Honey, when you write something that clearly entitles you to some self-praise?

Make with the praise. There's a difference between being arrogant with no foundation and raising your head in a "whoa! I do believe I just pulled off something really fucking cool!" moment. You know?

I re-read some stories I hadn't looked at in over a year. I got teary-eyed in all the right places, and I thought, "I think I might have knack for this sort of thing."

I figure if I can make myself cry, I've got the audience by the throat.

Yes. And no. (Ambivalence I know. Confidence? NSM.)

I figure if I can make myself cry, I've got the audience by the throat.

It's a damned good start, anyway.

Yes. And no. (Ambivalence I know. Confidence? NSM.)

pftphftphftphftph. Silly spouse.

Huh.

Day Two of WMGGW.

Written: Most of prologue (more about that momentarily) and first half of chapter one.

Word count: 2,964, with more to come.

Projected word count: No frickin' clue.

The prologue is tricky. Since it's opening up in a SOMA rehearsal space, and I haven't been in one since 1981, I had no clue what the current toys for name band studio time might be. Ditto on modern recording studios; digital didn't exist in the days of the Record Plant and Wally Heider and Electric Ladyland's heyday. I can do guitars with the best of them, no problem there, although there seems to be a deep love of Paul Reid Smith that wasn't around thirty years ago. And on some of the keyboard stuff, I'm having warm little moments, here: ooooh! Roland! Korg! Holy shit, a Yamaha PF88! WOOT!

See, I'm a musician myself, but not a geek and definitely not a gearhead in the modern era. HUGE difference.

I have Matt and Nic as the ultimate reference source, here - they build guitars for fun, my husband's a regular up at Alembic, it's all good. But in terms of balancing how much JP - my narrator - would actually mention, his own ease with the terminology as opposed to how much the reader needs or should hear without interrupting the flow of the story with tech stuff?

Tricky. So I'm being all the way careful on the prologue.

I'm sort of glad to hear that other writers have problems like that, because I do.

Deb, if you need another hand on the recording gear ping me and I can give you some help on the stuff that would be on the other side of the glass. What consoles are the current hot ticket and what stuff is being used for recording. The instrument side I'm not as hot on, but the recording side I can help you with.

And ND rocks da house. You bet I will.

As mentioned, right now, the band's in a leased rehearsal space, SOMA - they basically have it on longterm lease, complete with security and lockup, and the equipment/PA rig would be stashed there and just wheeled out into the space by the techs and roadies when rehearsals were happening.

You know what's scary? I'm so far gone down the road from my old rock and roll days, I don't even know if the Bay Area even has any world-class recording studios anymore. We sure as hell used to - Wally Heiders, the Record Plant in Sausalito (oh, the memories...), His Masters Wheels (ah, Elliot!), but nowadays? No clue.

Happy Birthday, Teppy baby.

Deb, I wasn't able to read the rest cause when I got home, my electricity was turned off (in 95 degree heat, AND they coulda CALLED me).

So I'll be reading the rest today.