Every time I see an artist whose work makes me tell myself, "There's a story there," I know I'm on the right track.
Especially when you want to write about your world, of which you've not seen very much yourself.
Commercial success for creative work is less about the work itself and more about its circumstances.
How consistency, foolish or otherwise, can be the hobgoblin of small minds in SF&F.
"Just depict, don't also imagine" is a poor program for art.
Too many times I've started a project only to shelve it because it was nothing but putting some attitude on display. And a bad attitude at that.
Over the course of my life I've emigrated from one kind of imagination to another -- from just "making things up" to seeing what we have in front of us in a new way.
On examining what feels like the formula I've devised for most every book I write.
How I've unthinkingly made too many fun things into "research" or "creative work".
"Getting lost in your knowledge management system is a fantastic way to avoid creating things."
People see your results, not your efforts. By design.
"The 'three-act structure' and the 'hero’s journey', are editing tools, not writing tools."
Paraphrasing Neil Gaiman: "Make cheap art."
"What makes dog biscuit packaging an unworthy object of a designer's attention as opposed to a museum catalog?"
Comparing and contrasting two critics, Roger Ebert and Serge Daney.
Where am I obliged to like anything merely because it exists?
Gut wisdom and creativity, examined.
The lessons we learn from singular, idiosyncratic works are not necessarily positive ones.
The only thing I want from my work is to use it as a way to make sense of myself and my world, and to do that in a way that other people can share.
What are people for in SF&F? To show us what's possible, and to show how that's possible right here, not just "out there somewhere."
We don't want validation just to know that we're doing the right thing, but also to know we're not doing the wrong things.
At some point I imagine someone came up with (or should come up with) a game theory of creative work.
On how messy my note-taking can be on my projects.
No matter how much I try to avoid it, I see more similarities than differences in everything I write. But is that a problem?
"When everyone in the community reads the same books, you can an inward-looking, intellectually impoverished community that can only contemplate its own navel."
On the sociology of impostor syndrome.
Most projects don't end up anywhere near where they start out, and for good reasons.
We put things into genres to make them sellable, and the best way to do that is after the fact.
"All entertainment is art whether we like it or not" holds up better with every passing year, and for many reasons.
What do you do when you find yourself writing the kind of book you might take issue with if someone else wrote it?
People can get the anger of the current moment from anywhere. See what else you have to give.
Some healthy tension is needed between keeping the wheel of production turning and leaning on myself for being a lazy slob.
With every story set in a strange new world, give yourself as many individual elements of wonderful strangeness to draw on.
On spontaneity as the wellspring of all creativity.
On deliberately not finding an equilibrium for one's creative work.
In some ways this new book of mine is a rewrite of an older book. In most ways, I hope it isn't.
Let's have an end to the trope that a character who is an artist or an avid reader automatically makes them a protagonist.
"What is it that I have to bring to the table?" is the hardest question any of us can answer, and I think many of us never do in fact answer it.
The story of a never-written project that made me realize why I don't want to rub the misery of our moment in people's faces and call that art.
How an entire story can pivot on a single sentence, and lead to a new world in the head.
On being a writer as an extension of being an artist who plays with images, rather than words.
How to find something new there. (And how to make it.)
I still want to review stuff, it's just making stuff that's taken first priority.
Examining your inner creative voices: "Are you 'one' writer or 'many' writers?"
More Marvel discussion: On entertainments vs. objects of study vs. role models.
I always go back and forth about the value of "formal" education in creative endeavors -- e.g., creative writing classes or MFAs or film school or whatnot.
"Solving the problem is more important than being right." A quick guide for writers.
If there was an envelope I wanted most to push, it was envelope of "accessible and fun" as it edged up against "complex and challenging".
Whatever it is you make, make it so yours they can never take it away from you.
Whenever I've said to myself "I'd like to write a book like X", I always had to ask myself, why? And to what end?
The title tells it. Let's dive into this idea and see what comes up.
That last long stretch of finishing up a book is often taken up with nattering about the kinds of details only you and one other jerk can see.
Stories driven by arbitrary conceits tend to lose the reader's engagement, because in a story where anything's possible, nothing matters very much.
My advice for how to give truly constructive feedback on someone else's work.
The idea that you have to guard your story ideas, lest someone steal them, is a pernicious myth.
"You can do whatever you want" seems better expressed as "You can attempt anything you want to attempt."
How do you get out of the spiral of copying your influences to producing truly original work?