

Friday, May 31, 2013

Mailbox: Should I Outline My Book?

[Remember, keep sending in your questions to chris.brecheen@gmail.com with the subject line "W.A.W. Mailbox" and I will answer them each Thursday as long as I have enough to do.  I will use your first name ONLY unless you tell me explicitly that you'd like me to use your full name or you would prefer to remain anonymous.  My comment policy also may mean one of your comments ends up in the mailbox.  And reword the greatest author in the English language to write a question to a sixteenth rate blog at your own peril.]    

Mark asks:

To outline or not to outline, that is the question.  Whether tis nobler in the plot to suffer the slings and arrows of outrageous spontaneity.  Or to take arms against a sea of characters.  And by opposing, end them.  I really like to outline what I'm going to write, and a lot of writers in my group swear by it.  But I've noticed that many writers who I love seem to advise against it.  

Help me Obi-Chris Kenobi.  You're my only hope.  By which I mean, I might actually get an answer from writing to you, and Cory Doctorow just won't get back to me!

My reply:

Maybe you should leave the jokes to me, Mark.

Around here, the Shakespeare quips more along the line of taking Sonnet 23 to see The Book of Mormon while Unsupportive Girlfriend and I order a pizza and watch The West Wing reruns on Netflix. That or I make some crude references to the beast with three backs (See what I did there?) in an effort to seem "edgy."

I do like the Star Wars reference though.  I can probably work with that....

So my first disclaimer in answering something like this is always to do what works. Always. Whenever we get into a "right way to write" kind of question, I'm probably not going to end up taking a side so much as trying to explain the sides because that shit is like biting on tinfoil to me. Elitist assholish tinfoil.

Actually, that's not true. My really really first disclaimer should be that this is about fiction. If you are doing expository writing, outlining is one of the single most useful techniques you can use to organize your thoughts. If you want to turn in the worst abortion of an essay you possibly could, don't outline it at all (even mentally) before you sit down to write it. In fact, the success of outlining in the kind of writing most people are doing for the first 12-16 years of their writing career may be one of the reasons it is so popular when those people shift to fiction.

But my SECOND disclaimer is that you should always do what works for you. If outlining works for you, fuck everyone else right in the ear. Hard. Like grudge sex. Ear grudge sex. And if it brings you joy and contentment to outline, that's all that really matters.

That said, let me see if I can untangle this raging debate that threatens to tear our peaceful community asunder and shed some light on why so many established authors eschew outlining, and so many would-be writers swear by it so fucking hard.  (And why a few [but not many] of the verses are viced?)

Is tossing out your outline the one thing that is holding you back from greatness? Money? Fame? Groupies? Groupie threesomes? Groupie foursomes? Groupie five--


As usual, my advice in issues like this isn't to just pony up my personal opinion, say that everyone else is a mountain of mentally deficient pimple squeezings, remind you to tip your cocktail waitress, and then drop the microphone and spread my arms triumphantly as the feedback blows out everyone's eardrums.

Rather, I try to listen to who is saying what and why.

You are right to notice that many authors don't outline--at least not very much. Andre Dubois III says it's the worst thing you can do. Harlin says writing should be driving in the fog (I wonder if he knew about Mapquest). Stephen King discourages it. Murakami doesn't even know what the fuck is going to happen and he's probably going to win a Nobel prize for literature. This is because modern lit tends to be more focused on character. I don't just mean the literature genre either. Even in science fiction, westerns and mysteries, there is much more attention paid to the character than there has been. (Back in the day, the mystery was the story--now you need an interesting detective like Monk or House to solve it.) The characters should be driving the plot, and if you have already decided what is going to happen, very often it can feel like railroading to put your characters into that position. If your horror heroine tells you there's no fucking way she's going to check and see what that noise was, it is difficult to push her to do so, and if you've ever thought the characters were being really foolish in a horror movie, this is exactly what I'm talking about.  If you already know what everyone is going to do, there's no character development. Your characters are just puppets in your Kabuki Theater. Modern readers don't like that.

The Greeks loved it! Modern readers...not so much.

However, certain KINDS of writing practically require outlining. Any kind of television screenwriting will need to be tightly scripted to fit into a time slot. Thrillers, complex plots, and mysteries are often sludgy dribble with deus ex machina endings that give new meaning to "epically stupid" if they aren't outlined well before being written. John Grisham spends more time outlining than writing  (~cough~ it shows ~cough~).  Robert Ludlum does hundred page outlines or more. But these writers are also writing the sorts of things that need to be very tightly plotted.

And I will warn you up front, this type of writing is seen as "less literary" precisely because it does favor plot over character. So don't come crying to Uncle Chris that you weren't informed how your Legal Spy Thriller with the cardboard character who you might as well have described as "The role of this guy will be played by Tom Cruise," is not helping your bid for Nobel laureate.

Just sayin....

The problem is, a lot of outlining tends to come from an impetus not to write.

Wait. Hang on. Put down that pitchfork. Don't light that torch.

Before everyone gets REALLY pissed, let me qualify that.  I don't think everyone who outlines is doing it in order to avoid writing.

Those people exist, certainly. Let's not play happy make believe world where talking cat people have rainbow weapons and fight for the rights of kids to use their imagination. People who would rather outline than write are not exactly tough to find. Walk into any coffe shop in the continental U.S. and you can probably find no less than three of them sitting around outlining because they're not "quite ready" to start writing. The problem is, they're never quite ready. They don't ever get around to actually writing.  In the end they have these incredibly intricate outlines, but no actual words on a page. Oh, and they have coffee.

Believe me when I tell you that John Grisham doesn't have this problem. When he's done outlining, he writes a fucking book.

But finding poseurs is easy-peasy-hope-you're-sleazy. They sit around the gym talking arguing about whether it's better to do cardio or weights first but never get around to working up a sweat. They sit around drama departments and argue about method acting vs natural acting but never end up going to auditions. And they sit around art stores and argue about the merits and flaws of oils vs acrylics but never seem to actually do much painting. So what happens if we forget about these folk? What about well-intentioned writers who outline?

Again, do what works, but let me make sure I tell you about this other pitfall before I leave you to your own devices....

If I had to pick one way, Mark, in which successful, accomplished writers differ from dreamers it would be this: they respect the process. 

Accomplished writers know they have to work on a consistent routine--probably daily. They know it's going to take a lot of work instead of being genius right away. They know the first draft of anything is shit. They know they're going to rewrite. They know that things are going to get messy. They know they might take out scenes, even characters. They know there's going to be a moment where they realize that their entire first half isn't working and that they're going to have to have a good cry and redo the whole damned thing. They know that what they end up with is not going to look like what they started out to create. They know making mistakes is part of the process, and art is knowing which ones to keep. They know that if we could just sit down and write a good book, they wouldn't be so impressive.

Young writers hear stuff like this and they think: "Not MY story." They don't like these ideas. They don't want something to change from their initial vision. They don't want to have to take out a whole character or scene. What they want to do is get it right on the first shot.

Outlining can be a little bit like the opposite of respecting the process. It can be--I'm not saying it always is, but it can be--a way in which a writer refuses to give up that control. It works against the process. It's like deciding ahead of time that the process won't count for this story because this story is going to go exactly how the writer wants. Many outliners seem to hope that with enough preparation, the first draft won't be shit--it will be exactly right.  If you just think about it enough, it will all come into place. That's not how art works.

You have to give up control.

Then again, for some people outlining is just their "zeroth" draft.  That's the way they write with broad brush strokes first. As long as they're willing to break out of the mold of what they have done and change things, there's nothing really wrong with it. As long as an outline isn't exerting control, it may not be so detrimental.

My last point--take a look at this great bit from Flavorwire where they reveal the outlines of several famous authors.  Obviously some authors outline or this would be a pretty fucking stupid article, right?


However, notice something about these outlines: with a couple of exceptions, notice how small they are. Most of these are one page--a one page outline for a whole book. Notice how what is being outlined are things like timelines and a handful of plot bombs, not the entire arc of every character or what they will do in reaction to those plot bombs. So if you're plotting a story with lots of plot, you might need an extensive outline, but if your characters are going to drive the plot, you may want to meet them and see what they want to do before you railroad them.

Order of the Phoenix is an 870 page book that is largely character based; Rowling used a single sheet of notebook paper to outline it. A single sheet for 870 pages to outline the best selling novel of all time. Let that sink in.

There are some pretty solid reasons to outline and some pretty solid reasons not to. If your characters feel two dimensional, if you are trying to write character based fiction, or if you are outlining to avoid the mess that will become your draft, you should toss the outline and see what happens. If your stories wander off their main plot, you are writing tight plot based fiction (like thrillers or mysteries), or you find that even after a shockingly brutal bout of self-honesty you can say that you are not using outlining as a way to not write, but you still enjoy outlining, then you should probably be outlining.  To the best of my knowledge, you are no more or less likely to form the beast with three groupie backs if you choose one or the other.

And that's all that really matters. Well, that and all the meaningful artsy soul enrichment stuff.

I hate to end without a definitive answer, but you don't really get that Peter North caliber money shot unless you ask questions like: "Should I read?" or "Is it good to write every day?"

Pay attention to why you like outlining. You should consider the kind of writing that you are doing and that you want to be doing. (You PERSONALLY, Mark, may want to consider the fact that the writers you love tend to avoid outlining.) Most importantly, you should check yourself to make sure outlining is not something you're doing instead of writing, and then you should do what works for you.

Oh, and then you should kick anyone in the nuts and/or punch them in the tit if they try to tell you that you're doing it wrong. Cause fuck them, that's why.

Personally I don't outline, but I also have a very good memory for the general landscape of a few plot points and the sheer enjoyment of finding out how my characters are going to handle themselves beyond that.  I write as much to discover what is going to happen and delight myself as anything else.  In a way I'm reading my own work.  Some of my most hackneyed moments have come from trying to force my characters to do something they didn't want to do to get the plot to do what I wanted.

Sorry to be all Obi Chris Kenobi on you, Mark, but you're going to find that many of the outlines we cling to depend greatly on our own point of view.

Also, do me a solid (get it?) and hook me up with a translucent glowing blue cutie, will ya?
Preferably two.

Thursday, May 30, 2013

Last Chance to Vote for Best Stand Alone SciFi Novel

Please take a moment to give us your opinion on which of these write-in nominations is the best stand-alone Science Fiction novel.

Imagine the scene:

You are sitting with your child.  Perhaps you are eating or playing a game.  Whatever you are doing, their youthful exuberance is making the moment light and happy--like a late spring frolic through a gorgeous field of clover and daisies, when the pollen count is down and animals have stopped mating out in the open, and the bees won't swarm you and sting you right in your face.

In short, perfect serendipitous whimsy.

You look at your child, with their doe-like eyes, filled with innocence and that perfect trusting love, and a wash of deep affection crashes over you like a cliche wave at high tide.  It is as if you cannot pick a more perfect moment.

They turn to you, tilt their head at that tiny angle that reveals a perfect, angelic curiosity--like a questioning cherub.  Then they speak"

"How the fuck could you not vote for the best stand alone novel?" they ask.  "I mean do you just not care if Flowers For Algernon ends up being the best Science Fiction novel, or what?  What in the name of Jesus's Middle Eastern summer-sweaty scrotum is WRONG with you people.  How could you not care?  HOW COULD YOU NOT CARE?"

And there, on that perfect day, you watch that child-like innocence die before your very eyes.  And not a Disney death either where the innocence just falls off something tall and you never see the suggested end.  I'm talking like the last Pawnee in Dances With Wolves; the innocence lifts both arms and gives a war cry before being shot by like...fucking everybody.

That's your innocence.

Then your child becomes jaded and twisted, and from that day forth, their response to everything involving democracy, an opinion, even life itself is "Why bother.  There's no point."

But now is your chance to avoid this fate.  Now is your chance to have a child who actually respects you and feels empowered to affect the world around them.


The poll is down below the "About The Author" section on the left.  Everyone gets THREE (3) votes--although only voting once makes that vote "stronger."

Wednesday, May 29, 2013


Part 1 To Boldly Go
Part 2 Mutant Saga
Part 3 Arabian Nights

Part 4- Break all the rules...consistently. 

5- Bad food is bad.




Sunday night, I got into a My Little Pony LARP.







Discord is kind of a asshole, tbh.



Shut up evil italics voice.  I'm getting to that.




Tuesday, May 28, 2013

Return Triumphant (This is not really a con report.)

To a geek this is like spinning rims or a gold tooth.
So normally Tuesdays is for guest bloggers--both the real ones and the really real ones, but to be honest I missed you all this weekend, and I missed writing here, so I thought I'd pop in and let you know that the con went well.  

Actually, if you can believe it, the con went a little TOO well.  Every other convention has involved at least one game I don't get into.  That's a six hour time slot of relaxation and writing.  I usually write for a couple of hours, take a nap, maybe even take a bath, read, and just chillax.  I had hoped to finish my DDC write-up and do a little bit of some other writing, but I just kept getting into games.  Again and again.  Even when I started to grow weary and kind of hope that I would get a break, I would show up on the roll sheet for my first choice.

The shuffler is a capricious and cruel mistress who usually denies me the one LARP I really, REALLY want to get into, but this year her harshly-taught lesson was: "Be careful what you wish for, mortal."

Supportive Girlfriend bought me a lifetime membership, so I have to go to Kublacon for at least nine more years to get my money's worth.  Plus since I'm an unrepentant manwhore, in order to Supportive Girlfriend, I'm going to have to act totally kept for a while.  So be sure you INCLUDE her in the groupie threesomes you might be planning for me.  Here's hoping the con doesn't take a sharp downturn in quality.  (Though I must say, I hope contracts are up soon and/or the decision to be in that PARTICULAR hotel is rethought.  As lovely as the site is, we are way too big a con for that venue, both in terms of hotel rooms and gaming space.)  Given that I've been coming for seven years now--Kubla was my very first gaming convention and where I got hooked on the dynamics of one-shot LARPs--I somehow doubt that I'll be disappointed in this purchase.

Anyway, tomorrow will be the last of the DDC write ups (even if it kills me) and I have lots of good stuff coming including a write up of THIS con, and the most amazing moment I have had as an artist/entertainer within the public sphere.   (There's an entry coming, but it involved T-shirts, an hour long blushing session, almost brought me to tears....and that's all you get for now except to say that it isn't nearly as dirty as my regular readers are probably assuming.)  Plus I have lots of good articles partially written on craft and process that have just sort of been log-jamming in my brain since my teaching stuff kicked into the high gear of finals.

Summer is here, though!  All that stuff has an out now!  I plan to take advantage of the free time before summer school kicks off, and get some really good articles into the cyberverse.

Friday, May 24, 2013

I Blew It. And Not in the Good Way.

No not that---  Damn it!
You've got a dirty mind, Google.
Well... the day has finally come.

I blew a deadline.






Wednesday, May 22, 2013

How Can I Support Writing About Writing? (F.A.Q.)

Short answer: Pay the artist!

Long answer:

Well there's the obvious.  Flowers.  Chocolates.  Promises you don't intend to keep....  But maybe you meant a somewhat less.....hands on way.

I get this question with caveats ranging everywhere from: "in ways that don't involve spending any money" to: "I have been hugely entertained by your blog for three hours, so I want to give you $8.75--the price of a movie."  So let me put this roughly in the order of how useful/helpful/supportive each method is.

1- An ongoing donation through Patreon.  
Simply put, nothing will contribute more to the ongoing survival of Writing About Writing, support the site more, or ensure future offerings of fiction and timely articles than will a few dollars that I can reliably count on month after month and use to budget. Nothing fuels an an artists' or entertainers' sense of duty more than feeling like they have a patron's generosity to live up to. (There are days my patrons were the only reason I wrote a word.)  Whether it is scaling back hours at my other two jobs or being able to give this blog the energy of a full time job, none of it will happen if I need to make ends meet from other revenue streams.  "Support your local artist," isn't just a slogan about pats on the back and encouraging emails. If you want any artist or entertainer to be able to go on creating, the very best way to do that is to make sure their rent stays paid and their electricity stays on, so that they aren't out selling toasters when they could be making more of what you enjoy.

The easiest way to do this is through my Patreon. As little as a dollar a month helps me and will get you in on backchannel chats and polls. More rewards for higher commitments. I love my large donors, of course, but if one of them experiences a life hiccup, I could be down 10% of my income and so a hearty "ecosystem" of one and five and maaaaaybe ten dollar donors is also beloved and incredibly valuable.

2- A one time donation through Paypal.  
Not everyone can give a set amount month after month but money will still be the most supportive thing a supporter can do. I hate to sound like a materialist, but writing is so much easier to do when the power isn't turned off.

A one time donation is easy through Paypal. Just look over to the left side for the conspicuously placed tip jar. I also have Venmo.

3- Subscribe. 
Success begets success. Big numbers attract attention and draw even more audience. More audience will widen the net for folks who might be able to afford to give a dollar or two. You can help me even if you don't have money to give yourself. If folks think their carefully written guest blog is going to reach 18 people, their attitude about contributing will be a little different than if they think it's going to reach 10,000.

Find all the ways to stalk me, and pick a few of your faves.

4- Share the articles you like on social media.  
The hardest part about blogging is getting the word out.  If I share a post on social media it's all my same friends seeing it again and again.  They all secretly (and some not so secretly) hate me and want me to shut up. Not everyone likes my style. Not everyone cares about writing. Not everyone can maintain their composure when it's time to use their scroll wheel. Finding my niche and those folks who really appreciate the work I am doing is tough than running down a cephlapoid on foot (#20yearoldpopculturereferencFTW), so helping push that process along is incredibly helpful. You have friends I've never met.  Some of them might love what I do. It is an absolutely free and easy way to really help W.A.W.–simply share the articles you really like on various social media in order to help me to find the narrow niche of people who like both what I'm saying and how I'm saying it.


5- Click the little buttons.  A lot.
In today's world of web content designers and search engine competition there is a "Red Queen Race" between content providers trying to figure out how to trick a search engine into listing them higher and search engines trying to make sure that what is high on a search isn't filler crap.  Google is constantly coming up with new tricks to make sure someone who's just dropping keywords into a fluff piece doesn't end up as the first result of a search.  One of the most effective ways to help an article get more traffic (by being a higher result on a search engine) is to do things like give it "Likes," "+1s" and "Thumbs Up."  If you want to help W.A.W. you might be just a little more generous with those endorsement buttons than for a normal site.

6- Comment or drop me a line.  
I am SO a real writer!
Am so.  Am so.  AM SO!!

Tuesday, May 21, 2013


Short answer: Yes, but.....

Long answer:







Short answer: Yes.  And no.


I trust that clears everything up? 



You too can make your pageviews into a phallic symbol!

Long answer:

Write five to seven entries a week.  Make most of them 2-3 pages. Over half the entries should be original content of as high a quality as you can produce at that pace. (The other half can be a combination of trying to get people to vote on polls instead of just complaining about the results, link recommendations, personal updates, running gags, and threesome references.) Cross post everything. Annoy your friends. Slip the occasional really awesome article onto another social media, (even though they discourage self promotion) but not so much that they notice. Ignore the friends who threaten to "mute/unfriend/set you to "important only" if you don't shut up. (You don't need that kind of negativity in your life.) Keep going even though you have days where 50 pageviews seems like a big deal. Avoid mobs of your friends with torches and pitchforks coming to kill you for your incessant self promotion.

Keep doing this.

Keep doing this.

Keep doing this.

 After a year or three, get back to me.


I mean besides porn.







Monday, May 20, 2013

Question: What's With All the Threesome and Cheerleader References? Are You a Total Perv?

The Short Answer:  Totes, yo!  You should see my porn collection!

The Long Answer: 

Well....yes, I am, but I don't usually stick my perviness in other people's faces.  Unless...you know...they ask for that sort of thing. 

So to speak.

Writing About Writing is written through a persona--a character if you will.  While "Chris Brecheen" and Chris Brecheen have a lot in common, they aren't exactly the same person.  One writes threesomes as often as possible and considers an article to be a little bit of a failure if there's no reference to one in it. The other one might not turn one down. Maybe.

If we're being painfully honest here,
I have to admit that this is WAY too suave for me.
Honestly, if you met me in real life, you'd realize that I'm pretty shy and reserve my perviness for those who have signed on. My usual approach to sexual adventures generally involves being so awkward that women realize they have to take the lead or we really ARE going to talk about the social significance of zombies vs. vampires as movie monsters all night long. I've never successfully asked anyone out. Ever. I always get turned down. Women have always approached me.

The frequency of people finding my Unfly McAntigame charming is pretty low, so it's not like a lot of opportunities fall into my lap....


....so to speak.  (It's kind of bothering me how much these jokes are pretty much just writing themselves.)

And yeah, while I have a pretty typical heterosexual male reaction to girl-on-girl action, or the thought of being in a hottie sandwich, I only turn my Crass-O-Meter up past eleven (where instead of the actual number "11," there is a picture of Barney Stinson looking AWESOME) when I am writing here. 

Question: Did [X-event] really happen to you? (FAQ)

Oh yeah...I know it doesn't look like me.
That was...uh....back when I darkened my hair.
Short Answer: Yes.  But probably not.  Although in truth, absolutely.  

Long Answer:

Writers tell the truth by lying.  If I can't achieve perfect verisimilitude while lying through my guileful little writerly teeth, I'm not sure what the hell I'm even doing here. So if you're looking to fact-check me like I'm a journalist or something, I'll probably keep you quite busy, but if you listen closely you're probably going to get more actual honesty than from most people who describe events "as they really happened."  

But yes, it probably happened. Maybe. I just may have some strange relationships with the truth.

Once in a while I write an article that isn't intended to be the usual shtick (like "Changing the Creepy Guy Narrative").  It's often way outside the realm of writing and contains events that--to me--involve enough gravitas that storytelling about them in a way that is not CLEARLY fiction might be hurtful to those who have experienced the events for real. It's usually pretty easy to tell when I'm being honest. And yes, that one really did happen.

In my writing you'll find composite characters, characters who are fractured aspects of real people, personifications, fabrications, alien invasions, cloning machines, and talking cats just in case someone out there had it in their head to go A Million Little Pieces on me. But to clear up the one I keep getting about "Did I really graduate Summa Cum Laude?" that I keep getting.  Yeah, that's really really real.

So did it really happen? Absolutely. Sort of. Maybe. Undoubtedly. Did it really happen exactly the way I said? Perhaps. Probably not. Almost assuredly not. Except yeah. If I got some details wrong, it's probably because they were better off happening the way I said. Details need to know who's in charge. Did I change some facts without changing the core truth, or in fact to illuminate it? Almost certainly.  

Or...did you really think I actually lived with a team of superheros

Question: Did you know about ____________ grammar mistake? (F.A.Q.)

Short Answer: 

No. Thanks for pointing it out.  

Long answer:

If you're asking me if I know I make grammar mistakes...IN GENERAL, that is a bit like asking Kareem Abdul Jabar if he knows he's tall. I make a lot of mistakes, actually. Copy editing is a skill with a learning curve and I have A.D.D. and mild dyslexia, so I have to work very hard for limited returns. I'm slowly getting better, but it's like tacking through the Cape of Good Hope. (Hey, I'm not too lowbrow for a sailing metaphor!) You should have seen me ten years ago. I had a hard time spelling "teh." But, I know that even though I'm better and even though I can edit my own copy if I really try, I almost always publish an article with a couple of real doozies.

In a perfect world I could afford a copy editor, but I have yet to entice one with an offer of the dollar a day I could maybe sort of afford.

I could put something here about how creative writing and copy editing are actually very different skill sets. I could match the snide tone of the emails I get (almost weekly) that say I'm not really a writer because I used the wrong team/teem (or some such error) by pointing out--with equal snidility--that proofreading is the one of the only parts of writing that can be farmed out to someone with no creative input, and how common it is for most grammar police to end up copy editing other people's creative work and scratching their heads about why their error-free prose just isn't getting them a book deal.

I could, but I won't. I'm totally a better person than that.

If you're asking me about a specific mistake, chances are I did not know about it, or it wouldn't be there. For all my problems with people being obnoxious religious zealots about grammar, my main problem is that they are obnoxious religious zealots about it--not that they are wrong. In fact, they are usually right. So
 if you're pointing out something that I've done wrong, I will be properly mortified and fix it. I might even thank you if you didn't point it out like I was committing a Cardinal sin.

Of course there are some exceptions. If you try to get me to say "persons" instead of "people,"* I'm going to make a joke about how the forties called and they want their grammar back. (Or maybe not exactly that joke, but trust me, it'll be funny and cutting.) This blog is hip and trendy....except for its use of words like "hip" and "trendy." There are also a few rules that are contested (like the Oxford comma*, putting apostrophes to pluralize single characters*, or putting S's after words like toward or afterward*) and I'm not really going to be to emotionally invested in jumping into the fray on those.  I'll let pedantic-er minds than mine fill the forums of the world with gagillions of pixels about how that's totally important stuff worth arguing about. 

I should also mention that I cut my teeth on typewriters and learned two spaces between sentences for like twenty YEARS, so I'm sorry to all you one-spacers out there. I've mostly fixed the habit, but I still double space when I'm really on a tear. I'm not saying I'm right; I'm just asking you to forgive a long learning curve.*

Oh, and I totally end sentences with prepositions* and split infinitives*. To boldly write those "mistakes" is something I'm completely unapologetic about.  

Generally, I am happy to have any mistakes pointed out. One of the main advantages of this medium is that I can go back and change mistakes. So thank you! 

*None of these are arbitrary examples. I have gotten messaged at some point about each.

Formal Prepologies



Totally a self portrait.
See how cute I am.

Sunday, May 19, 2013

Week 2: SNAFUzifying My Schedule









Friday, May 17, 2013

A Demon's Rubicon by Chris Brecheen

A Demon's Rubicon
By Chris Brecheen









Everyone but me.



Clip clop.  Swish swish.  Clip clop.  Swish swish.


And I will never leave.



Sort of.
























Continue to Part 2

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