ch-ch-ch-changes – dubstep version

My July post for Steyer Associates plays on the David Bowie song — so if I’m going to risk an DMCA takedown, I might as well double-up and use the same headlines.

“every time i thought i’d got it made”

My Managing Up tips for TechComms professionals this month tackles the challenges of organizational and technology changes:

For those of us who’ve been around for a while, we turn over every rock labeled “new,” wondering: “Have I seen one like this before?”

Check the post for my best ideas on how to cope when management shakes the dice at your workplace.

“you’ve left us up to our necks in it”

Nine Volt Heart - A Rain City Comedy of MannersTwo “Rain City Comedy of Manners” books:

Artemis in the Desert

Nine Volt Heart

The Grrrl of Limberlost .


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That Was the Week That Was #1

You Can Be an Artist!While I gather disparate info for my writing and personal life, the details don’t lead quickly to coherent sets of stories. So I’m going to try collecting and reporting bits in a Weekly Reader format, with Departments.

Reading with the Greatest Impact

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Dialect in Dialog – doing right by the reader

That chat Don McQuinn and I began on Dialog in fiction has spun new conversations.
See Don’s recent James Rollins Interview on Dialog. (James Rollins writes  best-selling thrillers.)
(Our first “dialog” is here.)
Don asked Jim a proxy question for me in that interview: how to let readers know the meaning of foreign words in dialog, without disrupting the flow.  Jim provides great examples from his work in that interview with Don.
Why I asked: I wrestle with the issue all the time. Continue reading

WIP: Accidental Heretics Book 3

Accidental HereticsI have a post up on the Accidental Heretics site, discussing the existential problems I’m working on in Book 3 of the Accidental Heretics series from Jugum Press (where I write as “E.A. Stewart”).

The painful part of fiction writing (versus technical writing) is that if there’s a problem, one is required as the author to dig deep into personal experience to describe why people do what they day and how they feel while they are doing it — and then as the author to turn around and make these characters suffer for the choices that I, as the author, force on them.

I’m off to spend the rest of the day torturing a character that I love. He must be made to suffer as I once did (minus the sword, the armor, the horse, and the other historical baggage he has to carry).