theteachingscribe

I'm a writer, full-time teacher, quote collector, film and art enthusiast. This blog was created to showcase my favorite tokens of life; the little things that make you laugh harder, think deeper, gaze longer and hold closer to what you have by a smaller degree everyday.

“When I first got this role I just cried like a baby because I was like, “Wow, next Halloween, I’m gonna open the door and there’s gonna be a little kid dressed as the Falcon.” That’s the thing that always gets me. I feel like everybody deserves that. I feel like there should be a Latino superhero. Scarlett does great representation for all the other girls, but there should be a Wonder Woman movie. I don’t care if they make 20 bucks, if there’s a movie you’re gonna lose money on, make it Wonder Woman. You know what I mean, ’cause little girls deserve that.”

—   Anthony Mackie (via rexilla)

(via dcu)

thedailysuperhero:

New imagery for ‘X-Men Days of Future Past’ via http://www.25moments.com/

How ‘Captain America: The Winter Soldier’ Succeeds Where ‘Man of Steel’ Failed

dcu:

A great opinion for those who disliked the ending of Man of Steel.

Much respect to Captain America for staying true to his word.

“What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.”

—   Andy Warhol, The Philosophy of Andy Warhol: From A to B and Back Again

geekasso:

Insane Iron Man mash up art.

In a metallic world, everything looks cooler…

Art by: Boss Logic

(via geek-art)

Artsy Houston Engagement Shoot by Kristen Curette Photography

Our engagement photo shoot got picked up by another wedding website. We’re blowing up!

xmenmovies:

The wait is over! Watch the new #XMen: Days of Future Past trailer now.

salemexplainsitall:

It was 30 years ago today that the Breakfast Club met for detention 

“Poetry is an art of beginnings and ends. You want middles, read novels.”

—   Dean Young, The Art of Recklessness: Poetry as Assertive Force and Contradiction (via aestheticintrovert)

(Source: afallowfield, via loqui)

Marvel Now! Baby Variants by Skottie Young

(Source: viperpilot, via comicartappreciation)

comicartappreciation:

Elektra #1 cover by Mike Del Mundo

The prequel….very reminiscent of Kill Bill.

comicartappreciation:

Elektra #1 cover by Mike Del Mundo

The prequel….very reminiscent of Kill Bill.

comicartappreciation:

Elektra #2 cover by Mike Del Mundo

This is SO SICK!

comicartappreciation:

Elektra #2 cover by Mike Del Mundo

This is SO SICK!

skottieyoung:

My Usagi Yojimbo for the Sakai project

skottieyoung:

My Usagi Yojimbo for the Sakai project

(via comicartappreciation)

“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.”

Versus:

“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.

—   

(via 1000wordseveryday)

I need to go back to school.

(via cordeliagablewrites)inspiration

(via thescienceofobsession)

My learning is ofwficially insignificant. My writing minor and all those classes do not make me as qualified as reading this has.

(via kikukachan)

There is some great advice here, but it doesn’t apply to a story as a whole. You may notice the style Chuck Palahniuk recommends makes everything loooonger. The type of narrative writing Palahniuk describes is most effective only if used for main characters during important scenes. If you use it all the time for everything, the reader will not be able to pluck out the key narrative of the story, and the reader will get frustrated by the time spent on minor characters and minor events. Also: make sure not to mix the two narrative styles. Don’t start a paragraph with Larry knew he was a dead man and then use Palahniuk’s style to finish the paragraph. It’s extremely natural to write first drafts that way, but it will strike the reader as needless repetition, so go back during editing and delete the style (straight narrative or Chuck) which does not best serve the scene. (via stewardish)

(Source: wingedbeastie, via stewardish)

jillthompson:

brzy40:

Fred, Wilma, Betty and Barney

Whoa!

jillthompson:

brzy40:

Fred, Wilma, Betty and Barney

Whoa!

(via arcaneimages)