Mi semana administra mi atención

El sistema semanal de dirección no existe para llenar mi calendario ni para crear reuniones alrededor de cada tema importante.

Su función es asegurar que, durante una semana normal, mi atención esté distribuida entre las responsabilidades que corresponden a mi nivel de Dirección.

Antes de definir reuniones, días u horarios, necesito entender las cadencias que ya existen en la organización, qué información circula, qué decisiones se toman en cada espacio y dónde existen vacíos reales de coordinación.

Mi objetivo no debe ser imponer un sistema nuevo sobre el existente.

Debo primero comprenderlo y luego complementar, simplificar o corregir donde sea necesario.

Mi sistema semanal no administra solamente mi equipo. Administra mi atención.

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1. Las siete dimensiones de mi atención

Una semana equilibrada debería contener, en distinta proporción, atención sobre siete dimensiones.

Dirección del equipo

Necesito asegurar claridad sobre prioridades, resultados, riesgos, decisiones y compromisos de mi equipo directo.

Mi función no es conocer todas sus tareas, sino asegurar que cada líder esté conduciendo correctamente su ámbito de responsabilidad y que los asuntos que requieren Dirección sean visibles a tiempo.

Aquí pueden entrar posteriormente:

• reunión de equipo;
• revisión de prioridades;
• seguimiento por excepción;
• compromisos;
• decisiones pendientes.

La cadencia concreta se definirá después de conocer cómo trabaja actualmente el equipo.

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Alineamiento hacia arriba

Necesito mantener alineamiento con la Vicepresidencia de Postventa.

Esto implica comprender sus prioridades y mantenerlo informado sobre aquello que necesita conocer para dirigir correctamente el negocio.

La comunicación hacia arriba debe concentrarse principalmente en:

• resultados relevantes;
• riesgos;
• decisiones que requieren su intervención;
• cambios importantes;
• asuntos organizacionales;
• oportunidades;
• temas que podrían escalar.

Mi jefe no necesita conocer cada detalle de mi gestión, pero tampoco debería recibir sorpresas importantes sobre asuntos que ya estaban bajo mi responsabilidad.

Escalar no significa trasladar el problema. Significa entregar contexto, alternativas y una recomendación.

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Coordinación lateral

Una parte importante de mis resultados dependerá de áreas que no me reportan directamente.

Servicio será una relación especialmente importante, pero también podrán existir dependencias con Finanzas, Comercial, Mercadeo, Compras, Logística, Tecnología, Recursos Humanos y otras funciones.

Mi responsabilidad es identificar qué interdependencias necesitan mecanismos permanentes de coordinación y cuáles pueden manejarse solamente cuando aparece un asunto concreto.

No debo crear reuniones únicamente porque dos áreas estén relacionadas.

Una cadencia estable debe existir cuando la coordinación frecuente realmente mejora decisiones o resultados.

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Contacto con el negocio

No debo dirigir la región únicamente desde reportes, tableros y reuniones internas.

Necesito mantener contacto directo con la realidad del negocio.

Esto puede incluir:

• países;
• sucursales;
• operaciones;
• talleres;
• clientes;
• fabricantes;
• proveedores;
• socios comerciales.

El propósito no es sustituir a los responsables locales.

Es conservar suficiente exposición directa para comprender el mercado, detectar patrones, contrastar la información que recibo y mantener criterio propio sobre lo que está ocurriendo.

Un Director Regional no debe conocer el negocio únicamente a través de presentaciones.

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Trabajo estratégico

La operación genera suficiente presión como para consumir toda la agenda si se lo permito.

Por eso necesito proteger atención para temas cuyo resultado no necesariamente aparece en la semana actual:

• estrategia;
• rentabilidad;
• inventario;
• modelos comerciales;
• procesos;
• regionalización;
• tecnología;
• datos;
• transformación;
• capacidades futuras.

Estos asuntos deben tener espacio propio y no depender únicamente del tiempo que quede libre después de atender lo urgente.

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Desarrollo de líderes

Una parte de mi agenda debe estar dedicada a mejorar la capacidad de quienes dirigen conmigo.

Aquí entran:

• conversaciones uno a uno;
• feedback;
• acompañamiento;
• desarrollo de criterio;
• desempeño;
• delegación;
• sucesión;
• conversaciones difíciles;
• crecimiento profesional.

El seguimiento de tareas no sustituye el desarrollo de personas.

Una organización más capaz reduce progresivamente la necesidad de intervención del Director.

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Pensamiento

Pensar forma parte del trabajo.

Necesito espacios donde pueda detener la ejecución inmediata y analizar:

• qué está cambiando;
• qué patrones estoy observando;
• qué decisiones requieren mayor profundidad;
• dónde estoy utilizando mal mi tiempo;
• qué problemas se repiten;
• qué podría convertirse en un estándar regional;
• qué riesgos todavía no son urgentes, pero podrían serlo.

Si toda mi semana está fragmentada en reuniones, termino respondiendo a la agenda de otros y pierdo capacidad de dirigir con perspectiva.

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2. Dirigir en cuatro direcciones

Mi agenda debe recordarme que la Dirección Regional ocurre simultáneamente en cuatro direcciones.

Hacia abajo

Desarrollar y dirigir a mi equipo.

Hacia arriba

Mantener alineamiento con mi jefe y con las prioridades de la organización.

Hacia los lados

Coordinar con otros líderes y funciones de las que dependen los resultados.

Hacia afuera

Mantener conexión con países, clientes, fabricantes, proveedores y mercado.

Una semana dedicada exclusivamente a cualquiera de estas direcciones termina generando desequilibrio.

El sistema semanal debe ayudarme a reconocer cuándo una dimensión está absorbiendo demasiada atención.

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3. La frecuencia debe responder a la necesidad

No todo lo importante necesita una reunión semanal.

La frecuencia de seguimiento debe depender de:

• velocidad con la que cambia el tema;
• nivel de riesgo;
• cantidad de dependencias;
• necesidad de decisiones;
• madurez del responsable;
• relevancia estratégica.

Un asunto estable puede necesitar revisión mensual.

Un proyecto crítico puede requerir seguimiento semanal.

Una crisis puede necesitar coordinación diaria durante un período limitado.

La cadencia debe adaptarse al trabajo y no al revés.

La frecuencia de una reunión no demuestra la importancia del tema. Debe responder a la necesidad de coordinación.

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4. Primero entender, después diseñar

Al incorporarme debo evitar crear inmediatamente una arquitectura completa de reuniones.

Primero necesito observar:

• qué reuniones ya existen;
• quién participa;
• qué propósito tienen;
• qué información se revisa;
• qué decisiones producen;
• qué se duplica;
• qué falta;
• qué reuniones agregan valor;
• cuáles existen solamente por costumbre.

Durante las primeras semanas debo aprender el sistema antes de modificarlo.

Después podré decidir qué mantener, eliminar, combinar o crear.

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5. Toda reunión debe justificar su existencia

Cuando evalúe una reunión recurrente debo preguntarme:

¿Qué problema de coordinación resuelve este espacio?

Una reunión debería producir al menos uno de estos resultados:

• claridad;
• decisión;
• coordinación;
• resolución de bloqueos;
• aprendizaje;
• desarrollo.

Si consiste principalmente en transmitir información que podría consultarse previamente, debo cuestionar si la reunión es necesaria.

La información puede ser asincrónica.

La conversación debe utilizarse para aquello que necesita interacción.

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6. La semana debe proteger distintos horizontes

No todos los temas tienen el mismo horizonte.

Una semana saludable debe contener atención sobre:

Hoy

Problemas y decisiones que afectan la operación inmediata.

Próximas semanas

Compromisos, proyectos, riesgos e iniciativas en ejecución.

Próximos meses

Cambios, capacidades y decisiones estructurales.

Futuro

Estrategia, transformación y evolución de la organización.

Si toda mi agenda pertenece a “hoy”, probablemente estoy administrando urgencias más que dirigiendo.

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7. Mi calendario como señal de diagnóstico

El calendario puede mostrarme rápidamente cómo estoy ejerciendo el puesto.

Debo revisar periódicamente:

• cuánto tiempo consume la operación;
• cuánto dedico al equipo;
• cuánto dedico a otras áreas;
• cuánto contacto tengo con el mercado;
• cuánto espacio existe para estrategia;
• cuánto tiempo dedico al desarrollo;
• cuánto tiempo realmente tengo para pensar.

No necesito buscar una distribución perfecta.

Necesito detectar desequilibrios persistentes.

Mi agenda revela mis prioridades reales mejor que mis intenciones.

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8. Lo que todavía no debo definir

Hasta conocer la organización, este sistema no debe fijar todavía:

• qué día ocurre cada reunión;
• cuántas reuniones semanales existen;
• duración exacta;
• frecuencia definitiva de los 1:1;
• reuniones específicas con Servicio;
• cadencia con Vicepresidencia;
• frecuencia con fabricantes;
• estructura de comités;
• herramientas o tableros obligatorios.

Estas decisiones deben tomarse después de comprender la dinámica actual.

El sistema debe darme primero un criterio para observar.

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9. Pregunta de control semanal

Al revisar mi agenda debo preguntarme:

¿Esta semana estoy dedicando mi atención a aquello que solamente Dirección puede aportar?

Y además:

• ¿Estoy demasiado dentro de la operación?
• ¿Hay alguien importante con quien no estoy hablando?
• ¿Estoy evitando alguna decisión?
• ¿Estoy dedicando suficiente tiempo al futuro?
• ¿Estoy desarrollando líderes o solamente resolviendo problemas?
• ¿Estoy viendo directamente el negocio o solamente recibiendo información?
• ¿Tengo espacio para pensar?

El propósito del sistema semanal no es lograr una semana perfectamente ordenada.

Es evitar que la urgencia decida permanentemente dónde pongo mi atención.

In Summary: * Well, well. I've found another MLB game to keep me company during this Monday evening. The Baltimore Orioles are playing the Tampa Bay Rays in St. Pete and the game is just about ready to start.

In other news, as it's Monday I did get half my weekly laundry done. Time was restricted this morning as I had a business meeting at my bank to prepare for and attend. Meeting went well, btw, and I'll finish the other half of my laundry tomorrow.

Now, I've got the Rays / O's game to get to. I expect it to end at a perfect time for me to get to bed.

Prayers, etc.: * I have a daily prayer regimen I try to follow throughout the day from early morning, as soon as I roll out of bed, until head hits pillow at night.

Health Metrics: * bw= 229.94 lbs. * bp= 152/86 (63)

Exercise: * morning stretches, balance exercises, kegel pelvic floor exercises, half squats, calf raises, wall push-ups, BP breathing exercises, pilates

Diet: * 05:40 – 1 banana, 1 peanut butter sandwich * 09:30 – sweet potato with butter, two boiled eggs * 14:00 – garden salad * 15:40 – dish of ice cream

Activities, Chores, etc.: * 04:00 – wake * 04:50 – bank accounts activity monitored. * 05:15 – read, write, pray, follow news reports from various sources, surf the socials, nap * 08:00 – start a load of laundry * 10:30 – listening to relaxing music while folding laundry * 11:15 – go to the bank, took care of business * 13:10 – listening to the Cardinals / Reds MLB game * 15:25 – and the Cardinals win, 2 to 1. * 17:10 – now listening to the Orioles / Rays MLB game.

Chess: * 08:30 – moved in all pending CC games.

Adventurers

Character	Race	Class	Description
Ainsley	Human	Ranger level 1	A ranger.
Alaric	Human	Paladin level 4	Big, doe eyed country boy with wavy blond hair and willingness to do the right thing. Paladin of Tyr.
Aurella	Elf	Fighter level 1 / magic-user level 1	Exiled and chased out of her tree commune, she now wanders the Wilderlands.
Balarus	Human	Fighter level 4	An ex-woodsman, quite a crack shot with his bow.
Ignaeus	Elf	Fighter level 4 / magic-user level 5	An arrogant and self-assured sellsword wandering Wilderlands to prove he can best anyone.
Kenso San	Human	Fighter level 2	An arrogant and self-assured sellsword wandering Wilderlands to prove he can best anyone.
Wilbalt Abendeurer	Human	Fighter level 3	A burly blonde barbarian; Warmund's younger brother and a better swordsman of the two.

Head of the pale undead recoiled as Ignaeus hit it with his magic arrow. It screamed it in anguish as Alaric stabbed it with his magical weapon repeatedly. Copper coins covering its chest exploded about the room as Balarus had chopped it in half with his magical battle axe.

The combat was over before it had even begun proper. Ainsley and Balarus made a brief introduction—the latter was a familiar face, having adventured with the company a year ago. The former was new to the region, and was learning fast by hiding in the corner.

Scouring the chamber produced nothing but several hundred copper pieces, meticulously collected by wounded Aurella, and a wicked looking broadsword resting by the lower half of the severed dead.

Its dragon-head pommel beckoned adventurers.

Ignaeus inspected it closely. Then he reached out and paused to feel any evil. Having felt none, he pulled out the blade. It was smooth and sharp. A fine blade, and a good replacement for his Volmorin's Blade that had been a stump for long time.

Adventurers, now counting nine in numbers, continued their exploration of the tumulus. After spending half an hour on deciding if the should go down the wet, earthy tunnel, or beyond the portcullis in the stony portion of the complex, that is.

They found their way out of the secret chamber, back into the chamber filled with foul foodstuffs, and then beyond the portcullis. Balarus, an immensely strong man, lifted the grates nearly on his own. Ainsley and Ignaeus assisted him, making this a truly effortless task.

“How should we jam them?”

“Anyone has a ten foot pole?”

“What about those crates?”

“Nah, they are soggy!”

Alaric resolved this impasse by walking into the chamber and pointing at the winch which operates the grates. They set it right, and the passageway remained open indeed.

Exploration continued. T-shaped junction splitting right and left. The latter bent right, the former led to another chamber. Thus, they had chosen left. Empty, nothing. Left through the archway, then right, left again and down the long corridor, past the doors that lead back into the foul chamber.

Then right, and right again, now facing a long, long corridor. Two doors on the right, one at thirty feet, another at eighty. Mid-way, on the left side, twenty feet wide double doors, arched and with a motif of young men ascending and becoming strong, with the strongest sitting on a wooden throne. The portal was mortared shut.

“Psshhh...”

Listening on the first doors to the right confirmed something was amiss. Animalistic grunts and squeals could be heard.

“We killed some goblins earlier...”

“Probably more...”

Balarus opened the doors with easer that parallels only Thorinda's.

Sixteen goblins inside the chamber were not surprised.

Neither were the adventurers.

Ignaeus and Balarus led the charge, each slaying four with ease and grace of heroes. Aurella, despite her wounds, slipped into the large chamber, and shot one goblin down. Kenso killed one too.

Wilbalt charged right behind Ignaeus.

As he had arrived, the elf turned around, foam dripping from his mouth. His eyes were completely bloodshot. Elf swung at the swordsman, but his blows failed to connect. Kenso smacked Ignaeus with the blunt side of his sword.

Strongman Balarus grappled Ignaeus. His iron grip was all for naught as the elf used his own strength against him, throwing him down to the ground. Balarus stood up, but dazed and stunned. Kenso hit Ignaeus once more, and the elf reciprocated by stabbing him through the gut. This, once arrogant Karakan, had be humbled once more, as it all went to black.

As this desperate skirmish unfolded, Alaric and Ainsley mopped up rest of the goblins. Then the paladin joined. He was promptly roped by Ainsley's improvised lasso. Seeing that Ignaeus is out of control, the paladin hit him hard, for real. He hit him again, nearly killing him. Then Wilbalt took the elf down with a might strike to the head.

They tied him tight.

Frisking the many corpses produced a hundred or so silver pieces. Aurella the Coin Collector had collected them all. Wilbalt took the locked wooden chest, reasoning that it would be safer to open it back in Ironburg. There were also seven pickaxes, four hammers, and three shovels. Most were left behind.

“It's time to leave!”

Resisting the urge to open one more doors, adventurers picked up tied Ignaeus, and messed up Kenso, and exited the tumulus. It was a starry night. Emboldened with the fact they have a ranger in their party now, they decided to follow the river and march during night.

After all, Ironburg was just two leagues away.

What could possibly go wrong?

Within an hour they ran into three elves that questioned Aurella about who she is, why is another elf all tied up, and what is going on. They were tremendously confused by Aurella's insistence on going to Ironburg, a backwater human excuse for a settlement. They were gone by the time she had returned with new questions form the party.

Once back, they put Ignaeus in their cellar and waited for the next day. Then they took him to the Old Crus's tower, where Ambros was hiding away. Lama of Aniu was perplexed. He cast remove curse and nothing had happened. He cast detect evil and nothing had happened.

They ungagged the elf, only to be met with growls and hisses.

“WHAT IS THIS PANDEMONIUM!” Crus croaked as he walked down the stairs “NO VISITORS! HOW MANY TIMES DO I HAVE TO REPEAT THAT!” he yelled and bickered as he took a step at a time. The man was slower than the passage of time.

“Oh might Crus! I throw myself in your service if you can heal my dearest friend! He is stricken with such a great rage and we do not know what to do! We will pay you! I will wash the floors! Oh, help us!” It was reported Ambros said something along such lines.

Whatever the he might have said, Old Crus was stopped dead in his tracks. He looked at the cleric intently; eyes wide open.

“Oh, I have driven out the wrong one! Woe; me!” he cried out, exasperated, smacking his own forehead. “Are you not a high priest?! Is that not an evil object?! What do high priests do with evil?! They dispel it!” Old Crus turned around and went back up, swearing profusely.

Ambros cast Dispel Evil on the sword and it fell out of Ignaeus's hand. The elf fell asleep. Alaric wrapped the sword. Then he went to the baron and informed him of the expedition.

Others sat down and began planning a supply run to New Hara.

“One plate mail. Two chain shirts. Two shields. Ten leather armours. Ten spears. Five glaives. Ten slings. Ten short bows. Two hundred arrows. One broadsword. One bastard sword. Five shortswords. Two hundred and fifty feet of hemp rope. Two crowbars. Five backpacks. Ten large canvas sacks. Ten dried rations.”

“Oil! Don't forget military oil! Gallons of military oil!”

Discuss at Dragonsfoot forum.

#Wilderlands #SessionReport

Cómo entiendo mi trabajo

Mi trabajo como Director no consiste en conocer, controlar o resolver personalmente todos los temas de la operación.

Mi responsabilidad es construir un sistema en el que las prioridades estén claras, los líderes sepan qué se espera de ellos, las decisiones ocurran en el nivel correcto, los problemas importantes sean visibles y la organización pueda ejecutar sin depender permanentemente de mi intervención.

La Dirección debe dar claridad, capacidad de decisión y ritmo.

Cuando sienta que existen demasiados temas, mi primera reacción no debería ser trabajar más horas ni entrar en cada detalle. Debería preguntarme si estoy mirando los asuntos correctos y si cada problema está siendo atendido en el nivel adecuado.

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1. Mi función como Director

Mi trabajo se puede resumir en siete acciones:

Mirar

Entender qué está ocurriendo realmente en el negocio.

No necesito conocer cada movimiento de la operación, pero sí identificar resultados, tendencias, desviaciones, riesgos y cambios relevantes.

Priorizar

Distinguir lo importante de lo simplemente urgente.

La organización siempre puede producir más temas de los que una persona puede atender. Mi responsabilidad es decidir dónde debe concentrarse la atención.

Alinear

Conectar personas, áreas, países y prioridades.

Muchos problemas no existen por falta de capacidad individual, sino porque dos partes de la organización están trabajando con objetivos, información o criterios diferentes.

Decidir

Tomar las decisiones que corresponden a mi nivel y asegurar que las demás se tomen donde deben tomarse.

No debo acumular decisiones innecesariamente.

Desbloquear

Remover obstáculos que el equipo no puede resolver por sí mismo.

Puede tratarse de recursos, prioridades contradictorias, dependencias, políticas, conflictos entre áreas o decisiones pendientes.

Desarrollar

Construir líderes capaces de operar con criterio y autonomía.

Resolver un problema puede mejorar el resultado de esta semana. Desarrollar a la persona que debe resolverlo mejora el sistema permanentemente.

Aprender

Convertir experiencias locales en conocimiento útil para la organización.

Cuando un problema, una solución o una práctica aparece repetidamente, debo preguntarme si existe un aprendizaje que pueda convertirse en estándar.

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2. No debo convertirme en el gerente de toda la región

Uno de mis principales riesgos será intervenir demasiado porque conozco la operación y sé cómo resolver muchos de sus problemas.

Antes de involucrarme directamente debo preguntarme:

¿Necesito resolver esto yo?

Después:

¿Quién debería ser capaz de resolverlo?

Y finalmente:

¿Qué necesita esa persona para poder resolverlo correctamente sin depender de mí?

Mi experiencia operativa debe ayudarme a hacer mejores preguntas y tomar mejores decisiones, no a sustituir a mis gerentes.

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3. Visibilidad no significa control

Necesito tener visibilidad suficiente para saber:

• cómo está funcionando el negocio;
• dónde existen desviaciones;
• qué riesgos están apareciendo;
• qué iniciativas importantes están avanzando;
• qué decisiones están pendientes;
• dónde necesita intervenir Dirección.

No necesito conocer todas las tareas de todas las personas.

Mi sistema de gestión debe hacer visibles las excepciones, no reproducir toda la operación frente a mí.

Un negocio sano no depende de que el Director pregunte constantemente qué está ocurriendo.

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4. Cada decisión debe ocurrir en el nivel correcto

Una organización lenta suele acumular decisiones arriba.

Por eso debo distinguir constantemente:

Decisiones operativas Deben resolverse cerca de la operación.

Decisiones tácticas Coordinan recursos, prioridades y resultados dentro de un área o país.

Decisiones estratégicas Definen dirección, estándares, inversiones, capacidades o cambios estructurales.

Mi objetivo no es participar en más decisiones.

Mi objetivo es asegurar que las decisiones correctas ocurran en el nivel correcto, con suficiente información y a tiempo.

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5. Mi unidad de análisis ya no es solamente un país

Ante un problema importante debo preguntarme:

¿Esto es particular de un país o representa un patrón regional?

Puedo clasificar los asuntos en cuatro niveles:

Local

La realidad del mercado, la marca o la operación justifica una solución propia.

Compartido

El problema aparece en varios países y conviene intercambiar experiencias.

Regionalizable

Existe suficiente similitud para diseñar un proceso, herramienta o práctica común.

Estándar regional

La consistencia genera suficiente valor como para definir una misma forma de operar.

Regionalizar no significa uniformar todo.

Debo estandarizar donde la escala genera valor y permitir diferencias donde el contexto las justifica.

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6. Debo proteger cuatro dimensiones del negocio

La operación diaria siempre hará más ruido, pero Dirección debe proteger simultáneamente cuatro capas.

Operar el negocio

Mantener resultados, disponibilidad, servicio, inventario, ventas y rentabilidad.

Mejorar el negocio

Eliminar ineficiencias, mejorar procesos, productividad y prácticas existentes.

Transformar el negocio

Construir capacidades, sistemas o modelos que cambien estructuralmente la forma de operar.

Construir la organización

Desarrollar personas, estructura, liderazgo, sucesión y capacidades.

Si toda mi agenda está dedicada a operar el negocio, estoy administrando el presente pero descuidando el futuro.

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7. El contexto también es una herramienta de dirección

Parte de mi responsabilidad consiste en compartir información que permita a mis líderes tomar mejores decisiones.

Debo preguntarme regularmente:

¿Qué sé yo que mi equipo necesita saber para interpretar correctamente el negocio?

Dar contexto no significa trasladar cada conversación de Dirección.

Significa explicar lo suficiente para que las personas entiendan:

• hacia dónde vamos;
• por qué ciertas prioridades existen;
• qué restricciones tenemos;
• qué está cambiando;
• qué criterios deberían utilizar para decidir.

Un equipo con contexto necesita menos instrucciones.

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8. Mi agenda refleja mi verdadero sistema de prioridades

No importa lo que diga que es importante si mi calendario demuestra otra cosa.

Mi tiempo debe reservar espacio para:

• revisar el negocio;
• tomar decisiones;
• conversar con mis líderes;
• coordinar con otras áreas;
• pensar;
• analizar;
• visitar operaciones;
• desarrollar personas;
• trabajar en asuntos estratégicos.

También debo proteger tiempo sin reuniones.

Pensar no es tiempo disponible entre reuniones. Es parte del trabajo.

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9. Principios que quiero proteger

Cuando tenga dudas sobre cómo actuar, quiero volver a estos principios:

Claridad antes que actividad.

Antes de actuar, debo entender qué problema estoy tratando de resolver, qué resultado necesito y qué merece realmente mi atención. Estar ocupado no necesariamente significa estar avanzando. Pensar primero me ayuda a evitar trabajo innecesario, reacciones impulsivas y esfuerzos dispersos.

Resultados antes que listas de tareas. Esto me vuelve práctico y ágil.

Debo dirigir hacia resultados concretos, no hacia acumulación de actividades. Una lista de tareas puede estar completamente ejecutada y aun así no producir el efecto esperado. Pensar en resultados me obliga a definir qué debe cambiar, qué evidencia demostrará que avanzamos y cuándo algo puede considerarse realmente cerrado. Esto hace la gestión más práctica y ágil.

Excepciones antes que seguimiento indiscriminado.

No necesito revisar con la misma intensidad todo lo que funciona normalmente. Mi atención debe concentrarse donde existe una desviación, un riesgo, un bloqueo o una decisión pendiente. Si un indicador está dentro de lo esperado y el responsable tiene el tema bajo control, no debería consumir demasiado tiempo de Dirección. El sistema debe ayudarme a detectar dónde algo se salió de curso para intervenir allí.

Decisiones en el nivel más bajo que pueda tomarlas responsablemente.

Una decisión debería tomarse tan cerca del problema como sea posible, siempre que la persona tenga la información, autoridad y capacidad necesarias. Subir innecesariamente las decisiones hace más lenta a la organización y crea dependencia de Dirección.

Por ejemplo, si un gerente de país puede aprobar dentro de una política definida un descuento comercial, no debería necesitar autorización regional para cada operación. Mi trabajo sería definir correctamente la política, los límites y las excepciones. En cambio, si queremos cambiar la política de descuentos para todos los países, esa sí puede ser una decisión regional.

Contexto antes que instrucciones excesivas.

Siempre que sea posible, debo explicar por qué una prioridad, una decisión o una restricción existe. Cuando el equipo comprende hacia dónde vamos y qué criterios estamos utilizando, puede tomar mejores decisiones sin necesitar instrucciones detalladas para cada situación. Dar contexto aumenta autonomía.

Desarrollar criterio antes que crear dependencia.

Mi responsabilidad no es solamente resolver los problemas que llegan a mí, sino aumentar la capacidad del equipo para resolverlos. Cuando alguien me consulte, debo evitar convertir cada situación en una respuesta mía y aprovecharla, cuando sea posible, para desarrollar su análisis, juicio y capacidad de decisión. El verdadero valor de un equipo directivo aparece cuando puede operar bien sin depender permanentemente del Director.

Estándares regionales cuando generen valor; diferencias locales cuando estén justificadas.

Debo estandarizar donde la escala, la consistencia o el aprendizaje compartido generen valor, y permitir diferencias cuando las condiciones del país, la marca, el mercado o la regulación realmente lo justifiquen. Regionalizar no significa hacer todo igual. Significa distinguir conscientemente qué debe ser común y qué necesita adaptación local.

Toda decisión importante debe tener dueño y fecha.

Una decisión sin responsable puede quedarse solamente en una conversación. Toda decisión relevante debe terminar definiendo quién hará que ocurra, qué debe suceder y para cuándo. Esto convierte las reuniones y conversaciones en ejecución y evita compromisos ambiguos o huérfanos.

Mi calendario debe contener espacio para pensar.

Pensar forma parte del trabajo de Dirección. Necesito tiempo deliberado para analizar información, conectar temas, preparar decisiones, anticipar riesgos y cuestionar prioridades. Si todo mi calendario está ocupado por reuniones y urgencias, termino reaccionando al negocio en lugar de dirigirlo.

---

10. Señales de que estoy dirigiendo mal

Debo detenerme y revisar mi sistema si comienzo a observar que:

• demasiadas personas esperan mis decisiones;
• conozco muchos detalles pero pocas tendencias;
• mi agenda está llena de reuniones operativas;
• los gerentes me traen problemas sin alternativas;
• asigno tareas directamente a niveles inferiores sin pasar por sus líderes;
• tengo que recordar personalmente los compromisos;
• los mismos problemas aparecen repetidamente;
• cada país resuelve de manera independiente problemas similares;
• no tengo tiempo para pensar;
• paso semanas enteras atendiendo urgencias sin avanzar asuntos estructurales.

Estas señales no necesariamente significan que el equipo esté fallando.

Pueden significar que mi sistema de dirección necesita corregirse.

---

11. La pregunta de control

Cuando sienta que todo está creciendo alrededor mío, quiero volver a una sola pregunta:

¿Cuál es el trabajo que solamente yo puedo hacer desde este nivel?

Después debo ordenar el resto:

decidir, delegar, coordinar, calendarizar o descartar.

Mi objetivo no es estar presente en todo.

Mi objetivo es construir una organización en la que pueda ver lo importante, intervenir donde agrego valor y confiar en que el resto del sistema funciona.

https://youtube.com/shorts/Pl5oa5Km-RQ?feature=share

Poema recitado por hamster.

Monday's MLB game of choice is joined in progress. In the 1st inning, the St. Louis Cardinals are leading the Cincinnatti Reds, 2 to 0. As I usually do I'll follow the game's scores and stats in real time via MLB's Gameday Service where we can also find links to the radio-call of the game provided by announcers of either team we choose.

And the adventure continues.

HOLA A TODOS.

I have a combination of cheap and good quality pencil sharpeners. The former I’ve bought from Dollar Tree and Target and the latter from the KUM brand. I also have a Bostitch hand crank version I bought for less than ten dollars from Facebook Marketplace. Despite the quality they all have one thing in common.

Whenever I sharpen my pencils the half is sharpened longer than the other. I have to fine tune to make sure the tips are even. However, the main risk was that I shave off a good chunk of graphite and it doesn’t take too long to resharpen again after writing a few sentences.

So the best solution was to buy a pocketknife and shave my pencils the good old fashioned way. I wanted a Made in the USA knife within my budget and found A.G. Russell Knives. I bought the CaseXX Sod Buster black folding knife for $44 and the CRKT Stokes sharpener for $16. The knife has a 3-5/8” blade and is 4-5/8” when closed. The sharpener is the size of a flashdrive that also has a large key ring, bottle opener, and seatbelt cutter.

After opening both packages I found the first dull pencil I could find and followed instructions from the book How to Sharpen Pencils by David Rees. Not too shabby. So instead of buying disposable pencil sharpeners buy a good quality pocketknife and take good care of it.

Just don’t bring it at school, the courthouse, or airports.

#writing #knife #pencil #pocketknife #sharpener

You can be removed from the ceremony, but the work never leaves you. Not if it was always really there.

I am carrying enormous things, I'm not fully permitted to belong, I'm improvising ways to remain useful, and there is a tremendous amount of force moving through me that I don't entirely control.

1st blush dream notes:

DAH presentation I’m not on program because of moral failure But am making props Make 4x 12’ inflatable globes with cool art look Filled with smoke Have to transport in my mini cooper End up in mountain town. Looks like the projects in dust meridian One Road into neighborhood Go in service with NG Take a cat on leash Snow I push cardboard like snowplow and clear streets See Nois and Jeanie Will Ferrel calls me into a meeting in the little town CEO (Victoria Beckham) wants me to put graphics on globe. Giant V and a bunch of smaller graphics. Thrusting dreams – hips thrusting as I lay in bed, like an earthquake (dance or sex?)

---

Moral failure → exclusion → making things anyway → carrying the 'world' → isolation → clearing a path → summoned by authority → my creation branded

Big forces req managment: inflatable globe, smoke, snow, geography, organizational authority

---

“I’m not on program because of moral failure / But am making props.” It occurs to me that in my circle, moral failure precludes me from even tasks like this. I am only allowed to watch, but I insist on engaging anyway, this is a form of self-enrichment and disobedience at the same time. For someone who sees their own worth through what he provides, this is almost a natural imperative than it is a choice. I can't be on the stage, but I can contribute to its function.

Globes. Model of the world, but fake. Big, fragile and filled with smoke—something intangible vs real. The size and my mode of transportation are incompatible. 5lbs of potatoes and 1lb of sack, as it were. Like the stage limit, it's intractable problem that can only be solved with a different set of circumstances.

The mountain town—opposite of the multi-thousand person venue and the totem representing the world (x4). This is is small, quaint and abandoned. Isolated, the idea reinforced by the one-road-in-and-out. Maybe the represents my reality (or perception of it) verses my inner landscape (the stage and world management).

Pushing the snow: Again, a 'problem' that i am unprepared to confront. That someone tells me in the dream, 'yeah, you should have brought a snow plow, they pay really good money for plowing snow when it stacks up like this.', is almost a challenge. To make money, to help the community, to butter both sides of the bread.

I know how I felt: Unprepared for an opportunity but not giving up and letting it pass. I'll use whatever tool I can find to show that I can push through this problem. Claim this opportunity. That's what mules do, they push. They don't wait for convenience or comfort.

Field Service with Ng: Energy going to help someone else. Service of others, saving the world one persona at a time. The cat: another anachronistic addition. Cats are neither controllable nor standard operating equipment for the preaching work.

I never speak to anyone, I just acknowledge the cat and it's resistance to the leash, when the man approaches about the snow plow. In that moment is when I see Jeanie and Nois, an older couple who are generally friendly, but not very close or deep. They are peripheral friends at best. They acknowledge us but do not engage. And I do not engage them either. This mirrors real life. Though I have tried to get to know the man and find is good qualities, of which he has many. A cat doesn't naturally need to be walked on a leash, so responsible for something that doesn't quite fit the situation.

This is adapting.

Will Ferrell calling me into a meeting. Think: WF from Barbie movie (executive). Comically serious about his job. Tells me someone important wants to talk. I follow him into a 3 story brick 'projects' building. Leave cat and Ng outside. I am surprised such a high profile meeting is happening here in this dirty-snow little town on a sunny winter day.

The CEO being Victoria Beckham: beautiful and poised. no hesitation in what she wants and I want to please her. She is associated with branding, fashion, fame, visual identity. I am surprised that the 11th hour she is now asking me to make the graphics happen. I explain that I don't have time to reprint the globes, but that I might be able to cut vinyl and apply it. I am nervous to even offer this as I'm not sure how the vinyl's elasticity will marry to the globe substrate.

it doesn't occur to me in the dream that a woman who represents power asks me to rebrand my own art as hers and I have no hesitation. My people-pleasing is in full effect and I hope to hold nothing for myself if it means making her satisfied.

Is it the authority or the beauty that makes me respond? Or is it just my need to see others comfortable and content?

The hip thrusting in bed during an earthquake doesn't fit this scenario at all and almost feels like a secondary dream. IDK if this was related to sex or dance. The physical sensation: rhythm, I think is the more important takeaway than the location. The body itself becomes something that is moving the person rather than something the person is consciously controlling.

Almost everything in it involves large forces that have to be contained or managed—inflatable globes, smoke, snow, geography, organizational authority—and then at teh very end, my own body produces an uncontrollable force.

---

Takeaway: I am carrying enormous things, I'm not fully permitted to belong, I'm improvising ways to remain useful, and there is a tremendous amount of force moving through me that I don't entirely control.

It does trouble me I was so ready to give away my own agency to make someone else happy. Maybe finaly being aware of that is a good thing.

---

#dream

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08/17/26

For roughly 20 years, the closest I've come to actively practicing religion is crossing myself with holy water when I go into Catholic churches. But I’m fascinated by religion as a concept, even though I don’t believe in one personally, and I find it to be a particularly interesting and useful tool to employ in speculative fiction. The beliefs, rituals, symbolism, history, terminology, and traditions that come along with a religion can be very helpful in clearly establishing a culture within an invented setting, and giving that place a sense of history.

If you're looking for examples, the first one that always comes to my mind is Dune, where the beliefs of both the Fremen and the broader galaxy aren't just window-dressing setting details but are critical for the development of the plot. The Actual Star by Monica Byrne is another one where the religion is woven in, and it also uses a long timeview that explores how traditions and beliefs shift over thousands of years, which makes it a particularly fun read for folks with an interest in mythology. On the fantasy side, Ann Leckie's The Raven Tower and Kerstin Hall's Star Eater are two I've read in recent years that employ religion and mythology in a very interesting and effective way. In the horror realm, V. Castro's Goddess of Filth twists real-world religions into new speculative plot threads.

Creating a religion wholesale might sound like a very daunting task, and it can be if you let it be. But just like with creating your own language, you don't necessarily need to make a religion fully practice-able for it to come across as real on the page. Here's the steps I take when I'm creating a religion for one of my story worlds, as someone who has done a significant (what some might call excessive) amount of research into both real-world and fictional religions.

Step 1: Establish who or what adherents worship.

Every religion or spiritual system has something at its core that is the primary target of prayers, rituals, and other activities related to the religion. This can be literally anything, if you're inventing a religion of your own, but there are a few common categories among extant religions:

• Monotheistic - Have a single, central deity who is typically also seen as a creator figure. The Abrahamic religions (Judaism, Christianity, and Islam) are the most obvious example of this from Earth religions.
• Polytheistic - Have a set of deities, which often have their own internal hierarchy or regional affiliations, and are frequently assigned specific areas of dominion (e.g. the sea, the earth, death, rain/storms, etc.). Familiar examples of this include Hindu gods or Norse, Greek, and Egyptian mythologies.
• Animistic - Belief that spirits inhabit or govern aspects of the natural world, which can include landscape features, weather, celestial objects, specific locations, or living things like plants and animals. Many religions from Asia and Oceania are examples of this, including Ainu, some forms of Shinto, and Aboriginal Austraian and Pacific Island traditions. The beliefs of the Sami people of northern Europe also fit this category, as do many beliefs from across the Americas.
• Pantheistic - A single “god” that is amorphous and seen as synonymous with the universe, reality, or nature. Some Hindu and Taoist traditions can be seen as examples of this.
• Ancestor veneration - Real historical people are the target of prayers and ritual practices. These could be immediate ancestors who are remembered by living practitioners or distant, semi-mythologized figures. Examples of this can be found in Shinto and Japanese Buddhism, as well as many indigenous religions from across continents.
• Object veneration - You might also see this called fetishism or idolatry, and is when a physical object is the target of worship. Usually the object is seen as having supernatural powers or origin. Pure object-based religions on Earth are fairly rare, but some form of this can be seen in things like the icons of Greek Orthodoxy, the treatment of relics in Catholicism, or the shintai in Shinto.

...this is certainly not a comprehensive list, and you'll see variations or combinations of these practices, too, but that at least a place to start.

If you're going with a pantheon or animistic system, then it's also smart to establish roughly how many spirits or deities the religion has and whether those are seen as universal or regional, or a mix of both. In the ancient Greek pantheon, for example, there were some core gods like Zeus and Athena that had adherents just about everywhere it was practiced, but there were also many localized gods seen as the patrons of specific areas or cities.

Another thing to think about that can help to shape the other aspects of the religion is the distance believers see between themselves and the subject of their devotion. In other words, how much do the spirits interact with the physical world? Again, there a few levels of this in Earth religions:

• Deism – “God as clockmaker,” where the central deity created existence but doesn't involve itself in day-to-day affairs
• Distant deity reachable through intermediaries – The central deity (or deities) can't be directly accessed by humans, so humans instead ask for other figures to intercede on their behalf, often lesser deities, ancestors, or supernatural beings like spirits, angels, daemons, etc. It's also common for specific humans to be capable of more direct or higher-level interaction with the spiritual realm, like if some prayers can only be made by trained priests. Yoruba is a prime example of this, as are Christian concepts like praying to saints.
• Direct prayer to nontangible deities – A very common model in extant world religions, seen in most Protestant Catholic sects as well as Sikhism, Judaism, Islam, Hinduism, and many, many others. Individuals can directly make offerings or prayers to the target of worship.
• Deities or spirits are physically present on Earth – This is typical of animistic religions, where spirits are seen as being physically embodied by aspects of nature, but is also common in polytheistic traditions. Ancient Greek gods were thought to regularly come to Earth and interact with people, while Hindu deities regularly manifest on Earth.
• Spirit mediation/mediums/shamans – A variant of intercession, where trained individuals are able to interact directly with the spirits, deities, or ancestors. Examples of this can be found across Asia and the Americas, including the Sami noaidi, the Buryat and Mongolian böö, the Korean Mudang, the Vodou Houngan/Manbo, and the Candomblé Babalorixá/Iyalorixá.

....basically, you want to figure out if regular people can interact with the target of worship, who does it on their behalf if not, and how likely they think it is that supreme figure(s) will intercede (or even care).

Step 2: Choose and sketch out their holy texts.

Note that these don't have to be written texts, if it's an oral tradition, but that's a shorthand for the broader concept here: every religion has some kind of scriptures, liturgy, mythology, or other core set of words that are used in prayers and religious ceremonies. This text often includes stuff like:

• Creation or origin stories about the world, humanity, and/or the religion itself
• Explanation of the cosmology (e.g. any heavens, underworlds, spirit worlds, etc.)
• Afterlife structure and beliefs
• Legends or myths about the gods, ancestors, spirits, saints, prophets, culture heroes, etc.
• Apocalyptic narratives or end-times prophecies
• Geneaologies or hierarchies for ancestors, deity pantheons, or major figures like prophets, priests, etc.
• Doctrines outlining the core beliefs
• Rules or tales to establish the religion's moral compass, sins, virtues, and good vs. bad behavior
• Commandments or laws followers are expected to follow (forbidden behaviors, family/marriage rules, dietary restrictions, etc.) and the rewards or punishments for adhering to/breaking them
• Instructions for or descriptions of rituals, prayers, ceremonies, initiations, rites, festivals, offerings, etc. and any other strategies for interacting with supernatural beings
• Calendar for sacred days, important festivals, or other religious observances
• Descriptions of and rules related to sacred objects or locations
• Prayers, hymns, or incantations used during those things above
• Direct accounts that are attributed to gods, spirits, prophets, founders, or other figures related to the religion
• Descriptions of (and rules for) religious offices and practitioners

It's important to note here, you definitely don't need to include all of those things among an invented religion's texts. A lot of real religions don't include all of them, either. Look at this like a menu more than a recipe, and pick and choose the things that will be the most useful for your world and story.

As far as whether to actually write them or not, I would say that's a story-by-story question. If the religion's practices directly impact the day-to-day lives of the characters or are central to the plot, then it likely will be helpful to at least write their core tenets or commandments as a reference, even if those never get directly included in the story. But that doesn't mean you need to write out the religion's equivalent of a Bible. For most stories, just knowing the mythology's big-picture arc, major players, and core beliefs will let you build it into the fabric of the society. If you do plan to have characters quoting scripture or saying prayers on-page, you can write those on a per-need basis then compile them into your notes for future reference.

Step 3: Decide where, when, and how the religion is practiced.

A lot of these details are things that might be included in those religious texts from the last step, but they're also something you want to solidify independently because this is the physical manifestation of the religion that you'll actually be able to portray on the page. A lot of these things are going to flow organically out of the other things you've already decided about the religion. If it's an animistic belief system, for instance, then it's logical that their rituals would take place in nature, and would likely follow the rhythms of that landscape, aligning with things like weather patterns, the position of celestial bodies, or the lifecycles of local plants and animals.

Some questions you can ask yourself that can be helpful at this stage:

• Are there specific buildings where this religion is practiced? If so, what do they look like and where are they located within communities?
• Do certain members of the religion live in designated places? (e.g. a monastery for monks)
• Do individual members of the religion have altars or religious iconography in their homes?
• Do prayers or rituals need to happen in a specific place?
• How often do religious ceremonies take place?
• Are similar steps repeated in every ceremony, or are there different traditions for different occasions?
• How do people dress during religious ceremonies?

Again, you don't need to spell out every little detail, but you want to go deep enough that you have a sense for how belonging to this religion impacts the rhythm of your characters' daily life. It can also be useful material to mine for story beats or world details that can add depth to the story for readers.

Step 4: Identify the religion's symbols and sensory details.

Speaking of mining things for world depth, these are the details you can really make some hay with, as it were, more than the big-picture concepts. The symbols associated with a religion become a shorthand for those beliefs, and you can sprinkle them in selectively to quickly give readers information about characters or locations once you establish what those symbols represent.

Sensory details, meanwhile, are what really give the religion that lived-in feel. This includes sight details, like ritual attire, the architecture and decor of religious spaces, or iconography that believers would display or wear. Sound is also a common aspect of religious ritual: specific hymns, chants, or music that accompanies rituals, the use of instruments like bells or horns, or regular sonic rituals like a call to prayer are common examples.

And don't neglect smell and taste, either. As someone who grew up Catholic, smelling certain kinds of incense immediately transports me back to Christmas mass. Catholicism also hits the “taste” point with the Eucharist ritual, and other religions have similar practices. Integrating the typical food or aromas associated with the religion into the story adds another layer to the reader's immersion into the world.

Step 5: Place the religion within the broader cultural context.

No aspect of worldbuilding exists in a vacuum, and how the rest of society works around the religion you've built is key for how you'll present it in the story. The first thing to decide is how much influence the religion has in the society of the story's world. This is another place where you can see things on a spectrum:

• Governing - The story takes place in a theocracy where religious figures either are political leaders or have direct influence over them, and the religion's moral laws are also encoded into the legal system
• Dominant - The majority (or all) of the people in the story belong to the religion, and as a result it has a profound influence on culture and society, though it is not officially linked to the government
• In a melting pot - The religion is one of many that are practiced in the world, and is one of two or more that have a significant reach or influence
• Fringe - The religion is practiced by only a small portion of the population, and may be little-known or seen as a cult (whether or not that is fair)
• Persecuted - The dominant society actively opposes the religion by forbidding its practice, discriminating against its members, or attempting to eradicate it

...and, again, things won't necessarily fall along those cut-and-dry boundaries, but you can use that as a guide to figure out where the religion falls relative to the broader world you've built around it.

History is something to think about here, too. Is this religion ancient or more recent? Did it start from scratch or branch off from another faith? Did it originate in the place your story is set, or was it brought here by immigrants? All of these things can influence the way people engage with the religion (and characters who practice it).

That's really the bottom line when you're creating a mythology or religion for a fictional world, whatever the context. The most important parts of it are the things that directly impact the characters, because those are going to be what shape your story and give you points of tension and conflict to exploit. Those are the places you want to focus your time and energy when you're creating one for your stories.

See similar posts:

#Worldbuilding #WritingAdvice #Fiction #SciFi #Fantasy #Mythology

Our Father Who art in Heaven Hallowed be Thy name Thy Kingdom come Thy will be done on Earth as it is in Heaven Give us this day our daily Bread And forgive us our trespasses As we forgive those who trespass against us And lead us not into temptation But deliver us from evil

Amen

Jesus is Lord! Come Lord Jesus!

Come Lord Jesus! Christ is Lord!

The apiary be Scottish run to mute Late December this hugger And seeing simply rise What time in Hearst for Will Enough of oak And seeming simpler For five octet and lane And pasture by the law Economy forever- and nines to the Moon Giving ray to God And night shall let us be- the end of war.

Hormuz

By the light of time Seeing under siege At distance right To proper and in play Sights of angels Quadrants in relief The Earth of all And quarter ten Failing major men In accostment then The Japanese escape And play for speed Declaring solemn just And cannot trade a thing But getting older then With words upon his desk To remain the undefined Choruses be known- And rain and gold Until he sees the wake- of modifying truth And setting modern act The wishes we regret And falsifying news At June and wonder When will be a day Of leaving near to dusk The worded truth That people lay in chains At bitter Cobh And just because the Times- paid the world near To fight this course of there- the silent end of day And worth a Stalin To high regret When bitter snows recede And pipes to worth We caught up on renew The place of days To knighted men of terror For only you And psychs us to the core For all to be dismayed A harem and a lot The plan to rest; at east and Mott Every day this man For terror knows The peace of Israel awaits And standing early then No fights to end this war But bespoke and going home Best are we- A jury of the men In days near and free to time The fateful day of war Can be divided and suppressed And doing daylight forward Noted path and plan The edifice of man And calling near by shop In worry such as this,- the gratitude of London For this and year And leaving forward goals The dopamine direct Destroying the depraved Will never lead to shore And mercy forget you In this light of solemn view By man at hand A fateful post In gaining early message That Donald saw the truth By there and time The Sun as it were to find Lights to bear New York his only home And Justice hope To leave Iran at loss A pittance for esteem That terrorists recycled- all this cleric time And as afforded new America is not at war And might recede to ship A blaming art The failed three days But never gone to peace In plated news And ghosted men The Earth at in distress And Clement be No place of war Like in this ship Across and then Sending Sparrow home.

I get irritated easily, i cant help it. and i dont care enough to do so, but when it comes to walking into a room with a clear purpose, only for the thought to disappear somewhere between the doorway and the other side of the room. Does bother me more than my cat pissing on my bed. i had something to do, i know i did. i was not wandering around aimlessly like some unfortunate ghost with poor navigation skills. there was a reason i got up, presumably important enough for my brain to interrupt whatever i was doing. then i crossed the doorway. nothing, absolutely nothing. i stood there for a moment, staring at the room as if it had personally offended me. i tried to retrace my thoughts. i had been sitting there, then i thought about something, then i stood up then i walked here and that is where the evidence ends. so naturally, like all of you humans. i began walking back to where i had been, hoping the missing thought would simply be lying there waiting for me. spoiler, it wasnt. i returned to the exact position i had been sitting in, stared at the ceiling and somehow remembered three completely unrelated things instead. its irritating to know you’ve forgotten something without knowing what. my brain insists there was information somewhere. but wont return it to me. like an empty envelope that used to matter. my memory is perfectly capable of functioning. it simply chooses to do so when it would be most inconvenient. i got what i needed and walked back, already wondering how many times this has happened without me ever questioning it. Probably more than i’d like to admit.

And i forgot why i wrote this, i suppose that would be rather fitting.

Sincerely, Master of absentmindedness.

Van Voorbijgaande Aard – S/T

Er was Ver, Ver, Verveling Ver, Ver, Verdreven naar een plek Ver Ver Ver van Hier en daar aangekomen eens te lezen (mits ook u daar tijd voor over heeft)

Zo net wist ik niet wat ik met goed fatsoen nog kon doen voor deze snode wereld wentelend om poen en meer van dat soort vers verzonnen goed inmiddels weet ik beter is mijn kennis opgewaardeerd Ik ga mij voor die duiten dienstbaar opstellen zinnige verhalen over centen vertellen de ontvangen ingehuurden met zenders en al er op afstellen fijn tunen en malen van de boodschap zetelend op de kieslijst voor het verbale product geworteld in dustrie om meer waard te zijn dan alleen maar mijn lijf met alle lasten daarin, op en aan die ik moet dragen, ver, naar her en der en hier en daar en weer terug van winkel naar kerk van huis naar werk parkeren in de kelders behorend bij de kantoren des heren Ik ga voor de algehele balans tussen rijk en arm veel en weinig dom en slim veel telen, als ook kool rapen en rabarberstelen dan alsof dit alle maal nog niet voldoet lof tuigen ontspruiten, het wassen uit kluiten, ten slotte iemand anders bonen doppen zodat zij er uit kunnen kijken en indien nodig uitwijken voor opdoemend gevaar aan de kust, de einder en op de klippen bij beide polen en in het centrum, rondom de evenaar want als die ander door ongedopte bonen niet langer zich zelf, op regel, voor de vorm en binnen de tijd, systematisch kan belonen zou ik niet kunnen verteren en of verkroppen want anders gaat het ijverige, netwerkende, driftige bestaan ver voor het weer lente is al naar de knoppen en uiteindelijk ga ik al dit aan u nijvere dienders geleverde werk ergens goed verdekt op een vrij toegankelijke plek een locatie immer onbestemd en vanzelfsprekend onbemind waar niemand aan kan tippen of zo komen versstoppen