Trivial Writing

Home » 2013 » May

Monthly Archives: May 2013

Rant: Staying Afloat in the Shallows

For those of you wondering about the state of MB, it’s still in the works. Don’t worry, I haven’t forgotten it. My schedules have been pushed around a bit and my interviews postponed, but the concept lives on.

Today’s rant is a bit personal. While I usually include anecdotes in my writing, I tend to avoid talking about myself. This is quite on purpose. “Trivial,” as my gaming blog and writing blog are called, refers to myself, in part. I’m just some trivial punk writing my thoughts and ideas out for you to read and consider. I have no problem with that. What matters to me is the internet identity that manifests from those ideas. They will coalesce and take on a life of their own. They’re part of me and separate, as well. I figured the name should acknowledge that while it also defines it. It also shortens to “Trivia,” which is a substantial portion of who I am.

Today, though, I have something to say that cannot be divorced from who I am. For a long, long time, I’ve wanted to be a writer. In my younger years, I thought that meant that I could get along on talent and inspiration. It took time and effort to realize that those are but the seeds. It takes determination and a considered hand to craft a writer from a talented youth. There are days I resist the written word. There are days it resists me. However, if I’m ever to feel comfortable in the skin of someone that calls themself a writer, then I need to be able to work through those days. Otherwise, I’m just someone who writes. This is a craft, after all. If I don’t push myself, then I’ve failed right out of the gate.

It’s a life-long pursuit. So, I might as well start now. That’s where my blogs and Trivial Punk came from: the urge to write and improve. I needed to prove that I could make this MY craft, while, simultaneously, proving that I belonged to it. That was the beginning, though. Halcyon days don’t last forever, and my raw idealism has since transformed itself to cynicism. That cynicism became desperation, which became hope and determination. You see, when I wrote Descent, part of me was acknowledging the grind that my life could become. The life of a freelance writer is not a wealthy one, and bills catch up with the best of us, except perhaps the ultra-wealthy. I realized that this life might not be sustainable and that I needed to find a way to make it work. Otherwise, I would have to drop what I’m doing here and return to academia for my Masters in Psychology far before I was ready.

I know it doesn’t sound like a desperate life. In truth, it’s really not. I’m not trapped or bereft. My poverty is of my own choosing, a symptom of my dedication to this and other pursuits. I have a possible future and the means to make it happen that could furnish me with interesting work unto my grave. That sounds fine, but it’s missing a key element: my desire. Descent was, in part, an acknowledgement of the small consolations and compromises we use to get through life and the dangers of following them to their logical conclusions. There’s no point where we truly choose “a life.” It is the result of an endless stream of small decisions and minor circumstances. I know this sounds like the whinging of the privileged, and it is. I’m well aware of the advantages of my position, and I’ve never once looked on them with scorn. I am grateful.

Simply put, I don’t want to compromise my life away. I want to design games and write stories. I want to use my knowledge of psychology, and the further study I’ll pursue, as a means to create beautiful experiences and promising treatments. I don’t want to reduce it to an end. It’s my hope that understanding the organ we’re engaging and the being it represents will let us create gaming experiences of a truly transcendental nature. That we’ll use the fleshed-out worlds of the sand-box genre’s logical conclusion to keep the minds of coma patients alive and healthy. That we’ll give movement to the still, as we’re already beginning to. It’s the future, and gaming has a lot to offer it.

At the core of it, though, we’ll still need stories. We’ll need the tale of the brave orphan. We need the kindly shop-keep. There’s no way we can do without the sinister older brother. The wise old man. The waif, hungry for knowledge. The talented protege who learns that it’s going to take more than a sharp mind and a strong body to truly wield his fallen master’s sword. You need more than passion. You need opportunity…

You need dedication. That’s why these blogs are here. I don’t want to lose the analyst, the artist or the story-teller inside of me. If I commit entirely to one view-point, then those parts of me will die. They will take my eyes along with them. Those perspectives furnish me with insights that have set me apart from my classmates in the distant past, when the school-room was our playground. Now, though, they might only allow me to run alongside those people I hope to call peers. There are experienced, intellectual titans in the ocean I waded into, knees barely wet, out of sight. On calm days, when my mind is agile and reflective, I can feel their waves in the shuddering ocean. I can dip my fingers in and conjure a far-off reflection of brilliance…

…and I am afraid. Daunted. Inspired. Excited. Steeled. As good as I may become, I might never rise to meet the best, or even shake their hands. That’s not what matters, though. What matters is that ocean and the boy on the beach looking into it. His urge to swim. His audacity, confidence and passion to try and breach the surface. I cannot let him down. Yet, here I sat contemplating that very thing. That’s when I realized why this blog and the other were so important to me.

They are the life-lines that keep me honest. I love games, I truly do. I adore stories; they are my heart. But, that love isn’t the reason I write. It’s the reason I write about those things, yes. They’re not the reason I put finger to keyboard or pen to paper.

I am writing for my life. You find me here, because I need to keep the story-teller reminiscing. I need the artist inspired. My dear analyst must always have something to ruminate over. At the end of the day, I need this to stand for me, so that I, the flesh and blood boy, can dive into the ocean.

I don’t want to sit on the edge of the beach and watch the children splash in the shallows. No part of me is okay with just making a living. Working. The grind of Capitalism. Whatever you want to call it. Perhaps this hope, too, will rot off into acceptance, but it hasn’t yet. I want to live.

If I have to do that through a collection of articles or stories on a webpage, then so be it. I will live. I will write. I will create. I will learn. I will realize what I created before was rubbish and learn from those mistakes.

I will take swimming lessons. Maybe get some floaties.

That’s about all I have to say. I hope you found something reflective in my words. I hope you find your ocean and take your shot. For now, this post is all I can do to thank you for being a part of this life-line. Allons-y!

-Trivial Punk

Next post will be either a new story, an old poem or the next MB entry. Either way, thanks for the indulgence. I really had to get that off my chest. (Just finished an old book. Like an ancient friend, it tends to have that effect on me).

Story: Pixies

We found a Way through. At first, we sent in a team of explorers and scientists, curious to document, study and understand. The realm of fairies furnished them with wonder and knowledge. We quickly learned that emotions, thoughts and feelings could be made manifest in one form or another. We were given paradise. We saw a resource.

The land stretched on, verdant, as far as we could see in every direction. If this world truly was the crystallization of humanity’s potential, then we figured it was boundless. The inhabitants were friendly, beautiful and gregarious in the extreme, but resisted our tests and attempts to harvest. In the end, we sent in soldiers. My dearest companion, Terrence, and I were among them

Each one of us was intent on using the resources of this place to save our dying world. After all, where would it be without us? We hadn’t considered that it might not want to be used. Whatever our reasons, our mission was theft.

As we marched through the Way, we were unaware that the membrane on which we stood, the Land of the Faeries, could bend, break and permit. It was a sieve. In gathering, we’d reached a collective threshold and plummeted to the depths where intentions live. The land of the Pixies.

It wasn’t a fall. Or, rather, it wasn’t a drop. We simply materialized at the mouth of a grand cave. The stalactites were ringed in impenetrable shadow, the stalagmites were darkness. We spread out to cover the perimeter, but we couldn’t possibly have prepared for the creature, the THING, we found. It stirred, slowly woke, and quickly gained momentum. It was a titanic ball of rippling flesh, scab, and bone. As it fell upon our scattered group, under a hail of machine-gun fire, its unity shattered. Forms burst forth from it, were carved out, still attached, and raked through our ranks. Every form we killed, it would feast upon. A maw of flesh would appear in the thing, close around the body, and chew with shattered bone and blunt trauma. Crushing, grinding, swallowing, feeding its metabolic girth with itself.

For all of its auto-cannibalism, it quickly over-powered us. Too much. Too many. We fell back to the mouth of the cave. We fell back into the wild unknown. We fell.

Yet, when our numbers thinned before the atrocious thing, we vanished once more from where we’d been. Finding ourselves, instead, in a shadowed glen. Trees shaded us from the elements and provided us with cover from the terrifying predators we couldn’t comprehend.

Sweeping the area, we cleared away rocks, plants, animals and sounds. We took knife to stem and hollow-point to movement. We established a guard, took shifts and, round the fire, took stock of what we knew. At the time, it turned out to be very little. As night fell and we set to sleep and watch, screams echoed through the camp. I watched it happen to a soldier named Jeff, overwhelmed into inaction.

A root had him in a wooden vice. Its undeniable force ripped through his uniform, his boots. His skin tore, at first, as it was roughly scraped from the flesh of his feet, but, once inside, the thing merely rippled through his flesh. Putrescent, his body dissolved within the skin-sac and leaked out of his orifices, out of himself. Then, like a sickly party favor, he was filled again by the malleable core-flesh of the envious tree. Rooted still, at its entry point, the puppet lashed out to claw a fleeing victim, its nails and finger-flesh scraping off of the wood underneath. It stood before us, out of reach,, splintered fingers bare, on two gnarled roots, in Jeff’s skin. It was a nightmare I resisted comprehending.

I grabbed Terry. We ran. Alone, we appeared, again, in another land. It was a gray area, unremarkable and terrifying. Nothing made sense. Nothing could be grasped or seen. It was enigma.

I realized then what I’ve told you now. Maybe it was madness or delusion. A wild rush of hope after all I’d seen, but I knew we were near the surface. I thought that without his sin I might break through the meniscus.

Whatever I’d understood, Terry hadn’t. My knife sunk easily into his unguarded neck.

Yet, nothing happened. I was just alone. So, alone, I wandered.

I should have realized then that, in leaving them to die, we’d sealed ourselves within our depth. Murdering him built upon that. The weight of my crimes alone were now enough to keep me here.

Here, I stay. Through study and practice, I’ve manifested many things, but there is no Way back. However, on the right night, in the right way, I can send a message through.

Please. Heed these words, “Your motives are not your intentions. Respect our demons.”

Tell Terry’s family, “I’m so sorry.”


I posted a short-story under the “Descent” page. I couldn’t tag it, but it’s basically a blog post; I just didn’t want to screw up the word-count continuity. It’s my first attempt at a psycho-character study in the guise of a horror story. I’m using it to apply for a write program, so any constructive feedback would be much appreciated!

Rant: EA vs. Valve

Now, I know this should probably go on my gaming blog, but this is more of a rant than anything else. Do you want to know how I know? Because, I got liquored up before I wrote it, so I know the overall quality of the points and their delivery will be severely compromised, like that typo back there that I fixed.

I’ve had this particular rant stored up for a while, but I didn’t want to unleash it, because it’s not entirely fair. I’m not privy to the business practices or over-arching plans of either EA or Steam, but I have been one of their customers for a long time. So, everything I’m saying here is going to be conjecture, hearsay and based entirely on subjective experiences that I’ve had frequenting these two companies.

To begin, both of these companies want as much of our money as possible. There’s absolutely no denying this. That’s just how companies work and need to work in order to sustain business practices and pay their workers. I’ve made my peace with Capitalism for the time being, because it’s the model we’re using, it’s flexible, and it’s changing. I’ll leave you to consider that in relation to crowd-sourcing and the power of the information age. …

Done? Now, let’s get back to our two companies and my experiences with them. As stated, they both want our money, but they go about it very different ways. Now, I’m going to compare a single instance of DLC (Dead Space 3) with an entire platform (Steam), so it’s a poor one to begin with, but it reflects, in part, the philosophy of the companies. No, I’m not talking about Dead Space 3’s micro-transaction system. I’ve harped on that enough. It has its audience and is not doing any more damage than the creature designer did. Low blow, perhaps, but I placed a lot of faith in EA and got marines in my survival horror game. That’s like finding an ant colony in your bed, then realizing that you’ve been living in a jungle for twenty years and only hallucinated the rest. Looking down at my starved, misshapen, half-eaten body, all I could think was, “At least it’s not RE5.”

That might be setting the bar a bit low, though. Neither of those franchises is horror and I’m back harping on that again. No, let’s talk what you got out of the “Awakened” DLC. Essssssentially, without spoiling anything, it was EA’s way of getting 10 bucks out of you in return for letting you know that there’s a hook for another game. Yes, its graphically stunning and the technology behind all of its mechanics is very impressive, but it’s nothing we hadn’t seen for the last three hours of Dead Space 3. It’s only about an hour long, too. The hallucinations bring other cool ideas into play, but they’re not about to terrify you. They might catch you off guard. BUT, that’s kind of Dead Space 3’s jam, its replacement for horror. Take this all into account and just appreciate with me the fact that they got players to pay them to advertise to them. It’s the gaming equivalent of sitting down and paying for commercials for a show you’re already watching. Eerie, I know.

Let’s switch over to the Steam channel for a second. It’s an entire service that’s custom-designed to inundate you with as much advertising as possible. Closing a game opens up a tab that advertises another game to you. It’s a free service, sure, but it’s also a great way for Steam to advertise to you, while also sucking coins out of your pocket. I’ve got way more indie games that were conceptually cool that I paid 2 dollars for than I can wave a cursor at. At the same time, though, the service also actively lets you know which games are on sale. Yes, that increases your chances of buying them, but it also means that you’re buying thirty dollar games for five dollars a lot of the time. Every game comes with its own page, summary and its best reviews, but it also shows you game-play, screenshots and provides a direct link to its meta-critic. Project Greenlight, a Steam-based, vote-driven, indie-developer financing system is built into it, as well. Yeah, I know I should propose already, but all of Steam’s advertisements are also opportunities to experience new and innovative games. Built-in reviews and game-play footage lets you avoid the more terrible games. The constant, and I do mean constant, sales mean that patience will reward you with a lower price, eventually. That’s right, Steam is actively paying you not to buy some of its games, because the game’s price drops as its market price drops. That means that you can just wait until it’s sitting within your price-point. Or, you can buy it now. I’ve done THAT a few times. My point is that Steam’s main goal is to make money, while also providing you with a well-priced, quality product. Eerie, I know.

Again, I don’t know what’s going on at either company. All I know is how I’ve felt while using these two DLC opportunities. When I use Steam, I feel like I’m being offered a fair price and decent service. I feel like my gaming experience matters to them. I don’t care if they care, but it – feels – like it. When I bought the Dead Space 3 DLC, I felt used. I felt like my gaming experience was an excuse for them to make up some revenue in an efficient manner by using the tools they already had available. Ie. A cheap buck. At this point, it doesn’t matter what the company’s actual goals are. All I want to comment on is that a slight change in business practices can alter the feel of a customer interaction entirely. That interaction will be reflected by how much money customers spend. Personally, I’ve got more Steam games than I care to mention and have spent more than a little time worshiping their nipples on my blog posts. On the other hand, after that little adventure, I decided to boycott Dead Space 4. And, there will be one, as long as it makes money. Me! A survival-horror junkie! I’m sure I’ll be able to recreate the essential experience by frying some bacon and sausage in the same pan, letting it sit, and playing peek-a-boo with it while holding a sparkler. An elaborate process, sure, but far cheaper and I get bacon.

I know the goal is to take my money. I don’t care. If I’m using their service, then it’s because I’ve got some money to spend. BUT, when I do spend, I want to feel like I’m getting something from it. The customers is NOT always right, but the customer is spending its hard-earned cash, so treat it like a human being.

You could have made that DLC into a downloadable movie, EA! Your type of horror works way better in the language of film. Get it together!

Right! Enough ranting! Time to sleep off a hangover and find out what I wrote the night before. See you on the other side!

Rant: Caring About Communication

I’ve had this one building in me for a while, but I never wanted to approach it, because it’ll make me sound like an elitist git. It wasn’t until a couple of minutes ago that I realized that what I was actually trying to say wasn’t a complaint. If I flipped it on its head, then it was something deeply important to me that I had to share. It just manifested as anger because I hated seeing it abused. Today, I want to talk a bit about that thing. That thing is, of course, language. In my case specifically, the English language and, by extension, being a writer. Or writing. Or any combination of the two.

Let’s start with one of the purposes of language: communication. What is language without communication? A bunch of arcane symbols and noises. In other words, you can say anything you want, any combination of gobbledegook at all, but it will be meaningless unless it can be understood. This is why grammar and syntax are so important. I’m sure you’ve been to Facebook, Reddit, or The Internet, and seen the high-larious, hackneyed posts about the important differences between “your” and “you’re,” so I won’t bother getting into the specifics here. However, the idea serves to highlight an important point: re-read your work. Edit. Get someone else to read it. Take a walk, come back and read it yourself. Freeze yourself and send yourself back in time a bit, or alter the time-stream to create a parallel version of you with no knowledge of your current work, and get that version of you to read it. Care about the words you say and where you place them. Everyone makes mistakes. That’s an okay thing to do. BUT, you mustn’t be careless. Anyone who reads your work is letting you into their head. They are bringing life to your vision, so make sure it makes sense.

That brings us to the flip-side of the coin: grammar-nazis. There will always be people who are willing to correct your work. Not all of them will give you constructive criticism, though. Some of them will just demand that you stick to the rules or not make mistakes. This sort of critique is mostly useless. I understand wanting to win an argument over the internet, but insulting someone’s grammar will never net you a win; it will just prove that you’re a tosser. Correcting it is fine, especially if the sentence is so malformed that it doesn’t make sense, but proving a point takes more than words. It takes ideas. Yes, words communicate ideas, but not all ideas are always equally applicable. Sometimes, a mistake is just a mistake. Demanding that you stick to a set of rules seems like a reasonable demand, but it isn’t universal. Grammar exists to help us communicate more clearly, but its rules are constantly in flux. Personally, I have a well-worn copy of “A Canadian Wrtier’s Reference” by my desk that’s about 4 editions behind. Each new edition has added something new. I’m constantly finding out that convention has changed. Most of the time, it’s stuff that I can safely ignore, because it gets really obtuse. However, you can’t ignore it all because the obtuse stuff can get you in the end. It can warp the meaning of entire phrases. Language doesn’t crystallize forever, either. Look at ye olde English Bard, yon Shakespeare. Some people think he’s absolutely impossible to understand, the height of nonsense. Of course, if you read him, then you know that’s not true. It does serve to illustrate the gulf that can form with time, though. Someday, our work will sound like that, too, if we’re lucky enough to have people interested in reading it.

However, even current convention must be subsumed within the larger purpose of communication. Once you are familiar enough with the rules, as the age-old saying goes, you can bend them. Yeah, I know you’re not supposed to start a sentence with “But” or “And,” but, sometimes, it’s the best way to do so. Sometimes, it lets you communicate more clearly. Sometimes, you’ll have to break convention to get a point across. Using “…” or repeating words over and over again can bring life to a sentence in a way that nothing else can. It gives your writing flavour. The writers who compile the rules of grammar and syntax know this. The ones who judge our works from on high are well aware of the inherent flexibility of language. That’s why those rules exist: to try to rein in limitless fecundity just enough to let words speak to each other. Otherwise, we’d be left garbling to no one.

Overall, my point is simple. Make sure you place your words with care. Don’t be afraid to bend the rules of form and function to serve communication. All you have are your words, their placement and their context to get what you’re trying to say across. And, you ignore one at the expense of the others. Revere language because it’s more important to humanity than any of us can fathom without it.

More-so, if you’re a writer.

May 9, 2013, 2:00 PM

However, the problem with rolling a ball is that, first, you’ve got to decide where you want it to go. So, in the case of this project, I took some time to gather some data and get a rough idea where I should throw it. You see, when I first described this project to some of my peers, I got three reactions:

Why do you have to meta everything?

Why don’t you just write a book?

What are you going on about?

Sometimes, I would get them all at once. Then, once I’d posted the opening paragraphs, I had to ask myself the same questions. Although I had been thinking about them since the inception of the idea, answering them with something approaching tangibility and cogency seemed beyond my grasp. So, I did some thinking.

First of all, if you got a chance to read my break-down of meta, then you’ll know that almost everything is already meta. Meta is a just a perspective you can use to make sense of a phenomenon that manifests from the culmination of the mechanical interaction effects of related systems. Geeze, that’s a mouth-full and not altogether coherent. Okay, if you envision the system you’re looking at as a tower with each set of systems (ideas, rules, mechanics, social graces, etc) supporting the ones above it, then using a meta-perspective is just looking down to see what the hell is holding you up.

I kind of addressed the book-thing already, but I wasn’t very clear. So, to muddy the waters further, I’m going to use a metaphor to explain what I mean. To me, a well-written book is a unified thing. Many of its components flow into each other. Now, that’s not always true, because we have things like anthologies and serials, magazine columns and diaries. These things are pretty close to identical reflections of what I’m doing here, the diary more than most, because what’s really important in this work is the spaces in between my posts. The posts are important, yes, but the blank spots in time impart unique meanings themselves. Since going back and editing would damage the integrity of the whole project, the author is an evolving process, as well. I’m sure there’s going to come a time when I’ll want to go back and rip all the words off the screen (I’ve hit that point already in some cases), but the book must go on. So yeah, this is a diary whose only special features are its topic and the fact that you get to read and comment on it. That being said, have you ever read a diary and looked at the gap between two dates and thought, “Hmm… that looks significant,” but not been able to nail down why?

If we could go into a little poetry analysis for a second, we might be able to make this idea a little more concrete. Without much of a segue, I’m a huge Doctor Who fan. Someday, I might have to gush about how brilliant and flexible the structure of the idea is, but what’s important here is that I also listen to Trock (Time Lord Rock). One day not so long ago, I was listening to An Awful Lot of Running by Chameleon Circuit… Okay, let’s be honest here… I was singing it while waiting for the bus, when I got to the lines:

He is like fire

Burning through time…

Now, music and poetry are technically different things, but they’re related enough to lend themselves to being analysed along similar lines. The difference here, though, is that lyrics don’t come with punctuation marks. Most of the time, this isn’t a problem. Context usually gives you enough information to figure out how you would write the phrase. However, in the case of these lines, it’s not clear whether the pause after “fire” is the result of the need for a comma or because of the rhythm of the music. So, you end up with a set of postulate phrases and no way to determine which one is the right one. In this case, the lack of specificity asks you to consider all possible interpretations. He could be like fire, and also burning through time. He could be like fire and literally burning time. He could be like a fire burning through time.  There are more, but you get the point.

The space between these two phrases is left undefined, but, when we hear them, we make sense of them through it. Similarly, the space between posts is a verdant land where any number of burning Time Lords in need of a good soak may pop up. A book provides the illusion of the unity of time by filling in the punctuation for us. Sure, you may have written that introduction three months before you ever touched the first paragraph, but, in the world crafted and edited by the book, that time doesn’t exist. The book is a process that is made to seem holistic, like it just popped fully-formed out of mid-air. The content of that book may not reflect that. In fact, it may be much like this project, but by compiling and concentrating it in one place and time, it loses the slippery free-form of an on-going process. Or, at least, something that has the illusion of an on-going process. I’m not about to go into the experiential difference, because I’m not sure one even exists.

Here, I’m talking about how the reader experiences the whole thing. As someone who writes, that’s my primary concern. Yes, the whole point of writing this is to work through the process of creation, but, for me, the point of creation is communication. If the very act of putting my work in a book changes how my reader approaches it, if just picking it up as a book alters how you approach it, then that’s something I’m going to want to know about. It may be a subtle difference, but small differences build into each other over time. So, I guess, being clearly understood is what I’m going on about (Iiiiirony!).

Word Count: 1605

RANT: Not Capturing a Moment

If you’re a regular reader, then you’ll know that I don’t really up-date on a schedule. I usually plunk some words out whenever I get a good idea. However, thanks to my rant sections, I can just say stuff! Oh, it’ll still be cogent, don’t worry about that, but it’s a weight off my shoulders to not have to plan it all out ahead of time.

Tonight, I was going to do the next up-date in Meta: The Book, hereafter known as MB, but I had to work late on a project, so I’m too tired to write about something that breathlessly self-aware. No, tonight, I’m going to go into full cliché mode. Tonight, I’m going to tell you about a meteor shower that I didn’t watch.

First, a little science. Did you know that there are two types of sensors in your eyes? They’re called rods and cones. Cones are heavily concentrated in the fovea, the central portion at the back of your eye, and are used to see the colours in the spectrum of light that we’re most familiar with. When I say heavily concentrated, I mean that there are millions of cones in an area much less than a millimetre across. This, dear reader, is where most of your visual acuity comes from.

However, cones don’t function well in low light, so we’ve got rods. Rods are responsible for most of your peripheral vision. They’re almost a thousand times more sensitive to light than your cones, and, as a result, they’re excellent at picking up movement. The only downside is that they don’t do colour and are far more spread out than your cones. However, they’re the heroes of this story, so screw colour.

As you might have remembered from three paragraphs ago, I went out with the intention of watching a meteor shower tonight. As anyone living in a city can tell you (this probably includes you), light-pollution really holds back star-gazing, unless you imagine really hard at passing satellites and low-flying planes. However, I’ve moved out to the suburbs recently, so I thought that I might be able to see something. Light jacket in hand, I walked to an area that was under-development and plopped down on the dirt, head in my hands, and stared up at the sky.

Yeah, it was a lot clearer than in the middle of the city, but it wasn’t the purest black of a long, dark country road that gets so quiet you think you’ve gone deaf… that’s another story, though. Right away, I started seeing streaks of light falling across the sky. It was beautiful. As I was lulled into a doze by the nearby crickets, my eyes unfocused. Out of the corner of my eye, a star flashed dimly. I blinked myself awake and looked over to the new light-source. As suddenly as it appeared, it vanished. Then, to the left of where I was looking, another light flared dimly, but died under my eyes.

The more perceptive of you have probably figured out what was going on. Focusing on the stars brought my less-sensitive cones to bear on the light-source, so I was unable to see the hidden star under the white-light-noise of the planet. On the edges of my vision, however, a world of stars was opening up. So, I sat there, in the dark, under a unique combination of circumstances: light-level, time of night, season, etc, and watched the stars waltz around my vision.

Or, perhaps, I should say that I let my eyes dance through the stars. It was a little while before I remembered why I had come out there in the first place. I figured that I wasn’t going to see many shooting stars where I was sitting and getting dirty. So, instead of laying in the dirt any longer, I walked over to the nearby school-yard and sat in its darkest corner. Now, I could see the shooting stars much more clearly. There’s not much to say on them, though. I’m rarely disappointed by the heavens.

Suddenly, in the grass on a lonely school yard, I realized exactly how many things had to come together to make this experience possible. It was absolutely mind-boggling. I’ve studied some astrophysics, and a lot of biological theory, so I saw the events unfolding through time in my mind. That moment in the dirt was a billion years in the making. For a split-second, I appreciated the experiences that can manifest from the conversion of a million independent, but ultimately related, threads. It’s not just that they’re unlikely, but, in their interactions with each other, they’re nearly sublime.

I mean, think of it. The sensitivity of my rods (hawt) vs. my cones. The distance that those particular stars were from Earth relative to their brightness. The light pollution created by tens-of-thousands of individual light-bulbs and the individuals using them. The society that makes them necessary and possible. The sheer bloody-minded complexity of the neural-circuitry that made experiencing it at all possible. The words that let me describe it all.

Sublime was the only word I could think of to not be able to capture the moment.

Honestly, do you really think we should be able to capture every moment?

That aside, I guess I wanted to share with you a brief epiphany I had about the complexity of the world and appreciating its wonder. Of course, I go on about that everyday, so it’s nothing special. No, I wanted to remind you to latch on to those moments when you have them. Explore them. Truly feel them. It sounds really, reeeeeally cheesy, but you can practice doing it.

Pick up a piece of your favourite food. Now, take a bite, clump or sip of it. Hold it on your tongue and concentrate on the way it feels in your mouth (This entry is getting unexpectedly erotic). Focus on its taste and texture. Really appreciate that bad-boy. Now, swallow (Erotica level: physiological processes).

The next time you have one of those awe-inspiring moments, stop and really appreciate it. Fix it in your head as a memory and use it as a shield the next time cynicism strikes you.

This is all a bit preachy and dripping with cheddar, I know, but I wanted to share it.

May 1st, 2013, 12:01 AM

The world is changing. That’s sort of a trite thing to say, so let’s get a little more specific.

The world of literature is changing. Once upon a time, if you wanted to create something for the world to read, then you’d have to publish it on paper and disseminate it through physical copies. Now, though, if I want to make something available to be read, all I have to do is create a blog, bang out a few choice sentences, hit send and it’s just waiting for the world to see it. That doesn’t mean the world WILL see it, but that’s another story. However, there’s still something to books that makes them stand apart from blogs. By the same token, there are some things unique about blogs that make them entirely different types of experiences.

That may sound simple, but it leaves a lot unanswered. What are the differences? What do they imply? Are they irreconcilable? In reconciling them, would we simply create something new? That’s kind of what this whole project is about.

You see, I’ve always wanted to write a book, but I’ve got no experience in the matter. It’s hard to find the time, ideas, and publishers to put a book together. However, I’ve sure as heck run a blog. So, I want to write a blog about writing a book. The trick is, though, that the blog is the book. I’m going to collect the pieces of it and make it into something continuous. That’s not saying that blogs lack continuity, but there’s something special about a book. It has a beginning, a middle and an end. Everything in it is usually related to everything else, so all the pieces fit together. I know it’s printed on paper, but we’re still dealing with another medium. Blogs are continuous literary objects that evolve through time. They’re edited on-the-fly, so you can’t always go back and change things, because they’ve already come, been read and gone in the mind of the readers.

I want to marry these two concepts here to see what they can learn from each other. I want to see if this can be made into a book and, along the way, I’ll let you know what I find out. I’ll collect all the pieces together, timed and dated, and put them on their own page. That way, you can read them easily in a continuous fashion, since blogs always put the newest entry at the top and go backwards as you work your way down.

I’ll also be keeping a running tally of the word-count, so I know how long this has been going. I’ll find a way to turn the word-count into a page-count and let you know how long the book is. Then, maybe that’ll let us know when I should stop. That’ll give us our end and let me know what I should be writing about at the time.

Blogs happen over time, so feel free to leave your comments and ideas. If I end up using an idea, then I’ll integrate the comment into the page-text. So, you can see the evolving blog changing, even as the collection of posts on the page makes them more rigid and coherent.

You’ve probably also noticed that a book doesn’t include links. Sure, it includes pictures and references, but they’re not just a click away. I’m sure that will play a role, as well.

Alright, without further ado, let’s get this ball rolling.

Word Count: 582