Amboseli National Park, Kenya

📸 Julius Dadalti

i also think that the way people on here talk about protests is sometimes needlessly fearmongering like it's always good to have your wits about you and be aware of dangers from cops or counterprotesters but also i feel like a lot of people on here have become convinced that by going to a large peaceful protest march they are taking their lives in their hands which is just simply not the case (the point of those events is optics and showing that a lot of people are willing to show up for the cause) and i'm worried it might be deterring people from actually showing up to protests

part 2 OC

wish i could go back to eden and give eve a vibrator

what hozier song is this

Aminah Dantzler

INTERVIEW WITH THE VAMPIRE 1.02 "...After the Phantoms of Your Former Self"

Idk if this is too obvious but I believe that Anthy letting her hair be loose at night time in the later episodes may be because she is getting closer to utena (they even sleep facing eachother and hold hands) and is getting tired of being the rose bride.

In the previous episodes, her being the rose bride is almost all we knew about her and honestly it's because it's the only thing she shows about herself, as she believes to be like a doll without a heart, but after she is getting closer and closer to utena, spending more and more time with her and almost feeling like a normal teenager (having crushes and going out and talking about love) she is hating more her "job" as the rose bride, because she thinks that's all she is and even though she has had fun with Utena, she think it's doomed to come to an end, both because she knows what happens with the princes she loves and because she doesn't have any hope of her own freedom.

And I think it's very interesting to see that her hair being loose means that she is less ready to be an rose bride next day and her facade is falling, as when she and utena confesses their feelings and suffering to eachother in the roof

Important addition that this would only be for drugs developed with taxpayer money (which it looks like is pretty much anything since 2010 at least) - that’s why the government can do this. The American taxpayer paid for it so they should get what they paid for basically.

Any drug developed without taxpayer money (which is like 0 it turns out because the pharma companies are thieving bastards) would not be subject to this reg.

This is fixing the fact that at the moment the drug companies take less of the financial risk of drug development because the govt is footing a lot of the bill (and therefore taking on all that risk), but then the drug companies keep all the profit by setting absurd prices once the drug is on the market. That’s your money that funded that! You should get the benefits!

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how?  How does he know it?”  Interrogate your witnesses.  Cross-examine them.  Make them explain their reasoning.  It pays dividends.

All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.

[Link to the article for screen-readers]

[ID: The full text of an article. It reads:

"Writing Advice": by Charles 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…”

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.

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 was always leaned on his locker when he’d go to open it. She’d 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 ass. 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.

Typically, 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 role 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 accident…”

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 remember 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.”

One of the most-common mistakes that beginning writers make is leaving their characters alone.

For example:

“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“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. End ID]

Lestat in Like Angels Put in Hell by God

Ok but the correct answer is:

Fuck

Fuck

Fuck

Three way kill.

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

Thank you so much for this!

A blogger from China built a miniature cat house inside his wife's pet store.

The animals have their own elevator, mini-TV, forge, bedroom and even a full bathroom with running water.

i think we as a society need to start accepting that fictional love stories need to be a bit toxic for us to go insane over them… like, sometimes you kinda need the two parties to be obsessed with each other and fucked up and willing to bring each other back from the dead instead of moving on and go to therapy i’m sorry😔