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Wednesday, March 15, 2017

THE CHAD METHOD METHOD WRITING IN THE 22ND CENTURY 12/7/2016 David Xzavier Crichton

Qwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzx cvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzx cvbn mqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmrtyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm THE CHAD METHOD METHOD WRITING IN THE 22ND CENTURY 12/7/2016 David Xzavier Crichton
23PAGES PEOPLE ARABIC TYPESETTING IS THE FONT USED AND 16 IS THE FONT SIZE.TRACK ONE –WHAT IS GOING ON EVERYBODY? IT IS 5:11PM EST TUESDAY DECEMBER 6TH, 2016. MY NAME IS CHAD XZAVIER HARRIS. MY PEN NAME IS DAVID X. CRICHTON. MY STREET NAME IS CHADFILMS. THIS CD WILL GO DOWN AS THE FIRST CD OFFICIALLY CREATED WITH THE IMMEDIATE INTENTION OF RELEASING IT ON CD AND IN PAPERBACK IN GREAT NUMBERS. THIS CD TURNED BOOK IS ABOUT HOW TO WRITE A BOOK. I AM GOING TO WALK YOU THRU THAT IN ABOUT ONE HOUR. THEN I AM GOING TO TYPE UP EVERYTHING SAID IN THE HOUR AND THEN PUT THOSE TWO PROJECTS OUT IN THOSE TWO FORMATS. THE ORIGINAL FORMAT BEING AUDIO. THAT IN ITSELF IS THE OTHER HALF OF THE FORMULA. WHAT I AM GOING TO GIVE YOU IS TWENTY YEARS OF EXPERIENCE. I AM GOING TO GIVE YOU IT RIGHT HERE AND RIGHT NOW. THOSE TWENTY YEARS OF EXPERIENCE CULMINATED INTO ONE MOMENT WHERE THE CREATIVE GENIUS OF AND IN ME WAS FOREVER UNLEASHED UPON THE WORLD AND WRITER’S BLOCK BECAME A THING OF THE PAST.I CAN WRITE WHENEVER I WANT TO AS LONG AS I FEEL LIKE IT. IF I CAN NOT AUTOMATICALLY GRASP EXACTLY WHAT I AM TRYING TO SAY AND PLACE IT ON THE PAPER THE WAY I WANT TO, I EVENTUALLY GET PAST IT AFTER A FEW SECONDS OF COUNTLESS THOUGHTS. MAYBE.. AFTER MY CREATIVE GENIUS WAS FOREVER UNLEASHED UPON THE WORLD I DISCOVERED MY CREATIVE FORMULA FOR ACHIEVEMENT.MY CREATIVE GENIUS AWAKENING INSIDE OF ME AND YOU KNOW EXTERNALIZING THESE INTANGIBLE IDEAS WE HAVE HAD INSIDE OF US AND EXTERNALIZING THOSE INTO THE PHYSICAL WORLD. THIS RESULTED IN THE BIRTH OF THE FORMULA BECAUSE THIS WAS HOW THE BOOK WAS DONE. ONCE I FOUND THE FORMULA, I USED THE FORMULA TO CONTINUE WRITING MORE BOOKS. SINCE JUNE 2015 I HAVE BEEN WRITING A BOOK A MONTH, PULL OUT A CALENDAR FOR 2015 AND 2016. EVERY MONTH FROM JUNE 2015 TO 2016 HAS IT’S OWN BOOK. EVENTUALLY,, AS YOU DELVE INTO MY CREATIVE EXPANSION MANSION MAYBE, YOU WILL FIND A BUNCH OF OVERLAPPING DATES.YOU WILL FIND THERE MAY BE ONE DAY ON THE CALENDAR WHERE I RECORDED SOMETHING ON THE RECORDER I AM USING NOW AS WELL AS WROTE A BOOK. IF YOU REALLY BECOME A REAL FAN OF MY ART AND ARE IN FULL MADE ACCESSIBLE TO MY ART IN FULL, INCLUDING ALL OF THE AUDIO ACCUMULATED OVER THE PAST YEAR AND A HALF THEN YOU WILL FIND I WAS WRITING MORE THAN ONE BOOK OR RECORDING AND WRITING DIFFERENT BOOKS SIMULTANEOUSLY. THIS IS THE JOY OF HAVING ALL OF THE WORKS OF YOUR FAVORITE ARTIST. YOU GET TO LEARN I WAS WRITING THE PHONE GIRL AND CFK BACK TO BACK. THE PHONE GIRL IS A NOVEL BUT IT IS AN AUTOBIOGRAPHICAL NOVEL. BECAUSE IT IS A NOVEL BECAUSE IT IS FICTION BUT IT ACTUALLY REALLY HAPPENED TO ME. EVERYTHING IN THE PHONE GIRL BOOK IS REAL. I AM NOT ABOUT TO WRITE AN AUTOBIOGRAPHICAL NOVEL CALLED I BOUGHT A GIRL A PHONE.NAH I AM GOING TO WRITE A NOVEL CALLED THE PHONE GIRL AND THIS GIRL KNOWS SHE IS THE PHONE GIRL BECAUSE I TOLD HER SHE IS THE PHONE GIRL AND SHE JUST MADE ME RICH. SHE BROKE MY HEART AND THEN GOT PLAYED RIGHT AFTER THAT. THEN SHE WANTS TO COME BACK TO ME LIKE IT IS ALL MILK AND COOKIES; HIM DOWNSTAIRS. SO THIS IS WHERE THE BOOK CAME FROM. IT IS A PART OF THE FORMULA BECAUSE I BROKE THROUGH WRITERS BLOCK. (A DOUBLE-DOUBLE OCCURRED) A DOUBLE-DOUBLE IS WHEN YOU ARE THINKING ABOUT SOMETHING AND THEN SOMETHING WEIRD HAPPENS IN YOUR ENVIRONMENT. TRACK TWO – THE OTHER PART OF THE FORMULA, THE KEY ELEMENT IS THE CONCEPT YOU ARE WRITING ABOUT; THE SUBJECT MATTER, THE MATERIAL, WHAT ARE YOU WRITING ABOUT? THIS IS THE MOST IMPORTANT THING TO FIGURE OUT. IF YOUR ANSWER TO THE QUESTION IS NOT WHAT I AM WRITING ABOUT IS SOMETHING I FEEL DEEPLY AND HEAVILY IN MY HEART THEN YOU HAVE A GREATER CHANCE OF FAILING AT YOUR OBJECTIVE. THE OBJECTIVE OF WRITING IS TO PURPOSELY IMPART AN EMOTION UPON THE READER DESIRED FROM THE WRITING PROCESS. THIS IS JUST MY OWN DEFINITION OF CREATIVE WRITING. IF I AM GOING TO WRITE A SCARY STORY THEN MY INTENTION MUST BE TO SCARE YOU AND MUST ACCOMPLISH THE OBJECTIVE BY ACTUALLY BEING SOMETHING ACTUALLY SCARING YOU. IF IT IS OF THE HORROR VARIETY THEN IT SHOULD SCARE YOU. IF IT IS A HORROR COMEDY THEN IT SHOULD MAKE YOU LAUGH IN A SUSPENDED MANNER MAYBE.YOU MAY BE MORE OUTRAGED AT HOW PREPOSTEROUS IT MAY SEEM OR YOU MAY BE DISGUSTED AT HOW GORY IT IS BECAUSE IT IS OF A MORE SATIRICAL AND SPOOF LIKE MATTER. SHAUN OF THE DEAD MAY GET AWAY WITH A LITTLE MORE BUT AN INTENDED HORROR MOVIE MAY HAVE MORE RESTRICTIONS ON GORE. IF YOU ARE NOT WRITING ABOUT WHAT IS THE MOST BURDENING ASPECT OF YOUR EMOTIONAL COMPLEXITY THEN IN MY OPINION YOU ARE GOING TO FAIL BECAUSE YOU ARE NOT BEING REAL TO YOURSELF.THE PHONE GIRL WAS A SITUATION REALLY HAPPENING TO ME SO WHILE THE SITUATION WAS HAPPENING TO ME I WAS WRITING POEMS ABOUT IT EVERY DAY IN THE FORM OF OF THE PHONE GIRL VERSE NOVEL. NOW THE TYPE OF POEMS I WROTE IN THE FIRST FOUR PARTS OF THE PHONE GIRL SAGA ARE AVAILABLE NOW. THE PHONE GUY WILL BE THE FIRST PART OF THE PHONE GIRL SAGA. THE LONE GIRL IS PART TWO AND THE PHONE GIRL IS PART THREE BUT TAKES PLACE IN THE SAME TIME FRAME AS THE PHONE GUY. IT IS JUST OF THE OPPOSITE PERSPECTIVE. I SUGGEST YOU WRITE OTHER THE CHARACTER’S PERSPECTIVE OF CERTAIN TIME FRAMES IN EVERY PROJECT. IF YOU WAIT UNTIL YOUR BOOK IS DROPPED AND SUCCESSFUL YOUR NEWLY ACCUMULATED FAN BASE MIGHT ROB YOUR ROUGH DRAFT MATERIAL OF YOUR NEW VERSIONS. OUT OF LOVE THEY WILL LOVINGLY COPY AND PASTE THE FILE AND LEAK IT TO ALL OF THE OTHERS CRAVING YOUR NEW MATERIAL. YOU WOULD BE BETTER OFF WRITING YOUR STORIES BACK TO BACK SO YOU CAN INCORPORATE FUTURE STORIES INTO THE FUTURE STORIES AND INCORPORATE THE FUTURE STORIES INTO THE PRESENT STORY. WITHOUT BEING CONFINED BY WHAT YOU WROTE A LONG TIME AGO. FOR EXAMPLE, THE LAST BOOK I WROTE WAS THE PRINCE WHO KNEW TOO MUCH. FROM NOVEMBER 13TH TO NOVEMBER 21ST, 2016 I WAS WRITING IT AND IT WAS PUBLISHED ON THE 21ST MAKING IT THE FASTEST IDEA I HAVE EVER TURNED AROUND. IT WAS PUBLISHED ON THE DAY IT WAS FINISHED. WHAT DOES THIS MEAN? IF I PUBLISHED IT ON THE DAY I FINISHED TYPING IT THEN IT MEANS I WAS TYPING IT FROM THE BEGINNING. I DIDN’T WRITE IT AND THEN TYPE IT UP OR TYPE IT ON MY TABLET AND THEN EMAIL IT TO MYSELF BEFORE COPYING IT AND PASTING IT INTO A WORD 2003 DOCUMENT AS I WOULD HAVE NORMALLY DONE. NO, AFTER THESE TEN BOOKS I HAVE DONE I HAVE REALIZED IT WOULD BE A LOT EASIER FOR YOU IF YOU WOULD JUST FORMAT EVERYTHING FROM THE BEGINNING.YOU ARE NOT ALWAYS GOING TO BE ABLE TO USE THE SAME TOOL. THE TABLET OR THE PHONE OR THE PAPER AND PEN WILL NOT ALWAYS BE AVAILABLE. AT LEAST YOU CAN FORMAT YOUR 2003 WORD DOCUMENT IF YOU USE WWW.LULU.COM. YOU CAN ADD A BORDER AND PAGE NUMBERS, EVEN A WATERMARK OF A CONCEPTUAL KEYWORD. HOLD ON, LET ME SWITCH TRACKS. TRACK THREE – OK, YOU WANT TO MAKE SURE YOU FORMAT FROM THE BEGINNING JUST SO IT DOES NOT SEEM AS OVERWHELMING AS IT MIGHT REALLY BE. IT IS GOING TO SEEM REALLY JOYOUS WHEN YOU KNOW, ON THE SAME DAY YOU FINISH TYPING UP THE LAST CHAPTER OF THE BOOK, ALL OF THE OTHER CHAPTERS ARE DONE ALREADY AND YOU JUST HAVE TO PROOFREAD OR ORDER A COPY TO PROOFREAD. I ORDER A COPY OF MY BOOKS TO PROOFREAD. NOW I PROOFREAD ON THE BLOG IMMEDIATELY BEFORE POSTING IT FOR FREE. I USE THE BOOK TO MAKE IT EASIER TO PROOFREAD IT AND CIRCLE ERRORS AND MAKE THE CORRECTIONS TO THE FILE. ON MY ADVANCE COPIES YOU GET TO SEE MY HUMANITY. HOW MUCH IT MAY APPEAR I KNOW ABOUT WRITING I STILL AM NOT PERFECT. SEEING THE PROFESSOR’S ERRORS MAY INSTILL CONFIDENCE IN THE STUDENTS. I WILL SHOW YOU HOW TO CRANK OUT A NOVEL IN THIRTY DAYS AND EVENTUALLY BREAK IT DOWN INTO ONE TO THREE DAYS IF YOU REALLY WANT TO. I GUESS THIS IS THE SECRET TO HOW I DID IT; I REALLY WANTED TO. I AM GIVING YOU ALL THE GAME RIGHT NOW IN A BOOK AND ON CD. AFTER TWENTY YEARS OF WRITING POEMS I GIVE THIS TO YOU. I WILL BE 27 YEARS OLD AT THE END OF THIS MONTH. I WAS SEVEN WHEN I WROTE MY FIRST POEM. I WAS TWELVE WHEN I DIRECTED MY FIRST SHORT FILM IN MY BACKYARD WITH NO FILM SCRIPT OR EDITING SOFTWARE. I SHOT EVERY SCENE IN ORDER. I WAS FIFTH-TEEN LIVING IN CONYERS, GEORGIA WHEN I WROTE MY FIRST POETRY JOURNAL. BETWEEN EIGHT-TEEN AND TWENTY-ONE I HAD ACCESS TO OTHER PEOPLE’S CAMERAS WHERE I WAS ABLE TO PRACTICE MY CINEMATOGRAPHY. THEN AT TWENTY-ONE I HAD RECEIVED MY FIRST CAMERA AS AN ADULT. THANK YOU GOD AND MY MOTHER. AT TWENTY I COMMITTED TO WRITING MY OWN MOVIES AND DIRECTING THEM. THE CAMERA AT TWENTY-ONE WAS A VALENTINE’S DAY PRESENT FROM GOD AND MY MOTHER. AT TWENTY-ONE CHADFILMS MADE HIS DEBUT. THE DEBUT OF CHADFILMS WAS KEVITV. WHEN YOU TYPE IT IN YOU MIGHT HAVE SOME TROUBLE FINDING IT DUE TO THE FACT SOME GROUP OF SCOUNDRELS STOLE OUR NAME. THEY CALL IT KEVITVONE. IF YOU LOOK AT BOTH OF THE CHANNELS YOU WILL SEE SIMILARITIES IN THEIR VIEWERSHIP. THEY HAVE SOME OF THE SAME VIEWS OUR VIDEOS HAD. KEVITV WAS THE START OF CHADFILMS. IT WAS JUST ME UTILIZING MY NIECE’S ACTING POTENTIAL; SHE DIDN’T WANT TO DO THIS. SHE HAD A REAL BIG FANBASE FOR IT BUT IT IS WHAT IT IS. ALL OF THESE YEARS LATER YOU KNOW I AM ON THE VERGE OF BUILDING A REAL BIG FANBASE FOR WHAT I AM DOING IN DEEP CREATIVE SOLITUDE. KEVITV IS GOING TO MAKE A CERTIFIED COMEBACK BECAUSE I HAVE ANOTHER NIECE NAMED MALIAH AND SHE LOVES ME SO MUCH. WE HAVE A LOT OF AUDIO OF US RAPPING TOGETHER OR I MIGHT BE RECORDING A BOOK AND SHE’LL BARGE IN AND TAKE OVER. SO KEVITV IS GOING TO MAKE A COME BACK WITH THAT. AFTER KEVITV I STARTED MY OWN CHANNEL SEEXZAVIERFILMS. IT WAS INTENDED AS A PUN, TO GO SEE XZAVIER’S FILMS. YOU WANT TO MAKE SURE YOUR CONTENT IS HEARTFELT BECAUSE THAT IS HOW THE PHONE GIRL WAS. THE PHONE GIRL WAS A REAL STORY AND I WROTE ABOUT HOW I FELT ON THE SITUATION EVERY DAY. THEN THIRTY DAYS LATER I HAD THE BOOK DONE. THIS IS WHEN I REALIZED I HAD CREATED AS FORMULA FOR IT. I HAD BEEN WRITING POEMS FOR YEARS BUT WHEN I DECIDED TO WRITE SCRIPTS I TRIED TO IMMEDIATELY JUMP INTO IT WITHOUT FULLY REALIZING WHAT A SCRIPT WAS. I NOW HAVE ENOUGH PERSISTENT FAITH AND INTELLECTUAL CONFIDENCE IN MY ABILITY TO VISUALLY INTERPRET THE STORY ON PAPER. OR ANY FORMAT AT THIS POINT.AS LONG AS YOU HAVE A SUPER CLEAR VISION OF HOW YOUR SCRIPT IS GOING TO GO YOU CAN JUST CLOSE YOUR EYES AND VISUALIZE EVERY SCENE OF A SIXTY SCENE FILM. WHERE EVERY ACT CONSISTS OF JUST TWENTY PURE SCENES. ALL OF THESE YEARS I WAS ATTEMPTING TO DO A NOVEL OR A FILM SCRIPT YET COULD NEVER FINISH THEM. I BROKE THEM UP INTO FORMATS AND SAID I WAS GOING TO HOLD ON TO THE IDEA UNTIL I PUSH IT OUT MYSELF.I AM GOING TO PUBLISH THIS MYSELF AND PUSH IT ON THE STREET MYSELF AND BUILD A FANBASE TO A MILLION. THEN HOLLYWOOD WILL COME KNOCKING ON THE DOOR LIKE SHOW ME YOURS AND I WILL SHOW YOU MINE.THE PHONE GIRL CAME FROM HEARTBREAK. IN THE SITUATION MY HEART HAD FELT LIKE A BLACK HOLE FOR CREATIVITY. I HAD SO MUCH PAIN IN MY HEART OVER THE SITUATION I WAS ABLE TO TAP INTO THE PAIN AND USE THE PAIN TO PULL OUT THE CREATIVITY NECESSARY TO FINISH THESE STORIES.I WAS SO HURT, I KNEW EXACTLY HOW I FELT. ONLY WHEN YOU KNOW EXACTLY HOW YOU FEEL CAN YOU PUT IT DOWN. IF YOU CAN ONLY PUT DOWN WHAT YOU FEEL THEN YOU SHOULD ONLY WRITE EXACTLY WHAT YOU FEEL ABOUT. WHATEVER IT IS, ALL OF MY NOVELS, THEY REALLY REPRESENT MY PERSONAL PHILOSOPHY. DESPITE THE GENRE, ALL OF MY NOVELS ARE ACTUALLY PHILOSOPHICAL NOVELS.THEY ARE NOVELS DERIVED FROM MY PHILOSOPHY. MY PHILO FOR THE PHONE GIRL MIGHT BE MY PHILO ON DATING AND THE TYPE YOU DATE. MY PHILO FOR THE BOOK WET CUTS MIGHT BE DATING PREMATURELY VS. A SOLITUDE, AMBITION STREAK WHERE YOU ACHIEVE ALL OF YOUR DREAMS FIRST. THEN YOU ARE DATING WITH MORE LEVERAGE AND LESS VULNERABILITY TO FINANCIAL CIRCUMSTANCES TIED IN WITH THE EMOTIONAL COMPLEXITIES OF A RELATIONSHIP.I FEEL A MILLIONAIRE COUPLE MIGHT ARGUE LESS OVER MONEY. THEY CAN TRAVEL WHEN THEY HAVE A DIFFERENCE INSTEAD OF JUST HAVING A DIFFERENCE OVER THE FACT THEY CAN NOT TRAVEL. WHO WANTS A BROKE DADDY? IT IS JUST THIS SIMPLE. TRACK FOUR – THE PHONE GIRL WAS DONE IN THIRTY DAYS. I WAS LIKE OK NOW I HAVE MY FIRST BOOK AND IT CAME IN THE FORM OF POETRY. I STARTED OFF WRITING A POEM ON HOW I FELT AND I KEPT DOING IT. NOW THIS IS MY FORMULA BECAUSE IT FLOWS FASTER, IT IS MORE DESCRIPTIVE AND I CAN DERIVE FROM IT THE OTHER FORMATS. I CAN TURN THE SOURCE MATERIAL INTO NARRATIVE, INTO PROSE, INTO EXPOSITORY, A FILM SCENE, A STAGE PLAY SCENE, A COMIC BOOK STRIP, A GRAPHIC NOVEL PAGE, A SONG. IT IS ABOUT FORMATS ALRIGHT? THIS IS HOW YOU CREATE A ONE HUNDRED MILLION DOLLAR FRANCHISE. FORMATS, YOU WANT YOUR PROJECT TO BE ON AUDIO BECAUSE SOME PEOPLE DO NOT LIKE TO READ OR HAVE TIME TO READ. PUT THE PROJECT ON AUDIO AND THEY CAN LISTEN TO IT EVEN IN SLEEP. I SUGGEST YOU PLAY THIS LOWLY WHILE YOU SLEEP. YOU SHOULD POP THE CD IN WHEN YOU ARE SLEEPING SO YOU CAN FIND YOURSELF USING SOME OF THE TACTICS UNKNOWINGLY. IF YOU REALLY WANT TO KNOW SOMETHING THEN YOU WANT TO PUT IT IN YOUR SUBCONSCIOUS MIND QUICKLY. FOR EXAMPLE, PHOTO READING AND LISTENING TO AUDIO BOOKS WHILE YOU SLEEP. YOUR CONSCIOUS MIND WILL NOT EVEN KNOW AND YOU WILL BE PLAYING INTELLIGENCE DÉJÀ VU. THE PHONE GIRL WAS DONE IN THIRTY DAYS. AFTER THIS I WAS LIKE OK I HAD JUST FINISHED MY FIRST BOOK AND I WAS SO EXCITED. I WAS LIKE WHAT AM I GOING TO DO NOW? KEEP THE MOMENTUM UP PLEASE, DO NOT EVER LOSE IT; THE BEST ADVICE SELF GIVEN. I TOOK THE ADVICE AND KEPT GOING. THAT WAS CFK. THE PHONE GIRL ONE, CFK ONE, THE LONE GIRL, CFK TWO, THE PHONE GUY, CFK THREE THRU SIX. THEN FROM HERE I STARTED THE UNFINISHED CFK MEMOIRS PRE 26 YEARS OLD. JANUARY I WAS WORKING ON A BLOG, THE RESTLESS WRITER, TALES OF AN ALL NIGHTER. CLEVERLAND AND CLEVERFIELD WAS WRITTEN IN FEBRUARY. THEN I MOVED AND FINISHED U.G.L.Y QUOTRY WHICH IS THE NAME OF MY MAIN BUSINESS INSTAGRAM. THEN I GOT MY JOB AT P AND G AND I WAS WRITING A 13 PAGE BOOK RANDOM QUIRKINESS. I PLACED IT AS A PREVIEW IN THE FIRST CFK SAGA BOOK. I WROTE A FEW SHORT STORIES AS MY FIRST ATTEMPT IN A NOTEBOOK I LEFT AT WORK FOR WRITING ON MY BREAK. THE NOTEBOOK DISAPPEARED. I LOST ALL OF MY FIRST SHORT STORY NOTEBOOK. THOSE MONTHS WENT DOWN THE DRAIN. SOME OF THOSE POEMS CONTAIN WHAT WOULD HAVE BEEN PUT INTO THE PHONE GIRL PART FOUR. THOSE WOULD HAVE BEEN NICE BUT IT IS WHAT IT IS WHATEVER, THE BOOK IS STILL OUT. AT THIS POINT I STARTED WRITING A BUNCH OF MATERIAL THAT STARTED DISAPPEARING WHETHER I LOST IT OR I GAVE IT AWAY FOR A SINGER TO MAKE IT INTO A SONG AND THEN I NEVER HEARD FROM THEM AGAIN. I MIGHT HAVE GIVEN OUT LIKE TWENTY PAGES AND THEN TWENTY MORE PAGES TO TWO DIFFERENT MUSIC ARTISTS WHO CAN’T WRITE LYRICS. AT THIS POINT I WAS REALLY JUST PAYING A DEBT TO THE UNIVERSE. IT IS WHAT IT IS. I AM NOT GOING TO TRIP FOR THIS IS WHAT I DO. I GAVE AWAY FORTY PAGES LIKE IT WAS NOTHING. I JUST POPPED IT OUT. I LOST THE FIRST FEW POEMS FOR THE STIPULATION KING IN THE LOST 2016 P AND G NOTEBOOK. I LOST NERDS IN THE HOOD AND IT WAS COMPLETE. I LOST 10-20 POEMS ON THE PHONE GIRL NUMBER TWO AS IN ANA THE 2ND PHONE GIRL SAGA. TRACK FIVE – ALRIGHT, SO LET ME TRY TO FLOW THRU THIS WORKBOOK REAL QUICK TO GIVE YOU THIS THING. ALRIGHT WRITER’S BLOCK STARTED TO GO AWAY WHEN MY CREATIVE WRITER CAME OUT AND I GOT THE FORMULA. I REALIZED AS LONG AS I WAS WRITING ABOUT SOMETHING THAT WAS HEAVY IN MY HEART, THERE IS NO WRITER’S BLOCK BECAUSE I FEEL SO DEEPLY ABOUT IT. NOW THERE IS GOING TO COME A TIME WHEN YOU READ BACK WHAT YOU WROTE OR YOU DON’T EVEN READ IT FOR YOU KNOW WHAT YOU WROTE BECAUSE IT IS MAKING YOU CRY, TREMBLE OR WHATEVER – WHATEVER. AT THAT POINT YOU’RE GOING TO ASK YOURSELF; DO I FEEL COMFORTABLE ENOUGH FOR ANYBODY, A PERSON CLOSE TO ME OR A COMPLETE STRANGER TO READ THIS AND KNOW IT IS ABOUT ME? DO I FEEL COMFORTABLE? WHETHER THE ANSWER IS YES OR NO YOU SHOULD GO AHEAD AND LET THEM READ IT. NOW, IF IT MAKES YOU REALLY UNCOMFORTABLE AND IT’S A REALLY DARK SECRET, DON’T DO IT. AS LONG AS IT IS NOT A REALLY DARK SECRET, DO IT. FEEL ME? JUST ONLY HOLD BACK YOUR REALLY DARK SECRET. AS LONG AS IT IS NOT YOUR REALLY DARK SECRET THEN THERE IS NOTHING TO BE ASHAMED ABOUT. AS LONG AS YOU ARE BEING HONEST ABOUT IT AND IT IS REALLY WHAT HAPPENED/HOW YOU FELT ABOUT IT. NOW AS LONG AS YOU LIVE BY THIS CRITERIA WHEN WRITING BOOM: YOU WILL NOT GET WRITER’S BLOCK ANYMORE. IF YOU HAVE WRITER’S BLOCK IT IS BECAUSE YOU ARE WRITING ABOUT SOMETHING YOU SHOULDN’T BE WRITING ABOUT. HOW ABOUT THAT? REAL WRITERS DON’T GET WRITER’S BLOCK. IF I WANT TO WRITE, THEN I AM GOING TO WRITE BECAUSE I AM A WRITER. THAT IS JUST HOW IT GOES. I’M SORRY BUT THAT’S JUST HOW IT GOES. RIGHT? WHEN YOU WANT TO EAT, YOU EAT. YOU DON’T GET STOMACH BLOCK DO YOU? I DON’T. I’M NOT SAYING WHEN I’M WRITING I DON’T EVER HAVE A STUMBLE WHERE I JUST PAUSE. IT IS ACTUALLY PRETTY ENTERTAINING BECAUSE I WOULD WRITE ON LUNCH BREAK AND THE OTHER BREAKS WE HAVE. IT WOULD BE A TEN MINUTE BREAK AND I WOULD SIT DOWN ON MY BREAK AND TIME THE PAPER BEFORE WRITING. ABOUT A TEN OR FIFTH-TEEN MINUTE BREAK FRIEND I AM WRITING NON STOP. MY HAND MIGHT STOP MOVING HALFWAY DOWN THE PAGE AND THEN YOU SEE ME PULL MY HAND ALL THE WAY BACK. YOU’LL HEAR A CRACK, IT’LL DO LIKE THAT AND I’LL BE LIKE OH THAT’S WHERE IT IS AT. RIGHT? BECAUSE I AM STRETCHING MY HAND BECAUSE IT HURTS BECAUSE I’VE BEEN HAVING IT CROUCHED IN THAT POSITION. THE HAND HELD HOSTAGE TO MY CONSTANT CREATIVITY.BOOM! SO THEN I FINISH THE OTHER HALF AND I MIGHT FINISH HALF THE PAGE OR THE WHOLE PAGE IN FIVE OR TEN MINUTES, IT DOES NOT MATTER. IT DEPENDS ON WHAT I’M WRITING ABOUT, IT DEPENDS ON WHAT I AM WRITING ABOUT. THAT’S WHY YOU WANT TO TIME EVERYTHING. ONCE YOU START TO TIME EVERYTHING THEN YOU START TO LOOK AT IT LIKE A SPORT. ONCE YOU LOOK AT IT LIKE A SPORT YOU REALIZE ONCE YOU TIME EVERYTHING IT IS THE STATISTICAL POINT OF NO RETURN.ANY READER OF YOUR MATERIAL MAY SEE THE TIMES, AND THEY CAN LEARN A LOT. HERE’S WHAT YOU LEARN FROM TIMING YOUR MATERIAL, HERE’S WHAT THE READER LEARNED FROM YOU TIMING YOUR MATERIAL. THEY KNOW WHEN YOU STARTED AND FINISHED IT. MEANING THE INDIVIDUAL PAGE OR POEM. THEY KNOW WHEN YOU STARTED AND FINISHED THE ENTIRE PROJECT. THEY KNOW WHEN YOU STARTED AND FINISHED ALL OF THE RELATED PROJECTS (SEQUELS, PREQUELS AND SPIN OFFS). THEY KNOW WHEN YOU STOPPED OR TOOK A BREAK. THEY KNOW WHAT OTHER PROJECTS YOU WORKING ON THE SAME DAYS AND THEY KNOW WHAT THEY WERE DOING ON THOSE SAME DAYS. SO IT IS MORE OF A CONNECTION, THEY KNOW MORE ABOUT IT AND IT IS UNSAID. IT IS ALL IN THE MATH. JUST BY YOU PUTTING THE TIME YOU MADE IT AND THEY LOOK AT IT THE DAYS THEY READ IT; THEY MADE THE MATH CONNECTION. IT IS A MATHEMATICAL EQUATION OF YOUR PRODUCTIVITY. WHEN YOU TIME YOUR MATERIAL, IT IS LIKE TIMING YOURSELF RUNNING A MILE. YOU’RE NOT GOING TO RUN A MILE WITHOUT TIMING IT OR DO 1000 PUSH UPS WITHOUT COUNTING THEM UNLESS YOU ARE JUST DOING TOO MUCH TO NEED TO TIME IT. UNTIL THEN JUST TIME IT BECAUSE IT MAKES EVERYTHING A LOT MORE LEGIT AND IT PRODUCES A SMILE ON THE READER’S FACE. I’VE SEEN IT MYSELF. YOU WANT THEM TO KNOW WHAT THEY WERE DOING WHEN YOU WERE WRITING YOUR MATERIAL AND THAT IS THE BASIC CONNECTION. THEY COULD HAVE BEEN GOING THRU SOME EXTRANEOUS EMOTIONS ON THE DAYS YOU WROTE IT. THEY COULD HAVE BEEN GETTING KICKED OUT. THEY COULD HAVE BEEN PUSHING A CAR. THEY COULD HAVE BEEN CLIMBING UP A TREE IN THE RAIN. YOU DON’T KNOW WHAT THEY WERE GOING THRU WHEN YOU WERE WORKING ON THE PROJECT AND THAT IS WHAT WILL PROVIDE THE CONNECTION. YOU HAD NOTHING TO DO WITH IT. ALL YOU DID WAS PROVIDE THE TIME YOU CREATED IT SO THEY COULD SEE THE CONNECTION. THE FIRST STEP IS TO BLEED ON THE PAGE. YOU HAVE TO BLEED ON THE PAGE. I CAN FILL UP AN ENTIRE PAGE IN TEN MINUTES BECAUSE I AM GOING TO BLEED ON THE PAGE. IT IS LIKE A TRICK; IT IS LIKE SOMEONE SAYING HEY CHAD HERE’S THIS PIECE OF PAPER NOW FILL IT UP. I’M LIKE OK, I TAKE IT AND PUT IT IN MY TRENCH COAT. I TAKE IT OUT OF MY TRENCH COAT AND ALL OF THE INK IS JUST BLEEDING AND DRYING UP ALL GLOSSY. THAT’S THE KEY, TO GETTING OVER THE WRITER’S BLOCK. THE SECOND KEY TO GETTING OVER THE WRITER’S BLOCK IS YOU ARE GOING TO KNOW WHAT TO DO TO PUMP UP YOUR INSPIRATION REAL QUICK. GO TO GOOGLE AND TYPE IN FORMS OF POETRY. GO TO GOOGLE AND TYPE IN LIST OF LITERARY TERMS ON. GO TO GOOGLE AND TYPE IN CHARACTER ARCHETYPES ON GOOGLE. GO TO GOOGLE AND TYPE IN ANYTHING SIMILAR TO THIS AREA OF LITERARY ELEMENTS OF A STORY. YOU USE STORY ELEMENTS IN CONJUNCTION WITH QUOTES RELATED TO YOUR STORY TO SOUP UP YOUR IDEAS. PICK A CONCEPT FOR YOUR STORY AND FIGURE OUT WHAT YOU HAVE TO READ OR WATCH TO RESEARCH YOUR STORY. FOR EXAMPLE, I AM WRITING A BOOK ABOUT THE MAFIA AND I HAVE TO STUDY THE MAFIA. ONCE I KNOW ENOUGH ABOUT THE MAFIA THEN I CAN FEEL COMFORTABLE WRITING A STORY ABOUT THE MAFIA. SO WHATEVER YOU ARE GOING TO WRITE ABOUT YOU WANT TO GET YOUR STUDYING TOGETHER FIRST. ONCE YOU HAVE STUDIED ENOUGH ABOUT YOUR STORY IF IT IS NOT A REAL LIFE SITUATION TURNED INTO A NOVEL. I WOULD SUGGEST AUTO-BIOGRAPHICAL NOVELS INSTEAD OF AUTO-BIOGRAPHY BOOKS. HAVE BOTH; I DO AUTO-BIOGRAPHICAL NOVELS BECAUSE A LOT THAT COMES FROM IT, I COULD MAKE IT AN AUTO-BIOGRAPHY BUT I DON’T NECESSARILY WANT ALL OF THOSE STORIES IN THE AUTO-BIOGRAPHICAL SECTION. I CAN INCLUDE ALL OF THE STORIES IN MY AUTO-BIOGRAPHY AND I WILL BUT CERTAIN THINGS HAPPENING TO ME IN REAL LIFE I WOULD RATHER MAKE IT INTO A NOVEL TO BE HONEST WITH YOU. THE PHONE GIRL BOOK WAS MY WRITING FORMULA FIRST EXTERNALIZED. IT TURNED INTO SOMETHING BIG BUT I DON’T WANT THE PHONE GIRL IN MY MEMOIRS. THE PHONE GIRL IS A REAL PERSON AND WAS A REAL SITUATION. SO, IF I PUT THE SITUATION ONLY IN AN AUTO-BIOGRAPHICAL PUBLICATION, THEN IT IS KIND OF LIKE I’M JUST SNITCHING. BUT IF I TAKE THIS THING THAT REALLY HAPPENED TO ME AND I SPRINKLE IT INTO A BOOK, MASKING IT INTO A NOVEL THEN IT IS LIKE PAYBACK. YES, THE PHONE GIRL IS REALLY OUT THERE BECAUSE SHE IS A REAL PERSON. YES, THAT’S SOME CREEPY PASTA FOR YOUR TAIL. TRACK SIX – ANYWAY, LET’S TRY TO GET THRU HERE. CAN I ACTUALLY FINISH RECORDING THIS ENTIRE BOOK IN ONE HOUR? I HAVE EIGHT MINUTES LEFT. GO ONLINE AND TYPE IN LITERARY TERMS. I KNOW I HAD SOME QUESTIONS TO ASK YOU TOO BUT ANYWAY HERE IS WHY YOU USE QUOTES. I STARTED USING QUOTES DURING CFK 5 AND 6. I DIDN’T PUT THE QUOTES IN THE BOOK BUT AFTER THIS POINT I STARTED USING QUOTES IN THE MAJORITY OF THE STORIES I WROTE. THE ONLY TIME I DON’T USE QUOTES IS WHEN I AM WRITING ABOUT SOMETHING I FEEL CONFIDENT ENOUGH TO EXPRESS WITHOUT THE USE OF QUOTES. IF I NEED TO SUPERCHARGE THE THOUGHT AND MAKE IT DEEPER THEN I GET THE QUOTE. I DID NOT COMPREHEND WHAT A QUOTE WAS UNTIL I STARTED USING THEM IN MY WRITING. A QUOTE IS A PHRASE, A SENTENCE OR A PARAGRAPH FROM A PERSON WHO HAS ACHIEVED SUCCESS IN THEIR OWN INDUSTRY AND THEY HAPPEN TO LAY DOWN THE QUOTE. WHEN YOU READ THE QUOTES YOU CAN READ THEM IN CATEGORIES LIKE HAPPINESS, LOVE, JOY, EARTH, HATE, FURY, BLISS, ANGER, RAGE, SOCIETY, POLITICS, THE PRESIDENT, THE PRESIDENCY, POLITICIANS, AMERICA, EUROPE, NORTH AMERICA, SOUTH AMERICA, ASIA. YOU WILL STUMBLE ACROSS SOMETHING SUPERCHARGING YOUR STORY. FIGURE OUT YOUR STORY CONCEPT. FIGURE OUT THE CONCEPTS THE STORY WILL BE TALKING ABOUT. WHATEVER THE STORY IS ABOUT THEN BREAK IT DOWN INTO THE EXPRESSED EMOTION. IF YOUR STORY IS ABOUT YOUR GRANDMOTHER DYING AND YOU BEING SAD ABOUT IT THEN BREAK DOWN THOSE EMOTIONS. FIND QUOTES ON THOSE EMOTIONS AND APPLY THOSE QUOTES TO WHAT YOU ARE ALREADY PLOTTING IN YOUR HEAD OR ON PAPER. GO TO WWW.BRAINYQUOTE.COM AND TYPE IN YOUR CONCEPT KEYWORDS. TAKE THE FIRST TEN OR TWENTY QUOTES AND THIS SHOULD GET YOU FAR ENOUGH UNTIL YOU DECIDE IF YOU ARE GOING TO USE THE SAME KEYWORD QUOTES OR SWITCH QUOTE TOPICS OR SWITCH AUTHORS. FOR EXAMPLE, THE LAST FRANCHISE I STARTED UNDER THE PEN NAME DAVID X. CRICHTON IS CALLED THE PRINCE WHO KNEW TOO MUCH. THE SEQUEL IS CALLED THE PRINCE’S PHILO. IN THE FIRST BOOK I USED QUOTES ON DESTINY. IN THE PRINCE’S PHILO I USED ALBERT CAMUS QUOTES WHERE EVERY CHAPTER USES AT LEAST ONE OF HIS QUOTES. IN THE PRINCE’S FATE I WILL USE QUOTES ON FATE. SOMETIMES I MIGHT READ A QUOTE THAT FLOODS MY BRAIN SO MUCH I CAN FILL UP A CHAPTER OR PAGE OR POEM USING IT. SOMETIMES A QUOTE ONLY GETS ME THROUGH A PARAGRAPH. SOMETHING ELSE I STARTED TO USE IN THE BOOK “WET CUTS” WAS STATISTICS. IT IS ALL ABOUT AMBITION AND GUYS MAKING THEIR AMBITION TOWARDS ACQUIRING SEX. ALL YOU HAVE TO DO IS WATCH THEM BECAUSE THEY WON’T ADMIT IT.MY VERSION OF “WET CUTS” USES STATS LIKE TEENAGE PREGNANCY. 500,000 PREGRANCIES A YEAR. 4.6 MILLION KIDS BORN A YEAR. 1.2 MILLION ABORTIONS OR MISCARRIAGES. THE NUMBER OF ABORTIONS ALMOST MATCHED THE NUMBER OF MISCARRIAGES. WHY COULDN’T NATURE SWITCH THE MOTHERS INSTEAD? THAT IDEA IS A NARRATIVE IN ITSELF. LOOK OUT FOR THAT SPIN OFF. IT WAS JUST WILD LEARNING STATS AND AT THIS POINT I STARTED USING STATS. I WOULD WRITE ONE POEM OR PAGE BASED ON A STAT. YOU CAN EXPAND THE CATEGORIES TO SPARK YOUR BRAIN WITH. YOU CAN FIND OTHER CATEGORIES TO BOOST UP YOUR STORY DETAILS. PICK A SUBJECT TO WRITE ABOUT AND THEN PICK OUT QUOTES OR STATISTICS ON YOUR STORY. FIND THE DIFFERENT TYPES OF POEMS IF YOU CAN WRITE A POEM EASIER THAN YOU CAN WRITE A PAGE OF PROSE OR NARRATIVE.THEN YOU HAVE TO PICK OUT THE TYPE OF POEM AND THEN APPLY THE QUOTE OR STAT OR CASE STUDY. YOU ADD THE HEARTFELT CONCEPT TO THE QUOTES OR STATS ON THE HEARTFELT CONCEPT AND THEN YOU ADD IT TO THE TYPE OF POEM OR LITERARY ELEMENT OR DEVICE.(ALLITERATION, CONSONANT, ASSONANT, ENJAMBMENT, ADJECTIVE, ANTHOLOGY, COUPLET, ENVOI, ENVOY, CHORUS, FOOT, HYBERBOLE, IAMBIC PENTAMETER, KENNING, METAPHOR, ONAMOTEPIA, PERSONIFICATION, OXYMORON, CONUNDRUM, POETRY, POETRY SLAM, POWERFUL VERB, PROSE, RHYMING COUPLET, RHYME, SIMILE, QUATRAN, REPETITION, STANZA, SYLLABLE, TERCET, REFRAIN, RHYTHM, VERB, VERSE)IT IS NOTHING MORE THAN A LITERARY EQUATION. IT STARTS OFF WITH A STORY ABOUT THIS CONCEPT AND I AM GOING TO USE THESE QUOTES, THESE STATS, THESE LITERARY TERMS AND THESE CHARACTER ARCHETYPES. NOW YOU HAVE YOUR NOTES. YOUR NOTES INCLUDE ALL OF YOUR CASE STUDIES, ALL OF YOUR NARRATIVE JUICERS. AS LONG AS YOU GET THIS PART HERE OF THE EQUATION, THEN YOU GOT IT AND YOU CAN DO IT.LET’S SAY YOU GET IT, NOW LET US MOVE ON TO HOW THIS BOOK ITSELF WAS CREATED. THIS BOOK ON HOW TO WRITE A BOOK WAS NOT ORIGINALLY WRITTEN AT ALL. THIS BOOK IS A TRANSLATION OF A W.A.V. FILE THAT MUST BE CONVERTED TO MP3 BEFORE RELEASING THE AUDIO ONLINE AND ON CD FORMAT ON DATPIFF.COM UNDER THE D.X.C. PEN NAME.LET US SAY YOU DO NOT GET HOW TO WRITE A BOOK YET. I GET IT, EVEN FOR ME AS A WRITER, THE THOUGHT OF PRODUCING A NOVEL IS INTIMIDATING. DETAILS, CHARACTERIZATION, PUNCTUATION AND GRAMMAR IS SCARY TO MOST PEOPLE. YOU MAY NOT HAVE BEEN WRITING YOUR WHOLE LIFE BUT YOU HAVE BEEN TALKING FOR ALL OF YOUR LIFE.SO WHY NOT THINK IT WOULD BE EASIER TO TALK THE STORY OUT? YOU CAN BUY ANY RECORDER BUT THE ONE I AM USING IS A 70$ TASCAM DR RECORDER. BUY THE NEWEST VERSION. TURN THE DECIMAL LEVEL ALL OF THE WAY UP AND TURN THE VOLUME UP 50 TO 75%. NOW YOU HAVE THIS REALLY LOUD THING GOING ON. IT ALSO HAS EXTERNAL MICROPHONES SO YOU CAN DECIDE IF YOU WANT TO BE HEARD PRIMARILY ON THE LEFT OR RIGHT EAR.IT RUNS ON DOUBLE A BATTERIES SO BUY A FEW PACKS OF BATTERIES AND A RECHARGEABLE SET OF BATTERIES AND THE CHARGER SO YOU CAN BEGIN TO FILM YOUR LIFE. GET READY FOR THE TIME OF YOUR LIFE. I HAVE JUST STARTED TRANSCRIBING MY AUDIO SOURCE MATERIAL INTO PUBLICATIONS AND HERE IS WHAT I HAVE DEDUCED.EVERY TEN MINUTE RECORDING EQUALS 2-5 PAGES OF TRANSCRIBED MATERIAL DEPENDING ON HOW FAST OR SLOW I AM SPEAKING. I RECORD FOR ONE HOUR WHICH WOULD BE SIX TRACKS OR I WOULD GO TO TEN. I WOULD TYPE UP THE TEN TRACKS AS ONE BOOK. 20-50 PAGES ARE DERIVED FROM SOURCE MATERIAL AUDIO. I HAVE 50 HOURS OF UN TRANSCRIBED AUDIO SOURCE MATERIAL FROM MAY, 2015 TO 1-1-2017. THAT EQUATES TO 50 MORE BOOKS TO ADD TO THE ULTIMATE DAVID CRICHTON AUDIO TRANSLATION 2016 COLLECTION. TRACK SEVEN – ANOTHER THING, GET THE RECORDER, SIT DOWN AND CLOSE YOUR EYES. YOU CAN OPEN YOUR EYES, TAKE ALL OF YOUR NOTES, USE YOUR NOTES AND JUST FLOW THE STORY OUT. USE YOUR NOTES, YOU CAN EITHER FREESTYLE POEMS WITH RHYMEZONE.COM AND PICK OUT ALL OF THE WORDS YOU WANT TO USE AND THEN IT COMES UP WITH ALL OF THE RHYMES FOR THE WORD AND YOU JUST HAVE TO FREESTYLE IT. YOU HAVE TO PUT IT TOGETHER ON AUDIO, WITHOUT WRITING IT. ALL YOU HAVE IS THE LAST WORD YOU ARE GOING TO USE.YOU HAVE TO FILL IN THE BLANK. THIS IS WHAT I AM TRYING TO GIVE YOU. A FILL IN THE BLANK ON A BOOK. I AM GOING TO TAKE EVERYTHING I JUST SAID, TYPE IT ALL UP AND WHATEVER I DIDN’T INCLUDE IN IT THAT NEEDED TO BE INCLUDED I WILL ADD IT BUT REALLY HOPE THE AUDIO DOESN’T NEED ANYTHING ELSE I COULD SAY TO BE MORE EFFECTIVE IN HELPING YOU WRITERS.I REALLY WANT TO INCLUDE CHARTS AND THINGS I CAN NOT JUST SAY. IF IT IS SOMETHING I COULD SAY HERE AND I DIDN’T SAY IT I WOULD FEEL LIKE THIS AUDIO IS NOT AS COMPLETE AS A PROJECT INTENDED TO HELP WRITERS WOULD NEED TO BE. CHARACTERIZATION – THIS IS ANOTHER PART YOU SEE PEOPLE CRITICIZE IN MOVIES AND NOVELS. MY CHARACTERIZATION IS GETTING BETTER BUT I KNOW AT LEAST THIS MUCH. MY BOOK “THE PRINCE WHO KNEW TOO MUCH” IS MY FIRST OFFICIAL SHORT NOVEL, PROSE, AND NARRATIVE WRITTEN LIKE A DIARY ENTRY. EVERY CHAPTER IS A DIARY ENTRY USING QUOTES ON DESTINY. IT IS WRITTEN IN FIRST PERSON DIARY PERSPECTIVE FORMAT.I FIND THIS THE EASIEST WAY TO PUSH IT OUT BEFORE TRANSCRIPTION. MAYBE YOU SHOULD TRY THIS WAY AND JUST GIVE IT A SHOT. WRITE IT AS DIARY ENTRIES IN FIRST PERSON PERSPECTIVE. I READ A FEW ARTICLES. THE FIRST ARTICLE I READ WHEN I WAS 20-22, THE ARTICLE SAID TO PICK A SUBJECT YOU ARE PASSIONATE ABOUT, WRITE DOWN HOW YOU FEEL ABOUT THE SUBJECT AND THEN BOOM, GIVE THE FEELING TO A CHARACTER. IT IS THIS SIMPLE.WRITE DOWN HOW YOU FEEL ABOUT SOMETHING. EVEN IF IT IS NOT RELATED TO THE STORY, WRITE DOWN HOW YOU FEEL ABOUT YOUR FAVORITE CHIPS AND YOUR LEAST FAVORITE CHIPS AND GIVE THIS TO YOUR CHARACTER. NOW WHEN YOUR READERS READS THIS IT IS GOING TO MAKE YOUR CHARACTER MORE ACCESSIBLE TO THEM. YOU ARE YOUR CHARACTERS, YOUR CHARACTERS ARE AN EXTENSION OF YOURSELF. WRITE DOWN YOUR FAVORITE FRUIT OR FOOD AND YOUR LEAST FAVORITE FOOD AND FRUIT OR VEGETABLE.NOW YOUR READER’S KNOW YOUR CHARACTER’S FAVORITE CHIPS. I LOVE THE BOONDOCKS SO MY CHARACTERS LOVE THE BOONDOCKS. I AM OBSESSED WITH JFK/RFK AND THE PRESIDENCY AND I WILL HAVE CHARACTERS IN STORIES NOT RELATED TO CFK OR THE BLACK JFK WHO ARE JUST OBSESSED WITH THE KENNEDY PRESIDENCY.THIS IS THE BEAUTY OF BEING A WRITER; YOU CAN SPRINKLE YOURSELF INTO YOUR OWN IMAGINATIVE STORIES. SO WHAT ELSE? CHARACTERIZATION, DO THE DIARY FORMAT EVEN IF YOU DIDN’T WANT TO DO THIS FOR THE ENTIRE BOOK. YOU CAN EVEN WRITE THE DIARY FORMAT AS THE TREATMENT OF THE STORY AND THEN INDIVIDUALLY PUBLISH THE DIARY FOR THE CHARACTER. IT IS AN EXTENSION OF THE SERIES, IT IS A PART OF THE FRANCHISE.THE DIARY OF YOUR CHARACTER YOU CAN BE OFFERED AS AN ALTERNATIVE PURCHASE FOR YOUR FANS TO BUY ONCE YOUR STORY GETS POPPING. WHEN! A SIDE BOOK, “THE TWILIGHT SAGA” “THE SECOND SHORT LIFE OF BREE TANNER” “THE HUNGER GAMES” MAY NOT HAVE A SIDE BOOK. “INSURGENTS” HAS A SIDE BOOK. YOU HAVE TO PLOT THIS STUFF IN ADVANCE.ALL OF THESE PEOPLE, I DO NOT KNOW IF THE SIDE BOOKS WERE WRITTEN WITH THE ORIGINALS. WHETHER THEY DID OR NOT, SHE STILL DID IT AND I SAY YOU SHOULD STILL DO IT NOW. I ALSO SAY YOU SHOULD DO IT AT THE SAME MOMENT.FOR EXAMPLE, SHOUT OUT TO MY HOMIE CECE THE WRITER FROM NY. I SAW HER AT WORK, GAVE HER A COPY OF “THE PRINCE WHO KNEW TOO MUCH” AND TOLD HER THE SEQUEL IS ALREADY DONE. SHE WAS LIKE “WORD, THE SEQUEL IS ALREADY DONE? YOU ARE NOT WASTING ANYTIME? YOU ARE A BEAST WITH IT.” WHAT’S GOING ON?THIS IS WHY I AM MAKING THIS TAPE BOOK. I AM NOT MAKING THIS TAPE FOR ME BECAUSE I ALREADY KNOW HOW TO MAKE BOOKS. SO WHY I AM GIVING AWAY MY SECRET? (5SECOND PAUSE) THAT’S WHY I WAS GIVEN THE SECRET, TO GIVE IT OUT. GOD SHOWED ME THE FORMULA SO I CAN SHARE IT WITH THE WORLD. I MEET MANY PEOPLE WHO WANT TO WRITE BOOKS AND THEY SEEM TO HAVE MUCH MORE TROUBLE WITH IT THAN I DO. I FEEL I CAN BREAK IT DOWN ON A LEVEL SO THEY CAN REALLY TAKE OFF WITH IT.THIS CAN BE ONE OF MY MANY GIFTS AND CONTRIBUTIONS TO SOCIETY. A DOCUMENT ON HOW TO WRITE A BESTSELLER NOVEL IN A THIRTY DAY PERIOD AND THEN BREAK IT DOWN TO A 7 DAY AND A 3 DAY PERIOD IS A HELL OF A CONTRIBUTION TO THE LITERARY ARTS. I WOULD JUST HAVE INSPIRED AN ENTIRE GENERATION OF WRITERS ON HOW TO MASS PRODUCE AN EMPIRE OF INTELLECTUAL PROPERTY. A PUBLICATION EMPIRE OF NOVELS.I REALLY DO NOT WANT TO LISTEN BACK TO THIS HOUR AND TYPE UP WHAT I SAID AND KEEP PLAYING IT BACK. (TUPAC’S ALL EYEZ ON ME ALBUM PLAYS OVER AS I FINISH TYPING THIS LAST TRACK. THANK YOU DEAREST READER. PROOFREAD BY THE AUTHOR. PUBLISHED BY THE AUTHOR. COPYRIGHT OWNED BY THE AUTHOR. CHAD X. HARRIS UNDER DAVID X. CRICHTON PEN NAME.
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Alright children, shut the fuck up, it’s time for yours truly to tell a terrifying tale of… tits… I don’t know, just wanted to keep the alliteration going is all. I was a car repairman several years ago for Pixar employees. One of the higher ups, John Lasseter, who earned the nickname Dickface McTwinkieson around the workplace after eating 20 specially made dick-shaped Twinkies in under a minute and 30 seconds. He also crafted a penis out of chalk. The 90s was the best decade in the history of the world.
He brought his car into my shop one day after Monsters, Inc had come out, and said it was running funny. I did my usual inspection, checking tires, checking spark plugs, checking oil levels, power steering, the whole nine yards, until I decided to start up the car to detect anything unusual. There was what sounded like plastic clanking around in the engine. I took another look in the engine, and there sat near the coolant tank was a musty VHS cassette tape. It said “Cars” on the label written in brown Crayola washable marker. I thought it to be some kind of car showcase video, so I took it home with me. Big, big mistake.
I popped the VHS into my VCR and sat down in front of my idiotbox with some Disney-themed fruit snacks and began this wonderful vehicular viewing. Little did I know that I was in for a shock that would resonate with me to this day.
The first thing to pop on screen was a note in white text on a black background that said “Cars: Copyright 2001, Pixar Animation Studios. Not to be viewed by the public.” So apparently this was a preview of an upcoming movie from Pixar about cars! I was indeed excited about this. The short opened with heavy breathing. “Focus. Speed. I am speed. I’m faster than fast, quicker than quick, I am lightning!” It then showed the protagonist of the soon to be franchise finishing up snorting something white and powdery. What the fuck? They showed a character snorting cocaine?
It then cut to Lightning McQueen, white powder still on his face, racing with other formula cars. McQueen was designed a bit different in this compared to the final product to be released just 4 and a half short years later. His shape was more boxy and his racing number was 57 instead of 95. He was quickly gaining the first place spot when the antagonist, Chick Hicks came up behind him. He also looked different. He had a more generic racecar shape and had a Hitler mustache-style grill.
He came up behind McQueen and pushed him, sending McQueen spinning out of control and tumbling down the track, highly realistic car parts flying everywhere, then getting run over by every single racecar on the track. The music that had been playing stopped as the dust settled, the scene now completely silent as the camera slowly pans in on McQueen’s mangled body. He’s still alive, but barely. He’s moving slowly, shakily, trying to get up. Oddly, no one’s coming to his aid at all. Just letting McQueen sit in his crashed state, bleeding bloody blood everywhere. Now I’m pretty sure cars cannot bleed. However, they can’t talk or move on their own or have any sentient capabilities either so who am I to judge?
It gets even freakier. After a cut to black, it cuts to McQueen in a hospital, surrounded by the cars from Radiator Springs. Sally, Mater, Doc Hudson, Luigi, Guido, Ramone, Flo, Red, and Lizzie were all at McQueen’s bedside. He was dying from his previous injuries. His whole body was completely bent and dented, his spoiler was dangling off his body, one of his eyes was gouged out, and he had bitten his tongue in half during the crash. The animation was absolutely terrible here. It looked like it was animated by someone who had just learned how to use Autodesk Maya. It was choppy and robot-like. The shading, lighting, texturing and everything else was in perfect order however.
“Well, looks like this is the end.” McQueen stated with a small, half-hearted chuckle. No one else spoke a word. Just watched as McQueen’s life slowly started to fade away. “You know something, if everything happened for a reason, and everyone has a purpose for living, then why am I sitting here taking my last breaths at my young, young age? If you think about it, I don’t have any real purpose in this world, and what happened is a result of God weeding out the bad apples. So you see, God hasn’t abandoned us, but has certain ones he hates. Why? I don’t hold the answer to that question, nor does anyone else on this beautiful earth.” His human-like features begin to fade, and turn into real-life car features that you and I call normal. One by one as McQueen spoke, features began to transform or fade completely away. “Enjoy your time on earth everybody, for it might not last as long as you may think.”
It cut to Sally wearing a monocle and wooden teeth, holding a Twinkie, listening to what McQueen had to say. A piece of paper with a heart with a crack down the middle appeared on McQueen’s face as he continued. He began to speak in tongues, what sounded to be Yiddish mixed with a hint of German. Subtitle slides that were used in silent films appeared translating what he was speaking. It said “Before I breathe my last breath, I want you all to also know I have seen Heaven, and I have seen Hell, and I know which one I’m going to.” When the slide was done showing, it cut to McQueen again, having a piece of glass for his eyes like a real life car, and a grill instead of a mouth. He was still speaking, but it was muffled. He was also holding a pinecone with googly eyes, a bowtie and a top hat, which transformed into the Hebrew Bible. Another slide appeared showing the words “Goodbye everyone, I am about to enter a new world of unending suffering and pain, much like in this realm, only many times worse.” It then cut to McQueen again, but as a picture of a real life version of McQueen pasted onto the hospital bed, much in the style of something from the first 3 seasons of Spongebob. He had a Star of David etched onto the driver’s side door and was what I think would be dead. Then Mater lets out a belch of sadness. It was the saddest, most heart-wrenching belch I had ever heard in my 39 years of life.
It then faded to McQueen in Hell, perfectly normal and intact. What followed was Satan himself and Lightning McQueen competing in a rap battle. Weird since I thought Satan could just play a mean fiddle, I guess he got with the times. Satan was the first to go. “Yo, yo, I’m Satan and I wish you luck, hope your rhymes don’t suck a fuck.” Woah, there was swearing in this tape. McQueen retorted with a rhyme of his own. “You can keep up with the beat, can rhyme in time, but your rhymes are more sour than a lime!” What the shit is this? This is some low quality, SHITTY rapping. If this was Pixar’s idea for two gangstas spitting straight fire bars at each other, then they also probably think the earth is round. Pfft, idiots.
Satan responded to McQueen’s shitty rhyme with another shitty rhyme. “My words are poetry, yours are booed, my rhymes are 5-star quality, yours are like fast food!” The only thing about this scene that’s worse than the rapping, is the fact that several dead celebrities are in the background, cheering after each line is dropped, including Tupac and Biggie Smalls.
WHAT.
THE.
FUCK.
McQueen responded with, surprise surprise, another shitty rhyme! “Shut the damn up, my lyrics are fire, yours aren’t even worthy to lick the dog shit off my tires!” The cheering from the onlookers was so loud after that last rhyme that my TV speakers started crackling. They cheered and cheered some more, more onlookers joining in on the cheering, more and more start cheering until nothing can be heard except white noise. Satan and McQueen’s ears are now bleeding, but I couldn’t tell if it was from the intense amount of cheering, or just their piss-poor rapping, or maybe it was the fucking worst beat ever coming from an old 90s boombox that was positioned between the two contestants.
As I reached for the volume button on my television since the white noise was too loud, McQueen and Satan both turned and looked at the camera, out the television, at me, into my soul. They were crying tears of incredibly realistic blood and had razors for teeth. “Turn down that volume and I’ll turn up at your house, Geraldo Solomon Leopold-Abategiovanni III.” McQueen said in a menacing, demonic tone. How the fuck did this tape know my name? I restrained myself from turning down the volume as the tape faded to black, then ended. I sat there for what seemed like 2 days, replaying everything I had seen in my head over and over again, without even getting up to go to the bathroom.
Then I heard my doorbell ring. As I stood up to answer the door, all the fluid in my bladder that had built up from the past approximately two days immediately exited out my dickhole, soaking my underwear and pants completely. I quickly ran to replace my soiled trousers and opened the door. It was John Lasseter. He had a crazed look on his face and was wearing a Hawaiian shirt with Twinkies on it. “I NEED THAT TAPE BACK!” Lasseter sputtered, spitting and salivating all over my brand-new expensive antique rug that I spent several years of hard-earned car-repair dollars to purchase. I told him that I don’t have a return policy, but I would oblige anyway, handing him a roll of duct tape and a tissue to wipe the retarded slobber off his chin. “Ha, ha, very funny,” Lasseter cackled heartily, “You and I both know what kind of tape we’re talking about. Not Scotch tape, not masking tape, not filament, electrical, friction, or hockey, and certainly not FUCKING SHITTY ASS COCK DICK BITCH CUNT BOLLOCKS TWAT FART BASTARD HELL PISSING DUCT TAPE.” He handed me back the duct tape, and I went and grabbed him some surgical tape. Lasseter became red as a beet, and had several veins popping out of his sweaty head. “I WANT THAT MOTHERFUCKING VHS TAPE BACK YOU LITTLE SHIT!” Lasseter pile-drived into me like a football player, knocking me down and rushing to my VCR. He pushed eject and waited patiently for the VHS to pop out. I snuck behind the television and unplugged the VCR, unbeknownst to Lasseter. He just sat there for several minutes, waiting for the VHS to come out of its VCR caging. I strolled into the kitchen and grabbed myself a delicious canned soda from the refrigerator and came back, Lasseter still seated perfectly still in front of my Videocassette Recorder. I was almost done with my soda as Lasseter all of a sudden in a fit of rage, picked up my VCR and smashed it against my big-screen TV. My VCR was in bits and the VHS fell out. Lasseter grabbed it and ran out of my house faster than motherfucking Usain Bolt’s bitchass. I started to feel kinda woozy. A little dizzy. My ears started to get hot and I suddenly passed out.
When I awoke, I felt different, but I couldn’t tell how. John Lasseter and the rest of the Pixar team was surrounding me. When they realized I awoke, Lasseter started speaking. “So, how do you like your new body?” He held up a mirror for me to see myself. I was absolutely appalled. I was a car. My eyes were the windshield, my mouth was the grill, my internals the engine. I screamed, but it was cut short by the realization that I sounded exactly like the famous actor Owen Wilson. “What the hell did you do to me?” I shouted. John told me that he had tampered with the drinks I had in my fridge before I drank the can of soda. I should’ve known not to drink from an already opened can of soda. “Come on, Lightning McQueen,” John said, “We have a movie to make!”
I would like to close this story off by saying, the Cars movies are not CGI. They’re real. I played Lightning McQueen in the 3 Cars movies, and other tortured souls play the other characters. It could have easily been done in CGI, but John Lasseter and the entire Pixar crew are a bunch of sadists. I am writing this as I am attempting suicide by drinking Clorox. Goodbye everyone, it was nice knowing you for the time it took you to listen to this story.
​
By Utonical

First year teacher here ! I am 23 years old and am currently teaching at the school I attended as a kid. I feel like I am forming good relationships with my students but I feel as if they view me as more of a friend than an authoritative figure. I’m a really positive person for the most part but some days I can’t help but leave my classroom defeated as I feel like my students aren’t learning anything and look at me as the pushover where they can get away with things because I’m new to the position. With that being said, we have started a new unit in poetry which I thoroughly enjoy. I’ve implemented the use of hip hop music that I found appropriate in order to find SOMETHING the kids will resonate with. I’ve used “can I kick it” by a tribe called quest to illustrate the use of rhyme, rhyme scheme alliteration and other poetic devices. I’ve used Tupac shakur’s “the rose that grew from concrete” to illustrate symbolism and imagery. Most of my students are like the rose in shakur’s work so I thought they’d dig that. Where I’m asking for help is how to take these lessons a step further? Are there any other songs and or poems that you guys could send my way for evaluation to see if I can use them? Are there any ways that you guys taught poetry that the children really enjoyed ?? How can I be assured that what I am saying is effective ? How do I gauge their understanding ? Again this is my first real year teaching so ANY advice at all would be so greatly appreciated !

ok i didnt care befoRE BUT IM RIGHT FUCKIN PISSED NOW, HOW CAN YALL VOTE OUT REPRESENT, ITS ONE OF THE BEST BEATS OF THE 90'S. PREMIER WAS/IS A FUCKING GOD AND THIS BEAT IS PROOF AND YOU CANT TELL ME OTHERWISE. JAY Z HAD TO SAMPLE THE BEAT IT WAS SO GOOD. DID YOU PEONS EVEN LISTEN TO ILLMATIC? REPRESENT WAS CLEARLY ONE OF THE BEST TRACKS YOU MUST BE DEAF, HAVE BRAIN DAMAGE OR HAVE ALZHEIMERS OR AMENSIA OR SOME SHIT IF YOU CCANT TELL THAT. I HAVE NO RESPECT FOR YALL HHH FUCCBOIS. DONT EVEN @ ME. YOU SERFS CANT TELL A LEGENDARY TRACK WHEN YOU SEE ONE. THAT MAKES YOU BLIND TOO. BAH GAWD I PITY YALL THAT VOTED FOR REPRESENT. YOU CANT EXPERIENCE THE SENSATIONS THOSE THAT DIDNT VOTE FOR REPRESENT FELT. CAUSE THEY ALL KNOW. THEY KNOW. THEY KNOWS WHATS UP. THEY KNOWS WHATS GOOD. THEY NOT FUCKING STUPID. WHO IN THEIR RIGHT MIND WOULD VOTE FOR REPRESENT ? EVEN THE FAN-MADE-BUT-MADE-INTO-AN-OFFICIAL VIDEO IS HYPE. SO HYPE ROLLING STONE HAD TO WRITE ABOUT IT. NAME SOMETHING MORE IMPACTING. Far from the gritty Queensbridge projects Nas vividly renders on "Represent," YouTube Space L.A. is tucked behind sunbaked hillsides in Los Angeles neighborhood Playa Vista. An expansive edifice with glass facades and well-manicured greenery, it covers nearly 41,000 square feet of what was once Howard Hughes Airport. Designed for "YouTube creators," the space features soundstages, equipment rooms, private editing suites and more. On the sweltering day of the shoot, Katz, Goldwatch, and the film crew arrive at the heavily air-conditioned space by mid-morning, setting up and reviewing the script while waiting for Nas. Katz, though he’s never directed before, is consulted for every decision. The equally enthused Goldwatch is there only as a guide. "I’m just covering [Brian’s] bases for him so we get his vision out," Goldwatch explains. Said vision is realized on a dark soundstage adjacent to the YouTube Space lobby. The stage props are sparse: black leather couch, wooden coffee table, a glass of brown liquor — probably Hennessey, given Nas’ endorsement — and side table with a small case of books. By early afternoon, all prep work has been done. The atmosphere is lax. Katz walks around the space, making use of the snack table along with various cameramen; Goldwatch sunbathes outside to combat the building’s ceaseless frost; various reps associated with the proceedings answer e-mails. Then Nas arrives, hopping out of an SUV and flanked by his entourage. Everyone stands at attention or rapidly moves back to their positions on set. REPRESENT TIES FOR LIFES A BITCH FOR BEST SONG. YOU CAN MAKE AN ARGUMENT FOR NY STATE OF MIND BUT ILL DISAGREE WITH YOU. I SHOULDNT NEED TO SAY ANYTHING ABOUT THE FIRST AND SECOND VERSES THEYRE IMPECCABLE. UNLIKE YOUR SORRY ASS EXCUSE OF A LIFE. FLOW IS DIABOLICAL, RHYMES, ASSONANCE, CONSONANCE, ALLITERATION, ALL THAT LITERARY SHIT IS ON FUCKIN POINT. ITS PROJECT POETRY. the wordplay, story, and lyrics Then call the crew to get live too or It's your brain on drugs, to all fly bitches and thugs or This nigga raps with a razor, keep it under my tongue or And any day could be your last in the jungle the stress on words and notes of a line I'm not your legal type of fella Moet drinking, marijuana smoking street dweller and So I guzzle my Hennessy while pulling on mad blunts the rhyming and all that literary shit The brutalizer, Brutus-izer, accelerator The type of nigga who be pissing in your elevator the flow throughout, like on And leave 'em done, won't even run about gods I don't believe in none of that shit, your facts are backwards THE THIRD VERSE TO REPRESENT WAS LIKE HOT NIGGA BY BOBBY SHMURDA BUT LYRICAL AND CLASSIC. though Hot Nigga is definitely a modern rap classic. BUT IM SAYING LISTEN: I used to wake up every morning, see my crew on the block Every day's a different plan that had us running from cops If it wasn't hanging out in front of cocaine spots We was at the candy factory, breaking the locks Nowadays, I need the green in a flash just like the next man Fuck a yard, God, let me see a hundred grand Could use a gun, son, but fuck being the wanted man But if I hit rock bottom then I'ma be the Son of Sam Then call the crew to get live too, with Swoop Bokeem, my brother Jungle, Big Bo cooks up the blow Mike'll chop it; Mayo, you count the profit My shit is on the streets, this way the Jakes'll never stop it HOW SIMILAR IS THAT TO HOT NIGGA? IM NOT TALKING ABOUT THE RHYMES OR LINES OR NONE OF THAT BUT THE MESSAGE, WHAT HES SAYING. NAS PAVED THE WAY TO SNTCHING ON YOURSELF AND YOUR WHOLE FUCKING CREW BY NAMEDROPPING EVERYBODY IN THE OPERATION WITH REPRESENT AND MADE IT COOL. HE MADE IT ACCEPTABLE. HE MADE IT SOUND HARD, NOT LIKE A DRY SNITCH OR NARC OR OPP OR INFORMANT. NAH HE TOOK IT AND MADE ONE OF THE BEST SONGS OF ALL TIME. ALL TIME. IMA LET YOU FINISH BUT FUCK MEMORY LANE YALL SHOULD BE ASHAMED FOR NOT VOTING THAT. "SITTIN IN DA PARK?" BITCH STOP SITTING AND LIE DOWN IN YOUR COFFIN YOUR TIME IS DONE. YOUR OVER. GET OUT. YOUR FINISHED FAM THATS IT CAUSE YOU DONE FUCKED UP. DO YOU FOOLS LISTEN TO MUSIC OR DO YOU JUST SKIM THROUGH IT?
In the song, "Represent", Nas alludes to the Juice Crew's conflict with Boogie Down Productions, which arose as a dispute over the purported origins of hip hop. Princeton University professor Eddie S. Glaude Jr. claims that this "situates Queensbridge and himself within the formative history of hip-hop culture."[27] With a similar vibe as "N.Y. State of Mind", the rhythmic "Represent" has a serious tone, exemplified by Nas' opening lines, "Straight up shit is real and any day could be your last in the jungle/get murdered on the humble, guns will blast and niggaz tumble"[40] While the majority of the album consists of funk, soul and jazz samples, "Represent" contains a sample of "Thief of Bagdad" by organist Lee Erwin from the 1924 film of the same name.[37] Nas discusses his lifestyle in an environment where he "loves committin' sins" and "life ain't shit, but stress, fake niggas and crab stunts",[16] while describing himself as "The brutalizer, crew de-sizer, acceleratoThe type of nigga who be pissin' in your elevator".[32] i said this shit a long time ago: Nas' energy, vocals, and lyrics fit it perfectly with Preemo's beat. When I first heard the song i kind of thought of the beat as just a happy and addictive melody, but really it kind of seems like a chopped up sample of a theme from a mystery movie or something, like Harry Potter lol. It also somehow reminds me of the melody for The Nutcracker Ballet but chopped and rearranged. I don't think that's bad or anything i just felt like adding that. The melody, though, is actually from Lee Erwin's Thief Of Baghdad and isn't chopped at all. Still a good choice for a beat and it fit the album perfectly. ALL YOU MEMORY LANE BITCHES GET OUT YOUR FEELINGS. I FEEL BAD FOR YALL THAT YOU CANT REALIZE THAT REPRESENT IS CLEARLY SUPERIOR. ITS ELITE. MEMORY LANE IS OBJECTIVELY WORSE, ITS PLAINLY INFERIOR TO REPRESENT. REPRESENT IS LIKE THE ALPHA MALE, MEMORY LANE IS THE BETA. WITH YOUR FUCKIN "b-but nostalgia something something reminiscing something something telling a story blahblah memories" BLABBITY BLAH STFU. DONT EVEN GET ME STARTED ON IT AINT HARD TO TELL. IT AINT HARD TO TELL WHICH SONG IS BETTER. IT AINT HARD TO TELL THAT ANYONE WHO DIDNT VOTE FOR IT, AND VOTED FOR REPRESENT INSTEAD IS UNHUMAN. IT AINT HARD FOR ME TO SAY THAT UR A BITCH IF U VOTED FOR REPRESENT I THINK YALL JUST DONT WANT TO VOTE FOR LAB, NYSOM, AND TWIY BECAUSE EVERYONE SAYS THEYRE FUCKING CLASSICS AND CIRCLEJERKS EACH OTHER ABOUT HOW CLASSIC THESE THREE ARE UNTIL THEIR CIRCLE IS FILLED WITH THE CUM OF HORNY LIFELESS SWEINS AND VILLEINS WHOSE FETISHES ARE TALKING ABOUT NAS JAY Z TUPAC AND BIGGIE, AND WHO GET SUXALLY AGGRGAVTED WHEN SOMEONE MENTIONS VANILLA ICE AND TRAP MUSIC (DAE MUMBLE RAP??). THEN YOU PROBABLY GO AND LISTEN TO 2 LIVE CREW TALKING ABOUT "REAL HIP HOP". YOU DISCUST ME. YALL THINK YOU "KNOW" HIPHOP JUST BECAUSE YOU SAY YOU LIKE THESE SONGS AND LISTENED TO THEM LIKE TWICE TALKING ABOUT THE GOLDEN AGE YOU WERE NEVER BORN OR LIVED IN. YALL CROWN YOURSELVES "HIP HOP HEADS" FOR KNOWING THESE THREE AND MAKE YOURSELVES A HUGE ASS BACKPACK TO WEAR AROUND WITH THAT WOOLKNIT CAP YOU THINK MAKES YOU WOKE. WHENEVER SOMEONE MENTIONS THE SONG YALL ARE ONE STEP CLOSER TO EJACULATION WITH YOUR TWISTED FANTASIES (NO KANYE REFERENCE). YALL TALK SHIT ABOUT EVERYTHING ELSE BUT WHEN IT COMES TO CRTIIQUING THESE SONGS YOUE SILENT. YOUR FANTASIES PROBABLY INVOLVE GETTING AIDS WITH EAZY E THE OTHER WAY. rip eazy e though. NO RIP TO YOU THOUGH FUCK YOU. YOU CAN TAK SHIT ABOUT ANYTHING EXCEPT THE "CLASSICS" BECAUSE YOURE ALL MOOKS AND DINGBATS. IN FACT, YOURE WORSE THAN DINGBATS. YOURE NOT EVEN COMIC SANS. YOURE JUST TRASH. YOURE LIKE THE fn KEY I STILL DONT KNOW WHY YOURE HERE THE WORLD IS YOURS IS OVERRATED. THIS VOTE SHOULDNT HAVE BEEN YOURS. AGAIN, REPRESENT TIES FOR LIFES A BITCH FOR BEST SONG. YOU CAN MAKE AN ARGUMENT FOR NY STATE OF MIND BUT ILL DISAGREE WITH YOU. IF YOU THINK NY STATE OF MIND IS THE BEST SONG THEN YOU DONT HAVE A STATE OF MIND YOURE JUST A BRAINWASHED DRONE AND A CLOWN AND HAVE NO OPINIONS WHATSOEVER Lifes a Bitch is cool though if thats ur favorite then i respect you, especially is cause LIFE MUST BE A REAL BITCH FOR ANYONE WHO VOTED FOR LAB OR REPRESENT. IMBICILES, YALL ARE. and IF Y'ALL VOTE OUT REPRESENT,
WELL.
some of you were alright. don't go to hhh tomorrow if you're online.
sauce