1. First and foremost, I'm not like the others. I'm not here for sex, I'm not going to show you a picture of my anatomy, and I loathe small talk.
   
2. Me: Overthinking, shy, introverted nerd who seeks someone to fall in love with my mind. Anything else should follow naturally after.
   

2a. I have social anxiety. I don't do posts like this. I'm not gonna "hang out", or "chill", but I need patience. Spill me your mind, and chances are I'll appreciate it. If it takes me longer to respond, it doesn't mean I've lost interest or gone to somebody else. Most likely, I'm just pondering. Hopefully, I'll make your patience worth it.

1. As an empath, I only know how to do things full blast. As such, my heart is covered with Care Bear stickers - the glow in the dark kind. Those are a few band-aids mixed in; hope you don't mind.
   
2. History and time travel are my primary means of stress relief.
   
3. I don't believe in limits. If I tell you I'm with you, it means just that. Please don't tell me that's impossible because I'm here, and you're x miles away there. Energy is real. Big bonus points if you are open to cuddling over distance.
   

5a. Really, please don't tell me anything is impossible. It will just make me try harder.

1. There is no #6. Duh.
   
2. Oh. It says my age up there because I follow the rules, but I refuse to grow up. Adulthood only when necessary. Don't listen to muggles.
   
3. Interrupting cow. Moo!
   
4. You: I don't have a whole lot of expectations. Just be honest, don't fake it, don't be a bot, and be who you say you are. I seek permanence in a world that is too often sadly and profoundly temporary. So please, if you contact me, be prepared to stay. One more thing: As I alluded to above, please know and understand that making this post is a big, brave step for me, and be patient and nonjudgmental as we figure out the ropes. Affirm that with me, and you'll have my word on the same. I will most likely need your reassurance that I'm not messing up. I'm prepared to give that to you right back.
   
5. What did the farmer say when he lost his tractor?
   

"Where's my tractor?' Bahahaha.
10a. There's a fine art to laughing at your own joke. Nothing better than giggling together. That's a form of affirmation.

1. If you're still reading this, thank you. If you think our minds would connect, please tell me your favorite word in the unabridged dictionary, that you can think of without googling. Honors system applies here. Mine is "defenestration".

11a. Please also tell me your opinion on the Oxford comma. This isn't a dealbreaker, but depending on your answer, I may try to help you change, revise, and amend your ways. See what I did there? Hehe.

1. That's the end of my humble list. Roll for initiative?

Hello!
I am a teacher. I was teaching my grade 4s today about the "interruption comma" - for example, when a pair of commas is used like the ones in the sentence below:
"Taylor Swift, a musician many kids love, is playing a concert near me."
As I was asking them to edit an example sentence, I had a kid tell me that the sentence didn't require any commas, much less the "interruption commas". He really dug his heels in, and asked me to find a way to prove it needs any commas. Here is the sentence he was disputing:
"The kids who stayed up too late playing video games were exhausted during first period."
Here's how I propose you place the commas:
"The kids, who stayed up too late playing video games, were exhausted during first period."
Who is right? Does it need commas? If so, why? And if not, also, why? I have tried using some grammar bots, grammery and word to edit it and the sentences is not being flagged as needing commas, so maybe my student is right after all!
I'm okay with kids questioning me. Even as a teacher, sometimes I'm wrong. I've asked quite a few people now and I'm getting different answers. Now I just want to understand for my own learning & growth!
Thanks for your insight!

I did not write this, I found it from a Google search a few years ago-
Rules to Format Dialogue

1. Enclose the spoken words with double quotation marks.

“I love it when that happens.”

1. Dialogue tags (the he asked/she said portions) stay outside the quotes and get separated by a comma.

Sam said, “I’ll never do that again.”
“Don’t be a sissy,” said Bill. “Let’s get back in line and ride this beast again.”
Note: When dialogue ends in a question or exclamation mark, tags that follow start in lower case.
“What’s new?” she asked.

1. Actions that occur before or after the dialogue go in a separate sentence. For example, If Cindi screamed and then spoke, you write it this way:

Cindi screamed. “Oh my God!”
On the other hand, if Cindi screamed out the words, use a comma instead of a period (so that it’s all part of the same sentence).
Cindi screamed, “Oh my God!”

1. Punctuation goes inside the quotes.

Mary covered her mouth. “Oh no!” She looked like she had seen a vampire. “Did you see that?”
Note: If the dialogue ends with an ellipsis, do not add a comma or any other punctuation.
She stared at the dark horizon. “I guess you’ll go back to running your company and I will…” her voice drifted off.

1. If you have to quote something within the dialogue, use single quotation marks. (Brits reverse the use of double and single quotes.)

Bill laughed and pointed at him. “When that ghost jumped out and said, ‘Boo!’ you screamed like a little girl.”

1. Start a new paragraph every time you change speakers. If the speaker performs actions linked to the dialogue, keep everything in the same paragraph. Why? Readers easily lose track of which character is speaking. A new paragraph helps readers by signaling a change. Note: Indent the first line of these paragraphs, just like all other paragraphs.

“Did he hit you?” Deanna asked, looking at the cut and bruises on Laura’s face.
“No. I hurt myself.” Her brain scrambled to invent a story. “I, umm, fell.”
“That bastard!”
“No. You don’t understand. It was my fault.”
Deanna pointed her finger at Laura. “Battered women always say that.” She shook her head. “Please come with me. I don’t think you should be here when he comes back.”

1. If an action interrupts a sentence in the dialogue, use lower case on the first letter of the second fragment.

“I know,” he lowered his voice to a whisper, “what you said.”

1. If the same speaker talks long enough to require a new paragraph, place opening quotation marks at the beginning of each paragraph. However, closing quotation marks are placed only at the end of the final paragraph.

Tom explained the details. “The thread is a remarkable silk-wool blend, a new fabric named Allurotique. Some people compare it to the most expensive commercially available silk, Pashmina Silk; but that comparison is off base. Pashmina silk is made by weaving wool from pashmina goats with a silk produced by worms that eat only mulberry leaves.
“Allurotique is blended, not woven. And it’s made from the most expensive silk and an exotic wool spun into a fabric with extraordinary qualities.
“The silk in Allurotique is muga silk, which has a natural shimmering gold color. It absorbs water better than other silks, making it more comfortable to wear. It’s has a number of other nifty features: it’s more durable than other silks, it’s almost impossible to stain and it gets shinier with wear.
“The wool in Allurotique is harvested from vicuñas, a South American animal related to llamas. Vicuña wool is softer, lighter and warmer than any other wool in the world. Since the animals can only be sheared once every three years, it’s rare and outlandishly expensive.”
Summary
Follow these examples and you will soon format dialogue like a pro. Be sure to bookmark this page so you can find it fast.

[SOLVED]
If you need context for the project i can explain what im trying to do, it uses a named pipe, two, to communicate bidirectionally, I got it to work once, a child process that doesnt die when the parent dies but now it dies when the parent dies and i dont understand why
PASTBIN: https://pastebin.com/2fUn8azF
package main import ( "bufio" "fmt" "io" "io/ioutil" "os" "os/signal" "path/filepath" "strings" "syscall" "log" "time" //"syscall" "os/exec" "strconv" "encoding/json" "golang.org/x/sys/unix" "github.com/fsnotify/fsnotify" "github.com/go-git/go-git/v5" "github.com/go-git/go-git/v5/config" ) var gitDirectory = "/home/spiderunderurbed/.config/nixos-git-deploy/" var watchedFiles = make(map[string]bool) type Config struct { UserAllowed string \json:"UserAllowed"`FirstTime string `json:"FirstTime"`}// type Settings struct {// UserAllowed: "n",// firstTi// }// Function to modify the file within the Git repositoryfunc modifyFile(filename string) error {// Splits the filename by '/' to get all elements in a pathparts := strings.Split(filename, "/")// Once you split it, you can find the ACTUAL filenamefileName := parts[len(parts)-1]// Gets the absolute path of the coorosponding git filegitFilePath := filepath.Join(gitDirectory, fileName)// Read the content of the original filecontent, err := ioutil.ReadFile(filename)if err != nil {return err}// TODO: See if go lets you append the newly added content to the file instead of overriting the whole thing with itself?modifiedContent := string(content)// Write the modified contents back to the file in the Git directoryif err := ioutil.WriteFile(gitFilePath, []byte(modifiedContent), 0644); err != nil {return err}// Open the Git repositoryr, err := git.PlainOpen(gitDirectory)if err != nil {return err}// Get the worktreeworktree, err := r.Worktree()if err != nil {return err}// Add the modified file to the Git staging areaif _, err := worktree.Add(fileName); err != nil {return err}//fmt.Printf("File %s has been successfully modified in the Git repository\n", fileName)return nil}// Function to add files to Git repositoryfunc addFilesToGit(files []string, r *git.Repository) error {worktree, err := r.Worktree()if err != nil {return err}for , file := range files {// Check if the file existsif , err := os.Stat(file); os.IsNotExist(err) {fmt.Println("File does not exist:", file)continue}// Determine the filename without the pathfileName := filepath.Base(file)// Destination path in the Git directorydestination := filepath.Join(gitDirectory, fileName)// Copy the file to the Git directoryif err := copyFile(file, destination); err != nil {return err}// Add the file to the Git repository, err := worktree.Add(fileName)if err != nil {return err}}return nil}// Function to watch for file changesfunc watchChanges(filename string) {// Check if the file is already being watchedif , ok := watchedFiles[filename]; ok {fmt.Printf("File %s is already being watched\n", filename)return}// Create a new watcherwatcher, err := fsnotify.NewWatcher()if err != nil {fmt.Printf("Error creating watcher for file %s: %v\n", filename, err)return}defer watcher.Close()// Add the file to the watchererr = watcher.Add(filename)if err != nil {fmt.Printf("Error adding file %s to watcher: %v\n", filename, err)return}watchedFiles[filename] = true// Start watching for eventsfmt.Printf("Watching for changes in file: %s\n", filename)for {select {case event, ok := <-watcher.Events:if !ok {return}if event.Op&fsnotify.Write == fsnotify.Write {//fmt.Printf("File %s has been modified\n", filename)err := modifyFile(filename)if err != nil {fmt.Println("ERROR:", err)}}case err, ok := <-watcher.Errors:if !ok {return}fmt.Printf("Error watching file %s: %v\n", filename, err)}}}// Function to copy a filefunc copyFile(src, dest string) error {sourceFile, err := os.Open(src)if err != nil {return err}defer sourceFile.Close()destinationFile, err := os.Create(dest)if err != nil {return err}defer destinationFile.Close(), err = io.Copy(destinationFile, sourceFile)if err != nil {return err}return nil}func keepAlive(f \os.File, origin string) {i := 0for {// Write string to the named pipe file., err := f.WriteString(fmt.Sprintf("%s: test write times: %d\n", origin, i))if err != nil {fmt.Printf("Error writing to file: %v\n", err)return}i++time.Sleep(time.Second)}}func runChildProcess() {unix.Setpgid(0, 0)//var stdout bytes.Buffe/ Function to be executed in child processmessages := make(chan string, 10000)//f := writer("detach.log", "child")// fmt.Println("TEST")go Reader("recede.log", "child", messages)go writer("detach.log", "child", messages)//for {}c := make(chan os.Signal, 1)signal.Notify(c, os.Interrupt, syscall.SIGTERM)<-c//keepAlive(f, "parent")fmt.Println("Running in child process")// Sleep for 100 seconds//time.Sleep(100 \ time.Second)}func processChildArgs(args []string, messages chan string){//fmt.Println("child: " + strings.Join(args, " "))//fmt.Println(args)//messages <- "test"}func processParentArgs(args []string, messages chan string){//fmt.Println("parent: " + strings.Join(args, " "))if (args[0] == "watch"){messages <- "responding " + args[1]//fmt.Println("+"+args[1]+"+")go watchChanges(args[1])}//fmt.Println(args)//messages <- "test"}func Reader(pipeFile string, origin string, messages chan string) {// Open the named pipe for readingpipe, err := os.Open(pipeFile)if os.IsNotExist(err) {log.Fatalf("Named pipe '%s' does not exist", pipeFile)} else if os.IsPermission(err) {log.Fatalf("Insufficient permissions to read named pipe '%s': %s", pipeFile, err)} else if err != nil {log.Fatalf("Error while opening named pipe '%s': %s", pipeFile, err)}defer pipe.Close()// Infinite loop for reading from the named pipe//messages <- "We received"for {// Read from the named pipedata := make([]byte, 1024) // Read buffer sizen, err := pipe.Read(data)if err != nil {log.Fatalf("Error reading from named pipe '%s': %s", pipeFile, err)}input := strings.TrimSpace(string(data[:n]))args := strings.Split(input, " ")//fmt.Println(args[0])if (args[0] == "child:"){args = args[1:]//fmt.Println("child message" + args[0])processChildArgs(args, messages)} else if (args[0] == "parent:"){args = args[1:]//fmt.Println("parent message" + args[0])processParentArgs(args, messages)}//#fmt.Println("data " + string(data[:n]))// Process the read data//processData(data[:n], origin, messages)}}func writer(pipeFile string, origin string, messages chan string) *os.File {// Open the filef, err := os.OpenFile(pipeFile, os.O_RDWRos.O_CREATEos.O_APPEND, 0777)if err != nil {fmt.Printf("Error opening file: %v\n", err)return nil // Return nil if there's an error}`
// Continuously wait for messages and write them to the file for msg := range messages { //fmt.Println("TEST") //fmt.Println(msg) //fmt.Printf(fmt.Sprintf("%s: %s\n", origin, msg)) _, err := f.WriteString(fmt.Sprintf("%s: %s\n", origin, msg + "\n")) if err != nil { fmt.Printf("Error writing to file: %v\n", err) break // Break the loop if there's an error } }
// Close the file before returning f.Close()
// Return the opened file return f } func cleanup(messages chan string) { // Handle SIGINT (Ctrl+C) signal to perform cleanup before exiting c := make(chan os.Signal, 1) signal.Notify(c, os.Interrupt, syscall.SIGTERM) // Block until a signal is received <-c // Close the messages channel to stop writer goroutine close(messages) // Perform cleanup actions fmt.Println("Performing cleanup actions...") // Add your cleanup code here // Exit the program gracefully os.Exit(0) } func killProcess(pid int) error { // Find the process by its PID proc, err := os.FindProcess(pid) if err != nil { return fmt.Errorf("error finding process: %v", err) }
// Check if the process is nil if proc == nil { return fmt.Errorf("process with PID %d not found", pid) } // Send SIGTERM signal to the process err = proc.Signal(syscall.SIGTERM) if err != nil { return fmt.Errorf("error sending SIGTERM signal: %v", err) } return nil } func main() {
//Check if there are any command-line arguments if len(os.Args) > 1 && os.Args[1] == "child" { // This is the child process runChildProcess() return } reader := bufio.NewReader(os.Stdin) //type Settings struc { configFile := Config{ UserAllowed: "y", FirstTime: "y", }

 `rawConfig, err := os.Open("./config.json")` `if err != nil {` `fmt.Println("Error opening file:", err)` `return` `}` `defer rawConfig.Close()` `formattedConfig, err := ioutil.ReadAll(rawConfig)` `if err != nil {` `fmt.Println("Error reading file:", err)` `return` `}` `err = json.Unmarshal(formattedConfig, &configFile)` `if err != nil {` `fmt.Println("Error unmarshalling JSON:", err)` `return` `}` `// Reset file cursor to beginning` `_, err = rawConfig.Seek(0, 0)` `if err != nil {` `fmt.Println("Error seeking file:", err)` `return` `}` `fomated_config, err := ioutil.ReadAll(rawConfig)` `if err != nil {` `fmt.Println("Error reading file:", err)` `return` `}` `var settings Config` `err = json.Unmarshal(fomated_config, &settings)` `if err != nil {` `fmt.Println("Error unmarshalling JSON:", err)` `return` `}` `//fmt.Println(settings)` `//fmt.Print(settings)` `if (settings.FirstTime == "y"){` `// print("user not allowed")` `configFile.FirstTime = "n"` `fmt.Print(" Hello! This is nixos-git-deploy.\n If allowed, we will spawn backround processes to\n watch for file changes if allowed, and a backround\n process so that if in the event of a crash or deletion\n of the main files the file watchers will be\n deleted, are you ok with this?[Y/n] ")` `userallow, _ := reader.ReadString('\n')` `userallow = strings.TrimSpace(userallow)` `if (userallow == "n"){` `//fmt.Println("User inputted ")` `configFile.UserAllowed = "n"` `}` `jsonData, err := json.Marshal(configFile)` `//fmt.Println(jsonData)` `if err != nil {` `fmt.Println("Error with JSON:", err)` `}` `err = ioutil.WriteFile("./config.json", []byte(jsonData), 0644)` `if err != nil {` `fmt.Println("Error with file:", err)` `}` `//err = ioutil.WriteFile("./config.json", []byte(json.Unmarshal([]bytejson.Marshal(configFile))), 0644)` `} else {` `}` `if _, err := os.Stat("detach.log"); err == nil {` `//fmt.Println("Named pipe", "detach.log", "already exists.")` `} else {` `err := syscall.Mkfifo("detach.log", 0600)` `if err != nil {` `fmt.Println("Error wit pipe file:", err)` `}` `}` `if _, err := os.Stat("recede.log"); err == nil {` `//fmt.Println("Named pipe", "recede.log", "already exists.")` `} else {` `err := syscall.Mkfifo("recede.log", 0600)` `if err != nil {` `fmt.Println("Error wit pipe file:", err)` `}` `}` `fmt.Print("\n")` 

cmd := exec.Command("./nixos-git-deploy-go", "child") // cmd.SysProcAttr = &syscall.SysProcAttr{Setsid: true} // Start the child process // err := cmd.Start() // if err != nil { // fmt.Println("Error starting child process:", err) // return // } cmd.Stdout = os.Stdout err = cmd.Start() if err != nil { fmt.Println("Error starting child process:", err) return } //go killProcess(cmd.Process.Pid) if err != nil { fmt.Println("Error starting child process:", err) return } messages := make(chan string)

`go cleanup(messages)` `fmt.Println(strconv.Itoa(cmd.Process.Pid))` `go writer("recede.log", "parent", messages)` `go Reader("detach.log", "parent", messages)` `for {` `options := []string{"init", "apply", "status", "remove", "upgrade", "add-automatic", "add", "remote-init"}` `fmt.Println("What do you want to do?")` `for i, option := range options {` `fmt.Printf("%d. %s\n", i+1, option)` `}` `fmt.Print("Enter your choice (1-8): ")` `choice, _ := reader.ReadString('\n')` `choice = strings.TrimSpace(choice)` `index := -1` `fmt.Sscanf(choice, "%d", &index)` `if index < 1 index > len(options) {` `fmt.Println("Invalid choice, please try again.")` `continue` `}` `switch options[index-1] {` `case "init":` `if !ifDirectoryExists(gitDirectory + "/.git") {` 

_, err := git.PlainInit(gitDirectory, false) if err != nil { fmt.Println("Error initializing git repository:", err) continue } fmt.Println("Initialized Git repository.") fmt.Print("Enter the remote (WE ONLY SUPPORT SSH): ") remote, _ := reader.ReadString('\n') remote = strings.TrimSpace(remote) r, err := git.PlainOpen(gitDirectory) if err != nil { fmt.Println("Error opening git repository:", err) continue } _, err = r.CreateRemote(&config.RemoteConfig{ Name: "origin", URLs: []string{remote}, }) if err != nil { fmt.Println("Error adding remote:", err) } } else { fmt.Println("Git repository already initialized.") } case "remote-init": fmt.Print("Enter the remote (SSH URL): ") remote, _ := reader.ReadString('\n') remote = strings.TrimSpace(remote) r, err := git.PlainOpen(gitDirectory) if err != nil { fmt.Println("Error opening git repository:", err) continue } remoteConf := &config.RemoteConfig{ Name: "origin", URLs: []string{remote}, } err = r.DeleteRemote("origin") if err != nil { fmt.Println("Error deleting remote:", err) continue } _, err = r.CreateRemote(remoteConf) if err != nil { fmt.Println("Error adding remote:", err) } case "apply": // Add your logic for "apply" here case "remove": // Add your logic for "remove" here case "upgrade": // Add your logic for "upgrade" here case "status": // Add your logic for "status" here case "add-automatic": // Add logic for adding files fmt.Print("Enter the path of the file(s) you want to add (comma-separated): ") filesInput, _ := reader.ReadString('\n') filesInput = strings.TrimSpace(filesInput) files := strings.Split(filesInput, ",") //fmt.Println("test") if git, err := git.PlainOpen(gitDirectory); err == nil { go func() { if err := addFilesToGit(files, git); err != nil { fmt.Println("Error adding files to Git:", err) } else { fmt.Printf("Added %d file(s) to Git\n", len(files)) } }() //fmt.Println("sending") // Start file watchers for added files in separate goroutines for _, file := range files { //fmt.Println("sending message") messages <- "watch " + file //messages <- "test " + file //go watchChanges(file) //_, err := f.WriteString(fmt.Sprintf(file, "parent")) if err != nil { fmt.Println("Error sending message:", err) } //fmt.Println("finished") } } else { fmt.Println("Error opening Git repository:", err) } } } } // Function to create directory if it doesn't exist func ensureDirectoryExists(directory string) { if _, err := os.Stat(directory); os.IsNotExist(err) { os.MkdirAll(directory, 0755) } } // Function to check if directory exists func ifDirectoryExists(directory string) bool { _, err := os.Stat(directory) return !os.IsNotExist(err) }

In this scene, I introduce the main character and hopefully by the end of it, I've convinced the audience to invest in him. I tried to only reveal a little but I'm afraid it might not be enough. In an upcoming scene you would see why he is afraid of the auditorium. In another upcoming scene you would see why he wants to try so many classes.
Is it enough? And what works or doesn't work in the scene?
Here's a link to the first draft (2 pages): https://drive.google.com/file/d/18wFQKglWS5dk8y8Va4sp7AVNUdBhyQvx/view?usp=drivesdk
Here's the second draft (3 pages): https://drive.google.com/file/d/197fdSQ0GZvoafUFqjdLV-ueLiXIBMD9b/view?usp=drivesdk
If you'd rather skip downloading the PDFs, here's a rough copy and paste of both drafts:
INT. SCHOOL - DRAMA CLASSROOM - MIDDAY
MRS. SEWELL (33) snaps her fingers to get her student's attention. HURST WEAVER (12) a scrawny but handsome darkhaired boy returns from daydreaming. He's waiting in front of the teacher's desk as the other students exit into the hallway.
HURST Sorry. What did you say?
MRS. SEWELL (Baffled) I haven't said anything. You've been standing in front of my desk since the bell rang.
HURST Oh. You're right. Kelly (12) bumps into Hurst.
KELLY See ya Mrs. Sewell! Hey Hurst, better hurry if you're coming to the audition? I heard the line is crazy long.
Hurst tenses up, but manages to shake his head. Minimum eye contact. Kelly leaves, disappointed.
HURST (To the teacher) See ya.
Hurst tries to leave.
MRS. SEWELL Drama is an elective. Students go out of their way to pick it which means most of them want to participate. Except you.
HURST I always come to class.
MRS. SEWELL When's the last time you were in the auditorium? Thursdays and Fridays every week we're there, but instead you're in the nurses office or the library.
MRS. SEWELL (CONT'D) When you are in class, you don't read lines or record any of the scenes we put together.
A burst of gunfire less than a mile away interrupts them. Mrs. Sewell carefully inspects the yard through her window. A plume of smoke rises in a nearby neighborhood. Hurst joins her. Soon the gunfire stops.
MRS. SEWELL (CONT'D) Tell you what. If you try the audition today, then we can talk about the F on your report card.
HURST F?!
MRS. SEWELL We can't afford to be shy these days.
When Hurst only appears defeated, Mrs. Sewell changes tactics. She reluctantly begins typing on his computer.
MRS. SEWELL (CONT'D) Or we can find you a new class.
HURST (Energetic) Not yet!
MRS. SEWELL Finally some energy.
HURST I just want to try it a little longer. I mean I want to see if this class is something I like.
MRS. SEWELL Then why are you trying so hard to avoid it?
HURST I can't go home with an F! Can't I do some worksheets or clean up after school? More gunshots but it's farther away this time.
MRS. SEWELL Audition. Then we'll see. . .. ...
Here's the second draft: . .. ...
INT. SCHOOL - VICE PRINCIPAL'S OFFICE - MIDDAY
MR. BROWN (33) snaps his fingers to get his student's attention. HURST WEAVER (12) a scrawny but handsome dark-haired boy returns from daydreaming. He's waiting at the doorway unsure whether he can enter or not.
HURST Sorry. What did you say?
MR. BROWN (Baffled) I haven't said anything. You've been standing in my doorway since the bell rang.
HURST Mrs. Sewell sent me to see you, sir.
MR. BROWN Remind me your name again?
HURST Hurst Weaver.
Mr. Brown connects the dots. He sifts through his desk for a short stack of REPORT CARDS. Sure enough he finds one with Hurst's name on it.
The office secretary KRISTY (75) pipes in from her desk.
SECRETARY KRISTY (O.S.) It's his report card. You have to sign off on the bad ones.
MR. BROWN Thank you, Ms. Kristy.
MR. BROWN (Mumbling to himself) What's Mrs. Sewell's extension?
SECRETARY KRISTY (O.S.) You'll need Mrs. Sewell's extension if you want to reach her before she leaves.
MR. BROWN Yes, thank you. Do you-
SECRETARY KRISTY (O.S.) It's one-zero-four.
Outwardly polite, the vice principal tries to share a look with Hurst but Hurst immediately lowers his eyes. Mr. Brown dials the number on an intercom.
MR. BROWN Mrs. Sewell, this is vice principal Brown.
MRS. SEWELL Yes?
MR. BROWN Do we have the room?
MRS. SEWELL Go ahead.
Mr. Brown hands the report card to Hurst.
MR. BROWN I'm here with your student and his report card.
HURST An F?!
MR. BROWN Why is one of your students failing class?
Hurst sinks into his thoughts, no longer hearing the conversation in the room. It's just him and his report card. Until-
MR. BROWN Hurst? Hurst!
HURST Sorry.
MR. BROWN Mrs. Sewell says you're not attending the auditorium Thursdays and Fridays?
HURST I don't like the auditorium.
MR. BROWN Acting out on stage is the whole point of drama class. Is that right?
MRS. SEWELL Precisely.
SECRETARY KRISTY (O.S.) We have an auditorium for drama classes.
MR. BROWN Thank you Ms. Kristy. Why aren't you going?
HURST I want to go! It's just-
MR. BROWN You had six weeks to try. We have a number of other electives you could take.
HURST I've already tried them!
BANG! A single gunshot from a nearby neighborhood interrupts them. Rifle fire follows, but this is farther away. Mr. Brown moves to the window and looks out through the blinds, unable to see where it's coming from. He picks up his radio.
WALKIE TALKIE VOICE A Base Command, anyone have eyes on it?
WALKIE TALKIE VOICE B Patrol one. both parties are down. Fox Cross and Berry Lake Cove.
Mr. Brown sighs, leaves the window then pivots back to the conversation with Hurst. He has an idea.
MR. BROWN Mrs. Sewell, can you meet us in the auditorium after lunch?
MRS. SEWELL The state is hosting auditions for a media project this week.
Defeated, Mr. Brown pivots again.
MR. BROWN Who can audition?
MRS. SEWELL Fifth and sixth graders I believe. Oh, I see where you're going.
Mr. Brown stares at Hurst until Hurst finally looks up.
HURST What's wrong.
MR. BROWN You audition today before you leave and we'll do something about your F.
SECRETARY KRISTY (O.S.) I think the state has the auditorium for the week.
MR. BROWN It's okay Ms. Kristy.
Hurst leaves, hunched over.
SECRETARY KRISTY (O.S.) Was that a gunshot?

Stella, a girl with a name a letter away from an expanse so profound, we can only touch the surface. Seeking answers never given nor found— never shared by the stellar.
Stella, the quietly uncomfortable when you sat           as a comma, in the middle of her sentences           interrupting her moments of recollection.
Running on her sentences before she could speak, choking out the space for her to breathe.
Stella, she knows you try to penetrate the vastness behind her beryl blue eyes. but reasons you wouldn't relate. Eyes that sit symmetrically apart, above a freckled nose; a series of dots, a series of silences— marks of words never spoken.
Stella, never letting go of her double-barrel shotgun Behind her blue-eyed muzzles lies two cold steel barrels, stretching back in time to the trigger— the moment she'd found a weapon, to defend herself from the horror of being a parent at five.
Stella, collecting the weight of continued sorrows you can't sense. packing them in red shells as lead balls. Each, a tale of unspoken pain. Six stories in every shell, Two shells loaded in the breech.
Stella, firing when knuckles turn white with a hand clenching tight. Index finger, pale, pulsing, pulling. Two red shells behind blue sanctuaries explode, sending fragments of miseries dulled from time. Metal deliveries— fragments of her mind, are sent to an open sky.
Stella, silently summoning the past, so she can fire another blast to see the blood on white feathers of love. Eyeing the one who sits in the middle of her words— the one who couldn't stop to let her breathe.
I would really like some advice on how I can improve this poem, so it has a workshop tag. If needed I can explain my intent, and the reasoning behind choices I made, but for now I just want to see how it feels without context.
Any feedback positive or negative is welcome, any thoughts at all! Even if you disliked it but can't really say why, I'd like to know. Likewise with if you liked it. This is something I'm working on and I'd like to see if it's worth continuing, or dropping. Thanks :)
Feedback:
But you won't let me by u/shortamations
Poem for my love by u/Ok-Corner-6198

What new cards will see the most play in OTJ/BIG standard? Let's test our card/meta evaluation skill objectively.
Here's the game. Choose the ten cards that you think will have the most copies present in MTGO standard challenge top eights in the month of June, for a rough measure OTJ/BIG standard meta after it has time to develop. To enter, make a comment with the format shown at the bottom of this post.
At the end of June, I'll score submissions and do some analysis of overperformers/underperformers, cards we missed entirely, etc. You'll get one point for each copy of a card that shows up in a top 8 list (including sideboard).
Also: no fast lands. It's trivial that they will see lots of play. You also cannot name reprints of cards already in standard, such as Leyline Binding.
Format: You can write a longer comment, but please write "Here is my submission:" immediately before your actual entry, and place your list at the very bottom of the comment. Separate card names with a comma and a space. Surround individual card names with double brackets. I'll include my own submission at the end of this post as an example of the proper format. The order of the cards does not matter.
I will finalize the list of submissions on April 15th, before OTJ becomes available on Arena.
I reserve the right to not count entries with incorrect formatting or misspelled card names.
Here is my submission: [[Shoot the Sheriff]], [[Slickshot Showoff]], [[Aven Interrupter]], [[Duelist of the Mind]], [[Marchesa, Dealer of Death]], [[Tinybones Joins Up]], [[Spinewoods Armadillo]], [[Freestrider Lookout]], [[Hostile Investigator]], [[Harvester of Misery]]

I was a dead kid since birth/
Only screamed around mad at/
The world and mama had an alcohol problem/
So she couldn’t bother and it turned/
The house was a wreck, clouds bove’ my head/
Were I slept, everything burned, but my mama/
Told: Life goes harder, but it’s my urge,/
that you have no problems/
My father had a coma, cuz of attempted suicide/
He was rejected, so did I/
My mama gave me to adoption, cuz I was too stressful/
To keep me was not an option, what a fucking asshole/
Elected and selected, childhood was like an electric chai
Then got rejected, why should I fucking care?/
Well I found a family, that didn’t gave me to the adoption cente
They were in Tennessee, a crossing,/
it was the only damn option for me to have a/
A nice life, I’m a menace see?/
So I didn’t know what agony, would set this free/
Every day punched in the ugly belly/
Fucked up, for things I couldn’t handle, he?/
Not cocked just wanna go away, from these menaces, deem/
To kill myself, chill down I tell/
A crown just fell, deep inside the clouds/
Ma mama and ma father shouts/
It charges harder, but just don’t bothe
Be loud, the problems make ya stronge
But then it all fades away/
I just destruct myself, think of killing myself/
Filling coke, I just tell, how disturbed I felt, man/
And feel now, deep clouds coming out/
Shady, like I was back then/
Called out crazy, then end them/
Lazy, cuz I didn’t drugged myself daily/
Well I fucked myself daily/
That’s the reason, why no lady wanna help me/
I was mad at them, cuz they couldn’t save me/
Ran at an club with a knife, fucked for my life/
Went shortly out, it was so corny like I/
Was drunk and high and a dumb line of coke was involved/
She stuttered and cried, cuz I toke 9 lines, felt better than/
Life, stabbed her twice, like in a damn freak show/
She screamed loud, I punched (Shut your damn mouth!)
In this moment, it seemed out, like, fuck it’s all round/
Motherfucker’s around, I’m an Idiot/
No release like I slammed her at a bridge/
Now I stand there like this/
Damn I am pissed/
Theres no excuse mo for this, pitch/
Now the clouds are finally gone/
The Godfather, move like this Tom Sawyer, don’t bother too tight, a haunt for ya/
Gun shots right to his shoulder, a dumb farmer, cops wanna/
That I go outa my car, go mama, should a dude like me/
Who choose Ideas with no drama, should be sued by police/
See trough these seats, being tortured by low waterboarding/
Go trough his D.N.A, see him day by day/
Take way to much MDA and MDMA/
Next see me pay for coke and ecstasy/
Hennessy, it’s destiny fucking majesty/
Actually it’s the same we’re okay/
See today, I lost myself/
It’s only the damn Y.M.C.A/
Burn Churches, earn murderous curses, but you know it’s all worthless/
Wanna see me turn shirtless, go to a jerk circle or hear a god damn verse case/
Everything will turn grey and it deems, that you see me on the streets, hey/
You notice that you take cocaine and went sent raped to a slaughte
You’ve been tortured on every corner, there’s a door o
A corridor plus add a fucked up drug addict/
Fuck habits, you need to follow the white rabbit/
It seems underneath, there’s a rubbed, blood-infused carpet/
The corridor’s full of crap, rats and traps, it’s rushed/
With thug magic, clocks banging, the slaughter comes/
His shot gun and his Glocks hanging/
„You don’t need to do that!“ „But I can it“/
His daughter packs your head with a god damn canon/
His father shaves you dead, you see black, red and a violet carpet/
But you ain’t dead instead, you see them laughing at your cracked/
Abandoned scattered body parts/
Mix cyanide with white, with no license, I rewind timeless/
Classics, tired why? Ya’ll get an ass kick to the Matrix/
I remind, that I was full of panic, cuz of this madness/
By the second time, I went schizophrenic, it’s epic/
At the third time, I try a bite of magic mushrooms (fuck damn it)/
I arrive to higher minds, so I can die alright, an addict banging/
Whores, till they drive insane to dryer life, rambling through pleasuring/
Liar grounds, till they lie around and are dying out, a habit of letting/
Violence try around with kids, so it can press the average menace/
Into madness, I allow myself to introduce you to the real world/
Call me god or you all fall three blocks, I mean it seriously/
All these cops try to poorly upset me off into prison/
Listen, while I’m in the Park hanging with hot women/
You pissing cock is just jacking off to your own sibling/
While I’m bars rapping, you just shut up, that’s my god damn wisdom/
Or it goes with a lot of shots from this Winston, like this Hannibal or is it this/
Charles Manson, are you safe up in Prison with that fucked up cannibalistic Prick?/
Cars, Action, drifting in a large mansion is this Gods answer or is this/
A jaw cracking incident, motherfuckers listening/
All passion into this crime, not innocent, so why should I give a cent/
To these cop slashing niggas then, I don’t give a damn track bout them/
It’s unsetting, dip that in, try and not mention it, is it that hard?/
One shot, time stops, he’s bleeding, crawling, paranoid, android/
Call him Steven Hawking, peeling on his head, throw it at the carpet/
Now you never see him walking ever again, this wanna be Steven Hawking
This was just a little corny story, in the middle morning I gon’ tell more, don’t worry/
It was a little boring introduction to my world, ooh, why you’re screaming, my fist is bluffing/
Didn’t heard? Do I need to kick buckets or are you fucking turned? See It’s my urge that you have fun/
Rum with Tablets, it isn’t madness, motherfucking Faggots do it everywhere, I also had it/
Now you’re only a rumbling, tumbling doll of flesh, wrap, dead rape her, till her fucking breast/
Is plumping down her legs, man, I’m glad back, throw her dead visage in the packed garage/
Damn I’m dark, run over her with ma car, not sober, it’s not over, oh my god/
God’s dead, I shot in his head, with a shotgun instead of an Colt or an AK, no revenge, mam, thanks, man/
I go barehanded, fuck knife like stars of the YNC/
Thug life, I’m a masterclass rhyme MC, with a dark memory/
Death isn’t the penalty, then when, I would definitely be laying back on the street/
Put me in a mental hospital, I’m so gentle confident, back from release/
Don’t text me or speak, I preach my own peace, a piece of bones, see?/
That’s the only note I reveal, so shut off or you go packed in my lunchbox/
With overdosed hoes, this is not, where the fun stops, this is where the cum comes/
At the cocked crotch from central cee, between my mental health it’ s so empty see?/
Doin’ ecstasy, radically, LSD, Hennessy, easily it’s my penalty, later me’s sleeping/
On all the corpses I killed, on all the forces I build, on all the distortions I could break/
Doin’ my job as a taxi driver, on these messy tires, I see daily many liars/
Who try to don’t be petty bitters, but cash just blinds us, I see/
Nasty minors, who sell their body for some penny’s I’da try/
And don’t be a pessimistic writer, but this is the reality, let’s rewind us/
To the time up, I was a mindfucked, social worke
Put a potion Valium worth a million to mild children/
Then they move like stop motion, further with no distortion, building/
Them to machines, with no emotions, a sea and an ocean/
Couldn’t clean these evil distortions, easily worse abortion/
At home my mom’s there, she can’t live alone, cuz of more chromosomes/
Seeing TV, she sees me, asks: „How was it?“/
Out of it, I try to explain, she remains silent asks: „Why you complain?“/
Mom, don’t blame, day by day I’m feeling ashamed, see these people grey/
I say: „Bye, mom!“, then it all fades away, now I’m here/
In L.A, with a Taxi day by day, see these maniacs day by day/
Thinking what could it be, when I stayed the same day by day/
Put a gun onto your forehead, blow it go back, dope at/
Jennifer Lopez, a predator, but before bed, I had sex with your corpse back/
Then choke at the janitor, who stole crack, go packed with gold round my neck/
At the door, show’s back, you can’t kill me I was born dead, throw tec, so mad/
Shoot at hoes and editors, they’re so ass small like Lanniste
They’re only competitors for the smoke and predator, even the pope recognize me/
Cuz I chocked, cracked and wrapped him and then fed the poor, with bread full of wet cement/
Even the president remembers me, cuz I was attacking him daily, throw twenty babies/
Scream „Allah Akbar“ at the party, motherfucker, pop a pill then kill the police/
Then the whole NYPD in one release, fill till I bomb the whole city, (shit did it)/
Then I take the chain saw, give Hannibal Lecter a cannibal lecture, then brains fall/
All over the screen, you can scream, but it’s too kafkaesk, fuck the rest of this ass/
Sado Maso Rap, they just suck at best, what do you think, I’ve a fucked relapse?/
Yes, I had, mad, not your special guest, peer pressure down your ass/
The cloud’s dead over those, call it Heath Ledger, I beat rappers alphabetical, it’s a mean hange
It never ever seems better, but he’s at the top, screaming with real measure/
11.06 per line
Kick a bat, then choke down the slick cigarette/
Then spit it back, to you quitter ass and your Pinterest friends/
Don’t give a cent, my silhouette is picking them/
Is shitting them, is mixing Molly and/
Sips a bag crack and when they scream: „Shit, what’s that?“
Just say did I ask, kick your quitter ass back to the middle west/
Pick a guest, then I go to your nipple flesh, tickle that/
Slick a bread, then the cigarette falls to the pick up left/
Mister Bad kicks tha TEC, with a snap/
Never relapse or better be back, with bigger cash, come with me!/
Kiss ma ass, I’ma blow up like ken park, that sicko’s back/
I don’t show up, my friend calls, he’s really mad/
You greedy ass, didn’t need to kill the family/
Oh majesty, I’m a nice being man, but I can go really anxious/
Back then the TV went crazy, after the daily mass shooting in the cathedral/
But a needle fix’s it, pop the praline, what can I say, I’m just a ghost in a shell/
Between hoax and truth, there’s nowhere to tell, I’m only a small beetle/
But I can be a Star prior, my hair is on fire, Lennon, Cartney, can’t wait to retire/
Explosive Jihadist, a bit retarded, but fuck it, I’m with passion/
Fuck gravity, it’s only the inception, never give up,(Rick Astley)/
Better think of killing yourself (be big as they) in the spotlight, one mic, chilling in hotel/
From dusk till dawn, the guns are drawn, fuck the law, I got the claw/
Shot and saw, how he stutters, moans, then bust it all, over floo
A nightmare in halloween, right there’s the gasoline, burn MC’s/
Turn a sea into a blood realm, like kill bill/
Fight till we are gonna be enemies, no fantasy/
I’m the devil, nasty ecstasy, got me through it radically/
Better leave, or me’s gonna ram heavy metal/
Through your shattered knees, my system’s down/
I’d miss him now, but my fist is out, it is out/
First victim, was a pissing clown, I turned him in/
To a whipping hound, everything else was burned liquid/
With around second victim was just dripping down/
I couldn’t slit him down, what shall I do with him now, bitten out/
His wistful pounds of eyes, let’s kick a round (why?)/
Then his wrist and roundhead, do I bore you now, how?/
It’s around, a bit so loud, then I kicked him out/
Barking, starving, now you know what’s gonna happen with you now/
(Shoutout to EM), I’m to real, to pay and take a bit of tha vaccine/
But I’d keep scream for lean like rage against tha machine/
Ritalin, take the rest I’m a fiend, cold demon/
For no reason, I keep screaming, but nobody’s hearing/
Nose piercing, clean earring, a fiend fearing/
The police, but no panic, I’m Batman, with Magic Mush and Xanax/
Rapid, I slash them, choke with mo plastic than Kim Kardashian/
Tragic, like Manson, but I’m still mo bombastic, than an Afghan/
A package of crack in the back van, schizophrenic and desperate/
What’s my message at man, the message, don’t do crack, man/
An addict, slash an, panic bringer like tha clan then/
Climatic, banned and classic, like tha fuckin’ west then/
My eyes are blurred out, got that beetlebum/
Fight for my parklife, burned out, onto being busted away/
I try to write, but it turns out, after Song 2, I’m feeling numb/
Reading off the script, beat a cop, need a coffee and a TV/
They type bite, to earn loud our respect, wannabe Gotti, hehe/
Write, write, there purged sound is like mine, perplexed/
But still why, try, mock me and my CD, let’s see/
Who sells three times easily more copies after release/
Cocky, my knees bleed, but I’m taking this/
For forty of these fucked up braindead kids, who think they’re life is just a safe less miss/
Due to my wife, who is missed, this angel shit hits, locked off, dude do a mayhem, bitch/
It ain’t a risk, dude, try, got off, make a diss, then piss on this god/
Who thinks a thug can’t safe a chick, highlight this/
Boom take that risk, dawg, ask why I’d pick this shit miserable life/
Ooh, I just like this braindead shit, cuz I’m breaking this/
And everyone, anyone, so I’m taking this/
Break tha barrier, then marry a lady, ahh, don’t think I’m crazie
Go think fo yo Area 51,bury a body, in ma territorial/
I’d come, go soon to his burial with cult leaders and coke dealers/
Make, take gold Midas, Judas, go through as pope/
Toke coke then I do Jonestown, sold out, no mind reade
But a sight see ah and a Volkswagen, yo I’d go Bin Laden/
Those bros both been nodding for a week, borders release/
Keep these G’s or we make yo daughter fall asleep/
Deep cuts in my guts, need time off, bite off the Adams apple/
But God sucks, got that canon to handle, bust off/
Us nuts, fuck off, no interruption/
Destruction is the option, ends with concussion/
Busting, bend and popping, cocking again to Theseus/
We need us, thus we’d grow alone like these fetus/
Blow, no release, book the holy/
So we’d see us Mesias/
Parties, rave again on my Harley Davidson, sometimes AIDS a friend/
May call me cray again, horny, rape again, In my flight, basement again/
Inner piece, gainst’ my sinner enemies a.k.a whack MCs/
Where there best release’s a dead EP, got COPD/
Dealt, throw these weed blunts, it keeps fun, craving fo crystal/
Wes Craven nightmare, right there’s the pistol/
Baking, taking, I’m paired with missiles/
My tight mission is to befrei women with terrorism/
Parking with the BMW, see banned Gs starving in distance/
Wishing for their fantasy fiction, now in the packed alley with em/
Robbing, bombing my new edition, right blew the prisons kitchen/
Don’t be bitching, I keep reality with em/
Gunnin’ yo quarters to yo bum head, summon monsters like Lovecraft/
Come in it doesn’t cost ya, be real partners, ask god man right? Let’s spot man/
With small cottages, confident rebellion/
Call cops again, prepare gun/
I’m back from coffin, with TEC and complete London/
Snipe, pack pockets, beat strangers, caretakers/
Gotta beat these white boys, right choice like Tom MacDonald/
Dears, hear’s my voice, I choose, Zeus, Bruce, bump a vortex up/
My godlike fortress, you’re dead, nor cap, neck in the noose/
Whose the best gainst’ the soviets, get got it/
Mass monstrous, badass ain’t gains conscience/
Take, rape, no colon, go all in, fight like Parkinson, gun, come/
Dot com, none comma, bomb another summe
Brother I gotta, don’t cry momma, gon’ buy nother’/
Call me Columbine shot, ya, Osama shut up, bruh or me’s/
Choke, bite off ya neck, no respect, yo/
Don’t go yo perplexed, yo, that’s rap, yo/
Relax, go breath fresh air, so we won’t beef, that’s fair?/
Everyone hates me, stigmatize every little line/
Don’t take me serious, won’t sympathize, cuz of the bitch I’m like/
That I serve no purpose, I disturb the church and turn for the worthless/
It’s like a jerk circle, yo won’t come out, so yo won’t gon’ shout/
Your urge for the servants, blow, even if they won’t allow/
Burst their surface, beat em, go so loud, murdering, kill, till they surrende
Go stack ya, furthering, your letter to America/
They say, my music is horrific shit, what can I say, I got that politic, Tic/
It ain’t newish that this is for these false bitching kids/
Who would blew this all for pimping bitches or sniffing coke with no interest/
Thanks to bitch ass parents, who destroy the thing that, they love/
Say may sound way off topic, but what if something you enjoy/
And keeps you alive gets raid off your hands, yeah that’s bad/
Next day you can’t sleep, can’t get outta bed, think about suicide, the room is tight/
That’s fact, you release evil, even if the rules deny, lay relapse/
That’s fucked up, so I won’t shut up, till yo bastards, get the answers/
9 to 5, you won’t age, don’t be to late, I got the aggression of these motherfucking two dogs caged/
I am lined in this game, say my name, my impression is that you won’t change/
Buy and bite this chain, you don’t got too much to pay, only the pain of dudes depression, you got days/
They may be crashing, remained brains, why you fail, to leave the mansion, bro you got ways/
Get your fat ass out of this rap shit, it is not to late, it gets drastic, bro you got ways/
You ain’t god, this is not Beyonce, this is basically the worst shit, since the world trade/
Now the question is:
I raid the page from your petty rapers/
20 days later, the blood infects/
My eyes get black, plenty ways of destruction/
My stuff’s like a concussion, it keeps you quite down, my hound/
Mofucka’s dying, cuz of the street or overdose/
I’m lying, cuz these gods see me as over those/
I did Tupac, and trade, Biggie, and AIDS/
New thugs say, damn is he cray/
Fucker, Cop shooter, got numerous super stars/
In my basement, that’s that statement, you are/
Crashed in that car, where’s your face men/
Take that with humor, dawg/
Nuke a city, is it pretty, I’m patient/
I like agony, panicky screaming/
At that top of my alive lungs/
I need a shot gun, right Pun/
See these run, I clutch, my crotch/
CD’s, blunts, bleeding locked/
Please leave me, I’m done/
And than the bomb explodes/
Life goal
And I got bombs in my palms, right, broad/
I might got to crash the trade, when I fucking escalate/
Second day high school, ejaculate and I was high, ooh/
Escalade, that’s my life choose, why you try to/
Get me off, ooh, you blind you/
Ask the god, he’s just like you/
Now his head hanged off, so rewind to/
The day I wanted to be Manson, is your mind blew/
I dream of fashion and compassion, scream for a big ass mansion/
But I can’t comprehend that, there are plenty corpses under my bed/
Can’t force them to get back, I actually got no problems I’m just sad/
But everything awesome, I just need a needle and a glass/
(What’s your life goal) To become the biggest psycho/
You can’t end it, why so, get the next menace on yours wife phone/
I don’t think of hope, I’m an misanthrope/
Just shut up, when I fucking slit yo throat, oh/
(What’s with your family) Fucked travesty/
Actually fuck fame, the redroom is shinning, there’s another life here/
I just grew in time in with a father that didn’t like me/
I’m not suicidal, I just don’t got an Idea/
To what to do, me’s crying with my pills, I mean/
Drugs fucked up, kills my will to get a life, see/
But likely, it’s my psyche, think that I just unalive myself with cyanide, see?/
That’s my life goal/
Hey, remember me, I relapsed from these motherfucking Sedatives/
But back with a brand new EP, three weeks passed from the last release/
And I’m sober like a Tool track, who’s back/
Slap Winona Ryder, with a broom and/
She screams like a Duet or Duvet, (boah) I’m a wild cobra bite
Sniff air, while Coka piper, I’m no more nicer, to crack-bitches/
Had have no interest, smoke dope with imaginary friends then/
For instance with Lincoln in the cemetery, it’s back/
Cops want the pisstest, but I’d shot zig zag, cuz I’m not in that/
Instead shock Amis fussy, what do you want from me/
Money aka the devils lunch meal, the channels love me/
For the terrorists son breed, funny?/
Yeah, coming out loud like Pompeji, blow up like Chris Cornell/
In this hotel, it goes well, now down town, I’m drowned, walker it’s okay/
I take these blunts, my engaging gun to shake G’s on/
I rape for fun, I’m like K Dot, but/
I got my influence from Nine Inch Nails and Naked Lunch/
My wife is baked next to the angel dust/
I’m half awake and this bitch hurts to much like paper cuts/
I’m shaking thus, I ain’t stop, till I get bigger than the mayor got/
Yeah, the player God, make ya suck cock for a stupid spot/
The musics off, cuz drug abuse and cops are fools/
Boom it knocks with shots from the thug for the youth/
Nor the truth, I still gon’ refuse your number like a jew/
Thunder I knew, ignore the Zeus, he still needs to pay his dues, hey/
Bomber jacket, fuck the planet, that’s the new wave/
Don’t got an motherfucking plan and, just Xanax and Kool Aid/
It’s too late, Doomsday, my suit, hey, is still holy like an Afghan/
Here’s the Trash can for today/
So, first things first, I write my verse on Autopilot/
Then Burst a church, like the white clan, I got the license/
Murder purge with a tight motorcycle/
Chase Barbara Streisand, I promise, I kill ya’ll with kindness/
All remind this, I’m the best MC, you can’t get this/
The next release’s coming, it gets massive/
My tracks like Leprosy, you can’t stand, bitch/
I’m passive, right my penalty would be that I can’t rap shit/
The DEA sees me with haze, taking MDA or MDMA/
He, he, hey, while I slam beat damn fakes/
Fucker, Anthony’s over, I just smoke petty smokers/
Like Marijuana on a stoner, at the time relatively sobe
And the big three is relatively over, cuz it’s only me Big BIG/
I have PTSD and Drake has AIDS and HIV, ahh/
Remember Ex/Pornstar and I can tell X Pornstar that you ass called, ahh/
Now your son’s a sad mourner, cuz you had no prevention, but a blue pill, ahh/
Who kills your Jackson 5 hype, cuz like everyone was better at your prime, ahh/
Overshadowed by a clone of a clone, ahh/
Eyo and yes it is correct, I am a criminal
Perhaps, no cap my van is full off chemicals
But my fans are like a drop dead overdose, quite minimal
God, I guess I am back like Tom MacDonald on the subliminal
Mimic filled with circumorbital rings, because of Morphin and Gin
And I’m like Jack Kevorkians twin as you see me with often absinthe
Good Morning I’m in, moaning cuz it’s
To boring to think, how to solve my problems with binge drinking
I move demonic within the chronic Porsche like Clint Eastwood
My logic is this, I hope my life becomes a comic with this brief cook
I’m iconic, this is no feel good nor beat hook, I just wanna deal coke and beat hoes
I move Schizo due to these blows, my eyes are only beer, shows
Completely detox, me’s free blocks with three Glocks
He shots, then he’s off from beating these cops, free money shots
Mollys drop, call me god, he’s on the knock out
He drops loud, bombs blaow, he’s gone now
My eyes on the long south, pistols like Raekwon
Like I shot out missiles with Napalm, try slice permissions with fake songs
My lines gon’ pow like I go smoke crystal and haze on, fucker
Bullet proof vest, Pull it who’s back, Full sniff, do crack
Pitbulls with rabies, bitches and daisy nugget
Fuck it like Hailie and MGK, I’m dead, crazy, got it
My pockets wide with shady profit, bitch make me fuck it
I’m off kicked like bits from a daily gun click

Certainly, improving conversational skills is possible. It might take quite a bit of time and effort, but it pays off in the end. Below are some tips to help you lead conversations more smoothly.

1. Listen.

Ernest Hemingway once said, "I like to listen. I have learned a great deal from listening carefully. Most people never listen." Don't be like most people. Don't impatiently wait for your turn to speak. Sometimes, just stay silent and listen to what others have to say. If you listen carefully to others, you'll open up many new avenues of conversation that you wouldn't have thought of yourself. When someone mentions during a conversation that they went fishing last weekend, you can ask them:
- Where do you fish?
- What do you enjoy most about fishing?
- What else interests you besides fishing?
The person responding to you will delve deeper into the topic, thus giving you further cues for the conversation. You just need to listen attentively.

2. Don't ask too many questions.

If you don't talk about yourself during a conversation and only ask a lot of questions, your conversation partner may feel like they're being interrogated, and they might also think that you don't have anything interesting to say. An alternative approach is to intersperse questions with your own opinions or ideas. Continuing the conversation, you could say:
"It's great to hang out with friends and relax over the weekend. My friends and I like to grab a beer and play frisbee in the park."
"That sounds wonderful. We went out on a boat last month and tried out this new recommended bait."
This way, the conversation can flow smoothly. You can continue talking about fishing or switch to discussing favorite beers, frisbee or soccer, or any other sport that interests you.

3. Be careful not to let an awkward silence fall.

This can happen, especially when talking to someone you've recently met. A few basic topics might quickly be exhausted, and both of you might fall silent. To avoid such a situation:
- Never leave home without reading the daily newspaper. If you run out of topics, you can always start discussing the news you've read. You can also talk about trivial matters; ask about your favorite TV show, maybe the other person watches it too, or they might tell you they prefer a different one. Either way, the silence will be broken.
- You can also start complimenting the aquarium in the room, a mutual friend's outfit, or the music. You can always talk about something in your surroundings, which will allow your conversation partner to contribute as well.
- If you're feeling nervous about talking to someone new, try to remember how comfortable you feel when talking to your best friend and pretend that you're talking to them. This will help you get into a better emotional state. When you're relaxed, it'll be easier for you to have a conversation with a new acquaintance, and as a result, they'll feel more comfortable too. Such a positive approach will certainly make your conversation easier.

4. Effective Communication.

One of the most important things during a conversation is not just what you say but how you say it. The tone of your voice, the way you emphasize words, and your body language can completely change the meaning of the words you utter. There are a few things you can do to ensure your message is clear and understandable:
- Slow down. When discussing something that stirs emotions within you, it's easy to speed up and talk faster. Try to pay attention to this and slow down. This will make it easier for your conversation partner to listen to you and understand what you're saying.
- Speak loud enough to be heard. Don't be shy to speak loudly; if your conversation partner can't hear every other word you say, it's no wonder you're having trouble communicating.
- Use pauses and commas. Always insert a short pause between thoughts or sentences. This will make people listen to you more attentively and understand more from your statements.
- Work on your body language a bit. Gestures and posture can make a big difference. Read about it; delving into this topic will certainly help you lead conversations.

5. Don't Interrupt Others.

Never make the mistake of interrupting when someone is telling a story, don't interject comments into someone else's speech, don't insert your opinion before someone else finishes their statement. When your conversation partner finishes their story, you can add to their statement or express your opinion. Find a balance between speaking and listening.

6. You Don't Always Have to Be Right.

Casual conversation isn't a debate on a very important topic. You don't always have to be right, and you're not an expert in every field. So, during a conversation, don't behave as if you know everything. Instead of "winning" every conversation, just relax and enjoy the casual chat.

7. Avoid Starting Strange and Negative Topics.

If you're at a party or another gathering where you have the chance to meet new people, try to steer clear of certain topics. Don't talk about your poor health, failed relationships, awful boss, serial killers, technical details that only you understand, or other topics that could completely ruin the positive mood. Religious and political topics should also be saved for conversations with close friends.

8. Don't Be Boring.

You can't spend the whole evening talking solely about your new car. Always be prepared to abandon a topic that interests no one but yourself. To always have something to talk about, just lead an interesting life and always focus on the positives. Don't talk about your hated boss; instead, talk about your latest trip or recount some funny situations that happened on it. Another way to always have something to talk about is to take an interest in many areas of life. You don't have to be an expert, but it's worth gaining basic knowledge on various topics.

9. Engage in the Conversation.

You can't just answer asked questions with short sentences because even a very interesting topic will become boring. When your conversation partner asks you a question, tell them what you think about it and ask them for their opinion. Sometimes start the conversation yourself. At a party, don't wait for someone to approach you and start a conversation. Try to initiate the conversation first. This way, you won't be so passive.

10. Don't Be Afraid to Talk.

You may feel like you have nothing interesting to say, but still, give it a try. Listen to what others have to say to you and ask them questions about the topic they're talking about. Keep your eyes open, and maybe you'll notice something interesting in your surroundings and be able to talk about it. Approach it calmly. You don't have to force yourself, but think carefully and relax; each subsequent attempt to start a conversation will be easier than the last.

I am looking at comma rules, and came across this:

When an expression interrupts a quote, place a comma before closing quotation marks and before the beginning quotation marks of the conclusion quote.
Ex: “I’m not a fan of the extended say learning opportunities,” was the reply, “I prefer to let my students act like kids at the end of the day.”

I've been reading stuff in English for 20+ years and somehow never noticed the commas. Is this as straightforward to use as shown in the example or is there anything else I need to know? I'm having issues with Googling it.
For example if I have the below sentence, do I keep the comma after reply or do I replace it with a period?
“Not a fan of this!” was the reply, “I prefer to let my students act like kids at the end of the day.”
Also is there a difference between British and American English or do they follow the same rule?
Final question, I am re-reading the article and confused about the comma use in the below sentence. Why not use a period or an exclamation mark after dinner?
“I’ll be back before dinner,” Harriet yelled up the stairs to her mother.

Comma button doesn't work for some reason so bare with me I have been playing ark fine without crashes for a while but all of a sudden now I'm getting these crashes every five minutes or so and its driving me nuts trying to sort it out
Fatal error: [File:C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Util.cpp] [Line: 873]
CurrentQueue.Fence.D3DFence->GetCompletedValue() failed
at C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Submission.cpp:939
with error DXGI_ERROR_DEVICE_REMOVED with Reason: DXGI_ERROR_DEVICE_HUNG
Unhandled Exception: 0x00008000
CL: 497632
0x00007ffe92515b0c KERNELBASE.dll!UnknownFunction []
0x00007ff753052bde ArkAscended.exe!ReportGPUCrash() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Windows\WindowsPlatformCrashContext.cpp:1822]
0x00007ff75304e3dc ArkAscended.exe!FWindowsErrorOutputDevice::Serialize() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Windows\WindowsErrorOutputDevice.cpp:79]
0x00007ff752ff7ca0 ArkAscended.exe!FOutputDevice::LogfImpl() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Misc\OutputDevice.cpp:70]
0x00007ff752f919c9 ArkAscended.exe!UE::Logging::Private::BasicFatalLog() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Logging\StructuredLog.cpp:1020]
0x00007ff75369bb22 ArkAscended.exe!D3D12RHI::VerifyD3D12Result() [C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Util.cpp:873]
0x00007ff753687b2e ArkAscended.exe!::operator()() [C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Submission.cpp:943]
0x00007ff753677dd9 ArkAscended.exe!FD3D12DynamicRHI::ForEachQueue() [C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12RHIPrivate.h:385]
0x00007ff753687a30 ArkAscended.exe!FD3D12DynamicRHI::ProcessInterruptQueue() [C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Submission.cpp:1093]
0x00007ff753684bdf ArkAscended.exe!FD3D12Thread::Run() [C:\j\workspace\RelA\Engine\Source\Runtime\D3D12RHI\Private\D3D12Submission.cpp:83]
0x00007ff75306d496 ArkAscended.exe!FRunnableThreadWin::Run() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Windows\WindowsRunnableThread.cpp:149]
0x00007ff75306d28f ArkAscended.exe!FRunnableThreadWin::GuardedRun() [C:\j\workspace\RelA\Engine\Source\Runtime\Core\Private\Windows\WindowsRunnableThread.cpp:79]
0x00007ffe931b257d KERNEL32.DLL!UnknownFunction []
0x00007ffe94b6aa58 ntdll.dll!UnknownFunction []

This right here. The kids who “don’t care”
Must be nice. Must be fucking nice sea turtle. I hope you’re out there being better than everyone because of your extra worksheets.
I bet you look down on us. I bet you don’t even own overalls.
You’re not gifted at all. C-TURTLE.

using System.IO;
using OfficeOpenXml;
using OfficeOpenXml.ExcelPackage;
using OfficeOpenXml.ExcelRange;
class CNT_AccessCard extends RunBaseBatch
{
Filename ItemFileName;
Filename filename;
DialogField dialogFilename;
System.IO.Stream stream;
FileUploadTemporaryStorageResult fileUploadResult;
OfficeOpenXml.ExcelRange range;
CommaTextStreamIo commaIo;
RecordInsertList rsl;
boolean newIteration;
int line,
lineimported,lineerror, lineskipped;
Counter loop;
FileUploadBuild dialogFileUpload;
FileUpload fileUpload;
DialogRunbase dialog;
#define.CurrentVersion(1)
#define.Version1(1)
#localmacro.CurrentList
fileName
#endmacro
void create(int iterator)
{
str EmployeeID = range.get_Item(iterator,1).Value;
CNT_AccessCardTable accessCardTable;
try
{
ttsbegin;
select forUpdate accessCardTable where accessCardTable.EmployeeID == EmployeeID;
if (!accessCardTable)
{
accessCardTable.clear();
}
accessCardTable.EmployeeID = range.get_Item(iterator,1).Value;
accessCardTable.EmployeeName = range.get_Item(iterator,2).Value;
accessCardTable.TimeInside = str2Datetime((range.get_Item(iterator,3).Value),123);
accessCardTable.TimeOutside = str2Datetime((range.get_Item(iterator,4).Value),123);
accessCardTable.TotalHours = str2Int(range.get_Item(iterator,5).Value);
accessCardTable.Phone = range.get_Item(iterator,6).Value;
accessCardTable.Email = range.get_Item(iterator,7).Value;
if (!accessCardTable)
{
accessCardTable.insert();
}
else
{
accessCardTable.update();
}
lineimported ++;
ttscommit;
}
catch
{
lineerror ++;
ttsAbort;
}
}
void import()
{
Container con;
CNT_AccessCardTable accessCardTable;
;
setPrefix("Import master data");
if (this.openFile())
{
using (ExcelPackage Package = new ExcelPackage(stream))
{
int rowCount, i, endRow, startRow;
Package.Load(stream);
ExcelWorksheet worksheet = package.get_Workbook().get_Worksheets().get_Item(1);
range = worksheet.Cells;
endRow = worksheet.Dimension.End.Row;
startRow = worksheet.Dimension.Start.Row;
rowCount = endRow - startRow + 1;
try
{
for (i = 2; i<= rowCount; i++)
{
setPrefix(strFmt("Line %1", i));
this.create(i);
}
}
catch
{
throw error("Error - Import template");
}
}
}
info(strfmt("%1 record(s) imported", lineimported));
info(strfmt("%1 record(s) fail", lineerror));
}
boolean openFile()
{
boolean ret = false;
if (fileUploadResult != null && fileUploadResult.getUploadStatus())
{
stream = fileUploadResult.openResult();
ret = true;
}
else
{
throw error(strfmt("Error",filename));
}
return ret;
}
public Object dialog()
{
dialog = super();
DialogGroup dialogGroup = dialog.addGroup('Upload file');
FormBuildControl formBuildControl = dialog.formBuildDesign().control(dialogGroup.name());
dialogFileUpload = formBuildControl.addControlEx(classstr(FileUpload), 'FileUpload');
dialogFileUpload.style(FileUploadStyle::MinimalWithFilename);
dialogFileUpload.fileNameLabel("Access Card");
dialogFileUpload.fileTypesAccepted(".xlsx");
return dialog;
}
public void dialogPostRun(DialogRunbase _dialog)
{
fileUpload = _dialog.formRun().control(_dialog.formRun().controlId('FileUpload'));
fileUpload.notifyUploadCompleted += eventhandler(this.uploadCompleted);
this.setDialogOkButtonEnabled(_dialog, false);
}
public void uploadCompleted()
{
filename = fileUpload.fileName();
this.setDialogOkButtonEnabled(dialog, true);
fileUploadResult = fileUpload.getFileUploadResult();
fileUpload.notifyUploadCompleted -= eventhandler(this.UploadCompleted);
}
protected void setDialogOkButtonEnabled(DialogRunbase _dialog, boolean _isEnabled)
{
FormControl okButtonControl = _dialog.formRun().control(_dialog.formRun().controlId('OkButton'));
if (okButtonControl)
{
okButtonControl.enabled(_isEnabled);
}
}
public container pack()
{
return [#CurrentVersion,#CurrentList];
}
public boolean unpack(container packedClass)
{
Version version = runbase::getVersion(packedClass);
;
switch (version)
{
case #CurrentVersion:
[version,#CurrentList] = packedClass;
break;
default:
return false;
}
return true;
}
public void run()
{
this.import();
super();
}
static void main(Args _args)
{
CNT_AccessCard import;
FormRun formRun;
Args args;
;
import = new CNT_AccessCard();
if (import.prompt())
{
import.run();
}
}
public ClassDescription caption()
{
return 'Import template';
}
} Can u tell whats the issue with this code? I tried to debug and it's not reading the file after uploading it seems. Any leads would be appreciated. Thanks!

If you’re a plus member of ChatGPT there is a GPT in the store called Suno AI - V3 Lyrics that I found useful. I was interrogating it for tips about meta tags and usage and got this reply:
Here's a comprehensive list of tags and considerations for song structures recognized by Suno, which can be used to guide the creation of song lyrics:

• Tags for song structure: [Intro], [Verse], [Chorus], [Pre-Chorus], [Bridge], [Instrumental], [Solo], [Outro], [Hook], [Break], [Fade Out]
• Instrumental tags: [Guitar solo], [Piano solo], [Drum solo], [Bass solo]
• Voice tags: [Male Vocal], [Female Vocal], [Duet], [Choir]
• Specific elements: [Catchy Hook], [Emotional Bridge], [Powerful Outro], [Soft Intro], [Melodic Interlude], [Percussion Break]
• Suggestions on song creation: Techniques to create an impactful chorus, how to end a song effectively, and ways to introduce variety in the musical composition.
• Considerations for duets: Instructions on how to incorporate duet elements within the song.
• Other elements: Various other tips and considerations, including the impact of specific styles, genres, and instrumental choices on the song's structure.

These tags and notes provide a framework for creating structured and stylistically coherent song lyrics tailored for Suno's music generation platform. If you have a specific song concept or structure in mind, you can use these tags to outline the song's format, or let me know, and I can craft lyrics accordingly.
It vomited this up as well:

Let's read all the file contents to extract and list all the unique tags used for song structure

file_paths = [ "/mnt/data/song-structure-verse-chorus.md", "/mnt/data/why-cant-i-hear-my-lyrics.md", "/mnt/data/song-structure-general.md", "/mnt/data/song-structure-pre-chorus-bridge.md", "/mnt/data/how-do-i-end-the-song.md", "/mnt/data/are-duets-possible.md", "/mnt/data/song-structure-voice-tags.md", "/mnt/data/song-structure-instrumental-tags.md", "/mnt/data/song-structure-instrumental-break.md" ]
tags = []
for file_path in file_paths: with open(file_path, 'r') as file: contents = file.read() tags.extend(contents.splitlines())

Removing duplicates and sorting

unique_tags = sorted(set(tags))
unique_tags
['', '(Ahh ahh ahh)', 'A [Bass Drop] is a common feature of EDM-genre, but it makes no sense in an acoustic guitar solo.', 'A [Bluegrass Banjo Interlude] will be easier to conjure within a Country-genre song, but might not work at all within an Orchestral Symphony…. Then again, it might work if a ‘banjo’ is added to the style prompt.', 'A [Break] triggers a short pause in the melody, just a few bars where the bass and percussion play. Try a [Break] to interrupt the singing pattern.', 'A break is a few bars of the song where the lead instruments or singer go silent, and the accompanying instruments play. A [Break] can sometimes be used strategically to interrupt the current pattern.', 'A fast rap song needs more words per line than a slow ballad.', 'A hook is a repetitive phrase or instrumental. Try repeating a short line 2 – 4 times with or without the label.', 'A more aggressive method is to clear the Style and Lyric prompts completely, and prompt for an end only.', 'A pattern that works well for Continued songs is to have a verse and chorus in each clip. ', 'A singing voice is generated randomly for each song, but we can influence the voice in both the style prompt and in lyrics prompts.', 'A string of instrumental prompts seems to create conflicts, and often does nothing at all.', 'AI-generated lyrics sometimes include a pre-chorus without labeling it, causing Chirp to sing it as an awkward extra line that doesn’t fit the meter.', 'Add Duet to the Style Prompt', 'Add an [End] tag to the Lyrics Prompt.', 'Add descriptive Style Words to metatags to guide how the lyrics should be sung.', 'Adding a metatag label tells Chirp this break in the song pattern is intentional, and it should be sung as its own pattern.', 'An Outro can help to prime the song to end, and may create a loop to fade out in post edit.', 'An end tag in the lyrics may work best alone as its own clip. Clear the Style Prompt, or add ‘End’ to the style description.', 'An instrument solo is also a kind of Break:', 'An instrumental ‘break’ can replace a verse standing as its own section, or might be a short bridge in the music. These seem to work best when only one is used at a time, but adding commas inside the prompt may work. Experiment!', 'Anxiety’s building, it’s drivin’ me insane', 'Are duets possible?', 'As always, prompting an AI is not like paying someone to edit your music on Fiverr. The reliability of these tags can be influenced by the lyrics, the song cycle, and the AI just being random.', 'But if both clips fail to sing, there might be a problem with the style prompt or metatags.', 'But now I am singing…', 'Chirp can sing natively in many languages, even switching languages inside the lyrics. No special prompt is needed, the language is auto-detected.', 'Chirp decided the song needs a very long introduction, maybe longer than the clip.', 'Chirp doesn’t know how to sing this text.', 'Chirp has a strong random element to keep the songs interesting. Sometimes a clip won’t sing, even with the same prompt.', 'Chirp has received conflicting instructions and choked.', 'Chirp’s AI-generated lyrics often use 1 verse and 1 chorus per clip.', 'Clear the Style Prompt and replace it with the word ‘End’.', 'Country will often sing with a western accent', 'Cruisin’ down the streets with nowhere to go', 'Dancing in the neon lights…', 'Describe the voice', 'Driving in circles, looking for a spot', 'Duets are not reliable. The voices may swap roles, you might get 2 voices that are too similar. While it’s fun when it works, it can also soak your credits.', 'Duets sometimes happen spontaneously, and might continue as long as both voices are heard near the end of the clip before.', 'Edited to add a [Pre-chorus]', 'Emotional', 'End Tags', 'End in the Style', 'Endless Loop', 'Ethereal', 'Even when they work, they don’t always work. When they do work, it can still feel like a casino.', 'Every parking space, a mirage, a haze', 'Follow with the chorus or a new verse in the same clip to keep the voice ‘warm’. If the voice is silent for too long, Chirp may ‘forget’ how that voice should sound, and create a new voice to continue the song.', 'Gender', 'Genre', 'Get the Voice First', 'Gregorian chant', 'HOWEVER, the Suno voices will be random, and often the wrong gender. Duets are more of an exploit, definitely not a feature.', 'HipHop may default to an urban male', 'How do I end the song?', 'I want an instrumental break', 'If the song ends abruptly within the 1st clip, you might need to structure the song with lyrics and metatags.', 'Instrumental Tags', 'Interlude is a useful tag to create an instrumental section within the lyrics.', 'It can help to add a specific voice description to the Style Prompt:', 'It can help to tell Chirp to ‘wrap up’ the song in a final clip before trying to end it. Some known prompts and lyric tips:', 'It’s possible to have a song that’s just verses, when all the lyrics follow the same pattern and rhyme scheme.', 'I’m runnin’ out of gas, I’m losing all my shots', 'Jazz may feature a soulful female vocal', 'Language', 'Learn more about Voice Tags', 'Learn more about structuring a song with Metatags', 'Limitations', 'Lounge Singer', 'Lyrics are Stronger than Metatags', 'Lyrics generated by AI', 'Melismatic', 'Metatags', 'Metatags can ‘nudge’ the AI within the lyrics, but the lyric-structure, the current song pattern, and the Style Prompt, are bigger influences than the tags.', 'Metatags within the lyrics might trigger multiple voices, but the gender and consistency are not reliable:', 'Miles of cars, it’s a never-ending show', 'Musical Intro is too long', 'Narration', 'Not very reliable', 'Outro or Refrain', 'Pop vocals are often female', 'Pre-chorus and Bridge', 'Pre-chorus and bridge are for stray lyrics outside the main pattern. They build anticipation as the song transitions, and often don’t rhyme or appear to fit the meter.', 'Pre-chorus is a lead-in to a chorus. A bridge can go anywhere. It may be enough to simply set apart the lyrics with any descriptive tag:', 'Prompt examples include:', 'Prompts and style descriptions seem to work best when they are short and simple. Try fewer or simpler tags before the first vocal.', 'Refrain seems to get more ‘creative’ when wrapping up the end of the song, while Big Finish may change the melody or tempo to create a climax.', 'Resonant', 'Round and round, it’s like a crazy maze', 'See: How do I end the song?', 'Singing Style', 'Some common problems:', 'Some genres may be easier than others.', 'Some genres might to settle into a loop that doesn’t progress, or an outro that never fades out.', 'Some known style-words to try, both in the style description and as lyric prompts:', 'Song Structure', 'Song Structure Tags', 'Songs can have instrumental sections which can be prompted the same as [Verse] and [Chorus], although not always reliably.', 'Songs generate clips with endings after a full verse and chorus cycle. It can also resist ending if it has more of the cycle left to complete.', 'Spoken Word', 'Sprechgesang', 'Stay in the genre', 'Style vocals can be used as song-section metatags', 'Sultry', 'Suno doesn’t reveal details about how Chirp creates it’s voices. Some observed limitations include:', 'The Style and Lyrics prompt will influence the type of voice chosen for your song:', 'The genre is important! You may need to describe the instrument within the Style Prompt if you want to manipulate it with metatags.', 'There are other parts to a song than just the verse/chorus pattern.', 'There is a chance both of us are singing together…', 'There’s always the option to edit your song in a DAW. Trim the end of a clip, or create a manual fade-out with free audio editing software.', 'These metatags might trigger the end of the song and stop the clip:', 'These tips can help, but remember each generation is random. It’s better to pick a ‘good’ ending than to burn through credits hoping for a ‘perfect’ ending.', 'This is my line…', 'This one is notoriously unreliable. It’s probably better to describe it like an instrumental break.', 'Try adding a short vocalization before the intro prompt, or even an a cappella. Get the voice to do something (anything) before the music starts.', 'Use musical terms to influence the genre.', 'Use sparingly, if needed at all. Simple prompts allow Chirp to be more creative.', 'Verse and Chorus', 'Verse and Chorus need different syllable-per-line counts and phrasing, or they will sound similar and blur together.', 'Verses are usually rhythmic and restrained, while the chorus has more melody and energy. A chorus is usually the ‘hook’ of the song, when it repeats it makes the song feel intentional and emotional. ', 'Voice Tags', 'Voice and gender can be described within the Style/Genre Prompt, although it is not always reliable:', 'We can influence the song structure with metatags, although the ai tends to have a mind of its own and follow it’s own pattern.', 'We can try for a duet in the style prompt:', 'Why can’t I hear my lyrics?', 'Without [Verse] and [Chorus], instrumentals still have prompts that are useful for structuring the song. Some known prompts:', '[Bass Drop]', '[Beat Drop]', '[Big Finish]', '[Break]', '[Breakdown]', '[Bridge]', '[Build]', '[Catchy Hook]', '[Chorus]', '[Diva Solo]', '[End]', '[Fade Out and End]', '[Fade Out]', '[Fade to End]', '[Female Narrator]', '[Finale]', '[Fingerstyle Guitar Solo]', '[Gospel Choir]', '[Guitar solo]', '[Happy Chorus]', '[Hook]', '[Instrumental Build]', '[Instrumental Interlude]', '[Interlude]', '[Intro Bass]', '[Intro Drums]', '[Intro Guitar]', '[Intro]', '[John]', '[Mary and John]', '[Mary]', '[Melancholy]', '[Melodic Bass]', '[Melodic Flute Interlude]', '[Melodic Instrumental]', '[Melodic Interlude]', '[Outro]', '[Percussion Break]', '[Percussion Breakdown]', '[Powerpop Chorus]', '[Pre-Chorus]', '[Pre-chorus]', '[Primal Scream]', '[Rap Verse]', '[Rapped Verse]', '[Refrain]', '[Sad Verse]', '[Short Instrumental Intro]', '[Shout]', '[Syncopated Bass]', '[Verse 1]', '[Verse]', '[Whimsical]', '[instrument]', '[melodic interlude]', 'bass male vocal', 'child voices hard to prompt for (so far…)', 'duet', 'female narrator', 'few regional accents, except when associated with a genre (Reggae, Country)', 'male and female duet', 'many languages have native-accents, but not all', 'repeat an ad lib or short phrase as a hook', 'repeat the chorus twice', 'romantic duet', 'sultry male singer', 'tagging each section', 'upbeat female vocals', 'yes and no.', '✅︎ better:', '❌ Bad:']

By far, the most reliable litmus test for ADHD in my interpersonal experiences has been the use of interruptive punctuation.
Things like semicolons (;), parenthesis (), ellipses (…), dashes (-), commas, etc.
Check how you communicate with others digitally. I’d put $$$$ that your thoughts are literally being interrupted by other thoughts and it’s reflected in punctuation. It can also appear like multiple texts in a row and rapid-fire single sentences. Can also appear like multiple paragraphs (hello to all my fellow Reddit comment essay writers. I see you and I’m with you).
Does this ring true for y’all?
Obviously not foolproof (especially if you like following grammar rules and try to oblige), but in all my ND friends with ADHD, it’s 95% positive.
This is NOT medical advice it’s just a trend I’ve noticed and it makes me chuckle. It’s also how I identify who I’d like to be friends with in a new workplace hehe

The results are in for Match 3. The winner is…
Atticus whistled as he walked through the EARTHGANG campus. He had a meeting scheduled with his advisor, and fortunately that had been a fairly quick one. Though the Vasitanagarh area was once known for its foul tanneries, he couldn’t picture something so unsightly here. Some clouds were rumbling off in the distance; the aftershocks of the monsoon season, but the sun shone through the leafy boulevards, illuminating the gardens around him.
He passed a fountain, drained of water, with some of the staff of the college scratching their heads about it. He rolled his eyes. One of those two had probably won by now, but that was no longer any of his concern. He strolled around it and a patch of now-wilting lilies, continuing on his way. He heard the bells ringing; it was nearly time for his next studio session, maybe he would depict his found family heroically warding off ｢Cage The Elephant｣. But not for a little while yet.
He found himself in front of a zen garden, leisurely musing on his next piece. Maybe something to market as his next breakout hit?
“Hey.”
Atticus jerked up, spinning around, guard up as he heard a hoarse, gruff voice around him. Nobody was there.
…He looked around a bit more, then laughed to himself. There really was nobody else around. He was too stressed lately. He should take it easy—
“Hey. Down here.”
He looked down, dumbly, as one of the large rocks in the zen garden shifted, revealing the barrel of a gun.
BANG
Atticus went down, howling as he felt a bolt of pain flare through his leg. He tried to summon his Stand, but the words failed as a slight manifestation of it formed, then shattered.
“You really shouldn’t scream so much.” A cold voice said from the rock, different from the first. It lifted, revealing both Thomas and Ruby under it, emerging from a bed of sand; Thomas chugging a whole gallon of water. “You know, it only grazed you. I’ll fix it up for you: quick and clean.” Ruby continued, standing up and brandishing some bandages. “You know, it’s dangerous in high doses, but my sand can actually be a great disinfectant in low amounts.”
“That was a rea~al neat trick you pulled.” Thomas groused, kicking sand off his clothing. “I’d almost gone down entirely by the time we decided to settle our differences.”
“And after you sniped me a few times.” Ruby sniped back, putting a ripped chunk of what used to be canvas in Atticus’ mouth.
“Point is, we may have our own investigations, but why fight each other when we can just take turns asking what we need to know?”
Atticus bit down on the cloth as Ruby bandaged the wound. He looked at her grim smirk, at Thomas’ leering grin.
Where had it all gone so wrong…?

It’s a tie!? With scores of 64!

Category	Winner	Point Totals	Comments
Popularity	Thomas Anderson	24 (10+1+2) - 6 (0+1+2)	Voters overwhelmingly came out in resounding favor of Thomas!
Quality	Ruby Starling	14 (5 5 4) - 20 (6 6 8)	Reasoning
JoJolity	Ruby Starling	14 (5 5 4) - 26 (8 9 9)	Reasoning
Conduct	Tie	10-10	Nothing to report!

If you want something with a bit more bite than stylish sand surfing, how about an explosive pit fight?
Scenario: Old City — 8:27 AM
“It is as the late, great Paris Aco herself once thought…as it is, Bedtown is a place of hardship and bloodshed. It claims the lives of so many young people, people who could have been something, people…”
The man at the podium paused in his speech, taking in a long, quiet breath. He cast his eye over the audience, made mostly of people who he did not know, though some may have known of him. Then, adjusting the lapels of his crisp, black suit, Xenagoras continued.
“...Like Mr. Punchwell. Yet, though he can no longer realize his potential, I know the same is not true of Bedtown itself. Now that it has started to break free from the madwoman who murdered him, along with her gang of bloodthirsty delinquents… Bedtown can become a place where everyone feels safe, where no young lives are tragically cut short. We must continue on in Mr. Punchwell’s name, in order to make Rakinnagarh a place he could be proud of. Thank you.”
With that, Xenagoras nodded once, and left the podium.
The…slightly passionate speech seemed to be getting a mixed response. Some silently wiped their tears with cushy looking handkerchiefs, some seemed more confused than anything, and a few people seemed downright offended. Whether it was by the speech itself, or the loud snoring coming from one of the back rows, was left to be seen.
Still, there was one reaction in particular that stood out. As soon as Xenagoras approached his seat at the front of the audience, he was immediately accosted- as a stout, bearded man wrapped him up in a teary hug.
“Oh Xennnyy…” Vasant Verve sobbed into the man’s suit, “that was so beautiful…” After recovering from being crushed in the bear hug, Xenagoras squirmed slightly, with discomfort in his expression and a flush on his cheeks.
“Yes-thank you Vas- please let go of me, people are going to stare.”
Blinking, the man swiftly retracted the hug, feeling the eyes of a few bored funeral-goers shift onto the pair. While Xenagoras had initially attended alone, seemingly rather disengaged until he made his speech, Verve had suddenly shown up, keeping close to the other man, to the surprise of Xenagoras himself. He had also been crying the entire time.
“All the things you said about Bedtown… snf-” Verve continued, moving to hold the other man’s hand. “It’s so true… it’s still, and- it’s so tragic- I should- hic- I should go say something.”
“No you should not,” Xenagoras responded quickly, his voice a hushed whisper as he tightened his grip on Verve’s hand. The man turned to stare at him, damp eyes wide, before Xenagoras sighed and looked away. “I’m just…concerned about you. I know how you can get about these things… I fear it would be too taxing. Please, let’s just rest, Vas. When I spoke up there, I was speaking for the both of us,” Xenagoras smiled, giving Verve’s hand a squeeze as he gently guided him back to his seat.
“I…” Vasant swallowed, glancing over to the casket, before heaving a sigh. “Alright. Thank you, honey,” he murmured…before leaning in to kiss the man on the cheek. Xenagoras leaned back a touch, eyes flickering around the crowd, before finally accepting the affection and chancing a smile.
“You’re a good man, Xen,” Vasant concluded, giving him a warm grin.
Xenagoras just glanced back to the crowd, eyes narrowing as he observed their behavior.
“Yes, well…someone has to be.”
Sure enough, most of Cause for Concern’s members hadn’t been to many funerals.
It showed in Thomas’s attitude about the whole thing. He claimed to be the type who “didn’t mourn”, outright refusing to go until Moony complained at him hard enough, and then almost immediately fell asleep—prompting the poor girl to go into a frenzied panic in her seat, mentally debating whether it’d be worth it to wake him up or to just act like she didn’t know him.
Amelia watched the whole affair with the same stern expression she usually had. She decided not to help the poor girl out—this would surely build character, she reasoned. She glanced around at her fellow teammates. Sunset took it the worst. He was hunched over, elbows on his knees, head buried in his hands. He’d been in that same pose on the car ride here, too. Next to him, Marcus was dead silent, staring straight ahead. Moony and Kid Savage were sitting next to each other, and they’d totally bought into Xen’s phony speech, judging by the sobbing messes they’d both become.
“It was totally phoned in, right?” Chandra piped up next to her, crossing one leg over the other. “No way any of these rich fucks even knew the guy. Wonder how they even got people to show up.”
“Mmm.” The gambler nodded, leaning back in her seat. “Never been to a sham funeral before. You shouldn’t disrespect the dead. No good.” She pulled a pack of cigarettes out of her back pocket. “Smoke, Chandra?”
“...It’s a funeral, Amelia.”
She pointed her cigarette upward to a clear blue sky.
“Outdoor funeral.”
“Ah, excuse me, sorry.” A large hand clamped onto the enforcer’s shoulder. “Could you maybe not smoke here? Makes my throat act up.”
“...” Amelia exhaled, slipping the cigarette back where it came from. She turned her head to stare at the newcomer - and found someone she didn’t recognize, a toned woman covered in colorful tattoos. “And you are?”
“Oh, I should introduce myself. Minali Meteora.” Minali stuck out a hand to shake, and Amelia returned it. Chandra was far less happy to do the same. “I’m a yoga instructor,” Minali added, “Brick was a pretty frequent visitor. Figured I should pay my respects.”
“Brick did... Yoga?” Chandra raised an eyebrow. “You sure you got the right funeral?”
“Brick Punchwell, yeah? He was a natural. Said it helped to let out steam before engaging in combat.” Minali rubbed the back of her neck. “...I did have to stop him from, er, engaging mid-session a few times.” Then, with a wistful look in her eyes, she laughed. “It wasn’t appropriate for yoga class but… hah, he wasn’t the only one who needed to let out some steam. He was a good sparring partner,” she sighed, looking down at her arm, scrapes and bruises hidden amidst the inked skin. “It’s…a real shame he went out like he did. How’d you two know him?”
Amelia and Chandra glanced at each other.
“Coworkers,” they stated simultaneously.
“Coworkers, huh? He never told me where he worked.” She leaned back, staring at the podium at the front of the funeral, now occupied by a foreign-looking preacher. “...He didn’t seem like the religious type.”
Slowly, Sunset shifted out of his slump, glancing at the preacher, before staring intently at Minali.
“His religion was his punching bag.” Chandra sighed, stretching her arms above her head. “I’m gonna take some notes from old Thomas. Night.”
“Is that so...” Minali scratched her chin, pondering. “I didn’t want to say anything, but doesn’t this whole thing feel a bit off? People seem happy to throw around ‘his name’ but, he didn’t seem like the type to even want a funeral, let alone something this stuffy. We’re outdoors and I still feel smothered.”
“I’m not one to get sentimental, but,” Amelia exhaled. “He would’ve hated this. Without a doubt.”
At that moment, something snapped in Sunset City.
The young man jolted to his feet, the entire procession coming to a silent halt, all staring at him.
“Sunset, what-”
“That’s RIGHT!” He screamed, wiping tears away from his cheeks. “He would HATE this! It’s too clean! It’s too pure! I don’t even think his family paid for this! Who the fuck is this FOR!?” He pushed through the confused funeral-goers sitting next to him, marching towards the pit where Brick’s coffin hung, dangling above a cold pit of dirt and rock. “This whole thing is just a SHAM!”
Minali’s eyes widened, and she leapt into action—only to stop, realizing that the chairs around her surely meant she wouldn’t make it on time. She had to do something: if this guy did something rash, this situation could erupt! Things were tense enough as it was. Sham or not, this was a funeral, Brick’s funeral! She had to keep things calm—she couldn’t let it go up in flames like this!
“Someone!” She shouted, “Don’t let him get to the coffin!”
At that moment, a second man rose to his feet. His name was Esmond Root, and he had been in the same position for the past thirty minutes. Back straight, hands neatly in his lap, head pointed straight ahead, the only indications of him being alive being the rising and falling of his chest, and the occasional blink. He walked, calmly, into the aisle between the rows of chairs, as if he had been waiting for this moment for an eternity.
Esmond Root raised his hand.
And calmly brought it down on the back of Sunset City’s neck, knocking him out cold.
For a moment, the venue was silent.
And then everything flew into complete and immediate chaos.
It was like Esmond had dropped a match into a powderkeg. People were pushing, shoving, shouting—and in a moment of panic, somebody’s fist swung into some poor sop’s face, possibly on accident, and that chaos seemed to multiply.
Vasant and Xenagoras watched helplessly as the spirit of martial combat consumed the procession like a wildfire. For a moment, Vasant started forwards into the fray, concern and panic in his eyes—before Xenagoras grabbed him by the shoulder.
“They’re going to hurt each other-“ Vasant pleaded, before the other man just shook his head.
“So then what are you going to do, Vas?” Xenagoras questioned. “Join in on this mess? Get yourself hurt in turn?”
Vasant hesitated a moment, looking towards a sea of grieving delinquents all yelling and shoving each other.
”Please,” Xenagoras insisted, moving his hand to rest on the man’s face. “The authorities can sort this all out—I don’t want to see you hurt. Please, dear.”
Finally, the man relented, slumping his shoulders with a sigh. Xenagoras gave him a sigh of relief and a smile of gratitude, as he continued to gently pull the man away from the scene.
Then, with one last apologetic look from Vasant, the two left the mourners to their chaos.
Yet, Edmond himself was unbothered by such chaos, watching it unfold with the same monotone expression he always had—he didn’t even notice Minali stomping towards him until she was grabbing him by the shoulders and shaking him around.
”What on earth would you do that for?!” She looked like she was doing everything in her power not to burst an aorta from stress.
“I simply obeyed the command I was given.” Esmond had no visible reaction to this manhandling. “Are you dissatisfied with how I carried out your order? Please tell me what I can-”
“YES I’m dissatisfied!! It’s a funeral! Why would you do that?!”
“You told me to stop that man. I stopped him. I don’t see what I failed to perform in the given comma-”
Esmond was interrupted by a loud, aggravated groan, Minali mashing a fist into her forehead. Her brow furrowed, and she whirled around to the chairs, searching around for Amelia—who’d already gotten herself into the center of the funeral setup, narrowly avoiding the chaos around her.
“You!” Minali pointed.
“It’s Amelia!” The gambler shouted back, pushing aside a man who’d been launched onto her via punch.
“We gotta calm this down! It’s no way for a funeral to go!” The instructor turned to Esmond. “You. What’s your name?”
“Esmond Root. I will do what is asked of me.”
“Great!” She clapped her hands together, voice dripping with immeasurable stress. “With the three of us, we should be able to stop all this somehow! We’d better!”
“Stop?” The word left Amelia’s mouth before she’d realized she was saying it. Minali stared her down.
“Yeah? We’re stopping this? Immediately?”
At that moment, Amelia was visited by a memory.

Brick slammed a few more punches into an oversized bag. It creaked and groaned with every hit—it was clearly far more weighty than the average punching bag, but the man didn’t break a sweat despite that. He looked in his element.
“It’s late, you know.” Amelia had said, crossing her arms. It was at least 2 AM. The rest of the team had gone home by now.
“Hardly! I feel wide awake!” Brick’s shouts were punctuated with thick slams against hard leather. He backed away from the bag, stretching his arms above his head. “You wanna give this thing a go?”
“No thanks. I don’t punch much.”
“Aw, it ain’t about punchin’!” Brick grinned. “Just losing yourself to the movement and the impact, lettin’ all your thoughts slip away until its just you and a bag. That’s invigorating. Nothin’ like it.”
“...” Amelia raised an eyebrow. She wasn’t normally the curious type, but the man’s behavior was so baffling at times she felt like she had to ask. “Is that why you fight, then? To lose yourself?”
“Naw, it ain’t like that. You’re talking like I’m some sorta alcoholic.” He grinned, getting back into position in front of the bag. “I just love fighting. It feels good to fight. And you get to know people, too, y’know? You really get to know people. There’s nothing more satisfying then a good fight. So I figure I should fight as much as possible!”
“That’s pretty selfish, isn’t it?”
“Ain’t it nice to be selfish, though? Nothin’ better than doing what makes you happy. And besides, the way I see it...
Most people could use a good fight more than they’d think.”

Amelia looked like a woman possessed. Without a word, she summoned the pool cue of her Stand, pointing it at an extremely confused Minali.
“We ain’t stopping shit.”
“Whuh-No, wait, what’s. Huh?” Minali backed away. “No, hang on. You’re not—You’re not starting a fight right now, are you?”
“We’re fighting.”
“Oh, for the love of fuck.” Minali let out another groan that went on for at least five seconds. “Like I haven’t had enough dealing with this bullshit with that freaky, elephant thing in the South. Why is it that the second I try to actually fight my anger—and I try to help people- and be respectful- everything goes to hell!?”
Still, beneath her ribs, Minali’s heart was beating. It was a sensation she had been trying to keep down, the exhilaration of letting off steam. Brick Punchwell championed that impulse, the love of the fight, the joy of getting mad. For a while, sparring with him was her only outlet…but now, he was gone. All that steam was left trapped inside, building pressure.
Minali placed a hand on Esmond’s shoulder. “Hey. Help me out. You know how to fight?”
“I’m pretty good at fighting,” Esmond deadpanned. “Are you requesting my assistance?”
“Yeah. Sure. Fuck it. I’ll support you, just- gimme a hand.”
Amelia paused. She squinted, and exhaled. “...This isn’t very fair, is it? A two on one?”
Neither of her opponents seemed to care too much about fairness, here. That wasn’t good. Judging from their fashion sense, both of them were likely Stand users - spend enough time dealing with them and you can usually tell who’s got one from a glance. She didn’t know how good her chances were against two...
Footsteps fell upon the ground like thunder, each step a reverberating thud that seemed to seep into the ground around Amelia, beating in her ribs.
“A man... Does not suddenly cease to exist when he dies.”
A massive, towering woman loomed over the trio, cracking each knuckle individually.
“Though he has departed from our world, the memories, the thoughts and ‘ideals’ he left behind continue past his own path.”
She stroked her hair into place.
“Should we use his time of mourning to grieve that loss?”
She smirked.
“No! Because he’s dead, those ideals are no longer his own! A funeral is a celebration of life—and thus, for this moment and this moment alone, that man’s ideals have been passed on to us! What can we learn from the way he lived his life! What of his will can we carry!? How can we dedicate ourselves to the utmost celebration of a man who died doing what he loved?! The only answer is to experience that love!”
”Our only answer is to fight!”
That thunderous voice boomed into the hearts of each fighter, their eyes widening, their hearts beating in tune. The woman clamped a meaty hand on Amelia’s shoulder, eyes gleaming with resolve.
“Name’s Bonnie.”
“Amelia.” Amelia nodded. There was no need for words - the two understood their cooperation immediately. A two on two—that was the ‘path’ they would take.
Perhaps it was the burning resolve that Bonnie’s speech had induced, or perhaps it was something else entirely, but something prompted Esmond to speak up. He asked a question. His own question, fully of his own curiosity, before he could even realize his mouth had opened.
“Brick Punchwell... What was ‘that man’ like?”
Minali raised an eyebrow. She didn’t get why someone would show up to a funeral for someone they didn’t know; then again, plenty of people here certainly had done just that. “He was a big guy. Not just tall, but he had a presence, y’know? He liked to fight. Really liked to fight.”
“And why is that? I would assume combat should be saved for when it is necessary to defend yourself or others, or to achieve a goal that requires it.”
“I didn’t really get it either, but...” She smirked. “He liked to say that the only way to ‘truly’ know anybody was to fight them. That people only showed off their ‘heart’ in a completely selfish fight. If I had to guess, I’d say he could find ‘himself’ in fighting, too.”
Esmond paused.
Find... ‘Himself’?
He had recently been introduced to the concept of ‘slaying’, making oneself look fashionable in order to rise above the unfashionable and uninteresting around them. Such a thing was without a doubt useless for someone like him. But despite that, he felt a strange...Calling, to it. To ‘slay’ was a selfish act that served no one. Why did it interest him so?
Why did he feel that same draw here, staring down the heat of combat?
”Give me the order.” A flame of resolve burned in Esmond’s eyes. ”And I will fight.”
“Hah...” Minali couldn’t help but smile at that. She didn’t know this guy at all, but somehow, he felt... Unique. Something was just below the surface, here, ready to molt. Who was she to deny him assistance? “I doubt you need me to. You look like you’re raring to go, Esmond.”
Esmond did not answer her. He sunk into a judo stance, completely focused.
As if possessed by the will of another, all four of them found the words to say, without thinking of them. They simply came forth, like fists upon a bag.
”Open the game.”
Location: An outdoor funeral for Brick Punchwell. The area is 20x20 meters (with each tile being 1x1) and the ground is covered in short grass. The gray squares are steel chairs. At the top of the map is a 2 meter deep hole into which Brick’s casket is being lowered into by a pulley system.
Goal: RETIRE your opponents!
Additional Information: Here is a special map with a grid and numbers overlaid for ｢Cigarette Daydreams｣ ACT 2’s warping field.

Team	Combatant	JoJolity
Cause for Concern	Amelia Flores with Bonnie "Diamond" Wes	“Wait, did I actually punch his eyes out? I thought I just gave him two big black eyes!” The death of a friend is a time of great mourning, yes... But it would be disrespectful to let such a bright young man’s legacy be misery! Honor Brick’s memory!
Lotus Street Manifold	Esmond Root with Minali Meteora	“Drinking is bad! Don’t do it!” Neither of you entirely knew what the guy got up to, but he sure seemed pretty nice—more importantly, maybe you’ve got something to learn from the way a man like that lived. Honor Brick’s memory!

Link to Official Player Spreadsheet
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So, I'm writing what is technically Smurfs slashfic, but at this point, I'm thinking of going full E. L. James, and liberating my opus from its quaintly derivative underpinnings, so it can soar on its own.
Just one problem.
Gargamel.
Specifically, the way he interacts with Sassette. My trilogy is set right after They're Smurfing Our Song, in which Sassette's love for "Pappy Gargamel" overpowers the magic of the cursed reed pipe, temporarily transforming him into a good person. In my alternate history, Sassette remains behind, to stage an intervention, and save his soul while there's still time.
As you probably know, Sassette is Gargamel's "offspring"; a Smurfling created the same way Gargamel) created Smurfette, but using less blue clay, so she's childlike, because that's how that works. (Remember, there's no actual blood between them, and the Smurfs are technically ageless beings, capable of any level of maturity, agency, and sexual consent.)
Now, I'll admit it. I used to think unreliable narrators were just like the Oxford comma: A myth. Whenever people would yammer on about it being "my absolute favorite thing," I would think "You're just fronting an opinion to make people believe you've read all 7-10 reddish and weatherworn books on your shelf in your Twitch stream, that you haven't even noticed are all cosmetic reproductions of Sense and Sensibility."
But then it happened to me.
You might think I'm foolish for centering my story around a known, evil wizard hellbent on using the Smurfs to make gold. Or eating them. Or genociding them because of generic hate. (His motives aren't entirely clear.) But I had a very good plan!
A Small Blue Flame of Passion is my deep dive into the wizard's tortured psyche. Each volume spans 24 hours, adding up to three days of Gargamel telling his story, humorous Azrael hijinks, and passionate lovemaking. See where I'm going with this? I was aiming for a lush, sensual deconstruction of the Smurfs mythology, elevated by the literary sensibilities of Nabokov and Rothfuss. And of course, half my work is already done, because Gargamel is, spiritually at least, her "daddy."
But unlike the protagonists in those authors' works, mine is a fucking liar!
Sassette, it turns out, is a conniving little bitch. Nothing she says of history conforms to any canonical Smurflore I'm aware of, and worse: She keeps sassing Gargamel left and right, constantly interrupting him, challenging all his assumptions about the nature of evil, Second Wave Smurfetteism, and the economic ramifications of a Smurf-gold standard.
Should I just do the obvious, and replace Gargamel with someone who can handle her?
I mean, I'm mostly okay with Sassette as my MC. She's hot and she knows it, and her pouty lips make everything she says a pleasure to listen to, even when it's totally inane. But it's her inner monologue that's giving me grief, because she has all these really strong opinions that are obviously nonsense. And everything takes twice as long, as she patiently breaks those ideas down in a way Gargamel can understand. She really seems determined to change him permanently, and there's nothing she won't say or do to make it happen.
I'm worried the whole thing just plays as a thinly veiled propaganda piece about Smurfetteism, with Gargamel as a stand-in for the reader. Which is obviously no good!
Has anyone else had similar problems with unreliable narrators getting in the way of what should be a straightforward, fae historical DDLG love story set in the Smurfverse?

In an O365 environment, I have a Workbook with seven Sheets (with state names) that I have written code to allow visibility based on ENVIRON "username'. Sheet "Admin" has usernames in column A, starting in row 3, and Sheets allowed to be visible for that user listed in Column B (some users can only see one sheet, others can see multiple sheets).
I am a beginner, but have been able to make it mostly work with iterations of IfThen statements and CaseSelect, then used ChatGPT to help simplify the code (because previous interations limited the ENVIRON "username" retrieval in such a way that multiple users couldn't be editing at the same time, and I want anyone to be able to edit their Sheets whenever they want).
With the following code, I am able to see all the Sheets for my username, but others can only see the "Admin" sheet and get error "Method 'visible' of Object 'worksheet failed". I have confirmed the Sheet names match the ones listed in Column B, so I don't know what else to try. I'm wondering if maybe the ENVIRON "username" isn't IDing the users correctly? I am hoping someone can evaluate the code and offer improvements?
(Adding: As I entered the code, I see that ws.Name and ws2.Name are highlighted, does that have anything to do with my visibility problem?)

Option Explicit Private Sub Workbook_Open() Dim currentUser As String Dim adminSheet As Worksheet Dim lastRow As Long Dim i As Long ' Hide all sheets except the "Admin" sheet Dim ws As Worksheet For Each ws In ThisWorkbook.Sheets If ws.Name <> "Admin" Then ws.Visible = xlSheetVeryHidden End If Next ws ' Get the current user currentUser = Environ("USERNAME") ' Reference the Admin sheet Set adminSheet = ThisWorkbook.Sheets("Admin") ' Find the last row in column A of Admin sheet lastRow = adminSheet.Cells(adminSheet.Rows.Count, "A").End(xlUp).Row ' Loop through the usernames in column A of Admin sheet, starting from row 3 For i = 3 To lastRow If adminSheet.Cells(i, 1).Value = currentUser Then ' Get the allowed sheets for the current user from column B Dim allowedSheets As String allowedSheets = adminSheet.Cells(i, 2).Value ' Split the string by comma to get individual sheet names Dim sheetArray() As String sheetArray = Split(allowedSheets, ",") ' Loop through individual sheet names and unhide them Dim ws2 As Worksheet For Each ws2 In ThisWorkbook.Sheets ' Show all sheets for adminuser including "Admin" If currentUser = "adminuser" Then ws2.Visible = xlSheetVisible Else ' Hide all sheets not specified for the current user If Not IsInArray(ws2.Name, sheetArray) Then ws2.Visible = xlSheetHidden Else ws2.Visible = xlSheetVisible End If End If Next ws2 Exit For ' Exit loop once the current user is found End If Next i End Sub Function IsInArray(valToBeFound As Variant, arr As Variant) As Boolean Dim element As Variant For Each element In arr If valToBeFound = element Then IsInArray = True Exit Function End If Next element IsInArray = False End Function 

​

In the calm of the night A shrill cry splits the sky
For only the fortunate souls do you find love come by
My siblings and I unwelcomed by life
No love just abuses and we are left behind
Like trash they Left us behind a dumpster
Seems like our lives were already defined
The lost, the lonely, our stomachs hurt
Not by parent or guardian is confidence tempered or refined
Nobody there that could have taught us to shine
I’m cold, barely just two years old That shrill cry that splits the night, it’s mine
/
2, 4, and 5 helpless and alone in the cold
Nobody to care no stuffies to hold
All the food my sister finds is rotten and covered with mold
What kind of God sits there and stands for this
To allow curses like evil parents to persist
To be execrated, beaten and broken
As babies!
Simply because we exist
I'm Just two, I’m too small to fight back
I can’t even make a fist!
Scars to last a lifetime searching fervently
Looking forever but never finding a remedy
And the punches just kept coming I guess pain has more longevity
/
Someone call paramedics! We need help over here!
Please help these three babies Before their vitals disappear!
Was it a blessing or a curse still to this day I could not say.
Struggled breathing Our hearts barely beating
Just in time we arrived to the ICU that day
Confused we were shaking
Our fear hungry and taking
It took all respite or repose it ate it away
No security felt a part of me never left that place
Oh perilous was the cradle, it’s wounds nearly fatal.
They say on that day fate bestowed grace
We three did abide starving and cold
We ate the rotten food cover in mold.
And the pain to this day I still wear on my face
/
The bottoms not so bad the say with preeminence.
You see the only place left for you to go is up
I’m sorry, please stop right there, I must interrupt
See some people sink forever and my story is evidence
See I learned real early that love is a lie your eminence
I witnessed my adoptive parents lamenting in dissidence
All I wanted was a family, but my pain has only been tripled since
They compared me to an image of cognitive dissonance
They knew my trauma & like no pause after the comma.
Hastily again a family abandoned me
Shipped off to a boy’s home for more bullying and trauma
Adoptive issues claimed, so California would pay, the benefit financially.
Only I was older being abandoned this time, it tears me apart and breaks me substantially
/
Like listing to a sermon sitting in church pews
No sense to go on the same just continues
My story proceeds the same without any breakthroughs
On and on like a record, if you could record pain
But wait! I met a woman
I fell in love and I gave her my last name
A love so amazing and profound
But really just foolish again, before I knew it suddenly life slammed me back to the ground.
10 whole years I toiled.
I worked and I slaved, for her to be spoiled.
But today love nowhere to be found.
I'd have given her anything but instead she took away my kids.
That day my heart in misery was drowned.
My house is now empty oh I miss how they made it sound.
Thirty-five years I have suffered it continues to compound.
And this pain it has me so broken and twisted me inside.
Now cursed as a borderline from the stigma I hide.
And the few who still haven't run are my reasons not to die.
But those who don't know me only see Dr. Jackyl N’ Mr. Hyde.
My hearts one wish to you I will confide.
I wish every day that no angel had ever visited us.
And behind the dumpster that cold winter day I had died.
https://www.reddit.com/OCPoetry/s/JC1Fcptd2O
https://www.reddit.com/OCPoetry/s/KuPTEyLHYa

Hey everyone, so the title is exactly how it sounds. I watched 14 Jane Austen Movies, while listening to the Mamma Mia (2008) Soundtrack. A couple months I ago I got somewhat interested in DarkSide of the Rainbow — the popular phenomenon of syncing Pink Floyd’s Dark Side of the Moon to The Wizard of Oz (1939). I would just read up about people syncing the movie to the album and recording their favorite parts. There used to be a full length version of this on YouTube, but it has since been removed due to copyright. Anyway some point in December I was talking to a friend about this and she said Mamma Mia was the “girl version of Dark Side of the Moon.” I then had one question: Would the Mamma Mia Soundtrack sync up to Romantic Movies? And what could be more romantic than Jane Austen.
Background on me: I am a guy and in my mid-twenties. I have actually never seen a Jane Austen Adaptation. In college, I read Persuasion, but I don’t think I actually finished it. I do remember my professor showed a clip of the 2007 version. I also do not have a background in music so if I misuse a term I apologize.
Since I was woefully unprepared to judge if the movies sync up to the album, I decided I would watch each movie twice: once normally and once while listening to the soundtrack. I have included a rank of all movies based on how enjoyable it is to watch the movie while listening to the Mamma Mia Soundtrack.
I’m going to assume that all of you are at least familiar with the Mamma Mia Soundtrack, or at least the best songs: Gimme Gimme Gimme, Lay All your Love on Me, etc. I’m putting the album on repeat so I’ll listen to all 18 songs starting with Honey Honey and ending with Thank you for the Music which is about 1 hour and 10 minutes. At that point Honey Honey will play again.
[I also wanna quickly mention I did not watch the newest version of Sense and Sensibility, I meant to finish editing a Youtube Video about this before the movie premiered, but I basically taught myself to edit during this process so it has taken a while.]
With all this in mind here is the ranking (in order of worse to best):

• Northanger Abbey (2007): Movie rocks and I was extremely disappointed that it did not sync to the mamma Mia soundtrack. Unfortunately, there is not a single noteworthy moment where the music of mamma Mia syncs up to the movie.
  
• Northanger Abbey (1986): I watched this movie after watching the 2007 version and I have to say I thought this was terrible. The 2007 version accomplishes everything better than this movie. The only reason this ranks higher is when the album repeats when that child page is doing cartwheels for some reason(why?) and Honey Honey comes on while he’s mid cartwheel. I thought this was hilarious, but it is not worth watching this movie for that one moment.
  
• Love & Friendship (2016): this one also doesn’t sync up well with the album. There’s a moment where Frederica is complaining about her mom and Does Your Mother Know is playing over this scene. When All is Said and Done is playing while Lady Susan and Reginald have a fight about their relationship.
  
• Pride and Prejudice (1940): I actually really like black and white movies, so I had a blast watching this. I will say it’s funny to watch while listening to the mamma Mia soundtrack but only a couple parts are good. Namely, the second Lizzie rejects Mr. Collins Take A Chance on Me starts and plays over Jane getting rejected in a letter by Mr. Bingley. Also the movie ends with Does Your Mother Know - which is hilarious because Mr. and Mrs. Bennett are the last people on screen watching their daughters get engaged.
  
• Mansfield Park (2007): Good Movie, loved the casting as well! Not too many notable parts of this sync up. The Winner Takes it All plays while Fanny rejects Henry the first time. Take A Chance on Me plays while she continues to reject him. There’s a couple small moments that match up to beats or song transitions like Fanny takes a deep sigh of relief then Super Trouper starts - this doesn’t really have thematic significance, but its funny when these coincidences happen. Also at the end of the movie Fanny and Edmund run around the mansion and kiss while Lay All Your Love on Me is playing.
  
• Emma (1996) [Kate Beckinsale] - Mark Strong is so good in this movie. Fun fact about Emma: the age gap between George Knightley and Emma is only slightly shorter than the age gap between Donna and Sophie from Mamma Mia. I have a dream is playing when George Knightley dances with Harriet - and the line “I believe in Angels” is sung when George actually asks her. Dancing Queen ends when Harriet comes to her own decision to reject Mr. Martin. Dancing Queen is also playing when Emma insults Mrs. Bates. I found this one to be somewhat more enjoyable than the ones before it, although not that noteworthy.
  
• Emma (1996) [Gwyneth Paltrow]: I liked this movie, but it’s definitely my least favorite version of Emma. There's a couple key moments that I enjoyed. SOS is playing in the carriage ride with Emma and Elton, under this context the Pierce Brosnan verses felt a lot more one-sided and unrequited. The Winner Takes it All is playing when Harriet is telling Emma about her encountering Mr. Martin at Ford’s Fabrics. Dancing Queen comes on when Elton says he won’t dance with Harriet and the first lyrics are sung when Mr Knightley asks her to dance with him. Does Your Mother Know is playing when they finally kiss, this doesn’t work and kinda sucks. Slipping Through my fingers is playing when they tell Mr. Woodhouse they love each other and the Winner Takes it All plays over the credits.
  
• Sense & Sensibility (1995): THIS MOVIE IS SO GOOD - I CANNOT BELIEVE THAT I NEVER SEEN THIS BEFORE. Anyway, this movie and sync starts out rough with Mr. Dashwood dying while Amanda Seyfried sings Honey Honey. I will say say MONEY MONEY MONEY plays while Dashwood Jr. and Harriet Walter plot to cut his sisters out of their inheritance. There’s mostly only little moments that make this one worth the watch. When John Willoughby finds Marianne - the line “You’re so hot, teasing me” from Does Your Mother Know? is sung. The second Honey Honey starts when Mrs. Jennings excitedly tells them she’s taking them to London. Dancing Queen starts after Robert says it would be an honor to dance with Ms. Dashwood. Gimme Gimme Gimme plays when Edward meets Elinor and Lucy in London. Does Your Mother know actually plays again when Marianne walks in the rain to Willoughby’s old house. Slipping Through my Fingers plays when she is in a comma and ends the second she wakes up. When Edward arrives at the end, Take a chance on me starts when he gets to the house. Movie ends to I have a dream.
  
• Persuasion (1995) - This movie is perfect. Amanda Root is incredible. There’s a couple small, cute moments that line up with the Mamma Mia soundtrack. Movie starts out slightly rough since Honey Honey and Money 3x don’t really go with anything. Mamma Mia first plays when Wentworth is mentioned. During Dancing Queen, the line “See that Girl” matches to the camera cutting to Amanda Root lol. Slipping Through my Fingers plays while Anne listens to Louisa and Wentworth gossip about her. Guitar solo plays when she is helped into the carriage by Wentworth. Take a chance on me is playing when Louisa falls off the Sea wall. Mamma Mia will be playing when Wentworth finds Anne at the shop and when he gives her an umbrella - Dancing Queen starts with the sick ass piano chord. The lyrics “Are you the hero of my dreams” from Our Last Summer is sung when it hard cuts from Anne to Wentworth at the concerto. Lay All Your Love On Me plays when he begins to leave. Gimme Gimme Gimme is playing when Anne and Harville talk about who loves longest. Name of the Game is playing when she reads the letter. Voulez-Vous begins when Lady Russell says an apology to Anne and Wentworth movie ends with this song.
  
• Persuasion (2022) - I watched this movie before the 2007 or 1995. After watching those movies, I can honestly say there’s no need to ever watch this movie. It only syncs up better than the 1995 due to the fact that the movie is worse so the soundtrack is better than the dialogue. Money Money Money will play when the debt collectors arrive at the mansion. Mamma Mia is playing when Lady Russell and Anne talk about Wentworth. Gimme Gimme Gimme plays when she first sees Wentworth at breakfast, but the song is long and continues into the next scenes. SOS will begin after she lies and tells Louisa that she doesn’t like Wentworth. When All is Said and Done is playing when Anne and Wentworth reminisce on the beach (Also, this scene isn’t in the other movies, was this scene added to this movie?). I have a dream is playing when Louisa falls off the sea wall and hits her head, not very good. Money Money Money plays again when Henry Goulding tells Anne that he only really wants money. Gimme Gimme Gimme is playing when she talks to Harville and continues as she chases Wentworth. Name of the Game starts when they kiss, and plays through the credits.
  
• Emma (2020) - This is my favorite adaptation of Emma. I started the album when I saw the words: “Emma Woodhouse, handsome, clever and rich.” Honey Honey and Money 3x don’t sync up with anything. The Line “Just one look and I can hear a bell ring” will play the first time Emm and George Knightley see each other and also the first time they see each other after dancing together. The chorus to Gimme Gimme Gimme plays when Harriet rejects Mr. Martin. Voules-Vous ends the second Emma and Elton get in a carriage together and SOS plays the entirety of their conversation where Emma rejects him. Winner Takes it All is playing when Harriet sees Mr. Martin at Fords. When All is Said and Done and Take a Chance on Me play over a sequence where Emma and Frank are getting to know each other I thought this kinda worked. Thank You for the Music is ending as Elton refuses to dance with Harriet and HONEY HONEY is playing when Mr. Knightley rescues her from embarrassment. Lay All Your Love on Me starts right after Emma insults Mrs. Bates. The lyrics to Super Trouper start ("I was sick and tired of everything") as Emma is crying and the carriage takes her away. Name of the Game is playing when George tries to tell her how he feels. Voulez-Vous starts right after Emma gets a nosebleed and then continues as they make up. SOS is playing when they finally kiss and ends too soon so Does Your Mother Know is the last song. This was a lot of fun to watch.
  
• Pride & Prejudice (2005) - This movie has such an energy about it. I would go so far as to say the first half of this movie almost perfectly lines up with the Mamma Mia Soundtrack. I started the soundtrack during the Universal Logo as the drum plays when the words come in front of Earth. Honey Honey will play during the opening credits and while Lizzie Bennet walks and reads. The song will continue as we do a tracking shot into her home and are introduced to her sisters. Money Money Money will start when she stops at a window and listens to her parents argue. Her parents are talking about Charles Bingley and the song will play over the entire conversation about how rich Bingley and Darcy are. The song will play at the beginning of the ball and will end when Mr. Bingley, Darcy and Caroline walk in and as the crowd stops dancing. Mamma Mia will play as they walk down the crowd and the line “Just one look and I can hear a bell ring” will be sung as Darcy and Lizzie make eye contact. After Charlotte runs up to talk to Lizzie - the piano riff to Dancing Queen plays and the song will play over her talking to Darcy about dancing. Our Last Summer will play over the breakfast the Bennetts have and will continue as Rosemund Pike rides to nether field and gets sick. Lay All Your Love plays as Lizzie walks to get Jane. The Line I’ve had a few different love affairs plays while the camera is on Lydia. Gimme Gimme Gimme starts at the second when Darcy helps Lizzie into the carriage - this song continues as we meet Mr. Collins. Name of the Game is playing when we meet Mr. Wickham - the scene where Dary and him have a stand off happens during an instrumental portion of the song. Voulez-Vous will come on as Jane and lizzie are talking and the line “People Everywhere” will be sung when it cuts to the crowd at Netherfield. This song plays as Lizzie looks for Wickham and dances with Mr. Collins. The song ends as Lizzie says to Charlotte - “did I really accept a dance from Mr. Darcy” Then SOS plays and continues over the entire dance scene between them. Does Your Mother Know starts a few seconds into the tracking shot at the ball and plays over the entirety. This is unfortunately where the best parts of the movie stop syncing up with the Mamma Mia Soundtrack. - Slipping Through My Fingers plays as Collins is proposing to Lizzie. The Album ends during the Rain Scene and Honey Honey jarringly blares as Lizzie is rejecting Darcy’s proposal. This is where the synchronicity ends. When she’s staring through the peep hole and meets eye contact with Mr. Darcy Lay All Your Love on Me begins. Voulez-Vous is playing when Mr. Bingley proposes to Jane. Does Your Mother Know is playing when Darcy and Lizzie meet in a field and they confess their love to Slipping Through my Fingers. The movie ends while the Winner Takes it All is playing.
  
• Persuasion (2007) - Really enjoyed this version of persuasion not sure if I like this or 1995 better. This movie starts with Sally Hawkins running around Kellynch Hall with a clipboard doing what I assume to be inventory. Anyway this frantic movement of hers is similar to Amanda Seyfreid running around singing Honey Honey and the affect is hilarious. Money x3 will begin when they are talking about their money troubles and the song will end as Lady Russell enters Anne’s room and they talk about Wentworth to Mamma Mia. Dancing Queen is playing while she watches her family leave Kellynch and ends when she arrives at the Musgroves. Super Trouper starts when Frederick Wentworth arrives at their house for breakfast and meets Anne for the first time. Name of the Game is playing when they walk in the woods and the song wind downs it pans to Sally Hawkins listening to Louisa and Frederick talking about her. Voules-Vous is playing when the Crofts arrive and Sally Hawkins is hoisted on to the carriage during the chorus. SOS plays when she talks to Bentwick about novels and how women love longest. Does Your mother Know doesn’t sync up to anything; HOWEVER, as the song is ending we’re on the sea wall and Louisa asks Wentworth to catch her. The music ends at the perfect moment to hear her scream in terror. There’s 2 seconds of silence then Slipping Through my Fingers begins. Take a Chance on Me is playing when she gets a letter that Louisa is engaged. Thank You for the Music is playing when the Crofts visit her in Bath as they’re talking about Louisa they finally mention Louisa will marry Bentwick and Honey Honey plays. It’s as if a weight has been lifted from her shoulders and now she can be with Wentworth. Money Money Money is playing when William interrupts Anne and Wentworth reconnecting at that shop. Mamma Mia is playing when they go to the concert and the line “Here I go again” plays as it cuts to Wentworth. Our Last Summer is fading out as she runs into Harville who gives her a letter. THE SECOND SHE OPENS THE LETTER - LAY ALL YOUR LOVE ON ME starts and plays over the entire scene of her running around bath. The song fades out and the movie ends with Super Trouper. LOVED WATCHING THIS.
  
• Mansfield Park (1999) - I love this movie so much I generally think this is one my favorites now. I would also say it syncs up AMAZINGLY with the Mamma Mia Soundtrack. Because this movie is so dramatic and over the top, there’s a lot of little moments that are really enhanced by the Mamma Mia Soundtrack. If you start the soundtrack at the Third Lion’s roar of the MGM Logo (which is where you traditionally start Dark Side of the Moon for the Wizard of Oz), Honey Honey will play during most of the credits then end exactly when young Fanny Price gets in the carriage that will take her to Mansfield Park. Money Money Money will play during her carriage ride.The song will end as they get to Mansfield Park and it hard cuts to day time. Dancing Queen will play over her meeting Edmund - the final key change and crescendo of the song plays exactly as it cuts from child Fanny to Adult Frances O’Connor. When all is Said and Done will end as Fanny and Sir Thomas fight about her saying no to Henry - Take a Chance on Me plays over a montage of Sir Thomas yelling at her and then will end as she is sent home to Portsmouth. I Have a Dream and Thank you for the Music play while she is at home with Susie and then the best moment happens. As Thank You for the Music is winding down - Fanny price receives a package. The second she steps out - Honey Honey starts and the lyrics start when the kid lights the fuse to set off the fireworks from Henry. I GOT CHILLS at this moment. Mamma Mia will play when she says yes to Henry and ends when she rejects him. The song Lay All Your Love on Me ends when she walks in on Henry and Maria being intimate. Super Trouper then starts which is hilarious. The lyric “I was sick and tired of everything is sung when Maria tries to explain herself to Edmund. Gimme Gimme Gimme and Name of the Game will play while Mary tries to plan how to accept Maria and Henry back into society. The song will end as Fanny narrates the characters endings and then Voulez-Vous starts mid camera flight. As the camera pans up to the sky the song ends and SOS begins which plays while Fanny and Edmund walk to the parsonage and the credits roll.
  

I think overall the story of Persuasion matches best thematically with the album of Mamma Mia, because both Donna (played by Meryl Streep in Mamma Mia) and Anne Elliott are faced with their long lost loves returning to their lives. Mansfield Park '99 only works so well because of the drastic changes the filmmakers added from the book.
I encourage everyone to watch these movies for yourself and see if you agree with my assessments. Just know that Spotify, Apple Music, CDs, etc. all compress music at different rates so it may be slightly off by a few seconds. Also watching on streaming services could affect the play through differently than watching on DVD or blueray.
I have to say after watching all of these I am completely in love with these stories and will probably end up watching the miniseries and reading the books. Thank you for reading. I have a YouTube video where I say pretty much the same information, but it includes my reviews of the movies themselves. I also inserted some of my favorite synced moments.