Business Musings: The Story (Rethinking The Writing Business Part 3)

I want you to keep that in mind, because, frankly, as I delve into this licensing topic, I’ve trouble hanging onto that myself. Actually, I have put off writing this post for a few days now, partly, I told myself, because I needed to cover my brain for this complicated topic. But that’s not all of it. I’m overwhelmed by the workload facing me-with my backlist. I thought that away Once, and set up a system (with Dean) on how to take care of that gigantic herd of elephants, I down calmed. I was a bit angry about the workload facing me, because I must say I hate thinking about projects I’ve already finished.

My creative brain doesn’t like to deal with them; they’re doing. Only now, because we’re applying a big change in how exactly we do business, they’ve been revived in a way I hadn’t contemplated before. In some ways, those who are just starting out with one or two books can make this change more quickly than the rest of us.

You can do the task we’re going to construct over the summer with significantly less work than those folks with blacklists that quantity in the thousands. I know some of you worried following the first post that you wouldn’t have the ability to do any of this until you were famous, or until your project is really as big as Game of Thrones.

That’s incorrect. It can be done by you as a relative unknown with a brand-new task, if you go about it correctly. We’ll figure a few of that out together, but mostly, it’s approaching this planet of licensing confidently in yourself and your projects. Before I go further, I want to say a couple of things.

  • Experience at working both separately and in a team-oriented, collaborative environment
  • Cloud experience
  • Decision Table
  • “Easier to be called Mr. Than to be called Later Mr… Past due.”

First, this whole series is coming out of just how my thinking over the past decade has collided with the things I discovered at the Las Vegas Licensing Expo in June. I composed about that collision in Part Among this series, and I urge you to read it and Part Two before you can this blog. Second, understand that we first are writers, and we write.

I’m not doing this blog for individuals in other parts of the entertainment profession (although this might benefit some of them). I’m achieving this primarily for people who consider themselves writers who want/have a long-term full time profession writing down stories. What we should discuss in this website, in the responses as well as with the posts, is the business part of making up stories-how to make a good living as of this career. That’s really important, because this issue of this blog is the story.

Not storytelling, which is what we do. In last week’s post, I postulated a writer who experienced a great tale with five fantastic characters. Let’s name that story Super-Dooper Experience Tale for the sake of clarity just, and give the author a true name as well, Suzy Q. Writer. If this was twenty years ago, Suzy Q would write down Super-Dooper Adventure Tale and makes an effort to market that manuscript to a traditional publisher, who convert Super Dooper Adventure Tale into a paper publication.

That’s changed. Suzy Q can publish Super Dooper Experience Story herself Now, in paper, books, and sound. There’s no need to go longer to a traditional publisher any, although many writers do. But let’s regress to something easier here to the full times before Super Dooper Experience Story was written down. When Suzy Q developed the urge to tell Super Dooper Adventure Tale, she made some choices.

Some of those choices may have been subconscious. She could tell the tale to friends and family verbally. Parents do this sometimes, constitute serial tales as bedtime tales for the young kids. Some parents eventually publish those tales, but they might not be as fresh as the tales the kids heard on those sequential nights. Raconteurs do that as well.

They have their party stories, and they’ve become something people want to listen to. Stand-up comedians get their start by being that raconteur usually, even as a little child maybe. Being a stand-up can be an art form in and of itself, akin to music in my mind, because it must be practiced before a live audience.