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Guy's Blog

Guy frequently keeps this blog updated with thoughts, challenges, interviews and more!

Tag: writing

Some stuff to be done…

This has been quite a month. Since May 1st, here are the projects I have been working on, and some of the stuff I have done, in no particular order.

  • Finishing and publishing the first three instalments of my Swordsman’s Quick Guide series.
  • Working on a complete rewrite of Veni Vadi Vici.
  • Installing a new kitchen in our apartment
  • Moving back into our apartment after the plumbing work.
  • Working on the Liechtenauer expansion pack for Audatia.
  • Preparing my Realities of Steel presentation for Ropecon.
  • Attending Ropecon for three days, mostly playtesting Audatia, and giving the presentation.

All of this in addition to the usual:

  • Teaching at the Salle
  • Running the school, organising seminars etc.
  • Writing this blog
  • And maintaining at least acceptable competence as parent and spouse.

So, as you may imagine, I’ve been a bit busy. But I do not multi-task. So you might very well ask, how do I manage all this?

The short answer is “I don’t”. I let some things slide. Email and social media are the first to go; some poor folk waited two weeks for a reply to some queries. And it’s been a while since my last post, no?

The longer answer is, “prioritise, and do things bit by bit.”

I also delegate where possible.

Let me enlarge on this a bit.

Every project is broken down into tasks. You cannot possibly fit a kitchen. It's too much. So instead one day I laid the floor. On another I painted the ceiling. On another I sanded the worktops. On another I fitted the handles. On any given day, I have only one task. So, today might be the day for sanding down the kitchen surfaces. Or writing a blog post. Or working on Veni Vadi Vici. I start with that, and keep going until I need to stop, or until I finish a given milestone: first draft written; three more chapters proofread; surfaces oiled, whatever.

Then I start on the next project, or lie on the sofa and watch TV, or whatever else I actually feel like, because the day’s work is done. I don’t always get to choose which task is next; those with hard deadlines (like preparing a presentation for an agreed date) go before those with soft ones (finish the Veni Vadi Vici rewrite), but wherever possible, I wake up in the morning with only one work thing to do that day.

Quite often, a task I have built up in my mind as huge and difficult gets done in minutes instead of hours; but my wife will tell you that I have a terrible habit of thinking something will only take an hour or two, and it takes days instead. That’s also sort of part of the system; by underestimating the difficulty of the project I increase the likelihood that I will actually commit to it; once the commitment is there, the task will be done, just not necessarily on schedule. (I hear my Audatia supporters grinding their teeth… the Liechtenauer Expansion is a year late, and it’s my fault for underestimating the time).

I only ever work at 80% capacity or better. If I find that a task is dragging, that I can’t get into the flow with it, then I switch to something I can flow into. So up to a point, my subconscious chooses my tasks for me, and this is a skill I have deliberately developed over many years; I have trained my instinct to tell me what I should be doing. I often don’t know when I wake up in the morning what I will be working on that day. But then I find a particular file open on the computer, or I find myself assembling a tool kit in my head, and just go with it. Dammit, I do use my feelings, Ben!*

I wanted my series out and off my desk this month, as a matter of urgency. So I put that first, and duly published on May 8th. In that week, if (for example) my wife asked me something about the kitchen, I’d say “I don’t care”. Or somesuch. Because right then the only thing I did care about was the series. The major kitchen project was not the one thing I was doing right then.

Task switching has only one useful function: it can be used as a way of productive procrastination, or a rest. If I get tired typing: great, time to put up the shelves in my study. If I’m exhausted from fitting the kitchen: perfect time to run errands. This goes further: I never work late at night. Because with enough rest, food and sleep, I can get twice as much done the next day. Really, it is so much better to work 10 hours at 100% than it is to work 20 hours at 50%.

If I ever am stuck for which task to prioritise, I use a pencil and paper and write down everything that’s pressing. Usually the one on the top of the list is the one I should be working on that day. Also, projects that are likely to make money take precedence over those that cost money. [One corollary to that; when paying bills in a time of cash shortage, I prioritise them according to their impact on the creditor's cashflow. Freelancers get paid before big companies, big companies before governments.]

One trick that I find helps with managing tasks of different sizes, is get one or two of the small ones done first. For example, when I was fitting out my wife’s walk-in wardrobe, I also needed the same toolkit for putting up a shelf in the loo. I did the shelf first, because it got it off my plate, and gave me a feeling of “I’ve actually accomplished something today”, which I could ride on through the tedium of laying floor, drilling 8000 holes for shelving etc. through the rest of the day. If I had left it as something to do after the wardrobe, I would have been too tired to bother with it.

some stuff done. Tiles, painting, tidy up the dishwasher, still to do.

So right now, there are many large tasks waiting, but I also got the balcony table trimmed down a bit, something I’ve been meaning to do for seven years. Having the necessary tools here for the kitchen made resizing the table a small task, easily done in an hour or two.

Delegation is hard, especially on a tight budget when you can’t just hire someone. (I got a lot of help from my friend and student Henry on fitting the kitchen; he did much of the actual fitting on the weekend I was at Ropecon, for example.) But one thing I have delegated a lot of is food-making. My wife and I are way busy, and the kitchen appliances aren’t connected yet (long story), so we have been eating out a lot, delegating the cooking and clean up. It’s not the cheapest or best option, but an ok compromise. But I am so looking forward to getting to play with the gorgeous new induction hob and steam oven…

So, my system in brief, is something like this:

1) Prioritise

2) Do only one thing at a time.

3)  Only work at efficient rates.

4) Leave things of low priority undone

5) Delegate where possible

And one last thing. When a project is not going well, or I find myself stuck or about to take short cuts, I envision a student, and teach them how to do it. While doing the kitchen surfaces, I was running into serious fatigue-related problems, but did not want to switch tasks, so I decided to take my imaginary student, and create a video for her. This is perhaps the worst how-to video in history, because it was not really made for the watcher; it was made because having the video running gave me access to greater reserves of patience. And I threw it up online on the off-chance that somebody somewhere might find it useful, but basically unedited, because I’m too damn busy right now to carefully craft a how-to-sand-and-oil-kitchen-worktops video. It’s not on my to-do list.

* Readers who do not get this reference seriously need to go watch the original Star Wars movie. Right now.

The first three instalments of my new series, The Swordsman's Quick Guide, are now live!

Just take a look at these covers, by Eleonora Rebecchi (the photo on part 2 is by Nathan Robinson):

7PrinciplesCover ChoosingaSwordCover PreparingforFreeplayCover

I am experimenting with using Smashwords to distribute my ebooks; their formatting requirements are arcane in the extreme (they require vintage formatting, like doc files, forsooth!), so I haven't got my longer books up there (yet), but they have excellent distribution; they upload to everywhere you can think of except Amazon. So you should find these titles on Kobo, iBooks, and so on in due course. The Kindle files are uploaded; one major benefit of Smashwords is, once all the hoops are jumped through, your book goes live in seconds. Amazon usually takes about 8-12 hours, in my experience. So they should be live there tomorrow.

In the meantime, you can get them direct from Smashwords. You can also get them from my Gumroad bookshop here.

These bijou booklettes are each about 6,000 words, and each word has been carefully examined by a host of kind volunteer readers (whose free copy of their instalment will be delivered soon!). So let me here thank each and every one of you that has helped make these better.

Hail, oh people of the sword or pen! I am sitting in Bar Pult, in Lucca, with a filthy cold, and a head full of snot. Yet today is an excellent day, because today I uploaded all the final files of Swordfighting, for Writers, Game Designers, and Martial Artists to Amazon, Lightning Source, Kobo and Selz; all except the last take time to filter through their systems, so they should be live on Friday. The printed book should be available in about a month.

Hallelujah, people. This one has been quite a marathon. I hope you enjoy the result.

Campaign Backers: I will get your physical copies out as soon as they are available through my printers; expect them in May. You should already have the ebook versions, on the books for backers page of this site. Any problems, contact me on guywindsor@gmail.com Thanks again for your patient support!

Swordfighting Cover

Five years ago, I got an email from a German friend of mine asking about the German translation of my book, The Swordsman’s Companion. I had no idea what he was talking about, and so he sent me this link.

I nearly fell off my chair (this was before I changed to a standing desk, and just as well, or I might have fainted). There, out on Amazon, was a translation of my book, the only translation of any of my books, published without my knowledge. I was beyond furious, as you might imagine.

So I contacted the publisher, Hans Wieland of Wieland Verlag, and asked him what the hell was going on. He said that he had a deal with my publisher at the time, Chivalry Bookshelf, in which Wieland would publish my book in German, Chivalry would publish a book of theirs in English, and to make the accounting simple, I would get royalties on the German book, and the German author would get the royalties from my book.

Let me say that again: someone else would get author royalties for my book. Only a writer can truly fathom the wrongness of that.

Unfortunately, the contract I had signed with CB meant that this deal was in fact legal, and Wieland had naturally assumed that CB had discussed it with me. But nobody had even told me about it, let alone asked for my help in preparing the German edition. Wieland sent me a copy, and I hit the roof (again). The book is beautifully made, gorgeously laid out. (I can’t speak as to the quality of the translation, but I assume it's pretty good.) But the cover. Oh dear.

Handbuch

Here it is, in all its glory. There are notches on the blade, the sword is in the wrong position, held in the wrong grip, with bent wrists; the person is in wrongly made mail, wearing the wrong jacket, with no elbow protection, the gauntlets’ fingers are too short, the gauntlets and mail are 200 years out of date with each other; even his mouth is open (so he may bite his tongue or break his teeth if he gets hit).

Not to mention the dodgy facial hair and mad staring eyes.

And many people have thought that that was ME on the cover! Aaaaaaaaarghhhhhh!

I gave Mr Wieland a piece of my mind, over email. He was polite and apologetic, and there was nothing to be done. I should state here that it is still a good book, and publishers have always been at liberty to make whatever covers they want; marketing the book is their job, after all.

A couple of years later, I was part of a class action suit (organised by Greg Mele, who worked tirelessly over many months to gain a favourable outcome) against Chivalry Bookshelf in which the rights to my first two books reverted to me. (The terms included a non-defamation clause, so I will be very polite about what went on.) This is why both the Swordsman’s Companion and the Duellist’s Companion are back in print (thanks, Greg!).

Shortly afterwards, I got an email from Thomas Laible of Wieland Verlag, informing me that in the circumstances (the break with CB, and the obvious non-publication of the German book in English for which I was supposed to get paid), Wieland would be paying me all the back royalties on my book.

Though they had absolutely no legal obligation to do so, and despite my unrestrained response to the cover, they were offering me my royalties (which by this point were about 1500 euros). I nearly fell off my chair (again).

Since then, we have signed a contract for them to publish The Duellist’s Companion, and just last week, we signed the contract for the German edition of The Medieval Longsword. That’s right, people, Fiore is about to speak German. He already does, in Osnabruck, but with the new books coming, the potential for the true (Italian) art to spread in Germany is hugely increased.  Halleluliah!

It is an unmitigated pleasure to do business with people who can be relied on to do the right thing. And I am hugely pleased to think there may come a generation of German-speaking longsword enthusiasts doing Italian longsword.

My friends at Pulp Literature are running another crowdfunding campaign to raise funds for their second year; I have greatly enjoyed the four volumes of short stories, novellas, poetry and artwork that constituted year one. One of their founders, Jennifer Landels, runs the mounted combat program at Academie Duello, and writes and draws swordfighting scenes (yes, chaps, huge chunks of Pulp Literature have no swords in them at all. And are STILL worth reading. Amazing.) So I sent Jen the current draft of my next book, Swordfighting, because it has advice for writers on creating good swordfights. She has been following my advice (not that she necessarily needed it!), and allowed me to share some of the results with you.

Here is a previously unpublished exclusive excerpt from Allaigna’s Song, which has been serialised in Pulp Literature issues 1-4, and will continue in 5-8; this will be part of issue 6 or 7.

We were almost at the end of the alley, when something else that glittered caught my eye.  I pulled Chal by the sleeve into a swordsmith’s shop.  Hundreds of swords and dirks hung from their hilts on the walls, and more sat scabbarded in bins behind the counter.  I paused for a moment, stunned by the bristling array of steel:  great swords and long swords by the dozen, short broad blades and long slim duelling swords, hunting daggers, ceremonial daggers, throwing knives and poignards sharp as hat pins.  It seemed there was more weaponry in this tiny shop than the whole of the Bastion’s armoury. 

Enraptured, I wandered slowly around the store under the silent, watchful gaze of  the shopkeeper.  When the sense of impatience from both her and Chal became oppressive, I stopped at the furthest case.  Catching my breath, I pointed at a slim short sword.  Page’s training aside, I still found it terrifying to talk to strangers, so I allowed myself no time to think.

“Can I see that one … please?”

The storekeep looked at me appraisingly.  “That one?  You’ve good taste, young lady,” she replied, but made no move to open the cabinet.  “Do you know what it is?”

Chal save me from answering.  She was as aghast as I had been in the apothecary. 

“A sword?  What do you need with a sword?  Don’t you get enough of that with arms practice?  And what’s wrong with the ones they give us, anyway?”

“They’re heavy, clumsy, and too big for me,” I snapped back at her.

The shopkeeper still stood with her arms crossed.

“That’s good training, that is,” she finally said.  “Learn with a heavy practice sword and you’re twice as fast and strong when you get a good one in your hands.  Like that one there. Ilvani craftsmanship.  No child’s toy.”

My ears burned.

“I’m not a child!  I’m –” I stopped.  “I can afford it,” I challenged, not knowing if I really could.

“Perhaps.  But can you use it?”

I nodded sharply.

“Very well, then.  Show me.”  She unlocked the case and brought out the sword.  It was a beautiful thing.  The handle was wrapped in green and gold threads, ending at a carved brass pommel.  The swept knuckle guard was minimal and elegant, and the blade itself, just as long as my arm, was no more than a slim two finger-widths at the hilt.  The unsharp portion was etched with delicate tracery my eyes couldn’t quite follow, of flowers and beasts intertwined in a continuous river.

It felt almost weightless compared to the clunky swords we drilled with, and it sliced the air with an easy thrum when I gave a few tentative cuts.

The shopkeep was out from behind the counter now, and for the first time I noticed her size and the muscles of her arm.  No doubt she could use any blade here, but in her hand was a short sword, of a length with the one I held, though not so beautiful.  She handed a blunting scabbard to me.

“Let’s see you use it, then,” she said, tying a matching scabbard on her own blade.

Chal gasped.  I stepped back and looked the shopkeeper in the face to see if she was joking.  She stood in a casual guard position, sword point level with my head.

“Here?”  My voice came out in timid squeak as I glanced at the narrow space hemmed in by cabinets.

She nodded, the barest smile lifting the corners of her mouth.  “Don’t break any glass or you’ll be paying for that.”

“No … thank you.  I don’t think so.”  I turned the sword over to my left hand and proffered it, hilt first.

She gave the blade a smack with her own, sending it spinning from my hand.  Without being aware I was doing it, I caught the hilt in my right once more.

“No, I think so,” she said, her smile stretching.

That smile was the goad.  With trembling fingers, I tied the blunting on, not daring to look at her face till it was done.  Stepping backward I lifted my sword into a guard that matched hers, though my point dipped and wavered while hers hovered steady before my eyes.

She began slowly, circling my point with hers to cover my sword.  I stepped back, nerves making me disengage her blade with a jerk too fast to be polite.  Still smooth and smiling she followed my turn and ended up on top again.  We spent a few moments like that, me flicking my blade back and forth, down and around, trying to gain advantage; and she never losing her unruffled calm or her superior position.

Frustrated I swung the blade around in an arc, smashing against her sword, which came up to meet mine invisibly fast.  The impact shuddered down my arm and threw my sword away.  Hers hardly moved.

She stepped forward, laughing, and tapped my exposed side with the flat of her blade.

“Never throw your weight against someone who weighs four times as much, little bird.” 

The blow stung, but not as much as the words.  Only Rhiadne was allowed to call me that.  I ducked low and cut at her feet and legs.  She stepped back almost casually and caught my sword again with hers.  I flicked my hand over, hoping to catch hers in an upswing, but she countered easily.  Neither Baredh nor the weapons master at the Bastion had ever moved so fast.  I knew she was toying with me and it was infuriating.

I ducked again and lunged, this time driving my sword upward under hers, careless of the fact she could bring her blade down fatally on my unguarded head if she chose.  With a turn that happened so fast I didn’t see it, she locked my hilt and twisted the sword from my hand.

“Tt,”  She shook her head, holding my blade in her left hand.  “It’s not done, aiming for the vitals in a friendly match.  Especially when you want something from me.  Or were you planning to walk past my bleeding corpse with a new sword?”

Fury and humiliation welled in my eyes.  I blinked them back down, but said nothing, having no faith in my voice.

She put both blades down on the counter behind her and folded her arms across her broad chest.  Head cocked to one side she peered at me once more with skin-flaying eyes.

“The sword is yours if you can afford it.”

I blinked again.  “How much?”

“A hundred and forty.”

I sagged.  It was at least a hundred more than I had.  The tears fought their way back up.  I had come into the shop on a whim that had been transformed to an obsession.  The newfound object of my desire pierced my heart and stayed there, burning.  I thought bitterly of the jewelled gold cups and flagons I filled and refilled every day.  A single one would pay for this treasure.  What good was having a prince for a grandfather when I lived on a page’s allowance?

I shook my head, and swallowed the fire.  “It’s too much.”

Her eyes, for once, looked sympathetic.  “I have others – less costly.”

She offered me the one she’d wielded.

I eyed it without moving.  It was a plain, sturdy sword, almost identical to the ones we polished every day. I shrugged and crossed my arms protectively against despair.

Chal, who’d stayed pressed in the corner till now, came forward.

“I could lend you some, Allaigna. I’ve got twenty or so left.”

I shook my head.  Not enough.  I looked up, still hugging myself.

“Could I,” I hesitated, desperately unbold, but desperate enough.  “Could I pay you some now and some later?”

“Why certainly little bird.  But I’ll keep it here till you’ve paid in full.  Twenty falcons a week for twelve weeks.”

I did the sums in my head and opened my mouth to protest.

“And I’ll throw in a lesson each time you come.”

I was torn between outrage and hope, but my lust won out.  I fished twenty falcons worth of mixed coin from my purse and spilled it on the counter,  though my hand hovered over the pile.

“How do I know you won’t just keep my money and sell the sword to someone else?”

“Well, you don’t know, do you?  That’s the nature of trade.  We can shake on it though.”

She put a fist to her heart, spat in her hand, and held it out.  I did the same, clasping her large hand with my tiny one.  She scraped the coins off the counter and passed them back to me.

“You can start paying next week.  This lesson was free.”

I nodded, and backed toward the door.

“And what about you, young lady, she called to Chal.  A dirk, perhaps?  A fine stiletto?”

“Do you fight with all your customers?” Chal asked warily.

The shopkeeper smiled.  “That depends on what they want.”

“No thank you, then,” said Chal as we made a hasty exit into the chilly winter afternoon.

Now, as if that wasn’t enough, she has also shared some of the early sketches for a mounted combat scene in one of the stories; oh you lucky people!

1a  1b2a2b

So, if you like this stuff, as you jolly well should, then hi thee to the Starter of Kick, and part with some of your hard-earned. Because if you don't, they might not make their target, and then I won't get my next four issues, and that will make me grumpy and sad. And you wouldn't want that, now, would you?

My next book, Swordfighting, is, from a creative perspective, done. It is still being edited, tweaked into better forms, and has yet to be published, but the creative work, by which I mean “writing new material”, is over. I have a bunch of started book projects on my computer, and  I am wondering which of them most takes your fancy; which one would you most like to see finished first. I posted a poll yesterday, and the top three contenders are:

1) Mastering the Art of Arms vol 3: Longsword Advanced Training. The sequel to my latest longsword book, which would cover advanced training, techniques, and concepts. (40% of the votes)

2) A new rapier book, to replace The Duellist's Companion. This will take into account about 9 years of teaching rapier regularly, and so be much easier to follow and use. (22% of the votes)

3) How to Train which has sections on strength training, nutrition, range of motion, meditation, and breathing. In other words how to craft your body to be able to do what you want it to do. The emphasis will be on being able to swing swords, but the principles are sufficiently general that it can apply to any area of life. (31% of the votes)

Or is there something else? I'm open to suggestions, which so far have included: a beginner's Bolognese book, Sword & Buckler, combined martial arts and swordsmanship (whatever that is!), and my interpretation of all of Fiore's plays on foot, among others.

So, if you have an opinion, please let me know it by answering my poll. I added 3000 words to my draft of Advanced Longsword today, inspired by yesterday's responses…

One of my favourite internet distractions is seeing how other writers (proper writers. Professional writers. Oh wait, that's me too!) set up their work space. The fallacy, of course, is the underlying idea that if I just use the same tools, I’ll get the same results. This is not so. It is well to remember that for most of recorded history, writers used feathers and bits of skin. So George R.R. Martin’s famous use of WordStar 4.0, or Iain Broome's minimal approach, or whatever, are clearly helpful but not necessary for good writing. Nice to have, sure, but not having the latest kit (or the oldest, depending on your preferences) is no excuse. There are lots of writers who seem to manage with just a laptop in a coffee shop, but I just don't find that conducive to good work myself. I like my books around me, and a very quiet environment. So what do I use?
My writing set-up is fantastic. Really, I’ve put a lot of time and effort into it, much of which should probably have gone on actually writing. The set-up is subordinate to the process, of course, so here’s the process first:
I either write directly in Scrivener (recommended to me by Neal Stephenson, whose name be praised ‘cos this program works!), or more commonly, I write up notes (after class, for instance) in a hard-back notebook, with a proper ink pen, and usually on a writing slope that I cobbled together when editing Veni Vadi Vici. Then I take a photo of the notes with my smartphone (Samsung Galaxy s2, bought in September 2012, a few months after the s3 came out, so really cheap for what it can do), which uploads the pics directly to Dropbox (which is a totally life-saving service. Automatic backing up and syncing across devices; literally everything I'm working on, and all my most commonly-used reference sources are stored there). So when I get home to my study (oh bliss, I have an actual study. A room for reading and writing only. Luxury times ten) my notes are there on the computer (a mid-2010 21.5” iMac). I can then write stuff up, with Scrivener on the right, and the notes on the left of the screen.
This is all made MUCH easier by being able to touch-type, which I learned thanks to a gentle teasing from M. Harold Page. This was so incredibly frustrating that I had to cobble together a standing desk (another of Neal's tips) so I could squirm from foot to foot while forcing my rebellious fingers to find the right keys. I literally disassembled and nailed together an IKEA bookshelf, and stood it on a couple of filing cabinets: yes, I really should make a prettier one; but dammit, I have books to write! During this process of learning to type, before I had much time invested in Qwerty, I switched to the Dvorak keyboard layout, and here’s why:

DvorakKeyboard
See the pattern of wear? Almost all on the home row, with some on the top row, and a little on the bottom? Proof if ever you needed it that Dvorak is way more efficient. (I was passing the study door one evening and noticed the light hit the keyboard, pulled out the phone at snapped a shot. Damn, having a decent camera in my pocket changes things.) I actually hacked up a Dvorak layout keyboard from a second Apple keyboard, because every now and then I need to see the keys, still. Especially for passwords and such. I hanker after but cannot yet justify one of these ergonomic beauties (in the Qwerty/Dvorak configuration, of course!).
I made the normal desk back in 2008, as a way of delaying writing The Medieval Longsword; these days the iMac sits on it, for times when I don’t feel like standing, or need the bigger screen. My wife also uses the iMac, and doesn’t care to work standing up, so there it is.

desk

Now that my books are actually bringing in real income, I spent some of it on a Macbook Air, 13 inches of rocket ship. It’s fab. I can put it anywhere, such as here on the standing desk,

standingdesk

and I usually use a separate keyboard, not least for ergonomic reasons. I can support the laptop at a convenient height (this desk was made for the iMac, hence the dictionary under the laptop to bring the screen up), leaving my hands where they should be. I also stand on a pilates mat (one of my wife's), which helps a lot with lower back pain, and leg fatigue. The mat brought me up enough that I took the leftover solander box from my Extraordinary Edition of I.33 and used it to bring up the keyboard to exactly the right height. (If you're into ergonomics, you might enjoy this book on the perils of sitting: Kelly Starrett's Deskbound.)

You may note that R2D2 and Yoda are both there, one for scolding, the other for sage advice, whenever I slack off or get stuck.

Yoda and R2

Note also the humidifier (the upside-down bottle on the left); it makes a big difference to long-term comfort when working, because Finnish houses are properly insulated and heated, and thus dry out during the winter. The baseball on a stick is a Blue Snowball mike for doing voiceovers on videos.
I was given a Roost stand for my birthday last year, by my friend Tina, which allows me to do this funky trick:

The Roost
This is great for writing when on the move, or in the kitchen. The kitchen has a great view, and the best light, and sometimes a change of environment can unstick the stuck. The ergonomic benefits are huge, and really capitalise on my hard-won ability to not look at my hands when I type.
I also use my writing slave (no, not a typist, I wish!); this is a specialised bookshelf, with a slope for the current tome, and canted shelves so you can read the spines from next to it (so you don’t have to move out of position to find the right book).
The iPad 2 (from 2011) was a birthday present from my parents, and is really, really useful. It acts as a second screen when writing, especially for a primary source that I’m referring to, but most importantly, during the dreaded editing process, I export a pdf of the current draft from Scrivener, and edit it on the iPad making notes and corrections in PDF Expert using a stylus, which I can then apply to the draft. It is an efficient way to minimise the number of printed drafts I need to do. If I’m going to write much on it, I use the Origami keyboard case and stand.

ipadandorigami

I have the iPad safely ensconced in a bulky military-grade case, from Griffin; I drop stuff way too much to risk shattering that delicate screen. When travelling, I will take the Air if I intend to do real work, or just the iPad for emails and so on. On the rare occasions I do write properly on it, I use Simplenote for syncing with Scrivener (there is no Scrivener app for the iPad; not yet at least), but more usually PlainText for writing and automatically syncing with Dropbox. We have come a long way from feathers and bits of skin; but at times when I feel like going old-school, I have a proper dip pen and an antique writing slope (bought for 25 quid on Ebay!), and a pen holder and nibs, which I use with Winsor brand (naturally!) Indian ink. And of course, I would dearly love to write with a quill on parchment. It's just better. One day…

Writing slope
Regarding layout; for writing that I am giving away free, I do it myself in Pages. For writing that I am selling, I pay my excellent designer, Bek Pickard of Zebedee Design. I trust the difference is obvious!

So, add this all together, and I think you’ll agree it’s a pretty sweet set-up, involving no less than three custom-made bits of furniture, two computers, two separate keyboards, and a tablet. The critical components are: for workflow: Pen and ink, Scrivener, Dropbox, PDF Expert, and my camera phone; for ergonomics: my standing desk, and the overall adjustability that comes from having movable screens and a separate keyboard.

Overall, I have a name for it: NO F*CKING EXCUSES.

So, what's your ideal set-up, and why?

I am writing up the Fear section of my new book, Swordfighting for Writers, Game Designers and Martial Artists. This particular section seemed like a useful snippet. About half the book is blog posts from here, so cannibalising a section of it to make a blog post seems, well, fair. Here goes.

“One of the many things that martial arts training can teach you is the ability to deal with fear: the ability to control your autonomic responses, the ability to choose all your actions from a position of confidence and strength, rather than just react out of fear and dread. [At this point I tell stories about the many times I have been variously anxious, frightened, terrified, and gibbering in panic, in hospitals, schools, fencing arenas and the mean streets of Sydney (yes, the Spider story) and Edinburgh.]

In addition to fear management strategies, it is also useful to actively practise handling fear. For this you will need one irrational fear inducing activity, ideally one that requires little cash or preparation, and a commitment to daily practice. One easy option is cold showers; not ideal, because most people are not actively afraid of cold water, they just don’t like it. But having the nerve to turn the tap all the way to cold and let it hit you, is a good start.

I personally have a wildly irrational fear of hanging off things. Especially upside down. I’m ok hanging off a pull-up bar by my hands, but jumping up to catch hold of it in the first place gives me a heart attack. In the back of my mind I am completely certain that if I miss my catch, the contact of my fingers on the bar will flip me upside-down, and I’ll fall on my head. Yes, really.

But I know that it isn’t so; the forces at work just cannot make that happen. My rational mind overrules my irrational body, in this case. So every day, I jump and catch the bar. And every day, I nearly die of fright. But it is much easier to handle now than it was a year ago. I can feel the dread building as I approach the bar, and steel myself to jump and catch. It’s horrible. But useful. And good practice.

Hanging upside down by my knees is another one. For the longest time, I could not do it. In my heart of hearts, I knew that if I let go with my hands, my legs would straighten, and I would fall. As if my legs were not under my control at all. And as if the teeny little muscles in my grip were somehow able to generate more force than the ginormous (in comparison to my forearms at least) muscles in my thighs.

My cousin is a professional aerialist (she organised the Mary Poppins’s at the London Olympics opening ceremony), and way back in 2005 she was performing in Berlin, doing scary-as-hell rope tricks. You can see her in action here:

http://youtu.be/http://youtu.be/e_SSEXF4kFM

I flew over to see her and while I was there she invited me along to their training hall, to have a go on ropes and trapezes. It was fantastic good fun. While she was teaching me to get onto a trapeze, I managed to get my legs over the bar, but I could not let go with my hands and hang down. No way. Instant fall onto head. So she shinned up the rope next to me, laid her arm on my shins and said “don’t worry, I won’t let you fall”. (The physics do not work, of course. She was about half my weight, and hanging off a rope. But irrational fears do not require rational solutions.) And so I let go, and after a moment, she could take her arm away, and there I was, hanging by my knees upside down for the first time ever.

Unfortunately, trapezes are quite tricky to find round here, so I didn’t do it again, until this summer. We have a climbing frame in our yard, and my eldest daughter and I were playing on it, and I did Katherine’s trick of holding her shins (though in this case the reassurance was backed up by physics!) and in short order, my 7-year old turned into a monkey, as regards hanging off stuff at least. So I decided to join her, and had my wife hold my shins, and I let go with my hands. After a few reps of that, I could do it without her. And now it’s easy. Scary, but easy. I still know in my bones that I’m about to fall, but I still do it. When that stops being scary enough, I’ll have to find something else to be frightened of. Because the benefits of daily overcoming terror are way too great.

photo credit: Sarah Frechette of Pikku Arkki.
photo credit: Sarah Frechette of Pikku Arkki.

So, give it a go. What are you afraid of?

This is my 100th blog post, and I have just released my latest book, The Medieval Longsword, to my campaign backers. It will be up on Amazon and elsewhere soon.

TML_coversample2

By way of encouraging reviews, and to soften the blow for all those who missed the campaign, I will give away a free ebook copy of the new book to anyone who sends me a link to a review they have published, on any website (amazon, goodreads, kobo, barnes and noble, your blog, anywhere), of any of my previous books. This offer is open until July 22nd, so you can write one between now and then.

Please share this with your friends, especially with anyone you know who has bought the second edition of the Swordsman's Companion recently; they really should get the latest material, and this way they don't have to pay more for it. (If I had a way to contact my readers on Amazon, I would!)

And, once you have a copy of Medieval Longsword, and the book is released for sale (should be by the end of this week) anyone who posts a review of it and sends me a link to it before August 11th, will be sent a free ebook copy of my next book, Swordfighting, when it comes out (it's due in November). (IGG backers will be getting one anyway: but you can still post a review!)

Please note, I will honour this offer for any review, no matter whether it's positive, negative or in between. Be honest, tell the world what you really think.

 

 

 

 

 

I am not a novelist. I have no ambitions to become one. But I do write and publish books, and have many friends who write fiction for a living. Most of the self-publishing advisory books I have read have been strong on marketing, strong on how-to-publish, but skip the actual how-to-write-a-book side of things.
My own writing career began with The Swordsman’s Companion, which owes much of its readableness and coherence to one man: my old friend and fellow swordsman M Harold Page.

MHaroldPage

He was then in the tech-writing business, and took my first draft of incoherent drivel, ripped it to shreds, and showed me how to write instructions properly. He went so far as to create and send me a template to work from. Now that’s a friend. He is also the man responsible for making me learn to touch-type.

He is now a published novelist, making a living from his writing. His stuff is great (get Marshal Versus the Assassins for a very enjoyable medieval adventure romp), but I am even more excited by his latest effort: Storyteller Tools.

SToolsCover

In it he leverages his years of experience writing technical manuals to come up with a clear and concise set of outlining and story-crafting techniques that will make it as easy as possible for you to get your long-buried novel out of your head and into readers’ hands.
Even if you don’t intend to write a novel any time soon, if you have read and liked any of my how-to books, buy this one too; I’m sure you’ll enjoy it. I’ll go a step further: buy it, read it, and if you don’t think it’s worth the money, let me know and I’ll send you any one of my ebooks you like for free, to make up for it.
What are you waiting for? Get it from amazon.com or amazon.co.uk.

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