A miraculous deadline extension brought my week to an end a few hours earlier than I anticipated, so now I find myself crashing after a week spent at nearly full-tilt working on a review and three columns. This was instructive: while I generally got my copy in on time, I didn’t allow sufficient time for the revision process to play out, which had a knock-on effect that came to a head today. This tells me that I’ve got the slack in my schedule in the wrong places. I need to look at the copy deadline as the halfway point in an assignment, not the conclusion.
Anyway, I got my extension at the best possible moment: right after I’d finished writing my copy. Since the piece is finished, I can actually use the extra time to polish and find better art to accompany my piece. This is the best outcome. Early extensions have been known to be squandered on such literary pursuits as drinking in bars with friends, going to the movies, or trying to make it through a few more minutes of The Star Wars Christmas Special.
Still, there is no rest for the freelancer. I must log a few more hours with Pride of Nations and work up a review this weekend, and go on a screenshot expedition deep into the heart of Alpha Centauri. I should also figure out what we are doing for this week’s 3MA, something I was too busy to deal with during the week.
Beyond that, I’m going to use the weekend to finish up V for Vendetta, something I got distracted from by a copy of Ursula K. Le Guin’s A Wizard of Earthsea. I made the mistake of opening it, just to get a sense for what it might be, and the next thing I knew I was 50 pages in and utterly engrossed in the story. After V, I might move on to The Tombs of Atuan, or I might act on some of the excellent Terry Pratchett advice you guys supplied last week.
Anyway, while I try to lay the foundations for a great week, you should peruse this piece I wrote for GWJ on The Darkness and listen to a great conversation that Troy and I had with Ars Technica’s Ben Kuchera. The discussion with Ben, in particular, is worth your time. I wanted a discussion that got beyond the usual, “Scores are broken, we resent Metacritic” nonsense and discuss our work from a procedural angle. What do we take with us in to a review? Who are we writing for, and what do we try to keep sight of as we work?
One thing deserves some expanding on: rates. I have no idea what my peers are being paid per review, but with most places with whom I do business, bigger games get more space, and more space means a bigger payday. As a working writer, I have every incentive to chase after major releases and every incentive to pass on smaller games, because they are often not worth the time they would take to review.
Now I still do a fair number of small reviews because, hey, strategy is a small niche and I genuinely want to cover games that other people might not be talking about. But I have also had to pass on work from a few outlets who want me to cover a neat looking independent strategy game for ridiculously low pay. By the word, it makes sense, but with certain genres like sports and strategy, the time I spend writing is a scant fraction of the time I spend playing.
This creates an awkward middle ground. A lot of games that require some time-consuming work from a knowledgeable reviewer will not be lucrative enough for the people best qualified to discuss them. It also means that people who read review outlets are not getting the best service reviewers can provide: intelligent criticism of lesser-known games. A few times in the last year I have had to explain what my minimum rates are, and many outlets are unwilling to meet them for a minor title. They want the review, but not enough to pay for a considered, informed opinion. That’s a shame.