knowing “the big story” helps me understand where the focus should be, overtly or less so, in each of the component works.

Deeper Still

When a creator opens the door for other creators to tell stories in their storyworld, especially when those new stories are expressed in a variety of media, the storyworld becomes a creative franchise. One of the earliest creative franchises outside of comicbooks (and very clearly influenced by comicbooks in both flavor and execution) is the Star Wars storyworld of George Lucas.

Beginning with the prescient decision in the early seventies to maintain a great deal of creative control—Lucas was, and is, we often forget, an indie creator (pun totally intended that time) just like many of you, dear reader—he built a storyworld that would ultimately include hundreds of works created by others… with a piece of the action always flowing back to him.

If you’re a new author, or if you don’t have a bestseller under your belt, or if you don’t write the kind of stuff that gets made into blockbuster movies, you might think intentionally designing a creative franchise is pie-in-the-sky thinking, or, worse, distracting arrogance.

The lovely thing is, if you’re already approaching your short stories and novels as part of a larger storyworld and already writing those story-hub moments into your work, it will be much easier to invite other creators into your storyworld if, and when, it makes sense to do so.

Are Your Wheels Turning?

These days, as more and more creators decide to take the reigns of production and distribution, I’m particularly excited by the prospect of the authorpreneur: the writer who thinks beyond novels, thinks beyond series, thinks beyond the books they themselves will write.

I want to know: will you learn from the lessons of comicbooks and popular fiction and build your body of work in the context of a storyworld?

Will you take the long view and keep the possibility of a creative franchise in mind as you develop your career?

Are you doing it already?

Or is the whole idea bunk, or just not for you?

Why?

Let’s have a conversation and toss these ideas around in the comments section. I’m very interested in your input, and in extending this discussion.

Announcing The First New Matthew Wayne Selznick Title of 2014

Let’s get this year started! I’m excited to announce my first new title of 2014: Reading The Amazing Spider-Man Volume One—A Critical Review With Storytelling Lessons From A Writer’s Perspective. (I’ll grant you, the sub-title will probably change.)

About Reading The Amazing Spider-Man Volume One

In the half century since the first issue of The Amazing Spider-Man, the titular character has become one of the central figures in the pantheon of Western culture’s shared modern mythology. Spider-Man, along with his supporting cast and living, open-ended storyworld, represents one of the most enduring—and valuable—creative franchises in history.

Remarkably, nearly every persistent, definitive element of the Spider-Man mythos was established within the first twelve issues of The Amazing Spider-Man.

There’s a lot to be learned from those four-color panels and word balloons!

In Reading The Amazing Spider-Man Volume One, I examine the roots of the franchise through a critical (but very light-hearted) review of each story in the first twelve issues. Along the way, I use elements from each tale to illustrate useful lessons for anyone interested in developing a strong storyworld and creative franchise.

Above all else, there’s a heck of a lot of fun to be had assessing Spider-Man’s early adventures (and Stan Lee’s storytelling style).

Pre-Order Now And Save Three Bucks!

Reading The Amazing Spider-Man Volume One will be released in e-book formats in February of 2014, with a retail price of $7.99.

If you pre-order before Sunday, February 9, your price is just $4.99. There’s no risk, either, since I won’t actually take your money until the book is released!

Use the following links to place your order:

PRE-ORDER The MOBI Edition for Amazon Kindle devices and apps.
PRE-ORDER The EPUB Edition for all other e-reader devices and apps.

A Sample of Reading The Amazing Spider-Man Volume One

To give you a little taste of the tone and flavor of the book, here are some excerpts:

Doctor Doom, in another disposable hide-out, creates “an instrument which will react to a spider’s impulses” in order to track down Spider-Man. Seems like he’s going to get a lot of false positives unless he creates an instrument to react to Spider-Man’s impulses. not every freakin’ spider in the city, but, hey, whatever.

In the Florida Everglades, four men encounter a giant talking lizard that “walks like a man!” It also wears a spotless white lab coat, stylish black tee shirt and purple slacks… but I guess those are the kinds of things you’d notice only after you got over that whole business of it walking and talking like a man. This creature refers to itself repeatedly in the third person, so we know that it calls itself (conveniently) the Lizard, and that “this swamp is mine!”

For “months,” the Vulture is a model prisoner. He’s so well behaved, the warden lets him use the prison machine shop. Now, I’m no correctional facility management expert, but I’m betting that giving a formerly flying jewel thief who is obviously pretty damn good with machines the run of the prison machine shop isn’t going to get the warden any points with the governor, because what do you think happens next?

There’s something else about the Spider-Man / Doctor Octopus relationship: they are very similar. Both are brilliant. Both become arrogant and self-important when they first receive their powers in a traumatic, life-altering event… but Peter Parker eventualy grows beyond that childish attitude. Spider-Man is just a few degrees away from being Doctor Octopus… Otto Octavious is a mirror, a real antagonist and opposite number. He won’t be the only (or, arguably, worst) brilliant villain Spider-Man is plagued by, but he might just be the best example Peter Parker has of “there, but for the grace of god, go I.” The Powers That Be at Marvel would invert this in a very risky way, fifty years later…

Sound like fun to you? Get your discounted pre-order done right now:

PRE-ORDER The MOBI Edition for Amazon Kindle devices and apps.
PRE-ORDER The EPUB Edition for all other e-reader devices and apps.

Reading The Amazing Spider-Man Volume One has been a real labor of love of mine for some time. I can’t wait until it’s out in the world. I hope you love it!

I’m Doing It Wrong

A Year In Review of Sorts

So! 2013! Don’t let the calendar hit you in the ass on the way out.

Part of me feels like just leaving it at that.

For one thing, as someone who sometimes charges people for the advice I give, to admit I’m “doing it wrong” is a little scary.

For another, a year-in-review post, like those holiday letters some people send out, can seem excruciatingly narcissistic, self-indulgent, and, when you’ve had the year I’ve had, irritatingly whiny.

But I’ve been thinking about 2013… and how 2014 needs to be—no, must be—different… for several weeks now, and I should probably voice those thoughts here because

this blog exists because some people care about the processes that go into my creative endeavors
you might benefit from my experiences
my creative endeavors figure hugely in the year in review and the year to come.

So, with your indulgence, here goes:

My Creative Endeavors In 2013

My personal creative endeavors in 2013 included a novel revision, a new novel, a short story, a serial fiction project, a duology omnibus edition, a “sidelines” item, and, as an experiment, two niche affiliate marketing websites.

The affiliate marketing websites were a bust. The sidelines item (a whim that didn’t take more than a few hours to conceive and execute) was a bust. I won’t be investing any energy or resources in these kinds of things next year.

Books and Short Stories

In 2013, I took one title off the market and released five. At the end of this year, my catalog includes fifteen titles either written by me, or published by me and set in one of my storyworlds:

Brave Men Run: A Novel of the Sovereign Era (novel)
The Sovereign Era: Year One (anthology)
Pilgrimage: A Novel of the Sovereign Era (novel)
The Charters Duology: Two Novels of the Sovereign Era (omnibus)
“The World Revolves Around You” (short story)
“Reggie vs. Kaiju Storm Chimera Wolf” (short story)
“Cloak” (short story)
Worldbuilding for Writers, Gamers and Other Creators Volume One: Star, Planet, Moon
Walk Like A Stranger: Passing Through Home (free serial)
“Every Breath You Take” (short story by P. G. Holyfield)
“Canary in a Coal Mine” (short story by P. G. Holyfield)
“Mouse Mousey” (short story by Nathan Lowell)
“Dear Mr. Donner” (short story by J. C. Hutchins)
“I Wear My Sunglasses at Night” (short story by J. R. Blackwell)
“You Must Be My Lucky Star” (short story by Mur Lafferty)

The free serial includes affiliate advertising and calls for tips / donations, and has thus far not earned either of those, but that’s all right, really, because monetization of the individual installments is, at best, a tertiary goal of that particular project.

The other titles, though, are commercial offerings that contribute to my bank account and help pay my way in the world.

How’d that go in 2013?

I moved about 475 units and grossed about $1550.00. Net is much less, since I ultimately only keep a portion of the titles from authors other than myself.

My top seller in 2013 was my first novel, Brave Men Run. That book brought in 25% of sales. My non-fiction work, Worldbuilding for Writers, Gamers and Other Creators Volume One, came in at 22%. The various short stories (most written by others and set in my Sovereign Era storyworld) accounted for a quarter of sales in mostly single-percentage dribs and drabs. My latest book, Pilgrimage, took up 10% of the sales pie, although it was only on the market for the second half of the year.

To provide some perspective, $1550.00 gross is about $1,100 less than my bare-minimum monthly expenses. It’s also, literally, an order of magnitude less than what I grossed as a freelance creative consultant in 2013. One can do the math if one is so inclined, but the bottom line is a red one.

I’m doing it wrong.

My Freelance Creative Services In 2013

As a freelance creative services provider in 2013, I was busy when I was busy, but I wasn’t busy often enough.

Most of my work came from two clients: an independent affiliate marketer for whom I built about two dozen WordPress websites, and a small one-man agency in New York for whom I did some WordPress customization, development, and upkeep. I started work on a major municipal website, too, but that’s still in-progress and may not be completely off my plate until some time in the first quarter of 2014.

I also did several e-book conversions, some line and developmental editing, social media and brand-building consultation, and various “odd jobs” mostly in the WordPress security, maintenance, and customization arena.

Naturally, a freelancer’s life is project-based. You work every day for long hours on a project, then you might not work for days or weeks before the next hard slog.

But if you were to spread my freelance income out over fifty two weeks and treat it like a 40-hour-a-week full time job, I earned, per hour, just $0.28 above the Federal minimum wage (which is $0.42 less than my state’s minimum wage).

I’m very grateful for my clients and look forward to helping most of them again in 2014, but… clearly, I’m doing it wrong.

It’s Deja Vu All Over Again

I often refer to myself as someone who makes things and helps other people make things.

In 2013, I spent much more time helping other people make things than I did making my own stuff. The result, as you have just read, was… unsatisfactory. Less than 10% of my income came from my creations… and my entire income amounted to about 40% less than required for sustainability.

I’ve spent a lot of time this month thinking about how I need to flip that around: most of my income should come from my creations, and, of course, at the end of the year there should be a surplus, not a dangerous, frightening deficit.

Just now, I dug around in my blog archives and was disappointed to discover that I wrote pretty much the same thing in November of 2012. This, in particular, sounds very familiar:

Ultimately, content I make represents personal control over opportunities for self-sufficiency, control that is woefully lacking in my life as a freelance creative services provider… heck, it would be lacking and unreliable if I were employed at a regular job, too.

I had big creative plans for 2013! Nine creative projects. As we close out the year, I can check three off that list.

I shouldn’t be too hard on myself. Nine projects in a year is, for me, probably a case of my eyes being bigger than my stomach, if you will.

But the basic fact of that post remains: while creative services gigs represent money-in-pocket at the time, I can’t really guarantee the flow of gigs.

The only thing I can have some measure of control over is the flow of my own creativity. And I know that when I release a new creative product, it increases my revenue at the time as well as adding to the ongoing stream of income… for all time.

Is This Where The Resolutions Come In?

Have you ever looked at that word? Resolve? Re-solve. “Find the answer or fix the problem… again.”

It makes me giggle-cry.

And yet… the thing I wanted to do this year… is still the thing I need to do next year.

So… I’ve re-solved the problem (or, to be more precise, I’ve become re-acquainted with the problem) and I resolve to execute on the answer to that problem: finish and ship more creative products.

How I’ll Try To Do It Right In 2014

I look back on 2013 and I see, as if I’d put on high-definition sunglasses of hindsight, several things that hurt me.

I spent a lot of time researching and executing on revenue streams that are too far removed from my core competencies as a creative producer and storyteller. I was, admittedly, distracted by the example of a client who experienced some real success in the lead generation and affiliate marketing verticals. In 2014, I’m abandoning all personal projects that don’t have anything directly to do with making things with words, music, pictures and people. I’ll also be ruthlessly blocking myself from starting projects that won’t add to either my community or my bottom line.
As I mentioned above, I spent much more time and energy building things for other people (and getting paid for it) than building things for myself. This was a real bird-in-the-hand kind of thing, since nearly all of 2013 was spent wondering (no joke) how I was going to meet all my financial commitments each month. In 2014, I’ll still be working with existing clients, but when it comes to new clients I’m going to narrow my focus to the things I do best: help creative people, especially authors, bring their creative endeavors to fruition, to market, and to an audience. While all those movie marketing campaigns I worked on look impressive on a resume, I think it’s possible my “brand” is diluted. I’ll be honing my resume and overall presentation to spotlight the fact that I’m a writer and creator with management, production, and web development chops, not a producer / developer who also writes.
I spent time and capital on research materials, products, and services that, ultimately, did not return sufficient value for the investment. 2014 will be the Year of Making Do With What I Have, and of Trimming Away. I’m letting about a dozen domain names lapse, for example, as well as not re-subscribing to things like Spotify, Pandora, and other luxuries. Additionally, as much as I believe in and want to support my fellow creators, I will not be pledging to any Kickstarter-style campaigns in 2014. Rather, I’ll be dedicating no more than ten dollars per month as a patron of several creators, via Patreon.
I allowed social media to serve as a productivity panacea many times in 2013. My everyday presence on social media—Facebook in particular—will be very limited in 2014. Instead, I’ll enhance and improve my use of my personal mailing list and speak directly to the most dedicated members of my community. I predict far fewer Internet rabbit holes and a reduction in frustrating, painfully disappointing exchanges with people on subjects like religion, politics, the environment, and gender relations. I bet I’m happier and more productive!

What About Just Getting A Job?

It’s easy to imagine some of you wondering why I don’t just give up the freelance thing and go get a “regular” job.

I’ve lost count of the number of resumes I’ve sent to creative agencies, marketing firms, and social media management companies since I was laid off from my interactive marketing gig in October of 2011. I continue to send resumes in response to opportunities that seem like a good fit.

That said… friends, I have a job. I’m an author, creator, and creative services provider.

It’s a job that doesn’t pay very well… but it is a job, make no mistake, and please don’t presume otherwise. I’m not standing in front of my computer twelve to sixteen hours a day, six to seven days a week, for the fun of it.

So if you know of an opportunity—permanent or contract, remote or on-site in Southern California—by all means, pass along my resume and don’t be shy about making an introduction. I’m open to just about anything that makes sense.

Meanwhile… 2014 beckons.

How About You?

What did you do wrong in 2013? How will you fix it in 2014? What are your creative goals in the coming year? Any thoughts / opinions about my 2013 experience?

I’d love to hear from you… in the comments!

This is a post from Matthew Wayne Selznick. Thanks for reading I’m Doing It Wrong -- please click through and comment, and share with everyone you know!

Is Patreon The Neo-Patronage Holy Grail?

I learned about Patreon in November. It’s a sort of crowdfunding platform, but campaigns don’t focus on individual projects… Patreon campaigns focus on creators, and are ongoing.

Here’s how Patreon works in under two minutes:

As someone who believes in the potential promise of neo-patronage but has yet to see a really viable platform emerge, I’m fascinated by Patreon.

Wait. What Is Neo-Patronage?

To understand neo-patronage, allow me to briefly explain the concept of patronage. Let’s cover the old to, if you will, understand the neo.

For the purpose of this post, patronage is the act of one individual or organization providing financial support for the creative efforts of another.

Most folks look to the patronage systems of the medieval or Renaissance eras as the most familiar example of this model. William Shakespeare, Leonardo da Vinci, Mozart, and many other authors, musicians and artists whose work you’ve seen in museums, studied in school, or watched adaptations of on public television or the BBC benefited from the patronage of royalty, the clergy, or merchant princes.

Classical patronage was defined by one person or group with very deep pockets supporting creators with empty or very-much-less-full pockets. Sometimes, the patronage came with conditions that restricted the kinds of art the creator could make.

Neo-patronage also involves providing creators with financial support that enables them to focus their energies on their creative endeavors.

Unlike the classical patronage model of one patron giving a large amount of money to a creator, under neo-patronage the creator receives many gifts in small amounts from many patrons. I see lots of advantages over the classical model:

Support of the arts is not limited to those with lots of money. Anyone who can spare a few dollars a month can be a patron.
The relationship between the patron and the creator is one of peers in a community, rather than the grossly unbalanced classical model. This is a big one for me.
Creators can afford to be patrons themselves, thereby “paying it forward” and expanding the neo-patronage economy.

Looking At Patreon

Patreon is the brainchild of Jack Conte (of the YouTube-famous duo Pomplamoose) and serial entrepreneur Sam Yam (AdWhirl, ChompOn). Conte conceived Patreon after realizing that, even for the most popular YouTube creators, ad revenue from that site did not provide a sustainable income. You can check out Conte talking about the creation of Patreon if you like. It’s an engaging half hour:

Patreon recently received over two million in funding. Over 2,000 people have created profiles and seek patronage on the site. I’ve searched through many of them (hint: leave the search box blank and just click “discover” to get an infinite list of creators apparently arranged by number of patrons), and it looks like Patreon has (so far) attracted mostly musicians and video bloggers. However, there are a fair number of game designers, visual artists, craftspeople, podcasters… and yes, writers.

Can Self-Published Authors Benefit From Patreon?

That’s the big question. I’ve been writing about how it’s more important to build a reader community than it is to focus on marketing specific works, and something like Patreon could certainly be part of that approach.

During my successful Kickstarter campaign for my last novel, I realized that no matter how wonderful it was to have so many patrons for that particular project, when it was all over I was pretty much back where I started when it came to making a viable living as a creator (more on that in my next blog post). The Patreon emphasis on patronage of the creator’s process over investment in a single work appeals to me a great deal.

I’d love it if you would check out Patreon and report back here in the comments with your opinions. Is Patreon the holy grail of neo-patronage? Given the appropriate effort on the part of the creator, can Patreon work as well for writers as it seems to work for some musicians and vloggers? Would you support an author through Patreon (here are the creators I patronize)?

Let me know you thoughts about Patreon in the comments!

This is a post from Matthew Wayne Selznick. Thanks for reading Is Patreon The Neo-Patronage Holy Grail? -- please click through and comment, and share with everyone you know!

NaNoWriMo 2013 Winner? Special Editing Offer For You!

You’ve won the 2013 National Novel Writing Month (NaNoWriMo)! Now what?

Are you one of the 309,315 brave souls who participated in National Novel Writing Month (NaNoWriMo) this year?

And are you one of the rare few who won National Novel Writing Month in 2013 by completing your 50,000 word novel?

Congratulations!

I’d like to help you with the next step for your manuscript.

Special Offers For NaNoWriMo Winners

As you probably know, writing a novel is only the first step to getting something published or publishing something yourself.

The next step? Editing and re-writing! And while it’s certainly a good idea to handle an editing pass yourself, it’s also essential to have a qualified third party give it a look.

That’s me! I’m an award nominated author, Amazon.com Bestseller, and story specialist with over one hundred five-star ratings on Amazon.com and Goodreads. I know story.

In the month of December, 2013, I’m running the following specials exclusively for winners of the 2013 NaNoWriMo:

Story Assessment

I’ll write up a detailed critical assessment of your story, with specific suggestions to improve structure, clarity, concision, theme, and character and narrative arc to help you make your work the best it can be. $.004 / word; $200.00 minimum. Includes two rounds of Q&A via e-mail to ensure you understand the assessment.

Developmental Edit

It’s the Story Assessment on steroids. Everything in the Story Assessment, plus in-line, in-context comments, edits and suggestions right in your manuscript. Includes two rounds of Q&A via email, phone, or Skype / Google Hangout to cover any questions you might have. Up to $500.00 for novels to 60,000 words—that’s about 60% off my normal rate… and the actual amount may be less depending on the work involved! Ask about rates for other lengths.

Not sure? I’ll do the first 1,000 words of your novel as a free sample!

Let’s Take Your NaNoWriMo Book To The Next Stage

Ready to get a second opinion, valuable critique, or full-scale edit of your NaNoWriMo-winning novel? Contact me today and we can get started.

Not quite ready to commit? That’s okay! Get in touch anyway. For a $50.00 deposit in the month of December, 2013, we can lock in these discounted rates for your NaNoWriMo novel assessment or developmental edit just as long as you commit to my starting the work before May, 2014.

I’m ready to help you bring your NaNoWriMo draft a huge step closer to publication. Reach out! Thanks!

PS: If you didn’t win NaNoWriMo in 2013, or even participate, but you have a manuscript that needs a caring, critical eye… I can help you, too!

Congratulations, winners!

This is a post from Matthew Wayne Selznick. Thanks for reading NaNoWriMo 2013 Winner? Special Editing Offer For You! -- please click through and comment, and share with everyone you know!

Welcome, Members of the Alliance of Independent Authors

If you’ve come to my home on the web after reading my opinion piece over at the Alliance of Independent Authors’ Self-Publishing Advice blog… welcome! Heck, even if you didn’t, I’m glad you’re here.

Who Is Matthew Wayne Selznick

I’m an author, creator, and creative services provider. I’m based in Long Beach, California and work all over the web. If you’re of a mind, you can catch up on my life to this point. Or, we can talk about the now!

Author

My latest novel is the second to be set in my Sovereign Era storyworld, Pilgrimage—A Novel of the Sovereign Era. The Sovereign Era is an alternate history storyworld in which the appearance in the middle of the Cold War of individuals with remarkable abilities forever changes the course of human destiny. The first book in the cycle, Brave Men Run, was an Amazon.com bestseller and a Parsec Award nominee.

In addition to working on a new novel and two shorter non-fiction works, I’m currently producing a weekly, free, subscription-based fantasy fiction serial, Walk Like A Stranger: Passing Through Home, which represents the debut of my wholly original fantasy setting, the Shaper’s World.

You can find most of my work here on the shop page or, to see work I’ve contributed to or edited, check out Amazon.

Creator

While most of my creative input is as a writer of prose fiction and non-fiction these days, it isn’t always so. I’m also a musician, web developer (WordPress is my specialty, but I can hand-code you a nice flat html site if you prefer..!) and storyteller in a variety of media.

What’s important to me—what keeps me happy and healthy—is making things.

Sometimes that’s fiction. Sometimes it’s a song. Sometimes it’s an entire storyworld. Sometimes, it’s helping you make things. Which leads us to…

Creative Services Provider

If you’re a member of the Alliance of Independent Authors, chances are you, like me, don’t make the majority of your yearly income from your writing. It’s an unfortunate truth for most of us!

Fortunately, I’m able to close the gap and scratch my creator’s itch by providing a variety of creative services to a wide range of clients large and small.

With a focus on storytelling and the experience of the consumer, I can help at any stage of a creative endeavor.

I’ve worked with independent and New York Times Bestselling authors, actors, musicians, small businesses, non-profits, municipalities and major movie studios doing… well, lots of stuff: story development, developmental editing, social media strategy, interactive marketing, production, writing, voice over, audio and video editing, ideation, user testing, community management, and website design and development… off the top of my head.

Visit my For Hire page for a selection of past and present clients… and contact me if I can help you, too!

Where To Find Me and How To Keep Up To Date

If you’re interested in keeping up with my creative endeavors, well, thanks very much! It’s my privilege to make things you might like.

My E-Mail Newsletter

The best way to never miss any news on product releases, service discounts, special deals, and appearances is to sign up for my free e-mail newsletter. While I hope it goes without saying, rest assured that I will never share your contact information with anyone outside of the MWS Media family of websites, and of course you can unsubscribe at any time. I love giving my mailing list subscribers first dibs on new books and short stories… always at a discount! Plus, I’ve got stuff planned for the coming year I’m very excited about… and the mailing list is where people will hear about it all first! So subscribe, already!

This Site

Here at mattselznick.com, you’ll find my blog, Scribtotum, and my occasional podcast, Sonitotum. You can subscribe to either one: use this link to subscribe to Scribtotum in the newsreader of your choice, or add this link to your podcast client for Sonitotum.

Social Networks

I love the social networks, especially Facebook and Twitter, and I love seeing folks there. Before you connect with me, please take a moment to check out my Social Media Policy! All the appropriate links are on that page, too.

Everything Else

Need to get in touch with me directly? Please take a look at the Contact page for the most appropriate way to reach out. Thanks!

Are you a first-time visitor to my site, and / or did you come here from the Alliance of Independent Authors? Sound off in the comments!

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Get My Latest Book For 50% Off At Kobo

Dig it, gang! Click here to get my latest book, Pilgrimage — A Novel of the Sovereign Era, for 50% off at Kobo! Just use the coupon code unlimited50 at checkout.

And before you check out… be sure you browse through the entire list of books available for 50% off at Kobo. Be sure to use that coupon code — unlimited50 — and be sure to use the links on this page.

I’m excited a book I’m so proud of is for sale along with authors like Terry Goodkind, Rick Riordan, Meg Cabot, Mary Roach, Brian Herbert, Kristine Kathryn Rusch, and many, many more.

What Is Kobo?

Kobo is a Canada-based e-book and e-reader company dedicated to the open EPUB standard. Books purchased from Kobo can be read on any device with their Kobo app, or on a dedicated Kobo device. They’re also very friendly with indie authors like me, going so far as to actually have a Director Self-Publishing & Author Relations.

I’ve been working with Kobo for many years. They’re not as well known as Amazon, but they’re well worth your attention. And, hey, 50% off!

Click to check out the ebooks for 50% off at Kobo (including my own Pilgrimage — A Novel of the Sovereign Era) when you use the coupon code unlimited50! Thanks!

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Holiday Autographed Paperback Sale!

If you’re one of the many people who have honored me with your appreciation of my Charters Duology (Brave Men Run / Pilgrimage), I’m excited to offer you a special chance to order discounted signed copies to give as gifts (or keep for yourself!)

This holiday autographed paperback sale is only valid until November 13, 2013, so don’t wait!

Get a signed, personalized paperback copy of Brave Men Run — A Novel of the Sovereign Era sent anywhere in the United States. I’ll even gift wrap it if you want! Normally $30.00, if you order before November 13, 2013, your price is just $20.00. That includes shipping, the autograph, and, if you want it, gift wrapping!

Click To Get Your Autographed Paperback Copy of Brave Men Run For Just $20.00
(Discount Applied At Checkout!)
All About Pilgrimage — A Novel of the Sovereign Era

A year later, as the first anniversary of the Donner Declaration heightens the tensions between humanity and the Sovereigns, the fathers and sons from Brave Men Run must re-define who they are and who they will be as, all around, the machinations of allies and enemies reach the boiling point.

Nate Charters struggles with a troubling revelation about his girlfriend and his increasingly tenuous control over his temper and his powers… while his father Andrew hopes to suppress his own bestial nature so he can help his distant son.

Sovereign Byron Teslowski, sequestered with his people, trains to join the Sovereign defense force, but the influence of a fiery new friend forces him to question William Donner’s motives… and Marc Teslowski, desperate to bring his family back together and restore his pride, falls in with the charismatic leader of an anti-Sovereign militant group.

As Sovereigns from all over the world converge on the Donner Institute for Sovereign Studies for sanctuary and safety, Nate, Andrew, Byron, and Marc find their paths lead there as well. Will the forces aligned against the Sovereigns tear fathers and sons violently apart on Declaration Day?

Click To Get Your Autographed Paperback Copy of Pilgrimage For Just $25.00
(Discount Applied At Checkout!)

Or get ‘em both!

Click To Get Autographed Paperbacks Of Both Brave Men Run and Pilgrimage Together For Just $35.00

You must order before Wednesday, November 13, 2013 to get these special prices! Don’t wait — and thanks! I’m looking forward to signing those books and wrapping your presents!

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November Creative Services Deals

As you know, Bob and Madge, I offer a wide variety of creative services dedicated to helping creators bring their creative endeavors to fruition, to market, and to an audience.

Wow, there’s a lot of create-ivity in that first sentence alone! Imagine what I could do for you!

Okay, you don’t have to imagine. Here are some of the boutique services I’m offering to select clients in November, 2013:

Creative Services For Authors

Story Assessment: I’ll write up a detailed critical assessment of your story, with specific suggestions to improve structure, clarity, concision, theme, and character and narrative arc to help you make your work the best it can be. $.005 / word; $50.00 minimum charge. Includes two rounds of Q&A via e-mail to ensure you understand the assessment. References available… contact me!

Developmental Edit: It’s the Story Assessment on growbig juice. Everything in the Story Assessment, plus in-line, in-context comments, edits and suggestions right in your manuscript. Includes two rounds of Q&A via email, phone, or Skype / Google Hangout to cover any questions you might have.

Up to $1,500.00 for novels to 100,000 words; up to $200.00 for short stories to 8,000 words. The actual amount may be less depending on the work involved! Ask about rates for other lengths.

Not sure? I’ll do the first 1,000 words of your novel (first 10% for shorter works) as a free sample. I can get you some references from clients, if you like, too. Get in touch!

Manuscript To E-Book: I’ll convert your novel-length manuscript and cover image (you provide) to the industry standard EPUB and Kindle-supported MOBI e-book formats. Includes two rounds of minor revisions.

Optional: I’ll upload the files to your Amazon KDP, Nook Press, and / or Kobo Writing Life account.

$200.00. Need special formatting or a cover? Talk to me for a custom quote.

Website Creative Services

Basic WordPress Package: Get your own website and take control of your presence on the web! Includes installation of WordPress, the content management software that runs 60 million sites on the web and is nearly as easy to use as a word processor.

I’ll also throw in installation and setup of the free theme of your choice and a suite of SEO, security, and social plugins. AND you get up to two hours of personal “basic training” on how to use your new site via phone, Skype, or Google Hangout.

A two hour consultation with me is a $120 value all by itself. You can have the entire Basic WordPress Package for $250.00.

Need web hosting or domain registration? Add $50.00 for a year of both. Need special stuff like a shopping cart, podcasting support, a custom theme, or other bells and whistles? Let me know, and I’ll get you a quote!

Contact me to get started!

WordPress Update Service: The safety and security of your self-hosted WordPress website depends on keeping your plugins, themes, and the WordPress software itself up to date. It can be a pain in the butt, though! I handle updates for many folks, and I can do the same for you.

Once a month, I’ll go into your site and update everything that needs updating. Just $9.95 / month. Ask me about discounts for paying for a whole year!

Website Critique: Already have your own site, but have a feeling it could be better? I will put my knowledge as a user experience advocate and interactive marketing producer to work on your site with a full critique.

I’ll look at usability (including accessibility), search engine optimization, and general aesthetics, and put it all in a report with concrete suggestions for improvements. You can do them yourself, or hire me to take take of it. Let me know if you’d like a critique!

General Consultation

I help bring creative endeavors to fruition, to market, and to an audience. I work with indie authors, artists, actors, musicians, Hollywood studios, marketing agencies, Internet marketers, non-profits, small towns, and non-profits. I can probably help you.

Drop me a line. Let’s have a “get to know” conversation and see if we should work together in November!

Creative Services Referrals Are Awesome… For Me AND You!

If you’re not in the market for my creative services in the month of November, 2013, but you refer me to a new client… you’ll get a referral reward equal to 10% of their invoice amount once the work is done and they’ve paid in full.

The client you refer must sign a work agreement with me in the month of November, 2013 for you to be eligible for the referral reward. However, there is no limit to the number of people you can refer! Bring ‘em on! Tell ‘em to say you sent them!

Thanks!

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Why I Don’t Work For Food

I got a call on Saturday, at about ten in the morning. My phone didn’t recognize the number; I usually let those go right to voicemail. For some reason, I answered.

The caller found me through an inactive Meetup.com group dedicated to ebooks. He expressed an interest in ebooks and in being an author and, as I seemed to be someone who knew my way around the space, could he buy me lunch and talk so he could learn more about ebooks, publishing, the industry, and my experiences and work?

My first instinct was to say yes, I’d be happy to meet. As we started working that out, a different instinct kicked in: professional survival.

Since helping authors and other creators bring their creative endeavors to fruition, to market, and to an audience is what I do for a living, I let him know I would have to consider our meeting a consultation.

Unsurprisingly, he backed off quickly. He wasn’t interested in a consultation, he said, just a conversation about ebooks, publishing, the industry, and my experience in it.

That sounds like a consultation to me.

I explained that I donate a good deal of my time and energy to mentoring and advice in various online forums and groups, but for a one-on-one meeting, I would have to charge him for the time.

He said he would text me some days and times when he was available, and asked if I could text him back what would work for me.

That’s when I knew he probably hadn’t looked at my website contact page.

As per that page, I asked him to go ahead and email me rather than text. I let him know I looked forward to getting the ball rolling once I got his email, thanked him for calling, and that was that.

If I hear from him again, perhaps we’ll do business. I’d like to.

What’s The Harm In Lunch?

I confess I felt… strange… telling someone they’d have to do more than buy me lunch to pay for my time and expertise. After all, I’ve traded time and knowledge for food in the past.

Talking about it with my girlfriend helped me remember: sure, I’d had one-on-ones with folks for little more than a cup of coffee or some French fries, but they’d been folks with whom I had already established a personal or professional relationship. And heck, some of ‘em insisted on paying for the time anyway (which was very nice.)

So I felt like less of a dick. But the incident made me think I ought to publicly clarify a few things.

Parts and Labor

You know how when you get your car fixed, sometimes the mechanic or bodyman might give you a little break here and there, especially if you’ve established a long-term working relationship with their shop? They might play with the labor costs. They usually can’t do much about the cost of parts.

As a creator and creative services provider, my brain and experience = “parts.” My time spent using my brain and engaging my experience = “labor.”

Brain, experience, and energy / time all come at a cost.

I might cut you a break on some of those things (or all of them, in the case of mentoring and contributing time in group settings) if we have an established relationship. Otherwise, though, I’m going to have to ask you to compensate me fairly or I’ll go out of business.

That’s why I think it’s fair to attach a price to a one-on-one meeting with me, especially if the purpose of that meeting is a flow of information from me to you.

What About A Get-To-Know?

I have get-to-know conversations with folks all the time. These are little meetings, usually via the phone or Skype but sometimes in person, where we talk about their project and figure out how, and if, I can best help them.

Sometimes it leads to a working relationship. Sometimes not. Sometimes, it leads to something down the line. I love get-to-know conversations, and I make a lot of time for them.

So What’s A Consultation Cost, Anyway?

As of this writing, my base rate is $60.00 per hour, with a $25.00 minimum. Consultations are nearly always charged at that base rate.

$60.00 / hour is the basis from which I price out all my work; the center of my number line, if you will.

My cost for projects–work that spans several days, weeks, or even months, and has many component tasks–nearly always works out to much less per hour. In other words, if we’re working on a giant website or book edit or some such and have a contract in place, I’m not going to charge you a buck a minute every time we have a business conversation that falls within the scope of that project.

In fact, I usually over-deliver.

Another Model: Office Hours

Something I’ve been thinking about doing might fall between the one-on-one paid consultation and the unpaid get-to-know meeting. It would provide a nice third alternative that people like my Saturday morning caller might find handy. This would specifically be for folks in the Long Beach / Orange County / Los Angeles region of southern Californa.

I’m establishing “office hours” to be held once or twice a month.

The idea: I’ll be at a public place, like a coffeehouse, on a pre-announced day for a set number of hours. Anyone who wants can swing by, join me, and we’ll talk about whatever you like.

Maybe it’s your work in progress. Maybe it’s my approach to ethical social media marketing, or storytelling. Maybe you just want to bounce ideas, or even talk about my own work (especially how lessons I’ve learned might benefit you, too). I don’t know. It’ll be an open thing. Office hours.

Maybe it’ll just be me and you. Maybe there’ll be a few of us. Folks might come and go. Who knows? Let’s try it.

If you want to pay me for my time and effort during office hours, I’ll graciously accept whatever monetary compensation you think is fair.

If you want to know when and where the next Office Hours will be, please sign up for notifications.

As always, I welcome your comments on this post!

This is a post from Matthew Wayne Selznick. Thanks for reading Why I Don’t Work For Food -- please click through and comment, and share with everyone you know!