I might heretically add a tenth level for the semicolon clueless. But, yes, I’d be adding it from the eighth circle, I suppose. Which is a fitting fate for me, and one I’m asking for every day, pretty much.
I dream of a word processor that throws a little a WPM gauge up in the right corner, so I can keep a close eye for when I’m backing off the throttle more than I should. Way back, when instant-messaging first came around? I used to write chat scripts to talk to different hardly-remote people, and we’d testrun it, use the chat to IM, all that. What I found out pretty quick with that was that I never cared for the content of our back and forth. What mattered to me was winning the race: getting my reply jammed in faster than the person on the other end could even read it. And have it be proper and right, of course. In short, I wasn’t good to chat with, since it was never about the discussion, always about the speed.
That one from a few days ago was a spotlight/author kind of thing. This is a conversation about horror, with other hosts, other horror writers:
Angela Slatter let me answer a few questions about it:
Yes, wonderful, thank you, Grady Hendrix. I spent so much of time doing this kind of stuff to stories, to books, to authors—to everything. It’s how I attempt to order the world, such that I can move through it. Nice for a little of that work to already be done:
Using the ampersand there because I’m tired of seeing the “vs.” Too? I keep thinking I’m done with this discussion, this rabbit-hole, this time-suck. But then I stumble across something like this, and it rings true in a way I’d never considered:
That’s from American Grindhouse. And, that freedom Jonathan Kaplan’s talking about there, that’s exactly what I get the sense of, every time I’m reading PKD: that he’s ringing the bells he has to in order to do all this other stuff. Which, really, Elric Kane at Shockwaves podcast kind of said a few eps ago, talking George Romero:
Back when The Fast Red Road wasn’t called that—this is late 1997, early 1998—the way I intended to write it was as a series of long answering machine messages left in this one guy’s trailer while he’s off gallivanting around with a carnival or something (he’s got pet jackals—this is the kind cool stuff you think of, first novel out, that you then don’t get to use until, say, you write a novel about a bunnyheaded zombie coyote/smuggler/father). The guy on the answering machine was supposed to be this guy named Golius, a thinly-veiled Vizenor character, monologging on and on about, you guessed it: hominids. Each message was going to be a different theory about why our primate selves finally stood up. And these messages were going to matter so, so much to Golius, like, they’re the tether just barely keeping him attached to the surface of the planet. They’re not so important to the guy listening. To the guy standing there deleting them.