Making A Video As Quickly As I Can

This is a timelapse of me making a video from beginning to end. I love behind-the-scenes content — even if it’s just someone sitting at a desk. Seeing how something is made is such an essential part of learning how to do it yourself, so I thought I’d share my process. 

Also, I’ve been pretty busy recently, so I thought making a video of me making a video would be a good way to kill two birds. 

Writing Script

Writing a script is all about taking an idea and running with it. Don’t overthink, just write. Sometimes I’ll take a break to do some research, but the goal is to get a page and a half of written material. The more — the better. I can always cut what I won’t use. It’s easier to cut during the editing phase than create during the editing phase. So the more you have, the easier the next step will be. 

Editing Script

I realize that each step is all about making the following step easier. Editing can determine whether recording the audio will be a regular painful process or a terribly excruciating process. The editing phase is where you can set yourself up for success and sound smarter than you actually are. Knowing that I’m recording the voice-over after, I make it a habit of reading out loud when editing, which I’m guilty of not always doing. 

Recording Audio

Recording audio is the most draining part. Mainly because there’s nobody around to direct me. Sometimes I don’t know if I’ve said a word wrong or if my tone is off. However, I try to perform the section three times solidly and move on. You must move on at some point, if you’re not careful you can end up working on one paragraph for way too long with no guarantee you’re making it better. Get three good runs and go onto the next part. 

Audio Editing

To be as efficient as possible when audio editing, I’d skip ahead and listen to the last take first and then I compare it with the second last. If one is better than the other, I choose that one. If they’re both the same, I choose the last one. If both are bad, I’d go and listen to the third last and so on towards the first take. The first take is often the shittiest. After I’m done with the voice-over, I then get the music. I’m currently using Upbeat for my music. They offer 10 free downloads every month and that’s more than I need. Give it a shot!

Video Editing

Recording only an audio voice-over instead of a video of my face in full talking-head shot is about 20 times easier. Maybe 40 times because I won’t have to watch myself. Instead I get to scroll through stock footage to fill in the visual content. I use Storyblocks. It’s fine. They can use more footage with people writing, in my opinion. 

Polish and Upload

Lastly, I polish up the edit. This part is all about making minor adjustments and cleaning up the cut. If text is needed, I’ll add that here. If colour correction is needed I do that here. I’d watch it a few times to make sure there are no embarrassing mistakes. I don’t always catch them. Especially if I pronounced something wrong. After I give the imperfectionist’s seal of approval, I export, create the thumbnail, and upload to my YouTube channel

That’s it! That’s my current process for creating a video as quickly as I can. What was the video I made about? It was about editing. You can watch it here!

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Word Counts Don’t Count When You Should Be Editing

I used to joke that the worst thing in my life was that George RR Martin still hadn’t published The Winds of Winter. I have this theory that the last two books in the Song of Ice and Fire series are all finished and he’s holding back the releases because the expectations would kill him. He’d rather spend the rest of his life editing, and he certainly could, because editing is an infinite process, and theoretically the longer you spend editing the better the piece will get. Writing a great book, especially when you have enormous distractions like wealth and fame, or a regular full-time job, takes a long time. 

Some lucky writers churn out books after books, series after series like it’s an annual event, while other writers struggle to get one great short story published in their lifetime. This makes me wonder: what’s happening? Isn’t writing consistently the key? The higher your word count, the more books you’ll write, right? Getting the word count up may be easy for some and hard for others, but regardless of how challenging it is to get the words on the paper, the next part — editing — will be twice as challenging.

When we think of writers, we often think of them in the act of typing, creating the words. But what writers are as well are editors. They need to take what they’ve written, all the words they’ve typed, and polish them up so all together it becomes a cohesive story worth reading. Depending on the project this could mean more research or it could mean rewriting the whole story from a different perspective or it could mean restructuring the plot so it’s no longer in a linear timeline. Whatever editing requirements are necessary — and there always are some — this is where the work truly begins. 

There are days where you will stare at the screen and debate whether you should cut a word or the whole sentence. There are days where you won’t add to your word count. There are days where you’ll be losing words. There are days where you’ll feel as though you are undoing all you’ve created, reversing the time and effort you spent writing. There are many phases where a story can die and from the first to second draft is a common place for a work-in-progress to remain in that status forever. You’ve written yourself into a place where it is futile to even edit. Quitting is the natural solution. 

How do you get yourself out of this hell, save your project, and salvage all the work you’ve done? There is no simple answer to this question. A lot of it will depend on you, but be sure of this, the likelihood of you starting a new project and getting it past this phase is unlikely if you can’t get past this phase this time. Yes, it might be a whole new project and you might be able to write yourself clear of any plot holes, but how can you steer clear of these hazards if you can’t identify and resolve them this time? 

Starting a new project and tracking your growing word count is enticing, especially after you’ve been trapped in your current story, and you’re not seeing any progress or movement. But the time you spend struggling to repair your work whether it be by conducting interviews or participating in a writing workshop or just staring at the screen, it doesn’t matter, these experiences are qualitative. It makes you a better writer by examination. The better you become at reviewing your work and not only composing, but you’ll also become a better storyteller all around. 

Counting words on a page may feel great. Seeing the giant document saved onto your hard drive is something to be proud of. However, your dedication to making it better. Your patience to sit in front of the words you’ve written and look at all of it objectively and not get overly emotional or discouraged will be the greatest power you wield going forward into your writing career. 

Are you failing to see any progress in your work? Check out this article about how to stay motivated.

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How to Write a Scene When You Can’t Picture Everything

A shattered vase lies on the floor. Once beautiful pieces are now sharp and dangerous. The barefooted woman dares not move. 

When writing a story, you don’t need to have the whole scene figured out. To begin, start with an image, something that can ground your reader in a physical place: a shattered vase on the floor. Set the tone: Beautiful. Sharp. Dangerous. Finally, ask a question: Is the barefooted woman okay? 

From that point on, you have everything you need to keep going. You have a space to work in, a tone to follow, and a question to answer. 

There are two types of writers: Plotters and Pantsers. 

Plotters are writers who create a plan before starting. They have an outline, a blueprint, a set of characters, and a clear ending to reach. Plotters are architects. They want to know where every nail fits. Being a Plotter is great. They have a clear direction for their stories and tend to be less burdened by writer’s block. 

Pantsers, on the other hand, are those who write by the seat of their pants. Because there is no plan for the Pantsers to follow they can take their characters in any direction and with this flexibility, they encounter creative surprises and unexpected revelations. 

I find that a balance of both can be the most beneficial. These are the Plantsers. Someone who has an outline to get unstuck, while embracing surprises. 

So, while I may have an outline to tell me what to start writing about, how to actually start the scene is open to possibilities. Sometimes, I’ll have a scene that appears clearly in my head. I could close my eyes, do a three-sixty, and see every detail. All I have to do is pick a place — a description of the furniture, a smell in the air, a sound coming from the floor below — the choice is up to me. 

Other times, the scene is unclear. I know I need the characters to interact in this way to get the plot to the point where I need it to go, but the setting, the tone, the atmosphere, the lighting, the fragrance of the season, all that is unclear. If none of those details are coming to the surface, don’t worry. Focus on the one thing you see, because all you need is one thing to start. It could be the clenching of a character’s fist. Or it could be the words “I hate you!” coming from a character’s mouth. Whatever’s the first image you have, go with it. 

Once you have that first image that’s where the writing fun begins. Like a seed, your story will grow roots below, sprout upward, and blossom out. Your first image will put you on course to creating the tone. Fist clenched. “I Hate You!” This story is starting in an angry place and the question sparks: Who’s fighting? 

No matter how much you prepare, there will always come a scene where the details may be a bit blurry or the character’s motivations aren’t completely clear. What you do then is find that image. This image can be as small as a crack on the floor or as big as a collapsing star. Once you focus on a singular point, your imagination can expand out from there.

It’s hard to translate what seems so picture-perfect in our brain onto paper. But hey — we might not need to. To do so may hurt our story. Even if a Plotter has every detail figured out, putting it all in words can lead to a story being unnecessarily weighed down. That’s why I like to blur the focus of my imagination as I start writing. I know enough to know where I need to take the story, but how I get there, what details of the scene I choose to focus on, that’ll only become clear as I write. 

The image, the tone, and a question to be answered, everything else will surprise you. 

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Who to Write For When You Have No Audience or Readership

At the beginning of your writing journey, you won’t have a following. No audience. No readers. Nobody knows who you are. It’s almost impossible for them to find you. It can be an awfully lonely place at the start, and in this solitude, you’ll ask, “Why am I even writing this? Nobody will read it.” 

Writing is more than putting words on pages. Writing is communicating. To solve the problem of not having a readership, all you have to ask is “Who am I communicating with?” Now, at this point, you might have an epiphany and discover your audience are the children of Mexico or all the pregnant women in their second trimester. If that’s you. Great! All you have to do then is direct your writing efforts towards schools in Mexico or building a pregnancy blog, and in a matter of time, you’ll have an audience. 

But then again, maybe you’re starting out and you don’t have a specific audience in mind. No worries. You don’t need a niche to be a writer. You’ll always have two audience members that you can focus your writing towards. Those two people are You from the Past and You in the Future. 

You from the past: 

Wouldn’t it be great if you could give advice and share your wisdom with yourself when you were ten, thirteen, or eighteen years old? There is so much you can teach the younger version of yourself. 

Think about all you know now that you didn’t know before. There is so much to tell that kid. Your experiences with school, work, and friendships, for example.  

The thing is, there are ten, thirteen, and eighteen-year-olds everywhere. And while some of your stories may come across as a curmudgeon complaining about how things worked “back in my days…”, experiences are also a part of being a human and your personal approach to surviving those moments may help someone else who’s going through something similar today. 

By writing for yourself in the past, you identify which moments and ideas impacted your life. It’s an effort to tell your younger self what really stuck with you after all this time. 

Yourself in the future: 

Memory is a funny, fleeting thing and if you don’t capture it, it fades away or morphs into something that is not what it once was. 

While we can take pictures of ourselves to capture what we physically look like, photography fails in recording what is on our minds. Writing offers that solution. Like time travelling, writing allows you to communicate with the person you’ll become in the future. 

Getting old sucks! However, when you write for the future, you’re passing on a little bit of yourself, allowing your thoughts to travel a little further down the line. The ideas have more mileage. Writing gives memories physical presence in the world for you to revisit when the time is right. 

When you write for yourself, whether it’s yourself from the past or yourself in the future, the act becomes a protest against time. While you’re writing, your memories, stories, and ideas are immortalized. When you’re uncertain who will be reading your work, turn the target inward, and you’ll find two audience members eager to know what the current version of you has to say. So don’t hold back! Let them know what’s on your mind. 

Who would you rather write for? Yourself from the past or yourself in the future? Let me know in the comments below. 

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How to Start a Side Project… And Keep Going

Starting a side project, whether it’s for personal development, creativity, or business, is one of the most rewarding ways to spend your free time. Free time, a funny concept. In a day there’s not much of it, but added up over the course of a year and there is a lot you can do. In a day, you won’t notice much, but in a year, you can look back and see spectacular progress. In a year… that is if you start now. 

Many think starting is the hardest part, I disagree. Starting is exciting! Starting is full of hope. Starting is fun. Starting is the second hardest part. The first hardest part is continuing after things get tough. A month in and you may tire of staying up an extra hour or waking up early to make the most of your free time. Free time isn’t free after all, it comes with a price, and paying that regularly will make quitting something you constantly debate. Winning that debate; that’s the hardest part. 

In the past year, I embraced the side project. In doing so, I’ve learned a few things, some hard skills like narrating an audiobook or drawing in Photoshop, but also some soft skills, such as time management and burnout prevention. These soft skills have enabled me to find time and stay motivated, making my side project a key part of my life, a habit ingrained into my very being. 

If you’re thinking of starting a side project, here are a few tips in developing a process so when the excitement fades, and the going gets tough, it’ll catch you and keep you moving forward. 

Develop a Schedule: 

From March 28 to November 14, 2020, I published 34 videos documenting myself Typing The Great Gatsby. 

Before I started the project, I knew the possibility of me giving up was very high. For the first few episodes, I was looking forward to typing and recording my process, but after the fifth episode (with many more to go), I couldn’t wait for it to be over. 

In order to avoid collapsing and giving up on the project, I decided to publish weekly, every Saturday. The weekly schedule made it sacred. I’m not a religious person, but this was as close as I got to attending church. I had to show up once a week. 

By having a weekly schedule, I could plan for the future. Once you plan for the future, you can anticipate how your week is going to go and ask yourself, “When am I going to do it?” The time for me was often after work on Friday. 

Starting a side project is all about how you manage your time. And one of the easiest ways to manage time is to set a schedule. Whether it’s a daily or a weekly mark, make sure you have one. This can be as simple as something you can track in your calendar. Over the course of many months, you can scroll back and see every time you showed up. 

Little by Little: 

When I was recording the narration of The Metamorphosis by Franz Kafka, I did a little bit every night to avoid burnout. 

Starting a side project can be exciting and you might get obsessed. However, if you don’t pace yourself, you could end up draining all your energy and interest. If your side project is going to be worth anything, odds are, it’ll take more than a few days to complete. Therefore, doing little by little, bit by bit, day by day, you can get the project to the finish line. 

Spreading your project out over the course of time also allows you to develop a relationship with it. It becomes a phase you go through, a season you can reflect on. 

When I was working on The Metamorphosis, I knew I could find a day, hunker down and record the whole book. If I did that, I would only have one recording session, and that would only be one chance to learn, try, and do. 

Instead, I chose to record a couple of paragraphs each day, and edit them in batches. Each recording session was a whole new experience, with its own challenges, and by overcoming new challenges each time, I learned more. The more times I did it, the more I learned. This experience was the real metamorphosis.

Use a List:

With scheduling milestones and doing a little consistently, working on side projects became a part of my everyday life. Once something becomes a part of your everyday life, you’ll find that you may not have the same amount of free time every day. There are some days where you just need to do — less thinking, less brainstorming — just do. My advice when anticipating busy or tiring days is to have a list prepared. Work off of a list, so that you know what you need to get done today, tomorrow, and maybe even a week from now. 

Earlier this year, I wanted to improve my digital illustration. This was an extracurricular activity that I might not have ample time for every day, yet, it was something I wanted to do daily. Drawing Pokemon allowed me to follow a list, which enabled me to practice without having to be inspired. I didn’t need a muse, I only needed to know which Pokemon was next on the list to draw. 

Pokemon is an easy choice because all those critters are numbered. If you aren’t pursuing anything that involves Pokemon, you’ll have to develop a long list of your own and work your way through it. Little by little. Once the list is done, evaluate your experience. Ask yourself: is this something you want to keep doing? If the answer is yes, make a bigger list. If the answer is no, you finished it, you can hold your head up high and pursue another side project. That’s the beautiful thing about a list, eventually, if you’re disciplined with your scheduling and your little by little, you’ll get to the end. 

In life, we only have so much time, and we shouldn’t waste it dreaming. If there is a project you want to tackle, don’t wait. There won’t be a perfect time. You’ll have to squeeze it into your real life, your main project. 

As I mentioned, consistency is the key — not getting started — however, in order to remain consistent when things get hard, how you start and how you prepare will make all the difference. So remember, make a schedule, pace yourself, and follow your list. Before you know it, time will pass and your side project will be done. 

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20 Great Quotes on Writing From Aldous Huxley & George Orwell

We are currently living in a dystopian reality, where it seems that fact is stranger than fiction. It’s gotten so weird that many writers have thrown up their arms in defeat, saying, why bother?  

In these strange moments, there are two writers we can turn to for inspiration as we attempt to navigate through these rocky days. 

Aldous Huxley, the author of Brave New World (Amazon), and George Orwell, the author of 1984 (Amazon), lived through their own troubling times. And in their experiences, they’ve created works that eerily predicted scenarios that we are living through today. While one saw a future where we are consumed by pleasure, the other saw a world imposed by fear. 

Yet, we are somewhere in between now, rolling from one end — our addictions to the other end our phobias. Writing allows us to recognize these temptations — these traumas — and how we respond to them. While we might not be able to write something that will honestly capture the moment or even rival it in uniqueness, we can write to understand our own perception of these crazy times. 

Today, we are going to look at 10 quotes each from these iconic authors and find insights into their creative process.

Aldous Huxley:

  1. Writers write to influence their readers, their preachers, their auditors, but always, at bottom, to be more themselves.
  1. Words can be like X-rays if you use them properly — they’ll go through anything. You read and you’re pierced.
  1. To write fiction, one needs a whole series of inspirations about people in an actual environment, and then a whole lot of work on the basis of those inspirations.
  1. A bad book is as much of a labor to write as a good one, it comes as sincerely from the author’s soul.
  1. I met, not long ago, a young man who aspired to become a novelist. Knowing that I was in the profession, he asked me to tell him how he should set to work to realize his ambition. I did my best to explain. ‘The first thing,’ I said, ‘is to buy quite a lot of paper, a bottle of ink, and a pen. After that you merely have to write.’
  1. I believe one would write better if the climate were bad. If there were a lot of wind and storms for example.
  1. I write everything many times over. All my thoughts are second thoughts.
  1. I’ve never discussed my writing with others much, but I don’t believe it can do any harm. I don’t think that there’s any risk that ideas or materials will evaporate.
  1. Perhaps it’s good for one to suffer. Can an artist do anything if he’s happy? Would he ever want to do anything? What is art, after all, but a protest against the horrible inclemency of life?
  2. Every man who knows how to read has it in his power to magnify himself, to multiply the ways in which he exists, to make his life full, significant and interesting.

George Orwell:

  1.  If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them.
  1. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art.’ I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.
  • Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
  • Never use a long word where a short one will do.
  • If it is possible to cut a word out, always cut it out.
  • Never use the passive where you can use the active.
  • Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
  • Break any of these rules sooner than say anything outright barbarous.
  1. I do not wish to comment on the work; if it does not speak for itself, it is a failure.
  1. Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. 
  1. I do not think one can assess a writer’s motives without knowing something of his early development. His subject matter will be determined by the age he lives in … but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
  1. To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.
  1. The actual writing would be easy. All he had to do was to transfer to paper the interminable restless monologue that had been running inside his head, literally for years.
  1. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect?
  1. Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.

Interested in more writing quotes? Check out what Kurt Vonnegut or Haruki Murakami has to share.

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How to Write a Tragic Character: Frank Grimes

Today we’ll be exploring one of the most tragic characters in the Simpsons canon, Homer’s Enemy, Frank Grimes. Frank Grimes or Grimey appeared in what many consider to be one of the darkest episodes in all of The Simpsons. What made episode 23 of season 8 so unique and unforgettable was that the Frank Grimes character actually represented a normal person (a hardworking, persevering American everyman) stepping into The Simpsons Universe. Frank Grimes is most of us. 

But what was it that made Frank Grimes so relatable yet so tragic? It was the shape of his story.

Charting characters’ journeys through a story is a good way to ensure they don’t stay stagnant.  This can be done by monitoring how the character moves up and down the rankings of fortune. What happens to this character? What does he or she do from beginning to end? And do those events and actions yield something good or something bad? 

In a 2004 lecture, the author of Slaughter-House Five, Kurt Vonnegut showed the variety of shapes a story can take on a graph he drew on a chalkboard. On the vertical axis (The G-I axis) top represents good fortune for the character (they get a promotion, they get married, or they win a championship) and at the bottom ill fortune (they get sick, they get fired, or they lose everything in a hurricane). On the horizontal axis (The B-E axis) the left is the beginning and the right is the end of the story. 

Using this graph we can see the story of Frank Grimes unfold more clearly and recognize how to use triumphs and failures to build a character. 

Frank Grimes’ life begins like any other somewhere just above good fortune for having been born. Yet early in his story, he is stricken with bad luck. At the age of four, Frank Grimes was abandoned by his family. Orphaned at such a young age, this set his life into a downward trend. 

At least he gets a job, but he doesn’t rise up far, for it’s a job as a delivery boy, delivering toys to richer more fortunate children. Fortune continues going down for many years until his 18th birthday, when Frank Grimes is blown up in a silo explosion. The bottom falls out and we find our character as low as he’s ever been. 

Grimes recovers, slowly rising upward, and begins learning to hear and feel pain again. Gradually he climbs using his leisure time to study science by mail. Seventeen years past since his accident, working hard and persisting, Frank Grimes finally crosses the line from ill fortune into good fortune. At 35 years old, he received his correspondence school diploma in Nuclear Physics, with a minor in determination. He experiences a blimp immediately after this as a bird tries to steal his diploma. 

A week after, Frank Grimes’ fortune soared higher, when his segment in Kent’s People aired and Mr. Burns sought to hire him as the Executive Vice President of the Power Plant. Now, if Frank Grimes’ story was to end here, it would be a true underdog story, a man starting at zero and rising to the top. However, in this episode, this is where the story really begins. The story begins with Frank Grimes at his peak and we see how quickly his fortune reverses. 

Grimes spent no more than one full day at the pinnacle of his fortune. The next day Mr. Burns watched another segment of Kent’s People, this time about a heroic dog, and had already forgotten about the self-made-man. 

Having been put out of the way, Grimes begins a slow decline into madness. First with Homer touching his pencils, then calling him Stretch and eating his special dietetic lunch, then destroying his pencils, and finally being annoying and shirking his job, especially when there’s a Five-Thirteen,  

Even as annoying as Homer is, Grimes doesn’t fall below origin, that is until he saves Homer’s life, knocking a haphazardly placed beaker of sulphuric acid out of his hand into the wall, melting it completely. This just so happens as Mr. Burns is walking by. Things drop significantly, when Mr. Burns doesn’t terminate Grimes, but gives him one more chance, at a reduced salary. Grimes is not at rock bottom, things aren’t worse than when he was caught in the silo explosion, but it’s a dramatic turning point for Grimes, who wants nothing more to do with Homer. 

As bad as Grimes’ life is living in a single room above a bowling alley below another bowling alley and working a second job at the foundry, things don’t get any worse, until Homer tricks him to come over to his palace for an extravagant lobster dinner and to show off his perfect family. After seeing all of Homer’s achievements, going to space and winning a Grammy, the floor falls away and Grimes nosedives, but catches himself when he storms out after calling Homer a fraud. 

In an effort to get even, expose and disgrace Homer, and get some positive fortune, Grimes fools Homer into participating in the Children’s Nuclear Design Contest. Things were looking good for a short moment, but then, Homer hit his car on his way home to work on his design. All of that would be fine, if Homer is embarrassed on stage, but his plan fails and Homer wins the competition. This time, Grimes is unable to catch himself. Losing his mind, he mimics Homer self destructively, causing a scene and eventually electrocuting himself to death. Grimes’ life ends at a new low point. To accomplish all he had and to end up so disrespected, Frank Grimes’ character journey truly represents the tragedy of the American working class. How hard working people can overcome so much and still implode upon themselves. 

Yes, Homer’s Enemy is a dark episode, but it’s also one of the most memorable ones, because when we watch The Simpsons, in reality, more often than not, we are in Frank Grimes’ shoes. We all face good and ill fortune, that is what makes a character relatable. If you want to create your own character that experiences profound change, I recommend plotting their life on a story shape graph. Make sure they face good and ill fortune through their lives. Then choose a starting point. In the case of Frank Grimes, the story starts while he’s most fortunate. Maybe that’s a good place to start the story of your tragic character as well. 

Do you want to see the shape of a story for another famous character? Let me know in the comments. It can be from a movie, television show or literature. I’ll do my best to make it possible.

My favourite episode of The Simpsons is Lemon of Troy. It’s arguably the best written 22 minute of television. Allow me to explain. Read the article here.

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.

The Butterfly Effect of Writing: Being At Peace With The Work You’ve Done

John is a best selling author on tour for his latest story about Dinosaurs. He had written many stories before, stories about Aliens, stories about Monsters, and even stories about Lovers. Yet, it was the Dinosaur story that really caught fire and launched him into stardom. Book tours, movie options, and adoring fans. John had made it. 

At a Q&A, a boy stands up and asks John, “You’ve written many books, many of which were flops. Now that the Dinosaur book is so well received and you’re getting new fans, are you embarrassed about everything you’ve written before? If you could go back in time, would you not write them and just write the Dinosaur story?” 

John knew the Alien story was bad, the Monster story was unoriginal, and the story about Lovers was honestly just therapy for a break up. The boy was worried on John’s behalf that his new fans would recognize his name, read his old work, and be disappointed. Or perhaps John would’ve fast tracked his career by prioritizing the Dinosaur story before all the others. 

“No…” John said, “Because when I read my old work, I’m transported to a moment in my past. I believe in the Butterfly Effect. If I was to go back and change anything, like writing the Dinosaur story first, and it was a failure, then I might have quit writing there. This book only exists because I’ve written all those others. Those books represented a phase I was in. Each idea, only when completed, branches off into others. My books are all part of a family tree, I gave life to them, I gave my life to them, even if the stories are different. They’re my family. In a way, the Dinosaur book is the latest generation and it exists only because of its ancestors. My previous books were all training. I wasn’t ready yet, and the audience wasn’t ready yet. I hope those who read it today can see the improvements I’ve made along the way. I wouldn’t have thought to write the Dinosaur book first, and if I did, who’s to say it wouldn’t be the Alien book that would become popular? It’s not the idea really, it’s the experience.” 

“We always have to keep writing forward and not regret what we created in the past. Learn from it for sure, just like how we should learn from history, but we shouldn’t waste the present trying to change the past. A lot of the stuff we make won’t meet our standards. We might never meet that standard, even if we receive the approval of others. I’m being celebrated, but I know I can do better. We cannot regret what we’ve made in the past, even if people go back and judge us for it. We cannot control the response of the external world. I’m merely a passenger on this journey as much as you are. If I went back in time and even wrote one single word differently, I would’ve killed a butterfly, and everything would be different. I might not be standing here today. Heck, you might not even exist. We have to live with the work we’ve created, as imperfect as they are. But without them, we wouldn’t have this moment now, so no, I wouldn’t do anything different.” 

The boy raised his hand up again. “Do you wish to edit those books now that you’re a better writer?” 

“If you make writing a part of your life, then you’ll know that one word will come after the next. I keep moving forward with my work, because there are new interesting things I’d like to write about. I can’t do that if I keep going back to edit my old pieces and try making them better. If I do that, then I will never finish another story. And there is no saying I would make it better. The Alien story is what it is, and I love it for that. I had a great experience writing it and I was very proud when I was done. I don’t wish to tarnish that experience. I don’t even want to read it really. Only in comparison with the Dinosaur book in terms of sales do I feel shameful about it, but otherwise, I’m grateful for it. If I go back to edit the Alien story, I might be messing with what was meant to be. I’m focusing on what I’m interested in writing next, my next project.” 

The boy’s hand shot up again. “And that will be another Dinosaur book?” 

John simpered and said, “Only time will tell…” 

How do you feel about the Butterfly Effect of writing? Let me know in the comments below. And if you are thinking about revisiting an old project? Maybe it’s not a terrible idea. Check out this article about the 4 reasons to revisit old work.

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.

Why I Narrated The Metamorphosis by Franz Kafka Audiobook

About a month after I finished Typing The Great Gatsby, I decided to embark on another “endurance” challenge. Something that would help me get granular with a piece of work, much like what Typing The Great Gatsby did

While typing a whole novel (on camera) was a speed challenge, my next project should encourage me to go deeper, seek precision, and feel the flow of the words on the page. Then it dawned on me, I should narrate an audiobook. 

Narrating an audiobook is more than reading a book aloud, it’s storytelling. It’s a presentation. It’s about the tone, mood, and pacing of the words. It’s not only pronouncing the words properly, it’s about dramatizing the text on the page in an engaging way. 

I knew Metamorphosis by Franz Kafka would be the perfect source material for this project. It’s a story localized to one setting, with a small cast of characters, and a manageable length (in this version translated by Ian Johnston) just north of 20,000 words. It wasn’t going to be easy, but it was doable. Thinking something is doable is all it takes to start. 

I recorded the first word on January 3, 2021 and the last word on April 22, 2021. From the moment you start listening to my version to the last, nearly five months have passed. I see it as a form of time travelling. 

There were moments where I felt like quitting. Staying up an extra 30-45 minutes on a weeknight to record 3 minutes of usable audio is as tiring as it sounds. Yet, once I got over the hump, I knew I had to finish. Like going to the gym consistently, I noticed results in a few areas. 

Speaking Clearly: 

When we’re speaking to a friend, a family member, or a co-worked in a casual conversation, we slur our words, we mumble, and rarely do we enunciate every syllable. You think you speak clearly until you turn a microphone on yourself and hit record. The importance of being heard and understood for an audiobook is critical and therefore, it was a muscle I focused on exercising. Working on this project gave me an avenue to practice articulating my words, without having a conversation with anyone. 

Understanding the Words:

When we’re writing, we can pause, research a word, find synonyms, and generally sound smarter. When we talk, we can’t do that. We’re limited to the words in our vocabulary. And if you’re like me, you really only use the same hundred or so words. However, when we read out loud someone else’s writing, we gain access not only to the words they know, but probably words they took the effort in researching as well. There were at least ten words in The Metamorphosis that I had never used before. One example is the word “amelioration.” I’ve never heard of that word, let alone said it out loud. I don’t know if I’ll ever use it again in daily life, (I’d probably sound pretentious if I do) but hey, I clearly remember it, because I’m writing about it now. How can I put a price on that? 

Feeling the Flow of the Sentences: 

In this translation of The Metamorphosis, Ian Johnston used a lot of long, complex sentences, many over 50 words long with multiple commas, clauses, and oh boy! Grammar grammar! Now, if you were just reading word for word, it doesn’t matter how the sentences flow together (think Stephen Hawking’s robot voice), but an audiobook isn’t just saying one word after the next, it’s presenting the sentences as though they were thoughts from your brain. A few takes are necessary to get the right flow of the sentence, in terms of knowing which words to accentuate, where to take a breath, and which tone of voice matches the scene. 

Directing Myself:

100% of the words recorded in this audiobook were said by me after 9pm, as I’m fighting the exhaustion of the day. Sometimes, in that fugue state, I end up messing up over and over again. Or… I thought I was messing up, but it was a perfectly usable take. Nevertheless, I would try again and mess up some more. A paragraph that should’ve taken three minutes to record ended up taking twenty. 

Learning to direct yourself is an underrated skill. It involved learning how to be gentle with yourself, learning how to manage expectations, learning how to break a large chunk into smaller sections, and most importantly, learning when good enough is good enough. This project took me six months to complete. It could’ve taken less time and it could’ve taken more time. Either way, I’m glad I’m done.  

Hearing My Own Voice: 

I never thought that I had a radio voice or a Morgan Freeman voice where anything I say would be buttery smooth to my listener’s ears. No, you won’t listen to my voice for the pleasure of my voice alone. Then again, it’s the only voice I have and I want it to try new things. Like a body should exercise and travel, a voice should be challenged as well. You want it to be strong so when the time is right, you have the confidence to speak. I hope to one day record the Audible version for my own book. One day. 

Narrating The Metamorphosis was a challenge and a fulfilling way to pass some time during these pandemic months. Only time will tell how much I really got out of it, but truthfully, it was so much fun to do that I’m looking forward to the next audiobook I’ll narrate. I have a few in mind… Stay tuned. 

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.

10 Great Gifts for Writers and Authors

Gift shopping should be a gratifying experience, but more often than not it’s stressful. This can be especially true if you’re shopping for a writer. Writers are simple people. What do they even want that they don’t already have or can’t conjure up in their imagination? If you’re reading this, you probably need some gift ideas for writers, and as a writer, here are a few writer-y things that I wouldn’t mind receiving (heh heh heh). 

writing gift

Now, I’m not a gift-giving expert, in fact, I have a gift-giving phobia (just ask my wife). But let’s not get into that now. Yes, yes, it’s the thought that counts, but there is something to be said about a good gift: something practical, luxurious, and so unique that the gift getter probably wouldn’t buy for themselves. 

Without further ado, let’s get started, here are 10 gift ideas for writers! 

 

Typewriter-style USB Mechanical Keyboard  (Amazon)  $108.19

Every writer had spent a moment or two fantasizing about typing their next great work on a typewriter. The thing is, a typewriter isn’t the most practical gift. To find a functioning one is expensive and good luck replacing parts or getting maintenance if it should break.

No, modern-day writers don’t want the hassle of using a typewriter, what they want is that satisfying feeling of hitting a typewriter key. A keyboard that can replicate that sensation will give your writer friend an exciting lift with each word they type. 

 

Leather Notebook and Journal (Amazon) $14.50

A beautiful notebook can be the motivation a writer needs to bring their best ideas to life. Many writers carry around a thought that they’re waiting to put on paper. If only there was paper worthy of that thought. A worthy paper or the perfect notebook is not always something writers are willing to splurge on, but it may be something they need. 

A good notebook is like a big stage. It challenges the writer to give it their all and put their best words down. When you give a writer a notebook that they wouldn’t buy themselves, indirectly you’re motivating them to write their best work. 

 

Fountain Pens (Amazon) $15.99

A fountain pen makes writing fun. It doesn’t matter what’s written, a novel, a letter, a grocery list, it’s a pleasure that can’t be replicated with a ballpoint. For writers, sometimes the words are flowing and it doesn’t matter what writing instrument is used, but when a nice fountain pen is in hand, the words matter less and the act of writing is the enjoyment. 

Giving a fountain pen as a gift is like giving a writer a sports car (a little dramatic, I know), but it doesn’t matter what they write or where it takes them, you know it’s going to be a fun ride. A good pen affirms the writer that the process of writing is as satisfying as having the scripts written. 

 

Feather Pens or Quill Pens (Amazon) $39.99

Whether they’re pretending to be Shakespeare or their favorite fantasy character, writing with a feather pen is an actual fantasy that all writers have imagined. Why not give them a chance to bring it to reality? A feather pen is a bit of role-playing that will spark a writer’s imagination and give their words new life.

A feather pen is an unassuming yet fancy gift that’ll bring a smile to any writer’s face. Today a writer is surrounded by technology: word documents and spell checkers, a feather pen is a reminder that the tools they use now have come a long way from the quills of yore. A feather pen is a new experience for something so familiar for writers. 

 

Bookmarks (Amazon) $17.99

Bookmarks. An avid reader will never have enough of them. A beautiful trusty bookmark is a constant companion that’ll accompany your writer friend wherever the story takes them. Each time the reader marks their pages, they’ll be reminded of the simple yet persisting gift. 

No, a bookmark is not going to blow anybody away, but sometimes it’s the small gifts that are the most meaningful. Think about it. There are few better moments than a reader finishing a great book, holding onto the bookmark, and anticipating where to take it next. 

 

Laptop Stand (Amazon) $25.99

A laptop stand is a gift that can vastly change their writer’s work environment without getting them a new office. Laptop stands improve ergonomics, allow for flexibility in workplaces and adjustments, and open up more desk space for notepads, coffee cups, and whatever other clutter they want to have around them. 

If your writer friend likes to work in different places such as coffee shops, hotel lobbies, or libraries, the challenge is often to get comfortable. With a portable laptop stand,  wherever they go they can get the optimal experience working.

 

Mousepads (Amazon) $15.99

Now you may be saying that there is nothing special about giving a mouse pad as a gift, but hey, even if your writer friends already have mouse pads, they probably secretly want a new (better) one. Unless the mouse pad is turning orange and sour, they might not consider getting a replacement. Writers have a lot on their minds. Giving a wrist-supporting mouse pad relieves them of their secret want. 

A mouse pad is one of those things a writer will have for years and years without replacing. It’s not that “important”, but it’s a central part of their working environment. Having a good one — given to them by someone who cares about their work — will let them know that their efforts are appreciated. Even when they are moving the mouse to click on a word to delete it, they will feel supported. 

 

Electric Back Massager (Amazon) $39.99

A writer might not always have time to go to the spa, but with an electric back massager that they can place on the back of their seat, they can at least get some relief at their desk. Back and neck pain comes with the job, and since you aren’t going to be there every night to give them your world-class back rubs, an electric back massager might be the perfect alternative. 

The great thing about this massager is that they can bring it anywhere they want. It’s not limited to the desk chair, they can use it on the couch as they dig into their latest novel or catch up on a television show. 

 

Foot Rest (Amazon) $32.95

Small comfort can make all the difference when a writer is grinding out their latest draft, when the words aren’t coming, and when there is an impending deadline. Regardless, they must stay at their desk until the work is done. In those times, a foot rest can give them the extra 1% they need to get across the finish line. They might never be certain that it was your gift that helped them achieve their goals, but hey, you don’t need that, just as long as they do. That’s what being a good writer’s friend is all about. 

 

Light Therapy Lamp (Amazon) $39.99

If your poor unfortunate writer friend happens to have an office without any windows like I do, perhaps the gift of a light therapy lamp can brighten up their day. Using this lamp periodically throughout the day, especially during those dark winter months may enhance their mood. Not only that, knowing that they received this gift from someone who put thought into their day-to-day happiness level might be enough to cheer them up if they are already feeling down. 

 

Writing is a lonely job and a gift that makes that task more enjoyable reminds writers that there are people out there that support them. Writers put their soul and energy into what they make and often that may mean neglecting self-care or personal enjoyment. These ten gifts will be sure to remind writers that they are not forgotten and what they are making matters. 

Prices in this article are subjected to change.