Ferrari Scenes from Ferris Bueller's Day Off Starring Matthew Broderick and Alan Ruck ….. Enjoy!

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• Add and Remove a Widget
  • Begin on the Home screen and with the phone unlocked. First, let’s move to a screen with space available.
  • Swipe your finger left or right across the screen to reach an empty screen.
  • Long touch (press and hold) an empty area of the screen.
  • Tap HTC widget. Tap Bookmarks.
  • There are different styles to choose from, but for now, tap Select.
  • To remove the widget, long touch it until the Remove icon appears at the bottom of the screen.
  • Drag the widget to the Remove icon until the widget turns red, and then release it.
• Create and Save a Scene
  • From the Home screen and with the phone unlocked, press the Menu Key.
  • Tap Scenes.
  • Tap a scene from the list.
  • Tap Done.
  • You may customize any scene by changing the wallpaper or adding, moving, and removing widgets and shortcuts from each of the seven screens. For now, let’s change the wallpaper. Press the Menu Key.
  • Tap Wallpaper.
  • Tap Home.
  • You may choose the image from albums of photos taken with your phone or from the gallery. For now, tap Wallpaper gallery.
  • Swipe your finger to your left across the row of images to scroll through them.
  • When you find one you like, tap Set wallpaper.
  • Once you’ve made a change, you may save your scene. Press the Menu Key.
  • Tap Scenes.
  • Tap Save.
  • Enter a name for the new scene with the virtual keyboard.
  • Make sure you use the same scene name if you plan to overwrite a personal scene. You may not overwrite the default scenes.
  • When you’re ready, tap Done.
• Download from Android Market
  • This demonstration assumes you have already set up your Google account.
  • From the Home screen and with the phone unlocked, tap the Market icon.
  • If this is the first time you’ve accessed the Android Market, you’ll be asked to accept the Terms of Service.
  • You may browse the Android Market by tapping a category.
  • If you know the application you’re looking for, tap Search.
  • Enter the name of the application you’re looking for with the virtual keyboard, and then tap the Search icon.
  • Tap the application name. Tap Install.
  • Some applications require access to other phone features.
  • Review the requirements of the application and tap OK.

“What you do speaks so loud
that I cannot hear what you say.”

Ralph Waldo Emerson, 1803-1882

I love verbs and I’m suspicious of nouns.  So it’s not surprising that what really attracts me to any kind of a story is what happens. And what keeps me turning the pages or glued to the screen is anticipation of what happens next.

Sure, I’ll come back to a book or a TV show or a movie because the character or actor interests me.  But, in most cases, I’m interested enough to give them another try because they have paid off in memorable events.  In other words, I trust them because of their actions.  So story building, essentially, depends on generating good events.  Without a doubt, they need to connect in some logical fashion and it would be nice if the characters involved are sympathetic, but if nothing interesting happens, forget about it.

So where to events come from?  What makes a good event?  How many events do you need?  What makes a good collection of events?

In fiction, events come from everywhere — experiences, dreams, imagination.  They may emerge unexpectedly from seat-of-the-pants writing or they may be collected from many sources into lists.  The lists may be random or they may be aggregated around a core idea or feeling.  The core idea of “Peter’s Shell” was turning “The Cask of Amontillado” (imprisonment) up-side down (freedom).  The core feeling of “Waverley” was loneliness.

The first event of “The Cask of Amontillado” is the protagonist tricking Fortunato into coming with him.  Note that the protagonist does something.

Whichever way events are generated, many of them will be weak or useless.  I take a list, either derived from my pages of text or created as a list, and strike out anything that doesn’t interest me.  (The ones that interest me might not interest others, but I have little hope that they will interest others if they don’t engage me.)  Among those that are struck out will be some events that are needed for the story.  Maybe.  It is amazing how many times things that seem to be needed really aren’t.  Writing the story without these events usually works since readers have the ability to fill in what they need.  Some of these events may simply convey some needed facts.  The facts can often find their ways into the story by other means.  In any case, I put question marks next to these events as reminders.

The verbs — good, strong, active verbs — are at the heart of why these events interest me.  (“Trick” is a great verb.)  Can any of these events be made more interesting?  Often, yes.  I go through the list and try and push things to the limit.  In one story, a scene where a character chastised another became one where she demanded he sign a separation agreement.  Finding ways to push to the limits is not hard.  Accepting what comes out is.  It usually “messes up the story,” requiring a lot of rewriting.  It always makes things harder on the characters.  When I am being diligent, I will write the scene in the full-on way before I decide to reject it or go with it, no matter what he consequences.  In most cases, it makes for a better story.

Besides going to the limit, there are other things that can make an event more interesting.  The protagonist in “The Cask of Amontillado” uses reverse psychology at every turn.  His ironic attitude enlivens every event.  Images (such as the tinkling bells of Fortunato’s motley) can also make a scene irresistible.

So now you have a list of events with great verbs that go to the extreme, have attitude and are filled with memorable images.  They need to go into the right order, an order that will make sense, reduce confusion and build.  You may find yourself with too many or two few events, depending on what you are trying to create.  (A good rule of thumb is one event, on average, every three to four pages.  One event may occur in more than one location, especially in a screenplay.  A short story may have fewer event because there may be more narrative set up.  Flash fiction will probably have extremely compressed events, with a high average for the wordcount.)

The best circumstance is too many events.  Looking for further cuts is usually a good idea.  Not much needs to be done in a case where bigger is not a problem (e.g., turning a short story into a novella).  When length is pretty much fixed, as with a screenplay, working backward is one good technique to identify unnecessary events.  The toughest part of having too many events is letting go of those you love but don’t need to tell the story.

I’m more likely to have too few events.   Working backward, asking questions about the characters and getting other folks to read what I have can help me come up with more.  If I’m lucky, the list itself will suggest holes to fill.  If all else fails, simply working on the rewrite, telling the story from start to finish, will get my imagination going.  Each new event, of course, needs to be challenged.  It won’t help to fill gaps or pad the text with dull and mediocre scenes.

There are times when the idea or feeling for the story is too slight.  In these cases, it is best to put the work aside.  Sometime in the future, you may discover that the events really have a different focus, one that is stronger.  Or it may be that the events find their ways into other works over time.  But some events, scenes, sequences and draft books should simply be abandoned.

Almost there now.  The final question is what makes a good collection of events?  Having interesting scenes that all belong to the story and flow together is more than a good start.  But there is a danger that the sum may be less than the parts.  It may not add up to a compelling story.  Here’s where the tools of plotting, looking for motivations and architectures of acts and story design can come in handy.  Everyone from Aristotle to Robert McKee have written about construction of obligatory scenes, the climax, inciting incidents, points of ritual death, pinches, etc., etc.  If all this is a mystery to you and you’re interested, I’m happy to add references, but there is lots of help out there.

Events, however, get you most of the way.  They can provide the go/no go for people with not enough time to write.  (And I don’t know any writers who do have enough time to write.)  The characters we love — in fiction, in history and in our lives — are memorable because of events.  Arthur pulls a sword from a stone.  Hannibal crosses the Alps with elephants.  Your child is born.  We reference people by names, associations (works for, is cousin of) and physical descriptions.  But the most powerful reference is he/she is the one who did an interesting act.  This is at the core of storytelling.

My doings:  I had a book proposal turned down and four contest entries have failed to even final.  Oddly, I’m not discouraged.  Within an hour the editor who turned down the book asked if I would be interested in collaborating with another author.  (I would.)  One contest returned the best feedback I’ve gotten on my fiction.  Clear and actionable.  The other had two apoplectic judges’ sheets from non-pros that trashed the work, but the one from the pro said:

“Great job!  Entertaining read, & a fresh, topical (identity theft, child pornography) spin for the plot.  A computer dude for a hero–fresh!” and “Wonderful style, very readable & very fitting with the sub-genre.  Some wonderful turns of phrase.  I felt fully immersed in the story as I was reading.”  She gave a score of 149 out of a possible 150 points and said to “get this puppy out to agents.”

I’ll be doing that later today.

No sheets yet from the other two entries.  We’ll see.

Today, I will get closer to Caro, the hero of my YA WIP.

Well, that’s the plan.

I’m still plotting into the middle. I’d say “through” the middle, but not yet feeling that optimistic. And I’m realizing that part of the problem I’m having with the current mish-mash of scenes is that I haven’t honed in enough on my hero’s active goal. I know her emotional goals, but those don’t really drive her choices and actions–not with her knowledge, anyway. When I was plotting my mystery, I could always ask, “What would my hero do to…solve the mystery?” (And then, of course, I’d ask, what someone else could do to PREVENT his solving it!). That MC had a very concrete, active goal to work toward.

I am not going to sit and stare at my computer or out the window until I come up with the equivalent, active goal for Caro. Because, yes, I could do that until the cows came home and, frankly, had a good laugh at my expense. Instead, I’m going to take it scene by scene for a while. And I’ll look at these elements:

• What did Caro do in the previous scene or few scenes?
• What were the consequences of those recent actions?
• How does she feel about what she did and about what happened?
• Who did she set up a conflict with?
• What other character has a strong goal at this time?
• What story element have I not dealt with in, perhaps, too long?

And out of that, I’m going to give myself a kinder, gentler question to answer.  That question will be, “What would Caro do to…solve some problem.”

This problem may not be the one she actually needs to work on at the time. It may turn out to be a problem that, in the end, I (and Caro) decide to throw away completely. It almost certainly won’t, yet, be the problem that is her equivalent of solving a mystery.  Hopefully, though, it’ll be a problem that lets Caro and I move her plot forward and grow a deeper understanding of what it is she truly wants.

What does YOUR hero want? And what step could she (possibly!) take today to achieve that goal?

Title: Cian and Rune Meet
Series: Mystic Memories
Rating: G
Length: 789 words
Info: One in a series of scenes for my story Histories.

“You’ll find it unwise to hunt large game in the Orkosani Forrest.”  Cian paused before turning his attention from the stage he had been focusing his arrow on to the very gentle voice, and the owner of which, who had spoken to him.  The speaker was a young lady, several years younger than him, dressed in leather trousers, a man’s shirt under a man’s coat and a dark green cloak with a hood, pulled up over her head.  Her right hand was gently clutching the hilt of a dagger on the belt at her hip.  She didn’t look anything like a woman who would be living in the woods as her clothing would suggest.  She walked toward him and lowered her hood.  ”The soldiers would notice you lugging a large stag or deer home,” she continued, smiling pleasantly at him.

Cian allowed his aqua eyes to travel across the details of her face.  She had skin that had seen much sunlight and deep blue eyes.  Her dark brown curls were tied back with a black silk ribbon.  There was a faint scar running along the length of her left eyebrow.  Cian felt an odd stirring in his stomach, very possibly his heart, which he didn’t understand.  But he did understand that this woman had the potential to be the most beautiful woman he had ever seen and he was very attracted to her.  Regaining his senses, he asked, “What would you suggest, then?”

“Rabbit.  Fox,” she said, gently taking his arm in hand and leading him away from the stag that had long since disappeared.  ”They feed you enough and they’re small enough to fit into a haversack.”

“Who are you?” Cian asked, staring at her a little.  She was a fairly open person, judging solely from the fact that she had openly spoken to him and touched him without hesitation.

She smiled at him again.  ”I am no one of consequence,” she said.  ”Are you hungry?”  Cian nodded.  ”Come with me.”  She led him through the trees to where she had hung a haversack on a branch.  She didn’t stop longer than to have enough time to sling the sack over her shoulder before she continued on until they arrived at a small one-room cottage.  ”Come inside,” she said, finally breaking their comfortable silence.

Cian entered her cottage, looking around with interest.  It looked like a house that would belong to a witch.  Herbs and flowers and furs hung from the rafters.  Wooden boxes, some open with odd items inside, some closed, filling shelves.  A large cooking pot hung on a rod, simmering over a small fire in the fireplace.  ”My name’s Cian.  What’s yours?” he asked as she set her haversack on the table and pulled out two hares and a small fox.

“I am called many names,” she replied, handing him one of the hares.  ”Skin that, would you?”  She began chopping some vegetables–probably grown in the small garden Cian saw growing against the cottage as they arrived.  ”Suffice to say,” she continued, “my brother calls me Rune.”

Cian nearly dropped his knife.  ”He’s not going to come here and kill me, is he?” he asked.  ”Your brother?”

“Now why would he do that?” she asked in response.  ”Have you committed some heinous crime that requires punishment?”

“Well, no,” he said, returning to his appointed task.  ”I’m not being funny, Rune, but you’re very pretty.”  She muttered a quiet ‘thank you’ without looking up.  ”Men tend to be overprotective of their pretty sisters.”

She smiled, a faint blush across her cheeks.  ”Well, Cian,” she said.  ”My brother is fighting in Evla as part of the King’s personal guard.  You have nothing to fear from him.”  After a moment of chopping, she wiped her hands on her cloak before taking it off and hanging it on a peg by the bed tucked in the corner furthest from the door.  ”Time was,” she said, returning to her vegetables.  ”Poaching was worth no more than a tanning or a spell in the stocks…  My brother would be devastated to know how twisted the Orkosan he fights for has become.  A hand for one deer!  It’s ridiculous.”  She scooped up the chopped vegetables and put them in the cook pot.  She took a sip from the pot off a spoon.  Cian laughed quietly at the face she made before reaching above her head, taking a sprig from more than two herb bunches and breaking them over the pot before stirring them into what Cian assumed was a stew.

They worked in comfortable silence as they prepared for dinner.  When the hare Cian was skinning was gutted and cleaned, Rune skewered it and hung it beside the pot over the fire.

Bismilah al rahmán y rahim

Ginebra ha sido asesinada por los suizos y las suizas, hijos e hijas de Guillermo Tell, que han votado con amplia mayoría a favor de una ley islamófoba y en contra de una iniciativa justa, promovida por el colectivo pacifista más representativo del legado idealista de la paz, en un tiempo asociado a la ciudad del borde del Lago Léman. “Catastrófico“, califica el resultado Tariq Ramadan. Yo pienso en mis amigos que siguen viviendo en aquella ciudad, musulmanes y ateos, quizás hasta cristianos y judíos, que deben estar abatidos, sentirse desolados ante unos resultados terribles y sorprendentes. Ha muerto su ciudad, asesinada en un sucio domingo fascista del siglo XXI, en nombre de la democracia. ¡Qué asco!

DJ Khaled Ft Usher,Young Jeezy,Rick Ross & Drake – Fed Up (Behind The Scenes)

Geometry? I don’t think so. Triangles, in math, hold no appeal for me.

Triangles in fiction, though, are a whole different subject.

The picture book I’m working on has three characters. Okay, well, four, but one’s a surprise, and I’m not talking about that one yet. But the family–three members.

I knew what the son–the hero–was about. I knew what the father was about. And I knew there was/should be a mother. Even if I didn’t know, at all, what she was about.

I wanted that mother. Not just because, well…I wanted to be in the story. For one thing, I wanted my young hero to have two (albeit well-meaning) antagonists, so he really has to fight to come through the winner. But also because I just like triangles.

Pick a scene, any scene. You’ve got two people in that scene, interacting with each other. Those two people can have a conversation. Those two people can have an argument. Those two people can create some serious tension.

Three can do more.

If you’re reading a scene with two characters, you may get some surprises, but there is a pattern you–as the reader–will be following. It’s kind of like watching tennis or ping-pong. It’s not always back and forth–the server might double-fault, or the receiver get aced. But basically, you know who’s going to hit the ball next. In a scene, you know–basically–who’s going to speak next, or act/react next.

If you add a third character to that scene, all bets are off. You can’t know, as the reader, with any certainty, who’s up next in the rally. You can’t anticipate, for sure, who’s going to be arguing with whom, or when (even if) the third character will throw in their own two cents. You can’t guess, when the hero takes a punch at someone else in the room, whether he’ll hit his target or that other guy in the room.

And, honestly, there are plenty of times when the writer can’t predict any of this either.

So I’m keeping my mother. With the help of a critique from Susan Taylor Brown, I now have the spark of an idea of what the mother is about. I’ll play with that in the next draft and see what she gives back to me, to the story. To that triangle.

After asking Luke about the compassionate and sentimental side of the story would be like, he gave me a list of relationships that will be the main focus of the movie. And wow, quite frankly saying there will be a lot just doesn’t come close:

Oroku Saki & Oroku Nagi

Oroku Saki & Hamato Yoshi

Hamato Yoshi & Tang Shen

Turtles & Splinter

Turtles & Turtles

Baxter & Wife/Daughter

^ Yes this is good, very good, finally some interaction between ‘each other’ in this movie. Honestly I’ve felt things grow cold between the turtles, and even between Splinter. While not all these relationships feature love and growth as a family (such as the turtles will have in the movie), each will have a unique theme from the other. Take Oroku Saki and Hamato Yoshi for example, it will be of conflict and how things turned for the worse between them. With some detailed information about these relationships we can clear your thoughts of doubts and idea’s you may think will be relevant to the purpose of each relationship, but for now, I’m afraid you’ll just have to keep those doubts and idea’s till the time that I do have the information XD.

- – - – - – - -

Well changing the subject, let’s talk about the turtles weapons and how the turtles weapons greatly match their personalities:

So where did they get their weapons, was Splinter involved?

As the person who trained the turtles and understands their abilities and character better than anyone, Splinter would have also decided who shall use which weapon. Ensuring the right turtle receives the right weapon is a huge responsibility. The sword is suited for a different personality than the sai, and only the right personality will bring out the weapon’s true potential. This is something only a ninja master would know, like Splinter.

So why were the turtles chosen to use their weapons?

The first thing that must be done is to analyze each weapon to better understand how they would compliment the user. The weapons in our vision are their own character and possess their own personality. In a sense, this allows us to create a relationship between each turtle and their weapon. The more they understand each other, the more powerful they will become together.

CONTINUE READING.

Truly, now that I’ve viewed that article, I can see why each weapon was chosen for each turtle. Now, if only I can see a REAL ninja turtle action scene, far more played out and detailed (I even hope to see some matrix styled action 83) then even the latest CGI-Film released back in 2007.

Okay guys, that’s it for now, stay tuned for the next update =D.

I’m sitting here rewatching a movie I watched last night. IN THE LOOP, a British political farce that was made this year. It’s hilarious. Watching it the second time, now that I know the plot, it’s even more interesting. With my tiny pea brain, I can follow it!

It’s chaotic and confusing and really, really funny. I wonder how the hell they got anybody to understand what the hell they were planning to do — without actually making the movie. It’s so jumpy / cutty that I can’t see how it would be understandable on paper. Certainly it would be impossible to pitch.

It’s based on a television series, so they did have some precedent. Makes it easier.

It’s an ensemble film. Lots of people cross-cutting and then it jumps from London to Washington and New York. Then more people show up. And it gets more complex and moves faster.

What’s great about it, among other things, is how each character’s dialogue is so separate from everyone else’s. The characters are distinct, WILDLY different from each other, and I bet it is right there on the page.

Also, the characters are people we have not seen before. Especially the foul mouthed character played by Peter Capaldi. Whoa! Can that guy cuss! In fact, everybody is wholly distinct, separate from everybody else. Even the small characters are cool, funny, distinct and (drum roll) different from any character we’ve seen before. This is NOTHING like the folks on West Wing!

The tiny details in the scenes are really great. Getting in and out of most of the scenes is a tiny bit, like being unable to pay a hotel porter more than two one dollar bills… and the level of gentle absurdity is pretty high. A Pentagon general and a woman assistant secretary of state are at a party and want to talk in private, so they go upstairs to the kid’s room and have their high level discussion sitting on the edge of the bed… and need to add some military figures, and use the child’s calculator to calculate troop strength… and it makes silly noises when they punch in the numbers. It’s HILARIOUS.

Someone was definitely on the ball.

Now that Thanksgiving has come and gone, Oscar season has begun, and as I (as a member of the Writers Guild of America) get to go to the movies for free, I’ll be seeing lots of movies between now and Oscar night. Perhaps you will benefit from what I discover in the dark rooms of a movie theater near me.

I love, love love just adore going to the movies for free!

Signed, Eloise Akers

It’s a pretty city with a great many walks of life. Home. Guess I’ll live here.

Pictures behind the scenes of the “On To The Next One” Video by Jay-Z Ft. Swizz Beats. More Pics After the Jump!

Video Coming Sooner Than You Think And We Cant Wait!

Whilst celebrating Christmas in Paris you might notice a healthy mix of traditions old and new. A Christmas in Paris still remains a very religious event with Nativity Scenes, Midnight Masses and gatherings of family and friends. You will also find that the department stores are lined with brightly coloured festive lights.

Historical Traditions still done today

In the past children put their shoes by the fire so Father Christmas or Santa Claus would leave them toys. This is still done today and the only real thing to have changed is the type of fireplace the shoes are next too. Nativity Scenes have always been used as part of celebrations, with the only real change being the emergence of a tiny Santa in the scene. Midnight Mass on Christmas Eve is also a very real tradition, and one which is still very popular today, primarily wth parents and adults attending.

Where to go and what to see during Christmas in Paris

When deciding where to visit and what to see you want to go through the streets of the bigger department stores and see the vast array of lights on display. Many stores in Paris are lit brightly in preparation of the holiday and you will find that no matter how big or small the store each will go all out.

Though there is no black Friday in Paris you will know that Christmas is there by the little stands popping up all around with specialty items for the holiday season only. The stands will have anything from holiday decorations to handmade gifts for family and friends. You will also notice some of the more commercial Christmas look and feel in Paris but the Old World Charm here will bring you a warm feeling no matter where you are.

What to do for Christmas Eve

When staying in Paris on Christmas Eve you will find that many will be spending the evening in Midnight Mass. This is one tradition that has been around for centuries and should not be missed. Spending the evening enjoying the choir, listening to passages from the bible and watching nativity scenes come to life can make any Christmas time a special occassion.

When on a city break in Paris at Christmas, it is importantto note that it is a peak tourist time and as a result the prices can go up. However, careful budgeting can make a bg difference. Oh and do not forget to bring some extra cash for those impromptu gifts you will find and buy.