A Creative Career Path

by Matthew Lowes

I was recently asked to speak to a high school freshman careers class about my work as a writer and independent game designer. This was at the school where I work, so many student were surprised that I had this other life writing fiction and games. I talked a little about my creative work, about The Labyrinth of Souls tarot card game, and about my novel, The End of All Things, which just came out. Then I answered a series of questions they had put together, which I’ll reproduce here. If there are any young people out there interested in pursuing creative work, here’s an inside look at how that’s unfolded for me … and few tidbits of advice.

1. How did you discover your love/passion for this activity or line of work? Is your career different than what you wanted to do when you were in high school?

I played with writing stories at a pretty young age, so that was there from early on. I read a lot of comic books when I was little. I also tried to tackle things way beyond me at the time. Actually my failure to read and comprehend The Iliad at around the age of ten may have turned me off from reading for a while. Nevertheless, at some point, everybody who loves books finds a book that really resonates with them at that moment in their life, and for me that was The Mosquito Coast by Paul Theroux, which I read in the summer between my sophomore and junior years of high school.

My junior and senior year high school English teacher really helped solidify my interest in writing and literature. He was very demanding and a hard grader. He would never accept work even so much as an hour late and had the expectation that we would produce publishable quality writing. This really impressed upon me the importance of editing and always meeting your deadlines, which is incredibly important for a professional writer. But it was his love for literature and writing that helped me realize my own passion for the work I do now.

As far as games, that goes back a long ways too. When I was around nine years old my brother and I started playing Dungeon & Dragons, and I played a lot of roleplaying games right up until around middle school. A few years ago I got interested in games again, and since I spent the last twenty years or so working on writing, it wasn’t long before I was writing my own games. Games combine everything I love about fiction and narratives with math and logic. It’s a wonderful balance between creative and the analytical elements of thought.

2. How long did you consider turning your passion into an income before you went for it?

I wanted to be a writer, and really started writing with that in mind, when I was a freshman in college. I tried submitting a few stories almost right away, but got more serious about it a few years after I graduated from college.

3. What kind of schooling/training/qualifications is required in order to do your job?

There are no official requirements, but the unofficial requirements are vast. One must have passion, determination, and perhaps most importantly, vision. What I mean by vision is you have to have something to say, not in the sense that you have an opinion or a belief or a point of view, but more like you have an image of something you want to create.

I have a bachelor’s degree in English Literature and a Master degree in teaching, but school is only a starting place for learning. A formal education and teacher can take you only so far. If you wish to excel, you must take it upon yourself to educate yourself about every aspect of what you’re doing. You must take complete responsibility for your knowledge and skills.

4. How long did it take to go through the training to do your job?

My whole life.

5. Is this career what you expected it to be?

Nothing is ever what you expect it to be. That’s what makes life so interesting. Everything you think you know about life and living now comes from a particular point of view that is shaped by the situations you find yourself in. Those situations and that point of view will change continuously throughout your life. Perhaps one day you will come to a place where you have no point of view whatsoever. But that is another conversation.

6. What do you enjoy most about your career? What is the best part of your job?

I enjoy pursuing my creative impulses. I enjoy taking an idea or vision and turning it into something concrete that others might find enjoyable, interesting, or inspiring.

7. What adventures/memorable moments have you had?

There is a wonderful satisfaction in finishing a large project you have invested a lot of time and energy into. I spent some twelve years writing a trilogy of fantasy novels, with a total of around 300,000 words, or some 1000 pages. When I finally got to the last sentence of the last paragraph of the last chapter of the last book, there was an indescribable feeling of triumph. I hope everybody can experience something like that in their life. Those books are actually not yet published yet, but when they are that will be another memorable moment. Every project I complete, whether a short story, a game, or a novel, is like that to some degree.

8. What is the most challenging part of your career? If you could change one thing about your job what would it be?

One must be prepared to work long hours, months, and years, potentially without any encouragement, validation, praise, or income. That has been a challenge. There was a long period in my life where I would have given anything to have the time and resources to devote myself full time to my creative work. But eventually you see that every aspect of your life is part of your creative work, is fueling it, and so there is no point in changing anything. In any case, things are constantly changing anyway. So one day I may yet have that luxury.

9. Are there any dangers in your job?

The biggest dangers for people doing creative work are psychological. We don’t live in a society that makes pursuing any kind of art particularly easy. So there is a danger of becoming frustrated, jealous, depressed, self-loathing, or bitter. I suppose there is also the danger of simply not being able to pay your bills, but that’s a part of the whole package.

10. How much stress is connected to your career?

Stress is all in the mind. Some situations are typically more stress inducing than others, but it is our response that creates the stress, not the situation itself. Whatever you do in life, you will encounter stress, but if you keep this in mind, it will be a lot easier to deal with.

11. What are your typical weekly hours?

I work four days a week at the school. For my creative projects, often I will work about two hours at night, and twelve to twenty hours or so over the weekend. It varies depending what projects I’m working on and where they’re at.

12. Is family time restricted due to job duties?

Yes. Because I essential work two jobs, a lot of my would-be free time or social time is taken up working on creative projects.

13. What is the expected income for an entry level position? How often do you get paid?

For someone doing independent creative work there is no expected entry-level income. It all depends on what you do and if people buy it.

14. Salary or hourly position? Do you make enough money to be comfortable?

I support myself through my job at the school. As an independent writer/game-designer, my income has increased over the years, but I don’t make enough money to support myself doing only that. That job has no salary and no hourly wage. I make something, and if people buy it I get a percentage royalty after production and distribution costs.

15. What benefits are offered with your job?

My job at the school has good benefits, like health care, holidays, sick leave, and so on. My job as a writer and game designer has no such benefits. If you take a path like this, you have to find a way to sort out life’s logistical details, so you can continue to do your creative work.

16. What is retirement age?

What is retirement? What is age? There’s plenty of time to think about these things later in life. Focus on what’s happening now and you can never go wrong. For someone in a creative field, there is no end to creative possibilities.

17. Is there possibility for promotion/movement within the career?

There are always possibilities. Opportunities are abundant, to take good actions, to better yourself, to learn and expand your sphere of influence. These opportunities appear every day for everyone. You need only notice and embrace them.

18. Are you happy with your career choice?

I am very happy with the course my life and my career has taken. Sometimes things in life choose you, but if you embrace whatever happens, you will find happiness.

19. What advice would you give this class as they start their career search and preparation?

Here’s some strange advice, but it might work well for the right person.

Pick something obscure and learn absolutely everything about it, become the best at it. For example, if you want to play in an orchestra, don’t become a violin player, unless you can’t help it because that’s what you love or you just have extraordinary talent for that. Instead, if you become the best bassoon player in the world and you will always have an interesting job.

A while ago, I was doing some research on mummies for a story I was writing. It turned out there was one guy who was the world’s most renown expert on mummies. He knew everything there was to know about it. He had a mummy-related job and whenever something mummy related came up, he would be consulted. That’s the kind of possibility I’m talking about.

Beyond this interesting idea, I would say take responsibility for your own education. Read widely. Learn everything. Follow your interests, but don’t forget to take care of practical matters.

Finally, stop complaining, and simply take good actions.

20. What would you have done differently in high school?

This is a strange question, since I could not have done anything differently than I did. I was who I was at the time, and I am who I am now. But if you’re asking me what I think you should do while you’re in high school, I would say you should take advantage of the great opportunity to learn and better yourself and your situation. Study hard, learn as much as possible, but don’t worry too much about the future, other than to consider it and make some appropriate plans for what you will do after high school.

If you feel overwhelmed or depressed, ask for help. You’re not alone and people care about your well-being. Finally, don’t do anything foolish, like taking up drugs or drinking alcohol. Your brain and your body are still developing. Don’t risk messing yourself up for life. Maybe some of you are already doing these things and are thinking that it won’t mess you up, but you could be terribly wrong. You don’t even really know what messed up is, because you don’t really know where you’re at or what your true potential is.

Try to find out what your true potential is. It’s way bigger than you can even imagine.

Why Write Anything?

by Matthew Lowes


If we’re going to make something, let’s make the things we want to see exist in this world. If you’re writing a story, whatever the genre, write the story you want to read, drawing from the deepest motivations you can find. This is the best way I can imagine of both insuring some measure of originality and significance to your work, as well as an ongoing enthusiasm for doing it. And really, anything else is short changing yourself and everyone else as well.

In this age of social media, online reviews, sales rankings, marketing platforms, focus groups, and target audiences, not to mention a widespread obsession with social status and material success, it’s perhaps all too easy to lose track of why we would write something to begin with. So ask yourself: why do you want to write this? Really get into it, with whatever current project you are on. If you find a really good answer that doesn’t draw on thoughts of success, I guarantee that work will become more interesting.

Not that social media, markets, and reviews and all that are inherently bad. It can all be useful, and careful use can maybe help you make a buck from this crazy racket. But their best use, I would argue, is not in your creative process. Someone who writes a book about vampires because vampire books are selling well, is only writing a book about book selling and nothing else. Forgetting all that, and the fact that vampires were more a thing of the ’90s, if you have an idea for a vampire story you really want to read, then I say go for it, especially if you have an even deeper reason for wanting to write it.

Of course, most writers would like their stories to be read and enjoyed by a wide audience. Whether this is a touch of narcissism or not I don’t know, but either way I think the desire is ennobled by a pure creative spirit. Sure I want to be entertained, but I also want to read stories with a vision beyond sales, by writers who had some motivation deeper than popularity, broader than recognition, and more profound than success.

How Do I Pitch MY Genre? by Eric Witchey


How Do I Pitch My Genre? by Eric Witchey

After teaching a class, volunteering to help Timberline Review sell subscriptions, and signing my newly launched novel at this year’s Willamette Writer’s Conference, I was walking along a hallway minding my own business and wondering if I could get back to my room to take a nap before I had to face another room full of 100 people. A personable guy said hi and caught my attention. He was a volunteer gate keeper outside the pitch and critique room where aspirants bring their hearts and souls for fine tuning before presenting them in ten minute chunks to agents and editors looking for commodities from which to make a living. Making eye contact, I became aware of my surroundings and realized that the room was understaffed and several people were waiting for a chance to get what might be critical advice. So, I volunteered to take a few pitches and help hone them.

Mind you, there’s actually plenty of help for this kind of thing. The conference ran pitch practice sessions before the conference. They ran pitch practice sessions at the conference. Most of the people pitching had practiced with friends, family, and crit groups. And, as a last chance for final revision and preparation, the conference had a pitch practice room, into which I walked.

I sat down, and the kind people at the conference showed four nervous writers my way—one at a time. I had fifteen minutes to help each.

The four writers had been coached to provide half-page synoptic summaries of their books, and each showed up with pages that did that. The idea, as I understood it, was to give a sense of genre, of character, of content, and of market potential.

Well, that list seems pretty obvious to most people. After all, a science fiction adventure isn’t the same as a historical romance, right?


What was not so obvious is that these people were terrified and clinging to every bit of advice they had ever been given in the hope that it would touch the hearts of jaded professionals and give up a result that would change the writers’ lives and let them connect their hearts through their words to the world.

Can you say, “TERRIFIED?”

One had a fantasy romance. One had a historical novel. One had a non-fiction book on how to talk to kids about sex. One had a cryptobiography. All had decent concepts that could fly in the market. Mind you, I hadn’t read the stories themselves. I only had access to a few pages of pitches and the problems the writers had encountered in trying to sell their stories.

So, we got to work.

In three of the four cases, I realized I didn’t have much to add to the long-form pitches the writers had honed. However, I did have the communication consultant skills and personal experience of 25 years of freelance work. So, I gave all three exactly the same thing.


Twenty years ago, in 1996, I pitched my first novel—a novel that later sold in Poland, but that’s another story. While practicing with my good friend Gail McNally (no, not the actress), I was proud of what I had done and of the fact that I had memorized my pitches cold. Gail listened kindly—eyes closed, nodding, pinching her nose. When I was done, she said, “That might work if you put the emotion in.”

Huh? Obviously, she had missed something because I knew it was a brilliant pitch. After all, I had read about pitching. I had talked to other people. I had carefully crafted my pitch. I had a 30 second pitch, a three-minute pitch, a full page pitch, a five-page synoptic outline, and a full synoptic outline. I was freaking loaded for literary bear.

What the hell does emotion have to do with selling the product?

So, long story short, I lost the argument and rewrote it all with an emphasis on character emotional change.

My first time pitch nailed an editor and let me choose between several interested agents.

Why? I now know it was because stories are not about things or events. Stories are about how people change emotionally and psychologically. Things and events only facilitate the changes.

Yes…. The things and events have to be “interesting and unique,” but they are only truly interesting in that they are connected to emotional change.

So, I helped each one of my three fiction charges fashion a one- or two-line pitch that captured the three Cs:

Character, Conflict, and Change.

You could say it is really only two Cs because Character is really made up of an emotional/psychological state, and Change is really just the character as they appear after they change because of the conflict. So, really, it’s just Character, Conflict, and Character, but that’s a bit confusing and doesn’t really sound right in a culture that likes to think in threes.

Essentially, we put our heads together and came up with statements like:

Soul and psyche torn down to nothing by the murder of her family, outcast 1940’s gay homemaker Millicent Monroe faces insurgent Nazis in the Iowa farmlands and consequently discovers deep connection to the community, land, and country that persecuted her.

Okay, that’s not really one of them, but maybe I’ll write that book. We’ll see.

Anyway, three of the four walked away with a similar statement and some communication consulting advice about how to speak, how to make eye contact, when to pause, and how to manage the transition to their larger already prepared pitch.

One, however, didn’t. That one makes the other three all the more interesting. The fourth person had career as a sex education lecturer, consultant, and therapist. She had a values-neutral book about how to talk to kids about sex. Her problem was also emotion, but it wasn’t the emotion of the book and characters. Her problem was that every time she pitched the book, people’s “sex stuff” came up and interfered with their ability to see the product she offered. Her problem was that she needed to disarm her audience’s emotions in order to allow them to look at her work.

That was interesting, so we worked the same problem from the opposite direction and provided her with language that identified her platform and established a context in which the content created result for the readers who bought the book. We brainstormed keywords that would frame the conversation in terms of platform, product, and market. I also recommended that she add an additional agent I knew to her pitch list.


Over the following couple of days, one-by-one, each of the four sought me out to share their excitement and success. Each one hit—and not just once. They all got requests from every agent and editor they pitched. All of them.


Here’s the bit that isn’t as obvious. These writers had been prepared by professionals to walk in and deliver fairly lengthy pitches that made use of the time available—ten minutes. Those pitches might have done fine by themselves without my help. However, agents and editors don’t take pitches in order to hear the story that takes a book-length manuscript to tell. The take pitches to filter the masses through sieve in order to find the writers who control character and story. If a writer truly controls the craft of presenting character and story, then the writer can state character, core conflict, and change succinctly.

Conversely, if a writer can state character, core conflict, and change succinctly, it is likely that they control craft well enough to deliver story. When a writer succinctly states the emotional core of character, the conflict that changes them, and the new emotional makeup of the character, agents and editors hear much more than is stated. The result is that they sit up, quite literally, and start to ask questions that can only be answered by reading the manuscript. So, the pitch creates a conversation that leads to a request for pages.

In the unique case of the non-fiction writer, the emotionally charged material wasn’t the problem. The problem was to help people see the product rather than let their emotional response to product become the primary experience of their encounter. It is really a mirror image of the same problem.

But it’s different for different genres, right?

Nope. Genre doesn’t matter on the heart and story level. Never has. Never will. Genre is marketing category. Yes, you don’t pitch space opera to a commercial woman’s fiction editor. Don’t be entirely daft. However, genre isn’t story. Genre is only a taxonomic label for expectations concerning things and events. Sometimes, genre influences the mix of techniques used for telling a story, but genre has nothing to do with heart and soul and hopes and dreams. The story comes from the writer’s heart and seeks to touch the reader’s heart. Pitching is about letting a potential buyer know that the writer understands heart and controls story craft well enough to deliver emotion to the reader.


When you’ve got nothing …

by Matthew Lowes


Nothing is a blank page, an empty mind, too little sleep, and a present deadline. But the value of nothing is generally underrated. What use is a bowl without the emptiness inside? What use is a door without a hole to walk through? So here I go, wandering here and there among the words, like a hermit wanders among the woods, noticing this and that, aimless and happy.

As writers, we tend to think writing is a big deal. The more serious we are about it, the bigger a deal it must be. How else will we lend weight to our words? Even, how else will we give purpose to our lives? But all our thoughts are only thoughts. All our words are only words. In the very next moment or in ten billion years they will all amount to nothing. And life is beautiful without any purpose whatsoever.

So if you’re facing a blank page and you’ve got nothing. Don’t despair. In fact, empty yourself even more! Forget the writer you imagine yourself to be or not be. Wipe away all the memories of an ancient past. Discard all predictions of an uncertain future. Beneath your left heel stomp out fear, and beneath your right heel crush all hope. Empty yourself completely. Become nothing … a blank page. And you will see: it is from this nothing, and nothing else, that all things have their origin.

Look around.
The world itself is made of poetry.
Just notice, and transcribe.

Confessions of a Wannabe Writing Conference Groupie, By Cheryl Owen-Wilson

First confession—I’m pea green with envy, and live vicariously through writing friends who attend more conferences in one year than I’ve attended in my entire lifetime. Alas, I’m constrained by those evil twins known as time and money.

Second confession—I love people, especially those who write. They are my tribe. I know the general public perceives we writers as recluses; sitting in a dark, smoke-filled room, drink in one hand, our tortured soul in the other, bleeding words upon the page. Actually, now that I think about it—I was that person just yesterday.  But when I’m at a conference, I get to talk to real people, not just the one’s in my head.  It’s a nice change of pace for we non-introvert type, writers.

Third confession—I love playing dress-up. I was in heaven when I discovered, at some conferences I could dress all weekend as my favorite character, in the well-worn books sitting on my nightstand.  Just imagine my glee at not being looked at oddly when sporting a full on Steampunk costume, while a Wookie and I discussed the finer points of world building.

Fourth confession—I like free things and conferences have swag. From bookmarks, to clothe bags, to water bottles and candy. And best of all, at times you can even score free books signed by the authors.

Fifth confession—Let’s talk about those authors. I believe in the magic of absorbing good energy. So when I get to meet and soak up the fabulous juju of my favorite authors, I am filled to the brim and overflowing. Yes at these conferences, the people who are the movie stars in my life actually talk to me as an equal. They share their secrets and frustrations. As a result I leave revived and ready to conquer the next twenty thousand words head on.

Sixth confession—I’m not a marketing wiz, especially in the world of social media. I mean who knew tweeting was a marketing tool and not just the sound a bird makes. Marketing now takes up as much of an author’s time as the actual writing. Thus, I need all the short cuts I can learn from experts in the ever-evolving medium of social marketing.

Seventh confession—I don’t know everything there is to know about the craft of writing. Yes, I said it! I do however fear that the craft of writing is itself changing, at a rapid pace. Did you know the Global Language Monitor recently announced that the most used word of 2014 was not an actual word? It’s a heart emoji. Yes the short-cut symbol used in countless texts and messages as opposed to simply writing the words—I Love You. The second place winner was the symbol, #. I could go on and on, but I’ll stop there so I can plug the writing conference I’ll be attending next week. It’s a unique writing conference. How? The entire conference is dedicated solely to the craft of writing.

Check out their website and the award winning authors who will be in attendance. There’s still time to register- http://www.wordcraftersineugene.org

Final confession—This conference is being held in my home town and it will be populated by writers I’ve known since—well, since I first dared share a spooky story at a Ghostwriters Weekend Retreat. This retreat in its 25th year is also on the Wordcrafters website. Did I mention I love writing retreats also? Well perhaps I’ll save those confessions for another time.

Do you have confessions from attending writing conferences? Please do share and also where they are held and what unique qualities do they have?


Time to Write, by Cheryl Wilson


“Time” Original Oil by Cheryl Wilson

It’s the beginning of a new year, another rotation around the sun. It is a date on our calendars when a large portion of humanity vows to accomplish one dream or another, before we begin yet another rotation the following year. And no matter what your individual 2015 resolution is, each resolution has one main element in common, each will require—time.

For writers’ our resolution is generally vowing to do just that—write. When was the last time you felt you had time to write? If you are not a seasoned writer, or a very disciplined writer, and the last time I checked most of us artist types do not have the “d” word—discipline—flowing in steady streams through our DNA, then I’ve no doubt finding or making time to write, is tops on your list for this new year.

How often have you heard or said, “If only I had more time to write”? I will now ask that you take a moment to ponder the quote below.


No I’m not going to go into a quantum physics lecture on the nature of time, but what I can do is give you the following observation.

Time—when sitting at my keyboard staring at a blank screen and willing words to pour out onto the page, time appears to have stopped while I hear the ever so slow tick, tock of an old clock ringing loudly in my head. However, when I’m on a roll, when the words just pour out of my fingers like manna from the heavens, time appears to go by way too fast, especially if I have only a set amount of time before leaving for the day job. So yes, time can be an illusion. Thus, for myself I have come up with the following equation regarding my time and writing.

Writing time equals—one second: one word, one sentence: one minute, one paragraph: one hour, one chapter or short story: one month. And if the muse strikes, perhaps, just perhaps—one great novel, or many: one lifetime lived. You see it’s all a matter of what particular illusion we place on the word—time.

And how lucky are we to have chosen this art form, where the constraints of time have no boundaries? We writers transport our readers from present, to past, to future with ease. We reinvent history, reshape current events and foresee the future all with the simple flow of ink from a pen, or the strike of a key on a keyboard. Who said time travel was not possible?

But it all begins with that first word, in the first second, and we all have at least one second to spare, don’t we?

A Writer Gives Thanks

By Cheryl Owen-Wilson

Tomorrow is Thanksgiving a time when in homes throughout the USA we sit around tables laden and overflowing with an abundance of food; surrounded by those we love. Please take a moment to give to or to remember those in this country who are not so fortunate. In our home as in many, we go around the table and recite the litany of things in our lives we give thanks for; in that vein I’ve written you a writers’ Thanksgiving poem.

T is for the Tingling, which travels up and down my spine;

whenever a new story begins whispering, through the corridors of my mind.

H is for the Humor; I must pull from deep within;

whenever opening rejection letters, again and again.

A is for Artists, of every shape and every sort,

for within their creativity, lays the Universe’s, beating heart.

N is for NanoWriMo, a time when writers everywhere,

turn off their internal editor, without a single worry or a care.

K is for the Kindred spirit I feel, when surrounded by my peers,

for through their shared experience, they calm my many fears.

S is for Shadowspinners, “When Nice People Write Bad Things”,

where each and every Wednesday, you are treated to our entertaining, musings.

G is for Growing, as we inevitably must do.

Yes, practice and more practice, is a writers’ must have, virtue.

I is for the Inklings, my ever supportive writing group.

Do you have one, for when your story begins to droop?

V is for Victorious, which is how I will feel,

when a publisher says, “Yes, let’s make a deal”.

I is for Imagination, something every writer must possess;

for without it, this becomes quite a laborious, process.

N is for Nature, where I escape to meditate and rejuvenate;

when my muse is being a reprobate, and refuses to cooperate.

And the final G is an abundant Gratitude,

for this profession which allows us to laugh, to cry and to play,

with our imaginary characters, each, and every single day.


What are you thankful for this Thanksgiving?