Even though GHOSTING was published years ago, I still get emails and letters asking when the fifth novel, DRONE, will be published. So, here’s a typecast explanation on my long, long hiatus.
I’ve been using a Storz & Bickel “Mighty” vaporizer since 2016, vaping microdoses of Bedrocan medical cannabis six times a day for my glaucoma. Vaping six times a day was rough on my throat though, despite the vapour not containing solid particles like smoke and the use of a glass mouthpiece I bought separately for increased airflow.
To cool the vapour more and make inhaling smoother, I recently bought a Little Rippa EasyFlow bubbler bong and an adapter to use the Mighty to make a MightyRippa bong. Fantastic combination — the upended Mighty balanced quite well on the rubber Delta3D adapter, enough to put the Rippa away without fearing the Mighty flipped out of the pipe stem.
I was checking for Storz & Bickel parts secondhand on Marktplaats and someone offered a S & B “Plenty” vaporizer for 150 euro (retail 199 euro). The Plenty is a hybrid vaporizer, basically a cross between the desktop Volcano and the portable Mighty, the Plenty has such a powerful heat exchanger that — like the desktop Volcano vaporizer — it requires an electric outlet. However, unlike the Volcano and like the Mighty, the Plenty is handheld and can be used in any position: horizontal, vertical, upended.
To cool the vapour, the Plenty has a metal coil whip between the heating chamber and the mouthpiece. Pull out the plastic mouthpiece, leave the tube sleeve on the end of the coil, and insert the whip in the pipe stem of the bong and presto, a vapour machine with double cooling (coil whip and bong) is born.
As I don’t lug my bong around, the Plenty’s main disadvantage (requiring an outlet) is not a problem anymore. On the other hand, it’s like a Mighty on steroids, with a larger capacity oven to bake enough cannabis for a family of four or six, and an unlimited power source.
Drawbacks of the PlentyRippa combination are the necessity of using two hands — one for the bong, one for the vaporizer — and the inability to put the combination away without pulling the Plenty from the bong, making the combination a lot less elegant than the MightyRippa. Also, while the Plenty’s huge oven is great for parties, someone who medically microdoses cannabis can inadvertently take way too much cannabis due to the coolness of the easily released vapour, so 2-4 hits from the Plenty are about as potent as 6-8 hits from the Mighty.
The intense effect of the pure cloud of unadulterated vapour produced by the PlentyRippa muted my chronic pain enough that I can fall asleep without needing Tramadol. Which, I might add, is such a huge advantage that it’s well worth the money (I ended up paying half the asking price, 75 euro for the unit) and the drawbacks. Briefly having to use two hands to vape my cannabis is not that much of a problem, and there’s a ‘reducer’ on the market that reduces the Plenty’s huge oven to the size of a Mighty’s, with the addition of a dosage cup that snugly fits the reducer and minimizes resin fouling up the Plenty’s insides.
If you use cannabis recreationally, this combination will easily serve 4-6 people sharing one “Plenty”. The vaped cannabis is evenly brown and can be saved to use in edibles.
One thing that annoys most current typewriter enthusiasts is the availability of typewriter accessories, or rather, the lack thereof.
Tipp-Ex white-out paper and correction fluid is virtually impossible to find, silk black/red ink ribbons have to ordered at the office supply store (because they rarely stock them), typewriter erasers are thin on the ground, and — of course — typewriter pads have gone the way of the dinosaur.
Typewriter pads serve multiple functions at the same time. They protect your desk, they provide an anti-slip surface so the typewriter doesn’t skid all over your polished desk, and they dampen the vibration (and the noise!) of your typewriter.
Since the original typewriter pads are no longer made and the commercial alternatives are not very cheap (I think 12-24 euro for a single pad is expensive), I experimented with all kinds of pads, from cork placemats from a cooking store (for underneath hot pots) to all kinds of rug runners and anti-slip bath mats. Some didn’t provide enough anti-slip, others were too soft or too thin.
I didn’t try the ‘cutting up a yoga mat’ idea, because good yoga or pilates mats aren’t cheap, but that last suggestion did give me a better idea.
Hardware stores often sell ultralight foam tiles that have jigsaw sides to join together in a large floor mat that you can use as in your garage or tool shed, as a gym mat or even under a washing machine to dampen the vibrations. Sold in packages of six squares, a single tile is often 40×40 centimeters, big enough for an Olympia SG-1 or similar desktop typewriter, so it can also easily support a smaller portable machine like this SM-4.
Every package has strips to cover the jigsaw sides and if the floor mat is too large for your taste, you can easily cut them down to size. They’re often available in a variety of colours (although I’d go with black), they are anti-slip, hard enough to support your typewriter, but soft enough to dampen the vibrations. Plus they’re cheap — a package containing six 40x40cm EVA foam tiles will cost you about 6-10 euro — and since they’re meant for work spaces they can handle an awful lot of abuse, so they will last very, very long. And I think they also look pretty cool/rad/industrial under your typewriter.
Since readers know that I type drafts on manual typewriters, I regularly get questions about what typewriter to get. I enjoy manual (mechanical, non-electric/electronic) typewriters, so I decided to write a post on Quora that I decided to post here as well.
If you don’t own a manual typewriter yet, but want to get into writing on typewriters, don’t go for a pre-war machine like this gorgeous 1938 Erika ‘S’:
“Why not? It’s pulling at my heartstrings!”
Yes, I know. That’s why I collect these machines:
And the thing is, they are marvellous typemachines. Ifthey work. These Erikas do, but they’ve been lovingly maintained by someone who knows how to service and repair these machines. If you don’t know how to replace a drawstring or adjust the carriage or unstick sticky typebars or re-align the type, you’d have to outsource the servicing and repairing and that would be a pain in the ass, because there aren’t many typewriter shops anymore. Even the regular use of these machines can be difficult.
For instance, check the spools on the Erika ‘S’. Beautiful open metal spools. If you buy ribbon, it comes on cheap plastic spools and you’d need to re-spool the ribbon onto these spools, because apart from looking ridiculous on these machines, plastic spools are made for modern machines, not these pre-war machines, because they require heavier, more balanced metal spools.
“So, what should I get?”
Get a segment-shift typewriter, made between 1955–1969, from a brand like Royal, Remington, Smith Corona, Erika, Optima, Olympia or Olivetti.
To print capital letters, you need to shift the type to use the upper part of the slug (the print part that hits the paper). Typewriters basically have two ways* of shifting: by lifting the whole moving carriage up (carriage shift) or by lowering the ‘basket’ with the typebars deeper into the machine (segment or basket shift). The latter is way less strenuous on your pinkie fingers, which — if you touch-type — handle the shift keys.
If you don’t have strong type-fingers yet, go for the segment-shifted 1969 Olympia SM9:
Rather than the carriage-shifted 1959 Olympia SM4, especially one with an extra-wide carriage:
Nice mechanical machines for a beginner, while still being appreciated by professional typists, are Olivetti Lettera (portable) or Studio (desktop), Olympia SM9, Erika 10, pre-1970s Brother, Smith-Corona, Royal, and Remington. Most of these brands have been around since before 1955, so pay attention that you get a segment-shifted model.
Don’t buy a typewriter made after 1970. With the introduction of the personal computer, many typewriter factories tried to compete by using cheaper materials and mass-production, so the quality of typewriters, even those made by renowned brands, deteriorated sharply.
*Most pre-war machines, like the Erika 5 and S above, have carriage shift.The Erika on the picture far left is the Modell M and it has a partial carriage shift in the sense that only the platen (the rubber roll with the paper) is lifted, but that’s unusual.
My Biggest Mistake Was Writing A Book.
Although I should qualify that statement: my mistake was attempting to write a book from start to finish, in reading order, from page 1 to 500. I started with the opening chapter, I wrote every chapter in sequence, I edited it while I wrote, I bumped into obstacles that totally destroyed the pace, I kept pounding my head against the walls of the scenes that just wouldn’t come out of my mind, I got stuck in frustration on finishing an unwilling chapter before I could start on the next, and I exhausted myself before I finished.
And then I found out that the second storyline sucked and had to be removed, leaving only one side of a zipper without a corresponding side that could be zipped together into a coherent story. So I wrote another storyline that had to be inserted into the existing storyline.
The result was a lumpy, lopsided mess that brought me to despair. And since I’m an autodidact writing suspense fiction in my second language, I had no peers around.
Then I found a writing website, now sadly gone, called Thoughtcafe, where I found my peers. People who read my stuff, told me it was incredible and worthy of all the attention I could muster to polish out the lumps and make it run smoothly like the zipper was oiled with eel’s snot.
My second novel practically wrote itself. I didn’t give a shit anymore about the order in which to write, I wrote the draft for myself without any regard for punctuation, grammar, and spelling, and I kept my inner editor locked away in a dungeon until I finished the whole rough draft.
Only after I wrote the draft of the entire novel did I sit back and reread it while highlighting problem areas and adding notes on how to fix the flaws.
Which is why I always tell beginning writers: ‘Don’t Write a Book, but a Draft‘. Write the scenes in random order, assemble them in a sequence that pleases you, see what’s missing and fill that in until the story flows, then get your editor to help you iron out the wrinkles.
The first draft is ‘For Your Eyes Only, Only For You’. Not to be shown to anyone else until you turned it into a manuscript, which will be read by your betas and editor, who will provide you with feedback to improve the manuscript into something publishable.
But the writing part? That’s yours, and nobody should touch that.
I don’t recognise myself in the ‘struggles’ of my peers, who complain about blocks or not knowing what to write, or the arduous task of editing. I also don’t get bored or disgusted with re-reading my own work for the umpteenth time.
I’m convinced that just because you want to do something, it doesn’t mean you will be good at it. Not everyone has aptitude for writing. Face it, if it was actually that easy, then everybody could be a writer. And despite what people might say to encourage those who are floundering, not everybody can become a writer.
Nobody who knows how to cut a turkey develops ambitions to become a surgeon, but somehow people who got a B+ on an essay in school imagines they could become a writer. Just being facile with words doesn’t make you fit to become a novelist. Stringing words together in a sensible sentence is not an indication for future professional prose.
To become an actual writer requires a confluence of several different talents to come together. And knowing how to write is actually quite low on the totem pole. Your ability to spin stories is much more important, as is your understanding of humanity – psychology, anthropology, psychopathology, interaction, communication. Observation is a crucial skill, as is curiosity. And having the ability to adopt a unique perspective also goes a long way towards being a writer.
If these skills/talents are missing from your palette, you will struggle. And because you don’t know any different, you will assert that writing is this onerous task, a steep uphill battle to put one word after another. While, in fact, you might have committed to a task that is not totally suited for your skill set. While this sounds like a ‘Know Your Limitations’ answer, take heart. You can learn these other skills, and there is no shame in battling uphill to write your book. It’s damn courageous, and I mean that.
And while a talent for writing often goes together with aptitude for the art, the published writer is not always the one with the most aptitude, but the one who perseveres. Perseverance can trump aptitude, easily.