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Why is everyone so MAD?

I saw Mad Max: Fury Road over the weekend.  Mad Men had its series finale. The number one movie a few weeks ago featured a character whose entire gimmick is getting mad.  And tons of people are mad about how a certain episode of Game of Thrones ended.

Which is why I ask: Why is everyone so mad?

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There’s a link on the sidebar of this blog, a simple label showing that I have a page on DeviantArt.  For years, I did little with it, not giving it much to grow from.  It was a place where some of my art chose to live, sometimes loved, sometimes forgotten.

In the past few years, my skills as an artist have increased on average.  I’m strongest with an F pencil, though I’m willing to play with pens and Photoshop when the need arises.

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Cursed Marks

We take inspiration from many things as we create.  Star Wars has clear shades of DuneO Brother Where Art Thou is an alternate version of The Odyssey, just like the comic series Ody-C.

In the past couple of years, I’ve become a fan of Dark Souls and related games by Hidetaka Miyazaki. His games are filled with dark atmosphere and indirect storytelling.  Symbols and themes are the strongest elements in Souls games, among them is the Dark Sign.

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At Cape Comic Con, I took a short period to look at some of the other vendors.  One of those was Here There Be Sculpture, which features many lovely dragons of different shapes, colors, and styles.

Of the dragons featured at the show, there was a little red guy I fell in love with and had to adopt.  I named him Rascal.

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Kindness

One of the trickiest things for a lot of creative people is figuring out how to act around strangers.  Do you act cool?  Aloof?  Friendly?  Excited?  And how genuine or fake will those things seem?

I would always argue that one should be themselves.  People see through false joy, feigned excitement, any emotional deception designed to get a person to buy a book.

At Cape Comic Con, I was fortunate enough to meet John Wesley Shipp, who provided a perfect example of how an artist should act when meeting with the public.

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My First Con Experience

As I’ve mentioned before, I was at the 10th Cape Comic Con from April 17-19.  It was quite a show, even if I was behind a table most of the time.

Speaking of tables, here’s what my table set up looked like:

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Having now run a table at a convention, I can say that pursuing artistic employment is harder than I though it would be.  It’s tough because the only stories that matter are the ones available to purchase at that moment.  The only images that matter are the ones people can see without any prompting.

This is no different than usual.

I enjoyed my experience at Cape Comic Con.  I’m sure I’ll do it again, if all goes well.

Maiden of the Star Stairs

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Appearing at Cape Comic Con is a big deal for me, not just because it’s my first con selling things.  This is an opportunity to really test myself, to see how good I am at sharing my creativity with the public as a whole.

I’m not just going to share my writing at the show.  I have art as well.  And not just prints.

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Near-Genius

No, that’s near-genius, not super genius.

Lately, that’s what I’ve been calling myself, a near-genius.  I took an IQ test in high school and missed the cutoff for genius by five points.  That’s why I call myself a near-genius; I’m nearly a genius, but not quite.

I bring it up because I notice the constant trend of fantasy and science fiction books when it comes to terminology.  Many of these writers come up with words.  Each of these falsified terms has a role to play in defining characters and shaping the world of the story.

There is an alternative.

In many of his books, Gene Wolfe doesn’t make up any words for his stories.  In The Book of the New Sun, he uses terms like fuligin and fiacre to describe colors and carriages.  These are archaic or foreign words, but they are existing words.  Why do we have to make something up when there’s a perfectly good word already waiting for us?

Just something to think about.

Standardized Exploitation

The novel I’m showing to agents currently is Blanc Noir, which was born in part from seeing so many forms of exploitation in modern society.  While the main thrust of the story is an investigation, the setting thrives on taking advantage of the masses, usually to make an extra dollar or two.

What kind of writer would I be if I suddenly ignored situations of exploitation when they continue to spring up?  Finishing drafts of a novel doesn’t exempt me from noticing such things, especially when I will have to work on further drafts in the future.  In the interest of sharing what’s important to me, and possibly making you laugh, here’s a clip from John Oliver’s Last Week Tonight:

School administrators sitting in posh offices while the athletes bringing in revenue starve; promising an education only to strip it away when an athlete gets injured; issuing penalties for someone giving a young man lunch–it all echoes of a nightmare government.  This is the sort of thing that makes me glad that the villain organization in my book is called the Chamber of Commerce.

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