Days away from social media

(Art source unknown, but borrowed from this Medium article)

It’s been a little less than two months since I closed down my Twitter feed, and I can’t say I’ve missed it all that much. Sure, I still pop in from time to time for a minute or so, just to ensure I don’t lose access and to check in on those I follow who aren’t online elsewhere, but other than that, I stay well away.

I’m still on Bluesky and Threads, but even then I don’t stay for too long. Again, maybe for a minute or so. I spend more time with my east coast friends on our shared Discord, to be honest. My Instagram these days are mostly pictures of our cats Jules and Cali. Weirdly enough, the most time I’ll spend on social media is to watch some lawn care reels on Facebook, because they’re a lot of fun and surprisingly calming to watch.

That was the whole point of this detox, really…it wasn’t to take a vacation away from social media but to recalibrate my brain so I’m no longer beholden to it. I still feel like I could better use my time during breaks at work, but I’m not really beating myself up over it. I feel less stressed out, for starters. I feel less inclined to give into a daily rage about whatever nonsense is going on in the world. I’ve found a healthier social balance and I’ve decided I’m going to stay there for a while.

Does this give me more time for writing? Sure! I’ve been doing a lot of world building work for Theadia during breaks and slow times at work. I can get through a good chunk of revision work on Queen Ophelia’s War on a daily basis. I can zip through my daily 750Words. All this, and still have a bit of time left over to relax with non-creative fun things! Time management for the win!

End of year review – future inspiration

[Image courtesy of Saekano]

If there’s one thing that always worries me about writer’s block, it’s that I’m terrified that I’ll lose interest and nothing will inspire me to write. Outside inspiration has often been a big driver for me: coming up with In My Blue World while listening to ELO, Meet the Lidwells! from reading a ton of music biographies, and so on. But sometimes I’ll go through a spell of nothing quite resonating with me, and I always find that worrying. It’s like I want to write, but I don’t know what to write about.

I mean, it’s not as if something has to completely inspire me, far from it. But the issue, I think, is that it would often tie in with my state of mind at that moment. I’ve had low points in my life where I just stopped writing for months at a time. I’ve had busy points in my life where I just didn’t have the time. I’ve had rebounds where I was ready to write again yet had to relearn how to do it to my own satisfaction.

In writing Diwa & Kaffi, however, I realized that waiting for inspiration to strike might be good if you’re surrounded by that well, but sometimes you just have to push through and find it for yourself. Allow yourself to latch onto something unexpected. Stretch out and get out of your comfort zone a bit and see what resonates. I never thought I’d write a space opera but here we are with a nearly-complete story entitled Theadia. I never thought I’d write a romcom but that seems to be on the docket for 2024.

And that’s what I’m planning to do in the new year: go some place I haven’t been before, just to see what happens.

Creative…privilege?

So some AI-leaning techbro this week posted something on social media about artists, writers, musicians, etc., having the unfair advantage of “creative privilege” because they allegedly came to their craft with some gods-given blessing, and it’s unfair that the rest of the non-creative world has to actually, y’know, work at it, and it’s all unfair that we creatives have that advantage.

Or something like that. Either way, he’s currently getting roasted in response.

I’ll be honest, my first reaction to this complaint was that it kind of reminded me of high school. It reminded me of being a non-sports kid in a school where most extracurricular funding went to the boys’ football team, no teacher wanted be an advisor for school plays so there weren’t any, and the funding and printing for the school newspaper got pulled the year before. So me, my friends Kevin and Kris, and a few others, decided to use our creative privilege to edit and put it out ourselves, using Pagemaker on the school’s Mac and the gracious help of the printing class teacher who ran a few hundred copies off on printer paper and collated them for free. We used our creative privilege by figuring out a workaround and doing most of the work ourselves. Sort of self-publishing it, in a way. And it was a success! We kept it going the entire year on a consistent basis, got several other students to write articles, and kept it alive when no one else bothered.

If there’s such a thing as creative privilege, it’s the ability to move past roadblocks and obstacles. There’s no One Right Way or One Weird Trick They Don’t Want You To Know to do it either, because it’s different for everyone. It’s what works for you, and it’s most definitely not just about finding shortcuts, either. Running a complicated algorithm that essentially mashes up other people’s creative works and then slapping your own name on it is a shortcut, and a dishonest one at that. Figuring out your own style and voice takes hard mental and emotional work, and you need to put in that work, because those who see the end result can definitely tell the difference.

A good example: remember those music mashups of the early 00s? Some of them were amusing and entertaining, and I have a collection of them in my music library. But there’s a big difference between what’s known as the “A + B” mashup (one song over the other with minimal separation or creativity) and the actual DJ mixing (seamlessly sliding one song’s separated vocal lines onto the instrumental of another song). This so-called “AI art” and “AI writing” is, for the most part, the former. And it’s not artificial intelligence, despite the label it’s been given. The computer is merely running software and mashing up different parts the user chose, that’s all; any ‘mixing’ is also the computer doing a bit of barebones touch-up. And yes, you can definitely tell the difference.

So my answer? Sure! I’ve got creative privilege, and I’m proud of it because I worked hard for years at it! I may not be raking in the money and the prestige, but I’m still getting the occasional ebook sale and that’s pretty damn cool in itself. That’s all I’ve really wanted.

And I’m sure you can make it happen as well. You just need to do more than run an algorithm, have the computer do the mashup work, and say ‘there, it’s done’.

Ready to go again

I’ve been away from my WIPs for quite a long time, to be honest. Longer than I’d planned, but I’m okay with that. I had my reasons. But now I’m ready to get back behind the keyboard and set off on another adventure.

It just so happens that I finished up another one of my Great Reread sessions of my own work (for sequel-idea or WIP-finishing purposes) as of last Saturday evening. I finished the session with the Bridgetown Trilogy primarily to psych myself up for writing MU4, and in hindsight that was a good idea. The current version of MU4 that I’m working with resonates with the previous three novels yet stands on its own quite well, and that’s exactly what I was hoping for.

And what about the other projects? Right now I have Theadia and Queen Ophelia’s War on the front burners, and Sheila Take a Bow and Walk in Silence (the book) on the back burners. And I’m fine with that. I’m not worried about not having anything brand spanking new to work on — I think I’ve finally grown out of that particular hang up. I have the stories I want to tell, and I’m ready to start writing them. And if anything new does eventually come along, well, that’s what the 750Words site is for, right?

This also means I’m ready to start reading books again! Yay! I’ve finally gotten past the reading burnout and the indifference of my TBR pile, and I’m looking forward to catching up with what I have. And I’m also looking forward to looking for new titles again, something I haven’t done in quite a while. I don’t get that burnout all that often, but I’m glad in the knowledge that when it does happen, it doesn’t last for all that long.

I’m ready to go again, and I can’t wait!

Getting started…eventually

It’s occurred to me that one of the reasons I haven’t been doing any writing work lately — I mean, aside from focusing on the blogs and some Walk in Silence (the book) work — is that I’ve been working on rewiring my head a bit.

I’ve written here before, many times, that I’ve been too easily and willingly distracted by online things: social media, videos, comics, music, and so on. Over the course of this year I’ve been working on fixing that, and I think I’m finally at the point where I have it all under control. I’m not really giving any of it up, I’m just no longer being passive about it. I’ve been here before, I just want to make it last longer this time out.

So what about these new projects that are just…sitting there, doing nothing? Well, that’s a good question. And I have a plan that I hope will work. It might be a Best Laid Plan or it might actually work, but hey, at least it’s a plan: continue with the compartmentalization strategy.

I’m not assigning myself work here, which is the trap I’ve fallen into before. No, this is merely part of the job of being a writer. So for instance, say I have my first ten minute break of the day at work: my current habit is to head to the break room, have a snack, and screw around on my phone for a few minutes reading social media until it’s time to go back. Sure, it might be just fine on its own…it’s a bit of mental relaxation during a busy day, right?

I’m trying to break myself out of that. Mainly because I’m personally bored with the habit. It doesn’t do much for me anymore. [I mean, unless A texts me a picture of one of our cats. That’s always worth it.] I think about my other coworkers: some of them head outside to the upper parking deck. Some of them do a bit of reading or texting or chat with friends who are also on break.

My plan before was to change it up and go straight into writing something longhand. Hell, I even have a small notebook that fits perfectly in my jacket pocket! But once I’m on break….? Nothing comes. I’m right back there, futzing around online. Which means that I haven’t quite mastered the approach. What I need to do is prepare myself for that ten minute writing session! So how about this: let’s say I’m scheduled for that ten minute break at 10am. So to prepare for that, I can think about what I want to write at that time by, say, 9:45. A fifteen-minute prep time while I’m ringing up customers. I can definitely think about my writing while at the register, I’ve done it loads of times. So by the time I do go on break, I’m ready and prepared to pull out that notebook and do a bit of work!

To change it up, why not change the setting as well? Go up on the roof, head outside, go somewhere for that ten minutes. And I’m sure that by the time I get this preparation down, I can use all that extra time during my half-hour lunch using the same process to add to the word count.

Will it work? Well, who knows? But it’s worth a shot, right?

Once more in B-Town

So I’m caught up with the rereads of my current WIPs and I’m ready to get started on the rewrites and revisions of those, which leaves me with one last major task: to reread the Bridgetown Trilogy once more to prepare myself for writing MU4.

Thoughts so far:
–That first chapter with Nehalé Usarai holds up really well after all these years. I love that it hints at the ‘slow build’ of the entire trilogy: quiet and static at first, and slowly growing in intensity and ‘volume’ until the end where you’re left breathless and with a feeling of ‘oh shit this is not going to go well for a lot of people in this city, is it’. I wrote it that way on purpose.
–Sure, the introduction of Caren and Denni uses the classic ‘waking up from a bad dream’ trope, but my writing has been all about using those kinds of tropes and twisting them in different directions. They were not dreaming but visiting their separate lumisha dea — their place of spiritual inner peace — and the visits were not so peaceful this time out. I was lucky in that by 2015 I was intimately aware of the ins and outs of this trilogy so I knew how to make tropes work to my advantage.
–Would I change anything, years later? Maybe? I think I could have beefed up a few character descriptions here and there, maybe make a few of them more dynamic, and fix a few grammar and word choice mistakes, but storywise? Nope. I’m definitely proud of this work. I did exactly what I wanted to do with it and I’m thrilled with the results.

One of the reasons why I return to this universe is that I simply love being within it. It’s the one where I spent this much time, energy and thought: unique characters, detailed maps, an alien language, a spiritual belief system, even a way to travel long distances. It was my own take on the science fiction genre, and I saw it as a way to have fun with the creative process. I could take as deep a dive into it as I wanted, and I certainly did, many times over. And I knew that once The Balance of Light was done, I’d be done with the trilogy…but not necessarily the universe itself. I always knew I’d come back to it, one way or another.

Once I’m done with the trilogy, I’ll of course read what I have so far of MU4 and go from there. I’ll most likely have a much better grasp of what I want to do with it, and what I should do with it.

Juvenilia and Poetry

It’s a trick I learned from working on music history chronology: sometimes things just make a bit more sense when you put it all in the correct order. How one thing ties in with another, perhaps influences something else, all while putting it in a clearer context.

Not counting that bit of extracurricular fun I had in fifth grade, my poetry and lyric writing started sometime in the early months of 1988. The IWN had been completed and its sequel started, and I’d also just finished a very silly John Hughes-influenced screenplay (also my first completed one) in the fall of 1987, and to top it off, I’d just bought myself a cheap bass guitar for $25 downtown and was about to teach myself how to play it. [There were two to choose from, and the other one was shaped like an Uzi submachine gun — no, I’m not kidding — so I grabbed the headstockless one instead.]

I kind of fell into writing poetry because I wanted to try something different. I also wanted to start a band and would be doing so at the start of 1988. With that plan in mind, I figured I’d also need to start writing some song lyrics as well. I latched onto my favorite influences at the time: the goth wordplay of The Sisters of Mercy, the oblique artiness of Wire, the doom and gloom of The Cure and the quirky love songs of Depeche Mode.

The first couple of attempts weren’t all that serious, but I wasn’t taking my assignment all that serious to begin with. I wanted to have fun with it! Most of it would be written in notebooks and on scraps of paper, written in my bedroom. By late summer of 1988, however, I came up with an idea: what if I take one of these numerous notebooks I have in my room — say, this Mead composition book that I rarely used for school to begin with — and started writing in it?

But that was still a few weeks away. Right now I had more pressing things on my mind: my best friends from high school — the ones who were all one year ahead of me and had graduated that May — were about to head out of town and off to college. That hit me pretty hard, and not just because they were all going away…I’d always been the ‘last’ in one way or another. The youngest sibling, the youngest in my extended relations of numerous cousins, one of the last kids of my age in the neighborhood. Usually last picked in gym class as well, of course. It was not so much a sense of abandonment as it was a profound sense of being left behind because I wasn’t allowed to catch up. That would haunt me for quite a number of years.

And it would be the impetus of a lot of my poetry, lyrics and fiction writing around that time. I found solace in listening to music and losing myself in my creativity for a few hours. That composition book would be where I’d bleed out whatever was going on in my head. And I’d also given myself one rule: no boundaries here on the page. If I felt safe in writing something heartbreaking, or horrifying, weird or embarrassing or even hilarious, then I wouldn’t hold myself back at all. My first attempts were sketchy and slight at best, but by the winter of 1988 I’d found the voice I’d needed. I just needed to keep going.

Revisiting these poems now, so many years later, I’ve been able to put this all to rest and in its proper order. I can look at these with emotional distance and appreciation. Putting these in their proper order and context, without holding back on any memories or subsequent clarity that might arise, has indeed brought on both in abundance. Answers finally given, clarity finally achieved.

AI and Writing

I’ll be honest up front with one thing: knowing me and my utter lack of patience, planning and focus in junior high and high school, I’d probably have used AI to write some if not all of my term papers if it had been around when I was a teenager. I’d have known enough to take the end result and revise it so it sounds more like me than a bot scraping info from the ‘net, but yeah, I would have been that student. I might have been one of the smart kids growing up, but the slow rigidity of school education often bored me.

These days however, the only reasons I’d use online AI bots is as a playground. Create silly mash-up picture memes. See what it can do sonically with music as inspiration for my own. Use it for character worldbuilding, just enough to keep it a private reference but not call it official. I’m not sure if I’d ever use it for writing, per se, because that would just be a) cheating, and b) taking all the fun out of what I love doing. I mean, come on: there’s nothing I love more about writing than working through the bits and bobs and swivels and parallels that go into writing a novel. That’s the best part! Why would I want to let a bot do that??

As is usual with a lot of my takes on various things, my feelings on AI these days is complex and often paradoxical. I love it and hate it. I’m fascinated and repulsed by it. I hope that it isn’t completely eradicated but I also hope that we find ways to tame it. I hope that it doesn’t die out as a fad but I’m pretty sure that, like VR in the early 90s, companies will try to monetize it and it won’t age well in a few years. I hope we don’t get a lot of terrible movies about AI (guaranteed to be about either hackers saving the day or bots taking over the world, as they often are), but I do hope screenwriters come up with clever ways to integrate the AI idea into their stories.

I do hope that the fad of creating full-on novels via AI will go away and stay away, however. I do believe that one won’t last long as most professionals are already calling ‘authors’ out on it. [And I do put that in quotes because come on: are you really a novelist if all you do is type out a few prompts and let a computer do the rest?] We’re near the beginning of this particular wave, so it’ll probably take a little longer for it to fade away, but I just don’t see it becoming anything major once that wave crests and starts to retreat.

New Settings in the Mendaihu Universe

One thing I’ve been looking forward to in writing MU4 is that many scenes take place in locations that weren’t in the original trilogy. For instance, three of the first four chapters I’ve written so far take place outside the Bridgetown Sprawl, specifically in and around a small outpost town west of the city. It has specific ties to the trilogy, but as of now those ties aren’t the main focus.

It’s been fun and refreshing so far to write these characters in this new location. I’d been wanting to write a MU story set in the Wilderlands for ages! While this doesn’t solely take place here, a good portion of it will. This of course means giving the location a distinct layout, perhaps a map or two that I can use for reference, just as I did with Bridgetown. It’ll also have its own set of rules that I will need to follow. This is a special place in the mythology, so what happens here will affect everything that happens after.

Creating the setting has always been one of my favorite parts of writing novels, to tell the truth. Such as the city shared in two different universes/timelines for In My Blue World. The bayside cities and suburbs of Diwa & Kaffi. Even the small New England town of Meet the Lidwells. I love creating layers of this kind of background: its geography, its size and shape, its population. Little things that might not be completely important to the story as a whole, but certainly makes it more real.

Creating and Cats

Writing — well, pretty much doing anything around the house — with two young cats prowling around and constantly getting under foot and demanding attention can be a bit tricky. Cali and Jules have been with us for a good couple of months now and they’ve been a lovely addition to our home and the biggest distraction ever. (Sometimes enforced distraction when one of us needs to get work done and the other needs to take over catsitting duties.) It’s a matter of taking it as it comes and squeezing whatever time we can to do it all.

During my evening writing sessions I’ll use one of the stick toys to get one of them away from A’s knitting and yarn stash, and eventually they’ll forget that A has all that enticing and chewable yarn in the other room. Jules is a little easier to sway, as she’s more chill about everything and will end up napping on the cat bed I have here in Spare Oom. Cali is a bit harder to deal with, but eventually I’ll get her to calm down as well. Giving them the nightly bowl of kibble also helps. We’re hoping they’ll become a bit less chaotic as they grow older, but for now we’ll need to keep them occupied when and how we can.

In the meantime, as I write this Jules is in the Spare Oom cat bed and Cali is most likely in the cat tree in the living room. That gives us a bit of personal time to get work done. It might not always be a lot of time, but it’s time enough for now.