Blog Archives

In Time of Pandemic, 1

Plague Doctor

Let me clearly open with this:

I am not in danger. I am not a threat to myself or others. I have a strong support network, which includes a lot of really good shoulders to cry on, ears to listen to me, and kind voices to give aid when asked.

I often write things about what I am going through that other people mostly don’t. Sometimes, the fact I do so worries friend and colleagues alike. That’s never my aim, and I sincerely apologize to anyone I have made uncomfortable. Online explanations of my mental state are part of my therapy process. Writing things gives me power over them, and helps me organize and contextualize my feelings.

And, I want other folks who are struggling to know they are not alone.

I also want now, in the front, to noteI have a Patreon. If you find this writing useful, or just want to toss me some support, it’s a great way to help out.

So,

I am an aging, obese, depressive, introverted, socially-awkward independent creative with impostor syndrome, civilian PTSD, and a genuine fear of deadlines, disappointing people, and criticism.

If you are thinking to yourself “Wow, given all that it sounds like the ONE job you should avoid is freelance game writer,” you have a point.

In times of pandemic, you reassess your life choices.

But I’ve been doing this for more than 20 years now, and as much as I want to shrug and give up sometimes, it really is a defining part of my own self-image. Intellectually, I am well aware I have achieved success many people consider noteworthy. I am also aware that as a cis white male I have had a lot of unearned advantages along the way.

I recently wrote online “One of the major advantages to doing business over social media is that I can literally be sobbing as I type smiley faces and multiple cheerful exclamation points.”

And I literally meant it. It really IS an advantage. I mean, when i was the manager of a parking garage in the 1990s, if I was sobbing, not only could I not just go on with my day without people constantly asking me if I was okay, it would be considered unprofessional. It would interfere with my job function, the perception of me, and my own serenity. But when dealing with things in an entirely text-based format, as long as I am together enough to make the post look professional and upbeat, it is treated as professional and upbeat.

But of course, I only know that because I DO write marketing text and otherwise interact with fans and freelancers online while crying. Normally it’s a pretty rare thing, only happening when something is timing-critical. Like if there’s a one-day sale of a big product, or if a Kickstarter is ending. In those cases, even if I am depressed, or bereaved, it needs to get done right NOW, tears be damned.

But right now?

Right now I am crying more than usual. I am also slumping into mind-numb torpor where nothing gets done more often, ranting and yelling at the corner of the room more often, self-medicating more often, and walking away from everything in total disgust more often.

In times of pandemic, there are more tears.

That’s not to suggest I have it especially hard right now, compared to other people. While money is tightening, I am not totally unable to get funds like some folks. My job hasn’t depended on my going anywhere but my home office since last July, and even before that it was work a company could (and in the case of my last full-time employer has) have people do from home. Even within my industry, the fact I have focused on digital products for my own projects is proving to insulate me slightly from the resounding crash of the physical product supply chain.

There are people under stay-at-home orders right now who, as a result of various factors often entirely beyond their control, have no home to stay at. I am in now way suffering more than average.

I’m not going it alone, either. Thank goodness, I have an amazing support network. My wife of nearly 30 years is a constant source of comfort and aid. I have great friends, many of whom are going the extra mile to interact with me in video chats, discord forums, IMs, and so on. I have people paying me for my work, both in individual and direct ways and through companies and big projects, who are being understanding and patient with me, but also not letting me totally off the hook that I fall so far behind I can never catch up (thank god). I can get advice, or perspective, or sympathy in pretty much endless and instant supply. (Thank god.)

But I also acknowledge there are stresses in my life. I and my wife both fall into high-risk categories for the current pandemic. We’ve been self-isolating, and going out to places that are now closed (and spending money we currently don’t have) were among my stress-relievers. And while I am not a fan of huge crowds anyway, I did love sitting with a small circle of close friends, and self-isolation for a month or so now has that off the table. I have some medical issues that cause severe fatigue, and it’s hard to differentiate those from depression or being overwhelmed by constant bad news and worry for friends and family.

Nearly every creative I have discussed it with agrees that it is HARD to get anything done right now. The fact that getting things done, and fast, is of even more importance as companies must pivot to deal with the new makes the failure to produce emotionally more challenging, but it doesn’t make it easier. And I completely support shutting down game stores and prioritizing crucial shipments from big vendors, but those things also put my entire industry at real, long-term, catastrophic risk.

In times of pandemic, my chosen career is not essential.

So yes, I am worried, and weary, and worn. And ultimately I am safe, and privileged, and supported. And I really wrote all of this both to assure those who worry about me that I am no closer to any tipping point or brink than normal; and to let other people who feel like they aren’t coping well know they are not alone.

None of us know what the next few weeks, months, and even years will look like. That lack of certainty, and the need to change how we do everything–from order groceries to teach children to talk to friends to play and create games–is exhausting. Every day is both the first day of school, and a stroll by the edge of a very sparse minefield. Stress is a constant companion, and uncertainty is a mist that conceals every road.

I am sure I’ll get through this. I’m sure we’ll collectively get through this. Maybe not unscathed or unchanged, but still whole at the far side.

And maybe, if we work at it, we can improve society with the things we learned in a time of pandemic.

What The Heck is “ShadowFinders?”

So, I happened to mention a “ShadowFinders” campaign on social media a few times in the past few weeks, leading a number of people to ask “What the heck is ShadowFinders, and when does it come out?”

Cyberpunk katana

And now I’ll have a place to point them to, at least for the moment. And the answers are… “A theoretical modern Pathfinder campaign I have been noodling and, as far as I know, never.”

I know, not very satisfying.

The thing it, I already have TWO campaign settings mulling about that I work on when I get what I laughingly refer to as “Space Time.” I’ve been working on-and-off on the Really Wild West (a campaign hack for Starfinder), and more recently Sorcerers & Speakeasies (a campaign setting for 5e). Those are both mix-modern-and-fantasy settings, with Really Wild West having a great deal more material done for it (having begun working on it more than 2 years ago), and Sorcerers & Speakeasies currently having an actual for-sale product currently being designed by a freelancer.

So, clearly, I already have my hands full with modern fantasy pastiche ideas for two game systems that I don;t have time to move forward at full speed as it is. So why would I add another?

To some extend, I can’t help it.

I didn’t become an RPG game designer because that was my life goal. I slid into it sideways, by loving games (especially RPGs), and making up stuff for my own home games (mostly RPGs), and wanting to turn my hobby into a revenue-neutral pastime that paid for itself. (You can read more detailed accounts of my nearly-accidental entry into my 20+ year RPG design career at “From the Freelancing Frontline,” in a series of articles at EN World.)

And, it’s still one of my primary hobbies. Which means, I am still having ideas about things I’d like to run as games, or add to games, or even play in games. Now, a lot of that content ends up in products I write or develop–I find it easiest to work on a game system if I am playing that system. (I know some rpg designers prefer not to be frequently playing the game they are working on, and given how great many of those designers are I have to say that works for them. I don’t think it would work well for me.)

But a lot of it DOESN’T end up in my professional writing. Now, some of that is for legal reasons (yes I have thoughts on Jedi in Starfinder, but unless I create a totally different Owen-as-fan-only space, I’m never going to share them). Some of it is because it’s material I’d only want to use in a context where I knew the people involved and could tailor it to match their preferences and playstyles. But some of it is just because there hasn’t been a good match yet, and/or because I haven’t had the time.

And that last category is the weird limbo where ShadowFinders exists.

Cyberpunk Gun

I have several solid ideas for ShadowFinders, as a modern supplement for Pathfinder 2nd Edition. Essentially a smaller stand-alone hardback book that is a complete RPG and 100% compatible with the Core Rulebook, but focuses on a modern, urban fantasy game. I have ideas on how I’d save space (many fewer ancestries and classes, likely only occult and primal magic), how to link it to existing cosmology (some primal magic comes from Egypt, which once had strange portals to another Egypt-like land in another world, but most magic is occult material that entered the world in through strange events involving Rasputin), and how it would work with the existing rules (as a modern supplement, with material you could use in a 100% fantasy setting, or could add to a fantasy setting that happened to already have alien spaceships and guns in it in limited locations).

But that approach works best if it’s a book Paizo publishes… and that is both unlikely (I have some idea how hard it is for Paizo to manage to both maintain its currently offers AND produce a new core rulebook with a new setting), and if it did happen would  most likely not involve me in any major capacity. I have thoughts on that too, of course (involving Paizo deciding to outsource creation of a SahdowFinders rpg to keep costs and down and experiment with freelance production and development), but that’s not particularly likely either. (Never say never, but be realistic with your planning.)

So, that leaves me with a name and idea I like but that would work best in production circumstances that aren’t going to happen soon if ever, no spare time, two more similar projects already further along… and tons of ideas for a thing I can’t take time to move forward on right now.

So is ShadowFinders dead? No, definitely not. But it is in a holding pattern, neither being given up on nor getting any resources to speak of at the moment. One of the few things I know is that I never know what I’ll be working on in 3 years, and often have no idea what I’ll be working on in 1 year.

It PROBABLY won’t be any version of ShadowFinders…

Cyberpunk Butterfly

Unless, of course, it gets a huge positive response from a Patreon crowd that grows large enough to support even more of my time going to working on such things. 🙂

One Feat: Four Systems (Allied Spellcaster)

So, obviously, I’ve been working in a lot of different game systems recently. With the 52-in-52 program, I’m developing the same game content for Pathfinder 1st ed, Pathfinder 2nd ed, Starfinder, and 5e.

It’s been a fascinating view of how the different game systems look at game elements that have the same name, but different functions.

For example, feats.

In Pathfinder 1e and Starfinder, feats are cross-character goodies that are generally designed to be optional, and sometimes tie into class design (such as for the fighter and soldier), but not always.

For Pathfinder 2e, feats are the quintessential character ability, and different kinds of feats are crucial to your ancestry, class, and any archetype you take.

For 5e, feats are entirely optional, and if taken come in place of ability score advancements. Each feat is more potent in many ways, but you can make a character with a single feat, or no feats, and no class depends on feats for any part of its core functions.

As an example, we’re going to take a PF1 teamwork feat, and present it (as a non-teamwork feat) in different versions, one for each of the four game systems.

Here’s the original, a PF1 Teamwork feat

Allied Spellcaster (Teamwork)
With the aid of an ally, you are skilled at piercing the protections of other creatures with your spells.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who also has this feat, you receive a +2 competence bonus on level checks made to overcome spell resistance. If your ally has the same spell prepared (or known with a slot available if they are spontaneous spellcasters), this bonus increases to +4 and you receive a +1 bonus to the caster level for all level-dependent variables, such as duration, range, and effect.

Here’s a new PF1 version, that isn’t a teamwork feat

ALLIED SPELLCASTER
You can aid an allied spellcaster, adding your magic power to their own.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who can cast spells, as a standard action you can expend a spell slot or prepared spell of 1st level or higher to attempt to boost their spellcasting ability. This requires a Spellcraft check, DC 10 + double the level of the spell slot expended. On a successful check, you increase their caster level for the next spell they cast before the beginning of your next round by an amount equal to the level of the spell or spell slot expended.

You can also take eldritch power from a willing adjacent spellcaster to boost the power of your own spells. The allied spellcaster must ready to grant you a spell slot or prepared spell of 1st level of 1st level or higher on your turn. If they do so, you make the same Spellcraft check as a swift action and, if successful, for the next spell you cast this round your caster level is increased by an amount equal to the spell level your ally expended.

*So, that plays with both action economy and resource management, but it lets you play the spellcaster who can work in a group without anyone else having to also have the feat in question.

Here’s the same spell for Starfinder.

ALLIED SPELLCASTER
You can aid an allied spellcaster, adding your magic power to their own.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who can cast spells, as a standard action you can expend a spell slot of 1st level or higher to attempt to boost their spellcasting ability. This requires a Mysticism check, DC 10 + triple the level of the spell slot expended. On a successful check, you increase their caster level for the next spell they cast before the beginning of your next round by an amount equal to the level of the spell or spell slot expended. If the spell does damage and does not have a duration, area, or damage calculation based on level, you can instead grant +3 damage per level of spell you expended.

You can also take eldritch power from a willing adjacent spellcaster to boost the power of your own spells. The allied spellcaster takes a standard action to imbue you with energy by expending  a spell slot of 1st level or higher on your turn. If they do so, on your turn you can make the same Mysticism check as part of the action to cast your next spell and, if successful, gain the benefits listed above. If you do not cast a spell within 1 round of being imbued, the additional spell energy is lost.

*That’s very similar, though it makes an adjustment for the fact that Starfinder doesn’t generally have damage affected by caster level and readied actions work differently caused us to make some adjustments.

Here’s a version for 5e.

ALLIED SPELLCASTER
Prerequisite: Caster level 1st or higher
You are skilled at magic manipulatipons. Increase your Intelligence, Wisdom, or Charisma score by 1.
You can cast a spell to boost the effectiveness of an allied spellcaster within 60 feet, rather than its normal effect. If allied spellcaster casts a spell of their own that is no more than one spell level higher on their next turn, they have advantage on any attack roll the spell requires, or one target of their choice has disadvantage on any saving throw the spell requires.
An ally can cast a spell to boost your effectiveness rather than the spell’s normal effect, giving you the same benefit on your next turn.

*Things in 5e are simpler. Like, way simpler. Advantage or disadvantage is 75% of how the game handles things. And they are pretty big bonuses (work out to about a +4 bonus on a d20), so it’s okay that this only applies to spells of a level close to the level you expend.

That said, weaker feats in 5e also give you a +1 to one ability score (since you gave up a +2 to get the feat), which applies here given how circumstantial this is.

Here’s the same feat for PF2

ALLIED SPELLCASTER     FEAT 2
General Skill
Prerequisites: Expert in Arcana, Nature, Occultism or Religion
You can use the aid reaction to assist an adjacent ally when they cast a spell. This requires a successful Arcana, Nature, Occultism or Religion check (you must be expert in the selected skill) with a DC of 20 + double the level of spell the ally is casting. You must expend a spell slot of 1st level or higher, and you gain a bonus to your skill check equal to the level of the spell expended. You grant the ally a +2 circumstance bonus to their attack roll, or a +1 bonus to the save DC of their spell.
An adjacent allied spellcaster can attempt to use the aid reaction when you cast a spell. This works the same way, except you must make the Arcana, Nature, Occultism or Religion check.

*Pf2 uses a universal proficiency system for everything, so a +2 bonus matters as much at 15th level as it does at 5th level. There’s already an aid action which might be usable if a spell required an attack roll, but it’s not clear how it would apply and it certainly won’t boost save DCs. This cut through that, and is a skill feat spellcasters might really appreciate.

PATREON
Enjoy this look at one feat in four game systems? want to see more? You can back my Patreon to encourage me to do more of this kind of work, and you can subscribe to the 52-in-52 program to get entire game supplements, one a week for every week of 20020, that are done in four versions, one for each game system!

 

Writing When Depressed

While I am personally a creative who suffers from mental health issues that include depression, and I know a lot of friends and colleagues who fall into that category, I don’t have scientifically valid statistics to prove that RPG creatives are often people struggling with depression. And that doesn’t really matter, because even if the numbers aren’t higher than for the baseline population, it still means that there are at least a few of us out there. I might just be talking to a tiny group today, but it’s something I am passionate about.

How do you write, draw, create, make things that are supposed to be fun for other people, when you are depressed? And I don’t mean down a bit because your favorite series ended or you can’t get that soda you like in your hometown anymore. I mean clinical depression, which can include loss of executive function, true hopelessness, sleep disruptions, and even thoughts of suicide.

I’ve talked before about how I get through my most serious depressions, but there’s one thing I haven’t touched on, or at least haven’t often enough.

Sometimes? You can’t. And that has to be okay.

Just as it is not a moral failing or sign of weak character to be unable to run when your leg is broken, it is not a moral failing or sign of weak character to be unable to create when your brain is broken.

If you are too far down the hole to reach any of your creative tools, please let that be, and instead seek help. That can be professional help, self-care, reaching out to a support network — whatever you can do. I’m not qualified to give professional advice on these things, but there are resources out there to find help if you don’t already have some in place. If you aren’t in a place where you can bring yourself to care about yourself, see if you can consider taking care of yourself as a way to help the people around you–sometimes I can only manage any degree of self-care out of guilt. That’s far from perfect, but sometimes I have to take what I can.

But then there’s the gray zone. Where you can try to work, but it’s terribly difficult and slow and you think everything you do is bad and pointless. Again, you have to be kind to yourself when you are here, but maybe there are ways to get a little more done if you find the hacks your brain responded to.

So, here are the hacks I use. They may not work for you, but if you try different things, and record the results, maybe you can find things to help you when work is possible, but damnably difficult.

For me some of it is habit. More than 21 years of it, at this point. If I’m not actively doing anything else, my brain naturally wonders if there is work I can do. When the thing that needs to be done FIRST is more than I can handle (sadly the project that is most important to finish often triggers the most anxiety which triggers the worst depression symptoms), I hop to something else if my brain is less opposed to it. No, that doesn’t help me get the most crucial thing done on time, but down the line it’s better to have worked on something, rather than nothing.

Some is desperation. This is how I pay the bills. Holding my own feet to the fire hurts, but it can also break through apathy sometimes. I don;t recommend this one unless you have already noticed a tendency of reviewing your situation to help you prioritize and take action. But if that is a tendency of yours, then it may be worth seeing if it can apply to creating.

A ton of it is therapy. I have learned to make my writing work for me in my battle with my brain. Often, that doesn’t actually produce anything that gets a deadline checked off. but sometimes, if produces a blog post when I need one, or at least helps me build my social media presence. And if nothing else, writing is a perishable skill. Writing privately helps me maintain the habit and edge I need to write for others.

My wife, Lj, is a HUGE help. In fact I have a lot of support group, including my public contacts. When I tell folks I am hurting, I get a lot of positive messages. People from lifelong close friends to social media connections I have never met in person also give me a lot of great private venting opportunities.

And sometimes? Sometimes I just have to melt down and give up for a bit. But Lj can hold me when I collapse and wail in great wracking sobs. When I am an inconsolable mess for an hour or two, convinced I have done so much damage to my reputation and career, that I’ll never work again. When it seems like I’ll never hit another deadline, that no one should ever trust me to get anything professional done. And that whole time, Lj tells me it’ll all be okay, and eventually I believe her.

Often, I pass out in exhaustion after that. Sleep, or at least oblivion, claims me for anything from a few minutes to a few hours.

And then, sometimes, I can write again.

SPONSORS
This post, like all my blog posts, made possible by the support of my patrons. Please consider adding to that support. For the cost of a cup of coffee each month, you can help make these possible.

 

 

Writing Basics Minis: Avoiding Word Derailment

This one is super-short, but for me super-useful.

Don’t let your search for the perfect word derail your writing flow.

That’s not to say it’s not worth popping a thesaurus open (or using the ‘related word’ function of onlook.com, a site Starfinder Lead Designer Joe Pasini turned me on to) to see if you can find it quickly and easily.

But before it disrupts your produtive writing time, put it on the back burner and move on. I personally just put a description of the word I want in brackets and highlight in bright yellow, so I know when I go back through the piece later that it needs to be replaced.

A chunk of the time, describing the word I want to put in the brackets causes me to think of it. And often, when i run back into the section on a reread, at least SOME good word to use leaps to mind. But the important thing is, when I am “in the zone,” getting wordcount quickly and feeling the concepts flow easily, I am not wasting time trying to polish a single term during rough-draft-creation time.

I can’t tell you how long to spend on it before giving up. Only you can know your muse’s endurance. This is a trick for making sure you don’t spend an hour on one word when you need that time to write 500. But be aware you don’t have to get any of it perfectly right the first time through.

This applies to anything, really. Can’t think of the right word? Not sure what to make the 4th level bonus spell? Need a riddle to add some mental challenge to an adventure?

If it’s holding you up, and you KNOW what comes next already, skip it, mark it, come back to it.

Enjoyed This Post?
You can get more like it by joining my Patreon! Support me having the time to write things like this, and get the occasional bonus Patron-only content!

Shameless Plug!
I’ve launched my most ambitious project every: 52-in-52. Get a game product from me once a week for every week of 2020! Each product is given to you in 4 versions, one each for PF1, PF2, Starfinder, and 5e. None of these will be sold on their own before 2021, and if you preorder now, you get 500 bonus pdfs immediately!

Curious what the 52 products will be? Check out the free teaser catalog!

 

Tales of the Brain Eaters. Four.

E-Ville’s preternatural forces are mostly aligned with, if not actually part of, specific conclaves or ententes. The Red Cathedral is the most prevalent of these, and nearly every percival either toes the line with them, or has taken positions with lesser alliances specifically to oppose or avoid them. Most of these factions have specific otherworldly concerns, though I’m reasonable sure the Bridge Club are only interested in protecting their ability to play bridge. Which, given how particular the Red Cathedral is about the use of cards (focused on Tarot and Italian-suited decks, but covering all cards to some degree) does require some political power and unity.

But it turns out there are a few true independents left, existing in the margins. Many are sole practitioners, but some are small groups united by blood or possessions, too minor to be considered their own faction, too effective or connected to be considered civilians. The consuls of other factions seem well aware of at least most of these diacritic forces, which are sometimes employed as expendable mercenaries, but finding them is more difficult for outsiders.

Or newcomers.

Even so, there are some clues which can help you at least begin to make inquiries.

Palmistry barbers.

The occult links of both palm readers and old school barbers (especially in their early roles as bloodletters) are well attested to elsewhere. In most cases, those traditions are long since diluted to the point of rumor, but apparently a few followers in Evansville joined forces some generations ago, and have retained at least some of their true art. And, weirdly, they did so by combining their visible commercial front.

There are a few places in E-ville where one building serves as both a barber shop (never a “salon” or “stylist”), and a palm reader or fortune teller (but, interestingly, never a claim of being “psychic”). These public business are small and seem to mostly survive on loyal return customers. Their official offerings are no more connected to the hidden world than anything you’d find in a modern bookstore (though see below), but if you ask just the right questions, they may have the occult answers.

But don’t be insulting, and don’t threaten them. They’ve remained independent. Respect the why and how of that.

Blank delivery.

There are small, local stores where you can order groceries or deli items their own staff deliver. And some of them have options where you can pay for what appears to be a blank entry. But you can enter special requests, and pay extra for it. If you have the RIGHT shop, and the RIGHT special request and you pay the RIGHT amount, you may get something the Red Cathedral would rather control itself.

This works best if a trusted guide clues you in on where and how. Trying it at random is expensive hit-and-miss, and likely to get you tangled in mundane crime before you discover an occult supplier.

Books Plus…

There are a surprising number of bookstores in E-ville. Even national chains that have gone bankrupt have still-active stores here. Many of those zombie chain stores are places with occult connections, but they are firmly controlled by the major factions (though interestingly this seems to be a rare place where the Red Cathedral is not the major influencer… and I do not yet know who is).

But there are independent occult shops, if you can find them. They are all in older, cheaper parts of town, and seem to universally inhabit buildings built before 1925, or in the 1970s (I have no idea why). And they all offer “Books + ____.” What that blank extra something is varies, but the more eclectic, the better your chances of finding a secret back room is available if you know the password.

Books, comics, collectibles, and vaping supplies is a good sign. Books and pizza is surprisingly common. I’ve been told Books and Vacuum Repair is a sure thing, but I haven’t been able to find such a store. Apparently, they do not advertise online. Or indeed, at all.

Others

There is no doubt there are other independents, but the only ones I can confirm have required me to keep their secrets, which is fair enough. They are mites dashing between the feet of giants, and do not wish to be noticed needlessly. Or carelessly.

So if you need someone outside the compacts and factions that rule the shadows of Evansville, and you think you have a line, don;t dismiss it just because it doesn’t fit this pattern. As trends, these account for only a small portion of those who have stayed beyond the Red Cathedral’s reach.

(Do you enjoy the content on this blog? Why not become a patron, and support the creation of more free material! Or you could even become a sponsor, and get me to link to YOUR content!)

 

Writing Basics: Online Schmoozing

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.

Be Recognizable

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.

Be Safe

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.

Be Polite

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!

 

Writing Basics: Bringing Your Publisher Concerns

In part one of my recent ongoing series of articles looking at converting every feat from the PF Core Rulebook that doesn’t already have a namesake in Starfinder to the Starfinder game system, I mention that if you think a project you are being hired for has bad decisions behind it, you should bring those to your publisher. I also mention that once you agree to do the job you should do it, without offering any exceptions for cases where you have moral or ethical concerns about completing the work. these can be tricky waters to navigate, but it’s worth discussing some best practices for bring your concerns to your publisher/editor/developer/producer.

Some of the following examples are going to sound extreme, and I don’t want to give the impression that every project is filled with objectionable, harmful, short-sighted material you have to fight back against. But I can’t pretend it never happens, and obviously it’s when the stakes are highest that this is both the most important, and the most nerve-wracking.

Also, I am aware of my own shortcomings enough to know I don;t always see the ways in which material can be harmful. So if you are writing for me, and you have concerns? LET ME KNOW. Push back. Point to this article if you want some back-up. I ASKED you to tell me if I’m requesting bad ideas from you.

As always, I’ll also note that I am not a lawyer, and this is not legal advice. Also, I come at this as a writer, developer, and publisher, as those are the kinds of roles I have filled for RPG creation. Artists, graphic designers, editors, and layout artists face similar challenges at least as great, but my advice may not work as well for them.

Try Not To Create Any Surprises

Ideally when working on a project you’ll have access to an outline and a general vision of the project prior to agreeing to write for it, so if you have any concerns you can bring them up early on. For example, if a project’s outline suggests covering topics you don’t feel are appropriate for an RPG, you can discuss that at the beginning with your contact. Even if that means you backing out of the project because you just can’t get on the same page as the publisher, it’s much better for all concerned if you do that early.

If your project is going to involve a lot of discrete bits, it’s worth scanning those for potential trouble spots extremely early in the process. For example if you are asked to do expanded write-ups on six cities, go through the existing material at least briefly as soon as you can. If one of the cities is mired in material you see issues with (whether those are as simple as it having a stupid name or as complex as having an explicit social set-up filled with stereotypes you find harmful), bringing those to your contact as soon as possible both allows everyone plenty of time to try to figure out a solution (while the rest of the project moves forward), and proves you’re taking your responsibilities seriously.

The closer you are to deadline, the less flexible your publisher is likely to be. While that is often because the publisher places money over your concerns, it’s worth remembering they have mouths to feed as well, and people counting on them. That doesn’t excuse making money on harmful material, but it is worth remembering if you’re trying to build a working relationship.

Of course sometimes things develop you could not have foreseen. You may only be contracted to write part of a project, and when you see someone else’s section it’s full of material you have issues with or, worse, it changes the context of your own material in harmful ways. Or you might be shown cover art you dislike so much you don’t want your name associated with it. Or you might get developer feedback that explicitly asks you to alter things in a way you have problems with. The point is that the sooner you can raise a flag, the easier the process is likely to be for all concerned.

There’s A Thing Line Between Asking for Clarification and Passive-Aggressive

A great first step when something from the publisher seems like a bad idea is to ask for clarification. Going back to my series of articles as an example, if a publisher told me to convert *every* missing PF feat from the core rulebook to Starfinder, I’d pretty quickly ask if they meant even feats that refer to rules that don’t exist in Starfinder and already have their basic concept covered, like Exotic Weapon Proficiency. The publisher might come back and agree that some feats don’t need conversion.

However, once I get told that yes, EVERY feat needs to be converted, constantly asking if that’s the case even if the end result is dumb, or even if that means confusing people, or any other objections, I’m moving beyond just asking for clarification. Once you have your answer work with it, for better or worse.

If the answer means you can’t work on a project for personal or ethical or legal reasons, at that point just say so.

Be As Polite As The Situation Allows

Ideally, you’ll always be in a place where you can be polite and considerate to your publisher. If nothing else, with luck you’ll have some idea what kind of material the publisher produces before working for them (or even pitching them ideas) and will have just avoided anyone who is going to ask for things you think are stupid or problematic.

Even just five years ago, I’d have made this advice to ALWAYS be polite. And, honestly, my privileged and luck have meant I have always had that choice (though I haven’t always used it, to my regret). But I have seen other writers put in situations where I confess, polite might not convey how serious an objection is.

I strongly recommend defaulting to as polite as you think you can possibly be, and reserving more stringent language and complaints for serious legal or ethical objections, but that has to be your call.

Explain Your Concerns

Saying “this piece of art is terrible” isn’t helpful to a publisher. Be as specific, and as nonjudgmental, as the situation allows for. Does the art depict the 8-armed Klyzon species as having 6 arms? Are the colors so muted and fuzzy that from 2 feet back it just looks like mud? Does the Klyzon look EXACTLY like a character from the Trek Wars animated series? It it’s tattoo of a symbol with real-world religious or political meaning? Is the Klyzon man a horrific monster in full armor, and the Klyzon woman a near-human with tiny horns wearing sexualized attire?

Specific details on what is your concern, and why it concerns you, helps move quickly to seeing if improvements or resolution can be found.

If there is a broader social issue in play, it may help to link to resources education on that issue. Yes, this is asking you to do extra work, and that’s both unfair and not your ethical duty. I offer the suggestion because I have found it effective, but you have to decide how much effort you’re willing to put into any issue.

Offer Solutions

If you can think of an easy way to address your concern, pitch it. Publishers love solutions to problems, especially compared to problems they have to spend time working on themselves.

In fact if approving your solution is less work than figuring out some way to get what the publisher originally asked for, the publisher may just agree to save time and effort.

Try To Do It All At Once

This isn’t always an option, but a publisher can much more easily deal with a unified, concise list of 7 issues with a project, than getting a new issues brought up 7 different times during production.

Pick Your Battles

There’s nothing wrong with noting you think a sketch of a monster you are writing up is too goofy to convey the theme of menace and fear you have been asked to write… but that’s also not something I’d ever take beyond the bringing-it-up stage. The publisher has people they trust to make publication decisions, and they are unlikely to take your freelance opinion over that of their staff or trusted contract producers.

Even when mentioning concerns, it can be worth it to note when you are just bringing something up for consideration, (and will finish your work as agreed, on time, to a high standard of quality even if nothing changes), and when you think there is a serious issue you need to find clarification on before you can continue, or that you fear may impact the value of your work.

To Thine Own Self Be True

I wish I didn’t even have to cover this, but that’s not the world we live in. Your own sense of ethics, morality, and right and wrong should take precedence over giving a publisher what they want… to whatever degree you decide you’re willing to pay the price for making a stand.

It’d be nice to claim you’ll always be rewarded for doing the right thing but again, that’s not the world we live in. Only you can decide what to do when legal obligations (such as a contract), financial obligations (such as looming rent payments), and moral obligations (such as creating work you think might harm others) aren’t in alignment.

But I don’t personally think advancing your career, or getting one freelance paycheck, is worth feeling you have made the world a worse place. Be honest with yourself, and make the best call you cab.

Don’t Assume The Publisher Is Making a Change Until They Say So

Some freelancers will write in they have a concern, propose a solution, and then immediately continue their writing as if their proposal had been accepted. In some cases this has included things such as saying a topic can’t support 1500 words, so they are going to write 1100 words on it, and 400 words on some new topic.

Don’t. Do. This.

The project outline and remit hasn’t changed until the publish says it’s changed.

Be Clear On Your Position

I never recommend starting with ultimatums or even making threats, but especially once you have voiced a concern, if you are dissatisfied with the publisher’s solution, it’s worth talking about how you would like to proceed.

You may just note you won’t want to take similar projects in the future. You might ask that your name be taken off a project. You might need to ask for extra time because you feel the scope of the project has shifted or requires more research than you expect.

I personally have never, on ethical grounds, backed out of a project without the publisher’s approval once I had signed a contract. But I’m not going to claim there are never circumstances where that might be the moral choice. Myself I’d always finish wordcount and turn a project over by deadline, even if I had to write something that wasn’t exactly what was asked for because I have conscientious objections to what was asked for.

I have asked a publisher if they would approve of my walking away from a contract for various reasons, and had them agree to it. In general, that means I don’t get paid for work already done (which the publisher then cannot use), and that’s often the cost of doing business.

Don’t Freak Out

As a socially awkward introvert with depression, I know it can be overwhelming to tell a publisher you think they need to change their concept. But it happens, and most publishers are used to it, and many even appreciate it. By being prompt, polite, and specific, you can generally get a dialog going on issues without having to take on a huge emotional burden.

Patreon
If you find my line of Writing Basics articles useful, and you’d like to support the creation of more such content, check out my Patreon!

Developing to Spec: Part 10d: Down the Rabbit Hole

This is the fourth section of Part Ten of a series of articles looking at creating a set of Starfinder feats under specific constraints.  You can read along as we convert every feat in the PF core rulebook to Starfinder (and  share my thoughts on that process, as a developer and writer)— or you can just look at the finished feats (as they are written) here.

While we were going through the PF core rulebook feats in order, we’ve once again hit a whole category of feats –item creation feats. And I had no plan for handling that. So I came up with what I thought was a clever item creation feat for Brew Potion and Craft Magic Arms and Armor. The I applied it to Craft Rod and Craft Staff, which was weird. Then Craft Wand and Craft Wondrous Items, which was weirder. Now we just have Forge Ring and Scribe Scroll left.

The further I go down their weird rabbit whole of having Craft Wands make hybrid items, Craft Staff make technological ones, and Craft Rods do augmentation, the more I doubt my choice to do things that way. But I’m already most of the way down the rabbit hole, so I’m going to tackle the last two of these feats, and think about how I like the full set as I move on with other feats next week.

FORGE RING
You’ve mastered the nearly lost art of magic ring forging, and can aply it to creating similarly useful objects of magical power.
Prerequisites: Mysticism 7 ranks.
Benefit: This feat interacts with magic items that do not use charges (see the rules on Charges in the Magic Item section of the Equipment Chapter of the Starfinder Core Rulebook). Over the course of ten minutes you can break down a number of such magic items with a total item level no greater than your character level. You receive half these item’s credit value in UPBs.
Additionally with one hour of work, you can turn UPBs into a number of such magic items up to a total of item levels no greater than your character level. None of these items may have an item level greater than your character level.
Using this feat for either function requires you have access to an arcane laboratory. Alternatively you can do this with nothing more than the UPBs and a relatively quite space to work in, but when you do so you are limited to objects with an item level at least 2 below your character level.

SCRIBE SCROLL
You are adept at taking magic energy and freezing it time, a process that was once done using ink and parchment, and now generally involves spell gems.
Prerequisites: Mysticism 1 rank.
Benefit: This feat interacts with magic items that have charges that never refresh (see the rules on Charges in the Magic Item section of the Equipment Chapter of the Starfinder Core Rulebook), except serums and spell ampules which fall under Brew Potion). Over the course of ten minutes you can break down a number of such magic items with a total item level no greater than your character level. You receive half these item’s credit value in UPBs.
Additionally with one hour of work, you can turn UPBs into a number of such magic items up to a total of item levels no greater than your character level. None of these items may have an item level greater than your character level.
Using this feat for either function requires you have access to an arcane laboratory. Alternatively you can do this with nothing more than the UPBs and a relatively quite space to work in, but when you do so you are limited to objects with an item level at least 2 below your character level.

PATREON
Like all my blog posts, this is brought to you by the wonderful patrons of my Patreon! I’m happy to do this kind of Practical TTRPG Designer masterclass free to the public… but it’s only possible for me to take the time to do so if people join my Patreon and help me have the free time to write these things!

Developing to Spec: Part 10c: More Weird Design Choices

This is the third section of Part Ten of a series of articles looking at creating a set of Starfinder feats under specific constraints.  You can read along as we convert every feat in the PF core rulebook to Starfinder (and  share my thoughts on that process, as a developer and writer)— or you can just look at the finished feats (as they are written) here.

While we were going through the PF core rulebook feats in order, we’ve once again hit a whole category of feats –item creation feats. And I had no plan for handling that. So I came up with what I thought was a clever item creation feat for Brew Potion and Craft Magic Arms and Armor. The I applied it to Craft Rod and Craft Staff, which was weird. Now we go forward with Craft Wand and Craft Wondrous Items.

CRAFT WAND
Wands were one the magic tools of choice for spellcasters throughout the galaxy. No one knows what momentous shift changed how wands functioned, but you have studied all the rites and rituals that once created them. That knowledge turns out to apply well to the creation of advanced technology augmented with magic, despite the appearance of these “hybrid” devices often having little to do with what is often considered a ‘wand.”
Prerequisites: Engineering 5 ranks, Mysticism 5 ranks.
Benefit: Over the course of ten minutes you can break down a number of hybrid items with a total item level no greater than your character level. You receive half these item’s credit value in UPBs.
Additionally with one hour of work, you can turn UPBs into a number of hybrid items up to a total of item levels no greater than your character level. None of these items may have an item level greater than your character level.
Using this feat for either function requires you have access to an arcane laboratory or tech workshop. Alternatively you can do this with an appropriate toolkit, but are limited to objects with an item level at least 2 below your character level.

CRAFT WONDROUS ITEMS
You are well-versed in the creation of magic items that work off recharging pools of magic.
Prerequisites: Engineering 5 ranks, Mysticism 5 ranks.
Benefit: This feat interacts with magic items that have charges that refresh each day (see the rules on Charges in the Magic Item section of the Equipment Chapter of the Starfinder Core Rulebook). Over the course of ten minutes you can break down a number of such magic items with a total item level no greater than your character level. You receive half these item’s credit value in UPBs.
Additionally with one hour of work, you can turn UPBs into a number of such magic items up to a total of item levels no greater than your character level. None of these items may have an item level greater than your character level.
Using this feat for either function requires you have access to an arcane laboratory. Alternatively you can do this with nothing more than the UPBs and a relatively quite space to work in, but when you do so you are limited to objects with an item level at least 2 below your character level.

The reason I limited this to a specific subset of magic items is twofold. First, magic items can do nearly anything in Starfinder, so they are more flexible that technological items. Second, breaking them into different categories both gives me more space for Forge Ring and Scribe Scroll,and better models how Pf divides its categories of magic items.

That leaves just two more item creation feats, which we’ll tackle tomorrow!

PATREON
Like all my blog posts, this is brought to you by the wonderful patrons of my Patreon! I’m happy to do this kind of Practical TTRPG Designer masterclass free to the public… but it’s only possible for me to take the time to do so if people join my Patreon and help me have the free time to write these things!