Writing and the Internet

I have to come to realize that over the last few years, the Internet has had a profoundly corrosive effect on my professional output and occasionally even my emotional health.

This effect has been especially severe in two areas: social media and email, both of which basically constituted my consent to being easily and directly available to contact by anyone with an Internet connection. In Twitter’s case, that contact has also been fully public, which means that anyone with a Twitter account has been able to see and share any conversation I’ve had with people outside of direct messages.

As of today, I am withdrawing that consent by getting off social media and curtailing my availability via email.

Late last year, I got so tired of the constant necessity to curate my Facebook feed and the drama resulting from pruning my Friends list that I pulled the plug for good and deleted my account. In the seven months since then, I have not missed it, and beyond a few concerned messages from long-time Facebook acquaintances, my absence has been inconsequential to the world and a lot less aggravation and anxiety in my life. Last night, I deleted my Twitter account as well, for slightly different reasons that boil down to the strong feeling that it will have a similar life-improving consequence.

My Twitter account shows that I’ve posted over 20,000 Tweets over the last 11 years. Even allowing for the old 180-character limit, that’s three or four novels’ worth of words I’ve put out there for free, much of it to entertain people who don’t know me personally, and who mostly won’t notice my departure. Twitter, like Facebook before it, has been a useful tool to stay in touch with colleagues in an easy way, a digital watercooler I was visiting during the day to take breaks. But I can’t count the number of times something in my feed made me angry, upset, or anxious. We all have different ways to deal with these emotions. My wife, for example, will get mad at something and then forget all about it within five minutes and move on with her day. I’m the type whose anger or anxiety will simmer for a good while, affecting the rest of my day. To put it bluntly: I can no longer allow anyone with a smartphone and a data plan the potential ability to darken my day or interrupt my work by trying to pick an argument or fill my Twitter feed with aggravating stuff. Most emails and Twitter interactions with fans have been fun and positive, but there have been exceptions. And even the well-meaning emails from happy readers take a slice out of my writing time.

In addition to the emotional effects, social media and its constant attention-seeking stream of pop-ups and notifications are constantly threatening my productivity. Social media has been a great tool for me to have fun and make new contacts, but on the whole, I have accepted that it is also a distraction and a major impediment to my ability to focus.

There is research out there that shows the deep focus necessary to produce creative work is easily interruptible, and once broken, it takes on average ten to twenty minutes for the brain to re-engage with the work fully and get back into that deep focus. That means every time I looked at an incoming email notification or checked Twitter or Instagram, I basically put the brakes on the work in front of me. Half a dozen interruptions during my productive work time will fragment it to the point where I struggle to get anything down onto the page. When I don’t get my word count in for the day, I get anxious, and the sort of anxiety that results from feeling unproductive has a cumulative effect for me. One ruined work day can easily snowball into a ruined work week, and a few months down the road, a blown deadline (and let’s not even mention the sort of anxiety caused by that, because there’s actual household-sustaining money attached to that deadline.)

I know that this will upset people who have enjoyed the ability to get in touch with me easily. But if I engage in Twitter banter and email exchanges all day long, my productive output will slow down to a trickle. A very smart friend of mine once taught me an important lesson about finances and time, and that is that your only finite resource is your time. You can always make more money, but you cannot create more time. I’ve already been in the habit of exchanging my money for more time–paying someone else to mow my lawn or plow and shovel snow instead of having to do it myself, for example–and this is just further safeguarding of my remaining time. I am less than three years away from 50, and if I don’t watch out, I’ll be pushing 60 and realizing that I spent three quarters of my creative time doing little creative work.

Going forward, I will only check my email in the afternoons and evenings, when my productive time is over, and I will only reply to emails that absolutely require a response. That means messages from my agent and editors, close friends and colleagues, and people that have an ongoing business or collaboration relationship with me. People who need to reach me directly and immediately are few and far between, and all of them have the number to my personal phone and the ability to send me a text message. If you have a professional request and need to contact me, please direct your inquiry to my agent Evan Gregory at agent@ethanellenberg.com. But be advised that going forward, I will have to be highly selective about doing book blurbs or attending conventions (which tend to take a full week out of my productive time because I can’t work at conventions or while traveling.)

I really appreciate all the fan mail and social media messages I have received over the years, but I simply cannot take the time to keep reading them all, much less replying, or I will be doing that all day instead of writing novels. (And much of the fan mail I have received can be summed up as “Love your work, when is the next book coming out?” I’m sure everyone involved will be much happier if I get the books out faster instead of responding to emails more quickly. Even a form “thank you” response takes a minute out of my day and fifteen minutes out of my focus.)

Some of you may have read Neal Stephenson’s policy on this subject, and if this reads a lot like what he had to say far more eloquently a few years ago, I can only say that he’s a smarter man than I am, and that he has come to the same conclusion much earlier than I did. But I am–thankfully–still able to learn, and willing to adjust my habits.

I will still update this blog, but only when I have something of value to say, and I will no longer enable comments. Please do not feel slighted. It will hopefully result in a better and more productive writing output, which will make me–and hopefully my readers–happier in the long run than the dopamine ping of a “liked” Tweet or a comment reply. And I hope you will understand why I have to take these measures to safeguard my creative time and ensure I can keep writing novels for your enjoyment.

 

 

AFTERSHOCKS giveaway winners

Sorry for the delay, but I had to stay mostly offline this past weekend and yesterday because I was away on SECRET BUSINESS, so I didn’t get around to spinning up the old Random Numbers Generator and let Mr. Computer pick 10 entries out of the hat until this morning.

Here are the winners (with email addresses partially anonymized):

Dave Baker (SpXXXXX@sswidepot.com)
Sonja (sonjaXXXXXX@hotmail.com)
Stephanie Belser (sXXXXXXX@peoplepc.com)
JD (JdXXXXXXX@t-online.de)
Stray (shcXXXX@gmail.com)
Acidjunk (aciXXXXX@gmail.com)
Heather S (hsXXXX@vt.edu)
Guido (guido@XXXXrie.com)
mpeterke (mpXXXXXX@gmail.com)
William (williamdXXXXXX@gmail.com)

Congratulations! If you just found your name on the list, please send me an email to frontlines@markokloos.com and let me know where to send your free copy of AFTERSHOCKS. Please also tell me whether you want your copy signed, signed and personalized, or left blank.

 

Various AFTERSHOCKS items

The AFTERSHOCKS giveaway is now closed. Later today, I’ll pull ten numbers out of a hat and match them with their respective comments, and then I’ll post the winners here for all to see. (If you find yourself on the winning list, email me at frontlines@markokloos.com with a mailing address.)

Also, AFTERSHOCKS is one of the Amazon First Reads books on Amazon.co.uk this month. If you are a UK-based Prime member, you get to download AFTERSHOCKS for free all month, which means that you get to read it a few weeks before everyone else (it comes out in the US on July 1.)

US readers, I don’t have a way for you to get your hands on an early copy (other than the giveaway that just ended), but there are more news in the pipeline regarding the July launch, so stay tuned.

AFTERSHOCKS Paperback Giveaway

IMG 1591

I just got my author copies for AFTERSHOCKS, so let’s have ourselves a little giveaway! Everybody likes giveaways, right? They have layers. Like a parfait.

Anyway, I am going to give away TEN signed trade paperback copies of Aftershocks. Because the Goodreads giveaway is limited to US residents, and because I like my international fans, I will make this giveaway available to ANYONE IN THE WORLD. If you put your name into the hat and end up winning, I will ship the book to you regardless of your place of residence, as long as it’s a.) on this planet, and b.) somehow reachable by some sort of postal or package service. No personal hand-deliveries!

TO PARTICIPATE:

Leave a comment on this post stating that you would like a copy. I will keep comments open until 5pm EST on Friday, May 31. Then I will employ a random number generator to pick ten winners based on the number on their comment, and post the results the next day, June 1, with instructions for receiving your giveaway copy. I will cover all shipping regardless of destination.

Aftershocks giveaway on Goodreads

AFTERSHOCKS, the first novel in my new series THE PALLADIUM WARS, will be out on July 1. My publisher, 47North, is giving away 100 ebook copies via Goodreads, and if you live in the U.S., you can throw your hat into that ring from May 31 until June 30:

https://www.goodreads.com/giveaway/show/292827-aftershocks

Interplanetary strife! Corporate intrigue! Ancient grudges! Shadowy conspiracies! Firefights and space battles! And yours for the low, low price of FREE…if you manage to snag one of the 100 copies they’re giving away.

“Shape-shifters” and favorite werewolf designs

The Love Death + Robots crew has put up short YouTube videos highlighting the animation in the various segments. The one for “Shape-shifters” is here:

(CONTENT WARNING: Gore)

It’s a pretty awesome werewolf design, all in all, and the fight scene is just knock-down, drag-out violent.

I love werewolf movies, and one of my writing goals is to do a variation on the lycanthrope theme that goes against most common tropes. One day, maybe…when I have time to switch my brain from SF to urban or dark/horror fantasy for a while.

My favorite werewolf design from a movie is still this, though:

That’s the wicked “hound from hell” design for AMERICAN WEREWOLF IN LONDON, a movie that also still gets my vote for Best Transformation scene. The fact that it was all done with practical effects in 1981 and still holds up speaks to the genius of Rick Baker, who won the very first Best Make-up Academy Award for his work on that movie.

I generally dislike CGI werewolves because most of them are too fake-looking or Uncanny Valley when they’re inserted in live-action. It’s only in recent years that CGI has gotten good enough to do a convincing werewolf. (Number 2 on my list are the creepy-looking werewolves in DOG SOLDIERS, which–surprise–are also practical effects and costumes.) But when they’re CGI wolves in an all-CGI film like Shape-shifters, they can work very well indeed.

What is your favorite werewolf design on the screen? Let me know in the comments, and I’ll check them out if I haven’t seen the movie/show in question yet.

New blog entry at Wild Cards World

In other Wild Cards news, there’s a new post on the Wild Cards World blog, this one by Michael Cassutt: “Word-building in Wild Cards” (yes, you read that correctly.)

I’ve talked about writing for Wild Cards before (most extensively in this post from a while back), but one thing I only touched on in that post is something that’s probably the biggest benefit to having joined the consortium, at least to me.

Not only is it a ton of fun to play in a superhero sandbox that’s so different from what I usually do, but the sheer amount of talent present in the consortium forces me to really bring my A-game. I consider the stories I’ve written for Wild Cards among the very best stuff I’ve written so far, and I hope that trend continues because it teaches me to broaden my horizons and flex muscles that I don’t necessarily use enough on a regular basis.

 

“How To Move Spheres And Influence People,” a new Wild Cards novelette

My Wild Cards novelette “How To Move Spheres And Influence People” is up at Tor.com today. It’s free to read, like all the stuff at Tor.com, so if you are inclined, I welcome you to check it out and let me know what you think.

“Spheres” kind of muscled its way into my writing schedule unbidden when the character of T.K. and the nature of her ace power just popped into my head one day. It was one of those rare and magic things where the story mostly writes itself. I am pretty happy with the way the story turned out, and I hope you will like it too.

The gorgeous cover art is by the inimitable John Picacio. (This story marks my first Picacio cover, so I get to check that off my bucket list today.)

 

Online sources for the LD+R stories

Andrew Liptak at The Verge has a handy post up that lists the online sources for most of the short stories serving as material for Love Death+Robots.

In related news, I’ll never get tired of seeing Samira Wiley as Lt. Colby, the pilot of Lucky 13 in the Netflix version. Yes, the original character in the short story is Halley, but they had to make a few minor changes for reasons. Just trust me on that one.

ltcolby

Regarding Shape-shifters, I want to let the veterans know that I am well aware of the fact that it has Marines address other Marines as “soldiers” (which they’d never do in real life; a Marine is a Marine and not a soldier.) But I guess they kept that bit because of the “dog soldiers” pejorative. In the original short story, Decker and Sobieski are Army, members of the 300th Special Operations Company (Lycanthrope), and the script writer for the show changed them over to the Corps without also changing the Army-specific terms in the story.

The two other goofs I noticed were Decker and Sobieski addressing the Master Sergeant as “sergeant”, and the Marines wearing their sleeves rolled while in the field. Both are details only few people outside of the Corps would notice, but every Marine would.) Rest assured that I know the differences. Regardless, it’s a kick-ass adaptation of the short story, and it’s really growing on me more and more the more I watch it. It’s even motivating me to pick up Decker’s universe again and go ahead with the series I had in mind for him. (The story was supposed to be part of his backstory.)

I’m super pleased with the way everything turned out, and the fan response has been phenomenal. Interestingly, “Shape-shifters” has tended to be either among peoples’ very favorite episodes, or all the way at the bottom of their lists. “Lucky 13” is either well-reviewed, or somewhere in the middle of the list, so Shape-shifters is the more polarizing one. (One of the viewers who hated it said it looked like bad Twilight fan fiction, which did amuse me.)