I support the Writers Guild of America, though I’m not fortunate enough to be a member. Packaging agents are in it to make money for themselves and therefore aren’t negotiating in the best interests of their writer clients. And now certain high-powered agencies like William Morris Endeavor and Creative Artists Agency are forming their own production companies, which shows they are not working to get the best deal for their writer clients but for the production company that they themselves work for and represent. How can an agent fairly represent both a writer and a production company that’s hiring the writer? There’s no way this kind of relationship can result in the best deal for a writer.
Writing is like getting up on a cross and having the nails slowly driven into your wrists so you can watch the blood flow. Oh the joy.
I’m working on a collection of horror stories, which, by the way, for what it’s worth (exactly nothing), were rejected by magazines such as Fantasy and Science Fiction, Clarkesworld, and Black Static. Nevertheless, these stories will see the light of day, even if I have to publish them myself. Sic semper tyrannis.
Character development: usually an excuse for being boring.
Denouement: a French term indicating that not a damn thing is going to happen in this story.
Plot: when a writer falls victim to excessive scheming.
Deus ex machina: the writer has painted himself into a corner.
I write the types of books I want to read.
Am I becoming a better writer or just more commercial? Nothing in my book sales indicates I’m becoming more commercial.