deborahjross: (Default)

I didn't take a lot of notes during the panel on Shared Worlds that I was on, for which I expect to be forgiven. It seemed more important to pay attention to what everyone was saying. However, I did scribble down something Robert Silverberg said about collaborations, and it strikes me that every writer who is considering this and aims to build a professional career needs to consider it. When you sell a collaboration (to a publisher, remember this is old-school writing career model) you need to get an advance that is at least twice what you would have gotten individually. 

 

(My own thoughts) -- There are many reasons for embarking on a collaboration (as opposed to a novel that's basically ghost-written, with the senior author's name added for sales shiny-ness). Saving time isn't one of them. A good collaboration is not half the work of a solo novel. It's at least twice.


It behooves us all to pay attention to whether we are good collaborators and if so, under what conditions. Sometimes, what makes us good writers (we're visionaries, we answer only to our inner muses, we are pig-headed and recalcitrant, much like our cats) can make it challenging to Play Nicely With Others. Others of us find inspiration and creative nourishment in the process of working together. With some people -- but not others. Pay attention. Play to your strengths.


Tomorrow, the second day (with better notes, I promise!)

deborahjross: (COK)

The next Darkover book, The Children of Kings, was released on Tuesday, March 5, from DAW Books. Here and in the following weeks, I'll also talk about how I met Marion Zimmer Bradley, how we came to work together, and a few thoughts on "playing in her sandbox."

I frequently am asked how I came to work with Marion and to continue her Darkover series after her death. Toward the end of her life, Marion suffered a series of strokes, which made it difficult for her to concentrate on novel-length stories. One solution to this problem was to work with a younger writer, supervising and editing as well as designing the story arc and characters. Marion tried collaborating with various writers, including Mercedes Lackey, whose own writing schedule proved too demanding for her to continue. I was one of the writers Marion considered because she had watched me develop from a novice to an established professional and knew my work, especially those stories I had written for the Darkover anthologies. She had seen what I could do in "her world," and often cited "The Death of Brendon Ensolare" (a "Lieutenant Kije" story set in the Thendaran City Guards) as one of her favorites.
Read more... )
deborahjross: (Hastur Lord)
Today (January 12), I have a Guest Blog on SF Signal about my literary apprenticeship with Marion. I hope you enjoy it.

http://www.sfsignal.com/archives/2012/01/guest-post-deborah-j-ross-on-her-apprenticeship-with-marion-zimmer-bradley
deborahjross: (Default)
Lynn Shepherd (Murder at Mansfield Park) blogs here about how a group of Austen fans wrote their own takeoff -- on Twitter! This sounds like almost as much fun as Atlanta Nights!

Anyone interested in a similar experiment here on LJ? Wouldn't have to be Austen; in fact, better if it were not as Austen has been taken-off-to-death. We could do Robin Hood or King Arthur or any other culturally-iconic story. What do you think?


Just in case the link doesn't work: http://meandmybigmouth.typepad.com/

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Deborah J. Ross

November 2020

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