What Is Owed?
As a creator, I sometimes struggle with what I owe my family, friends, fans, employers, industry, colleagues, and customers. Not any one of those things in isolation, but how to balance them against one another.
Especially when I prove unable to do all of the minimum of what I feel I should.
Do I owe my family some of my time every day? If so, does that supersede owing work to to employers who are paying me by the project? What if it’s by the hour, or by the month?
If I tease a cool idea and people strongly request I work on making it real, do I owe them that because I proposed it? I mean, I clearly think not, but then, why am I noodling with new ideas in my off hours anyway? If I have late work, do I *get* off hours?
Is there a level or diligence and quality I owe my employers? Do I have a duty to my colleagues and industry not to devalue, demean, or damage the business community we make a living on? How far does that go? Honesty in my dealings, sure. But, do I always need to give my best ideas and best work, or is good enough sometimes good enough. Can I primarily be concerned for getting my own from licenses and open sources, or do I have a responsibility to avoid the tragedy of the commons?
Obviously I owe customers what they pay me for, but where does my owing them go if I fail to produce what is expected when it is expected? Should I be willing to go into debt or bankruptcy to focus only on things due, no matter my economic reality? Should I spend less time sleeping, or sacrifice my health with simulants and energy drinks to crank out the overdue as fast as possible?
Do I owe something back to the community, which has certainly supported and aided me over the years. Is being a mentor to those who ask enough? Should I be seeking out mentees who are otherwise overlooked. Am I being a bad trustee if I don’t? Is it enough to do my best to cause no harm, or must I decry harm done by others wherever I find it? I have a venue, how much do I need to seek to actively use it to support others?
I’m not kidding about any of this. Some answers are obvious, taken individually. I told people who subscribed to my 52-in-52 program they’d get 212 pdfs, total, in 2020. For various (and often unavoidable) reasons, that didn’t happen. It’s 20 months past when it was supposed to be accomplished, and it still isn’t. So, taken by itself, obviously I owe those people the remaining products (because it’s not that nothing has been delivered) as soon as possible.
The 52-in-52 bundle is still for sale, and all the money I make on it (and more) gets channeled into fulfilling it. It’s a great value as is… but more is due. I’ll never give up on finishing it, and I make sacrifices to make that happen. But am I not sacrificing enough? Am I wrong to insist on making sure I don’t skimp on quality while grinding on 20-month-late material?
Is that as soon as possible no matter the consequences to my economic, physical, metal well-being? I think clearly not, but absolutely urgency and some sacrifice on my part is called for. As soon as possible while trying to also make sure people subscribed to my newsletter get their content, my family gets my love and support, my friends get to talk to me, my employers get the contracted time I have agreed to, and I am spend the time needed on my own health and sanity and relationships to be sustainable? That sure feels reasonable, but there’s no meter for that — no magic timer that dings when I have spent the minimum hours needed to fulfill my social obligations, or care for my body and mind. How hard do I push? Does the answer need to be “harder” the longer it’s been since I managed to complete part of the missing content?
When I am paid by the word, how much do I need to make sure I am giving the best, and most focused words? If I have to choose between hitting a deadline and hitting my normal quality level, do I make that call, or go to the people hiring me? If I am convinced it’s better-than-average is that good enough, or do I owe my very best work on every project all the time? That sure sounds reasonable, people don’t normally tell me they don’t care how good I job I do.
If I am instead contracted for hours, those have to be efficient hours, right? If I have writers block and stare at a screen for two hours, should I call that working on that project and be paid for it? Does it matter how often it happens? If it’s no more than my usual amount of wasted time is that okay because it’s part of my process; but if global threats and moving and friends dying and new careers being started means I’m having nonproductive hours much more than normal, do I need to not count them all as “work”?
If a colleague wants to consult with me to hep them in their career, do I need to refuse because the time should be spent on overdue projects? Is 5 minutes of it okay, byt 5 hours isn’t?
I’m not looking for anyone else to answer these questions for me. My honor, my reputation, my work ethic, and my need to do well enough to get repeat business and my guides, and I have been doing this for decades.
But I always keep an eye on: What is due?
And how do I balance the accounts for different aspects of my life when I can’t pay them all?
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Formatting the Drop-In Town, Part 1
A lot of ttRPG projects I am working on right now call for a way to present information on a town setting designed to be dropped into any game. Most publicly know is “Little Hamlet of Villago” for the soon-to-be-rebranded-as 52 x 4 subscription service. There are also some Age Creator’s Alliance stuff I have in various hands with similar needs, and then things on the list off entirely-theoretical future projects.
So, I have been trying to figure out how I want these settings to present info for the GM. The idea is that these can be used as bases of operation for PCs, or waystops that anchor adventures, or as places to explore, or just items in a big sandbox. That means they need to have enough detail to be useful for GMs just wanting details to play off of and offer enough ideas for a GM and/or exploring players to interact with, but also flexible enough to fit other story ideas and worldbuilding elements in with the town’s material.
When I’m trying to create game information formats like this, I find doing some practice builds a useful form of outlining.
So, visual elements can help things like this a lot, so I’d want each Drop-In Village to have a village-scale map. For purposes of a test case, here’s one available for free commercial use from Dyson Logos, “Appletree Pond.”
It’s a great map, and it would need a scale, labels for road names and numbers for the buildings and locations of note, but that’s easy to add. It’s also useful to think about, because linking those tags to the text they match is going to be important.
Ideally, key buildings would also have both a map of their layout, and art of their exterior appearance. Obviously that would be more expensive than most projects can justify, but let’s pretend we’re doing it for the moment. Again, for this example I’ll grab a Dyson Logos map of an appropriate building, though it may not perfectly match my map outline.
Both exterior and interior art can help give the feel of a place. I’m not going to order custom work for a test case, but you can do a lot with stock art. Here’s a good exterior art piece to use for Twin Norkers, even if it’s not a perfect match of the map’s details.
I don’t think I’d ever want to give a interior map, exterior art, and interior art of the same location unless there was some good adventure-driven reason to do so, but let’s pretend I would. Here’s a shot of the Twin Norker’s dining room.
So, before I even get to the text, I can see if I use all these options I’m going to be looking at 2-3 pages of info for a single location, which may well crowd out the setting and game information a GM needs.
One thing learned, I’ll leave this thought experiment here and talk about presenting text info next time.
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