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(via Alien And Humans Working With Each Other At Area 51 👽🛸😱🖖🦑👽)
Alien Greys and humans did work side by side for sure according to a veteran employee of Area 51 who worked there from 1966 to 1979. That's a long time as a mechanical engineer. He worked with an Alien Grey called J-Rod (nickname) and they communicated through telepathy. This guy is sincere, he's believable and is credible. This video even though it's brief, it's pact with amazing information. 👽🦑🖖😱🛸🗿🌚🌛🛸😱🦑👽
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Ancient Aliens: an Elemental Approach
Ancient Aliens: an Elemental Approach
DATELINE: Return of Bob Lazar
“Element 115” was once a fantasy of UFO metal worker Bob Lazar, but now it has come true like a Cinderella story.
Giorgio sort of falls by the wayside for this show, and more attention is given to Nick Pope and David Childress as commentators. However, the latest addition to the expert gang is some producer of a Bob Lazar documentary. They clean this guy up, but he…
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Ancient Aliens 13.6 Return to the Start
Ancient Aliens 13.6 Return to the Start
DATELINE: Round & Round We Go!
In the thirteenth fake cycle season, Ancient Aliens seems to have come full circle. Have we not already seen an episode on Area 52? Have we actually seen many episodes the secret installation?
Oh, wait, you are one step ahead of us. Area 52 is ahead of the game. Area 51 is so passe, apparently, as if it really was anything but a show horse to throw us off.
We…
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some revision stream of consciousness
I've got something I've written for myself and since I already wrote it for myself I'm wondering if it might be useful to show the thought process of back engineering your own story a little bit. I do occasionally frequently just talk to myself and write out loud, so to speak, about my own work when I feel like I'm having problems. I'm not sure if it will be useful or boring or just a waste of time but I thought I would try because it is really the exact same stuff as that "Do You Have a Plot?" by Nathan Bransford I keep referencing and posting and I'm hoping that this might illustrate it a bit if you haven't done it before and show a bit how it can be used subsequent to starting writing.
Context: I'm having trouble with a scene where my main character, James, is trying to ask his superior at his work, Dink, out on a date. A lot of what I'm trying to show about him and how he thinks isn't flowing very well and even him thinking about asking her feels very muddy at the moment. Their interaction feels very flat and poor.
What I wrote for myself:
So what are you trying to do here? We're still going with the family theme. This is the first bad stab at James making his own. We want James to be inelegant, not us to be inelegant about it. And I think I just am inelegant at the moment. The sum up for this scene is James fails to get a date but that is the answer to the question, not the question itself. Is part of the problem that we don't have a good question? What we need is character, purpose, premise, complication. Character = James. Purpose = wants a date. Premise = James tries to get a date. Which provokes the question = will James get a date? The answer we know is NO. James fails to get a date. BUT what gives us tension about it? What complicates matters so we fear for his failure before it happens? Well... what have you got happening? I've got Dink being playful = Dink doesn't take James seriously. I've got Dink taking a phone call = Dink isn't paying attention to him really. I've got James flumoxing the pick up = James doesn't know how to ask. I've got James not fighting for her attention = James is afraid to ask. I think Dink's opposition can just be = Dink doesn't take James seriously. Not paying attention is just part of that. So that's character versus Character. Hmmm :/. I think James opposition can boil down to = James is too nervous to come out and ask for what he wants. That's Character versus Self. The question is: do we pick one, combine them? I think going for the conflict of James against himself is more appropriate for this part of the story, James is still Hades at this point in search of his persephone and I think that is more suggestive of an internal struggle. Dink isn't the antagonist so much as supporting the antagonistic principle, feeding into the idea that he shouldn't ask because IF he just asked she would say yes. SO = James wants to ask Dink out on a date but he is too nervous just to ask. Hmmmm :/ there is still a lot of answering there. I'm worried about it being boring because it is too obvious. James wants to ask Dink out on a date because he is lonely but he is so nervous he doesn't know how to ask her out. Hmm :) I like that better. A bit long but it has an obvious conflict of traits lonliness vs. nervousness = need v fear. And there could be a happy ending with that, James could figure it out. ....
