Writing

Why I Wrote It: Cities And Worldbuilding

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

“Cities and Worldbuilding” was my book to coach writers by asking the right questions about their fictional cities. The reason I wrote it, however, is a mix of practical and personal.

First, the practical: Cities are damned complicated things to write.

Many stories take place in cities. Even when they’re not in cities, they’re city-adjacent, or cities are part of the backstory. Cities are everywhere in our imagined worlds – which makes sense because they’re everywhere in our world.

Because they’re so prominent and because we’re used to them, it’s vital to envision them properly. A poorly-imagined city may make a story or game less believable, breaking the tale’s power for us. When an author constructs a city that “feels wrong,” we know because we know cities by sheer familiarity.

When we try to create believable cities, we also find cities are incredibly complex. They take up space, both rely on and change the environment, and grow like living creatures. Cities both require resources and can churn out products and other resources. Finally, they draw upon, rely on, and change people as well – cities are giant social organizations.

I couldn’t avoid writing a book about cities. In fact . . .

There was a personal factor in this as well. That factor is cities fascinate me.

I’ve lived in many cities with long histories, large and small. I’ve watched them grow and change and occasionally make very frustrating construction choices. When I was looking for a job nationally, I visited many cities across America, each different.

Sometimes I like just walking through a city or town and getting a feel for it.

As I’ve provided career advice before, I also kept up on cities and economic choices. That is a soap opera drama all its own, with battles over zoning, public transport, and more. Sure this was important for my job and to help others, but it was also really neat.

Finally, my fiction works in the past, and my current Avenoth series are city-centric. Fantastical cities also interest me as they take all of the above and let you experience cities in new ways. The economics of magic or the culture of an interplanetary crossroads is the kind of thing that gets my attention.

This book was practical and personal, and thus very enjoyable to write. I hope it helps others as well.

Steven Savage

Why I Wrote It: Skill Portability

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

Skill Portability is an book that comes out of a weird phase of my career writing. It’s a lovely little book, but one I didn’t intend to write until I thought about it.

Many years ago I had an obvious insight on my writing – a good writer keeps writing books. It improves skills, it shares knowledge, and it gets your name out there. As I wrote about careers as well as creativity, I asked myself “what more should I write.”

That’s when I realized that a major part of career advice is transferring skills between one job and another. This is important in general, but moreso for my audiences of fans and geeks – people who want to move their interesting skillset elsewhere. That’d be a great book . . .

. . . because I’d already written it.

Many, many years ago I had written a series of columns on transferring skills between jobs, careers, and even hobbies. I had thought of it as done, but really, sitting on my blog they weren’t doing much (and they’d aged a bit).

But reviving these columns? Expanding them and rewriting them? That had potential for a new book and for helping people even more.

But were they good enough? Well, yes – because I’d already had a system.

The columns themselves outlined a system to analyze how useful skills were – called DARE. It stood for Direct, Advantageous, Representative, or Enhancing – four categories of skills people have. A pile of columns is one thing that may or may not be “bookworkthy” – but one with a system? Something with structure can be built on.

An organized way of thinking about anything, from recipies to job skills, is something that people appreciate. A system allows people to easily understand and employ whatever you’re teaching them. A system also helps one structure something for communicating – like, say a book.

It didn’t take much to turn the columns into a more comprehensive book, and one that’s a nicely useful and light guide.

The real lesson here is that if you think of taking previous writing and expanding it, it helps if it has some organized format to begin with. A system like the above leads to a book. A short story with good structure can be the center of a novel. Structure is a sign you might want to take something farther.

Conversely, if you are writing something or creating something you might think of expanding, consider how it’s organized. Build a system to organize your writing. Put parts of a speech into a clear mnemonic. Something to give it form – because that form can be more easily built on.

Also I’m glad to write up this blog post – because it helps me see the value of the forms I build so automatically. This nice little book wouldn’t have existed without my habitual organization.

Hmmm, maybe another lesson on writing is write on why you write . . .

Steven Savage

Some Writing Experiments And Thoughts

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

Going into 2021, I’d like to quickly round up a few writing experiments I did and am planning to do. I hope it inspires everyone to try them, try their own, or tell me I’m full of it.

So let’s get to it:

The 20 Minute Prime

The “20 Minute Prime” is a habit I created to make sure I keep writing and don’t get distracted – while not pressuring myself. It works like this.

  • 20 Minutes a day I sit down and write – but it can be anything from a blog post to a book to a newsletter. As long as it wasn’t “everyday” writing like email, it was good.
  • During this 20 minutes I do nothing else. No chat, email, etc.
  • At the end of the period I can keep writing if I want to. I don’t have to avoid distractions if I don’t want.

When I do this, I rarely write only 20 minutes. Once I’m going I’m in the zone and I get a lot more done. It also seems to be faster.

So far this has been extremely successful. I make time for writing that’s not distractible, but I don’t pressure myself on what, so I don’t beat myself up over not writing the “right” thing. By doing this I get into the visceral rhythm of writing, making space for it, and often I write much more. Finally I develop a good awareness of distraction, avoiding it, and allowing it.

Deep Dives

I have tried writing books “over time” and it’s a mixed bag – it can be a grind, you can loose the big picture, etc. Also it involves timeshifting and changing focus and keeps you from being “in the flow.” Sometimes you need to dive deep for a few hours.

Inspired by someone in one of my writers group who once wrote for 20 hours on a weekend, I’m going to try marathon writing. I call these Deep Dives.

Now I don’t know if I’ll write for 20 hours over a weekend (I just may) but my goal is to set aside time to spend hours working on books. My theory is as follows:

  • I can get into the zone and write faster.
  • This leads to focus and avoids timeshifting, saving time.
  • Doing writing flushes problems out, so the more the better.
  • Whatever I don’t fix will come out in edits.
  • Sometimes finishing is the only way to fix stuff.

My first test will be my next Worldbook, which will probably write in less than a week (and possibly over a weekend). I’ll doubtlessly let people know how that goes.

That’s The Plan – So Far!

I’ll keep sharing other insights. Maybe folks would like a regular update on what I’m trying and if it worked?

Steven Savage