Writing

Stock photography gives us everything.

So, increasingly it’s popular for writers who have, shall we say, less than great book sales (hi there!) to go begging for pennies on sites like Kickstarter or Patreon. This isn’t a bad idea, as we’re basically already beggars when it comes to our book contracts:

Writer: I am hungry and my wife just left me for a homeless man to improve her lifestyle. Here’s a book I spent six years writing.

Publisher: I’ll give you six dollars and a vague promise of a sandwich sometime next week.

Writer: SOLD.

Publisher: Now, I never said *American* dollars.

Writer: <stuffs bills into mouth and eats them>

And: scene.

Now, naturally enough if I were to go the Kickstarter or Patreon route, I’d no doubt take in some very dark, very unfortunate directions. Because, if you think about it, these sorts of arrangements are already kind of weird. Take Patreon: You offer me $5 a month and I offer you some flash fiction. Sounds innocent enough, except it has the ring of an organ grinder and me in a cute little monkey-appropriate outfit. My flash fictions would almost certainly become epic exercises in passive aggression, ending, no doubt, in the sort of murder/suicide pact that future writers will turn into Pulitzer-winning True Crime novels.

Plus, I would likely just get lazier and lazier, ultimately creating $1 support tiers where you’d get an angry, drunken voicemail in the middle of the night, and one-penny support tiers where you’d get a voicemail in the middle of the night that was just me weeping inconsolably.

And Kickstarter would start off fine and dandy, but there are two scenarios I’m seeing: One where no one donates, and I wind up being cited on comedy websites as how not to do a kickstarter, and one where I am fully funded and manage to blow all of the money in one weekend via an increasingly unlikely series of coincidences involving liquor and an impaired ability to make decisions. Either way: Tears.

Plus, to be honest, all these alternative ways of raising money are a lot of work. If I wanted to work for a living I wouldn’t be a writer. I wouldn’t have these delicate, soft hands and this fragile, glass-like lower back. I wouldn’t have this debilitating fear of other people, leprechauns, and sweat.

So let’s keep it simple, shall we? Y’all send me $100 each and I’ll just keep doing what I’ve been doing. Deal?

You’re right – I don’t *have* any dignity.

Although my brand, as you all well know, is “Genius Alcoholic” (my justification for this branding is my expectation that just as my liver explodes and claws its way from my body in a death struggle, science will have advanced to the point where I can print a new liver at home and hire someone from the Internet to transplant it – or possibly have a new liver and a surgeon delivered via drone, either way), the fact is, I am sometimes surprisingly stupid. Like, amazingly, incredibly, bone-shatteringly stupid.

My agent just appeared in a blaze of purple fire, laughed manically while pointing at me for five seconds, and then vanished.

I’ve been freelance writing for a few years now, and have reached a point where every day isn’t a soul-killing hustle for work reminiscent of Samuel L. Jackson’s crack-dance in Jungle Fever, except instead of crack, I am dancing for writing jobs. These days I am quite fancy in my freelancing (I’ve considered wearing a monocle and top hat while working, yes, why do you ask?) but in the early going, of course, I was willing to entertain a lot of dubious writing jobs. Not subject matter, which continues to be something I’m more or less neutral on (I have written about some very, very horrible things and cashed the checks without a single regret) but dubious rather in the sense of basically dealing with shadowy figures from across the globe who regard paying writers to be a crazy idea.

Which, I know, I just described everyone. The world hates us writers, doesn’t it?

Anyways, back in those dark days I responded to some seriously red-flag waving job postings in the early goings. Most were merely frustrating: People who didn’t know what they wanted, people who thought telling you to write like some famously successful blog was enough instruction to go on, people who had no sense of humor at all.

Most of the time it was fine: I’d write a few pieces and we’d mutually wander off to other things. Not every business relationship can be perfect, after all. But twice – twice! – I got rooked, because I agreed to do an unpaid trial.

The Scam

It’s obvious, really: Always get paid for your work. Always. But, a little nervous about doing freelance, about not having a job, about testing this theory of mine that the only thing I am good at without reservation is writing, I made some bad decisions. So when an otherwise great-sounding job came along that required me to write one, single 500-word article for no money so the employer could determine that I had the writing chops came along, I agreed.

You can see where this is going.

Nope, never got hired, never got paid, and when I (belatedly) looked into it, I was one among dozens of writers who got rooked into it. In other words, we all collectively provided this guy like 15,000 words for free. In other, other words, he got his whole project written for him by suckers like me.

You might think I learned my lesson, and I did, but not well enough: A few weeks later I fell for it again. I initially turned down the job because of the free trial bullshit – but then the person came back and defended it, saying it was just a very short piece and they simply had to require it, and again it was otherwise so attractive (aren’t scams always?) I gave in. After all, I thought, if it was just a scam why would they bother emailing me? So I wrote about 300 words, and yup, never heard from anyone again.

So, now I’ve really learned my lesson. Really, really. Now, in the grand scheme of things I lost maybe $50 of my time, so it’s not like I’m going to scream KKKKHHHAAANNNNNN at the sky and rip off my shirt (ripping off shirts is super hard, anyway). But it does burn me that I got played. And reminds us all that we writers, we’re at the bottom of the ant hill, and we get kicked around a bit. But you know what? Your time is worth something, and you get to decide what that is. Everyone else then gets to decide if they agree, and pay for your services or not depending on that. It really is that simple.

This is the face of doom.

I don’t know about y’all, but I have a problem with leaving things unfinished. Since turning in We Are Not Good People to my publisher, I’ve completed one novel (which I showed around to folks who all shrugged and evinced zero enthusiasm for) and since then I’ve started about four projects that more or less went nowhere, if you consider significant amounts of words to be “nowhere.” I’m not a big one for word counts, but it is a useful stat when discussing incomplete novels, so let’s say I have about 4 projects that got to be about 25,000 words or so and then petered out.

Usually this is because they lose that indescribable “buzz” that a living, breathing book has, at least for me. When a story is thriving, working on it is like picking up a live wire. I can feel that buzzing energy every time I put words to paper or screen. When that buzz is lost, I usually tinker for a while and eventually give up trying to make it move again. It’s like riding an elephant that suddenly keels over. For a while you’re bounding along going whoooooo and filled with adrenaline. Then you’re trapped under a ton of dead elephant and nothing you do, including stuffing dynamite under it and lighting a fuse, gets it moving again.

But, I hate to waste all those words. That means turning that dead elephant into a Frankenstein-monster via one of the following strategies:

1. The Capper: Writing a brief ending of sorts that ties up your loose ends without much revision (“… and then the plane crashed. The end.”) and calling it a job … done.
2. The Extraction: Taking some portion of the work that can stand alone as a short story with minimal revision and discarding the rest.
3. The Combo: Realizing that some other unfinished monstrosity is similar in theme and combining the two into one much longer, less satisfying, but in some sense “finished” work.

None of these are ideal, but I will admit that #2 has worked pretty well from time to time. The thing is, I hate unfinished projects. I hate the waste, and sometimes in those 25,000 words there are 10,000 I think are pretty good, so I want them out there someday. So I’m often willing to roll up my sleeves, do some meatball surgery, and call what I end up with a success. Which, sometimes, it is.

Now I’m working on a new idea and I’m getting towards that point where the elephant either suddenly and quite surprisingly spread its Dumbo ears and takes flight, or staggers over dead, trapping me beneath its rotting carcass. I’ll keep you posted.