Charlie Huston's Blog, page 69

new-aesthetic:Meet the seven people who hold the keys to...

new-aesthetic:

Meet the seven people who hold the keys to worldwide internet security | Technology | The Guardian

The master key is part of a new global effort to make the whole domain name system secure and the internet safer: every time the keyholders meet, they are verifying that each entry in these online “phone books” is authentic. This prevents a proliferation of fake web addresses which could lead people to malicious sites, used to hack computers or steal credit card details. The east an...

crookedindifference:If Neil Armstrong and Buzz Aldrin couldn’t...

crookedindifference:

If Neil Armstrong and Buzz Aldrin couldn’t leave the moon

The astronauts had no instructions in that situation, although Nixon’s staff did prepare a contingency plan. The President would phone each of the widows-to-be.

Then he would read this address to the nation:

theparisreview:"He was an autodidact of pristine purity. His...

theparisreview:

"He was an autodidact of pristine purity. His wide reading, knowledge, and interest were guided only by his desire to know everything."

David Mamet on his closest friend, Shel Silverstein.

I just finished all 5 of the Joe Pitt casebooks and they were fantastic! I very much want to crawl back into world you have created so I have to know, will Joe Pitt be back?

Thanks for asking, but I’m afraid Joe won’t be back. A good rest was earned by the both of us.

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...

I've got a question about your writing process: How do you approach individual scenes? Do you know where it is going to end up before you put pen to paper? Do you use the Mamet formula of Character wants X, makes efforts to get X and is thwarted? Or do you

I rarely ever think about discreet scenes as separate from a whole unless I’m doing some kind of scripting. Comic book scripts, teleplays, and screenplays allow for that kind of compartmentalization, but I can’t remember ever looking at a single scene in a novel and conceiving it as anything other than the next bit of the story. That said, I’ll try to give you an answer that isn’t deliberately coy.

Sometimes, yes, I have a good idea of what’s going to happen next. That next may be a single lin...