Archive for June, 2006

The thin line between sanity and journalism

Tuesday, June 27th, 2006

Journalism Update

A couple of things:

I now have a full-time independent contractor position with Adotas. Pretty cool. I should’ve negotiated a little better, but I’m sure those skills will come with time.

I’m starting to pitch arts and entertainment articles to various publications here in the city. If there was ever a city mad for entertainment, it’s New York.

I’m working on a number of articles for some friends of mine. Not really for pay, but for fun, to help them out, and to get my name on something that’s not related to online advertising.

I’ve been examining journalism schools. I don’t want to spend the time and expense to go for a full-fledged master’s degree. Don’t get me wrong. I love school and study and I’d love to get a Master’s in Journalism. But it’s awful expensive, and getting a Masters in Journalism would get in the way of actually doing journalism. Instead I’ve been looking at schools with shorter programs, specifically those that offer a one year Bachelor of Journalism program.

Reverse Engineering Butch and Sundance

Saturday, June 24th, 2006

This is my response to unconventional writing exercise #2: Screenplay Reverse Engineering.

Those of you who have seen Butch Cassidy and the Sundance Kid will immediately recognize the scene where Butch and Sundance jump off a cliff to escape the “superposse.” I’ve written this as a past-tense narrative, rather than as a screenplay. I had to add in some description where I thought it was appropriate. (You have to add or remove things sometimes when transferring a story from one medium to another.)

The Butch and Sundance movie is one of my favorites, and it’s a story I know well. And while I’ve watched the two characters on the screen, it was quite another experience to write them. I had to put myself in their boots a little bit to find out what they might be thinking about or looking at.

Here it is. Very rough, very unedited:

Butch and Sundance scrambled over the top of the ridge. Behind them, the superposse drew steadily closer. The two outlaws hit a sloping patch of loose dirt and fell. They rolled down the slope, loosing their hats in the process. As the ground levelled out, they managed to gain their footing again, but found themselves cornered by a cliff.

“Damn it,” said Sundance, who immediately jerked his head around, hoping to catch sight of their pursuers.

Butch approached the edge of the cliff cautiously and looked over the side. 300 feet below them, a foaming white river roared back up at them.

The two of them scrambled away from the edge and took cover behind a boulder. Butch squinted his eyes back at the rocky hill over which they had come.

“Well, the way I figure, we can either fight or give,” said Butch. “If we give, we go to jail.”

“I’ve been there already,” said Sundance.

“If we fight, they could stay just where they are and starve us out.” Above them in the rocks, Butch could see the man in the white skipper and several other figures coming around the top of the hill. If it was LaFours, Butch though, he was probably grinning at them, his toothy smile as white as his white straw hat. “Or they could go for position and shoot us. They might even get a rock slide started and get us that way. What else can they do?”

“They could surrender to us,” said Sundance, “but I wouldn’t count on that.”

The figures above them were now picking their way carefully among the rocks, some moving to the left, and others to the right. On the peak of the hill, watching them, directing them, stood the man in the white hat.

“They’re going for position alright,” said Sundance. He drew his gun and checked the cyllendar. “Better get ready.” He pressed his back up against the rock they were using for cover. Butch sat down next to him, a thoughtful look on his face.

“Kid,” said Butch, “next time I say ‘let’s go some place like Bolivia,’ let’s go someplace like Bolivia.”

“Next time,” retorted Sundance. “Ready?” His gun was out, and he was perched on the edge of his toes, ready to spring out from behind the rock and start shooting.

Suddenly Butch raised his head as if he had suddenly been struck by a great revelation. “No, we’ll jump.”

Sundance looked back at his friend and then peered over the side of the cliff at the raging waters below.

“Like hell we will.”

“No, it’ll be okay,” said Butch, who began taking off his coat. “If the water’s deep enough and we don’t get squished to death. They’ll never follow us.”

“How do you know?” said Sundance, sharp as any pistol shot.

“Would you make a jump like that if you didn’t have to?”

“I have to and I’m not gonna.”

“Well, we’ve got to otherwise we’re dead. They’re just gonna have to go back down the same way they come. Come on.”

“Just one clear shot, that’s all I want.”

“We got to.”

“Nope. Get away from me.”

“Why?”

“I wanna fight ‘em.”

“They’ll kill us!”

“Maybe.”

“Do you wanna die?”

“Do you?” Sundance waved his gun at the edge of the cliff.

“Alright,” said Butch as he took off his gunbelt, “I’ll go first.”

“Nope.”

“Well then you jump first.”

“No I said.”

“What’s the matter with you?”

“I can’t swim!”

Butch stared at his friend in half disbelief. Sundance just shrugged his shoulders. The Butch closed his eyes, threw back his head, and let out a bellowing laugh that echoed accross the ravine. “Are you crazy? The fall will probably kill you.”

Sundance looked at the cliff, and then back around the rock at the aproaching figures. His gun was still drawn, cocked, and ready for action. Butch handed him one end of his gunbelt. With a shake of his head and a single burst of bravery, desparation and stupidity, Sundance grabbed it and let out a cry and a curse that seemed to come directly from the bottom of his boots. Charging out from behind the rock, both he and Butch leapt off the edge of the cliff.

With a great splash they struck the water. Above them in the rocks, the miniature and deadly figures of the superposse could only watch as Butch and Sundance, still very much alive, were swept away down the rapidly flowing river, arguing and cursing all the way.

Soylent Green label

Wednesday, June 21st, 2006

While I was at home this past week, I cleaned out my closet and found some old backup CD’s. One of them had this Soylent Green tin can label I made for fun in college.

Soylent Green is People

Just click the image to download the full-sized PNG file. It should fit around a standard soup can. Just get yourself a can of Campbell’s, print out the label, cut to fit and tape it on. As you can see by the ingredients list, Soylent Green is people (sorry to spoil the movie). In the movie, Soylent Green is acually a wafer, but making a label is a little easier than making a box.

Download the Photoshop file if you want to play around with it.

Wisconsin Recovery

Wednesday, June 21st, 2006

Creative update

Not a lot to report today. I’ve been away in Wisconsin this past week, so my writing schedule has been practically non-existant. It’s time to use the next few days to get back on the wagon. I have a short story to re-write and edit, and a few ideas to flesh out. I also start a new job tomorrow, which means I have to fit my writing time around a new schedule.

This weekend I’ll also try to reverse engineer a scene from Butch and Sundance.

First drafts are always unfinished

Wednesday, June 14th, 2006

Creative Update

I got the chance to read the first draft of a story of mine in front of a group of people this past weekend. I’m starting to see how the creative process is more like cleaning up a mess than anything else. I remember learning in art class long ago that Michelangelo (the sculptor, not the ninja) was once asked how he created his statues. He replied that he simply took a piece of marble and cut away anything that was not the statue. The art of writing is kind of the same way. When I read my story aloud, it my spidey sense was tingling. There was too much exposition… too many words… too much repetition.

Much like Michelangelo’s chunk of marble, the first draft of a story needs to be cut, molded, and shaped. There was a whole hunk of stuff in there that was distinctly not the story. I tend to repeat myself when I’m charging through a rough draft. It helps me keep certain details of the tale close-at-hand in my short-term memory. Unlike the sculpting of marble, we writers can’t just dig a story draft out of the ground and start cutting.

We have to put our story ideas into a bucket and pour them out in one big lump. That lump is the first draft. Hidden inside the lump somewhere is the story you’ve envisioned. Once you’ve finished the first draft, it’s time to start sorting through the muck and separating what is the story from what is not. But you have to get that lump out there, otherwise you have nothing to work with. That’s why first drafts are allowed to suck.

I actually have a bit of a problem with this. Psychologically, when something has an ending on it (e.g. a first draft), deep down inside I feel like it’s finished. It’s on the paper and out of my head. I haven’t actualy started on my second draft of that story yet, and that’s something I need to work on this week.

Snakes on a Caddy

Tuesday, June 13th, 2006

Article Update

Hey folks, here’s a list of some recent articles (written by me) that you might want to check out:

New Design Internship

Sunday, June 11th, 2006

Web Design Update

I’ve just gotten an internship with a web hosting company designing templates for their customers. I went down to their office some time last week, and it seemed like a pretty swell place to work. It’s full of programmers, which is ll.cool. Hopefully some of it will rub off on me. To be a web developer I need some serious hands-on experience with Javascript and PHP. I’m also looking forward to designing under a deadline and getting used to some sort of web production schedule.

I’m also toying with the idea of developing small websites for artists. Places on the web where they can promote themselves and show off their work. It’s definately something every artist could use, and I’m also not above charging artist-friendly prices and providing technical advice.

Podcast Recording Snafu

Sunday, June 11th, 2006

Podcast Update
I bought a Sony Minidisc recorder to use with the Haven Nation podcast. I got a chance to test it out in the field yesterday, when I interviewed a writer.

We initially went to a busy coffee shop to record, but I was concerned about the level of ambient noise. We retired to a nearby park. The interview was a smash hit, with every question yielding a deep and insightful answer. But after about a half hour of questions, I realized to my horror, that I hadn’t turned the microphone on. 30 minutes of silence does not a podcast make.

We tried the interview again, but since all my questions had already been asked and answered, it felt very stiff and contrived. Not good for a podcast. We’re going to try recording again later, after we’ve had about a week to forget what the heck we talked about.

Screenplay Reverse Engineering

Thursday, June 8th, 2006

Unconventional Writing Exercise #2

Step one: Watch a scene from your favorite movie. It doesn’t matter how long or short the scene is. Just dig through your DVD collection and find a movie you know well. (If you want more of a challenge, try watching a movie you’ve never seen before.)

Step two: Write out the scene you just watched. Write it out as a screenplay, a narrative, whatever. Just translate what you saw on the screen into written words.

The purpose of this exercise is to practice:

  • writing using a pre-existing story
  • seeing images or action with your eyes and translating them into words

Movies are a dramatic medium, which means they rely heavily on action and dialogue to tell a story. If you decide to write out your scene as a fiction narrative, feel free to go nuts with description. Make the reader see the movie in their head.

As usual, post your reverse-engineered screenplays here by leaving a comment. I reverse-engineered a scene from Butch Cassidy and the Sundance Kid. You can read it here.

The Temporal Wrath of Butter McGee

Wednesday, June 7th, 2006

Here’s my response to Unconventional Writing Exercise #1: Once Upon a Woz.

247 words in all their cheesy glory. I guess you could call this micro-fiction. The form is so short, that as soon as you know the character you’re writing about, you can whip out a 250-word narrative in one go. The whole story is small enough to fit in your head.

The Temporal Wrath of Butter McGee
Butter McGee punched his hand through the wall. That’s the last time he’ll ever take crap like that from Sorensen. Butter was a bulky man. Swarthy, with wavy hair, tinted glasses, and a temper like gasoline. Sorensen had him by the balls and he knew it. Butter, the great and eccentric genius. Butter, the inventor of the Flux Capacitor, the device that makes time travel possible. Butter, the sad little man who would give anything for a moment’s worth of attention, a pat on the back from someone important, or a smile from a woman.

Sorensen had taken his invention. Taken it literally right out of his hands as he just stood there, absorbing all the complements and all the affection given by his assistant Maria. Her sweet words were still ringing in his head. He would show them! They may have the Capacitor. They could be taking it right now to the Science Commissioner, claiming their acolades and titles. But they didn’t know a rat’s whisker about time travel. And they didn’t know that the prototype they had stolen wasn’t the only one.

Butter McGee opened the bottom drawer of his desk. There, in a lead-lined box, he retrieved the other Capacitor. He embraced the device and muttered something about being friendless and miserable. Then he shouted to no one, “Sorensen! Now you will know what it’s like to never have had any friends.” And Butter disappeared into the past with a puff of blue smoke.