8 Clicks from Nowhere Productions ䷀

Category: Part 2 – Nowhere but Everywhere

The creative professional and what it means to create at and for work, pay, and career. The work of creating.

Chapter List

  • Duty Bound 

    Reactive sharing killed my motivation for a while. 

    I was making art through a prolific period of newness. I was amped about sketching anything and everything. I was painting daily, though so little of it was anything but practice art and rough drafts.  But I was damn proud of it, and after I’d finish a piece I’d lay it out on a table and snap a pic with my phone and upload it to Instagram.

    Reactive.

    Oh sure, I got likes. Mostly from impressed family members or friends who were easily impressed by student-grade art attempts by someone they knew.

    None of of it was terrible, of course, but none of it was gallery grade either.

    I wasn’t sharing my best. 

    I was sharing everything.

    Reactive sharing.

    Draw, paint, dry, pic, post. (And sometimes I barely even waited for the dry.)

    It killed my motivation.

    Posting became performance.

    Performance became duty. 

    Passion became obligation to feed the algorithm.

    I remember going for a long walk one chilly winter evening because the pressure had built up in my heart around this sense of responsibility I felt to the dozen or so people who were liking everything I posted, and it was driving me nuts. I wasn’t even enjoying it anymore. I was walking and thinking, thinking and walking, and I decided there in the snowy streets that I was going to break the thread. I was going to stop posting art.

    I wasn’t going to stop making art, but I wasn’t going to push it out into social media because doing that part of the creative process had gotten out of hand and was ruining the joy for me.

    I still draw. I still paint. I still make something that I’m excessively proud of and I’ll post it, but I do it for the right reasons, I think, and skip the duty to perform almost entirely these days.

  • Publish Owner

    Publish on your Own Site…

    …Syndicate Everywhere.

    Leave it to Cory Doctorow to drop mention[1] of a content phenomenon that has been haunting my efforts for over a decade. 

    Among the most insidious of things that social media does to creators (and that’s a long list) is fool people who write words and make—shudder—content to share online, is to quietly neglect to remind any of us that we lose ownership the second we click the post button on any those sites.

    No really.

    They’ll pretend like you can edit and curate and delete and archive, but if you post on Facebook or Twitter or Instagram or LinkedIn or any of a thousand other smaller platforms, they will hand wave around your ownership and rights, but in reality you have few.

    I call these places corporate social media for a reason: you are handing over your content not to a community of users but to the corporation that owns the software, server, and algorithms. They can show people what you created if and when they choose, they can censor you, and (as I have witnessed in the outrage rant by many creators over the years who have suffered because of it) they can delete your entire account for vague reasons that they may or may not choose to explain.

    We’re not going to change that.

    But Doctorow has an acronym for an idea I’ve been screaming from my blogs for years: POSSE or Publish (on your) Own Site, Syndicate Elsewhere.

    Or simply, as a creator, it is incumbent upon you to figure out how to make your own central place to keep the things you make—a website, basically—and then syndicate, promote, link, cast, or otherwise surface from there, if for no other reason than you should keep control of ownership of it with every ounce of your digital strength.

    This is a cross-post from of Poets & Processors.

  • Professional Games 

    In early 2025 I founded a game studio.

    Sounds impressive, no? In a way it is like any other clever idea: you give an idea a name and send it off in a direction and it becomes important and meaningful. It becomes work.

    Why did I found a game studio?

    Because I write code.  My profession for two decades has involved technology and systems and building things on computers. The gaming industry may seem lighthearted and playful, but at the end of the day games are just more code (and art and music and databases and stories) built inside of a computer.

    I spent the next five months working on the soul and systems of a simulation-meets-cozy style game and pushing it through various iterations of functionality until I was actually able to load it onto one of those handheld gaming PCs and sit on the couch playing my buggy (but functional) game.

    It’s now mid-2026 as I write this and the game development has been stalled for about a year. I’ve poked at it. Prodded it. Added tiny nudges to the system. But stalled, really.

    I bring it up here because it comes to mind when I think of the idea I’m trying to get across in this chapter of the blog: creativity isn’t just a whim. It can be work and a product and an invention that may someday wind up in a store being sold to people who would pay for it.

    And on days that I’m being particularly honest I think I would tell you that the game development didn’t stall for lack of time or motivation or direction. It probably stalled because the profession that morphed in a newfound passion quietly transformed back into a profession when I wasn’t looking. And it took me a few months to get my head around that idea.

  • Hard Numbers

    Here’s the thing about a job that meany people overlook: everything ultimately needs to lead back to some kind of measurable, fungible value. Ah capitalism, you nasty freak.

    I managed a team of web developers for half a decade and as manager I had a lot of tasks—but not the least of these (and in fact arguably one of the most consistent and time consuming of these) was tracking metrics. 

    I had to put numbers to productivity. I had to match quantifiable costs against measured returns, make graphs of employee time spent per tasks, public page interactions, project cost recovery models, marketing investment return projections. Everything had to to be tracked, measured, plotted, and understood.

    Now that I’ve been create something of my own, for the sake of art, it has been too easy to fall into this same trap: measuring word counts, tracking web stats and search engine placements, allocating resources to audience building and working to balance effort with return based on numbers, even if some of those numbers are only tracked in my head.

    When your profession and passion collide, what is there to do?

    How do you stand arms length from the quantifiable measures of your art, words, and music as demanded by the professional side of the craft—often inseparable and important—and yet still find the mental space to think of it as a qualitative act measured in vibes and feels and beauty? 

  • November Novel

    It may be July as I write this, but that’s just all the more reason to wonder why I can’t seem to crack the secret writing formula that four times pushed me to write a complete novel in one month.

    For something like twenty years there was an online challenge called NaNoWriMo, or National Novel Writing Month (poorly named because it was really a borderless event, little ole me here in Canada participating). A bunch of scandals[1] left the organization which was behind the event-proper now but a footnote creative history. Yet those of us millions who participated while it was still in good standing are left with memories… and in my own case, a small stack of unedited, mediocre novel manuscripts.

    Controversy aside, something about the urgency of a deadline broke the procrastination hold that I all-too-often find myself tethered by and… well, simply, productivity resulted.

     It is a fallacy of a sort, this whole writer’s block thing.

    When pushed by something as simple as a pretend, arbitrary deadline, I found that I was suddenly able to crank out thousands of words of coherent fiction every day for an entire month. 

    Secret writing formula? Or another lie I tell myself when I sit at the keyboard that needs to be pushed aside so that the productive side of creativity can happen?