FAQ 11dec12: Writing On An iPad

I’ve got one for you, actually, though it’s a bit pedantic, I suppose. You said you wrote GUN MACHINE (which is fucking fantastic) on your iPad. With what, howfore, and why? I find jumping between an open Pages doc and Safari a royal pain, for instance, and given the amount of research you did, I’m wondering how you negotiated it. Also: keyboard? program? And any other details you care to share. Me, I’m lost without my laptop.


Greg Rucka, everybody.  When you pass out from stark boredom three lines into this one, blame him.

Okay, so, yes, I did write a chunk of GUN MACHINE on the iPad.  I did it in a couple of different ways, depending on my mood.  To write material on your iPad, you need:

*  A keyboard case.  I have the Logitech Zagg Keyboard Case for iPad, which is a nice keyboard inside a padded aircraft-grade aluminium shell, that connects via Bluetooth.  It is very good.

*  Dropbox.  Dropbox Dropbox Dropbox.  Seriously.

*  I have two basic word programs on the iPad that both pretty much do the same thing.  PlainText and iA Writer.  I still can’t decide which one I like best.  Probably PlainText.  They both have their annoyances.  But what they do is create (inside your Dropbox) a plain old .txt file.  If I was writing something that I needed to check the research on later, or something that I felt was going to need a polish later, I’d just bang it down in PlainText.  Writing in .txt makes me take another look at it before it goes into the manuscript.

*  For actual finished work, I open Quickoffice HD Pro, which uses and creates Microsoft Word doc files, which is what I submit manuscripts in.  Again, it’s seamless with Dropbox.  I can write on the iPad in the main manuscript with full comfort.

*  When I’m mobile with iPad-only and I am stuck for research but want to get a thing done — well, I can simply keep Quickoffice running in the background and launch the Evernote app, which is where my book research lives, organised by folder.  Or I can launch it on my iPhone, for that matter, because where I go, the phone goes, and when I’n writing it’s usually propped next to the work machine anyway, picking up messages, playing a podcast and/or running a news stream of some kind.  (Twitter, or Reedlines, or similar.)

*  Why do I do this?  I’ve always hated lugging laptops around, and have always looked for efficient mobile solutions.  I had one of those early Asus netbooks.  I had a Treo.  Hell, in the 90s, I had a Handspring Visor.  And I figured that since the iPad was light, instant-on, built for wifi and supposedly fucking magical, I should be able to make it work as a mobile work solution without having to screw around with laptops and crappy batteries and all the rest of it.  In the mornings, I just grab the iPad and case and go out into the back garden and sit at the table and am ready to go.  I go back to the office, wake up the laptop, and thanks to Dropbox everything I’ve done is already there.  It works for me.

A Hauntological Literature

I was re-reading a bunch of James Bridle over the last couple of days – his brain works very differently to mine, and much better, which makes his stuff a good lever to prise me off old tracks – and I tripped over this, which I bookmarked last year:

What would a hauntological literature look like? I’m not sure, and that makes me suspicious.

And, a few paragraphs further up, related:

While I understand the distinction between nostalgia and hauntology, I am unconvinced by their separation in the application of the latter to music. The two most frequently cited sonic hauntologists are Burial and Ghost Box records, and while I’m a huge fan of both, I also see them as being steeped in nostalgia.

Bridle, as you may know, coined the term New Aesthetic, which can be defined as the observation of the eruption of the digital world into the physical world.  And it occurred to me that there is already an artifact of hauntological literature that does not require or involve nostalgia.  It is, in fact, one of the historical artifacts that was such a touchstone for modern hauntology.

THE CHANGES.  A BBC TV series from 1975.  The first episode of which I recall vividly, because it was (if you were seven years old) so unsettling.  And the subject of this series was simply this:

The eruption of the historical into the present.

Which is, essentially, what Burial was doing, in the moments when he wasn’t (as in “Raver”) specifically summoning up past times through nostalgia or yearning.  The moments where the past can be heard leaking through the walls (in my head, there’s a weird linkage between Burial and Alvin Lucier’s “I Am Sitting In A Room”).

I think my problem with hauntology is that it deals with the problem of the future by going back to the past. And that is fine: but it will not save us.

In a hauntological literature, the future isn’t the problem.  It’s that the past never stops coming to get us.  Hence the frequent Ballardian framing of hauntology: we’re so exhausted by our blind headlong run into the future that we now wander around in a confused haze, and Time (SAPPHIRE AND STEEL!) oozes in like oil all around us.  Dragging us downstream.

Georteyphobia.  Fear of history.