r aging s wan p ress e a wesome a t f reelance g ame d … · this book gives you the tools you...
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BE AWESOME AT: RAGING SWAN PRESS
FREELANCE GAME DESIGN
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GAMING ADVICE
PUBLISHING FREEL ANCING
GMING PL AYING
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BE AWESOME AT FREEL ANCE GAME DESIGN
Want to break into freelance game design, but don’t know where to start? Have you already had a crack at pitching a project and failed? If so, this is the book for you! Inside, Creighton Broadhurst publisher at Raging Swan Press and an ENnie Award winning game designer reveals his hints and tips for a successful career in freelance game design.
Design: Creighton Broadhurst Additional Design: John Bennett Development: Creighton Broadhurst Editing: Aaron T. Huss Cover Design: Creighton Broadhurst Layout: Creighton Broadhurst Interior Art: Paul Daly and Matt Morrow. Some artwork
copyright Paul Daly, used with permission. Special Thanks: Frank Gori and everyone who shares their
opinions and insights on my blog about the subjects presented herein.
Thank you for purchasing Be Awesome At Freelance Game Design; we hope you enjoy it and that you check out our other fine print and PDF products.
The moral right of Creighton Broadhurst to be identified as the author of this work has been asserted in accordance with the Copyright Designs and Patents Act 1988. ©Raging Swan Press 2013. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.
Published by Raging Swan Press
November 2013 ragingswan.com
C O N T E N T S
What's The Point of this Book? .................................................... 2 Why You Should Take My Advice ................................................. 2 Eight Reasons To Freelance ......................................................... 4 Twelve Reasons Not To Freelance ............................................... 5 Golden Rules ................................................................................ 6 Project Management ................................................................... 7 Great Books ................................................................................. 9 Be Productive ............................................................................. 10 Be More Productive ................................................................... 11 Project Outlining ........................................................................ 13 How To Level Up ........................................................................ 14 Why You Should Have A Website .............................................. 15 How To Kill Your Career ............................................................. 16 Pitching a Project ....................................................................... 18
D E S I G N I N B R I E F
Designing Dungeons .................................................................. 20 Designing Dungeon Ecology ....................................................... 21 Designing Unoccupied Rooms ................................................... 22 Designing Encounters ................................................................ 24 Designing Treasure .................................................................... 25 Designing Settlements ............................................................... 26 Designing NPCs .......................................................................... 27 Designing A Villain’s Motivation ................................................ 28
If you enjoyed this book, check out my blog where I post advice
twice weekly about freelancing, publishing and gaming
raging‐swan.livejournal.com
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W H A T ' S T H E P O I N T O F T H I S B O O K ?
This book gives you the tools you need to become a successful freelancer. If you've always wanted to have a go at freelancing, but didn't know where to start, this book is for you! Within these pages, I've distilled my 14 years of experience in the gaming industry. I don't explain the esoteric, maddening mysteries of grammar, the hidden truths of sentence construction or the terrifying secrets of crafting a compelling story. I don’t talk about game design. You can get that all elsewhere. Instead I give you practical advice on how to work professionally, pitch to publishers and secure reoccurring work. I've endeavoured to keep the advice herein as system neutral as possible. While my writing experience is exclusively with Dungeons & Dragons and the Pathfinder Roleplaying Game, the principles, tips and tactics within this book work with any game system. I hope you find this book interesting, but more than that I hope it helps you find success as a freelance game designer.
W H Y Y O U S H O U L D T A K E M Y A D V I C E
In short, I've been around the block. I've been on both sides of the designer/publisher fence. In 1999, I started out as a hungry, wildly inexperienced and tremendously naive freelancer. Now, I'm a grizzled (nay veteran) publisher and editor who has written, edited and developed well in excess of 1,000,000 words of gaming content. I've written for big and small publishers alike and won an ENnie for Madness at Gardmore Abbey (2012 [Silver], Best Adventure). A partial list of my design credits includes: Wizards of the Coast (Monster Manual V, Exemplars of Evil, Madness at Gardmore Abbey), Paizo Publishing (Dragon Magazine and Dungeon Magazine), Expeditious Retreat Press (Legacy of Darkness, Plague), Kobold Press (Deep Magic), Rite Pubishing (Pathways magazine, Adventure Quarterly) and Raging Swan Press (Retribution, Shadowed Keep on the Borderlands, The Sunken Pyramid). During my early freelance days I was very lucky to have a mentor of sorts. Stephen Radney‐MacFarland at the time was the RPGA's Big Cheese and my Living Greyhawk boss. During the course of the campaign, he gave me countless pointers and pieces of advice on how to commission, edit and develop modules. He gave me tremendous insights into the design process both in the campaign and at Wizards of the Coasts. (Luckily, he also didn't strangle me despite serious provocation on several occasion). During my time on the campaign I worked on over 100 modules and wrote another 20 or so myself. I had a lot of time to practise his suggestions. In 2010, I founded Raging Swan Press and have built it into one of the most successful, prolific and recognised publishers of Pathfinder compatible products in the multiverse. I've worked closely with dozens of freelancers and to date (November 2013), have released over 160 supplements, adventures and player aids. I want to share with you the insights and advice I've received over the years. I was lucky enough to have a mentor, but you might not. If you have questions, contact me at [email protected].
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E I G H T R E A S O N S T O F R E E L A N C E
YOU ’V E F L I R T ED WI TH THE I D EA OF F R E E LANC ING FOR SOME T IME , BUT NEV ER TOOK THE P LUNGE . YOU SHOU LD – D I V ING I N TO THE F R E E LANC E WORLD CAN B E AN I N C RED I B L Y POS I T I V E E X P ER I ENCE !
Loads of gamers dream about freelancing and writing the next big adventure, sourcebook or game system. Very few, however, realise their dream of getting into print. That’s a shame, as with the vast array of indie and 3PPs in the industry, getting into print has never been easier!
It’s Fun: Freelancing is fun. You get to work at the hobby you love – and you get paid! Share Your Stories & Ideas: Every GM has a story to tell. Writing adventures, sourcebooks and campaign settings is a terrific way to
share yours with the gaming community. Alternatively, you might have great ideas for new classes, spells, feats and other game‐related mechanics. Personally, I get a real kick out of knowing my adventures and sourcebooks are used all over the world. I enjoy knowing I’m having a positive impact on people’s gaming experiences.
Share Your Expertise: If you are interested in freelancing you’ve probably spent a lot of time with your chosen game system. Given that, you probably have a higher level of proficiency than most gamers. You should consider sharing that expertise.
Build An Industry Profile: Everyone dreams of working for one of the big companies in the industry. To achieve this, you need to start small and work with 3PP (or indie) companies. As you get more practised and recognised, you can work your way up through larger and larger companies.
Gain Insights Into Publishing: You might be thinking about becoming a publisher. Before you dive into the deep end, work with some other companies first. You’ll gain valuable insights into the design and development process along the way, which will serve you well later.
Develop Your Skills: Successful freelancing requires many skills. You need to be good at time management, following a design brief and countless other disciplines. All these have applications in the real world. Freelancing is a great way of practising them and having fun at the same time.
Slyly Work On Own Campaign: If you are lucky, you might be able to marry your freelance work to your own home campaign. If you manage this, it is awesome. Not only are you being paid, you are being paid to work on your own campaign. How many GMs manage that?
Pocket Money: You are unlikely to earn a living from freelancing. On the flip side, you can earn some decent pocket money doing the thing you love.
Q U E S T I O N S T O A S K Y O U R S E L F B E F O R E S T A R T I N G A F R E E L A N C E J O B
Do I have the skills to complete this job? Do I have the time to complete this job? Am I genuinely interested in the module/supplement/whatever? Is this something I’d use in my own game? Can I work with this publisher? Do I want to do this project?
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T W E L V E R E A S O N S N O T T O F R E E L A N C E
I T ’ S SAD TO SA Y , BUT SOME PEOP L E SHOU LD MOST DE F I N I T E L Y NOT PURSUE A F R E E LANCE GAME
DE S I GN CARE ER .
When a publisher contracts you for a job, he is not just buying your talent. Being good at your job is important, but equally important are your attitude and motivations. I've previously talked about why you should take a stab at freelancing. Now it's time to talk about the reasons why you shouldn't.
You Want or Need to Earn a Decent Wage: I'm sure some folk earn good money in the roleplaying game industry. The vast majority of freelancers don't earn enough money to live on. However, freelancing can be a source of some nice extra money, but it is very unlikely to put a roof over your head or food on the table for your family.
To Prove Your GM Wrong: Perhaps you wanted to use a new feat or spell you'd designed and your GM said no because he didn’t think it was balanced. Getting it published by a 3PP and then telling your GM "it must be good ‐ look it's in print" is not a good reason to freelance.
People Are Gaming Wrong: You know the right way to play and your amazing designs will convince everyone else they’ve been doing it wrong. They are fools and it is up to you to show them how to do it properly. I'm not even sure where to begin with this one. At the end of the day, if people game and have fun they are doing it correctly. Get over it, move on and focus on providing exciting, compelling content.
Fame And Adulation: It's cool to see your stuff in print. Personally, I love to hear about people enjoying my adventures and sourcebooks. However, at least at the start, you are unlikely to be invited to conventions as a VIP. People are unlikely to queue up to meet you and sadly, you probably won't get too many free drinks.
You Don't Take Criticism Well: Even if you are the best writer in the world, some people will hate your work. Others won't like it. (Don't believe me? Check out the Amazon reviews of your favourite books – I bet they have some one‐star reviews). Some of the people who don't like your work will write reviews. If you can't cope with that, don't freelance. Other people will provide constrictive criticism – if you can’t accept that, don’t freelance.
You Don't Play Anymore: If you don't play the game anymore, you can't really write well for it. Playing a game gives you a great sense of what works and what doesn't, what is interesting and fun and what isn't. If you don't have that experience, you really shouldn't write – you are doing your publisher and customers a disservice.
You Hate Being Told What To Do: The publisher commissioning you to design for his company has a set idea of what he wants. If you are the kind of person who ignores design briefs because your ideas are better, you shouldn't freelance. You'll annoy your publisher and waste each other’s time.
You Don’t Believe in 3PP: You believe you are destined to work for one of the big companies in the industry and don’t see why you should bother with 3PPs. After all, their offerings are substandard and unbalanced.
You Are Anti‐Social: If you are anti‐social and are not going to bother promoting your work you shouldn’t freelance. Even worse than this are the freelancers who insult customers leaving any review that isn’t 100% glowing or who dare to ask questions about their work.
You Don’t Care About Grammar and Spelling: You might believe you are the best designer in the world, but if your text is riddled with grammatical errors and typos – and you don’t see why you should fix as many as possible – you really shouldn’t freelance. Good freelancers make certain their text is as clean as possible before turning it over.
You Don’t Finish What You Start: Some people don’t seem to be able to finish what they start. Even when they have a contract and will be paid, they still fail to finish what they said they would. If you are one of these people, don’t waste your time and the publisher’s time.
You Can’t Handle Seeing Your Work Edited: Even the greatest writers make simple mistakes; that’s why we have editors to clean up the text. If you have a hard time seeing your content edited or simply can’t handle someone else changing what you’ve written, you really shouldn’t freelance.
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G O L D E N R U L E S
FR E E L ANC ING I S TOUGH . LONG HOURS , BAD PAY AND DE S I GN ANGS T AR E THE LOT OF A
F R E E LANC ER ’ S L I F E . F IN I SH ING ONE J OB I S HARD ENOUGH , BUT L AND ING A FO L LOW ‐UP CONTRAC T
REQU I R E S MORE THAN J U S T COMPE L L I NG CONT ENT . . .
There is a lot more to freelancing than just creating material. When designing a project, never lose sight of the fact publishers work with freelancers with whom they like working. If you make their job easy, by following the golden rules below and designing great content, you’ll get repeat work.
Accept and Value Feedback: Face it – you are not the best designer in the world and not everyone is going to love what you write. If your publisher gives you feedback, embrace it. The fact that he is bothering to provide feedback means he thinks it is a worthwhile use of his time. He is probably planning to work with you again – otherwise why would he bother? If a customer posts a review with constructive criticism, read and ponder the suggestions. You don’t have to agree with the comments, but you should consider them – after all, the reviewer might have a point (and I assume you want to improve your design standard).
Accept Your Work WILL Be Edited: Your work is not perfect. You made mistakes. Some freelancers assume their text is perfect. They argue over even the smallest change and scream blue murder if the foolish publisher asks for changes or revisions. This kind of freelancer is hell to work with. Don’t be this guy. Rather accept your work will be edited or that you may be asked to revise portions of the text.
Edit: Ruthlessly edit your work. Expunge as many typos, grammatical errors, extraneous words and so on as possible. This makes you look professional and results in a tighter, polished turnover.
Follow Guidelines: The publisher has provided you with a design brief. He’s probably also provided a style sheet and possibly even his general design principles. Follow these religiously. If you don’t, your work may be rejected as unsuitable or you could create a lot of needless work for the editor. Either way this could delay the project or add to its costs. Neither scenario is likely to endear you to the publisher.
Get A Contract: Don’t work without a contract and don’t work for free. Value your work (but don’t expect a gigantic pay check). Hit Deadline: Hitting your deadline is crucial. Your publisher will be ordering artwork and commissioning an editor to polish and
develop your work. He will also have inserted your product into his release schedule. Missing deadline means the publisher faces a stark choice: push back the release date or rush the development of the product. Neither is ideal.
Hit Word Count: You’ve been contracted to provide a certain amount of words. Hit that target. You don’t have to hit it exactly, but you should aim to be as close as possible. A good benchmark is +/‐ 10%.
Keep in Contact: Publishers like contactable freelancers that are responsive to questions. Silent freelancers can make publishers very nervous – particularly if they have not worked with you before. Check your email once a day and reply to you publisher’s emails within a day. If a disaster happens to you – a family member becomes ill, your computer explodes or whatever – let the publisher know immediately. We are pretty understanding about this kind of stuff as long as you don’t surprise us on the day you are due to turnover your work.
Know the Game: If you are writing for a particular game system, you need to be conversant with its mechanics. No turnover is mechanically perfect, but you should strive to follow the rules as written as much as possible. If you need to include house rules and suchlike discuss these with the publisher before adding them into your project – particularly if they are in some way pivotal to the finished product.
Know the Publisher: Be familiar with the company’s other products – particularly if your project is part of a product line. Some publishers are happy to provide free PDFs of previous entries in the line; others expect you to already have copies.
Play the Game: Play the game for which you are writing. If you don’t, your work will suffer. It’s that simple. Write: Even if you are not on a job, practise writing and designing. Designing is like any other skill – the more you do it, the better you
get. If you have a website (and you should [page 15]) you can post the fruits of your labours there.
Following the rules above will make you beloved of publishers and editors the world over. Of course, you still have to provide compelling, exciting material but these golden rules of freelancing vastly improve your chances of success.
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P R O J E C T M A N A G E M E N T
YOU ’V E GOT YOUR F I R S T F R E E LANC ING G IG AND YOU AR E SUPE R E X C I T ED . YOU ARE GO ING TO B E
PUB L I S H ED ! AWESOME ! FUL L OF EN THUS I A SM , YOU S TA RT POUND ING AWAY A T TH E K E YBOARD . AND
J U S T L I K E THAT , YOU ’ V E MADE YOUR F I R S T MI S TAK E . . .
It’s happened to all of us. (Well, it’s certainly happened to me). In the “rush to design” you dive into your new project and start creating super awesome stuff. You never stop to think about the project as a whole – focusing rather on the minutia of new feats, new spells, exciting encounters and so on – and utterly fail to deliver what the publisher wanted. Before you start designing, you need to take a step back and look at the project brief. You need to understand:
What You Are Doing: If the publisher has contracted you to deliver 2,000 words of new spells, don’t give him 2,000 words of new feats. If the design brief calls for a dark and gritty dungeon, don’t design a comedy homage to your favourite film. Read the design brief and then read it again. If you don’t know what you are meant to be designing, you vastly improve your chance of failure.
Who Are You Designing It For: That’s easy, right? You are designing it for the publisher, right? Wrong. While you are employed by the publisher, you are designing the product for the end user – the customer. That’s kind of obvious, but think about what that means. Are you designing the project for ten‐year‐olds new to gaming or old grognards who reminisce about deathtraps of old? Power gamers? Role‐players? All those groups want to play the same game, but they have vastly different needs and play styles. If you don’t know who you are designing the project for, you vastly improve your chance of failure.
Why You Are Designing This Project: Obviously, the publisher is hoping to make money. Beyond that, though, you must understand the product’s purpose. Is it part of a line? Is it a standalone? Does it have a particular theme or is it set in a particular world? Understanding a project’s goal(s) – and there could well be more than one – empowers you to design outstanding, relevant material. If you don’t know what the project’s goal is, you vastly improve your chance of failure.
What Success Look Like: Failure sucks. You waste your time, the customer wastes his money, the publisher loses money and you (probably) don’t get another gig. Understand how to succeed before you start. For example, if the publisher wants a 4,000‐word adventure, give him what he wants. Turning over vastly more (or far less) is a disaster as is turning over material that bears no relation to the design brief. Page counts, editing costs, art costs and even print cost estimates all get thrown out the window. Similarly, turning over the most awesome project in the history of game design is great, but doing so a year late is not so great. If you don’t know the criteria for success, you vastly improve your chance of failure.
The above advice might seem blindingly obvious, but in the “rush to design” freelancers often forget or ignore even the clearest and simplest instructions. So remember, if you know what you are designing, for who you are designing it and why you are designing it you massively increase the chances of your success!
Q U E S T I O N S T O A S K B E F O R E T U R N I N G O V E R Y O U R W O R K
Have I included everything the publisher asked for? Have I met the project’s objectives? Realistically is this the absolute best I can do in the time I have? Am I proud of this work?
If you answer “no” to any of the above questions, don’t send off your work.
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G R E A T B O O K S
A SUCC E S S FU L F R E E LANC ER NEVER S TOP S READ ING AND L EA RN ING . WHI L E YOU CAN EN JOY , AND
L EA RN F ROM, A LMOST ANY BOOK , SOME AR E WAY B E T T E R THAN OTHER S . OVER THE Y EAR S , I ’ V E COME TO R E L Y ON A HANDFU L OF GREA T BOOKS .
I’ve read dozens, if not scores, of books in my quest to be a better designer. Some have been crap – and I’ve thrown them away – while others have earned an everlasting spot on my bookshelf. While I wouldn’t run into a burning building to save those books, I would re‐buy them as soon as the insurance company paid up. Of the books in my library, those listed below are the absolute best.
Complete Kobold Guide to Game Design (Wolfgang Baur and others): A compilation of three earlier releases this book features 40 well‐written, thought provoking essays on a variety of aspects of game design. It contains practical advice for designers and GMs and is well worth the price.
The Elements of Style (William Strunk Jr.): This small book is only about 100 pages long, but contains everything you need to know to write grammatically correct material. Buy it, read it and study it. Editors and publishers will love you for it.
The Writer’s Complete Fantasy Reference (Various Contributors): This book has been called an “indispensible compendium of myth and magic.” In my opinion, that’s an accurate description of its contents. Of course, it’s not the final word on fantasy writing but it contains a vast amount of useful information for a designer. It’s an extremely handy reference.
Thesaurus & Dictionary: A decent thesaurus and dictionary are indispensible – as a designer, your stock in trade is words. I’ve got a gigantic Collins Thesaurus. The book is so big you could beat a sheep to death with it. I’m not suggesting you should use tons of old and archaic words, but a decent thesaurus is a treasure trove of evocative, atmospheric words. A twin to my gigantic thesaurus, my dictionary is also by Collins. I much prefer these books to using an online resource. There is something rather satisfying about leafing through a book this size.
H O N O U R A B L E M E N T I O N S
These books may, or may not, be relevant to you. It depends on the kind of project you are working on. They are all awesome!
The Kobold Guide to Worldbuilding (Wolfgang Baur and others): This book might not be immediately relevant to all designers, but it’s a cracking read for designers creating a new setting (or elements of an existing setting).
The Time Travellers Guide to Medieval England (Ian Mortimer): If you want to add authentic details and verisimilitude to your work – and you are working in a medieval or quasi‐medieval setting – this book is absolutely invaluable. As well as providing a mountain of facts and details on the medieval world, it is extremely well written and very readable.
So that’s my list of really useful books for freelancers. Most are quite inexpensive and well worth the investment. All are easy to track down.
O T H E R S U G G E S T I O N S
You can find inspiration and ideas almost anywhere. Here are a few more suggestions:
Guidebooks: One of my oldest gaming friends once suggested to me that whenever I visit a historic monument or place of interest, I should buy the guidebook. Guidebooks are so cool. They often include maps, interesting facts, notable historical figures and more. A clever designer can take these titbits of information and weave them into his new project in interesting and innovative ways. I have shelves full of these things. If you can’t visit such locations yourself, you can often find these kind of books on eBay very cheaply.
Maps: If you need to name a village, street or practically anything else, study a map for a few minutes and a likely name might just pop out. Even if a name doesn’t immediately reveal itself you might get an idea based on an existing name.
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B E P R O D U C T I V E
THE SAD REA L I T Y I S THAT PRODUC ING DECEN T , RE L E VANT MATER I A L – ON T IME – I S HARD . AT TH E
S TA RT OF A PRO J E C T EVERY TH ING S E EMS GREAT , BUT QU I C K L Y TURNOVER DAY I S UPON YOU AND I F
YOU ARE NOT CARE FU L YOU ’ L L FA I L TO DE L I V E R WHAT YOU PROM I S ED .
Do you work at peak efficiency all the time? Are you as productive as you could possibly be? I think not. You can always be more productive, but the question is how to achieve this. Following the suggestions below has helped me become much more productive.
Have a Notepad: I carry a notepad (and pen) with me pretty much everywhere I go. Whenever I get a random thought – perhaps a cool place name, an interesting sight or whatever I note it down. While it might not be immediately relevant to the project I’m working on it might be perfect for the next one.
Have A Routine: I tend to be my most productive in the morning. After lunch, I don’t seem to be as creative. I’ve learnt this over the years and now do my creative work in the morning and all the boring business stuff in the afternoon. Setting this routine has enabled me to create much more quality material. Experiment with and discover your own routine. What works for me, might very well not work for you (and vice versa).
Make Time To Edit: When I write, I tend to write quickly. I’m not focused on getting every last word spelled correctly; I just want to get the material down. Once I’ve finished I go back through the text and fix any really obvious mistakes but I don’t do a full‐scale edit at this point. Instead, I normally leave the manuscript for at least a week before looking at it again. I find that in this way when I come to revise a manuscript (see the next bullet point) I spot many more mistakes – or “developmental opportunities” as I once heard it put – than if I revised it the next day.
Plan: Before you start, make a plan so you know exactly what you need to do to complete the project. This might include deciding how many stat blocks to create, listing the spells you need to design or even allocating specific word counts to certain parts of the project. A plan of a project is like a map of a journey; without it, you’ll likely get lost.
Revise: Rarely (or more accurately never) is a first draft perfect. Leave time in your schedule to rework portions of your manuscript. For example, this article has been edited and revised three times and I expect you’ll still find errors.
Set Your Writing Environment: I expect you do most of your writing in one place – perhaps in your office or at your kitchen table. Make this environment as welcoming and conducive to work as possible. For example, clear clutter away, have any relevant books close to hand and so on. It’s also a good idea if you live with anyone else to let them know you don’t want to be disturbed while you work.
Turn Off The Internet: Choke. I know. Take a deep breath and turn off the internet. For you, writing time should mean no email, Twitter, Facebook or random, utterly pointless surfing. It’s like trying to write while someone is talking to you. Turn off all the chatter and truly concentrate on what you are doing.
Understand The Project: I’ve talked before about understanding the project you are working on (page 7); sufficed to say, if you don’t understand the project you are working on you are unlikely to produce good, relevant material on time.
E V E R N O T E
I’ve talked above about always having a notebook and pen with you. I think that’s really important; sometimes it is not appropriate to be tapping away on a tablet or phone. However, when it is appropriate to use a device, I highly recommend Evernote.
Evernote is a piece of note taking software that can be installed on your phone, tablet or computer. It’s cross‐platform and automatically syncs your notes across all your devices whenever you have a network connection. The basic version is free (and even better, the basic version is pretty much fine for most users). Get it free at evernote.com
F I N D Y O U R O W N W A Y
The advice on this page and the facing page may or may not work for you. Perhaps you work best in silence or don’t like to plan. As long as the way you work is working for you it doesn’t matter.
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