did U GUYS KNOW, that the way stores get the balloons off of the ceiling is with ANOTHER balloon, w tape on the top??? and they just dont cut the string so it’s like super long and u gotta aim it right n reel it in. i just found that out today when i DID IT and it’s been the best working day of my life i had a blast blowing up balloons and fetching some off the ceiling. i had so much power? and NO ONE ELSE in my department likes that job so now it’s MY job when need be
refseek.com
www.worldcat.org/
link.springer.com
http://bioline.org.br/
repec.org
science.gov
pdfdrive.com
Are fedoras really that bad?
YES YES THEY ARE
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures–which permeate Western media–have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general–arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
Keep reading
OHHHHH. MY. F U C K I N G. GOD.
I bet octopuses think bones are horrific. I bet all their cosmic horror stories involve rigid-limbs and hinged joints.
Tell me a soft memory
Apparently my director went to see a production of West Side Story a few years ago, and the guy playing Chino forgot his gun before coming out for his final scene. Once it got to the big scene where he is supposed to shoot Tony, he screeched “Poison Boots” and kicked the actor playing Tony until he went down. The girl playing Maria then had to jerk the shoe off of Chino’s foot, and had to do the gunshot scene asking “How many kicks Chino? How many kicks, and one kick left for me”.
"Why can't the freaks on AO3 just go and make a site for all the gross stuff and leave AO3 alone."
Because AO3 is that site. Because AO3 was that site long before you decided AO3 was better than the sites you bullied us off of before, and I can promise you if someone somehow comes up with a fanfic site you like better specifically for the 'gross stuff' you'll try to bully us off that too so you can benefit from it.
AO3's specific core purpose is to preserve fanfiction, yes, but it was also instigated as a host site for the fanfiction that kept getting yeeted off other platforms like Wattpad. Its designed to preserve all fanfiction, not just the fanfiction you, personally, think is 'allowed' to be written.
AO3 is the site for all the gross stuff the freaks make. We've been there just as long as you. We've been funding it just as long as you have. AO3 has specifically said you have a place here. The timeline was literally:
Wattpad/FF.net/LiveJournal purge fanfics > AO3 is born > The people who's fics got purged moved over to AO3 > AO3 gains popularity as the best functioning site > The people who pushed for the fics to be purged off Wattpad move to AO3 > The same people try to push for AO3 to purge fics.
AO3's source coding is open-access. You go make a polished, strict, rigid site where nothing 'icky' is allowed. You go make a site where you can control what is hosted. We already have our space.
Cats be like:
2,121,566 people are not Amanda and counting!
We’ll find you Amanda.