Had the weirdest day- week.
As always?
No more so.
Ever since I decided that Maren as a word as a name, as term, as route, as pathway is now closed and that there4 Camille was born on the 20/21..
Well I'll hopefully have one heck of story to tell you one day, somewhere, some place...but maybe we're not goin to the same place and never were.
Maybe that can be filed under yet to be known.
But either way, Maren loved u more than you will ever know.
Over and out.
Nanu
Nanu
....
and thanks for "Harry and the Hendersons".
Camille: a hurricane
Maren: a secret
Alford: a legal plea
Wednesday, October 27, 2010
Monday, October 18, 2010
4 Mr. Destiny
I know that when I had to issue a restraining order aginst
a former romantic partner what got and was uber creepy -
but helpful: Well an old customer droppped by, made sure I knew, J knew where I lived... yeah(diff J. guy -(and yes I have horrible taste in men. Tho' really how many straight ones are - well I digress ( - but oh how could expand on that note)))
Anyway- I know, I really do know how it is, what that's like and I think - I hope I'm right about the studio because its meant to make your life easier not harder. Just as here I'll probably turning this into a zone of self report: there4 u and yours know.
That was always kind the point.
I experience a very heavy coincidence curve, like my rates are abnormal. So the truth is - see I used to like coincidences. Found them extremely entertaining and totally groovy.They occur/ed with every guy but the guy who I experience/d the highest rates of both coincidence and disaster-
taught me alot about the power of a name.
Love Maren,
Camille
I'll be posting the last time I had any- well viewed anything regarding you and hopefully that can and will bring some peace of mind over time.
a former romantic partner what got and was uber creepy -
but helpful: Well an old customer droppped by, made sure I knew, J knew where I lived... yeah(diff J. guy -(and yes I have horrible taste in men. Tho' really how many straight ones are - well I digress ( - but oh how could expand on that note)))
Anyway- I know, I really do know how it is, what that's like and I think - I hope I'm right about the studio because its meant to make your life easier not harder. Just as here I'll probably turning this into a zone of self report: there4 u and yours know.
That was always kind the point.
I experience a very heavy coincidence curve, like my rates are abnormal. So the truth is - see I used to like coincidences. Found them extremely entertaining and totally groovy.They occur/ed with every guy but the guy who I experience/d the highest rates of both coincidence and disaster-
taught me alot about the power of a name.
Love Maren,
Camille
I'll be posting the last time I had any- well viewed anything regarding you and hopefully that can and will bring some peace of mind over time.
about blank
wuld luv 2 post- but not due to any par normal tech probs.: I can't bcuz I don't like google's "we own the copy crap"
Oh- and billy, who never was nor sought 2 b an idol, should be singing, riding around and replicating dazed and confused.
Oh- and billy, who never was nor sought 2 b an idol, should be singing, riding around and replicating dazed and confused.
recipe-worth-not-repeating
A Recipe Worth Not To Repeating
Maren was called into the office by the parental units- not exactly a rarity as finding new and interesting rationalizations to dole out random groundings had been rather a pass time. Apparently Randy had come by the house when no one was home- why I have no idea. He had reported, probably to Martha that he’d found you “alone with a boy in the house when no one was home” and you were going to be grounded. Maren was pre-dismayed at how your having a boy in the house was going to wind up being her fault; Maren figured they’d ground her under some auspice or another and that was all she was looking at.
“We’ve decided to tell Kari you told us,” the lead asshole in charge said and was met by a pool of silence which Martha finally filled in by saying, explaining because this was a kindness that was being done as she at least attempted to present it: “We don’t want Kari to be angry with Randy”.
Maren still had no reply, didn’t say anything, didn’t register an emotion, she wasn’t raging against shock anymore, didn’t bother arguing anymore and I guess that must have felt incomplete.
So the-lead asshole-in-charge smiled that Cheshire cat grin of his enjoying what was about to come out his mouth “She already hates you” said with that glint he’d get in his eyes like when he first started crushing theirr hands for: let‘s see if I can make you cry time at dinner.
Maren didn’t storm, didn’t cry, didn‘t argue, just asked if they were done.
I remember they both parental-units looked confused.
“Is there anything else?” Maren asked; both parental units just sat there waiting for the emotional payoff until Maren asked more clearly so they could understand they wouldn‘t be getting that.
“- Can… I… leave… now?”
Yes one or both of them said -Maren could leave. Martha “protecting” Randy not wanting Kari to be angry with him- much better to have Kari angry with Maren instead. Maren didn’t NARC her out though I’m sure she long believed that’s what happened because that’s what the-parental-units wanted her to believe.
There are a lot of ‘mistakes’ one might call them that their parents made except they were so often on purpose.
Try not to repeat this one on your kids.
and ever so sickly "This song"-our song ala a'-of-false-sky.from 1 cage to another- larger cage
Maren was called into the office by the parental units- not exactly a rarity as finding new and interesting rationalizations to dole out random groundings had been rather a pass time. Apparently Randy had come by the house when no one was home- why I have no idea. He had reported, probably to Martha that he’d found you “alone with a boy in the house when no one was home” and you were going to be grounded. Maren was pre-dismayed at how your having a boy in the house was going to wind up being her fault; Maren figured they’d ground her under some auspice or another and that was all she was looking at.
“We’ve decided to tell Kari you told us,” the lead asshole in charge said and was met by a pool of silence which Martha finally filled in by saying, explaining because this was a kindness that was being done as she at least attempted to present it: “We don’t want Kari to be angry with Randy”.
Maren still had no reply, didn’t say anything, didn’t register an emotion, she wasn’t raging against shock anymore, didn’t bother arguing anymore and I guess that must have felt incomplete.
So the-lead asshole-in-charge smiled that Cheshire cat grin of his enjoying what was about to come out his mouth “She already hates you” said with that glint he’d get in his eyes like when he first started crushing theirr hands for: let‘s see if I can make you cry time at dinner.
Maren didn’t storm, didn’t cry, didn‘t argue, just asked if they were done.
I remember they both parental-units looked confused.
“Is there anything else?” Maren asked; both parental units just sat there waiting for the emotional payoff until Maren asked more clearly so they could understand they wouldn‘t be getting that.
“- Can… I… leave… now?”
Yes one or both of them said -Maren could leave. Martha “protecting” Randy not wanting Kari to be angry with him- much better to have Kari angry with Maren instead. Maren didn’t NARC her out though I’m sure she long believed that’s what happened because that’s what the-parental-units wanted her to believe.
There are a lot of ‘mistakes’ one might call them that their parents made except they were so often on purpose.
Try not to repeat this one on your kids.
Friday, October 1, 2010
The Grammer Train
Periods, commas, semi-colons, dashes and dots can all be likened to silent musical notes as their function within playwriting is creating rhythm for the characters' speech, a scene and the entire piece. In dialogue/lines there are no comma splices; run on sentences have legitimate value and even a single word can merit a period.
The implied silences indicated by punctuation marks have two other arbiters of quiet for the stage: (beat) and (pause).A (pause) or (beat) can give the audience or actor a place to catch their breathe, create an uncomfortable silence, emphasize a point as well as make or lose you a laugh line.
Listed below are the basic elements that create cadence and rhythm. The silent notes vary in the length of silence allotted for each symbol and are arranged from the briefest to the longest.
The Silence Scale
./period
,/comma
;/semi-colon/…/(short beat)
(beat)
(pause)
1) (Beat)/(beat): A period of silence whose standard length = a whole note in music
2) (Pause)/(pause): Also a period of silence. Longer than a beat, commonly two- three whole notes
Both (beat) and (pause) :
- each can be long or short, therefore adding or subtracting a sliver off the silence
Ex. (long beat) = longer than a standard beat but not a pause
- both are (bracketed) within the text
- both can be placed before, after or during a line of dialogue,
between lines and as stage direction.
The implied silences indicated by punctuation marks have two other arbiters of quiet for the stage: (beat) and (pause).A (pause) or (beat) can give the audience or actor a place to catch their breathe, create an uncomfortable silence, emphasize a point as well as make or lose you a laugh line.
Listed below are the basic elements that create cadence and rhythm. The silent notes vary in the length of silence allotted for each symbol and are arranged from the briefest to the longest.
The Silence Scale
./period
,/comma
;/semi-colon/…/(short beat)
(beat)
(pause)
1) (Beat)/(beat): A period of silence whose standard length = a whole note in music
2) (Pause)/(pause): Also a period of silence. Longer than a beat, commonly two- three whole notes
Both (beat) and (pause) :
- each can be long or short, therefore adding or subtracting a sliver off the silence
Ex. (long beat) = longer than a standard beat but not a pause
- both are (bracketed) within the text
- both can be placed before, after or during a line of dialogue,
between lines and as stage direction.
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