holysmoaksoliver

[holysmoaksoliver]

writing? oh, i’m definitely writing. in my head. during the most inconvenient times. like in the shower or when i’m about to fall asleep. actual typing? no, no, we don’t do that here.

[holysmoaksoliver]

Lost in Austen is my dream .........

[holysmoaksoliver]

Yes. Have YOU considered that sometimes working on hard things is both necessary and worthwhile?

[holysmoaksoliver]

𝐓𝐇𝐄 𝐑𝐎𝐎𝐊𝐈𝐄 7.04 - ᴅᴀʀᴋɴᴇꜱꜱ ꜰᴀʟʟɪɴɢ

[holysmoaksoliver]

"Deciding what's best for her is not protecting her, that's controlling her and you're better than that" - Nolan, 2x12

[holysmoaksoliver]

I’m stuck on him asking her if she wanted to stay for dinner and her slight hesitation

They wanna be together so bad

The heart eyes with pain behind them is killing me

[holysmoaksoliver]

“what’s the hardest part about writing?” the writing.

[holysmoaksoliver]

having online friends who are busy is just like. I LOVE YOU. I miss you. YOU GOT THIS. I'm giving you space to work. I LOVE YOU.

[holysmoaksoliver]

[holysmoaksoliver]

nobody talks about how much of writing is just you staring at a blank document, begging your brain for one good sentence.

[holysmoaksoliver]

date idea: we read pride and prejudice and kiss every time Elizabeth thinks Mr Darcy is trying to insult her.

[holysmoaksoliver]

favorite jisbon moments [7/?]

[holysmoaksoliver]

[holysmoaksoliver]

You must know… surely, you must know it was all for you. You are too generous to trifle with me. I believe you spoke with my aunt last night, and it has taught me to hope as I’d scarcely allowed myself before. If your feelings are still what they were last April, tell me so at once. My affections and wishes have not changed, but one word from you will silence me forever. If, however, your feelings have changed, I will have to tell you: you have bewitched me, body and soul, and I love–I love–I love you. I never wish to be parted from you from this day on.

Pride & Prejudice (2005) dir. Joe Wright

[holysmoaksoliver]

[holysmoaksoliver]

This may seem like an exaggeration, the idea that one can learn how to properly think like a criminal by learning how crime stories work. On a personal note, let me tell a story from the Leverage writer’s room.

Apollo Robbins (http://www.istealstuff.com/) runs a crew of professional thieves who consult for law enforcement. He was also our criminal consultant on Leverage. Every few weeks he would visit the writer’s room to advise on the scripts and keep us up to date about new cons and the latest in criminal technology.

One day during the third season he sat in with the writers while we broke a story. We posted the details of a real-life white collar criminal up on the room’s whiteboard, using him as the basis for our Mark. We looked at his weaknesses, how he moved his money, what his hobbies were. Once we were happy with that element of the story we added a Vault to the mix, one that used an interesting new alarm technology we’d researched. We then spent about an hour figuring out how to circumvent that alarm. We even sketched out a map of the imaginary building so we could keep track of our Crew’s movements during the Job.

“Well, I’m done here,” Apollo muttered. Noting our confusion, he pointed at the board and index cards cluttering the wall. “This is exactly how real Crews plan these things. This writer’s room is now a fully functioning criminal gang. You could be thieves.”

Of course writing television pays better than crime (usually), with far less chance of being arrested (usually), so we all managed to resist the temptation. But aside from the day a US Attorney asked us to change a plot because we’d created a scam that was a little too foolproof, or when a Homeland Security Agent admitted they were spooked by a security hole we’d exploited in our season finale, it was certainly one of the proudest moments I had on the show.

Source: "CrimeWorld" by John Rogers in Fate Worlds Volume Two: Worlds in Shadow. Evil Hat Productions, 2013: 20.

[holysmoaksoliver]