"the raven" only its about macklemore. thanks for following my blog

once inside a thrift shop dreary, while i browsed there, weak and weary,

over many a quaint and curious greatcoat of forgotten bore—

while I nodded, puissance sapping, suddenly there came a yapping,

as of some one whitely rapping, rapping at my bargain store—

“‘tis some visitor,” i muttered, “rapping at my bargain store—

only this and macklemore.”

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Source: natellite

I had to write a paper last week for my social problems class regarding the struggle an associated with trying to live on minimum wage. I ended up writing a paper over the idea that the Free Market is entirely incompatible with the American Dream, and I felt like a hippy.


Last night I had the worst OCD flare-up I’ve had in a really long time. Suddenly I was hyper-aware of the patterns and geometry of the physical world around me, especially the lines. So many lines. The crisscross pattern of the couch fabric, the horizontal blinds, the vertical lines on my roommate’s Whataburger cup, standing lamps, a blanket, my bedspread…

Everything has lines on it.


Everything seems a little bit less happy when you’re closing at a coffee shop on a school night.


She fights everything my parents say. She disrespects them in ways I never would have considered.

And yet my rebellious streak runs deeper than hers. I don’t fight my parents, and I don’t openly rebel. But I can feel this strange longing to leave everything, a discontentment for the current state on everything around me. This world is broken, this country is broken, I’m broken, and I don’t know what to do.

I’m officially aligning myself with Christian Anarchism. I know most of you won’t really care, but it’s a big deal for me after pushing the line between curiosity and agreement for so long. Radical nonviolence and love is representative of Christ’s commandments, and the government does not encourage that. If it endorses war, it’s wrong. If it encourages poverty and suffering, it’s wrong. The message is simple, really: I have to make sure to do it right, since the government wont.



Mega Man X piece for this year’s Fangamer X Attract Mode show in Seattle during PAX. 24 x 36, 4 color screen prints.

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Source: idrawnintendo

This was the first time I tried to pull a shot. It was pretty bad.


This weekend, I attended the meeting of the Board of Higher Education and Campus Ministry (BHECM) for the Texas Annual Conference of the Methodist Church. I learned so much, and even though it was 20 hours of sitting in a room talking about hard subjects, I’m sad I won’t be going again next year.


Man, I’m so tired that every time I close my eyes I start channeling a black DJ. You know, the kind that has that aggressive yet subtly sensual vocal grit, speaking in slight vernacular and calling himself “MC Love” or something like that.


"Writing Advice: by Chuck Palahniuk

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.

For example:
“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.”

For example:
“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.


- This is good advice, for sure, and it will help eliminate redundant word-choice and boring presentation, but I get the feeling that writing like this exclusively, with statements of sensory fact and no internal ideas, will cause any lengthy piece of writing to read like a Faulkner novel. There are definitely times when simple, straightforward statements of thought are necessary; not everything is sensory.

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Source: redactedbeastie