Is it AI?

I favour originality even at the expense of popularity or sales. I spent last week writing short stories and poems. I use AI for research, whereas in the “old days”, I’d have used a library. I research character traits and arcs, story forms, and whether a theme has been explored.

I employ AI in the editorial process, and even in “post-production”. I even use AI for some art concepts and components.

One thing I hadn’t tried until now is an AI service that purports to determine if a submission is AI. I tried several packages that offered a free trial. They seem to operate on a scale between human and AI authorship.

I first submitted a piece I was currently working on—a 6th-odd revision of a 5,000-word story in the form of a fairy tale. Unfortunately, trials were limited from a sentence to a few paragraphs—up to 5,000 characters.

This first submission was rated 100% AI—evidently, not a hint of humanity. This was disconcerting. I decided to dredge out a non-fiction book I shelved in 2020. Certainly before access to AI tools. This was rated 85% AI and 15% human. But it gets better—or worse, I suppose, depending on your perspective.

The book is on the immorality of private property from a philosophical vantage. The passages claimed to be AI were one-hundred per cent mine. What about the ones flagged as human, you might be asking? Those were a quote by fellow human John Locke from his Second Treatise of Government.

In Defence of Property 

God, who hath given the world to men in common, hath also given them reason to make use of it to the best advantage of life, and convenience. The earth, and all that is therein, is given to men for the support and comfort of their being. And though all the fruits it naturally produces, and beasts it feeds, belong to mankind in common, as they are produced by the spontaneous hand of Nature; and no body has originally a private dominion, exclusive of the rest of mankind, in any of them, as they are thus in their natural state: Yet being given for the use of life, there must of necessity be a means to appropriate them some way or other before they can be of any use, or at all beneficial, to any particular men.

ᅳ John Locke, Second Treatise of Government 

Returning to the AI side, what sentences were flagged as the “Top Sentences driving AI probability”? I’m glad you asked.

  • The Catholic Church also played a significant role in shaping private property rights in the Middle Ages.
  • In ancient China, the concept of private property was more limited, as land was owned by the state and was leased to individuals for use.
  • However, there is evidence to suggest that private property ownership has existed in some form in many ancient civilisations.
  • Although it’s difficult to trace the precise history of private property ownership before ancient Greece, the concept of private property has evolved over time and has varied widely among different societies.
  • It regulated the transfer of property and established rules for inheritance.

So these ordinary sentences written 5 or more years ago are flagged as AI.

The US Constitution

On a site I found to understand what parameters AI considers, I found this example—the Constitution of the United States of America was flagged as having AI content. I knew those geezers were ahead of their time, but I didn’t realise how far. This is even more amazing when one considers that electricity hadn’t even yet been invented.

But Why?

AI looks for statistically probable patterns. This translates into any content written with proper grammar and diverse word choice. In practice—the habits of a decent writer.

I’m not going to belabour this issue, but I want to raise a big red flag.

To complicate matters more, they have AI applications that promise to un-AI your AI. So there’s that.

Passages, An Experimental Short Story

I’ve been working on experimental short stories and poems this week. One almost grew into a novella, but I tamed it. Passages is one such experiment. It’s a short story. It might have been flash fiction, but I got carried away in the moment. I’ll provide a deeper analysis of the story and meta aspects on my philosophics blog in a week or so, because I already have a weeklong series on queue there.

This story was spawned from Hillary Putnam’s brain in a vat thought experiment. The notion is a response to what if you were just a manifestation of a brain in a vat in some laboratory and entities control your thoughts and experience, but you have no body. In the Cartesian sense, you have mind-body dualism. Here, you’ve got only an imagined body.

Taking this further, in a nod to Dali’s Persistence of Memory, I envisioned a reality that worked like a procedurally generated computer game. At any moment, only your immediate experience was loaded into memory. In a game, when you leave an area for another, the cache is refreshed with the information regarding the new area, including the aesthetic and physics of the area. I didn’t want to go overboard. Some readers will find this difficult enough to enjoy. It’s easy to read, but it breaks several cognitive conventions, so it becomes disorienting.

This story evolved from several prior attempts. This is the first I feel comfortable sharing and critiquing.

After this story, I provide some additional commentary, but they’re rather spoilers, so if you read them in advance, it’s your own damn fault.


I created an audio version of this story. It’s got an ASMR sense about it. I could probably add sound design to make it more of a multimedia experience. Stand by. One never knows.


Passages

The water runs over her hands, lukewarm, as soap lathers across her skin. The smell of citrus fills the small space. A soft hum from the bathroom fan blends with the steady drip of the faucet. Eyes catch the reflection in the mirror—just a momentary glance. There’s a smudge of condensation along the glass, distorting the edges of the face staring back at Alex.

A towel is pulled from the rack, and the sound of fabric rubbing against skin is a faint whisper in the quiet room. The faint buzz of traffic seeps in through the cracked window, muffled by distance.

Fingers fumble with the faucet knob, twisting it tighter, silencing the slow drip. The window clinks as it’s nudged shut, the movement sending a cool draft through the room. The towel is left draped over the counter, forgotten.

A hand reaches for the light switch, and the bulb flickers once before the room is swallowed by darkness. Footsteps echo softly down the hall, and with each step, the hum of the fan fades further, replaced by the distant ticking of a clock.

The ticking persists, steady and rhythmic. Sheets shift, pulling tighter around a body half-buried beneath the covers. The warmth lingers under the heavy quilt, though the room feels cooler—light filters faintly through the drawn curtains, casting dull shadows on the floor.

Eyes flutter open, squinting against the light, and the clock’s ticking grows louder, filling the quiet. A hand emerges from beneath the quilt, fumbling for the phone on the nightstand, fingers brushing against the smooth surface. The soft chime of a notification breaks the silence, and the ticking clock seems to fade into the background.

The phone screen illuminates briefly before being cast aside, forgotten. The sheets are kicked back, and bare feet hit the floor, cold against the worn wooden boards. Outside, the distant sound of a lawnmower hums, a low drone that weaves into the clock’s ticking rhythm.

A pause. A glance at the clock—its hands moving in slow, deliberate ticks. The light from the window is stronger now, but the room remains dim. The ticking fades as footsteps shuffle across the floor, toward the half-open door.

The air is cooler here, carrying with it the faint hum of an air conditioning unit. A shift in weight, and the sound of polished shoes on hard flooring is barely audible in the hushed space. Shadows stretch across the marble tiles as muted voices, distant and faint, rise and fall somewhere behind, their echoes absorbed by the high ceilings.

A pause at the centre of the room. Eyes wander across the painting on the wall, its brushstrokes heavy with colour and movement, though the room itself feels still—almost frozen. Fingers trace the air near the canvas, close enough to feel the charge of the paint, but never touching.

A quiet cough breaks the silence. The space feels empty but alive with potential energy, suspended between the art and the unseen visitors just out of view. The faint scrape of a chair being pulled out echoes from across the gallery, reverberating softly against the walls.

There’s a shift. One step, then another. Footsteps, soft and careful, move across the cold floor, the sound nearly absorbed by the echoing quiet of the room. A final glance at the painting, and then movement towards the next exhibit, the footsteps fading into the distance.

The next painting stands framed beneath an open sky. The warm evening air brushes past, carrying with it the faint scent of oil paint. The canvas itself is suspended in the light, its surface thick with texture, every brushstroke visible in the waning sun.

The light shifts across the canvas, illuminating streaks of red and orange as if they are moving, alive. Fingers reach out but stop just short of the surface, tracing the air where paint meets air. The soft hum of a nearby streetlamp flickers on, casting a faint glow that mingles with the light still clinging to the day.

The wind shifts, rustling through nearby trees, the leaves whispering in response. A figure moves past in the periphery, their footsteps light and distant, blending into the soft sound of the leaves. The moment holds, suspended between stillness and movement.

A final glance at the painting, the colours deepening as the light continues to fade. Another step forward, away from the canvas, and into the shifting evening, the hum of the streetlamp steady in the air.

The hum cuts through the morning stillness, louder than it should be. For a moment, there’s only the sound—an electric thrum in the dawn air. Then, a sharp click, and the streetlamp dies, leaving the light of the rising sun to catch the sky in pale shades of pink and orange.

Her arms rest around his shoulders, the warmth of his body a contrast to the cool breeze off the water. The smell of salt fills the air, mingling with the faint scent of his cologne. Her fingers trace the outline of his collar, gentle, almost absent, as if the touch is more for herself than him.

Waves crash softly against the shore, a rhythm far older and deeper than the hum of any streetlamp. The light grows, soft and steady, casting long shadows across the sand, pulling her focus toward the horizon.

Her gaze lingers there, at the place where the sun meets the water, and in the quiet, there’s a pause. The warmth of the embrace holds, even as her mind drifts, caught somewhere between the fading night and the new day.

The scent lingers in the air, caught briefly in the wind as bodies move past. The sidewalk is crowded now, bustling with the energy of mid-morning, the sun already casting long shadows against the brick buildings. There’s warmth in the air—heat rising from the pavement beneath every step, and the sound of passing conversations blends with the distant honk of traffic.

Hands slide into the pockets of a jacket, and the faint scent of cologne clings to the fabric. The smell mingles with the dampness of the city after last night’s rain, a strange mixture of familiar and fresh.

A group passes by, their laughter rising above the dull hum of the street, and there’s a brief moment of stillness—a pause to look up, catching the flash of sunlight reflected off a nearby window. The brightness is sharp, almost blinding for a second, before fading back into the rhythm of the street.

Feet move forward again, weaving through the crowd, the scent of cologne slipping away as quickly as it arrived.

The brightness is overwhelming for a moment, a sharp glare cutting across the open road. Squinting against the light, a hand rises instinctively to shield eyes from the sun’s harsh rays. The air is thick with warmth, the heat rising off the asphalt in shimmering waves.

The countryside stretches on, fields fading into the horizon, the hum of insects in the distance blending with the wind rustling through dry grass. Each step on the gravel feels slow, deliberate, the weight of the afternoon pressing down with a quiet intensity.

The sun dips lower, its angle shifting, casting longer shadows now. A car passes in the distance, the sound barely more than a whisper, its engine humming faintly before it disappears into the landscape.

Fingers brush against the edge of a dusty road sign, the metal cool under the lingering heat of the day. The road ahead seems endless, stretching toward the horizon, bathed in the golden light of the setting sun.

The car door swings open with a soft creak, cutting through the quiet of the evening. The city feels muted here, distant traffic blending into a low hum beneath the cool night air. Fingers grip the edge of the door, the metal smooth and cool beneath a hand as it holds the car open.

The scent of leather and faint traces of cologne linger in the air as the inside of the car is revealed, the seats illuminated by the faint glow of a streetlamp. A pause, waiting for a movement that doesn’t come. The street is empty, save for the gentle flicker of the lamplight across the wet pavement.

A glance to the side, and the door swings shut behind, the click of the latch cutting through the stillness. The car shifts slightly as weight settles into the driver’s seat, hands resting on the steering wheel. The scent of cologne lingers, familiar, though the night is quiet and the city beyond feels far away.

The engine hums to life with a low, steady rumble, the faint glow of dashboard lights casting shadows against the inside of the car. Eyes linger on the rearview mirror, catching the dim reflections of passing headlights in the distance.

The restroom is quiet, the faint sound of clinking silverware drifting in from the dining room beyond. Fingers brush lightly over the porcelain sink, the cool surface grounding against the warmth of flushed skin. Eyes meet the reflection in the mirror—just for a moment.

The light above flickers, casting a faint shadow over the face staring back. There’s a small blemish, barely noticeable, but enough to cause a pause. Lips part, the curve of a smile forming before fading. A hand reaches into a small bag, fingers closing around a tube of lipstick, its smooth, familiar weight comforting in the silence.

A quick swipe of colour, the bright red standing out against the pale skin. Eyes flicker again to the mirror, the reflection now sharper, more defined. The sound of footsteps outside the door grows louder, blending with the low hum of conversation.

And then the scent. It hits in waves—the aroma of fresh bread, the tang of something rich and savoury, creeping into the room like an invitation. The stomach tightens, a soft growl stirring the silence as the aroma pulls attention away from the reflection. The door opens with a quiet creak, the scent stronger now, more insistent, beckoning back to the table.

The aroma fills the room, rich and warm, wrapping itself around the clatter of silverware and the murmur of conversation. A deep breath draws it all in—roasted vegetables, buttery rolls, the sweetness of cinnamon, and the earthy scent of something cooking in the oven. Plates are already half full, but it’s the smell that dominates, lingering in the air like a memory.

The table stretches out in front, crowded with food and faces, bathed in the soft, golden light of the overhead chandelier. Fingers toy with the edge of a napkin, folding and unfolding the corners as eyes scan the familiar scene—glasses raised, laughter bubbling up from the far end of the table.

A glance down to the plate, the fork paused mid-air. The food is warm, comforting, though the room itself is filled with an odd sort of quiet, broken only by the distant hum of the kitchen timer. A soft voice calls from the kitchen, and there’s a slight shift as chairs scrape back against the wooden floor.

The scent of the food hangs in the air, heavy and satisfying, as plates begin to empty, the last bits of conversation fading into the background. Another deep breath—the smell of something sweet just beginning to bake—lingers, promising dessert.

Another deep breath—the scent of leather mixed with a faint trace of perfume lingers in the air, soft and familiar. His arms wrap around her waist, fingers resting gently against her skin, warm beneath the fabric of her dress. The room is quiet, the only sound the soft ticking of a clock somewhere in the background, blending with the faint hum of the evening.

Her head rests against his shoulder, the curve of her body fitting perfectly into the space between them. He inhales deeply, the smell of her skin mixing with the faint traces of the leather sofa beneath them. The warmth of her breath against his neck sends a quiet ripple through him, grounding him in the moment.

He shifts slightly, his hand tracing a line along her arm, feeling the softness of her skin under his touch. She murmurs something, a half-whisper, her voice barely audible as she shifts closer, her perfume lingering in the air between them.

His eyes close for a moment, letting the scent and the warmth wash over him. The night feels still, timeless, suspended in the quiet of their embrace.

The whisper fades into the quiet, barely a breath, soft as silk against the darkness of the room. The warmth of the sheets wraps around, cocooning the stillness. Outside, the world feels far away, the faint sound of a breeze rustling through the trees barely audible through the closed window.

A body shifts beneath the blankets, the fabric brushing against skin. Eyes blink open, adjusting to the dim light filtering through the curtains, the glow of a streetlamp casting faint shadows against the walls. The voice lingers in the quiet, though the words are lost now, absorbed into the silence.

Fingers brush the edge of the pillow, tracing the softness of the fabric, grounding in the weight of the moment. A sigh escapes, low and quiet, blending with the rhythmic sound of breathing nearby—slow, steady, almost lulling.

The night feels endless, suspended between waking and sleep, between the fading whisper and the deep pull of rest.

Eyes blink open, and the light is suddenly too bright—harsh, artificial. The soft glow of the bedroom is gone, replaced by the sterile brightness of fluorescent lights flickering overhead. The echo of footsteps bounces off the cold tiles, and the low hum of voices fills the space, overlapping with the sharp whistle of a departing train.

A quick breath, disoriented, hands reaching instinctively for balance. The air feels cooler here, crisp, as a gust of wind rushes past from the open doors. The scent of engine oil and faint hints of coffee hang in the air, blending with the faint scent of old newspapers clutched in the hands of those passing by.

A suitcase rolls past, its wheels clattering against the ground, briefly drawing focus. The station is busy, bodies moving in every direction, each step blending into the next. The light shifts again as a shadow passes by—a figure stepping into view, silhouetted by the glow from the platform ahead.

A distant announcement crackles over the loudspeaker, garbled and unintelligible. The light flickers once more, and the footsteps begin again, each sound layered over the rhythmic pulse of the trains in motion.

The rumble continues, but it shifts. The rhythmic clatter of the train fades, replaced by the uneven jolt of wooden wheels over dirt. The scent of engine oil is gone, replaced by the heavy musk of horses and the dry heat of dust swirling in the air. A faint creak of leather mixes with the steady trot of hooves on the packed earth.

A figure stands by the road, the wide-brimmed hat casting a long shadow in the harsh midday sun. The stagecoach rattles past, its wheels kicking up dust in great clouds, the dark shape of the driver silhouetted against the bright sky. The creaking wooden frame of the coach sways with each bump, and the horses snort, their breath heavy in the dry air.

Eyes squint against the brightness, the sun sharp and unrelenting. The clatter of the stagecoach continues into the distance, its echo lost in the vastness of the open road. Hands rest on worn leather reins, rough from years of use, the smell of sweat and dirt clinging to everything.

A gust of wind stirs the dust again, carrying the scent of dried grass and far-off rain. A distant sound, low and rhythmic, begins to blend with the fading clatter of the stagecoach, like the beating of hooves, steady and constant.

The wind shifts, carrying the scent of grass—dry, brittle, barely clinging to life in the heat. The sky looms heavy overhead, a dull, unrelenting grey, with streaks of dust swirling in the air like ghosts on the move. The ground beneath is cracked, each step stirring up fine clouds of dirt that settle on everything—clothes, skin, eyes.

A woman stands by the edge of a field, her gaze fixed on the horizon where the earth seems to melt into the sky, the line between them blurred by the dust. The once-green grass is yellowed and brittle, crunching underfoot as she moves, one slow step at a time, her body weighed down by the oppressive heat.

Her fingers reach for the brim of her hat, tugging it lower to shield her eyes from the blinding sun. The air is thick with the scent of dried earth, the faint sweetness of dying grass barely detectable beneath the dust. In the distance, a tractor sits idle, half-buried in the dirt, its once-shiny metal rusted and worn, abandoned in the heat.

A deep breath pulls in more dust than air, the taste of it gritty on her tongue. She coughs, the sound sharp against the quiet, and for a moment, the world feels empty, endless. The wind picks up again, stronger this time, swirling the dust into the air, choking out the last remnants of the grass.

The wind stirs again, but this time it carries not dust from the fields, but sand—fine grains that swirl across the vast expanse of the desert. The heat is still oppressive, but different, dry and relentless, stretching out as far as the eye can see. The caravan moves slowly, the camels’ hooves pressing into the shifting dunes, their shadows long under the scorching sun.

A figure leads, wrapped in cloth to keep the sun’s bite from skin, each step careful, deliberate, as the sand shifts beneath. The creak of the wooden carts behind blends with the low grunts of the camels, the scent of spice wafting from the cargo, carried by the same wind that sweeps the dunes.

The horizon seems endless, the line between sky and earth shimmering in the heat. The sun, bright and unyielding, hovers directly overhead, casting a blinding glare. A hand rises to shield the eyes from the brightness, but the light reflects off the sand, burning in every direction.

A voice calls from behind, low and muffled by the wind, as the caravan moves deeper into the desert. The sand shifts underfoot, the wind carrying the faint scent of something distant, unfamiliar, as the sun continues its slow descent toward the horizon.

The sand shifts again. It feels cool, damp beneath the feet, as the sound of crashing waves replaces the distant wind. The endless dunes fade, replaced by the wide expanse of blue ocean stretching out before her. The air is fresh, carrying the sharp scent of saltwater mixed with sunscreen, the taste of the sea lingering on the breeze.

A surfboard cuts through the waves, its rider balanced with ease as the water curls around him, glistening in the sun. The sand underfoot is soft now, wet where the waves lap against the shore. The sound of seagulls calls out from above, mingling with the laughter of children playing further down the beach.

A dolphin breaches the surface, its sleek body catching the light as it arcs through the air before disappearing again into the depths. The rhythm of the ocean is steady, constant, the crashing waves creating a soothing backdrop as the surfers wait for the next set.

The sun climbs higher, warming the skin, casting long shadows across the sand as the waves roll in. A distant voice calls out from a lifeguard stand, but it’s drowned out by the sound of the ocean, relentless and powerful.

The warmth lingers, but the texture changes to a filtered, softer light spilling through tall café windows. The rays fall across the tiled floor, casting long shadows that stretch toward the empty tables near the counter.

Inside, the air is thick with the rich scent of coffee, mixing with the faint sweetness of pastries cooling on a rack behind the glass display. The hum of conversation blends with the quiet clatter of cups and saucers, the sound soft but constant, like a low murmur in the background.

A hand wraps around a warm mug, the surface smooth against the skin. The liquid inside swirls lazily, catching the light as the spoon stirs it slowly. Outside, people rush past, their figures blurred by the sun streaming through the glass.

The sunlight shifts, moving across the room as a door opens briefly, letting in a gust of fresh air. It fades for a moment, the warmth still clinging to the skin, before returning again, softer now, as the day slowly leans into the afternoon.

The steam rises slowly from the mug, spiralling upward, carrying with it the rich, familiar scent of freshly brewed coffee. The kitchen is quiet, the early morning light filtering through the small window above the sink, casting soft shadows across the countertop. The air feels cool, but the warmth of the coffee radiates gently from the cup, filling the space with a comforting heat.

A spoon clinks softly against the rim of the mug, stirring sugar into the dark liquid. The faint sound of the fridge hums in the background, blending with the occasional drip from the faucet. Outside, the world is still waking up, the distant sound of birdsong just beginning to break through the silence.

Fingers curl around the cup, lifting it slowly. The first sip is tentative, the heat lingering on the lips before the flavour settles, rich and deep. The steam fogs the glasses perched on the edge of the nose, and a quiet sigh escapes, a release of the night’s lingering tension.

The room is still, save for the sound of the coffee being stirred, the soft clink of the spoon punctuating the calm. The light shifts slightly as the sun continues to rise, the day creeping in slowly, moment by moment.

The water runs steadily, the sound soft but constant, filling the small space. Steam rises from the cup still resting on the counter, curling gently in the cool air. Fingers hover over the faucet, feeling the warmth of the water trickle past before twisting the knob tighter. The slow drip stops.

The air is damp, clinging to the skin, carrying the faint scent of soap and citrus. The soft hum of the bathroom fan vibrates in the background, blending with the distant sound of traffic outside the cracked window. A hand reaches for the towel, pulling it from the rack, and the fabric brushes softly against the skin, a familiar warmth in the quiet room.

Eyes catch the reflection in the mirror—just for a moment. A small smear of condensation distorts the outline of the face staring back, and a sigh escapes into the silence. The light flickers once before the room is swallowed by darkness.

Footsteps echo softly down the hall, the sound fading as the hum of the fan continues, replaced slowly by the distant ticking of a clock.


Passages operates on mechanics. Each scene or beat is four stanzas or paragraphs long. The story doesn’t operate on characters or character arcs. Instead, it operates on sensory details. The way I bridge from scene to scene if through sensory continuity.

The transition from the first scene to the next is the ticking of a clock; from the second to the third are footsteps, and so on. The transitionary motif may be the scent of cologne, the warmth of the sun, sand on a beach, or dust in the air. And so it goes.

I considered adding visual cues between the bridging paragraphs but felt that it interrupted bridging the flow and the pretext of continuity.

I feel this creates enough cognitive comfort for a reader to engage without feeling they’re reading random passages. There is continuity for the mind to track. It’s just different.

In a way, it reminds me of listening to a playlist but focused elsewhere. The songs change in the background, but it doesn’t really matter because your attention only checks out and in periodically.

There is no dialogue. The character is really characters. There is no contiguity here either. Aspects as gender, age, appearance, and such are not persistent, but the instantiation of the character is unawares.

If you just read or listen without paying careful attention to the serpentine plot, it just feels like a story—perhaps a church sermon. There’s a stream of words. Maybe they even somehow fit together. It’s like the word salads popular with some politicians of our age.

I hope you either like it or find it interesting. I’ll share more in time. I’ve written half a dozen thus far. In any case, I’d love to read your reactions and thoughts.

AutoCrit Innards

Writing is hard. Short stories are worse. I started Mind Without a Mirror a few days ago as a short story project. After a dozen major revisions, I got to a place to run it through AutoCrit. I’ve been using AutoCrit for a couple months, and it’s been useful as an editor before I connect with a human editor or Beta reader.

Today, I think it split its guts. I clicked on the Character tab. This is where it assesses your character traits, strengths, weaknesses, and some other aspects. As you may notice for the first character, Ada, it returns a terse response. This is usual. The second character Echo went off the chain.

Major characters including Ada and Echo provide contrasting perspectives aiding in highlighting different facets of conflict surrounding Sol’s disappearance:

1. Ada – Her impulsiveness offers tangible counterpoints but sometimes lacks depth behind motivations driving rash decisions; deeper backstory integration can enrich relational dynamics while avoiding plot holes associated with seemingly arbitrary choices leading toward unnecessary risk-taking scenarios without sufficient narrative justification.

2. Echo – As a voice urging caution yet pushing boundaries intellectually rather than physically contrasts effectively against both Ada’s impulsiveness and initially hesitant nature exhibited by Nova; further scenes emphasizing logical deductions alongside emotional intelligence contributions can elevate effectiveness within group dynamics exploring unknowns collectively ensuring smoother narrative cohesion devoid apparent gaps particularly during critical junctures necessitating unanimous decision-making processes amongst protagonists’ circle thereby mitigating potential dissonance arising from conflicting individual agendas undermining collective objectives pursuit efficiency notably during climax build-up phases preceding resolution stages inherently reliant upon concerted efforts fruition realizing overarching goals set forth early onset storyline unfolding sequence events trajectory mapping course eventualities encountered en route denouement culmination point reached conclusionary chapter segments encapsulating thematic essence distilled core message intended conveyed audience reception interpretation thereof facilitated 

I shared a screenshot so you can see the random word dump. Perhaps it’s speaking in tongues. Toward the bottom of the laundry list, I see a lot of professional titles below some superlatives.

I don’t know. AI is strange. I wasn’t planning to post anything today, but I just had to share.

Quoteless Dialogue

I’ve noticed a few publications adopting a quoteless or quote-free dialogue convention. I was wrestling with the idea of using it for my current short story, but I’ve opted not to.

On the upside, it can:

  1. create a more immersive reading experience, blending dialogue seamlessly with narration.
  2. give the prose a more streamlined, modern feel.
  3. be effective in representing stream of consciousness or internal monologue.
  4. subtly underscore themes of ambiguity or the blurring of reality and imagination.

On the upside, it might:

  1. lead to confusion about what is spoken aloud versus what is thought or narrated.
  2. be challenging for some readers, particularly those used to more traditional formatting.
  3. not be suitable for all types of stories or narrative styles.

I feel that it’s a valid stylistic choice that can be very effective when used deliberately and consistently. Its appropriateness depends on the specific work, its themes, and its intended audience.

If used, it often requires more careful writing to ensure clarity about who is speaking and what is dialogue versus narration. It works best when the author employs other means to differentiate dialogue, such as syntax, diction, or paragraph breaks.

    For my current writing project, (working title: “The Riga Paradox”), given its themes of reality versus perception and the blurring of identities, omitting quotation marks could be an interesting choice.

    However, it’s also a significant departure from my comfort zone and might require adjustments in other aspects of my writing to maintain clarity.

    Does anyone have thoughts for or against quote-free dialogue? Have you used it yet?

    Whisper of Wings

    There’s a park outside London where the trees keep secrets and the air hums with untold stories. Nigel, a chap with calloused hands and a life measured in paycheques, stumbles upon a moment that’ll unravel him. A purse, unguarded on a bench, whispers temptation. He’s no thief, just a man cornered by circumstance.

    The park, draped in the solemnity of dusk, watches as Nigel succumbs. He lifts the cash, a weight heavier than coins, and returns the purse to its owner, an elderly lady scattering crumbs for birds, her gaze lost in yesterdays.

    It begins as a murmur on the wind. “I know what you’ve done,” whispers a disembodied voice. Nigel whirls around, searches the empty park in vain. He shakes off the words as a trick of his fraying mind.

    But the voice persists, insidious as poison, relentless as the tide. Nigel wanders the park’s paths, and the leaves hiss with recrimination while shadows seem to lean in, heavy with judgment.

    Reality blurs, the line between guilt and madness thinning. Nigel confides in a mate over a pint, his voice taut with fear and disbelief. “I’m hearing things in the park, a voice saying ‘I seen what you done.’ But I can’t find where it comes from.” His words trip over themselves.

    The whispers follow Nigel everywhere, rustles of feathers echoing each accusation. His desperation cresting, Nigel finally flees the park. But even as he runs, the voice pursues, wings beating in the darkness over his head.

    In his panicked flight, Nigel fails to see the lorry barreling down the street. It connects with a sickening crunch, leaving his broken body splayed on the pavement.

    “I know what you’ve done,” it declares, Nigel’s crime given feathered form. A final cosmic jest, as this guardian of the park delivers justice for his misdeed.

    Quoth the parrot, “Nevermore.”


    Sometimes you just get in the mood to write a short piece of nonsense. In this case, I liked the theme of a paranoid person haunted by a talking parrot. From there, I wanted to capture elements of Edgar Allen Poe’s Telltale heart and (obviously) The Raven with a bit of Dostoyevsky’s Crime and Punishment.


    As usual, creating cover art is an adventure. I asked Dall-E to render an image of the elderly woman on a park bench with a wooded background and a parrot perched in a tree behind.

    It decided on this. It was hilarious to me, so I kept it. NB: I did not ask for it to be rendered on a faux book cover. smh

    Dall-E’s first take before I asked for the revision described above.

    Who’s Ridley Park?

    I love origin stories. In fact, my next writing project is an origin story.

    But that’s a tale for another day. This post is to reveal the reason for the pseudonym, Ridley Park. This story starts in Delaware, where I lived from 2018 until 2023. I often travelled up 95 North to get to the aeroport or Philadelphia. On this drive, a road sign often caught my eye: Ridley Park.

    I cached the name to memory, thinking it might make for an interesting character name. Each trip, this was further imprinted and reinforced.

    In April 2022, I was writing another novel. The topic is beyond controversial. In fact, I haven’t yet found anyone who’s not abhorred by the concept, so I know I have to publish it when I finish it. Because of the subject matter, I felt a pen name was in order, and I decided to use Ridley Park. To be fair, the unfinished book is set in Philly, so the name felt particularly apt.

    I’ll guess that most of us have heard of the film director, Ridley Scott. The connexion is beyond obvious. It maintains the same cadence.

    I’ve never visited Ridley Park. All I know is that it’s a suburb south of Philly, and I’ve borrowed the name. In the end, as it turns out, the question was never ‘Who is Ridley Park?’ Rather, it’s ‘Where is Ridley Park?’ all along.

    Hemo Sapiens Pacing

    As I review Hemo Sapiens: Awakening and work on the second draft, I asked Claude 2.1 to analyse the pacing of each chapter. This is the result.

    Legend

    • 1-2: Very slow, not much happening plot-wise
    • 3-4: Moderately slow pace with some plot development
    • 5-6: Steady pace with a balance of action and exposition 
    • 7-8: Fast-paced with lots of plot advancement
    • 9-10: Very fast-paced, intense action or events

    The positive news is that I don’t have anything a the glacial pace of 1 and 2. I do have some slothful 4s, but not threes. I’ve got quite a few 5s and 6s, a respectable amount of 7s and a few 8s, with no break-neck 9’s and 10s.

    My goal will be to review the 4s to determine if they are intentional. At first glance, I don’t have any consecutively slow chapters, although having sequential 4s and 5s might be problematic. For example, the four chapters 20 to 22 might be too much of a lag in the middle. I’ll need to keep page count into account as ell. There are a handful of very short chapters, so if a few of those are slow, I might just accept it.

    As percentages, we’ve got 13% of 4s (5), 29% of 5s (11), 29% of 6s (11), 21% of 8s (3), so it feels OK—generally a steady to fast-paced novel. The pace seems to ebb and flow, so the reader should be able to remain engaged. Obviously, the slower parts of for character development and description, but none of this is just meandering pointlessly.

    In the end, this works for me as a diagnostic tool. This is the first time I’ve tried it. It seems like the assessments are fair. As I rewrite, I can try to tighten some of the slower section and see if the pace picks up.


    UPDATE: I reworked chapters 8, 20, 21, and 37, increasing the pace of 5 to 6, 4 to 5, 5 to 6, and 5 to 7, respectively. Chapter 37 was boosted to 7 when I added new information to set up downstream conflict. Unfortunately, the conflict won’t payoff until book 3, since the next book,2, will be a prequel—Hemo Sapiens: Origin—, after which this story will continue.

    I still have revisions unrelated to pacing, but I’ll measure them as they come and hope not to stall any. At this point, the average is about 6 (not displayed). Of 38 chapters, 89 per cent of the chapters are steady to fast. 11 per cent are moderate—only 4 of them—and none are slow.

    I feel this is a good starting place, and I’d be happy to land here.

    Context Is King

    I was chatting with Claude about continuity and flow. I had written an intentionally awkward sex scene and it critiqued some of the activities and, mainly, dialogue. When I asked for clarification, among other things, it returned this:

    reworking the banter into flirtier foreplay might heighten the heat of the scene without awkward moments.

    — Claude 2.1

    Essentially, this was the apology.

    Artificial Intelligence doesn’t grasp cultural knowledge. It doesn’t fully grasp irony. It’s like trying to understand a joke from another culture. Without the cultural background, it won’t make any sense.

    In another chapter, I asked Claude to analyse a passage that contained a tongue in cheek reference. It didn’t understand why it was humorous.

    In yet another, I made a situational reference, and Claude found it amusing, but when I asked why, it was for a reason unrelated. It reminded me of Steve Buscemi’s schoolboy scene on 30 Rock—well out of place.

    Cover Art: Awakening

    Now that the first draft of Hemo Sapiens: Awakening is done, I can let it marinate for a few days before I return to polish it up for Beta readers. Meantime, I can cleanse my palate and concentrate on other matter like cover art. Here’s the third or fourth draft. I know what direction I’m looking for. I was thinking of commissioning a cover, but I might just go it on my own.

    I think I’m going with an 9″ x 6″ form factor, so this would be the aspect ratio. I used OpenAI’s Dall-E 3 to render the eyes as well as the overlay with Greek characters. I may have made it too transparent, so I might need to pull it up a few clicks.

    Interesting enough, I am compositing in PowerPoint of all things and exporting to PNG. I usually use Paint Shop Pro, but this may be good enough. I still need to compose the back cover and the spine.

    My paginated draft comes in at about 320 pages. It was 256 unpaginated pages. There are 38 chapters, and each chapter begins on an odd page number. The facing page is always blank. This creates a lot of blank pages. I could render some line art on the facing pages, but I’m not taking that option at this point. Probably won’t.

    My goal for the cover (as might everyone) is to catch a potential reader’s eye and signal something about the content. In this case, the Hemo Sapiens have violet eyes, so I thought that would make a unique image hook. The are open (obviously) to capture the Awakening aspect. The Greek letters on the overlay represent the science aspect. There are 5 versions of Hemo Sapiens so far, named Alpha, Beta, Gamma, Delta, and Epsilon by their creator. I’ve highlighted those characters in a blood red.

    Speaking of blood, this is obviously captured in the colour choice and the dripping font of the subtitle. This is also reflected in the stylised O, but I don’t wish to explain the significance of the stylisation now.

    As is the entire cover still in progress, so is the treatment of the title as I am playing with a few options. The novel is set in the near future, 2045, so I was thinking of conveying a future with a silver font face, but the gold felt somehow warmer. I wanted to hint at the dystopian angle by distressing the letters.

    So, there’s my confession. If you have any comments on the design, I’d love to read them—for better and for worse.

    Neuromancer

    William Gibson coined the term ‘cyberspace’ in his book Neuromancer. Just the opening sentence informs the reader to expect something different.

    In this book, Gibson is poetic and florid. I decided to task ChatGPT to rephrase a paragraph I wrote in Hemo Sapiens: Awakening to follow the style of Gibson.

    I shared this paragraph:

    The Deputy Chief Inspector starts her day at her polished wooden desk, perusing emails whilst sipping hot morning tea. The sharp aroma fills her nostrils. The fluorescent office lighting hides nothing. Except for some personal photos, her office looks like an austerity challenge. The absence of personal effects betrays her personality.

    ChatGPT rendered this:

    In the sterile dance of fluorescent light, the Deputy Chief Inspector’s day unfolds. This unforgiving light, a stark mimic of daylight, strips the room of shadows, laying bare the austerity of her workspace. It’s a realm where the polished wooden desk becomes a stage for the mundane ritual of morning emails, and where the walls, devoid of adornment except for a few personal photos, echo the unspoken ethos of restraint.

    Amidst this, her morning tea stands as a solitary rebellion. Its steam, a curling serpent of warmth in the chill of artificial light, carries with it an aroma sharp enough to slice through the monochrome of her surroundings. Each sip is a fleeting escape, a momentary immersion in sensory richness that contrasts starkly with the barren office landscape. The tea’s heat whispers of a world beyond these walls, a reminder of life’s subtle flavors amidst the unyielding glare of fluorescent reality. In this space, where the lighting reveals all but understands nothing, the tea becomes not just a beverage, but a quiet testament to the hidden depths beneath her pragmatic exterior.

    You’ll notice straight away that my writing is more concise. When I write in 51 words, he writes (by AI proxy) in 181. Mine is 28% of his.

    Don’t get me wrong, I love the poetry of the longer form. I just don’t think like that unless I force myself, and then it comes off as stilted or pretentious. My preference is a more direct, terse writing style over the verbose. Perhaps, I’m of a different era. In the end, I compromise.

    When I ask AI to critique my prose, a common response to to provide more sensory inputs. In this case, these are represented by her desk, polished and wooden, no less. And she’s sipping hot morning tea—not just a drink, but tea; not just tea, but hot tea, morning tea; and she’s sipping. And this tea has aroma. It’s sharp. So, I’ve got a visual (tea), a tactile (hot), and an olfactory (aroma). I’ve got no auditory or gustatory cues, but I might have.

    My preference is to describe as little as possible to allow readers to form their own impressions. This is even more important for characters. On balance, I don’t personally care about the sex, gender, or race of my characters, but I share clues anyway. For race, I might be somewhat obvious as in Hemo Sapiens: Awakening by naming a character Ravi Chandrasekar. It’s fairly obvious that this is an male with heritage from the Indian subcontinent, though it says nothing of his preferred gender.

    I might mention height or physique, a moustache or spectacles, a lisp or a stammer, but in the end if a reader wants to image that person as black or white or brown or whatever, I’m not affecting that much. Naming a character Maria instead of Marie sends subtle hints, but it’s not overpowering.

    It the case of the Hemo Sapiens, they have blue eyes. Probability would lead one to believe they are Caucasian whites, but this doesn’t preclude something else. That’s not for me to decide. In my head, they are European whites, but I am not going to beat the reader over the head with this trivia.

    I’m rambling now. Now read the faux-Gibson passage. It is much more immersive and experiential. If that’s your aim, then go for it. No harm, no foul.

    You may prefer one over the other. I say they are simply different, and it depends on the intent of both the reader and the writer.

    BONUS

    Wanting to generate a featured image for this post, I used Dall-E. I’ve never had Dall-E talk back to me. It usually just renders what I’ve asked. This time, note its response. 🤣

    Do you have a writing style preference? Does your writing style veer from your reading style? Let me know in the comments.