Category Archives: Networking

My Peeps. My Tribe.

A guest post by Sherry Peters.

There is nothing like finding a group of people you can be yourself with. You know, the people with whom you can drop your filters, let out your weirdness and have those bizarre conversations that with anyone else would raise eyebrows—if not arrest warrants. They’re also the people who will support you at your readings, and sympathize when the rejections come. They understand what it means to be a writer, and what writing means to you. They are your peeps, your tribe.

I will never forget finding my tribe.

I’d been writing for several years, and I’d connected some with local writers, and while I felt more comfortable with them than I did with other people, I still wasn’t truly myself.

In the summer of 2005, I attended the Odyssey Writing Workshop. I’d been writing for years, but I’d only been writing fantasy for two years. I was still wary of the whole crowd. I expected to be on the outside, because I was always on the outside. What I found was a group of people who understood me like no one ever had. My weirdness fit with theirs. I knew I could be myself, and it was okay. It was the first time I had ever truly felt fully accepted for who I am.

But Odyssey was in New Hampshire and my classmates were from all over the U.S. Only a couple of us were from Canada. The internet is amazing, because thanks to e-mail we all stay in touch, and not just with my class, but all Odyssey alumni.

I grew my tribe when I attended Seton Hill University to get my M.A. in Writing Popular Fiction. Having my peeps from Odyssey helped me. I already felt more comfortable, and I instantly connected with more people who understood me, and whom I understood.

That was great, and e-mail and the internet is awesome, but once again, it was all long-distance.

I admit, it was difficult to find my tribe back home. In part, it might have been because I have my writing friends from Odyssey and Seton Hill. In part, it was because I am an introvert and tend to have difficulty going out and meeting new people. Mostly it was because I had not yet met any local writers I had anything in common with.

That all changed in May 2008. First it was one local writer, and soon it was another, and then another. And sometimes I met local writers through my friends in other cities who knew people in my home town that I didn’t.

I have ended up with a great group of writing friends, my own local writing community. My peeps. My tribe.

I have a group of writers I connect with at readings and at dinners. We talk about writing. We geek-out at the movies. We get together several times a year for writing retreats and at our homes, spending the weekend quietly writing and noisily talking about writing, our works-in-progress, and our struggles and triumphs in the publishing industry.

We share resources. Calls for submissions, but also research resources. We all have our own areas of expertise and we know we can contact any other person in the group if we need to tap into that expertise.

Without my local writing community, I would not continue to write and pursue this madness we call publishing.

Most importantly, at least for myself, I have found a place to belong. I am accepted for who I am. And that means everything to me.

sherry1Guest Writer Bio: Sherry Peters is a Certified Life Coach who works with writers at all stages of their writing careers looking to increase their productivity through pushing past the self-doubt holding them back. Sherry graduated from the Odyssey Writing Workshop and earned her M.A. in Writing Popular Fiction from Seton Hill University. Her debut novel, Mabel the Lovelorn Dwarf, placed 1st in the 2014 Writer’s Digest Self-Published e-Book Awards in the YA category. It has also been nominated for a 2015 Aurora Award. For more information on Sherry or her workshops, visit her website at www.sherrypeters.com.

Collectives Collecting Collectible Creatives

Imagine what life was like for sixteenth-century monks. Toiling away, day after day, illuminating manuscripts and hand-copying texts as directed by their superiors. Hunching over a rickety wooden table, the hapless monk would carefully do his best to either produce miraculous work or, more likely, not screw up so bad that he would be sent, head bowed down in shame, to stand in front of the head monk.

Now, think about a modern-day author. Not much has changed, except perhaps for the persistent presence of Facebook trying to seduce you away from working.

Artists, authors, editors, and designers don’t have to live a solitary life unless it suits them (or they happen to be chained to a wall in a dank dungeon. SEND HELP!) They can band together into a collective and help each other progress. Of course, most creative types hear the same mantra over and over — “Don’t give away your time or work!”
The cool thing about a collective is that everyone has something they can trade. Everyone gets something they need in exchange for something they can provide. You’re not giving away your creative time, effort, and energy for nothing.

Artists

Artists have a tough time. Everyone wants their best work, but most don’t want to pay for it. Their work gets plagiarized or stolen from their website or Deviant Art page on an almost daily basis. Non-artists don’t understand that creating art, let alone crafting a high resolution book cover, takes a huge investment in mental and physical work. I’ve even heard authors low-balling artists at conventions, trying to snag some amazing artwork.

Probably the one statement that makes every artist on the planet cringe is:

“I can’t pay you for your work, but you’ll get a lot of exposure if you give me the copyright so I use it on my E-Book cover.”

Reminder: People often die of exposure, especially when it’s cold out.
Reminder, redux: Never ever EVER give away a copyright on your work UNLESS you’re well-paid up front. Think Disney animators. For everyone else, artists can consider licensing their work.

Everyone needs the artist’s work, from author to publisher to web designer to advertising executive, so there’s a good-sized audience waiting to buy their best work. The question then becomes, “What can you do for me?” Here are some possibilities:

  • Provide cold hard cash.
    Remember that quip about exposure? Artists can still become popsicles if they can’t pay their heating bills.
  • Website Coding.
    Trade some artwork to a website developer or coder. You can get a nice showcase for your art, or if you already have a basic site, you can have additional functionality added (such as a store to sell prints).
  • App Coding.
    Same idea as web coding, except applied to a mobile device.
  • Writing.
    Need some text on your website to go along with those pretty pictures? Are you trying to break into the world of comic books or graphic novels? Pair up and have an author produce a script while you provide the panels.
  • Design an artbook.

If you have a large collection of high-quality artwork, and you have enough of a following to sell enough books to get filthy rich, trade your services with a professional or experienced book designer.

Authors

Yeah, I know. Everyone and their grandmother can write. The difference is you know how to write well. Some authors can produce amazing prose, while others are virtual wizards when it comes to cranking out advertising copy.

As far as working in a collective, the author is the universal receiver. They need something from everyone else in the group. The good news is you can provide positive, effective text in exchange for the services of others. Need someone to properly edit your new novel? Trade some ad copy or blog posts towards your bill. Want to produce a graphic novel? Collaborate with an artist and knock out something to send to Dark Horse, Vertigo, Zenescope, or BOOM! Studios.

Editors

Professional-quality editors can be the odd woman out. Authors and web designers need their skills, but editors don’t necessarily require artwork, writing, or even code work. Of course, should she require those services, she has a trusted team to choose from. Cash for editing can be the standard, but seriously consider offering a discount to the collective members.

Semi-pro and advanced authors can arrange better deals within the collective. They can read each other’s work and point out ways to improve the text. It is important that everyone does as thourough a job as they can. Giving a manuscript a quick scan and announcing it’s just fine and dandy is reserved for the parents of authors. Edit and give constant feedback. Point out errors, don’t comment that you think the author is a bumbling idiot that should be kept away from sharp objects and things that can produce text. The object is to improve, for you as an editor and for them as an author. It’s also important to note that nothing really replaces getting properly edited, especially when self-publishing. A few runs through the collective gauntlet should produce a manuscript that requires less revision when it comes back from the pro editor.

Book Designers, E-Book Coders, Website Wizards, and App Developers

These are specialized skills, and are more technical in nature. I’ve found that many of the folks who can perform these services are also authors, artists, or rich Gatsby-like socialites. Website developers can always use new graphics or blog posts. E-Book coders can always use the services of editors to look for problems with the work they’re producing, especially if someone has a Nook Color or Kobo Aura and the coder only has a Kindle Paperwhite. App developers just scare me with their skills…it’s the equivalent of a magic user in fantasy.

*  *  *

Working together in a collective can help to further every member’s career. Make sure to value each other’s work, and be willing to discuss trading services such that everyone is satisfied with the deal. If you don’t understand why an artist doesn’t want to trade a magnificent digitally painted book cover for two or three blog posts, ask them to walk you through their process so you understand the time and creativity investment. You might learn something in the process.

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a speculative fiction author; a Graphic Novel Bram Stoker Award®; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at WikipediaGuyAndTonya.com, and GuyAnthonyDeMarco.com.

Good Omens Gone Bad: Why I Shouldn’t Be Writing

A Guest Post by Aaron Michael Ritchey

I recently read Paulo Coelho’s The Alchemist, and it’s about dreams, or more precisely, the following of dreams, the wretched path that narrows, and the splendor of the vision. As you follow your dreams, Paulo writes, it’s important to notice omens along the way.

Omens, as in messages from the gods, or God, or the big bright Whatever in the sky. In pursuing my own writerly dreams, I’ve had omens, I guess, maybe. I’m a hugely dramatic man, and the only omens I care about are either engulfed in flames or splattered with the blood of sacrificial virgins.  I want impossible-to-ignore omens, dammit, crows that caw my name, and if I don’t get the cawing, it doesn’t count.

As you can guess, I’m disappointed much of the time. I can easily discount every single omen I’ve been gien on my writer’s journey. And I can point out to you, in exquisite detail, the omens my fellow authors have been given. Sure, the crows caw their name, but not mine.

Let’s talk about my first good omen. My dad had a friend who worked for the Modern Language Associations, you know, the MLA. They were to the English language as the KGB was to communism. Nobody messed with the MLA. My dad gave his friend a story to read, and she loved it and praised my talent. It was an omen. Or was it? She was my dad’s friend. I was sixteen and fragile and she was probably just sparing my feelings. Screw that omen, it doesn’t count.

In high school my stories were chosen to be in the literary magazine. That’s an omen, right? No, I had to vote for my own stories in order to win, and Pat Engelking always beat me. No omen for me!

A year after college, I finished my first novel. I gave it to a friend. He cried reading it. Omen, yeah? No, that first book was so bad that my wife couldn’t read it. And I dedicated it to her! The crows sat in silent scorn in the trees outside my house.

I wrote an epic trilogy after that, and my audience doubled to friends loving my work, but it still doesn’t count. I still wasn’t published.

Then? Eight books later, my lucky thirteenth book I’d written, The Never Prayer, not only was a finalist in a writing contest, but a publisher wanted to publisher it! Omens galore! Hide the virgins, the dagger is thirsty tonight!

I didn’t win the contest, and the publisher went under. As in glug, glug, glug. Going down three times, and coming up twice. No omens.

But my second book, er, fourteenth book, Long Live the Suicide King, found a publisher, and I got a strong Kirkus Review!  Not just strong, glowing, put on your sunglasses. That’s GOT to be an omen. Kirkus, son, they don’t mess around.

But I’ve read other books that got glowing Kirkus Reviews, and those books were iffy. Some downright bad. Not. An. Omen.

Elizabeth's Midnight Final smallBut what about my last book I published, Elizabeth’s Midnight? Omens? Another good Kirkus Review (Indie, so it doesn’t count), more good reviews on Amazon (blah, blah, blah), and even fan mail. Am I rich and famous? Am I hanging out with Lady Gaga? Do editors read my work and say, “Sorry, man, I’d like to edit it, but it’s too damn good.”

No. No omens.

So yeah, that’s me. I’m a small-minded, ungrateful, hateful little man. I’ve never had a literary agent. I’ve never been signed on by the big six, or five, or one. I’ve not been chosen by the elite.

For me, and this is only for me, my omens come in small packages, and I have the freedom to recognize them as omens, or discount them and be the lead kazoo player in my own pity-party band.

For me, I have to work to believe in my omens. Omen #1? My wife loves my books and is willing to spend money on them. That, my friend, is a bush on fire. She’s a frugal, level-headed sort of woman, and if she didn’t think I could make it, we wouldn’t be spending the benjamins.

Omen #2? My daughters read Elizabeth’s Midnight and loved it. If my wife is frugal with our money, my daughters are even cheaper with their literary praise.

Omen #3? I’ve had fan moments, where actual people, who have read my book, looked at me in wonder. I’ve gotten fanmail. Not a lot, but what I have gotten? Astounding.

The last omen? The only omen that really counts? I WANT TO WRITE BOOKS. I want to write a lot of books. If the good Lord didn’t want me writing, he wouldn’t have given me the desire to create stories. That is the crow cawing my name.

I have been chosen because I am choosing, choosing to write books and get them published, by any means necessary.

Omen enough for me.

 

2Author_Pic_AMR_2014 MediumAbout the Author:

Aaron Michael Ritchey is the author of The Never Prayer and Long Live the Suicide King. Kirkus Reviews called his latest novel, Elizabeth’s Midnight, “a transformative tale for those who believe in magic and in a young girl’s heart.” In shorter fiction, his G.I. Joe inspired novella was an Amazon bestseller in Kindle Worlds and his steampunk story, “The Dirges of Percival Lewand” was part of The Best of Penny Dread Tales anthology. He lives in Colorado with his wife and two ancient goddesses of chaos posing as his daughters. Visit his website at www.aaronmritchey.com.