#in any military context hes the smartest guy in the room

[s0fter-sin]

i need ghoap frantically making out against a door finally taking the leap on their feelings. need ghost grinding against soap, expecting to find him just as hard as him, only to feel nothing

and in all his wisdom and experience, he concludes soap was tortured and never told him

he’s trying to think of a delicate way to say he understands, that he’s been through it and it doesn’t change anything about how he feels (and who the fuck touched him so he can hunt them down and rend them limb from limb)

meanwhile trans!soap’s just trying to find the best angle to grind his cunt on ghost’s thigh

just it never even entering ghost’s head bc he’s never known a trans person but he has met plenty of people who’ve been tortured - himself included - so of course that’s his logical leap

soap takes off his shirt and he sees his top surgery scars and ghost asks if he wants him to kill the one who did it and soap just hums like, “actually, man did pretty good, they healed real well,” and ghost’s just teary-eyes with awe at how well he’s coping, “looking on the bright side, that’s my johnny.”

imagine he thinks johnny was fully castrated but sees he’s determined to still have a sex life with him so he buys packers and straps to help him bc hell yeah healing and soap’s just like, “holy shit i’ve never had such a thoughtful partner before, such a sweet man, lt.”

[wrydsigil]

WRITING THE SPEC SCREENPLAY BY A “HARD KNOCKS” SPEC SCREENPLAY WRITER - RICH KAMBAK

CAVEAT: 

MORE OR LESS AS YOU SERIOUSLY PURSUE YOU GOAL OF SELLING A FULL FEATURE SCRIPT/TV PILOT/SHORT FILM, THE BEING AND NOTHINGNESS OF YOUR LIFE STARTS TO LOOK MORE ABSURD, AND THE LESS YOU SERIOUSLY PURSUE YOUR GOAL, MIRRORING YOUR PROTAGONIST’S OWN DOUBTS, CONFLICTS WITH THE ANTOGONIST, AND MORE CHALLENGING IN THE REWRITES  YOU COME FULL CIRCLE BACK TO YOUR PSYCHE’S MUSES TELLING YOU THERE IS MORE WORK TO BE DONE.

PART I

The basic plot category development of screenplays has left many scratching their heads, wondering how to break it down into a coherent format.  The screenplay format is as complex as designing a blueprint for a house, but follows the basics of storytelling.

As a novice scriptwriter, you only need to understand the rudiments of screenplay structure to bring to life your writing imagination and creativity into a screenplay.

In this article I will incorporate a fictional script layout of my own examples for you to follow.  Each step is called a “plot pillar” (TENTPOLES) and each one ought to vary in intensity, gradually building a complex but enthralling story.

First, the title must be the metaphor for theme of your story.  For my example, I’ll use TETRIS, a suspense thriller genre that relates to the Russian video game and evokes a sense of checkmate computer intrigue.  Also, just about everyone knows Tetris, so it has a universal audience marketing appeal.

THE SCRIPT - PLAIN VANILLA - POWERFUL AND CONCISE

Write your: 

Genre/Tagline/Logline (25 words or less), A 3 paragraph synopsis. Use simple sentences, concise with crisp adjectives.

ACT I

A) In the beginning, page one, you introduce your Protagonist, setting them in their world – symbolically placing the appropriate atmosphere, and provide something that gives them a rub, friction in their lives, by revealing what the Protagonist is willing to accept or not accept.

In the opening scene action, JAKE, is the world’s smartest computer hacker and works for the good guys.  We see him in a gigantic mainframe vault, the biggest security surveillance system in the world.  Jake’s just found out someone new is joining him.  He fears he’s being phased out.

B) Moving on, the Protagonist’s allies are introduced.  These are characters that might be instrumental later on with helping your protagonist, or they define your Protagonist further.  How they interact will give you the mood you want to set.  The following character will provide me with the mood, foreshadowing and context I want to set up for the action to come later.

Enter, NINA, sultry Russian.  Every conversation with her is like playing rugby. She’s a wiz-kid engineer light years ahead of everyone else, especially Jake.

Jake’s reputation precedes him as Nina portrays.  Jake doesn’t trust her.  We don’t trust her.  But she just might be his last hope later on.  

The Foreshadowing I will use is that Nina worked for secret military research during Soviet times.

C) Next comes the Adventure.  This includes some planning, or event, that will cause our Protagonist to have to enter the Antagonist’s world.  

Jake and Nina are sent to China to work on a high security Internet system for the Chinese government. China is still a communist country.   Jake suspects Nina might have former contacts, living in a safe haven there. Jake’s old school, Cold War mentality.  Nina’s new school: Western “cool” capitalism.

D) A new ALLY appears.  This can be someone who gives advice, helps in resolving the major issue of the story, or they can appear from time to time in carrying along the story thread.

Jake and Nina meet LIU, the assigned interpreter, and Jake trusts her more than Nina, which Jake shows while they meet with China’s top brass in a secret meeting.  He’s playing into Liu’s hand.

E) Now comes the Point of Attack (POA). The Protagonist can witness or experience something that will challenge the Protagonist’s character.   This can be a sufficient gain or loss.

Then, Liu seems to prefer Nina more, leaving Jake out of an important meeting.

This brings about the second portion of the POA: Reaction and response from our Protagonist.  This is written with intensity, so the audience starts to enjoy the roller coaster ride, which is vitally important for a suspense thriller.

Jake doesn’t want any part of the project.  He decides to abort and return to the US.   Nina persuades him to stay.

F) In the next plot point, the Protagonist is now committed to the Antagonist’s world.   This is called, “crossing the threshold” and the antagonist’s allies appear.  At this stage the Antagonist’s motives ought to be revealed, though the Antagonist is not exposed.

Jake and Nina are taken to a very remote location in China, where a military installation operates global surveillance.  Jake is impressed with the high tech operation.  Nina becomes aware that Liu is an ally of the antagonist.  Tries to warn Jake, who doesn’t believe her.

ACT II

It is crucial that you have a transformation arc between Act I and Act II, because this is the turning point of the story.  The plot doesn’t change here, but continues with emphasis on location.

G) The Antagonist’s allies test the Protagonist to start the learning process, the character arc for the Protagonist to start shifting.

Chinese military officials show their surveillance of Jake.  They show how they tracked his less than honest hacking of their computer systems years before.  Confronted with this evidence, Nina questions Jake’s integrity.  Liu has been leaking everything Jake confided with her, which is now exposed.

H) The Antagonist’s motives appear. Finally the push and pull, and challenges facing the Protagonist are put directly in front of the Antagonist’s plot.  

The Chinese test Jake’s ability by forcing him to crack a certain code, a code that is familiar to Nina.  It is a hybrid CYPHER ENCRYPED binary code that runs like a very familiar video game Jake played as a kid.

I) The Protagonist’s crisis has finally come.  This ought to be the near-triumph point for the Antagonist.

Jake fumbles the test in cracking the code.  He’s frustrated.  The Chinese are delighted.  Nina was afraid to help Jake, because she recognized the programming style.   Her hesitation confuses Jake.

Up till now Jake’s gone along with the challenges, looking the other way at the militaristic culture, the communist regime’s intolerance for Jake’s American mannerisms, the censorship of the media and people, and especially Nina’s competitive nature.   This is his last straw.

Now, it’s your turn to write out your own storyline using this format.  In Part II, you’ll bring it all to a nice resolve.  

Now take a break, a day or two off then come back to where you left off.  This will give you some time to digest, reflect and your mind cinema will tell you where your need to make edits.

PART II

We pick up in the middle of Act II, where our Protagonist has come to his own despair about the circumstances of his actions.  Hopefully,  you’ve fleshed out your own storyline from the previous article, giving you some ideas in how to proceed in bringing the story to a brilliant resolve.

RECAP: The plot so far has Jake trapped in a secret Chinese military surveillance facility with his colleague Nina.

The Antagonist comes forth.  

It is Nina’s old Soviet boss, a ruthless and cunning Oleg, who has designed a new Internet virus, named “Tetris” which can cause a global “zero day” crash.   

But he needs Nina to finish it.  She’s the wiz-kid.  Jake was just a pawn to use to bring her to him.   Jake’s tossed into a cellar prison.   Oleg will kill Jake, if Nina doesn’t do what he asks.

The Protagonist gets a second chance.  He bounces back from despair and escapes immediate danger.

Liu has a change of heart.  Appears at Jake’s cellar prison door, telling him she’ll help him.  He asks for a wireless laptop.

The Protagonist learns something through the immediate predicament.

Jake realizes that he’s in love with Nina, and she means more to him than his profession.

M) The Protagonist has a profound change about his computer hacker life.

Jake, using a remote laptop, hacks an online access to an old friend, a member of the clandestine hacker’s Club 21.   Meanwhile, Nina is stalling, purposely reconfiguring the virus worm program, which makes Oleg furious.  He demands for Jake to be brought back.

ACT III

The final transformation arc moves us into another spin of the Protagonist’s behavior in coping with his desperate situation and bringing it to resolve.

O) Here the Protagonist’s most remarkable qualities shine.  They signify the most important plot point in the story.

Jake tells Nina to do what Oleg demands.  Nina is confused, afraid.  Jake sides with Oleg; reinforcing Oleg’s demented scheme with the Chinese. Why not, it’s been revealed that Jake once wanted to bring down the WWW all by himself.    But this is what makes Jake so good at what he does. Jake is a master at using reverse psychology to get what he wants.   Jake demands that Nina do it.  Hating him, she does.

P) The Antagonist is thwarted.  

When Nina finishes programming Tetris, and Oleg sets it to run, it suddenly goes haywire; showing the simple Tetris game on the monitor, that is obviously being played by someone not in the room.  

In the cellar prison scene, we planted the foreshadowing of Jake contacting one of his hacker buddies.  We already knew going into the above scene that Jake had fixed the deck in his favor.  The audience can enjoy the duping of Oleg.

The show down between the Antagonist and Protagonist.  The Protagonist has already made their transformation and is going to act upon it.

Jake and Nina must now flee the Chinese bunker, with the help of Liu.  Here is the life and death chase scene, and Jake’s cunning at having already scoped out the possible escape routes when they first arrived, that saves their hides.

The final resolution.  For this plot driven story, there’s a happy ending.  The Protagonist returns to their ordinary world, redressing the Protagonist’s problems at the beginning, now eliminated.  There’s restoration to the world.

Jake’s hacker friend notified the appropriate authorities about Jake and Nina’s plight in China.  Consequently, all was exposed.

Jake and Nina returned to the US, along with Liu, who is having an online romance with Jake’s hacker friend.

Jake and Nina have finally admitted their initial mutual attraction when they first met. Checkmate. 

(I LIKE THE METAPHOR OF THE CHESS GAME - BECAUSE THE  FIRST MOVE WILL DECIDE THE END GAME’S WINNER.)

The key point that is a must for the ending is to portray vividly the heart of the issue of the story at the end.  This example is very simplistic.   Of course, you could do better.

GOOD LUCK!

[elizabethleslie7654]

The JCPOA was Never Meant to Stay

all kinds of cool jewelry and no shipping or getting mobbed t the mall

Tweet

Tension in the Middle East is now escalating, but don’t be fooled by the false dichotomy proffered by the MSM. It portrays the Joint Comprehensive Plan of Action (JCPOA) or Iran deal as an earnest peacemaking attempt of the Obama administration tossed aside by a reckless and warmongering Trump. Just like most MSM narratives, it doesn’t align with reality.

First of all, don’t make the mistake of attributing agency to a puppet like Obama in matters of strategic importance to Israel. The JCPOA was not the product of a desire for peace that he managed to implement despite Jewish opposition. Consider the following:

“The ideal scenario in this case would be that the United States and the international community present a package of positive inducements so enticing that the Iranian citizenry would support the deal, only to have the regime reject it. In a similar vein, any military operation against Iran will likely be very unpopular around the world and require the proper international context—both to ensure the logistical support the operation would require and to minimize the blowback from it. The best way to minimize international opprobrium and maximize support (however, grudging or covert) is to strike only when there is a widespread conviction that the Iranians were given but then rejected a superb offer—one so good that only a regime determined to acquire nuclear weapons and acquire them for the wrong reasons would turn it down. Under those circumstances, the United States (or Israel) could portray its operations as taken in sorrow, not anger, and at least some in the international community would conclude that the Iranians “brought it on themselves” by refusing a very good deal.”

It’s from a policy paper titled “Which Path to Persia?” from the Saban Center of the Brookings Institution. It was published in June of 2009 at the beginning of the Obama Administration. It was authored by a menagerie of Jewish swamp creatures, several of whom have been employed in prominent government positions. One, Bruce Reidel, worked directly as an advisor to Obama. As this paper suggests, the JCPOA was meant to serve as a pretext for military action against Iran, not as a mechanism to establish peace.

Of course, Obama doesn’t acknowledge any of this. He’s protesting on FB that the deal was meant to prevent another war in the Middle East. In all likelihood, he genuinely believes this fantasy. Then again, he probably believes lots of stupid things, like Goldman Sachs decided to make him president because he was the smartest guy in the room.

Obama should consider the following: if peace with the Iranians was the goal of his administration, why did it launch a proxy war against them? If you genuinely wanted to get along with someone, would you use your right hand to shake his, while you put your left to use bludgeoning him in the face? Probably not. The logical inconsistency of his administration’s approach is glaring enough that even an affirmative action hack ought to be able to notice.

We didn’t attempt to overthrow the legitimate government of Syria via an appalling jihadist rampage out of concern for the welfare of the Syrian people. Contrary to Obama’s sanctimonious blather, the lives of Syrian children never had any value whatsoever. Otherwise, we would have simply left them alone. Syria is the most crucial piece of Iran’s “Shia Arc” and a vital conduit for the flow of Iranian support to greater Israel’s foremost impediment: Hezbollah. Woe unto the people of Syria.

We can be further assured that peace with Iran was never the goal because peace between the US and Iran directly contradicts the interests of Israel. Israel, not the American people, is the arbiter of US foreign policy in the Middle East. If the deal was a sincere threat to their security, you wouldn’t have heard the very concept of it touted on (((TV))), let alone put into place by the least independent president in our nation’s history.

What the JCPOA saga provides to Israel is a useful narrative:

Iran reneged on a great deal to stop producing nuclear weapons, therefore, these religious fanatics must be taken down before they’re able to kill billions.

That sounds much better than reality:

Iran sponsors Shia militias which oppose the expansion of the Jewish ethnostate. Therefore, America must commit unnecessary military aggression on our behalf.

Without the pretense of an attempted peace with Iran, war would be nearly impossible for Israel to sell. Of course, Trump isn’t looking for a war, because that would obviously be fatal to his presidency. He’s just looking to fulfill a campaign promise to renegotiate the deal and satisfy donors like Sheldon Adelson. Hopefully, he doesn’t find out the hard way that Israel has other plans.

Tweet

MY FAVORITE ACCESSORIES

from LIZ FASHION FEED https://ift.tt/2GbXdwV via IFTTT