May 29th, 2013 | music
From the album WILL THE DUST PRAISE YOU, a long and misty neoclassical piece.
May 28th, 2013 | daybook
The PR boat is approaching the harbour. All phone-based, so far: a long phoner in June for the AVENGERS: ENDLESS WARTIME graphic novel I’ve written for Marvel, and, now, lining up the interviews for DEAD PIG COLLECTOR’s release on June 18. The Marvel one will be the only big chunk of PR I do for that book, I think, at least until October. I hope there’ll be plenty for DEAD PIG.
It’s the part of writing for a living that’s the underwater chunk of iceberg: all the things you have to do as an aspect of writing commercially that doesn’t actually involve writing. And I’d much rather be a writer than someone who likes to give a lot of interviews about being a writer. You can’t resent it, because the alternative is nobody ever wanting to talk to you about your writing, and, therefore, deep obscurity and no-one knowing you’re writing work available for purchase, leading directly to having to get a proper job.
I am very sad that the hashtag #deadpig is already in regular use on Twitter. What could I use instead? #deadpigbook? That sounds… actually, it sounds a bit disgusting now I look at it. Shit.
May 28th, 2013 | stuff2013
The #instabooking thing is a way for me to publicly share what I’m reading, to some extent, and also a way to both keep some kind of timeline of what’s going into my head and also to present interesting or useful bits in a handy way. If it really bugs the eight people still reading this site, then I’m sure I’ll hear about it.
I’m working on the non-fiction book this week, in between a dozen other things. On Twitter, James Bridle reminded me that Timo Arnall of BERG has a Flickr account, and, there, I found this photo of Dan Hill of Fabrica giving a talk. Which I’m clearly going to have to find and gank, partly because it strikes a few sparks off one element of the book, partly because I want to see where he takes that. My abiding memory of Cognitive Cities was stories of people looking at the city like code, encoding the city (‘s processes), and then turning that data over and paying no attention to where that information went once it was out of their hands.
Also, I cannot right now come up with a better way to describe London. Look at London’s maps, and London’s streets. Plans and improv and eras just banging up against each other, road by road, sometimes door by door.
Look, I told you it was going to be free-association here this week.