Saturday, December 27, 2014

The Perfect Smile

Are you a dentist?

No. But I do suggest getting some dental work as well. After all, what good is your smile if your teeth look bad.

My teeth look like teeth.

Yes of course. But just a few improvements here and there would help.

Ok. Forget the teeth.  What can you do for me.

First I must suggest you try every avenue you can to have your smile without any of the contrivances we provide.

What? Therapy?

Therapy, yes. But also, a vacation can help. Some people find peace in faith, spirituality, meditation...

I'm not religious in the organizational big money church sense.

No, I understand. Spirituality has nothing to do with religion. It's internal and personal. That's why I mention meditation.

You're saying to believe in myself.

Believe in yourself.

Ok. I get it. I do believe in myself. I'm spiritual. But in the corporate world, it's all about a false front. There is no honesty. It's all about face time, and anytime is face time. You close your eyes and meditate for 20 minutes; people will think you're on drugs or something.

Well that's why we're here.

So will this be permanent?

I think so.

You think so?

We haven't had anyone go through the procedure long enough to determine how long it will last. 

Oh great.

Not to worry, we do have a guarantee.  We think it will stay with you for at least five years.  After that, things may revert back. But I highly doubt it. Five years of the procedure will probably alter your internal muscle memory and you'll become so used it that it will stay with you. My theory is that it would take another five years to wear off.

Look, all I need is to get hired and maybe established for a few years. I'll worry about the rest when the time comes. So what is it that you do exactly?

In simple terms it the latest in plastic surgery. But we don't like to use that term. We call it physical mirroring. In other words, you will look as good as you feel, or want to feel, as the case may be.

Alright. You're going to plant a permanent smile on my face like The Joker.

Yes. That's very funny.

But specifically what are you going to do?

Plant a permanent smile on your face like The Joker.


We will reshape your face, give you a permanent smile. Pull up your eyebrows a bit depending on what kind of look you're going for.

Oh right. I'm kind of torn between the wide eyed girl and the sultry lady.

Yes. Well those are very different looks. Perhaps somewhere in between.

You can do that?

Oh sure. And with the just the least bit of effort you will easily transfer from one look to another. One minute the bright eyed girl. The next minute the sultry lady.

Oh that sounds wonderful. That's exactly what I was hoping to do. Are there any side effects?

Well, climbing the corporate ladder, we hope. But seriously, nothing that mild medication couldn't help.

Mild medication?

Well if you prefer, a few shots or drinks after work, and even during if you can sneak it by. Maybe a joint at lunch, if that's your thing.

Sounds like going back to college.

There you go. Just let go of yourself. No more worries. No matter what stress or internal misery you're experiencing, you'll look like the happiest person on earth on the outside.

How about cost?

We do offer a payment plan through our credit affiliate.

Of course you do.

Sunday, December 21, 2014

Moneyball, Written by Steven Zaillian and Aaron Sorkin

The Scott Hatteberg walk off scene.
This is a very typical sports underdog makes good scene, with a winning move at the climax of the movie. What’s interesting with Moneyball is that it’s main premise is that very thing, how overlooked underdogs actually have talent that can make all the difference. There is very little dialogue. Though we see the coach have to coax Hatte out to bat. Hatte isn’t expecting this at all. The build up is great. And in fact, it’s this sudden lack of dialog that makes us pay attention and gives the feeling of suspense and anticipation. Note that in the locker room Billy watches a MUTED TV, adding lack of sound to the lack of dialogue. There is something to be said for silence.


The scoreboard shows us that it’s still tied in the bottom of the ninth. Nobody’s out. DYE grabs a bat and walks to the plate. Then, inexplicably, Howe turns to-

Hattie. Grab a bat.

SCOTT HATTEBERG actually points to himself and mouths, Me?

Let’s go.

SCOTT pulls a bat from the rack and heads to the on-deck circle. He only manages a warmup pitch or two before –

Billy is watching on a muted television as he sees Dye fly out to right field. As Hatte approaches the plate, he kills the TV.

As ROY STEELE’s booming voice echoes:

Pinch hitting for Eric Byrnes–Scott

Scott’s wife, ELIZABETH, watches from the VIP seats. She clutches her face. SCOTT lets the first pitch go by.


Art Howe looks like he can’t stand it any longer. In the dugout, Koch looks like a psychopath ready to kill.
SCOTT steps out of the box to catch his breath. He steps back in and stares at the exact spot in space he thinks the pitch will leave the pitcher’s hand.

The pitch. SCOTT swings.

Crack! 55,000 erupt. The A’s leap to the front of the dugout steps and watch.

We see the ball ascending on a strong trajectory, but before we can know for sure where it’s headed, TIME SLOWS TO A CRAWL-


BILLY’s sitting on the floor with his back against the wall, trying to breathe. He looks like he’s in pain. He can’t move.

He hears the crowd ERUPT outside. His Blackberry buzzes: “hatte homered. a’s 12, ryls 11″
Billy flips on the TV. With sound off, he watches silent images of his team swarming the mound in (archival footage) mixed in with Art Howe celebrating with them.


The place is going crazy. ELIZABETH is screaming as she watches her husband get mauled by his teammates at the plate.

Monday, December 15, 2014

Hacker World: Did you hear about the Sony hack?

That was you?

Hey, I was just having some fun man.

You busted open a major corporation. It must be worth billions.

What'd they ever do for me?

Look man, you could get jacked up for this. They think it's an entire Asian country that did it. This could start a nuclear war, man.

I can't help what the government does. If they start a war, they were going to do it anyway. This just gives them a scapegoat to blame it on.

Not cool man. Why you wanna be a freakin' goat?

I don't. But that's what they do. And this is what I do.

Man, you could bring down a lot of movies.

They suck anyway.

You should take a powder to Mexico or something till the heat dies down. Didn't you see what happened to that snow boy guy?

He hacked into the government. This is Hollywood. The government hates Hollywood. They'd probably give me a medal.

Yeah. I don't see anyone paying much attention.

There you go.

Look you can't talk about this to anyone. You can't text about it, email or anything.

Lighten up man. Don't be so paranoid. If they actually come after me, it means they don't have a freakin' clue. It will prove how retarded they all actually are.

Man, what's with you? Is this a vendetta or something?

You mean like the mask? Like "Anonymous?"

No. I'm not that stupid. I mean how dumb do people have to be to think a group called Anonymous exists and actually takes credit as an organization which is the exact opposite of what anonymous means?

It's genius. Isn't it? Any hacker can hack up a post that claims responsibility as "Anonymous," which throws off suspicion on real hackers and makes people think there's some kind of terrorist organization around. It's what people live for. It gets their blood circulating. And the news media eats it up. A perfect cover, with built in publicity and perpetration. Plus amateurs actually claim membership. Imagine.

Yes, and then get caught. This is what I mean. You can't go around talking like that.

Give it up man. Anyone who hears me will think I'm looney. In fact, I should probably talk it up as much as possible. What ever happened to "Anonymous" anyway? They seemed to have conveniently disappeared into thin air, and replaced by some newcomer called Guardians of Peace. Isn't that convenient as the name of a terrorist organization possibly connected to an act of war?

I suppose Anonymous finally decided to remain anonymous. God, I hope I don't have to bail you out, assuming they even allow bail.

Hey. There is no evidence. Nothing. It's the beauty of it. It disappears into thin air. The snow boy just has too big an ego and had to get his face in the papers.

They don't make papers anymore.

You know what I mean. He's all about vanity, ego, fame. I wonder if he stashed a fortune away somewhere before he decided to go all martyr.

Maybe he's actually proud. In most countries, he's a world hero. But you won't be. There's nothing heroic about hacking into a movie studio.

Hey, the extreme right loves it. How do you know it isn't one of them?

You're a closet right wing extremist?

No man. But why do you believe me when I say I did it, which by the way, I never said?

Yes you did, You said...

I said I was having fun. I never said if I did any hacking, was any kind of participant, or anything concrete. And if I did, all that is, is my words. There is no evidence.

Yes. You keep saying that.

Ok. I don't know it for sure. But I think it's quite obvious that if there were evidence they'd have the guy, or girl, by now. Unless it's a hoax or some kind of plant.

You mean like goat-scaping for war.

War is a huge business. That kind of money will drive people to try anything. If they can sell a war, you can bet they'll do it. We're talking tens, maybe hundreds of trillions.

I hate it when you make perfect sense. I hate you.

No. You love me because I just gave you an education.

Friday, December 12, 2014

Want to go out?

I'm tired. Been working all day.

I've been couped up in here all day. I want to go out.

Fine. So go out.

Fine. I will.



Fine, I'll wash up. Maybe a shower will make me feel better.

Need any help?

Mmmm. Well, yeah. But then we'll never get out of here.

Ok. Fine.

I didn't mean...

No. No. That's Ok. Take your shower. By yourself!

Fine! I will!


....Feel better?

Yeah. Anything else you need to do? Wash the dishes? Do the laundry? Dust the blinds?

Ok. I'm sorry. Let's go.

Where are we going?

Where do you want to go?

I don't know. Where do you want to go?

It was your idea to go out.

Fine. We'll stay home.

I just took a shower.

Oh. So you only take showers when we go out, in case you see a hot girl?

No. Come on.

Oh yes you do. Like that time we were at Jake's and that woman with the skirt up her ass walks by and drops a spoon and bends over to pick it up? I thought you were going to fall out of your chair.

No I wasn't.

Everyone else saw you look at her too.

Hey. Can I help it if she made a spectacle of herself?

You didn't have to look.

What was I supposed to do? Make believe she wasn't there?


Ok. Fine. Next time I won't look. I'm sorry. So you want to stay in then?

No. I want to go out. I've been couped up here all day. All week. You spend the whole day out there doing stuff. I'm stuck here.

I work all day. I'm not out having fun.

Oh really? You don't pal around with your friends or that girl, Angela.

Angela? How do you know about Angela?

Oh. So there is something going on. What is it? An office affair? You guys do it in a closet or something?

What? No. I hardly ever even see her.

But when you do, I'll bet it's hot and heavy for at least three minutes.

When did you ever hear about Angela?

You told me about her. She has a husband. They have an open marriage. They always talk about science and technology.

Oh yeah. Right.

Is that what you want, an open marriage?

What? No. I just thought it was interesting.

Well guess what mister? It ain't gonna happen. You want to have sex with other women then just go do it.

I don't want to have sex with other women.

So you're gay?

I don't fucking believe this conversation. Let's go out somewhere.


How about a gay bar?

Oh. So you know where all the gay bars are.

Yeah. Right.

I knew it! I see how all those gay guys looks at your with their gaydar.

Really? They do?

Yeah. You look good.

Oh great. Just what I need.

Women look at you too.

No they don't.

Why do you think that girl dropped her spoon in front of you. You guys are unbelievable. A woman has to sit on your face before you get the message.

What am I supposed to do?

Take me out once in a while.

Ok. So lets go.



It's raining.

Oh yeah. I forgot. That hurricane's supposed to hit.

Everything will be closed.


You took a shower for nothing.

No. I feel better. And I like staying in with you after being out working all week.

You want to stay in and I want to go out.

I'll take you out. Come on.

What are we going to do? Drive around in the rain in a ghost town. Everybody left for higher ground.

So if you knew that, why did you want to go out?

Because I'm couped up in here all week.

So lets go out and watch the hurricane.

Isn't it dangerous?

Nah. It could be dangerous here.

That's why everyone left town.

The hurricane lost a lot of ground. It's only gusting to like 65 miles per hour. It's not going to kill us.

Well lets wait it out and see if it passes by.

The cable is out.

Oh great. Where's that stupid beeping message that comes on in the middle of a movie?

Probably the people who made it somewhere safe, hundreds of miles away, are getting it.

Must be exciting for them.

Maybe we can go out and find one of those newscasters being blown around in the wind.

Monday, December 8, 2014

L.A. Car Chase

And now breaking news as we cut to Roger Irvine in our News 27 chopper. Roger?

Roger Shirley. What you are looking at is some poor lost soul sucker about to have this head beat in when we cut to commercial right after he gets caught. Whoa! Did you see that?

We sure did Roger. How fast do you think he’s going there?

Well Shirley, I’d say 97.3 to 99.2 miles an hour, definitely.

So he’s almost able to keep up with the people in the HOV lanes.

That’s right Shirley.

Roger, is he a white guy? He kind of looks like a white guy.

Yes, Shirley I think he is indeed. Once he’s caught we’ll be able to get more info after the cops beat it out of him, for sure. But yeah. Looks white.

Of course that would mean he’d be white trash then.

Oh absolutely. No typical self infatuated self entitled money grubbing white guy would dare to get caught up in a chase like this. Image is everything. You know Shirley, having money in the bank to make life easy makes all the difference.

Absolutely Roger. I know I could never get by with less than the low seven figures I pull in. And you do a nice healthy six figures too.

Absolutely Shirley. I don’t understand why anyone, especially a white guy like this, can’t pull themselves up by the bootstraps and get a job selling useless Obamacarea, balloon payment loans, or something. I mean if he were black or brown we’d expect as much.

That’s right Roger. As you know the majority of the prison population is black and male. What do you suppose drives people to drive like this Roger?

Well, beats me. The guy must be a looney tune. But I’m sure that beating the shit out of him will straighten him right up and send him off to jail where he can get the skills of real criminals.

Roger I see the police are holding back. Why don’t they deploy a spike strip or something?

Well Shirley, a spike strip at 95 miles an hour might cause one hell of a crash into a lot of cars besides the one the driver is in.

Right Roger. I remember the time they tried something like that and a young boy got killed.

Live and learn. Kill and learn. That’s right Shirley. Very bad PR for the cops and PR is all important you know. They have to be very careful to avoid being seen as racist or sadistic.

Well thank God for commercials. Ha ha.

These guys live for this stuff. They spend years waiting around doing boring police work, writing tickets and whatnot. And then one day the call comes. It’s huge adrenaline rush. Drugs can’t beat t.

And I just love the pretty flashing lights, and the sirens. Oh so sexy.

Shirley it looks like he’s cornered. Yup. The car has stopped. He’s on foot. Looks like the cops are catching up to him right now…

Roger, sorry to interrupt. We have to go to a commercial and we’ll be right back with more breaking news on the car chase coverage on the poor white guy.


Joe vs the Volcano, by John Patrick Shanley:
Joe comes in. Dede is typing away. Mr. Waturi is on the phone. Joe hangs up his coat. He misses with the hat again because of Dede’s typing. He leans over and switches the typewriter off. Then he picks up his hat, dusts it off and throws it in the garbage can.

(on phone)
No. No. You were wrong. He was wrong. Who said that? I
didn’t say that. If I had said that, I would’ve been
wrong. I would’ve been wrong, Harry, isn’t that right?

Mr. Waturi’s attention is split between his call and Joe, who is walking around the office like a tourist.

Listen, let me call you back, I’ve got something here, okay?
And don’t tell him anything till we finish our conversation, okay?

Mr. Waturi hangs up the phone. Joe is looking at the coffee set-up.



You were at lunch three hours.

About that.

Joe wanders away, into his office. Waturi looks after.

Joe is staring at the big wheel valve sporting the sign that says Main Drain. Mr. Waturi comes in as Joe moves forward and, with great effort, rotates the wheel to its opposite extreme. This scares Waturi.

Joe, what are you doing?

I’m opening, or closing, the main drain.
Nothing happens.

You shouldn’t be touching that.

Nothing happened. Do you know how long I’ve been wondering
what would happen if I did that?

What’s the matter with you?

Brain cloud.


Never mind. Listen, Mr. Waturi. Frank. I quit.

Joe starts to take some stuff out of his desk. He looks at his lamp, gets the cord, plugs it in, and turns it on.

You mean, today?

That’s right.

That’s great. Well, don’t come looking for a reference.

Okay, I won’t.

You blew this job.

Joe takes in the little room.

I’ve been here for four and a half years. The work I did I
probably could’ve done in five, six months. That leaves
four years leftover.

He’s been filling up a shopping bag with stuff from his desk: three books (Romeo and Juliet, Robinson Crusoe and The Odyssey), an old ukulele and his lamp. Now he’s finished. He walks out of the room without even looking at Waturi. Waturi goes after him as he exits.

Joe is walking towards the front door. Waturi follows him in. Joe stops at Dede’s desk. She’s typing. He looks at her. She stops typing.

Four years. If I had them now. Like gold in my hand.
Here. This is for you. (gives Dede the lamp)
‘Bye-bye, Dede.

You’re going?

Well, if you’re leaving, leave. You’ll get your check.
And, I promise you, you’ll be easy to replace.

I should say something.

What are you talking about?

This life. Life? What a joke. This situation. This room.

Joe, maybe you should just…

You look terrible, Mr. Waturi. You look like a bag of shit
stuffed inna cheap suit. Not that anyone would look good
under these zombie lights. I can feel them sucking the
juice outta my eyeballs. Three hundred bucks a week, that’s
the news. For three hundred bucks a week I’ve lived in
this sink. This used rubber.

Watch it, mister! There’s a woman here!

Don’t you think I know that, Frank? Don’t you think I’m
aware there’s a woman here? I can taste her on my tongue. I
can smell her. When I’m twenty feet away, I can hear
the fabric of her dress when she moves in her chair. Not
that I’ve done anything about it. I’ve gone all day, every
day, not doing, not saying, not taking the chance for
three hundred bucks a week, and Frank the coffee stinks
it’s like arsenic, the lights give me a headache if the
lights don’t give you a headache you must be dead,
let’s arrange the funeral.

You better get outta here right now! I’m telling you!

You’re telling me nothing.

I’m telling you!

And why, I ask myself, why have I put up with you? I
can’t imagine but I know. Fear. Yellow freakin’ fear.
I’ve been too chicken shit afraid to live my life so I
sold it to you for three hundred freakin’ dollars a
week! You’re lucky I don’t kill you! You’re lucky I don’t
rip your freakin’ throat out! But I’m not going to and maybe
you’re not so lucky at that. ‘Cause I’m gonna leave you
here, Mister Wa-a-Waturi, and what could be worse than that?

Joe opens the door and leaves. Mr. Waturi and Dede are frozen. The door reopens and Joe comes halfway back in.



How ’bout dinner tonight?

Yeah, uh, okay.

Joe smiles for the first time since we’ve met him, and closes the door again.

Wow. What a change.

Who does he think he is?

Notes: The first thing that strikes me is the honesty of the character in the dialog, basically merging the subtext with the action. He says what he thinks and feels. Usually this might be considered too ‘on the nose’ type of dialog. But it works here because we want to see him tell off his boss. Otherwise that tension of Joe needing to release, might take some other form, such as going postal or taking it out on someone else.

And he doesn’t do this at first. He’s about to walk out. But then he decides he will have it out. The whole time he walks around, the prelude to the monologue, we feel the building of tension. Something is going on inside and we don’t know what it is. But we can guess it has to do with his facing death and realizing how he’s wasted his time at this place (or maybe he’s just lost it). When he does talk, it comes out like some kind of classic scripture or epiphany about the meaning of what little time we have in our lives.

This scene marks the turning point that propels Joe into the adventure of the rest of the movie.
In a later scene Joe sits in amazement of the life he’s apparently missed and his companion Patricia remembers her father saying that most people in the world are asleep except for a very few who live in constant amazement. Here again we have a scriptural, spiritual sort of statement about life.
John Patrick Shanley also wrote Moonstruck which has life changing event themes as well. I think he is highly underrated.

Saturday, December 6, 2014

My Interview with Shaun Epona of Screen World International

SE: Jon first off I want to thank you for this opportunity to gain insight into the life and methods of a renown working screenwriter.

JR: Thank you Shaun. I'm not too sure how renown I am, nor working in the sense of actually making a living.

SE: We all have to start somewhere, and believe me, you are plenty renown in the circles I move in internationally.

JR: Yes well I guess most people in the US aren't aware of what little work I have that has made a bit of a splash. Around here, if you're not a Hollywood name, you're pretty much nobody.

SE: Jon, around there people still listen to the American media and don't have a clue about the rest of the world. But lets not get into politics. Although I understand there's a lot of, how shall I say it, theory, I guess, on how one should go about becoming a working writer, a success in the business or even on how to go about writing stories, regardless of where you are in your career. 

JR: Or if you even have a career. Yes Shaun, that's is certainly true. There are so many books, classes, blogs, you name it, on how to write, be it stories, novels, or even letters to your kid's teacher excusing him from missing school.

SE: Have you written a lot of those?

JR: Yes of course. And I can tell you, I don't make an outline first. I don't use three act structure. And I don't have the protagonist save a cat.

SE: And yet your kids are excused from missing a day?

JR: Yes. Quit amazing isn't it. Ha. But really Shaun, the same applies to screenwriting or any kind of writing for that matter.

SE: So what then is your approach? You must have some kind of convention, structure or routine, right?

JR: Shaun, I wake up every morning precisely at 4:45 AM, shut off the alarm, without snooze, go back to bed for an hour and then get up. Then I make some coffee, put it in a thermos, make my son breakfast and let it on the stove, since he isn't up yet. I make a peanut butter sandwich. I drive for an hour and a half in the rush hour mania, while munching on the peanut butter sandwich, drinking my coffee, and listening to some successful writer talk about writing. Anyone who follows this routine, I guarantee, will become at least as successful as I have.

SE: So you work in an office.

JR: Yes I do Shaun, down in white people's country, where everyone has religion, believes in America, and wears a permanent smiley face; and where gas is always ten cents cheaper than anywhere for a hundred miles. Nah, just kidding. I have no clue what other people do with their lives. I don't think they do either.

SE: So you have your own office.

JR: Actually no. I work for a company which shall remain nameless. But here's the interesting thing, while I'm there I rarely actually write anything for more than an hour. Most of my day is observing other people and doing other things on the computer. Now I don't overtly or explicitly observe anyone. It's just that being around others, you can't help to see and hear them. I think this is the very best environment imaginable for a writer. You are constantly in situations or observing situations that deal with things other than writing. Those things are what become the soul of your work. Even if you don't write directly about them, they inspire or give insight into the things you do eventually use.

SE: Jon, are we talking about a writer's room here?

JR: Well if any room you write in, or exist in as a writer, is a writer's room then, yeah I guess. Here's the thing. It does not matter if you wait tables, sell insurance, or whatever you do to stay alive. Anything you do can inform your writing if you let it. But if you are a writer, not only should you let it, but you had better. Otherwise you get stale. And that's why seasoned writers sometimes end up writing stories about life in Hollywood, or about a writer's or actor's life and so on.  Not that there's anything wrong with that.

Take this guy I know. His job is to cast actors, or even just get them side jobs. He deals with agents, bosses, job recruiters, the people he hires and so on.  Sounds boring right? But how about he gets kickbacks? In return for casting or hiring someone they kick back to him, say $20 every paycheck, every two weeks. Lets say he hires 100 people that way. That's $2,000 every two weeks beyond his own salary. Does that sound like a boring job? No. He could get caught. A deal could go bad and someone might want him killed. People who lose jobs can go postal. What happens if he hires someone who is not really qualified, but willing to make the payoffs?

SE: Gees. What are you saying here. Are you saying you dramatize these things from mundane jobs, or do these things actually happen?

JR: What do you think? Are people really all that happy to get by on a living wage? You think they wouldn't devise scams like this if they could? This is what American ingenuity is all about. This is what America is all about. In fact, other countries are much better at it. America has become the land of government handouts and corporate welfare, not to get into politics or nationalism. But America is generally known as the land of the fat, dumb, happily lazy.

SE: And this is why your work is so popular.

JR: Exactly Shaun. People around the world generally resent America and Americans for their false sense of entitlement. They love to laugh at them behind their backs. All you have to do is expose real American life. It's too easy.

SE: Ok. But lets get back to the process. What's your take on the so called Hollywood novice convention of outlines, three act structure, archetypes, and so on? You know what I mean.

JR: Yes of course. Shaun, as I say, there is a massive tertiary industry of programs, schools, books, blogs; you name it, on how to succeed in anything Hollywood related, especially acting and writing. Ironically, most everyone involved will claim there are no formulas or rules, as they then list a plethora of formulas and rules. Use an outline. Use three act structure. Use archetypes. Save the cat. Make the protagonist likeable. Give the characters an arc. In screenwriting, it's break the first act around page 17. Build the chase in the second act. Come to a climax and conclusion in third act. Pay off the first act set up in the third act.

SE: But don't most stories follow those patterns?

JR: Only American made Hollywood stories Shaun.  Since Hollywood is good at international marketing, this seems to be the rule. But really it's just a proliferation of the fairy tale syndrome, which as you know, was coined by Professor Max Von Itchenstein, in his social media survey studies of world media culture.

SE: Yes of course. A brilliant survey and study.

JR: Yes of course. And banned in America.

SE: And banned in America. What is that all about?

JR: Shaun, I don't know. But I don't care. Maybe the guy is a Muslim or something. Regardless, the ban makes my work all the more marketable.

SE: On the world black market.

JR: Ha. That's funny. Yes, black market if you like.

SE: But Jon, you still haven't touched on your actual ways of writing, your structure or routine. How do you actually write when you write.

JR: Shaun, as a writer, everything I do is part of my writing, every experience every waking moment. It all feeds in.

SE: You're evading the question.

JR: Ok Shaun. Perhaps I am. Here's the thing. I have no structure, no convention, no style, nothing. I just sit down and write. What ever I write it just happens. Something comes to mind, I put it down. A story evolves. Characters evolve. There is no inherent or universal structure. It's different every time. And here's another thing. I do have successful and great writers I look up to, who I've studied, and listened to, and through the world of modern technology, you could say mentored me virtually. And in regards to your questions, none of them have any inherent structure either. When they talk about it, they may come up with something to appease the interviewer, so as not to be considered eccentric or freaky.  But when pressed on it, every one of them gets there in some different personal way, often which they can't talk about, maybe because it's personal or maybe because it's irrelevant, or maybe because it's so abstract that words fail it.

SE: Words fail a writer?

JR: Yes. Absolutely. We think faster than we can write. We feel things and know that we can't express them clearly or understandably enough, and something like the meta-process of writing is like that. Think of it as maybe spiritual. Can you clearly define spiritual things in a way that is universally understood?  No. What is God? There are as many answers to that question as there are people willing to attempt to answer it. Same for love. What is love? Well one answer is, God is love. So the answer to the former is "love." The answer to the latter is "God." And this leaves us with no idea of what either one is in is terms of lexical thinking. Because some things are not lexical. Some things are not even things. As humans we may have a limit to what we can understand and what we can communicate.

SE: Jon, you could say that to answer any question you don't want to answer.

JR: Yes exactly, and that I don't know how to answer or can't answer. I admit to the limits of what I can and cannot do, or am willing to do.

SE: OK. Now my mind is reeling and I need to soak all this in. So I'm going to end it here, for now. I hope we can do this again sometime.

JR: Of course Shaun. Anything for you. It was indeed a pleasure.

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