Pay for things. Including:
- Warehousing (separate fulfilment and storage locations because they both work on different cost structures)
- Other writers
- Packing supplies running into the thousands
Understand how shipping works including:
- What is cheapest
- What is safest
- What unique special rules the USA has invented today
- What punitive measures the EU have put on us
- How to palatalise boxes
- Where to buy pallets
- How to watch videos on how to palatalise £10,000 of books
- How to pay taxes
Understand how distribution networks work. Not for you.
Understand ISBNs, where, how much, and why you need them.
Have people rely on you financially so that if you fail they fail. Also learn how to pay wages. And taxes
Have an intimate knowledge of book binding techniques and a good relationship with a bookbinding factory.
Learn how kickstarter really works
Learn how and pay for your own Facebook marketing
Learn how and pay for your own Google marketing
Get good at writing ad copy quickly
Do you know how and where to register new publications? Because you have to
Own and use photoshop and indesign or pay someone to do it for you
Learn about typography or pay someone to know it for you
Learn how to contact business2business businesses and how that works
Get an accountant, and learn how to keep accounts
Get good at web design or pay someone to be good for you
Understand project management or get someone else who does
Optional but recommended:
Be in or have access to the US
You silly sillies threw chum (made books that are sincere and resonate) in the water (the rpg industry) and now the sharks (companies that don’t want to make a book, that just want to make something the funko pop loving public will buy, who have money and connections, who have just enough, the barest amount, of taste to hire people to make money for them, who claim indie credibility (whatever the shit that is), who throw tasty dog whistles in all directions to get the crowds, who are here to gentrify your shit) are circling.
I’m going to put my bid in on the rights to Rambo: The RPG before some indie darling gets there first.
Change this, don’t add that, remove that Oxford comma, you problematic bitch.
What if you just were. No refiners fires. No posh pricks with a hunger for smooth pain.
Have sword, will die.
Be important enough to be hated, be utterly unavoidable, my elephants got a fat arse, “how does he make you feel?” ’Orrible.
Hey, you can’t have folds, smooth it, SMOOTH IT YOU FUCK.
Just being. Just vibrating. Just hanging out. Just very important how dare you. Just how dare you. Just walk in to the sea. Just don’t you dare. Just be cool like me.
Smooth it. We’re all juicy little kumquats in a blender.
Imagine you and I are in a pub having lunch, talking about the things we care about. We’re in the middle of the room so people often walk past and they often have comments to make but never stop to hear your response. Others will sit with us for a while, nursing a snakebite and asking why we’re not drinking. No amount of manners will shift them. The passing comments start focusing on the drinking, others sit down with us and must be included or get rowdy. “So you don’t drink?”. There’s no point finishing our lunch, and none of them notice us leave.
Go down the list. The first thing that appears determines their review review score.
0/10 if they talk about:
- Page count
- The absence or presence of colour
- Suitability for children
- Copy editing
- Pdfs of a physical book
- How they would “fix” it
1/10 if they talk about:
- How other people might possibly feel about things
7/10 of they talk about:
- Any kind of score for a review
10/10 if they talk about:
- Literally anything else. I mean, jesus christ
“Seek zero audience” is a mantra, used shakily at first but eventually wholeheartedly taken up after. For every kind, observant, critical, thoughtful reader you have a hundred with Goodreads accounts. That is not to say the thoughtful reader is helpful, it’s not, it can twist you like the most boorish Amazon review. Rather than ranging wildly the temptation then exists to stick to the places you’re rewarded for going. Straight in the bin with all of that. All public opinions are poison or at best sedatives.
So we seek zero audience. Even I wouldn’t read that.
Synchronicity continues to pile up. Think with the gut, the passage of the gut, katabolism/anabolism, belly talk, death wailers, direct divinity, wild unstructured shamanism. All sourced in the gut, posed between Saturn and Jupiter, two fathers both hungry,
I’m not an educator, if anything quite the opposite, but if I were learning how to play roleplaying games I would want a step by step quided lesson like the guy with the perm who does the paintings. The method is not important, you aren’t making a masterpiece you are just trying to shake off the idea that you cannot do this. Yes you can, see me put the paint on my brush and put in happy trees. Once you’ve done a few of those you develop taste and hunger and can integrate more challenging approaches. Or you can keep painting happy little trees. Either way you are choosing where to stop and where to go but are taken to the start point and given the tools you need.
Anna von Hausswolff
Godspeed you black emperor
Sun Kil Moon
Book of the New Sun
Hard to Be A God
A Field in England
If, as a GM, you approach horror by pushing towards it you will misdirect tension, the uncontrolled point will divert. You must pull. Think of horrow like a mystery box at a museum where you must put your hands in a dark slot and guess what is inside. The GM makes the shape inside and hides it, the players titilate themselves by figuring out what it is they’ve got their hands on.
In practical terms this might look like building a simple horrific event and deconstructing it until it is obscured and then allowing the players to put it back together.
I do not believe horror can be organic or player led. I can’t horrify myself any more than I can tickle myself. We are constantly battling against the knowledge that at any point we can walk away from the table and be free.