I have heard recently from three different friends who all said three different other friends are “sure” I hate it in Indiana, here in the Land of the Brain Eaters.
I’m actually settling in really well. Yes, I am sometimes lost, depressed, disconnected, moody, or in a black doldrum so dense nothing, not even cheer, can escape.
But… that’s just me, folks. I have civilian PTSD. I suffer clinical depression. I am a socially awkward introvert. None of that was going to stop because I moved to the last place in the US where you can buy a fried brain sandwich any day of the week.
I mean… maybe once I eat my first brain. I’m saving that for a special occasion.
But honestly, I am doing better than I expected, by a long shot. I have only ever lived in central Oklahoma and the Seattle region (well, and one semester in California when I was in kindergarten). Ever time I have moved, even just to a new neighborhood in the same town, it has taken me months to get comfortable. Sometimes years.
Here? I’m already pretty comfortable.
Some of that may be how I moved–for me the most grueling part was packing things up during the 5 weeks I was still in Redmond after Lj had flown out to Evansville. But that meant our possessions, including my bed, were already in place when i arrived. There was a space for me before I got here. Yes, about half of what I own is still in boxes, and we’re still figuring out which kitchen drawer has the spatulas, and the movers lost some of our furniture and ruined more–but none of that is part of Evansville. It sucks, but it’s just life.
Gen Con was shortly after my arrival, and while driving to and from the Con in a few hours was a new experience, the Con itself is familiar. The Con Crud I got was new — just a little sore throat and a tad too much mucus, combined with a fatigue that kicked my ass for three weeks. So some of the vibes people seem to have picked up may have been annoyance with how little energy I had.
The culture here is one I understand. It’s not the same as OK or WA, but it’s similar to both of them in a way. No one looks at me funny when i say ‘yes, sir” or “thank you, ma’am,” most food is fried *or* bar-b-que *or* Asian fusion, there are multiple multiplexes, lots of delivery services, and a dizzying array of test kitchen restaurants.
Roads are largely laid out on a grid with 90-degree turns and packing lots shared between businesses. Things are flat, though not Oklahoma flat. There’s real thunder, so far on a nearly-weekly basis. The sun comes up and goes down at reasonable times.
I miss my Seattle friends… but I still chat with them online. I miss my OK friends… but I just saw them last month. I enjoy being closer to friends who live in IN and adjoining states, and I expect I’ll make new friends. And if I don’t, that’s okay too.
And WOW are things cheaper than Seattle. Like, stunningly cheaper. That takes a LOT of stress off.
My wife Lj and I have begun figuring out what life here is going to be like. We took our first ever yoga class–a chair-based one, for beginners–and I think that’s going to be a huge part of the future. It’s less than 15 minutes from our apartment, we clicked with the class and instructor immediately, and it had an immediate positive effect on us. I have come to think of it as physical therapy for being human. As I claim back strength and flexibility lost to years of stress and sitting, I’ll be looking at next steps, but this first step feels very *right*, and useful, and sustainable.
I’m already in a Pathfinder game, so that’s good. 🙂 I have also already begun to carve out the new shape of my career. I’m the Game Design Expert at Lone Wolf Development, I have a real plan to produce some fiction in a way I never have before, and I have more things as settled deals which just aren’t ready for announcement yet.
There will be dark times ahead, of course. That’s a fact of my life — I am at war with my own brain, and I take that war with me anywhere I go. But I don’t think those battles will be harder here than they were elsewhere. Yes, my support network is more virtual and less direct now, but then my sources of stress are also reduced. Yes, there are some big financial challenges we put off until after the move, but we are in a good place to tackle those. A lot of the things I thought would happen now look like they aren’t going to, but I knew not all of them would–just not WHICH ones wouldn’t. And, at least at the moment, I am sanguine with my prospects.
And for a while at least, there’s a whole city to explore. Will we go to the giant bridge club building? Visit one (or more) of the many minigolf courses? Pick a “favorite” restaurant, or game store? Go back to taking the occasional evening drive in air that cool but not cold?
Find the elusive Red Cathedral? Or Storm Arsenal? Fight the Brain eaters… or join them?
I don’t know.
But I look forward to finding out.
I have one, here. Feel free to come sign up and support my online writing! I hope to use the next few weeks to get caught up, revitalize my online presence, and create some cool stuff! You can be part of that, if you want to. 😀
Just coming off Gen Con, which gave me an opportunity to talk shop and history with many of the titans of tabletop, I want to offer some insight on what it’s like to be a manager, owner, or major executive employee at a tabletop game company.
I’ve worked on staff at Wizards of the Coast, Green Ronin, and Paizo. I’ve freelanced for a dozen other companies, and know many of their owners and executives very well. I’ve helped start, run, and shut down game companies. I’ve been doing this in different roles for more than 20 years.
This insight isn’t about one company. Nor is it about my own time constraints (in general my role is game creation and NOT these kinds of tasks)
This is about the tabletop RPG industry as a whole, as it has been for decades, in many different capacities, for many different companies.
First–you never have free time, or enough time. There is always an event coming up. Sometimes people have to walk away from one almost-week-long event that took 2 months to plan for to get on a plane to fly overseas for another such even. Sometimes people work 5-6 weekends in a row at events, conventions, sales meetings, open houses, and so on. Sometimes you have to work 30 8-10 hour days in a row.
And the people who do that work also have things that have to be done every weekday, every week, every month. It’s 40 hours of work if you are lucky, AND weekends of work (especially during March-August, the half the year we refer to as con “Season”), AND THEN emergencies that are time-sensitive and cannot wait.
And it’s a rough industry. Most of the game companies I bought things from 20 years ago don’t exist anymore. A lot of the ones I bought from 10 years ago don’t exist anymore. Even those that are still around sometimes suffer layoffs, or long periods where things are so risky that a single bad decision about which license to sign, which partner to anger, which friend-of-a-friend you annoy, which print run to cut back, which book to publish, can sink a company.
It’s high-stakes, high-stress, high-time-consumption, all the time.
I absolutely am not telling anyone they are not allowed to ever feel like a company isn’t giving them enough attention. But when there are serious problems, it’s wrong to think the company owners or senior staff are showing disrespect or proving they “don’t care about customers” because they “won’t just take 10 minutes and discuss some information.”
The people who make the decisions who keep the doors open at a tabletop game company can’t do anything regarding major problems off-the-cuff.
It’s never “just 10 minutes.”
And, again, I’m not currently dealing with any of these huge issues in my role at any company right now.
But I have in the past.
I know when I have had issues with licenses with other companies, when I was in other positions, I have had to not just decide “What do I want to say,” but:
“Do I need to warn my partners, who are also partners of a company i am having issues with, before I make a statement about that company’s issues??”
“Do I need to run this by my company’s owner?”
“Do I need to run it through our legal council?”
“Do we need to have a meeting to make sure everyone is on the same page about what has happened, and what our plans are?”
“Do I need to have editors go over my statement so it is clear and concise?”
“Would I rather take the 2-3 hours of collective time it is going to take to do this, or to sleep at least 6 hours tonight?”
And when the people who run these companies are too harried to make the right business decisions? People lose their jobs.
It’s not just a game, or a badly produced entertainment product for the people who depend on these jobs for health insurance, retirement income, and rent.
The thing you claim will be easy to give you?
Done right, it’s never just 10 minutes.
Done wrong, it can tank someone’s job.
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Well I don’t like TOO much preamble before getting to the point of the announcement, so here’s the tl;dr version.
My wife Lj has gotten a job in Indiana, working as an Executive Assistant for Lone Wolf’s vice-president. As a result, she and I are moving from WA to IN.
In fact, Lj is flying out to our new apartment (if you need our new address and don’t have it, drop me a line) on Saturday. June 15th. In 3 days.
I’ll be around for about a month in Redmond, and then go out to join her.
Inevitably some folks will have questions, so predicting them as best I can, and in no particular order:
Starfinder isn’t going anywhere. Paizo has lots of amazing, hard-working, and talented people on that game line, and they have known I was leaving for a bit now. We don’t know exactly how everything will get sorted out, but the game line and its products will continue.
I remain a huge fan of Paizo, Pathfinder (both editions), Starfinder, the Adventure Card Game, and even things I can’t talk about yet. I was a freelancer for Paizo for years before I was a full employee, and I expect to be freelancing for them again in the future.
While Lj getting a job is the reason for this change, yes, I have plans that involve other companies. But I’m not announcing any of them just yet. Rest assured, I am not leaving gaming behind.
Yes, this is why Rogue Genius Games is taking a short break. But in the long run, it’s not going anywhere. I have plans and plans, yet, for my tiny little gaming company, and its partners and allies.
Yes, that’s why I will be at Gen Con this year. I had decided not to do any out-of-state conventions in 2019. But that won’t be out-of-state by August.
If you have more questions, let them fly!
I have now been a full-time employee of Paizo for five years.
It both seems like it’s been much, much longer than that, and like it can’t possible have been that long.
I was hired to be a developer for the Pathfinder Modules line, and that lasted for all of a single module (Plunder & Peril), which was outlined and ordered before I showed up, written by awesome authors, and which both Paizo Editor-in-Chief at the time Wes Schneider and the entire Paizo editorial staff had to do a lot of hand-holding to get me through it. Then I moved over to help with the Player Companion line, which I eventually took over. The first book I was able to propose, outline, assign, develop, and shepherd through the whole process was Dirty Tactics Toolbox, and it remains something I am proud of. I developed or helped develop 24 titles in that line, covering a little more than two years. Again, it both feels like it was longer than that, and like I couldn’t possible have been doing that for two years.
During that time I was also the host for Paizo’s RPG Superstar contest, was the Freeport Developer for Green Ronin (and yes, that got complicated, and I appreciate more than I can ever express the trust both companies placed in me), a blogger, the publisher for Rogue Genius Games, a developer and then producer for Rite publishing, a freelance writers developer and consultant, the person who handled most of the development blogs for the Emerald Spire (leading to my “Into the Emerald Spire ongoing multi-year Con game, which will be played at the 6th PaizoCon in row come next month), a seminar attendee, and as much as possible an advocate for the causes and people I thought needed allies.
(And as a ridiculously long parenthetical aside, I wish I had written something like this for my five-year anniversary with Green Ronin, who have been a loving and supportive family in ways I never would have predicted, and for Rogue Genius Games, which is still my baby. But those milestones hit at times when I didn’t have the words. I don’t want to take away from my main point, but nothing in the past five years has been simple, and I need some folks to know I love and appreciate them at a special level. Thanks Ronins. Thanks Stan! I would not have survived the past 60 months without you all.)
For five years, Paizo has been the focus of my social, professional, and financial life. I met new people. I made, and in a few cases lost to tragedy, close friends. I even had a “five year plan.” I thought I was on a specific path, and thought I knew where that would take me.
Which I never saw coming.
First the pre-game work, then the core rulebook, and now the work as Starfinder Design Lead. I’ve followed, collaborated, tried to lead, grown, and I hope helped others to grow. I am grateful for how amazing and talented all the people who work on Starfinder in all capacities are, and I am truly proud of a universe I have helped to begin. I look forward to seeing it evolve, especially watching the amazing things other people are doing to make it so much better than I imagined.
On the journey to be here, this arbitrary benchmark which has me writing passionately at 3:30am (and not at all for the first time), one moment sticks out in my mind.
In early 2014, on a phone call with Erik Mona about whether I would seriously give up the life of being a full-time freelancer in the extremely cheap and well-known environments of Oklahoma to take a full-time job for Paizo, he asked me why I wanted the job.
“I want to grow. I want to be around people who do work I admire. I want to meet new people, learn new skills, and do new things. I love Pathfinder, and I love Paizo. I want to help both of those things be better, and I can’t imagine a better place for me to be around successful people who can help me be better.”
It was, Erik said at the time, a great answer.
And, it has proven to be a great success in terms of making me a better person.
The past five years has certainly not been without its challenges, frustrations, pains, fights, and failures. But especially on the my year anniversary, I want to take special care to thank EVERYONE I have ever worked with since I joined Paizo, from managers and publishers and the warehouse crew and art department, editors, designers, developers, and owners, to freelancers and the community and Superstar contestants, for being so helpful, and welcoming, and awesome.
I look forward to the next five years, and all the challenges and opportunities they will bring.
Owen K.C. Stephens,
Starfinder Design Lead, Paizo, Inc.
A lot of shows got cancelled recently. That’s fine. Good, even. It’s part of the Entertainment Cycle of Life.
So, here are my top ten pitches for new Geeky TV series. Note that in many cases while I am pitching it, I’d be the WRONG person to write, direct, or produce these.
It’s a single-room comedy… in space! Think of it as Cheers, but set at Quarks.
The US Civil War was about slavery. In a world where the heroes of the ancient world were real, and super-science and magic are just beginning to develop, this is the story of early mystery men (and women) operating during the civil war.
8. Lower Decks
The U.E.S. Topeka is the jewel of the United Earth fleet. On its upper decks negotiations decide the fate of systems, bluffs end wars, and strange creatures on contacted for the first time.
On its lower decks the sanitation systems have to be maintained, the quantum torpedoes polished, and the missing synthetics crate from storage 141 has to be found before the new official review. What goes on above deck 50 doesn’t make much difference down here.
Unless there’s a hull breach. Or a Krangin prisoner escapes. Or a visiting alien turns out to be accompanied by a vampiric slime that got into the air ducts.
A therapy group on loss decides they are tired of just mourning their dead. They have MMA fighters, engineers, paramedics, even a cop. No one of them could be a hero, but as a group? As a group they can forge one new figure to make a difference.
They can be Vigilance.
Foresee a fight? Then have one of the fighters wear the suit. Need to interrogate someone? Send the psychologist. Someone in the Vigilance suit gets hurt? Patch them up in secret at a member’s house, and send out someone else the next night.
No one has all the skills to be Vigilance. But between the twenty of them, they have this covered.
6. Lost City
Under Seattle is the famous and well known Seattle Underground.
Beneath that are the Tunnels and Cellars.
Beneath that is the Lost City. Things that have been lost, forgotten, or abandoned often end up in the Lost City. Atlantis may never have existed, but there are a few Atlanteans here. the Rat emperor is always lurking at the edges. And this is where the Sasquatch went when they were driven out of their native homes.
Debbie Darbaski’s little brother disappeared when they were children. Now a young adult she gets a letter from him, asking for help. In the Lost City.
5. Perri Hotter and the Arcane Adult Education Class
Look, not everyone in the Magic World can make it at the ivy-wand-league schools, like Warthogs, or Bullbrakes. Sometimes when you AREN’T the chosen one, your life takes an unexpected turn, and you best bet is Arcane Adult Education Class.
Of course that means if some villain DOES manage to encase all the major magic schools in dream ice, you and your evenings-and-online-classmates may the the only hope the Magic World has. And as the best-of-the-worst, everyone is looking to Perri Hotter, who was once mistaken for the Chosen One, to save the day!
Which doesn’t mean she can skip her day job, either. Saving the world doesn’t pay the bills.
The year is 2100. Asmara is the major, mobile solar-system traveling space station controlled by the African Union. With unlimited solar power and self-sufficient hydroponics, it is beholden to no one, and on it cultures suppressed for millennia are having a Renaissance.
3. The Game Masters
As the world gets weirder, the governments of the world often need experts who can tell the difference between real satanic rituals, and circles taken from the Paladin Roleplaying Game. Combining esoteric knowledge, game theory, and a host of friends with weird hobbies. Han Kite, Robin Kaos, and Mike Selinker (as himself!) tackle the weird cases the more traditional agencies have thrown up their hands and given up on.
A group of US firefighters go to help with an out-of-control blaze in Europe, but are cut off and surrounded by flame. they take refuge in a root-encrusted cave, pass out, and when they wake up and come out, it’s the 9th century.
And the locals mistake them for “ashmen,” Dane raiders famous for their ash-wood ships.
They have what was on them at the time, and their collection of modern knowledge. Can they make a new life in the dim past? Can they even learn the language? And, once they befriend a local village, can they protect it from the REAL ashmen, who are coming to raid?
1. The Morrigan
Erin Gabanna always loved her grandmother, but is still shocked when she inherits everything upon her grandmother’s death. In a letter, her gran warns her that this includes the title of The Morrigan–Erin is now the harbinger of death, lady of crows and wolves, and a member of the unseelie court.
Erin will be drawn to death and war for the rest of her life, and will be hunted by the one-eyed Cuchulainn as her geas.
Erin’s grandmother hid her connection to death, but Erin is going to fight it. Or, at least, seek to bring justice to those deaths she is drawn to. In this she leans on her friends of college, which include a paramedic, a lawyer, and her best friend, a celebrity bodyguard.
The Morrigan is a murder-of-the week procedural, as Erin is supernaturally drawn to death but decides to solve these crimes on her own accord, with a running B-plot of supernatural politics with Maeb, Dagda, and other entities trying to draw Erin in as a young, inexperienced member of the court with a lot of enemies, and few allies.
Entertained by just the IDEA of these shows? Feel free to support me on Patreon!
(Want to pay me to actually work on these, or create more ideas for you? Leave me a note in the comments, or shoot me a line at email@example.com!)
If you are trying to get a publisher (or developer, editor, producer–anyone who could pay you for words) to accept a pitch of yours, tell them why they should care about it.
Compare the following pitches for “State of the Union,” a hypothetical Starfinder adventure.
I’d love working with you, and would like to discuss with you the possibility of having you publish a Starfinder adventure I am working on called “State of the Union.” It is for 1st-level characters, and is set in the multi-species Student Union of a space-stations major university. What appears at first to just be normal academic pranks turns out to be the cover for a major organized crime operation, and only the PCs can stop it!
The adventure would be 32 pages long, and I could have it completed in 3 months.
I’d love working with you, and would like to discuss with you the possibility of having you publish a Starfinder adventure (designed to be released under the OGL and Starfinder Compatibility License) I am working on called “State of the Union.” It is a lighthearted adventure for 1st-level characters, and is set in the multi-species Student Union of a space-stations major university. The PCs uncover what what appears at first to just be normal academic pranks, but turns out to be the cover for a major organized crime operation! No one else takes the threat seriously, lives are at stake, and only the PCs can stop it!
The adventure would be 32 pages long, have 2 pages worth of maps, and I could have it completed in 3 months. A full outline is available.
Among the projects I think might be a good match for your company is a Starfinder adventure (designed to be released under the OGL and Starfinder Compatibility License) titled “State of the Union.” It is a lighthearted adventure for 1st-level characters, and is set in the multi-species Student Union of a space-stations major university. The PCs uncover what what appears at first to just be normal academic pranks, but turns out to be the cover for a major organized crime operation! No one else takes the threat seriously, lives are at stake, and only the PCs can stop it!
I envision this as 32 pages long and needing 2 pages worth of maps, and I could have it completed in 3 months. A full outline is available. It could also be adjusted to be longer or shorter, to fit your production needs. The core of this adventure comes from my experiences as the manager for the parking garage of the University of Oklahoma Student Union in the 1990s. During my 20-years as an RPG designer I have considered designing it for d20 Modern and Star Wars Saga Edition, but what has always been missing before are elements now available with the Starfinder RPG.
So, this one is special. It was written in response to this article by Steven Marsh.
If you want to learn about RPGs and how they work, you should already know who Steven Marsh is. If you don’t, go look him up. But the main thing is that he was editor of Pyramid Magazine for 18 YEARS!
Steven has seen more RPG pitches than I will in a lifetime. If you ignore everything I wrote here, PAY ATTENTION to his much-better version (reprinted with his kind permission).
I’ve reviewed your submission guidelines and hope you’ll consider a new entry for your line of adventures under the Starfinder Compatibility License.
THE PITCH: Intrigued by seemingly mundane academic pranks, the heroes soon discover these deeds are cover for a major organized crime operation. With no one else taking this life-and-death threat seriously and the clock ticking down, only the spacefarers can infiltrate the multi-species student union and save the day . . . hopefully before the evening’s Zero-G-Pong Charity Fundraiser!
SPECIFICS: This is a lighthearted scenario close in tone to your adventures “Toastmaster Emperor” and “Pair of Dice Lost.” Designed as a combat-light standalone adventure for 4-6 low-level heroes, it can also serve as a followup to “Toastmaster Emperor.” It’s outlined at 31 non-title pages: 6 pages of background, 20 pages of encounters centered around two locales, and 5 pages of new gear and adversaries. It requires 2 maps; I could provide basic InDesign or JPG files, which can either be used as is or form the basis for more “professional” efforts.
Thank you for your consideration, and I look forward to your thoughts!
You CAN put in too much information, and Pitch Three is pushing what i consider to be the upper bounds. But letting a potential publisher know you have done your homework, you have relevant real-world experience, and this isn’t your first rodeo are all useful additions to what you are pitching and why.
Also, as much as possible, reuse any work you have already done and still have the rights to (though clear that with your publisher, if it’s ever been seen by the public before) and write things you can use multiple ways.
For example, I WAS the manager of the OU Student Union parking garage in the 1990s, and I DO have an idea for an adventure called “State of the Union.” So, if a publisher asked me about this article, I could confirm those details.
(Though I DON’T have an outline. Yet…)
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I love my editors.
I kinda have to. I need to treat them the way fighter pilots need to treat their ground crews. without them, I can’t do my job.
They are the only people in the world companies will pay to make me look smarter.
So, when they savagely rake me over the coals on something, I try to pay attention. To be a better writer, of course. And to show them I respect the effort I put into sending me feedback.
But, also, because I never want to know the savagery of a twice-spurned editor who finds the same mistake in a turnover of mine after pointing it out for me all special.
So that you can perhaps learn from my mistakes as well, here are the three two most savage pieces of editorial feedback I have ever received on my writing. I’m naming names.
One. Stilted Dialog.
Lj Stephens was editing a short piece of intro fiction I wrote for a game product. She asked for a revision noting:
“It’s great, except for when people are talking. That is all bad. Can you rewrite this so no one speaks?”
Yes. Yes I can.
Two. Passive Voice.
Louis Agresta sent me feedback on an adventure I wrote for him that said “Too much passive voice has been put in this adventure.”
Wow, that sentence is So awkward I wonder why…
Three. American Spelling.
I turned over a manuscript to Wes Schneider which, to be clear, was for an American publisher.
I spelled the word gray as “grey” throughout the text.
He gave the manuscript back to me with editorial comments. The first time that appeared, there was a correction.
The second? A bigger correction, with a star by it.
The third? The page bled red ink.
Wes said we fought a war for that ‘A.’ He mentioned I was making baby George Washington cry. He drew a sketch of a field of cut-up and dying E’s in red ink on the manuscript, and told me I had to enter all the corrections myself.
With apologies to baby George Washington.
Good luck out there. Be kind to your editors.
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This is a very small thing… and yet an important one.
When, as a freelancer, you turn your project over to the contact with the client (be that editor/developer/manager/producer/publisher), make sure you are giving it to them in the format they want.
If they have a style guide, READ AND FOLLOW IT.
If they DON’T have a style guide, ASK how they want it.
For many years, I VERY much preferred writing in WordPerfect, then exporting files as rtf or text, depending on what my client would take.
But over the years, more and more of them specifically wanted .doc, or .docx, or even styled Word documents using specific fonts and styles.
So, I had to give up my Beloved WordPerfect, more than a decade ago.
The vast majority of freelance work I do now is turned over in styled Word docs, as requested by the publisher.
Some publishers HATE styled Word docs. Some need things in google docs. I literally had one ask me to send the material in the body of an email… which would be anathema for everyone else I work for.
So the takeaway here is that it’s very little effort to ask, and it wins you a lot of goodwill to give publishers materials the way they want them.
Writing for tabletop games, RPGs in general, doesn’t pay fabulously well. Especially as a freelancer. The pay rates range from about half-a-cent-a-word on the lower end, to a ceiling of about 10 cents/word. An average is about 4-5 cents a word… and has been for this entire millennium.
Most of that is work-for-hire as well, so there’s no royalties, no residuals, and no opportunity to get a big payday when a project is a smash hit.
So, if you write 1,000 finished words a day, every day (which in my experience means writing 2-3k total words a day, so you have time for dead ends, revisions, and second drafts), AND you sell it all, AND you get paid for everything on time you’ll make… $1,500 a month.
With no vacation, sick leave, or benefits.
So, how does anyone survive on that amount of money?
Sorry, this is going to be a bit grim.
Don’t Quit Your Day Job
The fact of the matter is, most people who write for tabletop games don’t make enough money doing so to pay all their bills (and especially not to do that and pay their own health insurance, put money away for retirement, build an emergency fund, and so on).
I’m not saying it can’t be done. I AM saying don’t assume you can do it until you’re seeing evidence it’s true.
Especially as you first begin to write for money, I strongly recommend you make that a side gig. It can be a fun way to make extra money, and it can reduce the stress of knowing your nascent writing skills/fledgling career has to pay the bills.
When I first began freelance tabletop game writing, I just wanted to make enough money to pay for a Dragon Magazine subscription. That was a reasonable early goal, and it wasn’t until I was making more money writing than my 40-hour job I went full-time. I strongly recommend this path. Yes, it reduces the pressure to succeed, and some people thrive under that pressure, but it also gives you time to make contacts, build a reputation, and settle in to a new lifestyle.
Live Someplace Cheap
Telling someone the secret to surviving on a tiny amount of money is to move someplace cheap sounds like out-of-touch advice from someone who doesn’t have to do it, and I’ll happily acknowledge that it’s just not a realistic option for everyone.
It is, however, exactly what I did for the majority of my freelance career.
In 2001 I was laid off from a salaried position at Wizards of the Coast, just 14 months after I was hired, and just 3 months after I had sold my out-of-state house and bought a new one on the assurance my job was secure.
And, suddenly, I couldn’t afford to live in the Seattle area anymore.
Note that it wasn’t as expensive them, even relatively, as it is now. But I also wasn’t as well-established then, and looking at making it as a full-time freelancer my wife and I could see it just wouldn’t be possible if we stayed in our new home, hung out with our new friends… or kept our new house.
I could have gotten a non-tabletop game industry job and made ends meet. But we decided nor to do that.
Instead, we moved to Norman, OK, one of the cheapest places in the US to live, and a place where we had an extensive support network. An there we stayed for the next 13 years, as I worked at being a full-time tabletop/RPG writer, up until I was hired by Paizo in 2014 and we moved back to the Seattle area.
So it wouldn’t be an honest or complete list of options from me, if I didn’t include one of the main coping methods I used.
We moved someplace cheap, and stayed there almost a decade and a half.
Ask For More
Don’t be a dick about it, but there’s nothing wrong (BEFORE agreeing to terms and signing a contract) with telling someone you want more money for a project. The difference between 4 cents and 5 cents a word may not seem like much, but it’s a 25% raise.
See if you can retain any rights. See if they can revert to you after 5 years. See if you can get profit sharing. Don’t come back with these over and over on the same project, but do feel free to ask for SOMETHING if you think you’ve earned it. If you are doing your 4th or 5th project with the same people, it’s worth seeing if you can get even a minor raise. It doesn’t have to be a cent a word– if they are offering $55 for 1,375 words and they won’t go for boosting it up to $68.75, ask if they’ll just do $60.
Every. Little. Bit. Helps.
And if you are someone who hates asking for more, or are afraid even one request for a raise will cause a potential client to immediately drop you?
The industry will be happy to never give you more… to your significant detriment.
People who pay you to write for them have a legitimate expectation you’ll do your best work for them, regardless of what they pay you. Once you agree to a pay rate, you are agreeing to do a good job for that amount of money.
Writing is, in my experience, a task where I can ALWAYS do a better job if I have more time. If I have a completely finished draft, ready to go to editing and layout, and a publisher asks me if I could make it better if I had a new deadline and they were going to pay me the per-word rate again to make it better?
The answer is always yes. That’s literally what developers do. And even with my own material, I can always find ways to make it better.
Which means, I can always find ways to take longer than I can afford to.
I’m absolutely not saying to rush through a job or delivery a crappy manuscript. Not only do I consider that unethical, it’s a bad way to build a reputation and a career.
But I AM saying that there’s is a reasonable level of effort to be expected from you, and if you constantly go above-and-beyond, you are going to make it hard to write enough to make a living. If doubling your time spend would give you a 5% boost in quality, then that would probably be spending too much time on that project.
The other end of “Write Fast” is to see what you are doing in your writing time that doesn’t put words on the page. Does every trip to Google to look up poisons used in ancient Rome end up with an hour spent looking at TVTropes? Then you may need to set yourself a research timer.
Did you spend more time watching videos of anime space battle that writing about space battles? Then you may need to set yourself some rules on what constitutes “writing time.”
Don’t make yourself miserable, but do remember that if you want freelance writing to reward you like a job, you need to treat it like a job.
Make Your Leisure Writing Work For You
I am assuming here that you DO leisure writing. That there’s SOMETHING you write for fun.
If not, I have no idea why you want to be a tabletop game writer, and you can just skip this one.
Whatever it is you write for fun — campaign histories, fan fiction, descriptions of fabulous gay taverns in Waterdeep — try to find a way to make money off it. Keep it legal — don’t violate copyright to make a buck — but do consider what your options are. If you are writing material for a campaign you don’t own, see if you can rewrite it to be generic and set it up as a Patreon. Post it to your blog and have a Ko-fi.com tip jar. Save it as material to raid if you get a writing gig you can repurpose it for (assuming you haven’t published it some other way at that point). Gather it together into it’s own product and pitch it to publishers… or get into self-publishing.
If you are a writer, all your writing has value. Don’t overlook ways to monetize anything you have written. If you wouldn’t have written it anyway and posting it gets you $10 a month? That means you can cover one more $100 expense once a year.
Recognize Feast and Famine, and Act Accordingly
As a freelancer, sometimes you’ll have a (relatively) large amount of money drop in your lap at the end of a project… and then nothing for months.
Try to prepare for that.
Hold back money for bills you can predict. Try to build an emergency fund. If you have extra money, that’s a great time to buy in bulk if it’ll actually save you money. But if you don’t know when your next payday is, it’s a good idea to spend as little a possible. You don’t want to get a great deal on 40 gallons of peanut butter, then not have money for any other groceries–or gas, or rent–for 3 months.
I am not the person to tell you when it’s time to take a big risk, or give up, or move on, or take a temporary gig to make ends meet. Only you can do that.
But you need good data to make that call accurately.
So keep track of it all. What you made, what you spent it on, how long it took.
Maybe you discover you can write adventures much faster than campaign settings. Or that you spend too much on pizza delivery when you are on deadline. Or that you can save money on taxes with business deductions.
I don’t know. And if you don’t keep track, you won’t know either.
Yes, relationships with publishers, developers, and editors, in an effort to be kept in mind for work. But also other writers (to bounce ideas off of, commiserate, or in case they become publishers, developers, and editors). People in your community who do freelance work (you never know what resources are out there, and local folks are good contacts to find out). Even fans… sometimes.
Your career is more than your skill. It’s who is willing to pay you for that skill, which means who knows you. And who they think will pick something up because you wrote it, which means who they think knows you matters too.
As an introvert with social anxiety I found this one of the hardest things. But I discovered that when people at conventions invited me out for drinks, they didn’t care if I drank or not. I could get a club soda. It was just an opportunity to network, hang out, make connections. I set my career back at least a decade by avoiding those opportunities for most of my career.
Be smart, be safe. But when you are safe and comfortable, reach out to folks, and make connections.
A strong community will pay dividends in ways you can never predict.
Post Your Thoughts, Ask People to Pay You For Them.
There’s always SOMEONE who cares what you think, and who looks up to where you already are.
Some of them will pay you if you post to a blog, and have a link to some way to give you money.
If you found this useful and you’d like to support the creation of more such content, (and/or if you want the best venue for suggesting more topics to me), check out my Patreon!