The Writer Will Take Your Questions Now (#154) -- Me Llamo "Author"

I was recently on a panel at a convention with several writers. Each of them introduced themselves as “a dark urban fantasy author” or “a hard science fiction writer” or “a pulp writer.” This got me wondering about how we as writers present ourselves to readers. How do you introduce yourself on a panel at a convention, for instance? What type of label do you attach to yourself as a writer? Or do you attach a label? (Question courtesy of Table Talk)

I just call myself a writer. Occasionally, depending on the venue, I may introduce myself as a comic book writer or a pulp or action writer.

Bobby Nash gets a kick out of the fact that I used to introduce myself (all in one breath) as "Hi, I'm Sean Taylor, writer of Gene Simmons Dominatrix" as if my name was tied to Gene's apron strings.

But now my writing life is so varied, I'm perfectly fine with just being a writer. Or sometimes a writer of stuff.

I have friends who call themselves "urban fantasy novelists" or "supernatural romance authors" and so on, but for me, I don't want to get stuck writing one type of genre and pigeonhole my career into it. So, for now, whether it's the best marketing decision or not, I'm just a plain ol' writer, and I'm happy with that.

[Link] Table Talk: Label Me This

This week, New Pulp authors Barry Reese, Bobby Nash and Mike Bullock return to the table to discuss labels and untapped genres.

Question (Bobby): I was recently on a panel at a convention with several writers. Each of them introduced themselves as “a dark urban fantasy author” or “a hard science fiction writer” or “a pulp writer.” This got me wondering about how we as writers present ourselves to readers. How do you introduce yourself on a panel at a convention, for instance? What type of label do you attach to yourself as a writer? Or do you attach a label?

Continue reading: http://www.newpulpfiction.com/2012/04/table-talk-label-me-this.html

[Link] Table Talk -- What's It Worth?

It's time for another round of Table Talk, where we invite you, the reader, behind the table to listen in on what New Pulp authors Barry Reese, Bobby Nash and Mike Bullock discuss when they think no one is listening. Shhhh! Don't let them know you're here.

Question: Since most new pulp writing jobs pay very little, if they pay at all, how do you decide what jobs to take and what ones to turn down?

Continue reading: http://www.newpulpfiction.com/2012/04/table-talk-whats-it-worth.html

The Writer Will Take Your Questions Now (#115) -- Story Outlines

When outlining, for those who do, how much information do you put into the outline stage? I know some writers whose outlines are roughly the size of a small book itself and others, like myself, whose outlines don’t fill a full sheet of paper. What method works best for you?

My outline could almost be called a skeleton draft for lack of a better word. I put a lot of time into my plots and usually write out a full plot document that highlights key scenes and even includes dialog. My plot outline if more a treatment (like a movie) or  pitch (like a comic or novel) than it is just an outline.

This question courtesy of Table Talk.

The Writer Will Take Your Questions Now (#114) -- First Drafts

What are you trying to accomplish with the first draft of a story -- is it mainly about getting the story out as quickly as possible and then fixing it in the editing stages or do you try to get the technical aspects right from the start, figuring you can tweak the story in revision?

For me the first draft is about exactly that, getting the story down, but I tend to redraft as I write sometimes, especially as the character take over and spin out new directions. Then I have to go back to fix old "maps" in the story, even if it's not done. When I'm finished with a final draft, it's really more of a third draft before I ever hit "the end." What I end up fixing after that is proofreading and replacing weak words and sections with stronger ones, but the plot doesn't change much at all after that draft is done.

This question courtesy of Table Talk. 

[Link] Table Talk: Character Storms

This week on Table Talk, Bobby Nash, Barry Reese, and Mike Bullock tackle the question: All writers have periods where they doubt their abilities -- how do you weather those emotional storms?

Continue reading: http://www.newpulpfiction.com/2012/02/table-talk-character-storms.html

[Link] Table Talk -- Readers' Questions, Take II

After the success of the first Table Talk with questions from readers, Barry Reese, Bobby Nash and Mike Bullock decided to continue taking questions "from the audience" every now and again. This week, the guys tackle the topic of archetypes and working with different characters. 

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Question (Josh Bell): Pulps, and subsequently comics, have quite a long history of recycling a lot of material when an idea proves successful. Sometimes, I think the end result grows into its own, my favorite example being Ka-Zar, whom I love almost as much as Tarzan. Though he started out as a very close imitation of the pre-eminent Jungle Lord, his revamp by Stan and Jack in the 60's led to him being, in my opinion, an engaging character in his own right. Closer to the pulp home, the Spider is obviously very similar too and inspired by the Shadow, right down to the slouch hat and twin .45's. This said, the Spider ultimately took a different direction than his predecessor. Still, for every Ka-Zar and the Spider, there are loads more incarnations of the pulp archetypes that fall flat. Do you guys, as the current guardians of pulp fiction, think that the recycling of archetypes is a good thing, as they can serve to reinforce what pulp is all about, or a hindrance, given that it can be seen to lack originality?

For the full article: http://www.newpulpfiction.com/2011/12/table-talk-readers-questions-take-ii.html

[Link] Table Talk -- the three amigos talk about word counts

Table Talk - Counting Words and Runaway Tales

The wonderful thing about creating stories is the often limitless nature of creating things. There are no boundaries, nothing a creator cannot do in the name of making up a great tale. However, this can often lead to pitfalls and unforeseen circumstances. This week, we check in on Barry Reese, Bobby Nash and Mike Bullock as they discuss applying some structure and what to do when the story bleeds over the lines.

Click here for the full article.