Advice

What’s Next For Cons

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

When I spoke at Kraken Con last week, it was a bittersweet experience because the convention is shutting down for the time being.  Cons come and go, but this smaller con had a special place in my heart for its positive attitude, precise organization, and fan focus.

The Bay Area has seen many cons change lately, from cancellation to hiatus to restructuring.  It’s not surprising – we’ve got several dominant big cons, and some areas are damned hard and expensive to host in (like San Francisco).  Smaller cons face unique challenges.

I began thinking about how smaller cons have some problems in the Bay Area, and also considered their social role – smaller, more relaxed, more intimate experiences.  This led me to another question – what if we re-think cons, especially smaller ones.  What are “con-like” activities we could have that fulfill the social needs of smaller cons?

So first, let’s ask what these smaller cons provide:

  • The provide a more relaxed setting.
  • They provide a more social setting.
  • They may be specialized in ways larger cons couldn’t be.
  • They can fit into various niches as they’re smaller.
  • For some vendors and artists they may be cheaper to be at.
  • They can experiment.

With that out of the way, allow me to brainstorm some ideas of “con-like” activities that give us the benefits of smaller cons.  These also have an eye towards being easy to do.

Back To Relaxacons – This is something I dearly miss, small one-day cons at hotels where people just hung out.  Some people get hotel rooms, a big convention room is rented for videos, and you hang out.

One-Days – Some cons I’ve seen just do one day now.  Maybe having more micro-cons may provide the needs for the above.  In fact, imagine a con held once a month or so?

Dealer/Artist Get Togethers – Imagine a con (probably one day) that is ONLY local dealers and artists.  Give people a chance to get exposure in an easier way.  I’ve seen various flea markets and events here that operate out of cars in a parking lot (legaly, of course)

Wandering Cons – This is a weird idea that I’ve thought of on and off, but what if you had a small con (say one day) that wandered about every few months, each run by a different team.  There’s still logistic challenges.

Hang At A Hotel – This is something I’ve done before.  Just have people get together at a hotel and hang out.

House Party – Imagine a wandering con that’s basically a small house party.  Sure space would be limited, but people may also come in and out.  A few dealers could attend as well (not sure what the legal issues are here).  Hell, done right in a big area, say the Bay Area, it could be weekly.

Online – There have been attempts at online cons, and this could work well with proper coordination (and no hotel fees!).  Mix webcasts and video feeds and other services, and you can do cosplay and panels at the very least!  Also imagine if you did it right it might be a con that’s going on constantly.

There’s my ideas.  I’d like to hear other ones!

– Steve

Just Who Is Writing This?

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

So I continue to edit A Bridge To The Quiet Planet, where internet using gods, ancient orders of monster hunters, and trains on spirit-possessed tracks collide.  After the collision they exchange insurance information and complain behind each other’s back.

I found the editing felt  strange, odd.  There were parts I hated or even dreaded – which is entirely unfair to my incredible editor.  Thanks to her work this book is literally twice as better as I had created at the start.

Now you know me, I have to analyze something when I don’t understand it and figure it out.  Oh, and share it with you, my fellow creatives.

Why did I have this dread of editing?

I began analyzing these feelings and realized my basic worry was to find the book was an unsalvagable mess, that it would be impossible or too much effort to fix it.  Now my editor is all about pushing people forward – if the book had been a mess she’d still have left me enough comments to demessify it.

That’s when it struck me – my worry was that I couldn’t write it and couldn’t edit it.  In short – I had Impostor Syndrome.

I began to realize this strikes a lot of writers I see.  We’re there, writing away and are still convinced we’re not writers.  We think:

  • “My work is flawed so it’s not any good” – all work is flawed, so you keep at it and get better.
  • “No one cares about my work” – Someone will always care.  If you do, someone else will.
  • “I don’t have a specialty” – Well, fine, good, you’re broad.
  • “I’m only good at one thing” – That’s fine you, you’re a specialist.

Why is this?  I find two reasons.

First, writing is not an exact science unless your subject is very exact and like a science.  Because of this there’s no exact way to know you’re doing it right and certainly no way to know you’re doing it perfectly.  This makes it easy to imagine all the things you could do differently and never think of “right enough” – or developing your own standards.

Secondly, writers are imaginative.  We can come up with all sorts of ways to decide how bad we are.  We turn imagination on ourselves.

But a writer is someone who writes and improves.  If you do this, you’re a writer.  You’re only not a writer if you quit or stagnate.

Realizing this, I felt better. I’m going to do what I always do – forge ahead and write and get better.

 

-Steven Savage

All My Good Bad Influences

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

As I edit away on A Bridge To The Quiet Planet, my tale of a techno-magical world and an interplanetary road trip involving holy books, I am busy finding out how I mishandled my good influences.

This is not due to my own genius, this is due to my amazing editor, who I am willing to introduce to anyone who wants to pay her money to edit.  She is fantastic at pointing out flaws in my work, leaving comments, and using search-replace to highlight all my common errors.  Some pages of my book look like a vengeful highlighter achieved sentience and attacked common word combinations it had a grudge against.

Between her feedback and her markup, I began to realize that my major influences were also ones influencing my flaws.  Allow me to explain:

First, there’s a chance if you’re inspired by an author or a creator, you won’t do it quite right.

Second, you may make the same mistakes your inspiration makes – and likely being less polished than they, you’ll make them worse.

Third, your inspirations together may not sit quite right.  You need to find a way to fuse them into a whole.

So what happened with me?  Well my editor noticed passive voice (lots of was), strange asides, weird wordplay, and moments I was abstract from the characters.  Nothing unusual, but then I looked at my inspirations and realized where I’d stumbled.

My core influences are Sir Terry Pratchett, Douglas Adams, and Dave Barry.  If you read my fiction, the inspiration is obvious – I love playing with words, exploring settings, and deconstructing ideas.  Take these trends too far and you end up with infodumps and trying to be too witty.

I was also influenced by anime, with the fantastical elements, fusions of genres, and passion for characterization.  Again, you can take these things too far – it took watching My Hero Academia to realize that I too liked to do giant flashbacks that could be handled better when not animated.

Finally, I love oddball character stuff of all kinds – indeed one sub-theme of A Bridge To The Quiet planet is that it’s basically several parties of unusual personalities having an adventure and colliding with each other.  Its a tale of magic and super-science and demons, but is basically about the people in this world.  You can get distracted by the oddities and details and loose touch with the fact these are people.

So I did too much infodumping, wrong details, wrong approach, and got a bit too full of  myself.  But there’s one more thing I forgot.

I was following several styles – I was not combining them into one.  I was doing a story of intimate character portraits and giant weird worlds, of human eccentricity and complex societies.  There was a feeling of discord, of the two not blending – or of one dominating the other.

In short I took some of my inspirations too far or in the wrong direction – and forgot to find a style that fit to realize all my inspirations.

As you edit your work, look to your inspirations.  Then find out how you might be doing them wrong – or doing them right and not harmonizing them.

-Steven Savage