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Posts tagged as “We Call It Living”

Climbing the Mountain Again

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Well, I haven't finished editing THE CLOCKWORK TIME MACHINE in June like I wanted to, but it's now July, and I'm out of time. So it's back to another Nano challenge, the Camp nano challenge for July, in which I'll write 50,000 words of the Cinnamon spin-off novel, HEX CODE.

After much struggling, I have come to accept that this Cinnamon Frost novel, which comes between Book 4 and Book 5 of the Dakota Frost series, can go nowhere else other than between Book 4 and Book 5. if HEX CODE had happened before Book 4, SPECTRAL IRON, the story would collapse: Dakota could solve the problem with one phone call, if that, and my 150,000 word book would collapse to a 30,000 word novella. Same thing with PHANTOM SILVER: if HEX CODE hadn't happened immediately before Book 5, half the plot would collapse, and I'd need to contrive reasons to do things which are completely natural.

But I still owe THE CLOCKWORK TIME MACHINE to Debra sometime before the end of August for the book to come out this year, and I still need to get SPECTRAL IRON to Debra by January 31st of 2016 so it can come out in 2016, and PHANTOM SILVER to her by January of 2017 so it can come out in 2017 … which means HEX CODE needs to be done in the middle of 2016 so we can get that book out between Books 4 and 5. That means I need to write something like 50,000 to 100,000 words in the next six months, and edit the draft, and send it to beta readers, and edit it again, all on top of everything else I'm doing.

I sure do live in interesting times.

But I'm done with my word count for today, so I'll be diving back into CLOCKWORK for the rest of tonight. And I've got a long weekend coming up, with all next week off leading into Comic-Con, with no responsibilities for Comic-Con itself this year (thank God) other than showing up and having fun, so … perhaps this is going to work out.

Oh, right, an excerpt! I think that's safe in this case. From today's first draftiness:

I tenses up. I knows where this is going.

“I,” Mom says, whapping my leg, “am not my mother. I remember fighting monsters and wizards with you. You are reckless and amazing, and I’d love to say you can definitely take care of yourself … but I also remember you’ve been kidnapped, and you nearly set the city on fire.”


“Yes, Mom,” I says. “Sorry, Mom.”


“You are not formally grounded,” Mom says. “But I don’t want you going on a run—”


“Aww, man,” I says.


“—don’t want you going on a run until the situation and your vitals are more stable,” Mom says, pointing at the heartbeep machine. “Not until we can get more security for the house, and coordinate a plan to keep you safe away from the house—”


“Aww, Mom,” I says, “that spoils it. I gotta run by myself—”


“You run with Tully,” Mom says. “You ran with hunts at the werehouse. Did any of that spoil it? Look, Cinnamon, I’m not stupid. I will find out if you have snuck out … but I can’t stop you from sneaking out. You’re an experienced and stealthy street tiger who can turn invisible, and I’m a weak mortal human who needs to sleep. You will get out if you want to. But we’re in a difficult and terrible situation in which our friends are literally exploding and you were attacked so hard it put you in the hospital. All I ask is that you not go for a run until you heal up and the situation calms down, and that if, God forbid, you’re crawling the walls so much you can’t stand it, find a friend from the werehouse and go on a run with a partner.”


I set my lip. I wants to run free. I can outrun anybody. I wants to run free.


“Fine,” I says at last, fuming. But I’m really smart … and I’ve seen the escape hatch.


Mom stares off in the distance. “I know you’re really smart, so I want you to think about what our friend Special Agent Philip Davidson would call operational security. Think about what you can do to make it hard on the bad guys. Change your time, change your route, run with a friend or even a whole hunt—and text me your location. I promise not to freak. In fact, if you’ve done something bad and you need my help, I want you to say that. Tell me, “don’t freak”—but tell me, or I swear to God I am going to ground you until the heat death of the universe.”

Only 48,000 words left for the month of July. Onward!

-the Centaur

Taking Stock

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What you see above are (almost) all the author's copies I have of all the published fiction I've written. Why am I taking stock of all this now? Well, at Clockwork Alchemy, this happened:

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I sold many, many other copies of my books and a solid dozen copies of FROST MOON - nearly cleaning out my stock of my first novel. I'd ordered twenty when LIQUID FIRE came out, but between that dozen, a few for a shelf at work, and a box that I sent to BayCon, I was left with just two of them. Time to order more.

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I'm in the writing game for the long haul, so I generally order 20-30 copies of any book or anthology that my work is published in (less or more if the publisher has a deal on sending a specific amount). Generally, north of 20 is a good number - I just sold out of 20 FROST MOON, but it can take a few years to sell out of 30 copies of an anthology. Your mileage may vary.

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Along with the books are piles of swag, postcards, t-shirts and various display materials which I organize into boxes so they can easily be taken to conventions. After several iterations of this, I've grown to keeping the stock in one big box, the swag in another box, keeping an empty "useful box" for extra copies on the first day of a convention (or a few copies for a smaller event like a signing) and all the oversized books and display materials needed at a full table in another box.

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This way if I want to go to a con, I can just grab a couple boxes and go. If I want to go to a con where I've got a table, everything I need is in just a couple more boxes, all of which fit in a couple shelves (more or less) in one bookcase.

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For a local con where I have a table, like Clockwork Alchemy, I go all out, so I need a couple more boxes of props, a display stand, and some tablecloths and an antique easel on loan from my wife. But the results, I think, are impressive.

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At least, thanks to my helpful assistants (thanks!) ...

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… it helped me sell a lot of books, and hopefully, make a lot of new fans.

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Time to order more FROST MOON …

-the Centaur

Clockwork Alchemy in Transit

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No time to blog this proper - things are moving too fast. But here's a flyover of Clockwork Alchemy in pictures.

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There's an awesome dealer's room … with droolworthy clothes (not my size, or it would be mine):

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There's an awesome art show, with epic props and artwork:

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And I do mean epic:

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There are amazing costumes of all kinds ...

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... with bleedover from Fanime and Baycon:

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There's an awesome Author's Salon organized by the redoubtable volcano lady, T.E. MacArthur …

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... and featuring alternate historian Harry Turtledove, Madeline Holly-Rosing of the Boston Metaphysical Society, Kaja & Phil Foglio of Girl Genius ...

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... and me!

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Many people at Thinking Ink Press helped out, either getting materials together prior to the con or helping out at the table ...

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… and we managed to make many fans happy by bringing them LIQUID FIRE!

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… and much more! For the very first time … someone bought the first Skindancer trilogy as a bundle!

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Let's end on that happy note, and I'll have more tales of the con soon! One more day to go...

-the Centaur

At Clockwork Alchemy this Memorial Day

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This Memorial Day weekend, I'll be at the Clockwork Alchemy conference in the Author's Salon. I'll have on hand the new steampunk anthology TWELVE HOURS LATER, plus of course the newly released third Dakota Frost, Skindancer book LIQUID FIRE, which, despite the presence of an airship, is firmly an urban fantasy novel.

If I'm not at my table, I will likely be appearing at:

  • The Science of Airships Saturday, May 23 from 2pm - 3pm in the San Juan Workshop Room
  • Steampunk Comics Saturday, May 23 from 6pm to 7pm in the Author's Salon.
  • Writing Steampunk: Sunday, May 24 from 2pm to 3 pm in the Carmel Fashion Room

In addition to TWELVE HOURS LATER and LIQUID FIRE … I may have something else at the table. Stay tuned.

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-the Centaur

Meanwhile, at the Hall of Justice

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There's a current brouhaha in science fiction circles in which one group of (largely conservative) authors and bloggers (whom I read) got upset about how they were being treated by another group of (largely liberal) authors and bloggers (whom I also read) - and decided to stuff the nomination ballots for the Hugos to show how irritated they were.

The situation isn't black and white - there are legitimate complaints on both sides - but it isn't symmetric either: regardless of any legitimate differences, the side of the ballot-stuffers has engaged in some truly egregious behavior towards their fellow writers, towards the integrity of the awards process - and towards their fellow human beings.

Their complaint is that science fiction is being invaded by "social justice warriors" who put message over story, but, as one of my friends put it, you know you're in trouble when your name for your enemies includes the word "justice".

I am a social justice warrior.

I may have been raised in a conservative environment, I may have been a College Republican, I may be a devotee of Ayn Rand and my philosophy may be steeped in libertarian ideas … but I know what social justice is, I know why we need it, and I am proud to be one of the ones fighting for it.

Social justice is the simple concept that our society is structured in a way that systematically disadvantages certain groups, and that it is our moral responsibility to take positive action to make sure that our society does not continue to abuse them. That's it, and both the factual premise and the moral conclusion drawn from it are simply true.

It's your responsibility to understand the kind of society in which you live, to recognize how it is stacked against some groups of people within it, and to try to level the deck, and, because this advocates change, it often gets associated more with liberals trying to improve our world rather than conservatives trying to preserve what's already good about it.

But your responsibility to work towards social justice does not mean that it's your obligation to support the policies of some particular liberal who happens to think that he or she owns social justice. Ronald Reagan had a point when he said "Yet any time you and I question the schemes of the do-gooders, we're denounced as being opposed to their humanitarian goals."

Our society stacks the deck against all kinds of people: all races, creeds and colors; liberals and conservatives, the marginalized and the rich, laborers and businessmen, criminals and the honest. There's almost no place in our society where some collection of wealth or poverty, some amassed prejudice or complacency, or some unjust law or lawlessness doesn't trap someone in a place where they get the short end of the stick - and the policies that cause this are both liberal and conservative.

But one of the biggest traps we've had is sexual prejudice: the discrimination against and marginalization of people based on their sexual orientation, identity, or preferences. When I was growing up, being "gay" was an insult; when I was a teenager, it was OK to marginalize and mock gay people; when I was in college, memorably, a young gay man was beaten, tied to a fence, and left to die. We've come a long, long way since Stonewall … but we still have a lot farther to go.

That's why I'm so proud to see LIQUID FIRE appear high on the list of Lesbian, Gay, Transgender and Bisexual eBooks on Amazon. Dakota Frost, the protagonist of my series, is bisexual (and so am I) and my series is filled with as many races, genders and politics as I can fit: white and black, gay and bisexual and straight, liberal and conservative and noncommittal.

But my first goal is always to tell a good story.

When I start writing a Dakota Frost book, I have a little formula: I pick an alternative culture practice and make it magical, I pick a monster and a guest monster, and I pick a disability. For FROST MOON, that was magical tattooing, werewolves and vampires, and blindness; in BLOOD ROCK that was magical graffiti, vampires and werewolves (just switching the prominence), and Tourette's Syndrome; in LIQUID FIRE, that was magical firespinning, dragons and vampires, and deafness.

But those are only seeds: I let each of those things give me ideas … then I give them the prominence that they deserve as I tell the story. For example, in FROST MOON and BLOOD ROCK, the disability was an important plot hinge, making things happen; in LIQUID FIRE, the disability was a feature in the background - still important to the plot, but not center stage.

The same is true of race, or politics, or sexual identity. I include them in my stories because they exist. Showing people both black and white in Atlanta represents the real racial makeup of Atlanta. Making my protagonist date first a conservative agent and then a liberal activist represents the real political makeup of America. And having my bisexual protagonist date a man in one book and a woman in one book represents the real nature of sexual relations in our world. But it always serves the story.

My books depict magic because it's fun and entertaining, but deep down, they represent a reality: they use that reality to ground the tales of the fantastic so that you can stay engaged and interested. But even reality must serve the story: good books employ not realism, but verisimilitude: the carefully crafted appearance of reality which orchestrates a reader's perceptions to compensate for the fact that they're reading the "reality" depicted in the book, not actually living it. Authors are always slicing and dicing reality to make sure that their readers are captivated by their tales, and I'm no different.

My goal is for everyone to be captivated by my books. But by showing that last slice of reality, the one often sliced out - the slice that shows the full spectrum of sexual expression in our world - I hope my books do more than captivate everyone; I hope they provide a small ray of hope for anyone different who wonders whether there's anyone like them - and gives them a hero they can relate to.

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Her name's Dakota Frost. I think she's pretty cool. Go check her out.

-the Centaur

P.S. David Colby was the friend who came up with the phrases "you're in trouble when your name for your enemies includes the word justice" and "because they exist," and while I already had similar ideas, I have shamelessly stolen his wording. :-)

It’s Official

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After what seems like forever attending as a fan, and at least a decade of being an Eternal Member, it's finally official: I'm a "guest" of Dragon Con:

Anthony Francis

By day, Anthony Francis works on search engines and robots; by night, he writes science fiction and draws comic books. He's the author of the Dakota Frost, Skindancer series including Frost Moon, Blood Rock, and Liquid Fire, and is the co-author of the 24 Hour Comic Day Survival Guide.

Technically I'm an "Attending Professional" as I am at San Diego Comic Con, but at least now I will appear in the program, which will hopefully make it a bit easier to find out where I am supposed to be.

Last year, I was about to head to dinner with a friend and recalled that there was an interesting sounding panel. "Hang on a bit," I said over the phone, "let me see who's on this panel." I checked. I was listed as one of the panelists. I quickly excused myself from dinner and ran down to the Writing Track, about a minute or two before the panel started. "So," I asked, "who's moderating?" All eyes swiveled to me, and I quickly pulled out the program to figure out exactly what I was supposed to be moderating.

It was a great panel. But I like a little warning, and hopefully being a bit more official this year will help.

See you at Dragon Con Labor Day weekend, or if you're in the Bay Area, at Clockwork Alchemy this Memorial Day weekend … if you bring me a copy of LIQUID FIRE, I'll sign it for you. I might even sign other books too. :-)

-Anthony

LIQUID FIRE and TWELVE HOURS LATER

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I think I'll be posting this everywhere for a while … LIQUID FIRE, my third novel, is now available for preorder on Amazon. I talk a bit more about this on the Dakota Frost blog, but after a lot of work with beta readers, editing, and my editor, I'm very proud of this book, which takes Dakota out of her comfort zone in Atlanta and brings her to the San Francisco Bay, where she encounters romance, danger, magic, science, art, mathematics, vampires, werewolves, and the fae. It comes out May 22, but you can preorder it now on Amazon! Go get it! You'll have a blast.

And, almost at the same time, I found out this is coming out on May 22 as well…

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TWELVE HOURS LATER is also available for preorder on Amazon Kindle and CreateSpace. Put together by the Treehouse Writers, TWELVE HOURS LATER is a collection of 24 steampunk stories, one for every hour in the day - many of them in linked pairs, half a day apart … hence "Twelve Hours Later". My two stories in the anthology, "The Hour of the Wolf" and "The Time of Ghosts", feature Jeremiah Willstone, the protagonist of "Steampunk Fairy Chick" in the UnCONventional anthology … and also the protagonist of the forthcoming novel THE CLOCKWORK TIME MACHINE from Bell Bridge Books. (It's also set in the same universe as "The Doorway to Extra Time" from the anthology of the almost identical name).

And, believe it or not, I may have something else coming out soon … stay tuned. :-)

-the Centaur

Hustle and Bustle at the Library

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I've felt quite harried over the past few weeks … and talking with another author, I realized why.

In April, I finally finished my part of Dakota Frost #3, LIQUID FIRE - sending comments to the publisher Bell Bridge Books on the galley proofs, reviewing cover ideas, contributing to the back cover copy, writing blogposts. I also as part of Camp Nanowrimo finished a rough rough draft of Dakota Frost #4, SPECTRAL IRON. But at the same time, I had recently finished a short story, "Vogler's Garden", and have been sending it out to quite a few places.

In May, we expect LIQUID FIRE will be out, I have two stories in the anthology TWELVE HOURS LATER, and I have three guest blog posts coming out, one on "Science is Story: Science, Magic, and the Thin Line Between" on the National Novel Writing Month blog which has gotten some traction. And I'll be speaking at the Clockwork Alchemy conference. Oh, and I'm about to start responding to Bell Bridge's feedback on my fourth novel, THE CLOCKWORK TIME MACHINE.

Holy cow. No wonder I feel so harried! But it's all for a good cause.

-the Centaur

Pictured: a friend at work shattered his monitor and inadvertently made art.

Viiictory the Eleventh

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Woohoo! I just completed Camp Nanowrimo 2015, writing an extra 50,000 words on my novel SPECTRAL IRON! And, for special bonus points, I basically ran out of novel - I finished the end to end rough draft a few days ago, and to get the final few thousand words I had to actually go back through and start fleshing out and polishing! Double woohoo!

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This makes this not just the eleventh time I've finished Nanowrimo, it makes it the first time I've finished a novel during the month. This draft will need a heck of a lot of editing, but it is finished end to end and I had to come up with some very inventive stuff to get it there in the month - which, as always, is the beauty of Nanowrimo.

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As you can see, I spent most of this month in the red, because I started off dealing with nine kinds of crazy. I actually can't remember all the stuff that happened - I remember editing on LIQUID FIRE and nonsense at work and disasters at home and a truly horrific tax situation - or wait, i do remember it all, I just don't want to.

Regardless, I was able to power through in three big chunks, getting close to 3000 words a day most days and 4000 to 5000 words a day when i really cut loose. And some of the things I discovered as I churned forward, cleaning up the plot, took the book from "where is this going" to "I can't do that, can I?" to "O.M.G. that's an AMAZING idea!" which I now love.

Lots to do to clean this up. Can't really show an excerpt - all of this stuff is too near the end of the book. Spoilers.

But still … viiictory.

Now, on to the edits of … THE CLOCKWORK TIME MACHINE! After a nap.

-the Centaur

North, South, East, West … and Wonder

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Has it only been 3 days? Since 1:37AM on Friday morning and now, I've written about 10,000 words. And I'm hoping to get 1,000 to 2,000 more words done tonight - ideally, 3,300 which will put me up to date on Camp Nanowrimo, so I can start to RELAX at last. But it's left me a bit loopy, especially with static at work and from neighbors and with my wife's art show coming up rapidly.

Oh hey, a quick aside on that:


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You all should go to the Color Me Free show by my wife Sandi Billingsley, which starts this Friday at Kaleid Gallery in downtown San Jose - opening reception from 7 to 11, this Friday, May 1st.

Okay, back to procrastinating on these three thousand words. That looniness has been very, very creative! The story is really fleshing itself out in strange and unexpected ways. I quote a discussion with a fellow writer who's helping me research the science of the magic of the faery kingdom. Looking it over … hmm … seems pretty spoiler-free. So here is what I told her:

I discovered something about the fae in the Dakota Frost universe which I totally think you will appreciate because you also design faerie worlds. I can explain to you more the next time I see you on Tuesday [at the Write to the End group], but I figured out where they're from, why they left, how they got here, why they're so weird about names and fates and everything, and even why faerie is strange and pathless!

Ok, the last one I got from that crocheting book [Crocheting Adventures with Hyperbolic Planes]: faerie has hyperbolic geometry ... and hyperbolic geometry cannot be contained in normal three dimensional space. It's like having a map with north, south, east, west and one more direction - the map folds up, wrinkles up like those crocheted hyperbolic planes - and the worst part will be the boundary of the human and faerie worlds, where, forced into a place where it won't fit, it ultimately wrinkles over and starts crossing over itself! Neat, eh?

Well, at least I think it's neat. Faerie has five cardinal directions: North, South, East, West … and Wonder! How inspirational! Onward! Only … a whole normal day's writing ahead of me. Aaa!

Still … onward, into wonder!

-the Centaur

Climbing the Mountain

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I recently was talking with Debra Dixon, my editor for the Dakota Frost series, and we realized that if we wanted SPECTRAL IRON, Dakota Frost #4, to come out next year, we needed to get a final book (from me) in her hands by January to have time to edit it before year was out.

Given that when we had this conversation we had not yet finished LIQUID FIRE (book 3) and I have yet to edit THE CLOCKWORK TIME MACHINE, this caused some understandable panic.

So, rather than keeping to my schedule to work on part 2 of PHANTOM SILVER (book 5) during this April, I decided to bump up my schedule and work on part 3 of SPECTRAL IRON so I'd have a draft done early this year.

I think it's working - the story is coalescing - but as you can see from above, the copyediting and page proofing of LIQUID FIRE ate up a lot of my time to write SPECTRAL IRON.

So I'm scrambling. Probably few blog posts until this month's 50,000 added words are done.

Onward!

-Anthony

Oasis

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One of the roles conferences fulfill in my life is a chance to recharge. I'm driven to pursue writing, art, comics, software, entrepreneurship, publishing, movies - but I was raised to be responsible, so I have an equally demanding day job that pays the bills for all these activities until such time that they can pay for themselves.

Sometimes I describe this as having four jobs - my employment (search engines and robots), writing (primarily the Dakota Frost and Jeremiah Willstone series), comics (mostly related to 24 Hour Comic Day through Blitz Comics), and publishing (Thinking Ink Press, a new niche publisher trying to get awesome things into your hands).

Having four jobs means that you sometimes want to take a break.

That's really difficult if you don't have an excuse. There are literally hundreds of items on my to-do list that I could work on right now, all day and all night. If I finish one, a dozen more are clamoring for my attention - and that's not counting the time I want to spend with my wife, friends, and cats, or the time I need to spend on exercise, bills and laundry.

But a few oases exist.

Layovers in airports are one of those: I deliberately arrange for long layovers, because between plane flights you have nothing else to do other than grab a bite and a drink in an airport restaurant, chill out, and read something. True, I often work on writing during layovers, but it's big-picture stuff, researchy, looking at the picture on a scale larger than I normally do.

Conferences are even better. Whether it's GDC, AAAI, Dragon Con, Comic Con or Clockwork Alchemy, conferences are filled with new information, interesting books, even more interesting people, which spark my imagination - right at the time that I'm in an enforced multi-day or even week-long break from my schedule.

For a long time, conferences have been a great time to pull out the laptop and/or notebook to write or sketch. The idea for the Jeremiah Willstone series started after I saw some great steampunk costumes at Dragon Con; I sold the Dakota Frost series after Nancy Knight saw me writing at Dragon Con and pointed me to my editor Debra Dixon at Bell Bridge Books.

More recently, I've been adding to this the power of ruts. This is something that I need to expand at greater length, but suffice it to say I used to think I simply had to do something different every day, every week, every month. I used to keep lists of restaurants and tried to make sure that I never went to the same one two days in a row, trying new ones periodically.

But then I noticed that I really enjoyed certain things, but didn't always fully take advantage of them because of this strategy - great places to eat, cool coffee houses, and nice bookstores that I simply didn't visit often enough. Often, on top of this strategy, my schedule would change, making it hard to visit them - or worse, they'd go out of business, and those opportunities were lost.

So I've started cultivating habits - ruts - to do the things that I like. Not too frequently - you don't want to burn out on them - but if you do the same thing all the time, then you can be free to miss it any time. Even better, if you find a great thing that's efficient - like a place to eat near work, with a late night coffee house conducive to writing - take advantage of it regularly.

Because one day it may be gone.

At conferences, I employ this strategy with a series of life hacks - go to breakfast before the conference to up your energy level and organize your thoughts, pick the best breakfast place for writing and reading, break for lunch at 11:30 to 11:45 to miss the lunch rush, and also find the best place where there are no lines and concentration can be had.

At GDC, I've found a good set of hotels near the conference, a few good breakfast joints on the walk to the Moscone Center and a few places to eat slightly off the beaten path that are pretty empty just before noon - and I hit these places again and again, pulling out my notebook and tackling problems which are really big picture for me, mostly related to future game projects.

At Dragon Con I do similar things - hitting the Flying Biscuit breakfast joint that appears in Dakota Frost, getting coffee at the Starbucks in the Georgia Tech Bookstore, hitting the Willy's lunch counter that inspired the Jeremiah Willstone story "Steampunk Fairy Chick," et cetera, et cetera; and at each one I pull out the notebook and work on big picture story ideas.

These places are real oases for me: a break within a break, a special place set aside for thinking within a special time already set aside for recharging. Because of how human memory works, sometimes I can even pull out a notebook (or an older notebook), find my place from last year, and pick up where I left off, plotting my future in an oasis of creative contentment.

This, of course, is my strategy, that works for me - but it works so well, I encourage you to find a strategy that works for you too.

-the Centaur

I’m Not Dead

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Seems like I need to post these once in a while … I am, indeed, not dead.

Since finishing National Novel Writing Month last year, I've all but disappeared from this blog. Those who follow Dakota Frost on social media know at least part of the story: I've been working on LIQUID FIRE, Skindancer #3, and have just sent it off to copyedits after several rounds with my editor, Debra Dixon (who helped me make it a much better book).

That's not the only thing going on - I was also working on two stories for an unannounced project in the Jeremiah Willstone universe, desperately trying to finish a novella in the same universe, and working my ass off at the Search Engine That Starts with A G on a new project which I can't talk about at all other than that it's awesome.

Add to that working with Thinking Ink Press on the upcoming release of The Parent's Guide to Perthes, with the Write to the End group on various other projects, with my friend Nathan Vargas on his M-Theory system, and my wife on her art projects, and it's been a hell of a busy time.

But, yes, there were a few rounds of illness: more than one cold from air travel and food poisoning and some general bouts of the blehs - a week-long vacation is a GREAT time to catch up on that illness you've been putting off. A hell of a lot of that has been going around this year - I can think of a probably ten people who were out over the last few months.

I do worry about winter illnesses: my father used to get sick around the end of each year, and we thought it would eventually kill him. But it never did. And he stopped exercising from back pain, heart disease and long before the end. In contrast, I'm fine, healthy, exercising, recently taking in four hours of hiking with my wife in Monterey:

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So, to recap: not dead, just busy.

-the Centaur

The IRONHAND Triathlon

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20140726_232342-MOTION.gif So, it's coming on like a freight train: the IRONHAND Triathlon, the new evolution of 24-Hour Comics Day that Nathan Vargas and I are hosting at the Alternative Press Expo October 4-5. Actually, it came on so fast, and I had to do so much to prepare for it, that when I had a little trouble finishing this blogpost, the actual event came up before I got back to it! 20141004_113223.jpg APE is held at Fort Mason this year, and they gave us a space in the back provided by ComicsPRO, the comics retailer's association. The tables were all right, but once Nathan, my partner in Blitz Comics, arrived and took a look at the scene, he put some thought into it and rearranged the space to make it more inviting. 20141004_121914.jpg The end result is that our yellow tables made an arrow pointing at the Blitz logo, and there was now a central entry space where Nathan could put information designed to guide creators to "drop in" at the event. 20141004_121917.jpg We had seven people signed up for the event, which we marked with nametags. Not all those people showed up, but many did, and we had a sizable table of people tackling at least one leg of the IRONHAND Triathlon. 20141004_121929.jpg The pure 24 Hour Comic Day experience is unbroken - 24 pages in 24 hours, with no preplanning or preparation. But Fort Mason closes at 7, so we had to break up the event into three shifts of 8 hours each, the first at Fort Mason and the two latter ones nearby. But once we split it up, we decided to evolve the event further, and to encourage everyone to just drop in and draw! 20141004_151502_HDR.jpg After some iterations on the signage, Nathan hit on "Creator's Drop In Area" and enough messaging so people knew how to use the space. At the end, we had artists dropping in to draw without us having to explain anything, and I got to kick back at our table and draw and shoot the breeze with Marco of ComicsPRO and with Nathan. 20141004_132345_HDR.jpg The event was a big success, and we then moved to the Sandbox Suites for the latter half of the event. We were a bit worried as we only had two people join for the overnight session (and one of those got lost in a bus snafu) but after a while we started to have more and more people drop in. 20141004_215137.jpg We had the place to ourselves, so creators spread out over a few different rooms. I think we succeeded in creating a creative oasis for our creators, as some who had left earlier made it a point to come back and join us. 20141004_215215.jpg More people joined in the IRONHAND Triathlon remotely, so Nathan is hard at work on the winners certificates, which will have laminated pieces added to them, one for each of the segments of the Triathlon they completed. 20141004_215221.jpg We're still chugging away, with Paxti's pizza about to arrive, so I think I'm going to close this blogpost and get back to it. I may not be doing 24 Hour Comic Day this time - I did it last week - but I want all of our creators to be happy. Excelsior! -Anthony

Eight Years Plus Four

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My wife and I just celebrated 8 years of marriage and 12 years together … we married on almost precisely the fourth anniversary of our first meeting, and it's been a lot of fun!

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I can't tell you how blessed I feel to be married to a beautiful and talented artist. And one who puts up with me and my crazy shenanigans … and encourages them!

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Thank God for our marriage; here's to another 8 times 12 years more …

-the Centaur

P.S. If you're reading this, Boobie … I love you!

Resurrecting Fanu Fiku

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SO, I have this webcomic some of you may know about, f@nu fiku (that's Fanu Fiku, stylized with an @ sign, because aren't I oh so clever :-P). f@nu fiku is about Xiao Dreamweaver, a fifteen year old girl who can travel between all possible combinations of all possible realities … only she doesn't know it yet. What you may or may not know is that this webcomic is cursed.

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Early on working on f@nu fiku, I broke my arm in a karate match, forcing me to use guest artists and rough notebook scans for several months. I blogged that extensively, but what I did NOT blog - because it was too disruptive - was the failure of the computer and theft of the notebooks on which I did f@nu fiku.

Back then, I produced f@nu fiku on this great Windows laptop, but eventually its cooling fan gave up the ghost, and I decided - purely as an experiment - to try out an old Macintosh laptop that I had gotten in a clearance sale, since I already used a Mac at work. Four days in to this new laptop, I attended an art show in San Francisco - and my car was broken into.

Many books were stolen. My personal laptop was stolen. One of my writing notebooks was stolen, including the one with the original outline of the Dakota Frost series. My f@nu fiku sketchbook - in which I created the pages - was stolen. None of this was ever returned, of course, but I retained all the data, I had all the scans, and in theory I could easily have resumed the comic.

Only one problem: the laptop was stolen before I realized I couldn't produce f@nu fiku on the Mac.

I edited f@nu fiku in Corel Painter (a creditable replacement for Adobe Photoshop) and lettered it in Xara (a powerful, but much easier to use version of Adobe Illustrator). Corel Painter exists for the Mac … but Xara does not. At the time, I was completely inexperienced at Adobe Illustrator, and found working on the comic extremely difficult.

What's worse, at the time the Mac's support for Python wasn't so hot. I wrote the f@nu fiku webcomic software myself, but found that it adapted poorly to the Macintosh, requiring a partial rewrite of the image processing layer. I eventually got the software running, but by this point FROST MOON was taking off, and without meaning to, I let f@nu fiku drop.

Fast forward more than half a decade. I'm more committed than ever to Dakota Frost, but I'm also more involved than ever with the comic community - with Blitz Comics on the 24 Hour Comic Day Survival Guide, and with our umbrella organization, Thinking Ink Press. At Comic-Con, I got energized, and decided that I should resurrect f@nu fiku, perhaps even in print form.

At first it seemed impossible. Many originals were gone. Some of the completed art was corrupted. And all of the art was way, way too low resolution to be printed. It was depressing. And in truth, this is the real state I've been for the past few years on f@nu fiku: too depressed about it to come back to it, regardless of how much time I had. And I started to give up hope.

But it is a half a decade later, and I've learned to never give up hope. This was a hard won lesson: when I left the PhD program, I despaired of ever using my degree. Well, it took ten years, but eventually I returned to that work … and now, I'm using those skills more than ever. Over time, I've learned that the more patient and perseverant I become, the more I am rewarded.

So, when I started to lose hope … I really had just forgotten how paranoid I am about backups, and soon found the original scans AND backup copies of the completed art. And I had just forgotten how perseverant I have become, and how much I have changed my thinking about solving problems just like this one. And soon, after a little thought, I found a way to get high resolution images.

As before, I had a spare laptop lying around - this time a Windows 8 machine, that I'd tried as a replacement for the Mac (and quickly discarded for that purpose, though it isn't really bad). And IT will run Xara, and IT could load all my old f@nu fiku files. I don't know whether I'll try to save these as Illustrator files, now that I'm comfortable with it, but regardless, I now have a way.

I almost always find that if you think something's impossible, you're thinking about it the wrong way … and a solution awaits you nearby. I don't have to solve the nearly impossible problem of getting Xara to run on the Mac (I have tried virtual machines, but they were virtually impossible to use) but just the far simpler problem of using Xara on a PC to dump high-res images.

Now, I have almost 60 issues of f@nu fiku backlogged … more than a year's worth, almost ready to go. It will take me some time to get all of them beaten into shape, to rework the fanufiku.com site, to get set up on tapastic and get a posting schedule going. But it will be worth it: it will not only break this creative logjam, it will help me prepare for new comic projects, like Quarry.

So don't give up hope. It's just an excuse - just a way to give yourself license to wallow in self pity and to fall into inaction. Often enough, the files are saved on backup, the original scans are on disk, and there's a laptop laying around somewhere, waiting for the software to be installed on it that will give you the power to resurrect something you thought long dead.

You just have to have a little faith, and work a little harder.

-the Centaur

Pictured: the Windows laptop, with Page 1 of f@nu fiku successfully loaded in Xara.

Answer Them on the Field

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I'm not a big sports fan - my favorite "sports" to participate in are martial arts, my favorite sports to watch are sumo and baseball (though I can watch football with my family in a pinch), and of the real sports I've played, I prefer basketball - perhaps that's because it's the only sport in which I've scored an official goal.

My entire basketball career consisted of two seasons of grade school play, which I only dimly recall. I wasn't a dedicated player - I was in grade school, and hadn't yet learned the value of practice - and in official games I only got on court a handful of times. Actually, I only remember being on court once, but that one time, I got the ball, and took a shot.

I don't remember the outcome of that shot. We were playing, I got the ball, I was in position, I took the shot, the game continued, we all ran to the other side of the court. Reviewing that sequence of events later, it's clear what happened - if you know the rules of basketball - but at the time I didn't think about it. I was told later that I not only got the ball and took the shot, I scored a goal.

That amazes me to this day - I still don't quite believe it, and if one of my old grade school buddies told me that the onlookers were mistaken, I wouldn't be at all surprised. But the onlookers told me that I did score - and if it was my only shot in the only game I played in, I have the weird experience of my crappy basketball career having a field goal percentage of 100%.

But I did play other sports, notably soccer. So at some level I've got the tiniest sliver of interest in the game, which is perhaps why I picked up something from all the World Cup coverage going on - in particular, a story of a black athlete booed by fans in the stands, and his coach telling him to be strong, to show character, and as for the people who were his critics:

We will answer them on the field of play.

I love that sentiment. I took it to mean that there may be people who hate you for who you are, where you are from, or for other things about yourself you cannot change - but you should not answer those criticisms; instead you should focus on conducting yourself at the highest level in your chosen work, and let that performance speak for itself.

I did some digging, and apparently this is an old phrase - I found references to similar phraseology dating back to the late 1800s and early 1900s (back when the word "soccer" was still remembered as a contraction of "AsSOCiation Football"). The closest I could find to an exact quote was the following news article, which is not from the same event, but had the same idea:

We have told the youngster to be strong because we know they (Bosso supporters) are going to boo him. I have told him that playing for Dynamos has always been associated with pressure. I have told him he will be against thousands of supporters and he cannot answer them all by reacting to what they will be saying from the stands. He should just answer them on the field of play. I have told him to be strong, to show character.

This matters for many reasons, but it's particularly relevant to me because of the ideas of people who I care about - some of whom are quite willing to critique others based on features they cannot change, and others of whom have called into question the whole project of focusing on people's important similarities, rather than their obvious differences.

Now, I could take on those criticisms directly, and one day I will - but for now, I'm not. I am willing to discuss ideas, but I don't want to dispute someone's ideas if I haven't taken the time to express the ideas I have of my own. Regardless of the merits of their position, clearly a person who says what they think is doing a better job of communicating than the one who doesn't.

It's hard even to write this article, because there are things I want to communicate that are based on ideas I have that themselves need so much explanation that it would derail everything I'm writing to express them. So I'm going to continue to do what I said I was going to do earlier: rather than arguing, I'm going to be strong, to show character, and express my own ideas clearly.

It's likely that I won't have a 100% field goal percentage in this endeavor. I'm not the Hemingway type, willing to throw 99 pages in the wastebasket to get to that one good page - you can't be a blogger with that attitude. Instead, I believe in working hard, trying frequently, getting your ideas out there, acknowledging your mistakes, learning from them, and moving forward.

As for my - as for our - critics, for the time being, we shall not even acknowledge them. That isn't to say that their criticism isn't important, nor is it even to imply that the criticism is wrong. It is instead to acknowledge that if someone has criticized your behavior, the answer is not to defend yourself - but to instead prove them wrong by example

We shall answer them on the field.

-the Centaur

Pictured: My good friend Nathan Vargas, showing us, his friends, a proof of his competence in his chosen field of play. This will all become much more clear later.

There’s Always a Line

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I'm a regular at many places - restaurants, cafes, bookstores. I'm a regular because I like good ruts - where you find something that works, like going to a good restaurant, with healthy food and clean tables suitable for working on your laptop, and located near your house and next to the bank and pet food store. When I find a good rut, I stick to it, so I hit the same places a lot.

And I'm friendly to the staff at these places, because I admire my father, who could be friendly to anyone, and because I'm a follower of Jesus, and I interpret his teachings to mean that everyone you meet is a person, and is just as valuable a person as you yourself are, and that you should treat them as you wish you should be treated.

So I get to know the staff, and often become friends with them. So while waiting for my food at Aqui Blossom Valley, one of my favorite restaurants (because it has healthy food and clean tables and … oh, heck, it's the one I was talking about above, interpolate that description), I saw one of the staff, a busser turned part-time bartender, and walked over to say hello.

We talked for a while, and I asked if he wanted to become a full-time bartender. He hesitated a moment, then said yes. He said that bartending is faster paced than bussing tables, but unlike bussing, everything you need to do is right there at your workstation. There's no circling the restaurant, then the kitchen, then the storeroom, then the restroom: it's all right there.

Yes, but sometimes the line gets long, I said. And then my eponymous friend behind the counter said something interesting:

There's always a line.

The line at the bar at Aqui can get intense on the evenings and weekends, easily a dozen people deep. But in his training, the bartender said that his trainers warned him that there would always be a line - and that he should do his best to ignore it. They told him to work at his own pace, because if you hurry up to get ahead, you'll screw up and fall behind.

Early on in his training, he said, he would see the line stack up and tried to pick up the pace so he could get ahead. But when he did so, he found himself forgetting ingredients, ending up short, or mixing up the order. On one occasion, his shadow trainer looked at the drink, shook his head, and said "Pour it out and start over."

From then on, he worked at his own pace, focusing on the order at hand, and it's worked better for him.

There's a lot of wisdom here. First, in the staff of Aqui, who train people for their positions, who shadow them to provide advice, and instruct them in how their jobs really work to be efficient, rather than trying to create the perception of efficiency by ordering the staff to rush and then screaming at them when they fall behind, as happens at so many other less successful restaurants.

But I perhaps I paid attention to that lesson because I'm a professional in the software industry - and, in my mind, a professor-in-training, learning how software really works so that one day I can go back to academia and help train the next generation to be better software engineers - and I'm always analyzing workplace environments and what makes them work … or not.

But the lesson that "There's always a line" is more general. You always have a line of tasks stacked up in front of you: each day you need to get up, dress, breathe, drink, eat, excrete, and sleep, and you have a thousand other tasks besides. You never stop wearing clothes or eating or excreting, so you'll always need to make sure you have laundry, good food and toilet paper.

But for any more complex tasks, there's usually a right way and a wrong way to do it. When you're a novice, you may fumble around, but once you become expert, there's a system. You may improve the system, you may try to perfect it - but if you get in a hurry and you skip steps, you can make mistakes, and be far worse off than you started with.

Software is particularly vulnerable to this - mistakes found early in the process, say when you decide what you want, can be easy to fix, just by changing direction. Once a design is started it gets harder to fix mistakes, and even harder when there's code. By the time you get to deployment, the costs skyrocket: according to NASA, mistakes in operation can be 1500 times as expensive.

I guess they would know. NASA lost a third of a billion dollars to a software glitch, when the Mars Climate Orbiter, which had inadequately tested software mixing English System and Metric units, misjudged its altitude - and even though the error was noticed in advance and a team met to discuss it, they skipped the course correction maneuver, causing the Orbiter to crash.

So remember: there will always be a line. Hurrying up to get ahead can lead to mistakes, which can put you behind … or, hey, lead to your fiery death on re-entry, and the ignominious legacy of being used forevermore as a warning and example to others of how not to conduct your business.

So ignore the line, take your time, and get it right.

-the Centaur

Pictured: the bar at Aqui, not yet open ... so not yet having a line. ;-D

Don’t Put Things off Too Long

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Recently I wanted to write a blogpost. A blogger I read put up an interesting article, and I wanted to respond. But I rapidly found that there were so many concepts that I take for granted that the article would be incomprehensible without them. I had four bad choices: go ahead and make the article incomprehensible, make it so long it's unreadable, write many blogposts explaining the ideas, which would make the final post no longer timely, or don't blog it at all.

I went for #4, for now, because I realized something else recently: don't put things off too long. That may seem contradictory, but in the case of the blogpost, I'd already put things off too long, and had lost the opportunity. So rather than scramble to recapture the opportunity, I decided to write about the lesson I'd learned about not putting things off.

I knew this lesson already because I had one friend whose father worked his whole life saving money, but then got too physically sick and mentally enfeebled to enjoy the bounty he'd prepared for his family. Then again, when I moved out of my condominium in Atlanta, another friend pointed out I'd made the classic rookie mistake: renovating the house on the move out to sell it … meaning the new owners got the benefit of the renovations, leaving me having lived there for years in a place I wasn't happy with.

The right time to fix up your place is when you move into it: identify the problems that you have and fix them. If you're going to spend a lot of money fixing up your place, you should enjoy it; don't get suckered into spending a lot of money on renovations in the hope it will raise the price of the house. Unless it's a big bathroom or kitchen remodel, it won't.

There are a lot of reasons me and my wife didn't fix up our place when we moved in, mostly having to do us expecting to move within a few years and that not happening because of the financial crash. We actually started the process of renovation, put up some crown molding and such, but then put it on hold … and the holding pattern continued for seven to eight years.

But, recently, we had the opportunity for me to move closer to work. We considered it, then decided not to. With the money we saved from not moving (down payment on new house, plus megabucks to ship all my junk) we considered renovating the bathroom. The cost for what we wanted was literally triple what we expected, so we decided to hold off on that too.

With the money saved for the move that we hadn't spent, we realized we could easily fix many of the small woes in the house. I won't go into all of them, but we've been systematically updating the house on a small scale - fixing up broken fixtures, replacing older equipment, planting plants, and so on. The most recent expenditure: a new umbrella for the back patio.

That seems like a small thing, but when we bought the house, it had a wooden trellis over the whole back patio, but it was destroyed before we moved in, in a freak rainstorm while the house was being tented for termites. A tree that shaded the patio had to come down because it was destroying the neighbor's fence. So for most of the time we've lived there, the patio has never had adequate shade, and has effectively been unusable, leading me to spend many a day on the front porch.

The front porch is nice, but you should be able to use your patio. When we renovated it, we decided to stay cheap: a free table, cheap but very comfortable made-in-the-USA metal chairs and, rather than plunking a lot on a new trellis, we decided to get a simple fold-away patio umbrella. I put it up, winched it out … and found that the back porch completely changed.

You can see the result up there, but it's hard to describe how it felt. The umbrella, while not seeming so large, actually covers the patio on its shorter length. The patio became inviting again. I had to work from home, so I dragged my laptop outside, sat under the umbrella, and coded while a sequence of cats hopped up into my lap, wanting attention.

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The cost of the whole project was under five hundred dollars, about a quarter of the cost of replacing the trellis.

We could have done this eight years ago.

Congratulations. We just lost eight years of enjoyment we could have had in our back yard because we were indecisive in the name of saving an amount of money which, while not trivial to most people, was in the larger scheme of mortgages and cars and computers and phones and even the trellis project itself, was a mere pittance.

So don't put things off too long, is what I'm saying. You may find yourself having missed out on years of enjoyment, as we did with our back porch, or you may find yourself unable to take advantage of an opportunity, as in the case of my blogpost. Yes, be frugal, be busy, be a good use of your time, but for goodness sake, if you have an idea, execute on it.

You'll thank yourself later.

-the Centaur

Making a Mac Useful, Part 1: Why Are You Hitting Yourself?

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OK. This is going to be a deep dive, and it may take some time: I’m going to review the unbelievable list of tasks necessary to make a Mac OS X system usable for my daily work.

Now, this isn’t particular to Macs, nor even particular to desktop systems. Usually, when I get a new desktop or laptop or tablet or phone, I’m up and running in a few hours - sometimes, a few minutes - but for the next several weeks, I find myself cursing as I realize yet another program or setting hasn’t propagated over to the new machine.

That wouldn’t be much of a problem … except I do most of these tasks when I first get a machine, and I don’t update my machines often. I update phones roughly once a year, and laptops twice every few years - twice, since my work MacBook Pro and my home MacBook Air get refreshed on around the same schedule. While it’s easy to remember to toss a half dozen apps onto a phone and tweak a few settings when you get it, the more complex configuration tasks for a desktop operating system, sometimes involving multiple steps and research, are something that slowly evaporate from my memory over two or three years.

This is the kind of problem that the Chrome OS by Google is designed to solve: a system which ties all your configurations to your account, so if you toss your laptop into a wood chipper, you can get a new one and pick up literally where you left off. Unfortunately, a browser only operating system really doesn’t work for me. I am primarily a producer, not a consumer, and my daily work environment is filled with programs like Word and Excel and Photoshop and Illustrator and Acrobat and Ecto and Python and Bash and J and Aquamacs and Vi and Eclipse and MAMP and Gimp and so on and so forth.

So I’m more than willing to put up with this once or twice every two or three years. Hopefully, by blogging about it, I’ll get a better grip on the process, and so next time, it will be easier.

SO I got me a new Macbook Air with a half-terabyte hard drive, and planned to make this tiny aluminum wedge into my primary computer, replacing both my old MacBook Pro “server” and my MacBook Air mobile writing computer. I began configuring it, writing the list of tasks down, expecting it to take a page or so.

Ha!

That list rapidly spiraled out of control, so I never started that blogpost, even though I got the new MacBook Air configured so well it did indeed become my primary machine. I carry it everywhere, use it for everything - well, almost everything. It was missing only one critical feature: a connected printer - natch, it is a lightweight laptop.

I do have a Canon MX870 multifunction printer-scanner-copier hooked up to my old MacBook Pro, but that MacBook Pro was getting so long in the tooth that I was afraid to turn it on, and when I did so Chrome complained that it couldn’t update because my OS was unsupported and Apple complained that the OS was out of date and my neighbors complained because every time I moved the mouse their TV flickered. So, I decided to bite the bullet and replace it, ultimately with a shiny new iMac.

Which brought me back to this list.

Now that I’m doing this process twice, in close succession, I have the opportunity to find out what’s really necessary, and can see where I’ve missed steps. I’ve broken this list into two parts - one very, very long document in which I am documenting, for my own wordy gratification, ALL the tasks that I have to do to make this new Mac useful to me, and then this series of bite-sized articles, which breaks that apart into small logical chunks. By the time I’m done, I’m guessing there will probably be a dozen articles in this series on Macs alone - not counting setting up Windows boxes, or phones, or the work I’ve had to do on my development environments.

To some, this might seem not just a deep dive, but off the deep end. But there’s a dual method to this madness.

First, having this information on the Internet makes it searchable. Many a time I’ve followed a set of directions related to some computing task and found them nearly useless, and only by piecing together clues from half a dozen different pages online have I been able to, somehow, adapt a solution to the problem. (I have no idea where I might have picked up that problem-solving strategy).

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But often the information is not available at all. Even doing this blogpost on the new computer required doing several tasks which were simply not documented anywhere. That’s a blogpost for another time, but hopefully, putting this information up there will help change that.

The second reason for documenting this so thoroughly is to put, on record, how difficult it is to use even the easiest of the modern desktop computer operating systems (again, excluding Chrome OS, which does not (yet) compete in feature parity with standard desktop operating systems). I’m a computer scientist with a PhD in Artificial Intelligence who currently works with four different operating systems, and I’ve got thirty-five years experience working with dozens of different kinds of computers - and if I have trouble with some of these tasks, what hope does a non-specialist have of fixing their brand new shiny money-burner when it decides to become non-functioning, or, more insidiously, simply fails to work as expected, in some subtle and hard to debug way? As my wife says, there’s no hope: she claims the typical user needs to hire someone to help them out, and that’s why the Geek Squad does so well.

Maybe she’s right. But, I hope by putting some of this information out there, I either help some poor shmoe just like me solve their problem … or convince an operating system designer to start thinking energetically about how to make the problem just go away.

-the Centaur

Next up: why pick a (new) iMac?