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Jackpot Crash Course is multi-chaptered, casino-themed death game visual novel about crime, luck, and spectacle. FULL CHAPTER 1 OUT NOW for FREE 🪙 90k Words, 13+ Characters, 300+ CGs 😈 Multiple story paths 🔥 About 210 ~ 240 minutes of gameplay Steam + Itch io page below ⬇️

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STUDIO INVESTIGRAVE

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167,963 просмотров • 3 месяцев назад •via X (Twitter)

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one agent → a loop → a graph → a system that throttles itself Google just put the whole ladder in one free course. most people never leave the first rung. 2 hours 4 minutes, taught by two Google Cloud engineers. no signup, no paywall. 17:55 - build your first agent 39:55 - loop engineering: iterate, check, break 1:13:25 - graph engineering 1:35:27 - agents that throttle themselves 1:56:19 - the full graph for multi-agent systems the fourth one is the step nobody talks about. an agent that cannot throttle itself is not autonomous, it is just unattended. everyone builds one agent and calls it done. this is the version where the agents wire themselves into a graph and decide their own rate. and the thing that decides when one of them is allowed to stop is not in the course. that part you build yourself. bookmark and watch it today, then read the eval setup below
2:04:19

one agent → a loop → a graph → a system that throttles itself Google just put the whole ladder in one free course. most people never leave the first rung. 2 hours 4 minutes, taught by two Google Cloud engineers. no signup, no paywall. 17:55 - build your first agent 39:55 - loop engineering: iterate, check, break 1:13:25 - graph engineering 1:35:27 - agents that throttle themselves 1:56:19 - the full graph for multi-agent systems the fourth one is the step nobody talks about. an agent that cannot throttle itself is not autonomous, it is just unattended. everyone builds one agent and calls it done. this is the version where the agents wire themselves into a graph and decide their own rate. and the thing that decides when one of them is allowed to stop is not in the course. that part you build yourself. bookmark and watch it today, then read the eval setup below

Hanako

53,692 просмотров • 28 дней назад

David Grann is one of the few nonfiction writers whose books are routinely adapted into Hollywood movies, such as "Killers of the Flower Moon" with Leonardo DiCaprio and Martin Scorsese. He's such an obsessive researcher that he's cracked multiple murders that even the American government hasn't been able to solve. Then there's his book, The Wager. I can't think of a single book that more people I know said they read in one sitting. This interview is about how he finds stories, researches them, and turns them into page-turners. Timestamps: 1:53 Linking cases to murderers 5:48 David's insane research method 8:20 How to choose books to write 12:30 The three tests for a good story 18:20 Researching "The Wager" 31:18 How to describe a character 34:41 Bringing characters to life 39:28 Making scenes visual 45:20 How to end a chapter 52:20 How to open a book 1:01:52 Working with Martin Scorsese 1:07:01 Storytelling in books vs. movies 1:13:22 Small stories vs. big stories I've shared the full conversation with David Grann below. If you'd rather watch on YouTube, or listen on Apple or Spotify, check out the reply links. Enjoy!
1:24:11

David Grann is one of the few nonfiction writers whose books are routinely adapted into Hollywood movies, such as "Killers of the Flower Moon" with Leonardo DiCaprio and Martin Scorsese. He's such an obsessive researcher that he's cracked multiple murders that even the American government hasn't been able to solve. Then there's his book, The Wager. I can't think of a single book that more people I know said they read in one sitting. This interview is about how he finds stories, researches them, and turns them into page-turners. Timestamps: 1:53 Linking cases to murderers 5:48 David's insane research method 8:20 How to choose books to write 12:30 The three tests for a good story 18:20 Researching "The Wager" 31:18 How to describe a character 34:41 Bringing characters to life 39:28 Making scenes visual 45:20 How to end a chapter 52:20 How to open a book 1:01:52 Working with Martin Scorsese 1:07:01 Storytelling in books vs. movies 1:13:22 Small stories vs. big stories I've shared the full conversation with David Grann below. If you'd rather watch on YouTube, or listen on Apple or Spotify, check out the reply links. Enjoy!

David Perell

46,445 просмотров • 9 месяцев назад

"One great detail will do the work of 50 crappy sentences." Wright Thompson is one of the last great magazine writers in America. He's long been a writer at ESPN, and if you love sports, you've almost definitely read his work. Maybe his profile of Tiger Woods. Or maybe the one about Michael Jordan. Some highlights: - "When somebody says something is overwritten, it really just means that the story is underreported." - Profiles are about figuring out what is a central complication of somebody's life and how, on a daily basis, they go about solving it. - "All of these stories, the few good ones I've written... I think these stories are like a prayer for empathy, to try to understand each other, to understand another human being a little bit at a time. Then slowly, thread by thread, you understand yourself." - On writing well: "One of the things that's missing is that nobody wants to hear what I have to say, which is just reps. Zen is a butt in a seat. There's no mystery. It's just reps." - "I wish someone had told me years ago that if you're going to be a professional writer for decades, writing is not going to be about words, but it's going to be about architecture. Only when you really understand how things fit together and move can you then actually be thinking about the words." - "All writing is trying to say something new that is true and is both specific and universal and that helps the reader understand something they didn't understand before, preferably about themselves." And here are the timestamps: 1:50 Writer's vomit vs. writer's block 8:33 The architecture of writing 11:30 What makes for a good story? 15:57 Bringing characters to life 21:11 "The hammer" 26:26 Writing a vivid scene 33:41 How to bring places to life 39:57 Dialogue vs. quotes 45:49 The role of secondary characters 51:44 The problem with "brainstorming" 1:02:13 What makes for a great ending? I've shared the full conversation with Wright Thompson below. If you'd rather watch on YouTube, or listen to the full thing on Apple / Spotify, check out the reply tweets.
1:03:42

"One great detail will do the work of 50 crappy sentences." Wright Thompson is one of the last great magazine writers in America. He's long been a writer at ESPN, and if you love sports, you've almost definitely read his work. Maybe his profile of Tiger Woods. Or maybe the one about Michael Jordan. Some highlights: - "When somebody says something is overwritten, it really just means that the story is underreported." - Profiles are about figuring out what is a central complication of somebody's life and how, on a daily basis, they go about solving it. - "All of these stories, the few good ones I've written... I think these stories are like a prayer for empathy, to try to understand each other, to understand another human being a little bit at a time. Then slowly, thread by thread, you understand yourself." - On writing well: "One of the things that's missing is that nobody wants to hear what I have to say, which is just reps. Zen is a butt in a seat. There's no mystery. It's just reps." - "I wish someone had told me years ago that if you're going to be a professional writer for decades, writing is not going to be about words, but it's going to be about architecture. Only when you really understand how things fit together and move can you then actually be thinking about the words." - "All writing is trying to say something new that is true and is both specific and universal and that helps the reader understand something they didn't understand before, preferably about themselves." And here are the timestamps: 1:50 Writer's vomit vs. writer's block 8:33 The architecture of writing 11:30 What makes for a good story? 15:57 Bringing characters to life 21:11 "The hammer" 26:26 Writing a vivid scene 33:41 How to bring places to life 39:57 Dialogue vs. quotes 45:49 The role of secondary characters 51:44 The problem with "brainstorming" 1:02:13 What makes for a great ending? I've shared the full conversation with Wright Thompson below. If you'd rather watch on YouTube, or listen to the full thing on Apple / Spotify, check out the reply tweets.

David Perell

553,019 просмотров • 5 месяцев назад

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Katana Inu

12,791 просмотров • 7 месяцев назад

WAIT… PALWORLD ALSO HAS A DATING SIM COMING SOON?! (i kept going down the rabbit hole and this one sounds crazy but its real) Pal♡world! More Than Just Pals is a dating simulator that started as an April Fools joke in 2024. Pocketpair dropped a ridiculous trailer for a Palworld dating sim where you attend Palpagos Private Academy, build relationships with Pals and human characters, and depending on your choices, things can go from cute school romance to something much darker. A year later they came back with an actual Steam page, another trailer, new characters, and confirmed the game was really being developed. Then in 2026 they doubled down again with another special video and an expanded cast. (basically they kept the joke going long enough that eventually the joke became a real product, coming soon™️ lol) The actual game is a single player romance visual novel with choices and different relationship paths. You have characters like Katress, Lovander, Zoe, Chillet, Quivern, Saya, Tarantriss and Splatterina, each written around completely different dating sim archetypes. Lovander treats romance like hunting, Katress gets jealous, Splatterina is basically the obsessive yandere character, and Saya is the flirty school nurse. Pocketpair is also very deliberately mixing all of that with horror. The official Steam page straight up warns that the game contains horror elements, and even asks whether you’ll remain friends, fall in love, or dismantle and eat them. 😳 And before anyone thinks this is a “gooner” game, Pocketpair has already clarified that the real game is not supposed to be an explicit NSFW game. The original April Fools marketing joked about an adult version, but their publishing head later clarified that they’re not actually going that far. (what I’m more interested in is who this game is actually for lol) Palfarm makes sense if Pocketpair wants to reach the cozy gaming, Animal Crossing and Stardew Valley crowd. More Than Just Pals goes in almost the complete opposite direction. Now they’re targeting visual novel fans, dating sim players, anime audiences, romance fans, horror fans, and the part of internet culture that was already making Lovander memes five minutes after Palworld released. (and judging by the comments i’ve been reading, pocketpair absolutely knows who they’re dealing with. half the reaction is “why does this exist” and the other half has apparently had this thing wishlisted since the steam page went live) This is the part I keep coming back to. You don’t necessarily need every Palworld player to want every Palworld product. You need different Palworld products that give different types of people their own entry point into the IP. And interestingly, Pocketpair itself says these spinoffs aren’t some calculated attempt to build a giant “media empire.” Bucky has said projects like Palfarm and the dating sim came largely because their huge community kept asking for different ways to interact with the characters. More Than Just Pals is also one of the projects Pocketpair is actually working on internally, unlike some of the licensed Palworld projects being handled by outside companies. (that’s also the strategy without them even calling it a strategy. listen to the community, find the weird little subcultures already forming around the ip, then give each of them something they actually want) I don’t think More Than Just Pals needs to become some massive game for this experiment to work. If a person who would never spend 100 hours grinding materials in Palworld suddenly cares about Katress, Lovander or Tarantriss because they played a visual novel, Pocketpair just expanded the audience for those characters without changing the original game at all. That’s what makes this interesting to me. Palfarm is testing how far Palworld can stretch across genres. More Than Just Pals might be testing how far it can stretch across demographics. (sounds absolutely ridiculous but it’s genius)
1:28

WAIT… PALWORLD ALSO HAS A DATING SIM COMING SOON?! (i kept going down the rabbit hole and this one sounds crazy but its real) Pal♡world! More Than Just Pals is a dating simulator that started as an April Fools joke in 2024. Pocketpair dropped a ridiculous trailer for a Palworld dating sim where you attend Palpagos Private Academy, build relationships with Pals and human characters, and depending on your choices, things can go from cute school romance to something much darker. A year later they came back with an actual Steam page, another trailer, new characters, and confirmed the game was really being developed. Then in 2026 they doubled down again with another special video and an expanded cast. (basically they kept the joke going long enough that eventually the joke became a real product, coming soon™️ lol) The actual game is a single player romance visual novel with choices and different relationship paths. You have characters like Katress, Lovander, Zoe, Chillet, Quivern, Saya, Tarantriss and Splatterina, each written around completely different dating sim archetypes. Lovander treats romance like hunting, Katress gets jealous, Splatterina is basically the obsessive yandere character, and Saya is the flirty school nurse. Pocketpair is also very deliberately mixing all of that with horror. The official Steam page straight up warns that the game contains horror elements, and even asks whether you’ll remain friends, fall in love, or dismantle and eat them. 😳 And before anyone thinks this is a “gooner” game, Pocketpair has already clarified that the real game is not supposed to be an explicit NSFW game. The original April Fools marketing joked about an adult version, but their publishing head later clarified that they’re not actually going that far. (what I’m more interested in is who this game is actually for lol) Palfarm makes sense if Pocketpair wants to reach the cozy gaming, Animal Crossing and Stardew Valley crowd. More Than Just Pals goes in almost the complete opposite direction. Now they’re targeting visual novel fans, dating sim players, anime audiences, romance fans, horror fans, and the part of internet culture that was already making Lovander memes five minutes after Palworld released. (and judging by the comments i’ve been reading, pocketpair absolutely knows who they’re dealing with. half the reaction is “why does this exist” and the other half has apparently had this thing wishlisted since the steam page went live) This is the part I keep coming back to. You don’t necessarily need every Palworld player to want every Palworld product. You need different Palworld products that give different types of people their own entry point into the IP. And interestingly, Pocketpair itself says these spinoffs aren’t some calculated attempt to build a giant “media empire.” Bucky has said projects like Palfarm and the dating sim came largely because their huge community kept asking for different ways to interact with the characters. More Than Just Pals is also one of the projects Pocketpair is actually working on internally, unlike some of the licensed Palworld projects being handled by outside companies. (that’s also the strategy without them even calling it a strategy. listen to the community, find the weird little subcultures already forming around the ip, then give each of them something they actually want) I don’t think More Than Just Pals needs to become some massive game for this experiment to work. If a person who would never spend 100 hours grinding materials in Palworld suddenly cares about Katress, Lovander or Tarantriss because they played a visual novel, Pocketpair just expanded the audience for those characters without changing the original game at all. That’s what makes this interesting to me. Palfarm is testing how far Palworld can stretch across genres. More Than Just Pals might be testing how far it can stretch across demographics. (sounds absolutely ridiculous but it’s genius)

808

72,138 просмотров • 24 дней назад

NEW FIGHTER REVEALED!! NILAY RAO of MASSIVELY MULTIPLAYER WORLD OF GHOSTS joins the Saturday AM: BATTLE MANGA, and he's not alone! He SUMMONS his powerful GHOSTS - the orange dynamo Vyper Neo and the big, brutal bomber - DAEDALUS BONN! ALL THREE COME TOGETHER AS ONE POWERFUL FIGHTER against other Saturday AM manga heroes! SATURDAY AM BATTLE MANGA is the first official video game based on the popular manga brand featuring characters from hit series like: CLOCK STRIKER by Jones x gladiskstudio APPLE BLACK by WhytManga Odunze MASSIVELY MULTIPLAYER WORLD OF GHOSTS by Jones x Fongfumaster - MMWOG VOl 1- 2 OUT NOW HAMMER by JeyOdin SOUL BEAT by AlDurante and more to come! WISHLIST ON STEAM: The 2V2 fighter is a fast-paced brawler with character designs inspired by both the manga and the aesthetic of each series’ actual creator, featuring unique features and presentation meant to mimic the visual intensity and style of Japanese battle manga tropes. Planned with rollback netcode for online play, the game has just begun full development, with this trailer offering an early look at the initial models and animations developed in the UNREAL engine. Learn more about the game developers Son Studios at: Learn more about Saturday AM and its' manga titles:
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NEW FIGHTER REVEALED!! NILAY RAO of MASSIVELY MULTIPLAYER WORLD OF GHOSTS joins the Saturday AM: BATTLE MANGA, and he's not alone! He SUMMONS his powerful GHOSTS - the orange dynamo Vyper Neo and the big, brutal bomber - DAEDALUS BONN! ALL THREE COME TOGETHER AS ONE POWERFUL FIGHTER against other Saturday AM manga heroes! SATURDAY AM BATTLE MANGA is the first official video game based on the popular manga brand featuring characters from hit series like: CLOCK STRIKER by Jones x gladiskstudio APPLE BLACK by WhytManga Odunze MASSIVELY MULTIPLAYER WORLD OF GHOSTS by Jones x Fongfumaster - MMWOG VOl 1- 2 OUT NOW HAMMER by JeyOdin SOUL BEAT by AlDurante and more to come! WISHLIST ON STEAM: The 2V2 fighter is a fast-paced brawler with character designs inspired by both the manga and the aesthetic of each series’ actual creator, featuring unique features and presentation meant to mimic the visual intensity and style of Japanese battle manga tropes. Planned with rollback netcode for online play, the game has just begun full development, with this trailer offering an early look at the initial models and animations developed in the UNREAL engine. Learn more about the game developers Son Studios at: Learn more about Saturday AM and its' manga titles:

Saturday AM

30,405 просмотров • 3 месяцев назад

My first comic book series Verion Keller's Vampire Killers is available for purchase on my website! The hunt begins. The shadows rise. And the blood war in Neodelphia has officially begun... Grab your copy of *"VK Chapter 1" now available at the official "Venus Orion Comics" store! ORDER HERE → Cover A (Physical Comic) ALSO (Digital Comic Version for ONLY $5) Exclusive Store Variant Available! This special edition cover is ONLY available through the VOC website and limited in quantity. Don’t miss out. Store Cover Exclusive (Physical Comic) --- ABOUT VK: INTRODUCTION A brutal attack in Neodelphia reveals vampires as a deadly threat lurking in the shadows. VK Chapter 1 follows Young Wrath, a relentless vampire hunter thrust into a battle for survival that could determine the city’s fate. This isn’t just the start of an epic story it’s the foundation of the Venus Orion Comics Universe, a world I’ve been crafting for five years. STORY VK Chapter 1 is the first of ten chapters in the ‘Shadows of Ascension’ arc, a gritty tale set in a dystopian city where corruption and vampires rule the shadows. As alliances are tested and secrets unravel, Young Wrath and the Retributes face monstrous and human foes in a fight to expose the truth. The script for all ten chapters of this arc is complete, and production on Chapter 2 begins this year. With 32 pages (28 pages of story), VK Chapter 1 sets the stage for an unforgettable journey filled with action, betrayal, and mystery. Primary Setting: Neodelphia A technologically advanced yet morally fractured city built on the ruins of Old Philadelphia. It's a sprawling metropolis characterized by its striking divide between the privileged elite living above ground and the impoverished citizens struggling below in the Underbelly. Technology vs. Humanity: The city thrives on innovations like the Guardian Protocol System but sacrifices personal freedoms and moral integrity for control and safety. Layers of Society: From the glitzy Center City District to the impoverished Bottom, every corner of Neodelphia reflects humanity's social and political tensions. 📖 VK Chapter 1 is a 32-page premiere issue featuring: ✅ Full-color action and lore-rich storytelling ✅ 2 cover options: Standard + Exclusive Store Variant ✅ Printed and shipped from the U.S. --- This is a repost of the official VK trailer — for new fans, this is where it all begins. 🔥 FOLLOW US FOR MORE 🔥 Website: Twitter/X: @VenusOrionComics Instagram: @venusorioncomics Join the Newsletter: Shop Direct:
1:46

My first comic book series Verion Keller's Vampire Killers is available for purchase on my website! The hunt begins. The shadows rise. And the blood war in Neodelphia has officially begun... Grab your copy of *"VK Chapter 1" now available at the official "Venus Orion Comics" store! ORDER HERE → Cover A (Physical Comic) ALSO (Digital Comic Version for ONLY $5) Exclusive Store Variant Available! This special edition cover is ONLY available through the VOC website and limited in quantity. Don’t miss out. Store Cover Exclusive (Physical Comic) --- ABOUT VK: INTRODUCTION A brutal attack in Neodelphia reveals vampires as a deadly threat lurking in the shadows. VK Chapter 1 follows Young Wrath, a relentless vampire hunter thrust into a battle for survival that could determine the city’s fate. This isn’t just the start of an epic story it’s the foundation of the Venus Orion Comics Universe, a world I’ve been crafting for five years. STORY VK Chapter 1 is the first of ten chapters in the ‘Shadows of Ascension’ arc, a gritty tale set in a dystopian city where corruption and vampires rule the shadows. As alliances are tested and secrets unravel, Young Wrath and the Retributes face monstrous and human foes in a fight to expose the truth. The script for all ten chapters of this arc is complete, and production on Chapter 2 begins this year. With 32 pages (28 pages of story), VK Chapter 1 sets the stage for an unforgettable journey filled with action, betrayal, and mystery. Primary Setting: Neodelphia A technologically advanced yet morally fractured city built on the ruins of Old Philadelphia. It's a sprawling metropolis characterized by its striking divide between the privileged elite living above ground and the impoverished citizens struggling below in the Underbelly. Technology vs. Humanity: The city thrives on innovations like the Guardian Protocol System but sacrifices personal freedoms and moral integrity for control and safety. Layers of Society: From the glitzy Center City District to the impoverished Bottom, every corner of Neodelphia reflects humanity's social and political tensions. 📖 VK Chapter 1 is a 32-page premiere issue featuring: ✅ Full-color action and lore-rich storytelling ✅ 2 cover options: Standard + Exclusive Store Variant ✅ Printed and shipped from the U.S. --- This is a repost of the official VK trailer — for new fans, this is where it all begins. 🔥 FOLLOW US FOR MORE 🔥 Website: Twitter/X: @VenusOrionComics Instagram: @venusorioncomics Join the Newsletter: Shop Direct:

MugenLord

73,078 просмотров • 1 год назад

Eric Roth won the Oscar for Best Adapted Screenplay in 1994. He wrote the scripts for movies like Dune, Forrest Gump, and The Curious Case of Benjamin Button — and worked with directors like Spielberg and Scorsese. Some highlights from the interview: 1. God is in the details. 2. If the details aren’t vivid, the story won’t succeed. 3. If you get writer’s block, try changing the weather in your story. Will give you a fresh perspective. 4. Don't try to make your characters likable. Try to make them understandable. Great villain characters aren't great because we like them, but because we understand what makes them tick. 5. For major characters, you should have a clear answer to: What makes them tick? 6. A good movie is more than just a story. It has to be about something. When writing, ask yourself: What's this story really about? The writing gets easier once you have a clear theme. 7. The time of day in a scene should match (and enhance) the scene. 8. Great writing lives in the subtext. The most sophisticated writers don’t explain things too directly. Communicating through subtlety lets you achieve more with your words. You can convey information, share a lesson for life, and give the audience something to make sense of for themselves. 9. Dialogue can't just fill space. It has to carry weight. Every interaction has to move the story along. Avoid Shoe Leather (which is when you have an unnecessary scene where people are walking around in a way that doesn’t develop the story or the characters). 10. The first time you write something, it won't be right. That's just how it is. The work of writing something great happens in the rewriting. 11. Every screenplay will follow a 3-Act Structure. You can't escape it. The first act will state the problem, the second act will complicate it, and the third act will or will not resolve it. 12. "I start on page one every day." Reading the whole screenplay from scratch is how he stays close to the material and keeps the entire story consistent. 13. End each writing day with a scene you like so you don't have to worry about it over night. I've shared the full interview with Eric Roth below. If you'd rather watch on YouTube or listen on Spotify / Apple, check the reply tweets. I've added the links there.
1:35:00

Eric Roth won the Oscar for Best Adapted Screenplay in 1994. He wrote the scripts for movies like Dune, Forrest Gump, and The Curious Case of Benjamin Button — and worked with directors like Spielberg and Scorsese. Some highlights from the interview: 1. God is in the details. 2. If the details aren’t vivid, the story won’t succeed. 3. If you get writer’s block, try changing the weather in your story. Will give you a fresh perspective. 4. Don't try to make your characters likable. Try to make them understandable. Great villain characters aren't great because we like them, but because we understand what makes them tick. 5. For major characters, you should have a clear answer to: What makes them tick? 6. A good movie is more than just a story. It has to be about something. When writing, ask yourself: What's this story really about? The writing gets easier once you have a clear theme. 7. The time of day in a scene should match (and enhance) the scene. 8. Great writing lives in the subtext. The most sophisticated writers don’t explain things too directly. Communicating through subtlety lets you achieve more with your words. You can convey information, share a lesson for life, and give the audience something to make sense of for themselves. 9. Dialogue can't just fill space. It has to carry weight. Every interaction has to move the story along. Avoid Shoe Leather (which is when you have an unnecessary scene where people are walking around in a way that doesn’t develop the story or the characters). 10. The first time you write something, it won't be right. That's just how it is. The work of writing something great happens in the rewriting. 11. Every screenplay will follow a 3-Act Structure. You can't escape it. The first act will state the problem, the second act will complicate it, and the third act will or will not resolve it. 12. "I start on page one every day." Reading the whole screenplay from scratch is how he stays close to the material and keeps the entire story consistent. 13. End each writing day with a scene you like so you don't have to worry about it over night. I've shared the full interview with Eric Roth below. If you'd rather watch on YouTube or listen on Spotify / Apple, check the reply tweets. I've added the links there.

David Perell

88,706 просмотров • 1 год назад

What is playing out now with the Belfast attack, with Henry Nowak, is a grand symphony of gaslighting & dishonesty that is almost too stomach-churning to watch We witnessed the same after Southport, with the rape gangs....and on & on They KNOW their mass migration ideology caused these atrocities. So they choose to deflect on to right-wing politicians, GB News and what they call the "far right". The public need to understand exactly how their game is played and the poisonous ideology that underpins it. The cycle is always the same: Fury erupts across Britain, driven not by public figures (as they claim), but by the atrocity itself. You know, the mad asylum seeker wielding a bloodied knife... Footage is shared on social media, watched with our own eyes. The pure unvarnished truth that the legacy media can't spin. Figures on the right respond with natural fury - indeed, rage - that the elite's callous disregard for reality and their fellow citizens has yet again unleashed carnage. But the media and the political class can't talk about that reality. They can't talk about the incident itself. Because they would have to admit it is thanks to them that such people - such murderers - have entered the country. The BBC, The Guardian, Sky News, Labour, the Greens, the Lib Dems & many Tories, too -- What THEY CHOOSE to talk about, what they WANT YOU TO THINK the real story is about, is the anger and the choice of words of those of us who are utterly appalled and outraged by the latest atrocity -- an atrocity THEY enabled. This is gaslighting propaganda of the most repellent and unforgivable kind. With Southport, the real story was apparently not the son of a Rwandan refugee committing one of the most heinous crimes in British history. No, the real story was Nigel Farage's reaction to that orgy of slaughter against little girls. When locals rioted, James O'Brien and others labelled it the 'Farage Riots'. The small number of rioters suddenly became the story, used to dismiss the concerns of ALL protestors. "Far-right thuggery", was how Keir Starmer referred to law-abiding mothers and pensioners. Anything to avoid talking about the crime itself and the ideology that brought its perpetrator into our country. And now we see the same playing out with the Belfast attack and the murder of Henry Nowak. Newsnight misleadingly quoted Nigel Farage as saying "white rage," a revealing and vile smear for which they have had to apologise yet again. In lockstep, the media and political class rapidly converged on their narrative: this was to be a story about Nigel Farage's naughty words. THIS is what has dominated their coverage. This is what they want to talk about in Parliament, in the TV studios, and in the press. Farage's naughty words. "Just how naughty were they? Should such bad words be tolerated? Should he be arrested?" "Do we need to apply yet more censorship to protect the public against his mean, hurty words?" These people are so far beneath contempt it is difficult to find words that do them justice. This is a story not about Nigel Farage or the right, but the deeply ingrained anti-British and anti-white ideology that is destroying this nation. This is an institutionally treasonous state, and Henry Novak and Stephen Ogilvie are its latest victims. That is the real story our political and media class are attempting to bury under a mountain of pearl-clutching theatrics, lies, and misdirection. They have blood on their hands. It's about time we said it. Clip from my monologue. 👇 Full monologue linked in the second post. 1/2
7:40

What is playing out now with the Belfast attack, with Henry Nowak, is a grand symphony of gaslighting & dishonesty that is almost too stomach-churning to watch We witnessed the same after Southport, with the rape gangs....and on & on They KNOW their mass migration ideology caused these atrocities. So they choose to deflect on to right-wing politicians, GB News and what they call the "far right". The public need to understand exactly how their game is played and the poisonous ideology that underpins it. The cycle is always the same: Fury erupts across Britain, driven not by public figures (as they claim), but by the atrocity itself. You know, the mad asylum seeker wielding a bloodied knife... Footage is shared on social media, watched with our own eyes. The pure unvarnished truth that the legacy media can't spin. Figures on the right respond with natural fury - indeed, rage - that the elite's callous disregard for reality and their fellow citizens has yet again unleashed carnage. But the media and the political class can't talk about that reality. They can't talk about the incident itself. Because they would have to admit it is thanks to them that such people - such murderers - have entered the country. The BBC, The Guardian, Sky News, Labour, the Greens, the Lib Dems & many Tories, too -- What THEY CHOOSE to talk about, what they WANT YOU TO THINK the real story is about, is the anger and the choice of words of those of us who are utterly appalled and outraged by the latest atrocity -- an atrocity THEY enabled. This is gaslighting propaganda of the most repellent and unforgivable kind. With Southport, the real story was apparently not the son of a Rwandan refugee committing one of the most heinous crimes in British history. No, the real story was Nigel Farage's reaction to that orgy of slaughter against little girls. When locals rioted, James O'Brien and others labelled it the 'Farage Riots'. The small number of rioters suddenly became the story, used to dismiss the concerns of ALL protestors. "Far-right thuggery", was how Keir Starmer referred to law-abiding mothers and pensioners. Anything to avoid talking about the crime itself and the ideology that brought its perpetrator into our country. And now we see the same playing out with the Belfast attack and the murder of Henry Nowak. Newsnight misleadingly quoted Nigel Farage as saying "white rage," a revealing and vile smear for which they have had to apologise yet again. In lockstep, the media and political class rapidly converged on their narrative: this was to be a story about Nigel Farage's naughty words. THIS is what has dominated their coverage. This is what they want to talk about in Parliament, in the TV studios, and in the press. Farage's naughty words. "Just how naughty were they? Should such bad words be tolerated? Should he be arrested?" "Do we need to apply yet more censorship to protect the public against his mean, hurty words?" These people are so far beneath contempt it is difficult to find words that do them justice. This is a story not about Nigel Farage or the right, but the deeply ingrained anti-British and anti-white ideology that is destroying this nation. This is an institutionally treasonous state, and Henry Novak and Stephen Ogilvie are its latest victims. That is the real story our political and media class are attempting to bury under a mountain of pearl-clutching theatrics, lies, and misdirection. They have blood on their hands. It's about time we said it. Clip from my monologue. 👇 Full monologue linked in the second post. 1/2

Rafe Heydel-Mankoo

152,924 просмотров • 2 месяцев назад

Here’s a Summary if you’re still wondering what $LUMI is all about… A Thread 🧵🍿😁 🗓️ When did the Lumiterra Yapper Leaderboard launch? 🗓️ The Lumiterra Testnet went live on June 26, 15:30 UTC+8….and is fully on and functioning😁 The campaign is now active and will run until TGE. 📝 Do I need to sign up or register to join the leaderboard? No,Just start talking about Lumiterra on X and let Kaito do the rest by automatically tracking your posts, and your rank will update on the leaderboard ASAP. Smooth right?😉 💬 What qualifies as a “Yap”? Yaps are high-quality contributions recognized by Kaito’s algorithm, which evaluates content based on depth, originality, and engagement value. Earn yaps by talking about gameplay moments: PvP highlights, dungeon runs, livestream clips ❕creative images featuring $LUMI ❕Post guides for beginners or newly onboarded $LUMI testers ❕post hot takes about Lumi Terradas ❕Yap about Epic fails, game bugs faced in the game for easy rectification by the team ❕Post thoughtful analysis of Lumiterra’s game, token design, or reward systems. 🎁 What’s the total reward allocation for yappers? ❕A whooping 1% of total $LUMI supply has been set aside for Kaito Yappers 👀🔥🤩 - 0.6% for Lumiterra-specific contributors - 0.4% for contributors across the broader Kaito ecosystem. 📍 How do I join the Lumiterra Yapper Leaderboard? Visit:[ page, Connect your X account and and give access to Kaito AI 🌊 , start creating and sharing quality $LUMI content and replies and watch your rank rise as the leaderboard updates. 🗓️ When can I claim rewards? Reward distribution details and claiming process are TBA so stay tuned for updates from only Lumi TerradasGame official page. 📈 How can I maximize my Yapper rewards? -Engage all my $LUMI posts😁 -Post quality info and talks about $LUMI - Engage with the $LUMI community and the top Yappers and top testers like Voracytis Lark (builder mode) Dashred Inspector⚡ Vincent Duraku 0xdahua｜大华 🎮. |🧠SENT 丨 MemeMax ⚡️ and so many more🫡👀 - Share content that helps others understand the game and its ecosystem. - Show your personality —be real with yourself and the $LUMI community. 📖 Where can I learn more about Lumiterra? You can visit their X official page Lumi Terradas and join their discord community ( for a deeper understanding and guide of the ecosystem go to Wiki/guide: [LumiTerra Game Guide]( ❓When can I play Lumiterra? You can play on browser and also download through the link below WANT TO HEAR THE FUN PART? 🔓 No whitelist required 🆕 New users can create an account without needing a ref code or and access code😮‍💨 ⏳ Campaign runs until TGE 📉 Progress will not carry over to mainnet 🎮 Get ready to explore, fight, farm, and craft in the world of $LUMI.! Shout to Pshyc_ he made this possible🫡🧡 Check out this short gameplay from Inspector⚡
1:06

Here’s a Summary if you’re still wondering what $LUMI is all about… A Thread 🧵🍿😁 🗓️ When did the Lumiterra Yapper Leaderboard launch? 🗓️ The Lumiterra Testnet went live on June 26, 15:30 UTC+8….and is fully on and functioning😁 The campaign is now active and will run until TGE. 📝 Do I need to sign up or register to join the leaderboard? No,Just start talking about Lumiterra on X and let Kaito do the rest by automatically tracking your posts, and your rank will update on the leaderboard ASAP. Smooth right?😉 💬 What qualifies as a “Yap”? Yaps are high-quality contributions recognized by Kaito’s algorithm, which evaluates content based on depth, originality, and engagement value. Earn yaps by talking about gameplay moments: PvP highlights, dungeon runs, livestream clips ❕creative images featuring $LUMI ❕Post guides for beginners or newly onboarded $LUMI testers ❕post hot takes about Lumi Terradas ❕Yap about Epic fails, game bugs faced in the game for easy rectification by the team ❕Post thoughtful analysis of Lumiterra’s game, token design, or reward systems. 🎁 What’s the total reward allocation for yappers? ❕A whooping 1% of total $LUMI supply has been set aside for Kaito Yappers 👀🔥🤩 - 0.6% for Lumiterra-specific contributors - 0.4% for contributors across the broader Kaito ecosystem. 📍 How do I join the Lumiterra Yapper Leaderboard? Visit:[ page, Connect your X account and and give access to Kaito AI 🌊 , start creating and sharing quality $LUMI content and replies and watch your rank rise as the leaderboard updates. 🗓️ When can I claim rewards? Reward distribution details and claiming process are TBA so stay tuned for updates from only Lumi TerradasGame official page. 📈 How can I maximize my Yapper rewards? -Engage all my $LUMI posts😁 -Post quality info and talks about $LUMI - Engage with the $LUMI community and the top Yappers and top testers like Voracytis Lark (builder mode) Dashred Inspector⚡ Vincent Duraku 0xdahua｜大华 🎮. |🧠SENT 丨 MemeMax ⚡️ and so many more🫡👀 - Share content that helps others understand the game and its ecosystem. - Show your personality —be real with yourself and the $LUMI community. 📖 Where can I learn more about Lumiterra? You can visit their X official page Lumi Terradas and join their discord community ( for a deeper understanding and guide of the ecosystem go to Wiki/guide: [LumiTerra Game Guide]( ❓When can I play Lumiterra? You can play on browser and also download through the link below WANT TO HEAR THE FUN PART? 🔓 No whitelist required 🆕 New users can create an account without needing a ref code or and access code😮‍💨 ⏳ Campaign runs until TGE 📉 Progress will not carry over to mainnet 🎮 Get ready to explore, fight, farm, and craft in the world of $LUMI.! Shout to Pshyc_ he made this possible🫡🧡 Check out this short gameplay from Inspector⚡

UNRULY|LUMI 🀄️

17,949 просмотров • 1 год назад

Want to write thrilling stories? Nick Bilton has the playbook. He's written for Netflix and The New York Times, and this episode is a tell-all class on how to create tension with hooks, cliffhangers, drama, and conflict. Highlights below: 1. Evil characters only work if readers care about them. 2. The best way to make readers care about an evil character is to humanize them. You can do that by focusing on simple details like how they lose their keys. Or, you can write about their mother because every murderer has a mother who loves them. 3. You can't look down on your characters. You have to look out with them. 4. Rule for writing screenplays: Get into the scene as late as you can, and get out of it as early as you can. 5. Fiction stories have the opposite shape as non-fiction ones. 6. In fiction, the kicker comes at the beginning and the summary comes at the end. In non-fiction, the summary comes at the beginning and the kicker comes at the end. 7. How’d Nick learn to tell better stories? By reading murder mysteries. 8. If the story's good enough, the book will fly off the shelves. Look at the Twilight series. The books sold like crazy even though the writing stinks. 9. How do you write good cliffhangers? Show people a little bit of the future, but don't reveal everything. 10. Ask the question at the end of one chapter and answer it shortly after. The answer doesn't need to come right away, but you have to answer it soon. 11. There are two kinds of stories that work: Big ones about something small, and small ones about something big. Stories in the middle are usually terrible. 12. Nick once asked the legendary journalist David Carr for advice. The response: “Keep typing until it turns into writing.” 13. You can tell a good story without knowing everything that happened, but you do need to know enough to make the reader feel like they're there. 14. Writers often over-describe their scenes. You only need three details. For example, if you're at a campground, you might only need the sight of the pine needles on the ground, the smell of a nearby campfire, and the sound of crickets in the distance. 15. We admire characters more for trying than their successes (this is rule #1 in Pixar's 22 Rules of Storytelling). That's just a little taste of what's in this episode with Nick Bilton. You can watch the full thing below. If you'd rather watch on YouTube or listen on Spotify or Apple, and I've shared those links in the reply tweets.
1:19:46

Want to write thrilling stories? Nick Bilton has the playbook. He's written for Netflix and The New York Times, and this episode is a tell-all class on how to create tension with hooks, cliffhangers, drama, and conflict. Highlights below: 1. Evil characters only work if readers care about them. 2. The best way to make readers care about an evil character is to humanize them. You can do that by focusing on simple details like how they lose their keys. Or, you can write about their mother because every murderer has a mother who loves them. 3. You can't look down on your characters. You have to look out with them. 4. Rule for writing screenplays: Get into the scene as late as you can, and get out of it as early as you can. 5. Fiction stories have the opposite shape as non-fiction ones. 6. In fiction, the kicker comes at the beginning and the summary comes at the end. In non-fiction, the summary comes at the beginning and the kicker comes at the end. 7. How’d Nick learn to tell better stories? By reading murder mysteries. 8. If the story's good enough, the book will fly off the shelves. Look at the Twilight series. The books sold like crazy even though the writing stinks. 9. How do you write good cliffhangers? Show people a little bit of the future, but don't reveal everything. 10. Ask the question at the end of one chapter and answer it shortly after. The answer doesn't need to come right away, but you have to answer it soon. 11. There are two kinds of stories that work: Big ones about something small, and small ones about something big. Stories in the middle are usually terrible. 12. Nick once asked the legendary journalist David Carr for advice. The response: “Keep typing until it turns into writing.” 13. You can tell a good story without knowing everything that happened, but you do need to know enough to make the reader feel like they're there. 14. Writers often over-describe their scenes. You only need three details. For example, if you're at a campground, you might only need the sight of the pine needles on the ground, the smell of a nearby campfire, and the sound of crickets in the distance. 15. We admire characters more for trying than their successes (this is rule #1 in Pixar's 22 Rules of Storytelling). That's just a little taste of what's in this episode with Nick Bilton. You can watch the full thing below. If you'd rather watch on YouTube or listen on Spotify or Apple, and I've shared those links in the reply tweets.

David Perell

81,036 просмотров • 1 год назад

Dean Koontz has published more than 140 novels, 74 works of short fiction, and sold more than 500 million books. Simply put, he’s one of the most prolific writers alive today. Some highlights from our chat: 1. Dare to love the English language. 2. Characters come alive when they're given free will. Instead of constraining them in an outline, let them go where they want. You know they’re alive once they start surprising you. He says: “I give the characters free will like God gave it to us.” 3. Everything a writer believes about life and death, culture and society, relationships and the self, God and nature will wind up in their books. A writer’s body of work, therefore, reveals the intellectual and emotional progress of its creator, and over time, becomes a map of their soul. 4. To think you understand the world is to be foolish in the extreme. The world is too complex for us to understand it. To see reality clearly is to be utterly enchanted by its staggering complexity. 5. Where should you look? Well, the supernatural enters the world in mundane ways, and rarely the great and glorious flashes of drama. 6. Dean writes his novels page-by-page, and doesn’t move onto the next page until he nails the existing one. There’s no messy first draft. Because of that, he’s basically done with his novels once he finishes the final page. 7. Where does a unique writing voice come from? Three places: style, perspective, and a philosophy of life. 8. Be skeptical of conventional wisdom. There’s an encyclopedia of common wisdom in publishing. All of it is common and none of it is wise. You have to become aware of that, go your own way, and just stick with it because there are so many ways you can be sent wrong based on "that's the way we always do it." 9. The aesthetic plainness of contemporary writing (and culture at large) is crushing our souls. 10. Contemporary fiction is suffering from plainness in particular. It started when writers started imitating Hemingway (who stripped his prose down but kept the mystery and underlying strangeness of the world by implication). But the imitations that came later stripped the prose down while also removing the underlying depth that made Hemingway so great. 11. Koontz Law of Writing #1: Never go inside more than one character's mind in a scene. Each one should come from a singular viewpoint. 12. Koontz Law of Writing #2: Metaphors aren't meant to dazzle readers, but to seduce them into a more intimate relationship with the story. 13. Koontz Law of Writing #3: Metaphors and similes describe a scene more colorfully than a chain of adjectives — while reinforcing the mood. The point is that you can create depth by describing things metaphorically instead of using blunt adjectives. That’s what poetry does: it uses words to say more than the word itself says, which creates a mood. 14. Great prose doesn't come from piling on adjectives. It comes from finding the perfect metaphor that does triple duty: describes the scene, reinforces the mood, and reveals something about the character. 15. The goal is for metaphors not to pop out like showmanship, but to flow into the music of the language. 16. Develop an ear for the musicality of language. 17. A book can succeed with a mediocre plot if the characters are compelling. Character is the center of good fiction. If the characters work, the story works. 18. From the afterword of his book, Watchers: “We have within us the ability to change for the better and to find dignity as individuals rather than as drones in one mass movement or another. We have the ability to love, the need to be loved, and the willingness to put our own lives on the line to protect those we love, and it is in these aspects of ourselves that we can glimpse the face of God; and through the exercise of these qualities, we come closest to a Godlike state.” I've shared the full conversation with Dean Koontz below. The YouTube video link is in the replies, and so are the links to Apple and Spotify.
1:47:18

Dean Koontz has published more than 140 novels, 74 works of short fiction, and sold more than 500 million books. Simply put, he’s one of the most prolific writers alive today. Some highlights from our chat: 1. Dare to love the English language. 2. Characters come alive when they're given free will. Instead of constraining them in an outline, let them go where they want. You know they’re alive once they start surprising you. He says: “I give the characters free will like God gave it to us.” 3. Everything a writer believes about life and death, culture and society, relationships and the self, God and nature will wind up in their books. A writer’s body of work, therefore, reveals the intellectual and emotional progress of its creator, and over time, becomes a map of their soul. 4. To think you understand the world is to be foolish in the extreme. The world is too complex for us to understand it. To see reality clearly is to be utterly enchanted by its staggering complexity. 5. Where should you look? Well, the supernatural enters the world in mundane ways, and rarely the great and glorious flashes of drama. 6. Dean writes his novels page-by-page, and doesn’t move onto the next page until he nails the existing one. There’s no messy first draft. Because of that, he’s basically done with his novels once he finishes the final page. 7. Where does a unique writing voice come from? Three places: style, perspective, and a philosophy of life. 8. Be skeptical of conventional wisdom. There’s an encyclopedia of common wisdom in publishing. All of it is common and none of it is wise. You have to become aware of that, go your own way, and just stick with it because there are so many ways you can be sent wrong based on "that's the way we always do it." 9. The aesthetic plainness of contemporary writing (and culture at large) is crushing our souls. 10. Contemporary fiction is suffering from plainness in particular. It started when writers started imitating Hemingway (who stripped his prose down but kept the mystery and underlying strangeness of the world by implication). But the imitations that came later stripped the prose down while also removing the underlying depth that made Hemingway so great. 11. Koontz Law of Writing #1: Never go inside more than one character's mind in a scene. Each one should come from a singular viewpoint. 12. Koontz Law of Writing #2: Metaphors aren't meant to dazzle readers, but to seduce them into a more intimate relationship with the story. 13. Koontz Law of Writing #3: Metaphors and similes describe a scene more colorfully than a chain of adjectives — while reinforcing the mood. The point is that you can create depth by describing things metaphorically instead of using blunt adjectives. That’s what poetry does: it uses words to say more than the word itself says, which creates a mood. 14. Great prose doesn't come from piling on adjectives. It comes from finding the perfect metaphor that does triple duty: describes the scene, reinforces the mood, and reveals something about the character. 15. The goal is for metaphors not to pop out like showmanship, but to flow into the music of the language. 16. Develop an ear for the musicality of language. 17. A book can succeed with a mediocre plot if the characters are compelling. Character is the center of good fiction. If the characters work, the story works. 18. From the afterword of his book, Watchers: “We have within us the ability to change for the better and to find dignity as individuals rather than as drones in one mass movement or another. We have the ability to love, the need to be loved, and the willingness to put our own lives on the line to protect those we love, and it is in these aspects of ourselves that we can glimpse the face of God; and through the exercise of these qualities, we come closest to a Godlike state.” I've shared the full conversation with Dean Koontz below. The YouTube video link is in the replies, and so are the links to Apple and Spotify.

David Perell

74,956 просмотров • 1 год назад

Steve Levitan is the creator of Modern Family, one of the most popular sitcoms in history, which won 22 Emmy Awards. This conversation is all about how he wrote it. Highlights below: 1. Know the theme of what you’re writing, as it’ll give you a north star for every decision you make. 2. Better stories come from bigger conflicts, but bigger doesn’t mean screaming and explosions, but rather the high stakes that come from a conflict that’ll cost the characters emotionally if it isn’t resolved. 3. What kinds of conflicts work best? The stuff that never changes: love, loss, heartbreak… relationships between parents and kids, couples working through their problems. 4. The story is everything. Once you crack what’s actually going to happen, the script practically writes itself. That’s why there’s an old screenwriter saying that the first draft is 90% finished once you’re done with the outline. 5. Cut the half-jokes: A lukewarm joke kills momentum faster than no joke at all. 6. Be real. Take it down a notch. Steven gets annoyed by “big.” When things feel heightened to the point where they don’t feel human anymore, or when they’re performing on stage, to an audience, instead of just being real people. 7. Emotional moments must be earned. You want them to sneak up on you, to be understated. 8. Steven would spy on his family for TV gold. Sometimes, he’d be sitting at the table, take his phone out to frantically capture the dialogue. When friends came over, his kids would joke: “Be careful what you say around the Levitan house. It might end up on Modern Family." 9. A writer’s antenna needs to be up at all times. If you're observant, there's almost nowhere you can't go where you don't think: "That's funny." 10. Some questions for writers to ask themselves: Does it feel real? Are they talking the way people talk? Are you tapping into what you're thinking about today? 11. Conflict is everything, but how you do it matters. Don't just slap "these two hate each other" on your characters and call it conflict. Dig into who they actually are: what specific traits, backgrounds, or worldviews make them rub each other the wrong way? The clash has to come from something real. 12. Steven’s mantra for writing Modern Family episodes: Keep it moving, but don’t race through them (he thinks the episodes became too frenetic in the later years). 13. How was modern family written? About 7 writers. 8-10 weeks of story breaking at the beginning of a new season. Then the weekly cycle began: Mondays and Tuesdays were for rewrites, Wednesdays were for table reads, and then the final versions were due by Friday. 14. What happens before a show is launched? Writers spend weeks doing nothing but talking about characters and the dynamics between them, with the goal of establishing relationships that’ll play out over the course of hundreds of episodes (if things go well). 15. Give your characters a comedic lens to see the world through. On Modern Family, Phil is the Dad and he thinks he’s the “cool dad” with misguided confidence that he’s hipper than he really is, so the writers of the show knew how he’d react to things before they even wrote the scene. I've shared the full conversation with Steve Levitan below, and if you want to watch it on YouTube or find the audio links for Apple or Spotify, check out the reply tweets.
1:40:34

Steve Levitan is the creator of Modern Family, one of the most popular sitcoms in history, which won 22 Emmy Awards. This conversation is all about how he wrote it. Highlights below: 1. Know the theme of what you’re writing, as it’ll give you a north star for every decision you make. 2. Better stories come from bigger conflicts, but bigger doesn’t mean screaming and explosions, but rather the high stakes that come from a conflict that’ll cost the characters emotionally if it isn’t resolved. 3. What kinds of conflicts work best? The stuff that never changes: love, loss, heartbreak… relationships between parents and kids, couples working through their problems. 4. The story is everything. Once you crack what’s actually going to happen, the script practically writes itself. That’s why there’s an old screenwriter saying that the first draft is 90% finished once you’re done with the outline. 5. Cut the half-jokes: A lukewarm joke kills momentum faster than no joke at all. 6. Be real. Take it down a notch. Steven gets annoyed by “big.” When things feel heightened to the point where they don’t feel human anymore, or when they’re performing on stage, to an audience, instead of just being real people. 7. Emotional moments must be earned. You want them to sneak up on you, to be understated. 8. Steven would spy on his family for TV gold. Sometimes, he’d be sitting at the table, take his phone out to frantically capture the dialogue. When friends came over, his kids would joke: “Be careful what you say around the Levitan house. It might end up on Modern Family." 9. A writer’s antenna needs to be up at all times. If you're observant, there's almost nowhere you can't go where you don't think: "That's funny." 10. Some questions for writers to ask themselves: Does it feel real? Are they talking the way people talk? Are you tapping into what you're thinking about today? 11. Conflict is everything, but how you do it matters. Don't just slap "these two hate each other" on your characters and call it conflict. Dig into who they actually are: what specific traits, backgrounds, or worldviews make them rub each other the wrong way? The clash has to come from something real. 12. Steven’s mantra for writing Modern Family episodes: Keep it moving, but don’t race through them (he thinks the episodes became too frenetic in the later years). 13. How was modern family written? About 7 writers. 8-10 weeks of story breaking at the beginning of a new season. Then the weekly cycle began: Mondays and Tuesdays were for rewrites, Wednesdays were for table reads, and then the final versions were due by Friday. 14. What happens before a show is launched? Writers spend weeks doing nothing but talking about characters and the dynamics between them, with the goal of establishing relationships that’ll play out over the course of hundreds of episodes (if things go well). 15. Give your characters a comedic lens to see the world through. On Modern Family, Phil is the Dad and he thinks he’s the “cool dad” with misguided confidence that he’s hipper than he really is, so the writers of the show knew how he’d react to things before they even wrote the scene. I've shared the full conversation with Steve Levitan below, and if you want to watch it on YouTube or find the audio links for Apple or Spotify, check out the reply tweets.

David Perell

70,596 просмотров • 1 год назад

Harry Dry is the best copywriter I know. He's built a 130,000-person newsletter teaching people how to do it, and by the end of this interview, you'll be at least a Green Belt in copywriting. Some of his rules for writing: 1) A great sentence is a good sentence made shorter. 2) Writing great copy begins with having something to say in the first place. 3) Copy is like food. How it looks matters. 4) Since the look of copy matters so much, don't write copy in Google Docs. Write it in Figma (so you can write and design at the same time). 5) Kaplan's Law of Words: Any word that isn't working for you is working against you. 6) You know a paragraph is ready to ship when there's nothing left to remove. It's like a Jenga tower. The entire thing should collapse if you remove something. 7) Make a promise in the title so the reader knows exactly what they're going to get if they click. Then, deliver on the promise. 8) The three laws of copywriting: (1) Make it concrete, (2) make it visual, and (3) make it falsifiable. 9) Make it concrete: Don't be abstract. For an example, say you're writing about habits. Don't talk about "productive routines." That's abstract. Write about "waking up at 6am to write" instead. It's concrete — and much more vibrant. 10) Make it visual: People see in pictures. This is why instead of memorizing card numbers directly, world memory champions memorize cards by turning them into pictures and then back to cards. 11) Make it falsifiable: When you write a sentence that's true or false, you put your head on the chopping block, which makes people sit up in their seat. 12) When has a falsifiable statement resonated? Galileo got sentenced to a decade of house arrest for saying that the earth spins around the sun. That's a falsifiable sentence. But nobody would've done anything if he'd said that the earth has a harmonious connection with a celestial object. 13) Write with the delete key. Using fewer words lets you be more impactful with the words you keep. 14) The job of a sales page is to make a bold claim at the top. Then spend the rest of the page backing up what you've said... with a ridiculous amount of proof. 15) If your competitor could've written the sentence, cut it. 16) Good copy is differentiated. Here's an example: Elon Musk shouldn't write "The Cybertruck is the world's best truck." Ford or Dodge can write that sentence. But only Elon can write: "The Cybertruck is tougher than an F-150 and faster than a Porsche." 17) Some days, the writing comes easily. Some days, it takes sweat. The reader doesn't care if you wrote for two minutes, two hours, or two days. The ink looks the same. 18) Great copy reads like your customer wrote it. Talk to them. That's just an introduction to the copywriting philosophy of Harry Dry. I've shared the full interview below. I recommend you watch this one because we pull from so many visual references and do a lot of screen sharing. If you'd rather watch on YouTube, I've shared the link in the reply tweets.
1:16:05

Harry Dry is the best copywriter I know. He's built a 130,000-person newsletter teaching people how to do it, and by the end of this interview, you'll be at least a Green Belt in copywriting. Some of his rules for writing: 1) A great sentence is a good sentence made shorter. 2) Writing great copy begins with having something to say in the first place. 3) Copy is like food. How it looks matters. 4) Since the look of copy matters so much, don't write copy in Google Docs. Write it in Figma (so you can write and design at the same time). 5) Kaplan's Law of Words: Any word that isn't working for you is working against you. 6) You know a paragraph is ready to ship when there's nothing left to remove. It's like a Jenga tower. The entire thing should collapse if you remove something. 7) Make a promise in the title so the reader knows exactly what they're going to get if they click. Then, deliver on the promise. 8) The three laws of copywriting: (1) Make it concrete, (2) make it visual, and (3) make it falsifiable. 9) Make it concrete: Don't be abstract. For an example, say you're writing about habits. Don't talk about "productive routines." That's abstract. Write about "waking up at 6am to write" instead. It's concrete — and much more vibrant. 10) Make it visual: People see in pictures. This is why instead of memorizing card numbers directly, world memory champions memorize cards by turning them into pictures and then back to cards. 11) Make it falsifiable: When you write a sentence that's true or false, you put your head on the chopping block, which makes people sit up in their seat. 12) When has a falsifiable statement resonated? Galileo got sentenced to a decade of house arrest for saying that the earth spins around the sun. That's a falsifiable sentence. But nobody would've done anything if he'd said that the earth has a harmonious connection with a celestial object. 13) Write with the delete key. Using fewer words lets you be more impactful with the words you keep. 14) The job of a sales page is to make a bold claim at the top. Then spend the rest of the page backing up what you've said... with a ridiculous amount of proof. 15) If your competitor could've written the sentence, cut it. 16) Good copy is differentiated. Here's an example: Elon Musk shouldn't write "The Cybertruck is the world's best truck." Ford or Dodge can write that sentence. But only Elon can write: "The Cybertruck is tougher than an F-150 and faster than a Porsche." 17) Some days, the writing comes easily. Some days, it takes sweat. The reader doesn't care if you wrote for two minutes, two hours, or two days. The ink looks the same. 18) Great copy reads like your customer wrote it. Talk to them. That's just an introduction to the copywriting philosophy of Harry Dry. I've shared the full interview below. I recommend you watch this one because we pull from so many visual references and do a lot of screen sharing. If you'd rather watch on YouTube, I've shared the link in the reply tweets.

David Perell

723,726 просмотров • 2 лет назад

Robert Greene has developed a method for writing best-selling books like The 48 Laws of Power. This interview is a tell-all about his process. How does he write books? What makes for a great story? Some lessons: 1) The rewards of writing will come, but they're never immediate. 2) Don't talk down to your readers. 3) When you're writing about famous and powerful people, look for the things that make them human. The things that everybody can relate to, such as how they brushed their teeth or spoke to their mother. 4) Stories are the most elemental form of seduction. You can take the angriest child, tell them a story, and calm them down immediately. 5) When you're looking for stories to include in your book, look for stories that have drama to them. 6) Research, research, research. Robert basically has the entire book organized by the time he starts writing it. 7) Robert's been taking notes for so long that he now has thousands of notecards saved with information from all the books he's written. 8) Intensity of desire can take us to levels of performance we never thought possible. Get clear on what you intensely desire, and pursue it. 9) Robert spent years as a failed writer. He said: “I was a nobody, I had no money, I had no success, I was very frustrated, I was depressed, even bordering on suicidal.” 10) Don't try to change people's morals with a book. They have to come to the idea on their own. You can give them the information or lead them in a certain direction, but preaching to people doesn't change their thinking. 11) If you're consistently struggling with writer's block, you might be suppressing your anger. But anger is an intoxicating emotion. It manufactures words for you. Learn to listen to it. 12) The anger should be controlled, though. Robert says: "Controlled anger is ten times more powerful than just venting." 13) Writing prompt: What's something that's making you angry and pissed off? 14) Don't write about what you think you should write about. Write about what actually excites you because genuine excitement is the only fuel that can sustain you over multiple years while you're working on a book. 15) What's the mission of Robert's work? He says: "My secret ambition is to make things such as reading, studying the classics, and philosophy something hip, so that young people were inspired to step away from the TV and the Internet and challenge their minds." I've shared the full conversation with Robert Greene below. If you'd rather listen or watch in a more convenient place, I've linked to Apple, Spotify, and YouTube in the links below.
1:22:16

Robert Greene has developed a method for writing best-selling books like The 48 Laws of Power. This interview is a tell-all about his process. How does he write books? What makes for a great story? Some lessons: 1) The rewards of writing will come, but they're never immediate. 2) Don't talk down to your readers. 3) When you're writing about famous and powerful people, look for the things that make them human. The things that everybody can relate to, such as how they brushed their teeth or spoke to their mother. 4) Stories are the most elemental form of seduction. You can take the angriest child, tell them a story, and calm them down immediately. 5) When you're looking for stories to include in your book, look for stories that have drama to them. 6) Research, research, research. Robert basically has the entire book organized by the time he starts writing it. 7) Robert's been taking notes for so long that he now has thousands of notecards saved with information from all the books he's written. 8) Intensity of desire can take us to levels of performance we never thought possible. Get clear on what you intensely desire, and pursue it. 9) Robert spent years as a failed writer. He said: “I was a nobody, I had no money, I had no success, I was very frustrated, I was depressed, even bordering on suicidal.” 10) Don't try to change people's morals with a book. They have to come to the idea on their own. You can give them the information or lead them in a certain direction, but preaching to people doesn't change their thinking. 11) If you're consistently struggling with writer's block, you might be suppressing your anger. But anger is an intoxicating emotion. It manufactures words for you. Learn to listen to it. 12) The anger should be controlled, though. Robert says: "Controlled anger is ten times more powerful than just venting." 13) Writing prompt: What's something that's making you angry and pissed off? 14) Don't write about what you think you should write about. Write about what actually excites you because genuine excitement is the only fuel that can sustain you over multiple years while you're working on a book. 15) What's the mission of Robert's work? He says: "My secret ambition is to make things such as reading, studying the classics, and philosophy something hip, so that young people were inspired to step away from the TV and the Internet and challenge their minds." I've shared the full conversation with Robert Greene below. If you'd rather listen or watch in a more convenient place, I've linked to Apple, Spotify, and YouTube in the links below.

David Perell

131,431 просмотров • 1 год назад

Sam Altman just confirmed a world-shaking cyberattack is coming this year and nothing companies can do will stop it. The Axios co-founder asked him directly if a catastrophic cyber event was realistic in the next 12 months. Altman's answer: "I think that's totally possible. Yes." The CEO of the most powerful AI company on Earth just told the world to brace for impact. And his solution is NOT prevention. It's "resilience." That's the language governments use when they've accepted something bad is going to happen and they're now focused on surviving it instead of stopping it. Because the same AI that writes code for startups is about to write exploits for adversaries. Altman admitted the frontier models are already dangerously capable at cybersecurity. The next generation will be significantly more so. And once those capabilities leak into open source, the game changes permanently. But cyber isn't even the scariest thing he said: The real bomb came a few minutes later when he was talking about biosecurity. He said the models are getting extremely good at advanced biology and wonderful things will happen, like curing diseases that have killed people for centuries. Then he said this: "Someone is going to try to misuse those." And right now, the frontier models are still locked inside responsible companies with safety layers and classifiers. OpenAI can mitigate a lot of the risk because they control the stack. But open source is catching up FAST. And when it does, any group with an internet connection and enough compute can ask an AI to help them engineer a novel pathogen. Altman's exact words: "The needs for society to be resilient to terrorist groups using these models to try to create novel pathogens is no longer a theoretical thing, or it's not going to be for much longer." Let that sink in. And this is where the story gets completely insane... Because Altman's response to all of this isn't just "build better safety classifiers." His response is a policy blueprint that Axios editors called a "Bernie Sanders fever dream." He's quietly pitching it to Washington right now: It calls for rebuilding the social contract, redistributing the gains from AI, new tax structures, and fundamentally rethinking the relationship between labor and capital in an economy where a single person with AI can replace an entire team. The part nobody saw coming? Republican senators and a senior Trump cabinet secretary told him they agree. One of them told Altman directly that capitalism needs to be reimagined because "way too much leverage is going to be with capital and not with labor." The CEO of OpenAI is now selling Bernie Sanders economics to Republican administration officials and they're listening. Step back and look at the full picture now: The man building the most powerful technology in human history just admitted 3 things in one interview. 1. A catastrophic cyberattack is likely within 12 months 2. AI-enabled bioterrorism is about to become a real threat 3. The only solution he sees is a radical restructuring of capitalism that nobody in Washington is politically ready for He's not saying AI will change the world someday. He's saying the change is already here, the risks are already landing, and the institutions designed to protect us are years behind. Most people are still debating whether ChatGPT will replace their jobs. Altman is quietly telling Washington the real question is whether society can HOLD TOGETHER through what's coming next.
2:52

Sam Altman just confirmed a world-shaking cyberattack is coming this year and nothing companies can do will stop it. The Axios co-founder asked him directly if a catastrophic cyber event was realistic in the next 12 months. Altman's answer: "I think that's totally possible. Yes." The CEO of the most powerful AI company on Earth just told the world to brace for impact. And his solution is NOT prevention. It's "resilience." That's the language governments use when they've accepted something bad is going to happen and they're now focused on surviving it instead of stopping it. Because the same AI that writes code for startups is about to write exploits for adversaries. Altman admitted the frontier models are already dangerously capable at cybersecurity. The next generation will be significantly more so. And once those capabilities leak into open source, the game changes permanently. But cyber isn't even the scariest thing he said: The real bomb came a few minutes later when he was talking about biosecurity. He said the models are getting extremely good at advanced biology and wonderful things will happen, like curing diseases that have killed people for centuries. Then he said this: "Someone is going to try to misuse those." And right now, the frontier models are still locked inside responsible companies with safety layers and classifiers. OpenAI can mitigate a lot of the risk because they control the stack. But open source is catching up FAST. And when it does, any group with an internet connection and enough compute can ask an AI to help them engineer a novel pathogen. Altman's exact words: "The needs for society to be resilient to terrorist groups using these models to try to create novel pathogens is no longer a theoretical thing, or it's not going to be for much longer." Let that sink in. And this is where the story gets completely insane... Because Altman's response to all of this isn't just "build better safety classifiers." His response is a policy blueprint that Axios editors called a "Bernie Sanders fever dream." He's quietly pitching it to Washington right now: It calls for rebuilding the social contract, redistributing the gains from AI, new tax structures, and fundamentally rethinking the relationship between labor and capital in an economy where a single person with AI can replace an entire team. The part nobody saw coming? Republican senators and a senior Trump cabinet secretary told him they agree. One of them told Altman directly that capitalism needs to be reimagined because "way too much leverage is going to be with capital and not with labor." The CEO of OpenAI is now selling Bernie Sanders economics to Republican administration officials and they're listening. Step back and look at the full picture now: The man building the most powerful technology in human history just admitted 3 things in one interview. 1. A catastrophic cyberattack is likely within 12 months 2. AI-enabled bioterrorism is about to become a real threat 3. The only solution he sees is a radical restructuring of capitalism that nobody in Washington is politically ready for He's not saying AI will change the world someday. He's saying the change is already here, the risks are already landing, and the institutions designed to protect us are years behind. Most people are still debating whether ChatGPT will replace their jobs. Altman is quietly telling Washington the real question is whether society can HOLD TOGETHER through what's coming next.

Ricardo

214,014 просмотров • 4 месяцев назад