Write Now Edit Later

That sounds like simple advice.  Write your story now, worry about editing it later.

Write the story now ... edit it later.

Write now.  Edit later.

Write.  Edit.

Edit.  Just edit.

That's where most of you have probably found yourselves.  If not, then you're probably lost in the bog of eternal stench (sucks to be you!). What happened? You knew you should've been writing it out.  How else are you going to spot those inconsistencies, mishaps, plot holes, balrog, and boogers in your story if it's not written out?

Don't worry about editing.  Your story may not sound good to you now.  Screw having a perfect story!  Don't worry about it.  Make a note somewhere (somehow) in your manuscript that such & such needs fixing.  If your using Word, then use the "review" tab at the top.  Otherwise, just leave some kind of note in your text that you'll recognize during your edit and rewrite.

 Do it, or perish!

Get that story out of your head.  Vomit the whole thing out.  Then you can pick it up, chew on it (gross!), and make it into the nugget of genius you always knew it was (terrible metaphor, I know).  Forget the editing until it's time to edit.  If you get bogged down editing as you go(remember the bog of eternal stench?), you may find that your story never gets written.  That's a problem for someone who wants to make a living from their craft.

Focus, young padawan.  One step at a time.  Get it written.

So how about you?  Have you gotten stuck editing when you should be writing?  Did you ever get out of those stinky mires, or are you still sinking, head first?  Tell us about it in the comments below!  Remember to share, like and follow.  Social media makes the world go round.

Developing Plot & Your First Narrative

If you want your story to sell, it's gotta have equal parts of genius, uniqueness, and well developed story elements.  If you have the beastly ability to shape superb dialogue, but lack scene creation, your narrative will ... suck.  If you have amazing world building skills, but fail to deliver meaningful
dialogue, you might as well put your head on the chopping block.  Every element of fashioning a story must be just as strong as it's counterpart (links in a chain, braids of a rope etc ... hear Mr. Miyagi, young grass hopper!).

So let's take a look at one of the elements you might be struggling with, and don't even know it yet.  I'm talking about your plot, my friends.  You see, at first you have this bright beacon shinning inside your head with clear vision on where the story should go.  You've got the big picture all laid out, and writing it out should be simple.

And then you start ... and stop.  Holy plot holes, Batman!  What happened?  You got a few chapters in, set some things up, and now you've got no clue how to drive the story forward.  Welcome, new writer.  Grab a coffee and enjoy a muffin.  You'll be here for a moment or two.

Think about structure.  It's going to help you dramatically (pun intended) with your plot development.  Some writers are able to fly by the seat of their pants, pumping out story after well crafted story.  Usually that's because they've taken the time to master the rudimentary elements necessary to create beautiful literary works.  There are a few different ways to structure your story, and some of it may be dependent on what kind of story you're wanting to write.  Ultimately, using some of these techniques will help you learn how to develop your plot, and perhaps avoid big rewrites, inconsistencies, and plot holes.

The Basics

So what is drama and why does your story need it?  Drama in a story is that factor that makes the reader want to turn the page. There is conflict, unknown outcomes, second guessing as to where the story is gonna go.  All of it is summed up as drama.  Drama can be formed by understanding and using the following elements in your story.  I'll not explain these elements, but you should really go here and read up on them.  They are key to developing a solid plot that people want to turn the page to discover.

1.  Story Goal
2.  Consequences 
3.  Requirements
4.  Forewarnings 
5.  Costs 
6.  Dividends
7.  Prerequisites 
8.  Preconditions

Again, if these terms are completely foreign to you, go here to learn more about them (I've mentioned the same link twice, so you know it's important).  No matter what story you have, creating tension (drama) will make the story fill important.  I discovered a very simple way to do this.

Have two narratives instead of one.  One narrative if for your hero, driving them to achieve the story goal.  The other narrative is for the villains, where they have their own story goal they are trying to achieve. The villain and their plot opposes the hero in every way.  These are the forewarnings in your ultimate plot. When you work at it from these two perspectives, it is like a whirlpool of story, with tension building with setbacks (to either side) until the two forces meet and resolution must be achieved.

If you plan it out well enough, your story will be compelling.  As a beginning author, destined for greatness, take the time to learn how to formulate a plot.  This simple technique will transform you from being scatter-brained, to being a juggernaut of a story teller.

How about you?  Have you discovered a plot development technique that really helped your writing achieve a new, professional level?  Tell us about it in the comments below.  Please check me out on Twitter, Facebook, and Tumblr!  Share the crap out of this if you found it useful.

Writers Fatigue & The Cure

Writer's Fatigue

It is the demonic shadow of the dreaded phenomena that plagues all of us word-smitten creative types.  I'm talking about writer's block and it's nagging companion, fatigue.  Fatigue is a lot like writer's block, and if it's left unmanaged may create the perfect door for writer's block to step right through.  Just like a holy man preparing himself for epic combat with malevolent spirits, we as courageous writers must take precautions to keep the demon at bay.  By the way, I'm totally thinking of John Constantine while I write this.  Gimme some Enochian symbols and I'll brand them (not really) on my forearms (back satan!).
So, what is writer's fatigue?  Basically, it's the same thing as burnout.  You've invested so much time and energy in writing this project.  Your heart and soul have been ground up and mashed into the essence of every laboriously chosen word.  But you've given too much too quick.  Next thing you know, you're not so excited about getting up early in the morning and sitting at that desk.  You try because hey, you know it's not going to be fun all the time.  You've even read elsewhere that it's going to fill a lot like work.  But beware!  Sometimes the right thing might be to brutally master your mind and body, push right through and get that word count in.  And maybe not.

"Why maybe not?" you ask.  Another great question.  Jeez, you guys are really on point.  Maybe, just maybe you'll start to produce less than that high quality work that you know you're capable of.  Perhaps you inner eye begins to haze, and suddenly the clarity of direction is muddied by the work of it all.  Does that sound about right?  If so, you're in the choppy waters of writer's fatigue.  Beware!  There, just beyond the dark clouds is a place of emptiness (the "nothing" from The Never Ending Story has been there), lukewarm waters and (whispered in echoes) writer's block.  God forbid you get to that place.  You've gotta go through hell to get back where you want to be.  And you want those words to flow like milk and honey.

The Cure

Ah, but in my vast amounts of timeless wisdom, gathered and harnessed by the incredible rabbi called "experience", I have learned of a remedy.  Not like the pricey snake oil stuff that Crazy Eddie sales with ol' One Eye's moonshine (what a name for a moonshiner, right?), but the real deal.  So here we go.  I think this next bit of wisdom is so epic it deserves it's own line.

The cure to writer's fatigue is to write more stuff ... just different ... stuff.

Yup, that's it.  The trick is to write something other than the large project you're working on.  Take a break from that novel, but not too long.  You still want to make progress on that thing, so I wouldn't suggest abandoning it for more than a day (if that).  I chose to do a blog which was similarly related to my novel (subterfuge!), and to help edit fellow writers and their monstrous projects.

 I had a professor in college that gave me a bit of advice when it came to studying and writing theological papers.  He told me that your brain needs a break from doing the same thing over and over again, and it helps for the old noggin to reboot if it's located in a different space.

This means that it is good for you head to change gears for a while, and sometimes you need to get up and get out of your local writing haunt to help it out.  Let me simplify:

Change your mental location, and you physical location.

Keep writing everyday.  Write something, they say (I don't know who they are, but they say a lot of things).  Keep your craft like you would keep a hunting knife; sharp and prepared for the work at hand.  Once you've done a little work on another project, perhaps one less meaningful, you need to refocus on your first love.  You'll be surprised at how rejuvenated you feel.  It's like getting a breath of fresh air after being stuck inside a smouldering, ventless attic for hours.  Try it out the next time you feel a little less enthusiastic about your novel (don't go to a stuffy attic, though.  You could die.  I don't want this blog to be the reason for death).

How about you?  Have you had a time when you feel like you're just too burnt out to write anything good?  How did you fix it (did you fix it)?  Do you have any secret chunks of wisdom for us to learn from?  Let us know in the comments below.

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Dialogue Tags and Your First Novel

When you first started to write your book (look at you, on the ball!) you found the word "said" to be incredibly boring.  In a decent chain of dialogue, that word can get repeated a million times.  As you wrote your story, I'm sure you ended up going back over the parts you just read, and when you do, you see; no, you feel how repetitive "said" is.  It begins to really dig at you, and so you start to come up with some more exciting modifiers to use instead of the mayonnaise-like "said".  

Let's clarify what a dialogue tag is:

"Hello," Joe said
"What's it to ya?" muttered Henry.

There are two camps on the subject of dialogue tags.  One group of writers will say that dialogue tags should stay simple like "said" or the occasional "asked".  In their opinions (and this is mostly true) the word "said" ends up getting shoved to the back of our reading experience and almost disappears altogether.  Subconsciously it keeps the reader aware of who is speaking, but for the most part they skip right over it.  Think back to the last book you read (assuming it had dialogue); do you remember really reading all of the name tags the writer put in there?  Probably not, and that's why you should keep it simple.  Dialogue tags other than the basics will draw attention to themselves, slowing down the pace (which could kill your story), and may cause the reader to stumble over them.  Remember, you don't even need dialogue tags but every so often.  Look at it like this:

"Okay Joe," mumbled Larry, "it's time to get going."

"But why?" cried Joe.

"Because," grumbled Larry, "work is work and it's time you get to it!"

"Oh man.  Can't I just sleep in for once?" said Joe.

"Dad's gonna kill you if you do it again.  Let's go!" spat Larry.


See how I used "mumbled", "cried", and "grumbled" instead of "said"?  If you want fast dialogue, avoid the use of such tags.  Take a look at this example, this time with the tags cleaned up:


"Okay Joe," said Larry, "it's time to get going."

"But why?" asked Joe.

"Because work is work and it's time you get to it!"

"Oh man.  Can't I just sleep in for once?"

"Dad's gonna kill you if you do it again.  Let's go!"


This second time I only used enough dialogue tags so the reader can identify who is speaking.  Then I remove them altogether so that the conversation can happen quickly.  Notice how much quicker the conversation can occur when you keep it simple and use them sparingly? In an urgent scene, it will help the reader feel a sense of urgency.

The other camp will use the heck out of them when they need to.  If you open a book by Patrick Rothfuss or Joe Abercrombie, you'll see pretty quick they don't belong to any camp exclusively.  In one chapter, you may encounter a slew of intricate dialogue tags/modifiers, and the next it may be quick paced, action-talk.   That's because the use of dialogue tags and modifiers can be genre specific.  Do you know what that means?  Well, my dear friend, it means that fantasy novels and modern day thrillers are written differently.  They adhere to different rules, and don't always have to play the "quick and hard" game for the reader.  Fantasy novels are just as much about the minute details as is they are about the progression of the story via dialogue.  This is not so of modern day thrillers.

Think about your novel.  Think about what genre you are writing.  What specifics do you notice one author using that seems to contradict another?  Trust me, you'll find out a lot about stinkin' "rules" and who gets published (and subsequently who doesn't).

Don't overuse, don't under-use, and let your story dictate what it needs for it to be told.

Be weary of people that say you must stick with camp number 1.  That is poor advice, and will get it written in a corner you won't know how to get out of.  Pay attention to the authors that you enjoy, and why you enjoy them.  And for God's sake, look at how they use dialogue tags!

So how about you?  What's your novel about?  Are you locked into a genre, and if so, do you have a specific camp you feel you have to adhere to?  Let us know about it in the comments below.  As always, like it, love it, share it, follow it.

Writing the Perfect Scene: Show Don't Tell

In my last post I spoke about my first grimy introduction to literary criticism from other writers.  If you didn't read it (shame, shame) then you should probably go back and do that now.  Look, I'll even include a link to it (see how well I treat you?).  In short, criticism sucks, but it will make your writing better.  But that doesn't mean that everything another writer throws your way should be taken like the words of Jesus Himself (remember, there's a lot of unpublished writers who stick to the rules).

I wanted to discuss some of the rules that you're gonna hear in connection to your narrative.  Some of them may be worth paying attention to, or at least keeping in the back of your mind while you are crafting away.  Others might be outright dumb, genre specific, creative writing course style bull crap.  Okay, you're right; I shouldn't call it bull crap ... I insult the feces of the bovine brethren too much. Let's  take a look at one of the "rules" I found most helpful.

Show The Reader, Don't Tell 

This one seems pretty straight forward, right?  I mean, you are writing a novel after all, and the point is for your readers is to see what's inside your head ... right?  This "rule" is somewhat deceitful in it's simplicity, because it is complex to adhere to.  The heart and soul of this rule is to have the dialogue (character interactions) drive the story forward while you show the reader what's going on.  Showing people something is one of the first skills we learn as mortal creatures (like the baby on the right), but it seems to be something we lose the older we get.  Look at this example:

Telling

 John was angry because his wife was leaving him.

Showing

John slammed his fist down on the bare kitchen table.  "Why can't we fix this, Helen?" he said.  "Why won't you just try!"

"Because," Helen said with her back towards him, "you'll never change."


See the difference in the (poor) example above?  Telling the reader simply states a fact.  It's boring, uninteresting, and leaves nothing for the reader to imagine.  Showing the reader changes everything.  You don't have to spell it out for the reader; they are clever creatures, and can get that John is angry with his wife ... if you write it well enough.

 "What about back story?" you may ask.  "How will the reader know what's going on unless I give them three pages of backstory before the opening scene?"

Good question, my dear Watson!  Very astute observation, my friend (I thought about saying "boy" here, and then "girl" ... my androgynous desires won out with "friend").  This is where you will hear the phrase drip feed.  Think of it just as it sounds.  You don't want to dump a butt load of information on the reader all at once like a dense chunk of Leftover casserole (now that's not casserole that was left over from dinner last night.  I mean Leftover Casserole, as in that dish that Mom makes every Friday that includes all the leftovers from the week before).  Rather, give the reader (through context and well planned dialogue) small, delicious, nutrient-packed crumbs as you go along.  This will help add drama to your narratives, and create the page-turning desire you want your reader to have with your work.

Take a look at the example of John and his wife.  I could have said, "John's wife was leaving him because John was stubborn and violent.  After several beatings she was sick of the abuse."  Even though it's one line, there's a lot of information that can be shown to the reader rather than explained, especially if the story's focal point is why she left her husband. In the showing example, information is slowly given to the reader through context and dialogue.  The reader can get that Helen is leaving John, that John is angry about it, and that John is (in Helen's opinion) stubborn.  A clever reader (and they always are) will get that John is violent (i.e. banging the table).  Nothing should be said in your story that isn't important (is this a rule?), and if it's worth mentioning, then it's worth showing (holy Moses!  More rules!  What have I become?!)

Finally, telling your reader what's happening, or has happened in the story, is basically calling them dumb.  You unknowingly believe that the reader will not be able to draw the connections together on their own, and so you must tell them up front.  This is a lie of the adversary, the devil, to get you to write crappy stories!  Alright, the devil might not be responsible for your misstep here, but then again ... maybe (shifty eyes).

This "rule" happens to be one that I think will really elevate your work.  Maybe you're not like me, and you figured this one out pretty early.  If so, then good for you.  We're proud of you!  But for the rest of us, this is going to be something we'll have to really work hard to remember.  And you probably won't catch it the first time through.  This is one of those things you'll catch in the dreaded editing stage of your novel (good luck with that).

So what do you think?  Is this a "rule" of writing good narrative, or are there instances where spoon feeding your reader is exactly what you need to do?  Let us know in the comments below.  If you've found this information useful, like it, love it, share it, and share some more!  Don't forget to follow and subscribe!

Criticism & Your First Novel

Criticism sucks.  There I said it.

It's not fun, it doesn't feel good, and it's not going to be easy.  David Mitchell, Black Swan Green, said, 

"If you show someone something you've written, you give them a sharpened stake, lie down in your coffin, and say, 'When you're ready'." 

 If you haven't taken this critical (deplorable) step in your quest to become (que superhero overtones) the Greatest Writer in the Universe, pay close attention to this quote ... it's true, and, just like the death of Dracula, you'll feel the torture of every negative word they speak (or write).  Beware, my friends, this road you've chosen to embark upon is one filled with the flayed skin of writers, and the continual, mutalation of their souls.  Criticism to the writer is it's own kind of hell.  Beware!  You must have the skin of a German Panzer to withstand what must be endured.

And it must be endured, too.  If you don't let anyone read your work before you attempt to publish, be it self publishing or through a traditional publishing house, you will be doing yourself and your novel a great disservice.  It doesn't matter how many times you have re-written your story.  It doesn't matter if you edited the holy crap out of it and found it flawless.  Someone, somewhere will find something that needs to change within your work.  

It's Okay.

You know why it's okay?  Because people (other than mom, God love her) can pick out those places in your narrative that are flimsy and weak.  If your dialogue is too boring to keep someone reading, you need to know about it.  They (your critics) will find information dumps where you thought you had none, and stupid, dumb, inconsistencies that you know shouldn't be there.  In short, taking those criticisms will make your writing stronger, better, more efficient, and just freakin' awesome (like the 6 million dollar man).

 But at what cost?  Is there a cost (shifty eyes) ... yes.  There may be a cost involved.

The Problem With Criticism

So let's say you've already spent countless hours researching for your novel.  Now you've gotten twenty, fulfilling chapters pumped out, and have decided that you want others to take a look at it.  You're sold on your work.  You love your work.  It's your baby.  You spoon fed it it's first few days ... changed it's dirty diapers, burped the little farts out of it.  I bet you remember the day when the chapters started to fly from your fingers, too.  Wasn't that a wonderful day?  Writing became quick and furious for you, and you watched your baby grow.

Now you're letting other people hold that baby, and they don't quite think so much of it as you do.  You thought it was damn near flawless, little to no blemish.  But the critics?  Oh man, they've all but dissected it, chewed it up, spat it out, and became a little green because it just didn't settle too well (I've now moved from the baby metaphor to food ... do not eat babies, please ... unless they are scrambled with cheese and from a chicken).  

Then they will rattle off all of these "rules" of writing that you've unknowingly broken.  "Poor thing," they say, "you obviously didn't know ... why would you have written such [insert negative term referring to your writing] if you had known?"  They mention your use of adverbs, and then your dialogue tags ... oh God, what have I done?  I've used "mumbled" instead of "said"!

You've discovered there are all these rules that you should've been paying attention to, and that perfect little baby looks a little more like an Orc (Balruk, runny bowels, he is now called) than a human.  Your heart it broken; you've been torn down, and you don't think you have the courage to pick yourself back up again (one dude even said your work sucked so much that he couldn't read it all).  Perhaps, like me, you contemplated throwing it all away (if I'm that bad, why should I be a writer in the first place?).  

Your work is worth it, that's why.  All those tears, all that hatred and self-loathing ... worth it.

Because you've got a damn good book, and you freakin' know it.  Take the criticisms that are helpful.  Employ the ones that really make your work to shine.  Take the painful criticisms and learn from them.  But don't get bogged down by them.  Make sure you keep pushing forward, ever progressing to that lofty goal of being a working writer (and all the things that means to you).  

I felt like life had ended.  While writing my novel, He the Hallowed, I fell into something like I've described above.  For a day or so I thought I needed to really follow all these rules people kept throwing at me.  Was I really that bad of a writer?  Had I not paid attention to the books I read as research?  I picked up a couple of best sellers from my private library (book shelf) and flipped through them.  

Do you know what I found?

Authors who disobeyed the almighty "rules", that's what.  So be careful that you don't listen to every word that your constructive critics suggest.  What they say, no matter how they say it, doesn't make them unaltered laws that you have to follow.  I'll leave you with another quote to simmer on until next time:

"In theory it was, around now, Literature.  Susan hated Literature.  She'd much prefer to read a good book." -Terry Pratchett, Soul of Music

Okay, one more:

"If critics say your work stinks it's because they want it to stink and they make it stink by scaring you into conformity with their comfortable little standards.  Standards so low that they can no longer be considered "dangerous" but set in place in their compartmental understandings." - Jack Kerouac 

For more quotes on novels and criticisms, check this out (all of the above quotes were derived from goodreads).  Sharing this stuff encourages me to write it.  If you feel encouraged by what I write, please follow me and sp-sp-sp-spread the word!

What do you think of criticism?  Have you ran into other writers that preach "rules" like a Southern Baptist on the sinner's prayer?  Let us know about it in the comments below.

Getting Bored of Writing Your Novel? Take a Hike!

The sun beats down on the back of your neck.  Early in the cool morning, it's rays were a welcomed friend.  By midday, though, it became a torturing little leech, sucking the comfort right from you soul, and by night you wish you could've had it's truth telling shine for just a few moments longer.  The smell of pine in a quieted forest, a top a mountain that overlooks a deep, deep canyon...the faint sound of tumultuous white water, raging down it's predetermined, ancient path.  You are in the wilderness, far from things made by the hands of men.  Only God and His work remains before you... 

If you didn't read this and finish with a mental image of yourself standing on a mountain top with the faint sound of angelic voices rising in a deafening crescendo, please read this again...okay, fine, but I hope you get the point.  In my last post I wrote about three things that inspired me to write my narrative, but only really spoke about the first two.  Today I wanted to expand on that third thing, and it's all about the activity of writing in the wilderness.  It's some kind of weird mesh up of camping, hiking, writing, and gadgetry to get you there and back again...and naturally, the inspiration of it all.

I call it "Adventure Writing" (insert Superman theme music).  As far as I can tell, it's not a thing...or it probably is, but the great oracle of the interwebs (google) could only prophecy of people writing about adventures...that is not what this is.  This, my friends, is far more active in nature (pun intended).

Hammock style on the edge of a cliff

The heart of adventure writing is getting out and away from the deadly monotony of sitting at home, staring at a lifeless screen, and "working" away on your narratives.  Let's face it:  writing a novel is A LOT of hard work, and most of it isn't what we thought of when we wanted to be novelists (I for one still have this image of a half crazed, manic version of myself bent over a laptop with feverish eyes repeating the same phrase over and over again).  Adventure writing is a weird synthesis of living out what we see in our heads, and the discovery of unknown places just outside of our comfort zones.  No one has ever gone to the places we create; we are the forerunners of a pristine, new world, and when you venture out into the wilderness, it has an odd familiarity to it.

The picture above was taken when I was out in the Linville Gorge wilderness area on one of my first overnight writing adventures.  I had spent the week before this excursion scouting out the area, learning it's maps, and figuring out the perfect place for solitude and beauty.  I hung my hammock as close as I could to a cliff on top of a ridge that dropped several hundred feet below, made a fire, and wrote until the fear strangled the last bit of creativity out of me (a baby 'squatch ate my hat, but more on that later).  It was more than just an experience; it was a fundamentally life changing event.

Go. 

 Get out there, and do it.  You will learn something of yourself, and something of your story.  Your personal, human frailty will emphasize, perhaps, that one thing missing from your character's personality.  Maybe you and I will learn some of the same lessons, and maybe you will discover something beyond beautiful.  At the very least, you'll come back loving your family just a little more.

If you want to hear more about my time in the high places, you'll have to subscribe or like, or favorite this thingy I do here...figure out some way to check back in!  Hit that google+ sign at the top right, and share the crap out of it on Facebook!

Have you ever felt like you needed a serious overhaul for your writing process?  Where did it take you?  What nuggety bit of deep fried goodness came from it?  Tell us about it in the comments below.

Your First Novel and the Spark of Inspiration

Here's the pitch:  writing your first novel is full of pain, anguish, loneliness, and gut wrenching moments of everlasting terror. You put your fragile heart on the line, just to have it served back to you on a cold platter with a scribbled little note on it that says, "I got dysentery form this".  What's worse?  You've not even let anyone read you precious work yet!  We writers really are our worst critics...but should that stop our brilliance from shining upon the face of every man, woman and child on God's green Earth?

No.  Well hell...I don't know.  Maybe...Nah, I'm pretty sure we shouldn't.

We were made to write.  We can feel it resonating in our bones.  The voices of our characters echo in our heads, begging to find immortality through the blessed telling of...the narrative.  A thing spoken of in reverent mutterings, and only by those that know of it's mysterious knowledge.  Okay, okay...maybe it's not that holy, but to a writer, each of our stories are sacred things.

I'm reminded of a story  I once heard about one of my favorite authors, J.R.R. Tolkien.  "In a whole there lived a hobbit," was the bizarre first line that sparked the inspiration for the ancient, super detailed world we've all come to love (come on, you and I both know you wanted to be Legolas...no?  at least tell me you wanted to shout "You...shall not...pass!").

Inspiration comes to us all in many different ways.  Maybe for you it came when you were talking to your Papa about the old days, or perhaps you thought of some incredible character born from the imagination of your inner child.  Perhaps it was both.  My inspiration was a culmination of three things:

1.  The desire to communicate an intrinsic truth

2.   An article about some crazy Russian theologian/scientist talking about the cure for death

3.  Mountains...beautiful, smoky, misty mountains.

I wanted to write a story of a world that involved tainted, sinful humans becoming immortal creatures bound by no moral, religious or survivalistic (not a word, I know) motives.  The intrinsic truth I feel needs to be told is that of selfishness and how this is mankind's most self destructive survival mode.  "I'll get mine," and "you gotta take care of number one," are cautionary statements that whisper of this underlying epidemic.  The article, of course, was just plain cool.  The guy spoke about how death was a genetic trait that could eventually be "turned off" using gene splicing therapy.  Neat stuff.

And finally, the inspiration derived from the natural world around us.  I'll talk more on that next time, however.

In the meantime, tell us what your inspiration is!  What was that spark that set you on your journey?  Was it a phrase?  A word?  A tree or (like me) a mountain?  Perhaps it was something more ethereal and spiritual...Let us know in the comments below.

Remember to check around often for updated content, new blogs on the process, and some good ol' fashioned adventuring!