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MBA, Maui, Writing

So I finished my MBA. Did I mention I was doing an MBA? I should probably write a larger post about this. But I completed my final capstone project in mid-October, then spent a week or two in administrative purgatory, and now it’s done. It feels odd to have this giant framed thing saying the trustees have conferred on me blah blah blah, but here it sits. I didn’t even think about having an MBA until maybe this spring, and it’s over. I am an MBA. I can read a statement of cash flows. Ask me anything about Pareto charts. But make it quick, as I will forget most of this in a month.

* * *

Went to Maui last week. This was our fourth trip to this island; we also went in 2013, 2015, and 2017. We stayed on the windward side each time previously, which is nice but very touristy. (Complaining about the Four Seasons being full of tourists is like complaining about Disney World “selling out,” but the combination of tripping over octogenarians at every turn and getting charged ten bucks for a baby-sized bottled water does get old.)

This time we stayed at a yoga resort in upcountry, which was a few clicks south of Mama’s Fish House on the north shore. It used to be a bunch of indigent housing built by the Baldwin family (farming magnates that owned half of everything at one point) and it was used for military training housing during the war, then plantation worker housing, then it sat empty until someone restored and reconfigured it in about 2011 to make it into a bougie new-age yoga retreat center. It’s a semi-circle of bungalows with decks on the front and rear, a big courtyard in the middle, lots of trees and landscaping and the occasional fake buddha statue. There was almost nobody there, and although they offered various yoga and meditation classes, I didn’t go and I actually didn’t even see them happening. When I booked the place, I had the fear that some new age zombies would start chanting at four AM every day and try to beat some cult veganism in my head if I left the house, but there was nothing like that at all.

The rooms were cool. The whole place had high ceilings, big wooden ceiling fans, and old, dark wood furniture. We had two big rooms and the bathroom, plus the front and back decks. Lots of hammocks overlooking the ocean in the distance. The whole thing looked like a French plantation in Vietnam from the 1950s.  No AC. No TVs. No espresso machines. No wall tablets and room service intercoms and everything else you find in modern hotels. I always hate it when I go across the country and check into a Hyatt and it’s the same exact Hyatt I’d see in Denver or Chicago or San Jose. This was very distinct, so that was cool.

Being upcountry was generally 10-15 degrees cooler than being elsewhere on the island. Lots of trees, too. Unfortunately, walking was not great there – a winding road with no sidewalks or room for pedestrians, and nothing in every direction. I still got my 10,000 steps a day in, and we saw a lot of other areas on the island, so that worked out. The place had a small restaurant where the food was decent, but it was usually two or three couples sitting on the porch for dinner, and a server and a chef, and they would just say what they were serving and we said “ok, cool” and they brought it out. I like that a lot, though. Also went to a good Italian place, and actually a tiki-eque lounge a bit further south.

No real big adventures while we were there, just a lot of chilling out, walking, and eating. No work. That’s the most important part. Usually on these trips, it’s a big thing to come up with an itinerary and activities, things. Zip-lines and jet skis and museums and shops and statues of dead people that you must see. I think we’ve covered most of that in previous trips, and it was an opportunity to just do nothing. So, that was good.

There are pictures, but honestly I haven’t even sorted out my Denver pictures, and that was like three trips ago. I’ll get to it when it starts raining and I can’t go outside anymore.

* * *

Now that school is over, I’m trying to write. I should probably make this a separate post and explain it fully, or maybe I shouldn’t talk about it at all. But I completely quit writing fiction just over a year ago, just a sudden rage-quit “I can’t do this anymore.” thing, and it was one of the hardest decisions I’ve ever had to make, and it was probably the wrong one.

Right before I doused every bridge with gasoline and lit them on fire, I wrote some notes on exactly why I stopped writing. And at the time, I thought these issues were insurmountable, and maybe some of them are. And maybe it’s impossible to write fiction in a world when everything has become TikTok-ified. I don’t know. There are a lot of other major obstacles that I have to figure out. The big one is I simply do not know what to write about anymore. I’m out of ideas, and I can’t keep repeating myself.

So I’ve been chipping and trying to get started again, trying to figure out which way is up. I used to write daily, and for almost ten years, had to write something every day. I always had this strong belief that if I stopped, I would lose momentum, and then the next thing I knew, years would go by and I wouldn’t even know what went wrong. That’s basically what happened. And starting from an absolute dead stop has been difficult. I have a feeling it will take me months to get back to the same cadence I was at a few years ago. But that’s the goal.

* * *

Nothing else going on. Lots of other stuff going on. I should write more about the writing thing later. And the MBA thing. Stay tuned.

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general

Film, memoirs, rollovers

I just got back from another walk around NAS Alameda with two of my film cameras, the Vivitar point-and-shoot and the Canon QL-17. Nice weather for a walk, although there was some event going on and the west side of the island was far too busy for me. I should probably get used to that, because at some point, they’ll tear down the old barracks and put in live/work condos and it will always be this busy.

Shooting with that Vivitar is always weird, because sometimes I forget it isn’t the same one that I bought in 1993 and had back in the 90s. When I’m walking around the Bay Area with it, it’s a strong memory hole back to my first trip to California in 1996.  Looking at grainy, faded analog pictures (like the one above) reminds me so much of that trip, and the late 90s San Francisco, and it makes me wonder what it will be like in 2045, looking at 20-megapixel DSLR images on whatever crazy 3-D 200K screens we’ll be staring at by then. (Provided I still have vision in 25 years. And will still be alive.)

I made a vow to not buy any more film until I shot everything I have on hand, and I did that today, minus the 20-some shots of black-and-white still in the Canon. I’m expecting some crazy supply-chain stuff that’s going to completely throw that off, though. I haven’t bought any film since 2018, and I’m sure things have changed. I’ve got a dozen rolls waiting to be processed, so maybe when I drop those off at Mike’s Camera next weekend, I’ll see what they have in stock. Or, it’s off to eBay.

* * *

Writing is still going nowhere. This week, I was revisiting a book I started writing in 2012. I’ve tried a few times writing a book that is basically a Summer Rain prequel, that takes place in the summer of 1989, between high school and college. I’ve had at least two false starts totaling maybe 100,000 words between them, and they always die about halfway through. I started a very Raymond Federman-esque book in ’12 that was about the attempts to write this book, and the problems therein. It came from reading Double or Nothing too many times.

I thought I’d revisit it, thinking about how I look back at that era as a 50-year-old, and all of the problems I have now with nostalgia. And maybe a meditation on the need to write a memoir, and why it’s a bad idea, or has been distorted or changed in recent years. I think when I was living in that era, and a bunch of stuff happened that summer, I always thought, “this would make a great book,” because it all lined up so exactly with the traditional novel plot curve, and the events were so extraordinary or traumatic or whatever. That was before I considered myself a writer, and back then, writing a book was a giant, insurmountable goal, like climbing a mountain or running a marathon. The idea of “getting published” was such a high bar, a lofty thing, and I always thought maybe someday I would.

Now, I’ve published so many books I can never remember how many and have to look it up any time someone asks. (It’s seventeen, more or less.) Anyone can publish their own book in five minutes. And the national zeitgeist isn’t about publishing a book, because nobody even reads books anymore. It’s about going viral, making a fifteen-second video that catches on, or whatever. Old man shakes fist at air, I know.

The other main reason I need to put this down is I know I have some deep, unsettled trauma about those years. It’s not like Trauma trauma, like I watched my parents get killed after going out to a movie and had to become a crime fighter dressed as a Chiroptera. But there’s some heavy unresolved something there, something that’s best left alone. Nothing specific, just generalized. I don’t want to spend my time going back anymore. But it’s a problem that when I’m faced with a blank page and no ideas, that’s where I go.

* * *

Nothing else. I wasted about half of today trying to figure out how to roll over an IRA from Schwab to E*Trade. That place I worked in Denver got bought by McAfee a long time ago, and I had like a month of 401K stuck there, which got moved to an IRA, and they mailed everything to my old address and it got lost. After much phone tag, I found it sitting in an account at Schwab, then promptly forgot all about it. I just remembered, and 25% of it is gone because of fees. I thought transferring it would involve actually finding a fax machine in 2021, but it appears they take a PDF by email. Fingers crossed.

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videos, writing, programming, pocket computer

I am sort of done with the Random Life project. There are 100 videos there now. It was fun digging through some old stuff, but I got almost zero reaction from anyone out of it, and maybe it was a dumb idea. Oh well. Maybe in two or three years, I’ll look at it again and it will be interesting.

Been insanely busy with a big work release, and that’s finally done, but I haven’t been back on the horse with anything writing since then. It’s the time of year where I start to panic about not getting a book published this year, since the last year I had nothing published was 2010. But I’m in a weird place right now, where I am having a lot of trouble writing anything cohesive. I am just repeating myself at this point, and I really don’t like what I’ve been doing the last few books. And a lot of people agree, based on my sales numbers. So who knows what I will do. Maybe I will pull something together in the next 96 days. Or maybe I will pick up this writing thing after I retire. I really don’t know.

* * *
For whatever reason, I started programming again. One of the three projects I always take up when I think I’m going to learn programming is writing a Zork-like game, a text-based RPG. Yes, I could just use Twine or some other game engine to do this. I mean, I could just play Zork. This is mostly just a dumb hobby for me to do because I can’t write, I don’t want to spend two thousand dollars on a gaming PC, and I am not about to start playing golf.

So I started writing this game in straight vanilla C, with nothing but the standard library. I still know a remarkable amount of C, given that I think I learned it thirty years ago. What I didn’t remember is that C is such a pain in the ass to work with. Every data structure that isn’t an integer requires you to either write or steal a library to do it. Dynamic arrays? DIY. Binary trees? You’re on your own. It all involves pointers and malloc’ing memory, and every time I would write ten lines of code, I’d think, “well, that’s going to break in actual use” or “that’s completely insecure.” I got a few hundred lines into the thing before I decided to switch to using Ruby.

I guess Ruby is now an inherently uncool language. All the cool kids use Rust, or JavaScript, or maybe Python. I first started messing with Ruby in the context of Rails development in 2006 or 2007, and spent a couple of years doing a ton of it, on a brief  sabbatical from tech writing. Haven’t done much since then, but I thought maybe I’d do this game in Ruby, no Rails, no ActiveRecord, no crazy gem dependencies. I think it took me about 25 minutes to redo the couple of days of work I did in C.

It was easy to get lost in this, but I also ran into a few issues. The first is the constant though of “nobody uses Ruby anymore.” The other is thinking that some bit of code is a very un-Ruby way to do things. I started reading more about Ruby, and it sort of drove me nuts because the Ruby way to do stuff is usually inherently unreadable. It’s neat and cool, but in my mind, doing a “if this thing is nil, do something else” is more readable than “do something else unless this thing is nil.” I realize I’m probably losing all of you non-programmers here, and I’m being pedantic, but I have some basic fear of writing this thing, publishing it on GitHub, and then having a seasoned veteran look at it like I’d look at a Reddit DIY post about some idiot who proudly enlarged their living room by removing every load-bearing interior wall in their house.

Also I get to the “why are you even doing this?” point. And the fact that I’m relaxing after a dozen of hours of hacking away at unreadable garbage in the Atom editor and pushing it to GitHub by spending a few hours hacking away at unreadable garbage in the Atom editor and pushing it to GitHub. So, yeah. How much does golf cost?

* * *

I bought this “Pocket Computer” – a Sharp PC-E500S. It came out in 1995, and has 32KB of memory. It’s roughly half the size of an iPad lengthwise, about 9×4 inches, maybe 3/4-inch thick. It has a 4×40-character display, LCD, and more or less a full QWERTY keyboard, except plastic little keys like a calculator. You can write BASIC programs in it, but it also has a bunch of crazy engineering software in it, so you can do integral calculus or pull up a periodic table of elements. It runs forever on four AAA batteries.

I don’t really know what I’ll do with it. I won it on a lark – made a hail mary offer on it on eBay, and the seller accepted. It has a serial port that uses a connector I’ve never seen, and a cartridge port for proprietary memory cards that are impossible to find. It is slightly more useful and interesting than the Casio FX-7000GA I have from 1990, which currently spends its time in a storage container in my closet. I need to keep in mind that buying things doesn’t really give me the joy I think it will.

* * *

The helicopter picture above is apropos of nothing. It’s from my Alaska trip in 2006. I think I’m at the point where I want to go back to Alaska, and I’m currently stuck with a bunch of Alaska Air credits I can’t use, but who knows when it will be safe to get back up there. I sometimes think it would be cool to go further north, head up to Fairbanks, but I don’t know the logistics of it. Maybe at some point.

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general

Coke Zero, Hybrid Failure, SR2, Etc

They recently changed the formula of Coke Zero to make it “more like regular Coke.” It tastes like a mix of Listerine and cloves now. The only thing is has improved is my ability to quit soda, which hasn’t happened yet, but probably should.

I would normally be more upset about this, but I ultimately have no time to care. I drank a case of it and can’t tell the difference now, so on to the next problem/outrage. I used to be much more upset when a company made a lame decision like the discontinuation of Surge, the dropping of the Taco Bell Mexican Pizza, or the fact that I’ve eaten the same exact oatmeal every morning for twelve years and they decided to stop selling in packets. Life is too short.

* * *

After dumping all the money into my car over the last month, I had a fun experience with it. I was driving off to the mall a week ago, and after I got up to highway speed on the 580, every warning light in the dash came on, and the info panel said “HYBRID SYSTEM FAILURE – PULL OVER IMMEDIATELY.” The dynamic braking stopped working, and the EV system went completely offline. There was a Toyota dealership just past the next highway exit, so I swung in there and dropped it off. They said they’d get to it on Monday.

This began a weekend-long spiral into figuring out if I needed to buy a new car. The hybrid system is still under warranty, so if it needed a $5000 battery, that’s covered. But I figured the dealership would add a $4000 spine reticulation charge or whatever the hell, or take six months to fix it. The car’s probably worth about $7000 in good condition. When the Yaris reached the end of the line in 2014 and had unknown wiring problems only fixable by a dealer, I brought it to the sales counter and they made me a good deal on the trade-in, so I figured I’d do the same. They don’t make the Prius C anymore, and the Camry and Corolla hybrids are honestly better cars than the Prius, so I burned a lot of cycles pricing this stuff out, trying to figure out what I wanted to pay, what I wanted to finance, etc etc.

Monday morning, they ran the diagnostic and said it was just the ECC lost communication with the system and threw a few codes, so it shut down the entire hybrid system. (If you stumble across this in a search, the DTC codes were U0140, U0073, and U0126.) The only obvious culprit was that I have a ScanGauge II plugged into the ODBII port. I have since I got the car; it’s a holdover from when I had the largely-gaugeless Yaris. I don’t really use it anymore, and the tech theorized that maybe the cable got bumped, or something else happened. He cleared the codes, unplugged the ScanGauge, and no problems since. No charge on the scan, either. So I saved $200 plus another $25,000 on a new car.

* * *

I’ve been having a lot of trouble getting anything going writing-wise. In a fit of “do something completely different,” I did a Ctrl-C Ctrl-V on the project file for my first book, and started on page 1, taking notes and editing things. I’ve had this stupid idea to write a thirty-years-later sequel of the book, and I thought I came up with a good gimmick to get it going, but I needed to go through the old draft, partly to get it all back in my head, and partly to George Lucas in a few minor changes to get the two books to line up correctly.

It’s an …interesting experience to read writing I haven’t touched in over twenty years, especially when it’s a radical departure from what I’ve been writing ever since. There’s obviously some very wooden writing, and little bone-headed typos abound. The usual complaint about the book is that it’s too long, and generally plotless. I could see trimming the book slightly, tightening up things. But for every subplot I would think about trimming, I think there’s another that could have been explored more. And it surprises me now that there are so many characters, so many subplots. It also follows an overall arc more than I thought.

After I got about a third of the way through it, I got disinterested with the idea, though. I can’t go too into it without revealing the gimmick, but I wasn’t interested in writing that book. And it’s been a long time since I’ve put a lot of focused thought into Bloomington. I haven’t spent more than a few hours in town since 1999 when I stopped there for a few days on my move east. Writing a sequel would need some solid reason to be there, and not just the main character wandering around having regrets about every person he dated a million years ago, and being amazed at how all of the stores at the mall closed. Maybe at some point I will visit again and get the spark to write this, but who knows.

* * *

Speaking of, I’m still on for the Seattle trip in two weeks. I have been working on a list of what to do, but I haven’t done any heavy research yet. I just now started thinking about what camera or cameras to bring, or if it’s time for a new one, and I need to shut down that conversation before it starts.

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general

Save the Cat

I don’t think I’ve talked about Save the Cat here yet, and how I used it to structure a book. This isn’t a “learn to write so you can make millions like me” blog, so I don’t know how important or useful it is for me to document this. And spoiler alert, the book I wrote using this method did not sell a million copies. But as I’m thinking about book ideas now, I keep coming back to this. So here goes.

Save the Cat! is book by screenwriter Blake Snyder, which describes his method of structuring and outlining a screenplay for maximum impact. It’s essentially a refinement or maybe simplification of the Syd Field “paradigm” or three-act structure, mixed with a healthy dose of the Joseph Campbell hero’s journey/monomyth thing, which has been beaten to death by any number of screenwriting gurus/hacks such as Christopher Vogler, George Lucas, and anyone who has ever made any money for Pixar.

There’s a lot covered in Snyder’s book, but if you’re writing a screenplay using his method, you basically follow these steps:

1) You create a logline. This is an elevator pitch, or a one-sentence explanation of exactly what happens in the movie. What’s important is that you start by writing the logline. You don’t write it after you’ve written the book. If you can’t explain the movie in a sentence, you can’t sell it, and you might not even be able to write it. It’s also important that the logline says what the movie is and not what it’s about, or where it’s set, or how it feels, or anything else. But most importantly, you need to get a logline that works before you do anything else. If it doesn’t work, you need to keep at it until it does.

A good exercise is to sit down and write the loglines for a bunch of existing movies. Three groomsmen go to Las Vegas and lose their about-to-be-married buddy in a blackout drunken bender, and have to retrace their steps to find him. An off-duty NYPD cop goes to LA to visit his estranged wife and her office building is taken over by terrorists, which he must stop. A captain is sent up the river in Vietnam to assassinate a colonel who has gone crazy, or is the war what’s really crazy? A rich guy meets a prostitute with a heart of gold and falls in love. Whatever. 

2) After you get the logline, you come up with a title. Maybe the title changes later, but you do this first. It’s part of the refinement process, making a logline that summaries everything and making a title that explains it. So if, for example, if you pick a stupid title like The Journal of the Whills, and everyone you pitch it to thinks it’s stupid, you might want to keep hacking at it until you come up with something better, like Star Wars.

3) Snyder says there are ten different plots, and everything falls into one of those ten buckets. Anyone can argue it’s really 20 or 12 or 2, but he has ten. He has a sequel to the first book that goes through a ton of Hollywood movies and says which of the ten it falls into. Like the logline exercise, a good practice item is to learn the list of ten, and then go through existing movies and determine which plot they use. (There’s an entire message board where people argue about this.)

I’m not going to explain all of plots, but the ten include stuff like Monster in the House, Dude with a Problem, and Superhero. The categorization isn’t always obvious, and it’s not strictly by genre. The movie Jaws is a Monster in the House even thought it isn’t in a “house” per se. Alien is also a Monster in the House, but the house is a spaceship. You have a monster, you put it in the house, you put people in the house, you somehow piss off the monster with a Sin — something monetary or greed-based is always good — and then the people have to either get the hell out of there or somehow stop the monster.

4) One of the core tenets (and points of criticism, but I’ll get to that later) is that Snyder has a really specific 15-step outline that every screenplay should use. And each step takes up a specific number of pages. The fifteen steps form a three-act structure with the first act taking up 25% of the script, the second act 50%, and the third act 25%. I’m not going to dump his fifteen steps here; if you’re curious, google “Blake Snyder Beat Sheet” and you’ll find them. If you follow the book, your plot should not only hit each of the marks in the list, but it should spend the specific amount of time on each step. If it doesn’t, it means (according to him) that something’s wrong with your plot, and you need to brainstorm it a bit more. 

A quick example is how he beats out Act One for a script. The first beats in his outline are Opening Image, Theme Stated, Setup, Catalyst, Debate, and Break into Two. Basically, you’ve got some guy in an office/kid in a space desert/private dick hired for a job. You open with some first-impression image of their dull office park/a monstrous castle in the distance/a dreary factory/a beat-up frathouse. You spend about ten pages describing the “before” and their everyday drag. Somewhere in there you state the theme, like in Office Space, the theme of “every day is worse than the last.” And then on page 12, some catalyst appears, like the droid your uncle bought shows a hologram of a princess asking for help. Or Captain Willard is given a mission. (Every military movie has someone being given a mission on page 12.) But you don’t take the mission right away; you burn the next dozen pages in conflict, because your uncle wants you to work on the dirt farm and you’ve got shit to do. Or you’re not sure you’re supposed to use your superpowers for good, because you’re just a kid in high school. At the Break into Two moment, the protagonist basically choses that he’s got to get off his ass and launch into Act Two. Luke’s Aunt and Uncle get turned into charcoal and he tells Obi-Wan they need to sell the landspeeder, find a dodgy pilot, and find this princess. Peter doesn’t go into work on Saturday and do his TPS reports. John Connor has to bust his mom out of the loony bin and stop the bad Terminator. The monster enters the lair. The protagonist’s life suddenly turns upside down.

One important thing about this formula is you have to hit each of those five parts, in that order, with those page lengths. If you cold open the movie with Luke and Han racing toward Alderaan, you miss all the foreplay of building Luke into this boy-turned-hero. If you don’t have the period after the Catalyst where Luke isn’t sure what to do, it’s not as exciting when he does decide to do it. There’s similar structure defined for all fifteen points in his outline.

5) You divide a board into four strips, one for each quarter of the movie (act 1, act 2 part 1, act 2 part 2, act 3) and you get 40 index cards, one per scene. You outline each scene on the cards. There’s some junk about putting the emotional change and the conflict of each scene on each card. The basic goal though is that each card has a purpose, contribututes to the rise, has its own conflict. None of the cards are “spend five minutes showing cool stuff for no reason/” When you lay out the cards, you pace yourself and avoid overloaded acts and black holes. A lot of writers have an Act 3 problem, where a ton of stuff happens in Act 2, and then Act 3 has a giant “and stuff happens” black hole between the turning point and the resolution. So you’re supposed to use this board with index cards to identify the cards clumping together and the empty spaces with no cards and adjust accordingly.

6) Once you have the 40 cards and the number of pages from the 15-step outline, you start typing. I used Scapple to make my virtual cards, then imported them into Scrivener, and was able to use that to create all the blank documents I then filled in with actual writing.

The book also has a bunch of sloganized rules on writing that might be helpful, but read the book if you want to get into that. One example is the title of the book: Save the Cat. You want your protagonist to do something in the beginning to make everyone want them to win. Another one is Double Mumbo Jumbo, which is the argument that you can get the audience to believe one bit of magic, but it’s hard to get them to believe two. You can have zombies, and you can have hobbits, but if you put both together, people won’t buy it. But he states this example, and then gives several counter-examples that have made billions of dollars. Like Spider-Man has the kid getting bit by an atomic spider and turning into a wall crawler. But at the same time, it has the Green Goblin dicking around with chemicals that spill and turn him into a monster. By his rules, this is too much suspension of disbelief. But every superhero movie is going to have Double Mumbo Jumbo, so… whatever. 

There are a lot more rules, many having to do with developing your good guy or your bad guy. One that I found useful was Six Things That Need Fixing. You give your hero a laundry list of problems, which sets them up so there’s payoff when the things happen. He’s stuck in a small town, his parents are assholes, he can’t get laid, his friends are losers, his job is stupid, he wants to go to college and can’t afford it. Then when the catalyst comes, you have these various goals adding to the conflict, and when the journey starts, he can start ticking off boxes from this list. Lots of other little tricks like that exist, some that work, some that don’t. The important thing though is the logline, the genre, and the 15 steps. 

* * *

OK, so why did this interest me? I don’t write formulaic fiction, and I definitely don’t write movies. I write a lot of nonlinear fiction, plotless fiction, gonzo fiction. Unlike every book reviewer on Goodreads, I don’t think there is a problem with plotless fiction. I believe anything experimental is important, and I think a lot of the tools mainstream writers use daily evolved out of people pushing the form in experimental writing. Telling writers they have to adhere to plot is like telling painters they have to paint pictures that look like they popped out of a Polaroid camera. The fact that there isn’t more plotless fiction is honestly a travesty, but that’s probably another post.

It bugs the shit out of me that people dismiss my writing because I often don’t use plot or follow formula. After Atmospheres came out in early 2014, I fell into a deep depression because it was my favorite book I’d ever written, and it didn’t sell, and the only real feedback I got were from people who weren’t the target audience for the book immediately dismissing it with the word “plotless” and that was it. And that made me really want to write something that was so insanely plotted, there was no way somebody could say that it wasn’t. I wanted to write a book with a bulletproof plot, just out of spite. So I studied plot, and I read dozens of books, and I ended up getting hung up on the Snyder book.

Save the Cat isn’t really meant for fiction. Books aren’t film, and there’s a lot more room for more complex narrative, things that couldn’t be shot, things that can develop in a reader’s head. That said, very formulaic fiction is totally like film, so StC can easily be used for writing this.

As I was studying StC and thinking about a possible idea for this next book, I watched a bunch of movies and carefully outlined and summarized them as I wrote them, trying to find the StC plot points. I also logged the times in the movie when these events happened. This completely validated Snyder’s formulas. I did this with three movies: The Maltese Falcon, The Big Sleep, and Blade Runner. All of them hit the exact points in Snyder’s 15-step beat sheet within a few minutes of accuracy. (All three of these were what Snyder calls a “whydunit,” which is basically a whodunit except you already know who, and you want to know why. Every crime noir is a whydunit. Every whydunit has a protagonist get knocked unconscious by a hitman at exactly the 90 minute mark, denoting the start of Act Three. It’s uncanny.)

I then went back and read Falcon and some other Dashiell Hammett hard-boiled fiction, and it more or less followed the same outline. The only issue with fiction is you have to fiddle with the page numbering. A script is 110 pages; a detective novel is about 200. So your first act is going to end at about page 50; you reach your All is Lost moment at page 150, and so on. And obviously writing fiction is more verbose than screenwriting; you’re going to end up with more words on the page in prose form, rather than the fancy indenting and whitespace you get out of Final Draft.

(I actually just looked this up again, and in 2018, a YA author wrote an official franchised book on using StC for novels. I haven’t read it, and this was released years after I did this. From the Amazon reviews, it sounds like it’s a rehash of the first StC book, but for novelists. So, I guess some people are doing this.)

* * *

There are many criticisms of Snyder’s book. One is that Snyder is a hack, in the “those who cannot do, teach” way, because he only wrote two released movies that were not exactly masterpieces, and a few loose episodes of a kids’ show. (He also died at age 51, so maybe with more time, he would have had his Citizen Kane. Or maybe he would have just churned out a StC sequel book every year.) 

The main criticism of the method is his strict adherence to specific page numbers for each transition in the movie. Your script must be 110 pages. The catalyst must happen on page 12. The finale must start on page 85. Because of this, the adherence to the ten genres, and the same basic tools for problem-solving means that, according to some critics, all StC scripts are basically the same. I agree with this assumption, and it’s a problem.

There are a lot of devout followers to Snyder’s rules, and this is pretty obvious in Hollywood. I know I will get a lot of shit about this, but I personally feel like every Marvel or Pixar movie follows this strict structure religiously, and that’s turned every summer blockbuster into a Mad Libs-like script where the only things that change are what’s filled in the blanks. Yes, every one of the 167 Spider-Man reboots drastically changes something about his powers or his origin story or how hot his aunt is, but go back to what I said about loglines a while ago — you’re changing the how or the where. You can change Bruce Wayne to be more edgy or more campy or more cartoony or more 21st-century or a metaphor for why we shouldn’t be in Iraq, but you’re still following the same outline. His parents will always get killed on page 25. And if you wrote a script for Marvel that didn’t have ten pages of origin story right after the theme was stated, comic book fans from around the country would flock to your house and beat you to death with collectible figurines and drag your corpse through the streets like you were the deposed leader of a third-world country. It Absolutely Must Happen according to template.

There’s a vicious cycle with this, because when producers and yes-men are trained to recognize this structure, and see this form making money, they will only green-light movies that match the formula exactly, and then we only see movies with this outline, which means in the future, the only movies that get financed… well, you get the drift. If you’re tasked to write this year’s Batman reboot and you turn in a 450-page script that burns 87 pages pondering Bruce’s childhood before even talking about his parents getting killed, you’re going to get a ton of red pen on your pages, and see very little movement in your bank account. Stick to the formula. And if you want to write some Richard Linklater Slacker movie that doesn’t follow the curve in exactly 110 pages, you can fuck off to indie-land, deliver pizzas to make the nut on your film stock, and release direct to video somewhere. 

This is an unpopular opinion, but I have the same feeling about best-selling kindle books. Writers structure page-turners in a very specific format, and readers are placated when they hit the same plot points at the same marks, and are pissed off when the Act 3 collapses too quickly or whatever. Books that meet this exactly are reviewed higher, which pumps the Amazon algorithm and spurn higher rankings. And then the sequels have the same structure to promote more sales. This is a race to the bottom, and it’s not art. It’s how people sell vitamins and energy drinks. I know, sour grapes, my writing sucks, and I’m a shithead for saying Marvel movies are formulaic. But something is getting lost by people feeling they need to match this formula. Every book is quickly becoming the same.

* * *

Despite the arguments against it, I tried the StC method, and I wrote a book using it. (This was six years ago. I won’t even mention which book, but you can figure it out.) There were some good things to the process. One is that I often don’t title my books until the end, and my book descriptions are almost an afterthought. Starting with those made me much more confident about the direction I was going. And the 40-card process made me figure out a few dead ends before I started writing. I have a bad habit of coming up with a great idea, writing a ton, and then the whole thing falls apart when I get into Act 2. With this, I knew exactly what would happen before I even started writing. That made the writing happen much faster, and I was much more confident about what was hapening. It was easier to keep on track, and figure out exactly what I had to do on each page.

One misconception with any of these Lego-like writing systems is that they don’t do all of the work for you. There’s a lot involved in figuring out exactly what the logline should be, who the characters are, and how it should all go together. You can’t take an idea like “guys selling drugs” and plug it into a mad lib template and have Pulp Fiction pop out of it. Mining and working ideas is hard; this system only really defines the pacing of how they work out.

I went into the process with a basic setting, an idea of a main character, and an idea. The beat sheet gave me a transformation or an application of that idea, how the protagonist struggled with the idea, and it forced me to use a certain number of characters to move the protagonist through the outline. It helped me develop my protagonist, and differentiate the other characters, not only to make them more interesting, but to make them more integral to the movement of the plot.

Another big thing this helped me with is the dynamics of the plot, the movement. Snyder has this saying, “Turn Turn Turn,” which is that a plot doesn’t just have to move, it has to intensify at each step. And this helped me a lot in my Act 2 to Act 3, which is what I always screw up in a book. I was able to raise the stakes through the plot in exactly the right proportions, but it also made it so my chases were more than just moving from point A to B really fast; it gave meaning to the chase, which brought the reader through the outline.

* * *

I really enjoyed writing the book, and I liked the structure of it. It developed well, and the experiment was a success in that way. But short story long, it did not sell. My faithful readers thought it was way too off-brand. “Serious” science fiction readers didn’t get it, and nitpicked the plot. (There are some other factors involved, and maybe I’ll write about that someday.) I proved to myself I could do it, but that I didn’t need to. I went back to writing weird non-linear stuff that doesn’t sell, and I guess that’s my lot in life. I sometimes think if I had the perfect idea, I’d do this again, but I think a lot of dumb things.

Anyway, this is the most I’ve ever written about plot, so I better get back to writing without it, before someone takes me seriously.

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general

Desks, part two

A long time ago, I wrote a post here about my various desks over the years. (It’s at Desks, a viewport into the mind) I was digging around in some scans, and found a few more pictures to babble about. Why? As I said in part one, why not. I have an obsession with the workspaces of other writers, so I’m always taking a snapshot of mine.

Anyway, exhibit one is my desk from 1991-1993, sort of:

This is actually a view of my infamous 414 Mitchell apartment, as it was being torn down on the 4th of July weekend, 1993. So, the computer is gone. It’s hard to see, but to the left is a green card table. That was my computer table from probably when I was a teenager, up until that summer. I used to build model airplanes on it before that, so it was covered in Testor’s paint, in various camo colors. I don’t know what eventually happened to this table; I think it was still at my mom’s house shortly before she sold it.

The whole summer when Summer Rain took place, I had a DOS PC in a generic mid-tower case sitting on that table. Here’s it’s full of books and dishes, although I also see a copy of the Danzig 3 box set with the weird plastic HR Giger cover on there. Also check the genuine IBM PC 83-key keyboard against the wall, which is worth more than a few bucks on eBay these days. (No idea what I did with that – I think it was broken.) And of course, the horrible wood paneling. This apartment was $177 a month in the early 90s, and it shows.

Same year, next exhibit. Here’s the next iteration in 1993:

I worked at Montgomery Ward in the summer of 1993, and wanted to get a “real” computer desk for my next apartment. We sold these Sauder L-shaped desks which I thought were cool as hell at the time. This was before everyone had a PC in their house, so the computer hutch was still a somewhat new phenomenon. And this was before particle-board furniture got value-engineered to hell, so this was a pretty sturdy setup. I think it cost $150, minus my ten-percent employee discount.

This was in my room in my mom’s basement, shortly before returning to college that fall. More nice wood paneling, sporting a Type O Negative poster I got from my zine days. Other things I notice are the twelve-inch paperwhite VGA monitor I had for a few years, my Kenwood stereo and Panasonic speakers that followed me through college, and I see a bottle of Obsession cologne, from back when I actually thought that shit mattered.

This was my first real desk when I started writing later that year. I either sold it or gave it away when I left Bloomington in 1995.

Next up, here’s what Seattle looked like, circa 1998 or so:

The entire time I was in Seattle, I worked on my old kitchen table, which was too small in area and too high off the ground. I’d upgraded to this ViewSonic color monitor, which was far too deep for such a narrow table. (Remember when monitors were more than an inch thick?) Other interesting (or not) things include a self-inking stamp for Air in the Paragraph Line Zine outgoing mail, and I spy a box of Travan backup tapes, when I used to back up my Linux machine to tape for some damn reason. You can also see my emacs setup on the monitor, with eyestrain-relief pink colors. I used the emacs text editor to write everything up until 2011 or so.

Fast-forward a minute (see the older post for other desks in between these) and here’s my work desk in 2001 right before I set it up for the first time:

This was at my office at Bleecker and Broadway. We moved in there in August 2001, and I left in February 2007. I spent a lot of time at this damn desk in the early/mid-00s. The friend who just passed away was two cubes in front of this, so this pic is a little bittersweet. It was also taken a month before 9/11. Ugh.

When I went back to the company in 2010 and visited in December, the desk was vacant, so I got to set up and work there, which was bizarre. That filing cabinet was still there, and was locked. I still had the key. When I opened it, all of my files and printouts from the early 00s were still in there.

And to close, here’s a shot from last year, which is about current:

This is an Anthro cart I bought in 2010 when I started working from home. It’s not bad, although I wish I bought the one twice as wide, and maybe the matching filing cabinet. The only difference between this and 2020 is the Vanatoo speakers I just got. And the bass is usually in a stand. It’s also never this clean. This is both my work and home desk, so I spend far too much time here. It could use a bigger monitor. Maybe I should look into that next.

 

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general

Works in progress, works not in progress

I don’t usually talk about this stuff, mostly because I don’t want to jinx anything, but also because I absolutely cannot fucking deal with people telling me what I should be writing. I have a lot of half-started projects. Some are underway. Some I never finished because they were ultimately bad ideas. I don’t know what to do with those. Sometimes I think I should just release them all as-is to confuse people. But I guess you have to be a famous dead person to do that.

Anyway, here’s the current inventory of every car up on blocks in my front yard:

  1. Untitled rough sequel to Atmospheres. Currently 91,000 words. Maybe 75-80% to first draft.
  2. Untitled rough sequel to Rumored to Exist. Currently 89,000 words. Maybe 50-60% to first draft.
  3. Untitled short story collection. Currently 52,000 words. Maybe 40% done, could maybe be split out and submitted in pieces.
  4. Flash fiction morgue. ~450 pieces, 287,000 words. Unknown completion percentage.
  5. Short story morgue. ~200 pieces, 100,000 words. Unknown completing percentage.
  6. A morgue file up to 2012, which includes everything cut from Sleep Has No Master and Thunderbird. 120,000 words. Unknown completion percentage.
  7. Three different attempts from 2006-2011 at writing an adventure novel about a cross-country trip after a zombie apocalypse. ~140,000 words. Dead.
  8. The Device – a time-travel adventure novel that spun out of Rumored to Exist in maybe 1998. ~30,000 words. Dead.
  9. A completely meta sequel about Rumored to Exist, where a character reads the book and tries to hunt down everyone in it to find answers or something. Complete outline with notes, but almost no writing, ~3,000 words. (I actually like this idea and might do it after I finish 2.)
  10. Book of short stories about Bloomington during when I was there 1989-1995. 116,000 words. I can’t even look at this shit anymore.
  11. Heavy Metal Hell, fiction novel based on the summer between HS and college in 1989. 65,000 words. Plotted out, 21 of 45 chapters written. See above.
  12. A Raymond Federman-style meta-perfiction book about writing the above book. 18,000 words. A NanoWriMo project that stalled out fast, maybe 20% done. I like the idea, though.
  13. A sequel to Summer Rain that takes place 30 years later. Lots of notes and a few vague outlines, but there are various political reasons I can’t do this.
  14. An essay book about dead malls. I have a few thousand words of notes on this, but I need to stop it with the dead mall shit.
  15. Untitled book about two guys who move to Florida and start a UFO cult that becomes a mainstream new-age movement and is completely corrupted by a corporation. ~70,000 words. Largely dead because too much of the plot is like the TV show People of Earth, which came out five years after I started this.
  16. A collection of Air in the Paragraph Line #1-7. ~45,000 words. I have no real motivation to release this, because it’s all been released and the writing is so dated.
  17. A book of essays expanded from posts here. There’s millions of words on this blog, and have been various attempts to do this. I’m looking at one from 2014 that’s about 85,000 words. I did this with my 1997-1999 blog posts and sold like three copies, so I have little motivation to do this.
  18. Daily automatic writing archive 2009-2014. 440,000 words. Some has been published here or recycled into stories, but maybe 75% of it is just sitting there.

I’m working on 1 and 2. In the first week of December, I’ll panic and do another short placeholder book like Ranch: The Musical. Stay tuned.

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general

bronchitis, editing, speakers, rumored

At the start of every year, I have the grand idea of writing every day for the next 365 (or in the case of this year 366) days. This year’s excuse is that I brought back acute bronchitis from Wisconsin, and I’ve been fighting that since Christmas. It’s the kind of thing where I can sit down for five seconds and be deep asleep, and even getting ten, twelve, fifteen hours a day doesn’t help. I went to the doc last week, got antibiotics and instead of my beloved Permeth, she gave me some garbage cough pills that didn’t work. I’m mostly okay now.

You probably can’t tell, but I’ve covertly been going back into old entries and cleaning things up, adding tags and fixing broken links and boneheaded spelling mistakes. I’m always surprised by the amount of writing on this site, and I always like when I stumble upon an old entry and read it and have totally forgotten about it or the events that transpired that caused me to write it. I never know what I should be writing here on a daily basis, and that critical thinking, obsession over what is my “brand” causes a horrible self-censorship that stops any writing. But I look back at various eras when I was writing every day about nothing, about killing time or various thoughts and obsessions, and that stuff is always gold to me.

(It opens the obvious questions about “why don’t you write books like that” or “why don’t you turn those posts into articles” or whatever the hell. I did an anthology of early posts from this site, and it sold close to zero copies. And what I do here is exercise, not writing. It’s like telling a person who jogs five miles a day that they should really look into being an NFL running back. No.)

I forgot to write about this, but when I was gone over Thanksgiving, the studio monitors on my desk died. They were an old M-Audio model that had a known issue with the amp, where it was a bit of a perishable item and the capacitors would eventually blow. I got six or seven years out of them, but I’d been looking to buy something else for a while. And that’s a huge wormhole, shopping for audio equipment. I get to the point where I can almost justify buying some expensive tube amp and bespoke speakers, then remember I have no room in this office. But I also don’t want to buy the $20 speakers you usually get for free when you fill out a credit card application at Best Buy.

Anyway, I bought a pair of Vanatoo Transparent Zero speakers. They’re actually slightly smaller than the old M-Audio ones, even though they have a bigger woofer (four versus three inches), and it’s made of aluminum. The case is wood instead of plastic, and has neat magnetic grilles that are easily removed to see the goods. There’s also this passive radiator which is supposed to add better bass response. It has its own DSP, so I can plug it straight into the computer via USB. It has a variety of neat options like a subwoofer output and various limiter and sleep and crossover options I will never figure out. It also has a bluetooth receiver in it, which I will probably never use. Same with the wireless remote. Nice to have them, though. The sound is very transparent and clear and nice at volume. They are near-field monitors, so not great for filling a room, but perfect for sitting at the computer. There’s no goofy “voicing” to them, just straight-up reproduction of what’s on the track. My only complaints are there’s no headphone pass-through jack (but I can just plug into the computer, I guess) and they could probably use a subwoofer. I actually have one sitting in the next room that’s not hooked up to anything, but I have no space in the office for it. Anyway, they are perfect for that price point, and a great solution between the cheapie $20 speakers and blowing a few grand on an audiophile set of bookshelf speakers and amp.

Not much else going on. I took some time off writing during the holidays, which I never do, and it took some effort to get back going. I have two big books that are on the vine and need some serious work to get going in the right direction. One of them is essentially a sequel to Rumored to Exist. It’s currently about 350 pages and totally directionless, with no real through line or “rails” to it. And based on the sales of December’s book, it’s hard to get enthused about packaging up a book that’s about four times as big and trying to get people to read it.

But it’s fun to dabble with it. The big secret is I enjoy the process of writing, the actual meditative action of getting lost for a few hours putting words on the page. I hate everything else, the sequencing, editing, packaging, marketing, production. I’ve been going back and trying to figure out how the original Rumored happened, what kept me going on it. It took almost seven years to write, and it was essentially completely rewritten seven times. I recently went back and skimmed the annotated version (which like only four people have read) and it has a lot about it was written. Always fun to look back at that, but my writing process is completely different now. And you can never reproduce how things like that happened.

Birthday in a week. It lands on a Monday, but we have the day off of work for MLK day. I’m doing another superfloat in the isolation tank. I’d go to Denny’s, but Denny’s is so horrible now. I vaguely thought about leaving town for a three-day, but prices are probably jacked up, and I just want a weekend without anything.

I’m still sitting on my reading list from last year. I rated everything, reviewed nothing, so I’m not sure if it’s worthwhile to share it, but maybe I will later this week.

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general

Food jail, backups, etc.

I miss being able to write here on a daily basis on everyday topics that have nothing to do with my writing, in a style not like my writing. It’s caused a problem in that people read stuff here and assume my books are like this writing, and either say I should write more like this in my books (no) or make this blog all absurd stuff like my books (no). I do like when I look back at a random entry from 1997 and see what existential crisis I was having over buying CDs or something.

I’ve been in food jail for the last few weeks. I should be at about 170-175, but I’ve been just north of 200 for most of the year, and need to get past that. So I’m on plan, and I’m hesitant to say which plan, because everyone is a fucking expert, and I don’t need yet another goddamn person telling me I need to intermittently fast. I know what I need to do and what I need to eat, but it’s a slow process. If I could lose a pound a week, there are only 20 weeks left in the year, so that’s almost my goal. But it’s been slow. When I did this ten years ago, I would eat about 1500 calories a day, keep at a good ratio of protein/fat/carbs, and eat clean(ish) and I’d always lose 1-2 pounds a week, without fail. Now, not so much. There’s certainly something metabolic there — higher cortisol from stress, lower testosterone from being ten years older. And when I get too much into reading this junk, diving into various pseudo-science blogs about insulin response and carbohydrate conversion and whatever else, my ultimate response is to say fuck it and start eating again. So I’m going to have to stick with what I’m doing, keep exercising, and slowly carve away at it.

Went to the GP last week, partly because it’s just time for my annual, partly because everyone is dead and dying and there’s some paranoia there. Everything’s fine. All the blood numbers are fine. Blood pressure is borderline, but between the day job and all the caffeine, that’s understandable. I need to lose weight, although this doctor doesn’t hassle me about it that much. I have mixed feelings about fat acceptance – if you’re into it, whatever, but I know I felt better and my numbers were better when I weighed less, so it definitely has health consequences for me, and it’s something I need to work on. Anyway, why am I telling the world all of this?

Spent yesterday burning too many cycles dealing with my backup solution. I have used CrashPlan for years, and they decided to get out of the home game, and told everyone to switch to their pro/small business plan, or go screw. I stuck with it, and then found out my machine hasn’t been backing itself up for weeks. I futzed with their program for a minute, and it said it had to re-upload everything, which would take a week or two. Or maybe it didn’t – their new UI is very opaque and tells you nothing. I spent all day poking around with alternatives. They gave me a “deal” to switch to Carbonite, but the “deal” was roughly twice as expensive. I looked at rolling my own solution, using a tool like Duplicacy to back up my stuff to an Amazon S3 bucket, and then using Wasabi, which is a cheap-o S3 substitute. I couldn’t really get that to work, so I gave up and switched to BackBlaze. I like the UI and the performance of BackBlaze, and the price is right. I am not entirely into the recovery method – instead of just being able to browse the archives remotely, you either request a monster ZIP of your entire archive, or pay to have them ship you a drive. I suppose that is okay for a full-machine failure, but doesn’t address when I need to go back and grab a single file from backup. I do also back up locally, on an external drive and to a NAS, so that’s okay for now I guess.

I have a book 99% done that I can’t seem to get out the door. It is completely written, has been through like three or four editing passes, and I’m at the point where I can’t even look at it anymore, let alone write a snappy description and tell the world it is the greatest thing ever. I have someone working on a cover for it right now. Maybe that will make me get off my ass and finish it.

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general

Bourdain

Usually, these things don’t get to me. But for some reason, this one has.

So Anthony Bourdain is dead. Suicide, hotel room, 61. I feel some need to extrapolate on this, front-loading this with a lede of what he accomplished or why this is so tragic, etc etc. I have no energy for that. You can go to Facebook and see that 50,000 times.

I’m trying to figure out why this bothers me so much, and I think it’s because of when I became connected with his work. I remember exactly when and where I first picked up a copy of Kitchen Confidential. There was a book store called Coliseum Books in Columbus Circle, and I’d go there every Friday after I went to my shrink. (She’s also dead, I found out recently – lymphoma, I think.) I think I read the New Yorker article, so I picked up his book. This was back when I spent hours and hours on the subway, and was single, lived alone, had no cable TV, so I would plow through books, reading a book a day most of the time. But while I read a lot of forgettable work back then, his stuff had a real resonation for me.

My kitchen career was low-level and short-lived. A summer on the Taco Bell drive-through; a couple of months washing dishes at an old-school Italian restaurant; part of a semester doing the same at a dorm, with the very brief and slight promotion of being the dude who stocked the milk and juice bar in the front-of-house. But when Bourdain described the camaraderie, the in-the-trenches slog of working the back half of a restaurant, I immediately related. I’d never aspired to cook or even stay in the business long enough to do anything other than collect a small paycheck, but I’d spent enough Friday nights at war with the dinner rush, completely slammed with a wall of dirty pans and plates, and no way out. I got it, and it pulled me in.

Bourdain had a persona, and I think it grew much more when he became a TV personality, picking fights with other chefs, with vegetarians, with food chains. His work as that persona was good, but it’s easy to forget he was a hell of a writer, and that’s what drilled into my brain. It wasn’t that he was a good brand; he was a guy I knew, someone telling stories and shooting the shit and talking war, a war I briefly fought. There’s something about any writing about a very involved job like that – it’s the reason I probably go back and re-read Bukowski’s Post Office every other year. Bourdain had chops, but he also had the ability to figure out what to write from such a career, and to do it in a different template than all the other stodgy food books up to that point.

I think he’s also a very intertwined part of the early 00s and New York for me. I was not a foodie, and spent far more time at McDonald’s than at any French restaurant. But if I had to make a list of the things that made up the background of my time in New York from 1999 to 2007, he’d be on that short list. I used to walk home down the back alleys of south Manhattan to avoid the tourists and bustle of Broadway, the Broome to Jersey to Mulberry to Prince to Bowery route, the interior of the blocks that were grand and exquisite on the exterior, but I’d be seeing the service entrances and freight elevators. And that’s where I’d see the chefs, always smoking, always preparing for a battle that was about to start when I was heading home from the cubicles. And that always made me think of Bourdain and other chefs, and the underbelly of the city, and those folks who took the long train from Jackson Heights or Hoboken to cut up fish or wash dishes for minimum wage in a city where bankers earned millions of bonuses in the W years.

It’s weird because I feel like I knew Bourdain, although I didn’t. When I stop and think about it, I think, wait, did I know him? Like did I meet him at a signing, or have a friend of a friend that worked with him, or run into him at some point? I didn’t, but it feels like it, because his writing got so in my head. I don’t have a connection to the TV host who jetted to France to eat oysters with someone famous in the food world. I mean, good for him that he got the money and the opportunity, and it’s fun to binge-watch on Netflix, but that’s not what did it for me. He somehow burned into the background of my brain, and that’s why his death bothers me.

There’s also the usual thing I do, where I look at him at 61, and me at 47, and I’ve wasted a lot of time on 401K calculator sites that all tell me I have to keep this optempo going for another twenty years, and I feel like I want to retire in 20 weeks, and who knows when I’ll even get started with this writing thing in earnest. He broke big because he wrote what he knew and he wrote as a person, and I’m so burned out and sick of writing what I write. So I keep thinking, well maybe next week I’ll reinvent myself, and do everything different. But the clock is ticking, and when someone goes, it puts that in perspective.

I’m not going to go into the why of how he did it, or if this is some epidemic, or if prescription drugs played a part, or what 800 number you should call, or any of that shit. You’ve probably seen it a million times already this morning. Just like how I couldn’t think of a snappy paragraph to open this, I don’t have one to close it. Just wanted to get down my thoughts now, because it seems like I never get to do that anymore.