Worlds I Can Never Know

Somewhere distant an apparitional voice I cannot hear
Calls me to an eldritch place of ineffable answers
No legerdemain but apertures though common reality
Mysteries of otherworlds detonates in my bantam ego

Worlds I Can Never Know


The greatest, and more emotionally charged works of film in particular, are the pieces that dispense with  the obscene use of some particular facet, like the rule of cool, or beautiful people, or gore–When you can dial back the an overly used factor, to show fear, lust, love, failure–anything that may contrast the common tropes within your work; that work forms a unique mask. Unpopular as this opinion as it might be, I find it important to consider.

For instance, not all characters need to be chiselled jawed hunks, or bosomy bouncies–contrasting them with other physiques, personae, and not cliche characteristics can be useful for fleshing out and emphasizing the chiselled chiselness of Mr. Chisel and the like.

Moreover, if one’s work involves a lot of ‘intense, dark’ mettaaal’ sort of looks, circling back a tad and adding unexpected musical scores, personae, and contrastive appearances creates a unique experience. Such as people who don’t ‘look’ dark, can be more intimidating than those who do, likewise, having one or two people who have this ‘darrrk’ look about them become more prominent and interesting.

Really, one of the best pieces of advice I’ve ever used is restraint, without it, my works would be nothing but self-indulgent (beyond what they already are), cyclical daydreams. Protags would be just ‘stoic badasses’ and ‘messages’ would be put on high volume. Boring and annoying. Uninteresting. More interesting: inject multiple view points. Contrasting ideologies, kill off characters (appropriately not just for the ‘shock’), have protags screw up, lighten up the color (in film and it’s a grim story), show character not just cliche indulgences.

It may be good to also state, from my experiences, while your work is your own, and thus, an imprint of yourself to some capacity, hiding your fingerprints, will cause your work to feel independent of you, and not an echo-chamber.


Character Sheet

So, I have nothing really to write about today perse, however, I thought it be fun to share a basic template I’ve developed for my major-characters.
This template mutates to service whatever character is being filled in. For instance, depending on a character’s class, be it thief, wizard, psychic and otherwise can determining the ‘supernatural-abilities’ section. Likewise, ‘supernatural-eye-color’ is only applicable to a narrow array of characters and thus would be excluded in most cases.


Birth Name:
Assumed Name:
Potential future names:

Major Age(s)
Hair Style
Hair Color
Usual Eye Color:
True Human Eye Color:
Supernatural Eye Color/Style
Body Type
Aura (Common Color)
Other Physical Features
Supernatural Abilities




Sexual Matters:

Romantic Relationships:

Major Relationship and other Moments: (? Good to keep? Redundant?)

Things they do alone: 


Bio / History


I didn’t wish to include detailed information about the character, Sandra, here for reasons of secrecy and spoilers of her.  However in areas such as ‘things they do alone’ I’ve included things such as : 

Reads texts and fiction, listens to music usually either focused or in background; martial arts self-practice, running, baking.

This C.Sheet is really simple especially given it’s my latest attempt at them and hasn’t been refined much yet. Regrettably, this is probably a pretty bland entry, but I’ve seen such things be posted by authors and thought ‘wth not’. 

Character Sheet


To imagine, or dream, of the world: friends, families, pets, shops and weather; technology and governments, and all of their mundane and fantastic activity. Then to imagine, you cease to be, no longer you, your ego, your memories and desires disintegrate. Never to influence anything again beyond memories some may carry.

    Your dearest companions live their lives–as you watch; an apathetic echo, that deforms into the trough of dreamless slumber. And in that neither light, nor dark no-space; the universe subsists, and you will never know.  In this void–it is the same place you were before you were born.

    If you are reborn, you will not be who you were. Nothing you’ve done, you’ll ever know you’ve done, and knowing it would achieve nothing; for you, your entire identity died. Who is reborn is not you as you are now, just as who you are now is not who you were before this samsaric crest.


Empty Mind

The trees have names; memories contained in the forest      
The world outside our mind, rarely seen 
Outside our roles and careers, culture and philosophy
Past idiocrasy through which we digest all things 
Beyond good and evil; language cast aside
Dispatched with our ego and vocabulary
No longer encoding; a mental stasis; an empty mind

Empty Mind


An important facet, I believe gets too little attention is weather in fiction. (Some games too, but it’s becoming a bit more important) When I say weather though I do not necessarily mean extravagantly destructive storms that rip a city apart. I mean almost the opposite. Writing how, “she pulled her hand from the cold railing and wiped the morning rain water on her pants”, or “his hat had become white again” (from snowfall), or “her bottle of water had warmed. She sat, sweat dripping from her bangs. A distant thunderous storm mocked her.”

light rain

These aren’t the best examples, but they are instances of weather that affects characters insomuch as to let the reader feel the world but not cripple the character, nor derail the plot-line just to put some example of weather. It should blend into what’s happening, and I believe is important. The days with overcast and are slightly chilly are just as important as a never-ending drougt, or a hurricane wiping electricity from a city.