8 Clicks from Nowhere Productions

Category: Part 1 – Setting out to Nowhere

  • Ten Diamonds

    Jokingly I would tell people who liked my photographs that I was not so excellent at taking pictures as they suspected: after all, I only ever showed them the good pictures.

    But then it wasn’t exactly a joke, either. 

    See, I think there is a difference between expertise and amateurism, and explaining it is tangled up in my own creative efforts. I am an amateur artist, an amateur photographer, an amateur musician. And I am confident in claiming so because the difference between amateur and expert work isn’t always the output, but rather the effort required to be consistently good at the form. 

    I can make good stuff. But I am admittedly inconsistent.

    In photography I called it my one-in-ten rule: if I took ten pictures, one of them was generally pretty good. Again, I could make good stuff, just inconsistently.

    Inconsistency has a way of nipping you in the backside when you take on a gig to photograph an event, or are asked to sketch with an audience, or need to stand on a stage and play an instrument. Noodling in your basement and occasionally having a terrific night is fundamentally different from  performing on demand. One is the realm of amateurs with wisps of talent, the other is the domain of experts.

    And really. I don’t mind being the diamond in the rough, but admitting there is often much more rough than diamond is also about admitting that you can do these crafts for merely the enjoyment of them, too, and that’s not a joke at all.

  • MIDI Controller

    I broke, and I finally bought a dedicated MIDI controller.

    It was not an expensive one. Nor is it a toy. It is, rather, a very basic and simple twenty-five key computer keyboard that has piano ivories instead of numbers and letters. It makes no sound of its own. It just sends electronic signals to another device, as if I was typing musical notes.

    If you had asked me a year ago what I knew about musical keyboards I would have told you there were pianos …and electronic pianos …and—I am reluctantly admitting here that I hadn’t been paying much attention after that point. 

    I like synth music, and growing up we didn’t have a real piano or a fancy keyboard, but rather a simple department store brand electronic synth with a couple dozen built in instruments. In our house now, my wife has (because it is hers from before we were married) a pretty nice digital piano in her office, and a little over a decade ago we acquired a small upright piano, too, which sits in our kitchen and serves little other purpose than to remind me of a decade of the kid doing piano lessons. But, the concept of a bed of black and white keys that makes sounds? That was pretty clear in my head.

    For myself, those pianos were never quite what I needed. What I was craving, musically speaking.

    Instead, I went down the synthesizer rabbit hole a little over a year ago now and learned that a proper synth is more than a piano keyboard that makes funny sounds, but rather a way to generate and manipulate sounds with electrical or digital tools, and for which a piano-style keyboard is merely a comfortable and familiar user interface. 

    Now I’ve gone full circle. I own a small keyboard controller to interface with the synth software on my computers, and I am learning more about how it all works with each visit to this world of music and sound …and most importantly, a new personal exploration of audio creativity.

  • Standards Unpracticed

    There was a realization about music that I recall having when I was younger. 

    See, when I was in my teens and twenties I listened to a lot of punk and metal from the 80s and 90s. And I remember finding it odd that most music from these genres still usually followed the rules of popular commercial music design. 

    I get it. Musical structure. Chord progression. Hundreds of years of music theory, blah, blah blah, but… think about it from the other perspective: these sounds and songs were supposed to be part of a finger-wagging, pearl-clutching anti-social revolution and a counter-culture apparently designed for angsty teens and rebellious youth to rage against the establishment.

    But simultaneously they were entrenched deeply within that same establishment by the basic rule-following and formula-driven style of the music itself. 

    There are certainly examples that don’t fit this observation, but from my viewpoint so much of it seemed to follow set standards: It was composed of phrases and verses, with lyrics, mixed into tracks of four to six minutes long that could be played on the radio. 

    All of it—in the parlance of capitalism—written, recorded and packaged to be commercially viable.

    And, sure, yeah, of course, no kidding, I get capitalism and working with the system and all that, too… but…

    …but the real rebellion it seems was making something that was not for sale, and breaking the rules and standards that guide our creativity towards the end goal of becoming just another product that needs to move in lockstep with the rules, too.

  • Plotting Resolved

    Almost two years ago now I was deep into writing a novel.

    It was not my first.

    It would not be my last.

    But yet here I sit not having finished writing it. 

    Sure, I made a plan. I sketched out the plot. And I got it about ninety percent of the way to completion, but then…?

    Then I hit a wall.

    Every morning, literally every morning, I wake up and feel guilty that I didn’t write another chapter in that novel the day before. Every morning, literally every morning, I wake up and part of me ponders if today will be the day that fact changes.

    So far, no.

    At the start of 2026 I resolved that just pining about standing in front of a metaphorical brick wall, a wall that I didn’t know how to climb over, or around or through was not the right approach either.

    Instead, I started a new novel.

    No. I haven’t quit the other one, rather I just need some more time to stare at that original brick wall and figure it out. But just staring at it wasn’t helping anything either. 

    Each day I get another day further from my last effort on that story, but it is not forgotten.

    And one day I’ll wake up, ponder if today, that day, will be the day… and I will be right.

  • Smouldering Plots

    It’s difficult to start a story, and it’s difficult to end a story… but somehow worse than both of those parts there is a hump I have found that occurs somewhere in the middle.

    I have been writing a new novel and I am at the point where I need to move from the start, the inciting action where all the characters are introduced and dive into the middle, the guts of the story where all the action and the bulk of the story is going to happen.

    I did all this work on planning out a plot.

    I did all this work creating characters.

    I did all this work lighting the fire to make it all start.

    And whilst I did think a lot about how the flames were meant to keep smouldering for the next couple hundred pages of real story, getting over that hump between the start and the middle, and putting it down into actual words on an actual page is turning out to be a bigger chore than I anticipated.

    If you have been reading my meandering thoughts you know that I generally keep smouldering. I just push through and write my five hundred words each day, and (practically speaking) that’s how it goes down.

    But the effort, the mental churn, the fight to keep going is different now that I’ve moved into middle where the real plot and real works takes more than just a big idea.