text:
Welcome to the Lakeland Climbing Centre in the Lake District, Cumbria. Best known for our world-class indoor climbing wall in Kendal, we also offer a full range of courses for indoor and outdoor climbing, a well stocked shop with all of the climbing kit you will need and want, changing and shower facilities, Creamery Cafe and much more.
Our facilities are constantly improving and currently we are undertaking exciting new developments. We welcome anyone interested in climbing and have designed this section of the website for you to find out everything you need to know to come along and enjoy a climb – whether it's your first or your 1,000th.
You can explore the history of our business, learn a bit more about the people you'll meet here in the Centre (from instructors to Duty Managers and office staff), download forms for registration and consent, view our considered and successful approach to safety, and find out how to buy a gift voucher. Our opening times and prices are also here so you can work out when to come and how much it will cost.
If you have any questions left unanswered please do get in touch or check out our FAQs to see if it's something lots of other people have already asked, including the name of our lovely Centre dog!


text: Seems as if Comcast in Houston has started broadcasting Ranger games on channel 110. It does not get listed on their internet guide but should show up on the cable box guide. They showed the Sunday 6/6 game, and the cable box guide shows they are broadcasting the Mon 6/7 and Tues 6/8 games. The Wed 6/9 game is too far in advance for programming information. I am guessing this is some kind of bonus programming!

subset: commoncrawl


text:
Primary links
Our Story
• Timeline – About BDV
• Frances Mayes
• Straight talk
• "The Roots" (Video)
• Architecture (Video)
Our Family
• Photo competition
• Fulvio
• Stefania
• Dina
• Frances Mayes' quotes
• Recipes
• Hospitality (Video)
• Food&Wine Experience (Video)
Image Gallery
• Exterior
• Interior
• Heritage
• Amenities
• Details
• In the area
• Estate location plan and residences floor plans
• Unspoiled Nature (Video)
• Tuscan highlights (Video)
• "The Roots" (Video)
• Credits
• Fractional Ownership
• Benefits
• Residences
• Advisory Committee
• Questions & Answers
• Pricing
• Inspection visit
• Fractional Ownership (Video)
• Members quotes
• Press coverage
• CNBC International Redevelopment Award Winner
• Directions and maps
• Register interest
• Newsletter
An essence of our Home in Tuscany!
Register Interest
register to owners' experiences, information pages and details on how to arrange a Discovery Visit
Recent Newsletters
Click on the links to open our most recent newsletters.
Owner Login
Alistair Webster from Rochdale, UK
« Back to PHOTO COMPETITION
Photo courtesy of owner Alistair Webster from Rochdale, UK
Alistair's photo focuses on the indigenous flat stone roofs, which so intensively highlight the natural environment. Restoring the roofs and not simply replacing them, was a decision made by architect Fulvio Di Rosa from the outset. By honouring the integrity of the architectural structure of the roofs, Fulvio was able to preserve the aesthetics that had been here for centuries. The photo captures the balanced coexistence between man and nature - green and gray.
Splendid framing Alistair.


text:
Bohls is being absolutely self-serving and dishonest here. Really, Texas fans need to end this stuff. For the umpteenth time (and I am not even an Aggie fan or a Longhorn opponent):
1. A Texas A&M network would not generate $300 million.
2. A Texas A&M network would not be partnered with ESPN.
3. A Texas A&M network would not cause ESPN to take favorable editorial stances towards A&M whenever it is convenient (see A&M to the SEC for exhibit A ... ESPN has been roasting A&M, a clear contrast with their praising Colorado and Nebraska for leaving the Big 12 last year, and their advocacy of the Pac-16).
4. A Texas A&M network would not influence Texas recruits significantly (where the Texas Longhorn network will) and will not influence recruits nationally at all (where the Longhorn network will THANKS TO ESPN).
Add it all up, and the only beneficiary of A&M starting a network would be ... you guessed it ... TEXAS. Whenever anyone criticizes Texas over their network, $300 million contract, and their relationship with the very powerful ESPN, Texas will be able to simply reply "Why are you bashing us when the Aggies have their own network too!"
Basically, you guys want A&M to start their own network for YOUR benefit (knowing full well that A&M's network won't do squat for that program ... like Kansas State is going to start contending for national titles thanks to their Internet HD network that no one is going to watch for example) just like you want them to stay in the Big 12 for YOUR benefit. Here's a question: instead of demanding that A&M do things to benefit Texas, why not acknowledge that they have the responsibility to work to better themselves?
The way the Big 12 is structured, no one - including A&M - are ever going to consistently compete with UT or Oklahoma so long as those two programs are good. That's a good deal for UT and Oklahoma, who get to go to the BCS every year. (One or the other has been to the BCS in each of the last 10 years except 2001). It's also a good deal for the likes of Iowa State and Baylor, who would be in Conference USA otherwise. But if a program has options, why not let them exercise it?
That is the main thing. You guys have no problem with doing whatever you want to advance yourselves, even up to joining the Pac-10 (which you nearly did twice) and the LHN (which is the ONLY reason why you didn't join the Pac-10). Fine. But why take the attitude that you guys are the ONLY ONES who should seek their own destiny and everyone else has to fall in line behind what you guys do?
Going to the SEC might be good for A&M. Or it might be horrible for A&M. So what. That's their business, and they should be as free to pursue their business as you guys are. Look, were Auburn to attempt to bolt the SEC for the ACC (it wouldn't be a bad idea actually ... it would help them academically and they certainly would win more conference and possibly national titles from that league) Alabama would just roll their eyes and say "fine, do whatever you want, just make sure that you show up for your annual beating Thanksgiving weekend." Were Vanderbilt to go to the ACC or Mississippi State to the Big 12 (not that you would take them, just as an example): ditto. And the rivalries would continue, just like Georgia and Georgia Tech still played each other after Tech left the SEC, and like Clemson and South Carolina continued to play each other despite their switching conferences several times.
It is not like the Big 12 needs A&M to begin with. Lose A&M and you are basically the same. Make a good decision in replacing A&M, and you could pick up TV and recruiting markets and get stronger.
Bottom line: please quit pretending as if you are looking out for A&M's interests by saying "stick around and start your own (absolutely certain to be totally irrelevant and complete waste of time) network and enjoy the great benefit of finishing no better than 3rd behind Texas and Oklahoma every year." You're not. You're looking out for your own interests. Not that there is anything wrong with that. My own problem is how you guys are trashing A&M for doing the same thing that you guys are: looking out for themselves.


text:
Responding to a comment by Shoes31 on another thread, I had a crazy idea.
What if Ted Thompson and Mike McCarthy go a different route in this years draft?
What if they decided they wanted the best offense in the league?
What if they were of the mind to out-score everyone no matter what?
They do have the reigning MVP and arguably the best QB in the league, in Aaron Rodgers.
What if TT & MM decide to go offense in this years draft? I don't think it'll happen, but, yet it isn't as improbable as it might seem. We are all assuming that TT will go defense heavy in this draft, but, it will all depend on who is available and how they are rated on TT's board.
It really wouldn't surprise me if they wanted to reload their offensive weapons to give Aaron an unbeatable arsenal... I figure that TT and MM can justify just about anything they do if they try hard enough. Let's just for the fun of it, look at the possibilities if TT were to go BPA and there were more offensive players available than defensive.
TT trades down with the Browns ~ The Browns trade their 37th pick, 100th pick, and 118th pick (from the Falcons) for the 28th pick in the 1st round.
2nd Round ~ #37th ~ Stephen Hill ~ WR ~ Georgia Tech 6'4" 215lbs ~ 4.36 speed ~ Excellent Blocker too... TT just can't pass up the potential, speed, and value when he drops to #37.
2nd Round ~ #48th ~ David Wilson ~ RB ~ Virginia Tech Falling 10 spots from his #38th ranking TT trades our 59th, 100th, and 197th pick with NE for their 48th pick to draft arguably the fastest feature back in the draft.
3rd Round ~ #90 ~ Bruce Irvin ~ OLB ~ West Virginia Due to his recent arrest, Irvin as fallen all the way to TT in the 3rd round. Excellent value that TT can't pass up and Stroh is happy... : )
4th Round ~ #123 ~ Mike Brewster ~ C ~ Ohio State Ranked #112, TT grabs the center of the future...
4th Round Comp Pick ~ 132nd ~ Malik Jackson ~ DE ~ Tennessee Natural 3-4 DE? We'll see...
4th Round Comp Pick ~ 133rd ~ Tony Bergstrom ~ OT ~ Utah Can never have too many good OT's...
5th Round ~ #163 ~ Brandon Hardin ~ FS ~ Oregon State 6'3" 222lbs FS with 4.36 speed ~ TT did good! : )
7th Round ~ #224th (from Jets) ~ James Hanna ~ TE ~ Oklahoma TT has to draft one TE, might as well be a good one.
7th Round ~ #235 ~ Micah Pellerin ~ CB ~ Hampton ~ CB with Safety experience ~ Special Teams/Developmental
7th Round ~ #241 Comp Pick ~ Sean Richardson ~ SS ~ Vanderbilt ~ 6'2" 216lbs ~ Special Teams/Developmental
7th Round ~ #243 Comp Pick ~ Case Keenum ~ QB ~ Houston ~ Can't help but give the Packers an Abilene Eagle to develop at QB... Case is a great kid and should really thrive under MM's coaching and guidance.
Personally, I don't think it'll happen, but, I've seen worse mock drafts for the Packers. I would be interested to see if TT does go defense heavy or if he trades to get into position to draft the defensive players he's targeted. I assume we'll draft both offense and defense with a slight emphasis on pass rushing DE's or OLB or both.
Go Pack Go!


text:
Cole: 'England are not arrogant'
ESPN Staff
January 30, 2013
Dan Cole is relishing the chance to face Scotland © Getty Images
England's Dan Cole has dismissed suggestions that the side are arrogant and has emphasised that they need no motivation in their quest to become the best team in the world.
Former Scotland coach Jim Telfer on Tuesday labelled England "too arrogant, too pretentious and too condescending" leading coach Andy Farrell to suggest that they were made in an attempt to rile the England side and to give Scotland some more motivation. And Cole dismissed the accusations as predictable, hackneyed cliches and outlined how England will go into the game driven by the head, not the heart.
"You know it's coming so it's boring in that regard because it's the standard go-to," Cole said. "People say 'We're arrogant, we're this, that and the other'. You can believe it if you want but I don't think we are.
"Yes we're confident in ourselves, yes we back ourselves and what we do, and we're confident going onto the field we can win games, but I wouldn't say we cross the line of arrogance. We understand where we are and how we're perceived. Our motivation comes from how we want to progress as a side.
"If we want to be the best side in the world we have to win this game. It starts this week. We have continue what we did in the autumn into this game. That is the motivation, to go out and win."
England return to Twickenham on Saturday for the first time since their record victory over New Zealand and expectation levels will be high. Telfer's criticisms of England were that certain key players had believed their own publicity after that victory over the All Blacks, and that Stuart Lancaster's side are not as good as they think.
But Cole is fully aware of the threats Scotland pose. "We set the bar quite high and people will expect us to win because we beat New Zealand and New Zealand beat Scotland in the autumn," Cole said. "But we know that is not the case. The expectation is different now and we have to manage that as a team. Scotland are a dangerous team to play against.
"They've got nothing to lose. They've got an interim coaching staff and have been written off, much as we were last year, and we finished second. Every time I've played Scotland it's been close. They will come down and try and batter us physically."
© ESPN Sports Media Ltd.
|Live Scores
"Like the Treaty of Versailles, despite all the promises, the new Participation Agreement is certainly not the final solution." John Taylor writes
The emotional rollercoaster of Kingsholm
"We know where we are going and we know where we want to get but how long that will take is anybody's guess." David Humphreys on his plans for Gloucester
The two sides of the Premiership coin
Jim Mallinder and Justin Burnell were sat on the same top table, but in different circumstances. Tom Hamilton reports on the Aviva Premiership season launch
Tom Hamilton reports back from the launch of the Guinness PRO12 where there is a renewed sense of optimism with all of the off-field changes to the league


text:
JAPAN -- Those sloppy wet kisses from your dog could be harming you both.
A Japanese study found dog owners and their pets swap oral bacteria that causes gum disease and tooth decay.
When researchers analyzed dental plaque in over 50 dogs and their owners, they found human bacteria in the mouths of dogs.
Bacteria was most prevalent in older dogs and those sharing high contact relationships with their owners.
Canine bacteria was also detected in the mouths of humans, including several with low contact relationships.
Study led by researchers at Osaka University and published in 'Archives of Oral Biology'.


text:
'Discovery void' in the development of antibiotics
A report from the Government's Chief Medical Officer has highlighted a "discovery void" in the development of antibiotics since 1987.
It said that pharmaceutical companies need to be incentivised to develop new antibiotics.
– Dame Sally Davies, Government's Chief Medical Officer
We have also been waiting for the next new antibiotic to come along and treat those resistant cases but the pipeline is drying up.
There are no new classes of antibiotics in the pipelines across the world and there are very few in development.
That's because we have not, as a global society, incentivised producing antibiotics. We have market failure and we really need to do something about this.


text:
Can I come too?!
A nice little offer I couldn't resist sharing!
Carrier's new family brochure, Luxury Family Escapes 2012 - guarantees that, for every holiday booked before 30 June 2012, at least one child stays for free. Even if you travel during peak holiday periods such as the summer holidays.
The brochure features hand-picked hotels and resorts with a family focus throughout Europe, North Africa, the Caribbean, Mexico, Florida, the Indian Ocean, Arabia, the Far East and South Africa.
The focus is on unique experiences. I'm tickled at the thought of teenagers editing and producing their own holiday film, and younger children becoming a dolphin trainer for the day. There are children-only spas, sports coaching and educational adventures such as caring for baby orang-utans, becoming a junior archaeologist and cooking with top-flight chefs. The brochure also features €˜Carrier Exclusives€™ including complimentary excursions, family movie night in with pizza and popcorn or milk and cookies at bedtime.
Families booking from Luxury Family Escapes 2012 will also enjoy the services of the Carrier Concierge, Emma Cross, who can organise bespoke experiences, book services and source ideas for activities at each resort and destination. Carrier has also partnered with The Little Concierge Company, a premium service that delivers baby essentials, nappies, milk, food and toiletries to holiday destinations, providing the ultimate support to those travelling with a baby. Carrier customers will receive an exclusive 15% reduction.
Luxury Family Escapes 2012 offers an essential guide for families of all shapes and sizes, whether they be travelling with a newborn, multi-generational families seeking a trip of a lifetime or single parent families. No matter what the composition and needs of the family, the specialists at Carrier can recommend the best options.
Visit www.carrier.co.uk/savings/family for more information or contact a dedicated specialist for a personalised quotation:
Africa 0161 492 1353
Caribbean & Mexico 0161 492 1354
Indian Subcontinent, Far East & Australasia 0161 492 1355
USA, Canada & Mexico 0161 492 1356
Europe & North Africa 0161 492 1357
Indian Ocean & Arabia 0161 492 1358
Tags: Treats for mum, Treats for teenies
sponsored banners


text:
Kokomo Tribune
---- — We'll miss sheriffs when they're gone
Sheriffs, please know, are different from the tawdry mix of ambition and vanity that makes up local officialdom.
Sheriffs are precursors of our constitutional republic and its attendant democracy. They arose in first-century Anglo-Saxon England or even with the Norse, the natural, chosen leaders of their communities (shires), their title dating back to Alfred the Great.
Sheriffs in this Alfredian mold spoke truth to power. They kept local order, but more important to this discussion they represented to the king the legitimate interests and concerns of common folk — primarily regarding the protection of property and individual liberty, both unique to Western civilization.
The character built into the office was wisely carried over to the legal codes of colonial American government and eventually to our constitutional republic.
Today, not so much. Sheriffs in our metropolitan counties appear most concerned with protecting a system of double-dip pensioning. A friend, retired from law enforcement here, remembers observing one of the state's first Special Weapons and Tactics teams go through its drills.
His thought at the time was that he might have seen the last of the traditional Indiana sheriffs. Future deputies, he realized, would be indistinguishable from policemen, restaurant inspectors, meter readers and other hired muscle for the city, county and state.
The sheriff still stands strong in rural America. A recent quote from a Colorado sheriff protesting his state's new gun laws is representative: "In my oath it says I'll uphold the U.S. Constitution and the constitution of the state of Colorado. It doesn't say I have to uphold every law passed by the Legislature."
Clearly, the sheriff can be a bane to central authority — again, it is historically built into the job. County councils and managers, therefore, are slowly tightening a fiscal noose around the office, reducing it to something resembling an armed postmaster. And it is no accident that legislatures long ago forced sheriffs into term limits.
Nor is it a statistical quirk that sheriffs who choose the Alfredian role are routinely the big vote getters in their counties. We sense our local sheriff, anachronism though he may be, is more on our side than the rest of officialdom — our only hope perhaps.
Finally, sheriffs are mentioned prominently in the Magna Carta, the legal base of our concept of liberty. Fourteen sheriffs or former sheriffs were either in an advisory capacity in the writing of the Magna Carta or as direct participants. Of the document's 63 clauses, 27 are directly concerned with the sheriff and his office.
So we watch the elect in Washington and Indianapolis assume the despotic power of kings. We note murders and armed robberies are being reported closer to our businesses and homes. We look for a sheriff with that true grit of old.
We will know him by how he treats private property and individual liberty.
Craig Ladwig
Fort Wayne
Glass-Steagall repeal set crisis in motion
Here is one I'd like to see generate some feedback.
In 1999, President William J. Clinton signed the repeal of the Glass-Steagall Act of 1933. The Glass-Steagall Act was part and parcel of the Banking Protection Act of 1933.
If you think back to 1999, you will recall it was not all that long after President Clinton signed the repeal of the Glass-Steagall Act that the excrement hit the cooling device. I am convinced our current financial disaster was, in large part, due to the repeal of the Glass-Steagall Act.
Perhaps we the people would do well to urge our legislators to reinstate the Glass-Steagall Act. And while we are at it, we should also urge our legislators to take all necessary steps to prosecute those banking officials responsible, not just revoke their "golden parachutes."
Kenneth Crockett


text:
Gentlemen...Start your...Lawnmowers?
Thirty teams took part in a 12 hour endurance lawnmower race in England over the weekend.
The event is said to be the highlight of the lawnmower racing season in the UK.
The winning team completed 406 laps in the 12 hour race.
That's about 348 miles.
Much of the race took part in the dark, adding to the challenge.
Harry Potter actor Warwick Davis had the honor of starting the race.


text:
"You're talking to the right person, because when I was coming up, it was all about Prince, Michael Jackson, Jesse Jackson. So it was really difficult for me coming up. Matter of fact, my first production company when I started was called 'Dark Skin Productions,' because it was difficult breaking in. And then, Wesley Snipes broke through, and he opened it up for us dark-skinned brothers. Some of my boys, Shemar Moore, they're light-skinned, they get theirs too. There's enough for everybody."
Morris Chestnut talking to a live audience at the recent 2013 Essence Music Festival, responding to a question about whether dark-skinned black men have had as difficult a time getting into the biz (specifically acting), here in the USA, as much as dark-skinned women.
Maybe there's a conversation to be had about "Dark Boys" too. Maybe not.
Chestnut also dishes on the upcoming sequel to The Best Man, The Best Man Holiday, and some other items.
Watch the interview below:
El-Aaron | July 11, 2013 9:54 PM
It's not strictly a question of shadism. It's just as much about "negroid features" as it is about degree of skin blackness. If you go back to even black filmmaker Oscar Micheaux, the actors chosen were not only pale Negroes but they also had Caucasian features and hair. Whitish looks made them less threatening and made them more acceptable than the "inferior" Blacks. Today, skin blackness takes a back seat as an employability factor for young black male actors trying to make it in the world of white producers. Young black actors are more likely to succeed because of having non-threatening features that make them appealing to crossover audiences. The examples are Lance Gross, Wesley Snipes, Don Cheadle, Courtney Vance, Omar Epps, Flex Alexander, Taye Diggs, Mekhi Phifer, Richard T. Jones, Anthony Mackie --- and don't forget the up-and-coming (Euro-black) Africans beginning with Idris Elba, Djimon Honsou, Eamon Walker, David Oyelowo and Chiwetel Ejiofor.
BOBBY REL ENT | July 11, 2013 2:36 PM
What about Sidney Pointer , Richard Roundtree,Yapette Koto
Samuel | July 11, 2013 11:57 AM
The Wesley line was a Bruce Bruce joke, which the public takes as the truth (or the Light skinned is out of style, but making a comeback joke). Post School Daze, there has been a retroactive view of history of how things have been. Where the story Spike was telling was a real one, people looked to see the same things in TV, Film and Music, not just in black society, which is isn't an exact fit. In film and TV, our black leading man was Sidney Poitier. There were/are light-skinned actress, but there was Judy Pace who was doing a lot of work. In the music industry, I don't think you can play the complexion game, when you have multiple black artists of various complexions being successful. It's tough when people bring up Al B. Sure and say "He was the man before Big Daddy Kane or Wesley Snipes." They forget the Al B. fell off, not just because of his sophomore efforts, he went on tour with New Edition and Bobby Brown and couldn't compare to their stage show. Al B exited stage left. Then Al B became the scapegoat of success because of his complexion.
Onaje | July 11, 2013 11:39 AM
Also to act as if when you see and think Bill Cosby, Sidney Poitier, Paul Roberson...you think Wesley Snipes is a flat out lie... Wesley was the guy that would typically get cast as the gangster, hood, deviant, yet flipped that into being a ladies man and hero...that was a major thing. He wasn't a classical prototype of the infamous "Safe Negro" look...
Also if I'd have to pinpoint a dark skinned entertainer that wasn't in that "safe" image that made being it more attractive outside of stereotypical roles it would be Eddie Murphy before Snipes...
Onaje | July 11, 2013 11:32 AM
really? this is what we are going to do? We are going to act as if the dark skinned black male has been given a gift in the industry or in some way had it easier? Okay...if that is true why is it the dark skinned black male has one of the poorest images? Oh because they cast themselves in these many diverse and well written atypical roles they get...yup lighter skinned people have it soo bad...
I would agree women have it much worst, but to try to paint this picture like being a Black male especially a dark skinned black male has been one of privilege is dismissive of the truth and trails they face to not just be seen, but be respected and be empowered enough to control their image...
Why not a discussion on "Dark Boys"?!? Incredibly dismissive...
AccidentalVisitor | July 11, 2013 11:01 AM
Yeah, those comments by Morris are strange. Other than possibly daytime TV there has never been too long a stretch over the past fifty or so years in which dark-skinned black men were being neglected in favor of ligh-skinned black men in Hollywood. Hollywood, for the most part, hasn't even known what to do with light-skinned black men.
Maybe some people's definition of light-skinned differ from mine. For example I put Billy Dee Williams under the dark-skinned category but there are a couple of people I've known who thought differently. I don't think Billy Dee can pass any "bag test" so thus he is definitely dark-skinned to me; there are simply various shades of "dark" (as they are for "light").
BluTopaz | July 11, 2013 10:33 AM
As a follow up question she should have asked him are there any women in The Best Man with his complexion.
And with Al B. Sure, Taimak, the DeBarges et al he uses MICHAEL JACKSON as an example of lightskinned Black male celebs when he was growing up? He is either reaching or stupid.
get these nets | July 11, 2013 10:07 AM
did he actually "Jesse Jackson"?
shit is hilarious
and it wasn't Wesley..it was Big Daddy Kane that opened it up for dark dudes
julius hollingsworth | July 10, 2013 10:31 PM
There is always an exception to the rule when the people with the dollar want to make an exception.Simple.If your apart of the club .Your apart of the club.If your not ,your not.The rules only belong to those not apart of the club.
Selfmentor | July 10, 2013 8:59 PM
Dot take it so serious all most every actor is out to be the biggest star ever. It is the only way they can dream themselves out of their small towns. So he may feel like his dark complexion made it hard for him to beat Tom Cruise out for roles.
Yaphet Kotto | July 10, 2013 8:56 PM
Me and Grace Jones didn't have a problem getting roles.
Troy | July 10, 2013 8:54 PM
Skin complexion may not matter but you must be a bimbo and have a general lack of awareness for the world around you to be a celebrity. Even the so called conscious stars helping out Africans don't do the same in America. He'll they leave studio lots pass by areas full of hungry young kids.
ernest champell | July 10, 2013 8:35 PM
sidney Poitier......sammy davis junior .... ....nat king cole...bill cosby ....jim brown carl weathers...i mean what the hell is he talking about. the light skinned dark skinned bullshit is do tired!
Dana | July 10, 2013 8:24 PM
I'm gonna call BS on this one. Dark complected black men have never been shunned from movie industry and history bares witness to this. On the other hand, dark women stay catching hell, particularly from their own communities.


text:
Budget Leaders Still Moving Forward on Budget Deal
According to Politico - Congressional budget leaders Paul Ryan and Patty Murray are considering a plan to give some domestic and defense programs burdened by the sequester some relief through 2015 by replacing cuts with budgetary savings in other areas. One proposal still under consideration would set overall discretionary spending levels at around 1-trillion dollars for 2014. If an agreement can be made through this approach - this increased spending would be split almost evenly between defense and non-defense spending. If Ryan and Murray don't reach a deal by next week - House Speaker John Boehner is prepared to pass a bill that would fund the government past January 15th at 967-billion dollars to avoid another shutdown.
© 2014 Rural Radio Network. All rights reserved. Republishing, rebroadcasting, rewriting, redistributing prohibited. Copyright Information


text:
I decided to go ahead with my own because you can only refresh your browser so many times.
Just a few things I wanted to get off my chest:
1. The return of the Matt Cain that doesn't know how to win. Matt, how many times do I have to tell you, when your team scores zero runs you have to hold the opposition to -1 to win?
2. Did anyone really think the Giants were ever going to score today?
3. Does everyone else get twice as angry when Buster Posey gets robbed of a hit than they do with anybody else? You just know Bochy would say "tough luck" with the veterans, but would view it as a major slump for Posey.
4. Why do you make defensive substitutions in a scoreless game when you need a run? LOL Pat Burrell. It didn't affect the game, but it also didn't make any sense.
5. How come when we have two outs and nobody on and we get a baserunner I always feel it's just a wasted hit, but when the other team does it they get three runs and a win?
6. Fuck all .190 hitters swinging for the fences.
7. Why does every team in the world hit homeruns in this park but us?
8. If there were 20,000 people at this game, 19,000 of them were in the bathroom. It's time to face the facts that Canada is a hockey country.
9. I was glad to see Sabean at the game because he deserved it. Also surprised to see Felipe by his side fully awake.
10. I miss good Pablo Sandoval.


text:
Golf teams perform well at weekend tournaments
Both golf teams showcased a positive start at their tournaments this weekend.
The men's golf team fell from a tie for fourth place to 12th after the final round of the Berry Invitation on March 2 and 3 at Callaway Gardens.
Reigning champion Oglethorpo University held the top spot with a 292, the Wildcats finished with 310.
Freshman Adam Ruben was a standout. He finished the first day with a 74 and finishing the tournament in 23rd place with a 156, only 12 over par.
After the first day, sophomore Taylor Klopp finished in 25th place. At the end of the tournament, Klopp ended in 45th place with a score of 161.
Sophomores Ryan Nolan and Taylor Pirnke shared 35th place at the end of the first day and then Nolan finished 38th and Pirnke fell to 73rd.
The women's golf team competed at the Pacific Lutheran Invitational on March 2 and 3.
It did not get to finish because of the lack of light causing scores to be based on 16 holes.
Junior Ali Smith finished first overall with 77, followed by senior Brinn Hovde with 88. This was the first top five finish for Hovde.
Freshman Maggie Harlow tied for sixth place with a 92.
The women's golf team will next compete at the Pacific Invitational on March 9 and 10 at the Reserve.
The men's team will next compete at the Pacific Invitation on March 9 and 10 at the Reserve.
Ivanna Tucker/ Sports editor
Ivanna Tucker can be reached at firstname.lastname@example.com.


text:
38 Reasons Why Your Screenplay Isn't Getting Recommended by a Script Reader
The first audience for your screenplay (besides yourself) is a reader. Certainly, this reader can be a friend, a partner, a spouse, your mom — all put-upon by your request to read your script, by the way — but eventually, your script will find its way to a professional script reader. These script readers are the gatekeepers to the agents, managers and producers who may actually be able to help a screenplay become a movie. And one of these script readers recently created an infographic listing 38 recurring problems that keep screenplays from being recommended.
You can find the complete infographic here at its high-resolution, thanks to its creator, script reader and Reddit user profound_whatever. To make it (somewhat) more readable within the confines of our NFS post, I have split the infographic into two pieces. This first side gives you the overall demographics of the 300 scripts covered by this reader. Because this reader worked for five different companies, I assume the genre numbers were most likely affected by the preferences of each of those companies. Nevertheless, 300 scripts still covers a wide variety of genres (click for larger).
A few key data points jump out at me from the information above. First, not surprisingly, only 8 scripts out of 300 received a "Recommend," which translates to only 2.67% of scripts read. Keep this in mind as you rewrite your current script and ask yourself if you think your script is better than 97-98% of the other scripts out there. Then make your script better than 99% of the scripts out there.
Also, female screenwriters make up only 10% of these 300 submissions, and that includes male & female writing duos. We've seen similar data before, but we really need to see more women writing screenplays, because these numbers are disheartening. Most likely as a result of such a male-dominated sample, a whopping two-thirds of these 300 scripts have male heroes.
More interesting to me than these demographics, however, are the recurring problems that this script reader found throughout these 300 scripts. Below are 38 problems that the script reader found repeatedly in scripts, listed in order of frequency (click for larger):
Let's take a look at the 3 most common problems listed above.
The story begins too late in the script
As screenwriters, we don't have much time or many pages to get our stories started. People don't tend to watch movies for the setup, they watch movies for the story. The same is true for readers, a screenwriter's first audience. Readers want to be engaged in a story from the beginning. They don't want to wade through 50 pages before the story begins. I'm always looking for ways to work on those early pages to engage my reader in the story immediately while simultaneously laying the groundwork for what's to come. It's a tricky balance, for sure.
The scenes are void of meaningful conflict
This is a great way to determine if a scene needs to be included in a story. If a scene has no conflict, how are the characters challenged or changing at that particular moment of the story? Without conflict, a scene is most likely expository. One of the challenges I know I constantly face — and I imagine many other writers face, too — is weaving the exposition into a scene that is full of conflict without the audience feeling like they were just spoon-fed some exposition. Without conflict, though, a story can't move forward.
The script has a by-the-numbers execution
This is one of the biggest reasons I am not a fan of so-called screenwriting gurus that believe all scripts have to fall into a specific formula. Yes, I agree that screenplays follow a specific structure, but hitting very specific beats on very specific pages can start to make screenplays feel like they are merely paint-by-numbers exercises. And if your script reads this way, not only is the reader bored, but the reader (and the audience) is already way ahead of your story because they have read or seen it all before.
As you can see, several other problems occur frequently among the 300 scripts covered by this reader, and I'm sure all of us screenwriters have dealt with several of these problems in our own screenplays as we rewrite them.
Thanks to Reddit contributor profound_whatever for taking the time to create and share the infographic about the 300 scripts, and for giving us permission to repost and discuss the infographic here on NFS. You can check out the original discussion thread on Reddit to hear directly from profound_whatever regarding this infographic.
Which of the 38 recurring problems listed above do you find when rewriting your own screenplays? What strategies have you developed to avoid running into these problems with your screenwriting? Share your experiences with us in the comments.
- "I've covered 300 spec scripts for 5 different companies and assembled my findings into a snazzy infographic" — Reddit
- Infographic on 300 spec scripts by Reddit contributor profound_whatever
We're all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We're all here to help each other, so thank you for adding to the conversation!
Angelo on 11.23.13 @ 10:10AM
These sound like descriptions of most movies that are widely released.
Maggi on 11.23.13 @ 11:08AM
I was wondering the same thing, why dont most big hit movies get checked by these parameters?
PacificRed on 11.25.13 @ 1:58AM
A lot of movies that tank have a decent screenplay, they just get bogged down because of other factors. The director, producer, and studios can all take a good script for a movie and really trash it.
So even if you are the 2% that gets their script chosen, your story can still become the next Battlefield Earth.
Ego is the answer.
Robin Schmidt. True..you put out your baby, it gets filtered through producers, directors, other writers until it's your baby destroyed. So, that begs the question. Why destroy your baby? when you can circumvent the system and do it to your vision's sight. Many producers don't know the first thing about writing or filmmaking. The good ones are a dime a dozen..I maybe cynical, but there is no point in being a sacrificial lamb for an imaginary bottom line, and the work you put into something is all but destroyed for that imaginary bottom line.
Well, yes, you can make a movie for eff all money and you can make a good one but however you spin it, at some point, business gets in the way. Whether it's negotiating tax breaks or just simply seeing your money back.
The tough part is seeing the long view. Is it better to play the game early, bed in and make yourself credible to the moneymen before coming through with projects that you care about or do you just go balls out first up with the painful passion project that could leave you with no career at all.
I can't answer that. I went the first route and it's still all up in the air for me. All I do know is that the first thing I did after making my first feature was launch straight into another dramatic project to work out all the frustrations from the feature shoot.
For writers life just sucks, plain and simple, I have no idea how we can change that but I value good writing above pretty much everything else. But, and it's a bit but, my appreciation of what that actually is really is in its infancy.
Norbert on 11.26.13 @ 4:58AM
Studios review movies a bit different than independent producers. That is why. Also have in mind that most studio movies now are producer ideas or based on a known property.
Also you would be surprised how much worse the scripts the readers read are. I review projects for a foreign distributor so projects that have already been thinned by the readers in production companies and still 90% of them suck badly and never see the cinemas. Also movies are expensive so the people who make decisions are not creative people while almost everyone thinks they have some grasp on story. No wonder we sometimes get Wild Wild West.
Jerry on 11.29.13 @ 7:24PM
Daniel Pisterzi on 11.23.13 @ 10:23AM
Great find! Thanks.
Damon on 11.23.13 @ 1:09PM
The by-the-numbers problem is specifically why I hate the screenwriting book "Save the Cat." The author is absolutely pedantic about how certain things MUST MUST MUST occur on a very specific page number.
sammy on 11.23.13 @ 2:15PM
There is no formula to art.
But to prove this stuff is false.
You'd have to do the exact opposite of the book.
And that would be a formula itself.
A reverse formula.
David J. Fulde on 11.23.13 @ 11:43PM
kind of like how being "Counter culture" Is still having pulp culture define your tastes?
It's also similar to being a young teenager rebelling against your parents. Your actions are still dictated by the wishes of your parents, you're just going against what they want rather than going along with it. The only way around it is complete indifference.
Go along with it when it works, avoid it when it doesn't.
I agree. I almost barfed the first time I read that book.
You almost barfed? Dear god, it's just a book. Take it or leave it what you probably can't stand is cronyism and stark black and white fundamental certainties because, yes, real life isn't like that. No-one ever put a gun to our heads and said it had to be like anything but, guess what, that very infographic makes the point that there are very much rules. And we'd best be aware of them if we want to pass the dreaded script reader. So, I'll guzzle any and all information.
I wrote my martial arts short precisely to the save the cat beats and found it in no way restrictive or suffocating. Let's see how it does. I could be completely deluded!
Aren't we all, deluded that is…
For people that didn't watch Breaking Bad until the end, stop reading now ***SPOILERS***
Look at this video:
It shows Aaron Paul & Bryan Cranston reading the final script of Breaking Bad. Notice how the writer includes notes that enhance the atmosphere and message the writer had in mind when writing it.
"…It's up to us to say where he's headed, I'd like to call it something better."
This is the script writer's internal thoughts, that in no way show up on the screen… however, they are felt. They are felt because this is the feeling he wants to give the viewers. Too many courses, too many books and too many script writing contests and gurus tell us to never include anything but what happens from point A to B to C to D. Don't write any details.
For people that read scripts, you know that there are more script writers that do this (mostly you'd find scripts like these by people that also direct them). I can't shake the feeling that all these "How to properly do it lists" will only keep films behind. It's important to understand the basic structure, but never let it confine you when you feel like it's holding you back. Saddly, if you don't have a name for yourself, you probably have to play the game by its rules, unless you prove by your own merits you can do it otherwise.
/\ This.
I'm all about knowing the rules going into writing a script, but sticking to them all the way just destroys the creative process of creating something out of nothing, imo.
Sonnets are about as strict a poetic form as you could wish to find but that never stopped centuries of creative writers finding ever new ways to spin their ideas. In music sonata form is another example. This notion that rules and form are somehow death to creativity is just the biggest load of bullshit.
Do whatever you want.
I wasn't talking about poetry. I was talking about films. It's hard to surprise an audience and give them something truly special when you follow every rule to a t. It just gets repetitive and predictable, now that we're over a century into cinema. I didn't say rules are bad, just that following ALL of them religiously is a foil to creativity. "Do whatever you want" is more what I was trying to get to lol.
If every poem that ever existed was a sonnet, then poetry would be nothing close to the art form that it is. No poet or poetry teacher or "guru" would ever tell someone that a sonnet is the only acceptable form. So to take such an approach to screenwriting would be the real load of bullshit. Yet, that is what the common approach is in American cinema, and it's a huge hindrance to the advancement of the art form.
A late great football coach Bill Walsh once said with regards to the NFL draft, "Find me a player for the things he can do for me rather ignore him for the things he can't". I think these readers are looking for things to turn the script/writer down rather than to find perhaps an unconventional gem. Additionally, some of the criteria are completely open to an individual bias, if a certain standard is to be compared against. As an example, there was a recent, very expensive action movie whose screenplay can be found online. Its writers are currently hot and the script reads well … up to about the 50th page. Then it falls apart and everything stops making sense. Even worse, when rereading the opening 50 pages, one realizes that they don't make sense either. Yet, a studio spent $120M on it, hired a major star and actually made money off it. (it does have a pretty low rating on Rotten Tomatoes, however).
Now, there are two different goals for these readers. Someone who reads for an agency with a Feature/TV Lit Department should look for different things than someone reading scripts for a producer. If you're working for an agency, you're looking for talent. hat's why they called talent agencies. You're looking for the "things this writer can do for you" in the long term. If a reader is working for a producer, there's no long term. The quality has to be there immediately. In football terms again, this is akin to drafting someone based on his current skills AND potential quality vs. signing a free agent who's ready to step onto the field right away.
PS. If my comments sound like sour grapes, they are. (but they are tasty sour grapes) I had my scripts read and turned down for what I thought to be absurd reasons. One of my script was a rewrite of an old/er film and the characters, the premise and the resolution were very close to the original film, albeit slightly reset in time and place. The film itself is considered a classic (in certain parts of the world) with its characters and story line. I felt I adhered to the story's most poignant moments, deleted the outdated ones and added a very clever twist on the ending. Once again, I was rewriting/updating a very popular film that currently has a very high IMDB rating. The reader failed me on the premise, the plot and the location of the events! Now, one can argue on the dialog – where I would also disagree – but the rest were in adherence to the successful and revered original! Fail me, fail the original author, who's also deemed a major talent (in some parts of the world where he was successful).
So, there's your story line. May work as a comedy of sorts. But a tragedy for me.
There are a lot of stories like that. I had heard from a friend about their friend being a reader for a studio. If they referred a script and the producer didn't like it, they were fired. So, right out of the gate – the gods are against you. Then, the reader is usually a fellow writer who is jaded. Again, the gods are against you. I had heard one talent agency would actually break out a ruler and see if the formatting was proper within the screenplay. If it wasn't, then the trash bin. Did you use two brackets or three to bind your screenplay? You used three? The trash. Finally, taste is subjective. You will most often see very generic coverage on screenplays. If you have the opportunity to see the coverage, one will often scratch their head wondering if the reader even read the script. The truth is, many readers read the first 10-15 pages and skip to the last 20-30 pages. The readers get paid per script (~$70). Also, certain genres are hot and sometimes not – nearly cyclical. There is no way a screenplay like Memento would make it past a reader. And, Lawrence of Arabia? Zzzzzzzz. At least Shane Black makes his screenplays amusing to read.
VinceGortho on 11.23.13 @ 2:45PM
HAHA Checklist. Gurus. Focus on being entertaining. Like Woody Allen said about comedy. Either you're funny or you're not.
My script coverage company reads hundreds of scripts per year, and I can testify to the accuracy of the infographic, especially with regards to the percentage of Recommends, Considers, and Passes. Absolutlely spot on.
moebius22 on 11.23.13 @ 6:58PM
Viewers will watch a film that has "by-the-numbers execution", but the other two are deal breakers.
The Hollywood Reporter has an interview with some of the top current scribes (Heslov/Clooney, Strong, Delpy, et al.) and one of the question posed to the panel was about the rewrites. John Ridley admitted to "3 Kings" being rewritten by someone else. Most scripts are. Now why is that?
moebius22 on 11.23.13 @ 10:20PM
And yet a large number of movies out there are making their ways into theaters that are "by-the-numbers execution" and still making money.
I know we're all creators here, and therefore, have higher tastes than the average plebeian movie-goer, but let's be real.
My assertion was that a different set of eyes spots a different set of dirt specks. It's yet to be seen if all rewrites are better than the writer submitted drafts but I have read a few originals that varied greatly from what was seen at the end on the screen. Yet, they were deemed sufficient to be "recommended".
PS. A friend of a friend once worked on a very successful sitcom as a mid-level writer/producer. During his first year on the show, he wrote one script … which he didn't recognize once it aired because it was almost entirely rewritten by the executive producer/show runner/creator. I've spoken to other sitcom writers who weren't thrilled that their drafts were nothing but a starting point of the whole process. Of course, when the show-runners serve as gate keepers, it's one thing. When the authority gets delegated way down the ladder, however ….
moebius22 on 11.23.13 @ 11:06PM
TV and film are two different animals. Furthermore, script changes on the film side can be made for a whole slew of reasons.
Brock on 11.24.13 @ 12:15AM
Why are most scripts rewritten by other writers?
Many times producers or development execs will have hired guns that they bring in to 'punch up', 'tweak, etc etc, a script… In other words, they have bought the script from the original writer and own it lock stock and barrel, so they take it to Mr. Joe Buddy-Guy that they know will give them what they want in less than 2 weeks.
"Joe Buddy-Guy. Yeah. It's me. Jimmy Studio-Moneybags. Take this script and gimme' tits and ass, take out the subplot, add in a dog for the hero and throw in a role for ______ since we got them on pay or play."
"Okay. See you in two weeks."
/End convo/
Writers are rewritten 9/10 on feature films. It's the easiest way to massage a script into 'shape' (shape not necessarily meaning 'fit', but 'to the shape of said person in power').
I recommend William Goldman's "Adventures in the Screenwriting Trade" to everyone. One of the bits I recall from it were his dealings with Robert Redford while in the development for "All the President's Men". Back then, the script pages were sent by a fax machine and it took a lot of rewrites for Goldman to gain Redford's approval.
Anyway, I think my major beef with "readers" is that they serve as a proxy for an agent or producer, who himself serves as a proxy for the audience, which itself often has no idea which end is up. And the further you get from the core of the decision makers (which are the consumers with money), the more errors you introduce in the process. To use my NFL draft example : up to the 1960′s, as I recall, it was done without true scouting. Coaches or GM's often depended on mass publications – newspapers and magazines – to find anything about the player. That process contained a huge systemic error, which was subsequently eliminated by the introduction of professional scouts who drove around the college campuses and observed future draft prospects in person. A while later, objective measuring criteria – size, speed, weight, strength, agility – were introduced. Top scouts were promoted to the various in-house player personnel jobs and the best ones turned into competent GM's. To me, these script readers are not quite at the level of the scouts because, while the objective measuring criteria in sports are essentially infallible, the standards set for the screenplay evaluation are entire subjective. Unrelated vignettes? Thin story? Cartoonish villains? There are a lot of successful films that have all of the above! I say, just read the script and give an overall grade the way it's done on IMDB or Rotten Tomatoes. "The script I just read was crap. But I loved it!"
Insightful list that's a helpful reference BUT he mixes problems with basic story telling plot devices and there's probably not a single classic script, blockbuster, or heck, even script in production, that doesn't fall into one of the recurring problems list.
We need "38 reasons your screenplay is getting recommended"
Hell yea!
1. Imagine the trailer. Is the concept marketable?
2. Is the premise naturally intriguing – or just average?
3. Who is the target audience? Would your parents go to see it? Would your children?
4. Does your story deal with the most important events in the lives of your characters?
5. If the story is a fantasy-come-true, does it quickly turn into a nightmare-that-wont-end?
6. Has a strong 'need to know' hook been built into the story early on?
7. Is the concept original?
8. Is there a goal? Is there pacing? Does it build?
9. Begin with a punch; end with a flurry.
10. It is funny, scary, or thrilling? All three?
11. What does the story have that the audience can't get from real life?
12. What is at stake? Life and death situations are the most dramatic. Does the concept create the potential for the characters' lives to be changed dramatically?
13. What are the obstacles? Is there a sufficient challenge for our heroes' weaknesses?
14. What is the screenplay trying to say and is it worth trying to say it? In other words, does it have a theme?
15. Does the story transport the audience?
16. Is the screenplay predictable? There should be surprises and reversals within the major plot and also within individual scenes and subplots.
17. Once the parameters (otherwise known as a story bubble) of the films reality are established, they must not be violated (burst). Limitations call for interesting solutions.
18. Is there a decisive, inevitable ending that nonetheless turns out unexpectedly? (This is not easy to do and is vital to generate interest!)
19. Is it believable (even if not realistic)?
20. Is there strong emotion – heart – at the centre of the story? Avoid mean-spirited story lines.
21. Does the second act drag? This may mean a lack of a well thought-out central character and how his/her flaws relate to the antagonist.
22. Is it properly formatted?
23. Proper spelling and punctuation? Phrases instead of sentences are okay.
24. Is there a discernible three-act structure?
25. Are all scenes needed? No scenes off the spine, they will die on screen.
26. Do screenplay descriptions direct the reader's mind's eye rather than the director's camera?
27. Begin the screenplay as far into the story as possible.
28. Begin each scene as late a possible; end it as early as possible. A screenplay is like a piece of string that you can cut up and tie together – the trick is to tell the entire story using as little string as possible.
29. In other words: use cuts.
30. Visual, Aural, verbal – in that order. The expression of someone who has just been shot is best; the sound of the bullet slamming into him is second best; the person saying 'I've been shot' is the least effective.
31. What is the hook, the inciting incident? You have ten pages (or ten minutes) to grab an audience. With some people in the business, even less.
32. Does the screenplay allude to the essential points in the story two or even three times and hit the key point very hard? It shouldn't be obtuse.
33. Repetition of locale. It helps to establish the atmosphere of the film and allows audiences to 'get comfortable'. Saves money during the production.
34. Repetition and echoes can be used to tag secondary characters. Dangerous technique to use with leads.
35. Not all scenes have to run to five pages of dialogue and/or action. In a good screenplay, there are many two-inch scenes. Sequences build pace.
36. Small details add credibility. Has the subject matter been thoroughly researched?
37. Every line in the script must either advance the plot, get a laugh, reveal a trait, or do a combination of two – or in the best case, all three – at once.
38. No false plot points; no backtracking. It's dangerous to mislead an audience; they will feel cheated if important actions are taken based on information that has not been provided or turns out to be false.
39. Silent solution; tell your story with pictures.
40. No more than 125 pages, no less than 110… or the first impression will be of a script that 'needs to be cut' or 'needs to be fleshed out'.
41. Don't number the scenes of a selling script. More's and CONTINUEDs are optional.
42. Are the parts castable? Does the film have roles that stars will want to play?
43. Action and humour should emanate from the characters and not just be thrown in for the sake of a laugh. Comedy that violates the integrity of the characters or oversteps the reality-world of the film may get a laugh, but it will ultimately unravel the picture. Very rarely used, for good reason.
44. Are the characters people who care deeply about something – especially other characters?
45. Is there one scene where the emotional conflict of the main character comes to a crisis point? This is especially important and should relate to both their inner and outer conflict. In other words, the hero has an internal problem that is hidden from him. Then the second act brings it out and then in the third the hero has to act (resolve the plot) to resolve both the inner and outer conflicts.
46. A character's entrance should be indicative of that character's traits. First impression of a character is most important.
47. Lead characters must be sympathetic – people we care about and want to root for.
48. What are the characters' wants and needs? What is the lead character's dramatic need? Needs should be strong, definite and clearly communicated to the audience. Read 45 again.
49. What does the audience want for the characters? It's all right to be either for or against a particular character – the only unacceptable emotion is indifference.
50. Concerning characters and action: a person is what he does, not necessarily what he says.
51. On character faults: characters should be 'this but also that', i.e. complex. Characters with doubts and faults are more believable and more interesting. Heroes who have done wrong and villains with noble motives are better than characters who are straight black and white.
52. Characters can be easily understood by audiences in terms of 'what is their greatest fear?' Gittes, in Chinatown is afraid of being played for the fool. In Splash the Tom Hanks character is afraid he can never fall in love. In Body Heat Racine is afraid he'll never make his big score.
53. Character traits should be independent of the character's role. A banker who fiddles with his gold watch is memorable, but cliched; a banker who breeds dogs is somehow a more acceptable detail.
54. All character conflicts should be both internal and external. Characters should struggle with themselves and with others.
55. Character 'points of view' need to be distinctive within an individual screenplay. Characters should not all think the same. Each character needs to have a definite point of view in order to act and not just react.
56. Distinguish characters by their speech patterns, vocabulary, sentence structure, revealed backgrou0nd, level of intelligence.
57. 'Character superior' sequences (where the character acts on information the audience does not have) usually don't work for very long – the audience gets lost. On the other hand, when the audience is in a 'superior' position – the audience knows something the characters do not – it almost always works. (NOTE: This does not mean the audience should be able to predict the plot!)
58. Run each character through as many emotions as possible – love, hatred, laughter, despair, grief, revenge…
59. Characters must change. What is the character's arc? Read 45 AGAIN!
60. The credibility of the screenplay world is defined by what the reader knows of it, and the reader gains that knowledge from the characters. Unbelievable character actions imply an unrealistic world; fully-designed characters convey the sense of a believable world.
61. Is the lead involved with the story throughout? Does he/she control the outcome of the story?
The above is a checklist that circulates the studios and their readers, real world checklist.
Thanks for sharing that, all ammunition gratefully received
Yes, it's a fairly known list, more appropriate for studios than for agents. And here's an opposing POV – "When asked if Hollywood's response to a lack of original ideas is to rely on remakes, the Three Amigos director replied: "There are no original ideas. What there is — and this is something no one understands — is that it is never about the idea, it is about the execution of the idea."
John makes some interesting points in there but I would certainly agree with the above sentiment. "Trading Places" was essentially a remake of "The Prince and the Pauper" (whose author never wrote a decent screenplay to save his life) set in the 1980′s Philadelphia. Still a fun film and arguably his second best ever.
Dave N. on 11.25.13 @ 4:33PM
I think it's hilarious that they'd pass on a movie that lacks substance, yet they'd take a meaninful story and suck all the life out of it.
Anon on 11.25.13 @ 4:57PM
What are some screenwriting tips/guidelines when you have extensive use of geography either by actual travel or mere discussion? I suspect this is a bigger issue when dealing with spec scripts.
The biggest problem for writers is that what they hand over isn't the final product. It's so hard to get your work produced and see it live as a real film that it's no wonder good writing is hard to come by. So much writing goes on through production and into the edit and often writers play no part in that. So perverse
With the exception of the TV, where the showrunners all come from the writing background. It wasn't like that in the past. In the 1930′s, many of the studio executive positions were held by accomplished screenwriters, whose job was to guide the script from the writers drafts and into the directors hands. The directors, obviously, had their own ideas but these execs pulled a lot of weight too. Since the 1950′s, big budget film making has mostly become a director's led project. Unless a writer had ambitions to direct too, his contribution ended at an earlier stage. The coherent story telling suffered as a result.
By the way, off that "Breaking Bad" clip, Gilligan's action lines would have been deemed excessive until recently.
AWomanWriter on 11.28.13 @ 1:41AM
Here's the thing about women writing scripts:
Film schools are divided EVENLY. 50% of attendees are women, and 50% are men. So – the problem is not in women WANTING to write scripts or even in them WRITING scripts. What's happening is that men are disproportionately getting REPRESENTATION. If this person is working at the studio/production company level, he/she is receiving scripts from agents and managers – NOT from individual writers. And, as in every area of the industry, women are disproportionately shut out from representation.
Opening the doors to more women writers means opening doors at all levels of the industry.
TexMom on 11.28.13 @ 7:27PM
Here's a word from the Peanut Gallery. Think of me as a member of The Audience. As a mom of teens and 20-somethings I feel that too many movies are lame and unengaging these day if not trite. I particularly loathe films which "tug at the heartstrings" or justify violence by setting up a horrific situation so the Hero can do the nasty. In those cases, I feel that the writer/producer is snerking up his sleeve and patting himself on the back for pandering to the masses. Well, honey, I do hate feeling manipulated. Because of this, we do not watch "sweet," "meaningful," or "crude American low-brow humor." If I want the latter, there are sufficient knuckle scuffers about to entertain me for free.
If you want me in the cinema, give me more – and sometimes you do. Avatar was great fun. We saw it 3 times, once in each type of IMAX (we're geeky about that). Iron Man #1 was a hit in our household for action, plotting, the stars. I fell asleep during Twilight as did The Rabid Fan. The consensus here was that the latest Thor was not good. The Hobbit #1 needed drastic editing and could have been one film, but we have hope for The Desolation though I'm not sure if we'll get Action Elves in Love. In contrast, Ender's Game should have been 2 films. Hunger Games was better than the novel.
Back in the 90's, I recall reading how films/tv shows with action mantras were favored especially for international distribution because you don't need translation when two guys fight and fall through a plate glass window. Having lived abroad, I've seen how America's image has suffered from this mindset. Bad action films are the reason the "average" American male is seen as a stone-faced, violence loving crook or lunatic military fanatic who is accompanied by an oversexed amoral woman.
Yes, we will go in and see a film – typically for a $5 matinee and action/adventure scifi with actual plots though our 18-year-old will see anything with Horror so that she can hang onto her boyfriend and scream. But I miss the old days, the feeling you had after leaving the theater, how the ideas stayed with you. How you felt a certain universality. Maybe it's because I'm older and jaded, but for me, a lot of the movie magic is gone. The Force, the wonder, we shivered with as kids is no longer with us. And so, we've gotten a Netflix subscription, finally. Some of the wonder is back. The majority of what we watch there aren't movies. We watch serials – BBC or high quality shows with actual plots and character definition – exactly what you don't get in today's movies.
MARK GEORGEFF on 11.29.13 @ 11:51AM
I take what I can use from this REDDIT deal. Majority of these BAD points are indeed in many movies.
So…that tells you right there how much of this info is worthy of even considering, let alone derailing you from your career.
I'll tell you right now, a history of Oscar-winning screenplays probably has a good 40 percent of these BAD
There's not a problem with a lot of the info from these so called, "guru" STRUCTURES.
The problem is a lot of wanna be screenwriters haven't put in the time reading tons of scripts and breaking them down; watching tons of movies and breaking them down; and simply — WRITE, REWRITE, WRITE, REWRITE. And because they haven't put the work in, when writing itself, is the cheapest way to break in the HWD industry…it tells you…those wanna be writers are simply lazy.
They want a weekend seminar or a screenwriting book to show them exactly how to lazy their way into HWD success. It's as bad as an actress getting on the floor of a producer's office for the lead slot in a movie;
a crew member running to get drugs for his crew boss or the star on the set.
What a lot of folks reading this REDDIT swamp forget is that:
1) Readers are an entry-level job. They will say NO to even a good script if there's a chance it will make them look good in their boss's eyes, so these gatekeepers can get promoted. Sorry, but that's what I learned — hands down — interning at various prodcos while in graduate film school. I had no inclination to work at these place after film school…so I was completely honest in my reading. Fellow Readers who had bills to pay…could truly care less about the scripts and their many times raw potential. They simply do their job to say, "no" and look good. And guess what? Get promoted.
2) Many Readers don't like reading to begin with; don't have a fiction-literature "criticism" background,
so they really have no idea how to break down a narrative. And yes…when screenplays are written correctly…they are strong story narratives. Growing up with a fanatical hunger for literature — story — TRULY makes you a better script Reader. And disagreeing with this point…just so you can say you have an opinion is horse shit. This is a point that is just not debatable. You need to understand…WHY and HOW the auds, love story. You get that early on from…reading books before watching movies and reading scripts.
3) Many gatekeeping, entry-level, boss-loving Readers want to climb the ladder. They want to be producers. They want to make tons of money. They want big paychecks up front. In their mindset…they can't do it with failures. None. At all. These are not the "Wein. Bros." – type of producers who went to genre out of the gate; continue to mix gambling choices with guarantee-possible successes and many Oscar winners.
These are the type of producers who truly believe that success is about saying NO to almost every script that comes across their desk. This is how they get their paychecks, over and over again.
I won't even get into the grey areas of taxes- financial accounting, double sets of books, etc.,
where many times, NOT MAKING ANY MOVIE as a prodco., gives you a profit.
What saves us all now?
Belief, that in this digital age indie filmers, screenwriters and producers are finding ways for direct distribution to the GLOBAL auds — and not just LA and BYC; and great, low cost, digital equipment where,
if time is well served in pre production…you can actually make a 800 k – 1 mill. dollar budget genre
into a very successful profitable production.
You just have to do it very differently than the past-current HWD standard.
The minute you believe in saying , " That's not the way it's done in Hollywood…"
you're done. And Hollywood has the last laugh.
Edward on 11.29.13 @ 6:24PM
Thanks! I liked the read! Nice to know that there are 38 reasons my scripts could or should be recommended! ;) Well, sometimes there are only 37 reasons for that, because of the scripts that, in my opinion, must resemble a spec script, at least to a certain degree, for otherwise you couldn't depict your science fiction and/or artistic vision faithfully. What do you think?
Once again, like I mentioned in another article comment, just film the movie yourself.
Keith on 12.4.13 @ 6:11PM
I understand the paint by numbers structure. What I don't understand is the constant conflict. If ART imitates life there must be some period of mellow flow. If no mellow flow constant conflict will breàk you down. There must be peace after the conflict because YOU have to heal at some point to go on.
Would you mind if I posted this blog on my site and Fb page? It is a great article. Thanks, Jay
As someone who is yet to write their first feature script, this is all very useful information. However, my only problem with this is that, as someone at the beginning of the journey, there aren't indicators of what the desire is from scripts. For example, should the answer to all of the JPS's questions be 'yes' (I realise that some are more obvious than others). Also, if the most popular/most produced genre is horror, should we be writing horror films or are you saying we should break the mould and make the less produced genre, a western, to get noticed and to be different?
Either way, a very interesting read, thanks all.
I would say write whatever idea is currently occupying your brain. Make an outline. Use the 3 Act Structure. The perfect, script, imho, is basically Mamet speak (Dialogue wise, because it has an organic feeling to it).
…and the prose of William Goldman. Instructors will tell you to only write what you "see" or "hear." The truth, is that there's a bit of flair to it. Like a voice. For instance, in an action script that I read ages ago a later extended shot car chase was simply worded: "Two cars exchange paint down a busy freeway." That's it.
Examine Goldman's prose in the following:
The game is in progress. As a sick coughing sound is heard.
lying in bed, coughing. Pale, one sick cookie. Maybe he's
seven or eight or nine. He holds a remote in one hand,
presses it, and the video game moves a little bit. Then he's
hit by another spasm of coughing, puts the remote down.
His room is monochromatic, greys and blues, mildly high-tech.
We're in the present day and this is a middle class house,
somewhere in the suburbs.
THE COURTROOM as without warning, it quiets. There is suddenly
a tremendous air of expectancy, you can feel it. Now we see
why as five men in dark business suits are led in; they've
been stripped of belts, ties, and shoelaces. McCord is taller
than the others. They stand, facing the JUDGE, backs to the
WOODWARD sits watching as the proceedings start, but it's
hard to hear. He concentrates as the JUDGE starts speaking.
Will you please state your
The five men do not move or reply. Then, after a long pause,
Barker says–
Hi, great article. Does anyone have any advice or handy links for how to get your script to readers? I've found most studios/ production companies do not accept unsolicited screenplays. I'm aware of feedback services for a fee and competitions, am I missing something? Thanks.
Thanks, this is helpful and eye opening. I am a woman writer and was kinda shocked honestly when I saw how few of us there are out there. I do think more women should be writing due to the fact we have a completely different perspective to offer than men do, not to discount a man's perspective either. Good article.
Biggest money are made not with writing scripts, but making bussines with them.
Absolutely. Go look at the CREDITS from these screenwriting gurus.
liaqat baltee on 06.28.14 @ 7:08PM
What is film genre and sub genre i need complete and easy description, Secondly how i write a film treatment???
Best description of a treatment:
And example of a Film Genre: Fantasy
An example of Fantasy Sub Genres: Arthurian lore (Ex: Excalibur); Christian (Ex: Chronicles of Narnia); Science Fantasy (Ex: Star Wars and Dune.
Film genre:
Films by sub genre.
Also, I'm not advocating the Lights Film School. They simply had a decent write up about Treatments. If you're worried about formatting, there are templates built into nearly every screenplay writing software. There are even free templates for MS Word and Apache OpenOffice.
Here's your screenplay structure:
Now, get to writing.
Melanie on 07.25.14 @ 11:13PM
Fantastic article! Proud to be another female getting involved in the world of screenwriting :)
Brian on 07.26.14 @ 9:26AM
This is very interesting, but I don't see any mention of the lenses and cameras used to write these screenplays, or whether they were written in standard or anamorphic page margins.
Number 1 reason… WRITER HAS NO CONNECTIONS IN THE INDUSTRY TO GET SCRIPT MADE!!!
I.E Writer has not made a profitable film, ie independent, major studio release!!!
The rest are just side issues.
Thank you for sharing your thoughts. I really
appreciate your efforts and I will be waiting for your further write
ups thank you once again.
4 pingbacks
- 38 Reasons Why Your Screenplay Isn't Getting Recommended by a Script Reader | Film Crush Collective on 11.23.13 @ 10:20AM
- Reasons Scripts Don't Fly | jguentherauthor on 11.30.13 @ 4:06PM
- 38 Reasons Why Your Screenplay Isn't Getting Re... on 12.2.13 @ 2:39PM
- The Ultimate Guide To Screenwriting Mistakes | Screenwriting Tips | The Screenwriting Spark on 01.2.14 @ 11:20AM


text:
Source: Oaklawn) Hot Springs: Dan Bearden's San Pablo arrived in Hot Springs
Tuesday for his engagement in Saturday's $100,000 Essex Handicap after flying
in from trainer Todd Pletcher's Palm Meadows base in South Florida. He was
assigned top weight of 120 lbs. for the 1 1/16-mile race.
5-year-old Jump Start horse enters the Essex having won four of his last five
starts, including his last two – the $75,000 Queens County at Aqueduct Dec. 8
and $100,000 Swatara Stakes at Penn National Nov. 21.
His only poor
performance came three races ago in the Jockey Club Gold Cup (G1) at Belmont
Sept. 29. Prior to the Jockey Club, he had earned his first graded stakes
victory in the Iselin Handicap (G3) at Monmouth Park and won the Birdstone
Stakes at Saratoga.
Pablo's best races have come when he has been on or near the lead, but Pletcher
is not worried about how Saturday's race might shape up.
is the kind that can adapt to any pace scenario," said Pletcher via email. "We
are hoping for a good performance that could bring us back for the Oaklawn


text:
pratima skincare: ayurveda
Pratima Skincare uses Ayurveda's 5,000 year old tradition of herbs and other ingredients in their products. Each batch is handmade… continue
lila clare: recycled silver jewelry
Cast sterling jewelry inspired by nature by Lila Clare. The pieces are cast from the skeletons of prickly pear cacti. When a… continue
eco skin: comfort and sustainability
ecoSkin, is an LA-based high fashion label by designer Sandy Skinner. Skinner was in the fashion industry for many years and… continue
va de nuevo: recycled leather bags
Va de Nuevo by Yara Salazar and Marta Hidalgo, is an ongoing eco project recycling leather jackets and clothing using… continue
bodkin: eco fashion
Bodkin by Eviana Hartman produces shirt dresses, flirty skirts, jumpsuits, and tunics in relaxed styles that are easy to wear…. continue
Sexy eco offerings for Valentine's Day come from sustainable lingerie company Enamore & organic cotton underthings from Seattle based Sandmaiden. Warm up… continue


text: i have a problem with my application. After migrating from SDK 5th edition to Symbian^3 I've got a problem with video playing. I am downloading video from internet and store the data into the file on C: volume. After 10% of data transfer completion I start playing the video. File is opened in mode EFileWrite | EFileShareAny. However when I try to open video MvpuoOpenComplete function gives me KErrInUse. On 5th edition SDK it works fine. Would be appresiated any advices.


text:
Dickinson police are asking for your help in locating a missing 15-year-old boy.
Edward Martin Stubbs walked away from a construction site around noon Monday. Stubbs was working a drywall job with relatives. He is originally from Texas, but came to North Dakota Monday to work.
Police say they don't believe Stubbs is in any danger. He is described as having strawberry blonde hair and brown eyes. He's 5'10" and 140 pounds. Stubbs was last seen wearing blue jeans, a white shirt and a blue jacket.
Dickinson police ask that you contact them with any information at 701-456-7759.
Evangelist Franklin Graham prayed on a sidewalk outside the Pentagon Thursday after his invitation to a prayer service inside was withdrawn because of comments that insulted people of other religions. More>>


text:
CATEGORIES MoviesJon Stewart is trading in comedy for drama, and will take a hiatus from his "Daily Show" hosting duties this summer to film his feature directorial debut.
Deadline reports that the Comedy Central stalwart will take off 12 weeks from "The Daily Show" to shoot "Rosewater," an adaptation of the book "Then They Came For Me: A Family's Story Of Love, Captivity And Survival." Written in 2011 by journalist Maziar Bahari, the book details Bahari's 118 days in an Iranian prison in 2009, after he was arrested while covering Iran's presidential elections.
Bahari, who only expected to be gone for one week, left behind a pregnant fiancee in London. He was repeatedly interrogated by a man he could identify by only one feature: the smell of rosewater.
"I am a television person who is accustomed to having a thought at 10 a.m. and having it out there at 6:30 p.m. and moving on, so this is a little scary, yes," Stewart told the New York Times' Brook Barnes. "But one of the reasons we are in this business is to challenge ourselves," he continued, "and I really connected to Maziar's story. It's a personal story but one with universal appeal about what it means to be free."
In addition to directing, Stewart also wrote the film's script, another first for the showbiz veteran. He's previously acted in many films, including "Big Daddy" and "Death to Smoochy," and has written and produced numerous episodes of "The Daily Show." He hosted the Oscars in 2008.
One interesting twist to Stewart and Bahari's connection is that Bahari taped an interview for a "Daily Show" segment just prior to his June 2009 arrest. The Iranian government reportedly used Bahari's participation in that interview as evidence of him acting as a spy.
For more details about "Rosewater," and who will fill Stewart's "Daily Show" seat while he's filming the movie, check out Deadline's coverage.
[via Deadline and NYT]


text:
Can This Marriage Be Saved? We Became Parents and Fell Out of Love
September 30, 2011 at 2:40 pm , by Lauren Piro
A death in the family could easily put a new relationship on the fast-track. Add becoming parents into the mix you'd hardly recognize your own life. Alison, 31, and Trevor, 35, had only been dating eight months when his sister, Yvette, was killed and they were left to raise Yvette's four-year-old son, Donovan. Years later, they're still overwhelmed with grief and the parental learning curve, creating a schism that has each questioning their relationship—big time. Read the full story in our October issue, on newsstands now.
Alison's turn: After Yvette died, Alison immediately stepped up to be a mother to Donovan, but feels like Trevor isn't even trying. She knows he's grieving, but can't understand why he isn't acting a like a father figure for his nephew, who desperately needs love as well as discipline. Trevor won't even talk about Yvette and his pain, and Alison feels abandoned. She'd rather spend time with friends, they never have sex, and she feels like taking on the role of Donovan's mom without Trevor's support has left her lost. She won't leave Donovan without a mom again, and that's the only reason she wants to stay in her marriage.
Trevor's turn: Yvette's death crushed him—she was his closest friend. He wishes he could be as close to Donovan as Alison (and knows he's lucky Alison's there for his nephew), but one look at them playing together and all he can think of is his dead sister. Unlike Alison, he's a laid back, deal-with-it-later kind of guy and feels attacked when she pushes him to talk about his grief. He doesn't feel comfortable talking about personal stuff before he's ready, and Yvette was the only one he trusted because she didn't push. And don't get him started on Alison's demands that he help more with household chores. He'll pitch in when asked, but stonewalls when Alison picks these little fights as a way to channel her anger at him for how he's been acting. Still, he thinks that because they've been through so much, maybe they still have a shot at making it work.
Categories: Family, Ladies' Lounge, Relationships | Tags: Can This Marriage Be Saved?, children, grief, marriage | 2 Comments
Looking Back: One Year Later
February 7, 2011 at 8:00 am , by Amanda Wolfe
It's been a long time since my last update, so I thought I'd let you know how I've been doing. (Here's my original story about caring for my mother, who died of ovarian cancer, and my follow-up blog post.) My mom is especially on my mind today because it's been exactly a year since she passed away. I can't believe it's already been a whole year—the 21 months we spent battling her cancer seemed like an eternity, and now it's already been a whole year without her?! How can that be?! But life goes on.
Since I last checked in, my sister and I sold my mom's house in Ohio and moved our family heirlooms and must-have mementos into a storage facility. Saying goodbye to the house was incredibly hard—it almost felt like saying goodbye to my mom all over again. I had to keep reminding myself (through wracking, snuffly, red-faced sobs—lovely) that it's just a house. Just a house. The memories are what matter. But our last days in my mom's house were literally the three days over the Christmas holiday (our first without her). It was a double-whammy of emotional sucker punches and—all said and done—a holiday I'm not in a hurry to remember.
But selling the house also brought some closure. I can't tell you how nice it is not to be a long-distance homeowner, with all of the crazy coordination and stress (and bills!) that entails. (For a house you're not living in! Oy.) It's funny though, looking back over the year: Aside from the traumatic Christmas, I've been doing pretty good. Do I think about my mom all the time and cry occasionally? Of course. Do I still have moments of piercing sadness where my visceral, childlike reaction is simply "I want my mom." Heck yes. But I keep feeling this strange sense that I shouldn't be doing as good as I am. Most days I feel pretty good, emotionally. And some twisted part of my brain thinks that's weird. Like I'm waiting for the rug to be pulled out from under me, waiting for some dramatic mega-breakdown that never came (and—fingers crossed—hopefully never will). I keep thinking, "I can't possibly get off this easy, can I? Am I stuffing things down only to have them surface in some spectacularly destructive way 10 years from now?" Read more
Categories: Family, Health, Ladies' Lounge | Tags: grief, Janice Alexander, ovarian cancer | 15 Comments
Now What: Life After My Mom's Death
September 22, 2010 at 10:00 am , by Amanda Wolfe
I ended our November story of my mom, Janice Alexander's, fight with (and death from) ovarian cancer with her memorial service. But of course that's not the end of the journey for my sister and me, or the end of her legacy. If you'll let me share a little more (and Lord knows I've already taken up a lot of your time and, I suspect, tissues if you made it through all 4,375 words with me), I'll tell you what it's been like in the eight months since my mom passed away.
Those 21 months of stress and worry and exhaustion and pain—it's funny how that sometimes feels like the easy part now. I feel fundamentally changed by my experience of being my mom's caregiver. I can't put my finger on what's different, exactly. I imagine this must be (a very small version of) what a soldier feels when she returns home from battle. I'm still myself, of course. I miss my mom constantly, but I've gotten to the point where most of the time I can go about my day in good spirits, and feel that I'm living the life she'd want me to live. But in a strange way I feel simultaneously stronger from my experiences, and more brittle.
I went to a grief counselor for a few months after mom's death (through Cancer Care, a wonderful organization). She said something that stuck with me. "It's always going to be sad, but hopefully time will make it less painful." So deceptively simple, but true. It's okay to be sad. Forever. It's just plain sad. But it's going to be (and already is) less raw, less sharp. I'll always carry this with me, but time will help dull the edges.
And then there's the practical stuff. It turns out that managing my mom's Ohio estate from New York is nearly as challenging as managing her care was. She did an amazing job of getting her affairs in order for us, but there were still a ton of decisions that had to be made and tasks to be done. My sister, Audrey, and I have made almost as many trips back to Ohio for the estate as we did while we were taking care of her. There was, I'm not ashamed to admit, a feeling of relief after the ordeal of her illness was over. Of feeling like, "This is a really crappy time, but maybe I'll at least get a break." Not so much. Mom lived alone and since neither of us want to move back to Ohio, Audrey and I had to deal with all of the usual legal and accounting stuff, plus her house and a lifetime's worth of possessions. Because we're out of town and the house is empty, every little task is about 10 times harder than it should be, and requires a ridiculous amount of coordination.
Categories: Health, Ladies' Lounge | Tags: grief, Janice Alexander, ovarian cancer | 125 Comments


text:
Why Men Suffer in Silence: Male Depression
Hidden in Plain Sight
Why does such dangerous depression so frequently go undiagnosed in men? Because it's so easy to miss the symptoms. Women typically express their feelings to others and reach out for help. Depressed men often do neither. "I know what's wrong," male patients have sometimes said to me. "Talking about it won't help." Instead, these men may isolate themselves, withdrawing into TV watching or electronic games. They may self-medicate with alcohol or drugs. They can become irritable, aggressive, or uncharacteristically violent.
These are problems that can strain or break families. What's more, they can sneak up on men who were previously healthy and have had successful careers. Depression becomes more common as men age, in some cases possibly due to a decline in testosterone. Research shows that 12 percent of adults 65 years of age or over who are seen in primary-care settings have clinically significant depression. When it hits men in middle age, as it so often does, the behavior that results can be a huge shock as wives and children wrestle with watching a loved one morph into a stranger they barely recognize. It's important to understand how and why men become depressed and what those who love them can do to help.
The good news is that when I have been able to convince male patients to be treated for depression, their mood and productivity have improved. I also believe their risk of coronary artery disease diminished. Among the positive changes I have seen: One man's heart arrhythmia subsided; another improved his blood pressure and required less medication to control it. Several men returned to an active exercise program and improved their cholesterol because they lost weight. It's worth the fight to make these changes happen.


text:
MILTON-FREEWATER — Oldies Night @ the Library will review the impressive and varied career of singer Linda Ronstadt, 7:30 p.m. Friday, in the Milton-Freewater Public Library, 8 S.W. Eighth Ave.
Not one to stick to one musical genre, Ronstadt performed rock, folk, country, and pre-rock standards and songs from movies over four decades.
Many of them will be played. Included will be songs in Spanish and duets with Emmylou Harris, Aaron Neville, James Ingram, and others.
There is no charge to attend Oldies Night.
For more information, call 541-938-8246.
More like this story
Use the comment form below to begin a discussion about this content.


text:
IP-Watch Reader Survey – Last Chance!Published on 22 October 2008 @ 11:53 am
By William New, Intellectual Property Watch
Last call for surveys! We value your views – this is the final reminder about our reader survey. Please click on the link included in this email and tell us what you think about the Intellectual Property Watch website and publications. It only takes 5 minutes and your opinions on what we are doing and what you'd like to see in the future are very important to us.
If you have questions, please email firstname.lastname@example.com.
Categories: Editorials, English


text:
I carry a half-dozen books with me on the rare occasions that I go to the beach, but more often than not, only one or two get read. The one I bring every time I go is a classic called "Gift from the Sea" by Anne Morrow Lindbergh (Pantheon Books, $9.95). The wife of aviator Charles Lindbergh uses the shells that wash up on the shore to reflect on her life, her priorities, her need for simplicity, grace and clarity. It's a must read for anyone who is listening and watching waves for a week. I never find maybe more than one or two of the shells she talks about but I take her lessons to heart, take deep breaths and vow to not let the little things make me crazy. I leave with an appreciation of how living simply and uncluttered in the moment without always wanting more can create peace at little cost.
"The beach is not the place to work; to read to write to think. I should have remembered that from other years. Too warm, too damp, too soft for any real mental discipline or sharp flights of spirit"....."At first the tired body takes over completely. As on shipboard, one descends into a deck chair apathy. One is forced against one's mind, against all tiny resolutions, back into primeval rhythms of the sea shore."
I finished one other book and I was left feeling like I shouldn't have bothered. Those book jackets' synopses can bewitch you the way a movie trailer can but it's so disappointing when the jacket or the trailer is the best part. That was the case for "The Year That Follows" by Scott Lasser (Knopf, $23.95). The book jacket shows an 8 or 9-year-old boy running away.
As with many post Sept. 11, 2001 books, the backdrop is the death of Cat's brother Kyle at the World Trade Center. Since anyone with a television watched that day and the subsequent grief unfold that sets the emotional stage for us.
The day before he died, Kyle told Cat he believed he was the father of a child of a woman he used to date named Siobhan. Kyle promises to call the woman the next day to find out if he is indeed the father of the recently born boy.
He dies before he makes the phone call, which sets off the story of the book, Cat, who already has a son, trying to find her dead brother's child. This seemed interesting enough for me to pick up the book and take it to the beach, but while I hoped for drama and intrigue as she searched for clues, the reader becomes tangled up with Cat's rekindling of a college relationship with Mr.-More-Than-Right who is apparently a gorgeous, single, wealthy doctor who never got over Cat. As for playing detective, Cat is no Nancy Drew. Mostly her search for the mother is a look everyday at The New York Times, Portraits of Grief series, hoping to see this woman's profile appear since Siobhan worked in the other tower that collapsed.
And then, poof, it's a miracle, one day the name is in there with the woman's story. Cat makes contact with the woman's parents who have the boy. Don't even expect a bitter custody struggle. That seems to resolve itself as easily as Mr. Right walking back into her life. If you really want to read it, I won't spoil a couple of the twists that are suppose to startle the reader. The best thing I can say about the writing is that it's simple. The best thing about the book: nice jacket.


text:
Fearless - Brad Wickersheim - Pastor Book Endorsement (Men's Ministry) - Book Trailers
Press the button below if you liked this video! Thank you! =D
289 views
Posted By waterbrookmultnomah 2012-05-10T13:49:06
Fearless takes you deep into SEAL Team SIX, straight to the heart of one of its most legendary operators.
Fearless takes you deep into SEAL Team SIX, straight to the heart of one of its most legendary operators.
When Navy SEAL Adam Brown woke up on March 17, 2010, he didn't know he would die that night in the Hindu Kush Mountains of Afghanistan—but he was ready: In a letter to his children, not meant to be seen unless the worst happened, he wrote, "I'm not afraid of anything that might happen to me on this earth, because I know no matter what, nothing can take my spirit from me."
More videos from this user
- Cloak of the Light by Chuck Blac...551 views
- The Good News About Marriage by ...487 views
- And Life Comes Back by Tricia Lo...693 views
- Nick Vujicic Stands Strong Again...824 views
No playlists found for this account.
Recommended for you
- The Chatterbox on Fear waterbrookmultnomah00:01:59483 views
- Cloak of the Light by Chuck Black waterbrookmultnomah00:00:39551 views
- The Good News About Marriage by Shaunti Feldhahnwaterbrookmultnomah00:02:33487 views
- And Life Comes Back by Tricia Lott Williford waterbrookmultnomah00:03:25693 views
- Nick Vujicic Stands Strong Against Bullyingwaterbrookmultnomah00:01:51824 views
- The Surprising Secrets of Highly Happy Marriages by Shaun...waterbrookmultnomah00:02:45580 views
- Miss Brenda and the Loveladies by Brenda Spahn and Irene ...waterbrookmultnomah00:00:57725 views
- I Like Giving by Brad Formsmawaterbrookmultnomah00:01:30686 views
- The Holy Land Key by Ray Bentleywaterbrookmultnomah00:03:001,031 views
- Christmas at the Farm with Ann Voskamp and Liz Curtis Hig...waterbrookmultnomah00:00:531,354 views
- Pastor Tommy Barnett Talks About His New Book, The Power ...waterbrookmultnomah00:02:14882 views
- Plastic Donuts Case Studywaterbrookmultnomah00:02:32546 views
- The Dawn of Christmas by Cindy Woodsmallwaterbrookmultnomah00:01:15427 views
- For Every Season by Cindy Woodsmallwaterbrookmultnomah00:01:34612 views
- What Once Was Lost by Kim Vogel Sawyer - Book Trailerwaterbrookmultnomah00:01:12553 views
- The Governess of Highland Hall by Carrie Turansky - Book ...waterbrookmultnomah00:01:29675 views
- Plastic Donuts Endorsement - David Steelewaterbrookmultnomah00:02:06499 views
- Plastic Donuts Endorsement - Pastor Scott Castowaterbrookmultnomah00:01:48419 views
- Plastic Donuts Endorsement - Pastor Rick Nierwaterbrookmultnomah00:02:29383 views
- Plastic Donuts Endorsement - Campus Pastor Patrick Williswaterbrookmultnomah00:01:52365 views