You Think Halloween Is Scary? Ha! (Encore)

I’ll tell you what’s really scary. I’ll share a secret that’s seen little exposure over countless millennia, and for good reason: it’s frightening in the extreme. You probably think you know what I’m talking about, but you don’t. You can’t know unless you’re a member of… The Club–the fellowship of fiction writers. The people who think up the strange and unusual, the calculated and cunning, who dwell in a particular intellectual realm where conjuring something bizarre and making it seem somehow normal is perfectly acceptable. Ah yes, now you understand; I’m talking about what goes on inside a fiction writer’s brain. <cue scary music>

Now, before you go into pooh-pooh mode, consider what follows. My bride and I took a trip to northern Arizona a while back (fall, 2019). While there we took advantage of many of the usual tourist stops and thoroughly enjoyed ourselves. (It must be true; I have photos of us smiling.) Having known the woman who has willingly shared my name for over a half-century, I also know it is unwise to share with her the more “creative” thoughts which often blitz through my noggin like rabid, Walmart bargain hunters on Black Friday. <shudder>

So, we’re looking over the edge of the Grand Canyon, the centerpiece of a 1,900-square-mile national park. And while most folks are oohing and ahhing over the undeniably magnificent terrain, I’m thinking of ways to send some of my more deserving characters over the edge. How do I lure them closer to their doom? How do I obscure the designs of my killers? How do I provide for their escape? Could they ride the same bus my wife and I rode in on? Why not? And why couldn’t they dispatch any number of other people while they’re at it?

I’m certainly not oblivious to the needs of the victims. Far from it. I’m wondering what goes through their minds during the one-mile drop to the bottom of the canyon. Can they ride the air currents? Perhaps glide a bit and thereby make it to a non-lethal landing in the Colorado River? What injuries will they sustain, assuming they survive the splash? Who fishes them out? Or do they float downstream only to go over another edge, a waterfall, and meet their end on the jagged rocks below?

Fun stuff! We also toured the red rock bluffs and canyons in and around Sedona. They’re beautiful, wild, rugged, and largely untraveled. Consider that last bit for a moment: largely untraveled. To me, that says there could be almost anything lurking in the deepest backwater. So, what if someone went hiking back there? Maybe they get lost. Maybe they finally find a stream and go skinny dipping. Wouldn’t that be the perfect time to discover there are some seriously strange creatures living there? Like for example–oh, I dunno–a giant lizard of some kind? I can see it now. And you can, too!

I’ll save my thoughts about the high deserts, mountains, and lava fields near Flagstaff for another time. The same goes for the gigantic meteor crater near Winslow, the volcanic mountains that burst from the ground and spewed molten earth across the land, and the ghostly remains of the cliff dwellers’ homes. They all triggered ideas about potential stories or sequels to tales already done.

Welcome to my worlds.

–Josh

Music materials provided by MusicNoteWorld
URL: http://en.music-note.jp/

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Movie update

Work progresses, but slowly. It’s not just that my old brain is repeatedly challenged by new technology, life gets in the way, too. On a good day I can usually produce about two minutes worth of usable footage. Why so little? Because AI has a sneaky way of misinterpreting instructions and typically generates something utterly wacky five out of six times.

I live for the sixth one. When a full 30-second clip comes out clean, I’m delighted, and more often than not, stunned. What did I do differently that caused this to come out even better than I hoped?

I’ll go back over the scene instructions, comments on setting, character actions, and dialog. I then compare the commands to those I’ve written for scenes which failed. Where did the man’s extra arm come from? Why are the words from one character coming out of the mouth of another one? Why has the color of the clothing changed? And where the hell did this brand new character come from? I certainly didn’t call for one. And when did my redheaded protagonist suddenly become a blonde?

I wondered if I needed an assistant director, someone to take over for me while I’m tearing my hair out. But then I realized that would be impossible since I work on the project sporadically–sometimes for an hour or two, or more, and sometimes for just a few minutes here and there interspersed between still other projects and commitments: teaching, editing for clients, physical therapy, etc. An assistant editor would most likely shoot me before their first week ran out. Not that I would blame them. <Head shake>

But, if you’ve read this far, you deserve to see at least a snippet or two of the work in progress. If you’re reading this in your email (thank you subscribers!), you’ll have to switch to the online version to watch the video. Here’s the link: https://sageofthesouth.wordpress.com/

The clips are very, very short, but please, let me know what you think in the comment section below.

King Harmon’s sword fighting lesson
Magda locates Harmon

Thanks for stopping by. I hope you’re intrigued by my project. It’s funny, I thought writing was lonely business. It turns out movie making this way is lonely too!

–Josh

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A Breed Apart (Encore edition)

As we swing into fall, I find myself thinking more and more fancifully. This little tale I wrote a few years back captures a bit of that. Let me know what you think!

“C’mon now, Lacy,” her father said as he prodded the sow toward his truck. “Pigs ain’t pets. They’re livestock. I’ve told you a million times not to get attached to ‘em.”

“But her babies are only two weeks old.”

“They ain’t babies, Lacy. They’re piglets, and before long they’ll be bacon. Speakin’ of which, where are they?”

“In the hog pen,” she said. Most of them, anyway.

“I wanna see ‘em when I get back, y’hear? And I don’t want any arguments. Any of them runts that ain’t perfect won’t be around long.”

“But–”

“I’ll see you when I get done butcherin’ this old sow. You just see to them piglets and don’t make a big deal outta it. Understand?”

“Yes, Daddy,” she said. Lacy didn’t move as she watched her father drive the sow into his truck, secure the tailgate, and lurch down the rutted dirt track away from their barn. His destination was no secret, and the knowledge brought tears to her eyes. Lacy had been to the slaughterhouse enough times to know she never wanted to go back.

Her unwillingness to eat meat of any kind gave her soul some peace, but not at home where her father harangued her about it, or at school where the other kids labeled her “weird.” Her long-awaited graduation meant freedom from her narrow-minded classmates. Though she’d once dreamed of college, she knew she couldn’t leave the farm. Not yet, if ever.

No longer under her father’s scrutiny, Lacy hurried to the hog pen to check on the little ones. No doubt, some would be struggling, and their lives would be short. But Lacy refused to abandon them, especially the most severely deformed. These she would shower with affection; even if she couldn’t save them, they needed to know some love before her father butchered them, too.

The pen held all but one of the piglets in the farrow. Lacy smiled just thinking of the fancy word. Her father called them a “mess of pigs,” ignoring any and all naming conventions based on the animals’ age.

Of the eight little pigs still in the pen, two had obvious deformities. Not unusual considering her father’s zeal to breed the animals faster, and to force them to market faster still. There were always mutations. That meant nothing to him; he never showed his livestock at county fairs or auctions. He wanted big, fat pigs he could grow and slaughter in the shortest period of time possible.

His obsession with a quick turnaround from mating to meat-eating caused him to conduct wide-ranging experiments. Some came from legitimate experts in animal husbandry; others came from mysterious sources whose expertise was questionable at best. Lacy’s father didn’t care. He tried anything that might speed up the process–potions, proteins, or prayers. It was all the same to him. The less time he spent breeding, fattening, and killing, the faster his profits grew. He wanted only what worked, no matter if it came from science or magic.

Lacy, however, knew the difference. And she took full advantage of it.

After cuddling the two unfortunate piglets for a while, she returned them to the pen and ventured into the woods that separated her father’s business from civilization. The separation was mandated not only by society but by statute. Pig farms have a distinct aroma, one which can cling to the skin, hair, and clothing of those who live on or near them. Lacy had grown used to the smell, but it still offended town folk and nearly everyone in her school. Hence, the border area.

At first, she took great pains to bathe frequently and launder her clothing with strong detergents and “fresheners.” Over time, she realized the futility of her efforts. She was already disliked; dousing herself in perfume wouldn’t change that. If anything, the aroma of pig shit she bore to school every day helped to keep her tormentors at a distance.

Free from interference, she used her school time to advance her knowledge, if not her formal education. She wasn’t preparing for college; she had a greater goal in mind.

Eventually, she reached her oasis, a ramshackle cabin surrounded by crudely fenced pens. Most of the animals in them hurried to greet her, pressing tight enough against the twig and branch enclosures to loosen a feather, a scale, or hair. Lacy modeled her fencing after that of the ancient Celts whom she’d read about in school. She fed the animals with food secretly “liberated” from her father’s stores. Fresh water came from a small stream that ran through the pens and emptied into a swamp close by the piggery.

piglet

Lacy entered the structure, more hut than house, and went directly to the latest member of her menagerie, a perfectly formed piglet save for one distinct feature: a pair of wings that grew from between the animal’s shoulders. The piglet wiggled and squealed at her approach, its little snout quivering. Lacy knelt down, and the tiny, porcine angel leaped into her arms, eager to bathe her in piggy kisses.

It was a sweet moment but short-lived. For the first time ever, she heard the sound of construction vehicles in the distance. Terrified her hideaway might be uncovered by a roving bulldozer, or worse, by her father, Lacy disentangled herself. She hastily fed all the animals, then hurried back through the woods toward home.

She heard her father’s voice, calling for her, well before he came into view. “Coming,” she yelled back and ran faster.

“Where the hell have you been?” he asked when she finally arrived.

She took a calming breath, then said, “It’s a pretty day. I went for a walk.”

“In the woods?”

She nodded, yes.

“Did ya finish yer chores?”

“Yessir.”

He stared at her for a moment, then shifted closer. Lacy smelled the essence of dead animals emanating from her father’s dirt- and blood-stained coveralls. She backed away, holding her breath.

“We got any losers?” he asked.

“Two,” she said. “But I’ll take care of them.” Not that she would enjoy removing the vestigial wings from the two piglets in the hog pen, but if he did it, their chances of survival would plummet.

“Aw right, then,” he said, turning away. “When yer done, get back in the house. I’m gettin’ hungry.”

“Yessir,” she said again, trying to hide her emotions.

He chuckled. “I want pork chops tonight. If you don’t want yours, I’ll eat ‘em.”

She avoided rolling her eyes with a conscious effort. “Um, Daddy?”

“What?”

“I heard some heavy machinery while I was taking my walk. Do you know what’s going on?”

“The county’s buildin’ a road, right through that useless chunk of woods. I ain’t pleased about it, but they paid me a little something for the right of way. I’ve gotta get somebody to harvest the trees, though. Oughta make a buck or two from that.”

Lacy’s heart raced. Hoping her father wouldn’t notice, she hurried to the hog pen to perform the surgeries. From past experience, she knew a local anesthetic would suffice. It was all she had. The law required that her father’s animals meet certain minimum health requirements; the standards were upheld by a local veterinarian. She’d learned a lot from him and even assisted with rudimentary surgery.

She often begged him for something to use on the animals she tended. Because she was both earnest and smart, he gave in and provided her with the simplest of supplies: scalpel, surgical scissors, disinfectant, and suture material. That and the anesthetic were all she needed. Over time, she’d become fairly adept at such procedures. She also became adept at giving herself a five-finger discount on his other supplies, which included a vial of pentobarbital, the very stuff used to put sick animals down. She knew just such an animal.

A full stomach had its usual effect on Lacy’s dad, and he fell asleep watching pro wrestling on TV. He woke briefly in response to the needle’s sharp sting, shouting and rising to his feet, but moments later he succumbed to the drug and dropped to the floor. She managed to get his body back into his easy chair, comfortable in the belief the authorities wouldn’t bother with an autopsy.

170196045_s

Finally free of his overbearing, money-grubbing dominance, Lacy set about moving her collection of evolving animals back into the hog farm from which they’d originally come. The little, winged piglet would join the others of his kind, a whole collection of breeds very definitely apart.

Best of all, Lacy would be able to continue her quest to grow a dragon. But first, pigs must fly.

~End~

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Video Production Update

Work on “The Crone and the Crown” continues. The video currently runs about 25 minutes, and there are several scenes in progress with many more to produce. How long the final version will run is still something of a mystery, but 45 minutes is beginning to sound about right. Then again, I could be totally wrong!

This production has been an enormous challenge. I’m used to writing scenes for readers, not viewers, and the difference is huge. Readers are collaborators. They picture the action of a story in their minds. The writer must deliver just enough information to fuel their imaginations and help them put themselves in the tale.

That’s not the writer’s job when it comes to a film. Everything must be laid out in visual detail. Plot points must be neatly crafted. Dialog often carries the story, especially if there’s no narrator (as in my production).

And then there’s the whole AI thing which I’m using to replace a sound stage, a recording studio, cameras, lighting, and hundreds of associated roles common to film-making. On the positive side, I’m not footing the bill for all those workers. I’m also discovering that generating a film with AI can be insanely frustrating.

I’m tempted to say AI has a mind of its own. If so, it’s a damned devious one. It can come up with myriad ways to interpret simple commands. Once in a while it generates something I not only like but hadn’t considered. But that’s rare. Normally it coughs up stuff that forces me to revise my instructions, rerun the scene, re-evaluate the outcome, and all too often, repeat the process.

I’m going to post one scene that will hopefully give you a taste of the production. You’ll need to be reading this post online in order to view the video. Be sure to turn up your volume. And please, let me know what you think!

Thanks for dropping by!

–Josh

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How much of you should go in your book? (Encore)

While the answer is obvious for those who write memoir or family histories, the question becomes a great deal trickier when one is writing fiction. To a certain extent, all of what we put in a novel is derived from our own lives, even if the story we’re telling is set on another planet, in a different dimension, or smack in the middle of some utterly illogical fantasy land. None of that matters.

The admonition to “write what you know” seems silly to me; what else can we write? Our characters reflect the emotions we’ve felt in our own lives. Our likes and dislikes will be reflected in the words and actions of our cast. The players in our make-believe world are likely derived from folks we’ve met, or wished we hadn’t.

We can write about survival in the Arctic based solely on the weather we experienced while visiting relatives living in snow country. Our action sequence involving a great white shark will lean heavily on what we experienced while snorkeling in three feet of fresh water as a kid. Our cowboy hero will command his horse with consummate expertise because of a pony ride we took during summer camp. The killer in our action/adventure novel will drive a car, a truck, or a tank with incomparable skill simply because we’ve spent some time behind a steering wheel.

Can our characters pilot starships, do brain surgery, or manage a sword dance? Of course! And they’ll do so convincingly because of things we’ve seen and done in our own lives. That’s one of the wonderful differences between writing novels and writing textbooks. No one’s life (their real one, anyway) will depend on the expertise we bring to a tale we’ve completely made up. Our character can root around inside someone’s head and ferret out a bullet or a magic bean; that doesn’t mean we should be allowed anywhere near a real operating room.

We extrapolate. We imagine. And then we fill in the gaps. We can empathize with a fatally wounded Roman legionnaire sprawled on the ground at the feet of a Celtic swordsman, his innards rapidly transitioning to the great outdoors. We know what pain feels like; we understand shock; we’ve been light-headed on more than one occasion. We can make our reader live through scenes where our players experience far worse.

Sam Clemens never experienced time travel or lived in ancient England, yet his magnificent novel, A Connecticut Yankee in King Arthur’s Court has enthralled millions. I seriously doubt J.K. Rowling encountered much actual magic before, during, or after she created Harry Potter and the horde of imaginary beasts, bad guys, and bravado that populate her books.

The mix of memory and imagination is a powerful one, but it’s one we can harness. Doing so takes time and effort, of course. But what worthwhile thing doesn’t require exactly that?

There are risks involved, too. What if we get the details completely wrong? What if we confuse the details of one era with a different one entirely? What if….

But those are questions for another day. And trust me; I’ll get to ’em sooner or later.

–Josh

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Writer Warm Ups (Encore)

Dollarphotoclub_89277699 sm

Most of us are creatures of habit. Writers, especially, fall into that category. We’re probably not as bad as big-league baseball players who have more rituals than a pasture full of priests, but we, too, can be pretty odd when it comes to warm-ups. Milton, Chaucer, Shakespeare, and more recently, Stephen Pressfield (War of Art***), all recited Homer’s “Invocation of the Muse” before plunging into their work.

Homer hair

(This intrigued me enough to look for a copy of the esteemed poet’s immortal words. Alas, they were written in ancient Greek, a language clearly beyond my humble skills. So I went looking for a translation. Just one. I found… many. However, the variations left me wondering if they all really started with the same text. [shrug])

All that aside, it’s probably a good idea to observe a bit of ritual before launching into a writing session. It could be a simple thing like pouring a cup of coffee and reviewing the previous work session’s output, and that’s about the extent of mine. Or it might call for tidying up one’s workspace before digging in, but clearly, I’m guessing at this as I’ve never straightened up a work area in my life. (Ask my bride, but also check out this photo of Mark Twain’s workspace.) No one will think ill of you if you do something minimal. We’re writers, after all, not automatons. We don’t need a ceremony, an extensive set of exercises, and/or ritual ablutions before we get busy. Right?

Ballplayers, on the other hand, have been known to go to serious extremes before, during, and after they get down to business. Buttoning and unbuttoning batting gloves, not changing “lucky” socks (or [shudder] underwear), taking a precise number of practice swings, spitting on, at, over, or around home plate — all are common practices. There are worse things I suppose. Animal sacrifice comes immediately to mind.

Most of us aren’t athletic enough to qualify for the pros, so we can settle for more modest efforts and perform our rituals in the privacy of our own workspace. For some, just having some sort of workspace to claim would be a big improvement. If you don’t have your very own spot, consider finding one as a goal for the coming year. You won’t regret it.

game face
Now here’s a game face!

For those rare types who don’t have any writing rituals, pray tell, what’s wrong with you? Isn’t it high time you got your game face on? Writing is serious business, so if you want to get started on the right track, do something serious! Challenge the Muse to back off and let you wing it on your own. To paraphrase a line from “Blazing Saddles,” you don’t need no stinkin’ muse!

Just get busy.

Until next time,

–Josh

***The full title is The War of Art: Break Through the Blocks and Win Your Inner Creative Battles.

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A guest blog… (Encore)

It’s been several years since our sweet dog, Shasta, crossed the Rainbow Bridge, and we miss her as much now as when we lost her at the age of 17. And I’m not measuring her age in “dog years,” whatever they are. But seeing this post from way back brought a smile to my face, and I hope it will do the same for yours.

So, herewith: a guest blog from an amazing canine friend of ours.

Shasta

My human calls me a “chewer,” like it’s a bad thing. Sheesh. If only he knew my family history, but of course he doesn’t ’cause we adopted each other at the local pound. Don’t get me wrong; I’m grateful. I have a wonderful life, but I also have a proud heritage. I come from a long, long line of chewers.

I may go through a sock or two, or an occasional sweatshirt, and I once consumed a pin cushion–with pins–but I’m nothin’ compared to my uncle Tank. I’m told he ate a ’73 Chevy Impala. But I’m sure that’s an exaggeration. It was prob’ly just a Volkswagen.

So, yeah. I chew stuff. It comes naturally, and it takes many forms. And when I started working on this little itch I had on my back leg, it shouldn’t have become a big deal.

dog eats homework

Usually an itch goes away after a little tooth work. This one didn’t. It required some serious mastication. My human fussed at me about it, and every time he saw me workin’ on it, he yelled at me to stop.

Silly human. I just went into another room and chowed down. In no time I had created a spot the size of my paw that oozed pink and raw. Oh, what a proud moment–it wouldn’t take long to gnaw my whole leg off! (And they said Tank was a legend. Ha!)

Just when it got good, my human intervened. He put stinky stuff on the spot, and I don’t mean the good stinky stuff. Then he wrapped it with cloth strips. Cloth! Like he forgot about the socks and sweatshirts.

Well, those cloth strips became appetizers. I couldn’t get enough of the main course: my leg.

That’s when the real challenge began. He took me to the vet, and she knocked me out. Makes me shiver just thinkin’ about it. The vet has the stinkiest stuff of all, and her cloth strips are much tougher. To top it off, they wrapped my head in an enormous sheet of gray plastic.

When I woke up, I saw the world from inside a megaphone. I couldn’t see my body. Worse still, I couldn’t reach my leg.

It was war!

Shasta cone

Sadly, it took me a week to devise a strategy: if chewing got me here, it might get me out, too. Except the edges of the plastic cone remained out of range, but not for doorways, furniture, and the water dish. A calamity! I had been turned into a front-end loader.

By the end of Week Two, I realized I could bend an edge of the cone against a wall and, by working diligently, I could get my teeth on it.

And chew!

By the end of Week Three, I had worked my way completely around the outside edge. Now I looked at the world from inside a colander!

Then my human covered my painstakingly arranged bite-marks with duct tape, which he called “Alabama chrome” for some strange reason. Anyway, how was I supposed to compete with Home Depot? But I did. I kept right on chewing.

And chewing.

Through layers of new tape and old. By the end of Week Four, I was nearly free!

Which is when my human removed the remains of my plastic prison and told me to leave my leg alone.

paw-print-wclaws-l

But, my leg was fine. Good as new!

I swear, I’ll never understand people.

My name is Shasta, and I approve this message.

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What’s next for me in AI?

I’m in the process of adapting one of my short stories to video format. I have “finished” two of the scenes from the story and they run about eleven minutes long. The adaptation process has been a challenge. One huge stumbling block is that the short story relies on a narrator for all of the background information and most of the stage setting.

My video version has no narrator, so the characters must tell the tale, and they must do so in a convincing and intriguing fashion. Backstory tends to be boring, so finding ways to sneak it in takes time.

What I love about the story is that it pits two bad guys against one another. The first, named Magda, is an ugly old witch who trades most of her magical powers for youth and beauty.

The other is a scoundrel named Harmon who plans to usurp the throne of the kingdom. He’s not only a fast talker; he’s a thief, and while clever, he’s totally unfit to rule a henhouse, much less a kingdom.

Both characters look charming, but as everyone knows, appearances can be terribly deceiving.

It’s taking a great deal of time to put this together, since I’m learning a lot about AI-generated art along the way. What I find most frustrating is the volume of errors that sneak into the production.

Imagine dreaming up the perfect character in clothing that reflects both the period and the player’s position in the overall scheme of things. You construct a series of short scenes involving this player, only to discover after you’ve edited them together that something they’re wearing isn’t right. Maybe a shirt is untucked, or a plunging neckline plunges differently from one scene to the next, or maybe one of the faces suddenly changes and looks wrong but oddly familiar, like someone you might have seen on television or in a newspaper.

It’s not just frustrating; it’s annoying as hell. But it’s all part of the process. Eventually, I’ll get it right, and I’ll work out the kinks–every last annoying one–and I’ll have a full-length feature film to show for it. Lord only knows what I’ll do with it then! But I intend to noodle that out, too. (Feel free to offer suggestions in the Comments section below.)

But why, you ask, am I doing this? Because after writing two dozen novels and God only knows how many short stories, I needed a different challenge. And this is a big one. <smile>

Here, by the way, is the title screen. Please, wish me luck!

Until next time!

–Josh

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How hard is it to generate videos from images?

Short answer: not very. But it can get expensive.

If you’re reading this as an email, you won’t be able to watch the videos I’m posting. You’ll need to go to my blog online: JoshLangston.com Oh, and be sure to turn up your volume!

A little over a week ago, I did a presentation for about 150 people who live in our “55-and-Over Active Adult Community.” The focus of the presentation was AI-generated art, what it is, how it works, and where folks might use it. Last week I covered photo restoration and photo recreation. This time I’ll take a look at AI video generation.

The easiest way to generate a video is to find a single photo you want to bring to life. Here’s one I found that features a very young and quite observant photographer.

I didn’t demo this particular 10-second video during the presentation, but if I do another one, I certainly will.

I used a program called OpenArt.AI to create it, and it only took two tries, mainly because I liked the little girl so much, I wanted to expand it. So I gave her a few more words–essentially a punch line.

When instructing AI about what you want, no matter which program you’re using, it’s critically important to include details. Sure, you can take a chance and just see what the AI program does, but all too often I’ve gotten stuff I didn’t ask for.

Sometimes it’s funny, but more often than not, it’s just frustrating. And it usually means I’ll have to start over.

Here’s another example based on a single photo. And I readily admit, I’m a huge fan of charming little ones. Maybe that’s the grandparent in me; my grandkids are all growing up way too fast!

I suppose the next question might be, “Why do this?”

Well, why not? I like to share these with friends and family. It’s a great way to send a smile to someone who needs one. And it makes me feel good, too. That’s a win-win in my book.

But you can use these as a way to wish someone well on a special day, be it a holiday, a birthday, a graduation, or any other occasion that calls for a little something extra.

Here’s a photo I took of a dear friend of ours. She volunteered to be the model for an experiment I wanted to do. She’s a great sport, and I promised not to do anything that might embarrass her.

At first, I planned to put her in an image wearing whatever she wanted, and she could choose any time or place–past, present, or future.

I honestly don’t recall how we ended up with something allegedly from ancient Egypt, but we did, and we all had a great laugh.

Turning our efforts into a video had us all smiling:

Where to go from here? I’ve got a much, much bigger project in mind. I’ll spill some of the details next time around. So, please come back and see what’s brewing here in Sageland.

–Josh

PS: I’d love to know what you think about these samples. Please post your thoughts in comment section below!

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Why am I so consumed by AI-generated art?

Because it’s seductive. It gives me the power to generate images I could never create any other way. I’m a novelist, so my stock in trade consists of words. But that doesn’t mean I have no desire to create in other ways. AI image generation gives me that power, and I’m loving it.

After working with it since last fall, I’ve learned a great deal about AI art, its potential, and its limitations. I even gave a presentation on it to the folks in our active adult community. Well over a hundred folks crowded into the ballroom of our clubhouse, curious to see what has me so excited.

The show began with a short video of yours truly waving a massive drumstick and welcoming a crowd of celebrants in the 18th-century-style ballroom of a fictional castle–all generated courtesy of AI. Here’s a screen grab from it:

I then discussed how AI tools can restore old photos, and I had plenty of examples. Here are just three:

The original image above was taken by Lewis Carol in the mid-1800s. (Yes, that Lewis Carol!)

The first of the two images below was taken during or shortly after the Civil War.

Next up, something a wee bit closer to today: a photo taken in the early 1900s featuring a truckload of folks headed who knows where. I have no idea what kind of vehicle it was, but I’d love to find out.

My discussion then turned to AI’s ability to recreate scenes from our past that weren’t adequately photographed back when they happened. For instance, one of the students in my memoir writing class regretted not having a photo of her little sister in a cowgirl costume. My student had written about the child’s first Halloween. I’m happy to say AI came to the rescue as you can see below:

And I haven’t even touched on AI’s crowning achievement, in my eyes at least, AI-generated video. I plan to tackle that next week. So please, stay tuned.

And I’d love to hear your thoughts in the comments!

–Josh

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