30 Degree Shift

William T. Torgerson

Weekly essays from beyond the rift. Enjoy 5-10 minute episodes every Wednesday at 11:11am as read by the author, William T. Torgerson 30degreeshift.substack.com

Episodes

  1. 28 FEB

    Geodesics and Side Salad

    Perspective has fascinated me since I struggled through reading a book on special relativity that I grabbed off my dad’s bookshelf. It took me an embarrassingly long time to finish. For years I would say “it’s all relative” with a clever smirk, knowing that it was, truly, all relative. I heard a quote recently that pulls that truth into a sharp, almost painful social juxtaposition. “The worst thing about life is that everybody has their reasons.” This was a shot through my heart. I went to the most senselessly cruel decisions I see today, and got a stomachache considering what reasoning could lie under them. However, as a writer, I have to embrace this phrase for its truth and power. That’s one of the cornerstones of humanity, and real characters- their reasons. But reasons aren’t so simple as a multi-national corporate mission statement, though they might be as dishonest. Perspective, like gravity, forms our reality. So how do we map the geodesic curves formed by a character’s baggage into a narrative? One that carries the reader to the “truth” of a character, whether it’s true or not? The Sandbox: Hank and Side-Salad Let’s start with the five senses. I heard a writing exercise from Brandon Sanderson, who surely didn’t invent it, that I think perfectly illustrates this point: Describe a scene through a character’s eyes, then describe that same scene through another character’s eyes. I could use the practice, so here we go: Hank Hank removed his hat and dappled his sweat-covered forehead with a sleeve before replacing it. He’d made good time today, and Thistle Springs was welcoming him with a jaunty wave. The wind carried the smell of cooking meats, and the sound of carousing. Hell, Hank might have time for a bit of that himself. He winked at the lovely ladies on the bar balcony. As a matter of fact, he’d make time. Side-Salad The hard earth made every hoof fall ring through Side-Salad’s legs. The sharp, metallic creak of the welcome sign swaying in the breeze grated her nerves almost as much as the human on her back. Sickly women draped in fake smiles coaxed men into buildings under a setting sun. When the doors open, grain alcohol stung her nostrils. I was pretty subtle there, but did you notice the second perspective was a horse? That might seem like a silly example, but there are hundreds of ways to write that same paragraph without letting you know she’s a horse at all. No matter how obvious a perspective seems as a writer, you have to bring it home to the reader or it’s worthless. What a character pays attention to can tell you a lot about who that character is. The note could be as simple as the fact that a horse has hooves, or more motivated, like a distaste for humans or a love of red meat. The more you consider perspective, the more efficient and effective you can portray character and their deeper motivation. The Math of the Antagonist Getting back to the antagonist, the meany, the BBEG, and their motivations. Everything may be relative at the grandest and smallest scales of the universe. That doesn’t mean anything goes. Similarly, perspective explains behavior, but it doesn’t excuse it. I’ve struggled with this for a while, conflating explanations and excuses as I work to understand the world we live in. Let’s take a look at the antagonists inside us as an example. Struggling with depression all my life, I spent so much of it looking for an explanation. Despite being a creative, I’m a logical person with a brain that wishes the world was made of as much math as we were taught in school. I was never good at feeling my feelings, but I could sure as hell investigate them. Let’s imagine you find the answer, the source of your mental antagonist. A bully, a dismissive parent, or isolation. Is the depression gone? Have you solved the math equation? No. That’s the trick, and it’s a fantastic optical illusion. Understanding something doesn’t necessarily give you the tools to solve it. I think about perspectives outside of my own in the same way. While my writer mind wants to explore every detail of the big bad meany, that wouldn’t serve the story. Instead, I write as much as I need to in order to ensure I can live in and embody the character’s actions, without trying to get the reader to understand. Now that may sound confusing, especially since I talked about the reader comprehending above, but what I really mean is the sort of understanding that comes from lived experience. The smart readers who are paying attention may deduce but readers enveloped in the story will feel. That’s true magic. The Trade-Off I suppose the natural question is: do I ever lose myself in these evil characters once I embody them? I’ve priced out a dungeon, and I’ve planned some doomsday scenarios under the guise of a writer. Obviously I would never act on them. I can trace my depression without erasing it, inhabit a villain without becoming one, and sympathize with cruelty through the eyes of necessity without sacrificing my values. A character’s baggage isn’t gravity. It’s mass. Understanding is the gravity. Understanding doesn’t change mass. It simply bends light. Thanks for reading! Subscribe for free to receive new posts and support my work. Get full access to 30 Degree Shift at 30degreeshift.substack.com/subscribe

    7 min
  2. Geodesics and Side Salad

    27 FEB

    Geodesics and Side Salad

    Perspective has fascinated me since I struggled through reading a book on special relativity that I grabbed off my dad’s bookshelf. It took me an embarrassingly long time to finish. For years I would say “it’s all relative” with a clever smirk, knowing that it was, truly, all relative. I heard a quote recently that pulls that truth into a sharp, almost painful social juxtaposition. “The worst thing about life is that everybody has their reasons.” This was a shot through my heart. I went to the most senselessly cruel decisions I see today, and got a stomachache considering what reasoning could lie under them. However, as a writer, I have to embrace this phrase for its truth and power. That’s one of the cornerstones of humanity, and real characters- their reasons. But reasons aren’t so simple as a multi-national corporate mission statement, though they might be as dishonest. Perspective, like gravity, forms our reality. So how do we map the geodesic curves formed by a character’s baggage into a narrative? One that carries the reader to the “truth” of a character, whether it’s true or not? The Sandbox: Hank and Side-Salad Let’s start with the five senses. I heard a writing exercise from Brandon Sanderson, who surely didn’t invent it, that I think perfectly illustrates this point: Describe a scene through a character’s eyes, then describe that same scene through another character’s eyes. I could use the practice, so here we go: Hank Hank removed his hat and dappled his sweat-covered forehead with a sleeve before replacing it. He’d made good time today, and Thistle Springs was welcoming him with a jaunty wave. The wind carried the smell of cooking meats, and the sound of carousing. Hell, Hank might have time for a bit of that himself. He winked at the lovely ladies on the bar balcony. As a matter of fact, he’d make time. Side-Salad The hard earth made every hoof fall ring through Side-Salad’s legs. The sharp, metallic creak of the welcome sign swaying in the breeze grated her nerves almost as much as the human on her back. Sickly women draped in fake smiles coaxed men into buildings under a setting sun. When the doors open, grain alcohol stung her nostrils. I was pretty subtle there, but did you notice the second perspective was a horse? That might seem like a silly example, but there are hundreds of ways to write that same paragraph without letting you know she’s a horse at all. No matter how obvious a perspective seems as a writer, you have to bring it home to the reader or it’s worthless. What a character pays attention to can tell you a lot about who that character is. The note could be as simple as the fact that a horse has hooves, or more motivated, like a distaste for humans or a love of red meat. The more you consider perspective, the more efficient and effective you can portray character and their deeper motivation. The Math of the Antagonist Getting back to the antagonist, the meany, the BBEG, and their motivations. Everything may be relative at the grandest and smallest scales of the universe. That doesn’t mean anything goes. Similarly, perspective explains behavior, but it doesn’t excuse it. I’ve struggled with this for a while, conflating explanations and excuses as I work to understand the world we live in. Let’s take a look at the antagonists inside us as an example. Struggling with depression all my life, I spent so much of it looking for an explanation. Despite being a creative, I’m a logical person with a brain that wishes the world was made of as much math as we were taught in school. I was never good at feeling my feelings, but I could sure as hell investigate them. Let’s imagine you find the answer, the source of your mental antagonist. A bully, a dismissive parent, or isolation. Is the depression gone? Have you solved the math equation? No. That’s the trick, and it’s a fantastic optical illusion. Understanding something doesn’t necessarily give you the tools to solve it. I think about perspectives outside of my own in the same way. While my writer mind wants to explore every detail of the big bad meany, that wouldn’t serve the story. Instead, I write as much as I need to in order to ensure I can live in and embody the character’s actions, without trying to get the reader to understand. Now that may sound confusing, especially since I talked about the reader comprehending above, but what I really mean is the sort of understanding that comes from lived experience. The smart readers who are paying attention may deduce but readers enveloped in the story will feel. That’s true magic. The Trade-Off I suppose the natural question is: do I ever lose myself in these evil characters once I embody them? I’ve priced out a dungeon, and I’ve planned some doomsday scenarios under the guise of a writer. Obviously I would never act on them. I can trace my depression without erasing it, inhabit a villain without becoming one, and sympathize with cruelty through the eyes of necessity without sacrificing my values. A character’s baggage isn’t gravity. It’s mass. Understanding is the gravity. Understanding doesn’t change mass. It simply bends light. Thanks for reading! Subscribe for weekly essays every Wednesday at 11:11am. Get full access to 30 Degree Shift at 30degreeshift.substack.com/subscribe

    7 min
  3. The 30 Degree Shift

    20 FEB

    The 30 Degree Shift

    Thank goodness this is one of my favorite topics, because it seems to rule the world. I’m constantly inspired and intimidated by the absurdity I see all over the place. Sometimes I wonder how I could ever compete with reality. Mostly, I end up stealing. Before I go off the deep end, let’s consider what absurdity even is. I don’t know about you, but I hadn’t given it any real thought. I’d look at something stupid and think “how absurd!” However, when you write things down, you can’t hang your hat on “I know it when I see it,” so we’d better build some scaffolding. Thanks for reading! Subscribe for free to receive new posts and support my work. I started with the dictionary (a classic source of word definitions) and found some pretty unsatisfying options: * “having no rational or orderly relationship to human life: meaningless” Obviously not. * “stupid and unreasonable, or silly in a humorous way.” We’re getting closer with this one. * “extremely silly, foolish, or unreasonable: completely ridiculous.” Almost there. Absurdity can be silly or funny, but it can also be horribly cruel. Unfortunately, that’s the kind I see all over. “Completely ridiculous” is very good, but it needs a modifier, like “and heavily endorsed.” Commitment to the bit. Absurdity is what happens when power doubles down on a narrative that can’t survive inspection. With my particular brand of neurodivergence, this absurdity can stick out more than clashing colors. That’s not a great simile when you know I’m color blind, but I distinctly remember the cringe on Alexa’s face when I would wear black and navy blue together in high school, so I’m sure it works. I’m not trying to be a downer, so we’ll look at something that’s silly unless you think about it too much (save that for after you read this). An example that comes to mind often is cryptocurrency and how it’s evolved. I remember when I became aware of the blockchain. Oh, what a wonderful, optimistic time that was. Instead of researching the technical possibilities, I would have been less of a dope to just buy the lie and sell the scam. Ce la vie… Instead, I learned about the functionality and potential of blockchain technology. I became enamored with the idea of utility coins that could allow anonymity alongside trust. In a global market (and as an untrusting neurodivergent), this appealed to my sensibilities. It felt like the future. I thought about being able to purchase something online without giving my full credit card, address, social security, semen sample, and three potential business ideas. Instead, we got a new asset. Another one. Can you feel the deep sigh and an eye roll through your screen? In the grand tradition of fake money, we made something of value out of bits and bytes. How fun. How original. How human. Can you tell I went to school during the financial crisis? That would be absurd enough for most, but humanity has a way to upping the ante after inventing poker. Now we have massive facilities which use water and energy to mine this asset which is used to… HODL, which I believe is just an acronym for “commit, [insert gendered insult here].” Not strictly true. Now there are many institutional funds that hold these various, unpriceable assets and even the good old Federal Government is getting in on the game. It’s fascinating how anarchy can be coopted so easily by institutional power. More buy-in, means more mining. Let’s back up and take a wholistic look at those facilities. How do you mine cryptocurrency? Basically, you have a bunch of GPUs race to solve a super hard math problem. Here’s where it gets funny. Those GPUs, you know, the ones doing the work to ‘mine’ fake gold? They have real gold in them. The stuff that used to be money. Humans dug gold and other precious metals out of the earth (poisoning the atmosphere in the process, but we won’t go down that road), shipped them to other humans who designed and manufactured the GPUs, who shipped them to a warehouse (building by humans) in order to solve hard math problems to stack digital coins of dubious value. Now that is commitment to the bit. Like I said, you can’t make this s**t up. So how do I compete with reality? My favorite way is to shift it 30 degrees to the left. An example of this done well is A Modest Proposal by Dr. Johnathan Swift. If you’re not familiar, trigger warnings ahead for the faint of heart. It begins with an appeal to pathos, describing the piteous conditions of the Irish people during the potato famine (another rabbit hole we will not be going down today). The second paragraph details the burden of children: …this prodigious number of children… is in the present… a very great additional grievance; ad therefore whoever could find out a … method of making these children sound and useful members of the common-wealth, would deserve… to have his statue set up for a preserver of the nation. This reads like some upper-crust newsletter, detailing the wholly unfortunate and altogether understandable situation of the poors out in the countryside. Someone reading from that perspective, would likely take the statement at face value, but a reader with a bit more depth-of-living will already feel dubious. The feeling deepens when the next paragraph promises help for all children, from rich and poor families alike. They’ll “contribute to the feeding... of many thousands.” Wow! “It will prevent … the practice of women murdering their b*****d children.” Uh… that’s good. The only thing in this mess to disturb the otherwise comfortable elite is the implication that their children might need help, but even they have to admit it would be candidly unfair to give to the poor and not to the rich. The original Swifty then begins his 30 degree shift. If infants and young children are useless in all manor of work, and worthless as commodities, at least they could serve as “a most delicious and nourishing and wholesome food…” The use of wholesome is particularly delightful. I’ll skip the details on preparation and additional sartorial uses. Suffice it to say, this is textbook absurd. And so was this famine. History is littered with such manufactured crises. There weren’t ‘rich’ children suffering. The famine was structured by economic doctrine, sustained by indifference, and engineered by ideology (translation – commitment). One wonders if the high and mighty got the joke. So, how do I compete with reality? I don’t. We’re more like begrudging partners. Thanks for reading! Subscribe for free to receive new posts and support my work. Get full access to 30 Degree Shift at 30degreeshift.substack.com/subscribe

    8 min

About

Weekly essays from beyond the rift. Enjoy 5-10 minute episodes every Wednesday at 11:11am as read by the author, William T. Torgerson 30degreeshift.substack.com