Tag: writing (Page 2 of 5)

Why You Should Be Reading Flash Fiction

Ernest Hemingway

Just like the name implies, flash fiction is short enough to read in an instant. But if you’re not reading it, here’s why you should be.

Opinions vary on what length qualifies as flash fiction. Some markets say 300 words max, some say 500, others say 1,000. Whatever the case may be, flash fiction has to be really short—which is not to say incomplete. Rather, many flash pieces still have the elements of traditional literature (character, plot, conflict, setting), only they’re condensed. Think of them like shorter short stories.

The form has existed for quite a while, though it wasn’t known as “flash fiction” until 1992, when James Thomas, Denise Thomas, and Tom Hazuka published their anthology Flash Fiction: 72 Very Short StoriesDespite the its relative mainstream obscurity, many high-profile authors have written flash fiction, including Kurt Vonnegut, Ray Bradbury, Joyce Carol Oats, Ernest Hemingway, and H.P. Lovecraft.

In many ways, flash fiction bears a strong resemblance to poetry. Some of my favorite flash pieces create a mood or feeling instead of focusing on narrative, just as some poems do. Others feature complete stories with beginnings, middles, and ends. It’s a flexible form, and one I enjoy very much. In fact, I included three flash pieces in my short fiction collection, Monsters at Dusk.

Thanks to the internet, flash fiction’s popularity has only grown. There are numerous online magazines devoted solely to flash fiction, and quite a few popular markets that publish flash from time to time. Just to name a few: Apex MagazineBeneath Ceaseless Skies, Fantasy & Science Fiction, Flash Fiction Onlineand NANO Fiction.

If you’d like to challenge yourself as a writer, flash is a great way to do it. It might sound easy to write 500 words, but when you sit down and think about all the components of a good story, it can be difficult to cram everything in.

Furthermore, with such limited space to work with, your language must be razor sharp. In general, readers are far more forgiving of bland language in long-form narratives. It’s easy to skip a poorly-written section of a novel. But when a piece only lasts about a page or two, that poor writing sticks out like a fly in your drink.

Flash fiction is a unique form which will, in my opinion, only grow in popularity in the future. Word counts are shrinking, attention spans are decreasing, and concision is becoming more and more essential. Try some flash fiction and see if you agree!


Kyle A. Massa is the author of the short fiction collection Monsters at Dusk and the novel Gerald Barkley Rocks. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. He lives somewhere in upstate New York with his wife and their two cats.

Don’t Get Stumped: 5 Ways to Beat Writer’s Block

Throes of Creation

Leonid Pasternak’s “Throes of Creation”

Writing’s always fun when you have something to write. But when the well runs dry, you might find that you’ve got writer’s block.

But what is writer’s block? Is it even a real phenomenon? And if it is, what can we do about it?

As the late Sir Terry Pratchett once said, “There’s no such thing as writer’s block. That was invented by people in California who couldn’t write.” Okay, possibly. But I think there’s also a common misconception about writer’s block in general: that it’s a condition where you are literally incapable of writing. I don’t believe in that either, Terry.

I do believe, however, in writer’s stump—and I’m not talking about trees. Writer’s stump means you just get stumped—like on a math problem, or with a difficult riddle. It happens to every writer, probably even Terry Pratchett.

So what can we do about it? Here are a few ideas.

1. Try Working on a Completely Unrelated Project

For me, this method works really well. I think that’s because I remain in the writing state of mind, even though I’m not working on my main project.

To get started, try writing something completely new, like a flash fiction piece or a short story. You could even try writing about how difficult it is to think of something to write, so long as you’re putting something on the page/screen. You might find that it changes your mindset from I can’t write to I’m struggling with this particular piece right now, but I’m still a good writer.

The other side of this coin is just stepping away from writing entirely—but just for a little while, I hope. If you’re feeling especially enraged about your writing, Nicolas Cage-style, then you might want do something else for a while.

2. Look to One of Your Favorite Works for Inspiration

I find this one either works really well or just pisses you off (Cage-style pissed? See previous paragraph). For example, I might pull my hardcover of American Gods down from the shelf, pick a random paragraph, read it, and say to myself, “Wow. When I grow up, I want to write like that.” And then, hopefully, I’ll go back to my piece with a smile and newfound inspiration.

Or, on another day, I might read the same random paragraph and exclaim, “Wow. When I grow up, I will never, ever be that good. Woe is me.”

Your reaction to this method will probably depend on your temperament or what kind of mood you’re in on that particular day. Be careful with this one.

3. Look Back at Something You’ve Already Written

Similar to number 2, but try it with your own work. I would suggest picking something you wrote a while ago and were always very proud of, but haven’t looked at for a while. That way, you might surprise yourself with some especially crackling pieces of dialogue, or a beautifully-written image.

This one is especially effective because writer’s stump is often just a symptom of self-doubt. You get stuck, which makes you wonder if you’re actually a good writer, and suddenly, you have no good ideas anymore. By looking back at a good piece, you’ll see that you’ve already written some amazing stuff, so there’s no need to feel like you can’t write.

Or, for a little fun, try revisiting a piece you wrote when you first started  writing. I did that once, and it was awesome. You come out of the experience realizing that you’ve improved a ton more than you might realize.

4. Ask yourself, “What is this piece really about?”

This, like the other tricks I’ve mentioned, is certainly not foolproof. But it’s one of my favorite techniques. If you sit back and look at your story as a whole, not just as one event leading to the next, you might spot the way out of the stump you’ve gotten yourself into.

I think Stephen King sums this method up perfectly in his nonfiction masterpiece, On Writing. He describes a particularly nasty case of the block when writing The Stand thusly:

“I liked my story. I liked my characters. And still there came a point when I couldn’t write any longer because I didn’t know what to write…I circled the problem again and again, beat my fists on it, knocked my head against it…and then one day when I was thinking of nothing much at all, the answer came to me…If there is any one thing I love about writing more than the rest, it’s that sudden flash of insight when you see how everything connects.”

Just taking a step back and looking at the big picture sometimes makes all the difference.

5. Grind it out!

This method isn’t for everyone, but I think it’s worth a try sometimes. If you’re writing a novel and can’t think of a way to get your character from Point A to Point B, just plop her/him at Point B and figure out the “how” later. You might find that the answer comes to you as a result of your subsequent writing. Furthermore, this avoids the blank-stare-at-the-screen-or-page moment, which just leads to more of the same.

Closing Thoughts…

The stump/block, in the words of Arnold Schwarzenegger, is one ugly you-know-what. Thankfully, there are many ways to defeat it. I’m certainly no expert, but I like to write about writing and the methods I’ve listed here sometimes work for me. How do you fight the block? Feel free to leave your favorite techniques in the comments below.

And keep on writing!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

The Curious Case of Why Short Story Collections Don’t Sell

Short Story Writer

“Short stories are loose change in the treasury of fiction.”

That’s what J.G. Ballard wrote in the introduction to his Complete Short Stories collection. Considering the dwindling attention spans of many readers, you’d think that short stories would be more popular than ever. But when’s the last time you saw someone reading a short story collection? Just like Ballard wrote, it seems short stories are the pennies, nickels, and dimes of literature.

So why don’t short stories sell?

First, I think it’s about the characters. Take a series like A Song of Ice and Fire, for example. Fantasy fans and non-fantasy fans alike revere that series in large part because of the characters. They’re dense, they’re layered, and they evolve over the course of many volumes. In short stories, however, you don’t have hundreds of pages to devote to character development. That’s not to say that short stories don’t have good characters—it’s just that, with such limited space, writers must focus on a few key characteristics rather than many.

Furthermore, I think agents and publishers are less likely to go for collections because they don’t have the potential for a series. This one’s a no brainer: once readers get attached to the first book in a series, you’ve got them locked in to buy the rest. The Harry Potter series, for instance, only got more and more popular with each new release. And once the series ends, publishers can package the whole thing into a box set for even more sales. All told, that’s a heck of a lot of money.

And another thing: authors often use short story collections to explore different styles and genres, which is the opposite of what they do with novels. Another truism of the publishing industry states that once an author makes it big with one book, she/he should pretty much rewrite that story, only make it a little different this time. For readers, this is a good thing; you can pick up a novel by an author you know, and you’ll probably end up liking it.

Short stories don’t necessarily follow that rule, though. Things like second person narrative and interview style, which rarely work in long-form narratives, suddenly spring to life in a short story. Authors also tend to explore subjects they stray away from in their longer fiction. Roald Dahl is a great example. Sure, you know him as the guy who wrote James and the Giant Peach and Charlie and the Chocolate Factory. But have you ever read his short fiction? Just to get a taste (sorry for the pun), try Lamb to the Slaughter. It’s a clever short that includes murder, adultery, deception, and dinner.

Or, in other words, good fun.

Will short stories ever sell like novels do? Maybe not. Historically, the novel has always been far more popular, and, for the reasons listed above, I can see that trend continuing for a long, long time.

But don’t let that stop you from trying short fiction, if you haven’t already. There’s an elegance to a good short story, a brevity and directness that many novels are missing. Some of the greatest short stories I’ve ever read say much more with far less.

So, for J.G. Ballard’s sake and the sake of short story writers everywhere, always hold on to that loose change.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

5 Ways to Excel at Taking Criticism Poorly

Angry Dude

This is a good start.

Let’s get one thing out of the way: Very, very few people enjoy taking criticism. It’s not fun to spend hours of your time on a piece that you really like, only to have someone point out all the things they didn’t like. In fact, sometimes it can be downright discouraging.

But let’s not get discouraged. Because any writer will tell you that the first draft is always going to stink. Which means that the feedback you receive is invaluable to your writing process. Without it, you can’t improve.

Still, there are those out there who just can’t take criticism. If you want to be one of those wonderful folks, here are five great ways to excel at taking criticism poorly.

1. Treat Every Comment Like a Personal Attack

Whenever you get negative feedback, assume that it isn’t directed at your piece—it’s directed at you. When a reader says your character acts like a dick in that one scene, don’t be fooled. The reader thinks that you are the dick.

Make sure to act appropriately mad or hurt, matching the ostensible nastiness of the comment made. This informs your readers that you’re taking everything personally, and that from here on out, you’re going to continue to do so.

Some helpful retorts to try:

  • “I don’t think you know what you’re talking about.”
  • “Wow, tell me how you really feel.”
  • “Well, I think I don’t buy you as a character.”

This is a great way to ensure that you’ll receive cautious, unhelpful comments from your group members.

2. Whenever Possible, Explain Why Everyone Else is Wrong

When receiving feedback, you’ll oftentimes find that your readers just don’t understand you. They can’t comprehend your wit, your subtlety, and your mastery of the craft. So when readers tell you they don’t understand what’s going on in chapter two, kindly explain that, “It’s not me. It’s you.”

Furthermore, make sure to pontificate on every subtlety of the work, just in case people aren’t getting it. Always be sure to explain, in excruciating detail, the symbolism behind each character’s name, your inspiration for the story, the ways in which you’ve outdone all the other writers in the genre, and so forth. People will love it.

3. Assume That No One Else Knows What They’re Talking About

First thing with this method: make sure to always have a notebook. No no, don’t write anything down. Think of it more as a prop.

Leave your notebook open. Keep your pen hovering just above the page, but don’t use it. This sends a clear message to your readers: nothing they say is relevant to you, so you won’t even write it down.

Unless they compliment that metaphor you had in the first paragraph. Go ahead, write that down. Compliments are totally useful. Everything else is nonsense.

This, in general, is a great rule to live by if you want to push people away. Everybody loves a know-it-all, right?

4. When Readers Offer Feedback, Just Talk Over Them

Monologues work fabulously with this method. Feel free to use the following as a template.

“What’s the point of criticism, anyway? To quote Ringo Starr, I’m the greatest. So of course I know that all the adverbs I’m using are completely necessary. And if I’m not using two to four adjectives per noun, then I’m sure you just won’t get the picture.

“What’s that? You think the flow of the sentences is disrupted by all the adverbs and adjectives?

“I’m sorry, have you ever read Shakespeare? Well I read Hamlet in high school, and let me tell you, that guy uses lots of adverbs and lots of adjectives. And he’s the Bard. So that means I’m right. And you’re wrong.

“Anything else?”

5. Allow Every Piece of Criticism Destroy Your Confidence in Your Work

You’ve worked for so long on this piece, and now that you know everything that’s wrong with it, you know the truth. It’s not even worth saving! On to the next one, right?

Don’t spend time trying to fix it. Sure, you could probably take the advice you’ve been given and make your piece better than it was, but why do that? This thing is more tragically flawed than Prince Hamlet.

So go ahead. Throw it out. Start over. Ask for criticism not because you want to make your piece better, but because you want affirmation that it’s already the best.

Congratulations on a bad job well done. It’s not easy taking criticism this badly, but together we can do it. Bonus tip: getting visibly angry always works when these other methods fail.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

You Need To Turn Off Your Internal Salesperson

If you hadn’t noticed already, this is a post by Levi Jacobs. And, as I’m sure you can tell by this website’s URL, Levi Jacobs is not my name. We’re doing a guest post!

Levi is a fantasy and science fiction author I’ve known for a long time. He’s a hardworking, innovative writer and he’s neck deep in independent author marketing tactics. Without further ado, I’d like to hand it over to him. Levi, the floor is yours.


It’s an old adage in writing that you need to turn off your Internal Critic if you’re going to get anything done. Maybe that’s why the same adage-dispensers advise us to write drunk and edit sober, because booze turns off the critic (or makes him or her more entertaining, at least). And for the most part, it’s good advice. You don’t know how good something is until it’s written (which yes, means you really should finish that novel)—but that’s not what we’re here for today.

Today we’re talking about turning off the Internal Salesperson.

Salesperson? you ask. I don’t have a salesy bone in my body.

Ah—but do you want readers? Do you want somewhere in your heart of hearts to give the finger to your middle manager and boldly earn your living writing stories in your PJs?

If so, you will eventually meet your Internal Salesperson. She is the one who wakes up wondering if anyone downloaded your book, if anyone read pages (this extra torture reserved for those of us with books in Kindle Unlimited, meaning we can see daily how many pages of each book the world has read). And she is the one who will say, tugging at her checkered and elbow-patched jacket, that there is really no point in writing today, since no one’s reading your stuff.

Now if you happen to be selling gangbusters, perhaps you can ignore this advice. Maybe you want, in fact, to turn on your Internal Salesperson (you’ll have to find out what he’s into). But likely even for you, oh Gangbusters-Selling Author, there will come a day when you load up your sales dashboard to find a much lower number than you or your Internal Salesperson hoped for. Maybe even a zero.

And for many of us, that zero has a pernicious way of translating into our word count for the day. Of unlocking the closet in which we have stuck our Editor for those few precious hours that we get to tell stories, and we all three stare at a blank page, saying, “Well no one’s going to read it anyway—they haven’t even read book one,” and, “This is obviously garbage—remember how much we revised Book One? And still no one’s reading it,” and maybe even, “Do you think our middle manager took that middle finger the wrong way? Maybe we could send him a nice email, see if he’s got any work around.”

No, friends, the Internal Salesperson is not your friend. She’s either inflating your ego to the point the Internal Editor can’t get a word in edgewise, or they’re piggybacking on each other to make sure you feel too dismal about your hopes as an author to actually do the work of authors, which is writing, of course.

So what to do? Turn the Salesperson off of course.

Easier said than done, because sales are the best estimation we have for how many people are reading our books, and most of us authorly types are very interested in people reading our books, and smartphones make it oh-so easy to check how many people have purchased said books, and the tab is right there on your computer as you sit down to write. And the minute you click that tab, the Salesperson wakes up, and he is sure to have an opinion. And you haven’t even had your coffee yet.

So, some strategies:

One: Set your expectations low. Set them at zero, in fact. Then, if you’ve had five pages read today, why, that’s five pages more than you were expecting! If someone’s bought your book, the Salesperson is sure to be pleased! Meditate on that fact deeply: you are getting read. You’re doing it. Then go happily about your words for the day.

Two: Don’t look at your sales every day. A watched pot never boils. If you’re the one in charge of running your advertisements, etc., then set a day once a week to evaluate the last seven days and make changes. But this refreshing the KDP Dashboard every 15 minutes? You’ve got to quit it.

Three: Don’t look at your sales until you’re done with words for the day. This is my approach: I get my words in, I sometimes get a little rush of joy when I see good numbers, and when the numbers aren’t stellar, my Internal Salesperson often has something useful to say.

This is his territory, you see: he has as little place in the word document as a used car salesman has at the Tesla factory. But out on the lot? The Salesperson is your man. Even if he’s not a particularly wise or informed fellow, his negativity may spur you to action (yes, you will have to tell people about your book to sell copies at first), and often he’ll have some insight about a slogan, or key word, or ad image, or salesy what-have-you that will get a few more people to read your words.

And that’s the whole point. So maybe you do need to learn how to turn on your Internal Salesperson, as well as turn her off. She has her place, as your Internal Critic does.

It’s just that most of the time, that place is locked in the closet. You run this show, not the Salesperson. Run it how you like.

Hope that helps.


Levi Jacobs is the author of the fantastical Resonant Saga, as well as the near-future science-fiction novel ACHE and the forthcoming Water of Night series. He has received the Colorado Gold award in Speculative Fiction, taken first place in The Zebulon Fiction Contest for Science Fiction, and had shorter work published in Spark: A Creative AnthologyJungle Crows, and Perihelion SF. Hailing from North Dakota, with much of his formative years spent in Japan and Uganda, Levi has an MA in Cultural Anthropology and sells fruit in the oil fields to make a living. Learn more at www.levijacobs.com.

3 Reasons to Join a Writers’ Group

When I say “writer,” what image comes to mind?

You might picture a veteran wordsmith hunched over a desk, scribbling away at the last pages of a swollen manuscript. You might picture a twenty-something at Starbuck’s equipped with coffee and a laptop, earbuds blasting something by Radiohead. Or you might picture a guy with an axe chopping a hole in a bathroom door.

Anyway, there’s a common thread among all these hypothetical writers: they write alone. And though writing is often an individual activity, being a writer should be collaborative.

One of the best ways to collaborate on your writing is to join a writers’ group. Here are three reasons why you might want to try it.

They Encourage You to Write

For me, the next project is always more exciting than the current one. When I’ve been working on the same characters for three months, sometimes it’s difficult to muster the same enthusiasm I once had.

That’s where writing group members come in. If you’ve got a good group, they’ll encourage you to keep working on your projects. In my group, for example, we always start our critiques with compliments. This often gives me the confidence to proceed with projects I might’ve otherwise tired of.

They Provide Deadlines

Deadlines are powerful. And when you join a writer’s group, deadlines come free.

In my group, we always send submissions one week before meeting times. It’s not a hard deadline, per se, but we all respect each other, so we stick to those deadlines.

Though they might seem intimidating, deadlines are actually awesome. They force us to finish our work rather than return for the hundredth rewrite.

They Give You Great Book Recommendations

This one might not be obvious, but it’s true. The best writers are great readers. So, odds are your fellow writers will recommend great books you’ve never heard of. They might be fiction or they might be about writing itself. Whatever the recommendations are, you can be sure you’ll enjoy them.

I’ve found that since everyone in our group shares more or less the same interests and goals in writing, I’ve gotten some great book recommendations from them.

I’m Convinced! Now How Do I Join?

I discovered my writers’ group on Meetup. There are also numerous online groups one might join, such as Codex and WritersCafe. And, of course, Googling “writers’ groups near me” could work. Join a group today!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now.

The Anatomy of a Line Break

Writers can do a lot with a line break.


Whether it looks like the one above or the one below…

#

…the line break is a fantastic tool for writers. I’ll admit, I think I have more fondness for it than the average person does. Truth be told, I might use it too much. But no matter—today, I’d like to share my love of the line break with you. Let’s get started.

Line Breaks Suggest A Narrative Shift

In my fiction, some of my weakest writing comes when I’m trying to get my characters from one setting to another. I often find myself over-describing their form of transit, or what they saw during their journey, however brief. It’s rarely important to the story I’m trying to tell and often ends up feeling boring.

That’s why I love the line break. It’s an elegant way to suggest this idea: “Hey reader. We’ve shifted settings.” It cuts down on extraneous words and boring scenes. If a transition scene is a long, windy road through the mountains, think of a line break as a shortcut.

In addition, line breaks are an excellent way to signal point of view shifts, particularly within a chapter of a novel. There’s no better way to write from multiple characters’ points of view without cutting your chapters short.

Line Breaks Suggest a Passage of Time

When jumping from one scene to the next, adding a line break is an excellent way to show that there’s been a slight passage of time since the last event. Just make sure it’s slight.

Are you jumping ahead a few minutes into the next scene? By all means, use a line break. Are you jumping ten years into the future? You probably need something a bit more obvious.

In other words, line breaks are excellent for signaling relatively brief shifts into the future. Less so when we’re talking dramatic leaps forward.

Line Breaks Provide Heavier Meaning to Parting Words

Let’s say you’ve got a profound piece of dialogue floating around in your head. Where should you place it for the optimal impact? I’d suggest just before a line break.

Words often gain greater emphasis when they come at the conclusion of a paragraph, scene, or chapter. Recency plays a huge part in memory, so it makes sense that the last thing we read would be the most memorable.

I hope you now share my love of the line break. Try using it in your writing!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

The Grand “Finish It!” Initiative

Finish It!

I’ve noticed a trend in my short stories. Many of my drafts have no endings!

Let’s back up a moment. I’m releasing a short story collection in June called Monsters at Dusk (more details coming soon). As part of the collection process, I scoured my hard drive for on-theme stories. I found a bunch. Problem is, many are unfinished.

I doubt I’m the only writer with this issue. When a story’s not working, it’s tempting to abandon it and start fresh with another. Therefore, I’ve assigned myself a new task. I call it “The Grand ‘Finish It!’ Initiative.”

The initiative is simple: I won’t allow myself to move on from a draft unless I’ve completed it first. Here’s why I’m doing it (and why you might want to do it, too).

We Need a Structure

Completed first drafts provide structure for later drafts. They’re ugly, but they’re essential.

I tend to forget this. Midway through the writing process, I sometimes think, This story isn’t that good. Truth is, I’m probably not wrong about that—detail is almost always lacking in a first draft. But first drafts aren’t final drafts. First drafts are structure. We sometimes worry too much about setting, character, and specificity in early drafts when we should focus on the underlying structure. This leads to abandonment.

That’s not to say we should blindly accept everything we write. Some pieces are experiments. Others are educational experiences. We might finish a draft and decide it doesn’t work, and that’s okay. However, it must be a finished draft before we can fairly make that determination. After all, you wouldn’t look at a sketch of a painting and decide the painting’s unworthy of your time. You can’t decide until you see the final product!

We’ll Become More Selective About What We Write

Writers often have more ideas than they’ll ever be able to write. By committing to completing every story, we’ll become more selective about the projects we take on.

This comes down to mindset. Imagine writing with this notion: If it’s not working, I’ll quit on it and move to the next project. What’s the point of being picky? You can explore any old idea just to see where it takes you.

Now imagine this mindset: I’m going to finish what I start. This approach speaks of discipline and careful selection. If we don’t allow ourselves to abandon half-finished projects, we’ll prioritize our best ideas. Doing so focuses our work and ensures we use our limited time in the best way.

Of course, there’s always room for experimentation. Furthermore, for some writers it’s impossible to tell which ideas have the greatest potential without writing them first. However, the point remains: Focus your efforts on your most powerful ideas. They’re the ones you’ll be happiest to complete.

We Need to Practice the Entire Form

Finishing a draft from start to finish allows us to practice the entire process. If we proceed to the next project without finishing the present one, we’re not getting enough practice on endings.

I consider this in terms of sports. Let’s take basketball as an example. Between dribbling, rebounding, shooting, passing, defending, and more, there are numerous skills a basketball player needs. Depending on their position, a player might excel at one skill or another. However, in order to play at a high level, a basketball player needs competency at every skill. Shaq was a bad shooter, but he at least knew the proper technique.

Likewise, an author must practice every step of a story. Sure, some authors might excel at establishing a world or surprising readers with second act twists. But if we don’t finish our work, we’ll never develop our ending skills. That’s like a modern basketball player shooting with two hands.

For an example from the literary world, look no further than fantasy author Brandon Sanderson. He wrote somewhere around 10 complete novel manuscripts before he published his first. Those 10 were full practices. If he’d decided to move on to the next before finishing the last, he might never have developed a talent for writing entire books.

Conclusion

As part of the Grand Finish-It Initiative, I’ll do my best to never proceed from a project until I’ve finished my current one. I hope you do the same!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

For Writers, Distractions Are Essential

Writing with Distractions

Distractions. They’re impossible to avoid.

This is a fact I’ve learned to live with—especially for writing time. Whether it’s my cats getting into a fight, a fantasy football injury update, or even getting up for the bathroom, it’s all the same thing: distraction. It happens to the best of us. It happens to all of us.

If you’re a writer, you might fear distraction. You might wish you could sit down and write and not be bothered until you’re done. But distraction really isn’t that bad. In fact, it can actually be helpful. Here’s why:

Imagine you’ve sat down in your favorite chair in front of your computer, your notebook, or whatever it is that you write in or on. Imagine that between your butt and that seat, there’s a layer of super glue. And between the legs of the chair and the floor, there’s more superglue. You’re literally stuck there for the day. (I suppose you could keep pulling until your pants tear, but in this hypothetical situation, you’re wearing your favorite pair of pants. Would you really do that to your favorite pair of pants?)

Doesn’t this sound horrible? I think so. But it’s what we’re doing when we vow never to be distracted—we’re gluing ourselves to our chairs, and therefore stifling our creativity without even knowing it.

Distractions boost creativity because they give us distance from our writing. We need that. When we work on the same project for too long, we eventually get tired of it. For writers, that’s especially bad because it’ll come through in our writing. If we’re bored by our own work, why should anyone else be excited by it?

Furthermore, when we step away from our writing, our unconscious mind works on it for us. That plot hole we just discovered might be filled by the time we return, without us consciously thinking about it. The mind is a powerful thing—especially when given a little rest.

But not too much rest, of course. Distractions must be used sparingly. Unless you’re a dedicated multitasker, it’s probably best not to listen to music while checking your Twitter feed while cooking dinner while also trying to write. Something bad is likely to happen.

So for writers, distractions aren’t that bad. Let’s concentrate on our work, but let’s not be afraid to step away from it every once in a while. You’ll be amazed at the results.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

Patreon, Crowdfunding, and the Future of Writers’ Revenue

“Grab that cash with both hands and make a stash.”

That’s a line from Pink Floyd’s “Money.” A great song, but certainly not the only one to address its titular subject. In fact, there are tons of songs about money.

It’s an understandable fixation. For songwriters, authors, or any artist, money is a big deal. Most don’t expect to get rich from their work, but many strive to make their art their living. (I know I do!)

As an author, I consider cash in terms of writing. Book sales, advances, and signings have been around for years. But are there newer ways for authors to make money from their work?

Absolutely! The one we’ll discuss today is Patreon. In today’s post, we’ll learn what it is, how it works, and how it can help us start and sustain a writing career. Let’s get to it!

What is Patreon?

Patreon is a website where fans give back to creators they love. Patrons sign up to contribute any amount they’d like, either in onetime or monthly donations. In return, creators usually offer fans exclusive content depending on how much they’ve donated. One dollar each month might not sound like much, but with enough patrons, the revenue adds up.

When most people hear about Patreon, their first reaction is usually something like this: Really? Yes, really! If people like what you create, they’ll donate so you can create more. Plus, giving them extra for their contributions can’t hurt.

Why Should You Try It?

Think of all your favorite services: Netflix, Hulu, HBO, The New York Times. They’re all based on subscriptions. You pay a little each month to access something you love.

Patreon operates on the same principle. Patrons are essentially subscribing to your monthly rewards, contributing as much as they feel comfortable with. That’s the nice thing about the service—you can pay anything, even just a dollar a month.

Imagery and Headline

Start with the headline.

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Every profile has a name, then the phrase “is creating” or “are creating” (your choice), followed by whatever it is you’re creating. This is usually just one or two words. I was originally going to write “Stories” for mine, but I wrote “Outlandish Stories” because I thought it would stand out more. Also, I like the word “Outlandish.”

You’ll also want a picture. If you’ve read my book, the above image will look familiar. Try to find one where you’re smiling. And don’t use a blurry Facebook profile pic, please

You’ll also need a cover image, which might be a bit trickier. Many Patreon authors create cover images out of their book covers, but if you’re like me and you’ve only published one book so far, that might not be an option. I used a free sharing photo website called  Unsplash for mine.

My stack of books is perhaps not the most striking thing in the world, but it’s a professional image that clearly shows what I’m creating. That’s the cover image’s only job: show people what you’re creating at a glance. If you’re an author and your cover image is, say, a field of cows, you might confuse your patrons.

The Overview

This is the pitch. Introduce yourself, discuss your rewards, and encourage patrons to contribute to your cause.

Most authors I’ve seen use headings to break up their text, because these Overviews can (and probably should) get pretty lengthy. For many authors who already have huge established fan bases, kicking off with a simple “This is me” statement works just fine. For example, here’s the first line of author Tobias Buckell’s Patreon page:

Or author Saladin Ahmed:

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Or author N.K. Jemisin:

Patreon 4

(Note: Jemisin’s Patreon page is now closed, so please look to the part after the italics.)

Though my cats might think I’m famous, I’m not. Therefore, I opted for an intro about my stories instead of one about myself.

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Write something that will convince prospective patrons to keep reading. Fair warning: That can be harder than it sounds. And it can be even harder if you haven’t written the whole overview yet. So feel free to start elsewhere. Flesh out your ideas. Once you have the entire thing written, revisit that first paragraph.

Next, tell your fans why you chose Patreon. Almost every creator on the site does it. “Because I want money” is not enough. Everybody wants money!

For me (and for most other writers), Patreon is a step toward a full-time writing income. Even if you write a book a year, those spurts of income likely aren’t enough to last you all 12 months. Patreon presents a unique opportunity for writers because you can build a consistent income each month. For some, that’s all we need.

Now that patrons know who you are and why you need their help, tell them about your work. What have you written and what are you writing? Again, if you’re like me and you don’t yet have much published work, elaborate on all the writing you will do with enough donations.

Throughout the Overview, include your personality. I tried to do that in numerous places. For example, I mentioned authors whose work has influenced my own. I also threw in a picture of my cats. I think people are more likely to contribute to you if you seem like a likeable person. And I bet you are a likeable person. Show it!

Finally, our moms taught us the value of saying “thank you.” I believe that goes double on Patreon. Patrons make our writing possible, so we really can’t say thanks enough.

The Tiers

This is, in my opinion, the hardest part of the whole process. Creating rewards and adequately charging for them is challenging. Hell, some companies hire other companies just to do their pricing for them. It’s a pain!

Look to other authors’ Patreon pages and see how they do it. My donation tiers are very similar to those of the authors I mentioned above. If it works for them, why change it?

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Almost all writers offer a huge range of donation. Always start at $1 and provide good value there. Most writers give their patrons a new short story each month for that price. Then scale up to a massive tier—one you wouldn’t believe anyone would ever contribute to. Doing so makes your work appear valuable while also making your lower-priced tiers appear affordable. And there’s always the chance a patron will like you enough to join that tier. You never know!

Setting a Goal

This is a fun section where all your patrons can work together. The creator sets a goal of total patrons or total revenue. If the goal is met by a certain date, all patrons get a sweet prize.

I’ve set a goal of getting 50 patrons by the end of 2019. If we reach it, every patron receives a terrible short story I wrote a long time ago. So bad it’s good. Or at least I think so…

Try Patreon!

I hope this post was helpful. If you’ve always wanted to make a living from your writing, consider using Patreon. And if you become one of my first patrons, I’ll be eternally grateful.

Grab that cash and make your stash, authors. Use it to write more. The world needs your work!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocksis available now on Amazon Kindle.

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