DEATH IS ETERNAL #407
2,800 words
Another Monday, another DEATH IS ETERNAL. But this time, I’m starting much later than usual, at 8:40 pm PDT. Why am I sharing this? Firstly, I thought you’d appreciate the update, and secondly, I would like to pique your curiosity about my writing process. But thanks to the late hour, I might deviate from the norm and focus on this introduction and the contents rather than attempting to write the introduction, contents, and short story. How will I decide? By diving into the short story. If it flows smoothly, I’ll continue. But if I encounter difficulties... well, there’s always tomorrow. So, let's see what surprises await!
Contents
THE HEART OF CREATION
Writing: cliché
Bye! Oh, wait!
Life (from June 24 to July 7, 2024)
Reviews #283 and #284: BAND OF BROTHERS and SUPERMAN: LOST by Priest, Pagulayan, Paz, Cox, and others
The end
1. THE HEART OF CREATION
“If it’s only a matter of creating, why don’t you create?” With her usual straightforwardness, Christine asked Taylor, failing to fully grasp the depth of Taylor’s struggle with creativity. “You imagine something and start from there. Easy peasy.”
Taylor’s frustration was palpable as she sighed heavily. She was not just angry at Christine but mostly at herself for failing to explain the dilemma and for not having any good ideas lately. “Look, that was in the past. Before, I could come up with an idea worth exploring while doing absolutely nothing. But now,” Taylor took a deep breath before continuing. She was trying to reunite the strength to admit what she didn’t want to admit, “now I can’t come up with anything. No matter how hard I try, ideas elude me. The well is dry, so to speak.”
Christine looked perplexed at her friend, and her confusion was evident in her voice as she said, “You’re being dramatic. You’re still creative, and you still have a million ideas living rent-free in your head. What changed aren’t the ideas...” She didn’t finish the thought. She wanted Taylor to ask her to finish it.
Christine didn’t know why she wanted Taylor to ask the question. Surely, it would’ve been easier to keep talking, but something was commanding her to stop. She was torn between wanting to help Taylor and not hurting her in the process, and the uncertainty was unsettling.
“What changed is me... Yeah, yeah, I heard that before. One too many times, if I’m being honest,” Taylor said, her voice tinged with frustration.
Now, it was Christine’s turn to sigh heavily. “So, if you maybe it ‘one too many times,’ don’t you think it’s true?”
“No, I don’t,” stated Taylor, her voice filled with determination.
“Why?”
“Because people don’t know what they’re talking about. People who say that, and I say this with the utmost respect for our friendship, aren’t in the creative business,” Taylor began, her frustration palpable, opening a door that she would only be able to close after she let it all out.
Christine signalled for the friend to continue. Not that Taylor needed the encouragement.
“When you’re not in the creative business, you think all ideas are created equal. You think all ideas are the same. You think all ideas are good ideas. But when you’re in the creative business, you soon realize not all ideas are the same. They aren’t created equally. And they most definitely are not all good!” There was an energy that was possessing Taylor. She felt a burning passion, almost feverish. She needed to say her piece, or else...
“It’s easy for you, non-creative, to think that ideas are ideas. All equal, all the same. This isn’t true. In business, there are always good ideas and bad ideas. Yes, I can still come up with a million bad ideas daily, but that doesn’t help me. I need good ideas. To be in the creative business, you must come up with good ideas every day. I used to be able to do that. Now,” Taylor’s voice cracked with disappointment. The burning sensation was gone. Now, she was shivering. She was cold. She was crying. “Now, I can’t come up with a good idea for the life of me. The creative business is a nasty one. It promises the world, but it chews and spits you.”
“So maybe, stop caring for the creative business?” Asked Christine. “I know I’m not in the ‘creative business,’ and I know I may not understand you ‘creative people,’” Christine said with mockery in her voice, “But I think I understand people, and from what I can gather, the problem is that you’re trying too hard. No one knows what’s a good idea or not. Ideas are neither good nor bad. Ideas are ideas. It’s what you make with them that shaped them into good or bad...”
“But...” Taylor, the seasoned artist, tried to interrupt her friend Christine, the non-creative professional.
“Shush, I waited for your lucubration; now you hear mine,” Christine smiled maliciously at Taylor, who went quiet, feeling slightly insulted but intrigued. “You say the ‘creative business’ demands good ideas, and I say ‘screw the creative business.’ You didn’t create for a business. You created it for yourself. The ideas were your own, and you didn’t care what the world thought about it. That’s the magic of your creativity. You create what you want to exist, and people are attracted to that. People want your world. So stop caring for what the world wants and create your own world. That’s what everyone wants anyway.”
Taylor stopped crying and started smiling. “You’re right.”
“I am!”
“It’s not about the business; it’s about creativity. I create what I want. I create my worlds, and people either like them or not. It doesn’t matter. I like them, and that’s what matters.”
Christine’s smile widened. For someone as perceptive and intelligent as Taylor, she could sometimes be, if not oblivious, at least hesitant to embrace her own brilliance. “Now, let go of your doubts, and let your ideas soar!”
Taylor embraced her friend, her voice filled with gratitude. “I can’t imagine navigating this journey called life without you!”
“Good! Because you need me!”
They both laughed.
The end
2. Writing: cliché
There’s a well-worn cliché that every creative person, including myself, has experienced and lived through at various times in our lives: creating something based on the very absence of creativity. If you pay close attention to my short stories, this isn’t a surprise to you. The short story in this DEATH IS ETERNAL is another example—of many recent ones—of my dwindling creativity. And since that has been on my mind, I decided to explore it here... today... in this section!—Not my dwindling creativity, but why creating about lack of creativity is a thing. I’m sure many of you, my fellow creatives, can relate to this struggle.
Please don’t mistake this essay for an attempt to place myself on a pedestal or to analyze this complex theme deeply. Each of us is unique in our creative endeavours, and I can only speak from a writer’s perspective—above all, a wanna-be writer’s perspective. This isn’t an academic treatise; rather, it’s a personal exploration of why I write about my creative struggles—i.e., me understanding myself through my writing, i.e., why I write in the first place.
I hope, though, that by sharing my thoughts and experiences, I can spark a conversation and hear your perspectives on this topic.
The cliché arises because when trying to come up with an idea, the first thing that comes to mind is, if not a criticism, at least a slight disappointment in my lack of ideas. But then again, as I said in the short story, it’s not the lack of ideas per se; it’s more like the lack of belief in the ideas that come during the idea drought. When that happens, my first instinct is to make fun of myself while also using this “comedy” to generate words. Hence, stories about struggling writers.
The capacity to laugh... “laugh” at the situation is what, to some degree, keeps me sane and writing. I’d descend into a paralyzing abyss if I couldn’t find humour in my predicament and create something out of it. Creating something based on a flawed idea or a cliché is better than not creating anything. Thus, the cliché actually acts as a defence mechanism. It keeps me creating, it keeps me laughing, and what else do I want as a writer if not to write and have a good time while doing it?
This cliché isn’t a crutch for lazy creatives; it’s a lifeline that keeps us from feeling inadequate, fraudulent, and ridiculed. Or, at least, it has this meaning to me. The cliché, in my creative process, acts as a reminder that even when I’m struggling, I’m still creating. It propels me forward, helping me push through creative blocks. And that’s why I’ll keep using it for as long as I need it. It may not be the most creative thing you’ll read, but at least it’s something you’ll read. And isn’t that better than not reading anything?
How about you, dear creative person who reads me? Have you ever found yourself in a similar situation, creating based on the cliché of not having an idea? If so, I’d love to hear your story. Was it to laugh at yourself? Was it to protect yourself? Or am I overthinking this, and you did it just because it was your only idea at the moment? Since this is a free-for-all newsletter, use the button below and leave a comment so more people can join the discussion! Your insights and experiences are valuable, and they might just inspire someone else in our creative community.
3. Bye! Oh, wait!
Here’s where we say our farewell to the free subscribers... Oh, wait! Not this week. This week, everyone can read until the end. If you’re a paying subscriber, you know what to expect. If you aren’t, you should seriously consider becoming one!
4. Life (from June 24 to July 7, 2024)
This section will be abnormally short in this DEATH IS ETERNAL because my last week was, and my next week will be pretty quiet. I mean, I know the last was uneventful, and I believe, looking at my calendar, the next will also be uneventful. Although, since it’s still in the future, things could change. I doubt it! But they can. Anyway...
Last week was all about routine: working, exercising, reading, and writing. But amongst the usual, one thing deserves to be highlighted: I began to write the short story I’ll submit to BLANK SPACES MAGAZINE! Yay!
However, I’m unsure of the beginning because I’m unsure of the voice. I actually began leaning toward a direction but then had to take a slight turn, and I ended up liking this tone and voice more than the original. Now, I’m thinking about changing everything to follow what I like...This is very abstract, so let me be more precise:
I began writing in the first person because I wanted the short story to read like gonzo journalism—i.e., first-person narrative, and the reporter is a character. But then, I got to the point where I needed to tell the story of the place where the reporter was investigating, so I changed from the first person to a more traditional narrative, and I liked that voice better. Before that, I already was not in love with how the story sounded. So now, I’ll begin not with the journalist saying how he ended up covering the story, but rather, I’ll start with the myth of the village, which means scrapping the first three paragraphs. It’s not a lot of thrown away, but still, I prefer it when I begin on the right path. But stories have their own mind, so all we have to do is obey. That’s a good tip: never against your story and characters. Listen to what they have to say, even if that means throwing away your original idea. The will of the story is what matters.
Regarding next week, there isn’t anything on my calendar other than Canada Day (July 1st). Long weekends are always good, even if it means I’ll basically do what I always do: exercise, write, and read. It’s not about doing things differently; it’s about feeling differently.
Anyway, I ended up writing way more than I thought I would here. That’s good. Free-for-all newsletters should always be able to showcase why you should upgrade your subscription, and I think this one did exactly that. I’m glad.
5. Reviews #283 and #284
If this surprises you, then I know you aren’t a paying subscriber because I gave them a “spoiler alert” last week. If you want to know what’s to come and want to read the entire DEATH IS ETERNAL, consider upgrading your subscription!
BAND OF BROTHERS
BAND OF BROTHERS is often hailed as one of the greatest miniseries ever created, and for good reason. The series transcends the typical war drama by focusing on the profound humanity that permeates every episode. Rather than merely depicting the clash between good and evil, it delves into the personal stories of the soldiers, illustrating how the conflict affects each individual in unique and poignant ways. This emphasis on human experiences under dire circumstances elevates the show to a storytelling masterpiece.
The real strength of BAND OF BROTHERS lies in its portrayal of the soldiers’ lives, highlighting the profound impacts of war on their psyche and relationships. It moves beyond the battlefield to explore the emotional and psychological toll on these men, making it more than just a war story. The series masterfully captures the essence of human resilience, camaraderie, and the struggles faced by soldiers, creating a narrative that resonates deeply with its audience.
While it is possible to critique the romanticization of war and significant events like D-Day, BAND OF BROTHERS handles these subjects with a sensitivity and respect that honours the real-life experiences of the soldiers. The collaboration between the producers, writers, directors, and actors is evident in the respectful and engaging storytelling. The inclusion of testimonials from the soldiers themselves adds unparalleled authenticity and depth, transforming the series from great to exceptional.
For anyone who has not yet experienced BAND OF BROTHERS, it is a must-watch, even for those who typically avoid war stories. The series offers a compelling and humanizing look at the realities of war, making it one of the finest pieces of television available. Its ability to engage viewers on such an emotional level, to make you feel the struggles and triumphs of the soldiers, ensures that it remains an essential viewing experience worthy of its acclaim.
SUPERMAN: LOST by Priest, Pagulayan, Paz, Cox, and others
SUPERMAN: LOST is a comic that leaves readers with mixed feelings. At first glance, it presents intriguing concepts, but their execution seems lacklustre. This initial impression prompted a deeper dive into my own ratings, where I found that, despite my criticisms, I actually enjoyed reading the comic—the lowest rating I gave was a 3 out of 5. However, the lack of standout moments made me question whether it’s a comic that’s enjoyable in the moment but forgettable in the long run.
The primary issue with SUPERMAN: LOST lies in its ambitious but flawed main plot. The storyline of Superman being cast into deep space is a familiar trope, and the series fails to present it as the dire problem it tries to sell. Despite this, there are elements within the narrative that are engaging, and the creative team manages to make parts of the story work even with the shaky foundation.
As a comic, SUPERMAN: LOST attempts to do too much. The central plot feels overused and unconvincing, which detracts from the overall impact. Nevertheless, the story has redeeming qualities, and the creative team’s efforts shine through in certain aspects, making it worth reading. The disconnect between the ambitious plot and its execution created a sense of confusion and missed potential.
Reflecting on SUPERMAN: LOST is perplexing because, while the reading experience was enjoyable, my retrospective assessment brought up more doubts than affirmations. The disparity between my initial enjoyment and later reservations highlights the comic’s complex nature—it’s engaging at the moment but perhaps not as compelling upon deeper reflection.
6. The end
Only 50 words remain to get to 2,800 words in total. What does that mean? I have a bit of space to say a few last words. Will I use this space wisely? Hardly. After all, 50 words aren’t enough for proper advice or closer. See you next week, bye!