Robert Jackson Bennett – Some advice to aspiring writers who wish to make a living off of writing

(via

penguinrandomhouse

If you have ever had to write a resume for work or for an application, then you know the hardest part is figuring out what type of words to use that sound professional and and intelligent.

Example: If an application asks you if you have any relevant experience for a job at a day care center and you have experience, like you have babysat children. You would look at the words in the columns to see what words you should use that will help your resume stand out. You might put down “Have supervised and attended to children on a regular basis.”

forget howl lets talk about the real Stealer of the Show, spicy mama Prince Justin. how about a little fire scarecrow indeed mmmm 

Our new Tropes vs Women episode explores the numerous ways in which the Women as Reward trope manifests in video games. The trope occurs when women or women’s bodies are employed as rewards for player actions, a pattern which frames female bodies and sexuality as collectible or consumable and positions women as status symbols designed to validate the masculinity of presumed straight male players. We then discuss how this trope both reflects and reinforces the pervasive, socially constructed mentality of male entitlement that operates in the background of our culture.

Content Warning: This educational episode contains game footage of a graphic sexual nature.

Sonder: The realization that each passerby has a life as vivid and complex as your own.

Opia: The ambiguous intensity of Looking someone in the eye, which can feel simultaneously invasive and vulnerable.

Monachopsis: The subtle but persistent feeling of being out of place.

Énouement: The bittersweetness of having arrived in the future, seeing how things turn out, but not being able to tell your past self.

Vellichor: The strange wistfulness of used bookshops.

Rubatosis: The unsettling awareness of your own heartbeat.

Kenopsia: The eerie, forlorn atmosphere of a place that is usually bustling with people but is now abandoned and quiet.

Mauerbauertraurigkeit: The inexplicable urge to push people away, even close friends who you really like.

Jouska: A hypothetical conversation that you compulsively play out in your head.

Chrysalism: The amniotic tranquility of being indoors during a thunderstorm.

Vemödalen: The frustration of photographic something amazing when thousands of identical photos already exist.

Anecdoche: A conversation in which everyone is talking, but nobody is listening

Ellipsism: A sadness that you’ll never be able to know how history will turn out.

Kuebiko: A state of exhaustion inspired by acts of senseless violence.

Lachesism: The desire to be struck by disaster – to survive a plane crash, or to lose everything in a fire.

Exulansis: The tendency to give up trying to talk about an experience because people are unable to relate to it.

Adronitis: Frustration with how long it takes to get to know someone.

Rückkehrunruhe: The feeling of returning home after an immersive trip only to find it fading rapidly from your awareness.

Nodus Tollens: The realization that the plot of your life doesn’t make sense to you anymore.

Onism: The frustration of being stuck in just one body, that inhabits only one place at a time.

Liberosis: The desire to care less about things.

Altschmerz: Weariness with the same old issues that you’ve always had – the same boring flaws and anxieties that you’ve been gnawing on for years.

Occhiolism: The awareness of the smallness of your perspective.

An exhaustive guide to Camp Firewood

Credits: Classic 1970s font Cooper Black

The attention to detail is in place from the first frame: Wet Hot American Summer’s opening credits, logotype, intertitles, and the text on Abby Bernstein’s T-shirt are all rendered in period-appropriate Cooper Black. Though it dates back to the 1920s, the typeface has become kitschy shorthand for the ’60s, ’70s, and early ’80s, thanks to its use on record covers (Pet Sounds, Freak Out!, L.A. Woman), in TV intros (The Bob Newhart Show), and as the ironed-on vehicle for sartorial sass talk (Quoth Abby’s pink T-shirt: “I’ve been civilized long enough”). 

“Jazz shoes, dance belts, lycras et al.”

Continuing that grease-paint motif, Wet Hot American Summer pours several semesters of drama-school pretension into producer Ben (Bradley Cooper) and director/choreographer Susie (Amy Poehler). The terminology in their address to the mess hall should sound eerily familiar to recovering theater geeks, as should the alternately compassionate/hostile tone Susie takes when recruiting potential cast members. 

“Will you help teach me about this, what is it, a new way?”

Here’s a concentrated dose of spoof: To the “Gonna Fly Now”-like strains of Shapiro and Wedren’s “Higher And Higher,” Showalter, Meloni, and A.D. Miles cram multiple types of training montages into 90 seconds, combining the Kung Fu pebble snatch (a piece of candy here), angry Footloose dancing, and Rocky III’s slo-mo jogging. (Plus some sort of 12-steps meeting, just for good measure.) It’s a self-aware sequence on par with South Park’s “Montage,” later heard in Team America: World Police.