Why your support of HEART AND SOUL FIST is a dream come true.

Lately I’ve been tweeting about HEART AND SOUL FIST and that it would mean a lot to me if people read it and spread the word. 

Then I realized I haven’t told you WHY it would mean a lot to me.

So I will now.  I wrote my first book when I was 15.

It was one part boredom, one part just to see if I could, one part AOL. I had a great 10th grade English teacher who gave us these assignments where we rewrote short stories with our own take on it. I found I really liked doing it. 

We also had just gotten the internet, good ol’ dial-up AOL, and I was playing in role playing chat rooms. Star Wars at first, then generic fantasy. 

I remember (sorta) the day I decided to do it. I IMed my friend (she lived in Minnesota? Michigan?) (her name was...Lauren?) and told her I was gonna write a novel. 

“Why?” 

“I don’t know.”

--

It was called THE SCROLLS OF ANUHO. Anuho comes from “A New Hope,” because Star Wars was a lot of inspiration (read: most of the major concepts) for the story. The “scrolls” didn’t make sense as there were no scrolls in the story. 

It was Star Wars mashed together with Final Fantasy 7, basically. It was between 80,000 and 100,000 words and took me 9 months to do, start to finish. 

That was a pretty big deal for a 15 year old. I mean, there are 15 year olds who get published and start a career, which I definitely wasn’t going to do with my mostly-plagiarized pile of words, but it felt pretty important. My mom read through the whole thing and marked up feedback notes on it (I still have that). 

I didn’t try to get it published or anything, but I did start working on the sequel. 

After that, writing was a major hobby for me. I did it all the time. I started doing fanfiction (shout out to my lost 75K word Gundam Wing fanfic), I plotted out a whole 9 book series for the Scrolls of Anuho, and kept doing online RPing. 

But I had no goals of professional writing. I was going to be a MUSICIAN. 

Yes, I have a Bachelor’s Degree in Jazz Studies, Saxophone. Because nothing says “bright career in the arts” like studying a mostly-dead art form. But I was a child of the 90s, and the future was ours for the taking, and so I just went with it. 

I learned a lot from that time, but ultimately it didn’t work. 

My writing skills helped me get through college easily, though. When you’ve written a novel (and like a dozen half-finished novels), 10 pages isn’t that long. 

Let’s cut forward a bit. 2007. Newly married, and with me having decided that music wasn’t going to ever work out, I knew that I had to do something creative, or I would feel...wrong. I hadn’t done enough creative work in the previous two years, and I could tell it was preventing me from being my full “me.” 

One of the lessons I learned from music was that I wasn’t a die-hard musician. I could give it up. I wasn’t like other people I knew that had to being playing all the time, or they felt lost. I lacked that super-passion

But writing...well, I did it all the time, just for the love of doing it. 

So maybe that would have enough passion to drive me forward. 

And thus, I had a new goal: become a published, professional author. 

--

These were my Bitter Work years. 

From music, I knew that to succeed I needed tremendous amounts of practice and training. I had mostly written from gut up to that point. 

I read every blog and newsletter on writing. 

I worked on novels. 

I joined an RP play-by-post board, just to give myself a place to work on sheer output. 

I did writing challenges. I experimented. I played with form and genre. 

I read somewhere that an author isn’t ready to be published until they had written at least a million words. 

I wrote a million words a year for four years.

I worked through my pain of failing as a musician. 

I made friends. 

I wrote and wrote and wrote and wrote. 

--

I submitted my first manuscript for an agent in 2008. I had one agent interested for a little bit, but she ultimately dropped it. 

I submitted my second manuscript for an agent in 2009. Same story, one interested agent, then dropped. 

But it told me I had talent. It told me that maybe I could get somewhere.

Life kept going on in the background. Recession hit, my job was a dead end. We wanted kids, and we wanted my wife to stay home with them. I needed a viable career. 

I studied a year at UCLA to get paralegal training. I have never used it.

In 2010 I was fired from that dead-end job. 

I can’t remember how many novels I wrote between 2007 and 2011. I think I lost some, and every time I try to count, I come up with a different number. Plus, some I wrote, then completely rewrote, so do you count that as a separate novel? 

In any case, the number is between 8 and 12. 

But no job, no prospects of getting a better one in that industry, so I had to retrain. I got my teaching credential. I found a lot of success there. I felt like I was born to do that, as well. 

I finished the last novel of my Bitter Work years, called “Guardian” back then, in 2011, just as I was finishing my teaching credential.

I remember the cheap coffee I drank. I remember writing 5 chapters that night, some 15,000 words, just to get it done.

That was the last novel I wrote for a long while. 

--

I didn’t plan on giving up, honestly. 2012, I moved, got my first teaching job, and my first son was born. I didn’t want to be that dad who gave up his dreams, so I started investigating alternate forms of writing that might speed up my process along.

Thankfully, for those of you who like my podcast, this is where I discovered tabletop RPGs. 

--

I switched schools in 2013. Longer commute, but better environment. My online RPing was dwindling away, my practice writing was taken up with creating lesson plans and grading papers. 

Matt and I played our first tabletop RPG I think around 2014, right around when my second son was born.

--

You know this part of the story. 

“Let’s do a podcast.” 

“No.”

“Please?”

“Fine, but I’m not doing any work.” 

--

So I didn’t write much during the first two years of the show. I was happy with teaching, and the show was a fun and interesting creative outlet. I was still telling stories, so who cared if I wasn’t a novelist, right? 

...right?

I still outlined novels in notebooks, btw. I still thought maybe I’d get back to it. I looked at online classes. Joined a Camp NaNoWriMo. But I never stuck through it.

I started to think maybe that those bitter work years were a young man’s game. I was in my 30s now, and I had two kids, with one more on the way. 

So why couldn’t I stop trying…? 

--

2017 I got my master’s degree in school administration. I still don’t know why. Part of me just wanted to see if I could.  (Sound familiar?)

In fall of 2017, I left the classroom full-time to be an instructional coach. I hated it, at first. I felt like I made a mistake. I missed the kids, I felt like I had no purpose. It was spreadsheets and report writing. 

But a student saved me. 

She had a free 5th period, so she would drop by, and we talked about books and writing. She wanted to be a writer. 

I always kept my novel writing a secret from my students. Insecurity, I guess. 

One day, out of the blue, she said “I feel like you should write a novel.” 

“...I already have.” 

--

She read the second one that almost got an agent, the 209 DETECTIVE AGENCY. 

“I can’t believe you wrote this.” 

“Thanks.”

“Why did you stop?” 

--

I didn’t know how to answer her, so I went to re-read my old writing. I re-read Guardian, the last book I wrote in 2011. 

It was kinda bad. There were too many weird anime-isms. The main character was kind of a dolt. There was one too many plotlines. 

But...that character, Jane. I really liked her. 

What if I made it about her?

I rewrote the Guardian as the first draft of HEART AND SOUL FIST in 27 days. March, 2018. 

HEART AND SOUL FIST, though, wasn’t fully published until March 2020, so you’ll wonder what happened during those two years. 

It had been 7 years since I had studied the publishing industry. I had to re-learn how things worked, and what the industry landscape was like. 

I also still lacked some confidence. I sunk a bunch of money into writing lessons with a professional, and getting it edited by a professional editor who had published similar books. 

It took spending over $1,000 for me to realize I was good enough as a writer. 

--

Then it was just...more bitter work.

Rewrites. Edits. Smoothing. Smoothing again. Rewriting again. More smoothing.

Learning how to publish. 

Then fighting the other battles in my life. Child 4. The school war I fought during the beginning of 2019 that took up almost my whole spring semester. 

Getting a new job. 

But I never stopped. I just kept going, little by little, piece by piece, until I had put all the mechanisms in place. 

And I did it.

HEART AND SOUL FIST isn’t the best book ever written. It probably won’t be the best book I’ll ever write. 

But it is the result of 20 years of fighting. It is the first major step towards making those dreams be a reality. 

I’ll be upfront: sales aren’t great. They’re a steady trickle. It’ll be a long time before I even make back the investment I put in. 

But that’s okay. It’s still means people are reading my work, and hopefully enjoying it. 

So when I say to you I am grateful for all your support, for reading it or suggesting it to a friend or just retweeting stuff...I mean it. 

It is a gratitude built from 20 years of work. 

--

Thank you. 

Even if you don’t read the book, or promote it, thank you for listening to the show.

Or...just being my friend or thinking I’m interesting enough to follow on social media. 

Nothing happens without you. 

SWORD, SORCERY, AND MAGICAL GIRLS: An RPG short story.

I started this story as a way to test THE BLACK HACK, an OSR game where you roll under your attribute score for all checks.

It was fun, and it was getting pretty gritty - very Sword and Sorcery like Conan or Game of Thrones.

Then I got to a point where the main character couldn’t feasibly proceed in the fiction, so I thought I’d give her a magic power. Maybe a cool amulet or a single spell or something.

Don’t ask me why I decided to make her a magical girl, because I don’t know. The best I can come up with is that I had read the rules to MAGICAL BURST the night before - a d6 Magical Girl game with cool roll tables on randomly generating a magical girl.

So I did that. I randomly created a magical girl, then used the same ATTRIBUTE names from MAGICAL BURST but rolled them like you would in THE BLACK HACK (I actually used 4d6 drop lowest so that her magical girl stats would be a little higher than her basic.)

Then I finished the story.

It’s a bizarre thing, but I kinda like it. Tell me what you think!

CLICK HERE TO READ IT.

How to make an Actual Play Podcast: Gear

Welcome back to my blog series on starting your own RPG Podcast. Today we tackle the most common question: what gear do I need to start?

But before we can answer that, we need to remember:  THE PURPOSE OF AUDIO QUALITY

The purpose of audio quality is to not be distracting.

That’s it. If it’s good enough to not be noticeable, then it’s good enough.

Remember, most people are going to listen to an MP3 version of your recording over white earbuds while at the gym or through their car speakers on the freeway. All of that super high fidelity input is going to be lost, so don’t spend money you don’t need to spend.

RECORDING IN PERSON OR ONLINE?

ONLINE

You need four things: computer, internet connection, microphone, and a program to record your audio.

COMPUTER: Needs to be fast enough to run a VOIP program and a recording program at the same time. You may also need to have a browser open for dice rollers or maps or something like Roll 20. You don’t need the fastest computer in the world to do that, but you definitely want to test it out before you get started.

VOIP: Stands for Voice Over IP, which is how you talk to people online. I use Discord for both SilZero and Heroes of the Hydian Way. For SilZero season 1, we used Google Hangouts. We switched because Hangouts became less stable when I moved. The most important feature of a VOIP is stability, so try them out and find what works best for you. 

RECORDING: Use Audacity. It’s low resource, free, and does a great job. The only thing you’ll need to do when you install Audacity is install the mp3 encoder. It’s a little bit of work, but you only have to do it once.  I do all my recording in Audacity, even though I don’t edit in it.

ZENCASTR: Zencastr is a free web app that records for you and automatically syncs between the users. We use it for Heroes of the Hydian Way, though we also run Audacity back ups. It was recently updated to be more stable and functional, but your experience may vary. You should try the free version out a few times to see if it works for you. If it does, there’s also a paid version with more features.

Zencastr is also great if you’re having guests or interviews with people who don’t have their own recording software set up.

MICROPHONE

There’s three ways to set up a microphone:

The "Line-in" on the soundcard: If you look at your computer, you can probably find a microphone 3.5 mm jack. You can plug a microphone straight into that. This is the cheapest way to get started, as most of those microphones cost around 20 USD.  The sound quality, however, is usually not very good if you’re only using the default sound card. Feel free to give it a shot, though, you might be surprised!

In the earliest days, I tried recording with the Apple headphone mic. It was bad. 

USB: The most common way to record is to buy a USB microphone. The most popular brand is Blue, with the Blue Snowball being the usual “starter” microphone for podcasters, as it only costs about 70 USD. This is a great microphone, and it honestly can last you as long as you want it to. Ben, Lesile, and Brent all use Snowballs on Heroes of the Hydian Way.

One step up from that is the Blue Yeti, which season 1 for Sil Zero was recorded on. It’s a good mic, but I think it’s a little bit too sensitive.

USB/XLR Interface: To get very fancy, you can get a USB powered interface, sometimes called a Pre-Amp. This is a device that you plug into the computer, and then you plug in the standard XLR microphone into the device. This gives you a lot of control on your sound input, but it’s also the most expensive.

SilZero is currently recorded on Excelvan BM-800 microphones that are run through the Shure MVi Digital Audio Interface. I got both of them on sale, but  it was still over two hundred dollars to get set ups for both of us. I love the quality on these microphones, but it’s a personal preference.

There are other, cheaper preamps and audio interfaces, but I like the Shure because it has presets specifically for podcasting. The cheaper ones might work fine, but you need to know what you’re doing for the settings.

RECORDING ONLINE is easier because each person can record their own personal track, and then it can be combined together in a multitrack. There can be problems with synching if some people have slower computers or sketchier internet connections.

THE BIGGEST PROBLEM I hear is inconsistent microphone qualities across the voices. A little inconsistency is okay, but when one has a very good mic and one has a very bad one, it’s too distracting. Try to get everyone on the same level as much as possible.

Remember, the purpose of AUDIO QUALITY is to not be distracting.

IN PERSON

While playing a game in person might be easier and more natural to the RPG experience, it’s actually much more difficult to record.

MIC AT THE TABLE

You could just set up a microphone at the table with one computer, hit record, and go. That’s fine, there are some podcasts that do that. But, doing that makes it impossible to do any vocal or sound effects, because everyone’s voice is on a single waveform. Also, if someone talks over each other or if there’s a motorcycle passing by during a dramatic moment, there’s no way to scrub that out of the audio without some extremely expensive software.

This is probably the absolute cheapest way to make a podcast, but it is going to be the one you have the least control over the sound quality. That said, if you’re just doing it for fun and to express yourself and you’re not about sound quality, then you can get a Blue Snowball or Yeti, plug it into your laptop with Audacity, and just go for it.

There are a few early episodes of SilZero that are recorded with this method. Editing it was a nightmare and I swore to never do it again.

MULTI-TRACK USB INPUT AND XLR MICS

If you want a more professional sound, you need a multi-track USB input and XLR microphones. You’re going to easily spend over a 100 dollars on the sound board, and then you’ll need to spend more on each individual microphone, mic stand, and XLR cable. It can get worse if you start adding popfilters and windscreens, etc.

I do not know enough about this to speak more to the process. I do know you’ll need to learn basic leveling and mixing skills in order to get clean audio. But if you’re willing to do it, you can get some great sound! Podcasts like OneShot, DiceForBrains, and Godsfall all record in this way.

“DO I NEED…?”

Pop Filter – Not really. I used to use one, now I don’t. One way you can protect yourself from plosives is to speak across your mic rather than straight into it.

Windscreens – Again, not really. I use one, but only cause it’s there.

Headphones – Yes! My recommendation is Sony MDR7506 – they’re mixing headphones. I got my first pair around 2005 and I’m on my third pair.

Shock Mount – Depends. I’ve used one, but I switched to a standard microphone stand and I’m perfectly happy with that. It’s more of an issue of how much desk vs floor space you have. I would recommend making sure it’s being held somewhat near your face so that you don’t have to bend over, and make sure it’s not on the same surface as your keyboard, because it makes typing sounds outright thunderous.

Hard Drive Space – YES. Audio files are huge.

Editing Software – Yes! But that’s another blogpost!

So join us next time for the continuing blog series of How to make an Actual Play Podcast! If you have specific questions, email us, or tweet at us @SilZeroChris. Thanks for reading! 

How to make an Actual Play Podcast: Planning the Plot

I get a lot of emails asking for advice on how to start an actual play podcast. So instead of answering a million emails, I thought I would write up some of the most common advice I give in the blog for you and future podcasters!

To keep the examples as concrete as possible, I will be referring to actual episodes of the show, sometimes others. Consider this your SPOILER WARNING.

This question is part GM question, part Actual Play podcast question: how much of the story is planned out ahead? How much do you allow your player to change it?

The short answer: the big points are set, the details are not.

Here’s the long answer.

“Why not?”

Silhouette Zero REBELLION: Episode 3. Click and the crew head to FARNACOR STATION to follow a lead with their first mission with the Rebel Alliance. I mention, offhandedly, that there’s a special casino where patrons can bet on literally anything.

I had that much information written in my notes, and that’s it. No side plot, no face character for the casino, no rules on how the actual gambling would work. Click went there immediately.

In general, when Matt makes a decision that I wasn’t counting on, I ask one question: why not? If I don’t have an answer for why he shouldn’t be allowed to do it within 1-2 seconds, I let him do it.

If a choice contradicted an important plot point, then I would know immediately. If I can’t think of a reason within a couple of seconds, then whatever predictions or plans I made aren’t that important. It’s more important for Matt to be engaged with what’s going on, because it makes it more enjoyable for him. The audience can hear how much fun he’s having, so it’s a benefit for everyone for him to have a good time.

I like “why not?” better than “yes, and…” because “yes, and…” assumes comes from the improv world where ideas are supposed to exist without being judged. Silhouette Zero isn’t improv, it’s a serialized story, and therefore some ideas should be judged and removed. “Why not?” allows me the option of removing something because it doesn’t serve the story.

Driving Question

If I really want Matt to do something, I have to make it interesting enough for him to look for it. Matt doesn’t make contrarian decisions just to make them, he does whatever is the most interesting to him and the character at the moment. If I’ve created a whole sidequest or plotline that he doesn’t follow, then I failed to make it interesting.

In education, we call this concept a “driving question,” and it works well here, too. For your overarching plot, what question are you asking the players and characters to answer? For Silhouette Zero REBELLION the question is “where’s Reyna?” Matt wants to answer that question, so even if the way he goes about answering it changes from moment to moment, he’s still moving in the general direction I want him to go.

He also trusts that what I’m going to do is interesting and fun, which is key.  

SO IN SUMMARY:

  • I develop the “driving question” to the campaign.

  • I think of some big plot points.

  • I present the question and plot points and a few objectives. Matt pursues them the way he sees fit.

  • When he does something unpredictable, I ask “why not?” If I can’t think of a reason, I let him do it.

“But how do you think of all that stuff on the fly?” That sounds like a new question! You’ll need a new blog post for that!

If you have more questions on how to start your own Actual Play Podcast, whether it be technical or story-based, send them to silzeropodcast@gmail.com or tweet me @SilZeroChris!

Until next time, May the Force be with you.

The Last Jedi - Predictions

Since Episode II, I – like most fans – have tried to figure out the story of what will happen in each new Star Wars movie based on the trailers.

In fact, this is something I do with most movies I’m interested in. I’m usually wrong. I don’t have one of those uncanny prediction minds that some people do. But sometimes I find myself thinking that the story I came up with was either better or at least as interesting as the one that was presented.

I usually regret not writing down my take.

So this time, I’m having the foresight to actually write down my predictions! That way if (when) I’m wrong, I can use these ideas for myself.

 

STAR WARS EPISODE VIII: THE LAST JEDI

Rey has gone to the birthplace of the Jedi, the original Jedi temple, where Luke Skywalker lives in exile. He labors over what he should do, because he’s no doubt felt the death of Han Solo and the destruction of Hosnian Prime – perhaps more guilt to the pile of failures in his life. Then appears this strange girl.

Holding his father’s lightsaber.

He doesn’t want to train her, he doesn’t want to train anyone. But there is meaning in the discovery of this lightsaber. Why would it come now? Was it not this same lightsaber that set him on his own journey against darkness so many years ago? Is this girl his redemption?

Or is he going to make the same mistakes Obi-Wan did? Is he going to doom her to be nothing more than the savior of Jedi pride, just as Luke was?

Luke knows one truth: the Jedi must end. But she cannot be left untrained to be tempted by the dark side, by Snoke and Kylo Ren to be used as a tool of darkness. So he will train her, just a little, and see what happens.

In the meantime, the rest of the Galaxy is reeling from the destruction of Hosnian Prime. The Resistance is not large, and doesn’t have the firepower to maintain peace by itself. The First Order, on the other hand, does have the numbers, so they know they must strike down the First Order to allow the Republic to rebuild. The First Order has already launched an Empire Strikes Back-like counterattack, so Poe, Finn, and the new character (the Asian girl, I don’t know her character name) have to do a covert-op. This done by using Poe’s piloting, Finn’s knowledge of the First Order, and the new character’s skill in sabotage.

Meanwhile, Kylo Ren regroups with Snoke, who continues to push him “away from the light” to find the true power of the dark side. Snoke explains to Kylo some twisting of the Jedi rule of “no attachments,” explaining that Vader went back and removed all of his past (the “kill the past” line) when he destroyed the Jedi order and killed his wife. Vader’s only “mistake” was not killing Luke, which ended up being the cause of his “fall to the light.”

Kylo kills Leia in the counter-attack battle (originally maybe he didn’t, but with Carrie Fisher’s death, they may alter that, since it is confirmed she will not appear in IX.)

Luke’s training with Rey is progressing, but she has considerable more power than Luke realized. As he says, “I wasn’t scared enough last time,” so he knows that she has power similar to Kylo in raw strength, and he’s not confident enough that his teachings are enough to contain it. He shows Rey the weird platform chamber hidden in the island, explaining that it’s nexus point in the Force, but she’s not ready to use it yet – Luke himself was barely ready to see it. But they examine old writings and discuss that before Jedi and Sith the Force existed, and that the Force is in constant search of a balance within itself.

Poe, Finn, and new character’s mission take them to a weird white planet with red crystals beneath its surface (thus the red dust, and the scene of the Falcon flying underground). This location is critical to the First Order (perhaps more kyber crystals? Or some kyber crystal variant), and even though Poe, Finn, and new character do a lot of damage to it, they are caught (as a result of Finn losing his duel with Phasma.) Their pain ripples through the Force to Rey, who says she must leave to save her friends, echoing Luke’s leaving of Yoda in the Empire Strikes Back. Luke, however, goes with her. 

On the red crystal planet, Snoke and Kylo are waiting to confront the Last Jedi and to take Rey for themselves. The confrontation is fierce, and Rey loses despite all of her extra training. Kylo and Luke battle, with Kylo trying to kill the last major figure in his life, but he is unable to. Rey is injured and Luke takes her back to the Jedi planet.

Unbeknownst to everyone, Kylo has placed a tracker on the Falcon, and he follows them to the Jedi planet. He and Rey are both led to the Force nexus (drawn in similarly to Rey’s pull to the lightsaber in VII), where they offer hands to each other and step in.

(I realize that the trailer is cut to make it look like Rey and Kylo are in the same room at the same moment, but it’s probably not – it’s probably meant to fake us into thinking a moment doesn’t exist. But it’s all I got so I’m going with it.)

In the Force nexus, they see ghosts of the past Jedi. Rey speaks to Yoda and Obi-Wan (Ewan McGregor version), and they lay out their perspective of why the Jedi did what they did and why their beliefs did, or did not, work. They leave her with a message that even though the Jedi were not perfect, that some sort of New Order must rise to be caretakers of the Force and to keep the Galaxy in balance.

Kylo, in the meantime, meets with Anakin. Anakin speaks about the truth of his past, the lessons he learned during his tumultuous life. Kylo refuses to believe them, infuriated at the prospect that he’s been lied to and killed his parents for nothing. He rejects this as a “Jedi trick” and exits the nexus.

Having both exited, Rey and Kylo battle one more time, but neither have the heart to do what needs to be done. Rey lets Kylo go, and Luke looks on, resolving to next time end the dark side.

-- 

Even looking at my version, there are flaws and missed opportunities. It seems like the relationship between Kylo and Rey are going to be deepend and explored, but the relationship between Rey and Finn and Poe need to be deepened as well, though that might be a good thing to delay until the third movie. Finn and Rey could both learn more about their new identity outside of what they were and then bring those lessons together in the third movie, during their reunion.

This also puts a lot of reliance on the past Jedi and figures (Obi-Wan, Yoda, etc.) which is something they probably should avoid. Episode VII had a very forward-thinking direction to the story, and putting so many anchors to the past might ruin that momentum. My sense is that as cool as it would be for them to go visit Force ghosts, they probably won’t in any major, direct fashion. In order for Luke to take on the role of Master, most of that expository/perspective stuff has to come from him.

Still, it’s fun to imagine.

 

-Chris