You guys, due to a lengthy to copyright infringement case, we’ve had to change our name to Cod-Gill Connecticut.
Please make arrangements accordingly.
OH SHIT!
COME TO THIS!
First track off our new EP!
Buy the whole thing on May 21st.
Six Tips on Writing from John Steinbeck
- Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
- Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
- Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
- If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
- Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
- If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
(Source: nevver)
Fuck. Yes.
Super yes. Big fucking yes. I think this all the time. Fuck the intellectual property that is forced upon me, that I can’t force myself back upon.
I will always reblog this, because it is always true.
(Source: nevver)
This is what ‘growing up’ looks like.
(Source: heyoscarwilde)
Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor.
Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well.
(via)
Big Mama Teresa’s House
(Source: myponytales)
We should’ve all just thrown in the towel after this ad was printed.
(Source: imremembering)
