Category Archives: Con Season
A lot of people are going to disagree with me, and that’s fine. But I firmly believe this is the most important secret within the ttRPG industry, as a whole. Obviously there are different secrets for any given company or game, but this is the one that you won’t hear about in reward ceremonies, podcasts, or social media acounts.
You Never Hear About The Most Important People in the Industry.
But, you cry, I know all the streaming actors and GMs! I can quote 31 game writers’ names! I have memorized Shannon Appelcline’s 4-volume “Designer’s & Dragons” history of the industry!
And that’s great. Seriously, thanks for paying attention.
But do you know who was the producer of your favorite show? Which editors were leading the team for that award-winning game line? Who tracked the budget of the company, making sure bills were paid and paychecks cleared? Heck who shipped those books from the warehouse? Who planned and built the Gen Con booth? Who made the arrangements with the printer, managed the schedule, figured out the cost/benefit factors of printing 2,000 vs 3,0000 copies? Who wrangled the new post-Brexit VAT laws, or YouTube children-appropriate content rules?
Who was taking customer service calls, handling people who might get pissed off about a game for reasons entirely unrelated to its content, fun, quality, or creator? Who wrote the community engagement rules, safety policy, and editorial standards?
When a game company goes under, the reason is rarely “The game wasn’t fun,” or “The Lead Designer Left.” No, companies collapse because they didn’t prepare for a change between the value of international currencies, or a book was massively overprinted, or they hired too many people-or not enough people-and the schedule and budget couldn’t be manipulated fast enough to deal with changing market conditions.
Or everyone burned out, and just walked away.
For the industry to be an industry, rather than a haphazard series of vanity hobby options, there are support professionals dealing with the things that all industries need. Sourcing. Shipping. Editing. Marketing. Warehousing. Customer service.
And even within the industry, most people can name 5 designers for every editor they know, and 5 editors for every print buyer, customer service manager, or warehouse director.
And yes, for a lot of companies, people have to wear many hat. But if you know the name of the writer who happens to also handle print runs, but you don’t know they are the person arranging for book printing, that’s still an unknown print buyer.
And most of these kinds of jobs can be done in other industries, for more money and less customer vitriol. So, if you have any opportunity to interact with these crucial people who make the ttRPG industry possible?
Be nice. Say thanks.
Without them, there is no industry.
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There’s a famous quote about insanity — “Insanity is doing the same thing over and over again and expecting different results.”
So, in that regard, I am afraid the tabletop game industry is insane. There are lots and lots of things the industry keeps doing, over and over, and being surprised when it gets the same results.
And, I don’t know that there’s much chance of that ever changing. Because the tabletop industry just isn’t big enough to bring in the kind of analysis and training it takes to properly analyze, iterate, redesign, and take risks about how the whole system is put together.
Here’s just one example — a single data point in a sea of oft-unexamined assumptions.
When my wife was earning her Bachelor’s Degree in Fine Art, she took a class titled “The Business of Art.” In included how to promote yourself, write a resume, respond in an interview, create a portfolio, and so on. While there are more and more college-level classes about game design, they A: tend to focus on digital games (which represent a LOT more money as a market), and B: don’t have tabletop equivalents of “The Business of Games.”
So each new wave of people wanting to do professional ttRPG work have to cobble together best practices and a career path for themselves. Quite reasonably, they look to what was done by people who have the work they want to do and try to replicate, emulate, or adapt those steps. (Adapting is an important part — I came up through a series of magazine articles, from different tabletop-RPG-focused magazines, owned by different game companies. That’s not really an option anymore.)
So the same advice keeps going out, through the same venues… and keeps drawing in the same kinds of creators. Those of us who have ttRPG careers are asked how to get started–on social media, and at conventions, and in fan interviews– and we advise getting on social media, going to conventions, working with small presses and maybe fan projects.
So, the process that we found, and that appeals to us and is friendly to us, is the one we recommend to people (because, to be fair, it works), using the very venues we recommend newcomers depend on to move ahead, is held out as the best path for new talent.
On a larger scale, it’s similar with game companies. Open calls and contests (advertised in the same forums the people running the companies already use), and panels at conventions the company already have a presence at, and waiting for freelancers to drop pitches or ask how to get started at company forums or using company emails.
And, again, that’s reasonable.
But it does mean as long as the majority of elements in the game industry do what we have done, we’re going to get what we have gotten.
So, why is that a problem?
Because diversity is gold.
Because if we want to industry to grow beyond its roots, somehow there has to be an influx of new ideas, new creators, and thus new markets.
Of course some amazing and talented people DO manage to make their way into the industry. Some find the road that we take and use it despite it being harder for them. others forge whole new paths without any help from the existing system. Not only am I not claiming these folks don’t exist, I am specifically saying a bunch of them are BETTER than many of us who took the well-trod path.
But in terms of sheer numbers, creators from marginalized groups remain very much the minority. Which means their input remains a small fraction of the total amount of ttRPG content, and that most game companies don’t have a balance of different experiences and backgrounds among their creators.
A lot of ttRPG game companies are currently looking at the question of whether their products have been, or currently are, vehicles for racism, bigotry, and the reinforcement of negative stereotypes. There are tools that can (and should) be brought in to try to do better, including more outreach to different creators, research of the cultural impact of aspects that inspire new games, and bringing in sensitivity readers.
But as for the origins of the material, the people deciding what book gets publisher, which creators get bigger budgets, who is seem as “qualified” to work on big IPs — if the industry as a whole keeps doing what it ha been doing, it’ll keep getting what it has gotten.
This past weekend was Digital Gen Con, and my friend and colleague Stan! had the idea of us trying to recreate some of the “Bar Con” hanging out that many pros love to do after hours at a convention. So we did… and we saw a lot of people we would have seen in person.
But we also had some folks participate that couldn’t have made it to a physical Gen Con, and many who would find gen Con a terrible experience for any of a number of reasons. I was something different.
It’s far from a solution to the insanity. But it did make me think maybe there are more chances at improvement than I have normally thought.
That’s just one small part of the imperfect nature of the #RealGameIndustry I have seen over the years. But I hope shining a spotlight on it might convince one or two other people in the industry to look at new ways to getting information out. New ways ti tutor and mentor people. New ways to find creators.
New ways to change from insanity.
Speaking of trying new things, for a number of years I have dedicated more and more of my writing time and effort on publicly-available posts on this blog. I can only do that as long as my patrons can support the time it takes. So if you find any of the essays, reveals, ideas, or game material on this blog interesting or useful, please consider chipping in to my Patreon for as little as the cost of one cup of coffee a month.
I have an ear infection, which took me out Thursday and most of Friday. But I also did some AMA things to try to replicate the hanging out experiences of Gen Con for its digital equivalent. A lot of the good questions and answers are buried deep in threads, so I wanted to pull them together for you with simplified versions of the questions as a double-helping of blog post content!
So, just pretend this was all said while hanging out at a bar after-hours of a convention. 🙂
Q: What general advice would you give someone just starting to get into ttRPG game design?
A: Keep creating.
Try new things. Write a new poker game. Do a chess variant. Look for the neat parts of games you dislike.
Listen to and read advice from everyone. Especially people with different backgrounds and life experiences.
Diversity is gold.
Q: Other than writing and creative writing, what skills should I develop to be a better tabletop Roleplaying Game designer?
A: I recommend looking at some game-specific skills. For example, what makes something fun? (And, I absolutely suggest A Theory of Fun for Game Design by Raph Koster). Look at probability and averages and bell curves, with regards to dice. Especially if you use dice-based games.
Then, write some things for yourself. Doing it on a blog or appropriate form can help get some feedback, but the important thing is to write ALL of a few different kinds of game content.
For example, write an entire adventure.
That adventure can be just three encounters, but include the introduction, the instruction to the GM, descriptions of areas and NPC motivations, any monsters, treasure, wrap-up, and so on. For example for Pathfinder 2e: I’d say write a short adventure. Write a spell at each level, and make sure they are divided among the traditions. Write some feats. Write an archetype. Write items at different item levels. The best way to start is to *start*. You’ll learn from there.
If you want to write for a game that has multiple publishers supporting it, reach out to all of them. Find emails. Know what lines of products they publish. Make some pitches. I have some blog articles where I talk about pitches.
Also, follow and read every professional game designer, editor, and publisher you can on social media. Interact with them, politely and positively. Learn from them, both in the knowledge they offer, and how they comport themselves (you can learn from bad examples too).
Don’t just follow and interact with designers that fit one mold either. Learn from everyone. All games systems, all backgrounds, all life experiences. Diversity is golden. I
Q: I am often convinced my ttRPG project has no value. How do I push through and finish it?
A: Sometimes, you just have to push through. I often promise myself I’ll send a thing out to be reviewed and, if the reviewers hate it, never publish it. Self-inflicted negativity is super common among gaming pros. I talk about it at bit in this blog article.
Q: How do your organize your projects?
A: I generally start by working on an outline. Be it a huge book. tiny article, or even a whole game line, an outline of high points and sections is the best way for me to organize my thoughts and keep track of where I am.
I personally just organize my outlines in word, using various headers.
I talk a little about outlines in this blog article, which also links to my related article on headers/
Q: What are the most important elements of game lore and worldbuilding?
Relatability, balanced with originality.
Utility. If a GM or player can’t use it somehow — to describe a region or culture, to inspire adventures, to explain important bakground — then why are you including it?
And a few interesting touchstones of details that are just enough to catch GM and player’s interests.
Q: Is the twenty-sided die the best randomizer for ttRPG rules?
A: There is no ideal. Each randomizer had pros and cons. d20 is simple, easily understood, and has a nice range of results. But 2 is as likely as 20. For some things, bell curves are good. For some, die pools. For some, drawing cards. It depends on what the needs of your game are.
Q: How do I acknowledge the impact previous games have had on my game design?
A: Ignoring the question of specific licenses (such as the OGL) which can complete things– I like forewords, myself. “Many amazing games and designers helped guide me as I worked on Halfling & Haberdasheries. I was particularly inspired by the Kobold Caps “hat trick” mechanics.”
Q: How much should I budget for art in an RPG? How much do artists charge?
A: Most concept artists have rate sheets, so you know in advance what you need to budget for them. Which runs from dozens to hundreds of dollars per piece. Also, talk to them about how they handle sketches and revisions.
Here’s sample rates, for finished art from Jacob Blackmon.
Q: I want to learn to play new RPGs. Other than dropping in on new groups at conventions, what else can I do?
A: When life gets back to normal, you can see if your Local Friendly Gaming Store has new game nights, or a board with people offering to teach games. 🙂
Q: I have a project I want to send to playtesters since I can’t safely playtest in person but… what if the people I send it to steal it?
A: Get signed Non-Disclosure agreements from everyone before sending them the files. And send them to folks you trust. That’s what big companies do. And if you can, get at least one session done digitally so you can watch, it can be super-insightful!
Q: What are good and bad ways for fans to approach you at a convention or event>
A: My favorite way is politely and directly. “Hi, I’m a Big Fan. Would you sign my book for me?”
If I seem to be at liberty, invite me to a meal (Monica is not wrong — I got some quality time with Aaron Allston by offering to buy him lunch), or a drink.
If I am in a group, just stand in it, and if the conversation goes that way, offer to say hi.
My least favorite is barging and demanding. I have had people interrupt whoever I am talking to, or interrupt me, to introduce themselves and gush out a question in the middle of someone else’s answer.
Also, don’t ask me for a lot of time to do you a favor when we first meet. “Hi, will you go over this adventure I printed and have with me and tell me what I need to do to it so you’ll publish it?” is a bad introduction.
Nothing wrong with letting me know you’d like to know if I do such things, but work up to it in stages, and don’t expect it to happen right here and now.
Also if I am on a panel, or heading to another panel, or manning a booth and trying to sell things, don’t plant yourself in front of me and monopolize my tine.
Also, introduce yourself, even if we’ve spoken before. I can be bad at connecting name and face. Let me know the context of why you want to talk to me.”I love your work on Star Wars Saga Edition” tell me you know who I am. “You’re a designer, right? You hire people?” makes me wonder if you are just an opportunist.
Being an opportunist can be fine, to be clear, but even then I recommend using something I just said as a jumping -off point to talk to me, rather than try to jerk the conversation to your topic.
Don’t hug without asking if it’s okay (I am generally fine with it, but I am also a big believer in enthusiastic, ongoing consent).
Also, I personally recommend attaching your name badge with two lanyards, one in each corner, so it is less likely to flip around backwards.
If you found this useful or entertaining, and you’d like to support the creation of more such content, check out my Patreon!
We are at a point where I am asked this enough, and need to refer to it often enough, that having a statement about how the Covid-19 pandemic is impacting both me personally and Rogue Genius Games, the company i am publisher for, seems warranted.
Put simply, while we are not shutting down and still plan to produce all the same content, the schedule is going to be less assured.
Some of this is a matter of expected resources being well below our normal projections. Sales of content are down in numerous venues, in some cases down by 80% or more. Numerous freelancers find themselves unable to spare time to take on projects they once would have happily accepted. Less money coming in and fewer people able to take on the work in any area of my mix of personal and professional ventures impact other areas.
Some is a matter of time requirements. There are new business concerns that require extensive research and paperwork. For example: can Rogue Genius Games benefit from the Payroll Protection Program, and/or Economic Injury Disaster Loan emergency advance? Can any of our staff or freelancers gain relief through Pandemic Unemployment Assistance? Getting answers to these questions is not easy, and often requires going through a lengthy and tiring process.
And some is a matter of personal availability. As a high-risk individual in a household with other high-risk concerns, I have to spend more time and mental effort ensuring that daily activities don’t introduce unacceptable health risks. That has so far eaten at least a little into free time nearly every day.
So, here’s how those challenges are currently impacting my ongoing projects.
RGG Crowdfunding Projects: At least at the moment, we don’t expect any significant delays to any open campaigns. There are potential problems we need to keep an eye on (if our chosen print On Demand printers stopped operations, for example, we’d have to consider how to pivot).
RGG Products: There are a lot of exciting things RGG has been working on, from the Talented Class line of products to more solo adventures. Anything that we haven’t already promised by a given date is going to be at the back of the line for our time and attention. We are still putting things out regularly, but some bigger projects we had hoped to launch are just going to have to wait.
52-in-52: When I put together the schedule for this ambitious subscription, I just didn’t allow for the impact of something like a global pandemic. While it’s ongoing and has produced a ton of content, we’ve already slipped by a week, had to push one project back, and it looks like we may slip by another week.
Rest assured, every subscriber will receive every one of the 52 pdfs promised, each presented in 4 versions for the 4 supported game systems. But it’s possible it’ll take us a bit longer than 52 weeks to get all 52 projects out.
That said we are looking at ways to get caught up, and I’ll update folks here if we have any news on that front. Otherwise, we’ll just keep producing products and sending them out to subscribers regularly.
Patreon/Blog: So far whenever I fall behind on the 5 days/week posts my Patrons are making possible, I add the missing content within a week. That remains the plan.
Grimmerspace: I’m still going to be doing a lot of design work and running a playtest for Grimmerspace. They have made their own statement about how the pandemic is affecting them.
Conventions: Right now, with regret, I am not planning on attending any cons this year.
Other Projects: I still have outstanding freelance to fulfill, and work to do as a developer for Green Ronin. That work is being impacted, obviously, but not in a way that should delay or cancel anything announced by those companies.
For those who want to know how they can help, the easiest way to assist me directly is by backing my Patreon. Even just a few dollars a month of reliable, regular income is a huge boon. Also I depend on companies like Green Ronin to make ends meet, and they are currently being hammered by things like printers shutting down, game store closings, and distributors opting to not pay for products shipped for weeks or months at a time. Buy anything from Green Ronin’s own online store or DriveThruRPG store is a big help for them, and therefore to me.
Thanks for your understanding.
Stay safe out there.
Owen K.C. Stephens
Pandemic changes things. For everyone’s sake, we need to adapt. For our own sakes, we need to stay sane.
At least for the next few weeks, a lot of us aren’t going out and doing the things we normally do. That leaves us with only online options to interact with friends.
RPGs are a great way to spend time with friends. And if you are willing to go theater-of-the-mind, it works great just via chat or video conference.
But, no one may be in the mood to act as GM.
So, a group of 2-4 friends sure CAN run through a pre-generated adventure without a GM, or a map. Just treat it as a board game, deal with one encounter at a time, roll targets of attacks randomly, and don’t get too hung up on things like tactics or worrying about player knowledge. One Facilitator reads each encounter as you run into it (and maybe that role rotates), and players agree to deal with things cooperatively.
You can even use these ideas to run yourself through adventures on your own, a kind of Gaming Solitaire.
But… it might be nice to have some guidelines for things like skill checks interacting with encounters, when you don’t have a GM to make rulings. So:
GM-less 5e Skill Rules
This is just the beginning of a potential ruleset for playing through a published 5e module with friends, likely online and without a virtual tabletop, and without a GM. This is a first set of thoughts—the beginning of this idea, rather than the end.
Group Skill Decisions
When you want to try something the text doesn’t give you guidance on, the group needs to decide on a DC for the effort. The player proposing the action suggests an ability and related skill, and describes how the action would work. The group then sees if they can agree that the thing being proposed would be Very Easy to accomplish, Easy, Medium, Hard, Very Hard, or Nearly Impossible. The default DC of anything the group can’t decide on is 20 (Hard).
Ability Checks Table: Typical Difficulty Classes
Task Difficulty (DC)
Very Easy (5)
Very Hard (25)
Nearly Impossible (30)
Each ability score lists the skills associated with it, along with typical results for success and failure of skill checks that aren’t specifically outlines in the adventure. Have fun with these checks. Describe the attempts, discuss how the story plays out. It’s a different kind of roleplaying, but no less fun or effective for being more cooperative.
For example, the adventure says there is a locked door. Kyla suggests her barbarian should be able to shoulder the door open with a Strength (Athletics) check. The group agrees that’s possible, but given it’s a sturdy, well-maintained door, it’ll be Hard. Kyla attempts a DC 20 Strength (Athletics) check. If she succeeded, she could bypass the obstacle (forcing the door open). As it happens she fails. The typical failure for Strength Athletics) is to take Damage equal to DC -20 -2d6. That’s a base of 10 (DC 20 -10) hp of damage. Kyla rolls 2d6, and gets a 7, which she also subtracts. She ends up taking 3 (10 -7) points of damage, and the door is not open.
(Athletics) – Success: Overcome one obstacle. Cause one monster to be unable to act for 1d4 rounds. Failure: Take damage equal to task DC -10 -2d6 (minimum 0).
(Acrobatics) – Success: Overcome one obstacle. Cause one monster to be unable to affect you for 1d3 rounds. Failure: Take damage equal to task DC -10 -3d6 (minimum 0).
(Sleight of Hand) – Success: Take one item of fist-size or less from the encounter. Cause one monster to be unable to use an item for 1 round. Failure: Disadvantage on defensive rolls for 1 round.
(Stealth) – Success: Escape an encounter. Examine an encounter without triggering it. Failure: Trigger an encounter, lose turn failing to escape the encounter.
Endure a hazard or circumstance for 1d4 rounds without taking additional damage or penalties.
(Arcana) – Learn the details of one magic creature, effect, trap, curse, or similar item. Failure: False information causes you to be at disadvantage for your next check against the magic examined.
(History) – Learn the details of one ruin or established settlement, or item pertaining to it. Failure: False information causes you to be at disadvantage for your next check against the place or related item examined.
(Investigation) – Learn the details of one location you can examine unhindered. Failure: False information causes you to be at disadvantage for your next check against the location or a related item examined.
(Nature) – Learn the details of one natural creature, effect, hazard, location, terrain, or similar item. Failure: False information causes you to be at disadvantage for your next check against the natural creature or phenomenon examined.
(Religion) – Learn the details of one religion or a related creature, effect, trap, curse, or similar item. This specifically includes angels, demons, devils, and undead. Failure: False information causes you to be at disadvantage for your next check against the religious subject examined.
(Animal Handling) – Success: Overcome one animal-based encounter that has not yet become a combat without it becoming one. Cause one animal to be unable to affect you for 1d3 rounds. Instruct a friendly animal to take a specific action. Failure: Bad interaction causes you to be at disadvantage with your next check with the relevant animal.
(Insight) – Success: Learn the true intentions of one intelligence creature. If the creature intends to attack you, you may take an action to begin the combat before the creature does. Failure: Bad conclusion causes you to be at disadvantage with your next check with the relevant creature.
(Medicine) – Success: Learn the nature of one disease or poison. Stabilize a dying creature. Prevent a disease, bleed, or poison from affecting its victim for 1 round. Failure: target takes 1 hp.
(Perception) – Success: Learn all elements of an encounter. Failure: No penalty.
(Survival) – Success: Live off the land without using up supplies for 1 day. Avoid one natural hazard. Locate a natural encounter and observe it without setting it off. Failure: One random party member takes 1 hp.
(Deception) – Success: Overcome one non-combat encounter with intelligent creatures. Gain advantage on your next check with one creature in a combat encounter. Failure: You are at disadvantage on your next check with the creature you attempted to deceive.
(Intimidation) – Success: Overcome one non-combat encounter with intelligent creatures. Gain advantage on your next check with one creature in a combat encounter. Failure: Creature attacks you.
(Performance) – Success: Gain advantage for the next check a party member makes in a non-combat encounter with intelligent creatures. Failure: Suffer disadvantage for the next check a party member makes in a non-combat encounter with intelligent creatures.
(Persuasion) – Success: Overcome one non-combat encounter with nonhostile intelligent creatures. Failure: No penalty.
I now depend on my Patreon for more of my income and support than I ever expected to. If you find any value in my blog posts or videos, I could use help with the Patreon. If you can spare a few bucks a month, it’s a huge help. If not, even just sharing and linking to my blogs, videos, and the Patreon itself is a huge help that just takes a moment of your time.
This is less Writing Basics than it is Freelancing Basics, but I suspect it’s going to have the same audience, so I don’t want to make a whole new tag. 🙂
I’ve spoken and written many times about how useful it is when building a game industry career to go meet other professionals in person. You can do this at conventions, game days, trade shows, and sometimes smaller open-invitation get-togethers. And I stand by all of that.
But, let’s face it, for a lot of people going to meet professionals who live in Seattle (or anywhere really) isn’t a viable option. If you don’t live right near an event they are attending, or very close to their home base, it’s expensive to get to any such opportunity. Even if you do live nearby, you may not be able to take time off work as needed. Or you may be a person with disabilities, or have family you have to take care of, or face crippling anxiety in crowds.
My first Gen Con nearly drove me out of the industry, I was so overwhelmed by the massive crowds. The first Gen Con I attended as a Paizo employee nearly killed me because I’m just not up to doing as much walking as it called for. I’ve worked very hard on overcoming those issues of mine, and many others, but that’s not an option for everyone.
What is available to everyone reading this on my blog is – online schmoozing.
No, it’s not as effective as meeting people in-person. But it’s also much less restrictive on when and with who you can try it. And human psyches being what they are, it can still be extremely effective, especially over the long run. Familiarity, gratitude, and humor can help build relationships.
So, some basics.
Follow Them. Like and Share Their Stuff
The beginning step is just to find places where these professionals are being visible in a professional capacity, and engaging with them there in basic and helpful ways. Do they have a professional Facebook page (and that likely includes anyplace they advertise their work)? Follow them, interact with and SHARE their posts. If you thought a post was neat, reply saying you thought it was neat. Retweet their Twitter announcements. Subscribe to their Twitch shows. This will begin to be noticed, over time, in a positive light.
Don’t Take Rejection Personally
Seriously, a declined friend request with no explanation is not an insult. Just take these things in stride, and look for more professional, less intimidate places to follow that game creative. Many creatives keep separate presences for their role as authors or artists an their personal social media, so try to find their professional account. (I don’t do this, but I’m a weird exception in that regard.)
And if they block you? Take the hint, and walk away. Full stop.
Remember They Don’t Owe You Anything
Online schmoozing is not transactional. Watching 400 hours of a Twitch stream does not obligate that broadcaster to do you favors, boost your stuff, or even talk to you. Over time you can see who does seem interested in talking to you, or even helping you, but accept that is their choice and you cannot and should not push for or expect anything.
In general, I think it’s most effective for you to use your real name and face as your tag and icon when you want to benefit from online schmoozing. But that’s obviously secondary to you being happy, and you being safe. If there are reasons not to use your real name or face, see if you can at least use recognizable names and icons over multiple platforms. I can’t begin to guess how many people I recognize on Facebook, and on Twitter, and on paizo.com, without having any idea they are all the same person. If someone wants to benefit from my getting to know them virtually, there’s a much bigger impact if I know those interactions are all with one person.
It’s the internet. Some creators are creeps. Some are secretly vile. Don’t do anything that feels scummy, invasive, or not in the nature of the professional contact level you are trying to build. Keeping communication in public spaces can help with this.
Respect Their Space
Different online spaces call for different kinds of interaction. For example, if a professional is streaming to promote their new book and have a live chat, and opens a question-and-answer period, that’s a bad time to ask their advice for how to break into the industry. They are there to promote something, so a much better interaction is to ask them about that project, or something closely related. If, after a few questions, there don’t seem to be more folks wanting to talk on that subject you can inquire about asking a less-related question. But if the answer is no, don’t push it.
Similarly, if you get invited to a social online space that includes professional, don’t pester them about professional issues without some sign it’s appropriate and welcome. I’ve heard stories about game company owners having people pitch them freelance projects during online gameplay with MMORPG guilds. That’s the wrong time and place.
Here I’m specifically talking about your interactions with professionals you WANT to get to know better. And, remember to think about how what you write could be taken in harsh text form, with no smile or human inflection or context to soften it. There are people I have known for decades who can reference old in-jokes with me online that make me smile, but that from the outside must look like some harsh insults. Someone who thought that was just how I interacted with folks online and tried to emulate similar language might well tick me off, and I’d have no idea they through they were joining in on the fun.
Don’t Spend Too Much Time On It
The idea here is to become part of an easily-accessed online community that includes professionals you hope to learn from, and someday be recognized by. It’s not to have a part-time job clicking likes and boosting tweets.
If your online schmoozing prevents you from doing anything fun or important? You’re doing it too much.
Shamelessly Linking This To My Patreon
Giving someone money actually isn’t generally the best way to build an online relationship… but being a patron of mine DOES help me have time to write advice posts like this one!
I have heard recently from three different friends who all said three different other friends are “sure” I hate it in Indiana, here in the Land of the Brain Eaters.
I’m actually settling in really well. Yes, I am sometimes lost, depressed, disconnected, moody, or in a black doldrum so dense nothing, not even cheer, can escape.
But… that’s just me, folks. I have civilian PTSD. I suffer clinical depression. I am a socially awkward introvert. None of that was going to stop because I moved to the last place in the US where you can buy a fried brain sandwich any day of the week.
I mean… maybe once I eat my first brain. I’m saving that for a special occasion.
But honestly, I am doing better than I expected, by a long shot. I have only ever lived in central Oklahoma and the Seattle region (well, and one semester in California when I was in kindergarten). Ever time I have moved, even just to a new neighborhood in the same town, it has taken me months to get comfortable. Sometimes years.
Here? I’m already pretty comfortable.
Some of that may be how I moved–for me the most grueling part was packing things up during the 5 weeks I was still in Redmond after Lj had flown out to Evansville. But that meant our possessions, including my bed, were already in place when i arrived. There was a space for me before I got here. Yes, about half of what I own is still in boxes, and we’re still figuring out which kitchen drawer has the spatulas, and the movers lost some of our furniture and ruined more–but none of that is part of Evansville. It sucks, but it’s just life.
Gen Con was shortly after my arrival, and while driving to and from the Con in a few hours was a new experience, the Con itself is familiar. The Con Crud I got was new — just a little sore throat and a tad too much mucus, combined with a fatigue that kicked my ass for three weeks. So some of the vibes people seem to have picked up may have been annoyance with how little energy I had.
The culture here is one I understand. It’s not the same as OK or WA, but it’s similar to both of them in a way. No one looks at me funny when i say ‘yes, sir” or “thank you, ma’am,” most food is fried *or* bar-b-que *or* Asian fusion, there are multiple multiplexes, lots of delivery services, and a dizzying array of test kitchen restaurants.
Roads are largely laid out on a grid with 90-degree turns and packing lots shared between businesses. Things are flat, though not Oklahoma flat. There’s real thunder, so far on a nearly-weekly basis. The sun comes up and goes down at reasonable times.
I miss my Seattle friends… but I still chat with them online. I miss my OK friends… but I just saw them last month. I enjoy being closer to friends who live in IN and adjoining states, and I expect I’ll make new friends. And if I don’t, that’s okay too.
And WOW are things cheaper than Seattle. Like, stunningly cheaper. That takes a LOT of stress off.
My wife Lj and I have begun figuring out what life here is going to be like. We took our first ever yoga class–a chair-based one, for beginners–and I think that’s going to be a huge part of the future. It’s less than 15 minutes from our apartment, we clicked with the class and instructor immediately, and it had an immediate positive effect on us. I have come to think of it as physical therapy for being human. As I claim back strength and flexibility lost to years of stress and sitting, I’ll be looking at next steps, but this first step feels very *right*, and useful, and sustainable.
I’m already in a Pathfinder game, so that’s good. 🙂 I have also already begun to carve out the new shape of my career. I’m the Game Design Expert at Lone Wolf Development, I have a real plan to produce some fiction in a way I never have before, and I have more things as settled deals which just aren’t ready for announcement yet.
There will be dark times ahead, of course. That’s a fact of my life — I am at war with my own brain, and I take that war with me anywhere I go. But I don’t think those battles will be harder here than they were elsewhere. Yes, my support network is more virtual and less direct now, but then my sources of stress are also reduced. Yes, there are some big financial challenges we put off until after the move, but we are in a good place to tackle those. A lot of the things I thought would happen now look like they aren’t going to, but I knew not all of them would–just not WHICH ones wouldn’t. And, at least at the moment, I am sanguine with my prospects.
And for a while at least, there’s a whole city to explore. Will we go to the giant bridge club building? Visit one (or more) of the many minigolf courses? Pick a “favorite” restaurant, or game store? Go back to taking the occasional evening drive in air that cool but not cold?
Find the elusive Red Cathedral? Or Storm Arsenal? Fight the Brain eaters… or join them?
I don’t know.
But I look forward to finding out.
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Just coming off Gen Con, which gave me an opportunity to talk shop and history with many of the titans of tabletop, I want to offer some insight on what it’s like to be a manager, owner, or major executive employee at a tabletop game company.
I’ve worked on staff at Wizards of the Coast, Green Ronin, and Paizo. I’ve freelanced for a dozen other companies, and know many of their owners and executives very well. I’ve helped start, run, and shut down game companies. I’ve been doing this in different roles for more than 20 years.
This insight isn’t about one company. Nor is it about my own time constraints (in general my role is game creation and NOT these kinds of tasks)
This is about the tabletop RPG industry as a whole, as it has been for decades, in many different capacities, for many different companies.
First–you never have free time, or enough time. There is always an event coming up. Sometimes people have to walk away from one almost-week-long event that took 2 months to plan for to get on a plane to fly overseas for another such even. Sometimes people work 5-6 weekends in a row at events, conventions, sales meetings, open houses, and so on. Sometimes you have to work 30 8-10 hour days in a row.
And the people who do that work also have things that have to be done every weekday, every week, every month. It’s 40 hours of work if you are lucky, AND weekends of work (especially during March-August, the half the year we refer to as con “Season”), AND THEN emergencies that are time-sensitive and cannot wait.
And it’s a rough industry. Most of the game companies I bought things from 20 years ago don’t exist anymore. A lot of the ones I bought from 10 years ago don’t exist anymore. Even those that are still around sometimes suffer layoffs, or long periods where things are so risky that a single bad decision about which license to sign, which partner to anger, which friend-of-a-friend you annoy, which print run to cut back, which book to publish, can sink a company.
It’s high-stakes, high-stress, high-time-consumption, all the time.
I absolutely am not telling anyone they are not allowed to ever feel like a company isn’t giving them enough attention. But when there are serious problems, it’s wrong to think the company owners or senior staff are showing disrespect or proving they “don’t care about customers” because they “won’t just take 10 minutes and discuss some information.”
The people who make the decisions who keep the doors open at a tabletop game company can’t do anything regarding major problems off-the-cuff.
It’s never “just 10 minutes.”
And, again, I’m not currently dealing with any of these huge issues in my role at any company right now.
But I have in the past.
I know when I have had issues with licenses with other companies, when I was in other positions, I have had to not just decide “What do I want to say,” but:
“Do I need to warn my partners, who are also partners of a company i am having issues with, before I make a statement about that company’s issues??”
“Do I need to run this by my company’s owner?”
“Do I need to run it through our legal council?”
“Do we need to have a meeting to make sure everyone is on the same page about what has happened, and what our plans are?”
“Do I need to have editors go over my statement so it is clear and concise?”
“Would I rather take the 2-3 hours of collective time it is going to take to do this, or to sleep at least 6 hours tonight?”
And when the people who run these companies are too harried to make the right business decisions? People lose their jobs.
It’s not just a game, or a badly produced entertainment product for the people who depend on these jobs for health insurance, retirement income, and rent.
The thing you claim will be easy to give you?
Done right, it’s never just 10 minutes.
Done wrong, it can tank someone’s job.
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I am pleased to announce I am now the Game Design Expert at Lone Wolf Development. (Sometimes, nothing beats a face-to-face meeting at #GenCon.)
While I expect to still be doing many other things as well, including freelance and running RGG, this position is now a major part of my career.
More news when it’s fit to print. 🙂
Okay I’m at Gen Con, but I can’t help but want to play with some of the most interesting new rules of the Pathfinder Second Edition Core Rulebook. Shields!
Here are some new shield-focused feats. I am still trying to decide how I want to present some of the new information PF2 feats need in my blog format, so here’s a first try.
Angle Shield[General][Feat 1]
Prerequisites Shield Block
You can angle your shield to deflect part of the force of a powerful blow. When you use the Shield Block feat, your shield takes 5 points less damage than normal (minimum 0).
Duck Down[General][Feat 3]
Trigger: When you have your shield raised and are forced to make a saving throw.
You can duck down behind your shield, making it more difficult for spells and special abilities to target and effect you. You gain a +1 bonus to the triggering saving throw. You are no longer considered to have your shield raised.
Knock Aside [General][Feat 1]
When you are wielding a shield, you gain a +2 bonus to the Disarm, Force Open, Shove, and Trip actions of Athletics.
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