Tag: Writing

Sam 1 [en]

[fr] Exercice d'écriture: personnage Sam.

The adventure begins.

She doesn’t know Sam yet. She just knows his name. She’s not sure if she’ll like him or not. She’s afraid of making him too likable, too cliché, too unidimensional. She realizes that if she makes him too cliché or perfect, he will not be likeable. You see, she’s stuck already.

Sam is roughly her age, in his mid-thirties. The jeans and t-shirts he wears make him look like he still believes he is seventeen. He has a job, though — not a very exciting one, but a stable one. His life is outside of work, with his friends. They go out for drinks on week-ends, play video games, watch football matches.

He met a girl he liked at The Great Escape the other night. Said like that, it sounds like an exceptional event, but it isn’t. He meets plenty of girls he likes, and has plenty of fun with them, but it’s usually short-lived. He hasn’t had anyone stable in his life since he and Greta broke up. He figures he still needs time.

She thinks Sam sounds pretty normal and boring so far. She remembers that stories are about putting normal people in extraordinary situations, and seeing how they react. Like a scientific experiment. She wonders what she could do with Sam.

Shove him through one of Dan Simmons’ Brane holes, straight into another universe? She thinks that’s a little radical. Baby steps, baby steps.

Maybe to start off, she could have him arrive at The Great Escape, hoping to see that girl again, but the bar has disappeared. Disappeared, as in “never existed” for anybody but him. That’s not a new idea, she knows, but it would allow her to see how Sam reacts.

Let’s do it.

So, Sam heads out into town like every week-end, and parks his car somewhere behind the cathedral. He’s got a car, and he’s a confident driver. She gives him a car because she thinks it makes him a little more grown-up. And also, chances are a 30-something living in Lausanne with a stable job and no family to feed will have one. The car also tells us he’s probably not a green activist. The truth is he’s pragmatic, like most people: he’s got a nagging concern about the environment, but he also wants his freedom and his quality of life. He’d go for a solar car if they existed (provided it didn’t cost twice the price of a normal one).

She’s starting to feel curious about Sam now. She realizes that she’s actually looking forward to learning more about him. She’s aware it might not make for fascinating reading, but she can see herself typing through the night to satisfy her curiosity. She might even start liking him.

As she gets ready for much more typing, she notices that she actually knows more about Sam than what she initially thought. For example, he’s not that good with domestic stuff. She doesn’t know why yet, but his flat is a bit in a mess at all times (though still functional) and he’s pretty crap and shopping for groceries, so he eats out quite a lot. Another thing she knows now is that although most of his friends assume that Sam’s proper name is Samuel, it’s in fact Samson. He finds his name a bit ridiculous (the biblical references and all that) so he keeps the information under wraps as much as he can.

She’s aware that if she was really trying to write a story, she wouldn’t be dumping those random facts about Sam like that for her readers, but she would be a little more subtle, letting them emerge from Sam’s interaction with the world and people around him. For now, though, she’s satisfied with the rather dry police-description of her nascent character.

So, back to the story. Sam finds a parking spot behind the cathedral — it’s a little walk away from his favorite hang-out, but he actually enjoys the fresh air on the way. He makes his way briskly down the steps to the little square next to Palais de Rumine, and heads for the bar. He absent-mindedly registers that the usual signs indicating tonight’s match and menu are not out as usual, but most of all, he’s disturbed by the absence of people clustering around the door.

At this point, she thinks she should probably go and check out The Great Escape on a Friday or Saturday evening, to make sure she’s not saying stupid things about the place, as it actually exists. She might do that sometime next week — one of her friends goes there quite regularly, it could be an opportunity.

Well, assuming she hasn’t got it all wrong, Sam arrives in front of what looks like a closed bar, when it should be open. (As she doesn’t have the bar handy, she checks online: it’s open every evening.) Sam has never seen it closed except a few times in the morning — like many similar places, it’s open all week, every day. (She’s looking up reviews on TripAdvisor, now. This almost feels like proper research. She decides to set aside the bar for the moment and concentrate on Sam again.)

So, Sam arrives in front of a closed door when he was expecting to find his usual favorite bar a-buzz with his friends and other strangers. He walks to the door, his legs chugging numbly beneath him, his mind floating uncomfortably somewhere between “bad joke” and “am I losing it”.

He tries the door. He can see it’s closed, but he tries it all the same. He looks around the little square: he doesn’t see anybody looking lost or confused because their usual bar isn’t open. He doesn’t see anybody, actually: the square is empty.

She’s starting to feel taken in by the story she’s writing. She feels a bit bad for Sam. She put him there, after all. But it was the only way she could think of to get to know him better. But she wants to know what’s going to happen next, and the only way to know is to let it write itself.

Sam is definitely confused. He checks the time, checks the date, tries the door again. As he’s trying the handle, a sinking feeling  as he glances at the building tells him more is wrong then he initially thought: the name of the bar has disappeared from the building — and from the door, too, now that he actually looks.

Something very wrong must have happened for it to close overnight (or rather, overday). And why wouldn’t anybody have told him?

He calls up Roger.

“What on earth happened to The Great?”
“Hey, Sam! The great what?”
“The Great. It’s closed. The signs are even gone from the building.”
“What are you talking about? You’re not making any sense. Oh, and when are you getting here? Sophie asked if you’d be there tonight.” Sam can hear the “nudge nudge, wink wink” in Roger’s voice when he mentions the girl from the other night.
“Oh, er…” Sam’s confusion has just gone up a notch. “I’m coming. Where are you?”
“Captain Cook! Where else? Are you OK? Come on over!”

Roger hangs up. Sam looks around again, and heads up the stairs to the Captain Cook, wondering if he is losing his grip on reality.

She stops here, and wonders if this kind of little adventure really tells her something about Sam. Wouldn’t pretty much anybody react like that? She’ll have to put other characters through this kind of exercise: make them face the disappearance of their favorite hang-out. Maybe they won’t all react the same.

But first she has to take Sam a little further. She has second thoughts about the brief phone call with Roger. Shouldn’t Sam have insisted a bit more? That dialogue makes it look like Sam readily accepts that Roger has no idea what he’s talking about. Hell, if she called up one of her friends with such an odd disappearance and the friend reacted like Roger, she would be calling the friend back instead of stumbling towards the next bar.

Maybe Roger has a history of being slightly inebriated, busy with girls, and generally not very coherent on the phone when he’s out drinking bear in a full noisy pub. That must be what Sam thought. He’s still confused, but he hasn’t yet figured out that he’s the only one to have noticed The Great’s disappearance (or escape, haha). So, he’s on his way to the Cook, confident that he’ll get some explanation from Roger once he gets there. He’s in for a nasty surprise.

Roger thinks Sam is playing some kind of joke on him. He reacts as if he’d never even heard of The Great Escape, or any kind of bar on the little square halfway down the stairs. Roger’s on his third or fourth pint, which doesn’t help Sam try and get his point across. He asks a couple of other people about The Great and gets confused looks and lots of question marks.

In an attempt to refrain from questioning his sanity, he decides to wash away his growing discomfort with something slightly stronger than usual and chats up Sophie (who confirms they met in the very same bar earlier that week, and gives him a puzzled look when he tries to talk about The Great’s disappearance).

She’s really getting into the story now. She’s going to have to make up for her tea-totalling habits with some “academic” research on alcoholic beverage consumption on normal Lausanne Saturday nights.

Sam drinks a little more than usual and follows Sophie to her place not far from the bar — not that he needs more drinking than usual to go and have some Saturday night fun with a cute girl picked up in a bar. Before picking up his car to go home in the pre-dawn haze of too much smoke, alcohol, and meaningless sex, he drops by The Great again to make sure it really is closed (“escaped”, he says to himself).

His mind is working, at least that much. There is no open bar where he remembers The Great Escape.

He drives home, collapses into his half-made bed — he must remember to change the sheets one of these days — and dozes straight off, hoping that The Great’s escape will have straightened itself out by morning, one way or another.

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Twitter Killed My Blog and Comments Killed Our Links [en]

I hope the provocative title grabbed your attention.

Let me say it straight out: my blog is not dead, neither are our links.

But I still have a point.

Twitter is IRC on steroids, for those of you who have already experienced the irresistable draw of a chatroom full of smart witty people, 24/7. Twitter is my very own IRC channel, where I do not have to hear those I do not care about. It’s less geeky than IRC, which means that many of my “online spaces” collide there.

It’s intoxicating. I love it. I can spend all day there.

But that’s not why I would provocatively say that it has killed my blog. Twitter is a content-sharing space, not just a super IRC channel. Found an interesting link? Five years ago, it would have morphed into a blog post, because that was pretty much the only way to share it. Nowadays, dump it in Twitter. Arrived safely at destination? Again, 5 years ago, blog post. Now, tweet.

New tools have an impact on how we use old tools. Sometimes we abandon them altogether, but most of the time, we just redefine the way we use them. This is what I was trying to explore in the first panel I ever moderated, at BlogTalk 2008 (crappy video).

So, no, Twitter did not kill my blog, but take a group of bloggers and give them Twitter accounts, and the temperature of the blogosphere changes. All the high-speed stuff moves to Twitter.

If you just look at the present, it’s no big deal. People are still connecting. That’s what all this social media/software is about, right? Connecting people. Online. But the problem with us spending all our time swimming in the real-time stream is that it’s just that, a real-time stream. Not much is left of it once it has passed.

Take this short piece about translation I wrote nearly 10 years ago. It’s not a masterpiece, but it’s still there, as readable as it was when I wrote it. Had this taken place on Twitter, nothing much would be left of it. Gone with the wind, if I dare say.

Many many years ago when I first started blogging (can you tell I’m on a nostalgic streak?), blogs did not have comments. Hell, I barely even had permalinks when I started. Permalinks were the key, though: they allowed bloggers to link to each other’s writings.

And we did. Conversations would bounce from blog to blog. They weren’t chatty like on IM, IRC, or Twitter. They were blog-post-speed conversations. We would have to think (a little) before we wrote.

Even though comments are a wonderful invention and I would never want to take them back, they did ruin this, in a way. People started leaving comments all over the place and didn’t come back to their blogs to write about the conversations they were participating in. It’s one of the reasons I was so excited about coComment when it came out, or services like BackType (which also seems to have backed out of tracking comments one makes) or Disqus. (Aside: see, I’d love somebody to hire me to do some research and write a memo on the current state of the comment-tracking-sphere and all the players involved. I could totally see myself doing that.)

With comments came less of an incentive to link to each other on our blogs. With Twitter (and Facebook), less of an incentive to share certain things on our blogs, and also, less of an incentive to comment, as it became much easier to just “tweet a quickie” to the post author (therefore making our activity visible to all our followers). And with the death of Technorati tags (I’ll call it that), we bloggers are now connecting to each other on other social networks than the blogosphere.

I think it’s time to actively reclaim the blogosphere as our own, after leaving it for too long at the hands of marketing and PR.

Bloggers, it’s time to wake up! Write blog posts. Link to your fellow bloggers. Leave comments on their posts, or better, respond to them on your blogs.

We don’t have to abandon Twitter and Facebook — just remember that first and foremost, we are writers, and that “conversation” (though ’tis a wonderful thing) is not writing.

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Writing: Source of Income or Marketing Budget? [en]

[fr] Ecrire pour gagner de l'argent (en tous cas en tant qu'indépendant) ça ne rapporte pas des masses. Par contre, écrire est un formidable moyen de promouvoir ce qu'on fait (indirectement). Je propose donc de considérer l'écriture comme "budget marketing" plutôt que "source de revenu" (si on arrive à gagner de l'argent, tant mieux... mais ce n'est pas le but premier!)

A couple of days ago I was talking to a friend, who amongst various activities she juggles as a freelancer, is a journalist. Lately, she’s been less satisfied by her journalistic work, which ends up not paying much, and was wondering whether it really made sense to keep on writing. But actually, her work as a journalist is what gives her contacts and leads for her other activities: so it makes sense for her to keep on being a journalist — but not for the money, as a marketing investment.

Come to think of it, I’ve only very rarely earned money by doing actual writing. I did an article for a local paper once, but honestly, the amount I was paid for the work I put in just made no sense. So, yes, as a marketing strategy, it’s interesting, but not for actually putting food on the table.

Even the work I did for Fleur de Pains, though decently paid, was way more work than expected and ended up being not that much money for the energy it took. Consulting, speaking and training are clearly better sources of income, or managing “my type” of projects (blog editing, coworking space, or conference blogger accreditations for example).

Most of what I’ve read over the last six months about writing fiction also points in that direction: writing for a living is insanely hard work and will not make you rich. We’re blinded by the black swans out there named J. K. Rowling and other successful writers. Most people who write for a living don’t become insanely rich, and most of those who try to make a living out of writing fail.

So, where does that leave us/me? I love writing, and I’m not too bad at it. Honestly, writing is its own reward, as far as I’m concerned. That’s why I’ve kept this blog going for the last 10 years (by the way: take a moment now to let me know what your favourite articles from CTTS are — the blogversary is less than 48 hours away!). And honestly, I think I’ll never stop writing. But I don’t think it makes sense for me to try to actually earn a living doing it. Which doesn’t mean I’m closing the door to earning *some* money writing — but if I do, it’ll be a happy *extra*.

So, in times like now where I’m giving quite a bit of thought to all I do for free and which ends up bringing me business, and also (given right now business is going pretty well) cutting back a little (not too much though!) on what does not earn me money directly, I am realising that I need to make it my priority to have enough time to write.

You know these blogging crises I go through regularly? “OMG I’m not blogging much I need to write more?” Well, here we are. If paid work keeps me from blogging, so be it — it means I’m earning lots of money right then, and I can live with that for a while. But if unpaid “marketing budget” stuff keeps me from blogging, something is wrong.

So this is what my hierarchy of priorities could look like:

paid work > blogging > other writing (“for others”, or requested by others) > other marketing/networking/promotional activities

What about you? Where does writing fit in the “stuff you do”?

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About my Writing [en]

[fr] Mon écriture souffre généralement de trop de parenthèses, de tirets, de phrases trop longues et... de mots, simplement. Ça m'ennuie mais j'avoue que je suis paresseuse lorsque j'écris: pas de relecture, pas de réécriture, j'écris et je publie, voilà c'est fait.

After reading Bird by Bird, I am now reading On Writing by Stephen King. And it’s making me think about my writing.

I’m a lazy writer. I don’t proofread, I don’t edit, I don’t even plan much outside my head. I just write. It’s never been a problem for me.

Reading King (and in parallel, Anne Lamott’s Rosie, which is so beautifully written it makes me want to drop everything and write my life away) is making me think about my style. There are a certain number of things I do that bother me, and that I don’t seem to manage to do differently. (Though, as I said, I’m a lazy writer — if I actually put a little effort into changing things, maybe I would.)

As you’ve certainly noticed if you read this blog, I overuse dashes and parentheses. I always have. I think it’s because my way of thinking is digressive. I start on something, and have to add some little explanative digression before going on. I do that when I talk, too. I start a sentence or an explanation, stop mid-way through, and add some extra background information that’s needed to understand what’s left of the sentence or explanation.

Anyway, I’m not trying to find excuses. It annoys me that I do that, and I think it probably makes what I write more cumbersome to read than it could be.

Another thing I’m guilty of is long sentences. Sometimes I feel they just want to go on and on and on and on and then I catch myself and chop them in half. I also think I use too many words. I’m not a very concise writer. I ramble. Like I’m doing now.

So I’ll let you go and read something else while I go and write a shitty first draft of something that I’ll never show anybody.

Are there any of my bad writing habits which bug you when you read me?

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Seth Godin on Benefits of the Blogging Process [en]

[fr] A force de se concentrer sur les bénéfices qu'il y a à avoir un blog (= des articles publiés), on perd de vue les bénéfices du simple acte de bloguer -- de l'utilité pour soi de cet exercice d'écriture.

Take 90 seconds to listen to the following video:

I found it thought-provoking. It reminded me of the fourth principle in my journey out of procrastination: find pleasure in the process rather than only the goal.

What Seth Godin says here is how beneficial the act of blogging is in itself, independantly of the impact of the published post on others. You know, the therapeutic effect of writing, and all that.

I think we’ve lost track of that with all the focus on the benefits of blogging as a finished product (the published post). The process of blogging is actually what is the most precious in this whole story.

Harry Joiner, who wrote the post where I found this video, says the following about his own blogging practice, which I think is worth quoting — also as food for thought:

My point is this: For a while last year, I began to think that — for me, anyway — blogging was simply a means to a marketing end.  It was about being #1 on Google for my primary keywords, and once that was accomplished — what was the point of blogging more?  After all, I had a company to run.

Turns out I was wrong. The primary benefit of blogging is to develop and maintain a teachable point of view on something of value.  It’s about learning to communicate more effectively.  And as Seth says in the video above, “to contribute something to the conversation.”

Happy blogging!

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Content: Paid vs. Free [en]

[fr] Quelques réflexions sur le fait que produire du contenu n'est pas gratuit. En général, celui-ci est subventionné soit par des pubs, soit l'accès est payant, soit il fait office de "budget marketing", ou alors les canaux de distribution sont payants.

Zeldman just wrote that content wants to be paid for, sending us to read Erin Kissane’s Content is Expensive (followed by Paying for it, which examines the four ways in which content can generate revenue).

Although I’ve been writing online for free for over 10 years now, I agree with the premise that content — especially good content — is expensive to produce.

I have a few thoughts around that.

If I can do something, and people have a need for that particular skill (or what I produce), it does not mean that (a) they are ready to pay for it or (b) if they’re ready to pay for it, that they will be willing to pay enough for it to be worth my time/skill/effort/expertise.

For example, I can write blog posts. I’m not too bad at it (I’m not the best, but I’m better than most people). Some of my clients need content on their blogs. I can do it for them. BUT there is a problem: often, the money they are willing to invest for that content, and the value it has for them, sets the price way too low for it to be worth my while. If we actually do go through and reach an agreement, chances are that I’ll feel underpaid and they’ll feel they’re wasting money.

One of my blogging friends is currently in this situation with a client — and maybe in some cases (like ours) part of the problem is the client not realizing exactly how valuable this content can be to them. But the fact remains that it’s not because somebody is ready to hire you to do something that it is a viable commercial endeavour. Another example of this situation is home arts and crafts — Suw and I had a discussion about this a couple of years back on Fresh Lime Soda (remember the times?) for home-made lace she was making: people would simply not be willing to pay a high enough price for it to cover materials and work.

This is also true in the sense that if people want something for free and enjoy it, it doesn’t mean they’ll be willing to pay for it. In that respect, I think that people like Philippe Barraud and Thierry Crouzet aren’t being very realistic if they expect to make their blogs paid content in the future. The fact that people read their blogs (and enjoy them) for free is not an indication that they would be ready to pay for it. That would be misunderstanding the power of free.

Erin talks about the subscription model in her second post:

Subscriptions didn’t keep most print publications profitable even when print was doing well—classified and display ads did. Legal databases, academic databases, super-specialized content . . . that’s something a lot of people or institutions will pay for. News? Bloggy or magazine-style content? Not so much.

That’s the conventional wisdom, which seems to be validated by disasters like Newsday’s acquisition of 35 whole subscribers in its first three months of operating behind a paywall. Jack Shafer provides a nice summary of paid content woes in Slate:, listing the NYT’s TimesSelect, the LA Times’s CalendarLive, and Slate itself as publications that tried and failed to make subscriptions work.

[…]

So what’s the upshot? People will pay for content that is difficult or impossible to get elsewhere, either because:

  1. the information itself is unique, as with Consumer Reports, Cooks Illustrated, and the Gaming Industry Weekly Report, or
  2. the information is surrounded by obviously and uniquely valuable analysis and context, as with the financial newspapers.

The first is an easy sell; the second is a bitch and a half.

If your content meets either of the above criteria, you’ll also be attractive to advertisers. Funny, that.

Philippe and Thierry are both “writing professionals” before being bloggers — in my opinion, paywalling content (just like slapping ads on pages) is pretty much an “old media” way of doing things.

Now, does it mean that I believe we writers should not be compensated for our work? Not more than my stand on filesharing means I believe that musicians and other artists should not be compensated for theirs. Let’s go back to Erin’s article Content is Expensive and look at the two remaining “monetization” solutions for content (aside from paywalling and advertising). This is where things become interesting:

  • Marketing. A lot of “free” content is subsidized by its function as a marketing tool for the content producers or the people who pay them. Many, many blogs work this way. A List Apart now runs small ads, but long before it did, it worked as a marketing channel, establishing the expertise and credibility of its publishers and writers. Most non-fiction books are also subsidized by their value as marketing tools: they don’t pay well enough to be worth the effort for royalties alone. Most commercial content strategy work deals with this kind of content.

“Marketing” or some kind of self-promotion is the obvious. For more years than I care to count now, I have been answering the tired “so, how do you make money with your blog?” question with “I don’t. I make money because of my blog.” The time I invest in writing on my blog is my marketing budget.

And that doesn’t mean there is no love, or passion, and that this writing is narrow-mindedly self-promotional. I was a blogger before I became a social media professional, and will most probably continue being a blogger if I change my line of work. I am a thinker, and a sharer, and by genuinely providing content because I love writing and I hope I can be useful to others, I happen to also be promoting my business (business which, incidentally, grew out of this blog — and not the contrary).

This is a tough message to pass on to a client: “The money you’re paying me to write is actually marketing money. The content I provide will add value to your website for years to come, and help build your reputation and credibility. How much is that worth?” It’s not just words on a screen, disposable stuffing like so much of what is unfortunately filling our newspapers today. Scanned today, gone tomorrow. Great writing, online, has no expiry date.

Back to Erin:

  • Paid Delivery Channels (The New Hotness). The paid iPhone app is a way of getting people to cough up money for content that they normally wouldn’t dream of paying for so they can receive it in a convenient way. Kinda like how we used to pay for newspaper delivery instead of going to the library to read the paper for free. (Spoiler: there is nothing new under the publishing sun.) We’re going to see a lot more of this in the nearish future as publishers realize that the race to free has resulted in a pileup of bleeding, sad people with no income.

This, honestly, is something I find exciting. As a customer, I will definitely pay for convenience. I may not be inclined for the right to own a file which happens to be a song or an ebook (the slippery terrain of IP — my jury is still out on that one, to be honest) but I will without hesitation buy a song on iTunes, because it’s easy to look up, easy to pay for, unexpensive enough, lands directly on my iPhone and computer, is guaranteed good technical quality, and it comes with cover art. I’ll pay for an iPhone app if it makes it easier for me to access content that is precious for me. I’ll pay for a concert if it allows me to watch a song performed live 🙂 (I’m not sure that’s still in the “delivery channels” department, though…)

Ah well, this was supposed to be a short blog post with just a few links. Now look at me. No wonder I get blogging-anxiety when I haven’t written in a while.

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Not Writing, Again [en]

[fr] Clairement, un autre phase de non-écriture. Ça passera.

Another post on writing/blogging, yes, another one. I am in a “not writing” phase. I actually want to write. Ideas keep flapping around in my head. But the idea of actually disciplining myself to focus on writing about them just makes me want to hide under the covers.

I go through these phases regularly, as you know if you’ve been reading this blog for more than a few months. They last for a moment, and then I get back into writing.

I haven’t yet clearly identified what sets them off and what makes them end. I know there is a vicious/virtuous circle effect involved. The less I write, the more stressful the idea of writing again becomes, because all the things I have wanted to write about — but haven’t — during the “no writing” phase have piled up in my mind, and I feel that blogging regularly again means that I have 20 posts to write, and that they all need to be long, documented, enlightening masterpieces. It’s as if the “idea of blogging” or the “idea of the blog post” grows like a weed in my mind when I’m not actually doing it, and that makes the process much more scary than it actually is.

On the positive side, I know that “blogging again” always starts with publishing a blog post or two — which is what I’m trying to kick off here. Never know.

This is a pretty boring post. My apologies.

I’ve gone down the rabbit-hole of blog-reading on Penelope Trunk’s blog. Go read her. (And follow her on Twitter if you’re so inclined.) I’ve finished reading the Saga of Seven Suns by Kevin J. Anderson (not this Kevin Anderson! another one!) who is also on Twitter, I’ve just discovered. I love the idea of being able to follow SF authors I’ve enjoyed on Twitter. Cinema-side, I recommend you go and see The Hurt Locker if you haven’t already done so. It’s a beautiful — and hard — movie which rattled me a bit in the same way that the essay “I Miss Iraq. I Miss My Gun. I Miss My War.” did. (You might want to read that one with Readability to make it a more comfortable experience.)

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Wrong Place, Wrong Time [en]

[fr] Un autre récit de rêve -- double, celui-ci. Je suis navrée, mais ça sort toujours en anglais...

A dream.

I have a gift for ending up at the wrong place at the wrong time. For example, think of the day Obama broke our beautiful lake in half by blowing up a huge bomb under it. I was in Saint-Tryphon, the lovely town at the end of the lake, and watched as the water ran out of it through the crack, as swimmers tried to reach the shore, and as the first rows of buildings in Saint-Tryphon toppled over in slow motion under the afternoon sun to come and lie down in the receding water.

We spent the rest of the afternoon checking out our boats, which were moored in mid-air, lowering them so that they would be back in the water again.

At some point I fled. I ran through Saint-Tryphon, watching the wobbly buildings by the shore and praying that the people would get out before they fell. I climbed into the mountains, found an abandoned village, and spread the word. “The lake is draining itself!” Nobody really believed me.

Obama had smilingly assured me that the lake would stop bleeding out sometime in the evening, and that everything would be back to normal in a few days. He didn’t seem to think there was anything wrong with what he had done. I was just horrified.

Or another time, shortly after that, I had taken a trip to some middle-eastern country just in time to witness the explosion of a nuclear device under the sea near the coast. I saw birds fall out of the sky as they feebly tried to fly away. Why I was alive, I just couldn’t understand. A car with two military stopped and picked me up. We went to the command centre where for some reason, most of my luggage was waiting for me. There were some nice people there, but it was out of question to let me go back home.

I swallowed an iodine pill, and wondered why on earth we all had to be exposed to so much radiation. My life doesn’t always make sense to me, as you can see.

I was relieved to meet Cecil in the command centre. He was a friend of mine, and we plotted our escape together. Julie, one of the assistants, would come with us — she was a nice girl and also felt that she had nothing to do there, that her life was supposed to take another path. The trouble was packing (we had many belongings) and finding a way out of the country (that was Cecil’s job, being in a position of authority).

Amongst my most precious belongings was some jewellery, and a set of teeth (I know this sounds funny, but they were ivory and polished, and worth quite a lot in those days), as well as some pearls. Trying to get everything to fit in bags and boxes was a nightmare, especially as we couldn’t afford to have the other people in the command centre figuring out that we were going to make a run for it. They must have, because we even got comments on the size of our boxes, but they pretended nothing was wrong. Maybe they hoped it would go away if they didn’t confront it.

So we packed, and repacked, and repacked, and as days went by I became more and more anxious about leaving. We almost managed, once. Robert took us out to his helicopter. There were four of us, but Cecil was nowhere to be found. I was a bit worried, because Robert was completely loyal to those in charge, and I really wondered what the deal was with him taking us away. Maybe he was actually going to take us to a reeducation camp or a prison, and all our precious belongings would be taken away from us.

We never knew, because as he was fuelling up, he never passed the DUI test — and the helicopter was not up to standards either. I heaved a sigh of relief as we returned to the base, but went to bed certain that we had been found out and absolutely had to leave the very next day.

It didn’t happen the next day, or the one after that. It was agonizing. Cecil disappeared, after a long phone call to his family where I heard him tell his son he loved him very much. The day after that, Simon came up to me and gruffly told me that I was leaving, that Cecil had left instructions, and that he was my driver. Simon was not happy about it, but followed orders. I initially expressed surprise but decided to go along with it.

He scowled at me while I put my big box and bag in the boot of his tiny car. I climbed in, and we drove off. I didn’t need a Geiger counter to tell me how radioactive we were, and I hoped that we would not set off any alarms at the airport. I already had too much luggage and getting on board without attracting attention was going to be a tight squeeze.

As you can see, I made it out in one piece. I had to leave some of my things behind, but the precious teeth and pearls travelled in my jeans pocket (you know how TSA are with precious items in checked-in luggage: they just tend to disappear). I went through long and painful anti-radiation treatment, and thankfully today’s medical technology is keeping at bay all the cancers I should have developed as a result of such important exposure.

What was going through the minds of those people at the time, it really beats me.

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Plot Grows Out of Character [en]

[fr] J'ai enfin compris comment écrire des histoires. Les histoires naissent des personnages. Il faut partir des personnages et les développer et les écrire à la vie, et non pas partir de l'histoire elle-même.

“Plot grows out of character,” says Anne Lamott, author of “Bird by Bird (Some Instructions on Writing and Life)”, which I am currently devouring.

Today, February 20th 2010, I think I have finally understood how to come up with stories. The stories come from the people in them, the characters. Who they are, what they’ve been through, what they care about, the choices they make, the way they react to what happens to them.

I’ve always wanted to write fiction, but failed at coming up with anything resembling a story or a plot. I started writing 50-word short stories about 18 months ago to jog my creativity, and it has worked pretty well in demonstrating both that I am capable of coming up with story ideas and that it is possible to excercise creativity.

But so far, I have been concentrating on the story, and not on the people in it.

Recently, I have realized how very good I am at imagining explanations for the behaviour of people surrounding me, or people in general. I tend to have a pretty anxious personality, which means I have “Disaster Channel” playing in my brain 24/7 (fear not for my sanity, though, after years of therapy I have learned to turn off the sound and ignore it most of the time).

So, give me a situation, say, X. is late, and my brain will immediately and effortlessly produce half a dozen plausible and disastrous reasons for her lateness. As I have learnt, though, that Disaster Channel does not provide a realistic view of the world, I have also trained myself to come up with “reasonable” and “reassuring” explanations.

I’ll stop there with the dissection of my psyche. Suffice to say that I am really good at inventing a whole range of explanations for human behaviour. (OK, with a biais towards the disastrous, I’ll give you that.)

Today, at long last, I have realized that coming up with a plot is just that. A story is about people and their behaviour. Writing it is about coming up with characters that are believable, and listening to what they want you to write.

To prove the point, I have written no less than two “really shitty first drafts” over the last few hours.

I’ve unlocked something today.

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Political Nightmare [en]

[fr] Récit de cauchemar.

A dream.

In a few hours from now, they are going to come and make our heads roll. The new government of New York City, with which we have worked for many months to ease the transition, is officially going to step into power — and we, as the old city government, have to disappear.

I don’t want to die! I knew nothing of this when I joined the task force. I’m not even an American citizen! When they say a career in politics is brief but glorious, how was I to know it would be so literal?

President Obama is here, fondly recounting his memories of making the heads of his previous local government roll. There is obviously something very important about the heads rolling well once they have been cut off.

I protest, my voice calls out in despair “I’m a Swiss citizen! I shouldn’t even be here!” but nobody seems to hear, nobody seems to perceive my anguish, and everything just goes on.

It does occur to me that Obama is still alive, but I’m not sure what to make of it.

They have paraded us through the city, half-drugged, half in a daze. I hope beyond hope that some miracle is going to save me, but everything seems perfectly orchestrated to lead me to my demise.

This is a nightmare. Literally.

I want to wake up.

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