I just realized that cards against humanity is basically a card game version of scenes from a hat

remind me to never become a celebrity because I will far too easily confuse parasocial affection for the real thing, having never experienced the real thing, and it will fuck me up

Anonymous said: Hi I think you're a v cool person and wish I could be there for you in more than an anon message but distance and my own emotional stability prevent it. I wish you the best of luck cause your art and your perspective can and will mean something to the world. In the mean time, I really love your film posts, even when they go over my head. I just never got around to responding to the ask meme.

thanks! thanks. don’t worry about the ask meme shit, I was just tired. I am just tired. and I don’t mean “sleep-deprived”, I mean fed up. but outside validation has nothing to do with self-worth, I’m told (usually by people who have plenty of outside validation, though, so I don’t know how much stock I should put in that). I have problems with how silent my friends are being when dealing with someone who’s actually in a bad place—it feels eerily reminiscent of the Great Follower Exodus of 2012—but it’s “understandable” in a way

I dunno. I’m in a weird space. lots of brainshit. but rest assured I don’t blame you for anything, whoever you are. thank you for the kind words and I hope yr life is great


plus, the comic he linked to was fully pornographic. a gross human being.


plus, the comic he linked to was fully pornographic. a gross human being.

(via hanukkahjamboree)



so yknow how on youtube to mp3 it gives you a link in the box when you open the page


i was wondering what that was so i decided to click convert and see


and this is what it is


what the fUCK IS THIS


People are stumbling on old memes for the first time like they’re old forgotten relics and suddenly I feel like Highlander

it’s still absurd just how LONG old memes are

(via tramampoline)

also: fuckin’ Tom Cruise
not his best role (have you seen Collateral) but it’s baffling how someone that out of touch with reality can create characters as human as he does

I forgot to talk about this at the time but I was pleasantly surprised by Edge of Tomorrow. like it’s not a film with a lot of plot but not in a Michael Bay way, it just means it’s mostly character-driven, which works for a movie with the premise “sci-fi Groundhog Day”. they made a lot of choices that made the audience go “huh, a lesser film would have done this wrong” and any film that can do that has achieved something.

this summer has been the worst thing
most disappointing 48 hour film project, my best friend stringing me along about making a film until I asked them point blank about it and it was too late, people I trusted turning out to be transphobes, another film falling apart because no one will give me a straight fucking answer and apparently not one actor is interested in making a film, there’s more but I’m too pissed off to continue,

I didn’t go to the psych appointment today because I ended up sleeping through it and now I don’t want to go downstairs because my grandmother will be angry and I’ll have to sit through another round of “I don’t like arguing” arguments and I can’t handle her bullshit anymore anyways
but I’m really hungry and I haven’t eaten in 14 hours and there’s nothing to eat in my room

This is an excellent writing advice from Chuck Palahniuk. This was first seen on tumblr. Unfortunately, when I clicked on the link, it no longer existed.

But, I still think it’s worth sharing.

writingadvice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not
use “thought” verbs. These include: Thinks, Knows, Understands,
Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred
others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d
had to bum a ride or pay for a cab and got home to find Monica faking
sleep, faking because she never slept that quiet, those mornings, she’d
only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present
the details that allow the reader to know them. Instead of a character
wanting something, you must now describe the thing so that the reader
wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have
to say: “Between classes, Gwen had always leaned on his locker when he’d
go to open it. She’s roll her eyes and shove off with one foot,
leaving a black-heel mark on the painted metal, but she also left the
smell of her perfume. The combination lock would still be warm from her
butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

writers use these “thought” verbs at the beginning of a paragraph (In
this form, you can call them “Thesis Statements” and I’ll rail against
those, later). In a way, they state the intention of the paragraph. And
what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. Traffic
was backed up from the bridge, past the first eight or nine exits. Her
cell phone battery was dead. At home, the dogs would need to go out, or
there would be a mess to clean up. Plus, she’d promised to water the
plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your
story will always be stronger if you just show the physical actions
and details of your characters and allow your reader to do the thinking
and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example:
“During roll call,
in the breath after the teacher said Tom’s name, in that moment before
he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just
as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing,
you may be alone. Reading, your audience may be alone. But your
character should spend very, very little time alone. Because a solitary
character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come
by at noon, but Mark’s watch said it was already 11:57. You could see
all the way down the road, as far as the Mall, and not see a bus. No
doubt, the driver was parked at the turn-around, the far end of the
line, taking a nap. The driver was kicked back, asleep, and Mark was
going to be late. Or worse, the driver was drinking, and he’d pull up
drunk and charge Mark seventy-five cents for death in a fiery traffic

A character alone must lapse into fantasy or memory, but even then
you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and
words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”


“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details
of what a character has or is, in actions or gestures. At its most
basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters,
you’ll hate the lazy writer who settles for: “Jim sat beside the
telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.


For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.

written by Thanks Hiraku! (via wingedbeastie)

(Source: redactedbeastie, via teejaypomegranate)

and i poured my heart out/it evaporated, see?