mbarker: (Fireworks Delight)
[personal profile] mbarker

Writing Excuses 20.52: 2025 End-of-Year Wrap Up


From https://writingexcuses.com/20-52-2025-end-of-year-wrap-up


[Sorry, no key points, because you really need to read the WHOLE thing! From Dan's change to a guest star, through the predictions of June to the actual achievements of December, just read it and enjoy the holidays!]


[Season 20, Episode 52]


[Howard] In September, 2026, Writing Excuses will host an in-person writing retreat aboard Voyager of the Seas, where attendees can learn their craft and connect with fellow writers for a week along the coasts of Canada and Alaska. You can learn more at writingexcuses.com/retreats. But I'd like to tell you about our scholarships. Scholarships are available. Applications are due by December 31st, 2025. Visit www.writingexcuses.com/scholarships. But don't delay, the deadline is coming right up. Recipients of these scholarships, the Writer of Color scholarship or the Out of Excuses scholarship for writers with financial need will receive full retreat tuition as well as travel assistance for our 2026 Alaskan cruise. Please, share this post with the writers in your life. The rules and application instructions are posted at www.writingexcuses.com/scholarships. And all scholarship applications are due by December 31st of 2025. Our scholarship program has introduced us to some outstanding writers and we're excited to meet this year's recipients.


[Mary Robinette] This episode of Writing Excuses has been brought to you by our listeners, patrons, and friends. If you would like to learn how to support this podcast, visit www.patreon.com/writingexcuses.


[Season 20, Episode 52]


[Mary Robinette] This is Writing Excuses.

[DongWon] 2025 end-of-year wrap up.

[Mary Robinette] I'm Mary Robinette.

[DongWon] I'm DongWon.

[Dan] I'm Dan.

[Erin] I'm Erin.

[Howard] And I'm Howard.


[Mary Robinette]And we have come to the end of our 20th season, which is just wild.

[yay!]

[Mary Robinette] We've also come to the end of 2025, and this episode is going to be longer. We're going to do this episode in three parts, because the other thing that we have come to the end of, which we are going to start with, is Dan's time with us as a full-time core host.

[Dan] Yes. I am stepping away from the show. We've been doing this... It's our 20th season, but I believe 17 or 18 years in total since Brandon, Howard, and I started this way back in the day. And I feel like the time has come. I still love the show, and I love all of you, and I'm excited to see it continue. I'm excited to come back for various episodes and events and stuff. But, yeah. Stepping away as a full core host.

[Mary Robinette] And this was... When Dan let us know... I should let you know that we are recording this in June of 2025. And we have known for a couple of months now. And when Dan let us know, I was so upset, I was so sad, that I, like, couldn't actually answer him, and I'm like... Oh, you need to say something right now to this man.

[Chuckles]

[Mary Robinette] But, we've... It also means that we've had a lot of time to think and reflect about how we want to proceed and the ways of it. And so rather than just doing an announcement of Dan's leaving, we wanted to say with you...

[Dan] Finally!

[Mary Robinette] Thanks, Dan.

[laughter]

[Mary Robinette] I told you not to talk about those marshmallows ever again.

[Chuckles]

[Mary Robinette] But we thought that we would talk to you about why Dan is leaving, especially because we began this year by talking about some of the things that Dan had been facing and that he was [garbled struggling?] with this all year, which was great. But what has changed? And so I'm going to kind of frame this with something, a conversation that I had with my agent, which is that he and I were talking about the fact that I was working very hard all of my career to turn down the gigs I didn't want to do. And he said, well, now you're at a point where you have to make a decision about turning down the gigs you do want to do. And that was a thing that came up when we were talking with Dan.

[Dan] Yeah. That's really where I was this spring. To start the story a little earlier, this is something I've been thinking about for a while, but as we have said ourselves on this show before, when you are in the depths of a bad depressive episode, that's not a good time to make major decisions. That was the very first thing that my therapist told me when I started going to see a therapist. And so we reached a point, and I can't remember if it was two or three years ago, where I told the rest of the cast that I had to step away temporarily, because if I didn't, I would quit. And I didn't want to quit. And that's just because the depression... And at that point, much more so, the anxiety were just too much. Stuff that I love immensely, like recording with this group of people, would give me horrible panic attacks. And we had a recording retreat, and I don't remember if I told you at that retreat in Austin, or if it was later when we got home, that it was just too much for me. And I had to step away and give myself time. And so I was very spotty for a while.

[Mary Robinette] Yeah.

[Dan] But I knew I didn't want to make that decision yet. And then earlier this year, in March, I finally found a med schedule that worked for me. The right medicines, the right treatments, the right everything. And I have been feeling fantastic ever since. And that after two or three weeks of that fantastic feeling, I thought, yay, I can come back to the show now, and this will be great. And then I thought, wait a minute. This is the time when I'm supposed to make the major decisions. And I had to think about where I was in my career, what I am looking to do, what kinds of platforms and outlets do I want to focus on? And really, I felt like it was time for me to move on. And the reason I feel like I am able to move on right now is because we've spent these last few years building the show into a new and exciting thing. And I love what it is and it is in very good hands, and I love all of these folks, and so it really felt like I was able to leave it in their capable care, and to move on to a new phase of my career.

[Mary Robinette] And I have to say, for me, because I was... I was not an original host. I came in in season 6. And so the idea of doing the podcast without Dan was scary. Because it... I like talking to you. But I also know that I like... At this point, the new team has jelled, and we... Because of the time you had to take a step back, I knew how we worked as a four-person podcast. And there are times, honestly, when having five people is awkward. That's one of the reasons our episodes tend to run longer. But it is also one of the things that I love about this is that you are leaving at a point where you still love the podcast.

[Dan] Yeah.

[Mary Robinette] You aren't leaving at a point... Because it's just become a thing that you can't handle, that you don't like.

[Dan] Yeah. Yeah. Which was important for me.

[DongWon] And we didn't design this season, in terms of curriculum, with this in mind. Right? You told us after we had begun recording episodes for this, and sort of knew what we were up to, but it ended up working out, because we spent a lot of this year talking about our own individual processes, our career development, and some of the different things about how we structure our business and how we structure our lives. And so it's been really useful to sort of be, like, going through that conversation together about, like, oh, here's how I think about process, here's how I think about managing my time, and picking my projects and building my career. And hearing from you sort of where you're at in all these different ways, I can sort of see all the ways in which you continue to grow and push yourself, and figuring out what fits in your life right now is sort of the question that you need to answer, as all writers sort of need to answer, with the things they're doing other than just writing their novels.

[Erin] I just think, like, I will be sad, and I am sad, I should probably be sad right now, but I'm more, like, super psyched and here's why.

[laughter]

[Erin] I can't wait to get rid of you... No!

[go on, get...]

[Erin] No, because like thinking about your episode where you were talking about, between the sort of business episode and the episode about your process, and thinking about like all the things you said about your career in the past...

[yeah]

[Erin] I think one of the things that I know, like, from an outside perspective about depression and anxiety is they keep you in the moment, they keep you dealing with the present moment, and they sometimes steal your ability to look forward and to think about where am I going? Where do I want to go? What is the future that I see? And seeing you talk about here's where I want my career to go, here's what I'm planning for, here's what I'm excited for, makes me so excited for you to have that. Like, and to see you feeling like you're looking forward, and I'm like whatever you're looking at... Like, I just want to be standing, looking at it with you, and, like, cheering you on in whatever form it is. And so I'm, like, so thrilled more than anything else, like, just to, like, be there to be, like, I was at the moment when Dan was like, I'm looking at this next thing and I can be, like...

[yeah]

[Erin] Yay, cheering it on and, like, waving from the...

[yeah]

[Erin] Shore as you're, like, [garbled] ship sails.

[Dan] Well, thank you very much.

[Erin] I don't know...

[Mary Robinette] I would echo that, because I... Like, I had the initial extremely selfish response. But then after that, especially being here at the recording retreat where you were able to share things with us which we can't share with the listeners, it is exciting to see what happens next. Some of which I know specifically, and some things we aren't going to talk about. But the thing about the podcast that I think our listeners don't understand is that it takes a cognitive load.

[yeah]

[Mary Robinette] It's something that we've actually all been talking about, of how to shift the cognitive load of the podcast, because it's not just the recording, but there's also all of the planning of the curriculum, there's meetings about what direction we want to go, what additional business things we want to do. You've heard us talking about the craft book. That's another piece of cognitive load. And so knowing that you're going to free up that space, there's a lot of opportunity there.

[Dan] Yeah, it's exciting. I thought a lot about what will I be sad to leave behind, and what am I excited to move on to. And in some ways, I keep thinking of myself as a grandpa of the show.

[Chuckles]

[Dan] Rather than a dad of the show. I am excited that the show will still be there, and then I'll get to play with it sometimes, but then I can give it back to you...

[laughter]

[Dan] And I don't have to change its diapers.

[yeah]

[Howard] When we talked about Charlie Jane Anders book, All the Birds in the Sky, one of the things that I loved about it was the aspect of the magic system where in order for certain spells to work, someone has to give something up. And often they would agree to give something up without realizing that what they were going to give up was precious to them. And I've found several times in my own life, most notably when I moved from record production to cartooning back 8 years before the podcast began, I consciously made the decision to give away all of my recording equipment. Keyboards, tone generators, it was $20,000 worth of equipment at full retail. Gave it away, because I know if I try and do both, I'll fail at both. I need to give up something I love in order to have something that I want to love next. And I get that sense from you. You are giving up something that you love in order to move into something that you are ready to love more.

[Dan] Yeah. And I think that that's pretty much the way I look at it too. One thing I do want to point out... One of the things I got from Writing Excuses that I don't get from some of the other things I'm working on right now is the ability to give back to the writing community. And that is kind of the last thing I was really clinging to. I love being able to give back, to give advice, and to help other aspiring writers. And the rest of the hosts have very graciously offered me the chance to keep doing that. I have been running, at least in part, the scholarship program that we do for our Writing Excuses events and retreats, and I still get to do that. So I will still have a hand in that aspect of the show which is really important to me. So, that's great.

[Mary Robinette] And, also, you are... You're moving back... You're moving into... It's less that you're stepping back from the podcast and more just stepping into a different role. Because you're going to be, like DongWon and Erin were before they became core hosts, they were series regulars. So, like, we already know that you're going to be back next season, and for a very special episode.

[Chuckles]

[Dan] The one where I tried drugs at school?

[laughter]

[Dan] No, it's exactly like that. I keep thinking of, like, Saturday Night Live writers. For so long Colin Joss and Michael Che were the head writers, the co-head writers of the show, and then they stepped back, because they wanted to do something else. They're still on the show, they're still writing skits, but they don't have the same responsibilities anymore.

[Mary Robinette] Yeah.

[Dan] So, I'm moving from featured player to guest star, I guess.

[Mary Robinette] Yeah. Yeah.

[Chuckles]

[Mary Robinette] Our regular guest star.

[Erin] You will be in the [garbled]

[laughter]

[Mary Robinette] Well, speaking of responsibilities, it is our responsibility to take a little break, and then we will come back and we'll talk about your end-of-the-year wrap up, dear listener.


[Mary Robinette] So, this is... Welcome back... The end of 2025. So we want to talk about kind of the way we feel like the year has ended. What we're going to do is that we are going to record this in two parts. Right now, we are in June of 2025. Specifically, if you want to look at the date, it is June 23rd at 4:00 p.m., Central Time, that we are recording.

[DongWon] We are just past the solstice.

[Mary Robinette] We are just past the solstice. So we're going to record this part about the way we think the year would wind up. Then, at the actual end of the year, we're going to record how the year has actually...

[Chuckles]

[Mary Robinette] Ended. And part of the reason that we decided to do this is because the US has, as we record this, the US has just bombed Iran. And so it's hard to do a kind of cheery, hello, it's the end of the year...

[DongWon] As someone who lives in Los Angeles, this year has gone very smoothly and predictably so far.

[Chuckles]

[DongWon] Nothing surprising has happened, nothing alarming has happened. Very normal.

[Mary Robinette] Yeah. And, so, like, we did one time try to pre-rec... It's like trying to record our end of the year in advance. And then we had to go back and re-record it. But we decided to treat that like a feature and not a bug for this year.

[Howard] Yeah. I think it was just this year that I heard the saying, if you want to make God laugh, tell him all about your plans. And so this is us, testing a joke that's just going to have God in stitches, about how we think 2025 will wrap up for us. And then, in a few months, we'll come back and laugh at ourselves.

[Mary Robinette] Yeah. And part of the thought process that this is... That this is something that will happen to you over the course of your career. We're talking about big global events right now, but over the course of your career, you heard, when Dan was talking about his writing process, and when we were talking... Or when Dan was talking about the business from the craft book, that sometimes you think you've got a plan and you think you know how it's going to go, and then you have to do a reset. So this is kind of like... This is something that it's worth doing when you're listening to this, to think, okay, well, let me think about how I think my next 6 months are going to go, and then see where I am. So...


[Howard] Can I start?

[Mary Robinette] Yeah. Please do, Howard.

[Howard] I am working right now on a bonus story for Schlock Mercenary, Book 19, A Function of Firepower. Which we planned to launch a Kickstarter for later this year. When I say later this year, like, somewhere in the August to October time frame. I don't have exact dates. But the plan for my year is finish this bonus story, finish the last of the sketch editions, the sketch card deliverables for the book 18 project. I just got a lot of pictures to draw for people. And once that's done, I... We've got Gen Con that we're going to do in August. And then this whole book launch project, Kickstarter project, which will take us through to the end of the year. And that is how I'm going to be spending probably 60 to 70% of my productive time. And the balance of it, I'm going to spend noodling on maybe something silly, maybe something spooky, I don't know yet, but I'm going to pick and I have several choices that I like.


[Mary Robinette] I'll go next. So, I'll talk about the plans that I know and then the thing that I'm like maybe.

[Chuckles]

[Mary Robinette] I'm wrapping up edits on a book that I'm going to be handing to my agent. And so what I'm hoping is that when we record this again in December, that I will be able to say, yes, we've sold that book. My agents sending it out to market. But in... There's also an equal possibility that I'll say, well, it's been sent out, I've gotten a number of rejections, or that I'll say, we haven't heard back from anybody. Like, I don't actually know what that's going to look like. I have a new book that is coming out October... That will have come out October 20th...

[Chuckles]

[Mary Robinette] 21st which is a science fiction noir called Saga. Not called Saga. Called Apprehension from Saga. And it's an experiment that they're doing, one of those doubles. And I'm really hoping that people will be excited by it, and that when I come on in December, that everyone, all of you, dear listeners, will have listened to it. But it may also, because it's an experiment, flop. I'm starting drafting a new novel. I'm in the outline phase right now. Again, I hope that by the time we roll around in December, I've actually finished that book. And then, then there's the stuff that I don't know. There's... And I'm going to not go into details about this, but I will say that the Wednesday before we came here, I had a family member enter hospice. But it's also the kind of hospice that could be with us for a while. We're not in crisis yet, we're just getting extra help. So I don't have any idea what the rest of my year is going to look like. And then the world is on fire, and I don't know... Like, my husband and I have been talking about do we need to think about moving out of the country. But we can't... Like, there's a bunch of... There's so many different moving pieces right now. So my own strategy at the moment is just to take things... The old cliche of one day at a time. But it is very much like breaking things down into smaller pieces. What can I do today? To just move forward towards the goals as if I can achieve the goals.

[DongWon] Yeah. For me, I think it's hard to predict my... How are the next 6 months of my life are going to go at any given point in time. But I'm coming out of a period of particular disruption for me. A lot of it brought on to myself by choosing to move across country. But there's just been lots of different things that have managed to disrupt my normal flow of work and my normal process. And so, I'm in a little bit of a mode of rebuilding right now. On the agenting side, really I'm hoping, and this is a cold shot, again, because this is all very, very [garbled] but I'm in a position where I have a little bit more bandwidth then I've had recently. So I'm looking to try and find a couple new people to work with. Take on a couple new clients over the next few months, and would love to see where we're at this fall, if there's something in there that could be placed with a publisher, or at least have the stuff in development. So, expanding my business is one thing I'm really looking at doing. Which is something I haven't done in quite a while. I mean, there's been people I've taken on here and there, when the situation made sense. But I haven't been really actively looking in a minute. So, sort of the back half of this year, being a little bit more focused on starting to see what's out there and sort of see what I'm interested in right now, and trying to find a couple people to work with. So, that's my primary goal. On a personal level, I have a side project, a side creative project that I've been developing for a long time now. It's been in the works for about 2 years. I'm not going to say what it is yet, because I don't think we'll have announced it by the end of the year. We're looking to launch it sometime next year. But a big component of the creative lift is, fingers crossed, if everything goes smoothly, will be happening next month. So that is a thing that is occupying a lot of my mind, is looking at... Heading into that project and doing a lot of the initial wave of that work. And then figuring out, oh, God, what have we done? How do we make this work out?

[Chuckles]

[DongWon] So, on the personal side of my life, this side project is going to encapsulate a lot of my attention and a lot of my focus in terms of creative energy. And then, professionally, continuing to push forward and expand my business a little bit.

[Dan] Awesome. Okay. So I work with Brandon Sanderson, which means that a lot of the projects I'm working on are secret, but it also means that I can't call them secret projects, because that has a very loaded meaning...

[Chuckles]

[Dan] With Brandon's stuff. Because of his giant Kickstarter. And I don't want to give anyone the wrong impression. So I'm going to call them redacted projects.

[laughter]

[Dan] Okay. So, I have redacted project A that... It needs to be finished this summer. If it's not finished by the time we record again, it will be embarrassing and bad for me. Redacted project B, my writing part of it should be done by December. So that should be done as well by the time we record. Redacted project C, if I get a chance to start on it this year, I will be very excited. I don't know if I will. I'm going to go ahead and put a stake in the ground now and say I will start outlining that project before we record again. We'll see if I follow through. Redacted project D is ongoing. I have no idea when my portion of that will be done, but we're working on it. Now, the stuff that I can talk to you about, my own work, we are in the process of finally, years and years later, putting together a print edition of A Night of Blacker Darkness.

[Mary Robinette] Oh, great.

[Dan] Which is my historical vampire comedy. And those should be available soon. I think we're going to make... We're going to get them print on demand sometime this summer, and ebook and such, and then have physical copies that we'll be selling at conventions later in the year, like Nexus and such.

[Howard] By the time this episode airs...

[Mary Robinette] Theoretically.

[Howard] You will have enjoyed the print edition...

[Dan] We certainly hope.

[Howard] Of that. Okay.

[Dan] That's the goal. I've got a YA horror novel that I have been working on for like 6 years. I don't know if I will have time to get to that, because, as I said, there are so many other redacted projects that I'm doing with Brandon. But I would love to be able to get to that one. That one is called The Window That Can Never Be Closed, and it will take more time than I have to finish revisions on it this year. But I want to have started them. So, that's the layout of my next 6 months.

[Erin] Nice. And I will just say that in my spreadsheet, I give all my projects code names.

[Dan] Nice.

[Erin] For two reasons. One, if I ever show anyone the spreadsheet, I'm not breaking NDA, and also so that I can give them silly names.

[laughter]

[Erin] You're saying ABC, and I'm like, what if it was Project Slumgolian...

[laughter]

[Erin] Horatio Alger. Like, it doesn't have to have any reason, just whatever you are looking at that day.

[Mary Robinette] Project Honeysuckle.

[Erin] I cannot remember the other old-timey American...

[Howard] Bamboozle was the one that set us off, as well.

[Dan] Wasn't that Hornswoggle?

[it was Hornswoggle]

[DongWon] We've put in too much time on the Internet before we started to record, and there were many old Americana jokes happening. So...

[Mary Robinette] You can look up honeysuckle on your own.

[Dan] We got a little honey fuggled.

[Chuckles]

[Erin] But I will say that I have several projects going. But I think that the big thing for me is that I'm moving. So I have been in Texas the last 4 years, and in a couple of months, I am moving to the West Coast. And I am just sort of at the beginning of a figure out where I want to live next project. Where I'm staying places three or four months at a time to see what place I want to live, which is a thing you can do when you just have a cat. And so I'm loosely starting on the West Coast and seeing how that goes, and then who knows where I'm going next. Which is really exciting for me, because I think it's sometimes just good to, like, change your context. And that will, like, shift other things that you're doing. I mean, like, there are many reasons to leave Texas. Texas is always Texas-ing on things. But also, I think, for me, a person who grew up in a walk... A really walkable city, New York City and Washington DC, I have missed, in the heat of Texas, being able to, like, walk around. And so I'm trying to find places with a more temperate climate, so that I leave my house and don't become a shut-in workaholic. And so I'm trying to live more centrally in the city and do things that will help me get out of my house and get into the world. And I think that will really help me, like, shake things up personally, if nothing else. And that'll affect all the projects I'm doing, but I think that is the thing that I'm most excited about. The other thing I'm going to put forward is, one is a lie and one is true.

[Chuckles]

[Erin] So the lie is that, like, I will send a newsletter out. I'm not going to do it. But let's say...

[laughter]

[Erin] That I'm going to do it. I might eventually send out one newsletter. And two is that I'd like to get a story sold. So, I want to get a story sold. That I think I can actually do. The newsletter, it's hilarious because every two months, I revise half of the letter to be like, hi, y'all. Coming to you from June. And then I never finish the rest of it. But who knows? Maybe I will surprise myself and in my new context, I will do things that I never thought possible.

[DongWon] I'm tagging on to your newsletter lie. I'm also going to send at least one newsletter...

[laughter]

[DongWon] By the end of the year.

[Mary Robinette] I went to...

[DongWon] I have so many half written drafts.

[Mary Robinette] Like, you're the one who's like everyone should have a newsletter.

[DongWon] I think you should have a newsletter. I never said you have to send it regularly.

[Mary Robinette] And... Yeah.

[Erin] Or at all.

[DongWon] That's absolutely not part of my advice.

[Mary Robinette] I just want our listeners to know that Writing Excuses sends out a newsletter regularly.

[DongWon] Yes.

[Mary Robinette] Which often includes updates from these fine people here...

[Chuckles]

[Mary Robinette] And my newsletter's regular. And do you know how I manage that? I hired people.

[Chuckles]

[Mary Robinette] Because I also have good intentions about newsletters that will never happen.

[Dan] Yeah. Dawn and I looked at our thing at the beginning of June and realized I hadn't sent a newsletter out since February. So...

[Mary Robinette] That sounds bad.

[Dan] I did send one in June.

[Mary Robinette] Yeah. Not nearly as bad.

[Erin] Wow, look at you.[garbled]

[DongWon] I'm so excited.

[Howard] February of 2025?

[Dan] Yes.

[Howard] That's...

[Mary Robinette] That's like not late.

[Howard] You're in great shape.

[laughter]

[Dan] Fine.

[Mary Robinette] All right. So. We are going to take a break now. And when we come back after the break, we will have time traveled to December and it will be the actual end of the year.


[Mary Robinette] [largely inaudible] One of my favorite things to do when I'm writing is to talk to subject matter experts to kind of get new ideas, or just to dig into a topic more deeply. So, I was watching MasterClass, and they've got this class by John Douglas called Think Like an FBI Profiler. And just in the first few minutes, when he was talking about being a young field agent, story ideas just like started to unfold in my head. A lot of times, as a new writer, you don't know where to go to get access to subject matter experts, someone who can tell you this kind of story or introduce you to the sort of skills that this Thinking Like an FBI Profiler is introducing me to, and MasterClass offers that. With MasterClass, you get thousands of bite-sized lessons across 13 categories that can fit into even the busiest of schedules, like, if you're in a hurry. It turns your commute or your workout into a classroom. With audio mode, you can listen to MasterClass lessons anytime, anywhere. Just like you listen to us. Plus, membership comes with bonus class guides and downloadable content to help you get even more out of each lesson. MasterClass always has great offers during the holidays, sometimes up to as much as 50% off. Head off to masterclass.com/excuses for the current offer. That's up to 50% off at masterclass.com/excuses. And, yes, I am going to say it one more time. And, yes, I am going to say it one more time. Masterclass.com/excuses. And then maybe you too can think like an FBI profiler.


[Howard] Hello! We have time traveled the old fashioned way, moving forward in time at the rate of one second per second. You had a 2 minute break, but we had 6 months. It's December of 2025, and we are now recording the final part of our final episode of season 20. In this segment, we're going to check back in with Dan and reflect on how our best laid plans have fared. Speaking of plans, we planned to have Mary Robinette with us for this recording. But she's traveling. Fortunately, she's recorded a nice mini-segment that producer Emma and editor Alex will splice into this episode. So, via Emma and Alex, here is Mary Robinette.


[Mary Robinette] Here we are at the end of 2025, and as you can probably tell, I'm ending the year by getting over a cold. So, I'm going to give you a quick rundown of the things that I mentioned when we recorded before the break. The novel that I said I was wrapping edits on and giving to my agent... Finished those edits. It has not yet sold, it has been shopping around. So, we'll see how that goes. The book tour for Apprehension was actually a lot of fun. I toured with Sam J. Miller. We hit a bunch of cities. Elsie went with me on some of those. People were definitely more excited to see my cat. She didn't go to the actual events, but she was on tour with me, and that actually has been one of the things I did not have on my bingo card at all, was that my cat has gone viral. And I love Elsie, but she is now officially more famous than I am. She has, as we record this, 102,000 followers on Instagram alone, and like 62,000 on Facebook. It is crazy. But it's a fun ride. The novel that I said I was in the process of outlining, I set that aside and I'm working on a novella, actually all about Elsie. Because it feels like a time to take advantage of my cat's virality. So I'm nearly finished with that. I should have that finished in the next day or two. It's only about 3-5,000 words away from the end of that. And then I mentioned a family member was in the hospice. That family member is actually doing much better on hospice. I will tell you, I'll give you the advice that I was given years ago, that if you ever have a doctor that offers hospice, to just say yes immediately. Because it just gets more help, and my family member is actually doing so well on hospice that may graduate from it. Which, on the one hand, yay! On the other hand, it does mean losing some of that additional assistance. But that's basically where I'm at. And, looking forward to the next season.


[Howard] Wow. I really wish I could hear that. I bet it's awesome.

[Dan] Oh. I heard it. It was great.

[Howard] It was awesome?

[Dan] Yeah.

[Howard] It'll provide a brilliant springboard for DongWon, Erin, and I. So, let's do that. I'm going to let DongWon go first.

[DongWon] Thank you. Yeah. I mean, tying right back into what Mary Robinette was saying and just thematically picking up on that, I, before this, we all got a chance to go back and listen to what we actually said 6 months ago. So I got to get back into that, and realize that I had completely forgotten all the goals that I had set for myself. However, in spite of having forgotten it, I remained consistent in that I managed to address most of them, I think. I think the thing...

[Howard] So you forgot you said it, but you did it anyway?

[DongWon] Exactly. So, it must have been honest on some level.

[Howard] Character is who you are when no one's taking notes.

[DongWon] Exactly. So. It's been a very busy back half of the year for me. It's been quite hectic on a number of levels. In terms of the work side, kind of exactly what I'd hoped to do. Took on a couple new clients, which has been very exciting. I haven't sent anything out yet, but those projects are getting prepared to go out early next year. And been able to lay some pre-ground work in terms of talking to some editors, finding some people who are interested. Both these writers are fairly established in different categories. So it's been a really exciting strategic opportunity to figure that out. I also opened to submissions for the first time in a very, very long time. Only in a couple categories, so really just looking for epic fantasy and horror right now. And been getting a ton of queries in that are extraordinarily good. I've requested too many things and have way too much reading right now. But it's fun. It's been really nice to dig into it. And been catching up on some competitive reading, on what's happening out on the market. And just have had a run of like absolute bangers and reading stuff I've been loving, and having a blast. And it's just nice to remember how much I love this genre and how much I love this category, both on the fantasy side and on the horror side. I would love to read some big science fiction next. So I'm on the hunt for one of those. So, yeah, in terms of the work side, it's been going very well, very busy, and kind of filling up my docket for the first half of next year. And then I mentioned I was working on a creative side project. I have continued to jam on that. The big thing I referenced in terms of that is going to be a new podcast. Again, I don't want to talk too much about what it is specifically, yet. But keep an eye on my channel for an announcement sometime in the next couple of months here. But the recording for that went extraordinarily well. Had a great time doing it. It's a very big creative lift. That has been very fun to do. And it's spinning off a side project to the side project, as inevitably happens. So pretty much all of my non-work time has been taken up by those. So, yeah, it's been a very exciting, fulfilling, and fruitful time the past few months. The world continues to be somewhat chaotic, but on a personal level, things are going well.

[Howard] I think it's really cool that you... You... Seriously cool that you managed to forget everything you said you were going to do, but then did it anyway.

[Chuckles]

[Howard] Rhat means that the things that you said came from that deep stone part of your soul...

[DongWon] Yeah.

[Howard] That is immovable... Unmov... Immovable.

[Dan] I'm in the same boat. I could not remember any of the goals I set, and also completed most of them.

[Howard] Oh. Yeah.

[Dan] And in my case, I think it's that I was aiming really low.

[laughter]

[Dan] So it was just easy.

[Howard] Would you like to tell us about it?

[Dan] Sure. I talked, 5 minutes ago when you heard the other segment, about redacted projects A,B,C, and D. And the good news is A, B, and C are more or less exactly where I expected them to be at this point in the year. Redacted project B, I should have turned in a revision a week and a half ago, and I did not. And that probably won't happen until January, and I have come to peace with that.

[Chuckles]

[Dan] I don't know if my editor has. But. Okay. Redacted project D? I genuinely have no idea what I was talking about. This is the problem...

[DongWon] Those redacted projects. This is the code name project...

[Dan] Yeah.

[Erin] This is why I give them code names, so that theoretically...

[Dan] Yeah.

[Erin] That [garbled]

[DongWon] Do you remember what Hornswoggle was?

[Erin] Always. Probably? [garbled]

[Dan] Yeah. Rohisla. There's several gems. I can't remember how many gems Rohisla had. But... Seven? Whatever. I have no idea what secret project redacted Project 7 may have been. So let's all pretend either I finished it or it didn't matter. Because I know that no one at Dragon Steel was expecting any other project from me, other than the three I'm aware of. So, hooray. I also said that I was going to start revising my horror novel, my YA horror, which I have not done. I might try to do a little of that before the end of the year, just so I can say that I did it. But, no, I haven't had a chance to get to that. But, yeah, other than that, I think the goals have mostly been met. And on top of that, I am doing two... I'm actually doing three gaming retreats next year, one writing retreat, a bunch of other stuff. I'm going to so many cons. I grew tired of traveling back when I was doing Comic Con constantly, and then Covid came along, and I didn't have to do cons anymore. And, next year, I'm doing a bunch of cons, and I'm not entirely happy about it, but that will be my next year.

[DongWon] Yeah, I got tired just hearing all this.

[Chuckles]

[Dan] Yes.

[Erin] You all. I was like, ooh, fun, going to cons.

[DongWon] Erin, you have a con endurance that I simply do not. But, anyways.


[Dan] I'm actually going to take this moment to pitch one of my gaming retreats. So, next year, in the summer of 26, first week of July, I am doing a Mistborn RPG week-long event. Where every attendee gets a seat at a five person table with a professional GM, and we'll play through a Mistborn campaign that I am writing along with Lydia Suen who is the lead designer on the Mistborn RPG and Kara... I think Friedman, I don't remember Kara's last name, and I'm sorry. But she's awesome, too. So, anyway, everyone, come to that. It's called Campaign Supernova.

[DongWon] Hell, yes.

[Erin] Nice. I hope there's mist there, just in general. [garbled]

[Dan] That'll be my job as the overseer. Go around to the tables and gently mist them all.

[DongWon] Just use a handheld machine for the whole thing.

[Howard] The new mist bottle RPG.

[Dan] If you can see the other tables, you get your money back.

[Howard] Okay. Can I make Erin go next?

[Erin] Ah, sure. Yeah. I...

[Howard] You've got some exciting news. Right?

[Erin] I...

[Howard] [garbled] like to tell us you're exciting news?

[Erin] Sure. I mean, let's start with what I said I was going to do. My favorite thing about looking back at the transcript... I didn't listen to it, but I looked at it, and I said that some of the things that I was saying were lies, and it was a lie. So I said I'm going to lie and say I'm going to get a newsletter out, and it was just as much a lie as I knew it would be...

[Chuckles]

[Erin] When I said it. So...

[DongWon] Oh, yeah. My newsletter's back! I've been sending newsletters. So...

[Dan] Yeah. I've seen several.

[DongWon] This is me thanking you for sending my newsletter.

[Dan] From you.

[Erin] There you go. And I think when I said I was lying, you were like, I'm going to shame you and put out a newsletter. Or at least that's how it felt.

[DongWon] [garbled] Too.

[Erin] Yeah. Shaming Erin, side quest achieved. Mist now. Feeling misty. So, I did that, and I also moved. So that was a big one. Which is that I moved to the West Coast from Texas. I said I was going to do it, and I did do it. And, this is where I think the second lie comes in, which is the lie I'm always telling myself, which is that the amount of time something takes is somehow proportional to, like, how many syllables it is. Like, I'm like, move. You could say that so fast. So therefore, it's like a really small process. It's only four tiny letters. But it turns out moving is in fact long and takes a lot of time and energy, and I'm still surrounded by boxes and furniture that I need to assemble. And so my thing that I thought would be true, which was finishing a story, is also a lie.

[Chuckles]

[Erin] Because of my lie of thinking how quickly I would be able to just do all of the stuff that I was going to do, even though I was taking on this extra work. So what I'm hoping for 2026 is to, like, learn the underlying truth, which is that it's better to actually be as honest as you can be with how much things are going to take. Like, I'm a big fan recently of thinking about systems versus individuals, like, a lot of times we put things on ourselves, we say like, if I was just better and faster and stronger and worked harder, this thing would be done, versus like moving is a systemic thing that is going to change everything around me, and I don't know how it's going to affect me. And, like sometimes you just can't outrun this... You can't outrun the train. And the train is your life. And so trying to figure out sort of what is the train and what's the part that I'm...

[DongWon] Yeah.

[Erin] Running, like what's my individual effort and what's me actually dealing with the world is something that I'm going to try to figure out in this new location. So I think that's sort of the biggest thing.

[DongWon] As someone...

[Erin] Biggest... Yeah?

[DongWon] As someone who has moved three times in the last 18 months...

[Dan] Oh, wow.

[DongWon] I cannot overstate how disruptive moving is to every part of your life. So I think I had to learn kind of the same lesson too, of just, like, getting hit by three trains in a row. Right?

[Erin] Oh, no.

[DongWon] It just made things very hard to accomplish for a second there. So, all sympathy to you for this period as you're getting back on your feet here.

[Dan] I haven't recorded with you folks since June or July, whenever we did the other one, and I forgot that you all bring such wise nuggets of knowledge. I was just making jokes and telling people to come to my retreat, and here Erin has this valuable lesson for everybody.

[Chuckles]

[Erin] It was dark under the train, I had time to sleep.

[DongWon] Yeah.

[Chuckles]

[Erin] Not time to write, but time to think.

[Howard] Those nuggets of wisdom, they're actually railway gravel.

[DongWon] Yeah.

[Chuckles]

[DongWon] [garbled] Crushed up wisdom.

[Erin] Also, that kind of goes hard. Crushed up wisdom. That was actually the name of, like, a perfume or a band or... I have no idea what. A strain of some sort of drug?

[Howard] Erin, are you going to tell us about a new thing?

[Dan] You're going to do a line of crushed up wisdom?

[Chuckles]

[Erin] Every meal, I do some crushed up wisdom, and finish my time.

[DongWon] I've got [garbled] for you right here.

[Erin] That while... So I moved randomly, it had nothing to do with anything. But after I moved, because sometimes this is the way the world works, I ended up getting a job that will keep me here on the West Coast, in the Pacific Northwest, for a while, which is that I joined Dungeons and Dragons as a game designer. So I'll be working for Wizards of the Coast. I will take this opportunity to say that absolutely nothing I say reflects on Wizards of the Coast. If they thought it would, they would not have hired me. Please take everything I say... Don't go asking them for crushed up wisdom, they don't have it.

[DongWon] I'm so excited for the 5e module, the Gems of Rohisla...

[Chuckles]

[DongWon] That'll come out in 27.

[Erin] How quickly can I get myself fired? Speed run, 2026. But one of the reasons that I'm really excited about this, other than its general excitement, is that it actually consolidates a lot of the work that I was doing for many different people. And I'm hoping, like, gives me time to actually relax a little bit more. Maybe even play some of the games and read some of the books from my backlog, and actually just take it a little easier. And I will say that it's, like, feels weird. It feels weird, and this is my last piece of crushed up wisdom before I run out of my supply. But, like, when you've been running downhill in real life and you hit a straight, it feels like there's all this laid on you. And it's not because you're not running fast, it's just that, like, there's a feeling of going downhill that's a little bit out of control. And when you're back in control, it can feel odd, your body doesn't feel like it normally does running a straight path. And so a lot of what I'm doing now is getting used to what is it like to run a straight path, where I'm not chasing things downhill, and then how do I do that without it feeling like weights, but instead something that I'm in control of and where I can decide where I should go next. So...

[DongWon] I love that. Yeah. I'm really excited for you in this next phase of things.

[Howard] I think that means it's my turn.

[it is]

[Howard] I said that I was going to finish some sketch editions and some sketch cards and a bonus story. And then start work on some spooky stuff. Short version, I am much further behind than I wanted to be. And so the spooky stuff remains purely head canon. But I finished all the sketch editions. I finished all the sketch cards. And I'm still working on the bonus story. I realized that when I'm restricted on page count, and I want to tell a story that has, like, some important things that need to be gotten across, sometimes every panel on the page has to do heavy lifting. And artist Howard is yelling at script writer Howard for teeing this up. Because I did not...

[Dan] Yeah.

[Howard] I did not make my job easy. The big change, I think, during the last 6 months, my former boss's boss's boss, back when I worked at Novell, Eric Schmidt was the CEO. And he went on to be CEO at Google, which was a much better gig for him. He recently said, in an interview, in order to be productive, stop doing things to prevent yourself from being bored. If you've got like a little mobile game that you noodle on or doomsday scrolling or whatever, these... And he was talking about the mindless sorts of things that we will do because we don't like boredom. He said don't do those. Let yourself be bored, so that you can be creative, so that you can be productive. And I took that to heart, and hard quit everything. There were several games that I played regularly, both mobile and PC. And I just stopped. I did say goodbye before I left...

[Chuckles]

[Howard] And explained to people, it's not you, it's me. And it's because I have too much else to do and I need to make the time for it. And, honestly, it's been wonderful. I can't recommend it to everybody, because I need people to read webcomics.

[laughter]

[DongWon] Intentionally cultivating boredom is incredibly powerful, though. I am so...

[Howard] So, so powerful.

[DongWon] It doesn't mean you have to quit everything cold turkey. But, like, just making space in your schedule to sit and be bored, I think can be just so generative.

[Dan] Well, and we learned the lesson on long car trips, road trips, with my kids. We used to try and entertain them and keep them occupied. And it was just a nightmare, they were always impatient. And one year for family vacation, we're just like, you know what? No. There's not going to be any movies in the car, we're not going to hand you tablets, you're just going to be bored. And the road trips have been so wonderful ever since. Because they learned how to entertain themselves.

[DongWon] Yeah.

[Dan] It was great. They learned how to think their own thoughts.

[DongWon] Terrible.

[Howard] Yep. Anyway. So, what does my 2027 hold? Well, I guess I gotta finish the bonus story. I gotta finish the stuff that I said I was going to do in 2026. But I'm optimistic. I think it's going to work. I'm not getting younger. This... The whole, oh, if I could only work harder or longer or faster? Yeah, you know what, the days when I worked longer, harder, and faster than I work now are behind me, and I need to admit that. And I have. And I need to come to peace with that. And I haven't. But, give me some time.


[Howard] So, there's our report on how our mid 2025 projections for the rest of our 2025 worked. So I think it's time for us to send you home with homework.

[Dan] Oh, yeah, baby. Here's my homework. In the time since we recorded last, I discovered that there is apparently a Twisted Metal TV show. And I binged both seasons of it. And I adore it. I love it so much. In particular, season 2. That show is able to combine ridiculous comedy with over the top violence with genuinely touching and poignant human emotions in a way that you rarely ever see anywhere. And so my homework is go watch at least some of Twisted Metal. Be forewarned, it swears a lot. There's a lot of gore in it. So maybe you only watch the first little bit, if that's not your cup of tea, then I'm going to recommend... I've recently gotten into interactive fiction, The Book of Hungry Names is absolutely phenomenal. So one of these two things. Go and consume that media and learn what you can from them. Because they are master storytellers at doing very different tightropes of different emotions all at the same time. I love them. Go do that.

[Howard] Oh. One more bit of homework. Your hosts have had many opportunities to thank Dan and to wish him well. We want you to have that same opportunity. We've created a publicly accessible Patreon post, thank you to Dan Wells, for you, our listeners, to share your thoughts. Things you've learned from Dan, appreciation you wish to express, even your favorite stories about Dan... I'm not allowed to call them danecdotes, and so I won't. Go to patreon.com...

[DongWon] [garbled] you said it.

[Howard] And yet I said it. Go to patreon.com/writingexcuses and then look for thank you to Dan Wells.


[Dan] Oh. Now I'm supposed to say you're out of excuses. Now go tell me how awesome I am.

[Chuckles]

 
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Writing Excuses 18.18: Launching an Author Newsletter 
 
 
Key Points: Two kinds of newsletters, content newsletters and marketing newsletters. Content or announcements? One newsletter or many? One channel is probably best. What are you passionate about? How often can you do it? Don't overcommit! Look at platforms, MailChimp and others. Consider an assistant! Collect addresses. 
 
[Season 18, Episode 18]
 
[Mary Robinette] This is Writing Excuses.
[DongWon] Launching an Author Newsletter.
[Erin] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Mary Robinette] I'm Mary Robinette.
[DongWon] I'm DongWon.
[Erin] I'm Erin.
[Dan] I'm Dan.
[Howard] And I'm Howard.
 
[DongWon] So, this week we wanted to talk about creating your own newsletter. One thing that I wanted to distinguish up front is that, in my view, there are two distinct types of newsletters that exist in the world. I think a lot of the confusion that people have, and a lot of the trepidation people have, comes from confusing which one is which. So, the newsletter that I do, Publishing Is Hard, is what I would call a content newsletter. It is a thing that I create and send out on a regular basis that are essays, whatever missives, what we would have once called a blog. The other type of newsletter is a marketing newsletter. This is for announcements. It's not a place where you write an essay about what you think about craft, what you think about writing. It's a place where you tell people, "I have a book coming out. Preorder it. I have an event coming up. Buy tickets. Here's my new cover." Whatever it is. Right? So keeping those two things distinct in your brain, I think, is the first step to really understanding a strong newsletter strategy. So that's sort of like the overall framework I wanted to launch this conversation with. There are reasons to have both. The basic difference is, I think, every single person who is doing a thing on the Internet where they want people to buy stuff should have a marketing newsletter. Should just have one. If you have… Launching a content newsletter is a more deliberate thing and takes a lot of work and thought as to what it is you want to be doing with it. But if you want to be an author, if you want to have published books, please, please, please make a newsletter. We're going to talk a little bit more about why and how to do that.
[Mary Robinette] I was very resistant to doing a newsletter for a long time, because all of the newsletters that I heard people talk about were the content newsletters. I was like, "Oh, that's very exhausting." Even though I had blogged daily for years. It just… It felt different. Then I was also resistant to doing a marketing newsletter because I'm like, "Who's going to read that? It's just going to go in and say by my things. It's just going to be people putting me in spam folders." But I'm finding that actually having control of my audience is like really handy for not just the regular things, but also the surprise visits, the "Hey, I have a sudden giveaway I want to do." That it is a nice way to connect to people.
[DongWon] Yeah. I think one of the things we're finding as digital marketing develops over the last I don't know how many years since Al Gore invented the Internet is the only thing that we know works is email marketing. Right?
[Chuckles]
[DongWon] I think display ads, I think content marketing, all of those things can work in certain circumstances. They tend to be very, very expensive. Email, though, getting in people's inboxes, especially people that you know are interested in what you're providing because they signed up for your newsletter in the first place is just one of the most effective ways to activate people, to get them to go do the thing that you want them to do. So having a marketing newsletter, the reason I recommend it so highly, is it's direct access to your core audience, to your main supporters. It is… You can make an appeal to them that is like, "Hey, please do this thing." Now, the thing to remember with a marketing newsletter is that every time you send one, some percentage of the people are going to unsubscribe to that thing. Right? That's okay, that's part of the process. Right? You're going to lose people every time you send it. So, the thing about that, every time you pull the trigger on sending a marketing letter, is that I'm going to lose some people when I do this. Because it shows up in their inbox, they're like, "I don't remember signing up for this. I'm going to unsubscribe." It's fine. It's how people use the Internet. But you want to make sure when you are doing it as a result, you work doing it for a really intentional purpose.
 
[Erin] I have a question that is just for me. I am somebody who does a lot of things in different areas. I do some game writing, I do some short story writing, I do some teaching. If I'm creating, because I've yet to put together a newsletter, but I'm using this as the drive to do it, am I like… Should I be having three newsletters? Should I be having one that, like, has a lot of different types of content? Or will people get mad and unsubscribe more?
[DongWon] It's a tough balancing act, because you don't want to hit the marketing things too often. Right? If you're sending one every week when you have something dropping, people… You're going to lose a lot of your audience over time as people unsubscribe, because they're like, "These are too many emails." Right? So finding that balance is tricky. If you're a traditionally published author, it's not too bad, you're doing one or two or maybe three of these a year. Whatever. With the number of things you have coming out, I would advise, like, yeah, have one channel. I don't think segmenting your audience is going to be… I mean, it's just like way too much work for you and too much work for your audience, too, to figure out which newsletter they want to sign up for. I would just try instead and really think about how can I bundle these things together to make sure that I'm not touching them too often.
[Dan] Yeah. Which is kind of, sort of, what I do with mine. I call mine a water cooler newsletter. Based on something a friend of mine told me a while ago, which is, if you think of social media as a water cooler, that's a place where you go and you have interesting conversations with people. If someone shows up at the water cooler and all they ever talk about is how you can buy shirts in their store, you don't want to talk to that person or listen to what they say. So my newsletter is very much a marketing newsletter, and I send it out once a month, whether I've got a new launch or not. I need to tell people about my calendar, and what events I'm doing, and so on and so on. But I also make sure to include I'm going to recommend somebody else's book in every one. What is Dan reading right now? This. I am going to give you a quick update on what I am writing, in case you are interested. Like, I'm halfway through this book. So it is a tiny bit of content to help give you something interesting to read, and to recommend other people as well as just me. So that it's not purely, "Hey, go to my store and buy my merch."
[Mary Robinette] Yeah. That's why, like, mine will often have pictures of my cats and I have an automation set up so that on your birthday, I send you a short story, and every year it's a different short story. That… Remembering to change them is…
[Chuckles]
[Mary Robinette] Sorry for everyone who got the same short story twice this year.
[Chuckles]
[DongWon] I love that. I love having that little bit of a personal touch. Right? It can be automated, but still, it's like a thing that you receive. It's like, oh, here's a special thing from this creator I follow, who I'm a fan of. I think it's a great way to like get them more engaged with you in a more personal way.
 
[Howard] Coming back to answering Erin's question, what should you put in your newsletter. I would ask this first. What's a thing that you're interested in and would be willing to write about on a regular basis that might interest other people? That could be movies that you like to watch. That could be… It could be cooking. I mean, there… Any topic. Literally, any topic. Because when you're creating content, when you're creating a content newsletter, when you're creating something with hooks, something that grabs people and holds them, you have to be passionate about it first. If you're not passionate about it, it's going to be twice as hard to write about it. So that's the… For me, that would be the first question. The second question, then, is how often can I do it? How much… What else do I have to promote that I would roll into it? With DongWon's newsletter, it's about your passion for publishing. Which dovetails nicely with Writing Excuses, passion…
[Chuckles]
[Howard] For talking about writing.
[DongWon] Exactly. Yup.
[Chuckles]
[Dan] It's important when you're asking yourself these questions to remember that you're giving yourself an extra job. For the most part, you became an artist because you're excited about creating art, not excited about promoting art. So don't over commit to something you know you're going to resent. Make it something like DongWon's newsletter is something that they love to write, they're passionate about. If it felt onerous, you wouldn't do it.
[DongWon] That's also part of why it's so irregular in terms of the timing. I do it when I have bandwidth to do it. I am often insanely busy, and it's… I just don't have the bandwidth to come up with another well thought out, carefully worded newsletter. Right? So when it comes to the marketing newsletter, that's why my advice is to make it as light of a touch and like a lift as possible for you of keep it simple. Stick to really basic things. At a bare minimum, just announce when you have stuff. Include extra things if you can, in terms of recommending other people's books, little personal touches like your… Like the cat photos or the short story for… On people's birthdays. Those are lovely little things. Those aren't necessary. You can make it as late as possible for you to make it manageable. Then, when you're looking at the content style newsletter, really think about what your bandwidth is. How much can you take on? Can you do a thing once a month? Once every two months? Don't overpromise to your audience and leave them feeling disappointed. Give them more rather than give them less when you're making that sort of content approach. I want to switch to talking about the mechanics of it, how you do these things, what platforms you use, things like that, but let's first take a break for a moment. Then we will be right back.
 
[Dan] All right. So, I want to talk about the new book from our good friend of the podcast, Piper Drake. She has a book out called Wings Once Cursed and Bound. It actually comes out in two days from when this airs on May 2. This… Piper has a very successful career as a romance author. Wings Once Cursed and Bound is a step into a bit of a new genre. It is kind of modern fantasy. It is about a woman in Seattle who is secretly hiding the fact that she is actually a char… A kind of mythical creature from Thai folklore. She is a bird person. She encounters a guy who is a vampire who goes around in the world collecting mystical artifacts and locking them up so that they don't cause problems for people. He is currently looking for the infamous red shoes. Kind of the same idea as the Hans Christian Anderson story about the red shoes that make you dance forever. So, it's the two of them and those red shoes. They get embroiled in this big story. It's a wonderful, wonderful book. That is Wings Once Cursed and Bound by Piper J. Drake.
 
[DongWon] Okay. So, as we're thinking about how do I set up that newsletter platform for myself, Erin, you are currently thinking about doing this for yourself. Sounds like the rest of everyone else has your own marketing newsletter. What platforms are you all using? How did you go about setting that up? What do you feel like works for you? I mean, are there best practices that you're finding really helping you reach your audience in the way that you want to be?
[Mary Robinette] So, I work with a company called Northstar Messaging. Because I have a limited number of spoons. So I had started mine with MailChimp. That was working really well for me for a long time. But there were a number of automations that I wanted to do with onboarding, and it was hard. It just didn't do that well. So we've just switched over to Active Campaign which allows you to build sequences so that… This is called a nurture sequence. So someone comes in, and they get a welcome message. Then, a little bit later, they get a different thing that has some additional evergreen content, as they're being folded into the regular flow. So that's… That idea of a nurture sequence is something that I had heard about a lot, and hadn't known how to execute it. Which is why I was like, "Hello. You are professionals." It's something that I have experienced as a consumer, and I know that they're useful. But I just… I couldn't understand how to do that for myself as a writer.
[Erin] I think that's a great point, which is that it's nice to see what you like in a newsletter. Like, if you have… You see somebody's newsletter and you're like, "Oh, my gosh. This design, I'm loving it." Like, it's nice to see, like, how are they sending it to you. Usually you can find it somewhere. Scroll down to the very bottom newsletter, you might see like, sent to you by MailChimp, or Constant Contact, or one of the many other platforms that is used to send newsletters. Or, if it's the kind of content newsletter like you have, DongWon, you can sometimes tell in the URL. Like, what the service is behind the service.
[DongWon] Exactly.
[Erin] I love doing that, just because, even though I don't actually have a newsletter, I love making up the idea that I'm creating a newsletter, doing lots of research, and then not sending it.
[Laughter]
[Erin] So, often I collect lists of places that would be good to use, just by looking at what other people do and saying I want to do that.
[Howard] You're LARPing as a newsletter sender.
[Laughter]
 
[Dan] I don't actually know what system I use to send out a newsletter. Because of a different tool that I use, which is an assistant. I understand that this is not immediately accessible to every aspiring author. I have an assistant whom I pay. She puts together a newsletter for me, among other tasks. I will sit down at the beginning of every month, and I will write three paragraphs. What is Dan working on, what is Dan reading, what does Dan recommend. Then send them off to her, and she turns it into a newsletter and sends it out into the world. That has been, for me, an incredibly valuable way of offloading the parts of this business that I know are important, but that I don't want to do, and still get some value out of them.
[Howard] I have the same model. My assistant's name is Sandra. Sandra has a full plate of a million other things. With the long Covid and chronic fatigue, it's not just that I don't really want to spend time crunching the text for a newsletter, it is that we have to prioritize my time now so that I am doing the things that only I can do. Anything that can be done by somebody else gets handed off. So the newsletter management has been handed off. Now, that said, Sandra will sometimes come to me and say, "Hey, do you have anything for the newsletter? I need a picture. Do you have… My bank of Howard pictures has run dry." So I will dig around and I will find something. This happens with newsletters. It also happens with a thing that is very much like a newsletter and is core to our business model, Kickstarter updates. When we're working on a project and we need to let people know, "Hey, here's what… Here's where we are in this. Here are some art drops. Here's what's new in the…" It reads exactly like a newsletter, and the audience is exactly like a newsletter audience in that it is a self-selecting group of people who have chosen to hear about this. That's one of the things that I like to remind people about newsletters is that they work better than banner ads or anything else because it is a self-selecting group of people. If someone unsubscribes, they have self-selected out of the group, and that's fine.
[DongWon] But at some point, somebody said, "Yes. I want to take this content."
[Howard] Exactly.
[DongWon] That is such a huge difference versus…
[Howard] Incredibly… Incredibly valuable.
[DongWon] Exactly. Exactly.
[Howard] Incredibly valuable. As a data point on that, when we did our last Kickstarter, we looked at… We had a marketing company help us find all of the self-selecting people that… Anybody who'd ever bought anything with us, subscribers to the newsletter, previous Kickstarters, whatever. It was over 15,000 email addresses. We sent out one mail blast saying, "We're launching a Kickstarter."
[DongWon] Great.
[Howard] And had more subscribers than we had ever had before. So, starting a newsletter and collecting these addresses is… It's going to help you in the future, one way or another.
 
[DongWon] That's the thing. You can start collecting them early. You don't have to send a newsletter. No one remembers signing up for newsletters. Once you do it, you're not like, "I can't believe that person hasn't emailed me yet." Right? So you can start collecting emails now. Then, when your first novel comes out, five years from now, then, maybe, you have a few thousand names on that list. Right? That can make a huge difference as you just grow that a little bit over time. Just make sure any time someone goes to your website, someone goes to your link tree, or Twitter profile, or whatever it is, "Hey. Sign up to get updates from me here." I think starting to grab those like little drips, it adds up over time. What I love hearing all of you talk about this is… It kind of… This is one of those things that plays into the category of what we call authoring. Right? Things that go into the job of being a professional author that aren't actually writing books. Right? Which is an enormous amount of time. It is always shocking to me how much time and effort goes into dealing with email, responding about events, answering interview questions, all these things that sound like nice problems to have until you're doing this so much you don't have time to write. So, newsletters is a great one, especially a marketing newsletter, to offload to a consulting firm, in Mary Robinette's case, assistants, whatever it happens to be. But when you're early-stage, sort of more Erin's position, you're doing that research and figuring out how to launch it and build that up. I love hearing that you've already done all that homework. We'll get you to pull that trigger soon.
[Erin] It's happening.
[Mary Robinette] I should say that the marketing firm is a very new thing.
[DongWon] Yeah.
[Mary Robinette] Before that, it was assistants, and before that, it was me, and when it was me, it was wildly irregular.
[DongWon] Exactly. That's the process. Right? You learn by doing. I love hearing Erin talk about, like, figuring out what you wanted to do by seeing what other people were doing. I mean, that's so much how we learn how to do all these marketing techniques is what's working. What are authors I like? Who do I respect? What content am I getting in my inbox that I think is good? Just sign up for a bunch of people's newsletters. I know it's going to be annoying for a minute. But just see what they're doing. Right? Go to your favorite authors pages. See what their newsletters look like. Learn some techniques from them. Then start applying that little bit by bit for yourself.
[Howard] It is worth pointing out that your newsletter can be a business model unto itself.
[DongWon] Exactly.
[Howard] If you are passionate enough about what you are writing, if you touch a nerve, you may find, wow, Howard writes about lazy recipes for old people, suddenly has 50,000 people reading it. Well, maybe if I turn that into a book, I can make money out of it. That is a legit thing. Which is one of the reasons why I would encourage you, if you're going to do a newsletter, write about things you're passionate about. Because that passion, that's what connects people to your fiction, it's what connects them to your TikTok, it's what connects us with each other.
[DongWon] If you're doing a content newsletter, you can get people to subscribe and pay. It's shocking how few subscribers it takes for that to suddenly feel like, "Oh. This makes sense for me to be spending a couple hours a week on this."
[Erin] I think that's also good because it gives you an assignment. So, one of the reasons that I have not started a newsletter for myself, despite the fact that I once worked as somebody who sent out newsletters for other people as a job. So it's… I know what the thing is. Is because it's so easy to put yourself last and say, "Okay. I only have so much time. I'm going to do stuff for other people." Or to put your writing self first, which is a completely legitimate choice. But the authoring does sort of need to get done. So by being on this podcast, I'm forcing myself to do the authoring. We're going to be asking you to do some of the authoring, too. But I think even more than that, if you have subscribers, it's a way to sort of offload… You're not making yourself do it, you're doing it for somebody else. You're giving them a gift. So, as long as that doesn't become a huge like pressure on you, I think it can be a nice motivation to kind of kick yourself in the butt and sort of make yourself do the thing that you want to do. Because you want to reach other people and let them know about what you've been doing.
[Mary Robinette] It's as if… It's almost as if when you're saying you're using this as a way to get the… To make yourself do the newsletter. It's almost as if you are figuring out who you are, and then doing it on purpose.
[Laughter]
[garbled Exactly. Wow. Callbacks. As if we've planned these episodes. Exactly.]
[Mary Robinette] It would have sounded so much more clever if we hadn't all just giggled at that.
[Laughter]
[Dan] We're clever, we're just not very professional about it.
[Laughter]
 
[DongWon] On that note, I think I will take us to our homework for the week. I think our homework is probably pretty easy to guess what I'm about to tell you to do based on everything I've said on this podcast so far, which is… Go make your own newsletter. Make a marketing newsletter, figure out what service you want to use. MailChimp is probably the most popular, but do a little googling. There's a million guides out there. Make an account. Make a free account. Just sign it up. Figure out how to integrate it into your personal website, if you have one. If you don't, make a website. Highly encourage you to do that. Then, you don't have to do anything to it. Don't send a newsletter, don't do anything with it. Just make it, get the sign-up form on that site, and let it be.
[Mary Robinette] In the next episode of Writing Excuses, we talk about why publishers make choices, how writers can use that, and why Howard's been using the Time Machine all wrong. Until then, you're out of excuses. Now go start a newsletter. Or go subscribe to ours. Because we also needed to start one, and recording these episodes made us realize that we hadn't. So, use the Time Machine, find our newsletter subscription button, subscribe, and join us.
 
mbarker: (ISeeYou2)
[personal profile] mbarker
Writing Excuses 18.16: Deep Dive: Publishing is Hard, by DongWon Song
 
 
Key points: Where do you get your ideas? Whatever I'm dealing with in my day-to-day job. Issues in my inbox, what people are talking about in social media, huge kerfluffles in publishing. Who are you writing for? In theory, for other people in the industry. In practice, mostly writers.  How do you decide how much of yourself to mix in? For me, making it personal is important. How do you decide what to write about? Not a schedule, not a plan. A burr under my saddle. Do you have a file of draft essays, a boneyard? About 2 months ago, I deleted all of them. What does running the newsletter do for you or your career? It's a brand building exercise. But when you change, how does that match the brand you established? The newsletter is a living document, and I am too. Having editors who are friends helps the agent and his clients.
 
[Season 18, Episode 16]
 
[Mary Robinette] This is Writing Excuses.
[DongWon] Deep Dive: Publishing is Hard, by DongWon Song.
[Erin] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Mary Robinette] I'm Mary Robinette.
[DongWon] I'm DongWon.
[Erin] I'm Erin.
[Dan] I'm Dan.
[Howard] And I'm Howard.
 
[DongWon] So this week, it's my turn for the deep dive. I'm not a writer, necessarily, like everyone else on this podcast. I'm on the industry side, as we talked about before. So there is a little bit of like a… What do we talk about in my case? How do we do this?
[Chuckles]
[DongWon] I realized that I thought it might be interesting to dig into a newsletter that I run. In 2019, I started a newsletter at that point on Substack that was about my experiences in publishing. It's in part instructive about how the business of publishing works, but really, it's through the lens of here's how I experience it, here's how I think about it, here's how I talk about it. So I've been doing that on and off for the past several years… Way longer than I realized. I thought I'd been doing it two years, but 2019 is not two years ago.
[Chuckles]
[DongWon] So I wanted to have it featured on the podcast for us to talk a little bit as a way to understand how I think about publishing, what perspective I'm bringing to the pod, and really kind of dig into some of the tricky issues that I like to tackle there.
 
[Howard] A couple of things. DongWon, when we do these deep dives, often we put your feet to the fire…
[Laughter]
[Howard] And ask you how you did things. Also, when you say I'm not a writer like these other people, after having read several installments of Publishing is Hard, you're a writer.
[Dan] Yeah, I was going to say the same thing.
[Howard] You're absolutely a writer.
[Dan] Maybe not an author, but a very good writer.
[Mary Robinette] Again, we're going to totally digress on this. The reason I'm digressing on this is because I know that we have listeners out there who are nonfiction writers, and I want to remind them that they are writers, just like DongWon is a writer. It doesn't have to be fiction to be writing. And your pub…
[DongWon] I will back up and say I'm not a novelist and I don't write books.
[Chuckles and laughter]
[Howard] Fair enough.
[DongWon] Because I completely agree with everything… What everybody's saying. I will say I am a writer in this regard, which was… Having to go back and read things I had published several years ago was truly agonizing and I do not understand how you all do this on a regular basis.
 
[Howard] See, that brings me to the third part of this tripartite thing of mine, which is, now that we've established that you are one of us as a writer, the first question I have to ask you is where do you get your ideas?
[Laughter]
[DongWon] Suffering and trauma, Howard. Yeah, I mean, I get the con… The ideas for what I want to talk about basically by whatever it is I'm thinking about in what I'm dealing with in my day-to-day job. Right? So what issues are coming up in my inbox, what am I seeing people talk about in social media, what huge kerfuffles are happening in publishing that's… And Publishers Weekly this week. All those things are things that I start thinking about, and then… Often what happens is I'll see a bad take, I'll see somebody interpret something that somebody said as part of a testimony or as part of an article, and I'll be like, "Wait. People don't understand this the way that I understand it. Writers are seeing things happening in the industry and they don't have my 17, 18 years of experience of working inside the sausage factory. Are there things that I can explain about this? Are there ways I can illuminate some of what the logic behind what looks like an crazy decision is, and how people might approach it in a way that makes life a little bit more navigable for those of us in the industry, for those of us participating from the other side as writers and people looking to get published?" So…
 
[Mary Robinette] One of the things that you just said is a question that I'm curious about. You talked about seeing a hot take, and going, "Well, that's hot…"
[Chuckles]
[Mary Robinette] When you're writing, who are you writing for? Are you writing for writers? For the young up and comers, or are you writing for fellow industry peers to be like, "Hey. Folks. Trying to get your…" Or does it depend?
[DongWon] The conceit of the newsletter is that I'm writing for other people in the industry. The conceit is this isn't a newsletter for writers, it is a newsletter for people in publishing, people who are looking to talk about publishing. In practice, I know most of who's reading it are writers. Even though, every time I poll, I get lots of emails from friends in the industry or colleagues or whatever. I think it really does resonate with people who work in publishing. But I also recognize that that's a very tiny population. Therefore, most of the people reading it are people who want to be published, who are either people who have books out or are aspiring published authors, whatever it happens to be. So there's a little bit of a trick that I have to pull that I'm writing for other peers when I think about it, but then I also need to adjust what I'm saying so that it lands for people who aren't in the industry in the same way, and therefore may not have all the same… I don't know, internal defenses and understandings of how the business works. Because one of the things I want to do is make publishing legible to people who aren't in it, and one of the ways it's illegible is that it's a tough business. We talk about things that are very important to people, about their art, about their craft, in ways that can be very blunt and are fundamentally about profit and money because publishing is a business. Right? So finding ways to talk about those things without unduly traumatizing my audience or discouraging people. The last thing I want people to do is read this and feel like, "Oh, I can't succeed then. I can't publish. I shouldn't be trying to do this." That's my worst-case scenario. So how do I talk about difficult experiences in a way that has enough accessibility and empathy for the audience that I can sort of navigate that balance? So it's an ongoing conversation in my head. It's a very very very good question.
[Mary Robinette] That seems like that's a very applicable thing, then, to write for one audience and then edit to broaden it.
[DongWon] Exactly. I think that's the thing that a lot of people can incorporate into their process. Right? So my first drafts often I have to be like, "Oh. I can't say that. That's too harsh. That's an inside thought." Right? How do I edit that to be for a broad audience?
[Howard] There's an entire group of writers, communicators, out there facing the same problem and that's the sci-comm community, where they are writing from the standpoint of scientists, but trying to write to everybody else.
[DongWon] Exactly.
[Howard] They need to make it understandable, but they need to not dumb it down. They need to deliver the bad climate news, but they need to not send us into a panic and make us not care anymore. It's a fine line to walk.
[DongWon] It is. It's like it's a very flattering comparison to make.
[Chuckles]
 
[DongWon] I think on that note, let's pause for our thing of the week.
[DongWon] So, the thing of the week this week is actually another podcast. It's a podcast called Friends at the Table. It's an actual play role-playing podcast that is one of my very favorite things on the Internet. The previous season of this, I think, I broadly declared on Twitter that it was my favorite piece of media that year, and I still stand by that. They just launched a new season of the podcast called Palisades. That's a science fiction story about a planet under attack by sort of invading forces. It's a story that is about revolution, it's a story about resistance, and it's a story about giant robots. It is some of the most intricate fascinating world building I've ever seen with fantastic improvisational play. I cannot recommend Friends at the Table highly enough. Now is a great time to jump in as they just launched their new season.
 
[Erin] I have a question.
[DongWon] Great.
[Erin] About Publishing is Hard. Which is that one of the things that I love about it is how much personality and like personal story you weave in there. So you're doing the… Talking about the industry, but you're also talking about yourself. I'm wondering how you decide how much of yourself to kind of put in there. You know what I mean? What to share with us when you're sharing all this other information?
[DongWon] Yeah. It's a tricky question. I think, for me, making it personal is very important. We'll talk about this more in a future episode, but I don't want to be someone standing on a hill didacticly telling you, "This is how publishing should be. This is the only way to succeed. This is my 10 rules for success." That's not the kind of thing I'm trying to do. So, for me, rooting it in my own subjectivity, rooting it in my experience, feels really important to me. Right? So what I want to be doing is telling personal stories. I'm going to tell you about stuff I went through, but that's complicated because I can't talk about client stuff in a direct way. Right? I can't expose whatever's going on with the particular writers I work with, a lot of that is confidential. Also, my job as a literary agent is always to be hyping out my clients. Right? So you don't want to necessarily air people's dirty business. Right? So, it's a delicate balancing act. I am often talking about personal experiences, but I'll have to be a little vague or allude or blend a few things into one scenario. So I try to make sure that the emotional core of it is very personal and very honest, while having to elide some actual details and be a little slippery about what actually is what. Because I never want things to be mapped from one thing I write about to a situation that affected somebody else.
[Mary Robinette] Yeah. I find that a lot of times when talking about issues is that if you can depersonalize it or decouple it as you say from a specific incident that it becomes easier for people to apply it. At the same time, the more specific you are, the easier it is for people to internalize it because we learn from stories.
 
[Dan] So, this leads into another question I had, which is, take us behind the scenes a little bit. How do you decide what are the things that you want to write? Do you have a schedule? Do you just have some burr under your saddle that eventually turns into an essay? How do these topics get formed?
[DongWon] Anyone who has subscribed to my newsletter is very aware that it is a very irregular event. I'm not on a regular schedule. It's not monthly, it's not weekly. There are gaps between when I publish things. That is somewhat deliberate. But it's because I don't have a schedule, I don't have a plan. What I'm looking for is when do I get a burr under my saddle, I think that's it exactly. When does something gets stuck in my head in a way of like, "Oh, wait, I have something to say about this." Sometimes that's I watch a TV show, and they did a cool thing and I want to talk about that thing. Sometimes that's somebody's having a fight on Twitter and I'm like, "I have thoughts about that, but I'm going to let that cool off a bit before I share my thoughts because I don't want to contribute to the discourse, but I do have insights that I think might be helpful to people, hopefully." So, it's kind of all over the place. I'm not much of an advanced planner when it comes to the newsletter. I like to go a little bit more off-the-cuff than that. But… Yeah.
 
[Howard] Do you have a file of draft essays, a boneyard of things where like, "Oh. Now I'm ready to finish this essay, and I will release it to the world."
[DongWon] I did and then about two months ago, I went through and deleted all of them because I looked at all of them and I was like, "I don't want to talk about any of these anymore."
[Chuckles]
[DongWon] The moment had passed for me. Right?
[Howard] A piece of me just died inside. You deleted your boneyard. I think those are words.
[DongWon] They are words, but there's always more words, and there's always more ideas. Right? I think that's one thing that… I encourage people to save their stuff. Go back to what's in the chest. Go back and see what's in that desk drawer. But also, don't be afraid of throwing stuff out. You will have more ideas. More stuff will happen. Even as I was trying to pick out newsletters for us to talk about for the podcast, I was going through some of it… I don't necessarily agree with everything I said before. I was surprised, actually, by how much… I was like, "Oh, I still vibe with this." I still stand by what I said then, even if I would change a couple of things here and there. But an idea that I had for a newsletter eight months ago that I was like, "Oh, not interested enough to finish this." I'm happy to let that go by the wayside. Maybe something similar will occur to me again six months from now, and I'll do it then.
[Mary Robinette] Yeah. I find that that's true for me with a lot of things, that there's the… The person who started that, that original thing, is not the same person that is sitting down to write it.
[DongWon] Exactly.
[Mary Robinette] It's… Unless I have a new spin on something… I used to blog every day and talk about stuff, and I would bank things. Where I'd like write several things in a day. I don't understand how I did that. A. But, also, frequently I would come back to something and be like, "I don't… I have no connection to this." That was a different person who wrote it.
[DongWon] Yeah. I mean, sometimes I think, Oh, maybe I'd have more subscribers, maybe I'd grow the audience more, those kinds of things, if I did have that bank of more regular content to tap into. But it's also just not the kind of project I'm doing. I'm doing this as much for my own interest in amusement as for anything else. There is a paid tier to the newsletter, but all the content is free. Anyone can read any of the issues. The paid thing is almost more of a tip jar. Like, do you like what I'm doing? Do you want to support it? I started doing twit streams and bringing guests on. Those guests are paid roles. That's kind of what the subscribers go to, is just making it so that it's worth it for me to spend time on this and to bring in some guests and things like that. But, for me, because it's free, I feel comfortable posting stuff when I want to post stuff. When it feels relevant to me.
 
[Dan] I want to dig into this a little bit. Let's talk about what you think the newsletter has done for you. Clearly, it's a thing that seems primarily designed to give back a little bit. You love the industry, you love working in it. You want to talk about it, you want to help people out. But at the same time, a really common piece of advice we hear is, "Authors, get a newsletter." You're not exactly in that position. But, what are the ways in which you think running this newsletter has benefited you or your career?
[DongWon] It's a brand building exercise for me. It… The revenue from it is nice, it's a little bonus. The educational component has a lot of emotional investment in it. The professional reasons for doing it are is it does build my brand. Writers get to see this is how I do business, this is how I think, this is how I think about the industry. Does that make sense to me? Does that seem like someone I want to work with? Right? It's a way for writers to sort of audition me a little bit before working with me. If they like my ethics, if they like my perspectives, if they like my view of how to be in the business. That's very important to me. It's also marketing for me towards publishers. Right? So a lot of editors read my newsletter. I hear from them, I get lovely messages from them, and those are people who want to work with me. Who… They think of me positively when one of my manuscripts lands in their inbox. So it sets me up in a number of ways, it lets me have a brand in a way that was more sustainable and clearer and more fun to do than Twitter was. I mean, Twitter is a mess in a lot of ways. So the newsletter let me talk about things at length in ways that let me be much more clear about who I am and what I stand for.
 
[Erin] This brings me back to something that both you and Mary Robinette said earlier, which is that you change as a person, and what you believe changes. So if part of it is branding yourself, how do you like square that with the fact that you may be a different person now than the brand that you established maybe a year ago or two or three years ago?
[DongWon] I mean, like, I literally have a different gender than when I started bus… The newsletter.
[Laughter]
[DongWon] Like, somebody will be going, "I don't use that pronoun anymore. What's that doing there?" Like, yeah, I've changed a lot. I certainly… I don't have the perspective in this business that I did when I started, much less five years ago, much less probably last year. It's a business that evolves. Publishing is so slow in certain ways, but how we see content, how we see our roles in it, what are… I mean, I have a lot of thoughts about workers rights in the industry. HarperCollins had that massive strike last year, which concluded positively. They got a lot of what they wanted. Like, that has absolutely informed my thoughts about like how do we resolve a lot of the issues in publishing, in the industry. It's like, "Well, I was pro-union before, but, boy am I pro-union now in terms of publishing workers, in terms of young editors and assistance and people coming up." How much better with this industry be if we had stronger labor rights and relations? Right? I'm not sure all of my publisher friends would like to hear that from me…
[Chuckles]
[DongWon] Especially those in more senior positions. But our thoughts and things do evolve. It was interesting to go back into the archive and see what I still stand by and what I didn't. But I think it's a living… The thing about a newsletter is it's a living document. It's not I wrote this and this was my opinion and it's calcified in a certain way. I hope people can see that and understand that. I haven't really gone through and pruned old things I don't necessarily stand by anymore. But there's nothing in there where I was like, "Wow, I said… I was way out of pocket on that one." But it's subtler than that, I think.
[Dan] I would say in a lot of ways the brand you are building here is less about the specific insights and more about your style of thinking and analyzing things. The way in which you present things rather than the specifics that you present.
[DongWon] Yeah.
[Mary Robinette] I also love them because the newsletter sounds like you. Like, the one we were reading specifically for this… I saw you give that keynote speech.
[DongWon] Right.
[Mary Robinette] I'm like, "Oh, yeah. No, this is exactly your rhythm and inflections." Then, subsequent ones I'm like, "Oh. Yeah. No, this is like sitting down to have a conversation."
[DongWon] My newsletters are profoundly ungrammatical, which is funny. I use repetition a lot in them, stylistically. It's because that is how I talk, especially when I'm lecturing, especially when I'm like speaking in front of a crowd or even on the pod or whatever. So, yeah, it's nice to hear that it is reflective of how I think and talk so much.
 
[Howard] I want to circle back to something you said earlier which… At risk of unduly waiting this, this might be a good point on which to close. That is that when you said you have friends who are editors who read this and who like what you say. If you are a writer, you want an agent who is friends with a lot of editors. Because what you are paying the agent for is to put your work in front of as many editors as possible in as positive a light as possible. To put it in front of the right editors. That is… I mean, that's the bread-and-butter of the job that you really do. The fact that this newsletter is getting you more attention from editors is good for your clients, present and future.
[DongWon] Well, one thing is I used to be on that side of the table. I was an editor at a big five house. I have a lot of understanding and empathy of what they go through. So I think my newsletter's a little bit of framing that as well. I want to be clear, though, that there are other ways to be an agent. Right? There's a mode of agenting that is much more antagonistic and much more hostile to the publisher. Right? They get projects because they're big projects, because they're big agents. It's a different way of interacting. It's much more old-school, quite frankly. It can also be really effective. It's not how I do business. It's not just who I am as a person. So part of me doing the newsletter is making clear this is my approach. Not that I think other approaches are wrong. It's not how I want to do things. But, yeah, again, it's really a way for me to express to the world, whether that's writers, whether that's my peers, whether that's people I want to work with, who I am as a person and how I want to be doing business. So, thank you for taking the time with me to dive into talking about how publishing is hard.
 
[DongWon] Dan, I believe you have our homework?
[Dan] Yeah. We have, actually, a two-part homework for you today, dear listener. We want you to subscribe to a couple of newsletters. They're a very valuable thing, they're common in the industry. We want you to seek out to with the following criteria. Number one, find a creator that you really like who has a newsletter and subscribe to it. Number two, possibly and maybe ideally with that same creator, find a newsletter that person subscribes to, and subscribe to it as well. Because then you get a sense not only of what they are putting out into the world, but what they are absorbing. What the creators you love our reading and interacting with.
[Mary Robinette] In the next episode of Writing Excuses, we'll talk about branding, personal identity, and why Dolly Parton can never have a bad day. Until then, you're out of excuses. Now go write.
 
mbarker: (ISeeYou2)
[personal profile] mbarker
Writing Excuses 17.50: Consistency, Inconsistency, and the Crushing Weight of Expectations
 
 
Key Points: What does your audience expect, when can they rely on you to provide new content, and what commitments have we, as creators, made to the audience? Seasons and breaks, or a never-ending juggernaut? Focus on regularity or focus on content? Under-promise and over-deliver. 
 
[Season 17, Episode 50]
 
[Howard] This is Writing Excuses, Consistency, Inconsistency, And the Crushing Weight of Expectations. 15 minutes long.
[Dongwon] Because you're in a hurry.
[Dan] And we're not that smart.
[Howard] I'm Howard.
[Dongwon] I'm Dongwon.
[Dan] And I'm Dan.
 
[Howard] This episode was my idea. Because today is December 3… Is it December third?
[Dan] It is.
[Dongwon] It is December third.
[Howard] It's December third. Wow, look at that. We're recording this on December 3 for December 11 because we realized we had a hole in our schedule of episodes. We could not let that stand. Then we took a step backward and had to ask, well, why not? What was our original commitment to publishing an episode every week without fail? I'm actually going to throw this question to Dan. Dan, do you remember 2008? Do you remember back then when we decided how often we were going to do this?
[Dan] I have [garbled] memories of 2008. I don't remember if there was a specific decision made other than if we're going to do it weekly, let's make sure we do it every single week.
[Howard] Yeah. See, that was my memory as well. That was a 2008… I guess it was the only 2008 any of us got. But back then, I was eight years in on what would become a 20 year run of Schlock Mercenary where the daily web comic updated every day without fail. That was a thing that, and I'm not mincing any words here, made me feel important and special. So I thought it was something that we should do with our podcast as well. So we have inherited that. Here it is 2022, very nearly 2023, and we are still insisting on putting this stuff out every week. Now, fair listener, we're not recording this episode in order to tell you that we're going to change that. We're going to explore how the crushing weight of your expectations drove this recording session and what the alternatives might be for those of you who publish newsletters or do other sorts of social media things, Patreons, whatever else. Let me throw it out to the august body of two…
[Dan] I just want to say really quick that us doing an episode about how we never miss an episode kind of feels like the radio station constantly interrupting songs to tell you how they never interrupt the songs…
[Chuckles]
[Howard] Yeah. Yeah. There's… For my pitch to this episode originally to Dongwon, I said, "Oo, oo, I have a silly meta-meta-idea."
[Chuckles]
[Dongwon] Dan, it's important to let them know what they're getting and so you need to remind them of what it is we're doing here.
[Howard] It is.
 
[Dongwon] Howard, question for you, actually. Is your streak completely unbroken? Are you at 20 years of not missing a single day?
[Howard] Yes. 20 years from June 12 of 2000 was the first strip through July 20 of 2020 was the final strip. Every day has a strip on it, and all of those strips aired on the day which they were scheduled. There was this one time where the strip aired about eight hours late because a universal… Err, uninterruptible power supply in the server farms was configured incorrectly and power cut out and the generator didn't come on and then the UPS exploded. We had to move to another host. I think that was in 06. That was the point at which everybody just insisted I was metal and I couldn't be stopped. When, in point of fact, that was I know people who can solve the technical problems and I have a buffer.
[Dongwon] How stressful has that been for you? Like, what does that feel like to know that every day I got to get this out? I mean, obviously, you're banking some, those are in the bank in advance, but what's that process felt like?
[Howard] It's like… I couldn't have accurately described it until I was out the other side of it. You ask a fish what water taste like, and they're like, "What? What does the world taste like?" No. I am now like the fish who has crawled out onto dry land. I'm like, "Hm. Water was nice. Air is different."
[Chuckles]
[Howard] There was a constant pressure, but it was also a piece of what I used to motivate me, to get me moving. The idea that a strip, that a day could go by without a strip was just absolutely unthinkable to me. Because I knew that if I missed one day, then it would be okay, and I would just start missing days over and over and over again.
[Dongwon] Right.
[Howard] So… But that's me. That's… I don't want to project that mindset on to other people. That's where… With this whole discussion, we have to be careful.
 
[Dan] Well, that's what I want to bring up next, is… I honestly, despite doing two of them, I don't listen to a ton of podcasts. So is never missing a week, is that actually a rare thing? Or does everyone do that?
[Dongwon] I think, as one who listens to an insane amount of podcasts, it depends on the podcast. There are many that I follow that are religious about weekend, week out. Then there are some who are like, "Yeah, we missed four or five over the course of our several year run." Then there are some who update irregularly, and you just get new content when you get new content. I think one way that podcasters sort of get around the burnout component is by bundling them into seasons. Right? So we'll do 10 episodes weekly, and then take a break for two months while they prep the next season, and then come back for another 10 episodes. I think that's a way to sort of manage that schedule and manage expectations because really that's what it comes down to. So much of what this is what does your audience expect, when can they rely on you to be providing new content, and what commitments have we, as creators, made to that audience.
[Howard] Yeah. With some of the more produced… Produced is the wrong word, and I don't want to put a negative connotation on it. The more heavily produced… The higher production value podcasts run a lot like television seasons would run, which is, hey, we're going to do a run of a couple of dozen episodes, and then we take a break. During that break, what is happening is we are arranging for the sponsors and the ads and the content and whatever else for the next season. That's… When you've got five or 25 people working on a thing, that makes a lot more sense than insisting that this is a weekly juggernaut that just never stops rolling and outputting a thing.
[Dongwon] Well, so much of the advice for authors these days, is integrate multiple touch points for the audience. Right? So, you have your books, but then you're also maybe you have a podcast, maybe your Patreon, a substack, Instagram, TikTok, Twitter. All these are ways in which you're interacting with your audience on a regular basis. So I think the reason I found this topic interesting was what's the logic behind how you structure that, how do you approach that, how do you manage your own burnout and audience expectations at the same time.
 
[Howard] Yeah. On the subject of authors, we should have a book of the week. Dan, did you bring us… Did you bring one?
[Dan] I did bring a book of the week. So, I am a big fan of Sylvia Moreno-Garcia. She has a relatively new one, I think it's a month or so old, called The Daughter of Dr. Moreau. Which is a retelling of The Island of Dr. Moreau, set in the Yucatán Peninsula in the either early 1900s or late 1800s. I'm not deep enough into it to know exactly where. But Sylvia writes a very distinct subset subgenre that I adore. Which is historical Mexican feminist horror. If you're into that, she is so good. Her… Last year, she put out one called Mexican Gothic which was a haunted house story. This one is much more kind of that H. G. Wells Dr. Moreau thing, but all from the point of view of this daughter, transplanted from France, growing up in the Yucatán Peninsula, raised by a Mayan nanny. Then, at the center of this giant culture clash, written with this delightful core science-fiction element on top of it. It's really good stuff. I'm not done with it yet, like I said, but it's fantastic, and I recommend it. So that is The Daughter of Dr. Moreau by Sylvia Moreno-Garcia.
[Dongwon] That's tremendously exciting. Mexican Gothic was really one of my favorite reads last year.
[Dan] Oh, it was so good.
[Dongwon] Just terrific.
[Dan] This one, thus far, I'm liking even more.
 
[Howard] That's… It's cool, and I love the way you described… And I'm going to make a point out of this… When you said the genres. Name those off again.
[Dan] Historical Mexican horror.
[Howard] Okay. Historical Mexican horror. One of the things that's fun about following authors on social media is that discovery that if you like, for instance, horror, branching into a historical horror is not a big stretch. You start seeing some of these overlaps. If you like historical, branching into Mexican and horror at the same time, that is not a big stretch. So, yeah, when you say Mexican historical horror, if you are into that thing, no, if you are into any of those things, there's a really good chance that you're going to like this new thing. This is one of the reasons why having some sort of presence on social media or whatever is useful to us so that we can find those places where we overlap with people's existing interests and say, "Oh, well, you know, you liked The Hitchhiker's Guide to the Galaxy, you might actually like Schlock Mercenary. It's not a book, and it's not British, and it has pictures, and it's not as funny, but…"
[Chuckles]
[Dan] There are enough parallels.
[Howard] Yeah.
[Dongwon] Yeah. I think with the social media component, like having sort of these regular contact points like I was talking about earlier is… Can be really, really important. Right? I think having the daily updates, the regular updates, that you were talking about from Schlock Mercenary. I think the basic advice for Instagram is, like, post a reel a day. Right? For TikTok, it's like regular… Make sure you're regularly updating your content. That can be really important. But that can also create an enormous amount of pressure on creators. I think it holds a lot of people back from even trying to start to build their brand that way. I launched a newsletter a few years back, it's called Publishing Is Hard. I really love doing it. One thing that I decided before I launched it was I'm not going to commit to a regular schedule. Because I know me. I know what my life is like, I know how much work I have on my plate at any given time, and, as a literary agent, the amount of work that I do goes up and down wildly. One week will be completely insane, the next week will be quiet. Right? So it just wasn't realistic for me to make a commitment of I'm going to send a newsletter every week. Now, my colleague Kate McKean also has a brilliant newsletter called Agents And Books. She does two newsletters a week. Right? We both have different audiences, different strategies, different approaches, and it's really cool to see what she does and what I do slightly different because I, at the beginning said, "I'm going to send these irregularly." When I first created it, it was in sort of the copy that I made. Anybody who has followed it has known that there will be periods where you won't hear from me for a minute, but then I'll send a new one out. The balance is you can sort of focus on regularity of getting the piece of content out, and it's usually a little bit shorter, it's a little bit more pointed, or, what I do, is make sure that what I'm giving somebody… I'm trying to make sure every piece is pretty special to the audience. Right? I'm putting a lot of care and craft into what I'm writing. Not that you don't for a daily update, but I'm giving something a little bit more emotional, I think, then what my colleague Kate does. Right? So I think finding that balance point between okay, if I'm not doing a weekly update, what am I offering my audience that sort of makes up for the lack of regularity in a way that balances it out for them.
[Howard] Yeah. To be sure here, if we had decided that Writing Excuses was going to be a 30 minute episode instead of a 15 minute episode, the weekly schedule would have crushed us.
[Dan] Yeah.
[Howard] Because the recording sessions, we just wouldn't have had enough time to do the things that we wanted to do.
[Dongwon] Yeah. Those people who do like weekly three hour podcasts? Unimaginable, to me, how they do that. I mean, it's just a bigger part of their lives. I think we all have primary things that we're doing that are incredibly time-consuming. So we can fit in these 15 minute a week episodes. Which is, just, again, a really different balance point.
 
[Howard] Dongwon, you talked about how the crushing expectations can prevent people from even getting started. For a while, I had a twitch stream… I still have technically, a twitch stream, I just haven't streamed in forever. A twitch stream in which the art that I was doing for the X DM books was showing up as part of the stream. Then something happened, I don't remember exactly what it was, but I realized the effort of configuring things so that I can stream this is preventing me from getting the work done. The stress of having an audience in front of me is preventing me from doing the really hard work where I have to be unafraid of making mistakes. I'm just not comfortable doing that on stream. Which is weird to hear from the guy whose 20… Or whose year 2000 artwork is available for everybody to look at. But, long story short, I stopped streaming and started getting the work done. So, yeah, the decision to create regular content can be a decision that results in less productivity. That's not what any of us want.
[Yeah]
[Dan] Well, I'm glad you brought that up because one of the points I want to make here is this is not an episode about how you should start a podcast.
[Laughter]
[Dan] Or about how you should have a TikTok. Right? We are not telling you that any of these outlets are necessary for an artist's career. What we're trying to get across is the idea that you need to look at your own output, at your own schedule, decide for yourself if one of these extra peripheral activities might be valuable to you, and then see what would be the best format to stick that into. If you want to do a podcast, you want to do a quick and dirty weekly one like we're doing, you want to do something longer and research that comes out in discrete chunks once a year, how do you want to structure that? Maybe the answer is nothing at all. All three of us used to be on Typecast which ran for about three years with different cast members here and there. We really worked hard to make that a weekly thing as consistent as possible. It wasn't always. Eventually, we had to let go of it because our schedules became such that it was not worth our time anymore. Sometimes that happens.
[Dongwon] Yeah. I think an important point here…
[Howard] I still miss it.
[Dongwon] I do miss it too, actually. Yeah, it was fun. If I have any point here, it's… Yeah, don't feel like you have to do these things. If you do do it though, if you're thinking about it, don't be afraid to experiment. Right? Don't feel like just because most or some newsletters are weekly, that this is a thing that you're tying yourself to, but you're going to have to do every week. I think that expectation can actually limit you more than open things up. Right? So, don't be afraid to experiment, try new things, and don't feel like you have to do the one piece of advice that you've heard elsewhere. You can do in a regular schedule. My only advice is as you do that, to under-promise and over-deliver. If you're not sure you can do weekly, don't tell people upfront you're doing weekly. Right? Just say, "I'm trying this out, this is an experiment, let's see how it goes." Right? I'm currently launching a monthly twitch stream and I've said many times, this is experimental. We're trying this out. I'm trying to figure out how do I do scheduling, how do I coordinate this, how do I get guests on. All of this stuff. It's been super fun so far, pretty easy so far. But we'll see where I'm at in six months. So, just make sure that you're being realistic with yourself and realistic with your audience. Because where this goes wrong is when people feel really misled. Right?
[Dan] Yeah.
[Dongwon] There have been times where I've under-promised and under-delivered. Right? Like, that happens. But I think if you have that relation with the audience, you can work with them and sort of make it up to them and find a way to balance that out.
[Dan] Yeah.
 
[Howard] If you take away anything from this episode, under-promise, over-deliver. That's your soundbite. Thank you, Dongwon.
[Chuckles]
[Dan] That's a very good one.
[Dongwon] You're welcome. Words to live by.
 
[Dan] Let me throw out one more thing that I've learned with my newsletter. Which I do try to send out regularly. But regularly for me use… It is not tied to a day of the week or a day of the month. I try to do a monthly newsletter, but it is more important for me to get it out on a Monday than it is to get it out on the first Monday of the month. Just because I know that that is the time when it is most likely to be seen and clicked on. So that's a different kind of consistency, and a different kind of schedule keeping to keep in mind.
 
[Howard] Yep. Hey, Dongwon, you want to send us home with some homework?
[Dongwon] Yeah. So, here's what I'd like all of you to do. Make a list of all of your regular commitments, the stuff that you're obligated to do every week. Whether that's going to therapy, picking up your kids, whatever it is that you have that is a regular thing. Put that on the list somewhere. Then, once you have all of that together, consider your bandwidth for adding new items to that list. Is that a daily Instagram post? Is that a weekly TikTok? Is that a newsletter? Is that this, is that another thing? Really think about what do I actually have time for. Then make a rough schedule of what content updates you could do in a sample month. Right? What feels realistic, what feels manageable. Then reduce that by a little bit. Right, in that under-promise kind of component. Right? Think about what feels realistic now, and then realize that you're probably not going to hit that target. What's a little bit under that that you could shoot for. Yeah. I think that's a good place to get started in terms of putting together a content plan for yourself.
[Howard] Outstanding. That's… It almost sounds like a life hack. Hey, I think we did it. I think we filled our December 11 hole.
[Dan] Yay!
[Howard] So. Fair listeners, this has been Writing Excuses. You are out of excuses. Now go write.
 
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Writing Excuses 16.8: Smart Promotion
 
 
Key Points: Promotion has revolutions, so focus your effort on writing your next thing. Make sure you have a solid website with a newsletter that you control. Pay attention to the way readers are finding out about books, not just where writers congregate. Don't forget that word-of-mouth is one of the most powerful promotional tools. Then, start looking at social media. Pick the places where people are talking about your books, and that you find easy to use. You want to be part of the discussion. Pick the areas where you can write good content.
 
[Season 16, Episode 8]
 
[Dan] This is Writing Excuses, Smart Promotion.
[Erin] 15 minutes long.
[Brandon] Because you're in a hurry.
[Howard] And we're not that smart.
[Dan] I'm Dan.
[Erin] I'm Erin.
[Brandon] I'm Brandon.
[Howard] I'm Howard.
 
[Dan] We are talking about smart promotion, how to promote yourself smartly.
[Laughter]
[Dan] So, it's… This is something that I am terrible at, so I am genuinely excited to hear what Brandon has to say, because it's very easy to waste a lot of time and energy on promoting yourself in ways that have no return on your investment. So, what can you tell us, Brandon, about how to do this right?
[Brandon] Well, number one, write your next thing. This has been the only constant throughout my entire career, because promotion has had a huge, multiple huge revolutions during the time that I've been a writer. I started trying to break in in the late 90s and even mid-90s, when email was not a thing you could assume people had. Right? I ended up breaking in in 2005, before Audible and e-books on Amazon were a thing. I had broken… I broke in before Twitter existed. Right? I broke in when MySpace was a thing. I have watched social media revolutions happen over and over, but the only big constant is you should be focused mostly on writing your next thing. We're going to talk about promotion, we're going to talk about all the different ways you can promote. The thing about it is, these ways have consistently stopped working for… They'll work for some authors, and not for others. They will work for a time, and then stop working entirely. The entire game changes so frequently that if you're not consistently working on the next thing, you're going to be in trouble because that's the only standby thing you can know will be useful.
[Dan] I can give a great example of this. Back when I was doing Partials, so we're talking nine or 10 years ago, book blogs were all the rage. They were huge. I did a blog tour on a bunch of different book blogs, and it launched Partials through the stratosphere. It was fantastic. Three years later, when I launched my next YA science fiction series, book blogs were gone. They… I mean, they're still around, but they're not effective anymore. They're not a useful form of author promotion. So, we had to completely restructure all of our promotion for that series.
[Brandon] Yeah, when I broke in, I remember going to San Diego and driving to every bookstore and delivering… Hand delivering a copy of my paperback. I would walk into the store and say, "Who is your science fiction reader? Can I give them a free book?" I would say, "Hey, if you'll read this, I'll give you this free book. Here's a short pitch on it." I was able to go to 24 bookstores in San Diego. When I last was there, and look to see which bookstores I could go to, there were four that carried my books. So, things have changed dramatically. Now, that's partially because San Diego was saturated with Borders. Places where Barnes & Noble had a stronger foothold have still… More of those metropolitan areas didn't lose as many stores. But even still, the physical book market… My most recent book, Rhythm of War, which came out in November 2020, it was over 50% audiobook in its first week. The fact that… And even now, it's evened out at about 40% audio and around… The rest is split, hardcover and e-book. This is a really different world. If I'm going to say right now, the big revolution happening right now that's happened the last couple of years is book marketing has become pay to play. That's been the trend over the last few years. Unfortunately, all the major social media sites, now, if you want to get eyeballs on your posts, you need to pay for them. Indeed, the big, big change was Amazon deciding to charge authors a lot of money to promote books on different pages. If you are now… If you are an indie author, the biggest change that probably happened in the last few years is, once uupon a time, you could put books up on Amazon… There was a wild west period in 2010, even lasting into the mid-2000 teens, where if you were writing really fast and putting out good books and beating the traditional publishers to the market, you were able to sell huge numbers of books. To sell those books now on Amazon, you need to pay six figures income. I had two indie authors in my writing course at BYU last year, and both of them were spending 5 to 6 figures on marketing their indie books to make back about that much money. Which means that Amazon used to pay you a 70% royalty. They still do, but actually they're charging you half of that back in advertising money, and Amazon is no longer paying more money to indie authors than traditional publishing pays to traditional authors. That's gone now. That's a really big change in the way that marketing happens on the… In the modern era.
 
[Howard] One of the things that I… A soapbox I've been on for 15 years now, that I'm happy to still have as a functioning soapbox, is the idea that your brand, your identity online, needs to have a home that you own. Your domain name, your server, your blog posts or photos or comics or whatever, and you don't let go of that. Everything else you do, whether it's Twitter or Instagram or whatever else, all of those things are under someone else's control and they can cut you off in an instant just by going out of business, and a lot of them will. So this…
[Brandon] Now this is… This was point number two on my list, Howard. Of things to say.
[Howard] Oh, okay.
[Brandon] We didn't… I didn't even share this, but you nailed it.
[Chuckles]
[Brandon] Number two. Once you're writing your new book, number two is to make sure to have a solid website with a newsletter sign-up that you are keeping up-to-date. People don't go to individual websites as much as they used to. Your individual website is not going to get the hits that your social media does, but it can't be taken away from you. It actually can't. Remember, when we talked about how publishers are not your friends. I've had multiple friends that when they launch a big new series, their publisher comes in and says, "We're going to build a really cool new website for this series." They said, "Great." They're like, "We're going to spend like money on this," and it's been great, except the publisher owns that website. That website is in all of the books. It is branding the series and not the author. My recommendation to you is to say to them, "No, thanks. My website should be the main Brandon website. You should not be building one on Scholastic.com for me that you are sending people to. We're not going to publish in the books that website that you want to put up." Put your foot down, because that's going to brand the series and not you, and it's going to take the power away from you in one of the few areas you can maintain it in your publicity career.
[Dan] Yeah. Once the publisher decides that it's no longer going to support that website, then all of those people who are being driven there from the books, they're finding nothing. You have no control over it, you can't use it for updates, you can't cross promote other books. It's… Now better than just saying don't do this is providing an alternative. Suggesting how about we take some of that same marketing money and we do this with it. But, Erin, I cut you off. What were you going to say?
[Erin] I was going to make a horrible analogy and say that it's sort of like when your work… Like, anybody worked and, like, they gave you a Blackberry, like, a work Blackberry, and they're like, "Just do everything on this. Cancel your personal cell phone plan." Fast forward like five years later, you're quitting that job, and you're like, "Oh, wait. My entire life is on something that I didn't actually have control of, even though it was in my house and I felt like I did. I didn't." One other thing though that Brandon said reminded me the idea of having not as many people going to your website and more people going to social media is that I think there's also a difference between what writers do and what readers do. It's always important to remember that you are both a writer and a reader. So, where are you, as a reader, finding out about the books, the stories, the things that you're consuming? A lot of times, I love Twitter, and, like, I love talking to people on Twitter about my work, but I find more writers congregate on Twitter and talk amongst each other about the field, whereas when people are looking for a book recommendation, they may be more likely to find that through some other source. So I think it's important to think about, like, what are you doing, and would you find out about your own book in the way that you're promoting it. If the answer is no, then you should probably change that up a little bit.
[Howard] A fun example from… And I have… We have three of the key participants here. Typecast RPG, which Dan launched, two years ago now? Two and a half years ago?
[Dan] Yeah. Something like that.
[Howard] It's a live streaming of role-playing games. Dan's the GM, I'm one of the players, Erin's one of the players. For a year and 1/2, we were trying to do Twitter marketing, Instagram marketing, whatever. We talked a little bit about setting up a Discord channel for us. The response was always, "Why would we do Discord?" Then, we're recording this in December of 2020, literally three weeks ago, I sat up and realized at the end of an episode, we end these episodes and our audiences having this fun interaction in the chat room in Twitch. Then we stop, and they all have to go home. They can't keep talking. If we set up a Discord channel and link them to it, suddenly our fans, our viewers can keep having their conversations, and by having those conversations, and I've said this explicitly to them so it's okay, by having these conversations, some of them may become evangelists for our show, talking about it in other places and doing our marketing for us. I feel like an idiot for not making this connection 18 months ago. I guess the lesson there is we all get to feel like an idiot for not having made the right decision sooner. But that decision is always going to be one that you have to look at. The landscape is going to be changing, and you're going to discover that something that you previously said, "Why would I even use that?" is actually the thing that you should absolutely be using right now.
[Dan] You can go right now and join our Discord if you want to be part of our Typecast community. I'm sure will put the notes in the liner notes.
 
[Dan] We need to do a book of the week and this week it is coming from Brandon.
[Brandon] So, one of the fun things about being a published novelist of some renown is that you get offered a lot of books before they come out. We looked at the schedule for this year and work sure that I was going to be on an episode, because were frontloading my episodes, when this book comes out, so I'm sorry, I'm promoting it to you several months early. But, the book of the week is Andy Weir's Project Hail Mary. Andy Weir, you may know, is the author of The Martian which is a fantastic book and movie. Project Hail Mary is his new book coming out in May. I loved this book. Just absolutely. 100% loved it. I like it more than The Martian, which is a great book. This is more of a me book. It's got a little bit more of a far future feel to it, even though it's kind of happening now. The science and technology is more science fiction-y. It's… There's just something, just pleasantly fun about this book and the problem-solving, and I can't even tell you really what the book is about without giving you huge spoilers. But it is written… There is a non-linear fashion to it, where you're getting flashbacks to find out character… It's what we call a white room book. Character wakes up without any memories in a white room, and he has no idea how he got there, what's going on, and what his situation is. He slowly pieces together his past and his history as he is trying to keep himself from dying and to solve a big problem. It is delightful, and I recommend it to anyone. One of the things I love about Andy Weir is he is kind of bringing hard science fiction to the masses. I count myself in that. I bounce off a lot of hard science fiction and I force myself to read it because I know it's good for me, and there are some really interesting hard science fiction books. Andy Weir's, I never feel like I'm forcing myself to read. I'm having a wonderful pleasant time. So, Project Hail Mary.
[Dan] Awesome.
[Brandon] Also is a really good pun, because the character's name is Grace. Hail Mary and Grace play into what's going on in an interesting way that is never mentioned in the book, and is just a delightful pun.
[Erin] You know…
[Dan] Well, awesome. Sounds good.
 
[Erin] Listening to that, I have to say, reminds me that word-of-mouth and people telling you to read something is one of the, like, most powerful promotional tools out there.
[Brandon] It really is.
[Erin] It's so important and something that I think about in terms of marketing just generally, is, "Is your book, is your work, in… Like, on the lips of the people who are talking about the works you love and that you want to be in conversations with?" If you're like, "I am also writing hard science fiction for the masses,"… I'm not, but let's say I was. Like, I also want people to say, like, "Oh, if you like that Andy… If that's what you like about Andy Weir, you'll also love Erin's next novel." So, really figuring out what are those people doing who you want to be, like, your book and your work to be mentioned alongside. How are they promoting themselves? Who are they getting in front of? What can you do that similar? Is a good way to try to like get that word-of-mouth that is so powerful.
[Brandon] That's actually a brilliant thing to bring up that I didn't even have in my list of notes here, Erin, because I have several friends whose careers him were made by the fact that a series got really big, that they had a book similar to, at the same time. Kind of just been bought or just on submission. That they were able to then get on those bookstore talkers, where they're like, "If you like this, here are books like it," and get that halo effect, and it made their careers. You could say that I… My career was made kind of by that. By picking up the Wheel of Time in a similar way and things like that. But I do want to get to the third point on my list of things. Number one is write your next thing. Number two is make sure you have a solid website with a newsletter. We didn't talk enough about the newsletter, we've talked about them before. Newsletters are one of the most valuable resources you can have, because those are people who opt in and who want to get an email from you telling them when a new thing is out. You will have, generally, a smaller number of people on your newsletter then you will have following you in various social media settings. But the buy-in, you don't have to… Like, on Facebook, you make have 100,000 followers, but when you post on Facebook, you don't promote it, 15 of them will see it. I'm exaggerating, but you know what I mean.
[Chuckles]
[Brandon] Your newsletter often will have a 30 to 40% response rate, is very common. They're annoying to set up, you have to get something like MailChimp, it takes a little bit of upfront set up an understanding, but it is absolutely worth your time to have a newsletter, and to be writing one at least every year, or I try to do them quarterly.
[Dan] Well, I wanted to just jump in quick and say, per our earlier discussion, newsletters have been one of the longest lasting promotional outlets. They have outlived five or six generations of other promotional systems, and they're still effective.
[Brandon] Yep. You can't… They can't be taken away from you. Again, you control that newsletter and you can send it to people. Now, there are ways to do this right so that you're not ending up in spam folders, and there is the fact that people generally get a lot of newsletters because unscrupulous sites sign you up for their newsletter knowing that it is one of the best marketing tools. I would recommend that you be upfront with your newsletter and not have one of those big pop-ups and not just automatically sign people up. Treat your fans with respect. These are the people who are going to be spreading the word-of-mouth. Give them a good return on their newsletter. Generally, a good tip is to put some exclusive stuff in the newsletter, like exclusive fiction, previews of things, or, oftentimes a newsletter promotion is very handy, and things like that. But point number three is, after you've done those things, then you can start to look at social media platforms. Understand that social media, we're still in the wild west in social media. It's less than 20 years that social media has been a force. Early in social media, new platforms would rise and fall every couple of years. That's stopped happening, and big platforms have started to get a foothold, but what we found is that people tend to calcify on their given platform, and, like, you'll find Facebook and Twitter having this problem, they don't pick up new people very often. The people who were active on them stay active, but they don't pick up the new people. The new people go to a new generation of platform and are there. So you can drive yourself mad trying to be on all the platforms and reach all the people. I would recommend doing what Erin has said. Find out where the discussions about your books are happening, or find out the social media platforms that are most easy for you to use, that you will be consistent on. Because being consistent is more important than being in the place that is the most popular. If you're in the place that's most popular, but you are bad on that platform, it's not going to do you as much good as having a nice Twitter timeline where you are consistently updating and are writing interesting things.
[Howard] One of the most powerful things about social media, and, again, Erin mentioned this with regard to word-of-mouth, is the idea that other people are talking about your work. I've had people say, "Howard Tayler is writing the finest hard science fiction in the market today." That is not something I would ever dream of saying about myself. People are not going to believe it if I said about myself. But if someone else says it, I can retweet it and say, "Thank you. You are very kind." Now I have accomplished some promotion and expressed an opinion or amplified an opinion about my work that I could not have done myself. The social aspect of it is key. I can't just shout my brand into a void, I have to participate in a discussion.
[Brandon] Yeah. Knowing what your social media is trying to do is another thing to think about. During the years when blogs were a big deal, becoming a platform writer was a thing you could do. John Scalzi and Cory Doctorow both kind of broke out as platform writers, where they were having a big platform where they were writing really interesting things and people work coming to them for the other things that they were writing. Also, they started writing books and selling to that audience. Harder to do now than it used to be. You can still do it. But that's very different from, for instance, my social media presence. Because I have the luxury of having a large audience already. My social media platform does not have to draw new readers. My social media platforms are there for existing readers to get information that they want. That's a very different type of social media platform. Like, my Twitter is very different from Howard's. If you want to read a Twitter that you're just going to have fun with, go to Howard's Twitter. Right? If you want to know specifically about what Brandon is doing, that's the reason to go to my Twitter. I'm not going to entertain you on my Twitter. I don't have to. But I will probably entertain you on Reddit, where I'm posting still mostly about my books, but in much more expensive ways and doing updates and things like that, because I'm on Reddit and I'm just there as part of that community. It was very easy for me to do updates on Reddit that are interesting and engaging for me to write an interesting to the people who are going there. So I have made a focus in the areas where I am most likely to write good content.
[Dan] Now, that kind of leads into… I know that we still wanted to talk about targeting your audience, but I'm afraid at this point we have to can-of-worms that for a future episode, because it sounds like effective promotion is something we could talk about forever. So we promise we will come back to this at some point in the future.
 
[Dan] But this episode is wildly over time, and we need to cut it off now, with a little bit of homework from Brandon.
[Brandon] So, this can actually tie into that targeting your audience thing. Which is, I would recommend you take the authors that you read and go see what their social media presences look like. Because you can learn a lot by looking at what different people are doing and seeing what you think is effective. Take that author and kind of… You're going to have to kind of lump them in groups based on their sales and their awareness of them in the market, and see what kind of responses they're getting on various social media platforms. Use this to kind of start building an idea for yourself how you would want to approach this. These are things you can start while you're not published yet. You can spend too much time on them, so don't do that. But be watching what people are doing and be thinking about this.
[Dan] Awesome. Well, this is Writing Excuses. You are out of excuses. Now go write.
 
[identity profile] mbarker.livejournal.com
Writing Excuses 11.7: The Convention Survival Kit, with Gail Carriger

From http://www.writingexcuses.com/2016/02/14/11-07-the-convention-survival-kit-with-gail-carriger/

Key Items: Wear gloves, use Purell, or Wet Ones. Signing pens -- a Sharpie, a highlighter. Post-it's. Notepad. Business cards. Name tent. Covers. Elevator pitch. Sign-up sheet for your newsletter. Exclusives (badge ribbons are good!).

In my little kit, I have... )
[Brandon] I'm going to leave you with a writing prompt, as is customary. Your writing prompt is a character gets approached when they're drunk to pitch for something very, very, very important. That's your writing prompt. This has been Writing Excuses. You're out of excuses, now go write.

Profile

Writing Excuses Transcripts

April 2026

S M T W T F S
   1 234
56789 1011
121314151617 18
1920212223 2425
2627282930  

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Apr. 30th, 2026 10:56 am
Powered by Dreamwidth Studios