ECHO Blogging Central

For a long, long time, The Bone People was my favourite work of fiction. I haven’t been back to it for a long while, but found a battered copy again recently and have started it again. As I started it I was wondering whether it’d fit into that “I enjoyed it when I was a teenager but I’ve grown up now” thing – but instead I’m being reminded what a blindingly original, beautifully deep roller-coaster of a story it is.

I did a quick Google search for the author, Keri Hulme – and landed on this page which describes in some detail the astonishing journey behind the novel. Hulme won the Booker Prize with The Bone People in 1985, and also published a selection of short stories which I’ve also read (and recommend) but apart from that her literary career has been somewhat sparse. It seems amazing in some ways that an author who writes with the extraordinary scope and creativity represented in The Bone People hasn’t been more prolific, but this is explained perhaps by the obsession which obviously drove her to write it in the first place. According to the piece on the New Zealand Book Council site, one of the three characters of the novel, Simon Peter, a mute boy of unknown age and origin, began haunting Hulme’s dreams an incredible 17 years before she wrote and found success with the novel. The article describes the journey she took – and in particular how this character kept appearing in some form in her short stories, being slowly moulded into the person he is in the final work. It also explains how Hulme had to fight to keep the original text as various editors and publishers tried to cull it.

I found this stuff very interesting from a budding writers’ perspective – not only does it make me feel better about the long time it seems to be taking me to pull together a chunky piece of fiction, but also that this strange, ongoing, intimate relationship with the characters you’re writing about seems to be quite common amongst those of us trying to write a novel. I think a lot about my main protagonist, Palmer while I’m out and about – and find I’m very often coming back to ask: “what would he do here? how would he react now? can I use this somehow?”. Hulme’s obsession with this lost boy character was obviously hugely intense and drove her through nearly two decades of writing before arriving at some kind of end-point. I don’t dream about my characters (yet..!) but find it fascinating that they occupy large chunks of my thinking time. As a reasonably new arrival in the land of fiction writing, I also find it reassuring that this process of writing can go on over a long period of time and still reach some kind of satisfying and rounding conclusion.

In fact, as the ever-spot-on Oatmeal says: Printers were sent from Hell to make us miserable.

I own a printer. I’d rather not, and I run a mostly paper-free life, but there are still occasions when I need to print stuff – end of year stuff, the odd invoice, a letter or two.

Every single time I dust off my printer, these things happen:

• The ink runs out. I go to Smiths, spend half an hour looking at a vast wall of different cartridges for printers with slightly different model numbers before realising that my exact model isn’t represented here and so I apparently need to order online instead
• I go to Amazon and find an incredible array of possible inks – the official ones come in at about half the price of my printer. Let’s consider that again: my printer costs £45 new. The ink costs £25. This is like filling up a £5,000 car with £2,500 of petrol every time you want to use it.
• I inevitably choose a dodgy non-HP ink and then suffer a deeply irritating “non compatible HP ink will DESTROY YOUR LIFE” message until that ink runs out too (normally only about 3 minutes, I grant you, but hey)
• The printer crunks 15 sheets of paper with every print
• The printer requires a 100 Tb driver download every time I’m in a hurry
• If something breaks, I have absolutely no option but to bin the printer. I believe as an individual I have owned at least 5 inkjet printers in the last 10 years.

We all just accept this as the norm, and it’s obscene.

I refuse to believe that printers are SO complicated they need official inks, or can’t have replacement parts. I refuse to believe that in this year of our lord 2013, we can’t build a device that’ll print out one page of text without performing complicated origami techniques on the next 14 pages in the tray. I refuse to believe that I absolutely MUST download that fucking printer application, edit suite, Chrome toolbar, desktop helper and new OS in order to PRINT A FUCKING LETTER.

I’d much rather pay £100 upfront for a decent, open-sourced printer. One where I could buy spare parts and £5 replacement cartridges.

If it were on Kickstarter, I’d fund that shit.

Inspired by the beautiful flat seas round here at the moment.

Written and produced on the amazing NanoStudio.

[Edit: I was interviewed by The Freelance Web about these tips - hear me talk about this stuff over here]

So we’re just signing off our accounts for the second year of Thirty8 Digital (crazy business: two years? Where the hell did that go?). Things have been brilliant so far ~clutches hard at large piece of wood~ and I wouldn’t now do anything apart from work for myself.

I just got an email from my friend and ex-colleague Frankie Roberto, telling me he’s going freelance and asking for some tips. I have much to say about this stuff, and stopped myself writing him a thesis, but thought it might be interesting to throw the things I said into a quick blog post.

So here it is, the things I’ve taken away from the first two years of business:

> Get an accountant, it’s worth every single penny

> Don’t bother with stuff like FreeAgent, at least until things get much more complicated. Use Google Docs instead and save yourself the monthly fee.

> Find a blinding host if you’re going to be doing that stuff (ours is Vidahost, who are bloody brilliant: disclaimer, here’s an affiliate link… http://my.vidahost.com/aff.php?aff=1450).

> Try to avoid really low budget stuff, even though you’ll probably have to do that shit when you first get started just to get rolling – but in my experience the people who have £500 to spend on a website almost always want a £5000 website, whereas those who have £5000 to spend probably want a £5000 one…

> Genuinely under-promise and over-deliver. It’ll hurt a bit now, but later on people will come back because of it.

> Run your entire business life out of Google Docs. There really isn’t a viable alternative, which might hurt from a privacy perspective but you’re going to have to live with that right now.

> It’s hackneyed, but *everything* takes twice as long as you think. Make sure your estimates reflect this.

> Back every bastard thing up in at least three different places. This includes files, images, code, websites, everything. You probably knew that already, but worth making sure

> Introduce lots of people to lots of other people. I’m pretty sure there’s a karma thing going on here somewhere..

> Fix a single rate for everything you do, and then apply a discount if you want to do things cheaper for, say, a specific sector or client. It’ll make them feel good that you’re cutting prices for them and it won’t force you to do something over-complicated with your pricing.

That’s mine. What are yours?

I’m 17,000 or so words into my first novel and I realise I’ve been suffering a bit of writers’ block. It’s probably been a couple of months if I think about it realistically. I now see I’ve been in avoidance mode, ostriching the fact that I couldn’t get past this particular issue, and it’s been bugging the shit out of me.

I’ve realised for a while from friends who write or from poking the web that cracking on and just bloody writing is a good strategy for doing fiction. But it is also the case that a bulk of text this size needs a good (sorry: office bingo alert) “helicopter view” to make it flow. I’ve got a plan, of course, and a plot (yay), but there was a crucial motivation thing missing for my main protagonist – Palmer – that I’ve been really stuck with. For the last two months this one question has been whirling around my head: Why the hell would he do what I need him to do? 

(What I need him to do, by the way, is to leave his hugely successful company and the love of his life and run away from it all so he can live in isolation in the arse end of nowhere…) (oh, and later in the book head back to the company to face his demons..)… so the motivation had to be big, overwhelming, unstoppable.

I’ve come up with pages and pages of notes riffing around the motivation that might make this rupture happen, and things got fanciful and weird and then frankly terribly unbelievable – and then I read the amazing, emotional and heart-lifting last interview with the brilliant Iain Banks:

“…only real life can get away with the really outrageous stuff. The trouble with writing fiction is that it has to make sense, whereas real life doesn’t. It’s incredibly annoying for us scribblers. A lot of the time you’re simply deciding how far down the path of unlikeliness you can go while still retaining the willing suspension of disbelief in the reader…you’re trying to decide how much you can get away with”

…and realised that this needed to be blindingly simple to make it believable.

And finally, I’ve got it. It came to me yesterday after about a hundred beers. I’m not going to tell you what the motivation is – just, you know, so you buy my BESTSELLER when I finally get it done (the butler did it)…but needless to say, it’s terribly simple, and I think (think) will work beautifully to tie up a whole bunch of stuff I needed to tie up.

So yay to breaking the block, and thank you to the gods of beer for helping out.

Meanwhile, as they say, here’s an excerpt. Just to give a bit of context, this is the first time the crack underlying the business (it’s a kind of virtual reality escapism holiday company, if you must know..) shows, and things start to go to shit:

>>>

I had an idea for a thing – but I don’t know if it’s an event thing or a blog thing or a gathering thing or just a thing thing, or maybe not even a thing at all.

Also, I’m in Devon in order to do less developing of things, so maybe it’s just a “put it in the list for later” thing.

But anyway.

Men, right, they’re all about BEER and WIMMIN and CARS and FOOTBALL and NOT TALKING ABOUT STUFF and DEFINITELY NOT CRYING and BEER and COMPUTERS and WIMMIN and GAMING and BEER?

No?

No. The very best men I know – the ones I keep in touch with and consider my real, proper, bestest friends – are sensitive and funny in a non-PHOAR way, and maybe cry every so often and read books and may like the odd car or two but still wonder about the meaning of it all and don’t always feel terribly secure and aren’t afraid to say so in front of other men and (frankly, maybe this is sexist or out-dated or something – sorry) have a bit more of a feminine side to their nature..

And I like that, because I might at times be a brash bastard (and social media doesn’t help with this, it has to be said – sorry) but inside I’m all of those things too. And there’s nothing I hate more than watching a room full of men trying to be all ALPHA and hiding their fears and pretending to be BRAVE when really they’re probably full of fear about where the next paycheque comes from or how to tell their wife that they love them or how to express that they’re depressed.

Then there’s the kids. Mrs E and I are bringing our two boys up with bows and arrows and tents and exploring and Lego – but we’re also helping them cook and read and paint and create and hug and cry and knit and tell us how they feel inside – and our biggest thing is to make them realise that this is all OK, in fact it’s better than OK, it’s really the only way to be. End of.

And I wondered if a kind of League Of Sensitive Men or a Gaggle of Sensitive Dads or something might be a good thing to help support men in realising that this stuff is a good thing and should be encouraged. But I don’t know what that thing might be.

Just thought I’d throw that out there.

Peace

x       <– man kiss

Writing – whether a new song or a bit of fiction – is very often like walking along a thin wire over an abyss. The abyss isn’t death but the loss of the idea – if you look down too long, or think too hard about the almost intangible thing you are running through your brain then it’ll go, just like that, and it’ll never come back.

That crucial moment when an idea is just forming is the most precious, fragile thing – you’re a matter of seconds away from falling off the edge. All it takes is one of your kids to ask you a question, for the phone to go, a text to arrive.. and your idea has gone, tumbling down over the edge into nothing.

This is why I find rapid, easy to use tools are absolutely key to the creative process. For music, it’s either Audio Memos on my phone or a piece of paper on the piano (and a totally non-stavelike and slightly quirky musical notation system I seem to use in preference to writing down real notes..). For writing, it’s a paper notebook or Simple Note. When I’ve caught it with one of these, the fear of losing an idea subsides – and that’s when I can turn to more serious tools like Ableton Live or Scrivener to shape and hone.

What’s interesting though is how many times I tend to come back to the original rough-edged bits – a terrible, static-laden recording of a guitar or a half nonsense scribbled down in the middle of the night. These snippets start off as the most fragile thing but further down the line they quite often turn out to be the most important part of the whole idea…

Lots of people have heard of Parkinson’s Law:

Work expands so as to fill the time available for its completion

Anyone who has worked for any length of time knows this to be true. Looking at it from another angle, you’re never quite finished - yes, you finish projects, empty inboxes, get through to-do lists but there’s always, always something else.

When you work for someone else, this is ok – you reach your lunch break or 5.30 or whenever you’re due to stop and as long as you know you’ve done what you can and your boss isn’t going to fire you / shout at you / give the job to someone else, you find it easy(ish) to walk away.

The challenge is however made very different when you work for yourself. Then, those outside constraints – the “it-really-is-time-to-stop” alarm clock – don’t exist.

I reckon there are three main reasons why this is:

1. Your edges – your work-life balance – aren’t so clearly cut. This might be because physically they’re blurred – i.e. you work from home and your desk is also your dinner table; or it might be more about the intangible – you can (and do) access your email at any time of the night and day. Your business becomes your life and your life becomes your business.

2. It’s YOUR thing – your business, your company, your idea, your reputation – saying “fuck it, I need to stop” becomes infinitely much harder when you’re embedded in something you believe and have invested in.

3. There genuinely isn’t an end to the work that needs to be done when you’re working for yourself. Yes, you might have got to inbox-0, got all the client work out of the way and done your invoicing, but there’s always the improvements, the business development, the file shuffling, receipt printing, content writing….

I’ve worked for myself running a digital agency with my wife now for coming up to two years. I love it, and we both work extremely hard at it, but I’ve only recently come to see that a positive acceptance of Parkinson’s Law (rather than a resistance to it) is a hugely important thing for the self-employed. I know far too many people (you know who you are) who work for themselves and stress the hell out of their entire lives 24/7. They might be doing incredible stuff, but many of them spend their weekends and evenings working and their lives stressing.

By positively accepting that I’ll never, ever get everything done – and it’s ok for this to be the case – I have found it hugely much easier to find a sane, guilt-free, family-friendly work/life balance. As an example, we’re now working to a 9am-3pm daily schedule (which fits in with school hours) and try to use Thursdays and Fridays as “look ahead” days to develop new ideas and processes. The short day thing is highly effective – we get as much done in those intensive 6 hours than we would in a “normal” day of 8 hours AND I get the pleasure of hanging out with my kids after school too. The Thursday/Friday thing is challenging at times as client work almost always tries to invade time set aside for future-thinking, but we’re getting better at being disciplined with this. Evenings and weekends are – with very, very occasional exceptions – sacred, set aside for non-work stuff.

It seems to me that one of the huge luxuries of working for yourself – and one that surprisingly few self-employed people I know take advantage of – is the flexibility to choose when NOT to work.

Another piano fiddling – as always it’s a work in progress and needs lots of stuff to make it more complete, but I like the sequence and think it might have legs..

So the whole NSA thing kicked off and the entire internet is full of commentary, as you’d expect.

As with any new piece of news, HUGE REVELATION is followed by some detailed picking apart. (Right now, the biggie seems to be the “what does ‘direct access’ to servers actually mean?” – next up, “Why did Edward Snowden identify himself as the whistleblower?”).

The interesting thing about this debating is that although it’s clearly a good thing to pick apart potentially sensationalist bits of broad-brush news “YOU ARE BEING SPIED ON” and focus on the detail “WHAT DOES ‘SPYING’ MEAN IN THIS CONTEXT?”, there is also – I think – a danger that if the focus becomes too specialised you not only lose audience interest and impetus as the detail is debated by experts in that particular niche field, but you also potentially lose sight of the big picture.

This picture seems to me to be the single most important thing, and it echoes Snowden’s stated reasons for coming forward:

I don’t want to live in a society that
does these sorts of things

This isn’t about the detailed debate as to whether this kind of surveillance helps or hinders terrorism, this isn’t about what “metadata” is in this context, it isn’t even about where particular allegiances lie. It’s about the flavour of the place we want to create as a civilised, intelligent and compassionate society.

In debating the importance of privacy with friends, the most common response is this: “I’m innocent. I have nothing to fear”, and it is almost exactly these words that the British government is using in pretty much every interview I’ve heard about NSAgate. “British citizens have nothing to fear” said Malcolm Rifkind on Radio 4 today: sub-text: “If you’re guilty, fear. If you’re not, fear not”.

Really? So you’re happy sitting in a pub chatting to your friends for a total stranger to pull up a chair and listen in to you talking about the fact you fancy the barman? You’re ok with someone borrowing your phone and looking at the last ten numbers you dialled? You have no problem at all with someone totally unknown friending you on Facebook, or reading your diary? You’re innocent, right, so all of this is ok to you? ”It’s just metadata” you say – “the Government doesn’t know what we said, they just know we you said it to, and that’s ok”.

Well look, here’s what the EFF says about metadata:

> They know you rang a phone sex service at 2:24 am and spoke for 18 minutes. But they don’t know what you talked about.
> They know you called the suicide prevention hotline from the Golden Gate Bridge. But the topic of the call remains a secret.
> They know you spoke with an HIV testing service, then your doctor, then your health insurance company in the same hour. But they don’t know what was discussed.
> They know you received a call from the local NRA office while it was having a campaign against gun legislation, and then called your senators and congressional representatives immediately after. But the content of those calls remains safe from government intrusion.
> They know you called a gynecologist, spoke for a half hour, and then called the local Planned Parenthood’s number later that day. But nobody knows what you spoke about.

The thing is, the surveillance state that can be developed today is abusable in a way that is entirely unprecedented. Is there anyone out there who can genuinely claim that they have never tweeted or posted a comment, visited a website, sent a text, received an email which – if taken out of context – couldn’t be used in nefarious ways by the next Government or employer who wasn’t quite so happy that you went on that anti-war march ten years ago? I don’t think so. The “innocence” of your actions is in the eyes of the beholder; this innocence is contextual and changing with time and with circumstance. Blanket, panopticon-like surveillance of the kind described by Snowden sets a wholly dangerous precedent.

The bigger point is surely this: do we want to live in a society where someone is watching all the time?

However “innocent” you are, I don’t think you do.

I’m pleased with this one – it’s a nice mellow sequence and thanks to a re-share by the awesome ASIP, my most played on Soundcloud by a long, long margin…

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From Melissa and Twitter a great visualization of London Lives on the Line. It shows life expectancy and poverty by the tube stops of London. It shows the rhetorical power of visualization to connect data to our lives.