Today we have a thematic Aspiring Voices as I chat with horror writer Sam Witt about making a real living as a working writer, genre writing, and a great dissection of the horror genre’s past, present, and future.

Haunted House

Barbara via Creative Commons

Paul: You were, at one point, a working writer, correct? What were you doing at the time and how was that different from what you’re trying to do now?

Sam: I was indeed a working writer in the early 90’s, primarily churning words in the adventure game industry for Dungeons & Dragons. I wrote a blog post about how that all fell apart, but one thing I didn’t mention was just how different that type of writing was from what I’m doing now.

Everything I produced back in the day was work-for-hire, which means that the millions of words I cranked out weren’t really mine. They belong to the publishers who hired them out, and while many of those words are still earning a decent sum for someone they aren’t providing me with any residual income.

The other downside to this otherwise high-paid work was its relative anonymity. Authors weren’t given front-page billing, but were consigned to the interior of the book. Work-for-hire publishers are interested in building loyalty to their brand, not yours, which gave them an incentive to obscure the work of authors.

By contrast, the writing I’m doing now is mine. The horror serial I’m writing over at Juke Pop Serials is helping me to drawn in new readers who are interested in what I have to say. My blog helps me to connect with other writers and build a stronger bond with fans interested in how and why I write. My forthcoming novels, Breaking Grace and Bad Education, will benefit from the groundwork I’m laying now and should provide me with a stream of cash for as long as folks keep buying them.

That’s the one thing writers need to be mindful of—if you don’t control the rights to your work, you don’t control the rights to your future. All you have are words, so make sure they belong to you and don’t get sold to someone else on the cheap.
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Regular readers may remember this week’s Aspiring Voices spotlight writer from her excellent guest fiction post, The Gun’s Fear, earlier this month. I chatted with her about her past life as a dancer, the role of criticism in improving your skill, the nature of success and how one defines “making it” as an author. Plus, she teaches me about Kinetic Fiction.

Kinetic

John via Creative Commons

Paul: What was the first story you remember writing where you finished and thought, “Yeah, there’s something here”?

Alisia: The first story that really changed my view on writing was something I wrote in ninth grade. I had just finished reading On a Pale Horse by Piers Anthony and was inspired to write my own short introduction to Thanatos. The piece was only about 500 words, but it was the first time I had finished a story with a sense of accomplishment. I had never had the urge to share any of my previous writings, but I was so proud of this piece that I mustered up the courage to post it on Fictionpress. I didn’t get many views on my story, but one person left me a very flattering comment. She told me my story was the best she’d ever read on the site and she urged me to write more. Sometimes all it takes is a kind word from a stranger for you to realize that not everything you write is complete garbage.

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