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THE CHAD METHOD
METHOD WRITING IN
THE 22ND CENTURY
12/7/2016
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ARABIC TYPESETTING IS THE FONT USED AND 16 IS THE FONT
SIZE.
TRACK ONE –
WHAT IS GOING ON EVERYBODY? IT IS 5:11PM EST TUESDAY
DECEMBER 6TH, 2016. MY NAME IS CHAD XZAVIER HARRIS. MY PEN NAME IS
DAVID X. CRICHTON. MY STREET NAME IS CHADFILMS. THIS CD WILL GO DOWN AS THE
FIRST CD OFFICIALLY CREATED WITH THE IMMEDIATE INTENTION OF RELEASING IT ON CD
AND IN PAPERBACK IN GREAT NUMBERS. THIS CD TURNED BOOK IS ABOUT HOW TO WRITE A
BOOK. I AM GOING TO WALK YOU THRU THAT IN ABOUT ONE HOUR. THEN I AM GOING TO
TYPE UP EVERYTHING SAID IN THE HOUR AND THEN PUT THOSE TWO PROJECTS OUT IN
THOSE TWO FORMATS. THE ORIGINAL FORMAT BEING AUDIO.
THAT IN
ITSELF IS THE OTHER HALF OF THE FORMULA. WHAT I AM GOING TO GIVE YOU IS TWENTY
YEARS OF EXPERIENCE. I AM GOING TO GIVE YOU IT RIGHT HERE AND RIGHT NOW. THOSE
TWENTY YEARS OF EXPERIENCE CULMINATED INTO ONE MOMENT WHERE THE CREATIVE GENIUS
OF AND IN ME WAS FOREVER UNLEASHED UPON THE WORLD AND WRITER’S BLOCK BECAME A THING OF
THE PAST.
I CAN WRITE WHENEVER I WANT
TO AS LONG AS I FEEL LIKE IT. IF I CAN NOT AUTOMATICALLY GRASP EXACTLY WHAT I
AM TRYING TO SAY AND PLACE IT ON THE PAPER THE WAY I WANT TO, I EVENTUALLY GET
PAST IT AFTER A FEW SECONDS OF COUNTLESS THOUGHTS. MAYBE.. AFTER MY CREATIVE
GENIUS WAS FOREVER UNLEASHED UPON THE WORLD I DISCOVERED MY CREATIVE FORMULA
FOR ACHIEVEMENT.
MY CREATIVE GENIUS AWAKENING
INSIDE OF ME AND YOU KNOW EXTERNALIZING THESE INTANGIBLE IDEAS WE HAVE HAD
INSIDE OF US AND EXTERNALIZING THOSE INTO THE PHYSICAL WORLD. THIS RESULTED IN
THE BIRTH OF THE FORMULA BECAUSE THIS WAS HOW THE BOOK WAS DONE. ONCE I FOUND
THE FORMULA, I USED THE FORMULA TO CONTINUE WRITING MORE BOOKS. SINCE JUNE 2015
I HAVE BEEN WRITING A BOOK A MONTH, PULL OUT A CALENDAR FOR 2015 AND 2016.
EVERY MONTH FROM JUNE 2015 TO 2016 HAS IT’S OWN BOOK. EVENTUALLY,, AS YOU DELVE
INTO MY CREATIVE EXPANSION MANSION MAYBE, YOU WILL FIND A BUNCH OF OVERLAPPING
DATES.
YOU WILL FIND THERE MAY BE
ONE DAY ON THE CALENDAR WHERE I RECORDED SOMETHING ON THE RECORDER I AM USING NOW AS
WELL AS WROTE A BOOK. IF YOU REALLY BECOME A REAL FAN OF MY ART AND ARE IN FULL
MADE ACCESSIBLE TO MY ART IN FULL, INCLUDING ALL OF THE AUDIO ACCUMULATED OVER THE PAST YEAR AND A
HALF THEN YOU WILL FIND I WAS WRITING MORE THAN ONE BOOK OR RECORDING AND
WRITING DIFFERENT BOOKS SIMULTANEOUSLY.
THIS IS THE JOY OF HAVING
ALL OF THE WORKS OF YOUR FAVORITE ARTIST. YOU GET TO LEARN I WAS WRITING THE
PHONE GIRL AND CFK BACK TO BACK. THE PHONE GIRL IS A NOVEL BUT IT IS AN
AUTOBIOGRAPHICAL NOVEL. BECAUSE IT IS A NOVEL BECAUSE IT IS FICTION BUT IT
ACTUALLY REALLY HAPPENED TO ME. EVERYTHING IN THE PHONE GIRL BOOK IS REAL. I AM
NOT ABOUT TO WRITE AN AUTOBIOGRAPHICAL NOVEL CALLED I BOUGHT A GIRL A PHONE.
NAH I AM GOING TO WRITE A
NOVEL CALLED THE PHONE GIRL AND THIS GIRL KNOWS SHE IS THE PHONE GIRL BECAUSE I
TOLD HER SHE IS THE PHONE GIRL AND SHE JUST MADE ME RICH. SHE BROKE MY HEART
AND THEN GOT PLAYED RIGHT AFTER THAT. THEN SHE WANTS TO COME BACK TO ME LIKE IT
IS ALL MILK AND COOKIES; HIM DOWNSTAIRS. SO THIS IS WHERE THE BOOK CAME FROM.
IT IS A PART OF THE FORMULA BECAUSE I BROKE THROUGH WRITERS BLOCK. (A
DOUBLE-DOUBLE OCCURRED) A DOUBLE-DOUBLE IS WHEN YOU ARE THINKING ABOUT
SOMETHING AND THEN SOMETHING WEIRD HAPPENS IN YOUR ENVIRONMENT.
TRACK TWO –
THE OTHER PART OF THE FORMULA, THE KEY ELEMENT IS THE
CONCEPT YOU ARE WRITING ABOUT; THE SUBJECT MATTER, THE MATERIAL, WHAT ARE YOU
WRITING ABOUT? THIS IS THE MOST IMPORTANT THING TO FIGURE OUT. IF YOUR ANSWER
TO THE QUESTION IS NOT WHAT I AM WRITING ABOUT IS SOMETHING I FEEL DEEPLY AND
HEAVILY IN MY HEART THEN YOU HAVE A GREATER CHANCE OF FAILING AT YOUR OBJECTIVE. THE OBJECTIVE OF WRITING IS TO PURPOSELY IMPART AN EMOTION UPON THE
READER DESIRED FROM THE WRITING PROCESS. THIS IS JUST MY OWN DEFINITION OF CREATIVE WRITING. IF
I AM GOING TO WRITE A SCARY STORY THEN MY INTENTION MUST BE TO SCARE YOU
AND MUST ACCOMPLISH THE OBJECTIVE BY
ACTUALLY BEING SOMETHING ACTUALLY SCARING YOU. IF IT IS OF THE HORROR VARIETY THEN IT SHOULD
SCARE YOU. IF IT IS A HORROR COMEDY THEN IT SHOULD MAKE YOU LAUGH IN A
SUSPENDED MANNER MAYBE.
YOU MAY BE MORE OUTRAGED AT
HOW PREPOSTEROUS IT MAY SEEM OR YOU MAY BE DISGUSTED AT HOW GORY IT IS BECAUSE
IT IS OF A MORE SATIRICAL AND SPOOF LIKE MATTER. SHAUN OF THE DEAD MAY GET AWAY
WITH A LITTLE MORE BUT AN INTENDED HORROR MOVIE MAY HAVE MORE RESTRICTIONS ON
GORE. IF YOU ARE NOT WRITING ABOUT WHAT IS THE MOST BURDENING ASPECT OF YOUR
EMOTIONAL COMPLEXITY THEN IN MY OPINION YOU ARE GOING TO FAIL BECAUSE YOU ARE
NOT BEING REAL TO YOURSELF.
THE PHONE GIRL WAS A
SITUATION REALLY HAPPENING TO ME SO WHILE THE SITUATION WAS HAPPENING TO ME I
WAS WRITING POEMS ABOUT IT EVERY DAY IN THE FORM OF OF THE PHONE GIRL VERSE NOVEL. NOW THE TYPE OF POEMS I
WROTE IN THE FIRST FOUR PARTS OF THE PHONE GIRL SAGA ARE AVAILABLE NOW. THE
PHONE GUY WILL BE THE FIRST PART OF THE PHONE GIRL SAGA. THE LONE GIRL IS PART TWO
AND THE PHONE GIRL IS PART THREE BUT TAKES PLACE IN THE SAME TIME FRAME AS THE
PHONE GUY. IT IS JUST OF THE OPPOSITE PERSPECTIVE.
I SUGGEST YOU WRITE OTHER THE CHARACTER’S PERSPECTIVE OF CERTAIN TIME FRAMES IN EVERY PROJECT. IF YOU WAIT
UNTIL YOUR BOOK IS DROPPED AND SUCCESSFUL YOUR NEWLY ACCUMULATED FAN BASE MIGHT
ROB YOUR ROUGH DRAFT MATERIAL OF YOUR NEW VERSIONS. OUT OF LOVE THEY WILL
LOVINGLY COPY AND PASTE THE FILE AND LEAK IT TO ALL OF THE OTHERS CRAVING YOUR
NEW MATERIAL.
YOU WOULD BE BETTER OFF
WRITING YOUR STORIES BACK TO BACK SO YOU CAN INCORPORATE FUTURE STORIES INTO
THE FUTURE STORIES AND INCORPORATE THE FUTURE STORIES INTO THE PRESENT STORY.
WITHOUT BEING CONFINED BY WHAT YOU WROTE A LONG TIME AGO. FOR EXAMPLE, THE LAST
BOOK I WROTE WAS THE PRINCE WHO KNEW TOO MUCH. FROM NOVEMBER 13TH TO
NOVEMBER 21ST, 2016 I WAS WRITING IT AND IT WAS PUBLISHED ON THE 21ST
MAKING IT THE FASTEST IDEA I HAVE EVER TURNED AROUND. IT WAS PUBLISHED ON THE
DAY IT WAS FINISHED.
WHAT DOES THIS MEAN? IF I PUBLISHED IT ON THE DAY I
FINISHED TYPING IT THEN IT MEANS I WAS TYPING IT FROM THE BEGINNING. I DIDN’T
WRITE IT AND THEN TYPE IT UP OR TYPE IT ON MY TABLET AND THEN EMAIL IT TO
MYSELF BEFORE COPYING IT AND PASTING IT INTO A WORD 2003 DOCUMENT AS I WOULD
HAVE NORMALLY DONE. NO, AFTER THESE TEN BOOKS I HAVE DONE I HAVE REALIZED IT
WOULD BE A LOT EASIER FOR YOU IF YOU WOULD JUST FORMAT EVERYTHING FROM THE
BEGINNING.
YOU ARE NOT ALWAYS GOING TO
BE ABLE TO USE THE SAME TOOL. THE TABLET OR THE PHONE OR THE PAPER AND PEN WILL
NOT ALWAYS BE AVAILABLE. AT LEAST YOU CAN FORMAT YOUR 2003 WORD DOCUMENT IF YOU
USE WWW.LULU.COM.
YOU CAN ADD A BORDER AND PAGE NUMBERS, EVEN A WATERMARK OF A CONCEPTUAL
KEYWORD. HOLD ON, LET ME SWITCH TRACKS.
TRACK THREE –
OK, YOU
WANT TO MAKE SURE YOU FORMAT FROM THE BEGINNING JUST SO IT DOES NOT SEEM AS
OVERWHELMING AS IT MIGHT REALLY BE. IT IS GOING TO SEEM REALLY JOYOUS WHEN YOU KNOW, ON THE SAME DAY
YOU FINISH TYPING UP THE LAST CHAPTER OF THE BOOK, ALL OF THE OTHER CHAPTERS
ARE DONE ALREADY AND YOU JUST HAVE TO PROOFREAD OR ORDER A COPY TO PROOFREAD. I
ORDER A COPY OF MY BOOKS TO PROOFREAD. NOW I PROOFREAD ON THE BLOG IMMEDIATELY BEFORE POSTING IT FOR FREE.
I USE
THE BOOK TO MAKE IT EASIER TO PROOFREAD IT AND CIRCLE ERRORS AND MAKE THE
CORRECTIONS TO THE FILE. ON MY ADVANCE COPIES YOU GET TO SEE MY HUMANITY. HOW
MUCH IT MAY APPEAR I KNOW ABOUT WRITING I STILL AM NOT PERFECT. SEEING THE
PROFESSOR’S ERRORS MAY INSTILL CONFIDENCE IN THE STUDENTS.
I WILL
SHOW YOU HOW TO CRANK OUT A NOVEL IN THIRTY DAYS AND EVENTUALLY BREAK IT DOWN
INTO ONE TO THREE DAYS IF YOU REALLY WANT TO. I GUESS THIS IS THE SECRET TO HOW
I DID IT; I REALLY WANTED TO. I AM GIVING YOU ALL THE GAME RIGHT NOW IN A BOOK
AND ON CD. AFTER TWENTY YEARS OF WRITING POEMS I GIVE THIS TO YOU.
I WILL
BE 27 YEARS OLD AT THE END OF THIS MONTH. I WAS SEVEN WHEN I WROTE
MY FIRST POEM. I WAS TWELVE WHEN I DIRECTED MY FIRST SHORT FILM IN MY BACKYARD
WITH NO FILM SCRIPT OR EDITING SOFTWARE. I SHOT EVERY SCENE IN ORDER. I WAS
FIFTH-TEEN LIVING IN CONYERS, GEORGIA WHEN I WROTE MY FIRST POETRY JOURNAL.
BETWEEN EIGHT-TEEN AND TWENTY-ONE I HAD ACCESS TO OTHER PEOPLE’S CAMERAS WHERE
I WAS ABLE TO PRACTICE MY CINEMATOGRAPHY.
THEN AT
TWENTY-ONE I HAD RECEIVED MY FIRST CAMERA AS AN ADULT. THANK YOU GOD AND MY MOTHER. AT TWENTY I COMMITTED TO
WRITING MY OWN MOVIES AND DIRECTING THEM. THE CAMERA AT TWENTY-ONE WAS A
VALENTINE’S DAY PRESENT FROM GOD AND MY MOTHER. AT TWENTY-ONE CHADFILMS MADE
HIS DEBUT. THE DEBUT OF CHADFILMS WAS KEVITV. WHEN YOU TYPE IT IN YOU MIGHT
HAVE SOME TROUBLE FINDING IT DUE TO THE FACT SOME GROUP OF SCOUNDRELS STOLE OUR
NAME. THEY CALL IT KEVITVONE.
IF YOU
LOOK AT BOTH OF THE CHANNELS YOU WILL SEE SIMILARITIES IN THEIR VIEWERSHIP.
THEY HAVE SOME OF THE SAME VIEWS OUR VIDEOS HAD. KEVITV WAS THE START OF
CHADFILMS. IT WAS JUST ME UTILIZING MY NIECE’S ACTING POTENTIAL; SHE DIDN’T WANT
TO DO THIS. SHE HAD A REAL BIG FANBASE FOR IT BUT IT IS WHAT IT IS. ALL OF THESE
YEARS LATER YOU KNOW I AM ON THE VERGE OF BUILDING A REAL BIG FANBASE FOR WHAT
I AM DOING IN DEEP CREATIVE SOLITUDE.
KEVITV
IS GOING TO MAKE A CERTIFIED COMEBACK BECAUSE I HAVE ANOTHER NIECE NAMED MALIAH
AND SHE LOVES ME SO MUCH. WE HAVE A LOT OF AUDIO OF US RAPPING TOGETHER OR I
MIGHT BE RECORDING A BOOK AND SHE’LL BARGE IN AND TAKE OVER. SO KEVITV IS GOING
TO MAKE A COME BACK WITH THAT.
AFTER
KEVITV I STARTED MY OWN CHANNEL SEEXZAVIERFILMS. IT WAS INTENDED AS A PUN, TO
GO SEE XZAVIER’S FILMS. YOU WANT TO MAKE SURE YOUR CONTENT IS HEARTFELT BECAUSE
THAT IS HOW THE PHONE GIRL WAS. THE PHONE GIRL WAS A REAL STORY AND I WROTE
ABOUT HOW I FELT ON THE SITUATION EVERY DAY. THEN THIRTY DAYS LATER I HAD THE
BOOK DONE. THIS IS WHEN I REALIZED I HAD CREATED AS FORMULA FOR IT. I HAD BEEN
WRITING POEMS FOR YEARS BUT WHEN I DECIDED TO WRITE SCRIPTS I TRIED TO
IMMEDIATELY JUMP INTO IT WITHOUT FULLY REALIZING WHAT A SCRIPT WAS. I NOW HAVE
ENOUGH PERSISTENT FAITH AND INTELLECTUAL CONFIDENCE IN MY ABILITY TO VISUALLY INTERPRET THE STORY ON PAPER. OR ANY FORMAT AT THIS POINT.
AS LONG AS YOU HAVE A SUPER
CLEAR VISION OF HOW YOUR SCRIPT IS GOING TO GO YOU CAN JUST CLOSE YOUR EYES AND
VISUALIZE EVERY SCENE OF A SIXTY SCENE FILM. WHERE EVERY ACT CONSISTS OF JUST TWENTY PURE SCENES. ALL OF THESE YEARS I WAS
ATTEMPTING TO DO A NOVEL OR A FILM SCRIPT YET COULD NEVER FINISH THEM. I BROKE
THEM UP INTO FORMATS AND SAID I WAS GOING TO HOLD ON TO THE IDEA UNTIL I PUSH
IT OUT MYSELF.
I AM GOING TO PUBLISH THIS
MYSELF AND PUSH IT ON THE STREET MYSELF AND BUILD A FANBASE TO A MILLION. THEN
HOLLYWOOD WILL COME KNOCKING ON THE DOOR LIKE SHOW ME YOURS AND I WILL SHOW YOU
MINE.
THE PHONE GIRL CAME FROM
HEARTBREAK. IN THE SITUATION MY HEART HAD FELT LIKE A BLACK HOLE FOR
CREATIVITY. I HAD SO MUCH PAIN IN MY HEART OVER THE SITUATION I WAS ABLE TO TAP
INTO THE PAIN AND USE THE PAIN TO PULL OUT THE CREATIVITY NECESSARY TO FINISH
THESE STORIES.
I WAS SO HURT, I KNEW
EXACTLY HOW I FELT. ONLY WHEN YOU KNOW EXACTLY HOW YOU FEEL CAN YOU PUT IT
DOWN. IF YOU CAN ONLY PUT DOWN WHAT YOU FEEL THEN YOU SHOULD ONLY WRITE
EXACTLY WHAT YOU FEEL ABOUT. WHATEVER IT IS, ALL OF MY NOVELS, THEY REALLY
REPRESENT MY PERSONAL PHILOSOPHY. DESPITE THE GENRE, ALL OF MY NOVELS ARE
ACTUALLY PHILOSOPHICAL NOVELS.
THEY ARE NOVELS DERIVED FROM
MY PHILOSOPHY. MY PHILO FOR THE PHONE GIRL MIGHT BE MY PHILO ON DATING AND THE
TYPE YOU DATE. MY PHILO FOR THE BOOK WET CUTS MIGHT BE DATING PREMATURELY VS. A
SOLITUDE, AMBITION STREAK WHERE YOU ACHIEVE ALL OF YOUR DREAMS FIRST. THEN YOU
ARE DATING WITH MORE LEVERAGE AND LESS VULNERABILITY TO FINANCIAL CIRCUMSTANCES
TIED IN WITH THE EMOTIONAL COMPLEXITIES OF A RELATIONSHIP.
I FEEL A MILLIONAIRE COUPLE
MIGHT ARGUE LESS OVER MONEY. THEY CAN TRAVEL WHEN THEY HAVE A DIFFERENCE
INSTEAD OF JUST HAVING A DIFFERENCE OVER THE FACT THEY CAN NOT TRAVEL. WHO
WANTS A BROKE DADDY? IT IS JUST THIS SIMPLE.
TRACK FOUR –
THE
PHONE GIRL WAS DONE IN THIRTY DAYS. I WAS LIKE OK NOW I HAVE MY FIRST BOOK AND
IT CAME IN THE FORM OF POETRY. I STARTED OFF WRITING A POEM ON HOW I FELT AND I
KEPT DOING IT. NOW THIS IS MY FORMULA BECAUSE IT FLOWS FASTER, IT IS MORE
DESCRIPTIVE AND I CAN DERIVE FROM IT THE OTHER FORMATS. I CAN TURN THE SOURCE
MATERIAL INTO NARRATIVE, INTO PROSE, INTO EXPOSITORY, A FILM SCENE, A STAGE
PLAY SCENE, A COMIC BOOK STRIP, A GRAPHIC NOVEL PAGE, A SONG.
IT IS
ABOUT FORMATS ALRIGHT? THIS IS HOW YOU CREATE A ONE HUNDRED MILLION DOLLAR
FRANCHISE. FORMATS, YOU WANT YOUR PROJECT TO BE ON AUDIO BECAUSE SOME PEOPLE DO
NOT LIKE TO READ OR HAVE TIME TO READ. PUT THE PROJECT ON AUDIO AND THEY CAN
LISTEN TO IT EVEN IN SLEEP. I SUGGEST YOU PLAY THIS LOWLY WHILE YOU SLEEP.
YOU
SHOULD POP THE CD IN WHEN YOU ARE SLEEPING SO YOU CAN FIND YOURSELF USING SOME
OF THE TACTICS UNKNOWINGLY. IF YOU REALLY WANT TO KNOW SOMETHING THEN YOU WANT
TO PUT IT IN YOUR SUBCONSCIOUS MIND QUICKLY. FOR EXAMPLE, PHOTO READING AND
LISTENING TO AUDIO BOOKS WHILE YOU SLEEP. YOUR CONSCIOUS MIND WILL NOT EVEN
KNOW AND YOU WILL BE PLAYING INTELLIGENCE DÉJÀ VU.
THE
PHONE GIRL WAS DONE IN THIRTY DAYS. AFTER THIS I WAS LIKE OK I HAD JUST FINISHED
MY FIRST BOOK AND I WAS SO EXCITED. I WAS LIKE WHAT AM I GOING TO DO NOW? KEEP
THE MOMENTUM UP PLEASE, DO NOT EVER LOSE IT; THE BEST ADVICE SELF GIVEN. I TOOK THE ADVICE
AND KEPT GOING. THAT WAS CFK. THE PHONE GIRL ONE, CFK ONE, THE LONE GIRL, CFK
TWO, THE PHONE GUY, CFK THREE THRU SIX. THEN FROM HERE I STARTED THE UNFINISHED
CFK MEMOIRS PRE 26 YEARS OLD.
JANUARY
I WAS WORKING ON A BLOG, THE RESTLESS WRITER, TALES OF AN ALL NIGHTER.
CLEVERLAND AND CLEVERFIELD WAS WRITTEN IN
FEBRUARY. THEN I MOVED AND FINISHED U.G.L.Y QUOTRY WHICH IS THE NAME OF MY MAIN
BUSINESS INSTAGRAM. THEN I GOT MY JOB AT P AND G AND I WAS WRITING A 13 PAGE
BOOK RANDOM QUIRKINESS. I PLACED IT AS A PREVIEW IN THE FIRST CFK SAGA BOOK.
I WROTE
A FEW SHORT STORIES AS MY FIRST ATTEMPT IN A NOTEBOOK I LEFT AT WORK FOR
WRITING ON MY BREAK. THE NOTEBOOK DISAPPEARED. I LOST ALL OF MY FIRST SHORT
STORY NOTEBOOK. THOSE MONTHS WENT DOWN THE DRAIN. SOME OF THOSE POEMS CONTAIN
WHAT WOULD HAVE BEEN PUT INTO THE PHONE GIRL PART FOUR.
THOSE
WOULD HAVE BEEN NICE BUT IT IS WHAT IT IS WHATEVER, THE BOOK IS STILL OUT. AT
THIS POINT I STARTED WRITING A BUNCH OF MATERIAL THAT STARTED DISAPPEARING
WHETHER I LOST IT OR I GAVE IT AWAY FOR A SINGER TO MAKE IT INTO A SONG AND
THEN I NEVER HEARD FROM THEM AGAIN.
I MIGHT
HAVE GIVEN OUT LIKE TWENTY PAGES AND THEN TWENTY MORE PAGES TO TWO DIFFERENT MUSIC ARTISTS WHO CAN’T WRITE LYRICS. AT THIS POINT I WAS REALLY JUST PAYING A DEBT TO THE
UNIVERSE. IT IS WHAT IT IS. I AM NOT GOING TO TRIP FOR THIS IS WHAT I DO. I
GAVE AWAY FORTY PAGES LIKE IT WAS NOTHING. I JUST POPPED IT OUT.
I LOST
THE FIRST FEW POEMS FOR THE STIPULATION KING IN THE LOST 2016 P AND G NOTEBOOK.
I LOST NERDS IN THE HOOD AND IT WAS COMPLETE. I LOST 10-20 POEMS ON THE PHONE
GIRL NUMBER TWO AS IN ANA THE 2ND PHONE GIRL SAGA.
TRACK FIVE –
ALRIGHT, SO LET ME TRY TO FLOW THRU THIS WORKBOOK REAL
QUICK TO GIVE YOU THIS THING. ALRIGHT WRITER’S BLOCK STARTED TO GO AWAY WHEN MY
CREATIVE WRITER CAME OUT AND I GOT THE FORMULA. I REALIZED AS LONG AS I WAS
WRITING ABOUT SOMETHING THAT WAS HEAVY IN MY HEART, THERE IS NO WRITER’S BLOCK
BECAUSE I FEEL SO DEEPLY ABOUT IT.
NOW
THERE IS GOING TO COME A TIME WHEN YOU READ BACK WHAT YOU WROTE OR YOU DON’T
EVEN READ IT FOR YOU KNOW WHAT YOU WROTE BECAUSE IT IS MAKING YOU CRY, TREMBLE
OR WHATEVER – WHATEVER. AT THAT POINT YOU’RE GOING TO ASK YOURSELF; DO I FEEL
COMFORTABLE ENOUGH FOR ANYBODY, A PERSON CLOSE TO ME OR A COMPLETE STRANGER TO
READ THIS AND KNOW IT IS ABOUT ME? DO I FEEL COMFORTABLE?
WHETHER
THE ANSWER IS YES OR NO YOU SHOULD GO AHEAD AND LET THEM READ IT. NOW, IF IT
MAKES YOU REALLY UNCOMFORTABLE AND IT’S A REALLY DARK SECRET, DON’T DO IT. AS
LONG AS IT IS NOT A REALLY DARK SECRET, DO IT. FEEL ME? JUST ONLY HOLD BACK
YOUR REALLY DARK SECRET. AS LONG AS IT IS NOT YOUR REALLY DARK SECRET THEN
THERE IS NOTHING TO BE ASHAMED ABOUT.
AS LONG
AS YOU ARE BEING HONEST ABOUT IT AND IT IS REALLY WHAT HAPPENED/HOW YOU FELT
ABOUT IT. NOW AS LONG AS YOU LIVE BY THIS CRITERIA WHEN WRITING BOOM: YOU WILL
NOT GET WRITER’S BLOCK ANYMORE. IF YOU HAVE WRITER’S BLOCK IT IS BECAUSE YOU
ARE WRITING ABOUT SOMETHING YOU SHOULDN’T BE WRITING ABOUT. HOW ABOUT THAT?
REAL WRITERS DON’T GET WRITER’S BLOCK. IF I WANT TO WRITE, THEN I AM GOING TO
WRITE BECAUSE I AM A WRITER.
THAT IS
JUST HOW IT GOES. I’M SORRY BUT THAT’S JUST HOW IT GOES. RIGHT? WHEN YOU WANT TO EAT, YOU EAT. YOU
DON’T GET STOMACH BLOCK DO YOU? I DON’T.
I’M NOT SAYING WHEN I’M WRITING I DON’T EVER HAVE A STUMBLE WHERE I JUST PAUSE.
IT IS ACTUALLY PRETTY ENTERTAINING BECAUSE I WOULD WRITE ON LUNCH BREAK AND THE
OTHER BREAKS WE HAVE. IT WOULD BE A TEN MINUTE BREAK AND I WOULD SIT DOWN ON MY
BREAK AND TIME THE PAPER BEFORE WRITING.
ABOUT A TEN OR FIFTH-TEEN MINUTE BREAK FRIEND
I AM WRITING NON STOP. MY HAND MIGHT STOP MOVING HALFWAY DOWN THE PAGE AND THEN
YOU SEE ME PULL MY HAND ALL THE WAY BACK. YOU’LL HEAR A CRACK, IT’LL DO LIKE
THAT AND I’LL BE LIKE OH THAT’S WHERE IT IS AT. RIGHT? BECAUSE I AM STRETCHING
MY HAND BECAUSE IT HURTS BECAUSE I’VE BEEN HAVING IT CROUCHED IN THAT POSITION. THE HAND HELD HOSTAGE TO MY CONSTANT CREATIVITY.
BOOM! SO THEN I FINISH THE
OTHER HALF AND I MIGHT FINISH HALF THE PAGE OR THE WHOLE PAGE IN FIVE OR TEN
MINUTES, IT DOES NOT MATTER. IT DEPENDS ON WHAT I’M WRITING ABOUT, IT DEPENDS ON
WHAT I AM WRITING ABOUT. THAT’S WHY YOU WANT TO TIME EVERYTHING. ONCE YOU START
TO TIME EVERYTHING THEN YOU START TO LOOK AT IT LIKE A SPORT. ONCE YOU LOOK AT
IT LIKE A SPORT YOU REALIZE ONCE YOU TIME EVERYTHING IT IS THE STATISTICAL
POINT OF NO RETURN.
ANY READER OF YOUR MATERIAL MAY SEE THE TIMES, AND THEY CAN LEARN A LOT. HERE’S WHAT YOU LEARN FROM TIMING
YOUR MATERIAL, HERE’S WHAT THE READER LEARNED FROM YOU TIMING YOUR MATERIAL. THEY
KNOW WHEN YOU STARTED AND FINISHED IT. MEANING THE INDIVIDUAL PAGE OR POEM.
THEY KNOW WHEN YOU STARTED AND FINISHED THE ENTIRE PROJECT. THEY KNOW WHEN YOU
STARTED AND FINISHED ALL OF THE RELATED PROJECTS (SEQUELS, PREQUELS AND SPIN
OFFS).
THEY
KNOW WHEN YOU STOPPED OR TOOK A BREAK. THEY KNOW WHAT OTHER PROJECTS YOU WORKING
ON THE SAME DAYS AND THEY KNOW WHAT THEY WERE DOING ON THOSE SAME DAYS. SO IT
IS MORE OF A CONNECTION, THEY KNOW MORE ABOUT IT AND IT IS UNSAID. IT IS ALL IN
THE MATH. JUST BY YOU PUTTING THE TIME YOU MADE IT AND THEY LOOK AT IT THE DAYS
THEY READ IT; THEY MADE THE MATH CONNECTION.
IT IS A
MATHEMATICAL EQUATION OF YOUR PRODUCTIVITY. WHEN YOU TIME YOUR MATERIAL, IT IS
LIKE TIMING YOURSELF RUNNING A MILE. YOU’RE NOT GOING TO RUN A MILE WITHOUT
TIMING IT OR DO 1000 PUSH UPS WITHOUT COUNTING THEM UNLESS YOU ARE JUST DOING
TOO MUCH TO NEED TO TIME IT. UNTIL THEN JUST TIME IT BECAUSE IT MAKES
EVERYTHING A LOT MORE LEGIT AND IT PRODUCES A SMILE ON THE READER’S FACE. I’VE
SEEN IT MYSELF.
YOU WANT
THEM TO KNOW WHAT THEY WERE DOING WHEN YOU WERE WRITING YOUR MATERIAL AND THAT
IS THE BASIC CONNECTION. THEY COULD HAVE BEEN GOING THRU SOME EXTRANEOUS
EMOTIONS ON THE DAYS YOU WROTE IT. THEY COULD HAVE BEEN GETTING KICKED OUT.
THEY COULD HAVE BEEN PUSHING A CAR. THEY COULD HAVE BEEN CLIMBING UP A TREE IN
THE RAIN.
YOU
DON’T KNOW WHAT THEY WERE GOING THRU WHEN YOU WERE WORKING ON THE PROJECT AND
THAT IS WHAT WILL PROVIDE THE CONNECTION. YOU HAD NOTHING TO DO WITH IT. ALL
YOU DID WAS PROVIDE THE TIME YOU CREATED IT SO THEY COULD SEE THE CONNECTION.
THE FIRST STEP IS TO BLEED ON THE PAGE. YOU HAVE TO BLEED ON THE PAGE.
I CAN
FILL UP AN ENTIRE PAGE IN TEN MINUTES BECAUSE I AM GOING TO BLEED ON THE PAGE.
IT IS LIKE A TRICK; IT IS LIKE SOMEONE SAYING HEY CHAD HERE’S THIS PIECE OF
PAPER NOW FILL IT UP. I’M LIKE OK, I TAKE IT AND PUT IT IN MY TRENCH COAT. I
TAKE IT OUT OF MY TRENCH COAT AND ALL OF THE INK IS JUST BLEEDING AND DRYING UP
ALL GLOSSY.
THAT’S
THE KEY, TO GETTING OVER THE WRITER’S BLOCK. THE SECOND KEY TO GETTING OVER THE
WRITER’S BLOCK IS YOU ARE GOING TO KNOW WHAT TO DO TO PUMP UP YOUR INSPIRATION
REAL QUICK. GO TO GOOGLE AND TYPE IN FORMS OF POETRY. GO TO GOOGLE AND TYPE IN
LIST OF LITERARY TERMS ON. GO TO GOOGLE AND TYPE IN CHARACTER ARCHETYPES ON
GOOGLE. GO TO GOOGLE AND TYPE IN
ANYTHING SIMILAR TO THIS AREA OF LITERARY ELEMENTS OF A STORY.
YOU USE
STORY ELEMENTS IN CONJUNCTION WITH QUOTES RELATED TO YOUR STORY TO SOUP UP YOUR
IDEAS. PICK A CONCEPT FOR YOUR STORY AND FIGURE OUT WHAT YOU HAVE TO READ OR
WATCH TO RESEARCH YOUR STORY.
FOR EXAMPLE,
I AM WRITING A BOOK ABOUT THE MAFIA AND I HAVE TO STUDY THE MAFIA. ONCE I KNOW
ENOUGH ABOUT THE MAFIA THEN I CAN FEEL COMFORTABLE WRITING A STORY ABOUT THE
MAFIA. SO WHATEVER YOU ARE GOING TO WRITE ABOUT YOU WANT TO GET YOUR STUDYING TOGETHER
FIRST. ONCE YOU HAVE STUDIED ENOUGH ABOUT YOUR STORY IF IT IS NOT A REAL LIFE
SITUATION TURNED INTO A NOVEL.
I WOULD
SUGGEST AUTO-BIOGRAPHICAL NOVELS INSTEAD OF AUTO-BIOGRAPHY BOOKS. HAVE BOTH; I
DO AUTO-BIOGRAPHICAL NOVELS BECAUSE A LOT THAT COMES FROM IT, I COULD MAKE IT
AN AUTO-BIOGRAPHY BUT I DON’T NECESSARILY WANT ALL OF THOSE STORIES IN THE
AUTO-BIOGRAPHICAL SECTION. I CAN INCLUDE ALL OF THE STORIES IN MY
AUTO-BIOGRAPHY AND I WILL BUT CERTAIN THINGS HAPPENING TO ME IN REAL LIFE I
WOULD RATHER MAKE IT INTO A NOVEL TO BE HONEST WITH YOU.
THE
PHONE GIRL BOOK WAS MY WRITING FORMULA FIRST EXTERNALIZED. IT TURNED INTO
SOMETHING BIG BUT I DON’T WANT THE PHONE GIRL IN MY MEMOIRS. THE PHONE GIRL IS
A REAL PERSON AND WAS A REAL SITUATION. SO, IF I PUT THE SITUATION ONLY IN AN
AUTO-BIOGRAPHICAL PUBLICATION, THEN IT IS KIND OF LIKE I’M JUST SNITCHING.
BUT IF I
TAKE THIS THING THAT REALLY HAPPENED TO ME AND I SPRINKLE IT INTO A BOOK,
MASKING IT INTO A NOVEL THEN IT IS LIKE PAYBACK. YES, THE PHONE GIRL IS REALLY
OUT THERE BECAUSE SHE IS A REAL PERSON. YES, THAT’S SOME CREEPY PASTA FOR YOUR
TAIL.
TRACK SIX –
ANYWAY,
LET’S TRY TO GET THRU HERE. CAN I ACTUALLY FINISH RECORDING THIS ENTIRE BOOK IN
ONE HOUR? I HAVE EIGHT MINUTES LEFT. GO ONLINE AND TYPE IN LITERARY TERMS. I
KNOW I HAD SOME QUESTIONS TO ASK YOU TOO BUT ANYWAY HERE IS WHY YOU USE
QUOTES.
I
STARTED USING QUOTES DURING CFK 5 AND 6. I DIDN’T PUT THE QUOTES IN THE BOOK
BUT AFTER THIS POINT I STARTED USING QUOTES IN THE MAJORITY OF THE STORIES I
WROTE. THE ONLY TIME I DON’T USE QUOTES IS WHEN I AM WRITING ABOUT SOMETHING I
FEEL CONFIDENT ENOUGH TO EXPRESS WITHOUT THE USE OF QUOTES. IF I NEED TO
SUPERCHARGE THE THOUGHT AND MAKE IT DEEPER THEN I GET THE QUOTE.
I DID
NOT COMPREHEND WHAT A QUOTE WAS UNTIL I STARTED USING THEM IN MY WRITING. A
QUOTE IS A PHRASE, A SENTENCE OR A PARAGRAPH FROM A PERSON WHO HAS ACHIEVED
SUCCESS IN THEIR OWN INDUSTRY AND THEY HAPPEN TO LAY DOWN THE QUOTE. WHEN YOU
READ THE QUOTES YOU CAN READ THEM IN CATEGORIES LIKE HAPPINESS, LOVE, JOY,
EARTH, HATE, FURY, BLISS, ANGER, RAGE, SOCIETY, POLITICS, THE PRESIDENT, THE
PRESIDENCY, POLITICIANS, AMERICA, EUROPE, NORTH AMERICA, SOUTH AMERICA, ASIA.
YOU WILL
STUMBLE ACROSS SOMETHING SUPERCHARGING YOUR STORY. FIGURE OUT YOUR STORY
CONCEPT. FIGURE OUT THE CONCEPTS THE STORY WILL BE TALKING ABOUT. WHATEVER THE
STORY IS ABOUT THEN BREAK IT DOWN INTO THE EXPRESSED EMOTION. IF YOUR STORY IS
ABOUT YOUR GRANDMOTHER DYING AND YOU BEING SAD ABOUT IT THEN BREAK DOWN THOSE
EMOTIONS. FIND QUOTES ON THOSE EMOTIONS AND APPLY THOSE QUOTES TO WHAT YOU ARE
ALREADY PLOTTING IN YOUR HEAD OR ON PAPER.
GO TO WWW.BRAINYQUOTE.COM AND
TYPE IN YOUR CONCEPT KEYWORDS. TAKE THE FIRST TEN OR TWENTY QUOTES AND THIS
SHOULD GET YOU FAR ENOUGH UNTIL YOU DECIDE IF YOU ARE GOING TO USE THE SAME
KEYWORD QUOTES OR SWITCH QUOTE TOPICS OR SWITCH AUTHORS.
FOR
EXAMPLE, THE LAST FRANCHISE I STARTED UNDER THE PEN NAME DAVID X. CRICHTON IS
CALLED THE PRINCE WHO KNEW TOO MUCH. THE SEQUEL IS CALLED THE PRINCE’S PHILO.
IN THE FIRST BOOK I USED QUOTES ON DESTINY. IN THE PRINCE’S PHILO I USED ALBERT
CAMUS QUOTES WHERE EVERY CHAPTER USES AT LEAST ONE OF HIS QUOTES. IN THE PRINCE’S
FATE I WILL USE QUOTES ON FATE.
SOMETIMES
I MIGHT READ A QUOTE THAT FLOODS MY BRAIN SO MUCH I CAN FILL UP A CHAPTER OR
PAGE OR POEM USING IT. SOMETIMES A QUOTE ONLY GETS ME THROUGH A PARAGRAPH. SOMETHING
ELSE I STARTED TO USE IN THE BOOK “WET CUTS” WAS STATISTICS. IT IS ALL ABOUT
AMBITION AND GUYS MAKING THEIR AMBITION TOWARDS ACQUIRING SEX. ALL YOU HAVE TO
DO IS WATCH THEM BECAUSE THEY WON’T ADMIT IT.
MY VERSION OF “WET CUTS”
USES STATS LIKE TEENAGE PREGNANCY. 500,000 PREGRANCIES A YEAR. 4.6 MILLION KIDS
BORN A YEAR. 1.2 MILLION ABORTIONS OR MISCARRIAGES. THE NUMBER OF ABORTIONS
ALMOST MATCHED THE NUMBER OF MISCARRIAGES. WHY COULDN’T NATURE SWITCH THE
MOTHERS INSTEAD? THAT IDEA IS A NARRATIVE IN ITSELF. LOOK OUT FOR THAT SPIN OFF.
IT WAS JUST WILD LEARNING
STATS AND AT THIS POINT I STARTED USING STATS. I WOULD WRITE ONE POEM OR PAGE
BASED ON A STAT. YOU CAN EXPAND THE CATEGORIES TO SPARK YOUR BRAIN WITH. YOU
CAN FIND OTHER CATEGORIES TO BOOST UP YOUR STORY DETAILS. PICK A SUBJECT TO WRITE ABOUT AND THEN PICK
OUT QUOTES OR STATISTICS ON YOUR STORY. FIND THE DIFFERENT TYPES OF POEMS IF
YOU CAN WRITE A POEM EASIER THAN YOU CAN WRITE A PAGE OF PROSE OR NARRATIVE.
THEN YOU HAVE TO PICK OUT
THE TYPE OF POEM AND THEN APPLY THE QUOTE OR STAT OR CASE STUDY. YOU ADD THE
HEARTFELT CONCEPT TO THE QUOTES OR STATS ON THE HEARTFELT CONCEPT AND THEN YOU
ADD IT TO THE TYPE OF POEM OR LITERARY ELEMENT OR DEVICE.
(ALLITERATION, CONSONANT,
ASSONANT, ENJAMBMENT, ADJECTIVE, ANTHOLOGY, COUPLET, ENVOI, ENVOY, CHORUS,
FOOT, HYBERBOLE, IAMBIC PENTAMETER, KENNING, METAPHOR, ONAMOTEPIA,
PERSONIFICATION, OXYMORON, CONUNDRUM, POETRY, POETRY SLAM, POWERFUL VERB,
PROSE, RHYMING COUPLET, RHYME, SIMILE, QUATRAN, REPETITION, STANZA, SYLLABLE,
TERCET, REFRAIN, RHYTHM, VERB, VERSE)
IT IS NOTHING MORE THAN A
LITERARY EQUATION. IT STARTS OFF WITH A STORY ABOUT THIS CONCEPT AND I AM GOING
TO USE THESE QUOTES, THESE STATS, THESE LITERARY TERMS AND THESE CHARACTER
ARCHETYPES. NOW YOU HAVE YOUR NOTES. YOUR NOTES INCLUDE ALL OF YOUR CASE
STUDIES, ALL OF YOUR NARRATIVE JUICERS. AS LONG AS YOU GET THIS PART HERE OF THE
EQUATION, THEN YOU GOT IT AND YOU CAN DO IT.
LET’S SAY YOU GET IT, NOW
LET US MOVE ON TO HOW THIS BOOK ITSELF WAS CREATED. THIS BOOK ON HOW TO WRITE A
BOOK WAS NOT ORIGINALLY WRITTEN AT ALL. THIS BOOK IS A TRANSLATION OF A W.A.V. FILE THAT MUST BE CONVERTED TO MP3 BEFORE RELEASING THE AUDIO ONLINE AND ON CD
FORMAT ON DATPIFF.COM UNDER THE D.X.C. PEN NAME.
LET US SAY YOU DO NOT GET
HOW TO WRITE A BOOK YET. I GET IT, EVEN FOR ME AS A WRITER, THE THOUGHT OF
PRODUCING A NOVEL IS INTIMIDATING. DETAILS, CHARACTERIZATION, PUNCTUATION AND
GRAMMAR IS SCARY TO MOST PEOPLE. YOU MAY NOT HAVE BEEN WRITING YOUR WHOLE LIFE
BUT YOU HAVE BEEN TALKING FOR ALL OF YOUR LIFE.
SO WHY NOT THINK IT WOULD BE
EASIER TO TALK THE STORY OUT? YOU CAN BUY ANY RECORDER BUT THE ONE I AM USING
IS A 70$ TASCAM DR RECORDER. BUY THE NEWEST VERSION. TURN THE DECIMAL LEVEL ALL
OF THE WAY UP AND TURN THE VOLUME UP 50 TO 75%. NOW YOU HAVE THIS REALLY LOUD
THING GOING ON. IT ALSO HAS EXTERNAL MICROPHONES SO YOU CAN DECIDE IF YOU WANT
TO BE HEARD PRIMARILY ON THE LEFT OR RIGHT EAR.
IT RUNS ON DOUBLE A
BATTERIES SO BUY A FEW PACKS OF BATTERIES AND A RECHARGEABLE SET OF BATTERIES
AND THE CHARGER SO YOU CAN BEGIN TO FILM YOUR LIFE. GET READY FOR THE TIME OF
YOUR LIFE. I HAVE JUST STARTED TRANSCRIBING MY AUDIO SOURCE MATERIAL INTO
PUBLICATIONS AND HERE IS WHAT I HAVE DEDUCED.
EVERY TEN MINUTE RECORDING
EQUALS 2-5 PAGES OF TRANSCRIBED MATERIAL DEPENDING ON HOW FAST OR SLOW I AM
SPEAKING. I RECORD FOR ONE HOUR WHICH WOULD BE SIX TRACKS OR I WOULD GO TO TEN.
I WOULD TYPE UP THE TEN TRACKS AS ONE BOOK. 20-50 PAGES ARE DERIVED FROM SOURCE
MATERIAL AUDIO. I HAVE 50 HOURS OF UN TRANSCRIBED AUDIO SOURCE MATERIAL FROM
MAY, 2015 TO 1-1-2017. THAT EQUATES TO
50 MORE BOOKS TO ADD TO THE ULTIMATE DAVID CRICHTON AUDIO TRANSLATION 2016
COLLECTION.
TRACK SEVEN –
ANOTHER THING, GET THE RECORDER, SIT DOWN AND CLOSE YOUR
EYES. YOU CAN OPEN YOUR EYES, TAKE ALL OF YOUR NOTES, USE YOUR NOTES AND JUST
FLOW THE STORY OUT. USE YOUR NOTES, YOU CAN EITHER FREESTYLE POEMS WITH
RHYMEZONE.COM AND PICK OUT ALL OF THE WORDS YOU WANT TO USE AND THEN IT COMES
UP WITH ALL OF THE RHYMES FOR THE WORD AND YOU JUST HAVE TO FREESTYLE IT. YOU
HAVE TO PUT IT TOGETHER ON AUDIO, WITHOUT WRITING IT. ALL YOU HAVE IS THE LAST
WORD YOU ARE GOING TO USE.
YOU HAVE TO FILL IN THE
BLANK. THIS IS WHAT I AM TRYING TO GIVE YOU. A FILL IN THE BLANK ON A BOOK. I
AM GOING TO TAKE EVERYTHING I JUST SAID, TYPE IT ALL UP AND WHATEVER I DIDN’T
INCLUDE IN IT THAT NEEDED TO BE INCLUDED I WILL ADD IT BUT REALLY HOPE THE
AUDIO DOESN’T NEED ANYTHING ELSE I COULD SAY TO BE MORE EFFECTIVE IN HELPING
YOU WRITERS.
I REALLY WANT TO INCLUDE
CHARTS AND THINGS I CAN NOT JUST SAY. IF IT IS SOMETHING I COULD SAY HERE AND I
DIDN’T SAY IT I WOULD FEEL LIKE THIS AUDIO IS NOT AS COMPLETE AS A PROJECT
INTENDED TO HELP WRITERS WOULD NEED TO BE.
CHARACTERIZATION – THIS IS
ANOTHER PART YOU SEE PEOPLE CRITICIZE IN MOVIES AND NOVELS. MY CHARACTERIZATION
IS GETTING BETTER BUT I KNOW AT LEAST THIS MUCH. MY BOOK “THE PRINCE WHO KNEW
TOO MUCH” IS MY FIRST OFFICIAL SHORT NOVEL, PROSE, AND NARRATIVE WRITTEN LIKE A
DIARY ENTRY. EVERY CHAPTER IS A DIARY ENTRY USING QUOTES ON DESTINY. IT IS
WRITTEN IN FIRST PERSON DIARY PERSPECTIVE FORMAT.
I FIND THIS THE EASIEST WAY
TO PUSH IT OUT BEFORE TRANSCRIPTION. MAYBE YOU SHOULD TRY THIS WAY AND JUST
GIVE IT A SHOT. WRITE IT AS DIARY ENTRIES IN FIRST PERSON PERSPECTIVE. I READ A FEW ARTICLES. THE FIRST ARTICLE
I READ WHEN I WAS 20-22, THE ARTICLE SAID TO PICK A SUBJECT YOU ARE PASSIONATE
ABOUT, WRITE DOWN HOW YOU FEEL ABOUT THE SUBJECT AND THEN BOOM, GIVE THE
FEELING TO A CHARACTER. IT IS THIS SIMPLE.
WRITE DOWN HOW YOU FEEL
ABOUT SOMETHING. EVEN IF IT IS NOT RELATED TO THE STORY, WRITE DOWN HOW YOU
FEEL ABOUT YOUR FAVORITE CHIPS AND YOUR LEAST FAVORITE CHIPS AND GIVE THIS TO
YOUR CHARACTER. NOW WHEN YOUR READERS READS THIS IT IS GOING TO MAKE YOUR
CHARACTER MORE ACCESSIBLE TO THEM. YOU ARE YOUR CHARACTERS, YOUR CHARACTERS ARE
AN EXTENSION OF YOURSELF. WRITE DOWN YOUR FAVORITE FRUIT OR FOOD AND YOUR LEAST
FAVORITE FOOD AND FRUIT OR VEGETABLE.
NOW YOUR READER’S KNOW YOUR
CHARACTER’S FAVORITE CHIPS. I LOVE THE BOONDOCKS SO MY CHARACTERS LOVE THE
BOONDOCKS. I AM OBSESSED WITH JFK/RFK AND THE PRESIDENCY AND I WILL HAVE
CHARACTERS IN STORIES NOT RELATED TO CFK OR THE BLACK JFK WHO ARE JUST OBSESSED
WITH THE KENNEDY PRESIDENCY.
THIS IS THE BEAUTY OF BEING
A WRITER; YOU CAN SPRINKLE YOURSELF INTO YOUR OWN IMAGINATIVE STORIES. SO WHAT
ELSE? CHARACTERIZATION, DO THE DIARY FORMAT EVEN IF YOU DIDN’T WANT TO DO THIS FOR THE ENTIRE BOOK. YOU CAN EVEN WRITE THE DIARY FORMAT AS THE TREATMENT OF THE
STORY AND THEN INDIVIDUALLY PUBLISH THE DIARY FOR THE CHARACTER. IT IS AN
EXTENSION OF THE SERIES, IT IS A PART OF THE FRANCHISE.
THE DIARY OF YOUR CHARACTER
YOU CAN BE OFFERED AS AN ALTERNATIVE PURCHASE FOR YOUR FANS TO BUY ONCE YOUR STORY
GETS POPPING. WHEN! A SIDE BOOK,
“THE TWILIGHT SAGA” “THE SECOND SHORT LIFE OF BREE TANNER” “THE HUNGER GAMES”
MAY NOT HAVE A SIDE BOOK. “INSURGENTS” HAS A SIDE BOOK. YOU HAVE TO PLOT THIS
STUFF IN ADVANCE.
ALL OF THESE PEOPLE, I DO
NOT KNOW IF THE SIDE BOOKS WERE WRITTEN WITH THE ORIGINALS. WHETHER THEY DID OR
NOT, SHE STILL DID IT AND I SAY YOU SHOULD STILL DO IT NOW. I ALSO SAY YOU
SHOULD DO IT AT THE SAME MOMENT.
FOR EXAMPLE, SHOUT OUT TO MY
HOMIE CECE THE WRITER FROM NY. I SAW HER AT WORK, GAVE HER A COPY OF “THE
PRINCE WHO KNEW TOO MUCH” AND TOLD HER THE SEQUEL IS ALREADY DONE. SHE WAS LIKE
“WORD, THE SEQUEL IS ALREADY DONE? YOU ARE NOT WASTING ANYTIME? YOU ARE A BEAST
WITH IT.” WHAT’S GOING ON?
THIS IS WHY I AM MAKING THIS
TAPE BOOK. I AM NOT MAKING THIS TAPE FOR ME BECAUSE I ALREADY KNOW HOW TO MAKE
BOOKS. SO WHY I AM GIVING AWAY MY SECRET? (5SECOND PAUSE) THAT’S WHY I WAS GIVEN THE SECRET, TO GIVE IT
OUT. GOD SHOWED ME THE FORMULA SO I CAN SHARE IT WITH THE WORLD. I MEET MANY
PEOPLE WHO WANT TO WRITE BOOKS AND THEY SEEM TO HAVE MUCH MORE TROUBLE WITH IT
THAN I DO. I FEEL I CAN BREAK IT DOWN ON A LEVEL SO THEY CAN REALLY TAKE OFF
WITH IT.
THIS CAN BE ONE OF MY MANY
GIFTS AND CONTRIBUTIONS TO SOCIETY. A DOCUMENT ON HOW TO WRITE A BESTSELLER
NOVEL IN A THIRTY DAY PERIOD AND THEN BREAK IT DOWN TO A 7 DAY AND A 3 DAY
PERIOD IS A HELL OF A CONTRIBUTION TO THE LITERARY ARTS. I WOULD JUST HAVE
INSPIRED AN ENTIRE GENERATION OF WRITERS ON HOW TO MASS PRODUCE AN EMPIRE OF
INTELLECTUAL PROPERTY. A PUBLICATION EMPIRE OF NOVELS.
I REALLY DO NOT WANT TO
LISTEN BACK TO THIS HOUR AND TYPE UP WHAT I SAID AND KEEP PLAYING IT BACK.
(TUPAC’S ALL EYEZ ON ME ALBUM PLAYS OVER AS I FINISH TYPING THIS LAST TRACK.
THANK YOU DEAREST READER. PROOFREAD BY THE AUTHOR. PUBLISHED BY THE AUTHOR. COPYRIGHT OWNED BY THE AUTHOR. CHAD X. HARRIS UNDER DAVID X. CRICHTON PEN NAME.
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