Reasons to be a luddite

Right, a quick one.

I set myself three books to read this week, then promptly read two of them in the space of twenty-four hours. So I added another two books and promptly read one of those in the space of a few hours. I started August by doing a Patreon post about the relative dearth of reading as I hit the mid-year, but it seems I’m trying to solve that in a single weekend.

Then there was an upset stomach and the discovery of Episodes, a 2011 sitcom featuring Tamsin Grieg and Matt LeBlanc, which makes a great job of utilizing the strength of both actors. And yet, oddly weird, because it feels like it should be a BBC comedy, but it’s…not.

I spent the start of Brisbane’s lockdown rescheduling a small stack of meetings. Now I’ve spent the end of lockdown rescheduling a small stack of meetings, because my stomach was iffy enough that sitting for an hour felt like a risk.

Did some submission reading for Brian Jar, scanned a bunch of contracts to mail out to the authors, and worked on some stuff for the Patreon and the current novella. Then the proof copies of Not Quite The End Of The World Just Yet arrived.

I was worried how this one would look, the whole way through putting the files together. Things that look good on screen always lose a bit of their vibrancy during the printing process, and it’s a book that relies on stark contrast and light.

Turns out I shouldn’t have worried. It’s a beautiful book. You can still preorder copies over at the Brain Jar Press website.

Now I go start work on the print edition of These Strange And Magic Things.

Jathan Sadowski’s exhort to embrace being a Luddite isn’t the article you’re expecting if you’ve heard the term bandied around by folks who fumble with their phone. In fact, he mounts a pretty damn convincing case for re-igniting the movement in the face of the gig economy, engaging with technology critically and entrenching worker rights.

The contemporary usage of Luddite has the machine-smashing part correct — but that’s about all it gets right.

First, the Luddites were not indiscriminate. They were intentional and purposeful about which machines they smashed. They targeted those owned by manufacturers who were known to pay low wages, disregard workers’ safety, and/or speed up the pace of work. Even within a single factory — which would contain machines owned by different capitalists — some machines were destroyed and others pardoned depending on the business practices of their owners.

Second, the Luddites were not ignorant. Smashing machines was not a kneejerk reaction to new technology, but a tactical response by workers based on their understanding of how owners were using those machines to make labour conditions more exploitative. As historian David Noble puts it, they understood “technology in the present tense”, by analysing its immediate, material impacts and acting accordingly.

Luddism was a working-class movement opposed to the political consequences of industrial capitalism. The Luddites wanted technology to be deployed in ways that made work more humane and gave workers more autonomy. 

I’m A Luddite. You Should Be One Too (The Conversation)

It’s a beautiful little essay and worth checking out.

A Saturday Spent Reading (with a little TV)

It’s been an odd kind of Saturday. I woke up at 5:30 — a terrifyingly regular occurance these days — and stumbled out to spend a few hours reading on the couch. The cat decided to hang out with me, so I spent a few hours devouring books at a terrifying rate of knots.

The last book on the pile was Daniel Coyle’s The Talent Code, all about the role the myelin sheaths forming over nerves play in the acquisition and refinement of skills, and the factors that contribute to certain schools, towns, or movements spawning an astonishing number of world-class talents, whether it’s in the field of art, sport, or science. Fascinating, fascinating book that’s going to have me thinking incredibly hard about my practice, and about the logistics of writing careers. Many old, well-worn bits of writing advice — write every day! If you want to write, you must read! — can be contemplated in a new light after reading Coyle’s book.

It’s also contribubing to this weird idea that’s bubbling away in the back of my head, pondering whether all the rhetoric we absorb about writing being a terrible career choice is really all that accurate. For all that we like to joke that there’s no money in writing, and warn new writers not to quit their day job, I’m not actually sure it’s as terrible a career choice as it initially seems. Stressful, yes, and unlikely to earn you a stalbe income, but writing is oddly resilient as a career and the skills you develop are surprisingly valuable if you set aside the mythology about muses and creative genius and actually develop your craft.

It may not turn into a thing, but I keep tapping away at notes and jotting down quotes from recent reading that ties into the general theme.

Another segue that’s just accored to me, based on Cole’s work.

The most astonishingly useful time-management tip I’ve encountered basically boils down to “DO LESS STUFF, DUMBASS.” The reason most people turn to time and project management books is typically because we’re massively overcommitted, and just like going all Marie Kondo on your home, the best way to get organised is to clear out the clutter and focus on the important stuff.

(The book that offered said advice Charlie Gilkey’s Start Finishing, which is both really useful and awkwardly written, so I often hesitate about recommending it)

I am failing to do less stuff at the moment. Rather spectacularly. I’ll have six big writing/publishing things to accomplish every day, and regularly tick off four of them. The other two will just sit there, getting bigger and scarier, which means I’ll soon have seven things to do on a daily task list and things will really get out of hand.

I was getting twitchy about that until I read Coyle’s book, and realised that a lot of what’s slowing me down at the moment is a lack of practice and refinement. Even the stuff I know how to do well — banging out words at a surprising speed — is a skill that’s laid fallow for much of the last year. I’m less than a week into trying to pick them up again, and it’s taking some time to fire up all the old mental pathways that allowed me to write at a certain speed. I’m both trying to awaken old skills and bed down new routines, both of which are going to take a little time to become routine.

There were some non-reading things on the docket today. Laundry was folded, a cat was petted several times, and the second season of Miracle Workers was finished over lunch. We started on season three, were treated to the incredible sight of Daniel Radcliff doing a Rocky Horror inspired cover of “She’ll Be Coming Around The Mountain,” and largely figured there was no TV that was going to top that anytime soon.

This was our second attempt at watching Mircale Workers — we bounced off the first episode hard last year amid all the disaster (bush fires at the time — remember them? — rather than plague). I’m glad we gave it a second chance, especially since a bunch of friends mentioned having a similar issue. It’s definitely an absurd brand of humour, but worth persevering with. Radcliffe is absolutely incredible, remaining one of the most interesting of the Harry Potter kids in terms of the projects he takes on.

And now it’s ten o’clock, and I’ve not attempted any real writing yet. Time to rectify that before I turn in.

Brain Jar 2.0: One Year On

A cold morning here in locked down Brisbane. The heater is definitely on and the cat has taken up residence in a conveninent patch of sunlight. The writing brain is protesting the return to work like a reluctant starter mower on the last dregs of fuel; it’s a “40% of optimal” day here, first thing in the AM. I’ll get things up and running, but it’s not going to be terribly smooth.

Many moons ago, at the 2016 Brisbane Natcon, I was on a panel with Cat Sparks and someone whose name eludes that turned to the character of Jack Reacher. Cat noted she didn’t think Jack Reacher would work as a woman — a thought that stuck in my head for a long while, and slowly evolved into a novella I’m working on for my thesis. I’ve got the big beats of the story more-or-less locked down at this point, so I’m into the interstitial scenes: negotiations; investigation; the occasional stare-down with a henchmen. Procuedral beats where the character of Reacher really lives, far more than the action scenes, because Reacher’s appeal is that he’s got a knack for hypervigilance without any of the PTSD or Anxiety symptoms that usually accompany it.

I wasn’t meant to working on this at the moment, nor the rough draft of a non-fiction book that I’m scribbling for the folks over on my Patreon. This week was meant to be spent finalizing a conference workshop I was going to present a little later in the month, but lockdowns in other parts of Australia saw that conference rescheduled for sometime in December. And so I wrote about Miriam Holst tearing apart her dead friend’s apartment, then I wrote a quick draft about writing being a surprisingly sound career when you look past all the rhetorick about artist being broke.

And then I did the monthly accounts for Brain Jar Press, logging all the income and outgoing expenses for July. Continuing to make a profit, which is good. Still not enough to live on long-term, which means there’s going to be some interesting decisions to make around the end of October when I have to scale my involvement back to part-time.

Since we’re on a nostagia kick, Angela Slatter reminded me that we announced Red New Day around this time last year. It was the first book of Brain Jar 2.0, transitioning the core business from self-publishing my work and towards a fully-fledged small press publishing schedule. Here’s how we kicked things off:

Looking back, I vastly underestimated how well this would sell. I knew Angela had some ardent fans, but I figured the chapbook format and the price point would discourage a lot of them. I spent an awful lot of time trying to set expectations before we’d even signed the contact, noting that Brain Jar’s strategy is a slow accumulation of sales over time rather than the focused, one-month burst of sales that’s the focus of traditional publishing. I figured fifty copies were a reasonable target. Seventy-five would be a wild success.

We cleared those numbers in the first three months, which is largely how Brain Jar Press got a small business development grant to begin with in the heart of the pandemic.

To the surprise of absolutely noone, George R.R. MArtin has gone on record stating the end of A Song of Fire and Ice probably won’t resemble the final season of A GAme of Thrones. The weirdest part about his statement is the realisation he was 5 books ahead of the TV show when it started in 2011, and they still caught up with him. There’s a small chunk of my thesis devoted to Martin’s books and the clash between reader experctations and publishing realities, but I would be having a field day with this sort of stuff were I doing a longer critical work.

Near as I can tell, all the usual promotion systems for this blog are offline at the moment. No auto-posts to Twitter or Tumblr, no mail-outs via the old system. Despite being the most public and accessible form of online presence I have — Twitter and Facebook require accounts, Patreon and the Newsletter both require sign-up — it may have the smallest possible readership.

Which is, frankly, something in it’s favour for the moment. For years I approached this blog like a miniature zine, showing up to write proto-essays as often as I’d update folks on the goings-on in my little neck of the writing world. These days the zine-like content is routed through my patreon, then my newsletter, which frees the website up as theis archaic bit of tech that can re-discover its own identity.

And I do miss the blog as journal approach, which fell out of favour after RSS readers were swept away by the newfangled social media feeds. One of my favourite books on writing remains Neil Gaiman’s Adventures in the Dream Trade, which devotes a huge number of pages to Gaiman’s journal circa 2004/2005.

It doesn’t utelise any of the tools of content-focused blogging, but it’s an intriguing historical document to look back on and trace the trajectories of the man’s career.