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Goal-Based Sci-Fi Research with Sue Burke

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“One thing I recommend is that if you’re really sure about something look it up cause you’re probably wrong.” – Sue Burke

In this How To Write the Future podcast episode, titled, “Goal-Based Sci-Fi Research With Sue Burke,” host Beth Barany talks to author and translator Sue Burke on the importance of goal-based research and how it can help generate conflict in your stories and avoid clichés.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES

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About the How To Write the Future podcast

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers, too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

About Sue Burke 

Sue Burke is an author and translator. Her novel Semiosis was nominated for the Arthur C. Clarke Award, John W. Campbell Memorial Award, and the Locus Best First Novel Award. Its sequels are Interference and Usurpation. She has also written the novels Immunity Index and Dual Memory, short stories, poetry, journalism, and essays, and she won the 2016 Alicia Gordon Award for Word Artistry in Translation from the American Translators Association. She was born in the Milwaukee, lived in Texas and Spain, and is now in Chicago.

Website: https://sueburke.site/

Facebook: https://www.facebook.com/burke.sue

X: https://x.com/SueBurkeSpain

LinkedIn: http://www.linkedin.com/in/sueburke/

Instagram: https://www.instagram.com/sueburkespain/

Bluesky: https://bsky.app/profile/sueburke.bsky.social

Transcript for Goal-Based Sci-Fi Research With Sue Burke

Welcome 

BETH BARANY: ​Hello everyone. Welcome to How to Write the Future Podcast. I am your host, Beth Barany. I’m a science fiction and fantasy writer who loves to talk to other writers and futurists and thinkers about how we can all create better futures for humanity. 

[00:19] Meet Sue Burke 

So I am so excited to have with me today a special guest, Sue Burke.

Sue, can you introduce yourself to everyone listening?

SUE BURKE: I’m a writer and also a translator. I started out as a journalist actually 50 years ago. I was very young and these days I write mostly science fiction. My best known work is a novel called Semiosis which is the first one in a trilogy. And it tells a story about some people who come from Earth and they go to another planet, they’re gonna set up an agricultural colony and they get there and discover that the plants are intelligent. And the thing to know is that most plant many plants do not mind being eaten but they have things they want in return. And that’s true here on earth.

BETH BARANY: Uh, so cool. 

[01:09] Goal Based Research 

I wanna start, with a focus, which is, How can writers implement goal-based research so they know when to stop searching and start writing? And I have to tell you, this is a very common problem.

I’m a writing teacher, and a coach and editor. And I hear this all the time, that people love their research so much that sometimes it, they don’t get to the writing part. What’s your stance on this?

[01:32] Research for Conflict 

SUE BURKE: Well, some of it all of course comes from having been a journalist, and you have to turn something at three o’clock this afternoon so get working but when you’re doing writing it helps to be looking for conflict. And by conflict I don’t mean enemies or opponents. What I mean is things that don’t work well because actually most things in this world don’t really work well. There’s problems and conflicts and for example. So okay I have my planet where there’s plants and they’re intelligent and humans come. 

When I was doing my research I discovered it’s possible for a planet to be formed such that there’s not a lot of iron on the surface. There is on our planet there’s plenty of iron but there’s not maybe on this planet. Plants need iron the way that plants also need nitrogen and phosphorus and things. On our planet if plants can can’t get enough nitrogen what do they do? Well they start hunting animals cause we have a lot of that. So okay, on this other planet you might have plants that are intelligent and they need iron and humans show up and like any other animal my blood is red because it’s full of iron so now I have a conflict. 

We have plants that are willing to cooperate but they’re hungry and we’re food and so that was the basis of the main plant character is that he’s just got a real problem that he can solve creatively. So look for things that are going to cause you a problem and when you get enough of them you can stop.

Eventually you get a feel for things but here’s one way to think about it so that all right, if you’re running a novel a typical novel length you need about 80 scenes of 1000 words a piece give or take. Do you have enough conflict to do that? If you are a an outliner or a milestoner which is what I do is like here we have the major plot points. Do you have enough to get from hither to yon? And you can start and if you fail or if you need more you can always go back and do more research but try enough that you’re going to take care of that.

If you’re doing something set in Boston you don’t need to know everything you know about Boston. You might just need to know about one restaurant and so you can do that a lot easier. 

[03:47] Avoiding Cliches 

BETH BARANY: So in terms of research-based conflicts, How can we make sure that we are not falling into cliches? How do we make it fresh, in, in our science fiction and fantasy stories?

SUE BURKE: One thing I recommend is that if you’re really sure about something look it up cause you’re probably wrong and that’s something I learned very early in my career of journalism is that the things that everybody knows are possibly not right. For example whales, when did most of the whales get hunted on our planet? 

BETH BARANY: 17, 18 hundreds? 

SUE BURKE: Wrong 1960s which is horrifying.

I was alive when they were killing most of the whales.

What went wrong? What was going on? So that’s one of the things and if you want to write something about whales you should probably know that we killed most of them.

Another one. Spanish Inquisition. They killed witches right? No they did not kill hardly any witches. They weren’t not in fact they just pretended they weren’t there cause there’s still witches in Spain. They were after something else entirely. So if you’re going to write about that, five minutes on Wikipedia these aren’t hard things to find out. But cliches are out there and if you’re really sure about something you double check. 

Another thing why do we have coal on this planet? Because plants discovered lignin then they started growing and then there was massive quantities of trees but bacteria had not figured out how to break down lignin. So that’s how we got coal was that the trees just did not decompose. On another planet will this happen? Very possibly not or very possibly something else. So these little details can make you develop a planet that can go in a very different way. 

Another idea. Okay so we’re gonna have a utopia in the future of the things that would be really nice, I live in a big city and we’re talking about well couldn’t we have like free transport free buses free airlines? It would be a great thing and it really would be a good thing for the city.

What would happen? I checked out a little bit if buses are free they tend to be really crowded cause everyone wants to take the bus .Okay that’s good. That’s a good thing. So you having a romance you’re gonna have the meet cute that you always have so just cute and it’s meet. They’re on a free bus and it’s so crowded they can’t get to each other. They see each other and then how do they meet the next time?

So you’re in utopia at least a transit utopia and people are having trouble falling in love cause it’s just such a wonderful bus system.

BETH BARANY: I love that .Have you ever done some research and you’re like, oh, that changes my idea of the story completely? 

[06:18] Rabbit Holes and Shortcuts

SUE BURKE: I’m more likely to use shortcuts well. So I was trying to create another planet and you gotta populate with animals and stuff. And so I decided I’m gonna use drop bearers. Drop bearers are something in Australia that don’t really exist. It’s something they made up to frighten tourists as one more thing in in Australia that’s going to kill you but they don’t really exist but I checked out their lore. They live in trees then they fall down. They have giant claws and they kill you and so I put them on my planet as aliens. It is a shortcut. I also needed more aliens and earth ants are really strange and wonderful things. 

Did you know ants can chirp? They’re so tiny you can’t hear that. I’ve seen them do that on my hand and I can’t hear them but they can chirp. They make all sorts of smells that have very specific meanings, that’s how they communicate. They lead complicated lives. A lot of ants are really hairy and I I had some really cool fuzzy aliens that make a lot of noise and smell actually sometimes very pleasant but it means specific things so that was just a shortcut. Could have been a rabbit hole except that there was a wonderful exit from that a quick way to meet things.

Another idea that I should make into a story sometime is that I discovered that what if you went to Mars and you were gonna grow plants like that guy in that movie? You can’t because there’s too much cadmium on Mars. It’s a poison that’s in the soil. This was actually on earth poison. If you went back and tried to eat a tyrannosaurus rex, you’d die because the meat is poisonous because there’s too much cadmium. So if you’re gonna go to Mars you’re gonna have to overcome that. That could be a really interesting story and the reason I say that is is I have al there’s a story that I read. It’s called The Man Who Bridged the Mist and it’s by Kij Johnson and it won the Hugo the 2012 Hugo. And what it is it’s a story of this guy he’s gonna build a bridge. Everyone agrees the bridge is the greatest thing. They want that bridge. It’s a wonderful thing. There are no villains in this story. It’s just that it’s really hard to build a bridge and the story is about how he overcome overcame those problems, and one of them is that he didn’t think he could do that but he did.

BETH BARANY: Yeah.

SUE BURKE: So we’re gonna go to Mars, we’re gonna clean up the cadmium. It’s gonna be hard but we’re gonna do that and then we’re all gonna live there and there’s not gonna be tyrannous rexes cause they’re poisonous. So the stories are out there. You can have all sorts of fun. Another thing I did.

BETH BARANY: Yeah.

SUE BURKE: So I wrote a story it’s in called Who Won the Battle of Arsia Mons and it’s in Clark’s world November of 2017. And I thought the stupidest thing I could do with robots on Mars is have them get into a fight. There’s a battle between robots on Mars and it’s meant as a sport. And so how am I gonna do this? So I poked around a little bit and discovered that there is something called robot sumo wrestling. And it started in Japan but now it’s all over and it’s a fascinating little thing and so they have little robots and they try to fight. And that’s basically how I made my fight scenes as I watched them robots sumo wrestling and I copied their fight moves and it was a lot of fun. But it was also a quick way to get through something I that would’ve been hard for me to figure out . But we had some very fine college students figuring this out for me of how you could make robots try to fool each other in a fighting ring.

BETH BARANY: Yeah. Oh, that’s so wonderful. I love how you have an idea, you go research it, and you enhance your problems in the story because of what you discover. 

[10:10] Ideas First Then Research

What comes first for you? A story idea or noodling around in some area of interest, researching some area of interest?

SUE BURKE: It starts with an idea. The one with the robots on Mars was just I saw a meme that said that Mars is the only planet that we know of that is inhabited solely by robots and then I was thinking about that and I just said what is the stupidest thing I can do with that idea? So I start with ideas. Other people start with characters which is fine. I know of one novel that started with the title. You can start with studying any way that you come at it. The question is can you do with that in a way that can be made into a story sometime before you die of old age.

BETH BARANY: That’s right. 

[10:58] Notes and Just in Time

So in terms of research, do you take copious notes?

Do you just sort of let it wash over you? Like what are some of the details around that?

SUE BURKE: I take sloppy horrible notes and I also I’ve been at this for a while and I have this idea that when I’ll do enough story research to start the story and then when I get to the part where this is going to happen or they’re going to go there, I will research that part, then I’ll write move on and then I’ll research the next part of it. I have the confidence that I will find out the information when I need to do that. I was a journalist and you need to do that or you lose your job.

BETH BARANY: Yeah. So you have that built in skillset. 

[11:36] Current Projects

So what, what, what are you working on right now?

SUE BURKE: Let’s see I’m writing a story that’s a space opera. And as an example of the research at one point I needed to have an alien thing that was like slime molds which are fascinating thing here on earth. So I did as much research as I need to write that part of it. And now I’m going to go and write a part where someone dies horribly and I’m going to need to research all the ways that you feel bad when and survival guilt cause that’s what’s going to come up next. 

BETH BARANY: When you do this research, are you saying to yourself, I’m gonna spend an afternoon, I’m gonna spend an hour, I’m gonna spend a few days. Do you give yourself any kind of timeframe around the research period?

SUE BURKE: I try to write a thousand words a day so that gives me an operational problem of how am I going to do this and also meet my quota. But yeah as soon as I have enough I try to go just because I’m old and I’m I wanna finish this before I die.

[12:38] Historical Novel Tease

BETH BARANY: So where can people find out more about you?

SUE BURKE: I have a website. It’s called Sue Burke dot site and everything’s pretty much linked up through them.

[12:49] Writing the Future 

BETH BARANY: I like to throw a curve ball at the end of the interview to folks. I always like to ask when you hear how to write the future, what does that mean to you?

SUE BURKE: First of all a whole lot of fun. The sort of person who thinks more about what’s going to happen than what has happened but I also think that there’s a lot of possibilities to write things that that that could be optimistic. There’s lots of problems but problems can be solved. There’s no guarantee that they’re going to but again for my journalism days is I learned that there’s this thing in the city. Can we solve it? Yes we can. Do we want to? Maybe maybe not and that’s what I read about that day is what’s going on with that thing.

BETH BARANY: Yeah. I love that. I love your optimism, and I, I love that. 

[13:39] Recommendations and Farewell

Your stories sound fabulous. I wanna recommend them to everyone. Check out Semiosis. Sue, thank you so much for coming on How To Write The Future and sharing with us about your research process and a little bit about your stories that you’re working on.

I’m excited to share this with everyone, so thank you. Thank you so much.

SUE BURKE: Thank you for having me. It’s been fun.

BETH BARANY: Yay. 

Loved this episode? Leave us a review and rating here: 

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

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Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

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ABOUT BETH BARANY

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

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CREDITS

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

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The post Goal-Based Sci-Fi Research With Sue Burke appeared first on Writer's Fun Zone.

Beth Barany, an award-winning science fiction and fantasy novelist and certified creativity coach for writers, joins Savannah Gilbo on the

In this conversation, Beth shares how writers can approach marketing in a way that feels authentic, values-driven, and sustainable without relying on overly sales-focused tactics that often leave creatives feeling overwhelmed or disconnected from their work.

Watch on You Tube

#238. How to Market Your Book in a Way That Actually Feels Good (With Beth Barany)

Listen on Savannah’s website

https://www.savannahgilbo.com/blog/how-to-market-your-book-with-beth-barany

Beth Barany helps science fiction and fantasy writers bring their novels to life through her courses, coaching, and consulting.

She also supports creative entrepreneurs who help writers flourish in their businesses.

Drawing from her years of experience as both a novelist and creativity coach, Beth believes that marketing can become an extension of a writer’s creative values rather than something separate from their art.

Throughout the interview, Beth and Savannah explore what heart-centered marketing really means for authors and why it can be especially powerful for writers who resist traditional promotional approaches.

Beth shares practical strategies for identifying the core values behind your stories, building meaningful relationships with readers, and creating sustainable marketing practices that support long-term creativity instead of burnout.

Listeners will also learn how to redefine success beyond sales numbers by focusing on reader connection, engagement, impact, and personal fulfillment.

The conversation offers encouragement and actionable insight for writers who want to share their work in a way that feels genuine and aligned with who they are.

When not teaching or coaching, Beth writes magical tales of romance, mystery, and adventure that empower women and girls to become the heroes of their own lives.

Her latest works include science fiction mysteries centered around a space station investigator.

Key Takeaways from the Episode

• What heart-centered marketing means for authors and why it works
• How to identify and incorporate your core creative values into your marketing
• Practical ways to create meaningful reader connections and community
• Sustainable marketing practices that support creativity rather than drain it
• How to measure success through impact, fulfillment, and engagement—not just sales

Free Resource Mentioned in the Episode

Trust Your Creative Heart Roadmap Workbook

A free downloadable workbook designed to help science fiction and fantasy writers move from idea to finished novel, including videos and additional creative resources.

Connect with Beth Barany

Website: https://www.bethbarany.com
Instagram: https://www.instagram.com/bethbarany
Podcast: HOW TO WRITE THE FUTURE — http://howtowritethefuture.com

About Fiction Writing Made Easy

Hosted by Savannah Gilbo, Fiction Writing Made Easy helps aspiring and established fiction writers learn the craft of storytelling, strengthen their writing process, and finish novels readers will love.

***

Trust Your Creative Heart Roadmap Workbook by Beth Barany

How to go from idea to finished science fiction or fantasy novel

Start your journey from blank page to completed novel by downloading your free Trust Your Creative Heart Roadmap Workbook today!

A PDF downloadable workbook, plus videos and other goodies!

Sign up here!

The post Interview with Savannah Gilbo: How to Market Your Book in a Way That Actually Feels Good appeared first on Writer's Fun Zone.

Alex Kingsley: Writing Speculative Futures

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In the latest How To Write the Future podcast episode titled, “Alex Kingsley: Writing Speculative Futures,” host Beth Barany chats with Alex Kingsley, a science fiction writer, playwright, game designer, and more exciting roles that inform their fiction writing.

Together they talk about AI cognition, the importance of human intelligence in creating for the future, how speculative fiction can help readers cope with complex issues, and why compassion matters in sci-fi.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Sign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.

https://bethbarany.com/apprenticeship/

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

ABOUT ALEX KINGSLEY

Alex Kingsley (they/them) is a writer, comedian, game designer, and playwright. They are a co-founder of the new media company Strong Branch Productions. They are the author of Empress of Dust, Relic of Haven and The Strange Garden and Other Weird Tales, as well as short fiction appearing in Translunar Travelers Lounge, Radon Journal, Sci-Fi Lampoon, and more. Alex’s sci-fi plays have been produced in LA, Philadelphia, and Chicago. Alex’s SFF-related non-fiction has appeared in Interstellar Flight Magazine and Ancillary Review of Books. Their games can be downloaded pay-what-you-will at alexyquest.itch.io. Alex is currently a graduate student studying speculative fiction at the University of Illinois Chicago.

Website: http://alexkingsley.org

Facebook: https://www.facebook.com/alexkingsleywriter

Facebook: https://www.facebook.com/alex.kingsley.332

X: https://x.com/alexyquest

Instagram https://www.instagram.com/hitchhikersguidetothealexy

LinkedIn: https://www.linkedin.com/in/alex-kingsley-56342a139/

TikTok: https://www.tiktok.com/@alexyquest

YouTube: https://www.youtube.com/@alexyquest

Bluesky: https://bsky.app/profile/alexyquest.bsky.social

Newsletter: Newsletter: https://alexkingsley.substack.com

Transcript for Alex Kingsley: Writing Speculative Futures 

Welcome and Mission 

BETH BARANY: Hello everyone. Welcome to How to Write the Future Podcast. I’m your host Beth Barany. I’m a writing teacher and a coach and I specialize in writing and also supporting science fiction and fantasy writers because I believe when we envision the new that fantasy and sci-fi in speculative fiction can invite us into, we actually get a chance to envision ourselves in new ways and therefore create hope for the future, create alternative ways of being in the world. I think that’s really powerful. So I’m really excited to bring a guest to you today, Alex Kingsley, writer, and all kinds of other things, academic and, and more. I look forward to hearing everything that you’re doing. Alex, I know will have a very interesting conversation.

So why don’t you tell us a little bit about yourself and introduce yourself to everyone.

[00:49] Meet Alex Kingsley 

ALEX KINGSLEY: Absolutely. So I am a science fiction writer in many veins. I am a novelist, short story writer, playwright, and also a standup comedian on occasion, though that usually does not have to do with sci-fi. And a game designer as well. I love to play in many different mediums. I am the author of The Bastion Cycle.

That is the series that my debut novel Empress of Dust is in. The third and final installment of The Bastion Cycle will be coming out this fall with Space Wizard Science Fantasy, as well as the author of short fiction, some plays that have been produced in LA, Chicago, New York. And, yeah. I also am a, an MA student at UIC studying speculative fiction and, writing the future and speculative futures is a huge part of my studies and the things that I am interested in.

I’m doing a presentation later this year on Always Coming Home and the importance of representing agricultural communities in the future in sci-fi. So that is super, super important to me in everything I study and everything I believe.

BETH BARANY: So wonderful. I love the diversity of all the things that you’re doing. And, you, you said the acronym of the university. Why don’t you speak out the whole thing so folks know? 

ALEX KINGSLEY: Yes, good point. the University of Illinois, Chicago.

BETH BARANY:  Great. And we’re gonna do some improv today ’cause you gave us some questions ahead of time that you were like I don’t even remember what I gave you, which is so cool. So, I would love to really know,

[02:20] Many Mediums One Practice

So you work in audio, you work in theater, you work in comedy, improv, and game design and fiction, and you’re in academia. To me, you’re working in all these different mediums. So looking at all the mediums that you work in, and then how does that affect you as a fiction writer?

ALEX KINGSLEY: Yeah, I kind of think of it as having a lot of different tools at my disposal. I am a really big fan of learning a little bit of this thing, a little bit of that thing because every experience that I have, I is going to somehow end up in my writing in some way, can somehow like, fuel something that I’m writing and inform it.

One of the biggest connections is between theater background and prose writing, because having directed actors having had that, like the collaboration that comes from that, the play that comes from that, but also really having to take a text, visualize the scene, understand the motivated movement in that scene, understand the minutia of the blocking.

All of that has been super useful for me in like, when I am writing the physical layout of a scene, I’m thinking of it like I’m blocking it as a play. I thought I was gonna be a playwright originally. I, I mean, I am, but I thought I was going to be primarily a playwright, so I was really focused on the dialogue and of course writing all that dialogue pretty much exclusively dialogue has had a huge influence on the way that I write dialogue, but it meant that I was very comfortable with that and less comfortable with everything else and imagining it as, okay, this is actually just a play that I’m directing, was really, really huge. And then the Improv comedy and tabletop game. I mean, tabletop roleplaying games are a form of long form improv, but generally, when people think about improv, they’re thinking about short form comedy, getting jokes in. They’re coming up with jokes, off the top of your head and table, anyone who has played tabletop role play games know that it’s more about really understanding your character, understanding what kind of choices your character would make in a situation, and being able to make those choices on the fly because you don’t know what, you don’t know what choices the other characters are going to make, you don’t know what choices your game master is going to make. So it’s all about having that intimate character knowledge and being able to make choices for them. 

And that’s exactly what you’re doing when you’re writing fiction. Like I have always been much more towards the pantser side of things than plotter. Definitely things start to emerge and I start to see structure. But where I really like to start is character. Like have a strong sense of who I’m writing and just the general concept, just the general situation that, the thing that I always say is put that beast in a situation. Like, I like to imagine my characters that’s like mice in a lab, rats in, in the maze.

I just gotta have a maze and some rats. And once I know my rats really well, I know what kinds of decisions they’re gonna make when they get into that maze. So I’ll end up writing scenes and be like, oh my God, I had no idea that was gonna happen. But that’s so crazy. ’cause that’s, yeah, that’s exactly what she would do in this situation and that, that’s part of the joy of it for me. 

So all of those pieces, and then the ac, the academic piece is just all that but studying it. Studying how other people do it, and how other people imagine the future and how other people use sci-fi, speculative, any kind of departure from our reality in fun and interesting creative ways and the ways that that can impact our society on a whole.

So it does seem, I think like when I’m like, I do this, I do this, I do this, I do this. Like I am doing 5 billion things at once. It’s actually just the same artistic practice, but it’s taking a ton of different forms. 

BETH BARANY: Yeah, I can really relate as someone writing teacher, filmmaker, and writing scripts and novels, a trainer and a curriculum developer. Did I say editor too? I edit fiction and video and you know, my own podcast. I’m my own, I’m gonna be doing it for clients as well. 

[06:25] Why Study Speculative Fiction

So let’s come back to academic work. You mentioned that you decided to study speculative fiction because, because why?

Tell us a little bit more, why you decided to study it, and also how does it tie into your own creative work as a writer?

ALEX KINGSLEY: Yeah, totally. I for a long time thought that I just wanted to be a creative writer, and I had this very rigid view of like, I do this and not this. Like I am a humanities person and not a STEM person and I am a, a creative writer and not an academic writer. Like I had all these sort of firm boundaries in my head I think ’cause that felt comfortable and safe and it made me feel like I knew what I was and it didn’t put me in danger of trying something that I was bad at and then being like, oh no, I’m bad at this. Because definitely we get a lot of that in our upbringing in school and then we kind of put ourselves into boxes for our own safety.

Eventually I started realizing I don’t have to do that. I don’t have to just be one thing. Which again, is one of those things where like, sounds really obvious when I say it out loud, but I, it’s, it was like a truth that I had not internalized until I was like, but what if, what if I actually did other stuff?

Part of it was I am always spreading the Gospel of Brandon Sanderson’s lecture series. I think he is such a, an intelligent teacher, and puts things in a way that is like so clear and understandable and digestible. And one of the things that he talks about in that lecture series is learning about the things that interest you and like not having to be just a writer because the material that you write about is going to come from all of your other life experiences.

And he talks about like John Grisham being a lawyer. And so all of his stuff is like law thriller. And you will have to combine your life experience with your writing skills, like you’re not just gonna be one thing.

And I went to the Nebula Conference for the first time in 2024 and there were all these academics there. And I was talking to them about all these like really specific topics. I was talking to someone who was like a token expert, had a PhD and I just like had this revelation where I was like, wait, I wanna be an expert. I wanna be an expert in this. I wanna be an expert in sci-fi. Like it’s, it’s what I love. Why have I confined myself to only loving it as a fan and a creative writer when I could also love it as an academic and study it as a discipline? At that point I had applied to MFA programs, and did not get into any of the ones that I wanted to, so I didn’t end up going that year.

But for one of the applications, I had to write a critical piece, which I really hadn’t done a lot of, and I had so much fun writing the application. And I was like, well, that’s not normal. People don’t usually have fun writing applications. So, I, I realized I really like to write critically and analytically about the stuff that I enjoy reading, not just producing, you know, ingesting it and producing my own fiction, which was how I started writing reviews for ancillary review of books.

Now I also write for Interstellar Flight Magazine and Strange Horizons. I realized it was, it is just a thing that I love to do. So why not go to the place where they will pay me money to do it and I get to teach students how to do it and share all this joy that I am constantly, you know, constantly needs to, is flowing over, is brimming and needs to spread.

I can share that with people. It seemed like the most natural path. And as soon as I started telling people, yeah, I think I’m gonna do this, they were like, that checks out. 

I thought it was gonna be a big announcement to be like, mom, dad, I’m going to grad school for English. And they were just like, well, yeah, of course you are.

BETH BARANY: Yeah. That’s so great. So funny. People often see us in that way before we do.

ALEX KINGSLEY: Yeah.

[10:23] Defining Speculative Fiction

BETH BARANY: I love to ask folks all kinds of questions about their passion for science fiction and fantasy, and I, I generally say science fiction and fantasy ’cause it’s easier to understand for people who aren’t in, who aren’t inside the publishing industry or the academic industry.

But we can also say just for folks who aren’t familiar, speculative fiction is the umbrella term for science fiction and fantasy and weird fiction, and I think horror could fit it under there. And anything that is outside of what we call contemporary fiction or even historical fiction, if it has any element of magic, make believe, maybe the lines are blurred. We can point to it and say this doesn’t exist in real life, even though most fiction is, you know, obviously a stretch of the truth. So now that I’ve defined speculative fiction, I would love to hear your definition of speculative fiction and also why you think it’s so important. 

ALEX KINGSLEY: Yeah. My short answer of like, why I enjoy speculative fiction is reality is boring. We already live there. I, and it sucks a lot not to be a downer there’s lots of, there’s good stuff too. But also every day there’s the horrors. So I’m like, I really, when I’m reading, I wanna be reading about things that are not this, but not for the reasons that people often describe. I think that for people who are not big readers, they kind of assume that reading fiction is always escapism. And I’m sure as a sci-fi reader and a writer yourself, you know, that is not the case. Fiction is a wonderful arena for dealing with some really complex topics and some difficult issues in a safe space.

Being able to grapple with these ideas that are really hard, from the comfort of your own home with a cat on your lap and a cup of tea. And it’s really important that we be doing that work constantly as a society, because it’s how we work through things is how we process complex issues.

And like I said, reality sucks. There are complex issues in the world. The reason that speculative is so important to me is because it opens up this whole new realm of play and of possibility. It allows us, there are so many complicated things to deal with in our reality, if you are going to use it, so many constraints, if you’re going to use it in your story and being in the speculative realm, I think it frees you from all of those constraints.

It allows you to imagine, okay, what would a society look like if we had this? What might the human race look like in thousands of years? What would a totally different species look like. 

[13:11] AI Cognition and Personhood

One of my main areas of study right now is alternative cognitions. Imagining using our own, you know, we’re, we’re kind of stuck with human brains, but how can we use our very human understanding of the world to conceptualize what it would be like to have a different form of cognition. I think that’s especially important with the increasing importance in our society, whether we like it or not, of AI, to be able to understand, okay, the anthropomorphization of large language models that corporations are doing is a manipulation tactic, and we need to understand the kinds of processes that are happening that differ from human cognition.

So we don’t start attributing things to machines in a way, like assuming that they are human and assuming that decisions are made in the same way that we would make decisions because they’re not. Also the idea of expanding personhood. What does it mean to be a person? Why is, I’m a big fan of like decentering humanness.

I think a lot of, when we talk about, you know, human nature and humanity and a lot of times when we talk about AI, like when will it be human intelligence? And I’m like, I would love to see humanness not really being the benchmark, cause also there’s plenty of people who are humans who are not getting human rights in our reality.

So I’m like, I would love for us to just establish a, like how can we treat a person and do that before we start asking is or isn’t this thing human because does it matter? Because we’re still treating humans poorly, in lots of places.

BETH BARANY: We’ve centered everything, humans being the benchmark, but actually our intelligence hasn’t, has done a lot of things poorly. Our so-called human intelligence. And, you know what, if we lived like whales or dolphins or bees or owls or, or, or the wolves? 

ALEX KINGSLEY: Yeah, exactly.

BETH BARANY: Why do we assume that what the way we think is, is the pinnacle? And I, and I know why there’s a whole history of that, but

ALEX KINGSLEY: Yeah.

BETH BARANY: Yeah, I appreciate what you’re saying about decentering human or human intelligence because we’re animals just like the rest of ’em.

ALEX KINGSLEY: Yeah.

BETH BARANY: And we forget that. We act as if we’re at some kind of pinnacle. And very interesting what you were saying about AI. I had an AI expert on, 

ALEX KINGSLEY: Ooh.

BETH BARANY: Some episodes ago, and you know. We never talked about it with that person, but I keep wondering why the people who design AI want to replace humans. To me, it feels like they want to replace humans. And I’m like, well, why? Why are you erasing, the very thing that you know, you are. I’m trying to understand the philosophy beneath this quest to everything, to be robotic. And I’m like, that’s weird because you know, if you don’t have a body, you don’t have emotions. And, and we don’t actually even really understand emotion fully.

ALEX KINGSLEY: Yeah.

BETH BARANY: So anyway, I could go off down that rabbit hole.

ALEX KINGSLEY: Yeah, I mean, I’m sure someone who is an expert in the field of AI could tell you more than I could, my, I do focus on, representations of AI in fiction. So definitely discussing robots and how we perceive robot, and I use those terms often when I’m talking about fiction interchangeably, just because they are like very murky. No one really has a firm definition. 

I have been looking a lot at the way that we perceive these things, and I mean, it does seem like a lot of it is money, because when the companies that are making the AI are able to then sell them to companies and say, Hey, why would you pay a hundred people to do this when you could have this machine do it for you?

It doesn’t matter to them if the quality is going to be good or if the people who are being laid off are not going to be able to support their lives, like that just doesn’t matter to them. So it gets marketed as a replacement and it also gets marketed as humanlike, uh, because we have our own assumptions about what intelligence is and how it has to resemble humanity ’cause that is what a lot of earlier sci-fi has taught us to expect. 

First ever robots in fiction looked just like humans ’cause it was a play and they were human actors. That’s part of what we have been led to expect from our fiction. But also there’s this attribution error that happens where people focus so much when AI does something bad on the AI itself.

Because we have been led to think of it as a person, so it’s not this company has caused this harm. It is, oh, Claude did this. That’s not, that’s not a person. We’re not there yet. We’re not there. That is a statistical model that is trying to sound like a person and doing a good job, but the more we attribute problems to the AI itself and not the people making it, the more we let them get away with a lot of bullshit. 

BETH BARANY: I agree. I agree. I mean, someone once said to me, oh, the algorithm decided this. I’m like, somebody designed that algorithm. That’s people behind that and they’re like, oh yes, well, blah, blah, blah. You know, like I constantly feel like I’m reminding people that we made them. Humans made these things and it’s complex processes that humans designed.

ALEX KINGSLEY: Yeah. And absolutely like things can come out of that that were not intended or anticipated, but that does not mean the, the thing, the product equals a human intelligence, and that is not placing a value judgment saying like, it is less intelligent than humans because there are things that large language models can do that Humans can’t or, or they do it a lot faster than humans could, or more accurately than humans could. Like that is not placing a value judgment. It’s just saying it is very, very different from human cognition and needs to be treated as such.

BETH BARANY: Yeah, I agree. I feel like you and I could keep going,

ALEX KINGSLEY: Yeah.

BETH BARANY: So we’ll definitely have to have a future conversation. 

[19:24] How to Write the Future

I like to end my interviews with this question, which once you hear it won’t be so odd. But I like to spring it on folks, which is, when you hear how to write the future, what does that call to mind for you?

ALEX KINGSLEY: It calls to mind any kind of forward looking fiction. Any, anyone who is imagining what the future could look like. And a lot of times, I think when I talk about writing the future, people assume I’m talking about utopian specifically and like a good future, but I am a big fan of being somewhere in the middle.

Like, I really like Ursula K. Le Guin’s term for the dispossessed. An ambiguous utopia. This idea of, there’s a lot of stuff going on and it’s a, it’s very complicated and it’s not. Hey, this is the ideal world and it’s not. This is purely dystopia. Terrible. Because nothing is really ever so black and white, at least it rarely ever is, and that would also not make a very interesting book. And I think that she is someone who was really a, a master of doing that. 

Like a lot of what I’m talking about in my presentation about always coming home is it’s not like, hey, this is presented as the ideal future. It is still important to imagine that a future like this in which we have returned to embedded communities as opposed to a concept of nation that expands beyond us. It is important to imagine what a future like that could look like.

Doesn’t mean that’s exactly what we’re aiming for. It’s so important that we are imagining what it could look like if, hey, what if every, everything was sentient.

What if the worms were solving complex math problems? Like what, what would that look like? Having this space to play in the world of what if, because we’re not gonna be able to predict what’s gonna happen, and it’s not our job to be able to predict what’s going to happen. But the more we can imagine, the more we can ask ourselves, what would we do in this situation? The more prepared we will be for what does happen. And most importantly, the more prepared our empathy will be

A professor who I kind of like grew up listening to and talking to and all of that, he would say at the core of sci-fi is asking what happens when our capabilities expand faster than our compassion?

And I think that’s why sci-fi is important. Is saying, hold on, let’s slow down and let’s make sure our compassion is there as well. And that’s honestly probably one of the reasons that Murderbot is so important to me. Is so many robot stories are about what if there was a robot that was conscious and everyone was like, no, you’re a machine.

And it’s so refreshing to have a book series where there’s a robot that’s conscious and immediately everyone’s like, and we love you. I I think that’s really beautiful

BETH BARANY: I have to read that. 

ALEX KINGSLEY: Yeah. 

BETH BARANY: That is beautiful.

ALEX KINGSLEY: It’s, that was a, that like a huge reduction of what those books are, 

BETH BARANY: That’s ok.

ALEX KINGSLEY: But that was something that is, is so delightful about them is the immediacy of the humans being like, and you’re a person too, and we won’t take that away from you. 

[22:31] Where to Find Alex 

BETH BARANY: Let’s do wrap up. Where can people find out about you and your fiction and stay in touch and all that good stuff.

ALEX KINGSLEY: Absolutely. I am on Instagram @ HitchhikersGuidetotheAlexy. I am on BlueSky @alexyquest and my website is alex kingsley.org. I also, I, I mentioned I do tabletop games. You can find my games @alexequest.itch.io. Those are the main places on the internet where you can find me. If you reach out to me, any of those places, I’ll see it and I’ll respond.

BETH BARANY: That’s great. And we’ll be including that information. So be sure to look in the show notes, the information that travels along with the podcast, and also on YouTube. 

[23:13] Final Wrap Up

So I’m gonna wrap it up here. Alex, it was so wonderful chatting with you today. I really love everything that you’re up to.

It’s so interesting and I would definitely wanna have you back. I’m gonna wrap it up here with my little sendoff. That’s it for this week, everyone. Write long and prosper. 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

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CREDITS

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

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The post Alex Kingsley: Writing Speculative Futures appeared first on Writer's Fun Zone.

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“If there’s ever a problem, I film it and it’s no longer a problem. It’s a film.” — Andy Warhol, artist and film maker

When Anger Meets the Everyday

It was a week of the apocalypse.

The streets were filled with chainsaws, chippers and wrecked trees.

Traffic stopped as the 120-year-old remains of a redwood were unceremoniously dropped to the side of the road.

Left for dead.

PG & E, not the most beloved of California utilities, was systemically cutting any tree within ten feet of a power pole.

I was in a mood to insist the trees were there first.

No one was listening to me.

Walking Through the Aftermath

The day after the last chain saw and lift moved up the road and out of hearing, I walked the neighborhood.

It was like walking through a bomb site. 

Tree trunks ripped and tossed aside, bricks of cement scattered along the road, but hey, new power poles!

Sustained anger contributes to high blood pressure, which can increase the risk of stroke and heart disease.

I did not want to be that person who has a stroke just because she’s mad at PG & E.

The question was then, where to put the anger (and the grief)?

Turning Anger Into Art

As I walked the ruins approved by remote corporate calculations, I began taking pictures.

I photographed a close up of splintered trunks, fallen branches, chunks of cement, even the cliche shot of a flower poking through the debris.

An hour later, I assembled a collage.

Prepared the images.

Placed the images. 

Searching for an angry background.

By the time I was halfway done with a (somewhat) cohesive collage, my anger had cooled into art.

After bad news, I walk. 

After good news, I create.

When I’m depressed or upset, I do both.

Mad or Material?

When bad news whips around the corner and assaults you, what is your response?

Mad or material? 

Can you channel that energy onto a canvas, a sculpture or a violent symphony?

This could be the perfect time to pick up the pastels you swore you would use but it’s been six months and you know because the holiday wrapping is still stuck to the box.

But the pastels are smooth, messy and once you’re in, you can’t really do anything else.

That is good.

Art in Times of Crisis

A popular saying is that in times of crisis, the arts thrive.

I think that’s because making art keeps us sane: we don’t know how the crisis will end, and we don’t know how our art will turn out.

Painting Guernica was Picasso’s protest against the bombing of the Basque town during the Spanish Civil War.

Harriet Beecher Stowe wrote Uncle Tom’s Cabin to express her crushing grief over losing a child.

We understand more about the plight of hidden Jews by reading The Diary of a Young Girl by Anne Frank than we would sitting through a history lesson on WWII.

During crazy times with my children, I used their, ahem, adventures, to populate a weekly newspaper column.

By the time the upsetting incident was mined for humor, it had lost its intensity.

Creating a Response

How can you express the world?

How would you fix the world?

Your art doesn’t even need to express anger, maybe you imagine a solution.

A member of one of my writing groups is working on a utopian novel, spending her time and energy creating the perfect society, art that keeps her spirits up.

Find an art outlet that helps express your big feelings.

When we channel our extreme emotions onto the page, onto a canvas, into a protest song, we not only make ourselves feel better, we contribute to the history of this time.

We leave a legacy as either a warning or a call out.

We can use our art to save ourselves. 

It may not be good.

But it will be art.

Learn More

Look for my new book — Take Up Space — Art is Your Second Act.

***

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ABOUT THE AUTHOR

Catharine Bramkamp is a successful writing coach, Chief Storytelling Officer, former co-producer of Newbie Writers Podcast, and author of a dozen books including the Real Estate Diva Mysteries series, and The Future Girls series. She holds two degrees in English and is an adjunct university professor. After fracturing her wrist, she has figured out there is very little she is able to do with one hand tied behind her back. She delights in inspiring her readers.

The post How to Be Mad by Catharine Bramkamp appeared first on Writer's Fun Zone.

Hip Hop for the Future – How To Write the Future podcast, episode 203

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“I’m trying to make sure we have artists, the next generation people who can get to the open mic for the first time and learn how to hold a microphone” – Khafre Jay

In the latest How To Write the Future podcast episode, titled “Hip Hop for the Future” host Beth Barany interviews hip hop organizer Khafre Jay where they discuss the importance of hip hop as a culture within the San Francisco Bay Area and his plans for the future to get more community members involved.

From his business creating slogan clothing, to building local creative spaces to his beliefs on public health and the impact live music can have on an audience, this episode is sure to broaden your horizons on the entire hip hop culture.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES 

Creativity as Strategy: Lessons from Khafre Jay

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About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

About Khafre Jay 

Hailing from Hunters Point, San Francisco—a city with the highest income inequality in the nation—Khafre Jay has dedicated his life to fighting for socioeconomic justice and empowering his community through Hip Hop organizing. Over two decades, his grassroots efforts have employed nearly 1,000 community members, educated over 35,000 K-12 youth, and directed more than $8 million into underserved communities.

Now leading Hip Hop For The Future SPC, Khafre is pioneering the use of Hip Hop to reimagine public healthcare, aiming to increase Black life expectancy and bring transformative resources to marginalized populations.

Facebook: https://www.facebook.com/hiphopforthefuturespc

Facebook: https://www.facebook.com/khafrej/

Instagram: https://www.instagram.com/khafrejay/

LinkedIn: https://www.linkedin.com/in/khafrejay/

TikTok: https://www.tiktok.com/@theunapologeticblackguy

Album: https://music.apple.com/us/album/critical-race-hip-hop/1757033018

Website: http://www.hiphopforthefuture.org

Transcript for Hip Hop for the Future: Write Brave 

Welcome Intro 

BETH BARANY: Hi everyone. Welcome to How to Write the Future Podcast. I’m Beth Barany, an award-winning science fiction and fantasy writer, published writer.

I’m also a writing teacher and creative entrepreneur trainer. This podcast loves to explore all things future, which is really about now. Little secret. It’s really about now, but it’s about what we can do now to make our futures better. And I am a positive, optimistic person overall, and I love talking with other people who are also looking towards building better futures for all of us.

So I’m so, so, so excited to introduce to you, today a local talent here in the San Francisco Bay area and educator. 

And yes, I love your hat. We’re gonna have you talk about that too. 

Khafre Jay who runs a fabulous organization here in the San Francisco Bay Area, Hip Hop For the Future. Welcome so much, Khafre. I’m really happy to have you here. You and I met on the street in my neighborhood

The best way, right? 

And I’ve been supporting artists. Hip hop artists for a long time and I was so happy to be able to support you guys and, and bring you on to hip hop, um, to how to write the future. So can you introduce yourself for us?

[01:13] Meet Khafre Jay 

KHAFRE JAY: Yeah. My name is Khafre Jay. I’m a Hip Hop organizer, angry black man from Hunters Point, San Francisco. A little forgotten about spot on the southeast side. But yeah, I’m, I’m just a man who’s been trying to save my culture, and empower my community for my entire adult life, and I’ve just been figuring out how. That’s it.

BETH BARANY: Yeah. Awesome. 

[01:32] Hat Slogans Humor 

And for those of you listening, you wanna tell us what’s on your hat?

KHAFRE JAY: Oh yea. This is my make racist afraid again, hat. I have a clothing line called Critical Race Threads. And you know, I I, I don’t really wear Nike signs or, you know, too many labels, but I, I feel like not only do I want to know who’s my friend, first and foremost before I even waste my, my energy on them, but yeah, I also got some funny things to say so people just know where I’m coming from. I can make people think. I have a shirt that says, dear police, I’m a white woman. And, as a man who got beat up twice at gunpoint by the SFPD before I was 17 in San Francisco, messages like that I think are important especially if they’re framed in a way that doesn’t create too much defensiveness. So, yeah.

BETH BARANY: Yeah. And I think you had some either a T-shirt or was on your clipboard, something like, white women. White women come support us, or something like that. Like if you’re a white woman.

KHAFRE JAY: I mean we’re not gonna make it about White women. White women have been a historical power node for America, for its movements, for its policy. So, that’s why you always catch me out in some random white neighborhood where people don’t really look like me, calling people in and calling people out of course.

BETH BARANY: Yeah, yeah, of course. And you do it with humor, with love, with music. And, I, I love the name of your organization, Hip Hop for the Future. 

[02:48] Why Hip Hop Future 

Can you tell us a little bit why you chose that name?

KHAFRE JAY: I mean everything comes through people’s experiences. And my experience as a hip hop cultured person from San Francisco is told through gentrification, you know what I’m saying? Much like hop to the Fillmore. It is happening right now in terms of hip hop culture. And for those who don’t know, hip hop is not rap.

It is not. Hip hop is how I walk, talk, dress, paint, think, act, dance. It’s something I can’t take off. Like people know I’m talking hip hop, they know I look hip hop ’cause I dress in our fashion style. We have an environment and the ecosystem hip hop is birthed from that necessitates certain entrepreneurial styles to access equity and capital.

You know what I’m saying? So we have a whole culture. It has norms, it has rules. You know culture has never really been commodified, authentically. I mean especially when black people who make up the majority of, you know, hip hop cultural norms and rules, we have no wealth to dictate how white media has ever represented any facet of hip hop culture. And the most commodifiable part of that is hip hop, rap music specifically, right? 

So, we’ve never dictated how blues looked on white media or how rock and roll did, or how disco did, or you know, how funk did or none of this. And I think people just think that hip hop is so on point, in representing young black culture. And culture in these hoods. And it just, it’s, it’s a farce to me. So when I see, black people go from 13% of the population in the eighties when I was born, to now about 5% of the population, but we make up 38.7% of the homeless in that gilded San Francisco city. And that’s, that’s erasure. It is. And so in spots that we wrapped that for 30 years in Oakland, they’re doing karaoke seven nights a week now lights on. For a different community. Now, it’s a wrap. It’s a wrap. It is not a smart business model to bank on black culture in the Bay Area. It is just, it’s not, it doesn’t work anymore. So in order for us to have access to our culture, in its truest forms, ’cause real talk, black people don’t have any efficacy in any facet of culture in society except our culture, you know what I’m saying? So any, any efficacy in any aspect of society except with our culture. So I’m just fighting to preserve spaces for that. That costs money. Money, you know, for black folks is like a revolutionary thing for us to amass enough money or a strategy to create math that sustains a stable platform.

So I’m, I’m happy we’ve done 70 weekly rap writing contests in Berkeley, broaching some of the most serious topics, and we’re really close to expanding a second weekly rap writing contest in San Francisco if I can get a little help and not go so grey doing it. And then San Jose needs some help too, so I’m really fighting to make sure we have hip hop for the future.

[05:25] Building Local Cyphers

I, I had my first show at Glen Park Rec Center, you know what I’m saying? At like a skateboard, kind of hip hop kind of community event. But they don’t do that anymore. I feel like it doesn’t even really have kids, you know, let alone brown kids like me. So I have to be that, that leader that creates those spaces, and we’ve gotta make the math work.

And for me, that’s been standing in really affluent neighborhoods, looking for people that care like you, you know what I’m saying? That can share resources, or platforms for social capital, so we can get more resources ’cause really, we just need places to shine.

And that’s what I do. I’m trying to make sure we have artists, the next generation people who can get to the open mic for the first time and learn how to hold a microphone, you know what I’m saying?

And see these older folks show what it means to be a, a MC. You know, I’m trying to have a place where live graffiti artists can come and do live painting inside the cipher and break dancers can come and battle. You know what I’m saying? We need that. And if we don’t have our griots and our, and our culture bearers, we have nothing.

BETH BARANY: Yeah, I, I love that you’re creating this in, in person, in local spaces and, I, I just love that so much. I feel like as humans, we’re actually genetically predisposed to learn together, learn in groups, learn through song, learn through modeling our elders. So I really, really love that.

I noticed in your mission statement recently that you’re really focused in on health and wellness also.

Can you say a a bit about that?

[06:50] Public Health Pivot

KHAFRE JAY: Often we talk about the future, we talk about hope, but my public health focus comes from a lack of hope. Just to be quite honest with you. I was a hopeful Activist. I did the largest environmental justice Eco summits at the Presidio Lawn with the Presidio Activators Council. You know, I used to do a lot of environmental work, political work too. I was, was really rooting for white folks. I, I was really rooting for him in the last election, so disappointed, at the Dobbs decision, not just at the Dobbs decision, but at the tepid response to the Dobbs decision. You know what I’m saying? 

I, I think I, it was a week before I started hip hop for the future. I saw that that protest at the Supreme Court and it wasn’t enough. It was, it was really disheartening to see that few people, and that few white women, you know, I, I was like, oh, no Dobbs, oh, white women who have the strongest political power are gonna go crazy and we’re gonna get some real change.

And that, you know what I’m saying? And that moment, I just realized that it’s gonna take a little while before I feel like organizing with other groups directly, you know, our, our are building strategies that rely on a mass of American voters to have the best interests of black people at heart. I, you know, so out of that I decided to turn to N Word as a lot of black organizers have. And you know, that doesn’t mean that I’m not gonna talk to white folks. Of course not. You know, ’cause I think that means I’m just gonna go towards individual grassroots means instead of organizing with big orgs that have strategies that are rooted in collective empathy. I don’t think we’re there yet so I decided to go to public health, you know, and Hunter’s Point Black people are going through it. We got higher rates of cancer, not to mention the stress traumas. The lack of access to care. hip hop for me has always been the strongest organizing tool for my people. You know what I’m saying?

Like, Black people might not want to go talk about colorectal cancer interviews, but if I get the rapper, yo-yo from the nineties, you know, who’s big for people who are in that age group that need to get colon cancer tests right now? And I throw a phat hip hop show, at the film, at the African American Arts and Culture Complex with break dancers from Pier 39 DJs, graffiti artists doing live graffiti of food, barbers, braiders, people doing hair, clothes. With the Director of Freedom Ford, Francesca Gonzalez, who helped me create this idea of Drip fest dropping resources in place, then we can get a whole bunch of black folks there comfortable, calm, you know, appreciative. And then they are confronted with access to healthcare. You know, we had, Dr. Hobb, he’s a dentist with flossing for smiles, right? Flossing is kind of looking good, as you know.

He was there taking care of people who hadn’t talked to dentists recently. You know, Umoja Health with Dr. Rhodes. She was there, you know, helping people get vaccinations, COVID checks, and colorectal cancer interviews, things like that.

This stuff is not hard when we’re doing it in the framework of people that have the cultural practices, and, you know, and, and the root of their strategy. So I, I just thought that would be really cool and, building around that, pretty soon I was doing, you know, hip hop therapy 101 for therapists. I want to integrate these methods authentically. you know, and, and hip hop in general, having spaces rooted in affirmation, like a cipher. And I know a lot of people they see hip hop in a frame of, of corporate media where in three companies own 90% of the means. But that’s not what it looks like in community.

You know what I’m saying? When somebody’s rapping for the first time around all these vets and these vets are like, yeah, go. You gotta keep going. Don’t worry. Just keep going, keep going. It’s such a supportive place. And that right there is one of the most healing places. Most affirming places, and that ecosystem that we’re building of these artists coming together and these community members, it’s, it’s something that we don’t really have so I think that’s essential. Public health is a cultural community zone. The middle, you know what I’m saying? The center of the community. I’m trying to build that around hip hop, and it’s just public health is the way to go. It’s the only thing that I have hoped for. It’s my ability to bring health directly to people because I, I don’t really have faith in everything else right now.

I’ll check back, I’ll check back in the midterms if we still have a country, so, yeah.

BETH BARANY: Yeah. Yeah. Oh, I hear you. I hear you. The power of the young hip hop artists going up and holding the mic for the first time. The power of just coming together. I really see this is so beautiful, what you’re doing, and can you tell us a little bit more about, you know, what that’s like for you to create these events and I don’t know anything that you’re working on.

[10:58] Pregnancy Village Work 

KHAFRE JAY:  You know, I think the best way to talk about, I think the best way to talk about the power of live performance is that’s best viewed through the work I’ve been doing with the San Francisco Pregnancy Village. Away from my mother’s house, Bayview, YMCA which is in Hunter’s Point, not Bayview. They’re not the same. I hate how people put ’em together. It sounds like gentrification to me. But yeah, you know, I was doing Drip Fest, and I got to connect with the people working on the SF Pregnancy Village. 

For listeners who don’t know how bad the situation is for black people here in the United States. You know, all this stuff we’re talking about currently with ice, like we’ve been dealing with this type of authoritarianism, this type of lack of access to, body autonomy, rights, and whatnot for so long. And black women die four, three to four times more giving birth in Bay Area hospitals and in the United States, just because of sheer apathy. When black women are dealing with things like preeclampsia and they say, I’m feeling pain, they’re looked at as drug seeking more often instead of, hey, this lady might have some horrible thing going on, or, or they’re told to wait. They’re told to sit down and be patient and they’re forgotten about. That is the sheer you know, root of that is that that callousness, that apathy, that black women’s suffering gets historically in this country. And there’s lots of orgs that want to help. There’s lots of them. You know, but I want to help women. I really do you know, when I taught hip hop ed, I created this women’s empowerment workshop, but I didn’t want to ever teach that, and I didn’t want to just create it and be like, here, teach this ’cause it has to, you know, good intentions, you know, feel me? 

But I think a lot of these organizations that want to help, there’s not a lot of people like me in the decision making rooms, you know what I’m saying? So, when we get these interventions out, they’re not always the most successful.

That’s why DPH here walked up to me. They’re like, yo, do you teach about hip hop therapy? Because they have the resources, they have the degrees, they have the, all that stuff. But what they don’t have is the trust and that’s historic. And so they needed help from somebody like me, you know what I’m saying? The pregnancy village, Melanie she, is a nurse. She works, delivering babies, and she helps us to set up this stuff. She said she saw my website. She was like, yeah, this is what we need. 

You know? I don’t deliver no babies, you know what I’m saying? I don’t do prenatal care. I don’t do lactation coaching. All right. I don’t do anything like that, but what I do do is make black people very comfortable and I create spaces that are healing in and of themselves. And that kind of culture can be a catalyst to organize marginalized people around any services. It doesn’t matter, you know, whether it’s math, whether it’s working with Parks Cal and getting kids rapping about the toxic Superfund site next to Hunter’s Point where I grew up, which is why people are glowing over there, you know? But yeah, it is just been really cool to go there. And bring DJs and bring, you know, live graffiti artists like Laser one MCA or Buku one. And they’re setting up big graffiti murals that say love on it. And little babies are painting and stuff like that. We’re like, come on, kids start graffiti. And then DJ Lex, who’s like this world class dj, historic in the Bay Area, he’s bringing his turntables, letting kids scratch and things like that. 

And then we booked three or four artists to rap and perform and they make the village cry. And sometimes the, you know, the, the village makes them cry too. I think a lot of times people don’t know that rappers don’t just wanna rap at seedy dive bars, you know what I’m saying? Our words are not confined to settings that people are used to. And I think for me, a lot of my work was been given op opportunities to artists to get in environments that they’re not used to, where they can see the power of the words and then you get the feedback from these women. These people who are just like going through, you know, some of the most serious, you know, moments of energy, time, emotion, and then seeing ’em dancing, you know what I’m saying?

And, and seeing ’em, hear people rapping about pregnancy and, and beauty. I think it’s one of the reasons why the village grows. It’s one of the reasons why people come back happy. and yeah, I, I can add that to anything. So anybody need hip hop out there? You need a DJ for a birthday party. You want somebody to graffiti your infant’s room with math symbols or something like that? My job is just getting hip hop artists paid ’cause as long as we pay our storytellers, then our future will be bright. If we do not pay our storytellers, then we’re gonna need supplemental, mostly white LED NGOs, you know, nonprofits with their galas and their charcuterie boards. With whatever help they can have for black people that, you know, may or may not be impactful, you know what I’m saying?

They’re gonna hire some of us. I’ve gone to a few of those galas. It’s really cool. You know what I’m saying? They got great wine and cheeses but I, I don’t, you know, I, I love what Planned Parenthood does. I think that there’s so many black women that are rapping about those things that would create so much more impact on outcomes and health, if they got a quarter of the marketing budget that Planned Parenthood had. It’s just me. I think hip hop does that. So

BETH BARANY: Yeah. Awesome. Awesome. 

[15:36] Writing Future Question 

Well, I, I’m sure we could keep going, but I’m gonna wrap it up here. I have a surprise question, which is not so surprise. Yeah. So, what, when you hear how to write the future, what do you think of, what does that make you think of?

KHAFRE JAY: I think that makes me think first off is trying to like break off my chains, you know what I’m saying? I think trying to, trying to stop my impediments, you know, my preconceived notions to let myself flow, just flow. I think in order to think of the future, it’s really hard. We have so much baggage and bias that allows us to even think of the possibilities where technology might go, for example, you know what I’m saying? You look at Star Trek, you know, the next generation now, and you’re like, wow, we didn’t even think that we might have stuff floating in midair walking with this holograms. Yeah, I don’t know. I don’t know how to be the Jules Vern of your time, you know what I’m saying? But yeah, I was just really focused on trying to be open, just clearheaded yeah.

BETH BARANY: I love it. I love it so much. 

[16:29] Where To Support

So how can people find out about you? Where do they go? What’s the first stop? They can just get all your awesome stuff, support you, bring you into their organization. Yeah. Where do they go?

KHAFRE JAY: I am not as important as my community and so if I could ever ask for any support for anything, it would be for my life’s work right now, which is hip hop for the future.org. We are really, really looking for long-term monthly support right now. We have about 350 ish monthly supporters that have allowed us to rock in Berkeley for 70 weeks, providing this beautiful platform.

We started people’s careers. We built an ecosystem, hopefully soon to build an economy around it. But we’re really close to getting enough monthly support to open up Flow Lounge San Francisco ’cause San Francisco used to be a historic place for rap, and that’s gone. Almost completely. And so we really need that support.

After that, we’ll be doing the same in San Jose ’cause tech has strangled people down there and all kids have, if they have hip hop, it’s that corporate, gangster, misogynistic, violent place that breeds unsafe conditions. We need your help for that down there. If you need DJs for a birthday party, break dances.

If you want team building, let me know if you want somebody to graffiti your business, atrium, with company mission stuff, galas, let me know. Hip hop should be in every strategy meeting. If it’s not, and you’re working with people, even if you think it’s not hood people, if you think, all those white CEOs, they love rapping too.

Don’t get it twisted. Yeah. I just, I just want people to go hip hop for the future.org. You can always find me Khafre Jay just type my name anywhere. I’m on everything. Check out my blog on LinkedIn 22,000 person following Unapologetic Black Newsletter. Listen to me on KPO o San Francisco 89 5 every Sunday playing three hour block of local barrier hip hop. Yeah, go to Critical Race Threads and dress like your mostly friendly neighborhood black activists.

BETH BARANY: Oh, I love it. I love it. I could listen to you forever. All right. This is so awesome. 

[18:18] Final Thanks Outro 

Thank you so much for being a guest on How To Write the Future. I’m gonna wrap it up. That’s it for this week, everyone. Write long and prosper. Woo. That’s a wrap.

KHAFRE JAY: That’s a wrap. Right. 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

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Read, Write, Repeat with David D. Levine – How To Write the Future podcast, episode 202

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“I was a science fiction reader from the beginning, and I continued to identify myself as a science fiction writer. However, a lot of my stuff would have to be classified as fantasy.” – David D. Levine 

In the latest How To Write the Future podcast episode, titled “Read, Write, Repeat with David D. Levine” host Beth Barany talks to science fiction author David D. Levine about his career path, the challenges of history research, and how he uses it in his novels, including gender throughout the ages.

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About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

ABOUT DAVID D. LEVINE

David D. Levine is the author of Andre Norton Nebula Award winning novel Arabella of Mars, sequels Arabella and the Battle of Venus and Arabella the Traitor of Mars, space-opera caper novel The Kuiper Belt Job, and over sixty SF and fantasy stories. His story “Tk’Tk’Tk” won the Hugo, and he has been shortlisted for awards including the Hugo, Nebula, Campbell, and Sturgeon. Stories have appeared in Asimov’s, Analog, Clarkesworld, F&SF, Tor.com, numerous Year’s Best anthologies, and his award-winning collection Space Magic.

Facebook: http://www.facebook.com/david.d.levine.sf

Instagram: https://www.instagram.com/daviddlevine/

Website: https://daviddlevine.com

Bluesky: https://bsky.app/profile/daviddlevine.com

Transcript for Read, Write, Repeat with David D. Levine 

Welcome And Guest Intro 

BETH BARANY: Hi everyone. Welcome to How to Write the Future. I’m your host, Beth Barany. A science fiction and fantasy writer, also writing teacher and creative entrepreneur trainer. 

I’m so excited to bring in today my special guest, David Levine. 

David is a science fiction and fantasy writer, primarily science fiction.

Can you introduce yourself to us? 

DAVID D. LEVINE: Sure. The weird thing is I still think of myself as being a newer writer, even though I’ve been selling for over 25 years, but it’s always fresh. Every day is a new challenge, a new obstacle to be overcome. 

BETH BARANY: I love your book covers. I excitedly called my husband over. I’m like, look at this awesome book. Your Kuiper Belt book, the Heist Sci-fi. I love heist. 

[00:42] Sci Fi Versus Fantasy 

So do you consider yourself a fantasy writer or a science fiction writer, or both? A mix? I saw you have a cool anthology called Science Magic, which really kept my attention. 

DAVID D. LEVINE: I was a science fiction reader from the beginning, and I continued to identify myself as a science fiction writer. However, a lot of my stuff would have to be classified as fantasy. 

BETH BARANY: That’s great to know. I work with a lot of beginning writers and folks are working out the definitions and where they fit and how to describe their work. 

[01:10] Tech As Modern Sci Fi 

DAVID D. LEVINE: An awful lot of thrillers are by my standards would be considered science fiction because they depend on technologies that don’t exist.

Or you look at so many cop shows, the various criminal investigation shows are based on technologies. They portray technologies that don’t exist, which causes real lawyers and real police people a lot of difficulty when they try to talk to a jury and the jury says, show us the hologram.

BETH BARANY: Absolutely. Yeah. I write sci-fi mysteries, so I take great pains to figure out what exists and what doesn’t exist. And of course, I’m making stuff up. And then sometimes engineers write me and tell me what I got wrong.

DAVID D. LEVINE: Yeah. 

BETH BARANY: Which is hilarious. 

[01:49] History Research In Fiction 

I see that you’ve set a lot of stories set in an imagined past, and that really is reflected in your beautiful book covers. Can you talk a little bit about how your historical research and it sounds like you’re definitely a student of history, how that impacts your writing?

DAVID D. LEVINE: The weirdest stuff in my historical science fiction and fantasy is real. You know, the more peculiar and unbelievable something is, even if it’s like key to the plot. I’m not making any of that stuff up. I’ve found things I think it’s in the third Arabella of Mars book, there’s a steam powered wheelchair, equipped with a machine gun that is real, or at least it was proposed.

I don’t know if the person that invented it ever actually built it, but they tried to sell it to the military. All kinds of peculiar things. Real terminology, real people. There is a character, again in the Arabella books, who is a person who became a very famous military surgeon and in fact, invented a lot of techniques that saved many lives. And was the first person to perform a cesarean section where both the mother and the child lived. That person was a woman.

[02:56] Gender in Other Times

It’s tough to talk about gender in other times because if that person existed today, we would probably say, well, that person was using he him pronouns in their daily life, so it would be respectful to refer to them as he him, but we don’t know what that person would’ve used themselves because they were practicing a deception.

Were they living their true reality of the gender they perceived themselves as being, or were they dressing up as a gender they did not perceive themselves as being for purposes of having a career and being able to leave the house?

There was all sorts of roles that were imposed on people based upon their perceived gender and therefore people would change their perceived gender, in order to have adventures. 

That’s why Arabella dresses up as a boy, because, that is a thing that people definitely did do in reality, and happened, I believe even more in fiction of girls dressing up as boys, and running off to sea and becoming cabin boys and fighting in the wars and having adventures.

One of the writing challenges I have set myself and still not succeeded at is literature is full of girls who dress up as boys to have adventures. 

When boys dress up as girls, it’s either for comedic value, or in order to escape. You look in particular at the movie, Some Like it Hot, where a couple of boys dress up as girls in order to hide from people who want to kill them.

That is a challenge I have set myself at which I have still not succeeded. I’ve thought a lot about gender. I’ve thought a lot about why we perform gender as we do, which things are inherent, and which things are societally imposed. And how does it change over time? The roles of men and women of course have always changed over time. Pink used to be a manly color. There have been thousands of years when everybody wore what we would consider skirts. Everybody wore what we would consider pants. So that distinction is something that is very much peculiar to this time and place. 

[04:49] Starting Late And Career Path 

BETH BARANY: I appreciate that you’re doing that. 

I understand that you didn’t start writing fiction until you were nearly 40, so I think that’s a really wonderful to hear, for folks to hear. I myself didn’t start seriously until I was 30. I know people who started much younger. Let’s not measure each other against each other,I actually have a writing friend who started at 70. 

DAVID D. LEVINE: I would absolutely say it’s never too late to start. I was writing fanfic, well, I didn’t write fanfic in the modern sense, even though it existed.

I was never impelled to write about my favorite TV shows or what have you. I wrote science fiction in my teens. I know for sure that I have stories in my files that I wrote, in like fourth grade. So I’ve been writing for a long time, and I took a science fiction class in college and the teacher said, this is really good, you should submit. 

What happened was that I graduated, and I got a job as a technical writer. I was writing software documentation and that sopped up all of my writing energy. I tried and I was unable to write fiction while I was writing as a technical writer. And I was a technical writer for 20 years.

So during that whole time, I produced not one word of fiction. I changed careers, I changed from technical writing to software engineering, so I was still working in the same, you know, sitting in the same cubicle, working in the same division of the same company, and a different boss. And I had a different job.

And even though I was still typing, still staring at the same screen every day, suddenly I was no longer writing prose, I was writing code. And so I began to be able to write fiction again. So I spent 20 years writing technical manuals, and then I started to be able to write fiction again. 

[06:27] From Tech Writing To Prose [h3]

And after I’d been doing that for just a couple of years, I had the opportunity to go to the Clarion West, six week writers workshop in Seattle.

And I did so, and after I did that, I began selling. So I would say that the 20 years I spent writing technical manuals was not lost, because I spent 20 years learning how to put together a sentence, how to punctuate, how to spell, where to break a paragraph, how to outline, how to work with an editor. Ergonomics, how to pace myself, how to be productive, grammar and pacing. And there are so many skills from nonfiction technical writing that translated directly into fiction. And so I spent 20 years working on the mechanics of putting prose on the page. And then after I had done that, I had a really solid base of that stuff that beginning writers struggle with. And so what I had to do after that was add to that skills of creating characters and writing dialogue and and world building.

But even on world building, I think some of my nonfiction skills applied, so I divided my learning how to write process in two. One for the mechanics and one for the fiction. And I think, the fact that I started selling fiction to major markets within a couple of years of when I started submitting, I can put that down to the time that I spent working on the mechanics of writing.

So I wouldn’t necessarily recommend this as a learning process, but it worked for me and I think it, it produced a writer who has a particular skill set and produces a particular kind of fiction, which is, not to–, nothing is to everybody’s taste. My stuff is not, it’s not poetical.

I’ve got creativity in terms of the world building. I’m very proud of my aliens and of the unexpected plot twists I can come up with, but the prose itself is quite conventional. I do not, I’m not as Jay Lake described himself as a notorious style monkey.

I’m not a notorious style monkey. The prose is, my prose is intended to be transparent, not to get in the way of the reader’s experience of what? Of the the, you know, the world and the people being, being, portrayed. But it gets the job done. And I do, I do have a big vocabulary and I use it.

BETH BARANY: Mm-hmm. 

[08:46] Influences And Reading List 

I was curious about your reading habits because to be able to have gone from a tech writer into some great training for science fiction fantasy, and then to be published, I’m guessing that you have read widely all your life. And I just, if you wanna throw out a few of your favorite authors series, the kinds of things that you like to read, have read, besides the nonfiction history, I’d love to know what your story bank is like.

DAVID D. LEVINE: I would name Iain Banks, as one of my favorite writers and, I’m gonna have to name Larry Niven as one of my primary influences. Although the weird thing was, is that when I first discovered him, he was one of the Young Turks. And, and now of course he’s, you know, he’s in his seventies, definitely part of the old guard.

I don’t think I would name Niven as one of my favorite writers anymore because his prose is very much of the seventies, and hasn’t held up well. Mary Robinette Kowal, Elizabeth Bear- these are people who are friends of mine and also I really admire their, their prose, their, their world building Ann Leckie is fabulous. And, N. K. Jemison is also, just I am in awe of Jemison’s work. She’s phenomenal.

There is a lot of really good stuff being written today. and the biggest problem that all writers have is discovery because there’s such a huge mass of fiction, some of which is spectacular and some of which is terrible and it can be very difficult to find the good stuff, in the gigantic mass of fiction, which is being presented today, that discovery is our biggest problem as writers. 

BETH BARANY: Yeah. Yeah, absolutely. You’ve got a great list here. We’ll put that on the recommended reading list of this episode. And also, it serves as recommendations. People are always looking for good places to start.

I heard the mark of a well-read person to have so many unread books because we collect them.

DAVID D. LEVINE: This is my emotional support, support stack of unread books. Yeah. 

BETH BARANY: That’s right. 

[10:43] Advice For New Writers

Well, is there anything advice that you have for writers starting out in science fiction or fantasy today? 

DAVID D. LEVINE: The most important thing is to read, to read deeply and widely in your chosen field.

I have read so many terrible stories and terrible books by beginning writers who say, I think I’m gonna write a science fiction book and make a pile. There are so many people who dive into writing science fiction or fantasy or romance especially, who have no interest in the field. They don’t even read it.

They say they think I watch a lot of science fiction movies, so I’m going to write a science fiction book and make a lot of money. A lot of these people seem to think that writing is their path to riches. And I got news for you folks. There is no money.

There is no money in fiction. This 

BETH BARANY: It’s tough out there. 

DAVID D. LEVINE: Yeah. okay. But anyway, so read widely, figure out what it is that you like and do that. And and also it’s really, really important to get feedback. To get feedback and to, to take it to heart. You have to. You have to seek out people who can be honest with you about where your work is good and where it is not so good.

So I think it’s important to seek and seek out feedback from people who can articulate what makes it work and what makes it not work.

This basically means other writers. Being in community with other writers is, I think, critical. It’s critical for any art. We do fortunately have a very large and well-integrated community of science fiction and fantasy writers around the world. And so it’s not that hard to find people to read your stuff and tell you whether or not it works.

And I think that’s critical is in order to improve, you’ve got to get feedback. 

And you have to listen to it ’cause I definitely have worked with newer writers who receive feedback and then keep turning out the same thing over and over again because they love their prose too much. 

BETH BARANY: I recently did an episode on feedback, for episode 192.

So take a listen to that. So critical. I too find the very same thing. If you aren’t comfortable with feedback, if you aren’t even sharing your work with, informed others, it can really stall your writing career. 

[12:52] What It Means to Write the Future 

I like to end my podcast episodes with a question, related to the title of my podcast, How to Write the Future. I’d like to ask off the cuff, what does it mean to you, how to write the future? 

DAVID D. LEVINE: Writing about the future. Science fiction is never about the future. It’s always about the present. It uses the future as a tool to talk about the present. So I have very infrequently written stories, which had any predictive value whatsoever.

I set my stories in imagined worlds, many of which are the future or a future, just because it’s an writing. Setting a book in the future, setting a story in the future means that you have a platform that you’re building upon. You and your reader have a common experience of the present and then you can say, okay, now my story is like that, but different in the following ways.

Whereas if you’re setting a story in a completely imagined time or place, then you don’t have that foundation that you share with the reader, and you have a lot more building and a lot more explaining to do. So setting a story in a future is a way of leveraging what’s in the reader’s head to produce the story.

90% of the work in any piece of fiction is done by the reader. The writer’s job is to guide the reader into imagining something that the writer has in mind. And the fact is you’re always going to fail to a certain extent. Your reader is never going to imagine your world exactly the way that you do.

But you have to do a kind of Jiu-Jitsu of using what’s in the writer’s, what’s in the reader’s head in order to create a shared vision of an entertaining story. And so when I write the future, I’m really writing about the present. I’m writing about the things that I care about. I’m writing about the things that I’m scared about, I’m writing about the things that I’m interested in.

A lot of my space-based science fiction comes out of the science that I write about. Gosh, wouldn’t it be cool to actually be able to bounce on the moon? Wouldn’t it be cool to, to pick up, a piece, a piece of, of, ice from the surface of Iist In your hand, wouldn’t it be cool to meet aliens?

And so these are all things that setting the story in the future provides a vehicle through which I can portray these things that I’m interested in because I’m interested in science. 

BETH BARANY: Oh, I love that. Thank you. 

[15:12] Closing And Where To Find 

Well, David, I’m gonna end our podcast here. Thank you so much for being a guest. 

Everyone, check out David’s work at daviddlevine.com. 

DAVID D. LEVINE: It’s been a pleasure. 

BETH BARANY: All right, that’s it everyone for this week. Write long and prosper. 

Loved this episode? Leave us a review and rating here: 

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

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ABOUT BETH BARANY

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT 

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

IG: https://www.instagram.com/bethbarany/

TT: https://www.tiktok.com/@bethbarany/

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X: https://twitter.com/BethBarany

CREDITS 

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

The post Read, Write, Repeat with David D. Levine appeared first on Writer's Fun Zone.

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Writing the first draft of your book can be a daunting task, especially if you are a perfectionist.

The path from “blank page” to “finished manuscript” is long and winding and full of perils — the haunting presence of impostor syndrome, the siren song of endless scrolling on your phone, the screech and roar of your inner critic.

One of the biggest roadblocks to finishing the first draft of a book is the monster I like to call “creative shame.”

What is Creative Shame?

Creative shame is any “should” we carry about our writing and our writing practices (“I should be further along,” “I should be more disciplined,” “I should write every day.” You know the drill, I’m sure).

Any harshly self-critical narrative we bring to our writing practice that has a tendency to keep us from writing can generate creative shame.

We pick up creative shame as we travel along our writing path, and it is sticky.

Here are some ways creative shame frequently shows up for writers, novice and expert alike.

• A bad experience with an English teacher, editor, or critique partner — that nasty comment on a piece of writing that we still carry around and that pops up each time we approach our current manuscript.
• Unkind internal narratives about things like “discipline,” “talent,” and “motivation” — all the ways we compare ourselves to an imaginary ideal writer and find ourselves lacking.
• Negative, absolutist self-talk about our writing skill and practice — the ways we “always” mess up or “never” get it right.
• A fear of sharing our work with others, rooted in the belief that the draft is never quite “good enough.” Maybe one more revision, and then I’ll let someone read it… 
• Intense perfectionism that invites us to do things like critique and edit our drafts while we’re writing them, jolting us out of creative flow and into insecurity.

Creative shame, put simply, sucks.

It’s painful to experience and it keeps us stewing in old wounds and fears rather than striding boldly forward with the stories we are meant to share with readers.

Experiencing creative shame can keep us from ever starting the first draft of the book we desperately want to write — or talk us into abandoning that draft partway through (this is the origin of “shiny object syndrome,” where a new idea pops up it’s so tempting to let it take the place of whatever you’re currently working on).

Getting trapped in a creative shame spiral can also keep us from sharing the work we do manage to finish, because we believe it will never be good enough.

Or, if we muster up the courage to send something out, we end up feeling like critiques and rejections are personal attacks.

We get defensive instead of approaching feedback like an opportunity to grow.

Perhaps the most important thing to know about creative shame is that it does not work for creating positive behavioral change in our writing practices.

I have coached many writers who, speaking from a place of shame, have been trying to brute force a better writing practice based on every “should” they can think of and can’t understand why it isn’t helping.

The problem is that shame doesn’t result in positive change.

Creative shame keeps us small and tells us we don’t deserve joy in our writing practices until we accomplish some out-of-reach goal or adopt an impossible habit.

A path to sustainable, enjoyable writing that is not!

Shame also convinces us to isolate ourselves.

It can be hard to acknowledge how bad a shame-driven writing practice feels, or admit to the nasty things we say to ourselves each time we sit down to try to write.

The more isolated we get, the less access we have to the support and resources we need to promote our creativity and grow our skills.

The shame spiral gets deeper and harder to escape.

Yuck, right?

So, what can we do about it?

How do we beat the monster of creative shame and rebuild a healthy, sustainable writing practice?

Overcoming Creative Shame

Creative shame withers in the bright light of critical appraisal and supportive rituals.

Here are two activities you can use to start recognizing and combating creative shame so that you can return to your writing practice with confidence.

Critical Appraisal: The Shame Detective

Creative shame likes to be the loudest voice in the room.

It wants to dominate the conversation and keep you in place — and it absolutely does not want you to ask any critical questions about what it’s telling you.

Enter the Shame Detective.

Pick your favorite detective from literature — maybe the Honorable Miss Phryne Fisher, Sherlock Holmes, or Encyclopedia Brown — and break out your magnifying glass.

It’s time to turn the tables on your creative shame.

When you notice that you’re caught in a shame spiral, start by asking yourself two questions:

1. What evidence do I have for this belief?
2. What evidence do I have against this belief?

The first question gives you a chance to assess what truth might be tucked away in the narrative creative shame is trying to spin.

What helpful nugget can you glean from that story? 

Where has shame taken over something true or useful that you can work with, rather than beat yourself up about?

The second question puts all your detective skills to work and asks you to look for evidence and other clues about what’s going on beneath the surface.

Odds are really high that you are not the abject, miserable failure your creative shame wants you to think you are — and mustering the evidence can help you interrupt that shame and tell a stronger, truer story about your writing practice.

Gather the hard facts.

Then, follow up this exercise with a final question: How can I practice self-care and tell a more complete story?

Self-care is a critical component of defeating creative shame, because shame tells us we don’t deserve nice things — and facing our shame head-on can be difficult!

What restorative practice can you engage in to refill your cup?

Finally, telling a more complete story is the counter-narrative to creative shame’s bullying.

Remind yourself of the truth and pull out your factual evidence: your shame isn’t telling the whole story.

Over time, creative shame will start to give way to reality.

Supportive Ritual: Shame Release Activity

As you continue to claim the role of Shame Detective, you’ll reach a point where you’re ready to let go of some old shame-based story.

Maybe there’s an old wound that you realize has healed, or an internal narrative you’re ready to stop repeating.

Creating a symbolic gesture of release can help you banish old ghosts and welcome fresh new energy into your writing mindset and practice.

Plus, customizing your own ritual is a lot of fun!

Here’s how it can work:

• Choose an aspect of creative shame that you feel ready to release
• Write it down on a piece of paper
• Symbolically destroy the shame in whatever way feels right to you. You could scribble, paint, or collage over top of it. You might tear the paper into tiny pieces and bury them at the bottom of the trash. You could even burn the paper (while practicing appropriate fire safety!).
• On another piece of paper, replace that story of shame with a neutral observation or positive affirmation, depending on what feels true for your journey right now.
• Keep that paper with your writing supplies or hang it somewhere you’ll see it regularly.
• Repeat as needed.

Ongoing Combat with Creative Shame

Becoming the Shame Detective and practicing rituals of release are two great tools for dealing with creative shame.

However, it’s a tenacious monster, and it will find a way to slink back into your writing practice now and again.

One of the most powerful ways you can continue to defeat creative shame is by finding a community of fellow writers.

Connecting with other people on the same path can serve as a useful reminder that you are not alone in facing a mindset challenge like creative shame — and community is a powerful antidote to shame-driven isolation.

Joining (or starting!) a writing group at your local library is an excellent strategy for making in-person connections.

You could also join a virtual writing group, sign up for a writing class, or hire a book coach to connect with mentors and peers who can help you on your journey.

Creative shame does not get to defeat you!

With some handy tools in your pocket and friends by your side, you’ll find the path back to a writing practice that feels magical and enjoyable once more.

***

About the Author

Dr. Bailey Lang is the Literary Witch, a book coach who helps visionary authors reclaim their creative magic and finish their books.

Bailey has a PhD in rhetoric and writing studies and they love geeking out about writing, language, and magic.

You can sign up for Bailey’s free newsletter, Ink + Alchemy, for monthly missives that will help you build a writing practice you love.

Website

Newsletter

The post Overcoming Creative Shame and Finishing Your First Draft by Bailey Lang appeared first on Writer's Fun Zone.

5 Upcoming Inspiring Interviews – How To Write the Future podcast, episode 201

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“Oh my goodness. Sue has so much to say about research and how to use research strategically about finding conflicts and problems and learning as much as you need to know to be able to move forward. So be sure to listen to our conversation. It was really fun talking with her. I so admire her.” – Beth Barany

In this How To Write the Future podcast episode, “5 Upcoming Inspiring Interviews“ host Beth Barany shares with listeners upcoming interviews for the podcast including with a fellow science fiction and fantasy author, hip hop organizer, novelist and Masters student, award-winning science fiction novelist, creative nonfiction author, and a long-time publishing professional. You’re also invited to be interviewed on the podcast which Beth explains how to do.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES

JOIN: For fiction writers! You’ve finished your first draft! Congrats! Now what?

Join the Future-Ready Writer membership and get premium weekly lessons and a monthly Q&A on Zoom. Subscribe: https://www.buzzsprout.com/2012061/subscribe

FREE: Sign up here to get your World Building Workbook for Fiction Writers

Overwhelmed by world-building for your sci-fi/fantasy novel? Use these prompts to brainstorm your story’s world: https://writersfunzone.com/blog/world-building-resources/

SHOP**: Sci‑Fi & Fantasy 24 Writing Prompts:** https://ko-fi.com/s/4ac9160a74

Want to be interviewed on the podcast? => Email us!

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Sign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.

https://bethbarany.com/apprenticeship/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET SOME FREE WRITING COACHING LIVE ON THE PODCAST

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 201 – 5 Guests, 5 Big Ideas

200 Episodes Milestone

BETH BARANY: I have just passed my 200th episode. Huzzah. We are now in a new phase. 

And with that in mind, I’m gonna share with you some upcoming interviews that are coming real soon here in How to Write the Future. 

So be sure to look for those. I’m gonna summarize them here for you so you have something to look forward to.

[00:27] David D. Levine Chat 

So I did an interview with David D. Levine, a science fiction and fantasy author. And we talked about the interesting blend of tech and imagination. We offered some tips for aspiring writers. We talked a lot about genre bending and the role of history in fiction, which I thought was really interesting.

[00:48] Alex Kingsley Multiform Storytelling 

Next up, I spoke with Alex Kingsley. 

Alex Kingsley is a science fiction writer and Master’s student in Chicago and works across multiple mediums, which I thought was really fun. I love this. So Alex works with novels, short stories, playwriting, standup comedy, improv, tabletop game design and is working on academic criticism.

So all of that fascinating. We talked about the power of imagination, the influence of these diverse mediums, and I loved Alex’s take on the future of storytelling. So stay tuned for that.

[01:29] Sue Burke Research And Worlds 

Next I’m going to showcase Sue Burke. Sue Burke is an award-winning science fiction author with a background in journalism. 

So we talked about how her journalism background influenced her sci-fi storytelling. She’s an award-winning novelist. She has a book called Semiosis, which talks about intelligent plants. So interesting. So we talked about crafting futuristic worlds as well as research.

Oh my goodness. Sue has so much to say about research and how to use research strategically about finding conflicts and problems and learning as much as you need to know to be able to move forward. So be sure to listen to our conversation. It was really fun talking with her. I so admire her.

[02:15] Khafre Jay Hip Hop And Gentrification 

Then I spoke with Khafre Jay, who is here in the San Francisco Bay Area as a local San Francisco Bay Area hip hop organizer.

And I actually met him on the street while he was bringing people into his organization, getting supporters. Oh my goodness. He really knows how to talk to people. And he comes into all the different neighborhoods that are very different from the one he grew up in San Francisco.

He talks about hip hop culture amid gentrification. So he’s not afraid to come into neighborhoods that have been gentrified and say, Hey, my black culture is being erased and in San Francisco and in the Bay Area. 

And he does it with humor and heart and he talks about how hip hop is a full culture beyond rap, and we talked about his weekly rap contests that are live in a wonderful community space here in Berkeley, just the neighboring town over. We talked about DJs and graffiti artists and break dancing as well as the power of art to uplift and the community actions that he is supporting.

Really interesting. And I’m doing all I can to lift his voice up and showcase what he’s doing. 

[03:26] Publishing and AI With Julie Trelstad 

And then, I spoke with a publishing professional, Julie Trelstad. And here we talked about AI and publishing and how authors can protect and promote their work in the digital age, including AI content licensing, as well as thinking about metadata for our books in the age of AI.

And we had a wide ranging, fascinating conversation. Learned some really key things that are coming down the pike. So be sure to stay tuned for that if you want to know what’s going on in the world of publishing and AI and things to watch out for. 

[04:03] Next Up Brownwell Landrum Magic 

And lastly, I spoke with Brownell Landrum about the art of cosmic wishing storytelling and how we can create futures through fiction. We talked about her epic trilogies, the science of wishing and her unique journey of bridging science fiction and real world science.

So stay tuned for that episode coming up soon. 

So those are some of my upcoming interviews that I’ll be sharing here on How To Write The Future. 

[04:36] How To Be A Guest on How To Write The Future 

I also want to talk to you about what do you do if you wanna be a guest on How To Write The Future. I’ve interviewed dozens of people. Dozens and dozens.

I, I should add it up, at least I had say 30 or 40 people over the last four years, for How To Write The Future podcast. And I am picky as we all are. So let me call up the press kit.

If you go to BethBarany.com / podcast presskit, you’ll be able to see everything you need to know about the podcast.

So number one, if you wanna be a guest on the podcast, you need to listen to the podcast. Make sure it is a good fit for you.You’re a good fit for our podcast if you are speaking to science fiction and fantasy writers.

Also, if you have something to offer tips for write for science fiction and fantasy writers. And if you are a science fiction and fantasy writer yourself, come with a little bit about your book, but also anything that’s helpful to other writers. If you are doing something else in the realm of supporting authors, like a publishing consultant or do something with the visuals for books, illustrations, or book covers, again, come with something interesting about what you do as well as be able to talk about what you do, but also make it relevant to science fiction and fantasy authors. 

[05:57] Topics And Audience 

So if you wanna dig a little deeper, I cover topics like world building, craft mindset. The new technologies.

I also love to talk to futurists and foresight practitioners. People who are studying about future trends and how to handle things that are difficult to predict about how to handle. Also, I like talking to thought leaders, and by that people who care about the benefit of all and care about how we can make the world a better place.

And you like what I’m doing, you think it would be a good conversation and you think it would benefit writers.

I very much care about benefit about benefiting writers and benefiting creatives, and I also care about coming at it with a hopeful approach.

Alright. 

I also know that some of my listeners aren’t authors or writers, but they care about the future and they, they care about new ideas and they care about stories, and they care about the imagination and creativity. So those, you need to be able to speak to that audience as well.

[06:56] Press Kit And Wrap Up 

So be sure to check out the How To Write The Future press kit. It’s Beth Barany dot com slash podcast press kit and you’ll be able to take a look at that and I’ll be sure to put that link in the show notes. 

[07:09] Final Sign Off 

Be sure to stay tuned for these upcoming interviews. And if you would like to be a guest on How To Write The Future, be sure to query me appropriately telling me how you would be a good fit for this podcast.

Alright, that’s it for this week, everyone. Write long and prosper. ​ 

Loved this episode? Leave us a review and rating here: 

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

***

ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

IG: https://www.instagram.com/bethbarany/

TT: https://www.tiktok.com/@bethbarany/

FB: https://www.facebook.com/bethbarany

X: https://twitter.com/BethBarany

CREDITS

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

Like the work we do? Tip us! https://ko-fi.com/bethbarany 

The post 5 Upcoming Inspiring Interviews appeared first on Writer's Fun Zone.

***

Recently I had the pleasure of sitting down with Khafre Jay, an artist, educator, and community builder whose work keeps circling back to one core idea: creativity isn’t fluff. It’s a tool for survival, agency, and real-world change.

We covered a lot in 34 minutes (including music, business models, community spaces, and the messy realities of making culture sustainable). (I’ll be sharing another conversation we had back in February soon on the How To Write The Future podcast.)

What I want to share here — especially for my fellow creative writers — is what Khafre kept returning to: make what fits you, make it specific, and make it useful.

Who Khafre Jay is (and why writers should pay attention)

Khafre doesn’t talk about creativity as a vague “follow your dreams” slogan. He talks about it like a strategist.

At one point he described a workshop he created for college students who don’t see themselves reflected in the traditional pipeline:

“It basically centers on taking your identity, your culture, something that you’re passionate about, and trying to imagine that as a job, as a business, as a company… What would that look like…?”

Even if you’re not trying to build a nonprofit or run community programs, that mindset is gold for writers.

Because the same question applies to us:

• What do you care about enough to keep returning to it?
• What do you already do naturally (even when you’re tired)?
• How do you shape that into stories, offers, teaching, or services that actually fit your life?

Khafre’s advice for creatives: start with what you love

When I asked what he would say to a working novelist trying to translate skills into service, Khafre went straight to energy and alignment:

“First off, what skill are you the most excited about? What skill do you love the most? It has to be self-fulfilling.”

Then he added a twist I appreciate because it’s honest:

“I really disagree highly with [‘Do something you love and you’ll never work a day in your life.’]… I think if you find something you love, [you’ll] work your fingers to the bone if you’re not careful.”

That’s real. Loving something doesn’t magically remove effort. But it does change the emotional math—especially over the long haul.

For writers, this can be a relief. It means you don’t need permission to lean into what you genuinely love (themes, settings, obsessions, questions, subgenres). You can treat that love as data. A compass.

A practical framework writers can borrow

Khafre offered a concrete way to narrow the field when you have many interests:

“Pick the top five things that you like to do and imagine which one you think will be the easiest… take the least amount of input, effort, [and] will be the most rewarding… And do that one first… because really it’s just order of operations.”

Writers often get stuck because we have too many valid paths:

• Which book next?
• Which marketing strategy?
• Which platform?
• Should I teach? freelance? self-publish? query?

This “top five + easiest-rewarding-first” approach isn’t about shrinking your ambition. It’s about reducing friction so you can keep moving.

Niche isn’t a cage. It’s a power move.

Khafre’s examples were vivid (and delightfully weird in the best way). He talked about taking a passion and letting it shape both business and art:

“Some people think of just painting and how do I get out there… Some people think, ‘Hey, I’m going to make my own gallery.’ … It becomes fulfilling.”

And then he brought it directly into storytelling:

“If they like pottery, write a mystery novel about pottery… there’s shards of pottery with little cuneiform codes on it…”

Later he doubled down on the same idea with another example:

“If you’re a novelist and you like knitting… make a crime novel that has to do with yarn… Make a sci-fi space knitting…”

I’m sharing these not because you need to write “space knitting” (though honestly, if you do, please send me the link). I’m sharing them because Khafre’s point is bigger:

• Your specific interests are not distractions.
• They can be the very thing that differentiates your work.
• They can create a demand you didn’t realize existed.

Creativity as resilience (and why it matters right now)

Early in our conversation, Khafre said something that stuck with me:

“Creativity is the only thing that is going to get our minds out of this kind of sleepiness.”

If you’ve been writing (or trying to) in the middle of anxious times, you know what I mean. Sitting down to write can feel like an act of reclaiming.

Creativity doesn’t ignore reality. It gives us language, shape, and meaning-making. And for many of us, it’s one of the few places we can still choose our attention.

One more craft gem: voice through embodiment and repetition

As a writer and teacher, I’m always listening for process details—the “how do you actually do it?” part.

Khafre described a method he uses to write raps while driving: no paper, building line by line, repeating until it locks in. What struck me wasn’t just the memorization—it was how embodied it is. Rhythm, tone, melody, syllables. He said:

“You’re not just writing the words, you’re writing the tones… the syncopation.”

Writers can borrow this by experimenting with:

• Reading scenes out loud (yes, really)
• Repeating a paragraph until the cadence is right
• Letting voice emerge through sound, not just meaning

What I’m taking with me (and what I hope you take too)

Khafre’s overall message to writers is beautifully simple:

“I don’t think anything’s too crazy. [I] just think that we’re crazy to try things that don’t fit us perfectly. It’s a waste of time.”

So here’s your Writer’s Fun Zone invitation, straight from that spirit:

• Name what you love.
• Make your weirdness specific.
• Choose the next step with the best effort-to-reward ratio.
• Build stories (and a creative life) that actually fit you.

That’s not just craft advice. It’s creative strategy.

About Khafre Jay

Khafre Jay is a Bay Area hip-hop educator, organizer, and public health advocate who builds welcoming cultural spaces where people can get on the mic, be heard, and grow.

His work centers on turning creativity into a practical strategy for survival, community care, and leadership, especially for Black youth and other students who’ve been told they don’t “fit” inside traditional systems.

Khafre brings a deep love of rap craft (voice, rhythm, memory, performance) alongside a fierce commitment to making spaces that are rooted in peace, love, unity, and accountability — spaces where people can start, experiment, and get better without being shamed.

Khafre is focused on creating and sustaining Flow Lab: free, consistent, community-based open mic and rap-writing spaces that keep hip-hop culture alive and accessible, and that help artists build real momentum — and real income — over time.

He also hosts a Sunday radio show on KPOO (12-3pm PT) highlighting local Bay Area hip-hop artists, and partners with community organizations to bring hip-hop into public health and family-support spaces.

All the details about his hip-hop events at HipHopForTheFuture.com.

How to support Hip Hop for the Future: (Yes, I am a supporter.)

Hip Hop for the Future Events

FloLab (weekly in Berkeley)

FloLab is a weekly rap-writing contest and open mic cypher focused on building skills, courage, and community. The night begins with an open mic to warm up and encourage people to step up, and then moves into the contest — artists perform what they wrote to the beats and the crowd chooses who advances. The winner takes home a $300 cash prize. Flow Lab is designed to push back on the misconception that rap spaces are automatically harsh or humiliating; the vibe is rooted in support, growth, and cultural respect.

SF Pregnancy Village (monthly in San Francisco)

Khafre Jay partners with SF Pregnancy Village, a community event held on the second Saturday at the Bayview YMCA (Hunters Point, San Francisco). It’s a space for connection, community support, and collaboration with local organizations (including partners like Rafiki Coalition.)

Sunday radio show on KPOO (San Francisco)

Khafre hosts a Sunday hip-hop show on KPOO 89.5 FM (streaming online), featuring three hours of local Bay Area hip-hop artists. It’s a platform for community voices and a way to stay connected to what’s happening right now in the Bay’s music culture.

***

Article by Beth Barany (award-winning science fiction and fantasy novelist, creative entrepreneur, writing coach, creativity coach, writing teacher, and bookish business strategist)

*Note: This post was created with the assistance of Notion’s AI and Canva.

• Get Your Edit Your Novel checklist to go from “What do I do now that my manuscript is done?” to being proud to holding your published novel in your hands! Congrats!
• Take the Creative Business Style Quiz if you’re thinking about starting a bookish business.

The post Creativity as Strategy: Lessons from Khafre Jay appeared first on Writer's Fun Zone.

Uncertain Times: Five Creative Superpowers – How To Write the Future podcast, episode 200

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“What is creativity? Here’s the short of it. For me, creativity is about combining disparate elements, elements we might not even think of putting together. For us, for us as science fiction and fantasy writers, what might this look like? Well, this will be a fusion of tropes and genres and settings and your own personal spin.” – Beth Barany

In the latest How To Write the Future podcast episode titled “Uncertain Times: Five Creative Superpowers” host, Beth Barany shares what creativity means to her and what the five “superpowers” are that writers can use to enhance their writing.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

***

RESOURCES

JOIN: For fiction writers! You’ve finished your first draft! Congrats! Now what?

Join the Future-Ready Writer membership and get premium weekly lessons and a monthly Q&A on Zoom. Subscribe: https://www.buzzsprout.com/2012061/subscribe

FREE: Sign up here to get your World Building Workbook for Fiction Writers

Overwhelmed by world-building for your sci-fi/fantasy novel? Use these prompts to brainstorm your story’s world: https://writersfunzone.com/blog/world-building-resources/

SHOP**: Sci‑Fi & Fantasy 24 Writing Prompts:** https://ko-fi.com/s/4ac9160a74

Want to be interviewed on the podcast? => Email us!

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Sign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.

https://bethbarany.com/apprenticeship/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET SOME FREE WRITING COACHING LIVE ON THE PODCAST

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 200 – Uncertainty: Five Creative Superpowers

Uncertainty and Opportunity 

BETH BARANY: We are living in a deep age of uncertainty. Societal, economic, political. All the rules of the road are shifting fast and have been shifting fast for a while. And it’s all, it’s clear to everyone that we are in a age of uncertainty. 

Here’s the good news. I think that creative people, especially fiction writers, we can bring our creative skill sets into real life for decision making in this time of uncertainty.

And of course, we can really lean into those skills for our writing. 

[00:37] What Creativity Means 

First off, I wanna talk about what is creativity and also welcome you. Welcome to How to Write the Future Podcast. I’m Beth Barany, your host, award-winning science fiction and fantasy writer, podcaster, filmmaker, and writing teacher and creativity trainer.

So what is creativity? Here’s the short of it. For me, creativity is about combining disparate elements. Elements we might not even think of putting together. For us as science fiction and fantasy writers, what might this look like? This will be a fusion of tropes and genres and settings and your own personal spin.

For example, I’ve been writing science fiction mysteries where I’m blending detective tropes using cultural and sociocultural, anthropological look at different groups, and of course, themes of justice. Or I know a writer who’s taking fairytales and using those as inspiration into writing modern day novels with thriller elements.

Those are just a few examples.

Now, today I wanna talk about what are our superpowers or skills that we can use to enhance in our own writing, but also transfer into our daily lives if we want to, to help us handle this age of uncertainty. And today I’m gonna talk about five skills or superpowers.

Five. ’cause we like five. Five is a, five’s a good number. 

[01:59] Skill One: Flow State 

Number one. Core creative skill number one is our ability to flow or to channel. No matter the stage you’re in, whether you’re drafting, editing, or planning your story, there is an element of listening. Listening to something we don’t even know what, and then capturing that on the page. That listening, that being in the flow, being connected to the ideas and putting them on the page, that is an amazing skill.

So how can you use that in your daily life to make decisions? Are you listening to what is coming in? Just like the way you listen when you are writing your stories.

[02:38] Skill Two Many Options 

Core creative skill number two. This is about knowing how to generate lots of possibilities and then choosing the one we’re gonna use. And this shows up at any stage of the creative process, whether you are designing your story, planning it, plotting it, you are choosing amongst many ideas and you’re putting that down. Whether it’s editing, picking the best word, or maybe changing a scene a little bit and deciding what your characters are gonna say, or maybe even changing the motivation for your character, or maybe even changing the setting or adding more details or changing the telling detail.

We are making a choice at every moment when we’re creating stories. This is an amazing muscle that we have built, maybe without even realizing it. And then when you are choosing this word or that, this plot point or that plot point, this story structure or that story structure. Where to end a scene, where to start a scene. What lets you know that you are making the right decision?

[03:37] Somatic Compass and Titles 

I have a personal somatic compass. Somatic meaning the body. I feel it in my body a certain way, a certain zing, a certain kind of energy that goes through me. Or sometimes it’s a relaxation, a way I take a deep breath when I’ve settled on an idea that just feels right. So what is your somatic compass? How do you know that your decision, out of all the possibilities, feels right?

And here’s a, an example that actually happened to me for one of my books in my Janey McCallister mystery series Book two. It’s called Lured by Light, but it took over 60 brainstorming options with my book concept designer to figure out which was the best one. 

We had some parameters. It needed to have a color. It needed to be two or three words. It needed to feel in alignment with the other three titles that had already been chosen. And we both needed to be excited about it. And Ezra, my husband, was there and he was listening to us as we were brainstorming, and he was responding also to all these titles that we were coming up with. And he too had a really positive response to the one we finally landed on, which is Lured By Light because picking a title, it’s a marketing tool. It needs to convey emotion, it needs to have intrigue, and it needs to feel in alignment with your genre. This was a process. It took us maybe an hour, I don’t even remember.

This was an example of generating lots of ideas and then choosing and using our bodies, and not just mine, but my cover design concept artist and my husband, who’s also a writer together, we are figuring this out. Titles are really a group exercise because it’s for the reader. It’s for many readers.

All right, so that’s core creative skill number two. Being able to generate a lot of possibilities and then choosing which is the best one. 

As I said, core creative skill number one is about flow channeling, really listening to the idea and then capturing it.

[05:36] Skill Three: What If 

So let’s move on to core creative skill number three. This is your ability to say what if. Writers, we are using what if all the time to build our story ideas, to build our scenarios. I don’t know about you, but I come up with lots of what ifs before I land on a story idea that I really love. One of my stories was inspired by two different images on the wall.

One was an image of a street scene of Paris, and one was an image of a dragon, a beautiful drawing, like out of a fantasy novel. So I asked myself, what if there was a dragon in Paris? And that was one of my stories. And I knew immediately it would be perfect for the series that I was writing at the time, which was paranormal and set in different parts of France.

Now, how does this apply to you in the real world? In, in the real world. IRL, in your walking around world, when you’re not writing?

You could even use it to help yourself come up with different ideas to challenges that you’ve never seen before.

Because yeah, with all this uncertainty, that means we’re gonna be presented with scenarios we have never seen before.

So we could ask ourselves, well, what if I did this instead of that? Or, what if this could happen? Or what if that could happen in the different areas of our life, be it about work or money or lifestyle or relationships.

So remember your what if tool as a story writer and practice it in your daily life. 

[07:00] Skill Four Commit Anyway 

Here is the fourth core creative skill. And this is about commitment, despite incomplete information. When we’re writing a story, whether you’re planning it, writing it, or editing it, I don’t know about you, but it always feels like I could be making it better.

Or if I just did a little bit more research, it would be whizzbang way more interesting. But at some point I have to stop and I have to let the story go. So I just trust in myself and I am committed to the process. And I know that even though I don’t know everything, the story is doing its job. I know enough. I don’t know if you would consider this a superpower, but I do because when we show up to write every day and work on our stories or on a regular basis, however you show up, we are operating off of incomplete information. And yet we are still committed to writing our stories.

How does this apply to you in daily life?

There’s a lot of times we are faced with decisions, needing to make a decision, and we don’t have all the information, but we need to commit and make a choice and move on.

So think about how you already are committed to your creative work and how that kind of commitment and trust in going forward and taking step after step can show up in your daily life.

[08:16] Skill Five: Evoke Empathy 

And lastly, number five. Our core creative skill number five is about evoking emotion. Novelists, our job in fiction is to evoke emotion. And by the way, all art, I believe that’s their job, is to evoke emotion. Well, when we evoke emotion in our audience, that emotion leads to empathy because our job is to help our readers step into another person’s life and experience it through their eyes. And have an emotional roller coaster and do it in a way that feels seamless and organic and really earned. And it’s very powerful when done well.

So I believe that us as creative writers, writing science fiction and fantasy and all genres, actually, our job is to really enhance human’s ability to feel for other kinds of people who are different than them. And when we write in a different point of view from our own, we also build empathy in our own, in ourself, and we expand what is possible for ourselves.

So writing fiction really builds empathy for the reader and for the writer. Now there’s a lot of things we can do with this skillset. We can put complicated ideas into our stories and let the readers feel and learn about the different angles and come to their own choice. We can show compassion for people and times that aren’t, maybe in the mainstream or even aren’t considered normalized in today’s culture, and we can expand people’s hearts through our art. 

[09:50] Five Skills Recap 

So those are my five skills or super powers. These five core creative skills. 

Number one, this ability to flow, listen to our creative idea and write it down. 

Number two is to generate lots and lots of possibilities, and then choose the one that feels right using your somatic compass, your body.

Number three is using the What If scenario building of course in our stories, but also in our real life to open up the possibilities, give us more choices. 

Number four is about commitment, follow through. The step-by-step work we do to write, especially write long form, write novels and still trust that this is turning into something.

And number five is really this, writing, building empathy. We are building empathy through our stories for ourselves and for others.

All right, those are my five points on your creative superpowers. 

[10:44] Final Encouragement 

In this age of uncertainty, I believe in you. The world needs your stories. All right. That’s it for this week, everyone.

Write long and prosper. 

Loved this episode? Leave us a review and rating here: 

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

***

ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

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CREDITS

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

Like the work we do? Tip us! https://ko-fi.com/bethbarany 

The post Uncertain Times: Five Creative Superpowers appeared first on Writer's Fun Zone.

***

Copyright Ownership When You Work Alone

Copyright ownership is easy when you work alone:

You’re the sole author, so you have 100% ownership of everything you create.

But what if you decide to collaborate with someone?

What if you hire a ghostwriter?

What if you contribute to a collection of works? 

Who owns the copyright then?

Co-Authoring and Joint Ownership

Let’s examine each of these scenarios to find out who owns the copyright:

If you want to create something with someone (e.g., co-author a book), you are considered joint owners.

Both of you share copyright ownership equally.

If there are more than two authors, everyone still has an equal share.

But an interesting point about co-ownership: 

You only need your co-author’s permission to grant an exclusive license to your work.

If you want to give a nonexclusive license (i.e., multiple people can have rights to the work), the permission of all authors is not required.

That said, you still must account to your co-authors for any money made from these nonexclusive licenses, and you should really think about how this will impact your relationship before you move on this.

Hiring Someone to Create Work (Work for Hire)

Hiring someone to make something for you is a different story.

This would fall under the “work for hire” doctrine, which states that the copyright belongs to the person who commissioned the work, not to the employee who actually performed it.

But if the person is not a literal employee, then there is a question of whether the work-for-hire doctrine applies.

To be safe, you should always have a written agreement stating who is the author and who owns the copyright (you’d think those are the same thing, but they’re actually not.)

Contributing to a Compilation

Contributing to a compilation (e.g., a collection of essays or short stories being published together) raises some questions.

Generally, you own the copyright to your contribution, and you’re granting a license to the editor or publisher, but there are some scenarios where this is considered work for hire.

When in doubt, look at the contract. (Hint: if you don’t see a formal contract, look at the terms for submission.)

Questions About Copyright Ownership

If you have questions about who owns the copyright after a collaboration, hire situation, or another scenario not mentioned here, feel free to contact me at kaway@kawaylaw.com.

***

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***

ABOUT THE AUTHOR

Kelley Way was born and raised in Walnut Creek, California. She graduated from UC Davis with a B.A. in English, followed by a Juris Doctorate. Kelley is a member of the California Bar, and an aspiring writer of young adult fantasy novels. More information at kawaylaw.com.

The post Who Owns the Copyright? What Happens When You Collaborate or Hire Out by Kelley Way appeared first on Writer's Fun Zone.

Use Divination Cards to Spark Stories – How To Write the Future podcast, episode 199

*****

“If you need help with ideas, if you want to play with randomness, to inspire you, to jumpstart your creativity, to come up with new ideas that you wouldn’t have ordinarily thought of.” – Beth Barany

In this How To Write the Future podcast episode, titled “Use Divination Cards to Spark Stories,” host Beth Barany shares her personal journey with Tarot, plus how you can use Tarot and the Mythulu Desk for your science fiction and fantasy stories. Discover practical tips for writers, including how to develop your characters using these decks.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES 

JOIN: For fiction writers! You’ve finished your first draft! Congrats! Now what?

Join the Future-Ready Writer membership and get premium weekly lessons and a monthly Q&A on Zoom. Subscribe: https://www.buzzsprout.com/2012061/subscribe

FREE: Sign up here to get your World Building Workbook for Fiction Writers

Overwhelmed by world-building for your sci-fi/fantasy novel? Use these prompts to brainstorm your story’s world: https://writersfunzone.com/blog/world-building-resources/

SHOP**: Sci‑Fi & Fantasy 24 Writing Prompts:** https://ko-fi.com/s/4ac9160a74

Want to be interviewed on the podcast? => Email us!

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Sign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.

https://bethbarany.com/apprenticeship/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET SOME FREE WRITING COACHING LIVE ON THE PODCAST

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 199 – Use Divination Cards to Spark Stories 

Introduction 

BETH BARANY: Hey, everyone. Beth Barany here with How to Write The Future podcast. I am a science fiction and fantasy writer, and at heart, I have always, always, always loved magic since I was a girl. And I wanted to be magic. I might’ve mentioned that in one of the previous podcasts. 

[00:19] The Intersection of Tarot and Writing 

And recently, a fellow writer asked me if I would talk about tarot or tarot and writing. And what’s so funny is I sat down to write a book about tarot and writing, gosh, 20 years ago. But instead, what came out of me, because I am so process-oriented, what came out of me was my book, The Writer’s Adventure Guide, which is basically the hero’s journey as applied to writing. 

[00:44] Personal Journey with Tarot 

It’s a self-coaching guide for writers. And even though I’ve been doing tarot since my early twenties, actually, no, I think I started when I was 19. And I was even a professional tarot reader for a moment in my thirties. I went off in this other direction as a writer, as a, as a writing teacher. I went towards structure. I went towards how to overcome writer’s block, and here we are. I now fast forward, you know, 20 plus years later, I’ve got this question about using tarot and writing. And for me, it was like the most obvious thing. Why do I need to talk about this? There are so many books out there.

There’s even wonderful, um, at least one resource that I know, written by someone on how to use tarot specifically for your writing. It’s awesome. I love it. There’s so many resources out there. 

[01:29] Using Tarot and Mythulu Deck for Writing 

I actually don’t use tarot much anymore for my writing. I use the Mythulu deck, but I used to use the Tarot deck, and I love the Crowley Thoth deck. That was my favorite Crowley designed by Lady Frieda Harris. And there’s so many decks out there, I have many decks here at home. 

So, how do you use tarot cards or the Mythulu deck or any divination card for your writing?

So I’m gonna give you some quick tips today and invite you to play with these tools if you need them. And maybe I should address why do people need them?

Well, you only need them if you are stuck. If you need help with ideas, if you wanna play with randomness, to inspire you, to jumpstart your creativity, to come up with new ideas that you wouldn’t have ordinarily thought of. 

That’s why I love the Mythulu deck so much, is because it isn’t based on any system like tarot is based on a, a very old system that has come down through the ages and has has offered many archetypes to us throughout the ages. 

And if you’re trying to write something new, then I really point you toward the Mythulu deck, because that is more random. It has all kinds of beautiful art on it, and it’s not based on an archetypal system, although it includes many archetypes in there. Uh, so the reason for choosing cards is when you are stuck. 

[02:56] Practical Tips for Writers

Uh, how do you use these decks? Any deck that you use, I highly recommend that you go to them with a question.

So you ask a question like: What could be this character’s motivation? What do they fear the most? What might happen next? What is the worst thing that could happen to them next? 

[03:16] Character Development with Cards 

I often use it to do deep dives into character. So I want to know what drives them and then what drives them below that, so I might start with one card and say, what drives them to behave like this? Or what is the reason they would say yes to this incident? Or what other way could it be?

Broad open-ended questions. So, I encourage you to play with these tools when you are stuck, and you could even do it in groups.

It’s fun to hear what other people think of those cards. 

Another way you can use cards, and this comes from traditional tarots where you have a standard layout. 

[03:52] Story Structure and Card Spreads 

And actually, I used cards like this years ago when I was learning story structure as I laid out, for example, five cards for the five parts of a story, like the Inciting Incident, the rising Action, the Crisis, the Climax, the Resolution. 

So that’s just five. That’s a five-point story structure inspired by Story Grid, Shawn Coyne’s book, Story Grid, that I use a lot to think about a scene and a story.

So that again is the inciting incident, uh, rising action, which is actually rising conflict, more things becoming difficult. That’s number two. 

Number three is the crisis, which is often the form of a question where the protagonist has to make a choice. This way or that way. They can’t have it both ways. They have to choose. 

And then the climax, which is the protagonist choosing, and then the resolution. How do they feel afterwards?

So you could pull a card for each one of these and see how they spark inside of you, the story that you have in mind. That’s one way to use it. 

[04:54] A Character’s Secrets, Role, Desire 

Another way to use it is character development. You could think about: What is my character’s outward role in the world? That’s one card.

The next card is: What is their secret face? The secret face they only show themself. 

What is a secret in their past? Put that on the left-hand side.

And then on the right: What is it they desire? 

So that’s a four-card spread, for example.

So if you would like more ideas on card spreads and how to use divination cards, let me know.

[05:24] Conclusion and Call to Action

This is just a short episode on using divination cards and writing, and writing your stories. I’m eager to hear from you.

If you would like any further resources, let me know.

That’s it for this week, everyone. Write long and prosper. 

Loved this episode? Leave us a review and rating here:

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

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CREDITS 

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

Like the work we do? Tip us! https://ko-fi.com/bethbarany 

The post Use Divination Cards to Spark Stories appeared first on Writer's Fun Zone.

***

“The primary benefit of practicing any art, whether well or badly, is that it enables one’s soul to grow.” — Kurt Vonnegut Jr., American author

Art Came Before Agriculture

On a recent trip to the Smithsonian in DC, I discovered this timeline —

100,000 years ago, modern humans made specific tools for fishing and capturing dangerous prey.

About 60,000 years later, humans created paintings and figurines; art.

After 30,000 years of decorating the cave, humans got around to domesticating plants and animals.

First, meat to give our growing brains more protein, next make art, and after that grow wheat to make crackers to serve at the next gallery/cave opening.

Cave art can be carbon-dated, but we can conjecture that even before cave art, 60,000 years ago, humans were decorating wood and cloth, singing, telling stories, creating and sharing dances, all of it necessary to build community, pass along traditions, and make sense of the world.

As humans, we want and need meaning so much that we make it ourselves.

We all are artists. 

And you share that impulse.

“But I’m Not Artistic…”

But you protest, I was an accountant!

My profession does not welcome creative interpretation. 

Until yesterday, I didn’t know what the A in STEAM stood for.

How can I change my life with art if I can’t do art?

Remember How You Played

Recall the spontaneous activities you did as a kid.

Did you play outside?

There is an entire generation that still remembers going outside to play.

And what did we play?

Mostly activities that risked mortal injury: cobbling together weapons from stones, branches, and string — concocting soup from dirt and leaves (and if you convinced your brother to drink the soup, you were management material).

We made things. 

We made up games.

Even children inclined to stay indoors (the next generation) invented or explored.

My children built a working trebuchet in the living room and leveraged that skill to build a giant slingshot to fly cans over the neighbor’s house to the street beyond.

Good times.

From Career Back to Play

After you’ve spent a successful marketing career convincing people to drink dirt soup, what is the second phase?

If your play became your career, walk it back from the career back to the play.

Reclaiming Your Creative Energy

We can resurrect an art from our past in a new way (like playing the ukulele instead of the guitar or piano).

Or we can go big and take all the energy and enthusiasm of our youth and reapply it.

Why not?

Answering the Call to Art

A good life goal is to wake to the call of your art.

You ignore the ache in your lower back, that funny clicking sound from your knees, and hobble to your work — your art.

Working towards a large purpose, the zone, flow, creates beauty.

Your face glows with creation.

All those minor irritations that drove former conversations?

Gone with every step you take towards creating something bigger than yourself.

When you are interested, the world responds by becoming more interesting.

Embrace Imperfect Beginnings

Embrace the fact that all first attempts will be bad.

You’ll throw out a lot of failed glass jewelry, or paintings, or shitty first drafts (thank you, Ann Lamott).

Tossing out all those first artistic attempts can be more difficult than it sounds.

Your instincts scream, don’t ruin a perfectly good canvas with your beginning paint splashes.

Don’t tarnish that beautiful notebook with a clunky poem.

You worry about “wasting” propane and electricity to create a sculpture that looks nothing like the vision in your head.

Yet, if you don’t use your materials, how will you justify their purchase?

How will you justify buying more?  

Start Small, Build the Habit

Take a deep breath, pick up the pen, and start.

Work for 15 minutes, or as long as it takes to finish that first cup of coffee.

Done.

You may now go on with your day.

Remember, you are building a habit, and you just accomplished that first step.

Review, Reflect, Repeat

Return to the studio (at first, the dining room table) the next day.

Review the work: Blue on the canvas?

A better word in the poem?

Start completely over?

All legitimate responses and all reasonable as you evaluate and learn.

Finding Value in “Failed” Work

After a week of learning, stop.

How wet is that canvas?

How many cross out words in the poem?

Is the golden-edged journal ruined?

Good.

Yet, maybe that first painting is not as hopeless as you thought.

What colors did you use?

Why?

Is there a movement or moment in the painting that absolutely sings but can’t come through because of its dysfunctional surroundings?

Did you write an awkward sonnet as an experiment?

Great!

Is there a line in that poem that stuns you with its truth to power?

Is there a repeatable metaphor?

Did you line up a single weld that will shape nicely into a stunning arch?

Save What Works

In the review of your “failed” art piece, remove the great line, the perfect swoosh, the newly invented color, and save them in an inspiration file or box.

What gave you joy? 

What have you discovered that is worth repeating?

The more comfortable you become with experiments and with making art that doesn’t work at all, the easier it will be to try new things.

Save the pieces you like for later inspiration.

As you progress and work, your own art will feed the generative process.

You will become your own inspiration.

You Are an Artist

The successful day is one where you worked on your art.

Or played in the studio.

Or connected the green dot to the yellow dot.

Say, today I am an artist because I’m holding a pen, brush, harp.

Making art makes you a member of the (somewhat dubious) artist club.

Enjoy.

Learn More

Learn more in my new book — Take Up Space — Art is Your Second Act.

www.catharine-bramkamp.com

***

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***

ABOUT THE AUTHOR

Catharine Bramkamp is a successful writing coach, Chief Storytelling Officer, former co-producer of Newbie Writers Podcast, and author of a dozen books including the Real Estate Diva Mysteries series, and The Future Girls series. She holds two degrees in English and is an adjunct university professor. After fracturing her wrist, she has figured out there is very little she is able to do with one hand tied behind her back. She delights in inspiring her readers.

The post But I’m Not Artistic by Catharine Bramkamp appeared first on Writer's Fun Zone.

***

As we wrap up this article series on the eight habits of mind writers can use to strengthen their creative practices, we’re going to focus on one of my favorite habits.

This habit acts like a golden thread that ties all the others together.

You can practice it on its own and pair it with the other mindset shifts we’ve explored to turbocharge their effectiveness.

The final habit on our list is metacognition.

What is Metacognition?

Many of the mental habits we’ve talked about are pretty obvious-sounding: creativity.

Curiosity.

Persistence.

All important tools to have in your writer’s toolbox!

Fewer people are familiar with the idea of metacognition.

It refers to the ability to think about your own thinking.

That might not clear things up all that much, but you might be surprised by how often you’re already practicing this skill!

Do you practice mindfulness meditation? 

Do you write Morning Pages?

Do you keep a journal?

Those are all forms of metacognition, because they allow you to reflect on what you think, how you think, and why you think that way.

The Framework for Success on which this article series is based further defines metacognition as a practice of reflecting on “the individual and cultural processes used to structure knowledge.”

This type of metacognition might look like gathering several books in your genre and analyzing them, or assessing your own writing practices — what works?

What doesn’t?

Metacognition enables us, as writers, to be intentional about our thoughts and actions.

It helps us recognize patterns, adjust our mindset, and improve our writing more quickly.

How Do Writers Practice Metacognition?

Working on metacognition is essential for writers.

As mentioned above, metacognition is something you can practice on its own or in conjunction with another one of the habits we’ve already talked about.

Keeping a daily journal or writing Morning Pages is a great way to start working on metacognition by itself.

Focus on writing about your thoughts.

What do you notice about how you think? 

What patterns show up after you’ve been tracking and reflecting on your thinking for a few days?

The more familiar you get with your thoughts, the quicker you will catch mindset gremlins like impostor syndrome, procrastination, and distraction.

You’ll start to recognize the thought patterns that derail your writing before the train is completely off the tracks, and take back the power to direct your thoughts where you’d like them to go (ideally, to your writing!).

Pairing metacognition with another habit of mind is a way to turbocharge both of them.

In the previous article in this series, we explored flexibility as a habit of mind.

Flexibility is about responding to changing circumstances, seeking alternate paths to your goals, and adjusting your perspective when you need to.

How do you know if you’re doing those things? 

Metacognition!

The next time a situation arises that requires some flexibility, you can also practice metacognition.

Notice what you’re thinking during that situation — are you feeling frustrated and reactive, or open and adaptable?

What thought patterns are keeping you stuck, and which mindset shifts help you move toward flexibility?

Metacognition combined with other habits of mind can help you build new mental skills and recognize the progress you’re making.

Metacognitive Activities for Writers

Cultivating your ability to think about your own thinking and to assess your writing practices can help you level up your skills and confidence.

The goal of metacognitive work isn’t to navel-gaze, but to get intentional about your thoughts.

A limited or self-defeating mindset won’t change unless you recognize what’s going on and take steps toward shifting it.

Metacognition is your power tool for making that change.

As you gain insights into your habitual ways of thinking, you can make conscious decisions about what you want to adjust and how you want to pair metacognition with the other habits of mind.

You can start simply. 

Reflection questions are a great way to prompt metacognition, especially as part of a journaling practice.

• What do I notice about my internal dialogue, especially when it comes to my writing?
• How do I think/talk to myself when I am facing a writing challenge?
• What influences my thinking?
• What choices am I making in my writing? Why?

Starting to practice metacognition will help you identify areas of your writing practice where you might want to focus on growth, self-kindness, and increased engagement.

The following activities address the different elements of metacognition.

The first focuses on assessing your own thinking and behaviors, and the second looks more closely at context and external influences.

Perform a Practice Analysis

A great metacognitive activity for writers is to analyze your writing practices.

Many of us build our writing practices by default — based on common pieces of writing advice we hear all the time (“write every day”) or the habits we built in school (waiting until there’s a deadline and then rushing to cram in all the writing at once).

We don’t often stop to audit our writing practices or think about how they could be improved.

Taking some time to do this analysis is a powerful metacognitive activity that can transform your approach to writing.

All it takes is time and a willingness to be honest with yourself.

Here are some questions you can ask as part of this analysis.

• What does your writing practice look like right now? How often are you writing? How much writing do you get done?
• How do you feel about your writing practice right now? What emotions come up when you think about sitting down to write?
• Why does your writing practice look this way? What past experiences or advice are you drawing on?
• Does your writing practice feel effective? Why or why not?
• What’s working really well? What is holding you back?
• How might you want to change your writing practice going forward?

Take some time to dig into what’s going on under the hood of your writing practice.

Bring your assumptions and unstated beliefs about writing to the surface and examine them in the clear light of day.

Which of those beliefs supports you?

Which ones come with baggage attached?

As you reflect on your writing practice, you can give yourself permission to imagine new ways of writing that best serve your creativity and your energy.

Become a Genre Detective

Another important aspect of metacognition is understanding how writing works in different contexts — what processes, outcomes, and expectations are attached to writing short stories vs. epic fantasy, or science fiction vs. scientific communication?

Reflecting on elements like genre conventions, common tropes, publishing trends, and audience expectations can help you make deliberate choices about your approach to writing and publishing.

Becoming a genre detective is one way to practice this form of metacognition, and it can be a lot of fun!

Here’s how it can work:

Go to your local library and check out three to five books in the genre you write most frequently. (If nothing else, this activity is a great excuse to visit your library!)

Read and analyze those books, focusing on elements like:

• Structure and format—what do they have in common? What do they do differently from one another?
• Genre conventions and tropes—what do you notice about themes, settings, characters, or approaches to writing? Who adheres to the conventions and who upends them? Why?
• Publishing trends—when were the books released? How are they similar to other books released around the same time? What changed over time? Think about elements like cover art, blurbs, topics, genres and subgenres.
• Audience expectations—were the books well-received by readers? What types of reviews did they get? What common themes do you notice in positive and negative reviews?

This type of metacognitive work is about deepening your understanding of the broader context you’re writing in and what makes writing successful or unsuccessful in your genre.

As you build your library of genre knowledge, you will also sharpen your ability to make decisions about your writing practice, how you want to improve your craft, and the publishing opportunities you pursue.

Metacognition is a powerful tool!

Reading Recommendations

• Creative Acts for Curious People (affiliate link)

• How to Think More and Better (affiliate link)

• Sit with Me: A No-BS Journey to Mindfulness and Meditation (affiliate link)

• Framework for Success in Postsecondary Writing

***

About the Author

Dr. Bailey Lang is a book coach, writer, and editor.

At The Writing Desk, she helps authors build sustainable, enjoyable writing practices that take their books from draft to done.

Bailey has a PhD in rhetoric and writing studies and loves geeking out about writing.

You can sign up for Bailey’s free newsletter, Word to the Wise, for more writing advice and regular author interviews.

Website

Newsletter

The post Habit of Mind: Metacognition by Bailey Lang appeared first on Writer's Fun Zone.

Beginning, Middle, End — And Mess – How To Write the future podcast, episode 198

***

“Life is messy. Life is unpredictable, and so is creating. Make room for that. Create compassion.” – Beth Barany

In this How To Write the Future podcast episode, titled “Beginning, Middle, End — And Mess” host Beth Barany shares why embracing the mess in creativity can have powerful results.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 198 – Beginning, Middle, End — And Mess

Introduction and Personal Anecdote 

BETH BARANY: Mr. Rogers changed his shoes. I changed my glasses. Hi everyone. 

[00:10] Understanding Story Structure

Today, I wanted to talk about how working on a book is not a one-size-fits-all operation. It’s highly tailored, highly customized to you, and that can look all kinds of ways. For me, I didn’t really understand what plot meant, but over the years, I’ve come to understand what people want it to mean.

But what I prefer is the word structure. 

To me, writing a novel is like building a house. There’s structure to it. There’s foundational work, there’s scaffolding work, there’s filling in the details. And then making sure it is a great experience for the people who are going to live in the house. 

For the people who are gonna read your book, you wanna make sure they have a wonderful experience.

Well, that comes toward the end with the massaging of the words, but also, you think about them at the very beginning. When you think about, well, what kind of story do people wanna have? Just like you think about what kind of house do you wanna live in or do you wanna create for someone else to live in?

So story is to me a very structural process, and if you don’t know story structure, then it can be very challenging to understand what is meant by beginning, middle, and end, which is the most basic structure. There are a lot of different kinds of stories in the world that we have read, seen, and heard all our life.

So I wanna say pay attention to story structure and pay attention to beginnings, middles, and ends of the kinds of stories that you like and the kinds of stories that you want to write. 

[01:46] Tailoring Your Writing Process 

I’m gonna give some examples, and, but first I also wanna talk about what are some of the other things that are tailored to you in this writing process. And then I also wanna talk about being messy. So when you write, what time of day you write is specific to you. There’s no one right way. Some people are morning writers, some people are nighttime writers. I, myself, am mostly an afternoon writer, early afternoon too, not too late.

I like to write just after lunch, ideally for fiction. I do other writings at other times of day. I tend not to do creative work after about three or four o’clock,

What’s important is that you honor when is your highest, creative time and you give that to yourself. 

[02:33] Embracing Messiness in Creativity

Lastly, I wanna talk about messiness. Here I was talking about structure, and now I’m gonna talk about messiness because part of being creative is trying new things, and that’s gonna look every which way. You will not know how something will come out. And that is beautiful. The mystery of being creative is multiple. We don’t know where ideas come from. We don’t really understand how we are this way. I mean, we could point to our training and our upbringing and and all that kind of thing, but we don’t really truly understand how it all works. 

Life is a mystery, and that is such a beautiful thing. So that means that your first drafts are gonna be messy. That is the nature of creation from a human standpoint. And even if you look at nature, of which we are a part, just like my cat, who, if you’re watching the video, you might see his tail pop up in the video.

We need to leave room for the mystery and for the mess. It’s only toward the ending parts of cleaning up a story that things in my stories start to look neat and nice and tidy and powerful and amazing. There’s a lot of mess in the creative process. 

Life is messy. Life is unpredictable, and so is creating. Make room for that. Create compassion. What I would love for you is to make friends with the messiness, make friends with the best time of day for you. 

[03:54] Conclusion and Final Thoughts

And when I work with clients in my one-on-one programs, they’re not specific programs. there’s not a map. I mean, there is a map to follow, but it’s very tailored to you, to the client.

So remember: story structure, messiness, compassion.

Alright, everyone, that’s it for this week. Write long and prosper. 

Loved this episode? Leave us a review and rating here:

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

***

ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

IG: https://www.instagram.com/bethbarany/

TT: https://www.tiktok.com/@bethbarany/

FB: https://www.facebook.com/bethbarany

X: https://twitter.com/BethBarany

CREDITS

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

Like the work we do? Tip us! https://ko-fi.com/bethbarany 

The post Beginning, Middle, End — And Mess appeared first on Writer's Fun Zone.

***

If you’d like to be considered for an interview, check out our guidelines here.

***

About Catharine Bramkamp

Catharine is a world traveler, poet, and belly dancer.

In her spare time, she serves as a writing coach and workshop facilitator.

She has authored 30 fiction, non-fiction, and poetry books.

She is busy exploring all kinds of art, including outlets in which she has no talent.

But it’s fun.

On to Our Interview!

Q. Tell us who you are and what inspires you to write

A. I’m Catharine Bramkamp, a lifelong writer.

What inspires me the most is listening to people talk about their frustrations with art or writing, and from there, I create books to help.

Q. How did you get to this place in your life? Share your story!

A. Like so many writers I worked real jobs all my life from fundraising to non-profit projects, to event planning.

I use those skills in my volunteer work, which is very satisfying, but now that I’m retired, I can devote much of my time to creating books and helping others create theirs.

Q. What are you most passionate about?

A. I am passionate about the arts, in a time when budgets are being cut, libraries are under threat, books being banned, it’s critical we pay attention and help support and spread the arts.

Think of reading, all alone, with no supporting electronics, it’s practically an act of rebellion, sometimes an act of courage.

Q. Can you tell us a little bit about your writing process, routine, and/or rituals around your writing?

A. I write best in the morning.

I work hard to protect that time, saving calls and committee work for the late afternoon (when there is compensating wine).

It’s hard to schedule the time to do your art.

In my book Take Up Space, I address that very challenge with ideas on how to protect your time as well as how to look busier.

One of the challenges with art and writing, is we spend a lot of time staring out the window.

Some people do not consider that work.

It’s work.

Q. What are a few challenges you faced in creating, marketing, or publishing your creative work? And your solutions to them.

A. AHHHHH Marketing and publishing is an artist’s least favorite activity.

We have little choice to market and get our books out into the world, but it can be a heavy lift.

Some solutions to that lift are:

Find outlets you can control — like scheduling a group of blogs on Substack, or scheduling on Instagram.

So you can batch your work and your output during a time when you aren’t concentrating on your work.

If you can afford a social media scheduling program like Missing Leter (the t is missing, get it?), that can help streamline that output.

I use Facebook and by default, Instagram.

And I’m on Substack — Art Expands the Universe, and I’m very grateful to both subscribers.

I do like in-person connections with potential readers: conferences, speaking engagements, and podcasts.

Do what you enjoy, and just leave the rest.

Q. What do you wish you had known before you started writing fiction?

A. Fiction is hard!

You must be very clear about your work, where you work is going, what your characters have to say.

One thing I learned is that when a strong character comes to me, I can write what she says, almost take dictation, and the story flows far better.

I am a character-driven writer, and knowing that makes the work so much easier.

Some writers need the plot all laid out; that works too.

Others just blurt out the whole book onto the page and fixes things later, that’s more my process as well.

Writing may not make you rich; in fact it probably won’t.

But aren’t you having fun doing it?

Q. What’s next for you in your creative work?

A. My next project is creating a long apocalyptic poem loosely based on the Odyssey.

It is one of those impossible, enormous projects that will likely outlive me.

And that is a glorious thought.

Our huge projects keep us up at night, color our dreams and lead us to all sorts of adventures as we pursue our art.

That is the win.

Q. Is there anything else you wished I’d asked? Please share!

A. Thank you for publishing my blogs every month.

It’s a pleasure and an honor to be featured in Writer’s Fun Zone!

Take Up Space: Art is Your Second Act by Catharine Bramkamp

A guide to living creatively, vibrantly, and unapologetically after fifty.

What if your best years — your most creative, passionate, fulfilling years —  are just beginning?

Inspired by Jenny Joseph’s iconic poem “When I Am an Old Woman I Shall Wear Purple,” Take Up Space invites you to turn joyful rebellion into lasting self-expression.

Whether you paint, dance, garden, write, or dress like the masterpiece you are, art can become your path to meaning, vitality, and connection.

This book is for anyone ready to:

• Reinvent life after 50 through creativity and self-expression.
• Stay mentally sharp, physically active, and joyfully engaged.
• Build community through shared artistic adventures.
• Turn small moments into daily acts of creation.

With warmth, humor, and practical guidance, author Catharine Bramkamp shows that making art — in any form — keeps you active, connected, and alive to life’s joys and possibilities.

It’s time to stop shrinking back and start showing up.

Pick up a brush, a pen, or your favorite red hat  — and take up space.

Connect with Catharine Bramkamp

Site Link www.catharine-Bramkamp.com

Facebook https://www.facebook.com/catharine.bramkamp

LinkedIn https://www.linkedin.com/in/catharinebramkamp

Instagram cbramkamp

The post Q&A with Catharine Bramkamp appeared first on Writer's Fun Zone.

Business Advice Creatives Can Actually Use – How To Write the Future podcast, episode 197

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“Traditionally, at least for the last 200 years, there’s been a cultural divide between being in business and being a creative, which is born out of a lot of images of the starving artist and really different movements that thought being an artist is totally different from being in business.” – Beth Barany

In this How To Write the Future podcast episode titled “Business Advice Creatives Can Actually Use” host Beth Barany shares business advice for creative entrepreneurs and creative writers. From pitching your work, filtering advice that suits you, as well as Beth sharing an early business struggle of hers, this episode will inspire you to get creative in your marketing.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES 

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Sign up to be notified when our training opens and get a short Creative Business Style Quiz to help you create success.

https://bethbarany.com/apprenticeship/

Risk Taking Without Desperation: Write From Trust

https://writersfunzone.com/blog/2026/03/02/risk-taking-without-desperation-write-from-trust/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

GET SOME FREE WRITING COACHING LIVE ON THE PODCAST

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers. This podcast is for readers, too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 197 – Business Advice Creatives Can Actually Use

Business Advice Disclaimer 

BETH BARANY: Hi everyone. You are not a one-size-fits-all person, and nor should the advice that you bring in. If you feel like this advice doesn’t fit you, then throw it out. Today I wanna talk about business advice for creative entrepreneurs and creative writers. I understand creative writers, you may not think of yourself as a business, and that is totally okay, but if you wanna be publishing your books, then you need to be understanding some of the elements of business.

And if the word business makes you cringe, then maybe this episode is not for you. And that’s totally fine. 

[00:38] Creatives and Business 

Hi, everyone. I’m Beth Barany. I run How to Write the Future Podcast, and I have a YouTube channel, so if you’re watching this on YouTube, welcome.

I am growing my YouTube channel this year. So excited to do that.

Traditionally, at least for the last, gosh, 200 years, there’s been a cultural divide between being in business and being a creative, which is born out of a lot of images of the starving artist and, and really different movements that thought being an artist is totally different from being in business.

But actually, Leonardo da Vinci had to go and pitch his work to get commissions. Artists have always had to pitch their work to get commissions. Artists have always had to showcase and learn how to talk about what we do. I think it’s just in the recent past that there’s been such a strong divide between being in, in business and being a creative, and by recent past, I mean about the last 200 years.

Now, of course, I’m generalizing, so please take what you know of history and add some salt to that. 

I definitely did grow up in an artistic family that really separated being in business, making money, from being creative, and they were like anathema to each other.

My artist family just didn’t seem to focus a whole lot, at least not consciously, on the marketing, although I did see marketing happening, which was awesome because every artist, every creative writer, every, any creative, playwright, dancer, filmmaker, we all need to market our work. So being in business is really about saying, Hey, everyone, I have this awesome thing for sale.

And learning how to communicate that in a way that has value for the people that you’re talking to. 

[02:20] My Early Business Struggle 

Lemme say this. When I first started my business 20 years ago, I looked around, and I asked some creative writers who are also running their own businesses, like editors or graphic designers, things like that.

I’m like, can you please gimme some advice around running a business? And so I talked to them and I interviewed them, and I recorded it, and I was coming at it with my journalist hat and I got a lot of information, but none of it felt right for me, and I was very disappointed. No fault of their own, they brought me what they knew, but they were all coming from a business perspective, purely business perspective, numbers, making money, profit ledgers, which it’s all important to understand. It’s important to learn budgeting. I’m finally like getting my hands around budgeting in a deep way.

I’m constantly learning in my business. I don’t have it all figured out and, they didn’t talk to this thing that I really cared about, which is I wanna run a business, but I wanna also be a writer. I’m not giving up on creative writing. When I opened my business 20 years ago, I had not yet published any fiction or even, I had published journalist articles as a journalist, but I had never published fiction.

And I think I maybe had one little story that had been published actually years previous when I was in college, in a little tiny newsletter, which was awesome. But that’s it. And then my articles, my nonfiction articles. 

But I had been working as a writer. I mean, I had been working on my writing. I was a novelist. I think I was on my third novel by then.

So they weren’t speaking at all to how do you be a creative, come from that creative place of intuition and trusting yourself and taking risks. You can listen to my other episode on risks, and I’ll put that link in the show notes, but nobody really was speaking to being a creative soul who is running a business. And even today, when I go out into the literature, I rarely find there’s a little bit out there, but not very much about this. 

[04:10] Filtering Others Advice 

So what does this mean for you? Any kind of business advice is obviously gonna be rooted, grounded in that other person’s experience.

And like my experience is not the same as your experience. And where I came from and how I was raised and all my training isn’t gonna be the same as yours. So when we hear other people’s business advice, we have to realize we don’t actually come from the same place. So how do we sift through that business advice?

Something I did learn over the years, and hearing lots of repetitive, oh, everyone is saying this, and everyone is saying that, like, okay. Some of those things, if we boil it down to their fundamental concern. Okay, let me understand that from my perspective. So, for example, I understand as a creative writer, I write novels, and I spend a lot of time, like in the cave, writing novels separate from others.

Then I start bringing it out for beta readers, critique partners, and editors and all of that. I start entering the marketplace. So first, a lot of. Especially writers, we tend to create on our own, or maybe you have a writing partner. We tend to create on our own with our writing tools, and then we start inching forward into the marketplace, testing our art.

Are you changing your story because of what everyone says? Maybe a little bit, but you still have to sift it through yourself. And I talked about receiving feedback in a, in a previous episode, so I’ll put that link in the show notes too. How do we handle all the feedback we get? 

[05:34] What Business Really Means 

My point here today is that a fundamental of being in business is that you actually have something to sell.

You have a product, like a book, or you have a service like a coach, or a teacher,or a trainer, or, um, an assistant. Or you have products or workbooks, courses, trainings, being in business, meaning is about having something to sell. And learning how to sell it in a way that your audience can understand, and also meets a need that they have.

[06:02] The Needs We’re Meeting as Fiction Writers and Service Providers 

In fiction writing, what need are we meeting? We’re meeting the need for entertainment, the need for escape, but it’s also deeper than that, and I teach science fiction and fantasy writers how to market their work. What can you say that really meets the need? 

The reader is reaching out for books. Ooh, they want to read some new things, and you as the author, like, here, I have a new thing for you. And it’s like this. And you say some words about what it’s like, and there’s a match.

Same with marketing, a service or a product as a creative entrepreneur, as a creative writing teacher or coach, or virtual assistant, or maybe you design books or you produce books for people. There’s a lot of ways to serve writers. So your job, as you hear all the advice out there, is to filter it through what feels right for you. And there’s an element of risk, which I mentioned in the risk episode, where you might wanna, what is your appetite for risk? What can you test? What can you try? 

[06:59] No One Right Way 

Now, when I hear business advice, I try and think about, well, where are they coming from? Are they coming from purely talking about let’s make money, which doesn’t include anything about like my personal, one’s, personal thoughts and feelings, and and emotions and body awareness, whether or not this advice is right for me.

Some people just throw advice at you and they say, you gotta do it. You gotta do it ’cause if you don’t do it, you’re not in business. And actually, I question that.

Being in business is about bringing your product to market and inviting people to buy it, and bringing your service to market, inviting people to buy it.

Other than that, there’s a million and one ways we can do that, and things are constantly shifting in the world– technology, culture, everything like that. So ultimately, there is no one right way, I think, to be in business other than to create this um, playground ’cause to me, I see it as like, create a safe space where you can do that, where you can bring your product to market.

Now, should you trust what I have to say? No. Bring it through your own filter, your own personality, your own life experience. Not everybody’s advice is gonna be right for you, including mine.

All right. 

[08:05] Wrap Up and Bootcamp

Uh, I just wanna let you know we are running a Creative Entrepreneur bootcamp in March called Find Your Creative Entrepreneur Niche. We’re gonna help you narrow down, bringing together your strengths, helping you have clarity, giving you some structure, and giving you some feedback.

Go ahead and register for that using the link in the show notes.

And be sure to take our quiz. Our creative business style quiz so you can understand what is actually your approach to business. It’s gonna really help you filter other people’s business advice. 

Alright, that’s it for this week, everyone. Take care and write long and prosper. 

Loved this episode? Leave us a review and rating here: 

https://www.buzzsprout.com/2012061 

Need instructions on how to leave a review? Go here.

***

Support our work for creatives: leave a tip: https://ko-fi.com/bethbarany 

***

ABOUT BETH BARANY

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT 

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

LinkedIn:https://www.linkedin.com/in/bethbarany/

IG: https://www.instagram.com/bethbarany/

TT: https://www.tiktok.com/@bethbarany/

FB: https://www.facebook.com/bethbarany

X: https://twitter.com/BethBarany

CREDITS 

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
• DISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465 (Refer-a-Friend link)
• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

If you’d like to invite Beth onto your podcast, drop her a note here.

Like the work we do? Tip us! https://ko-fi.com/bethbarany

The post Business Advice Creatives Can Actually Use appeared first on Writer's Fun Zone.

***

One of an author’s largest struggles when publishing their book is looking for artists to make their book cover — and any other art-related things that will help accentuate the book!

After all, book covers are one of the first things readers look at.

Plus, nowadays many authors look to character art and interior art to not only decorate their books but to also use it for promotional marketing on social media…and special editions may have illustrated endpapers, sprayed edges, and bookish merch like stickers to really add that little extra pizzazz.

So, how do we separate the scammers from the real ones?

RED FLAGS

1. Direct Messages (DMs)

Social media is a jungle out there.

Do not answer any direct messages from “artists” pestering you for commission work.

They are most likely scammers.

However, if you met an artist on Instagram or another platform in the comments section, for example, and both of you mutually agree to go to direct messaging, then that’s totally fine.

The messaging must be mutual. 

From an artist’s standpoint, it’s a lot better if the author reaches out to ME rather than I reach out to THEM.

Also, don’t be afraid to block artists if they continually pester you for work after you said no.

2. Social Media Presence

A good way to see if your artist is legitimate is to look at their social media.

If their account looks fairly new, then stay clear.

Many scammers will create bot accounts that were just made last week.

Low follower count, not a lot of posts, or none at all can also be good indicators.

Plus, see if you can look up their social media tag on other platforms.

For example, my Instagram handle is the same on Threads, TikTok, and X, so it’s easy to find me wherever you look.

Not to mention if you suddenly see artwork on their social media that you know you saw a month before the account was even made, they may be stealing artwork from other artists.

Don’t be afraid to out them at that point to help save others from being scammed.

3. No Consistent or Naturally Evolving Style

Be suspicious of “artists” who used to draw terribly, then 1 week later are posting artworks that are fully rendered realism without any warning or indication that they were doing so.

Something ain’t right there. 

I draw in about 3 different styles, but you can see I have been naturally evolving with those styles (as I experiment to get better at my craft) long before AI appeared, and the progression can be seen on my Instagram.

After all, we artists learn from our mistakes.

It’s how we evolve. 

If I suddenly created photorealistic artwork after showing no progression to how I got there, it would look very suspicious.

Other tells include fingers, clothing, and hair “melting” into other aspects of the piece.

If you ever suspect something you see or something an artist you commissioned sent you is AI, you can always have an artist friend help you look for inconsistencies.

In some cases, you may be able to ask the artist if they have the drawing or sketch phase of the artwork under the guise of curiosity without explicitly accusing them of AI.

I personally wouldn’t mind, as I would rather someone ask because they’re curious instead of outright accusing me of using AI without any proof (which has happened before, and they got real quiet after I showed them work-in-progress pictures).

Also, do not be afraid to add a “No AI” clause in a contract that an artist sends you, so if the work turns out to be AI, they are in breach of contract, and you may be able to take legal action.

• Side note: Do not submit ANY artwork into an “AI Detector” website. 99% of the time, it will say partially AI or AI or something along those lines. That’s because AI is trained on stolen artwork, so of course, artwork made by real humans would appear as AI, even when it’s not.

4. Payment Up Front

While this is more of a gray area, if an artist requires payment in full before starting a project, it may be a scammer.

My payments are made upon completion of work for X amount of dollars.

Others may ask for a small deposit to add you to their schedule, which will then count toward your commission, and then the rest upon completion.

Half up front, then half upon completion, is also a common payment method.

Any artist worth their salt will explicitly state payment type in their contracts.

5. Lack of Previous Works

If they can’t provide you with references, such as what other clients they worked with, for example (such as “I did artwork for this book, here is the link to purchase it”), it will not help their credibility.

This is also a great way to vet artists, as you can follow the trail to who commissioned the artwork (see the Previous Works section under Green Flags).

GREEN FLAGS

1. Ease of Discoverability

Good artists will not “hide” themselves.

They will not make it difficult for you to find their portfolio and other social media handles.

Many keep links in their bio, so looking at them more in-depth is only a few clicks away.

Don’t be too discouraged if they just have Instagram and a website, though.

I’d take a website over 5 social media accounts any day.

2. Website

Now, some artists will solely have their portfolio on sites like Instagram; however, I am a firm believer in a website for professional perusal.

Professionals will have their website linked to their social media, or an easy Google search will pop up.

In addition, their website domain name will look professional/reflect their business name (websites that were created for free on sites like Wix will have a “yourdomainname.wixsite.com” as part of the web address).

Artists who keep much of their portfolio on a website will more than likely purchase a domain name + pay to host the website on whatever platform they choose.

For example, my website is www.annaleitensdorfer.com, which does not have “.wixsite” after my name, since I own the domain name and pay for hosting through Wix.

3. Branding

If an artist has consistent branding across their entire online presence, then that makes for a very green flag (I say online since that’s how many authors find artists, though it’s also good to see in print media as well).

If their logo is seen across all their social media pages/website, that means they took the time to make sure their brand is recognizable regardless of where you see it.

Plus, scammers typically are not that detail-oriented.

4. Previous Works

Artists who call out who they did the work for is a major key.

You can then look up the author’s name (in this case) and see if the author has the artwork posted on their social media, or if you really want to be thorough, you can politely ask to message or email the author to ask how their experience was with that artist.

I list any work I have done for an author with their name, book title, and publication date (if applicable).

This is all done with permission from the author.

5. Contracts and/or a Licensing Agreement

Any artist who works on commissions MUST have some sort of contract.

These contracts are made to protect both you, as the client, and the artist.

No verbal agreements!

Get it all in writing!

However, please read over any contracts you receive carefully before signing.

This goes for pretty much anything, regardless of what type of work it is.

Some contracts will have a Licensing Agreement built in, but I have mine on a separate document, which lays out commercial licensing (what you can and can’t do with the artwork).

6. Works-in-Progress

In this day and age of AI, we artists must be extra careful to prove we are not making AI slop.

Artists who are open about sharing their process, such as having screen recordings, process videos, or JPEGS of the different stages of an artwork, help add more to their legitimacy.

Plus, should you hire an artist, DO NOT BE AFRAID to ask for progress pictures throughout your commission.

An artist who has nothing to hide will be happy to provide them to you.

This is also a way to catch an AI scammer if they fail to provide any proof of original work — or if they just send you a finished work without you even seeing any sketch phases!

I regularly post on my social media progress pictures (with the author’s permission) and send progress pictures via email to the client frequently during the project.

• Side note: In the future, AI may be able to copy/mimic process videos. Some tells include weirdly fluid movement and blending into surroundings. Of course, follow your gut feeling if something feels off.

7. Communication

We love being on the same page!

Artists who check in with you weekly with updates or ask questions during the project to make sure they get everything the way you want are golden.

I provide progress pictures in a PDF flat book with my branding on it during certain stages of an artwork.

Too many times, I have seen authors get ghosted by artists after they commission a work, or they don’t have it even close to finish when the deadline comes around, and then the author has to move on and find a new artist.

I predominantly communicate through email once contracts are signed, as I personally find it more professional, and the author has records of everything we send to each other.

8. They are just as excited about the project as you!

We want to get lost learning about your world, your characters, and your story.

It’s also about building trust and a rapport with the authors, as we want to see you succeed, too!

9. Transparency

Basically, all the points I have made thus far as far as green flags boil down to transparency.

It’s how an artist can build trust with their client, and how you can avoid being scammed.

This also ties into price transparency.

Green flag artists will have their prices listed on their website or on a pinned post on their Instagram.

In other words, you’re not digging for that information.

Some artists are solely custom-price based because every commission they do may not be able to have a standard pricing structure.

That is a gray area, so I wouldn’t discount them; however, do your research on them to vet them first before contacting for pricing.

Conclusion

I hope this guide took out some of the stress when it comes to vetting artists.

Now that you’re an expert on green flags vs. red flags, what kind of art will you be seeking for your book?

***

About the Author

Anna Leitensdorfer is an illustrator, animator, and author who began offering creative services to fellow writers in 2024.

She provides illustration for children’s books, storyboarding, cover design, character art, interior art, maps, and promotional artwork for marketing.

A 2018 graduate of the Savannah College of Art and Design with a degree in Animation, Anna continues to pursue her passion for storytelling through visual media.

She is currently developing her original animated feature film, Art of Auld Lang Syne, while also expanding her work in book design and print formatting.

In addition to supporting other authors, Anna writes her own fiction and recently completed a supernatural horror manuscript.

When she’s not behind her drawing tablet, she can usually be found playing video games or taking her two “little monsters,” Shelby and Percy, bowling.

She is open to commissions in animation, game design, and illustration.

The post HOW TO SPOT SCAMMERS AND AI “ARTISTS” IN YOUR BOOK ART SEARCH: Green Flags vs. Red Flags by Anna Leitensdorfer appeared first on Writer's Fun Zone.

Fun Values Check-In for Sci-FI/Fantasy Writers – How To Write the Future podcast, epsiode 196

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“ I care very much about your success and I really believe that our future is in our hands and as creatives, we have some incredible skill sets we get to bring to that.” – Beth Barany

In this How To Write the Future podcast episode, titled “Fun Values Check-In for Sci-Fi/Fantasy Writers,” host Beth Barany shares what values are most important to her, why that matters, how values can guide the choices we make, and about an upcoming creative business training. Beth also reveals how she found inspiration for her current work in progress, something about marinating.

Platforms the podcast is available on: Apple Podcasts | Buzzsprout | Spotify| YouTube

RESOURCES 

Find Your Creative Entrepreneur Niche Bootcamp: March 20-24, 2026 online event

https://bethbarany.thrivecart.com/findyourniche

FOR CREATIVE WRITING PROFESSIONALS – BUILD YOUR BUSINESS SERVING WRITERS

Get your Creative Business Style Quiz to help you create success:

https://bethbarany.com/quiz/

Support our work for creatives!

Buy me a coffee: https://ko-fi.com/bethbarany

GET HELP WITH YOUR WORLD BUILDING – START HERE

Free World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/

GET SOME FREE WRITING COACHING LIVE ON THE PODCAST

Sign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/

GET SUPPORT FOR YOUR FICTION WRITING BY A NOVELIST AND WRITING TEACHER AND COACH

Schedule an exploratory call here and see if Beth can support you today: https://writersfunzone.com/blog/discovery-call/

About the How To Write the Future podcast 

The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers.This podcast is for readers too if you’re at all curious about the future of humanity.

This podcast is for you if you have questions like:

– How do I create a believable world for my science fiction story?

– How do I figure out what’s not working if my story feels flat?

– How do I make my story more interesting and alive?

This podcast is for readers, too, if you’re at all curious about the future of humanity.

Transcript for episode 196 – Fun Values Check-In for Sci-Fi/Fantasy Writers

What Matters Most 

BETH BARANY: What is truly important to you? Really. What is like the most important thing in your life? Whatever your answer is, I’m a yes. Yes! What you value as important, those are your values. Now we can talk about non-tangible things and tangible things. So today I’m gonna talk to you about what are your values and why this is an important discussion.

[00:25] Meet Beth Barany

Hi everyone. I’m Beth Barany. I run How to Write the Future Podcast and a YouTube channel for creative writers and creative entrepreneurs. I care very much about your success and I really believe that our future is in our hands and as creatives, we have some incredible skill sets we get to bring to that.

Not only, can you write a story, but you could also write your own future as a creative entrepreneur.

So that’s what I’m talking about today. Today I wanna talk about values and I also will share with you about a creative entrepreneur training that we’re running, pretty soon.

Alright. Values. I asked at the top what is truly important to you, and I’m really curious. Please, if you’re listening to this on YouTube or you feel called, write me, DM me. I wanna know what do you actually value in your life. 

[01:15] Relationships As A Value 

So the first thing that pops up to me when I say this is my relationships. I was gonna say my love connection. 

Yeah. The people I love. My husband, my cats, my friends, my family. I thought, oh, you know, life is so much better when I get to spend it with the people that I care about.

So I have really made a point in my my creative writing, business, and my creative entrepreneur business as a, as a book coach,and an editor and a trainer to work with people that I really think are awesome, awesome people. Yeah. Life is too short to be spending time with people that I don’t have much in common with. I’m like, lukewarm. I wouldn’t wanna be spending time with them. I wouldn’t wanna hang out and have coffee with them. So that’s a really high value for me.

[01:58] Play And Joy 

Another high value for me is having fun. Let’s play. Let’s experiment. Let’s try this. Let’s try that. That’s not to say I don’t get stuck. Oh boy. I get stuck. I get stuck a lot, and that’s maybe why I’ve really leaned into playfulness, because when we start playing with things, then I get unstuck. I’m like, oh, I hadn’t thought of that.

So that is a really high value for me. Play. And all the forms of that. Play involves joy. Play involves experimentation. Play involves taking little risks.

[02:28] Why Values Guide Choices 

Okay, so values. why is this important? I, I read some article on LinkedIn how most people, or a lot of people don’t do values explorations, couldn’t tell you if you ask them what do they value? ‘ cause they’ve never really thought about it. Okay, well, I invite you to think about it, and I think it’s so important because it allows us to make decisions.

Very important as a creative writer. As a creative entrepreneur. No matter what you’re doing in life, when you know what is important to you, that helps you say yes or say no to things.

That comes up to me as like the biggest thing, right? It helps you choose, but it also, so here’s another reason why knowing your values is important, is it helps you commit.

[03:08] Persistence Through Roadblocks 

So I have been stuck many times in my creative writing process. I’m working on a, my fifth sci-fi mystery, in my Janey McCallister series, and I’ve been stuck for a little while. And instead of giving up. I just give myself a break because it is really important to me, and I know, because I’ve written lots of novels, that when I hit this kind of roadblock in my creative writing in the story, um, and I’m in editing mode, that there’s an element missing that I don’t yet have.

There’s like a piece of the puzzle I don’t yet have. So I have learned to put the story on the back burner and let it like marinate. I stir it a little, right? I love cooking metaphors. And I have been thinking about it and I have been thinking about some of the suggestions my critique partners gave me about the rewrites, yet again, for chapter one.

And I am committed to getting the story done because I’m committed to the story. I’m committed to why I am writing these books and my value of sticktoitiveness. So that’s another one of my values. I know it’s a silly word, sticktoitiveness. I love this word. Another word is persistence. That’s the same thing.

I love writing fiction, and the dream has not gone away. And I’ve had the dream of being a novelist since I was 18, 19 years old. And when I think back to all the time, the near decade, over a decade, I spent wishing and wanting to be a novelist. And then when I finally started, like the joy I get from the fact that I really started on my dream, and then also the fact that I’ve continued and that I’ve handled step by step, every one of the roadblocks I’ve hit, like now I’m an experienced writer, but I still hit roadblocks, and that’s okay. I know there’s some ingredients missing, so because of my value of persistence and my love of the work and my love of storytelling and my track record too, and loved ones reminding me that, uh, I hit these roadblocks on occasion, I, I’m gonna stick with it.

So when you know your values, you can stick with your commitments, even if you are gonna hit ups and downs, and you know what, you’re gonna hit ups and downs. That’s the nature of life. As day turns into night and night turns into day, we’re gonna have ups, and we’re gonna have downs.

[05:15] Share Your Values 

So share with me what your values are, and I would love to hear. Post in the comments if you’re watching on YouTube. DM me on the socials. I’m all over the place. Write me through my website and on how to write the future.com. You can hit contact me, you can just leave me a note. You can also leave me a voicemail. I love those and thanks to those of you who’ve left me those. That’s so awesome. 

[05:37] Creative Entrepreneur Paths

Alright, so why am I telling you all of this? It’s because I’m passionate about helping creative writers who wanna start their own businesses, serving other writers. Maybe you wanna be an editor, or a coach or a virtual assistant with social media, or an organizational virtual assistant. Or maybe you wanna help with book production, getting people’s books up on Kindle and Apple. Or maybe you wanna help writers set up their own stores. That would be a really awesome niche to be in. I would like to talk to you if you’re interested in that, ’cause I need some help with that.

Book design, copy editing, proofreading, line editing, developmental editing, coaching mindset, coaching, book coaching around the process of writing. 

There’s a lot of jobs out there for us creative writers who wanna serve other creative writers, and there’s more. Creating products, creating books, workbooks, trainings, coaching masterminds like I do.

In-depth one-on-one, deep work. I do a combination of mindset coaching and developmental edit and story coaching. I got a lot of skills. 

[06:37] Niche Bootcamp Invitation

So if you are interested in starting your own creative entrepreneur business, or you’ve already started, but you want some more support, come join our Find Your Creative Entrepreneur Niche Bootcamp.

That’s gonna be in the middle of March, March 20th to 24th. The link to register is in the show notes. And, uh, we’d love to have you there. It is a paid event because it is a training. We’re giving you training so that you can have clarity, so you can really assess your strengths, so that you can get support. And so you can walk away with a statement on what is your niche. 

We really care about both the inner work that you’re gonna do. And the tangibles that you’re gonna walk away with. We have worksheets, we have live support for you during the event, and we have the opportunity for you to optionally upgrade to a VIP mini mastermind that we’re gonna run on the very last day of the bootcamp. So you can see the registration link in the show notes, and also.

[07:35] Take the Creative Business Style Quiz 

Because you are unique, go ahead and take our quiz. We have a creative business style quiz for you, and that link is in the show notes as well. That will give you an idea of how you approach being a creative entrepreneur. 

[07:47] Wrap Up And Farewell

Alright everyone. That’s it for this week. Write long and prosper. 

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ABOUT BETH BARANY 

Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”

Learn more about Beth Barany at these sites: 

Author site /  Coaching site / School of Fiction / Writer’s Fun Zone blog

CONNECT 

Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580

Email: beth@bethbarany.com

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CREDITS 

• EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
• MUSIC CREDITS : Music from Uppbeat (free for Creators!): https://uppbeat.io/t/soundroll/fuzz-buzz License code: UMMKDRL02DFGKJ0L. “Fuzz buzz” by Soundroll. Commercial license: https://musicvine.com/track/soundroll/fuzz-buzz.
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• SHOW PRODUCTION BY Beth Barany
• SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade

c 2025 BETH BARANY

https://bethbarany.com/

For more “How To Write the Future” episodes, go here.

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