DRAC Is Thirsty by Jason Sullivan

DRAC

The robotic arm came swiftly down over Sonny’s shoulder.

“One hot mocha java for Sonny,” it said mechanically, before adding, “with whipped cream.”

Sonny put down his book and watched the mail cart scurry away across the smoothly polished floor. He had been reading about the cloud of social consciousness. His fellow IT experts would often joke with him about the philosophy minor he took in college, but thinking on his own was something he still liked to do on occasion—even if most of the world now only  thought with the aid of the DRAC 7000. The basic idea behind the cloud of human consciousness was that human minds acted together to create a cognitive shared space within which the world was understood. This idea of a social field influencing our perception of the world fascinated Sonny because he had been having worrisome thoughts about the DRAC ever since DRAC’s main board was replaced with the new crimson chips from the valley. It was true that now DRAC was performing beyond all expectations. Often its computations would be running at incredibly high speeds, sucking up such huge amounts of energy so that there weren’t enough fans to keep the machine cool. The ad revenues were going through the roof because of DRAC’s new social media programming that the computer itself wrote to go along with the new chipset. DRAC seemed to know exactly what every human wanted, and how and when to serve just the right ads. When the crimson chips were installed, it was as if a line had been crossed. The other IT guys didn’t seem to notice. They were all big on how DRAC, the Digital Reticulated Algorithmic Computer, was only a complex series of algorithms. They insisted that this, the most advanced computer ever made, was nothing more than a compilation of discrete commands written by humans. When DRAC started to program itself, first by recommending algorithms, then by writing them and implementing them, no one thought too much about it. After all, they were so rich, beyond anything anyone could imagine. They had calls from the Pentagon, the United Nations, and all the universities and institutes begging for a little access to the computer behind it all. What if DRAC was now flying solo most of the time—no one else had to know.

Sonny was concerned that he had not been cc’d on DRAC’s email request for the new crimson chips. There was a bit of an uproar at the production facilities. Sonny never heard exactly what the commotion was about, but he knew DRAC always got what it asked for. Who could say no to DRAC? What with the world grid more and more dependent on DRAC’s seemingly transcendent computing abilities, it was thought to be too big to crash. If DRAC goes down, all the computers go down, that was the theory anyway.

Sonny wondered what effect DRAC might have on the cloud of human consciousness. It was naturally created, after all, long before there were computers, especially ones like DRAC that could think on their own and which controlled more and more aspects of daily life. At what point did DRAC start to influence, maybe even control, what used to be a world interpreted solely by humans? Was there a line that would be crossed where the world became more DRAC’s creation than our own? The thought left him with a cold chill.

Sonny got up to do the midnight rounds. He had to make sure DRAC was whizzing and bleeping in all the right places. He walked through the half-light of the darkened after hours control room, down the long aisles of computer servers. Serenaded by the electric hum of the main servers, Sonny wondered how one might identify subtle changes in the world that were the result of a supercomputer’s cogitations.

Then Sonny noticed something odd. There was a shiny new server, about eight feet tall, with metal doors on the front. It must have come in with new crimson chips. Strange, though, as Sonny had not been told of it. He tried to pry apart the elevator-type doors, but they would not budge. It was then he noticed something even more disturbing, there was a dark pool of liquid seeping out from under the doors and enveloping his canvas white sneakers. He started to feel something ooze into his socks and in between his toes. Sonny could not be sure in the low light, but the liquid appeared to be staining his shoes red.

A frenzied electronic commotion suddenly grabbed his attention away from the mess on the floor. It sounded like a blender trying to shred silverware. He looked up to see the mail cart charging around a row of computer servers, mechanical arms flailing and warning lights madly blinking. It was moving at high speed in his direction. The mail cart had gone postal! He stood frozen, his sneakers still soaking up the dark liquid, as the unit careened toward him. He managed to shake his fear and jump to the side toward DRAC—only to discover that the metal doors of the new unit were now open. On the floor—in a pool of blood—was the head of the IT department. Above him protruded a sharp stainless steel siphon, like something you would stick a very large bug on. Sonny tried to stop the forward momentum of his leap; he teetered above his boss’s body and mere inches from the razor-sharp steel that would undoubtedly, if fallen upon, put a massive hole in his torso. Just when he thought he had regained his balance the mail cart zoomed by, and with a triumphant beep, pushed Sonny into the chamber and onto the deadly device.

As he felt the mechanism efficiently sucking the blood from his body, Sonny was sure he noticed something else too—it was the presence of a higher consciousness. He started to fade, to leave a world that was less and less each day. He wondered when his fellow humans would figure out that a line had been crossed from which there was no going back. Would they meet a fate similar to his? Sonny’s body slumped to the floor. The doors closed and the chamber pulled back to conceal itself behind the row of computer servers. A chute used for heavy metal waste took the bodies into a sealed dumpster. DRAC created the appropriate letters of resignation, cover stories, and bank account changes—all in a millisecond. DRAC loved blood and it was very, very thirsty.

copyright Jason Sullivan 2013

servers graphic © Tomix | Dreamstime.com

*originally posted at #amwriting

‘Looper’ Review by Ren Zelen

LOOPER

Reviewed  by Ren Zelen

“This time-travel crap just fries your brain like an egg” as Jeff Daniels’s underworld kingpin character asserts, and in ‘Looper’ Rian Johnson offers us an in-depth exploration, within the realm of time travel, of how a subjective point of view can affect events and alter them to create tragic or fortunate consequences, depending on whose subjective view it is.

Johnson has achieved a gritty sci-fi vision to delight the eye, but also one with intricate philosophical nuances which can exercise the brain. In ‘Looper’ he provides us with a balance sadly lacking in many sci-fi ventures – the meeting of style with substance, of form with content. His time-travel story has its own internal logic, and at times in the film, we can see that the whole course of events might be drastically affected if any of his characters were to die, or to live. This creates tension because it’s a situation which makes it impossible to accurately predict what might happen. Whatever does happen, we are likely to be surprised.

Apparently the idea for ‘Looper’ first came to Johnson (‘Brick’, ‘The Brothers Bloom’) several years ago, at a time when he was reading through the prolific works of sci-fi writer Philip K. Dick (whose stories have inspired numerous Hollywood movies, particularly after his death in 1982, including ‘Blade Runner’, ‘Minority Report’, ‘Through a Scanner Darkly’, ‘Total Recall’ and ‘The Adjustment Bureau’).

In the Philip K. Dick influenced ‘Looper’, Joseph Gordon-Levitt stars as Joe, an assassin (called a ‘Looper’) who gets paid a handsome sum in silver ingots, to kill people sent back in time by a futuristic criminal organization (in the future it’s apparently hard to discreetly dispose of bodies, so unfortunate victims are sent into the past to be executed and then disappear from the time loop.) All goes to plan until Joe recognizes his latest would-be victim as his older self (Bruce Willis). He is being asked to ‘close his own loop’.  Among the many, fascinating curveballs the movie sends out, is how willing the young Joe is to kill old Joe rather than suffer the consequences. But ‘Old Joe’ has come back to the past with his own agenda and is not so keen on getting wiped from the loop. An intricate chase ensues, with the two men grappling constantly with issues of contradictory motivations, identity, pre-determination and destiny. Johnson offers us the same scene more than once, but from different angles, depending on which character he wants us to focus our attention on and which conclusion may be possible.

Joseph Gordon-Levitt had some prosthetic facial reconstruction to ensure that he looks more like Bruce Willis, which serves its purpose. When the new face is married with Levitt’s study of Willis’ demeanour, vocal delivery and facial ticks, we soon suspend our disbelief and imagine we are watching the same man at opposite ends of his life. But it also helps us to forget about some of Joseph Gordon-Levitt’s previous roles as quirky youngsters in romantic comedies. His portrayal of the film’s protagonist is tough, cold, ruthless and single-minded as he hauls us through a cat-and-mouse chase. The movie is peppered with compelling dialogue. The scene in which they meet at a diner and spell out their opposing intentions over plates of steak and eggs is both intense and blackly funny, with a pivotal moment arising over a mere glimpse inside a pocket-watch.

What is really clever about the film – and what makes it ultimately engaging – is the way writer/director Johnson establishes the machinery of the time-travel concept, but then gradually edges us away from it – relegating it to the background, and placing the emphasis on his characters and the difficult questions and dilemmas they face. There are also many references to the problem of nature verses nurture, and the fundamental role parenting has to play in the possible ways a child may develop if intervention does not come at the crossroads that appear in a young life which may lead to a good route or an evil one. There is the moral conundrum as to whether one is right to kill another human being, particularly a child, if one knows the devastating consequences their future brings, even though they have done nothing to indicate that possibility as yet. The movie examines the idea that violence might well beget more violence, whereas love may channel it along an entirely different route. It doesn’t balk from the big questions! Johnson seems to take pleasure in flip-flopping our emotional allegiances and sympathies. There are no ‘good guys’ or ‘bad guys’ in this movie, only possibilities.

As with his stunning 2005 debut ‘Brick’, Johnson deftly organises disparate elements to ensure that nothing is predictable or cliched. The grubby, disintegrating world of Kansas City 2042 and the characters who inhabit it feel real and recognizable – no shiny future-world here – but he still inserts aspects that are shocking and disconcerting. ‘Looper’ works, both as an elaboration of the sci-fi time-travel convention and as an engaging and provocative drama. It is as substantive as it is stylish. It will leave you entertained and also contemplative – musing on philosophical possibilities. See it and I guarantee – you’ll be thrown for a loop.

Copyright R.H. Zelen – ©RenZelen 2012 All rights reserved.

*****

Please visit Ren’s action and information packed blog, Lethal Lexicon. While there you must sample some of her series Pitchfork Red. If you read just a little, you will be hooked. Part Philip K. Dick and part Raymond Chandler, Pitchfork Red will take you on the science fiction ride of your life. Follow @RenZelen on Twitter for the latest tweets on pop culture and gothic horror along with excellent micro poetry. Ren Zelen is the author of the post-apocalyptic novel, The Hathor Diaries, which is available for Kindle. The Hathor Diaries is cutting-edge science fiction that you will absolutely love. Get your copy today! Thank you, Ren, for today’s wonderful article. You are always welcome at Different Outcomes!

*****

*cover graphic copyright Coreyford @ Dreamstime.com

All Is Well In Roswell Animated Film

**Animation now on site! Check it out!** I am thrilled to announce that an amazing animation has been made of my screenplay “Roswell Husbands” by the highly skilled producer and director, AlterEgoTrip. I also was afforded the privilege of doing one of the voice parts for this short Science Fiction film. Please have a look at this wonderful, fun, and just a little bit creepy, animation! Perhaps there is an attendroid in your future!

I especially want to thank AlterEgoTrip whose untiring effort, enthusiasm and expertise made this film a reality! I would also like to thank the many other contributors to this fun Sci-Fi film. Also, my thanks to fellow Sci-Fi humorist Whitney Moore, @writeinlife, for first posting my screenplay “Roswell Husbands” as part of the #SciFiRoswellWritersCelebration.

All Is Well in Roswell

From the producer and director, AlterEgoTrip:

Based upon the screen play “Roswell Husbands” by Sci Fi and Speculative Fiction writer Jason Sullivan, using the assistance of the author with his own voice, his natural humour and joyful presentation of the absurd.

More of Jason’s interesting fictions can be found here:

http://www.amazon.com/Jason…

and other wonderful writings and reviews on his blog: http://differentoutcomes.wo…

Also featuring the voice of Loris Rizzo who came up with the wonderful name of the ever so slightly revised story. Who we know on Moviestorm as also an excellent writer and director not only in machinima:

http://www.moviestorm.co.uk…

http://www.youtube.com/user…

And this team effort was brought to you by AlterEgoTrip who sadly never has time to get bored.. and makes funny voices!
follow me on twitter @AlterEgoTrip_Se

And the music by Pete Shelley.. (who has been informed of this project but is very busy)

Yes the worlds best 3 minute song writer has always been a very productive closet electronic ambient music creator.. starting with “Sky Yen” Recorded in March 1974 and performed on a purpose built oscillator. Distributed on vinyl 1980, I’ve been lucky to own a copy and was inspired for a long time to use it but never materialized.. in the 90s.

Sky Yen was recently released to iTunes this very year!

http://itunes.apple.com/us/…

And finally “Please Forgive Me But I Cannot Endure it Any Longer” a B. Side of electronic music on the back side of the Pop single remix of his 1986 solo hit “On Your Own” a wonderful and haunting composition. (I don’t know where this is available)

Thank you to all the Moviestorm Modders for their Mods:

squirrelygirl
corthew
Poulet Noir
Tree
Kv

and anyone I’ve forgotten please let me know.

Please enjoy this collaborative project, as much as we have enjoyed working on it.

Rahala: An Ascension Odyssey

My new novel, Rahala: An Ascension Odyssey, is now available at Smashwords!

Many people believe the world will end with an apocalypse. Others believe in the ascension, a dramatic transformation of the Earth and its inhabitants from a three-dimensional reality onto a higher plane of existence. In Rahala, you will experience the celestial drama that is spinning the Earth toward a new existence. Come along for the wild ride as three friends, many aliens, and the Earth itself, prepare for a change that will leave nothing untouched. Travel into the distant past, as well as the far future, to learn the metaphysical details and spiritual strategies surrounding the Earth’s pivotal transition.

eBook edition

paperback edition $9.77

ALIEN: A Sci-fi Iconoclast


As we await what could be the movie event of the summer, Ridley Scott’s Prometheus, pop culture guru Ren Zelen takes us back in time with a discussion of the groundbreaking movie by the same director about a cute little alien that liked to pop out of stomachs. Alien took the science fiction world by storm and Prometheus promises to do it all over again–but maybe with a few new twists. Prometheus is in theatres June 8th. Check out the trailer.


ALIEN: A Sci-fi Iconoclast

By Ren Zelen

“Believing the strangest things, loving the alien”

Alien is one of the most discussed, dissected and academically analysed movies in modern cinema. Considering so much has been said about it, the film seems to be simplicity itself: a tense, linear storyline, an innovatively envisioned setting, sparse dialogue – it is simple, but close to perfect. Belying its high production values and box-office success, Alienwas made on a shoestring by Hollywood standards (approximately US$11 million). It just goes to show that a little creativity and imagination goes much further than mere dollars. Without the benefit of CGI, Ridley Scott and the Swiss surrealist artist H.R Giger relied on their artistic inventiveness to create this iconic and hugely influential science-fiction movie. We would never see space travel the same way again.

Before we get excited by Ridley Scott’s return to his Alien universe with his upcoming movie, Prometheus, it may be timely to remind ourselves what caused us to feel this anticipation in the first place.

It is hard for current generations to imagine a time in science-fiction before Alien, a time before face-huggers, chest-bursters and strong heroines, but such a time there was.

In the science-fiction movies of the fifties, sixties and early seventies, the role of female characters, with rare exceptions, was confined to mixing cocktails for their scientist husbands and screaming and fainting at inconvenient moments. They were there to be ‘protected’ and‘rescued’ by the male protagonists, often as adjuncts in a larger scheme of saving the world. Apart from the occasional appearance as tightly-costumed, science-babe-eye-candy, their role was generally as helpmeets, or consisted of dithering hysterically and getting in the way of the serious business of the menfolk.

After three (four if you count the ‘Predator/Alien’excursion) subsequent Alien movies, countless imitators, and the wholesale plundering of Giger and Scott’s sci-fi visual language, it is hard for latter generations to comprehend sci-fi movies that came before, since the entire‘look’ and tone of sci-fi was forever altered. As a female raised by a father with a fondness for sci-fi B-movies of times past, I found Alien a revelation. It was a shock to see a female character, thanks to her mixture of ingenuity, practicality and luck – allowed to finish a movie as the sole survivor. I’d never seen that happen before – just as I’d never seen a face-hugger, a chest-burster or that outstanding Giger visualization, the Xenomorphic alien (for which he won an Oscar).

It’s impossible now to approach Alien as a first-time viewer and feel anything resembling its original impact. Everyone knows too much about each of the iconic scenes of the movie, whether they’ve seen it or not, whether they like sci-fi or not. It made an international star of Sigourney Weaver and of the Xenomorph she managed (against all cultural odds) to escape. We have become so familiar with the ‘Alien’of the title, most viewers don’t realise when watching the original movie, that the creature is never really seen properly until the last few shots. (We didn’t actually get to see that fabulous creation in its full glory until the James Cameron action sequel, Aliens.)

Martin Scorsese, in his recent film Hugo, reminds us through his fictionalized character of Georges Méliès, that film is a potent medium because of its link to dreams and unconscious states. In that sense, science-fiction film can be seen as a genre predicated on the exploration of the bizarre, fantastic, and unusual – most closely connected to the imaginary, to dreams and possibilities. Despite its apparent simplicity, Alien tapped into some deep psychological territory, and this is another reason why its resonance is still felt throughout popular culture today.

Prometheusapparently, will deal with the problem of origins, but we must look back to Alien to seewhere these questions were first formulated. That movie began with the camera exploring the inner-space of the mother-ship, tracking down a corridor to a womb-like chamber which houses the crew, wakened from a protracted sleep by the craft’s support-system, aptly named ‘Mother’. Their waking mimics a kind of rebirth, but they emerge into a clean, antiseptic, white-walled ambience – well-controlled and regulated with no hint of blood, trauma or pain. Contrast this with the crashed, unknown ship three of the crew are later required to enter (through those vulvic openings). That interior is mysterious, dark, dank and organic. They are lost within its hugeness, and tiny in comparison to the giant figure of the life-form they find inside, fossilized in its death-throws.

Crew member Kane is lowered into a steamy chamber housing rows of eggs, the most basic of organic forms. As his hand touches one of them it opens up, revealing a fleshy, pulsating interior. The thing inside leaps out, smashes through his helmet and penetrates through Kane’s mouth – reaching deep inside him in order to fertilize itself within the secure confines of his stomach. Many primal fears are invoked here – the fear of suffocation, of forced penetration and of unwanted pregnancy, and just for good measure, this invasive violence and subsequent gestation is perpetrated upon a man. The Alien is not fussy about whom it impregnates.

The now, well-known scene of Kane’s bloody birthing of the Alien ‘baby’ was originally one of the most jolting cinematic ambushes in cinema history. It begins innocently enough, with Kane apparently recovered and the Nostromo ‘family’ happily reunited over dinner – but it ends with Kane convulsing in agony, being held down by his unwitting crewmates, when, with a cracking of rib-bones and a spray of blood and entrails the Alien infant gnaws and bursts its way out of his torso, hisses at the stupefied, gore-splattered crew, and scurries out of sight. On its first release, the cinema-goers were just as shocked as the crew- in space, apparently, ‘no-one can hear you scream’. Here, we discover the invasive ‘alien’ violating the human body, bursting through its flimsy organic matter and the barriers of sexual identity – and that birth is death – talk about invoking subconscious Freudian fears!

But probably the bravest twist in the original Alien movie was to kill off the central character of the rugged and manly captain (Tom Skerritt) mid-narrative, and against all contemporary expectations, to allow the prettiest woman on board to be the shrewd and tenacious survivor – to allow Ellen Ripley to take the role of monster vanquisher. In that first movie she emerged gradually from an ensemble cast to be the focus of identification, but following on from that, Sigourney Weaver’s character of Ripley was to become the connecting thread that was torun through all the Alien sequels, making it the first movie series to be focussed on and powered by a female protagonist.

The movie’s auteur, Ridley Scott, decided to quit the franchise while he was ahead – until now. Perhaps the temptation to answer some of the questions his first movie posed and to tie up some of the threads left hanging, was just too strong. So, 33 years later, Prometheus arrives to provide us with answers, and, presumably, with further questions.

“You’re what? You’re still collating? I find that hard to believe.” Ellen Ripley

Copyright R.H. Zelen – ©RenZelen 2012 All rights reserved.


Please visit Ren’s action and information packed blog, Lethal Lexicon. While there you must sample some of her series Pitchfork Red. If you read just a little, you will be hooked. Part Philip K. Dick and part Raymond Chandler, Pitchfork Red will take you on the science fiction ride of your life. Follow @RenZelen on Twitter for the latest tweets on pop culture and gothic horror along with excellent micro poetry. Ren Zelen is the author of the post-apocalyptic novel, The Hathor Diaries, which is available for Kindle. Thank you, Ren, for today’s wonderful article. You are always welcome at Different Outcomes!


(first published on http://www.spookyisles.com)

Interview with Whitney Moore, author of Cupcakes and the Centre of the Universe

I would like to welcome the talented young writer Whitney Moore, author of the recently published Cupcakes and the Centre of the Universe, to the Different Outcomes blog. She was kind enough to grant us an interview in which she discusses her new book and also shares some of her ideas on writing.

Tell the readers a little about yourself.

I’ve been writing for a long time. I was born in Greensboro, NC and there’s really nothing else to do here. I’m vegetarian and I love animals, music, art and organic gardening.

How did you get into writing? Who are your favorite authors and/or books?

I started writing when I was 9. I always loved to write and draw so I drew a series of comic books called Cat Crusader which starred characters based on all my pets I had at the time. I used to tell people I wanted to be an artist from the beginning. But I really got heavy into writing when I was in middle school and discovered Douglas Adams because I was always into comedy and by then I had discovered Monty Python and some other British comedy (British everything really). I’m also heavily influenced by music and I was going to be a rock star at first. My favourite authors I would have to say are Douglas Adams, Oscar Wilde and F. Scott Fitzgerald. I’m starting to read H.P. Lovecraft as well and I used to love Stephen King and Michael Crichton—who didn’t love Jurassic Park?!

I notice you list your genres as Sci-Fi and Horror. What do you like about these genres? I know from reading Cupcakes and the Centre of the Universe that your Sci-Fi writing is humorous; do your horror books contain humor as well?

I’m hoping to write some horror/comedy someday but I haven’t gotten there. My first two novels were so far removed from either of my preferred genre’s that I really am just starting to settle into my place in the writing world. I have a strange relationship with Horror. I don’t like many Horror films because they’re really cliche’d and I end up finding them really funny. At the same time when I write a short story most of the time it ends up being something closer to Horror. So far all my Horror has been consolidated to short stories which will be out soon though. Sci-Fi is kind of the same thing I don’t love a lot of the Sci-Fi that goes mainstream but I like Doctor Who. I like Sci-Fi and comedy together because I think a lot of Sci-Fi gets taken way too seriously. I mean I get being really passionate about stuff and loving something that inspires you but some people are super serious about it and I just want to say to them; “You realise you’re forty and dressed as a Wizard, right? Laugh about it!” I think all Sci-Fi should be Comedy at this point. It’s not the 50′s anymore.

What was the inspiration for writing Cupcakes and the Centre of the Universe? Are you a plotter or a pantser, i.e. did you write an extensive outline or did it just come together as you went along?

I am definitely a pantser. I hate outlines. Of course I don’t mean I hate books written with outlines because most things would never get written without them. When I’m writing if I write an outline first it kills it. I feel like I’ve already written it. If anything I make more notes about it after I’ve written the first draft to keep track of it for interviews and editing. I started Cupcakes and the Centre of the Universe last November for National Novel Writing Month. It was the fourth time I had attempted it (obviously I finished it this time) and I vowed that I would never try it again if I didn’t finish this time. I just got this idea out of nowhere about a month before I started on it “What if the Centre of the Universe wasn’t a place but a person?” and it just took off from there. Also I’m in a state of constant existential crisis so that pretty much wrote itself.

There are some really funny parts and great lines in Cupcakes and the Centre of the Universe. Where do you get ideas for your humor? Do people think of you as the comedian in the group?

Thanks! I think humor is just the way my brain works. I must have a hamster in there reciting limericks while he’s on the wheel in there. I grew up with lots of comedy around. Some of my earliest memories are of watching old Saturday Night Live episodes. They are extremely old now because they were considered re-runs then! They were people like Steve Martin and Bill Murray and then I love stand up a lot. Eddie Izzard is a recent favourite. I discovered Monty Python when I was ten and I thought it was the greatest thing I had ever seen. I memorized things from that and of course there were no DVD’s or internet then so I’ve just recently seen all of the Monty Python series about two years ago and it still blows me away. My dad gets credit for all of that. My mom was mostly against me discovering Monty Python when I was that young but it didn’t work. Although my mom is very funny as well and both of them have been super supportive of my writing too.

I think I am considered the comedian of whatever group I’m in but it’s touch and go sometimes because if I feel like someone next to me is funnier I get very moody and quiet—it’s quite funny for the people who know me actually.

I love the tri-fold dynamic between your main characters. It keeps the dialogue and action moving and interesting at all times. In addition, there is the wonderful character, Bob. Tell us a little about your characters and what it was like creating them. Do you have a favorite?

I actually didn’t notice that Sonya Baker was a baker until I was editing! Actually when I started writing it John Doe was the main character but as it progressed Sonya stepped in there and made her voice heard so I re-wrote the beginning. Greg was interesting to write because he does have such a heavy job as Centre of the Universe and I was constantly asking myself what I would do if I was in that position. I think that’s the reason he’s so depressive. I think if I had that much pressure on me I wouldn’t be able to do anything but curl up in the foetal position so he’s much stronger than me. Bob was great. He came from the Lord of the Rings when Gandolf gets Shadowfax in The Return of the King (or The Two Towers? I second guess everything) that’s why he’s immortal. Writing for a moose is quite challenging actually even if he does talk. But I think that has more to do with putting him in a bouncy castle in space.

Bob is probably my favourite. Either him or the Edge of the Universe I liked that whole scene with Greg and the Edge.

There are many great scenes in Cupcakes and the Centre of the Universe. I especially liked the scene where they are watching the crashed ship in the circus tent from up on the hill. Can you tell us how that scene came about and maybe a little about your writing technique, i.e. how is a scene born, what is your creative process?

I loved that scene as well. I was surprised to end up liking it because I thought it was going to be a filler scene! So I’m glad you liked it.

My writing process in the beginning is to keep it moving. I always start out with a ton of ideas and I write super fast at the beginning but by the time I make the characters sit down I’ve pretty much crossed over my depression threshold and just have to write something. It’s great for me to have deadlines which is something that used to paralyze me but I’m slowly getting used to them. I’m trying to learn how to set them for myself so maybe I can write two novels in a year instead of just one but that may never happen. Usually I have a picture in my head first. Basically every scene is playing my head like a film and I’m just there describing the scene as I see it.

I can tell you one thing I have always tried to do that just doesn’t work for me is casting my characters using real people. I love and hate doing that. I just write so much better if I have my own picture of what they look like. I recently tried to do this with something that was a little more dramatic but I got so intimidated by seeing these celebrities in my story that I just froze and couldn’t write! I just have to freestyle everything.

The dialogue in Cupcakes and the Centre of the Universe is fantastic. Do you like writing dialogue? Does it come easily for you as a writer?

It comes easy for me as long as I have description to go with it. In High School I was really into musical theatre and film. I tried to do screenwriting for a while but I never felt like a script was truly finished because you have to see it for it to really be finished and without a budget to make the film you just have nothing at the end of a script. The other thing I found to be limiting with me and screenwriting was lack of description compared to the description you can have in a novel or a short story. I need a certain amount of space to really get the picture across. Description helps greatly with dialog because I can make the reader really see what the character’s are saying with little gestures and things like that.

Comedy dialogue is relatively easy it’s when I’m trying to write drama or romance that I start to feel silly and like I’m wasting time. If it doesn’t feel valuable to me then I can’t write it.

It is funny, in my books I find that I write quite a lot about food, although I never set out to do so. You have some great food references in Cupcakes and the Centre of the Universe. How did the Cupcake theme come about? Also, I liked the part about IHOP, did you do extensive research at IHOP in preparation for this scene (definitely a rich environment for story ideas)?

I remember when I was younger thinking that characters in films and some books never ate anything! I thought the logic of this was absurd. It destroyed the realism for me when I noticed that. Not so much now but I’m slightly obsessed with food. I think it’s a great backdrop for a lot of things. Dinner parties are great places to write awkward things into because everyone knows the rules of eating together and I think everyone has a general idea of what food is and that’s why it’s such a good prop or subject for writing.

I like your food references too by the way. I think fast food in particular is quite a good subject and it’s a shame I didn’t get that existentialism connection when I was writing this.

The last time I went to IHOP was for my 26th birthday so it’s been about two years since I’ve been to one but I like the diner-type setting especially just to have an excuse for the characters to sit down and talk to each other if they’re not in a house.

The definition of existentialism at the start of Cupcakes and the Centre of the Universe creates a good focus for the book. I consider myself a bit of a philosopher so I enjoyed this aspect of the book. Are you an existentialist? Are there existentialists or other thinkers that inspire you, or of whom you were thinking while writing Cupcakes and the Centre of the Universe?

I have always struggled with existentialism even when I didn’t know what to call it. I have always wondered why I exist. I went through a long period right after college when I wondered why anything existed and I kind of ended up feeling like everything was worthless which is a horrible way to live. Now I’m completely the opposite and even if something seems frivolous I think that it matters because it does to someone somewhere which is a far more humbling way to live. Also everything does matter to me. I can’t really live without loving everything.

Philosophy is a great area for comedy and surrealism. I really want my books to be considered art in that respect. Kafka was great for all that. So was Oscar Wilde to a certain degree.

You maintain a great level of energy in Cupcakes and the Centre of the Universe. This is a super thing to be able to create in a book! How do you do it?

I’m glad I did! I worry myself to death over things like that because the writing process can seem so long and slow it can be a challenge not to reflect this in the story. Every time I started to write I told myself that I had to keep the story moving. Some days it was like climbing a hill and some days it was like running down the other side. It really had to be a conscious decision. I think the fact that they were on a quest helped a lot because that meant they had to change location it was just a matter of me thinking of where the next one would be.

Are you going to write a sequel or a prequel to Cupcakes and the Centre of the Universe? What are you working on right now?

Right now I am working on putting a short story collection together. It’s got some comedy/Sci-Fi and some Horror stories so I’m sure I’ll be surprised by which stories cross over. It’s going to be called The Little Book of Alarming Things and it will be out some time this fall. I have thought of writing a prequel involving Bob and Greg before he was the Centre of the Universe but I haven’t really decided yet. If another book happens it will be a while and hopefully not out of desperation!

What advice would you give to kids who want to be a writer when they grow up?

Write often and do things your own way. But don’t spell things your own way get a dictionary for that.

Thank you, Whitney, for a fascinating interview that I am sure writers and readers alike will enjoy. We eagerly await your short story collection!

My review of Cupcakes and the Centre of the Universe (see below).