Tag: Writing (page 41 of 47)

PT: Handling Rejection

I'll be watchin' you!

Maybe you got a letter. It could be something you received electronically. One way or another, a submission or entry upon which you’ve spent time and energy has been rejected. Now, I’m not talking about receiving constructive criticism. That’s always a good thing to get. Iron sharpening iron and all that. What I’m on about is the cold shoulder, either in the form of a bland photocopy of a generic letter or a complete and total lack of recognition for your efforts. It’s like fancying yourself a comedian, telling a joke and waiting for the laughs which never come. It breaks the heart and erodes the soul.

If you’re anything like me… well, you might need a shave. But in terms of this sort of thing, after a few rejection letters or seeing a publication for which you wished to contribute which doesn’t include what you sent, you probably went back over your submission with a fine-toothed comb. What did I do wrong? What could I have done differently? The questions inevitably leave to negative emotions. Maybe you’ll feel put out by the rejection, thinking your work isn’t good enough. There could be some frustration at the difference that ended up existing between what you envision and what you submitted. And maybe getting rejected for whichever time you’ve just been brushed off just pisses you off.

Good.

You will learn by the numbers! I will teach you!

Not to re-tread old ground, but I’ve said over and over that negative emotions do not need to lead to negative outcomes. There a lot of things you can do with your feelings. One thing you should not do, however, is sit on your ass. There’s work to be done.

Pop the hood on your work. Strip out parts that rattle or shake. In other words, take a look at your creation and figure out the parts that work. Maybe you have a character or two that really connect with readers, or you’ve gotten some feedback telling you that a particular passage really hammers home the good things about your writing. Maybe there’s that one shot in your portfolio that really jumps off the page.

What about it works? Why does it connect while the rest of the work falls away? Step back and examine the situation, the environment and the construction of the parts that work. Once you recognize what makes those portions successful, strip out everything else and rebuild the work around that core of goodness. This might mean you only need to make a couple small changes, or it might mean you need to all but start from scratch. Don’t fret, though: declaring a do-over could very well be a step in the right direction.

Cocoa

One thing you don’t want to do is rush. There’s no need. Take a deep breath. Make some cocoa. Instead of tearing down what you’ve done and smashing it around with a wrecking ball, lay it out and take a scalpel to it. In the course of doing so, you’ll find things that you’re proud of in spite of the rejection and you’ll also likely find something that makes you smile and shake your head in that “What the hell was I thinking?” sort of way.

It might also be the case that you can’t bear to look at the project that’s been so callously rejected. That’s understandable. But you still have a bunch of bad feelings that need to get vented. You have the old stand-by responses of games, movies, booze and cocoa but the best thing to do, in my opinion and experience, is to do something in the same creative vein to get you thinking about what your next step will be. It could be back to what caused you to feel this way or it could be in a new direction entirely. You won’t know, however, until you take that step.

Whatever you do, no matter how many things you find wrong with your work, no matter how much cocoa you drink, no matter how many rejections you’ll have to deal with in the future, don’t give up. You’re trying to do something new and different. Creative people are inevitably going to face a great deal of opposition because the environment out in the world is one where creativity is seen as a secondary concern to efficiency or profitability, if creativity is acknowledged at all. You want to be fast in your process, efficient in your use of energy, but it can be difficult to bang out work promptly if you’re wrestling with bad feelings or unsure of where to go next. Don’t worry about that. Worry about getting from bad to good first. Then worry about getting things out quickly.

Don’t quit. Especially if your ideas and the need to express them get you out of bed in the morning and motivate you to expend your time and energy of turning them into reality. Screw the rejection and the idea that your creativity doesn’t matter because it doesn’t help you file TPS reports more efficiently.

“Don’t ask yourself what the world needs. Ask yourself what makes you come alive, and then go and do that. Because what the world needs is people who have come alive.” – Harold Whitman

Drinking your cocoa from a mug of Shakespearean insults doesn’t hurt, either.

Programmatic Mission Statement

code

My career path has been, to say the least, an odd one. I knew that published fiction was a tough field to enter, and that attempting to make a living from it directly out of university would be difficult, if not impossible. That knowledge, coupled with a challenge issued by a flatmate, pushed me in the direction of honing my nascent skills with computers into usable and marketable skills.

Things didn’t go so well in that regard. I worked for a few years in customer service, specifically tech support for a company in the wilds of Pittsburgh. I managed to squeeze in some freelance web work here and there, but never really found the time to truly develop my programming skills. A renewed search for the expansion of my knowledge and marketability lead me to a course in King of Prussia for Microsoft certifications.

It turns out the network administration environment and I don’t get along. There’s a great deal of stress and immediacy, no margin for error and no room for creativity. I struggled with the job daily until I lost it. Finally, after months of searching, I found my first true programming job. I’ve moved from there to another position and it’s come time to define what I want out of this particular branch of my working life. The more I work with PHP, the more I develop object-oriented solutions in Flash, the more I realize I need to be specific about my idea of a good career if I want to be happy to hop in a car or on a train to head to the office.

Don’t get me wrong. I consider myself a writer first and foremost. It’s the creation of new worlds, putting interesting characters into those worlds and setting events in motion that affect those characters that gets me up in the morning and makes me feel alive. Programming, however, is something of an extension of that. To that end, here’s something I’d like to call a ‘programmatic mission statement.’

Courtesy Leslie Town Photography

The creative mind is like a thoroughbred horse – it requires a firm but flexible grip, one that does not allow the beast to run wild, but also one that permits some leeway, lest the creature rail against its control and fight to be free. Just the right balance of control and detachment puts new ideas on the path to greatness. You know what you want, but permitting your trajectory to follow its own course allows for growth, stays agile in the face of inevitable setbacks and lends a sense of adventure to the overall process.

They’ve called it “the information superhighway.” If you want to travel on it, you’ll need a good vehicle. ‘Good’ is a subjective term – maybe you want something you don’t have to worry about, or perhaps you’re looking for a high-precision machine stuffed with power and bursting with cool gizmos. Either way, you need someone who understands both the beating heart of an Internet vehicle and how the paint’s going to look to visitors after everything is said and done.

That’s where I come in.

I take the ideas that float around the subconscious mind and make them manifest. I find new ways to get things working. I get my hands dirty. It’s messy and magical all at once. I turn dreams into gold – one jot & scribble, one line of code at a time.

I think that makes things pretty clear. It’s a shame it took me the better part of a decade to finally put this notion together. I’ll still be pitching to the Escapist, working on stories and columns and chipping away at the latest iteration of my first novel. But in the meantime, I have bills to pay and mouths to feed and, unfortunately, I haven’t quite earned the writing stripes to leave the day job behind. Until I do, I’d still rather do something I enjoy than flip burgers or stand on a street corner.

Jotting in the Margins: On Toilet Paper & Pigeons

Writing

Storytellers are creative folk. They create something out of nothing. The entire world of Middle-Earth, for example, sprang from the notes jotted down by J.R.R. Tolkien in the trenches of the first World War. The magical world parallel to our own that seems to have a school called Hogwart’s at its center would not exist save for the imagination of J.K. Rowling. People who tell stories, from the most successful and lucrative of novelists to the humble Dungeon Master creating obstacles for a party of adventurers, make the attempt to be creative and innovative in some small way. Even if a dungeon or story is based in part on something the storyteller’s seen or read recently, it’s still their prerogative to take that notion in a new direction. After all, imitation is the most sincere form of flattery. These creative people can be very attractive to an employer.

For business people looking to leverage the profitability of creative people, here is some advice.

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Building Character: Quiet Strength

Goofy

I know I said I’d be doing a post on adversarial allies next, but a few episodes of House & NCIS completely derailed that line of thinking. To me, at least, what makes for a good character is just as much what somebody doesn’t say as it is what they do say. As an example, I’d like to point towards just about any character played by David Morse.

David Morse

This guy has been all over the place. He’s played both heroes and villains. Just a year after playing the arrogant, self-centered prick of a cop who acts as a foil to the arrogant, self-centered prick of a doctor who gives House it’s name, he showed upon on the John Adams mini-series playing George Washington. Surprisingly, these characters have something in common. And it’s not Tritter’s habit of chewing nicotine gum in a way that tells you he’s angry at just about the entire world.

It’s quiet strength. There’s a restrained ferocity about most of Morse’s characters. Instead of bellowing one-liners and chewing on the scenery, Morse conveys, in just about all of his characters, a sort of insular and confident demeanor that seems to say “I’m awesome, but I’m not about to toss my weight around to prove it.” Seriously, watch a couple of the ’06-07 episodes of House, then watch the portions of John Adams featuring Washington. The similarities are uncanny.

Another example of this sort of quiet strength comes in the form of Leeroy Jethro Gibbs.

Mark Harmon

Mark Harmon gives Gibbs his trademark stare, his direct and sometimes almost sotto voce way of pushing his team and the passion he has for those he cares about, which only rarely explodes out of him. He knows how to sweat people in interrogation, without having to resort to strong-arm tactics or much shouting, though he does raise his voice from time to time. In any given episode of NCIS, you can see what I’m talking about. There are certain looks, stances and moments where no words are spoken but Harmon communicates Gibbs’ emotions much louder than any scenery-chewing could ever hope to convey.

Especially if somebody messes with Abby.

Mark & Pauly

Anyway, it’s something to aspire towards as a storyteller and an author. Just about any hack can put words in the mouth of a protagonist in an attempt to make them heroic or macho and end up having them be hammy or even ridiculous. Sometimes camp can be a good thing, but if you want to build true dramatic tension and have people craving more of a particular character, it pays to show rather than tell, to describe a character’s expression in a few words rather than have them rant for a page. This might mean you’ll write fewer words, and while this is a detriment to projects where one gets paid based on word count, in longer works the brevity of these efforts might prove invaluable.

Then again, that’s just my opinion, and considering I’ve only been published a couple times, I could be wrong.

…No, I didn’t just put Abby in another post because she brings in hits like mad, why do you ask?

Works in Progress IV: Now With Pictures!

Gears

I don’t want to be the kind of writer who blames an abstract personification for their shortcomings. I know for a fact that I need to work on my time management and maintaining motivation & energy when I get home from the day job, so that my writing can continue and I’ll have more pebbles to toss. Still, I do bring up my muse from time to time. In this case, it was me saying the following to a co-worker this morning: “You know, sometimes I love my muse, and sometimes I want to choke the bitch.”

Urania, Muse of Astrology

In addition to managing my time better, I need to focus on one project and see it from start to finish. I did that for my entry into the Escapist’s video contest, and the result was… well, we’ll see tomorrow, I guess. In the meantime, the other projects on my proverbial plate are worth discussing. Just to see where I am.

Lighthouse

Lighthouse: Original artwork from inspirational poster available on art.com, modified by myself

It’s been about a week since I seriously plugged away at this, and I really need to get back to it. I keep seeing scenes and hearing dialog in my head. These things need to get committed to paper. I might hash out a synopsis of the remaining parts of the story, maybe an outline, over the next couple days, then put my nose to the grindstone over the weekend to try and push towards the conclusion. The sooner I get it done, after all, the sooner I can begin the Great Agent Hunt.

Jovian RPG

Jupiter & Callisto

I’d like to think I’ve established the fact that everything’s cooler in space. However, it’s been a while since I’ve spared even 15 minutes to brainstorm ideas for this game. I need to work on making sure it has appeal and is easy to pick up and play. That means the rules can’t be too abstract, the characters should be diverse and colorful and the setting should have something unique about it. Given the reaction to the fiction that inspired this project, I think the latter two are somewhat covered. So I have numbers to crunch and charts to assemble, and more fluff to write. But it’s in space, so it’s cool.

Farraday

Model by Tobias Richter, www.thelightworks.com

Speaking of space, my viewing of both episodes and commentary on Star Trek has lead me to be inspired to write something in that universe – specifically, in JJ Abram’s iteration of the universe. The USS Farraday, a Kelvin-type science & survey vessel, is departing a deep space station on its way to Earth to be refitted or decommissioned. Since this will be her last flight, the crew has a relatively easy assignment: mapping the Mutara nebula. However, when they arrive and start the work, microsingularities (teeny tiny black holes) begin to appear within the gaseous cloud, and odd communication fragments are picked up. Investigating, the Farraday becomes more and more trapped in a veritable storm of weird phenomena, and ends up getting blasted across the galaxy. The captain is killed, the ship’s damaged and there isn’t much food. The first officer, a man who had been considering command but felt reluctant to take that last step before getting just a bit more experience, is thrust into leadership and has to find a way to get the Farraday and her crew home. It’d be like a mix of Voyager and Enterprise – hopefully, without the suck. Now, I know this would technically be fan fiction, but I find myself going back to the ideas I have for it. It’s strictly a back-burner thing at the moment.

Iron Kingdoms

Art by Stanley Lau

As my wife has mentioned, there’s an Iron Kingdoms tabletop game coming up. I will be playing a gun mage, Cezar Varias, who’s looking for his father and exploring his potential as an adventurer, alchemist and possibly a warcaster. I spent some time last night fleshing out his character, which might appear here as a Canned Goods post, and as the adventures get underway, I suspect some ‘journal entries’ might be good both to keep track of what happens and for entertainment value. And the more back story and development I give the character, the more my wife can screw around with the poor guy. Not that she’d ever do such a thing.

What am I talking about? Of course she would.

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