NASA’s DART Mission is 125 Years Too Late

On September 26, 2022, NASA’s Double Asteroid Redirection Test (DART) succeeded in impacting a probe on the asteroid Dimorphos in an attempt to redirect the path of that body.

You’re late to the party, NASA. It’s been done already. Over a century ago.

As chronicled in The Cometeers, an international team already attempted to redirect an Earthbound comet.

In 1897.

When Comet Göker threatened to strike our planet in September of that year, there were no rockets, no nuclear weapons. They fired projectiles from the Jules Verne cannon and tried to deflect the comet with a gunpowder explosion. Commander Hanno Knighthead struggled to motivate his argumentative, multinational crew of eccentric geniuses to work together.

Then he learned the crew included a saboteur. Only a truly extraordinary leader could get this group to cooperate, identify and thwart the spy, and jury-rig a way to divert the comet. Lucky thing Hanno brought his chewing gum.

Good work, NASA. DART struck its target. But let’s not call it new or innovative. The credit for saving the Earth from collision goes to The Cometeers, by—

Poseidon’s Scribe

September 27, 2022Permalink

80 Hours—Available for Pre-order

Next Sunday, October 2, 2022 marks 150 years to the day after Phileas Fogg began his trip Around the World in Eighty Days. I’ll celebrate this fictional event in two ways:

  1. My story “80 Hours,” will be available for purchase, though you can pre-order it now.
  2. I’ll begin a series of blogposts on the days when Fogg and his companions arrived in each city on their trip.

To Jules Verne’s reading audience in 1872, it must have seemed astounding to think someone could circle the globe in as little as eighty days. Today, we’re accustomed to the space station and manned spacecraft orbiting the earth in a little over eighty minutes.

For the rest of us non-astronauts, imagine facing the challenge of circumnavigating the earth in eighty hours with no preparation and with unknown, promised obstacles along the way. That’s the problem confronting shy and sheltered Wendy Pegram in “80 Hours.”

You may pre-order “80 Hours” in ebook form now at Barnes & Noble, Apple Books, Tolino, and Vivlio. Starting next Sunday, you’ll be able to get the book at those sites, and at Amazon, Scribd, and Rakuten Kobo.

If you’ve been itching to make the trip around our globe, you can do it for real. Or (far cheaper) you can read your way around the world by two different methods, courtesy of—

Poseidon’s Scribe

September 25, 2022Permalink

Metaphor, Your Trained Tiger

Ah, the metaphor. The perfect asset for rendering the abstract concrete, for elevating prose above mere banal description, for igniting the fire of words.

tiger photo by Charles J. Sharp

I’ve written about metaphors before, but only to distinguish them from their showy, weaker fellow creatures, similes. The poor, attention-starved simile. It’s like a male peacock, brandishing ‘like’ or ‘as’ to signal the reader, to flash its tail feathers, saying, “Look at me! I’m making a comparison!”

A metaphor shows no signal, gives no sign. It’s unannounced, sneaky, and subtle. A trained tiger lurking within a jungle of words. Hidden power, and beauty.

I attended a webinar this week titled “The Magic of Metaphor,” by author Marin Sardy, and that inspired this post. She refreshed my knowledge of this trained predator, one I’ve too often left languishing in its cage. Thanks to her, I’ve fed the beast, stroked its fur, let it get some exercise, and vowed to present it more often.

All metaphors hinge on an absurdity. A thing is not a thing, says the metaphor, it is some other thing. It’s not like something else. It is something quite different. X is Y. Shakespeare asserts the whole world is a stage. They’re the same thing, equal.

Absurd. The whole world is not a stage. You know that. Shakespeare knew you’d know that. But your mind, that highly evolved pattern recognition engine, saw the link and made the connection. The world resembles a stage in some respects—got it.

Ms. Sardy discussed the various types of metaphor, the different tricks your trained tiger can perform. Simple, Compound, Extended, Implied, and Conceptual. You can look those up elsewhere. Each takes the basic ‘X is Y’ formulation and twists it a different way.

Metaphors help readers understand and appreciate your story. The ‘X’ is something in your story—hard to describe, difficult to picture, outside the reader’s experience. In the cited metaphor by Shakespeare, “all the world” is fuzzy, nebulous, too big to grasp. Your powerful trained tiger equates that with ‘Y,’ something known to readers, tangible, and easier to imagine. “A stage.”

If your tiger performs well, Ms. Sardy says, the metaphor is clear, apt, original, and authentic. On a bad day, the tiger bites its trainer-author in the form of a cliché, or metaphors that are mixed, stacked, or forced.

Ms. Sardy addressed how to train your tiger—that is, how to choose the right metaphor. Given the ‘X’ of your story, how do you select the perfect ‘Y?’ The four pieces of advice, put in my own words, follow:

  1. Push past the obvious. List a bunch of candidate ‘Ys’ (perhaps by mind-mapping) and don’t pick the first ones that occur to you.
  2. Think for yourself. Don’t copy, or even attempt to imitate, the metaphors of other writers.
  3. Understand the ‘X.’ Put yourself as deeply into your story as you can. Immerse your mind in it. Only by being there can you convey an appropriate and vivid comparison.
  4. Draw from past experience. Think about similar things from your own past. That may help you select the right ‘Y,’ one familiar to readers.

Note: In this post, I’ve transposed Ms. Sardy’s marvelous webinar into my own words. She didn’t use a trained tiger to describe metaphors—that’s my idea. I take the blame for any misinterpretation of her wonderful talk.

Ready to show off your trained tiger? At the literacy circus, a spotlight shines down on the center ring. A vast, reading audience waits in their seats, anxious to find out if your trained tiger act is better than that of—

Poseidon’s Scribe

September 18, 2022Permalink

Writing Retreat? No! Writing Advance!

A writer’s retreat sounds good, doesn’t it? Get away from your day job, your house-mates, your friends, for a week, a weekend, or even just a day. Pure writing bliss.

Except it often isn’t. I’ve blogged about writing retreats here, and even earlier, here. If you approach them with realistic expectations, maintain discipline, and avoid distractions, you may accomplish many of your retreat goals.

You can divide writer’s retreats into two types—Group and Do-It-Yourself, and I’ve done both. Group retreats provide camaraderie with like-minded writers, and the opportunity for critiques and idea-sharing.

DIY retreats, described in two great posts—this one by Kristen Pope, and this one by Alicia de los Reyes, feature ‘alone time’ where it’s just you and your words. You may find a well-executed DIY retreat quite productive and rewarding.

Now for the counter-argument. In group retreats, when all is said and done, there’s often much more said than done. If you’re going to talk and not write, don’t call it a retreat. Call it a weekend with friends, a party, or a beer-bash.

DIY retreats avoid that problem, but may suffer other pitfalls. If you’re accustomed to writing in short bursts during the rare moments life allows, you may find it difficult to stay focused when you’ve set aside a whole day. If you’ve trained your brain to adjust to one-hour writing sessions, don’t be surprised when the gray matter gets distracted or sluggish after an hour.

Also, when you think about it, DIY retreats resemble your daily writing sessions, except they’re longer. Just a question of scale. Seems a little strange to give it a special name—retreat—when it’s so similar to your normal routine.

Consider professional authors, those who call writing their day job. They write all day, every day. Think the term ‘DIY retreat’ means anything to them? What you call a DIY retreat, they call a career.

Perhaps you should aim at that target. Rather than writing for a few minutes squeezed from life each day, all the while looking forward to the next retreat when you can really write, why not think of each day as a DIY retreat? Maximize those seized moments. Do everything you can to approximate the life of a serious, professional author. Maybe you can’t give up your day job or ignore life’s other requirements, but you can prioritize your time to permit more writing.

With that mindset, every day starts looking like a DIY retreat. Who started calling them ‘retreats,’ anyway? Yes, they involve backing away from the non-writing parts of life, but ‘retreat’ sounds so weak, like surrender. From a writing perspective, you’re advancing, not retreating. Let’s call them advances, or charges, or attacks.

Let’s go, writers! Grab your spear and shield—er, I mean pen and laptop, and advance toward glory. No retreat, no surrender. Charge forward! Follow—

Poseidon’s Scribe

September 11, 2022Permalink

You’ll Never Get Rejected

Interesting fact—over the years, I’ve submitted stories 441 times, and in all of the responses to all of those submissions, I’ve never been rejected. Hard to believe? Consider this—no matter how many times you submit your writing for publication, you will never be rejected either.

To clarify, my stories have been rejected plenty of times. Yours might be rejected as well. But I, as a person, have never been rejected by any editor. Nor will you.

When one of your stories gets rejected, it sure feels like the editor is rejecting you, doesn’t it? It’s like the editor’s saying, ‘You’re not good enough for my publication. You really aren’t a very good writer. You ought to quit now and consider doing something else with your time.’

Editors never say that. Nor do they mean it. But we writers can’t help but think that’s what they mean. After all, we think, I just wrote something from the heart, from the deepest part of my soul. I am the story, and the story is me. When you reject it, you reject me.

In dealing with this conundrum, you’ve got two options to choose from:

  1. You can identify with your stories in a personal, intimate way. When an editor rejects one of your stories, you can regard it as a rejection of your very being. You’ll have to find some way of coping with that (see below).
  2. You can place some emotional distance between yourself and your stories. They’re not you and you’re not them. They’re good, and you’re proud of them, but they’re a product of you, not the very essence of you. A rejection of a story is nothing more than a minor setback. It doesn’t constitute a condemnation of you as a person. Your identity as a writer remains intact.

Though I practice Option 2, I’m not sure that’s best. It can lead to a disinterested approach to writing—’It’s just a story, after all. It’s not me. Who cares if it gets rejected?’

Option 1, however, reminds me of the quote attributed to Ernest Hemingway—“There’s nothing to writing. All you do is sit down at a typewriter and open a vein.” That attitude calls for baring your soul using words, pouring out your essence into every story. Perhaps Option 1 could result in the best, most masterful writing you can do.

If you choose Option 1, how do you deal with rejection? You’re in for a rough time when an editor rejects (what you consider to be) you. At a minimum, alcohol may get consumed and perhaps your forehead will bang into a wall a few times. I hope nothing worse occurs.

It seems likely that, for Option 1 writers, rejection becomes less soul-crushing after the tenth, or the hundredth time. I hope so, even if only for the sake of minimizing wall damage.

Perhaps wisdom lies in a sort of balance between Option 1 and 2. You could maintain a close relationship, an identity, with your stories, while growing a hard shell when it comes to others’ opinions. You’re going to need a thick skin at some point anyway, even after acceptance, when critical readers leave scathing comments.

Whichever option you choose and however you deal with rejections of your stories, it remains true that you will never get rejected, and neither will—

Poseidon’s Scribe

September 4, 2022Permalink

Chapter Ending? Read On!

For novelists, chapter endings can be tricky. If you’re agonizing over how to end a chapter, read on to see what I’ve learned.

For readers, the end of a chapter seems like the end of a lap in a race. They enjoy a brief feeling of accomplishment having reached a milestone marker, but the moment passes upon realizing how much more remains to be read.

For writers, a chapter ending serves two purposes. First, it must close out the chapter. That seems obvious, but I mean it in a deeper way. The writer called that section of the book a ‘chapter’ for a reason—perhaps a single scene, a particular setting, a character introduction, a revelation, a unit of time—and that reason must conclude. Whatever held that chapter together must wrap around and bind the other end.

Second, the end of the chapter should entice the reader to keep reading to the next one. Yes, it’s 1:37 AM and the reader has to go to work tomorrow, but the way that chapter ends compels the reader to keep going.

How do you accomplish those goals? Any number of ways. This post by John Matthew Fox at Bookfox and this one by Sacha Black offer many fine ways to end chapters. If handled well, new conflicts, surprises, jokes, mysteries, cliffhangers, and questions can all serve as chapter endings that springboard to the next.

In particular, I like Fox’s advice: don’t overthink it. Chapter endings, while important, don’t deserve as much of your time as the first sentence, opening paragraphs, and final words of your novel. Your book spans many chapters, and you must write an ending for each one. Ending each one the same way would bore the reader, so vary your ending method.

I also like Fox’s suggestion to examine the chapter endings used by your favorite modern authors. Analyzing the techniques of successful writers could result in approaches that will work for you. As always, don’t plagiarize. Imitate a technique, don’t copy words.

I’ll offer this test you can use to see if your chapter endings work. As you write your first draft, and as you edit each subsequent draft, do you stop writing for the day at the end of a chapter? Or do you feel an irresistible urge to start the next one? If you stop writing or editing at the end of a chapter, it’s likely readers will stop reading there. They might even stop reading your entire book.

Just as all novel chapters must end, so too with all blogposts. Well, come to think of it, if anyone could find a way for a blogpost to go on forever, it would be—

Poseidon’s Scribe

The 1G Nostalgia Formula

Fresh out of story ideas? Try the 1G Nostalgia Formula. (My name for it. Trademark application pending.)

Here’s how the 1G Nostalgia Formula works. Take today’s date and subtract twenty-five to thirty years (about one human generation), and set your story in that time period.

As you do this, research as much as you can about that era—clothes, catch phrases, news, culture, sports, songs, movies, etc.

Why do readers find such stories appealing? For the young, it’s a chance to satisfy their curiosity about their parents’ time, and to feel a little smug about those “simpler times.” For older readers, such stories trigger memories, not of simpler times, but of their younger and simpler selves. “Yeah, I remember that.”

The TV industry glommed onto this formula decades ago. Consider “M*A*S*H,” “Happy Days,” “That ‘70s Show,” “Mad Men,” and others, all set in earlier eras.

You needn’t be precise about the one-generation part of the formula. Pick a time period within living memory of at least some of your target audience. One generation works well, since you’re maximizing the size of that audience.

The formula hinges on how well you immerse your readers in that time period, and how many contrasts you can draw between that time and the present.

In creating the feel of your time setting, it’s okay to exaggerate a little. Say you’ve picked the mid-1990s for your story’s time period. Feel free to make your story even more mid-90s than the real mid-90s were.

This requires simplifying the complicated, clarifying the vague, and concentrating the diffuse. Complexity characterizes every era. No time period separates itself by damming off the flow from earlier, or the flow to later, times. Currents and counter-currents form eddies and whirls in the river of time.

William Gibson said, “The future is already here—it’s just not evenly distributed.” That uneven distribution also applies to the past time period you choose for your story.

Depending on the needs and purposes of your tale, you may not wish to depict these complexities, at least not at first. Best to give your readers a unified, integral gestalt—an exaggerated mid-90’s, for example, free of any lingering 80’s remnants, and free of millennial foreshadowings. If the story might benefit from those slight anachronisms, introduce them later.

These can take the form of a grandparent character who can only relate to an even earlier time (2G). Or it can be a forward-looking character, perhaps a science fiction fan, who imagines a future much like our own present. These aspects can add delightful cross-currents to liven up a nostalgic story.

None of this advice takes the place of the writer’s prime directive: write a good story. Just because your tale follows the 1G Nostalgia Formula, that doesn’t guarantee sales. The subject matter might pique reader interest, but you only gain buyers and readers by writing well.

Ready to set your creative time machine to a date one generation in the past? All you have to do is hit the gas. Your destination switches have already been set by—

Poseidon’s Scribe

Author Interview—Daniel Johnston

My interviews tend to feature fiction writers, and an occasional poet. Today, to vary things up, I’m interviewing a nonfiction author. Daniel joined a writing critique group I’m in.

Daniel Johnston’s area of expertise is the business relationship between governments and oil companies. He’s traveled widely, worked for dozens of governments, and testified as an economics expert in 35 legal disputes. He teaches graduate level seminars to petroleum accountants. He’s written numerous books and articles, as you’ll read about in one of the questions below. In a less academic vein, he wrote the book Growing up Johnston, a compilation of stories and anecdotes about his wife and children extracted from a lifetime of journaling.

Here’s the interview:

Poseidon’s Scribe: How did you get started writing? What prompted you? 

Daniel Johnston: Early in my career I worked for a large consulting firm where publishing was the lifeblood of their marketing efforts. The old publish-or-perish trope applied there just as much as it did in the academic world. I also managed to develop a few analytical techniques that are now in common use in the industry and I wanted to get credit for them.

But, for me it was more than just career ambition. There was certainly the allure of getting published and I also felt somewhat compelled. 

It is hard to say where that came from but I suspect it is just part of the human condition. I suppose some people get the urge and some may not. But even people who do not write or publish seem to appreciate the magic of it.

Now my inspiration and compulsion are what drive me most, not the commercial and marketing forces. This is especially true now that I am trying to capture and record many of my experiences over the past seventy years.

In addition to my personal experiences, I am trying to capture and breathe life into some of the old family stories that have passed down through the ages. Some of them have devolved into a single sentence or two such as the story of my children’s Great Great Great Grandfather John Gearhart. The family story that filtered down to my wife and me shortly after we were married was: “He was in the Civil War on the Union side. Fought at Shiloh and was wounded and crippled for the rest of his life.” My wife’s grandfather told me this and he remembered his grandfather. I have now extensively researched him and that battle and can show on a map roughly where he was (32nd Illinois Volunteer Infantry under General Hurlbut) half-hour by half-hour during that battle. At one point he was at the famous “Peach Orchard” where there was so much lead in the air, soldiers remembered and recorded that the falling peach blossoms looked like falling snow. I can’t help but imagine those beautiful peach blossoms and petals covering the bloody blue uniforms of the dead and wounded Union Soldiers lying on the ground in that orchard.

These are the kinds of things I want to write about now.

P.S.: Who are some of your influences? What are a few of your favorite books? 

D. J.: I was a voracious reader from early on in my existence reading such things as The Hardy Boys, A Wrinkle in Time, The Secret Garden, Little Women, etc. Fortunately, television in Wyoming in the 1950s was almost non-existent and reception was awful. Furthermore, our parents did not allow much television once it became so common in every household. We were not allowed to sit and stare at a TV. But, I loved reading anyway.

As I got older I preferred non-fiction history books such as Julius Caesar’s Conquest of Gaul or The Civil War and all kinds of biographies and autobiographies. In particular those about such characters as Benjamin Franklin, Golda Meir, Robert Rogers, Hernan Cortes, Alexander the Great, Chief Tecumseh, Hannibal, Cleopatra, George Custer, etc.

I also love historical novels like, Tolstoy’s War and Peace, Chang’s Wild Swans or James Michener’s works.

With respect to my career, starting in the early 1980s I read anything I could find that had to do with petrophysics, petroleum engineering, petroleum economics and finance. These subjects and my experiences are the foundations of the consulting practice I developed over the past forty years. 

P.S.: Please give us a description of your book Growing up Johnston. What prompted you to write it?

D.J.: This book is a self-published memoir. My co-author, Julianna Johnston Ehlert, is our middle daughter. We only had fifty hard-cover copies of the book printed. If we want to print off a few more later it is easy and it is a miracle in this day-and-age to be able to do that! The book consists of over 340 pages of family anecdotes, photos, stories and journal entries. There is a chapter for each of our six children (three girls and three boys) and additional sections for stories that involved more than one child or my wife, Jill. Many of these memories are simply cute or sweet things the kids did or said or special moments in our lives.

For example, when our youngest daughter was around 4 years old, she asked me: “Daddy? Why is it that flapping works for birds but not for people?”

On another occasion we were out on a lake and my middle son said, “Hey Daddy! I saw a fish jump!”

“How big was it?” I asked.

He thought for a minute then said, “About the size of an octave on the piano!” All three of the boys play the piano and violin.

There are a lot of other events that are not so light hearted. In 1980 we had a still-born baby. I wrote about that pregnancy and that painful experience as well. 

Everybody with children has experienced these sweet and powerful moments and that is what this book is all about—a record of those precious heart-warming/heart-breaking times in our lives and in the lives of our children.

P.S.: Tell us about your journaling habit. When did it start, and why do you do it? What do you write about?

D.J.: I started writing/recording in a journal shortly after I got married. In addition to recording the various nuggets and landmark events in our lives, I often took my journal on trips with me and there were always lots of things to write about. I also took our children with me on many business trips, sometimes just one child or my wife and sometimes a few kids or the whole family. My journals have been helpful for remembering times, places, people and details of some of the incidents and experiences I am trying to capture in my collection of short stories.  

P.S.: You are likely the most widely-published author in the world on the subject of the business relationships between governments and oil companies. Please give us a brief listing of your major written works in this field.

D.J.: This is a pretty bold claim but I believe I am also the most widely quoted or cited author on this subject. Not only that, my second book, International Petroleum Fiscal Systems and Production Sharing Contracts, was essentially the first of its kind in the international petroleum industry.

By way of explanation, I got involved in the international oil industry at the end of the 1970s just as many governments were opening up to foreign investment in their petroleum sector. The World Bank was helping many developing nations craft petroleum laws and regulations and contract terms to enable them to establish business relationships with international oil companies. Because I worked for a consulting firm I worked with many different governments and companies. Most of my peers in the international sector worked for one or two companies in one or two countries. Their perspectives were much narrower than mine.

By the late 1980s I realized there were few people in the industry with the range and depth of experience and knowledge of the subject as I had. I recognized my opportunity and saw publishing as a way to stake my claim on this niche and advance my career.

I ultimately published five books through PennWell Books, three by the University of Dundee, Scotland, and one with the World Bank. I also published a large database on contractual/fiscal terms in various oil producing countries and I am currently working on a second edition to this database which stands at over 1,500 pages. 

PennWell was the main publishing house in the petroleum industry during the1980s-2010s. PennWell also published the Oil & Gas Journal and Offshore Magazine, (now published by Endeavor Business Media). These were two of the main periodicals in the industry during most of that time.

I published a number of articles in their magazines before I wrote my first book for them, Oil Company Financial Analysis in Non-technical Language. This book did well due to the fact that it reached a broader audience than most of PennWell’s other, more focused, books. Their ‘non-technical series’ books were often their most popular.

I should point out that I had many huge panic attacks when I worked on that book and the next one. I would be overwhelmed by insecurity. What if I make a big mistake? What if people don’t like it? What if it is a failure? It could ruin my consulting practice. These attacks were brutal. It always took me a while to convince myself that I had a number of nuggets, even whole chapters in these books that were unique and would benefit people. I was right. My first book became required reading for candidates wanting to earn official certification as petroleum accountants. This was administered by the Institute of Petroleum Accounting and the Council of Petroleum Accountants Societies (COPAS).

As a result of this book, I was asked to write a column for the Petroleum Accounting and Financial Management Journal published by the Institute of Petroleum Accounting at the University of North Texas (UNT). I wrote my column for about ten years and taught annual seminars at UNT.

My next book (1994), International Petroleum Fiscal Systems and Production Sharing Contracts went viral. It has been translated into the Russian and Chinese languages as have most of my PennWell books. Both of these books stayed on PennWell’s bestseller list for over a dozen years. Inclusion on their bestseller list, I should point out, was based simply on gross revenues. The top 25 titles, in terms of gross revenues, are included on their bestseller list. I was their first author to have two books on their bestseller list at the same time. 

I published three other books for PennWell including a few other works. Of these, my favorite, is International Exploration Economics, Risk and Contract Analysis (2003). This has also been translated into Russian and Chinese. It makes a good companion book to my book on fiscal systems and production sharing contracts. My five PennWell books ranged from 100,000 to 150,000 words each. And, I might point out, the first few books were researched and written before the internet was born. I spent hours-on-end in libraries in Dallas and Dundee. Researching the old-fashioned way!

Two of my other favorite books were published by the University of Dundee in Scotland. These include: Economic Modeling and Risk Analysis Handbook (about 450 pages) and Maximum Efficient Production Rate (60 pages).

I taught there for over ten years. Each year I would go to Dundee and teach two one-week long seminars attended by both LLM students (Masters of Laws – postgraduate ) as well as industry people from around the world, such as accountants, financial people, managers, executives from both oil companies as well as governments. Because the subjects were still relatively new, and my books were so popular, my courses were heavily attended.

I taught my courses all over the world in both the public setting as well as in-house courses for oil companies as well as government agencies (national oil companies or oil ministries). During the next 25 years I averaged 10-15 overseas trips per year. 

In 2007 two lawyers (Dr. Thomas Walde and Tim Martin) and I founded a new professional journal, the Journal of World Energy Law and Business (JWELB). It is published by the Oxford University Press (OUP) and the Association of International Energy Negotiators (AIEN). It is a refereed journal and has been a huge success. I have been the Vice Chairman of the Executive Committee since the inception of this journal. 

Also, I have published over 100 articles, half of which have been in refereed publications. I have been cited over 1,250 times that I know of.

Knowing my subject thoroughly was one thing. My books launched me into the stratosphere.

P.S.: Your job has taken you to many countries. Do you plan to write about these experiences?

D.J.: Yes. I have been to places I never dreamed of or even heard of before. So, I have seen a lot of things that I believe people might find interesting or inspiring. I was raised in northern Wyoming along the eastern face of the Big Horn Mountains. To me it was a paradise. I never dreamed of traveling abroad. Nor was it an ambition of mine. My career, from 1980 onwards, changed all that, but I still see the magic, mystery and misery of our world from the perspective of a Wyoming native and proud American.

Traveling to the countries and regions where the oil industry was active was much more important when my career began. This is because communications were nothing like they are today. For example, in the late 1970s sometimes people had to fly from Jakarta to Singapore in order to make a phone call back to the United States. Back then we sent and received Telexes.  Also, primitive computers and fax machines were just starting to enter the workplace in 1980. So, traveling was more common back then because we didn’t have ‘virtual’ capability such as Zoom or Webex.

As a result, I got to see a lot places and things that few of today’s generation in the petroleum industry will likely experience.

For example, around 1996 I was in New Delhi about to head home when I was contacted by a lawyer I knew in Singapore. He asked me to come to Singapore and meet with him so that we could go to Jakarta for an important meeting. So I joined him in Singapore, and as we settled into our seats on the flight to Jakarta he handed me a magazine and pointed to the picture on the cover. It was of a handsome young man about my age, Setaiwan Djodi. “This is who we are meeting with.” he said.

The magazine had an article about Djodi, a Javanese prince and famous musician. He was also, at that time, owner of Lamborghini, the famous Italian car company. The article also mentioned that Djodi had put on a concert and half a million people showed up. During lunch the day I met him I said, “I read this article that said half a million people came to your concert! That is fabulous.” He shook his head and smiled, “Oh no. It was only around 300,000.”

He had a potential business opportunity (petroleum) in Kazakhstan and wanted me to evaluate the situation. So, from Jakarta I went on to Kazakhstan and spent a wild week there traveling from Almaty to Autyrau on the north coast of the Caspian Sea. That trip was amazing and I hope to capture and preserve some of those stories.  

I was also stranded in Lagos Nigeria for two extra weeks because of the 9/11 attacks on the World Trade Centers. That was a crazy time. In those days the Murtala Muhammed airport (Lagos) was considered the most dangerous airport in the world and it was shut down for international flights to the US and many other countries, thus the two-week delay. When I was finally able to fly out, I was instructed to arrive at the airport twelve hours early. I arrived thirteen hours early, just to be safe, and there was already a line. It was probably during one of my many trips to western Africa that I contracted malaria—another story.

As a result of my work and travels, I have seen a lot of this world in the past forty years and I am writing about those travels.

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

D.J.: I have decided that writer’s block can be fatal. I have only barely survived a number of close calls. And, for me, panic attacks come without warning and are always fueled by insecurity, as I mentioned previously.

One of the biggest problems for me is to get things in the proper and logical sequence. This is true of both my technical/economic writing as well as my essays and short stories. This effort taxes every ounce of my powers of explanation but my technical books are much easier to write compared to writing a story or essay.

I have not yet tried to write fiction and tremble at the thought. However, to me thought of it fascinates me. I am not sure I have the talent or the ability to write fiction but I plan to try some day.

P.S.: I understand you’re a musician and gardener. Do these hobbies complement your writing or are they a relief from writing?

D.J.: There are a couple of short vignettes that are influenced by my modest musical background and love of classical music. I have already started work on two such stories. One deals with meeting a young woman named Tasmin Little—who, at the time, was solo violinist for the Brussels Symphony Orchestra playing Tchaikovsky’s Violin Concerto. We spent three evenings together because of a chance encounter in Brussels. It is a simple sweet story but it adds a different flavor or dimension to my collection of experiences I am writing about.

Another minor story that involves classical music took place in Ashgabat, Turkmenistan on my first trip there. However, that is about all there is to the influence of my music on my writing so far.

With respect to gardening, I only have a couple of small stories, vignettes actually, that I hope to bring to life. One is a simple story that involves a metaphorical vine I came across in a Sumatran jungle. I have thought about it a lot since then. Sometimes it is the little things that touch our hearts.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

D.J.: At the moment I am just finalizing and recovering from a project I had been working on for years. I provided expert witness testimony in an arbitration between a big oil company and a foreign government involving a $1.5 billion claim. I do a lot of this kind of work the last twenty years. These projects require a considerable amount of written testimony that must be carefully and meticulously crafted. This is because everything I write in an expert witness statement and every article or book I have ever written come under intense hostile scrutiny that culminates in various rebuttal statements from opposing experts and ultimately, oral cross examination—pure hell.

Other than my professional writing obligations, I am also working on a book of short stories (essays) about the experiences and subjects I mentioned above.

Also, in addition to my international travels, I am writing about some of my experiences growing up in Wyoming in the 1950s and 1960s, and being an identical twin. I am also working on some of the old family stories. For example, I have an ancestor who fought under Admiral Nelson in the Battle of the Nile and then was crippled with grape shot at Trafalgar. I want to bring that story to life—doing lots of research at the moment.

Poseidon’s Scribe: What advice can you offer aspiring writers?

Daniel Johnston: If you feel you have a story in you—you do. It is there and only needs work and inspiration to give it life. With respect to the work I just mentioned it helps to have some writing skills.

Writer’s block, insecurity, panic attacks and self-doubt are part of the experience in my opinion. Perhaps it wouldn’t be such a grueling experience for me if I had studied writing instead of almost exclusively focusing on the physical sciences.

Fortunately, the wonderful part of writing is the editing process. With all of my manuscripts, books, articles and witness statements, I edit over and over and over. I will easily go through dozens of drafts for even small articles or stories. 

With respect to writer’s block, when the frustration becomes overwhelming, take a day off. Or more. Do anything other than write or worry about writing. Sometimes the human mind does its best work when we are doing anything other than work.   

Also, join a writer’s group. While I only have experience with the Fort Worth Writers group, it has been wonderful for me in many ways. Fascinating people. Fabulous learning opportunity. I love it.

Poseidon’s Scribe: Thanks, Daniel. Readers who want to find out more about Daniel Johnston can check out his website.

How I Blog

Want to start your own blog? Try blogging like I do.

In the past 11 years, I’ve written over 650 blogposts. When I started, experts advised fiction writers to blog as a way to increase their online footprint and drive book sales.

These days I’m not sure that matters much. YouTube might be a better venue, if you can create standout videos. But hours spent blogging (or shooting videos) are hours not spent writing fiction. Still, it’s become a weekly routine for me.

Before I began in 2011, I listed about 20 ideas for topics and created a Blog File. Whenever I saw an article or had some stray thought worth blogging about, I added it to my list. Today, the list runs to 168 topics.

I start a new Blog File every year, copying the unused topics left over from the previous year. The file lists published blogposts, future topics, and contains the posts themselves.

Each week, on Thursday, I select a topic from the list, unless a more urgent topic idea occurs to me. After choosing the topic, I jot notes for points I’d like to make in the post, and might even organize these notes and do some online research.

On Friday, I use the notes to write the post’s first draft. I create the draft in my word processor program, not on the blog platform (WordPress). Since each post should have an image, I work on that, too.

Be careful using images from the net. They might be copyrighted. You can’t get in trouble taking your own photos. My wife kindly consents to taking pictures of me. Someday she’ll hand me a bill for all that work, and I don’t know where I’ll find the money.

Saturday arrives—editing day. Still working offline in my word processor, I improve prose clarity, check spelling and grammar, and adjust the image. My word-count goal’s between 500 and 600, though those aren’t firm limits.

When the text meets my satisfaction, I copy it to WordPress as a draft post. Next, I import and position the image and set up all the hyperlinks. A preview of the post helps me make sure it looks right and that the links work as they should.

Early Sunday morning—showtime. I review the post one last time. If I change something, I make the change on WordPress and in my Blog File, which serves as my backup.

After designating appropriate categories and tags, I preview the post one last time, and then publish it. I then draw attention to it using Twitter and Facebook. In the Blog File, I move that topic from the ‘unused’ to ‘used’ list. Done.

If that process sounds rigid, maybe it’s because I’ve made it sound stricter than it is. I’ve posted on days other than Sunday, and skipped weeks on occasion.

Overall, I believe I’ve benefited from the discipline of weekly posts. The schedule pressure stimulates my writing creativity and productivity. I enjoy it.

Has blogging boosted story sales? Hard to say. Sometimes my blog posts reach the first page of search engine lists for certain topics, so that may result in more visits to my blog, more views of my stories, and maybe a purchase or two.

Would blogging work for you? Only one way to find out. Start doing it. Pretty soon you’ll be blogging like—

Poseidon’s Scribe

9 Other Reasons to Join a Critique Group

In this blog, I’ve often suggested you join a critique group to improve your writing. Such groups can help you in other ways, though, aside from just learning to produce higher quality writing output (though that would be reason enough). In varying degrees, I’ve received all of these benefits from critique groups.

You can read about many of these additional perks in this fine post by poet Bruce W. Niedt. To his list I’ve added a couple more.

  • Writing Opportunities. Critique group members can alert you to writing contests, upcoming conferences, useful workshops, and writing classes. They can also warn you about scams.
  • Story or Idea Inspiration. Every now and then, a critique group member may say something that sparks your creative flame. It could be a snippet of dialogue, a setting description, a plot event, or an entire story. When this occurs, you should ask if you can use the idea.
  • Market News. Often, one member of the group will share information about a new fiction market opening up, or new trends that agents and publishers are looking for.
  • Promotion Help. When other members run a blog or post on social media, they’re sometimes willing to promote your writing on their platforms. It’s courteous for you to reciprocate for them, of course.
  • Taking Criticism. At some point, your writing will face criticism from editors and readers. Once you’ve learned to receive harsh blows from your critique group friends with understanding and without defensiveness, you’ll be prepared to endure anything others dish out.
  • Giving Criticism. Participation in a critique group also trains you how to critique others’ writing, which may come in handy should you ever work as an editor. Even more important, you’ll become a better reader. You’ll read with the perception of a writer.
  • Production Motivation. Critique group meetings serve as a prod, urging you to write and submit to the group. You’ll feel guilty when you have nothing to share. Without the schedule pressure of an upcoming group meeting, you might fall into lazy habits.
  • Peripheral Proficiency. There’s actual writing, and then there’s the other stuff—submissions, correspondence with editors, cover letters, bios, author photos, public speaking, book signing, etc. Chances are, someone in your critique group can prepare you for your first experience with these tasks.
  • Connection and Rapport. If those who live with you aren’t writers, there are things they just won’t understand. Worse, they may harbor suspicions that you’re not quite right. But the members of your critique group get you. To them, at least, you’re normal. It’s reassuring to socialize with people who share your interest.

You’ll benefit from a good critique group even if all it does is improve your writing. The incidental benefits add icing and candles and sprinkles, etc., to the cake. Join a critique group, or start one. You’ll enjoy it for many reasons, and maybe end up thanking—

Poseidon’s Scribe