My first real copies of The Getaway God. Guess it’s too late for rewrites.
If you want a signed copy of Richard Kadrey’s THE GETAWAY GOD on its release date, you can pre-order it from Borderlands Books in SF. Email them at firstname.lastname@example.org or call their toll-free number: 888 893-4008
I have a deep belief in the power of story. I know that what we create filters up into wider media. I know story can change the world. I’m also deeply motivated by my experience being dead broke poor, a place I never, ever want to be again. And I’m incredibly motivated by haters who say I can’t. By stats that say the game is rigged against me, by people who say I’m not good enough….
But I have to do the work. You have to do the work. You have to hack out the time. You have to believe. You have to get out of bed even when it all looks impossible, even when you’d rather dream than do.
Because at a certain point, the dreaming has to be over. Somebody has to do the work.
Forever and ever, it’s you who must do the work. In whatever way you can. For as long as you can. Because this is a marathon, a game of attrition, and if you’re going to play, you must play.
Hacking the Writing Life: On Being a Writer With Three Jobs
via Lauren Beukes
DIncredible Photos Show What Post-Apocalyptic dioramas by Lori NixLori Nix has a morbid imagination. The photographer has been fascinated with the end of the world for as long as she can remember, and she says it may have to do with growing up in rural Kansas.
“I’ve been in tornadoes, floods, blizzards,” Nix told Business Insider. “I grew up surrounded by disaster.”
Nix’s project “The City” portrays a world where some disaster has caused humans to depart for an unseen destination. What’s left behind are dilapidated structures— art museums, theaters, laundromats, bars, libraries — that no longer function and are slowly being reclaimed by Mother Nature.
lionheart191 said: How do you get over being over-critical of your own writing? I try, but sometimes I can't even put out a paragraph it's so bad.
I remind myself that no one day of writing matters all that much. A story is built somewhat like a stalactite - one little drip of mud and grit at a time.
I remind myself that the first few drafts are just for me. That gives me permission to let it be an ungodly mess, full of shit sentences and crap ideas, whipped into a creamy froth with the occasional bits that do work. Later I’ll winnow out the stuff that was no good. What remains will be (I hope) fun, economical, and lively.
It helps (me) to write longhand. I know no one is ever going to see my longhand draft but me. That’s a free pass to suck.
Also, though, I try and work small. If I think a scene blows dead rats, I’ll stop thinking about the big picture, and just think about the next sentence. If I can get down one sentence that really excites me, sometimes it will throw a spark powerful enough to bring a dying moment back to life.
WHAT HE SAID.
I think that may need more emphasis.
WHAT HE FUCKING SAID.
A Sandman Slim walking tour of Los Angeles with my stupid face.
You make something from things that have happened and from things that exist and from all things that you know and all those you cannot know, and you make something through your invention that is truer than anything true and alive, and if you make it well enough, you give it immortality.
The important thing is to make a different world, to make a world that is not now. A real world, a genuine world, but one that allows myth to live. The myth is everything.
Hobbits, Fractals, and Jellyfish Become Ridiculously Detailed Pancakes
"To me, a mystery is like a magnet. Whenever there is something that’s unknown, it has a pull to it. If you were in a room and there was an open doorway, and stairs going down and the light just fell away, you’d be very tempted to go down there. When you only see a part, it’s even stronger than seeing the whole. The whole might have a logic, but out of its context, the fragment takes on a tremendous value of abstraction. It can become an obsession." — David Lynch