Nanowrimo is kicking my butt

… but that’s a good thing.  While procrastinating my daily word count, I’ve almost finished Book I of Sons of the Starfarers, formatted and orders proofs for the first four Star Wanderers novellas, alpha-read most of another book for a friend, and done a bunch of other things (which is nothing compared to a friend of mine, who procrastinated by getting a job).

Right now, I’ve got about 3,500 words written, which means I need to write about 2,000 words a day in order to hit 50k words before the end of the month.  Actually, that shouldn’t be too hard–most of the difficulty of writing is just getting out of the way, so when I put my hands on the keyboard and say “whatever you do, DON’T STOP WRITING,” good things actually happen.  At a nanowrimo get-together at Dragon’s Keep in Provo, I knocked out 1500 words in about an hour using that method.  It’s actually quite liberating–I should do it this way more often.

So why only 3,500 words, instead of the 11,666 that I’m supposed to have?  Because I REALLY REALLY REALLY have to finish this Sons of the Starfarers book, and that’s been taking up virtually all of my time and mental space.  I hit the action stuff a couple of days ago, and things were just flowing, but now it’s that last crucial scene and I’m not quite sure how to pull it off.  Probably I’ll write something and change it later, or tell myself that at least so I can just finish it and move on.

But UURGHH!

Anyways, that is all.  Back to writing.

Why boycotting Ender’s Game is stupid

First of all, let me just say that I don’t think there’s anything wrong with making a personal decision not to read a book or see a movie because you disagree with the views of the author.  We all should be free to consume (or not consume) the media we choose, and if a certain author offends for any reason, I think it’s perfectly fine to cut that author’s work out of your life–as a personal decision.

But with Orson Scott Card and Ender’s Game, there’s a group of people who are taking it a step further and organizing an all-out boycott.  They want the movie to fail, because Orson Scott Card holds some views about morality and homosexuality that they find offensive–views that have nothing to do with the movie at all.  The idea is that Orson Scott Card is a homophobe, and as such everything he creates should automatically be rejected out of hand.

There are a number of reasons why this idea is stupid, many of which have been discussed elsewhere.  There are those who agree with Card’s views and make their arguments on that basis.  I don’t care to go there, because he has been a controversial and divisive figure, and I do think there are legitimate reasons for disagreeing with his views.  There are views he holds that I disagree with very strongly.  However, I do think there is something to be said about the way his opponents have twisted his words.

Laying ideology aside, there are those who say the boycott is stupid because it will send the wrong message.  If the boycott is successful (which I doubt it will be), then all that filmmakers are going to take from it is that the public doesn’t want to see sci-fi movies of this type.  There’s nothing whatsoever in Ender’s Game that has anything to do with Card’s views on homosexuality, so boycotting it isn’t a very effective way to protest his views.

Those are all valid reasons, but none of them are the main reason why I think the idea of this boycott is flawed.  I’m not concerned with the impact this boycott will have on Orson Scott Card, but the impact it will have on the writers who follow after him.

Frankly, Ender’s Game is such a phenomenon, I doubt that this boycott is going to do any real harm, no matter how loudly some corners of the internet rage against him.  If anything, it’s just more publicity, and perhaps an opportunity for him to get back into the public arena to bring attention to some of his views. As of now, it seems he’s content to ignore the boycotters, which he can easily afford to do since he’s successful and well-established.

But the message it sends to budding writers is a lot more powerful, and much more dangerous.  For science fiction writers who are in the early stages of their careers, this boycott sends the message that there is an ideological orthodoxy in the science fiction community that will do everything it can to destroy you if you challenge the beliefs that they hold sacrosanct.  It sends the message that some beliefs should never be challenged, not even in a genre that is famous for challenging beliefs and ideas.  And finally, it sends the message that if you challenge the new orthodoxy, they will not engage your ideas in an intellectually honest debate, but do everything they can to marginalize and dismiss you.

I could understand this boycott if Orson Scott Card had actually done something illegal like committing hate speech–something that clearly crosses a line that we as a society have collectively agreed upon.  But he hasn’t.  He just holds some views that a lot of people, perhaps even a majority, find hateful and offensive.  But if that’s just a way of saying that he opposes the new status quo, how is it not regressive and reactionary to attack him for that?

If you disagree with Card’s views, engage him.  Make him eat his words.  Use the movie as an opportunity to bring up these old debates and point out just how wrong and offensive he was.  Don’t use something he said fifteen years ago to sabotage what is arguably the best sci-fi movie of the year, if not the decade.  And for the sake of all the books that are yet unwritten, don’t threaten the writers who dare to challenge the beliefs you hold sacrosanct.  Don’t replace one rigid orthodoxy with another.

There was a time when science fiction was known as the genre of ideas, where writers were free to question anything, even our most basic assumptions about humanity.  Let’s do what we can to bring those days back, not shut them off forever.

Publishing is as easy as the Irish Tinwhistle

David Gaughran has another excellent blog post up, this time about publishing in general and something that most newbies don’t realize when they first start out.  From his post:

I’m saying that when a newbie has been convinced that self-publishing is hard or expensive the chances of them falling into the clutches of a third-party which will result in a poor outcome increase exponentially. Because they’ll take any kind of deal, or sign up with any fly-by-night outfit, or engage one of the vanity presses masquerading as a self-publishing company.

So we need to get the message out. Yes, writing is hard, but these third parties will give you no help there. And yes, marketing can be tricky, but that’s probably going to fall on you no matter what path you choose.

Publishing, on the other hand, is easy.

I’ve found this to be exactly the case, and it’s one of the reasons why I’ve decided to stick with the indie publishing path.

Publishing is easy.  Publishing is fun, in fact.  There’s a lot of hair-pulling when you first start out, but once you get over the initial learning curve, it’s a blast.  These people selling “self-publishing packages” are almost all scammers, especially if they’re charging more than $1,000.

Marketing is an aspect of this business that currently eludes me.  Even so, I’m still doing all right.  I’ve been making a profit since 2012, and I’m currently about halfway to making a full-time living at this.  With the whims of the market, that could change at any moment, but there’s still a lot of room for things to go up so I’m not too worried.

As for writing, well, that’s probably always going to be hard.  I tend to self-edit a lot as I write, so hopefully nanowrimo will help me out with that.  Once you’ve found your voice and gotten the basics of your craft, you have to learn to let go and let the story happen, which is something I struggle with.

Right now, I’m having a hard time with putting out a consistent word count.  That’s probably the hardest part of taking the indie path–keeping yourself from getting spread too thin.  I’m trying to get print versions of the Star Wanderers novellas out on Amazon (Outworlder is already out!  Get it here!), so that’s taking a fair amount of time and energy, even though I’m taking it slow.  Really, though, I wonder how much of it is just fear or self-doubt or other writerly angst that pops up from time to time.  It’s a constant struggle.

But publishing?  Publishing is easy.  Give me a manuscript, and I can turn it into a fully functional, well formatted ebook in less than an hour.  For a print book, I can do the typesetting and cover design over a long weekend if I’ve got nothing else going on.  Easily.  And from there, it’s just a matter of uploading to Amazon / Smashwords / wherever, filling out the metadata fields, and clicking the button that says “publish.”

There is nothing about the technical aspects of publishing that a writer can’t learn how to do for himself.  If you can publish a blog, you can publish an ebook.  The only reason to pay someone to do it for you is if the opportunity cost of taking the time to learn is too high, which is only really the case if you’re a highly paid professional at something else and writing isn’t your main career.  Even so, it’s not hard to find someone (like me!) who can do a good job for $50 or less.

It’s kind of like the Irish tinwhistle.  Sure, you can pay through the nose for a limited edition collector’s piece (which probably has a very generic sound), but the best ones cost less than $20 and look like they’ve been used as a doorstop for a while.  The quality of the sound does not correlate at all with the price–in fact, you’re more likely to get a better instrument if you don’t pay through the nose.  You can even make your own!

In fact, there are a lot of similarities between self-publishing and playing the Irish tinwhistle.  You can teach yourself how to do it, pick up tips and tricks by hanging out with other unwashed, self-taught musicians, learn all sorts of tunes or make up your own, and play it any way you like.  You can play for pennies in the park, beers in a pub, or go for gold and hit the big time.

Dang–now I really want to get back into Irish music again!  One dream at a time, Joe–one dream at a time.

But yeah, publishing is easy–not to mention, fun!

Trope Tuesday: Made a Slave

Citizen of the GalaxyJust because something is heinous doesn’t mean that it won’t make a good story.  In fact, the Rule of Drama practically guarantees that it will make a good story.  For some weird reason, we humans are fascinated by things in fiction that would horrify us in real life, and love it when our favorite characters are put into situations where we would never want to find our loved ones.  Perhaps there are many reasons for this, some of them better than others.

One of the worst situations in which anyone can find themselves is slavery, in which they basically become the property of someone else.  Slavery takes many different forms (and has many different tropes), but the thing they all have in common is the denial of freedom, dignity, and the basic human rights that most of us take for granted.  So when a character who’s free gets made a slave, you can usually expect to see some pretty high drama as a result.

As the tvtropes page for this trope explains it:

There is often a scene in which the character is being sold on the slave market, showcasing all the evils of slavery; the protagonist will witness how families are torn apart, will have to undress and be examined like an animal, and will perhaps be beaten … If he looks strong, he will be told that he will go to the galleys or the mines — a Fate Worse Than Death — or perhaps to the Gladiator Games. If she (or occasionally he) is attractive, she will be told that she will make a buyer very happy indeed.

If the main character is a slave, this is usually a part of his (or her) backstory; it’s fairly rare for a character to be born into slavery these days, probably because slavery is no longer considered an acceptable social institution in our modern Western society.  In older stories, the slave character may be of noble birth, setting up a sort of Cinderella story where they realize who they are and eventually come into their own.  That still happens, though usually it’s more about them taking power into their own hands to rise above their awful circumstances.

Surprisingly, this is a trope you’ll see with some frequency in science fiction.  Heinlein wrote a novel about it, pictured to the left (one of his better ones, in my opinion).  It happens quite a bit in the Sword and Planet subgenre, as well as any gladiator-type tale.  You’d think at some point our technology would become sufficiently advanced that we wouldn’t need to enslave each other, but apparently we will use manual labor in the future. Besides, at it’s core, slavery isn’t about acquiring cheap labor–it’s about owning someone, taking away their freedom and control.  Until human nature itself changes, we’re probably going to have to deal with slavery in one form or another for the forseeable future.

In any case, there’s something rousing–perhaps even inspiring–about the story of a character who rises above such an awful situation to win back, against all odds, their rights and freedoms.  That’s probably why we still enjoy retelling this trope.  A character can’t truly rise until they’ve bottomed out somewhere, and as far as hitting rock bottom goes, getting made a slave is pretty dang low.

I’ve played with this trope in a couple of my books.  In Sholpan and Bringing Stella Home, Stella goes through pretty much everything on the tvtropes page, which sets things up pretty well for … well, I won’t spoil it. 😉 In Stars of Blood and Glory, Abaqa tries to make the Princess Hikaru his slave, but since they’re both teenagers and he’s younger than her, it ends up being rather hilarious (she gets rescued soon afterward too, so it doesn’t stick long enough for the really bad stuff to happen.  And then the rescuers … well, I won’t spoil that either).

Right now, I’m playing with it a bit in Sons of the Starfarers, though I’m not sure where it’ll end up exactly.  Probably not so far as this trope, but I never really know what my characters will do–or what will happen to them.

Nanowrimo anyone?

November is coming up, and with it, nanowrimo.  I’ve always wanted to participate, but every time it rolls around, it seems like I’ve got another project going on that’s more important.

This year is no exception, but I think I have a way around that.  The goal for nanowrimo is just to write something–it doesn’t have to be any good.  I’ve got a bunch of projects I’m currently working on, including Star Wanderers: Deliverance (Part VIII) which I hope to publish by Thanksgiving, but I think I can still do a just-for-fun sort of thing on the side, with the understanding that it doesn’t have to be serious.

What I think I’ll do is write a story where all of the characters from all of my previous books get caught up in some sort of a weird time-space dimensional warping thing, so that they end up in books where they don’t belong and universes where they never existed.  It should be a fun way to revisit some of them, especially the ones from the Gaia Nova books, which I haven’t really done much with in a while.

It’s probably not going to make much sense to anyone who hasn’t read my books, but who cares?  That’s not the point.  I may or may not put it up somewhere for people to read, but it may have some stuff from projects that are either unfinished or unpublished, so it might be a little obtuse even for the fans.  However, it seems like a really fun project, one that I can really run with, and that’s all that really matters for nanowrimo.

As far as my other projects go, right now I’m working on a heroic fantasy novel that’s a prequel of sorts to The Sword Bearer.  I have no idea where it’s going to go, but I’m taking a page from my favorite writer of all time (David Gemmell), with lots of violence, lots of blood, and lots of true grit and heroism.

At the same time, I’m still working on Sons of the Starfarers off and on, though I may end up putting that one on hold for a while as I figure things out with this heroic fantasy story.  It will get done, though–it’s definitely a story I’m itching to tell.  In a couple of reviews and emails, readers have asked whether I’ll ever write an origin story for the Hameji.  Well, that’s what Sons of the Starfarers is going to be, though the connection might not happen until well into the series.

There’s a couple of other Gaia Nova books I’ve been meaning to write for a long, long time, but I don’t know if I’ll be able to get to them anytime soon.  This nanowrimo project might spark something, though, since I’ll be revisiting a lot of those old characters.  And even if the nanowrimo novel itself is pretty bad, if it gets those projects on the back burner simmering again, then that will definitely be something.

Dang, I really want to get started with nanowrimo now!  So many wacky ideas … it’s like writing fanfiction for one of your own books!  In any case, I’d better get back to writing before I get too excited.  Don’t want to spend so much time thinking about writing that it becomes hard when I actually sit down to do it.

Later!

Trope Tuesday: Our Dwarves Are All the Same

Yes, you saw that right: Trope Tuesday is back, at least for the next few weeks.  I dropped out for a number of reasons, most of them having to do with my own interminable disorganization.  I really love writing these posts, though, and you guys seem to love reading them, so I’ll do my best to keep the series alive.  Here goes!

Say the word “troll,” and you could mean one (or more) of a thousand different fantasy creatures.  The things same goes with gods, demons, vampires, fairies, goblins, and to some extent, elves.  But say the word “dwarf” and we all instantly know what you’re talking about.  As tvtropes puts it:

You know them. Gruff, gold-loving, industrious, blunt-speaking, Scottish-accented, practical, Viking-helmed, booze-swilling, Elf-hating, ax-swinging, stout, long-bearded, stolid and unimaginative, boastful of their battle prowess and their vast echoing underground halls and mainly just the fact that they are Dwarves … An entire race of miners and blacksmiths, with names like Dwarfaxe Dwarfbeard and Grimli Stonesack, who are overly sensitive about any perceived slight, always spoiling for a fight, unable to speak two sentences in a row without calling someone “lad” or “lass,” and possessed of a love of gold and jewels that drives them to live in Underground Cities where they dig deep and greedily, (often with catastrophic results).

The defining characteristics of this fantasy race basically include:

  • Short.  Should be self-evident from the name of the race.
  • Expert in smithing, forging, metalworking, and crafting priceless artifacts.
  • Prefer to live underground, mining for ore and precious metals.
  • Bearded to the extreme.  Even their women often have facial hair.
  • Fond of alcohol, and often rowdy or violent when drunk.
  • Weapon of choice is a battle axe (or perhaps a war hammer).

In other words, Tolkien set the standard and everyone since has followed it with little, if any, variation.  Tolkien himself got it from Norse mythology, which had a few key differences (for example, Norse dwarves would turn to stone if they were exposed to sunlight), but once Lord of the Rings hit the bookshelves, all dwarves would ever after be the same.

Why is this?  Well, as fantasy races go, dwarves tend to be more like supporting characters than members of the main cast.  Sure, there are plenty of series that focus on dwarves and dwarven culture, but the cultures that shape world history the most are usually human or elvish.  Dwarves are often content to stay in their dwarven halls and do their own thing, far beneath the surface of the earth.

Brandon Sanderson has an interesting take on this question, which he explains in his famous essay “How Tolkien Ruined Fantasy” (which has since been renamed).  Basically, he argues that the fantasy before Tolkien was all “low” fantasy, or fantasy that loosely uses our own world as a template.  This sort of fantasy may have wizards, or magic, or monsters, but the setting itself looks a lot like something out of the pages of a history book.  Tolkien was the first to really write “high” fantasy, where everything about the world is built from the ground up, and he did such a good job of it that we’ve all been copying him since.  Rather than writing high fantasy in an original vein, most authors have switched out the real world for Tolkien’s and have been writing low fantasy in a Tolkienesque world (at least until the last decade or so).

It’s an interesting argument, but I’m not quite so sure how valid it is.  The process that Sanderson describes basically happens in every genre: someone writes an extremely popular book, and for the next several decades (centuries, in the case of Treasure Island) everyone tries to go back to it in some way.  And yet, how many different kinds of vampires are there?  How many different kinds of cops, or detectives, or spies?

Perhaps Lord of the Rings had a much more overshadowing impact than Dracula or Frankenstein ever did, but consider some of the other fantasy races he basically invented.  Ents never really took off anywhere outside of Tolkien, and trolls never universally became the big, dumb, evil, brutish creatures that they are in The Hobbit.  Elves, which really were popularized in a huge way by Tolkien, have taken on a life of their own, differing fairly significantly from the immortal angel-analogues in Lord of the Rings and The Silmarillion.  Orcs, too, are becoming more like “green klingons” in games like World of Warcraft, with an extensive honor system and intelligence on par with humans and elves.

Is there something about the Tolkienesque dwarf that fulfills a deeper storytelling need, transforming the stereotype into an archetype? Or am I wrong, and dwarves just haven’t had the same makeover as elves and orcs?  I don’t know.  But I like dwarves, and I’m a political nerd, so I’ll leave you with a fascinating Marxist analysis of Dwarf Fortress, and an interesting picture of a female dwarf.


Tarin Portrait by =RachelleFryatt on deviantART

Space Opera promo for free Kindle

Hey, just a quick post to let you know about a group promotion I’m participating in with a bunch of other science fiction writers.  It’s a rafflecopter give-away, where we all pooled together to get a Kindle Paperwhite as the main prize.

There’s a bunch of things you can do to enter–for example, if you download a copy of Star Wanderers: Outworlder (Part I) (or really, just visit the book’s Amazon page through the rafflecopter link) that will get you an entry from me.  Also, besides the Kindle grand prize, a bunch of us are giving away copies of other books to other winners as well.  I’ll be giving away a few omnibus copies of Star Wanderers, so if you haven’t picked one up yet, here’s an opportunity to get one!

Besides my books, there’s a bunch of other books by science fiction writers as well–specifically, space opera like Star Trek or Firefly.  These days, it seems like dystopian fiction and other Earth-based sci-fi dominates the charts, so if you’re looking for an escape to other stars and planets, here’s a chance to find some of that.

The promo ends this weekend, so you should probably check it out today or tomorrow if you want to pick up some of the free books.  Outworlder will still be free after this promo, but I don’t know about the others.

Take care!

Parents: talk to your kids about Dwarf Fortress

DFSo if you’ve been wondering why I seem to have gone missing from the world of the living lately, it’s because I recently started playing Dwarf Fortress.  Those of you who know what Dwarf Fortress is are probably shaking your heads already, but for the rest of you, I’ll endeavor to explain.

Dwarf Fortress is easily the most detailed and immersive fantasy RPG ever created.  In it, you command a group of dwarves as they seek a new life in an unclaimed territory, designing their new home, seeking all sorts of precious metals, and defending their dwarven hordes from all manner of evil monsters. The graphics (what little there are) are basically ASCII, so you do all this by scrolling through an endless array of text-based menus, which sounds rather tedious but is actually what makes the game so awesome.

For every dwarf in your fortress, there is a detailed list with their personal history, their relationships, their likes/dislikes, their strengths/weaknesses, skills–even their thoughts!  And when there’s combat, the game generates a blow-by-blow where you can read exactly what happened to whom, who got injured, and what those injuries exactly were.  This extends to every part of the game, so that when you’re in overworld mode you can actually look up the histories of every person in every civilization.

What really makes it insane, though, are the crazy, crazy ways in which your fortress can die.  Kobolds, Goblins, vampires, were-creatures, tantrum spirals, catsplosions–the possibilities are endless.  If your dwarves are unhappy, one of them might throw a tantrum that sets everyone off so that they all kill each other.  If they don’t have socks, apparently they’ll riot over that as well.  And heaven help you if a forgotten beast gets loose in your dwarven hall.

The learning curve for this game is ridiculously steep, which is why I haven’t gotten into it before now.  I actually tinkered with it a couple of years ago, but could never get into it because I had no idea what was going on.  Some youtube tutorials and the lazy newb pack helped remedy that, and now, sixty some-odd hours later, I feel like I might have an idea of how it maybe works.

The things that make the game appealing are largely the same things that make fantasy appealing: the chance to build and live in a world full of crazy-awesome fantasy stuff.  The graphics might be horrible, but the level of detail is so incredible that with a bit of imagination, you can really immerse yourself in it.

… which is why I probably went a bit overboard.  That tends to happen with me and games–I tend to binge a lot when I first get started, then go cold turkey for a while, then come back for more before gradually easing into a more healthy level of play.  Right now, I’m just getting over that first binge; I’ll probably go cold turkey for a while, taking care of all the things I’ve neglected before easing back in.

But wow, this game has given me a TON of story ideas.  I really want to write about a band of dwarves now, or reread Lord of the Rings, or get back into classic high fantasy in some way.  It’s too early to say whether it’s just a phase or a genuine shift, but I’m happy to follow it out and see where it leads.

In the meantime, I’ve got a bajillion other things to do, and writing currently tops that list.  Later!

Beware the catsplosion.

3am thoughts, or why everyone says to be an accountant

I’ve been reading in bed on my smart phone recently, which is probably a bad idea because it makes it harder to go asleep.  At the same time, though, it tends to get my mind rolling, and when 3am comes around my thoughts tend to go some really interesting places.  Sharing those thoughts is probably going to get me into trouble, but hey, you might find them interesting, so why not?

When I was eight years old, I knew I was going to be a writer.  There was never any question about that.  I spent all my free time making up stories, and my favorite stories were the ones I found in books.  However, I knew I never wanted writing to be my job, because 1) everyone hates their jobs, and I didn’t want writing to ever become something I hated, and 2) everyone knows that writers can’t make a decent living.  Even at the young age of eight, I had bought into some of society’s most pervasive myths about jobs, careers, and how to make money.

Americans are generally horrible with money–we struggle to keep budgets and put all sorts of things on credit, and pay more than twice what our houses are worth by signing mortgage contracts we barely even read.  Because we’re so horrible with money, we tend to see it as a sort of magical force, something that can solve all our problems and make us happy.  Rich people are like powerful wizards or sorcerers, so far above the rest of us that we can hardly fathom their ways.

Nowhere is our stupidity about money more apparent in the fact that most of us spend our lives acquiring it by working for some sort of hourly or salaried wage.  Wages and salaries are basically the same, in that they convert time into money.  That’s why we all measure income in terms of dollars per hour, or salary per year.  But for anyone who understands how money works, that is stupid, stupid, stupid, stupid.  Money comes and goes, but time?  Time is one of the most finite and precious resources known to man.

All of us are going to die someday.  Most people are scared shitless by that fact, so we try to ignore it or put off thinking about it until some unspecified time in the future, like when we’re retired.  But not all of us get the opportunity to put our affairs in order after retiring comfortably from the workforce.  In fact, any of us could die tomorrow, or the next day, or at any other time.  And even if we do all live to be centenarians, our time on this Earth is still finite.  It’s non-renewable, too–you can’t go back and relive that day or that hour or that minute once it’s passed, no matter how much you regret it.

Converting time into money is basically trading gold for lead, or wine for water.  Yet that’s exactly what we do, because money is this strange, magical force that so few of us understand.  And the machines that do all the converting for us are businesses and corporations.

Questions like “where do you work?” “what is your job?” and “what do you make?” are much more common than “what do you do for a living?” That’s because most of us have bought into this idea that money comes from working for someone else, exchanging your time directly for a salary or paycheck. Sure, we do stuff with that time, but we don’t actually own it–the company does. While we’re on the clock, the company owns us and anything we produce. That’s the pact we make in exchange for this magical substance we call money.

It wasn’t until college that I started to become disabused of the childhood notion that I shouldn’t pursue writing as a career path. For one thing, I came to realize that plenty of people love their work–that just because you do something as a job doesn’t necessarily mean that you’ll come to hate it. But it wasn’t until I graduated unemployed in the middle of a recession that I realized how much of a myth it is that writers can’t make a living.

You see, people say that about every career choice–every career, that is, except accounting. That’s because accountants are the ones who work for the businesses and corporations, counting the magical money. Since we all get our money from businesses and corporations, exchanging our time for money, the only career with complete security is the one that the businesses and corporations will always need. After all, they’re not going to go belly up, are they? Not the big ones, anyway. They can’t–they’re the magical machines where all the money comes from.

Of course, anyone who knows anything about money knows that the only real way to make a lot of it is to produce something of value that can scale. It’s not about time at all–it’s about producing something that people want, and producing it in such a way that the more you sell, the more you make. At no point in that equation does time become a variable. It’s certainly a variable in the production equation, but even there, it’s not necessarily the most important one.

The most important thing, though, is that you have to really own what you produce–and that means owning all the failures as well as the successes. When you work for a corporation, it’s easy to shift the blame. It’s a rare case where one person is solely responsible for bringing down the whole collective enterprise. But when you work for yourself, you can’t blame anyone else when things go wrong. You’ve got to be ready to take the risk, and the bigger the payoff then chances are the bigger the risk.

That’s why everyone says that you can’t make a living as a writer. They say the same thing about making a living as a sports caller, or a musician, or a political activist. I’ve even had people tell me that there’s no money in math or in Arabic. They say that because they think that money is supposed to come from corporations, and corporations only really need people who can count their money. Every other part of the business they can either figure out how to do it with robots or outsource the work to India. They might not outsource all of the jobs, but there’s always a risk that they’ll outsource yours (unless you’re an accountant, of course, because corporations always have money).

In the end, though, it’s all just silly. Money isn’t some sort of vague magical force, and it doesn’t come out of the void from businesses or corporations–it comes from making something that people are willing to pay you for. It comes from producing something of value, or at least convincing people that you have something of value. And you don’t need to sell your time at $7.25 an hour or $24,000 per year to do that. You just need hard work, a great idea, and the opportunity to succeed as well as fail.

So can you make a living as a writer/artist/blogger/activist/global nomad/whatever your dream happens to be? Of course! It won’t be easy–you’ll probably fail a lot, perhaps even spectacularly–but it is possible. So why not give it a try? At the very least, you shouldn’t buy into the myth that accounting is the only career path guaranteed to make you any money.

Busy, busy, busy

No, I haven’t dropped off the face of the planet–I’ve just been crazy crazy busy this past week.

On Sunday, after one BSOD too many, I finally switched from Windows to Ubuntu.  I’ve wanted to give Linux a try ever since high school, but I’m not a computer programmer or anything so a lot of it is way over my head.  So far, though, it hasn’t been too bad.  The most complicated thing I had to do was change the firmware on my mp3 player (an iRiver T10 … yeah, laugh, whatever).

This is just an initial impression, but it seems that the difference between Linux, Windows, and Apple is a lot like the difference between cooking your own food, popping a frozen meal into the microwave, and paying someone to cook for you.  With Linux, you have to at least dabble in the actual code in order to get anything to work, but it works WAAAAY better than anything else (just like real food is healthier than fake food).  With Windows, yeah, you can kind of hack stuff, but you’re still at the mercy of Microsoft.  And with Apple, you’re basically paying through the nose for someone to hold your hand every time you use your device.

So anyways, that’s been quite an adjustment, with a steep learning curve that I’m still trying to climb.  Hopefully, I’ll get it all figured out before I publish my next book, because otherwise there will be much wailing and gnashing of teeth.  Actually, scratch that–the wailing and gnashing of teeth will happen anyway (heck, it’s happening now!), but if I don’t have it figured out, there will be wailing and gnashing of teeth AND a delay getting the next book out.  But that’s not going to happen.

The other thing that’s kept me busy (and really, the main thing sucking up all my time) has been a construction job that the temp agency suckered me into taking.  They said it was supposed to end on Monday … but no, it lasted all week.  I did learn a lot of interesting things, though.  For example, I learned how to take out and re-install a toilet.  I also learned that painters are among the most disgusting creatures on Earth, so if I ever want to paint the interior of my house, I’d be better off buying the supplies and doing it myself.

There were a couple of other things that kept me busy, but I’m not sure how much I can talk about them yet.  The most exciting thing has to do with the next issue of Mormon Artist magazine, which should be coming out in about a month.  Also, I’ve been working with some other sci-fi indie writers to put together a group promo–more on that later.

So that’s what I’ve been doing instead of blogging.  I’ve also made some progress in Sons of the Starfarers, though not as much as I’d like.  Ideally, I’d like to finish the rough draft in about two weeks, which is pushing it but definitely possible.  I figure that writing is more important than blogging, so if you don’t see another post here for a while, that’s what I’m up to.

So much for that.  I’ll leave you with this:

Okay, chances are you’ve probably seen it already. Maybe it made you sad, maybe it made you cry, or maybe it made you laugh in a guilty, self-conscious sort of way. However, I am not ashamed to say that I found this clip absolutely hilarious. Sure, maybe it left that poor little girl a bit traumatized, but I’d rather her learn about death from an eagle and a rabbit than from someone in her family passing away.

Rabbits are pests. Eagles are beautiful, majestic creatures who have every right to live as rabbits do. What the eagle did was not malicious, or hateful, or evil–it was natural. Eagles have to eat too, and by golly they sure work for their food a lot more than rabbits do. So here’s to the eagles, the hawks, and all the other majestic birds of prey for being awesome.

I could make a joke here about the rabbit being a PC and the eagle being a Linux user, but it’s getting late and I’d better go write. Later!