shoot a cop

  • cops: destroy homes
  • cops: destroy stores
  • cops: destroy peoples livelihoods
  • cops: rob people and stores
  • cops: protect people trying to poison the water of natives
  • cops: shoot at people protecting their water source
  • cops: murder hundreds of people every year
  • protestors: *set limo on fire*
  • liberals: #bluelivesmatter

Is it just me or for someone who so vehemently against psychology, Neil Josten is fucking great at it. I mean his methods are about as ethical as you would expect from a guy who grew up being told that it’s smarter to shoot a cop than talk to one but you deny he got shit done.

Beyoncé’s 'Lemonade' album but a sip of her evolving feminist story

Originally posted by daqueenbey

Originally posted by apup

Originally posted by alludeu

Long live the Queen.

When pop megastar Beyoncé releases new music, it’s a game-changing moment. But no one was prepared for the narrative film album that was Lemonade, coming on the heels of the surprise release of Formation and a defiant Black Panther-themed performance in the Super Bowl halftime show.

Beyoncé championed black Southern womanhood in ways that none of her contemporaries had done. The backlash was swift. Law enforcement blasted the Formation video as anti-police, with its references to police-involved shootings and a sinking cop car in post-Hurricane Katrina New Orleans. Police officers created a “Boycott Beyoncé” movement and threatened to not work security for concerts on her world tour.

It was all for naught.

Read more. 

Story vs. Plot

Story is not the same as plot and vice versa. So claims Steve Alcorn in the writing e-course I am taking from my local library (Obvious Alert: libraries are awesome). 

Alcorn breaks it down like this: 

“Story is emotional: when your character feels sad, that’s part of the story. 

Plot is physical: when your character cries, that’s part of the plot." 

Put another way: 

"Story: the emotional journey of the protagonist.

Plot: the physical journey the protagonist makes.”

He gives an example of an idea broken into story (purely the emotions: a man feels guilty, takes to drink, finds resolution) and then plot (the action: man hurts someone, quits job, gets in fight). He weaves them together to create a more powerful synopsis. (A cop shoots an innocent bystander and quits his job out of guilt. He takes to drink and takes up investigative work to pay the bills. In the midst, he is forced to fight for his life and realizes how much of it he’s wasted in a bottle.) 

Using this distinction can point out flaws: when I broke apart my current WIP like this, I discovered I lacked story (especially the oh-so-important resolution part of the story). It also makes it easier to pick interesting plot points without feeling like I’m selling out the content. When the story is the backbone, it gives flexibility to shirk expectations and take the plot in unexpected directions. The story is the same after all, even if the events have changed. 

This is also a great way to frame pacing. Alcorn says: 

“Plot is action, so if things are dragging, simply add more of it. But if things are moving too fast, add more story to slow them down. They work together to keep your long form on pace.”

Every work of fiction needs both. Story clarifies plot, adds relevance to action while action adds context to emotion and reaction. Both are important and can never totally be separated.But the contrast works for me as a writer. What about you?

I put “aaron burr sir” through google translate. First to Icelandic then Icelandic to English then English to Japanese and finally Japanese to English and this is the final result

[BURR]  Much talk

 [HAMILTON] what?

[BURR]  And more laughing

[HAMILTON] Hectare

[BURR] They do not let know what you are against, or you look like

[HAMILTON] You can not be serious

[BURR] Do you want to get ahead?


 [BURR] Dead off the wind up running their mouth fool

[LAURENS] Yo-yo yo-yo yo-yo!
What time is it?


 [BURR] … As I said …

[LAURENS] show time! show time! Yo!
I John Lawrence in one place!
Two of O pint “Sam Adams, I’m working,” Well, to 3!
These redcoats do not want to do it with me!
Until I am free, I will shoot these cops Chick pop cuz!

[LAFAYETTE] OUI OUI, month Ami, JE m'appelle Lafayette!
Lancelot revolutionary set!
I said, came from far away, “the tonight!”
Which is the best of that tells the king “dregs of the TOI!”?
And of C'est Moi!

[MULLIGAN] brraaah Brrrah! I Hercules Mulligan
Among them, the Lovin ‘it, yes I mother heard Iyya “come again? ”

Of course, lock the daughter and the horse of ya
It is difficult to have four sets to fuck corset …


[LAURENS] No more sex, pour me a son of another brewing!
So, let’s raise the more of a couple …
To the revolution!

Well, not the genius of Princeton University If you have it!

[MULLIGAN] Aaron Burr!

[LAURENS] Give us a poem in, drop some knowledge!

[BURR] Good luck with it, you’re takin 'care
You spit. I pause ’. We will be where to display ending


[LAURENS] Bali, revolution is imminent. Are you sure you want to stall the what?

[HAMILTON] If you are standing for what, Bali, I wonder if you fall for the sake of what?

Who are you?
Who are you?
Who are you?

[LAURENS/LAFAYETTE/MULLIGAN] Oh, Who is this child? What’s he doing?