Saturday, May 20, 2017

Old Asian-Aryan About Page

I know what you're thinking. This “Asian-Aryan” thing sounds “degenerate,” “cuck-like,” or “Jewish,” and that the promotion of racial mixing is what the alt-right is against!

First, I do not advocate racial-mixing. I advocate “Asian-Aryanism.”

If the alt-right is to succeed, then everyone, and I mean every homogeneous race on this planet, needs to have some sense of self-determination and racial awareness for a greater good. That sounds great, doesn’t it?

Therefore, Asian-Aryanism acts like an alt-right scene for Asian-Americans. An anti-sexist, anti-nihilistic, anti-hedonist, Men-Going-Their-Own-Way determined to achieve an Asian wife, a professional job, and three Hapa children. This is for every Asian living in America, for every Asian-loving White person, and… for every half White/Asian child who…

Stop right there!

“Hapas?” …Hafus?

“No, no, no, no! You said you were against racial mixing! They don’t have a proper racial background! These bastard mutts and their sinful parents! How selfish of you! Either they choose their White side or there Asian side!”

Umm… Ok… but don’t they still have “degenerate” genes even if they chose a side? They are neither pure White or Asian. So why push it under the rug?

I think the best solution… for your own European Imperium or imagined Ethnostates, is to simply put all those dirty “race traitors” into multiple cities each the size of Wilmington. Call it an independent state.

Please, whatever you do, don’t go on a “day of the rope” scenario and kill all the pretty Asian wives of the already handsome and athletic young white men who are married to them.

Yes, you heard right, White males / Asian female… and Asian males / White female married couples with Hapa children, are allowed in the Asian-Aryan country. They must show the utter most devotion to a pan-Western-Confucius/Shinto culture of racial devotion to the new great race. That simple. Let it be known that to live as an Asian-Aryan, one must become an “Asian-Aryan.”

What’s that?

First, those people you call “weebs” are just misguided White Americans that need a healthy diet and daily exercise in their life. We want our men to have the bodies like Adonis. And for the women? They are already beautiful and caring to begin with. You may call our women “fish-like,” “insects,” or “gook-faced,” but you just don’t understand.

“Asian-Aryanism” is a prideful term, not a degenerate one.

“Enough science-fiction! Why are you even advocating such a stupid and troll-like philosophy? Can’t we all do normie things and not think about such postmodern problems?”

I have been getting tons of hate mail from the far-right, the far-left, normies, and disgruntled Hapas. I don’t need to argue with Asian women that are married to White men. All they have to do is self-realized what they have done.

You know, the far-right will say I’m “Jewish” and will want to throw me in the oven.  And then the far-left will say I am “insensitive” and not treating people as universal.

Guys, use your mind for once. This is not about you.

Asian-Aryanism is so controversial, that both far ends of the Western political spectrum, hate what I have to say. I believe, however, that both political sides know that Asian-Aryanism is righteous and true.

“What the hell is Aryanism? You sound like a Nazi! Better yet, that’s an oxymoron. Aryans are NOT Asian!”

Ok, “Asian-Aryanism” is a whimsical term. And it has certainly got your attention. But in the context of “Aryanism,” what “perfect” race are we talking about?

Once again, I don’t have to advocate racial mixing… Because it is already happening in most major, liberal metropolitan cities in America!

What is that perfect “Asian-Aryan” race I am talking about?

White boyfriends take their Asian girlfriends to punk rock shows, art galleries, nerd conventions, and vegan restaurants. Have you seen that before?

And later in life, the children of those WMAFs are sent to Chinatown or mainline elementary schools. Always in a hip, urban, suburban, stuff-white-people-like, approved location. Namely, Trader Joe’s and Starbucks are incubating the new race of people.

And just remember this, they can’t be “white” now! I would call them Asian-Aryan!

However, do point this truth out to any normie with an Asian girlfriend or wife. We like to call them a “new-cuck.” You get something like this:

“Oh no! This has nothing to do with me discriminating and choosing an Asian wife! I love her! And that was a spiritual and universal choice! I would of chose anyone! But I choose her! Race doesn’t matter to me! Why do you care what she is?”

Yeah right.

White man, you made your choice.

“New-cucks” are real. They are worse than just a “cuck.” Not only do they race-mix, but they deny their future destiny and race. Sadly pretending everything is universal. And then they go ahead and practice Asian culture and say it has nothing to do with that. This is exactly new-cuck behavior.

A race mixing White man or women who refuses to put their racial consciousness first, is an opponent of mine.

I am actually a European advocate. I want to preserve both the European and Asian races. Without them, without Mom and Dad supporting us, we would not have this beautiful culture called Asian-Aryanism.

I am not anti-white, and I hate Noel Ignatiev. I do not want to abolish the White race. I know “Jennifer Suzuki,” the pen name of some erotic-writing troll, would like to see Asian-Aryanism coined as the new White people. Maybe that will happen if the new-cucks win this war. But I would like to see in the future separate and conserved people. However, Asian-Aryanism is happening and is not dying down.

We are Angry Hapas, Asian-Americans, isolated White nerds and WMAF/AMWF couples, who just don’t give a fuck anymore and want to yellow-pill the Western world.

You heard right, I would like to yellow-pill you.

Trust me, Asian-Aryanism is a friend of all forms of nationalism and a friend of all far-left, edgy street culture. We are avant-garde and normative at the same time.

If you have an Asian girlfriend or boyfriend, take pride in that. Chances are, you might as well have kids someday! But make sure they are on the White side of things.

Am I confusing you now?

Look, make sure they argue and defend a state which puts both their own White/Asian interest first! We live in a society that denies White racial consciousness to White people and to every single half-White person.

Now are Asian-Aryans the new White or Asian people? No. You could “whitewash” Asians, and then they become “white.” And for the opposite case, you could send a Hapa to go study in Northeast Asia so that they become more “asian.” But whatever happens in the future, your Hapa children will develop a symbiotic destiny with other like minded Asian-Aryans.

“Whitewashed” or “Asianized,” the crossroads are leading to one destination.

Trust me, this has so much to do with White culture as it has to do with Asian culture. It’s why these duel personalities will eventually become apart of a single “Aryan” identity.

… Sorry, I am not advocating for other non-whites, like Blacks and Mexicans, to racially mix into Asian-Aryanism. Asian-Aryanism is a unique religion exclusively for the relationship between White and Asian people. I really don’t care about “muh freedomz.”

God bless whatever you do. But Black Male / Asian Female coupling isn’t a thing. And don’t try and call it “Afro-Asian-Aryanism,” because what I am doing isn’t a joke either. We are against the multicultural and diverse paradigm.

If you would like to associate with a darker and black race of Asian-American people, then make up your own institutions and find your own idols. Start with Billy Blanks and Jero. Look up Ganguro and Gyaru fashion (I love that stuff). Become self-determined!

I will support you and be an ally, but I will defend my Asian-Aryan people first. Don’t race-mix because you want a utopian, universal, brown-skin, “cafe-ole” society. I will then become your enemy.

I am against what Richard von Coudenhove-Kalergi once said about an “Asian-Negroid race,” oddly being formed to make a civilized Ancient Egyptian one. Nope. I don’t like that one bit. I get where he is coming from, but he is wrong on several points.

Coudenhove-Kalergi knew there was going to be an Asian-Aryan race. I know that feel bro. However, such a hypocrite he was, to support universal race-mixing in the underclasses, and the preservation of a single racial (((elite))) class at the top. I am not Black, and I have none of those racial traditions and background.

I don’t want my future children and grandchildren to look like Whoopi Goldberg or Aubrey Drake Graham. I want them to look like aesthetically pleasing, healthy, Asian-Aryan anime characters. To say Whites and Asians should mix with with African genes is quite offensive and destructive to what both Western and Eastern societies have built.

No, I am not advocating what Coudenhove-Kalergi has said before. He is totally misguided and was confused on his own racial identity. I am rather criticizing and fixing his utopia.  He himself was, by birth, an “Asian-Aryan.” And he could of been one! However, he has failed to see his potential as an Asian-Aryan and then forced a multicultural and Jewish elite, one-world government ideology instead.

The multicultural paradigm ironically has created a large influx numbers of WMAF coupling and offspring than ever before. In the diversity market, White men will choose Asian women over everyone else. The truth is harsh. This is another reason why the single-race utopia will not work. White men don’t want other non-white women, unless they follow their code of attraction. That is, the tradition of Western Civilization.

Asian women automatically win in this discourse. The ideology of Multiculturalism will be around so as long as White men truly get what they want from the globalized world, and that is the “model minority” of Asian women and their culture.

Watch R.A. The Rugged Man debate Jared Taylor on the Gavin McInnes show. Who are the two major races that are creating racism? “Asians and Whites,” The Rugged Man says. Those are the two new racist. Together as one.

When that ideology of “diversity” and multiculturalism is truly gone, Asian-Aryanism will replace it. Imagine all these new-cucks, with their Asian wives and half children, praising themselves in the future rainbow nation…

“We now live in a multicultural society! Everyone is racially mixed and we are free of racism!”

… Not!

Those fools! Whites and Asians are the only ones that have mixed, and now they are a new race of people that is ultimately perfected! That old paradigm was just a bridge for the East and West to perfect one another in a chaotic world!

Again, I am against multiculturalism and diversity. Asian-Aryanism is a “Plan B” philosophy if White Nationalism loses against white genocide.

The word “Aryan” is certainly whimsical. I am not referring to a group of “Asian Neo-Nazi” roleplay and cosplaying found on some image board. This is real what I am talking about. You might think “Asian-Aryan” is an inappropriate term, since why call normal people Nazis?

I am talking about a group of radical people that exist today and need to yellow-pill the Western world in order to self-actualized new-cucks into Asian-Aryans.

Why is Asian-Aryanism happening? Well, again, who wants to date a fat White, Amy Schumer-looking, blue-haired feminist? That of course, is a unique byproduct of the culture and nature of White women. And I will promise you, you will not find that in Asian girls (they have something called “yellow feminism” by the way, and that’s just a love for White men).

Asian-Aryanism is mainly a group of guys on the left-wing faction of the alt-right with Asian girlfriends. Some of us are ex-MGTOW who realized that not all women are bad, and only Asian women are the redeemable angels.

This is who I am. I am an Asian-Aryan. As well with every other yellow-pilled WMAF/AMWF couples and Hapas. We grew out of this “weeb” phase and now we are adults approaching reality.

We all make choices and stick by them.

We have all have duties, responsibilities, and growing up to do.

I will continue to spread the Asian-Aryan ideology over on my YouTube channel and beyond. Feel free to criticize what I am doing.

The future will be one day belong to everyone who wants self-determination and racial awareness. And that also belongs to every racially mixed group of people. Asian-Aryanism has so much potential.

Now, do you have an Asian girlfriend/boyfriend or ever wanted one? Do you like Asian culture and the West? I think you should join the movement!

Please check out my YouTube channel for the latest in Asian-Aryan activity!

Monday, May 15, 2017

How Orbitial Gots His Asian American Girlfriend

I have caused somewhat of a controversy from my previous article, “The Proud Beta Male.”

The argument found in the hard “iron” or “glorious” pill faction of the alt-right, is that a beta male is a disgusting troll or even an evil being. I have argued that the beta male is a good towards society, and that we should promote more of his righteous attitude.

However, the term “beta male” is often confused with the far-left, SJW normie types that hover around their bossy asian girlfriend 24/7. We call this the “orbital, beta male cuck.” Now, is this “orbital” (henceforth, we will call him that) a good thing?

I think it is best to describe the history of how and why the Orbital is promoted and around today.

No doubt about it, I have traumas from my undergrad years of college. Every day, from Monday through Friday, I would come across this geeky White Male, Asian Female couple that would sit on the bench right outside the college hall. They would be smooching and holding hands like some sort of high school, puppy love cartoon. The worse part of it all, is that the girl and guy would attend some of my classes. Right and before the classes would start, either him or her would have to kiss each other before the class would begin. When the class was over with, they would see each other after class. It was even more embarrassing to see both of these motherfuckers holding hands and walking to the cafeteria together. Even at awkward times, fucking holding the door for them was worse.

I was madly jealously. I really did like his Chinese girl. She talked to me a couple of times. I even told her, “I like your hair.” I could of been like Roosh V, and stole his girl.

Meanwhile, this guy would not say a word in class. I believe he had a speech impediment or something. I could not understand who was in control of the relationship. …The girl, or the guy?

These two kids, who I will not speak their names, “yellow-pilled” me to understand that there was a greater nature in the company of Asian women.

The boy was an obvious oribital. He was the president of the video game club, and his girl, an actress for the theater club. …I like to think that the relationship was manufactured.

But for this couple, are they really “having the time of their life?” I have analyzed Erik Erikson’s psychosocial narrative and suggest that it has played a signifiant influence in the millennial generation. Everyone wants to believe they are a protagonist to an anime, ironically, that no one is watching. The Orbital and his Chinese girlfriend is no expectation.

…Now is this relationship a good thing?

From the looks of it, everyone who is red-pilled hates the Orbital and his cucky actions.

Going down the list, we have,

1. Plays video-games

2. Asian girlfriend

3. Speech problems

4. Wears geeky or “nerd” clothing

5. Never speaks in class

6. Arrogant position in a meaningless club

7. Never looks you in the eye

…and so forth.

We might say that this Orbital is part “of a phase” and that “he will grow out of it.” That maybe, he will be red-pilled when he discovers “the truth” about the pre-socratic world. Namely, if he wants to do good in society, he has to become like The Golden One.

…But for all we know, he could be really pathetic in his entire life. He will marry his Chinese girlfriend and start the process all over again.

…I am very critical of the undergrad college today, as it has became a Disney-World vacation resort for late teenagers and early twenties to “experience life” and to let them “roleplay” out situations that they might do in the professional world. Ironically, when they gradauted at 22, the world IS NOTHING like college. The dark truth is that their young life has been swindled by an experienced and lying capitalist (namely, your Cultural Marxist professor and advisor) and are brainwashed with fantasies at a critical part in their social development. The system wants you to be a good consumer. To counter these claims, the college passively promotes “college dorm parties,” “drugs,” and “sex orgies” to make a student more “experienced” in the savage, decadent, guilt-ridden world we call “reality.”

For more information on the topic, pick up Aaron Cleary’s book, Worthless.

As for the Orbital and his harmless (and quite chubby) Asian girlfriend, what should we do with them?

…He’s really a harmless guy after all. He’s just trying to find authenticity. He’s in the pursuit of “the good life.”

But why is his life cringy and quite problematic for every fashy goy that looks towards self-improvement, and eventually Imperium?

The history of relationships and dating in the Western world is a hard one to explain. But I can best describe the problem, by a man name of Percy Shelley, who thought it was okay to write a “Hymn to Intellectual Beauty.” It was that a lover should be judge on “what’s inside” that counts. Later on, Shelley’s artistic expression was later turned into a science by John Stuart Mill. His essay, “The Subjection of Women” is an analysis and experiment to create a perfect, white woman based upon “intellectual beauty.” Give it another century, and we now have rampant feminism and the tragedy of the sexual revolution. As said by F. Roger Devlin in his book, “Sexual Utopia in Power,” it wasn’t men’s sexuality that was liberated, it was the women’s.

Our horrible dating system today is based solely on the ideal of “preferences.” If the guy has a six-pack, is a Christian, a lumberjack, and never swears, and yet his hair is brown and NOT blonde, it is therefore a woman’s right not to date him. She won’t even know what is actually good for her. You can thank the power of feminism and the sexual revolution for such a folly.

This outrageous “dating prejudice” has created terrible relationships between white men and women. Men are flocking towards Asians, and women are being picked up by black guys.

We hate the socratic lie of reality. The liberal establishment is failing. We known that the Orbital and his Asian girlfriend is only a mere byproduct of what is going on. Should we feel shame for him, or should we make him our mortal enemy?

That is the very reason why I wrote The Proud Beta Male, is because a good and honest relationship is open with a good communication. There is no mind games, body signaling, or meta abstractions to know beforehand or improve upon a relationship. This in return, has created the Manosphere and pick-up-artist collective. Why should we try and learn “game?,” when the best girl knows a man by heart? It should be straight forward like a “yes or no” question.

I believe that Asian women, and as well other non-white girls who are ignorant of the Western world, make the best wife in these days of the Kali Yuga.

So when I see Orbital and his Asian girlfriend, not only do I get jealous, I would of liked to have a relationship what Orbital has. The problem is that I disavow the new-cuck and pussy liberal behavior of the Orbital. I will go so far to say that he doesn’t deserve to sit in the halls of Xanadu, doing absolutely nothing but consuming and promoting the liberal regime.

The Orbital needs to get yellow-pilled. It’s how Asian-Aryans are made.

And chances are, he probably didn’t get the girl. It was the fat Chinese girl that had daddy issues and was looking to get with him to fulfill her bitchy complaints.

RAMZPAUL said in one of his videos, “What do you call a man who apologizes if he makes a mistake? -an honest man. Now what do you call a man who apologizes even if he has committed no mistakes? -a boyfriend.

The Proud Beta Male is unapologetic. He likes himself and is nothing like The Golden One. He is Ronnie Martin, composing futuristic electronic music for a utopian society. His intentions are pure. He is “pilled” on every subject you can think of. And it’s fine for him to act intellectual as well as to be a good guy that has a lot to give. He isn’t selfish or pathetic. He is a good guy that everyone looks up to and is a role model. He is your friend and open to talking anytime. He is an Übermensch for a new Golden age.

…And quite possibly, he could be an Asian-Aryan.

Middle-Class Midget Martian Asian Girls

I through with them completely.

When I was a teenager, I would bawl my eyes out, go down on my knees, and begged to be a good friend of these types of closet-lesbian Asian girls.

I’m a man now. I don’t bow down to racially-confused dwarfs.

But a few years ago, when I was in band, and on the cross-country team, and when I looked like some dumb prop from Degrassi, I loved these Martian-looking Asian girls.

What’s not to love? At first sight, they come off as a candidate for a honest housewife.


They are ugly, little, insignificant, tom-boy acting, 5-foot, kindergarten, Americanized, fucking GOOKS with glasses.

“Oh well… Beauty is the the eye of the beholder!”

As Jonathan Bowden once said about the “pagan ethics,” to paraphrase, “The smarter you are, the more beautiful you are, the more stronger you, compared to the inverse, that is, the more dumber you are, the more uglier you are, and the more weaker you are!”

And oh my! How ugly these girls really are both the inside and outside!

I use to text these girls daily like an honest boyfriend constantly would. I hoped they could still love me for who I was. I wish they would text me in my time of need. …Not to call myself pathetic, but I was fooled. These girls are fucking manipulators.

These ponytail coddlers act like their polar opposite, the typical bimbo cheerleader. These middle-class martians play mind games, act upon body signals, and are into meta abstractions upon dating. They layer themselves with this nice facade of being caring and loving. …Don’t fall for it.

These types of Asian girls (I don’t even want to call them “Asian,” since they are byproducts of “Asians in America”) act like they got a pair of fucking tits to judge people with!

The more uglier you are, the more stupider you are!

The best girl I ever out with, and lost connections with, loved me for who I was. This girl cared about me AND HAD A NICE PAIR OF TITS. Chinese, of course! She was beautiful, and I owned her. We were both beautiful, honest, and intelligent beings that gravitated towards one another.

And then when you start to think that you have a better chance with a gook-ugly girl, you might think to yourself, that you have an advantage because you got the money, and you look like a remarkable, healthy, white Aryan. Any little gook girl would want to be with an Aryan prince, right?


Ugly girls like ugly guys. They have zero experience and uphold NO social values when it comes to be treated with respect or chivalrous care. These little fuckers think it’s “sexist” when you hit them up!

I tried dating this one Korean SJW girl… I really did! She was nice and everything. The thought about her makes me pissed-off now. With my goggles taken off, I just see a little middle-class martian that has no right to be around me. She won’t even respect me for being a good guy. Why? Well, because I don’t apply for her “preferences” that she might have. To her, I’m a “creeper” and a “stalker” (with a fucking lean body and strong arms, really?), and that I “say mean things.”

If he texts you, you better fucking text back, or we will cry and get nervous if you don’t. Don’t leave us hanging on a cliff! We are not out to kill you. Any guy texting you wants to start a relationship. Is it a “yes” or “no” to you? If “no,” please, give me some time. We really love you. But seriously, you don’t even know your own fucking self. Any man, and I mean ANY man, can play “game” on you and “wife” you up. Was it your choice in the matter? No. It wasn’t. It was you being a fucking bitch and making men-woman relationships even worse. Thanks for promoting feminism and the manosphere game culture, fucking little gook girl.

Most of these video-game playing nerd girls hypocritically have ugly-ass white boyfriends. They don’t even have a college degree or a trust-fund. They work their ass off and wage-cuck at a 711 or some low-life indirect sales position. …Ha, and you think I like the “working-class?” Sounds like the slave mentality to me.

I’m a supreme gentlemen. You should be fucking grateful I find you attractive, even masturbating to you before bed. Every genuine guy does that. You have no fucking clue what you really want.

I am advocate of Asian-Aryanism. I really am. I like when guys have Asian girlfriends and nice Asian guys have white girls. However, there can be no alliance or collective with these new-cuck, bipolar closet-lesbian, Martian girls, with their fucking gross-ass, Call of Duty, Magic: The Gathering-playing Asshat, which we call her empowering “white boyfriend.” Fucking gross dude. This is the shit we are against.

Bitch, I tried to yellow-pill you, but you just don’t get it. You want to live in the white man’s world of “multicultralism and diversity.”

For fucks sake, I’m pretty sure having sex with Margret Cho is superior compared to your ungreatful pussy.

Most white guys, and black guys, fucking date-rape most Asian girls and have their bastard babies. All those mommies go into a fit and pretend it’s a new and stable family. Come on. You don’t have a say in that relationship.

How dare you disobey your strict, Confucius parents. Mom and Dad both want the best for you. Sure, they want you to marry in your own race, but if you really were healthy, you would go full on Imperium and choose the best white boy to go out with. Not that faggot you met in Photography class, lives in a dirt-shit apartment, has the cash, but fucking lies to you while you like to believe “he’s your guy.”

Fuck you, you little gook. Your fucking going out with a new-cuck and accepting the tragic fate which white nationalist call “oven worthy.”

And say back to me,“your such a stalker and a weirdo for saying all these things. Your a hater.”

…You just don’t fucking get it, do you? You hang out with my friends like it was one big narrative since our elementary school days. You take fucking selfies and claim everyone is your friend. When anyone wants to be open with you, you choose your friends to be open with.  I fucking apply to be your boyfriend, and I am still not good enough for you because I don’t like the same gay anime your watching.

Bitch, I lift weights and rock out to Xiu Xiu. I’m a Eurasian-American Hipster with huge pride and accomplishments you fucking wish you had. You should be asking for my trust-fund money, my degrees, and my social connections.

I will admit I have low self-confidence, but it doesn’t give you the fucking right to shit on me and say “seek therapeutical help.”

Your the one that sees me in the mall and runs away like a little insecure bitch. Cheating on me, hanging out with your wayyy cooler, now fucking ex-boyfriend, who plays Smash Bros and acts like a PC-little faggot.

Your the all the same. You think I’m some kind of stalker. I’m come to church with a nice plaid shirt, I shaved, yeah, and then you hide in the corner. Like your running away from me!

Do you have any morals?

You are all the same.

I was going to write something about “Middle-Class Asian-Aryans,” but all of them are non-redeemable and don’t deserve my support. All of them are race-mixing, low-energy fucking degenerates, ultimately controlled by the Jews who don’t care about you.

Those of you who find Asian-Aryanism beneficial are my true friends. Those of you who are the “new-cucks” need to get purge in the coming ethnostate race war.

Sorry for sounding like William L. Pierce, but this is the truth.

You little Middle-class Martian Midget Asian-American Girls fucking disgust me. Awkward handjobs, disgusting dog-slobbering blowjobs, flat-chested, insecure, full of daddy issues, …hell, I’m through with all of you. Your just like white girls. That’s what you really are. A bunch of bitchy white girls that are Asian.

None of you ever gave me a chance. Even when I come back to you, even when I sent out another text, you still think I’m some kind of stalker or a creep. Cry and tell this to your ugly-fucking beta boyfriend.

Fuck you bitch. If I hit a woman, it’s going to be you.

…Huh, as a post-script, this  sadomasochist race-play is turning me on. No wonder why most of you little gook girls like to be dominated by a white guy.

Whatever. True Asian-Aryans have beautiful and kind Asian women of the red sun. This is all about purging degenerates. No new-cucks allowed.

Thursday, May 4, 2017




The cocnept of the line. 


What are lines? What is the meter? The sylabal count? 


What is the sound of the words? Verse, how do you see it as an image? 


…see this collection of sentences?


I took the line breaks out! how can you break the line of the poem?


did you reaarange the poem in your own break?


Darkling I listen; and, for many a time

I have been half in love with easeful Death,

call’d him soft names in many a mused rhyme,

to take into the air my quiet breath;

now more than ever seems it rich dies,



…The poem is by Keats! Keats did something different. HE SPACED THE LINE BEFORE THE WORDS STARTED. You, made it like a hiaku, she, made it like a longer poem.


But the original poem, has spacing in the beginning of the poem. Keats messes with the concept of the line. 


Ode to a Nightengale by John Keats. 


Once you caught the rymth, 


…for you can pick it out by phase. 


iambic sylabals. Japanese. 




If “pain” dosent rymth, we should recognize that the syallbas match.


Lets look about another poem. Where the syllabus are diffenrt. 


Breaks can be hidden, or they can be open. Should the idea be open in a single phrase? Or, should the information be concealed, and be a cliff hanger? 


Shifting sand snow dunes




Shifting sand snow 




Spacing can make you feel a sense of meditation of “space” of thinking about the concept of fine art. 


Remember, poetry, either it can be  lyrics to music or fine art. When has potrey been used as a straight forward lanauge? 


An Octopus by Marianne Moore


Moore experts ideas from national park brochures. She quotes or “cuts up” and uses “poor man plagaism.” 


Iamges using word as fine art on a war. Imagine if her poem was printed on a piece of paper, and sold in a gallery. What does the viewer see? Art?



Imagine poetry with no breaks! Think of it, like a “wall of text.” IS it still art?


How do you break it? Do you leave it alone? Is it rambling of English? What is it? How do we contrast the image, prose, and sound? Does it have one thing and not the other? OR does it have everything? Who is defining poetry and what is going on? 


Beauty by B.H. Fairchild. 


Imagine his poetry in one big prose. A wall of text. What is it? A Disgusting comment. Or fine art? 


Five beats. 


What is Seamus Hanley’s translation of Beowulf is like? Does that ever break with the Anglo-Saxon langauge. 


hand and foot, Venturing closer,

his talon was raised to attack Beowulf

where he lay on the bed; he was beating in

with open claw when the alert hero’s

comeback and armlock forestalled him uttery.



How do we operate words? Does a poem have to make sense the way its broken up the way it is? OR is it totally separate? 


Do we oppose something upon the words, or do we chisel the words and find the aesthic groove? What kind of games can we play it? 


The poem… can it be the shape of something? A picture of something. Can the words make that picture? Arranging the letters in different and cool ways. 



Deep autumn and the mistake occures

the plum tree blossum, twevle blossums

on thre differnt branches,

which for us,


means nothing this coming spring

or perhaps none

on just those beaches on which just now


a grey-gold migratory bird

—still here?—crisping, 

multiplying the wrong air,

shifting branches with small hops,

then stilling—very

still—breathing into this oxygen

which also pockets 

my looking hard…



See how she broke the poem in her own way, from the original wall of text she had to comfort? 


Single phrases, routining phrases, single words, cliffhaning words. What should you do? 








Embodies by Jorie Graham


Long lines and then short ones. Why does she do it. She wants you to focus all your thoughts on one big line, but then glancfully, as your skimming through it, focus on the short lines.


Again, this is a battle between “Attentive” vs. “Passive” reading. 


Deconstruction = Passive

Academic and logical = Attentive



Sea Change by Jorie Graham - Poems.



When somebody speak poetry, treat the speaker as an intrsument. Is it good hear the person speaking the poem? This will bring the topic of “Poetry Slam.” 


How do you distinguish the words between the speaker and devoted of him or her? 


Does your perception change when you hear poetry by a grumpy old lady, vs a beautiful young girl? And a masculine sneaky man?


Think of poem books as musical compistions. Verse, thinking about poem books as coffee table comic books / fine art galleries. 


Avoid yourself from reading the poem like a intructive lanauge. Think of it as a flow.


Contrast it with E.E Cummings and Jorie Graham. Cummimngs is playing with grammar and punctuation. Graham is playing with how we are reading the text and compromising. 


Poets, unlike artist, can control your mind abusing and explotiing logical language.


…Now, can you latch on to the poetry? Should you understand it? Do you get the aesthics that is being used? Text is used as paint, not words. 



Moore’s very image and stylish good sound words. Looks good, sound good, feels good. 



Wednesday, April 19, 2017




Find your poetry magazines in the basement.


The words you choose. 


Write a poem about the following objects:


Four points (this)

Fire, Water, Wind, Earth.

Every stab it’s worth. 


Silver and unique (this)

Use to get the treat

Check to see if the meat

Is pink,

Hear, take a seat. 


The fork. 

An instrument 

That we invent


Most used as a boon

The poor little spoon. 



What are the different approches you have seen?


Using metaphors. One surrounds the objects, related around it. A relic of those moments, than trying to articulate what it looks like.



Fork by Charles Simic 


Read this poem is about a fork. Compare it to yours own observation. 


…What are the words that stick out at you?


“Cannibal.” “bleakness.” “Right out of hell.”


Strong words, allow the emotions, to gain more meaning, by contrast. The fork is bleak.


These are techniques you can apply to be a better artist. 


Word scientist word juggling. 




“What are some approches to write about a box?” 


Can you write a shorter poem about a box. More vivid and buzzing about the poem. Appearance, sensory, arousing… how can words do that as a reader to you? 


The poet reader is different from the average reader. THe poet reader is a viewer of fine art. He treats text as looking at fine art. 


What are different apporches might make it less about the box and more about aesthetics? 


A poem that will make a box that is present to use but leaves us with a specific feeling. What is that feeling you wish to convey to the observer? 


Try and feel the box. 



Shark tooth ribbon 

Compass of the north

Lavendar rug

Pointing to the south


That’s the secret.

Not what we known, 

But the esoteric images

Best bet, a treasure lays


Hidden in an ocean

Far off, 

On an island

With lot’s of sharks

And huts made of bark


The box is a key,

Of buried treasure 

Own by a lost Space cadet.



What are the images that you used?


What is the difference between adjatives and uses them in the world? 



An assorted collection of scabs picked off,

Smashed with a stick till the skin was soft,

Which his client drinker, and then fatally coughed. 

(dusty cup?)


Now, pick a poem from one of these books, choose / steal the words. And use them in a poem you made. Choose words. Cut and paste. 




seventy million



The city like a stone

dancer’s blood.



Life is not just sand and sun

for the crocdiles



a shadow stream.


(The penguin book of modern Urdu poetry. Selected and translated by Mahmoud Jama)


The Dancer’s blood

Soaked naked in the mud 

Majuranja smoke

The city is a stone


Our sins are condone

Life is not just sand and sun

Sex and games are always fun

For the crocodile,

Lives in a shadow stream. 






sky —











The crodile god

That killed seventy-million

As the hindu gods embraced, a lily

From the sky, 

down onto a toxic stream


The sea of lost souls.

Vanauble to those who

drink the water, as they will get sick

Of soar throat.


The inurasha of four marble 

Bonging after one another.


Do not disobey

The crocodile’s leisure

…Ribirth and resseurction.



The word selection created it’s own shape. Did someone use it in a word that you never used it before? 



John Hogson: Upon reading love letters


…You should also look into lounge twisters and incorpparate them into your own poems. 


Dylan Thomas - Poem on his birthday 




Poetry: Either clear, or is it dense… all words with meaning buried under it? 


The Book of the New Sun by Gene Wolfe. Hidden meanings, words used out of context, narrative like a barque fantasy, but means something else. 


Lisa Garley - Box of Blue Horses


She used the same method… she couldn’t write anything… and she saw a box with blue horses on it… and heres the poem!


How simple poem design can be. The differnce between poetry written on the spot vs. poetry written as a collection of words that sound simulating and collecting. 



Samus Healy - Badgers 



Do drugs and read Finnigan’s Wake. 



Poets like talking about words and getting high off words. Like smells, tastes, seeing, hearing, it takes a certain perversion to be a poet. 



What is the feelings that the poet is trying to get across for the observer? Will the obersver actually “read” the text? Or is the text just pretty and aesthically pleasing? 



You next assignment: Use a notepad, or your phone, and record in your memo… a word you like. Collect these words. As your collecting these words, put them together to make a poem. 


Buy a small notebook. Use your phone. If you like the word “meandering.” Record it… and put it in a favorite word dictionary… or make a verse with it. 


(save your word bank file. send it through email.)



Wednesday, April 12, 2017






Sunset falls

A thosand windows

A building collaspe


Frog on a lillypad

Looks at a pond

Echos with wrinkles


The sky is blue

Tints to an orange

Fades away another day


Twenty windows

Look down upon

Two couples walking


Cars drive by

While people walk

In a new direction 


Three color markers


Boards of Canada


Tomorrow I will do something

And then 

go back to bed


The littlest number

From A to Z

I saw drones


Five fingers type

Words with pictures

Meaningless and Useless


The dog barks

At his owner

To go home


I forgot your name

Life is unfair

Nothing is real


Raindrops fall

on a red wheel barrel

That I didn’t write


Tomorrow’s Harvest

Is where 

The dead will reach



The Friendly Stranger

He said.  



Kobayashi Issei (Haiku writer)




The brown little dog. 

Three cats in a window.

-Are held togther 

-Pack together

-Wait for their owner

-Inside for the winter

-Waiting for the spring. 

Three cats

Brown dog

Waiting for spring



Poetry = Greek word that means “Making.”


The space between things, that you are making, makes a new lines, and concept. A new line with a picture. Another line with a new picture. New pictures following each other after one another. 



A Rooster Hen

Is envy with green 


Three concepts that follow on after another. 

Blinding rays

Warm breeze

Loud cars


——> Three images. A site. A feeling. And a noise. 


Observations. Of the echo system. Shifting through the echo system. 



Is bury, bury

Dead to me.


-Ron Sullivan 


Da Da 

Da Da 

Da Da Da


Also, take note of how the poem could also sound good as well. Swinburne. Shirley Shooks Swinful Sins. 


The way the speaker who is speaking the poem is also a musical instrument. The words that the speaker is speaking, is not a logical or systemic way of lanagage. 


If the poet speaks/sings, “go die,” he is not telling you to “go die,” as to kill oneself. He is rather expressing an emotion like to “go die.” 


The Death Ray 

Shoots through 

The breeze of Mars

Past Jetson cars


====> Rhyming is a techinuqe that can make the poem sound better. It’s not an applied rule. It’s a technique YOU MAY add your poem. 


When listening, focus on the way the poem is present. Then, reflect back how you feel when you heard. This is called “aesthetics.”


Listen to Ron Sullivan’s Xing. 


…You may want to look at a ryhming dictionary. 


…Play with words. That’s all your doing. It’s a game. A game because you are bored with the text. 



one cocoon

in the stone Buddha’s 




Ezra Pound


In a Station of the Metro

THe apparition of these faces in the crowd;

Petals on a wet, black bough.


(Americanized Poem)


The difference between those two lines. 



Darker Than Black

Something to Do 

Have a Black Celebration


I’m Waiting

For the night to fall

to makes things bearable


Motorcycles fall

Turning inside 

An infinite gash. 


(moving objects, instilled objects, ups and down tehcniques).



For three comics

I could be saving money. 


Green clouds

Around the bus

Going nowhere


I fall down endlessly

Down a red tube

And into a mircowave


Crying sorrows

Bleak well water 

Porno video 






For every time

You said the word “Microbe”

I deserve a quater 


60 second wipeout

The world ends 

Make my bed


Elliot Rogers 

LA Dogers 

Hob Goblin 


I ride down

Four trees

A big swastika 


…What is the discplene of poetry? What makes it aesthic? What makes it ugly?





In Kyoto,

hearing the cuckoo,

I long for Kyoto.


A complicated emotion to a simple experince. 

Keats - On First Looking into Chapman’s Homer. 


An expensive copy of a book they liked. 


A poem about their experince. 


Keats didn’t like Shelley.


Thursday, April 6, 2017

Alphasmart Neo2 Test

Hello. So this is my first piece of writing with the AlphASMART Neo2. I dedicate this piece for Rabbit. Rabbit was intersetered in picking up the 3000. I will give my input on my first impressions writing. 


I am sitting in my living room looking at my puppy. She is eating scrambled eggs that my brother cooked for her. I am not sure whether I should look down on the LCD screen or should type looking forward. 


Testing… Testing out the the spacing. 






I don’t have the driver installed. It’s way too old for that kind of stuff. This machine is about 10 years old for the price of $22. 


I am quite comfratble using the Astrohaus FReewrite. But i might take this machine up as the homework killer and portable typewrite. I use my phone for internet surfing, and home computer for shitposting and watching videoss. THis machine is the  writing process. 


I have to learn more about that else this machine can do… I forgot that this machine has arrow keys.


Spell check? I won’t bother. The on/off button works fine. This Neo 2 came with a carrying bag. If the device is left on, or the power button is paused to too much, corrution can occur. Wait for the file to load and delete it. That’s what happened when i got this device. IT’s all fixed now. 


Let’s see… No use for the printer button. That is totally obsolete. The “find” button might be useful, to check for instances of repeietvie words. 


The “Home” button takes the cursor to the top of the page. The “End” button takes the cursor down to the end of the page. Way more useful then using the arrow cursors. “Applets” is not really useful. Maybe for a apps program. 


…Let me check the back of the device…


Hold on…


…”Neo automatically saves your text when your write things.” Ok. That’s good.


…Just watched an Alphasmart video on the topic of it’s function. The other function I find interesting is ctrl+O which is opening files. This device can save extra files for later… Not sure if i will use it for any beneficial purpose. 


…Now the last thing I have to find out if there is such a thing called a “word count.” I do bleive there is a “characther” out. This is important, since I want to focus on writing a least 2000 but nor more than 2500 words for a file (who knows?)


…Let me check on that.


…Crtl+W is the most important command. The word count. 430 words right now. 


Alright, so I think I got everythng covered on the Neo 2. 


This is a good device to get Rabbit, I can see it surpassing the Astrohaus Freewrite Already. Now I have to check file transfer speed. I have to plug in a USB cable and let it export the file into a textpad. 


Unlike the Freewrite, I press a button and it’s there. 


This thing might be a better choice than a freewrite. I can tell. 


This device will save you $450 bucks. 



Monday, January 16, 2017


Hellfire Temple Draft.



You are in front of the Lengendary Temple. It is a big, Aztec-like, building. Trianglar in shape. The entrance you see in front of you is dark. You light on your tourch. As you enter the temple, the jungle ambience becomes silent. All you can hear is the sound of your footsteps.


You light your tourch in front of the wall. An ancient drawling shows that of stick figures throwing spears at a large square pig. 


There is an intersection between the wall.

Should you go left? - 2

Or should you go right? - 3



The left path leads you in front of an indoor lake. A lake inside a temple! There is dripping sounds coming from the cieling. The water is brown. It dosen't look like anything is living in it, or is even healthy. There is a sidewalk path next to wall. You sidestep across as you balance your torch. The lakes essence is mesmorizing. It feels like you could fall into the lake and drown. It is a scary thought. 


Ahead, you can see a glaring yellow light at the end. It must be an exit. 


However, there is also a pebble besides you. You have thoughts to throw it in.

Should you throw the pebble into the lake? - 4

Or ignore it, and countinue towards the light? - 5



Nothing written.



You throw the pebble into the brown water. 

The pebble dives into the water with a large "blup" sound. The lake is indeed deep. It echos across. The lake must strech a long distant ahead. The dripping of water countinues. Nothing appears the be living in the lake. Only you exist hear with your torch. You torch could possibly fall into the water. 


You quickly sidestep and reach for the yellow light ahead. 

Turn to - 5



Slowly balancing the torch and side-stepping against the wall, you reach the end. The glowing light is quite large. Observing it, the light is coming from a relic shaped as a bug, The shiny glow is emitting from it's back. It's six legs clinch to the wall. The thing is not alive. Right beside the bug, a hollow corridor streches. Pitch black. Good thing you have a lit torch lit. The bug's light looks pretty handy.

Should you further examine the bug? - 6

Or should you walk down the long, dark corridor ahead of you? - 7



You put down your torch and try to take the bug. It comes of the wall. The bug is quite light in size. You notice that at it's mouth, a red glare emits. It is a very strange relic. It could be worth money. But it's not that important. You may put the bug in your bag or leave it where it is. 

Countinue down the dark corridor.  - 7



The dark corridor your walking down is far in distance. It is a straight path forward away from the lake. The sound of your footsteps echo. 


You see a wall up ahead. Lighting the torch up against the wall, another temple drawing is apparent. Stick figures with squares. A foreign langauge reads across. It's neither Egyptain or any familar langauge of South America. You feel the wall. Dust covers your hand. 


There is another intersection.

Should you go left? - 8

Or should you go right? - 9



As you walk towards the left, pebbles fall from above. You look up. A loud shifting noise can be heard. Something large is in this temple. You sense some kind of danger up ahead. You walk faster than before. 


A sharp turn countinues to the left. You light the torch along the wall. More esoteric langauge and sqaures appear. Nothing makes sense.


As you reach the end, the corridor turns to the right. How long will this endless hall go on for? 


At a distance, you can see outside light. You rush towards it. 


Vines and leafs block the way. You tangle your way through the debris. 


Try and cut some of the vines? - 10

Use the torch to set the vines on fire? - 12

Or push your way through? - 11



As you walk towards the right, pebbles fall from above. You look up. A loud shifting noise can be heard. Something large is in this temple. You sense some kind of danger up ahead. You walk faster than before. 


A sharp turn countinues to the right. Ahead, you can see some kind of statue. You walk towards it.


It looks like some kind of golem creature. In the center, is a shining diamond. Behind the golem, is another path. You have curosity for this thing. 

Should you examine the diamond? - 29

Or ignore and continue?  - 30



Reaching out for your hatchet, you cut through the vines. You want to use your torch, but you decide to wave it violently, and put out fire against the wall. There is sufficent light ahead to see where your going. 


The vines are thick. "Whish" movements with your hands cuts them. A little force is needed. 


Pulling the dead plants aside, you can see some kind of monument ahead. It is outside. The sun's light is shining. 

Countinue towards the monument. - 13



You use your might and force to grapple the vines and push them aside. Some have thorns, others just fragile. The vines hurt your hands. LOSE 3 LIFE. 


Your hard work pays off. Scarped and dirty, you finally reach outside. The sun is bright. From the distance, some kind of outside monument stands alone.

Head towards the monument. - 13



Waving the torch, you use the fire against the vines. They start to burn. You use much fire as you could. The fire gets incresingly bigger. You push your way through, but get burnt from the fire. You have made the situation a little more difficult. LOSE 3 LIFE. 


You use some of your canteen water to put the fire out. The fire is not effective enough to start blazing. A right amount did the job to kill the useless plant life.


Ahead, you can see some kind of large, outside monument.

Push towards the monument. - 13



You are outside. Abandon buildings hover around you. In front of you is a large, diety figure, sitting alone. It looks like Buddah, but nothing like Vishun. Niether Christian or Islamic. The figure is praying above. Wings attached to it's back. Eyes on it's stomach. Could it be an ancient God admired by the old temple people? 


Looking around, behind the diety, you see some stone hedges. A howler monkey can be heard. Life exist over hear. There is another building in front of you. And to the right, some kind of house.

Head towards the stone hedges? - 14

Go to the building behind the stone diety? - 15

Or head over towards the house? - 16



You walk towards the stone hedges. Chirping of cicadas can be heard. 


The hedges circle around you. Four big hedges with strange language written on each on. A stone path countinues towards inside of the temple again. The aura around you is suspcious. 

Should you examine the first hedge? - 17

The second hedge? - 18

The third hedge? - 19

The fourth hedge? - 20

Follow the path, and head inside the temple again? - 21

Or go back to the stone diety? - 13



You head for the building behind the stone deity. The buildng is a large. It an eroding, phallic building reaching for the sky. There is a door in front of the building. Maybe there is something living hear. 


You walk towards the door. 

Knock on the door? - 28

Or go around the building towards the stone hedges? - 14



You head towards the house. 


The house is the shape a moneky's head. The opening is the mouth. Light is inside the house. You decide to walk in.


Walking in the room, exoitc pots are on display both to the left and right. You look at the pots. One pot has curvey lines, another zig-zags. The other two pot has spots on it, and one with stripes going up. 


Crumbles of stone fall from the ceiling. Something is moving. 


Then, the door outside shuts down from above! You are in a trap!


You are now stuck inside the monkey house. You go up to the door and try to push it. The barrier is too heavy. 


However, there is a new path in front of you. It looks like your traped inside.

Head towards new path.  - 22



You examine the first hedge stone.


Written on it shows a sheep-like creature. It is red. Three lines are etched under. 

You step back. - 14



You examine the second hedge stone.


Written on it shows a dog-like creature. It is blue. One line is etched under. 

You step back. - 14



You examine the third hedge stone.


Written on it shows a dragon-like creature. It is green. Four lines are etched under. 

You step back. - 14



You examine the forth hedge stone.


Written on it shows a ape-like creature. It is yellow. Three lines are etched under. 

You step back. - 14



You pass the stone hedges and head for the path that leads inside the temple. You can see light at the end. There is no need to use the torch (you may put it out if you have one lit). 


As you walk down, the outside ambience dies out. Your are inside the silent temple again. 


You reach a large room with glaring sunlight from an open patch from the cieling. Th sun provides light in the dark temple. 


In the center of the room, you see four pillars. You walk up against a pillar and feel one. The pillar goes down. Surprised, you touch it again. The pillar goes up. 


There is another path to the right. 

You countinue along. - 23



You leave the pot room. The long corridor streches to a new room. You are anxious. Hopefully, the falling barrier was just a concidence. Right? You see light coming from the end. 

Keep following the path. - 30



The path in front of you is pitch black. You have second thoughts to touch the pillars. Should you mess around with any of the pillars before you go? 


You may write a note. Describe witch of the four pillars you want to press. Either 1, 2, 3, 4, 1 and 2, 3 and 4, All, or any combnation, etc. Keep this note for later.  




You light your torch, and head down the dark path. - 24



The path is dark and silent. You hear a flutter noise. Possibly bats are somewhere. You light your torch above. Nothing. You walk further down constantly inspecting with the torch. 


There is an intersection. 


Go left? - 25

Or go right? - 26



You head left. 


In front of you, the flame of your torch light up a dead end. Above, a group of bats are sleeping. 


One is awake! He sees you and flys down. Fight the bat!






LIFE: 14


If victory, - 27



You head down the dark corridor. Hopefully, you will not wake any bats. 


You come across a door. This door has a face on it. Two eyes, a nose, a mouth, and a red diamond in the center of it's head. You push to door open. 





You killed the bat. Scared, you quickly head the other way.

Head towards the right. - 26



You knock on the door. It is quiet. No one answers. You decide to open the door. 


Inside, there is a staircase the leads upstairs, and a viasable kitchen. Things look old and abandon. 

Walk upstairs? - 34

Or head for the kitchen? - 35



You decide to take the diamond and look at it. It is shiny, probaly a precious medal. You carest admire the diamond. 


All of a sudden, the golem shifts it's head! It is staring at you. I's left arm slowly is moving towards you. You back off. The golem's legs break out of it's sleep. The golem shakes itself. It is walking towards you! It's arms want the diamond back. You are scared. 

Give the golem the diamond? - 31

Or fight the golem? - 32



You are in a giant red room. It is big like an audotorium. The thought of such of room is puzzling. Who uses this room? The floor and ceiling are made of ruby. 


Thing in the center.


Check thing?


There is two paths. Which way?



You quickly pass the diamond into the golem's hand. It grabs it tightly. However, the golem lifts its arms up, and shakes them violently. He is still reaching for you!

Nervous, there is one thing to do. - 32



You draw out your machete. You start a fight!






LIFE: 17



If victory,  - 33



The golem falls to the ground. It's head tilts to the side. No life is through his body anymore. You swat the body a couple of times to make sure it is dead. You grab the diamond out of his head. Looking at it, you decide to keep the diamond in your bag. It's worth the fight. Shook up, you wipe of your body. You run out of the room into the next. 

Head for the path. - 30



You walk up the long, curving stairs. 


You have reached a room with a carpet and latern. Someone must be living hear. Overhead, you can see an open door. It look's like someone is in there. 


Roll a die.

3-6, Tiptoe near the door and spy. - 36

1-2, Make noise as your walking. - 37



You are inside the kitchen. Everything is made of stone. The brown table in front you has scattered papers. The langauge is unknow. The charachters look like a bunch of scribbles. 


There is a metal sheild in front of you. It is somewhat big. Looking at it, from the botton and top, it looks like it can be used for something. It might be worth money. You may take the sheild. If you do, add +2 block to your skill. 


Nothing much is in the kitchen. Ahead from the window, you can see the stone hedges. At the moment, they look more intresting than this abandon building. 

Head outside towards the stone hedges. - 14



You fall onto the floor with a loud bum p. “Who was that?”, a voice from the other room cries?


Som eone is in that room . You hear footsteps com ing your way.

Should you stay where you are? - 38

Or charge at the person? - 39



You quietly walk over to the other room . You see a green-skinned wizard brewing a position in

his caldron. Should you m ake noise? Or attack?



The person walks towards you. It is a green reptile wearing a wizard’s coat. “Who are you?”

He says. You explain your story to him . The creature turns out to be friendly. “I am Gardu,

keeper of this building. I have no idea what is inside Hellfire Tem ple. I am only doing

research for m y own experim ents. If you plan on going on through the tem ple. Please, take

this arm or with you. It does not fit m e. Hopefully you can put good use to it” You obtain the

arm or. Add +1 to all of your stats. You wish Gardu farewell, you exist his tower and head

towards the stone runes.

stone hedg - 14



You charge directly at the voice. You push him onto the ground. “Alakazam !” The creature

scream s! You get burnt by a fire spell. Lose 4 life points. The green looking crature goes

back into his lab, steals som e special am or thing, and cast onto his spell. He dissapears

without a trace. Getting up, you walk into his labatory. Obviously, this is som e kind of

wizard’s keep. Nothing special is useful. You alm ost had him too. Outside the window, you see

the stone hedges. You take out your m achete and prepare for anything worse to com e. You walk

down the stairs safely and get otuside the building. Head towards the stone headges.

stone hedge - 14





How to write a “distraction-free” gamebook draft. 


Table of Contents:



-What is this?

-Why I wrote this book.

-What you can get out of this






-What is a gamebook?

-A history and background

-How you should approach reading gamebooks.

Why write gamebooks?

-The second person genre

-Like an avant-garde genre

-Not enough second-person books

-Playing with the text is reading

-Gamebooks are part of literature

What is “distraction-free?”

-What it means to be distraction-free.

-What you need to write before hand (the Freewrite)

-Avoid using the computer. Writers are not game designers.




Writing a “distraction-free” gamebook.

-The phases

-Writing phase (stream of consciousness advice) (adding numbers before and number paths)

(before you go into edit, assume the writer is done his book)

-Editing phase (edit the whole document through)

-Sequcning phase (what is it, why it’s important)

-Formatting phase (how to make a fancy pdf document. easy for the reader to read)




Looking ahead

-Publish it on lulu or give it as a free pdf (get your audience right)

-Conculsion (ready to write another gamebook? Recap why the “distraction-free” method is the best way to write a gamebook).



Hellfire Temple draft after the writing phase, what your finished document should look like. In no way is it the “finished” product.





In this tutorial, I’m going to show you how I write a Gamebook without being distracted.

If you don’t know what a gamebook is, a “gamebook.” is a type of second-person narrative that relies on the reader to make choics and has some kind of game system, such as stats, built into the novel. The defining gamebook franchise are Fighting Fantasy, Lone wolf, and Quest!. They are differnt from the chose-your-own-adventure book because they expand upon the choices being made and the reader’s characther could die at any momenet depending where his stats are at. Think of the gamebook as a varaint or expansion of the chose-your-own adventure book. Instead of just choosing paths, the readers is also interacting by using the game system learned prior before reading.

Gamebooks have been quit successful in Europe. While in America, the chose-your-own-adventure book dominates. This is one reason why the gamebook has not reached international fame. Along with the popularity of dungeons and dragons, the role-playing market came out of America. Role-playing games like D&D, always stressted there should be one “Dungeon Master” and at least one other player. For the gamebook, the text is the dungeon master and the reader is the player. Some gamebooks in the past have created two-player and even four-player book, such as Steve Jackson’s X and Y. But the popularity remains it being a single-player, or solitare role-playing experince. One of the very first gamebooks, The Warlock on Firetop Mountain, was directly infulend by roleplaying games like Dungeons and Dragons. Gamebooks are like single-player roleplaying games. (mention tunnels and trolls along with quest). The reader is interacting with the text through a buil-in game system. This is a very similar experince to text-based-adventure games like Zork. Except that the book is analog and is not a computer. Today, computers and video-games rule the second person narrative. Gamebooks, along with role-playing games, is a dying art. Only those apperiate such entertainment will gravitate towards them. There is still so much to be done with second person writing than just chosing paths.

Most gamebook euthanist come right from reading Fighting Fantasy. I read The Warlock on Firetop Mountain when I was 17 and since started collecting gamebooks. FF has certainly defined how gamebooks should work. However, the FF combat system, Skill Stamina nd Luck, is unfortunely trademakred, and cannot be used for any commericial reasons without written consent by the creators. So only non-commericial, fan-made, public-domian, Fighting Fantasy PDF adventures have been appearing online since. To really publish an original gamebook, means to also create a game system with it. Game systems can vastly differ. But the system should be easy enough for a reader to learn and apply it to the text.

Fighting Fantasy also popularize the “turn-to” mechanic. Most choose-your-own adventure books will often give readers a choic to turn to “page 5 or 6.” Fighting Fantasy re-invetned the path system by introduction numbered “sections.” In most FF books, 400 is the average length of a FF gamebook. Section 1 is the introduction of the narrative, and then branches off into other sections, such “to turn to 54, 86, or 13.” The reader turns pysical pages and finds the section in sequntial order. Eventually, a random section, like 274, will lead to the ending of the narrative, section 400. Anytime the read could “die” because of his stas, make the wrong choice, and then the novel ends. The goal is to get to achieve an ending through any way of play. This could be bad or good. It is really up to the author.

This system is fascnianting because the potential endings increase within the book. A reader could say, “I tried to get the golden token, but then I died missing the ledge and falling down in a pit of snakes,” or “I had to choose three wifes to marry, but I chose Sarah is because she has a passive-agressive personality.” However, these endings and choices should statifis the reader. Endings like “falling into a pit a snakes” should not be negative, but encourging enough for the reader to rewind back and read again. Choose-your-own-adventure books often fail to make great choices is because they are often like relgious tracts. The Choose-your-own-adventure book was targeted for young kids, and often would they be in a situtation wehre they had to make an ehtical choice. Such a cliche example would be “do drugs and you get the bad ending, say no and you get the good ending.” This means the reader is at the will of ethics and is not free and confident to make his own choices. It’s such second-person narratives, like “Depression Quest” leaves a bad-stain on the second-person narrative. Section introduced by Fighting Fantasy, is truley radom and not forward. The reader is using his books by constanlty bookmarking random pages and flipping towards the next. The sequence of events in unexpected. Gamebooks should give freedom (freewill), power, and enjoyment to the reader (or player) than force the reader to be at the will of the selfish author. Whenever we read any text, technically we are at the will of the writer. But with the second-person narrative and the gamebook genre, the reader is truley free from the writer, since the text is his.

Gamebooks have been hard to write becuase of this paradign and because of creating a unique “game-system” and random sequnce of sections. This has hurted than writer and has rewarded more of the computer programmer of game desinger. Often, gamebooks are asscioated with games and not literature. That is true. But because they are also books, they can be as well treated as literature. All avant-garde genres of the past 50 years, like Ouliep, Deconturtion, Cut-up, fontism, and “langauge poetry,” are considered forms of literature. This strange genres have rewarded the aritst more than the articulate and logical English writer. These genres are about “messing with the text” and in some way, are considered to be “post-modern” that is, anyone could write something and art has no innate meaning. Which is intresting about the genres that ijust mention, is that they let the reader become free from the will of the writer. That is, the writer is just as free as the reader. It is a pleasure to read “cut-up words from a newspaper to create potry,” or to “interepted European philosphy to really mean that they are arguing for Communism.” This method is a lot like Ernst’s Hemminway’s Iceberg. What we previced to be written lanague on the canvas is assumed to be lanague. However, a artist truly creates art when a writer, just liek the artist, picks certain words and creates meanings that reward a sense of a apperiation for athestics than meaning. In other words, the written word can be just like painted pictures ina museam. A reader, just like a veiwer of an art piece, can aesthically enjoy written lanague just like a Jackson Pollock paintint.

This is where the genres of Science Fiction and Fantasy come in. Both genres have their origin in pulps written for children and adults. The purpose was for sheer entertinament, not high intellectualism like the works of J.R.R Tolkien or Kurt Vonnegut. It’s why gameboosk have latched on to such playful genres. But gameboooks can incoprated any genre it want’s to, so as long it gives the reader freedom and enjoyment (and readers vastly differ from on another). There has yet to be a gamebooks written about Shakespeare or a simple adventure in Vaporwave Japan. The scond-person, like the gamebook, is avant garde just like the infulncial literature genres in the past centuray. Already meaning is implied in the text. Gamebooks can be post-modern, artistic, and playful. In a nutshell, gamebooks are both literature and games in one. Someone can be a literatue aficando and enjoy a gamebook just like reading Stpehan King, and someone who has never read a book but has played hours of online games can find enjoyment in the “game” aspect of the gamebook. The second-person narrative is a future genre.

But, how can a writer write a new genre of writing that is almost unknow and has a complex discpline? Simply, by writing! Ther is no preresuites to write a gamebook, only wisdom and experince. You do not need a computer program to write a gamebook, only a word processor and time to write it down. It’s why I have made this video to teach you how to write a “distraction-free” gamebook.

Then, oppose top that, why is writing a gamebook full of distractions? One, because games today, mostly video-games, take palce on the computer. A video-progammer has to sit in front of a computer all day a type a long list of C++ commands until each model is correct and working. Writinga gamebook is not computer-programming! If you are writer, you might have realized that writing on a computer also leads to surfing the internet, checking mail, and playing with the desktop. How is a writer suppose to write a 40,000 word novel is he or she cannot commit the time or pay attention to write it? This is especially hard that if writing takes place on the computer, you will start to asscioate writing with the computer! And for gamebooks, arn’t new games based around the computer too? And the readers who will be reading your books also consumer the computer too? That is all true, but this has damaged the method of writing and the asscioation of writing a gamebook. Writing a gamebook is like writing anything else. There only needs to some wisdom learned and some experinced gained. Writing a gamebook is pretty much writing a a style that you have read and wish to interpert, or mimic.

In this information age, what should you do?

First, you should buy a distraction-free typewriter. That can be a $100 computer or a small machine that cannot go online. I am writing this right now on my Astrohaus Freewrite. The Freewrite is a “digital” or “smart” typewriter for the year 2016 and beyound. It can switch between 3 active folders, store up to 10,000 plus typed documents, and constalty save your written work online through online (wifi) cloud. It has a bttery of over 3 weeks! They only interface is an “on” button and the QWERTY keyboard in front of you. Once everything is written, just press the “send” button and a PDF/TXT file is sent to your email.

The Freewrite has definally changed my life! I can write anytime I want! The thing is small, portable, and reliable. I can wake up at 4AM and write whats ony my mind and be back in bed 30 mins later (bright up screen too!). Also it has a handy word-count measure and stopwatch. I just press the “special” button and check my progress. All writers know that word count is the center of any written work. Knowing this is important to consider how much time you ahve spent typing and how long the reader will lread your text.

Furthermore, the Freewrite is NOT a word processor! It does not have arrow keys and no wordcheck! That is up to you to send the file through ther computer and edit it in your own word processor. The Freewrite does one thing and does it so well.


All you ahve to do is just write. Get everything on paper and edit later. No wordsmithing! Writing that novel is a process.

1.Writing 2. Editing 3. Formating.

Once everything hs been written, take the time to edit the giant document. Hire an editor or do it yourself. Once that’s done, go ahead an format it to your desire. Most writers nowadays depend on self-publishing, since that is where the reader market is at (everything else is shameless self-promotion). And once that is done, your ready to sell your book! Don’t expect to anyone to buy your book immeditaley, what matters is your written word is avaible for the public, either free or on sale.

The Freewrite has change the way I write. I suggest you should go ahead a buy yourself a Freewrite. It is the only existing method to writing a distraction-free gamebook. Assciaoting writing with the computer creates a distracted, hyper, autistic reality. As a writer, you want to asscioate your gamebook with every reader. Do not asscioting writng with a computer. This will hurt your freedom to write whatever comes to mind and you are at the will of programs and windows.

Once you have found and created a writing enviorment (just like all writers do), you cna start writing a gamebook. But once again, how do you even write one? Or even where to begin?

Already, you have either never read a gamebook in your life or have reads tons of gamebooks and is watching this to look for advice. First, I suggest anyone who hasn’t read a gamebook, go buy and read The Warlock on Firetop Mountain. If you found this video for the first time and still never read a gamebook, keep watching. Because you will learn how a gamebook is written and will apply the knowledge learned once you read your first gamebook (and hopefully you will too start writing a gamebook). As for everyone else who read a gamebook, keep watching.

All gamebooks have some kind of game system. This game system usually involves printed paper with an eraser and pencil and some dice. This is almost protocol for every gamebook. Though there has been gamebooks in the past that do not rely on random genration dice and have xteneded amount of choices or stats gained and lost. This once again bothers a line as an advacne choose-your-own-advanture book. Dice, Paper and pencil have been crucial to the gamebook genre. It is the use of outside components that have made a “game” within a gamebook in the first place. However, it is at the same time that these outside components scare off new readers into gamebooks. All books are physical and do not need anything else to be read (maybe glasses). Gamebooks tried in the past to create random genration through page flipping and obtains stats or “keys” to open certain section paths. This is nice method and lmost like rolling dice. Dice should never be the pinncale of the whole gamebook genre. Gamebooks should have diverse and unique systems for each book (or series that is). Also, gamebooks should not be defined by path taken, as that would lead to the gimmick of choose-your-own-adventure books. Gamebooks are more than just “paths” and are advance versions of the choose-your-own-adventure book.

With technology today, a gamebook system can be emulated on a phone. Random dice can be genrated and stats recorded. Game systems are becomming more minimal and more of an ease to get into. There will always be complex or diccult gamebooks, such as the classic Quest! series. This books are also rewarding as they give the reader more freedom and is a bigger game than just a novel. However, all gamebook writers should start writing simple and easy gamebooks before they start writing more complex and advance gamebooks in mind. It is also true that a majority of people would prefer to read The Warlock on Firetop Mountain over Quest! And ultimatley why chioose-you-own-adventure books sold better in America than gamebooks. The levle of diffucilt can scare away any potential reader. The reader must engage the text naturally like reading any other book. Therefor, the introdcution “how-to-play” text must be as short as possible. Rules to a game is only the guidelines, not the game (or novel) itself.

The most popular game system is none other than Fighting Fantasys. It requires two dice, pencil and the adventure sheet in front of the book. The name is written down, all three stats are rolled for, and in some situation, the begginning inventory is selected and recorded on the adventure sheets. Obviously if anything is used, stats go down or items are erased. What makes this system fun is because the reader feels engaged with the text and has the freedom to interact. It is said the motion of rolling dice itself is fun, and brings to mind that of gambling. Even though, random numbers can be gnerator either way, and if a number is randoming gnerated throguh flipping pages, well, the reader wishes he or shw could just picked a differnt and higher number anyway. The aspect of random numbers must be fun too. Whatever this situation might arise of sneaking acorss the room or fighting with a monster. The reader must feel engaged the system. The game system is the submarine costume in order to go deep below the sea and swim with fishes. The game system should not take over the novel itself. The reader is the center of the text, not the system or the writer (a gamebook writer of course, may be jsut be good at what he or she writes, so the reconized name is a dfeinity choice).

The hard truth is that gamebook writers must create (or borrow for the easy path)a game system before writing a gamebook.

Now, the big question is, what do you want to use? Do you just want to use Fighting Fantasy’s system, or do you want to create a varaint of the system?

I suggest creating a varaint of the system you like to use (for that matter, Fighting Fantasy). Instead of using two dice, why not use one dice? And for stats? Well, for one thing, life is imporant and attack. why not add a starting stat for both LIFE and ATTACK at 10? And if a monster appears, give him a “X” ATTACK where X is the diffculty. Both roll a dice, and damage is absored. Characther that reaches to 0 is dead! This is just one of many ideas you could intergrate in your game system. You want to write a game system that is easy to learn and to use. Give extra perks to make the system more fun, like gain experince points when a monster is dead, or be alined with a certain characther class that gives you benefits and new paths to follow. Adding these things will make your system intresting and original. I beleive you should write you feel is a system that asscioated as a form of play. Like fighting monsters all the time? Just add one monster after another? Like money? Add shops and things to buy? Like equipment? Add bonuses to stats. Your created game system should come naturally to you. Pretend, as if, you are really just writing a choose-your-own-adventure book. But add in stats to interact with the path, random number challenges, fighting of monsters, and buying things. The reader will feel more invested into the text when given this freedom. Try to make the text like a role-playing game. Give the reader freedom over his characther and allow rules to help him break the rules! You could not do this in a choose-your-own adventure book. Make your gamebook have it’s best potentional as a game and not just choosing pahts. If you still don’t know how to create a proper system, just borrow one. The ultimate purpose is learning how to write gamebooks in the first place, and creating a game system prior before writing should not deter you. If you plan on writing a game system before writing, write the game system first! If not, but you still are looking for your game system, just start writing and add game elements in the text to help you make sense what will become your future system. Most gamebook writers love fighting Fantasy and will often mimick Fighting Fantasy, though they canno use FF’s game system. Mimick what you would want to read. Just remember, the game system should not be the center of your gamebook.

Every writer knows that there are 3 processes for the published written work.

1.Writing 2. Editing 3. Formatiing.

As I just wrote, writing should be a “idstraction-free” process and every stream of consiousness should land onto the canvas. Later, let’s say after all 400 gamebook entries have been written, the process of editing comes about. Technically, your gamebook is finished, but is poorly written. Editing goes back and checks every mistake and incorrect grammeer error. After the editing process comes Fomatting. There is no  misspelled word or wrong sentece before formatting. Anyone can read. However, the perfectly good written word needs to be applied on to a document that has paragpraht idents, page idennts, page nubmeriing, and everything that would be digitally sawed as an actual book. Open up any book. It was formatted before it was pbulished. After the diting phase, your work would look like a jumbled mess of words colliding together. Fomating cleans the sapces. After fomratting is done, the document is published into the book and it is ready to sell (or be created as a private book).

Now, this sequnce pretty much applies to all written novels. Writing a gamebook is no differnt than writing a novel. However, one extra phase is added inbetween editing and formatting.


Remember about the random sections I told you about? Your written sections needs to be both radom and re-organzied into sections 1-400. The first room could be at 72 and the second to last room could be at 14. This process of Sequncing is the longest phase of editing/fomrating (or both) the gamebook. The good news is that every single word is edited and there is no need to correct anything. And after sequncing comes formatting, which should be very short compared to sequencing. Think of sequcing as formatting itself. Sequcning is just an exculsive phase of “formatting” for the gamebook genre. You are bascially genrating a random number sequnece, copying and pasting each number to your written sections, and then finally copying and pasting each written section through a correct number seqeunce number 1-400. It’s a lot of inane copying and pasting, scrolling up and down, and making sure numbers 1-400 are in correct order. In fact, what’s so annyoing is you have to do it 400 times while staring at a computer screen. You eyes should hurt for a bit. But you should know everything is done at this point. The labor ofg sequeincing is just the msot crucial part of the entire gamebook.

Sequencing has three parts

1.Generating a random number sequence (1-400 in this case).

2.Copying and pasting the random number sequence, top to bottom, to your written sections, written as XX or the number uptop.

3.Creating a new document, copying past sections 1-400 and reorganzing the sequence back to normal.

Already, this seems like a lot of hard work. Why do it if you can get a program for it? Truth is, there isn’t any program for this. The written word is free and is up to the writer to make sense of it. Just like an actual lanaguage. The langue of the gamebook requires this crucial sequencing. In the end, it’s worth it. It’s not worth sepend the money to do it for you.

The first part of seqeuncing is creating a random number genrated line. Suppose you are to write a a gamebook that has 400 sections. Section 1 is the introduction and section 400 is the best ending possible. Sections 2-399 will be random. Each correct oder of sequnce will be scrmabled to a differnt number. Such as going to 54 from 344 and 295 to 66. 1 and 400 are not scrmbale. This is both the start and finish of the gamebook. To create a sequnce of random genator line of numbers, I suggest going online, type in a search for “random number list generator.” The site I go to is Find the “Random Sequence Generator. The smallest vaule is “2” and the highest vaule “399.” Type it in, click “Get Sequnce” and the list should be genrator for you. It should look something like this:










This is what I got from the random generator. What you want to do next is copy everything, top to bottom, and paste it into a new text file. This sequence will be very important.

Now, you should have probabley wrote your gamebook by now. The next section that follows 1, should connect the paths with “69,"137,” or “345.” The original paths of 2, 3 and 4, should be replace with the correlated number. Delete the three numbers that follow. For every path you wrote, right the disginated numbers until the whole chart you wrote is deleted. See where you going from hear? You just gave each of your sections a number to follow. They no longer are called “sections 1 2 or 3.” They have meaningful number to go with it.

What is next after this? The last and lognest part of the process.

Re-oragnaize all sections into the correct order!

That’s right. The new section 2, should follow 1, and then 3-4-5-6-7-8, until you get to 400. The differences this time? Everything is in random order. There is no correct order after section 1. It’s rather an event that happens later on in the narrative. So now the reader must flip pages until he gets to the desinated section. If turn to 72, the reader must now follow section order until he gets to 72.

No program was used to make this. Only a number sequncer found online and your own time re-organize everything. This is how Steve Jackson and Ian Livingstone wrote all their old books. No frills. Sequncing is a discpline just like formatting. It is in between the art of editing and formatting. Getting this right means you have created a perfect gamebook. Most will give up on this process and rely on someone else to di it for them. The problem is, this is your text. You should edit the text how you see approiate and how others will read it. The sequencing process has nothing to dowith game desing or computer programming. It just is. It is not a writing process either. You are simply editing the book to be read as a game, or form of play. Get it right and you are one step closer from finishing your gamebook.

The most important of a gamebook, is how to even write one? It’s like poetry really.There are differnt method writing poetry. All poetry is similar in some sort of way. All gamebooks are similar in some sort of way. What do gamebooks have?

-Gamebooks have a personal game system.

-Gamebooks use out components, like dice and pencil, maybe even a smart phone.

-Gamebooks have sections. Depending how long the gamebook is, sections can range from 200 to 400. 400 being the average.

-Gamebooks have paths to choose from. A gamebook could have up to tow, three, four or even more paths to chose from.

-Gamebooks have combat or “fights.” The reader’s charactyher encounters an oppoent usiong dice, satistics, or choice.

-Gamebooks have “keys” or “items.” Some objects obtain will further advance a new path the reader can take or advange in a fight.

-And Gamebook sections are short and descriptive. They rely on the second-person narrative and describe the enviorment in a great amount, but short detail. “You are in a wet, dark cave. You can hear waterdrops falling from the stagalites ahead. It is so dark, you can not see ahead.”

These 7 factors make up the elements of the gamebook. For the factors of a simple choose-your-own-adventure book, they only have 2 factors. 1, to chose a new path everytime, and 2, if a recorded item system is ever introduce. The reader of choose-your-own-adventure book will often forgot the so-called objects they collected anmd cheat by flipping back and choosing the “right” path. This would mean the choose-your-own-adventure book really only has 1 factor, that is, jsut choosing paths.

This is what makes the gamebook truly unique. The writer must be aware of all 7 factors added into his book. Now, none of these factors are defninite. They are only innate charteristics of the gamebook genre. Any of these factors can be altered anyway. However, the writer must acknlowedge that these factors are the structure of the genre. Not the science. The game system is the writer’s gamebook should not supercede the narrative itself. Outside components should not be cumbersome to the reader and should be natural for the reader. Sections should be short to read and not long to read (at least 150 words). Fights with opponent characthers should not be too difficult or inane. Objects and keys come natural to the reader’s senses. And the reader should always remain as the objective reader and not the critic agaisnt the poor writer. The gamebook allows to be free within the second-person narrative. This freedom should not supercede the writer’s art. The reader then might as well drop the book and go play an online video game. The reader is niether at the will of the writer. The reader is enjoying and engaging the text just like a science-fiction or fantasy pulp.

It is hard to think about these things all at once. This is not game design, it is writing after all. The best way to incorporate these factors is to write sponetenously. The writer is creating the text not for himself, but for the reader that might enjoy his world. Poets write poetry that might give a certain feeling to poet lovers. The gamebook writer must persuade his feelings too.

So, you want to write a gamebook?

Do you have an interest in gamebooks or know what one is?

Have you written a gamebook before and is interested in advice in “distraction-free” writing?

Or you don’t know anything about writing gamebooks and is seeking advice.

It’s why I wrote this.

I love gamebooks. But I don’t know how to compose one. I use to think I was a “bad writer.” No. Not at all. That is a deafist attuide. You can check my attached copy of Hellfire Temple at the end of this document.

I use to think that I was just not “writing” right. Nosense. Anyone can write. You can too. The problem is composing the gamebook. It’s about putting it together and making sense of your writing. After all, you want to write a second-person narrative. That is what gamebooks are. “You,” talking to the read. Any writer knows this. There should be no problem addressing your reader.

I want to share with you two things I learned about writing a gamebook. First, how I (I) write one, and second, what you should avoid when writing a gamebook. I am only sharing the wisdom I know about writing a gamebook.

it is best to write a gamebook when your, as a writer, is free from distractions.

That is, away from the internet, the TV, video-games, anything that could deter your commitment and mediation towards writing and enabling of ther media. These distraction won’t help you.

This is what I see with the problem of gamebook writers. I see them indulged in technology, such as computer programming, and they based writing their gamebooks like programming a video game.

Are you one of these people? I have bad news for you. Writing is not programming.

Writing is writing.

There is no innate science, only the written word of the English lanague. Therefor, gamebooks are just like any other written form like the novel and poetry.

The problem is, normal people do not apperaite the art because they don’t understand how the gamebook works. Normal people find gamebooks too comnplex or nerdy to be apperiated. Maybe too much of a niche audeince.

Your interested obviously writing a gamebook without distractions. Yes. This is the best way to write. Gamebooks in the past have aquired the activity of computers and paper grpahs.

You won’t be needing those to write your gamebook. Just a typewriter and self-discpline is all you need. Just like any other piece of written work of art.

How can this be if the gamebook is a "

game.” Wouldn’t that be game design? And that would mean the writer is a game deisgner.

Yes and no.

The gamebook is both a “game” and book together. That is, if you define a “game” as being a form of play. The reader is playing with the text, yes?

But reader’s also enjoy reading Asimov and getting into his own worlds. There is an enjoyment in “knowing” about the fictional world of robots nad thier laws.

The reading is playing with the text that offers him zero infulence. He or she is rather spending time talking to other friends about the worlds Asimov has wrote about. And that is entertainment? Yes.

Game of Thrones on HBO has reached some level with normal people. Now everyone wants to talk about George Martin’s pulp fantasy novels. They don’t offer any higher significane. Just ccheesey pulp stuff for normal people. It’s enjoying talking about such simple things.

Now, if only normal people could interact with such text they could be free from Martin’s will. This is the beauty of writing a gamebook.

Writing a gamebook is writing a whole new genre of literature. the second person narrative. It is about the reader and less about the writer. The reader “plays” with the text though devloped innovations, like chosing paths, built in statistics, and fighting monsters by rolling dice. Still, gamebooks are experimineting with ideas how to increase freedom for the reader. Some ideas have became insituted, like rolling dice, stats for life and attack, andwriting down things being carried. The reader is really enjoying himself through this new narrative based around “you.”

You can thank roleplaying games like Dungeons and Dragons and Tunnels and Trolls for such infulence. That gave players total control of the enviorment.

Notice “players” can be exchanged with “readers.”

Is a reader a player? Shakspeare once argued that we are all “players” to one grand theather show. The reader “reads” the text. But also interacts with it. What does it mean to them? Is it intresting? How much does it relate to their personality? What wisdom can learned from the text? The reader is constantly asking these questions.

It’s get boring, first person and third person narrative, because readers only observed what is being written. It is up to the reader to make up the rest. Why engage in the text if it is nothing but meaningless.

Why not just stop reading now and go play a video game online with internet friends?

This text written must mean something.

The power of reading is important. Less people are reading becasue of technology. Sooner or later, social media will become dominated. People will “read” through flashing images, like videos and games. It will be less about the first and third person narrative.

“You” are the most important person existing. It might sound solipsit, but it’s true.

The gamebook is defining a genre about “you.” You are the characther on an adventure around detail and choice. Your imagination is reaching a new level of higher consiouness. It is no differnt from reading any other text.

It is why I would like to argue that the gamebook is for everyone. Not jsut for computer nerds and acifandos.

This may be your start to writing the next big genre of fiction.

It dosen’t require a computer and it dosen’t require any other external forces.

It’s up tfor you to write it, edit it, “sequnce” it, and format the text properly, jsut like any written novel.

Writing a gamebook is writing a novel. No presquites needed.

I will share with youhow I wrote my own draft of Hellfire Temple and how you can apply it to your own writing. I wrote everything without a distractions. I wrote all the paths straight through wihout random connections. I later “sequnce” the story manually by myself without hte need of any program.

Writing a gamebook can be just like writing from a stream-of-consiousness. The rest is just making the structure.

First, I will explain the hsitroy of the gamebook and give a baackground on it. I will also talk making the game system and share some infromation on the writing process. And the most imporant part, the manual labor os “sequncing.”


Before I can talk about seqencing, a major important facotr in writing the gamebook depends on "forking." Forking precede sequncing in a unique way. Imagine reading a novel start to finish. The narrative stars on the first page and ends on the last page. In a gamebook, the narrative can be skewed, or "forked" to a differnt path. If the reader choose to go the left path or the right path, the reader ends the novel with the path taken. That way, the reader could read the novel again, this time, taking the other path to read a new experince. This would mean that there is a fork of two paths. Gamebooks are know to have many differnt forks. Choices can be from two to four. Either way, the path is taken by flipping to the new page section accordingly. Once all forks have been written, it is in sequncing can happened. 


There a differnt apporches are theroies about the fork. For example, a gamebook could have five differnt endings. Three deahts, a good and bad ending. This means that all forks eventually lead to these five conculsions. This is like writing a novel five times again. The mutiple choices create a maze eventually lead to these conculsion. A choice made as well be fighting a monster, or a good choice finding a health position, and end up on the same yellow brick row again. Forks create choices, conculsions end the gamebook's narrative. 


Think of this like a game Plinko. The show, The Price Is Right, had a game where contestants would use a chip, and let is slide down a maze of begs and bumpers, until it falls into one of the five holes. This is exactly how a gamebook is written. Gamebook writers are rather both a mix of architechs and creative writers. Two subjects that clash and usually don't get along. A creative writer must learn the discpline of the gamebook system, before he starts writing like William Burroughs. The architech, without the spirt of being human or lack of interest in the arts, is just a plain old scienctist, that offers no creativity to the written word. The cliche is that creative writers are read by creative writers and scinetist read by scientist. Gamebook writers synergize these passions and stay focus on creative writing and not be too focuses on the science aspect. The sceince aspect does ruin everything really...


Gamebook writers will often consult drawling a graph of using a gamebook program to "draw" out the Plinko board and create forks and end with conculsions. This is often a mistake for any writer. This ends up being an aspect of "game disigning" than writing like Hemminway. Game designers play games and game players play game designer's games. But, writer;s write books, readers read books, and reader's become writers and writer's are readers. Two subjects of game design and literature clash. The gamebook is both a game and literature. However, it cannot be reserved exculsivly for gaming. Because the gamebook is both literature and a game. Game culture cannot ursurp the written word. Therefor, programs and grpahs just distract the writer from actully writing his gamebook. Gamebooks of the future should be achieved through a stream-of-consiousness method. New gamebooks should be written on a tpyewriter, without stop. The problem is, there is no discplene for this... yet.


It is easy to write forking in a gamebook. For example, the gamebook will begin with an adventuer at the entrace of a temple. He may either enter the temple, go around it, or walk into the jungle. Three choices, one fork. If I decide to go into the temple, I will write as I entered the temple. As I write, I may feel the need to add another fork when possible. This time, I am in a dark, undercave. Should I take thecreeky bridge or go around it?  I wrote that on the spot without any consequnce. Suppose my mind wanders off and wants to write about taking the step on the creeky bridge. I write about the experince obviously. Maybe I might also add in a dice system that determines if the bridge breaks or not. Totally improvised on spot! Eventually, the creation of forks, choices, opponenets to fight, dice to roll, items to pick up, item if used, are created through one, stream-of-consiousness writing session. I will get to the end, wheter it may be good or bad. Once that has been written, It would nice to as well write it all over again by writing about how I decide to take the path around the temple! I might right about encountering an outside relic, or meeting a wizard, or find a choice that leads to a fork inside the temple before. This is up to me to decide. Once that's done, I will write it all again by this time, going aorund the temple. Choices made, forks created. Three possible conculsions are amde at this point. 


At this point, it would be best to save all three documents, cut and paste them into one single docuemnt, and combine documents 2 and 3 into 1. Connect the paths together/ Most im portantly, for the paths not written, starting with document 1, write them. For the path spotting the monkey hosue to go into, write about, If I fall off the creeky bridge, write about it. Do this with documents 2 and 3 as well. At thise point, this is a mix between and writing and ediiting phase, but still, I would consider this a "writing" phase, because you are looking at the paths not written and adding on them. Editing comes by connecting paths. Really simple suttf. 


Forking is an important issues in any gamebook. It is the backbone to choice with the reader. Some choose-your-own adventure gamebooks actully have mutiple forks and choices, but in the end all lead to one conculsion. The fun part was choosing paths that made the reading experince differnt. In the gamebook, however, multiple endings will occure. This can be three to thirty! Choices not determine about prefernce, but as well having certain items in inventary, a roll of the dice, a challenge determined, or having enough stats to get in. It is up to the writer to decide how forks will play out.


Whick forks bring into the concept of sequncing...