Do you ever wonder about how an author would describe you in a novel? Not only your appearance but the way you talk and laugh and hold yourself and all the expressions on your face?
Isn’t it weird that in 20 years you are going to be a completely different person then you are right now. A different house, different friends hopefully faster wifi.
friends are constantly coming to me for advice about their relationships and love lives and i’m just
Apparently prints of the Swedish book covers can be purchased here.
wow they are beautiful!
holy shit i love this especially the gof one the trio looks so tiny and sassy and great!!!
The first time I saw her..
Everything in my head went quiet.
All the ticks, all the constantly refreshing images just disappeared.
When you have Obsessive Compulsive Disorder, you don’t really get quiet moments.
Even in bed, I’m thinking:
Did I lock the doors? Yes.
Did I wash my hands? Yes.
Did I lock the doors? Yes.
Did I wash my hands? Yes.
But when I saw her, the only thing I could think about was the hairpin curve of her lips..
Or the eyelash on her cheek—
the eyelash on her cheek—
the eyelash on her cheek.
I knew I had to talk to her.
I asked her out six times in thirty seconds.
She said yes after the third one, but none of them felt right, so I had to keep going.
On our first date, I spent more time organizing my meal by color than I did eating it, or talking to her..
But she loved it.
She loved that I had to kiss her goodbye sixteen times or twenty-four times at different times of the day.
She loved that it took me forever to walk home because there are lots of cracks on our sidewalk.
When we moved in together, she said she felt safe, like no one would ever rob us because I definitely lock the door eighteen times.
I’d always watch her mouth when she talked—
when she talked—
when she talked—
when she talked;
when she said she loved me, her mouth would curl up at the edges.
At night, she’d lay in bed and watch me turn all the lights off.. And on, and off, and on, and off, and on, and off, and on, and off, and on, and off.
She’d close her eyes and imagine that the days and nights were passing in front of her.
But then.. She said I was taking up too much of her time.
That I couldn’t kiss her goodbye so much because I was making her late for work..
When she said she loved me, her mouth was a straight line..
When I stopped in front of a crack in the sidewalk, she just kept walking..
And last week she started sleeping at her mother’s place.
She told me that she shouldn’t have let me get so attached to her; that this whole thing was a mistake, but..
How can it be a mistake that I don’t have to wash my hands after I touch her?
Love is not a mistake, and it’s killing me that she can run away from this and I just can’t.
I can’t go out and find someone new because I always think of her.
Usually, when I obsess over things, I see germs sneaking into my skin.
I see myself crushed my an endless succession of cars..
And she was the first beautiful thing I ever got stuck on.
I want to wake up every morning thinking about the way she holds her steering wheel..
How she turns shower knobs like she opening a safe.
How she blows out candles—
blows out candles—
blows out candles—
blows out candles—
Now, I just think about who else is kissing her.
I can’t breathe because he only kisses her once—he doesn’t care if it’s perfect!
I want her back so bad..
I leave the door unlocked.
I leave the lights on.
|—||Neil Hilborn, “OCD” (via pigmenting)|
I GET KNOCKED DOWN (but i get up again)
21 songs for when life gives you lemons and you don’t make lemonade because fuck that, you’ve worked hard enough this week, this time it’s life’s turn to make their own goddamn lemonade, and anyway, you’re drinking something a little bit stronger tonight.
just turn up the volume and sing along whether or not you know the words, ‘cause that’s life, and it moves pretty fast: if you don’t stop and look around once and a while, you might miss it.
i. broke again wallpaper. featuring k. flay
ii. kick ass mika
iii. pork and beans weezer
iv. do what you want ok go
v. just another day erin mccarley
vi. safe and sound capital cities
vii. time of my life patrick wolf
viii. there’s always someone cooler than you ben folds
ix. the best day atmosphere
x. take what you take lily allen
xi. i love it (i don’t care) icona pop
xii. tubthumping (i get knocked down) chumbawamba
xiii. santeria sublime
xiv. force field smash mouth
xv. feel good inc. gorillaz
xvi. good life kanye west featuring t-pain
xvii. strong as an oak watsky
xviii. at least i’m not as sad (as i used to be) fun.
xix. save rock and roll fall out boy featuring elton john
xx. free coffee town ben folds
xxi. float on modest mouse
(☂) 8 favourite cultural references
Defying Gravity (All Men A Cappella) - Washington University Stereotypes (Download)
You are never alone with a good book. This charming campaign is from Grey Tel Aviv. Via Taxi
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.
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.
“Brenda knew she’d never make the deadline. 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 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 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.”
“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.
If I was famous I would follow a bunch of my fans on twitter and reply to their random tweets or send them a stupid selfie if they were having a bad day man I’d be the best celebrity ever people make me famous
“There is a place. Like no place on Earth. A land full of wonder, mystery, and danger!”
The Last Bookstore
Los Angeles, California