Credit: @unfinstory

This was George. He was a 9 year old Jack Russell who lived in the small town of Manaia, New Zealand. On April 29, 2007 he jumped into a losing fight with two Pit Bulls to protect two young children. According to witnesses he fought as hard as he could, but he never stood a chance and was severely mauled as the children were pulled to safety. George died from his wounds that afternoon at the vet.

The Social Network (2010) dir. David Fincher

A masterpiece.

Pan’s Labyrinth (2006) dir. Guillermo del Toro

I’m not really sure how script-writing works. Do writers leave certain reactions from characters out of the script in order to maintain mystery? Like on the script we don’t get to see much of Bellamy’s feelings/thoughts while walking towards Clarke since it’s mostly in her POV, but from Bob’s acting we can tell he’s really emotional. For scenes like that, when certain feelings aren’t yet canon, do writers purposely leave out any potential hints to them and tell the actors how to act it out?

Well, I’m not a script writer either, but I’ve been around a lot of actors, and I’ve studied it a little bit. The thing about plays or tv or movies? They’re a collaborative art.

As a novelist, I write the whole thing and then the reader finishes the story in their brain.

With a screen play. The writer writes the  basic scaffolding, the dialogue and the stage directions, then the director figures out the direction to go, then the actor adds in their humanity and artistry, the costumers and set designers create the world the characters go through, the cinematographer captures the best images to tell the story, the editor cuts it and puts it together to sculpt the story, the composer adds the music to give emotion to it all,

So. what you see is all those people working together to tell the story. Each artist puts their touch to create this larger world, and ALL of them contribute to the thoughts and feelings you have when you watch.

We see the actors faces and hear the writer’s words, but it all goes into it. If there’s something that they want the actors to act towards, I’m sure the show runner or director will talk to them about it. But there’s been a lot of emotion that we’ve seen on screen already, and the actors are building on all those character choices they’ve already made. For all we know, Bob’s already gotten the direction that Bellamy’s in love with Clarke. It didn’t have to be in that scene. It could have been another, or not in the stage directions at all, but spoken to him by JR or another director. The scripts aren’t for us at all. They are behind the scenes.

You don’t fear change. You fear the unknown. If you knew the future would be great, you’d welcome the change to get there. Well the future IS great. Proceed

Joe Viatale

The Subtle Art of Not Giving a F*ck 👌🏻 a must read.

“The more you desperately want to be rich, the more poor and unworthy you feel, regardless of how much money you make. The more you desperately want to be sexy or desired, the uglier you come to see yourself, regardless of your actual appearance. The more you desperately want to be happy and loved, the lonelier and more afraid you become, regardless of those who surround you. The more you want to be spiritually enlightened, the more self-centered and shallow you become in trying to get there. You will never be happy if you continue to search for what happiness consists of. You will never live if you are looking for the meaning of life”. – an excerpt from Mark Manson’s book, “The Subtle Art of Not Giving a F*ck”. I’m only 10 pages in and my mood has improved significantly. 👌🏼

What's your best example of correlation not equaling causation?

“Lobbying is about foresight. About anticipating your opponent’s moves and devising counter measures. The winner plots one step ahead of the opposition. And plays her trump card just after they play theirs. It’s about making sure you surprise them. And they don’t surprise you.”

Miss Sloane (2016) dir. John Madden

Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.