Tag: organic writing

Organic Writing Fun

I’m having a ball with this organic writing business, and the part of the science fiction novel, “Incomplete States,” that I’m currently working on.

Organic writing in my use means that I have little frigging idea about where I’m going with something. Maybe expressing it, “Where it’s taking me,” is more accurate. It — the muse, the words, the characters, the novel — seems to jump into the driver’s seat, smash the gas and wrench the wheel. They don’t even yell, “Hang on.” They just take off. Sometimes they leave me behind, because they — or it — are smarter and more creative than moi.

But this time, I’m keeping up, and we’re having a ball. This far future, technologically advanced Human society is the backdrop. They travel galaxies like many of us fly around the country. Nanos maintaining health are embedded; so are various communication nets and data webs. You’re in constant contact. Death hasn’t been overcome, but there are work-arounds. People are living quality lives for over a hundred years.

The technology allows you to genetically shape and sculpture your body and features. Regardless of your ethnicity, you can like as you wish, and stay like that until you decided to die.

Because some, do, get bored by the tedium, or philosophically explore, but going for permanent death. That’s a background fade in my book.

Less children are being born. The procreative drive is evaporating. Part of this is due to a virus, but that’s another sub-plot.

The world of this section, though, has a virus that attacks technology. They don’t know the origins of the virus. I do, of course, and it is a Human development devised for war and marketing. (They’re not that different; they’re all about conquering others and gaining strategic advantages to advance an agenda and gain wealth.) The net is, everything normally done via technology can’t be done. Returning to more basic materials and methods are required.

In a sense, it’s like steampunk as the characters cope with the changes, and I, the writer, plays with the impact and shifts. This identifies one of my favorite writing aspects: exploring ideas, fleshing them out, and discovering how the characters react. It is delicious.

Now, gotta go. “It” is calling. Time to write like crazy, at least one more time.

 

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The Editing Season

Changes in seasons are important matters in our home. First, we’re an area that experiences all our seasons. Summer gets intensely hot. It’s normally over ninety degrees, with recurring jumps over one hundred degrees. Rain is infrequent. Winter isn’t bitterly cold but does prominently feature snow, ice, and temperatures in the night below thirty degrees.

These season changes require shifts. When spring changes to summer, shorts, sandals, and lights shoes and shirts replace boots, gloves, heavy coats, and jeans. A large cleaning project takes place. Bedding is changed. The furnace is switched off, and the air conditioning is inspected and put on standby. Gutters are cleaned, and the house is repaired.

I finished a novel’s first draft a few weeks ago. Since then, I’ve been editing it.

This type of editing is like a change of season. I’m reading for specific matters, addressing grammar and punctuation as I proceed. It’s not really about copy-editing functions. They’re included because I’m there. This editing is more about continuity, logic, pacing, and consistency.

The process had been going well, until the end of June. Then I crossed into a chapter called “Entrance.”

I’d written “Entrance” early on while writing the novel. It was one of several “genesis chapters” written as I embraced the concept and developed the settings, characters, and story dynamics.

I’m an organic writer, and often feel my way through the story like I’m walking through a dark and unfamiliar room. As I write, illumination grows. I see more of the room until it all comes together. It’s a non-linear process, though; I might write the far right corner for a while, and then the front left corner, and have very little idea about the space between them.

I don’t consider it easy nor difficult as a process. I enjoy the writing process, but the organic writing process sometimes leads to these situations. Something written early in the process no longer aligns with what later develops.

It is not actually a critical matter. It can be a critical matter. I’ve known of writers who are paralyzed when encountering these things. They’re horrified, and even despondent about what they discovered. For one thing, it means the beautiful piece they’ve crafted is flawed. That’s true, but, the flaw’s impact is dependent on its extent. I’ve known many writers who have a difficult time seeing that.

I realized this problem about two thirds of the way through the chapter. Awareness had been growing, and then a new light lit the room. I knew that this did not work, not as written. That meant it needed to be re-written, but I also needed to address that story arc and its continuity, find issues, and resolve them.

The first thing I did was walk away. Essentially, this was like encountering something unexpected during spring cleaning. Say, you’ve pulled out all your shorts, put the first pair on, and discovered they’re too small for you.

For me, I’d want more information. Did the shorts shrink, or did I grow? I’d pursue answers by weighing myself and trying on other shorts. Weighing itself isn’t necessarily helpful. As I’ve aged, I’ve seen my body shape shift. Although I weigh five more pounds than I did ten years ago, my shoulders are smaller and my waist is larger.

Once I’ve gathered more information, I can make decisions and establish a course to follow.

That’s what I did with the novel. Once I walked away and thought about it, I decided on a course of action.

  1. Think.
  2. Drink coffee.
  3. Relax.
  4. Put this into context.
  5. Read that chapter and the others in that arc to assess how much they deviate.
  6. Change as necessary.

To relax, I did other things. I read, watched television and movies, and did tedious chores. I pursued activities that didn’t require significant resources, and yet distracted me. Yet, every day, I opened the document to that chapter and began reading it again.

Relaxing was important, but not as important as putting the situation into context. I fall back on an old idea that’s one of my fundamental approaches to life: it’s better to have a good plan and do something, rather than trying to develop a perfect plan. That doesn’t mean that I don’t seek perfection, but I don’t let the pursuit of perfection paralyze me.

I still had a finished novel. It was still a rough draft. Its concept remained sound. Everything else I’d read and edited so far, several hundred pages into the process, remained enjoyable and promising.

Relaxing helped me understand that I had several courses available.

  1. Rewrite the rest of the novel to synchronize and align with this arc.
  2. Delete that arc and re-write the characters as necessary for the other arcs.
  3. Rewrite this arc and the characters as necessary.

Those were academic exercises. By this point in my writing, I know the stories and arcs, and how it all comes together and ends. I played with those exercises to uncover other potential mines.

Reading the chapter and consulting my notes, memories about decisions made and directions taken returned with time and patience. Reading the subsequent chapters in this arc confirmed my thoughts that, strange as it may sound, this chapter was an anomaly. It was a large anomaly, but just that, and not a precursor to a flawed arc.

I didn’t read that chapter just once completely, but three times, plus multiple partial readings, to develop understanding and insight. When I finished the third reading, I knew what I needed to change, and how. Then I began making changes.

I think a large part of this process is that this isn’t my first novel. Once upon a time, I wrote a novel and thought that first draft was supposed to be publisher-ready. I was naive. Reading that first draft of that first novel was depressing as hell; it was a mess. I learned from the process, and started writing another novel. I put that first novel away, because it was the first, and because I’m an optimistic. Inside myself, I tell myself, maybe I can go back and fix it someday. I do it all because, no matter what else I believe or hope, I believe I’m a writer, and I must write.

I’ve finished fixing that arc. Now I’ve resumed my process from the point where I stopped. One thing I’ve learned about my organic process is, as much as it’s about writing down words and creating a story, it’s about collecting and sifting through the raw material. The second draft is about clarifying and solidifying the vision I found when I wrote the first draft.

Last, I’ve learned that even when there’s a setback to the novel’s completion, there’s progress. Call me a foolish optimist, naive, or pragmatic, but I attempt to learn and I keep going.

Now I have my coffee, and it’s time to do it again, at least one more time. Then, once I finish this draft, which is still probably several weeks in the future, guess what I’ll do?

I’ll do it at least one more time. Then, I’ll turn it over to others, and go from there.

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Learning to Write

Pram was melancholy about his choices. He was a colossus, becoming so because his father exhorted him to think big. His father, he knew, hadn’t meant that in the sense of his body, but Pram delighted in vexing his father by being literal.

That was Pram’s only choice about his life body that he made, eschewing being a female, remaining a heterosexual male, dismissing opportunities to become another race other than Indian, which alluded to his family’s far origins on the Indian sub-continent on Earth. None of them had been back to there since his grandparents left Earth. Relatives did remain on the planet. He often connected with them virtually.

So this was how he’d thought it had gone. This was how the author had written it. But then the writer had realized more of the concept and story. Pram had gone from being large by technological choice to amuse himself to being large as an advantage in combat.

Which, as a character, intrigued Pram. The writer had created a cause and effect paradox about his choice. He was large in one reality but that choice carried over to other reality due to entanglements. Pram understood; he wasn’t certain the writer fully understood it. That, though, was the writer’s problem. He was just a character.

Then the writer had started playing other games with him, introducing him to Chronos. Chronos! Where did this come from? He knew who Chronos was – actually, Chronos the Fourth, or something, although Chronos took pains to explain to him, “I don’t know how many of us actually exist. There are multiple universes in my story, just like in the novel he’s writing about you.” The point was that Chronos was from another novel. While all the characters from the different novels and short stories knew one another, they didn’t socialize, and there wasn’t any reason for the two of them to meet. Yet, here was the writer, amusing himself by introducing Pram to Chronos.

They were in a dark, chilly bar, watching a baseball game taking place on another planet. The game was being streamed in real D. They could more fully immerse themselves, like most of the bar’s patrons chose, but didn’t. Because of his size, Pram couldn’t fit anywhere comfortably. Chronos, inhaling shots of whiskey and beer chasers, noticed and wandered over to chat.

The ballgame became forgotten. They talked about the novels they were in, contrasting the stories and pondering the similarities. Lack of choices in life obsessed the writer. In several of his novels, humans just had no idea what was going on. They always thought they knew and thought they were in control, and made choices according to their body of desires and knowledge. This was because human nature to adjust perceived facts to fill and diminish vacuums of information. Imperfect, they often forgot, ignored or discarded vows, or rationalized an intellectual compromise about their behavior.

“Why are we doing this?” Pram asked.

Sinking a shot of Macallan, Chronos looked off toward the ball game as someone got a hit, triggering motion and cheers. Pram waited. He expected Chronos to know and answer, because Chronos was a demi-god, the offspring of the God of Time. As he thought that, though, Pram knew the answer for himself.

The writer was just practicing writing, playing with prompts in his head, readying himself to sit down and write again. He was learning to write by imagining situations and searching for the setting and details within himself, trying to understand how to resolve scenes and move the story further. Between writing novels, he’d made this scenario up as an intellectual exercise as a writing fix. As the writer said, he was always trying to learn how to write. He meant that he was trying to become a more expressive, insightful writer and story-teller, so he wrote every day, afraid that if he didn’t, he would lose the meager skills he’d acquired. The writer had been sick and unable to write for several days, although he’d tried. Now that he seemed well enough to actually write, he needed to write something. Otherwise, he might get stopped up.

The exercise calmed, relaxed and reassured the writer. Now, creative excess spent, he could begin editing and revising the novel’s first draft.

 

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The Rhythm Method

 

Recently traveling, socializing and visiting with family, I wasn’t able write as frequently as desired. I didn’t think that would be an issue. I’ve developed a source of pride about being able to sit down and write anywhere. I learned, yes, and no. After thinking more, I recognized that I follow the Rhythm Method.

There are a few easy steps to my process.

  1. Deep thinking.
  2. Realization and visualization.
  3. Writing in my head.
  4. Typing and editing.
  5. Editing, revising and expanding.
  6. Repeat

What I learned during these past few weeks is that if I’ve accomplished steps one and two, I can do three, four and five. Those first two steps are most critical to my entire process.

Deep thinking. This is all about connecting the dots by reviewing what I’ve written and what I expect to write, and discovering plot holes, new directions, and character issues. I usually do this while I’m walking or doing mundane chores, like yard-work or washing and waxing the car. It’s personal and private; others’ presence tends to mute it, although it will come alive while reading, or watching movies or television shows. Traveling with my significant other and visiting with family kept this repressed.

Realization and visualization. Deep thinking is significantly abstract. It can revolve around a setting, character’s appearance, plot twist or concept. Becoming a compilation of thoughts, ideas and insights, more concrete understanding emergences. From those come sentences, scenes, paragraphs and descriptions. I leap into the next step.

Writing in my head. Some people call this phantom writing, but writing in my head is my preferred expression. At this point, my understanding of what’s to come is so solid that I begin seeing it in a finished book. It’s a strange and eerie experience. My wife once read to me a quote from someone that said that everything that’s created already exists; we’re just creating it for this life experience. In this phase of the Rhythm Method, I can seriously believe and accept that.

Typing and editing. This is the easy stuff of ‘writing like crazy’. I just let it pour out, trying to faithfully capture what I glimpsed on those pages when I was writing in my head. The essence is most critical. Spelling, grammar, pacing, character traits, and details are all shoved aside to stalk and bring in the essence of the scene. Once I have that, I can return to fix all the rest.

Editing, revising and expanding. This is a deeper follow-up to typing and editing. Often when I finish with the previous phase, I recognize that some decisions I made will affect chapters and scenes previously written. I’ll make notes to vet that belief and fix it. Sometimes more detailed research is required for verisimilitude. That happens in this phase. I’m always on alert in this phase to make the writing active and to eliminate clichés. I’ve also learned that while writing like crazy, I have a habit of telling what I see, and then realizing it and describing it, so I’ll go in to ensure I’m showing and not telling, and eliminate redundacies.

Repeat. Yep, do it all again. My writing process is organic. It often isn’t linear. I’ll usually realize more critical scenes early, scenes that define the essence and tone of the book. Then I’ll need to add bridge scenes. Sometimes I’ll uncover a plot twist. I’ll write it to keep it alive and fresh, but then need to go back in and add the pivot points to help the reader get from there to here. I also tend to write fast, and realize that I like more depth and detail to what I’m reading, so returning to the rhythm Method, I’ll begin with some deep thinking about the characters’ lives and motivations.

My favorite part of all this is that typing and editing phase but the entire process excites me. The first steps are about creativity and problem solving. It is fun. But typing and editing makes it real. Editing, revising and expanding turns it into a draft manuscript. Repeat it enough, and I’ll end up with a novel or short story.

And that’s what is most rewarding.

What of you, writers?

How do you write?

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Five Chapters

I’m starting five chapters today:

Virus

Everything

Nothing

Ice Cream Headache

The Others

With each, I’ll put up the chapter title as a place holder. I’ll add the date beneath it in parentheses, and then a summary of what the chapter is about. I’ll highlight this in yellow and add <TK at the beginning, to help me remove it later. I know what I see and hear as the opening lines for each chapter, and I’ll add those lines. They will probably not be the first lines to the chapter but they’re a nugget around which to build the rest. After that process, one of those chapters will more sharply call, so I’ll take it up.

I always use <TK as an editing tool. Sometimes it’s a placeholder to insert some piece of necessary information, or to clarify or rewrite a passage. Sometimes I know the nugget, the critical piece that I want to immediately write, but know that I need a bridge to the rest of the novel, so I’ll insert <TK and explain what’s required.

I started and wrote five chapters in parallel before. Why five? I’m not certain. It’s not anything magical nor planned. Ideas are germinating. These all sprouted at the same time. I want to cultivate them so I can press on.

I suspect eight or nine chapters remain to be written in ‘Long Summer’. That includes the five I’m starting today.  I suspect that means I’ll write about thirty thousand more words. I won’t bet on whether I’m right but the beginning of the end of the first draft is cresting the horizon.

Time to write like crazy, at least one more time.

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Fitbit Writing

I’ve had my Fitbit for three and a half months. My daily average for steps is eleven thousand, seven hundred. My daily miles are five point five two. My personal best for daily steps was seventeen thousand, five hundred.

Until yesterday. Yesterday, I achieved almost twenty-two thousand steps and ten miles. I confess, if I’d known I was so close to doubling my average, I would have done it. That’s how I’m wired.

Now it’s the morning after.

I feel great but I question myself about what my Fitbit goal and expectations should be. I will work to reach and exceed my daily goals. I want to attempt another big walking and exercising day.

It’s the same way with writing. I typically write about eleven hundred words a day. I also edit, revise and polish. That’s part of my pantser organic writing process. My writing mind is like a loom weaving the story. I move back and forth through it.

Some days, I catch fire. The most I’ve ever written in one day was five thousand words, five thousand very intense words. Just like walking twenty-two thousand steps yesterday, it felt awesome. The next day, I wanted to do again. Why, if I could do five thousand words a day, every day, I’d become impressively prolific.

But the next day’s writing session was a struggle to achieve my standard output. I fought to achieve one thousand words and felt exhausted and disenchanted afterwards. It’s been like that with other writing days when I’ve doubled or tripled my average. Why, I tested myself to understand.

After thinking about this over the years, I’ve concluded that I do have a finite daily energy level. Exceeding that can happen but it takes it toll on the next day. I don’t know if science and medicine back me up on this, or if others have had the same experience. I know through my military experience of working twelve plus hours a day through illness and terrible conditions that I can draw deeper from the well. But doing so requires me to shut out absolutely everything else.

That was easy to do in a military environment. We had an established mission with a high priority. Other missions and units were depending on us. If we failed, a domino effect began. The stakes were high. So was the visibility.

Our expectations also set us up for success. Everyone outside of ours – family, friends and other unit members – understood our focus. They knew we didn’t have time or energy for anything else, and they gave us space.

But the writing experience is different from the military experience and the Fitbit experience. With Fitbit goals, it’s a personal goal. If I don’t make it, well, that sucks, but c’est la vie. The military commitment was well-established and understood.

Writing, however, is a terribly personal beast that has a hold on me. While the Fitbit goals require physical commitment with some smaller levels of intellectual and emotional commitments, I have all that in me, no problem. The military commitments were drawn at higher levels from those same veins.

The veins of energy and activity required for writing are much, much different. Physically, sitting in a chair, thinking, reading and typing, it doesn’t seem like it should be taxing. Yet, it becomes physically exhausting. Writing takes more out of me than walking all those steps.

Likewise, from intellectual and creative points of view, writing is more of a debilitating challenge. I worked for a decade for IBM as a planner and analyst. I was often presented with unique business cases to analyze and consider for my recommendations, observations and inputs. Those were interesting and challenging logic problems, and required intensely creative problem solving approaches, but still, they fell way short of what’s called for when fiction writing. Yes, my stories, characters, situations and worlds tend toward being complicated and involved. I remain constantly astounded by the levels of commitment I give my writing.

Returning to my Fitbit goals, I understand that twenty-two grand was a terrific result for me. I’ll enjoy it and move on because my goal is not to beat myself every day, but to maintain and achieve an average that will help me toward greater goals of being healtheir. In other words, the daily steps are not an end of themselves but part of a larger process.

So it is, too, with the writing. The word counts, editing, revising and polishing are not the end results. They’re part of a larger process of conceiving, writing, finishing and publishing a novel.

Time to write like crazy now, at least one more time.

 

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Fooled Again

Ah, the writer did it to me again.

Riding the thrill of yesterday’s progress, I jumped into it today with a razor of doubt hanging over me. What if yesterday was a mirage? What if what I’d written makes no sense, or that I can’t connect and continue? 

My head ached with fear about what might go wrong. Asking myself, where was I, I resumed typing. Within a few lines, the writer sprang another twist on me. Damn, I should have seen it coming.

Exuberant understanding burst upon me. Holy hell, this was the deeper truth behind the concept. Wide-eyed, I laughed at the astonishing epiphany. I’d conceptualized the novel and had started writing but had not taken the concept to its summit. Now, in writing, that’s what the writer within me finished doing.

Implications and realizations bubbled through me. A new light flashed on everything written in that novel to that point. Surreal, abstract and stunning, I considered my running joke, that a writer resided in me who actually came out and wrote, and wondered if that was the truth. At this point, it really seems to me like there is someone else in me who is the writer. He understands the novel. He has organized, outlined and plotted it, but only shares with me what I need to know when it’s being written. I’m just the poor, earthen vessel struggling to hang onto the moment.

Even now, done with my daily writing session, I struggle to fully comprehend and cope with what’s been proposed. It stuns and amazes me.

Seriously, maybe I am insane.

Maybe it’s just a side-effect of writing like crazy.

Is there a difference?

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Today’s Agenda

Between making oatmeal for breakfast and turning on the shower water, I asked the writer, “What are you going to write today?”

The editor joined us. The writer recapped where we were as I washed my hair. The editor reminded him that we need to go back to further revise and add to some previously created chapters because of other events later introduced.

“Yes, I remember that,” the writer answered with affable equanimity. “I will, don’t worry. There needs to be three of these chapters where we’re at now.”

That was the first I was hearing of it. Before I could say that, the writer continued, “That first chapter of this trio is titled ‘Miasma’.”

“It is?” I said. “That’s the first I — ”

“Yes. I don’t know what the other two are named yet. It’ll come to me.”

“Okay, but what’s to happen now? Forus Ker — ”

“The Englis and Exnila.”

“What about them?”

“Do you remember them?”

“Yes, of course, but — ”

“They’re going to show up.”

“They are?”

“Yes, yes.”

“How? And why?”

“Because remember, all the nows.”

“Umm….”

“We’ve only focused on some of the nows. Other nows are happening. We’re going to inroduce them. Oh, yeah. That’s the name of the second chapter. ‘In Other Nows.'”

“Isn’t that a little too cute?”

“No, it’s perfect. Trust me.”

I turned off the water and stood there dripping. “Okay, I’ll trust you. But how do the Englis and Exnila arrive? I don’t see it.”

“I do. It’s coming. It’s developing. You’ll see. Trust me.”

The writer says trust me often. “Okay.” I don’t see that I have another choice than to trust him. If I don’t trust him, we get nothing done. I began drying off.

“Hurry up,” he said. “It’s time to go write like crazy.”

I nodded. “At least one more time.”

 

 

 

 

 

 

 

 

 

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The Writing Bucket

I’ve been receiving a number of queries about when the next novel is coming out. So – updates.

  1. Alas, I’m not working on the next mystery in the Lessons with Savanna series. That would be the third novel in the set, ‘Personal Lessons with Savanna’. Continuing the story begun in ‘Life Lessons with Savanna’ and extended in ‘Road Lessons with Savanna’, Studs is being framed for murder in Texas. I promise to update the Facebook page this week. Thanks for being fans.
  2. I’m looking forward to working on ‘Personal Lessons with Savanna’. Between recovering memories, coping with creeping insanity and being framed for murder, so much is going on with Studs. It’s the sort of developing character and story that excites writers. A third of the novel was completed before the great computer breakdown of 2016 forced me to send the Envy back to HP for repairs, living without my machine for three weeks.
  3. Work continues on ‘Long Summer’. I’ve been  writing the first draft for eight months. I’m not certain when it will be done. I’m hopeful it’ll be soon but, I’m a writer. As a writer, I’m always hopeful, optimistic, pessimistic, doubtful, depressed and exuberant. It’s a fun soup to dwell in.
  4. ‘Long Summer’  is very challenging to think through and write. While involving time shifting via a modified Alcubierre Drive (which involves, as well, exotic new materials and a whole other set of theories), it’s about the concept of now. Keeping that in mind as the parallel story lines twine together via the major characters and their alt existences causes me to pause and probe, asking myself, “Wait, which of the alts is this?” It’s imperative that each alt’s story is kept true and coherent. As I’m not a very coherent writer, you can imagine the babble in my head.
  5. All of that time shifting involves just the Humans, the ones known as Earth Humans, with the ones known only as Humans (from Aition) far less directly involved. Besides them, though, are the other intelligent life forms and their customs and civilizations. The story centers around a few of the Sabard and Travail, but the Monad’s plots and intentions drive much of the surface tension and action – or so it appears….
  6. ‘Long Summer’ has become so big as a Word manuscript that Word turned off several functions, like spell check and auto-correct. To counter that, I broke the novel up into its parts as manuscripts. It reduces my ability to move back and forth through scenes, parts and chapters, and demands that more documents be opened simultaneously, but I’ve recovered those Word functions. Overall, I consider that a win.
  7. I want to finish ‘Long Summer’ not only so that I can move on with writing ‘Personal Lessons with Savanna’, but because I need ‘Everything In Black And White’  copy-edited and published, along with ‘Spider City’, ‘Fix Everything’, and ‘Peerless’.  Besides them, new ideas have filled the writing bucket. There’s still that coffee shop musical percolating in my mind. I still want to do more with the Stellar Queen and the Magellan.
  8. Besides all this writing, my personal reading keeps falling behind. A friend dropped me an email yesterday. He finished reading the third novel in the Ferrante’s Neapolitan series and raved about it. Having read the first two, I want to read the third. Dozens of books besides it reside on my bookcases, night stand and other places, waiting for my attention.
  9. Meanwhile, I’m moving forward with paperback publication of the four published novels, so those of you bugging and encouraging me to do this, you win. I will do it. Soon. Really. I promise. I’m not crossing my fingers, either.
  10. But, I decided as well to have the covers for the Lessons with Savanna series redone. Time, energy and focus is necessary for that to happen, so bear with me.

Okay, with that out of the way, time to write like crazy, at least one more time. Back to the Wrinkle, Brett and Philea.

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Those Exciting Moments

when you achieve a goal

reach a destination

or the day has come

AT LAST

Or when you sit down to write the next piece, a section that’s been growing in your head like a burst of spring on a time-elapsed film.

Reading, observing others, walking, thinking and watching television, scenes keep building. Small details are added to earlier chapters as the novel expands to fullness and nears its end. Epiphanies strike about cause and effect, action and reaction, directions and decisions, and revelations and choices.I didn’t know some of it. My inner writer has been waiting to spring it on me. His cleverness astonishes me once again.

Bring on the mocha. Time to write like crazy, at least one more time.

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