science fiction author, beatmaker, against fascism

Category: Creative Work/Career Page 12 of 24

First Published Story! (“The Beef”)

The auroch-like Heck cattle breed.

The auroch-like Heck cattle breed.

Popped a champagne cork tonight after seeing that my short story “The Beef” had gone live on Strange Horizons. It was accepted a couple months ago but I didn’t want to announce anything until I could actually give people a way to read it. Strange Horizons produced a podcast as well, and I really enjoyed Anaea Lay’s reading (and short interpretation afterwards).

The story touches on a few topics I’ve written about before on this blog, such as scenarios around human depopulation, and the moral and power dynamics of conscious-aware animals eating other conscious-aware animals. But the main theme is the migration impulse, or lack thereof (human and animal).

Heinlein’s Rules for Writing

  1. You must write.
  2. You must finish what you write.
  3. You must refrain from rewriting, except to editorial order.
  4. You must put the work on the market.
  5. You must keep the work on the market until it is sold.

I currently have nine stories out for submission. I’ve been using Heinlein’s Rules, more or less, except that whenever a story is rejected, I reread it and change anything that jumps out as needing changing (and I don’t send anything out in the first place until after at least two revisions, sometimes many more). Strange Horizons read a better story than the first two magazines that rejected The Beef. I always try to send out a finished, polished story in the first place, but if I reread it and notice something can be improved, I’ll try to improve it. Technically this is a violation of Heinlein’s Rule#3, but according to this io9 article, even Heinlein sometimes revised his work.

I like to think that Heinlein simply meant that you shouldn’t obsessively rewrite and revise when your story isn’t broken in the first place. But maybe he meant it literally — just send out the first draft. Big difference: when Heinlein was submitting short stories, it was a seller’s market. Editors might look for a gem in the rough. Editors today expect to read a polished story, and if that’s not what you send them they have a 1000 more in the slush pile to try.

I hope you read and enjoy The BeefPlease leave a comment at strangehorizons.com if you have some thoughts. And thank you for the many words of encouragement I’ve received from readers, in terms of taking up a new artistic endeavor and keeping at it.

What Does It Take To Create? (Four Aspects of Getting It Done)

Space-man/guitarist Chris Hatfield, photo courtesy of NASA

Space-man/guitarist Chris Hatfield in his orbital creative process, courtesy of NASA

I’ve been thinking about the day-in, day-out process of creating stuff and trying to make it good. Not just a piece of work in particular, but the lifestyle of creating. What’s required?

How I Broke Into the Music Business and Made $100K

Jackie at the old Loöq Records office on Brannan.

Jackie at the old Loöq Records office on Brannan.

As I’m trying to launch a new career (fiction writing), I’m also taking stock of an old one (producing electronic music). I signed my first track in 1992, at the age of 23, to Mega-Tech records (an offshoot of the famous San Francisco disco label Megatone). I released my latest record, a reggae/breaks hybrid track, a week ago.

Breaking in wasn’t easy. I remember vividly sending out cassette tape demos in padded mailers to record labels in New York City and Los Angeles, following up via phone, and getting shot down by arrogant label runners (I’ve made a point to never be mean, running my own record label, even though our signing bar is very high).

What Makes a Good Coach?

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Photo by Carl R. Jr.

I became interested in the topic of coaching after reading this excellent article in the New Yorker by Atul Gawande, published in 2011. Gawande, a skilled and well-respected surgeon, noticed that he had more or less stopped improving at surgery. Instead of coasting, he chose the path of self-improvement and hired a coach (a retired surgeon and mentor). Though his decision raised some eyebrows in the O.R. (it’s unusual for a practicing surgeon to use a coach), Gawande found numerous areas for small, incremental improvements (how he positioned his elbows, how his lights were placed). This was true even for operations he had successfully performed hundreds of times.

Since then I’ve offered pro-bono coaching services in various areas to a few friends. I was curious … would I enjoy it? Would I be good at it? I did enjoy it, and I think in each case my coaching services were helpful (though not enormously helpful).

Recently I met with a professional business coach, Ellen Ercolini, to learn more about coaching, both as a craft and as a profession. Ellen specializes in helping entrepreneurs and lifestyle businesses* make more money. Unexpectedly, the second half of our meeting turned into an impromptu coaching session for me (my career goals, strategy, how I present myself online, etc.). A short session with a highly-skilled professional coach made me realize just how powerful an insightful coach can be. I left the meeting inspired, and within 48 hours took action on several major projects I’d been putting off (including transitioning this blog from wordpress.com to a self-hosted wordpress.org plugin).

Meeting with Ellen also helped me understand just how deep coaching can go. Not only does Ellen have detailed comprehensive systems in place (both for her own coaching process, and for her clients to implement within their own businesses), but she has a method for categorizing the personality types of her clients, and a corresponding set of motivational/behavioral modification techniques for each type.

Reflecting on what I’ve learned about coaching to date, here’s my current list of what it takes to a be a good coach in a particular area:

  1. A deep understanding of the technical aspects of the craft/sport/business/activity, usually acquired through many years of experience.
  2. A well-tested, constantly-refined teaching system or program (exercises and lessons that result in incremental skill improvement).
  3. The desire and ability to observe closely and provide helpful feedback.
  4. The desire and ability to understand different personality types and what methods and communication style motivates each type.

My “A-ha!” moment was realizing that I personally lack the desire to try and understand what approaches best motivate different types of people. I’m interested in motivation in the abstract (especially for my fictional characters), but the nitty-gritty of applying various psychological techniques to motivate other people just isn’t my thing. It doesn’t fascinate me. It does fascinate people like Ellen Ercolini (for her, I think, clients are like puzzles waiting to be solved), and that’s a big part of what makes her an effective coach.

Hiring a Coach

I’m definitely open to the idea of hiring a writing coach, but first I want to experience what it’s like to work with a professional editor. Editing and coaching have some overlapping areas (another thing that Gawande discusses in the New Yorker article), and a good editor may function something like a coach. I’ll report back once I have more to share.

Would I hire a coach in another area? If I get more serious about racquetball, I would consider it, but at the moment I’m learning in leaps and bounds from watching youtube videos and getting tips from more experienced players. Same with chess. But if/when I hit a plateau, hiring a coach will be my first move if I wanted to break through to the next skill level.

Have you hired a personal coach? For what? Was it helpful? I would really like to know.

*  What does lifestyle business mean? It’s a controversial term, sometimes used derogatorily to refer to businesses that aren’t startups (businesses that aren’t trying to massively scale and maximize revenue at any cost). I use the term with a positive connotation — a profitable business that doesn’t entirely take over your life. As 37 Signals co-founder David Heinemeier Hansson points out, the direct correlation between hours worked and income is an antiquated notion. In the modern economy you can work very little and makes gobs of money, or vice versa. There is no virtue (or even necessarily profit) in overwork. I consider my own freelance database consulting to be a lifestyle business; I work <20 hours a week and have time to write fiction, write this blog, spend as much time as I want in the music studio, spend time with my family and friends, and play tabletop RPG games. I’ve been asked why I haven’t jumped into the startup game (I have technical skills, I know people in the startup world, I live in the Bay Area). Because I like my life, and I don’t need more money.

Switching to Self-Publishing Was Probably a Mistake

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Writers: This post is about music self-publishing, but also I get into the implications for writing self-publishing towards the end of the article.

I recently put together my Discography page, which gave me an opportunity to reflect on my music career to date. I’ve released original music on almost every kind of label, including a major (SONY/BMG), a barely-organized collective (Trip ‘n Spin Recordings), small imprints (SOG, NuRepublic, Kubist, Spundae, Dorigen, POD, Mechanism), my own label (Loöq Records), “big independents” in dance music culture (Global Underground, Armada, Bedrock, Renaissance), and distribution/A&R deals (3 Beat, Silent Records).

My most active period of writing and releasing music was in my late twenties/early thirties. Creating dance music (house, techno, breaks) was my singular, obsessive focus. That period was also the heyday of Qoöl, the weekly event I threw with DJ Spesh at 111 Minna for over a decade (hugely popular, with a packed dance floor and lines around the block), so I also had a deep sense of musical community, and also a great testing audience for new tracks.

At some point, around 2005, we (myself and my primary music collaborators, Spesh and Mark Musselman, the other halves of Jondi & Spesh, and Momu, respectively) stopped sending out demos to other labels, and started releasing music almost exclusively on Loöq Records. This wasn’t a conscious strategic career decision — it was just easier. I was co-running a respected, profitable label, so why not release my music on it? Benefits of self-publishing (or at least “own label” publishing) include:

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