Category Archives: Musings
One of the things I have given as advice to people who want to break into rpg writing or increase the amount of rpg writing work they receive, is to make pitches to smaller companies. The logic here is that while Paizo and Fantasy Flight and Wizards of the Coast pretty well all know exactly what books they are doing for the next 12-18 months, and likely already have some sense of their schedule over the next 5 years or so, smaller RPG companies are more likely to be flexible and interested in projects freelancers are excited to write. You probably can’t get WotC to publish your idea for an adventure or a book on halfling baking magic, but Rogue Genius Games, Rite Publishing, and other small-to-mid-range companies are more likely to be interested.
If you do it right. And I never really talk about what that looks like. So, here’s a new Writing Basics to cover making rpg-related pitches. A lot of this is going to carry over to other publishing mediums and freelance work… and a lot won’t. As usual this is where I have the most experience, so this is where I am focusing my advice.
Way Before You Pitch
But before you do more than jot down some ideas you want to pitch, you have some pre-work to do. A lot of this is boring, and requires you to put in a lot of effort and thought before you get to any of the fun stuff of making things up for a game. That’s one of the big secrets of freelance work. It’s three jobs—successfully get the assignment, do the assignment, and then get paid for the assignment. The willingness to do this “boring part” is a huge part of how to get good without depending on getting lucky.
So, you want to pitch some companies, So, first, you need to pick some targets. Study your targets. I don’t want to make this sound creepier than it has to, but that really is the best way to say this.
You need to know who to pitch to, and you need to know what to pitch to them. One good way to find companies who are doing current work in the game system you want to write for is to go to DriveThruRPG, search for the game system, and click its home page. On the left is a list of game companies that have had good recent sales on products for that game line. Those are prime targets, because they are making money on that game and are doing do recently.
That’s not the only method of course—see who is active, who freelancers are talking about, who releases lots of products. Ask around.
Once you know who you want to pitch, you want to make it as easy as possible for the people you pitch to say yes, and that requires knowing somethings about them. Check their web sites. Look to see if they have submission guidelines. Look to see if they have a “Contact Us” link somewhere. Look to see if the owners or employees or recurring freelancers have social media you can follow and, if they do, read everything you can.
You can’t be a writer if you aren’t a reader. You want to know as much as you can about every company you are going to send pitches to. If they are looking for something specific, if they work in particular game lines, you want to know. Do they use a lot of authors for each product? What size product do they publish? What kinds of products do they publish? Adventures? Monster books? New rules content? Campaign settings? Entire game expansions? Whole games?
Before you ever approach a game company asking if they want to give you work, you want to have a solid idea what kinds of things they publish. That’s a big part of “making it easy to say yes.” Sure, if you have a brilliant idea that’s radically different from what a company normally does they may opt to take a risk on you… but that’s a bigger ask than suggesting you be the person to fill a slot they are already likely to want somebody to fill.
Also, BUY some of the company’s products. Yes, this means spending money before you make money. But not every game company has a style guide, and even the ones who do don’t include all the things they do out of institutional momentum. How a company arranges headers, whether it uses first-person, second-person, or third-person language, how it handles pronouns, how much art it uses, how many maps it presents, how serious or jokey their products are—those things can vary wildly (and can vary by line, or even by product). Knowing at least some of how a company actually presents game material is a huge help both when deciding what to pitch them, and in producing a manuscript they like enough to want to work with you again.
If you can, categorize the types of products produced by numerous game companies and their various lines. This can be helpful when you are first pitching, but it can also be helpful later on. For example, if you know what companies product short monster books for pathfinder tied to a single theme, then if you pitch a book like that to one of them and get turned down, you can quickly decide who to pitch it to next.
Finally, if you have any contacts within the industry, you may want to ask about their experiences working for each of the companies you have picked. Knowing if they are friendly, timely, how they pay (profit-share? Per word? Upon completion or upon publication?), what rights they take (work for hire or share of rights?) can help you know what to expect. You can always try to negotiate these things if they don’t match your needs (and should walk away from an offer rather than take one not worth your time or that takes advantage of you), but that’s another issue that may make it harder for a company to say yes to you.
We’ll continue this advice with Part Two: What to Pitch and When to Pitch It.
If you found this useful or entertaining, and you’d like to support the creation of more such content, check out my Patreon!
When people ask how to break into, or expand their visibility within, the RPG industry I often mention working for small pdf publishers as an option, or becoming one to self-publish your work. But, how realistic is that latter choice?
I have been deeply involved in small, mostly pdf, mostly third-party RPG game publishing for a decade. Despite looking a lot like the same kind of work as mid-sized companies (to be be fare, many of the same skills and challenged DO apply), being a basically one-man RPG shop is possible, and the barrier to entry can be quite low.
But… how low? How much should you spend on your first RPG release? How little CAN you spend?
Well, let’s look at some actual numbers.
Let’s say I want to release a 10-page RPG supplement for a licensed game, but that some OGL game or something with a separate license. How cheap can I make that?
Well, at a guess, that’ll be 7,500 words of writing. Let’s assume I do all the writing myself.
Then I want it to be edited. I can, possibly, get a friend or family member to edit it for free, but let’s assume I don’t do that. You can find editors for 1 cent/word. That’s my first real expense, and it’s $75.
Then I need a cover, and some interior illustrations. And they have to be things I have the rights to. Stock art is clearly the way to go with this, if we are trying to keep things cheap. I want one big piece for the cover, and five 1/4-page or character illos pieces to have one every 2 pages for the interior. That’s six total pieces of art. There’s a wide, wide range of stock art available, including a lot from Rogue Genius Games. I’ll likely spend more on the cover art than the interiors (although you could also go the brilliant route Raging Swam Press did, and create a style that uses no art on its covers. That’s a savings now AND in the future.) Let’s say you average $5 per illo for stock art, so that’s $30.
You need someone to do graphic design, and layout. Ideally you’d pay a graphic designer to design the look for your line and create templates, which your layout artist would then use to put all your text and illustrations in place to make a final book. But you’re trying to go cheap. So you find someone to do a basic graphic design and layout in one go, and pay $2/page. That’s another $20.
It’s smart to get a lawyer to go over licenses with you, get yourself an LLC and a company bank account, and lots of other steps… but you don’t HAVE to.
It’s also smart to pay people what they are worth, and you often get what you pay for. I’m not claiming the prices I list here are standard, or reasonable. I’m just saying you can find professional people to do the listed work for the listed price.
Okay, so you are now out $125. You don’t want to pay for print runs or advertising, so you put up a pdf on DriveThruRPG, and the Open Gaming Store, and maybe Paizo, and maybe Warehouse23. What makes sense depends on the product. Those all have different terms, but let’s assume you’re going to get 65% of cover price, on average.
How many copies will you sell? Who knows. Let’s assume you’ll do 50 copies in the first 90 days. So you need to make $125 over 50 copies, or $2.50 per sale to break even. Since you only get 65% of each sale (the rest going to your online distributor), you set the sale price at $3.95 for the pdf.
If you sell your 50 copies, you’ll bring in $128.37… a $3.37 profit!
Of course, taxes will take some of that.
And if you had paid even 3 cents/word for the writing, you’d have another $225 in costs, which would require you to sell nearly another 100 copies to break even.
And if that writing is going to earn as much as $15/hour at 3 cents/word, the 7,500 words need to take no more than 15 hours–a writing rate (including outlines, formatting, brainstorming, approvals, revisions, and so forth) of at least 500 words an hour.
But if you at LEAST break even, you can learn and improve, and make more sales (and produce the material faster) on your NEXT pdf…
If you found this useful or entertaining, and you’d like to support the creation of more such content, check out my Patreon!
I have seen a lot of interesting power-share cosmologies for magic. I enjoy exploring how magic might work, and find settings that have a codified, interesting schema of how magic works/is utilized often get my imagination going the most.
So, here’s one I don’t recall ever seeing before (though that certainly doesn’t mean it doesn’t exist).
Everyone has a maximum amount of magic capacity. Let’s say it’s on a scale from 1-100.
That power determines the strength of any spell you cast. It can never improve. If you are born a 32, you are a 32 forever.
That power is divided equally among all the spells you know.
So if you are a 32 and you know one spell? You cast it at power level 32. But if you know two spells? No matter what you do, once you know two spells, you cast them both at power level 16.
And never more or less than that.
Spells are fairly narrow. A ball of fire spell is not the same as a small spark from your thumb. If you know a ball of fire, you can’t dial it back to less than your maximum.
Some people have such weak magic capacity they can’t learn more than 1-2 spells, or the results will be so weak as to be useless.
Other people have such a powerful magic capacity that only knowing one spell is dangerous.
Of course, some governments probably want a few capacity-100 spellcasters that know just one army-crushing offensive spells.
Other spellcasters prefer having a wide range of minor powers, because while each spell is less powerful, they are more likely to have a useful spell for any given situation.
If you found this useful or entertaining, and you’d like to support the creation of more such content, check out my Patreon!
In this installment of Writing Basics I’ll take a brief look at two related subjects that freelance writers often don’t need to worry too much about, but that are extremely important to the RPG industry overall—paginations and wordcounts.
These are good examples of the kinds of topics I never got much training about in school, and had to pick up as I went through my career. While early on I didn’t ever need to work with these much, the time came when I was trusted enough to begin to get jobs that DID require me to make calculations based on these elements, and I was woefully under-prepared for it. Luckily I managed to find some people willing to explain the core skills to me before I messed anything up too badly, but it would have been useful (to me, and my developers and editors) if I’d understood how these tools are used, and connected, long before I had to be able to create them myself.
In concept a wordcount is extremely simple—it’s the number of words a project needs to fill. There used to be lots of ways commonly used to calculate the word count of work you’ve finished, but nowadays most people just use the wordcount in their word processor program of choice. That’s fine… as far as it goes. I’ll note that since the industry standard in my experience is Office Word, you want to make sure your program of choice calculates a file’s word count in roughly the same was Word does, so if you developer asks for 1,500 words, your computer agrees with their computer on how close you are to hitting that.
Calculating what wordcounts should be in advance is more complicated, and we’ll get to that after we briefly discuss paginations.
A pagination is a document that lays out the specific pages of a book. It is used to determine what content goes on what page. The most common form I am used to is usually an Excel file or similar document that actually has a cell for each page, in which you list what’s on that page. Let’s do a super simple example, for an 8-page book on halfling war baking, as a table.
Table of Contents
½ page art
|Halfling War Baking History
|War Baker Archetype
¼ page art
|Equipment: Battle Muffins
¼ page art
|½ page ad
Page 1 is the first page of the book separate from the cover, and is therefore a right-hand page. That’s why there is a blank entry to the left of it—when I open this 8-page book, the first thing I’ll see (after endpaper, which doesn’t count for our purposes but is sometimes printed on and would be listed as “front inside cover” in that case) is the inside of the front cover on the left, and the titles page on the right.
After that everything is 2-page “spreads.” Pages 2 and 3 will open with 2 on the left and 3 on the right. That means by looking at my pagination, I know that when reading the book you can see those two pages at the same time. This is extremely useful when determining where art goes—you don’t need art on every page. You don’t even need art on every 2-page spread. But you do want art fairly evenly distributed throughout an RPG book, or it becomes a dreaded “wall of text.”
Now obviously you don’t need a table of contents AND a glossary AND an index AND an appendix in an 8-page product. But when planning a physical book, you need to know how many pages your final product will be, and things like this take up space, and often can’t be written until so late in the process there’s no way to just flow them into a layout program and see how much room they eat up. By creating a pagination, you can leave room for these before they are written. Of course that means you need to know how much room you need for them, and that’s often a guessing game based on experience. But at least with a pagination, you have a chance to allot space for these things.
Now that we have a basic pagination, we can look at word count. While this is also a bit of a guessing game, there are factors we can depend on to get much closer than if we just use some generic round number. (That said, I use 22,000 words per 32 8.5×11 page of a 32-page or larger book when I can’t do a pagination for some reason, and while it’s not perfect, it’s often close enough for back-of-napkin calculations).
One of the things you need for an accurate wordcount is a finalized layout style. This is one of the reasons freelancers often don’t have to worry about figuring out their own wordcount—they would have to work with the layout artist to know the book’s fonts, styles, headers, and so on. But once you know how words are going fit onto a page, you can just count the words in 20 or so pages using those layout parameters (with no art or tables), and divide by 20, and that’s your rough per-page wordcount. Let’s say a page of nothing but normal words turns out to be 900 words per page for your graphic design. That means an 8-page book would be 7200 words, right?
Again, go to our pagination. We know the title page is just going to be the title of the book. The credits and table of contents are going to take up some words, but those aren’t part of the wordcount we need a freelancer to provide. Same with the glossary, index, and appendix—we need to remember those need to be done, but they aren’t the same as the halfling war baker material. The OGL is a bunch of words, and it’s super-important the writer work with us to make it accurate, but that’s not part of a project’s normal wordcount either.
The actual meat of this book is pages 3, 4, 5, and 6. That would mean a wordcount of 3600… except we already know there’s going to be art on those pages. A half page of art will reduce a page’s wordcount by, well, half… approximately. (This is all just an effort to get the best approximations we can—someday I may get into developing to fit, copyfit, layout to fit, and so on.) So with one ½-page piece of art and two ¼-page pieces of art, I lose a whole page worth of wordcount.
That means if I want to assign this to a freelancer to write, or I want to have a good idea how long it’ll take me to write, the core part of this book is 2700 words. Specifically, the introduction is 450 words, the history is 900, the archetype is 450 (and that ½ page art had better be a visual of that archetype), and the battle muffins take up 675.
There are also lots of other problems a pagination can help you avoid. Let’s say, for example, that my freelancer comes back to me and says they want to take 150 words from the introduction, 150 from the history and 150 from the muffins, to add 450 words on dwarven war baking. That’s easy in a word-processor, but with the pagination I can see if I think I’d have any place to put that. Now I could just have the introduction end a paragraph before the bottom of that page, then begin the history, and have a tiny bit of it on page 3, and have it run most of the way (but not all the way) through page 4… but everything is becoming a mess.
There are good reasons a lot of publishers won’t let you do this. That’s outside the scope of this article, but you can see how knowing what goes on each page helps plan out any changes that get proposed as the writing progresses.
It’s also useful for placing art, ordering art if you need to do that before the text is done, keeping track of tasks like creating tables of content, and so on.
And, hopefully, it helps show why developers and editors love writers who can get within 2-3% of their exact wordcount. If I ask someone for 1500 words on war muffins, giving me 1800 words isn’t really doing me any favors. In fact, it makes work for me. That’s often less work than if someone only gives me 1350 words out of 1500, but I am still happier if I get 1475 to 1550.
With things designed only for a web blog post or an e-book, these hard wordcounts are often much less important. But paginations and the wordcounts they generate remain common tools of the industry, and even if you aren’t working with them yet it’s useful to know how they function.
If you found this helpful or informative, and you’d like to support the creation of more such content, check out my Patreon!
It’s only through the support of my patrons I can take time to continue this kind of “rpg writer 101/102” content!
I do not accept the logic that says I must keep my political, personal, and professional online presences separate.
This is not to say I think the people who do make those distinction, at whatever level of firewalling they choose, are making a bad or wrong choice. Indeed, I suspect for quality of life, it’s often a smarter decision. I have enough stress trying to navigate the often zealous opinions the online community has on game design and the business of games before I add my political and personal opinions to the mix. And that’s allowing for the pretty high level of insulation I enjoy from people’s ability to actually harm me online. I’m not bulletproof by any means, but I am in a more stable and secure place in my career than many people.
I’ve seen the replies some of my colleagues get from posting political and personal thoughts online. I don’t blame any of them if they conclude the risk, or the emotional toll, is too great.
And there are consequences to deciding to talk about politics, and mental health, and ethics in public using the same channels and methods I use to discuss game design and funny geeky memes. People who are fans of my game industry work often engage with me in a very different way than they engage with people who are primarily being political advocates or primarily doing slice of life posts. That difference can be a good thing, but it can also result in a feeling of betrayal or anger if someone finds my game-related thoughts strike them differently than my other thoughts, or if they dislike all my work and see it overlapping arenas where they feel I should not be heard.
Angry and hateful messages directed at my privately are the most common response I see. Sometimes someone speaks ill of me in public forums (often that I’m not in, though I attribute that more to how big the internet is, rather than any effort to avoid me when discussing me), which may begin a multiple-party conversation about me. Less often (but with increasing regularity recently), someone sends complaints about me to an employer or associate of mine and tries to get me censured, fired, or blackballed.
Despite all that, I am still firmly convinced that discussing all these topics, as I find I have thoughts worth sharing about them, is the right thing for me. First, no one is forced to find or read my online thoughts. I don’t use official game company venues for anything not game related (not even the tiny game company I run). Reading through my blogs, twitter, and Facebook posts, or watching my YouTube videos, is an entirely voluntary activity. If anyone doesn’t like what I have to say, or how I say it, or how I moderate the online spaces under my control, they are free to go elsewhere.
I also don’t feel that someone who spends money on products that I benefit from financially has bought anything beyond my work within that book. Even backers of my Patreon are paying to encourage my content and make suggestions, not to own any right to censor me. I do not owe any public group more of my time or headspace just because they buy the things that pay for my career.
Even if what they dislike is how my politics or personal experiences influence what or why or when I write, their right to have an opinion does not equal their right to try to dictate mine. As long as I own the impact of my writing, I feel entirely free to write what I feel is most important, or most fun, or most helpful, as I am moved to do so. As I rule, I welcome public feedback. When that feedback shows me a segment of the public is using my online space to do harm, or arguing in bad faith, or even just pissing me off, I also reserve the right to stop taking that feedback.
Not every opinion is equally valid or valuable. The right of people to speak in their own space, or even to do so free of government censorship, is not the same as a right to force me to listen. As I note, people are free to tune me out. And, online, I am free to mute them.
While I do not believe my writing has any major impact on the world, where it does have an impact I believe it has on the balance been more good than evil. Not the least of that good is that when I get something badly wrong, expressing my thoughts gives people a chance to offer how I am mistaken, and allows me to examine such claims. I have changed my mind about a lot of things over my life, from the crucial to the trivial, and expect to change my mind about many more before I go silent.
I hope some people gain comfort from my writing now and then. I hope some find inspiration. I hope some are amused. I hope some are edified.
I hope some snort, roll their eyes, and wonder why they still talk to me.
But on every topic where I have something I am ready to say, I plan to say it. And accept the (generally very minor) consequences of doing so.
It’s fairly common for people to tell me they think I have gone too far.
Certainly once or twice, I have.
That makes me wiser and gives me a broader experience base to draw from when deciding what I am ready to say in the future.
It does not convince me to stop saying all these things.
Speaking of my writing, if you DO find any of these helpful, entertaining, or in some way worth your time, please consider backing my Patron. Just a few bucks a month is the most direct (and one of the cheapest) ways to support my words and videos.
On my birthday, which is today, I tend to think about memories of previous birthdays.
I have a lot of great birthday memories.
I hold the first “OwenCon,” cutting up things like comics to make a flier, and pick an older friend to be toastmaster.
My mother has us all play a game where each kid has a balloon tied to one ankle, and you try to stomp out other kid’s balloons with your other foot.
My mother makes a pinata, which we bash the hell out of.
We stay up all night playing Dungeon, which a friend brought over.
We stay up all night playing Dark Tower, which a friend brought over.
We stay up all night watching the Thunderbirds anime, which is streaming on a pay channel we don’t normally get, but which is doing a free preview that weekend.
We stay up all night watching VHS movies.
I run a D&D game all weekend, as an adult, with friends coming and sleeping over.
My friend Carl rules a Rolemaster game all weekend. My character ends up with a magic tattoo which gives her dragon spells.
I discover my friends all went in together and got me a GameCube, so I can play Mario Sunshine. It becomes my favorite Mario game, to date.
My wife makes a pinata, which we bash the hell out of.
We go to see the B&W Dracula movie as a special theater event. The Spanish-language version filmed on the same sets plays afterward. We expect to just watch a little of it. We stay for the whole thing, fascinated at how much better a movie it is.
The common denominator for all of these, of course, is friends. (With games a close second)
Want to support me or my writing? Check out my Patreon!
I got asked how the process of creating a game book happens, from the very beginning. That’s a great question. It really is one of the writing basics.
It’s also a really complicated question.
This is my best stab at a high-level, rough overview. This is based on being on every side of this process at some point over 20 years, and working for and with and as a lot of companies, but it’s not absolute by any means.
This is, at best, a sketch that covers a lot of different ways this happens, but there are companies that add steps, or skip steps, or do things in a totally different order.
It also varies a lot depending on the project. Here are some general steps, although who does what and when can change even within the same company.
- Someone comes up with an idea for a product. This may be a publisher who has looked at sales and resources, or it might be a freelancer who wants to pitch something, or it might be a line developer who is supposed to do X products a year.
- Someone matches the idea to a publishing schedule. That may mean you know you need exactly 44,000 words and sketches of 3 maps by January 4th, or it may mean “This can be a 700 word pdf, send it to me whenever you’re done and we’ll lay it out in a week or two.”
Big publishers are very much more like that first example, while smaller ones are sometimes more flexible.
If it’s a freelancer pitch, the freelancer and publisher work out terms. If it’s internal, you may need to hunt down someone to write it. Either way, the schedule and budget should be finalized at this point.
- An outline is done, so ensure the project will be the right size, hit the right topics, and so on. Often cover art is ordered and art and editing is scheduled at this point.
- Once the outline is approved by the people who are paying for the book, and the people writing it agree, the writing is done.
- Then drafts are turned in. Depening on the company they may be developed, or just edited, or laid out and then edited. That process varies.
If art wasn’t arranged for before, it needs to be now.
- Layout and editing and development is finished. there may be marketing text that needs to be written, or printing that needs to be arranged for.
- Book is released.
- Profit! (Hopefully)
And that’s it!
(It is never, ever that simple.)
If you found this helpful or informative, and you’d like to support the creation of more such content, check out my Patreon!
For more than a decade now, I have been collecting the most profound things I have written online.
Here’s a sample of more than 140 of the best examples.
“Consistency is the hobgoblin of little minds. Goblins are the screaming, burning chaos of little minds.”
A rolling d20 gathers no moss… and delays the game until it stops %*#^ing rolling!”
A picture is worth 1,000 words. A clear, accurate, useful map is priceless.
Edition Wars were BETTER back in my day!
A fool and his money are a miniatures games company’s target audience.
A cynic is a man who knows the price of everything but the value of nothing. A gamer is the same, but also wants to tell your company with a decade or more of experience how you could do things soooo much cheaper.
A game worth playing, is worth playing badly, on the path to playing well.
If a little knowledge is a dangerous thing, I now understand why player characters often burn down kingdoms…
Better the devil you know than the one you don’t. At least then you know what bypasses its DR.
A house divided against itself cannot stand… unless that’s just step one of transforming into a robot.
A closed mouth gathers no foot. But with enough force, you can JAM one in there.
A good lawyer makes a bad neighbor, especially if actually they’re a superhero and villains keep dropping buildings on the law firm but some rubble crosses onto your property.
Editing (or being edited by) your spouse leads to a much closer understanding of each other… or divorce. There’s no middle ground there.
Theory: Sailor Moon is actually a were-sailor. She was bitten by a rabid sailor which is why she transforms into a hybrid scout/sailor form.
When you have a cat in your home, you MUST delight in every precious moment. Because one day you’ll wake up to a hairball in your eye.
A journey of a thousand miles begins with a single Google Maps search.
*Absinthe* makes the heart grow fonder. Any other claim is a typo.
Moving is like doing homework so that you can exercise too hard in painful positions with the main reward being massive inconvenience.
What if you only lose your soul if picture’s taken while sneezing and no one says “bless you”? We’re one coincidence from zombie apocalypse!
It’s beginning to look like the term “testerical” may be my longest-lasting legacy. … I’d be okay with that.
A man cannot serve two masters. Well, he can, but it eats into Netflix time.
I plan to seed the ground above my burial site with caltrops.
So just LET my enemies dance on my grave…
I think Luke Skywalker has probably upgraded his prosthesis a few times since Empire Strikes Back. I think of that as my Personal Hand Canon.
I have no option about whether the chicken or the egg came first. I’m eggnostic.
I’m sorry the release date of the new RPG/Movie/Novel you were looking forward to got delayed, but…
I’m pretty sure my patronus is a fat badger. So far it doesn’t chase off dementors, but just kinda shows up and disapproves of them.
As a security measure, I like to keep passwords on post-it notes scattered around my desk. They just aren’t passwords I use for anything.
There are many ways in which game designers are like cats. Mostly, these are not related to being adorable.
Oh Fine. Apparently mixing dragons and turtles or dragons and lions is classic, but my Dragon Lobster is “dumb” and Dragolverinne “silly.”
If someone stabs you instead of crying out “touché!,” the correct response is to yell “Ouché!”
It’s hockey mask and machete, right? No wearing a human-flesh-face-and-chainsaw until after Memorial Day, as I recall Slasher Etiquette.
A man is known by the company he keeps. At least, he is if his company’s advertising budget is big enough.
A man who represents himself in court has a fool for a client. His lawyer’s not the sharpest knife in the drawer, either.
A man’s home is his castle. And the heating bills on castles are outrageous. I recommend renting a small fort or keep, instead.
“I’ve been trying to figure out how to attack this stronghold, but I’ve had to reconsider every plan…
“Of COURSE you have. What do you expect from a redoubt?”
A little bit of knowledge is a dangerous thing. A college-level course can be catastrophic.
Honesty is the best policy… but honestly how many companies do you know that actually follow their own policies?
You can’t judge a book by its cover. Sentencing is even more complex, and allows an appeal.
Familiarity breeds contempt. Familiars mostly breed with fairy-dragons. And a few imps. Maybe a brownie.
All good things must come to an end. An unfortunate number of terrible things just go on, and on, and on…
Don’t bite the hand that feeds you. Or at least wash it off first.
Too many cooks spoil the broth. And is it too much to ask for SOMEONE to make a salad for table 7 if we have so many damn cooks?!
If it ain’t broke, don’t fix it. Or… isn’t broke? What if it’s broke but kinda works? What if it’s not but it’s crappy. This proverb sucks
Cleanliness is not next to Godliness. Unless your dictionary only has 7 entries.
You can’t make an omelet without breaking a few eggs. Unless you use an ostrich egg. Then it just takes the one.
Keeps your friends close, and your enemies closer. “Prayer” only has a 40-foot-radius.
Birds of a feather flock together. Dinosaurs of a feather engage in sudden but inevitable betrayal.
People who live in glass houses should not throw stones. Unless it’s bulletproof glass. In that case, go ahead.
The squeaky wheel gets the grease. The squeaky kobold gets a fireball!
Jumping to conclusions can be bad exercise. Also, it provokes attacks of opportunity.
Don’t learn safety rules on accident. I mean, that’s better than not learning them at all, but still.
The heaviest thing to carry is a grudge. Though it still doesn’t slow down dwarves at all. which explains a lot, actually.
One thing you can’t recycle is wasted time. Another is glossy magazine covers. A third is bad olives.
Your mind is like a parachute. Always pack it yourself, don’t wait too long to use it, and it’s better with a giant picture of Daffy Duck.
Dress for the adventure you want to go on, not the adventure in your zip code. As long as the adventure you want to go on is HR appropriate.
Labels are for cans, not people. Nutritional information should be universal. If you’re on a desert island you need to know who to eat first.
If you can’t stand the heat, stay out of the kitchen. Also the forge, volcanoes, the Elemental plane of Fire, and Arizona.
It isn’t whether you win or lose that counts, it’s how you play the game. Although constantly losing may suggest you suck at playing the game.
Always get your ducks in a row. Then, one lightning bolt later, fried duck!
Wake up and smell the coffee. Because apparently you have the technology or contacts to have coffee get made while you are still sleeping.
A bird may love a fish, but where would they live? I mean, sure a houseboat, but let’s be real even most humans can’t afford a houseboat.
“Flopportunity” – A chance to make something that could be extremely unsuccessful.
“Evil Stew” – A thick soup made from everything in the house that is “about to go bad.”
Early to bed and early to rise doesn’t actually mean you’re getting any more work done.
“Like a bat out of a handbasket.”
You reap what you sow. Which means there’s a skull with a scythe and robe that’s quietly going around sowing the heck out of things.
You have to take the bad with the good. The facts of life. The facts of life.
“You can’t teach an old dog new tricks,” but “You’re never too old to learn.” Which tells me the old dog’s teacher sucks.
You can’t have your cake and eat it, too. So you need two cakes, which explains the American obesity epidemic.
You can lead a horse to water. Actually, can you? I am sure a few of you can, but it’s not as common a skill as it used to be.
Where there’s smoke, there’s fire. That’s just how the pyrotechnics spell works.
When in Rome, do as the Romans do. Play musical instruments as the place burns to the ground.
The way to a man’s is through his stomach. The way to a man’s stomach is for a facehugger to burst out of a yonic egg and mouthfuck him.
Variety is the spice of life. So it comes from worm butts on a desert planet.
A picture is worth a thousand words. Unless you are paid by the word, in which case for SOME reason, it doesn’t count. 😛
Two heads are better than one. Though an ettin is only CR 6 and a hill giant is CR 7, so maybe one head is actually better.
Too many chefs spoil the soup, but not enough chefs ruin the restaurant.
There’s no fool like an old fool. Well, except a young fool which, just by process of basic logic, we can determine has some similarities.
There’s more than one way to skin a cat, but less than three to pet their belly.
There is no honor among thieves. Which may be true, but my MAIN issue with them is that they steal things.
Strike while the iron is hot. It’s more likely to give into your union demands if it’s uncomfortable.
The squeaky wheel gets the oil, but the squeaky mouse gets eaten by the cat.
The road to hell is paved with good intentions. And bad intentions. And anything else the devil can get his hands on, he’s a pragmatist.
Rome was not built in a day. But it sure burned down fast.
The proof of the pudding is in the eating. The proof of the pie is in the radius.
Keep the home fires burning. That way your enemies have no place to sleep or change their shoes.
Practice makes perfect. I suspect that’s why so many doctors and lawyers think they’re perfect.
Possession is nine-tenths of the law. Which is why the Devil’s Advocate is such a good lawyer,
The pen is mightier than the sword. But not the vorpal sword.
One swallow does not a summer make. Which is either profound on a ‘winter is coming” level, or the tagline for bad porn.
One man’s gravy is another man’s poison. Especially with Vishkanya. Though “Vishkanya Gravy” sounds like a nasty euphemism
One good turn deserves another, but you’re just as likely to roll a 1 next turn.
Old habits die hard. I think they’re mostly worn by vampire nuns and you have to stuff holy wafers in their hems after you deravelcate them.
Nothing ventured, nothing gained.
Which I think means all venturing is painful, according to that other proverb…
Nothing hurts like the truth. Especially +1 keen flaming truth.
No pain, no gain. Of course there’s plenty of pain that ALSO produced no gain, so fuck that.
No news is good news.
No, seriously, nowadays none of the news is good.
Necessity is the mother of invention. But does invention ever call? Ever write? Nooooooooo…
Money doesn’t grow on tree. Except black walnut. Those things are cash cows.
Misery loves company. But honestly most company is kinda sick of misery.
A man is known by the company he keeps. Unless they’re idiots and never noticed him.
Look before you leap. It’s nice to at least know where you are going to go splat.
Love is blind. Love makes the world go ’round. Which may explain why we seem to be headed to hell in a handbasket.
Lightning never strikes twice in the same place. Because if your enemies line up for a lightning bolt, they quickly learn to spread out.
A leopard can’t change its spots. A cuttlefish can. A cuttlepard is CR 5.
It takes two to tango. Also, to flank.
Man does not live by bread alone. Normally he’s also near some other stuff. Maybe a chair, or a tree.
Good things come in small packages. So do evil things. Package size is a terrible gauge for moral value.
Don’t judge a book by its cover – there are critics that will do it for you.
Don’t cry over spilled milk. You’ll get your tears in it and make it salty.
Blood is thicker than water, and harder to get out of the carpet.
A bird in the hand is worth two in the bush, but the CR isn’t as high.
Clothes make the man. A woman probably made the clothes.
Beauty is in the eye of the generic non-IP floating eye-monster with ray attacks.
The apple doesn’t fall far from the tree. That’s what catapults are for!
Actions speak louder than words. Full-round actions, especially.
Absence makes the heart grow fonder. Unless it’s the heart that’s absent, which makes the body grow colder.
A watched pot will not toke.
A lion won’t eat where it sleeps, but a spider must. A spiderlion is CR 5.
The journey of a thousand miles begins with a single step. Or a teleport spell. Plane shift works, too. Or just summon giant eagles.
If you love your job, you’ll never work a day in your life. Unless what you love is working, in which case apparently you’re screwed.
The friends of our friends are our friends. Except Arlo. Fuck that guy.
A single stick is easily broken. A bundle of sticks is difficult to break. A stick golem is CR 5.
War has no eyes, and justice is blind. Leaving both vulnerable to sneak attack.
If you use your wealth, it diminishes. If you use your wits, they expand. If you use the critical hit deck, you lose a hand.
The foolish build walls. The wise build bridges. The wizard builds a staff of blasting.
The idiotic speak. The wise listen. The rogue rolls for initiative.
Wisdom is like a baobab tree; no one individual can embrace it. But you CAN tongue-kiss it.
If you want to go fast, go alone. If you want to go far, bring a cleric. And a summoner, preferably with one of the broken archetypes.
“If you wait long enough by the riverbank, the bodies of your enemies will float by. But writers don’t have that kind of time.
Can you imagine if dead souls had access to social media?
“Still in Limbo. Working off sins of things I did when I was, like, 8. Really??”
Hcum gnihton spelled backwards is nothing much.
The Black Pudding is not NEARLY as evil, NOR as moist, as the Ochre Bunt Cake!
People need priorities.
Arguing about a game online with people who don’t even play with you should never be at the top.
Go home spellchecker. Your drank.
Any popular game that has human interpretation of rules is inevitably going to have people bitch about how those rules are interpreted.
I am well aware that nearly everything I do could be done by a million monkeys pounding on a million typewriters.
As a result, my career is based in large part on flinging less poo than they would.
Mint absinthe. It’s the ghost of Christmas Passed Out.
“I kept thinking a shark fin was following me, but it was just a fluke.”
Never complain about anyone but yourself. And your dice. And fascists, because frak them.
A clean conscience makes a soft pillow. But so do the corpses of your enemies.
A smile is worth a thousand words. But for some people’s smiles, those are all words of warning.
Life is more than just surviving. That’s why we have refrigerators.
If you found this entertaining, and you’d like to support the creation of more such content, check out my Patreon!
After I got to play a game last night, I ended up spending some great time talking to one of the players about career planning, the game industry, and burnout. (More time than I should have on a school night, but hey).
That left me with thoughts about burnout I wanted to share, so rather than sleep I typed them up and set them to post today. (Well, today if I set up this post-at-Xam thing correctly).
I’ve talked about burnout before, and given how large it looms in my life, I have to guess I’ll talk about it again. There’s a thin line between maximizing your writing/designing potential, and doing too much to be sustainable. Crunch time is a common threat in all levels of the game industry, and while bearing down and doing more than you’re happy with for occasional, short bursts is reasonable, sustained higher-than-healthy output is a different matter entirely.
Of course that’s easy to say, in the abstract, and harder to apply to your life in any way. I genuinely can’t tell you how to avoid burnout—that’s going to depend on your situation and temperament to a degree that makes any advice I’d give even less useful than normal. On the other hand, I do find that watching for signs of potential burnout—clues in my own behavior and thoughts that indicate I may be on an unsustainable path—useful tools. Seeing there’s a problem coming doesn’t solve that problem by itself, but it does arm me with the knowledge that I need to be looking for solutions.
So, this is a list of things I consider subtle signs of impending burnout. I need to note here that not only am I not a mental health professional, I don’t even consider myself a well-educated layman. These are entirely subjective, and based only on what I have experienced and witnessed. If you have a lot of these symptoms, and they don’t feel burnout-related, I recommend at most you engage in some introspection on whether you are in denial. But seriously, trust your gut over my generic list. Also keep in mind that I have a host of other mental health issues, from clinical depression to social anxiety to childhood trauma, that may cause me to view and react to my own conditions very differently than you (or anyone else).
But if with all that waffling on potential usefulness you still want to hear my thoughts, here are some things I have come to identify as subtle signs of growing burnout in myself.
- More reliance on caffeine.
If you find your coffee/tea/cola consumption is higher than normal, especially if it’s higher than you’re happy with, and it has been for some time, look at why. If you need the energy emotionally even more than you need it physically, that’s a strong indicator of impending burnout.
- Increased fatigue.
I’m dealing with various medically-induced fatigue at this point in my life, so this one is tricky for me. But that also means I’ve been charting my energy levels on a daily basis, and that’s lead me to conclude that when I am in early-stage burnout, I have even less energy than normal. It’s harder to get up, it’s harder to be energized, and it’s harder to feel enthusiasm for ativity, even activities I normally enjoy.
- Reduced enthusiasm.
Subtle signs can be subtly different. Increased fatigue is relevant when it’s time to actually do something, and I can’t find the energy. Reduced enthusiasm means I’m not even looking forward to things in advance. Now this can also be a sign of a depressive episode, so I have to be careful how I rate and respond to my own lack of enthusiasm, but I have certainly mistaken generic imbalances in my brain with those with external causal links before, and I now try to examine the why as much as the what, when I realize that issue is growing.
- Increased mental health symptoms.
Whether it’s more depressive episodes, more social anxiety, more nightmares, or more sudden rage, when I am beginning to burn out, all my other mental health issues get exacerbated when I am also beginning to go down burnout road.
- Decreased self-care.
Yeah, this is probably one of the causes of #4, but it’s worth looking for on its own as well.
- Setting aside recreational projects.
In my case, in addition to writing as a job, I often write for fun. That’s a very different process for me, and normally feeling like I have done all the “work” I care to in a day (or a week) doesn’t prevent me from having the urge to do recreational writing. Similarly, modeling, painting miniatures, doing holiday-based crafts or cooking, and playing games are all recreational activities that require some effort on my part, and if I find I don’t want to put in that effort over any sustained period, it’s a strong sign of burnout.
- Reduced creativity.
Being creative takes effort. If I have been pushing the part of my mind I depend on for good ideas, clever wording, interesting twists, or even just basic good writing, one of the first things I seem to run out of is general creativity. Normally, I am flooded with ideas—more than I can use for any one project—and many leap out of the dream-soup in my brain unbidden and without pre-planning. Since that ebbs and flows it can be hard to see early stages of reduced creativity, but when it becomes hard to come up with ANY ideas, that’s a nearly sure-sign of burnout.
A lot of things frustrate me, from personal failings to world events, but normally I can compartmentalize those to have a greatly reduced impact when I am writing. If my frustrations outside of a project begin to make it difficult to focus on that project, that’s a huge warning sign. If that frustration is turning into disproportional anger towards people or events, it may be time for immediate, drastic measures.
- Lack of focus.
If I can’t keep my attention on the things it’s most important I get done, that is a subtle but dangerous sign of burnout. Earlier in my career, I often found I could get more total writing done if I could hop between three or four different kinds of projects. Being tired of doing world descriptions didn’t necessarily mean I was tired of doing monster design, or GM advice, or creating spells. So if I feel an urge to move to a new project for a bit, I often just see that as taking a break while getting something different done. But if my muses are constantly talking me away from important, especially on-deadline, work it means they are likely suffering psychic burn damage.
So I need to watch for when I spend too much time writing outlines for projects not on the schedule, or character histories for characters I’m neither playing or publishing, or imaginary histories of worlds I have no plans for.
Or blog posts.
- Warnings from other people.
One of the interesting things about being very public about my thoughts, moods, hobbies, mental health issues, and faults, is that close friends and astute colleagues sometimes see shifts in my behavior before I do. The first time a friend told me it sounded like I was getting bummed over the direction of my work, more than a decade ago, I dismissed it. After all, how would she know what was going on in my head better than I did?
I forgot that many people in my circle of trust are much smarter than me. Ignoring warnings and burning out reminded me.
Now I DO often know things my friends and mentors don’t. If I have changed medications, or a someone close to me died, or I pulled a 100-hour week and finished something so I don’t have to do that again, a lot of things may come out that look like burnout but are just dealing with the fact life is often imperfect.
But I don’t ignore comments like that anymore. I consider them, contextualize them, and add them to the evidence of my condition that I take seriously.
Speaking of My Career
I have a Patreon. It’s how I justify taking the time to write a lot of this material on my blog. I’d love your support.