(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

I’m looking forward to No Man’s Sky – which is apparent if you see my Twitter, Facebook, blogs, or just talk to me. The procedural space adventure fascinates me as it pushes all my buttons – and of course I’m big on procedural generation, so of course I’m following it.

Acknowledging this, this is fair warning you’re gonna see some No Man’s Sky posts. It’s relevant to my interests, to what I do here, so I hope they’e informative and interesting.

As I’ve scanned internet posts and Steam communities, one useful insight I’ve seen is that the game may face an issue of being “a mile wide and an inch deep.” A game, in short, of great breadth but not a lot of depth. I think this concern is worth addressing, as it reveals some truths about games, procedural games, and their development.

The concern is one I feel is legitimate for some in the audience. NMS’ videos make it clear that the game presents an enormous Sandbox galaxy, with straightforward systems of crafting, exploring, fighting, trading, and reputation-building. This may be enough for many (such as myself), and certainly enough for a broad, wide adventure – but it may not be enough for everyone attracted to the premise.

The “mile wide” may stand for people, but for some people the game may not have the depth they want – or the kind of depth they want. You won’t be building structures, negotiating trade agreements, or going on elaborate story quests – hallmarks of other games and science fiction. For some NMS will have everything they want – for others it’ll be a beautiful galaxy that might not have what they want, or enough of it.

I analyze what I see from NMS’s designers and ads, because watching this dream game evolve has taught me a lot about games and procedural generation. The concern about NMS not having the depth some one made me ask, simply, what if the game tried to add more?

It’s not hard to imagine adding some more classic science fiction elements from the novels that inspired it. Take the simple alien language engine and add some negotiation and trade deals. Allow some encounters to spawn some quests – like smuggling something thorough a blockade. Maybe even a bit of building or improving buildings. Just a bit more maybe . . .

. . . and this is where it gets complicated.

First, even if there is a desire to add “more” we’re talking a game with a setting the size of a galaxy, filled with procedural content so large the devs had to make in-game probes to study the worlds. Any addition of new features could produce development nightmares, adding them onto an already careully developed and tweaked engine.

Second, the developers would have to choose what new features to add to their already polished set. What would sell? What do people want? S much work is procedural, so much unknown, can the devs predict what people will want? Will they be able to balance demands? They can’t be sure how people will react to the game – potential pirates may become explorers, traders decide to cut out the middlemen and become pirates, and explorers may drop their archiving duties to just swap rare minerals for cash. Throwing in more features requires careful consideration of how the audience will reacts.

Third, if the new items could be added, then comes the question of testing. Adding new features onto procedural content produce a new nightmare of testing it and making sure nothing else broke and all the pieces work together. That “mile wide” part means a lot more testing work when you try to make that “inch” a bit deeper.

Fourth and finally the extreme “width” of the game means that, with too much “depth” the game might become a muddle of choices and options. NMS may give you the stars, but its focus on being a kind of space exploration/survival game provides useful boundaries for play. Throw in a few more features and a game that already provides little direction could end up a muddle.

Those concerned about depth have a legitimate concern – for some of the audience (again, I think most people buying NMS who are informed will know what they’re getting). But I think the creators have a sweet spot of features for this grand enterprise, and changing beyond that is fraught with dangr.

Is it the right choice? Well, we find out in June 2016 . . .

– Steve

www.StevenSavage.com

www.InformoTron.com

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

Well back to discussing how I write, and we’re to the end – the publishing part. Simple, right? Not really.

Publishing could almost be multiple posts but I don’t want to bore people in the wrong way. So before I cover the parts, lets cut to the point here – publishing your book after the writing, after the editing, is something not everyone can do on your own. You’re going to need help somewhere unless you’ve got the right experience.

Even after plenty of practice, I don’t have all the skillsets.

The Cover

About half my covers are done by other people. This is because, beyond my basic business books, the style I’m capable of (Genially Boring Professional) doesn’t work. In fact, I’m probably going to do enhanced editions of some books I have done covers for at some point. Because yeah, I could do better, and I’m sure you can think of which ones.

So first, I ask if I can do a cover on my own, in my style.

Let’s say the answer is yes. This is almost inevitably the case for my smaller business books and ebooks. In this case, I’ve got some basic approaches to covers I’ve used over the years that are pretty successful. In fact I grab the latest cover and mostly repurpose it for my next book.

In some cases I’ll want art. I try to avoid public domain and any art where the ownership is at all a problem, out of ethics and a desire not to have issues. For new art I got to www.canstockphoto.com which has great deals.  I’ve seen other self-publishers use it, which both speaks to its stock, and warns you to make sure you search Amazon for any similar covers.

Once it’s done I take the cover and run it by some friends and writer’s groups and the like, see what people think, modify it, and done. Again this is often ebooks.

Now if the cover needs to be custom art . . .

In this case I tap the artists I know. Usually that means Richelle Rueda as of late, and she, like any, is a person I fan-sourced – meeting people via fandom connections. Meeting someone that way lets you see them in a more artistic, playful, personal element and you get a better feel for who they are and what they do.  And yes, consider that a reference for Richelle.

I always pay artists.  Exposure is bullshit payment in many cases, so hand them cash or trade in kind unless they offer.  Art takes a long time.

I actually have the skills to format the cover, do the back, etc.  You can probably develop those skills, but don’t be afraid to outsource that as well.  Like, say, to the artist you just paid . . .

Formatting The Book

Formatting the book for publishing is something I do on my own – because it saves time, because it’s a good skill to have.  I learned formatting the hard way – by doing it and having to waste money on failed prints and times on failed e-books.  After a few tries I’m not only better, but it’s one more thing I can do myself

Formatting for me has two paths.

First is general formatting. I go through and make sure that the titles are properly done, that the bullet points are in place, and that the page breaks are right. This is stuff that’s relevant to doing the book right no matter what the format. Its surprising how many mistakes can get made – once I had inconsistent titling capitalization on a 300 page book – and I didn’t find that until the printed drafts.  I often roll this formatting into read-throughts.

Now it gets interesting. When I’m very (very) sure the book is in good shape I split it into print and ebook (if there’s both)

First is a document formatted for print. This can be pretty challenging as I have to format it so pages break, pages face the proper sides, paragraphs split (or don’t split), and so on. It’s amazing how having to make a document physical affects how you perceive it. Also if you don’t get this right you spend a lot of time reprinting the damn book.

Secondly is a document formatted for e-publishing. I use Jutoh, which is good for all formats – but recently I’ve gone Kindle exclusive. Kindle kinda won the e-pub war and I surrendered, but I still use Jutoh because it’s a damn good tool.

Formatting an electronic document is way different because you face:

• Formatting that may change on device.
• Conversion issues (often bullet points) to e-book format.
• Flow issues.
• Getting your chosen tool to generate the damn Table of Contents.

I split the books, and then edit one at a time – but I keep them both available because, while formatting, I often find errors. I then correct it in both documents and often the original documents, because I’m anal retentive as hell.

It used to be worse when I did Kindle, ePub, and PDF as I’d have to keep one doc for physical, one doc that became Kindle and ePub, and one for PDF. It was bad enough I think I repressed it.

So the formatting phase becomes pretty extensive as I basically split the books, then format the physical (and add changes to the other doc), then format the electronic document – and sometimes feed changes back to the previous. It turns into a nasty little oroborous of problems at times.

Finally, I give the physical doc a good look through. Then it’s on to pre-publishing this stuff . . .

Prepublishing This Stuff

I go through CreateSpace for physical books now, and Create Space, much like Lulu, lets you set up a book and publish it – without making it available. You can send yourself a copy for approval. Which, I assure you, you’ll want.

While I wait on that to get delivered, I generate the electronic copy of the book. This is where it gets complex again. See people read ebooks on various devices, so I usually generate it then check it on:

• My computer.
• My tablet.
• My phone.
• Anyone randomly in the house.

You have to consider use cases for your ebook to make sure it works for your audience – and putting it on various devices often reveals problems. Bad formatting, poor flow, an extra space, all become apparent. It’s a good test to make the document readable (and you may find additional errors).

Then at some point the book arrives, and I go through that. With a pen. I mark every page with an error, folding the page down, and underlining what’s wrong. I usually go through the entire book – then fix it in the publishing document, and at ties the e-book document. Sometimes there’s even issues with the cover you have to fix.

Then it’s running both over again, ordering another copy of the print book, and regenerating the eBooks. I’ve had to do the print book over four times at some point (note, that is due to rushing formatting so half that was my own damn fault).

Once it’s good enough (meaning I can make a pass through both without seeing an error or at least one I care about by that time), it’s a go. I upload the eBooks and I give confirmation the physical book is OK.

I’m published.

By the way, by now the feeling isn’t so much triumph as relief.

Looking Back

Publishing is often my least favorite part of doing a book. OK it is my least favorite part. This is why I try to get good formatting done early (I use templates for my books), finish covers, and check carefully. Once you get into this publishing cycle of actually getting the book out it can feel like a hideous grind.

It is a hideous grind, who am I kidding.

At this point I’d take a break, but there’s usually marketing to be done. I’m not going to write on that for awhile as I kind of am not great at that. Perhaps when I get further i’ll talk about it

But there you go, how I write. I hope it helps.

. . . I kinda feel exhausted at this point.

• Steve

And here it is, the Fusion Food Generator!  It’s done, ready to go.  OK done enough to release anyway!  So enjoy such things as:

• Teriyaki Potato and Ginger Spinach Argula with Bearnaise sauce
• Sesame Pizza
• Couscous Beet on Chips
• Roe and Beet Leek on Biscuit
• Chili Quesadilla
• Barbecue Salsa and Sun-Dried Tomato Melon
• Spicy Sweet-and-sour Buffalo with Chili sauce
• Stuffed Olive Octopus with Sweet sauce
• Habanero Almond and Spinach Goat
• Saffron Egg and Artichoke Pumpkin on Pasta

As noted my focus on generators this year is probably going to be food (though I keep getting new ideas).  I’ve got plans for at least 2 more food generators, which may mean it warrants its own section eventually . . .

Let me know what you think!

– Steven

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

All right, so where are we in this extended discussion of how I write my books?  We just covered how I edit my wordspew and it’s time to talk editing.

After revising and revising and revising, my book is eventually “good enough” to be edited. By good enough I usually mean a mix of “this is good” and “oh god I’m sick of this, I’m gonna stop now.”  The latter is usually more prominent than I’d like, but anyway I’m at least at a stopping point.

When I refer to as editing, there’s sort of two kinds I lump under “Editing” because they’re really intertwined.

• Pre-Readers – People who read the book for content.
• Editors – The person or person that goes through the book and makes sure it’s got proper grammar, spelling, etc.  They also comment on content.

Before I go into how I do this, there are times I don’t do any editing beyond my own writing. At least in the past. Let’s take a look at that, if only for confessional purposes.

Let me repeat – this is when I don’t have others edit.  I still edit the hell out of my own work, even if poorly.

When You Don’t Use Other People To Edit

So first of all, I don’t think you should avoid having your work edited. If at all possible, someone should at least pre-read it. However there’s a few cases I can see someone not editing, which I’ve done or at least think I did:

• The work is small, say a 99 cent ebook.
• No one’s available to edit/pre-read and you want to get something out.
• You’ve edited it really, really well.
• The document seems tolerable.
• You’ve got the kind of document (and knowledge) where the editing is easy.  A small work that’s an organized guide that follows an easily checkable pattern, and one you’ve run spellcheck/grammar check on multiple times is a good instance.

I’ve done two published works this way (and hope to revise them with editors and pre-readers when I can). It can work.

But I don’t recommend it. But hey, I gave you an out, and you can always say “but Steve said.”

Now anyway, on with editing.

Pre-Reading

I didn’t always use pre-readers – originally I only did when a book had a lot of interviews and I used them as pre-readers. In time I found that pre-readers were invaluable for insights.

See, a pre-reader isn’t an editor in the traditional/specific sense and that’s good. A pre-reader is a reader. They are not there to edit a book for language and punctuation, even when they do because they can’t resist. They’re they’re for content and flow.

They’ll catch things an editor won’t because an editor, no matter how much they read, is still editing. You really do need both.  Plus it takes a little pressure off your editor –  “Can you edit my terrible abuses on language and tell me if this meticulous battle scene makes sense?”

Secondly, a good pre-reader thinking as a reader can give you feedback on your book to help it become a better book.  They can tell you how it can be more consistent, better organized, and so on.  In turn it won’t just be a better book – that will make the book a hell of a lot easier on an editor. A book that reads easy, even with flaws, allows an editor to go to town as opposed to being stopped by confusing twists or ill-explained concepts on top of Oxford comma arguments?

How do I handle pre-readers?

• I pretty much put out a call among people. I’ve started keeping a list of people to send things too now.
• I give them 1-3 months depending on the size of the work.
• I integrte feedback as it comes in more or less. For small works I may wait – for larger works i put in the feedback as soon as I get it.

Thats about it. Find, send, wait, integrate.

After the pre-reader feedback I usually do another pass through the book. then it’s off to the editor

The Editor

First of all when you get something edited to publish professionally, make sure they’re professional.

That may not mean they’re a professional editor. It means they have professional-quality skills relevant to what you’re doing. It could be from writing their own novels, it could be editing fanfic for ten years, it could be an experienced technical writer. Just get someone who can edit for what you’re doing.

I like to fansource, finding editors through fandom and geeky connections. They “get” me, I often get a break on price, they get their name on a book they like, I act as a reference, everyone wins.

I usually give an editor 1-3 months depending on the complexity of the work and their schedule. It also gives me a nice break, and sometimes while waiting I do extra formatting or setup for publishing.  Or write another book.

When I get the edited document back, I don’t use that document to make the final book – I read through it, page by page, integrating comments and changes into a new copy master document. That forces me to read and pay attention, and makes sure I don’t end up with a book laden with things I forgot to address, remove, or change.

This part usually takes at least a month. My goal, when it’s done, is to have it done.

The Final Read

So once that editing run is done, I do one more spellcheck and grammar check, and read through the book (yes, again). If I find any errors, I fix them – and run that check again.

At this point, having done so much editing, I use that previous trick of reading parts out of order just to keep myself fresh.

My approach is to read it through.  If anything changes in the small I fix it and re-read that chapter.  If there’s any large change, I re-read the book from the start, or at least skim.  I’m done when I do a pass through and didn’t change anything.

Then it’s one more spelling/grammar check.  Then it’s done

Onward To Publishing

So with the book edited – pre-read and edited properly – and with my final read-through’s its done. Ready to go.

It’s time to publish.

– Steve

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

And let’s get back to How I Write with me, Steve.  Who Writes.  This.  And books.  But also this post.  Er.  Anyway, you get the idea.

So to recap I’ve covered how I write up to the point of actually writing.  It was basically:

• I get ideas (and keep track of them)
• I pick ideas to write (based on my plans)
• I outline a book (at times to the paragraph level)
• I write (by pretty much spewing writing into said outline until something booklike emerges)

By the time this is done I have a well-outlined book that is written by a mixture of gut, heart, imagination, and desperation.  The outline provided guidance so the book “works” – in that it reaches a goal – but the results are often less than stellar.

In short, my first draft is usually very first and much draft.  It’s often done with surprising speed, but it’s really not that great.  That means my next step is re-writing.

I hesitate to call this editing since my re-writing is not that subtle an exercise.  Sure, I often have content thats in better shape than it sounds when I call it “word vomit”  – but at best it’s not polished, and at worst parts of the content only worked in my head.  So it’s time to go through and re-write it because sometimes it changes massively.

Which isn’t as bad as it sounds.  Usually.

Re-writing: First Pass

So my first pass on rewriting the book is the most intense.  I go through the book, in order (so I can keep the big picture), and work on:

• Concepts.  Are the concepts in the book clearly presented and defined?  Sometimes I realize the concepts are not clear or coherent (and in a few cases are even wrong).  Sometimes I have to rethink them, detail them, more, explain then.  A recent experience of mine was the “Sex” section on worldbuilding in my Way With Worlds book, I had to really work to tie the core concept together.
• Clarity.  Sure, maybe my ideas were good but did I explain them in a way that made sense?  Sometimes I rewrite so things are clear.  it usually helps to put myself in the shoes of my audience to answer the question “does anyone know what the hell I’m talking about?”
• Spelling and Grammar.  I correct this early – as I go through this first pass I try to correct major spelling and grammar mistakes.  This ensures communication of concept, clarity of concepts, and of course keeps me from being derailed by my mistakes later.  I don’t always run a spellcheck/grammar check at this stage.

Sometimes you have to re-outline chapters or sections in the first pass – and my advice is when you can, do it.  I’ve saved “re-outlining” for later review cycles and it was incredibly painful because so much of the book had “solidified” that changing it was like adding onto a house.  If you have to make major changes, do it first thing or it will be harder later (and may reveal hidden mistakes).

A first pass can sometimes take as long as writing the book in the first place.  There’s no shame in this – really it’s just another part of “writing.”  You’re rarely going to get it right the first time.

So after the first pass, what do I do?

Nothing.

Take a Break

After your first pass, I take a break from the book.  Sometimes a few days, sometimes a week or more, but I try and step away.  I usually need it.

Why?  Because familiarity breeds not only contempt, but sloppiness.

I can get to know a work too well, and then I start seeing what’s in my head, not what’s on the page.

I can get tired and want to just “get through” the re-writing – so I rush it.  This always comes back to bite me.

I also need a break.

So I rest.  I do something else.  I blow up some enemies in Team Fortress 2.  Then I’m back at it with a new perspective.

Re-Writing: Second Pass

Usually after a first pass the book is in pretty good shape.  It may not be “book like” but it’s “sort of a book.”  That intensity in outlining, that instinctive writing, that careful review pays off so later passes are less painful.  If you think about it the book had a solid idea, a solid outline, a massive dump of information, and a later shaping of that information into something clear.

Its usually pretty good – but I always have to make that second pass.

On the second pass I’m focusing on concepts and communication  Did I really say what I want?  Is the order right?  Are things clearer?  Does the book do it’s job?  Is it really what I planned?

If I planned well and re-wrote well, the second pass isn’t so bad – it may even be easy to do – and it’s easy to spot problems.  By now the book is polished enough my mistakes are obvious.  Here I can correct them if I didn’t get them a first time.

In some cases, I may have to re-work a section.  When I’m on to the second pass, I do not do the re-working as a “vomit draft.” I take a much more craftsmanlike approach – taking my time, editing as I go, etc.  At this point since most of the book works, trying to ram ahead and dump a bunch of writing in can throw you off.

The only exception is if a section or chapter has to be completely rewritten – then I may re-outline it, dump it, and edit it separately.

Also at the end I usually run a spellcheck and grammar check, for my sake and for those who may soon see the draft . . .

Other Passes?

I may have to make other passes if the book doesn’t “feel” done or if I keep finding mistakes and thus assume I’ve missed even more.  I keep going through it until it’s done right – often three to five passes.

Looking at a book over and over again can make you miss problems, however – again one can end up reading the book in their head, not what’s on the page.  So here’s how I mix it up:

• I read chapters in backwards order – or even sections of chapters.
• I read chapters that are grouped together as whole units, but in different orders.
• I keep a list of “problem chapters” and review them in whatever order I want.
• I randomly skim to see what pops up.

I keep going until it’s done.  Speaking of, what is done?

Done – Or Done-ish

So at some point I’m done (usually about 3 passes in, sometimes 5).  I consider it “a book.”  That is done by the standard of:

• I can’t find any more problems to fix.
• It feels right.
• I’m sick of looking at the damn thing.

So what’s next?  Editing.  Where the book goes to someone else who then promptly tells me everything I screwed up.

• Steve

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

Sorry I vanished for awhile there folks – I just moved, and that of course is complicated.  Last move was a bit less hectic, so this one took more out of me – especially as I needed to buy some new furniture.  So let’s do a quick roundup.

• I’ll keep up my series on why I write.  We’re getting to my good stuff.
• The Fusion Food Generator will finish this month.
• The Sailor Moon book goes to prereaders soon (like the day I post this).
• Way With World’s is still at the editor, who got busy – as the editor is my roommate who also just moved.  I expect to keep it mostly on schedule, but am debating A) moving from late June ti sometime in July) and B) making the second book October since it’s either be August or September and September the Sailor Moon book drops.
• I want to do some minibooks again but am trying to get my schedule together.

How are you doing?

• Steve

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

So lately I’ve been reviewing how I write.  Let’s take a look at where we are:

When I write I usually get a big idea, then I review and record it.  I figure if it’s book worthy if it fits my goals.  Then, I work on an outline (in fact I usually work on that earlier as I’m inspired and want to evaluate the idea).

So how do I write?  I mean I’ve talked about getting up to the point of writing.  So when does it begin and do I actually get stuff done

The above activities set the stage.  I got an idea, I have an outline, I have drive.  All that’s left is basically cut loose.

In short, I kind of vomit onto the page.

Disgusting Metaphors Go!

Actually I’m being a bit facetious.  I have an outline, so it’s not vomiting onto the page, it’s vomiting into a very specific framework that lets the vomit flow into the right form.

I sit down, with my outline, and following the direction it set I start writing.  The Outline provides me enough information to know what to write, and I simply do it.  I rarely take the time to do any editing or revision unless I have to.  My goal is to get from A to B in that outline as best as I’m able, even if it’s kind of crappy, half-assed, or understandable only to me.

(In case you wonder, yes, sometimes I eventually throw things out.  But stick with me – this works)

So what’s the benefit to this?  Quite a bit:

• * First it’s fast.  I can get  a lot done – and the Outline helps that.
• * Secondly, it’s visceral.  It’s from the gut, the brain, the feelings, whatever part of me is currently engaged.  It’s near automatic.
• * Third, it’s disinhibited.  The worst enemy a writer has is often themselves.  I’m too focused to get in my own way doing this.
• * Fourth, it’s about writing.  My goal is not to do anything but get something done, so I avoid distractions, or hemming and hawing.

Now note that this method doesn’t work as well if you don’t have an Outline.  The Outline gives you a pattern to work with (so you don’t go off the rails) and making it keeps you rethinking your ideas (so they’re more instinctive to write).  Going with no Outline can result in this vomit method getting pretty incoherent.

Pacing Myself

I usually set a pace for me to write – based on the aforementioned Outline – on how much I’ll do within a certain time.  It doesn’t have to be good or coherent, but I cover a certain percent of an outline within a given time.

I usually block out the major tasks of my book in terms of months, and set writing goals by weeks.  This way I have the large outline of the book (done in X months) and specific, actionable goals (get 15% through the Outline in a week).

I need this pacing not just to set goals, but because the outline and the “vomit method” actually mean I can overdo it.  I’ve had huge writing binges of hours where the words are coming out, and after awhile I’m exhausted.  I have trouble remembering writing parts of “Cosplay, Costuming, and Careers” as I was at my desk for hours.  Well I think I was.

You can too easily burn yourself out doing this – and because the goal is to “get it done” you might not realize it’s happening.  A 10% decline in quality when you’re using the vomit method isn’t apparent, and you won’t notice you’re real tired until your quality is much, much worse, or the words just stop.  Setting the goals helps this . . . but you might just go a bit farther.

So I pace myself, but I’ve never found a perfect method.  Mostly it’s a mix of gut,pre-set deadlines, and guesswork.

That may explain a few things.

It’s OK To Change

Now even though I go and just vomit onto the page, I do occasionally revise the Outline itself.

At times (less and less as I go on) you may find that things didn’t quite work out the way you expected.  It’s OK to revise your outline if you realize things need to be restructured.  However I’d do that as a separate task or after taking a nice break from “vomit writing.”

I also have found that in a few cases of writing you have to write in detail to know just what order things should be within your outline.  You may, say, know when events happen in a chapter, but only later discover the order you tell them in may need to be done differently.  Sometimes orders aren’t even apparent until you start writing – which is fine (and has been something I’ve done deliberately because I had to read over a lot of research and it was easier to find a pattern while reviewing it and writing about it).

Moving On

So then I’ve got a book that’s really a fast-written dump of ideas into a reasonably planned outline.  It’s barely a book at all.

Which is why, after I finish up all that writing, it’s time to go editing.  That’s when a book starts to become a book.

• Steve

My theme for the next few generators, barring interruption or more likely distraction, is going to be food.  I love to cook, and it’s only natural I apply this to the generators.  Plus it’s kind of interesting to study how we name and create foods.  First up is the Fusion Food Generator, now in beta, which generates assorted items, leaning towards meals and snacks.  Let’s take a look at some samples, shall we?

• Steak Dumpling
• Mango Cheese and Spinach Crab with Barbecue sauce
• Tempura Spicy Soy Burrito with Apple sauce
• Crab on Toast with Pesto sauce
• Boiled Burrito
• Squid Pilaf
• Toasted Curried Miso Bean and Kimchi Taco
• Buttered Honied Maple Mango and Kimchi Octopus on Fries
• Roasted Risotto
• Boiled Mint Cheese and Potato Squid
• Nacho Sausage
• Spiced Parmesan Risotto with Mustard sauce
• Lamb Lasagna with Honey sauce
• Pickled Banana Steak on Risotto
• Baked Sandwich

Lamb Lasagna with Honey sauce actually sounds pretty good (especially if you worked some mint leaves in there).  So, what do you think?

• Steve

(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)

Earlier I’d discussed, with inspiration from my friend Serdar, about how writers are both compelled but also need to figure what to do with their writing to be happy.  Writing is an inclination – doing something with it lets it become more.

That’s really being a Writer, even if its not the kind of writer someone thinks you should be.  If someone thinks you should do more than Team Fortress 2 Slashfic and you’re happy, fine.  That’s what you do and it’s doing what you want.

But I’d be remiss in not addressing something else for writers. Namely that like any path, any career, anything you pursue, a larger amount of the path you follow isn’t what you think it is.

Writing Is More Than Writing

So a big part of writing is being read.  If for some reason you’re writing with the intention of no one ever seeing it (say journaling or something) then this part doesn’t really apply.  Otherwise I assume part of the writing drive is for someone to experience it at some point.

This means that to be a writer . . .you have to do more than write.

• A good writer a the very least is a half-decent editor if only to make their work coherent enough for a real editor to understand it.
• A good writer is a project manager so they can write on time and to a needed deadline (if only self-imposed)
• A good writer can recognize their need to improve and implement it.

These are things t the very least you have to do.  But if you’re truly looking to be read there’s more.

• A writer may need to be a marketer.
• A writer may need to be enough of a businessperson to hire a marketer.
• A writer may need to be enough of a psychologist to recognize what they can’t do – from an editor to a marketer to a personal aide.
• A good writer is someone who develops the skills to support their writing.

So being a writer is also about being more than a writer so you can do whatever you want with your writing – even if it’s having someone else help out.

So if you want to be a writer – your kind of writer, whatever that is – you have to figure out what else you have to be good at.  Otherwise your being a “writer” is words that won’t go anywhere.

What do you have to be?  Editor?  Marketer?  Publicity agent?  Scientist?  What else do you have to be to be  a Writer?

• Steven