Breaking In…

Whatever the reason, we all desire, in some shape, form or fashion, praise for our works. It begins when we are children; we gear our entire existence around pleasing our parents, family, or close friends. As age and the eventual hammer blows of disappointment rain in, we slowly ratchet our expatiations for receiving that praise either up or down, depending on our personality. Some individuals give up their efforts, retaining only the most fragile glimmer of hope for that praise, while others fling themselves into the vast ocean of possibility with little more than a glance backward.

Freelancers in the RPG industry, in my opinion, are of this latter type.

Now please do not think me naive or sporting the proverbial rose-colored spectacles, because I know that not everyone who works in the RPG industry is in it solely for the love of the game, or even more fundamentally, for the love of their art. I realize that there are some who do things for other reasons (which I will not delve into here), but for the most part, freelancers in the RPG industry have attitudes and aspirations that are slightly askew from those that risk it all to start a billion dollar a year dot com business. However, at our cores, we still seek to fulfill that basic need of praise for a job well done. It is this need that drives each of us to such lengths as to become a published author, artist, or editor; and it is that initial “break” into the industry that so eludes and frustrates us all at some point.

While I truly doubt that my story will do little more than dishearten many of those still questing for the holy grail of the RPG industry (actually getting a foot in the door, that is), I will share it here. The reason for my doubt is that before I was fortunate and blessed enough to slink through a most barely noticed crack and gain egress into “the business”, I too, found myself disheartened and soured by stories such as mine. Every time I encountered such a tale, the thought that I could never be afforded the chance to be quite so lucky would resonate within my heart. However, I implore each of those hardy and steadfast authors-, artists-, and editors-to-be out there reading this article to not fall into the quagmire of self-doubt and disenchantment, but rather take my tale to heart as one that should verify the fact that it truly can happen to anyone.

It is laughable to consider that upon the introduction of D20 and 3rd Edition to the RPG landscape that I was steadfastly against its encroachment. I repeatedly and vehemently railed that I would never play 3rd Edition nor would I go so far as to purchase any of the books! Well, you know what they say about saying never… I cannot precisely pinpoint exactly who is responsible for my decision to leap into the foray of writing for the industry. I would like to think that it was some sort of amalgamated soup that had been sitting on the stove of my soul for several years, continually added to and occasionally spiced by myself; my ever-supportive wife Heather; my best friend and constant co-conspirator Davis Riddle; my close friend and frequent co-author Ken Marable; my good friend and staunch supporter of all things 3e and D20, Daniel Reddy; as well as such inspirational industry luminaries as Monte Cook, Colin McComb, Sean K. Reynolds, and countless others.

Whatever the reason or the inspiration that formed the tinder for my freelancing fire, the spark that set it ablaze was Bastion Press’ “E-Adventure Contest”. While many might remember this little gem, it was basically a contest conducted by Bastion Press in the fall of 2001 for a fully written adventure; the winners would be awarded a cash prize and “e-publication” as an official Bastion Press product. Something about that contest struck a cord within me, or perhaps placed a ladle in my hand and forced me to sit before that aforementioned soup pot; without ever opening a 3rd Edition Rulebook, I decided to give it a whirl.

Luckily for me, I had a very close friend who was a resident 3rd Edition guru, Ken Marable, and is hands down one of the sharpest minds in the industry. We entered, and somehow we were selected as one of the winners. A part of me wants to admit that it was a total fluke, pure luck and happenstance, but another part of me (perhaps the part which at its core desires that praise mentioned earlier) prefers to think that all of the writing and work I had done for so many years prior to that moment had merely prepared me for that particular opportunity. It is not often I look gift horses in the mouth, so I do not dwell on the occasion of my entrance into the industry often: however, I have done so here in order to affirm for those individuals who are observant, hardworking, dedicated, and hungry – these opportunities do indeed exist.

Advice on Breaking In

While I cannot speak on the subjects of getting into the industry in the roles of artists or editors, I can speak from first hand experience as a writer. There is no denying that the RPG industry has changed dramatically over the past several years and with it, the things an individual should do in order to make his or her mark on it have also altered. While there is no single recipe for success in terms of this endeavor, I do firmly feel that the aspects of organization, dependability, interactivity, and observation are central to being successful and should be included in any concerted effort. Still prevalent are what I consider to be the “old standby” requirements, which any book, web article, or interview with an industry professional can depart to an individual: hard work, drive, dedication, a modicum of talent, and so on. I by all means agree with and believe that these aspects are crucial to working as a writer, but I also agree that with the onset of the internet, e-publication, and email, some of the framework once set by a pen and paper publishing world is now a bit skewed.

First and foremost, organization is fundamental to being an effective and dependable writer; not only in regards to setting and meeting project deadlines, but also in the areas of assessing your availability for up-coming projects, and in keeping straight the “money-end” of things. If you find that your desire to remain unorganized quickly outdistances your desire to write in the industry, then I would suggest that you spare yourself the trouble.

As a writer you must be organized with your short-term time, as occasionally you might find yourself working on two or three projects at once; in cases such as this something as seemingly simple as a deadline mix-up could be disastrous and reflect poorly on you in the future. The pacing of your writing must also be organized, and I encourage all of those seeking to function in the industry to set a daily writing goal of at least 1,000 words and keep it religiously. You will soon find that you can do much more than this, but be certain to maintain a daily average that you are comfortable with and do not let yourself “slip” or you will soon see weeks slip through your fingers without a word written.

As a writer you must also keep a close watch on your long-term time in order to properly gauge your availability for projects coming down the pipe. Having a firm grip on what you plan to be doing in six month’s time is often crucial in selecting what options you have for your next project (and as such, your next paycheck). Often times, this type of planning might exclude you from jumping on board a particularly exciting new project, but can, if applied properly and studiously, guarantee that you are rarely without a writing assignment.

You owe it to yourself as a freelancer to keep meticulous records and remain organized on what I often term the “business side of the house”. While being a freelancing author is an excellent way to tap into and revel in your creative side, there are always the more practical and real world facets of freelancing that must be dealt with, most of which rarely involve reveling of any sort. However, a strict methodology of organization and prudence can assist in making these burdens a bit easier to bear. Keeping your resume, records, contracts, and industry contact information neat, filed, organized and current is a tremendous help all throughout the year, but especially at tax time. Another organizational tip that becomes of inestimable help in regards to paying taxes is taking the time to keep precise and thorough records of all payments and a list of potential deductions.

Only minimally behind organization in terms of importance is the aspect of dependability. It has been said, one of the rarest things in the world is a dependable artist (used here as a broad term) and my personal experience has proven this true time and time again. Being dependable is very difficult for most people (me included) but it is something that one should continually work toward. When you get a contract not missing the deadline should be your greatest concern. As a writer you must strive to be dependable in both word and deed; while the advice offered above provides some assistance it cannot make you impervious to delay and the occasional stumble. This is not to say that publishers are inhuman and unfeeling machines just waiting to grind the next poor sod that misses a deadline into so much sawdust; nothing could be farther from the truth in my experience. Rather, that you as a freelancer should make it a priority to stay in touch with the publisher and let them know if anything amiss arises. Publishers crave solid, good, dependable writers – it is that simple. If you can become this, then you will find work, without question.

As mentioned previously, communication with your publishers is obviously extremely important at times of crisis or drastic change; however, regular communication is also vital to your success as a freelancer. In this current age of email, message boards, and instant messaging, it is hard to believe that some publishers rarely hear from their freelancers (and vice versa) but that can be the case. My suggestion is to strive to maintain a fairly regular dialogue with each publisher you have dealings with – it not only lets them know that you are still breathing, but also that you are still very much interested in their company, their products, and their future assignments. If the publisher has a mailing list or lists, get on all of them and provide feedback, questions, or comments. If a publisher has message boards, read them frequently and often. While posting is optional, reading the messages on a publisher’s boards can be equated to reading a restaurant’s health rating – it instantly lets you know if you want to support that particular establishment. Read the reviews of the publisher’s products and if you have the time and the resources, purchase and review them yourself. Most publishers will sit up and take notice of these activities as they each help to prove that you are more than willing to become and remain active and interactive with them. However, do not limit yourself merely to publishers that you are already involved with, but those with which you would like to become involved. Download, read, and re-read each publisher’s submission guidelines; if they accept submissions and you have the free time, send in a submission or three. Carefully test the waters by sending them an email. Often, publishers are very open to email and many use it as their primary means of communication. If this happens to be the situation, utilize this tool to build a connection with the publisher; while you may not immediately be seeking work with them you well could be in the future.

Lastly, the canny freelancer makes it a point to remain ever vigilant – always keeping an eye out and an ear to the ground. Because information is the freelancer’s lifeblood, it is paramount to maintain a steady and undiluted stream of it entering your “life support system” at all times. Here again, the internet is the friend of the RPG freelancer and it would be a true shame to waste such a resource if it is in hand. Countless mailing lists, websites, message forums and most of all, word of mouth (i.e. personal email) are the tributaries through which this information flows most readily and quickly. Freelancers that are able to obtain and act upon such information are typically the ones to land contracts and build reputations as movers and shakers in the industry.

Being observant will also lend you a sense of how things work in the industry and the current status of the marketplace such as whether customers are scurrying to snatch up PDF products, or are they waiting until the print run comes out. These are the types of tidbits that can prove invaluable. Further, keeping an eye out for recent developments can often give you ideas as to what to incorporate into future or current projects. For example, if a publisher releases a 128 page sourcebook of new arctic races that is flying off the shelves, and the current project you are working on just happens to take place in a snow-bound setting, then you might want to rethink not adding any new races to your draft. In light of the OGL as it pertains to the RPG industry, you could very well incorporate some of this material possibly increasing the amount of acceptance your project might enjoy with the publisher and the public.

Are the words included here the proper incantation required for you to weave a spell of success in the business of RPG writing and design? As sad as it might seem, most likely not. Your success depends first and foremost upon you and what you are willing to sacrifice in order to achieve that success. For some, these tips, hints, and nuggets of experience might assist in their journey and for some they may be little more than a deterrent. They are offered in the hopes that they will aid at least one person out there in gaining at least, if not more than, the measure of success that I have heretofore enjoyed. As long as you keep the goal in mind and your fingers on the keyboard, then I have little doubt that, before you know it, you will have achieved that goal and set yet another.

I wish you all the very best of luck.

Brannon Hollingsworth
Freelance Author
Edited by Heather Hollingsworth

This article first appeared in Volume 1, Issue 3 of The RPG Freelancer’s Guide.
It is reprinted here with permission.