What's up everybody, Jason here for JazzBeatsCaseBase.com. This is our last filler and it's gonna unlock the last spot in the mystery crate, guys. We're gonna give away the last spot here with this 2023 Bowman MLB One Box Mega. Ran on teams number 13 and again, guys, 30 spots, no paper ships at the end. Well, we randomize the names and top name will win a spot in the mystery crate, guys, and that will be coming up next. So, here's the dice roll, here is the customer names and the teams. Let's do that first roll. It is a two and a five, seven times. One, two, three, four, five, six, seven. Two and a five, seven, seven. Nathan down to Eugene and then seven times here. One, two, three, four, five, six, seven. Seven times there, seven, seven. Dodgers down to the Chicago Cubs. Boom. So, seven, seven. Now, again, guys, stick to what you got, of course, because it is still a filler box. So, there you go, guys. Here are the teams that are really quick. Here we go. All right, here we go, guys, good luck. And we got an Adley Ruchman at a 75. Nice. Oh, that's a Chevy there. All right, guys, now let's switch scenes. And again, guys, last spot in the mystery crate being given away, guys. Roll it. It is a six out of two, eight times. Good luck. One, two, three, four, five, six, seven. And eighth and final time, guys. Boom, eight times. Eight, eight. Just missing out was Jared. But John, look at that. Another spot for you, buddy. Congratulations. Boom. So John actually won the spot in the previous Mega. Now won the last spot here, man. Here we go. Nice. So there you go, man. Congratulations after eight times. That definitely helps with the Seattle Mariners spot, man. I know the Mariners obviously didn't get much, but there you go, man.  So, I appreciate you guys. Jaspy'scasebrakes.com.


You can see. It's 6 10 Johnny dollar. I joined as a poor man. Oh, how are you? How are things in Los Angeles? Why didn't you know we moved back here to Sarasota, Florida? No kidding. Yeah, but now we think we'll make another move. Where to this time? Back to California. Why don't you make up your mind? Don't you come down here and see us at whose expense? Companies. Another investigation? Yes. What this time, Earl? A murder? Okay, Earl. I'll grab the first plane I can get. PBS radio network brings you Mandel Kramer and the exciting adventures of the man with the action-packed expense account. America's fabulous freelance insurance investigator. Yours truly Johnny dollar. It never fails. Whether it's a party evening or an ordinary weekday, people always drink more light bracing, clean tasting Pepsi Cola than you expect. That's why the smartest Pepsi you buy is the extra carton. Buy extra carton of the drink. That lets you drink young as you think. Yes, get the right one. The modern like one. Now it's Pepsi for those who think young. Expense accounts emitted by special investigator Johnny dollar to tri-state life and casualty insurance company office in Sarasota, Florida. Followings and account of expenses incurred during my investigation of the whether or not matter. Expense account item one, six dollars for a taxi out to the airport. Item two, ninety seven ninety six plane fare. And modern jet transportation being what it is. I got to Sarasota just before noon. Item three, fifty bucks deposit on a rental car. And 20 minutes later, I walked into the office at 1306 Main Street that Earl Poorman shares with another old friend, Don Boomhauer, a prominent relative. Five minutes after the usual howdy-dos, Earl and I were tearing into a plate full of shrimps cooked in beer at the famous Plaza restaurant. Those are delicious. Think you can manage another order of them, Johnny? Not a chance, Earl, but they are great. Specialty of the house, you know? No, they deserve to be.  Now go ahead. Our client's name is T Rockway Mayfield, a wild old character who made his pile up in New England. He retired and moved down here last fall. He has a big home in St. Armand's Quay. What's he do to keep busy? Fish? Golf? No, he spends most of his time with a jug beside them, sunning himself or feeding the seagulls and then shooting at them with an air pistol. Isn't that illegal? It would be if he ever hit one of them, but he never does. And he does throw big parties, always lots of pretty girls around. And don't think he doesn't go from two in spite of his age.  The point is he tells me that he came down here to retire to get as far away as he could from his wife's kids. You know, step down and step in. Names are Betty and Frank Merritt. How come, well, as long as his wife was alive, she made him support them. But he felt the ought to be out earning their own living. And Johnny, I haven't agreed with them. If they're grown up, I agree with you. Anyhow, when his wife died and he retired, he left him flat there on their own until he goes, of course. So what's happened? Well, tomorrow is Old Mayfield's birthday and that means another big party. And Johnny, the kids have told him that they're coming down here to celebrate.  You think that's true? No, sir. I think they're coming for something else. Like what? That nasty word I mentioned to you on the phone, murder, murder. Now, let me pay the check and I'll drive you over to see him. Okay. By all means. I'm here in Sarasota yet? I don't think so. I hope not. But you can understand why I was so anxious for you to get on down here. Well, Earl, if something should happen to him while they're here, wouldn't it be just a little too obvious? Would it? Those kids are no fools, not by a long shot. Well, even so. And were the drunken mobs that he has at his parties where somebody could be knocked on the head and tossed into the swimming pool and nobody would pay any attention till it was too late or, or, you know, okay, okay, I could be all wrong. I think you must be. But is there any reason why you shouldn't stick around long enough to keep an eye on them while the kids are here? Well. You're an expense account. I suppose not. And then maybe after they've left, I'll break down and take you out fishing. Now there is a sensible inducement. On a look, there's this place just ahead now. That? The big one. Brother. And you don't think money that can afford a place like that would be worth killing for? Oh, well. Maybe you have a point there. This ever happened to you? You're driving down a long highway or working late and then monotony makes you feel drowsy. Perk up with no dose. No dose keeps you alert with the same safe refresher found in coffee. Yet no dose is faster, handier, more reliable, absolutely not habit forming the safe way to stay alert without harmful stimulants. No dose. Old Mayfield's home there in the Gulf of Mexico side of fashionable St. Armand's key was quite a place to ensure privacy. All three of the landward sides were protected by a high wall.  It was obvious Mayfield did plenty of entertaining as for the man himself. Dollar, did you say dollar? That's right, Johnny dollar. I mean, with lots of sense then, a poor man. What? What do you mean? What? What's the matter with you? It's a joke. A hundred cents to the dollar, aren't there? So if he said dollar, he's got lots of sense. Hasn't he? Get it? Yeah, sure. Sure. Besides, I know all about you, dollar. I've been listening to you on the radio for years, so I'm glad to know you, Johnny. Now, let's celebrate by having ourselves a little drink. Well, it's a little early in the day, Mr. Mayfield. I don't think I... Nonsense, nonsense. It's never too early for a drink. Samantha, oh, where are you? Yes, Mr. Mayfield, right here, sir. Bring a scotch and soda for Mr. Dollar and Mr. poor man will have a gin and tonic. Yes, Mr. Mayfield. And how about you? Another one of what you've been having? No, no. This time, I believe I'll have, how does cognac in root beer with a dish of mint sound to you? That sounds terrible, Mr. Mayfield. Good, good. I'll have it. Yes, Mr. Mayfield. So that's that. By the way, poor man, you're bringing Johnny to my party tomorrow night, aren't you? Well, now, I'll tell you, I... Good, good.  There'll be more good-looking girls around here tomorrow night than you ever saw. I really know how to pick them, boy. Really know how to pick them. Wow, good for you. Yeah, but, uh, oh, me. Do you know why they always come? The real reason? And why they always turn on their charm for me? Why, sir? Hate to admit it. Yeah, I really do. But all they want is to get their pretty little grasping fingers on my money, that's all. But they won't. Don't you worry about that. Nobody will, not until I'm dead and gone. Did poor man tell you about those lazy, shiftless, worthless step-children of mine? Well, he, uh, he mentioned them. And you'll see him, too. They get in here tomorrow afternoon on the 430 plane. Oh, well, and perhaps I... Uh, oh, uh, that reminds me. I'd better arrange for Samantha or Charles or somebody to meet them here. Why don't you let me pick them up for you? Oh, yes, Mr. Mayfield. That's a good idea. Eh? Well, of course. Fine, fine. Pick them up at the airport, bring them here if you can't lose them, and then stay on for the party. All right. And now, Johnny, uh, now let me show you my pride and joy. You see it there on the far side of the swimming pool? That, uh, that sort of pool house with all the gadgets on the roof? Pool house? Yeah, it's a bath house for the swimming pool, isn't it? Reticulous, poor man.  If that's all you think of it... Well, what is inside that little building, then? You'll see. You'll see. Now come along. Don't be dogged on. Yes, sir, a weather station.  Certainly fooled me. Complete one, too. You see, Johnny? Rain gauges, electronic weather vanes, anemometers, barometers, barricades, charts with icobars, snow gauge... Snow gauge? Maps, everything. Everything a regular weather purer would have. Everything. Even a correspondence school course and forecasting. Anything you want to know, here's the answer. Well, it is interesting to say the least. Why not, eh? How could I ever plan a party unless I know what the weather's going to be like, eh? Answer me that. About this party tomorrow night, Mr. Mayfield. Johnny, Johnny, tell me something. Yeah? How could I shatter you with a pistol? What makes you ask that, Mr. Mayfield? It's a my question, boy. Oh, I'm fed a middling, I guess. But listen... Good, good. Then maybe you can hit some room the way I never seem to be able to. Hit what, sir? You'll see. Eh, Sir Mayfield. Yes, Mr. Mayfield? What? Now, why, the devil, did you bring me another drink? You want me to spoil my aim? Oh, no, Mr. Mayfield. But there's no point in letting it go to waste. Ah! That's where, Mr. Mayfield, I don't know how you do it. Practice, poor man, practice. So, for the next hour, in spite of a very uneasy feeling I was beginning to have about this whole assignment, Mayfield and I tossed chunks of bread to the seagulls, then blasted away in a general direction with a couple of air pistols. Knowing the law about such things, I deliberately avoided making any hits. And old Mayfield, although he handled that little gun like a pro, didn't make any hits either. Then, just as abruptly as he dragged me into it... That's all, gentlemen. That is all. I have to get to work now in my weather lab and make out the latest report for myself. Can't be disturbed.  Oh, sure, uh, anything you say. Come on, Johnny. Right, Earl. I'll see you tomorrow night, poor man. And Johnny, I'll see you when you bring my stepchildren, Betty and Frankie Merritton here. And you ought to stay when they get here. I want you to get to know them. I want very much to. Now, go on, will you? Go on. I got work to do. I picked up my rental car and dropped in on my old friend, Sergeant Phil Phillips, at police headquarters. I know, Johnny. I know. It just doesn't seem to make sense.  Lord knows he isn't worried. And yet, if what he says about those step-kids happens to be true... Have you ever met Frank or Betty Merritton? All I know about him is what he's told me. And if it's true, he really should have protection. While they're here, but Doug Garnett, he says no. If we so much as show ourselves, he'll not only throw us out, but stop the party and get everybody down on us. I'll tell you what you better do then, just in case. Yeah? If you were to sneak a prowl car up to the outside of the wall around this place, you'd have no trouble getting over the wall if need be. Good. In meantime, you'd be looking after him inside. Right. Well, Johnny, he is just a crazy old coot, all at loose ends. Does a lot of crazy things. I know, Phil. I know. I know. I know what you mean. That's why I'm really concerned about this case. On the surface, it looks like a waste of time. Am I coming all the way down here just to attend a party? And yet? Yeah. Yeah. Treat your taste kindly with Kent. Treat your taste kindly with Kent. Treat your taste kindly with Kent. Smoked Kent. The Mike and I filter cigarettes. Yes, people who want to get away from harsh, rough-tasting cigarettes know that the one to switch to is Kent, and there's a very good reason why. Kent with the Micronite filter refines away harsh flavor, refines away rough taste for the mildest taste of all. Yes, that's your reward for smoking Kent, the cigarette that made the filter famous. So when you want to get away from harsh, rough-tasting cigarettes, remember, they'll finer the filter, the milder the taste.  Treat your taste kindly with Kent. Smoked Kent. The Mike and I filter cigarettes.  I went out and hit some golf balls, at a nearby driving range, paid a visit to the colorful Jungle Gardens, saw the famous Ringling Circus Museum and ended up chewing the fat with some of the boys at station WSPB. Then I met the plane, picked up Frank and Betty Merritton, piled them into my rental car, and started back to St. Armand's Quay. The differences between the two of them were pretty striking. Betty was a beautiful girl with a head on her shoulders. Frank was a weak, wishy-washy, well-spoken nothing with a capital N. Don't tell me, dear girl, I think it's utterly ridiculous that he should expect me to sweat and slay and work my fingers to the bone when he has all that money that he doesn't know what to do with. I mean that! Utterly ridiculous!  Well, he won't find out. Unless you tell him. And if you do, dear girl, I shall be very angry with you. Just because you choose to work eight hours a day in a stuffy library five days a week. Why not? I like it. Well, it doesn't mean that I have to.  Oh, he will, my dear. He will? I've figured out a sob story that would melt the heart of a statue. Good luck. You'll need it. Will I? You'll see. Just don't you interfere. I'm sorry, Johnny. Oh, it's all right, Betty. This silly squabble has been going on ever since we left the Boston airport. That's okay. I, uh... I understand that some of the parties Daddy throws down here are Lulu's. So I've heard.  I love parties. But, uh... Well, come to think of it, I won't know a soul who'll be there. But don't you worry, Betty. You'll have no problem in that department. Well, I hope not. But, uh, Johnny... Yes? Will you dance with me now and then? Just in case. Are you kidding? A chance to unpack their bags.  So I took a swim and dressed for dinner in the party. At dinner, incidentally, Mayfield and Betty yacked away at each other like a couple of happy kids. But not a solitary word passed between Mayfield and Frankie. Frankie sat there impounded, hardly touching his food. Then, the party. So helped me. I never saw so many good-looking girls gathered together in one spot in my life. And what if a lot of them were only looking for a shot at Mayfield's money? The point is, they were there. As for Betty, we not only danced like fools, but made plans for getting to know each other much better up north after this whole thing was over. Meantime, needless to say, I kept a weather eye on Frankie, who spent most of his time at the bar looking very unhappy. Then, about 11 p.m. between dances, Mayfield came over my way. Not creepy, Johnny. You're missing half the fun. Oh, don't you worry a bit, Mr. Mayfield. I'm having a fine. Hey, wait a minute. The lights. What happened to the lights? Just a gag, Johnny. Just a gag. A gag? They'll be back on in a minute. I have a timer on the main street. It doesn't. Why? Why the blackout? What's the matter with your boy?  Not if I can find that switchbox. Now, when they do, you just grab the nearest, the prettiest girl you can find. Come on. And if you don't know what to do then, well, you and I have peace. To Mayfield. But have fun, Johnny. Have fun. Wait a minute. Johnny? Betty, what happened to you?  Only, I still don't know who was there in the darkness. Look, that lights out gag has got to go. Come on, let's find the main switchbox, so it won't happen again. You mean the lights were supposed to? Oh, no. Mr. Mayfield, go. I thought he was going over to... Weather station. By the time we fought our way over there through the crowd, the lights came on again.  Johnny? Is he...? Yes, Betty. Let me through. What is it? What happened? I was over there getting a drink, and I hate a couple of... It's frightened. That's right, Mr. Mayfield. Is he dead? Yes, sir. A couple of 38s through the chest. Well, I can't say that I'm sorry, Johnny. But who? Who did this? Call the police. Somebody call the police. Sergeant Phillips and his men were already over the wall, and they really did a job. In the next two hours, they, plus a dozen more, he called in, made us thorough a search of that place as I've seen. But the result... Johnny, the gun that killed young Meryton has to be around here somewhere. It has to be, but we simply can't find it. You must find it, Sergeant. You must. And the killer, too. How about raking through the sand over there on the beach? No, it was all smoothed over before the party, and there still isn't a break in it. Hmm. To haul every one of this mob down to headquarters so the boys in the lab... Ways. Yeah? Wait a minute. I mean like a ton of bricks, and I kicked myself and not having wised up before. Oh, Charlie. What Mayfield told him. Yeah, Johnny. If what he says about those step-kids is true. Mayfield, of course. And that crazy drink of his yesterday. But I'd watch Samantha mix it out of the corner of my eye. She hadn't really put a single drop of liquor in it. And tonight? The same thing, probably. So actually, Mayfield was just as sober as a judge. And the one important piece of evidence? The gun? Yes, in his weather station. And what had he said about that? The answer. It has everything a regular weather bureau would have. It's everything. Everything? Like a weather balloon? A balloon big enough to carry a pistol far out over the gulf? Never to be seen again? Now if so, if he pulled that trigger... All right, Mr. Mayfield. Let's go down to headquarters with a lab crew and make a paraffin test of your shooting hand. Well? No. No, it wouldn't be necessary, Johnny. I did it. I killed him. I'll say this. That was a clever way to get rid of that gun. A weather balloon. Clever. Was it? The Mayfield fortune will go to Betty. And I can't think of a more deserving girl. Or come to think of it a prettier one. Expense account total including the trip back to Hartford. $247.92. Yours truly, Johnny Dollar. Here is our star to tell you about next week's story. Next week, a complex and unusual story with a twist that will surprise you, I think, as much as it surprised me. Tune in, won't you? Yours truly, Johnny Dollar. If you drive a car, remember this. Almost anywhere in the country where you see the Sinclair sign, you can save up to four cents a gallon on gasoline by using Sinclair Dino. That's because in three out of five cars, regular priced Sinclair Dino matches the performance of expensive premium gasoline, costing up to four cents more a gallon. Drive with care and buy Sinclair Dino gasoline. Truly, Johnny Dollar is written by Jack Johnstone, produced and directed by Fred Hendrickson. Music supervision by Ethel Huber. Johnny Dollar is played by Mandel Kramer. Also featured in our cast were Ian Martin, Phil Kramer, Joe Hardy, Ivor Francis, Constance Simons, and Karen McCrary. Be sure to join us next week. Same time, same station for another exciting story of yours truly, Johnny Dollar, Art Hanna speaking. Wide sports with Chris Schenkel is heard weeknights on the CBS Radio Network.


What if you decided to go all in for the rest of this year? What if you decided to stop playing at level four or five or six or whatever level you might be at? But what if you decided to play at level 10? What if you decided to stop doubting yourself?  What if you decided to get rid of all of the fears or to let your fears exist and just say screw it and stop paying attention to them and get so focused on what you want in your life and what you want for this year and what you want for your family or for your business or your career, whatever it is. What if you decided to go all in for the rest of this year? What would your life look like on December 31st? What would your family's life look like? What would your bank account look like? What would your career look like? What would your business look like? Think about that for a second. If you're in an industry and if you look at the person who's the absolute best, if you say that person is at a level 10, what level would you rate yourself at? Four or five or six? What is it? As far as what you're playing? What level are you playing at when you wake up every single day?  And be honest with yourself in that answer. If it's a four or a five or a six or whatever it might be, what would your life look like if you decided to stop doubting yourself? If you decided that your fears were no longer going to hold you back? If you decided to go all in 100% for the rest of this year, how amazing would your life look? Because here's the deal. The only limits that exist in this world are the limits that we put on ourselves. The perfect example I love to give, I give it all the time is this. If I asked you what is the chance of you making $1 million in cash legally this year and then I had you answer it, what would you say? What's the odds? What's the percentage chance? And be honest with yourself of you making $1 million legally this year. Is it 1% chance, 2%? A lot of people say 0% chance, 5% chance. What's the percentage chance? Now let me ask you a different question. What's the percentage chance of you making $1 million this year if your entire family's life depends on it? If your entire family gets killed if you don't make $1 million legally this year, what's the chance of you making $1 million legally? It's 100%. You will find a way to do it. Now what changed? Did the goal change? No. Did the time frame change? No. What changed is your drive, your motivation, your why behind that goal. And that's it. So you went from a 0% chance for most people to 100% chance within 30 seconds. If that doesn't show you the limits that we all put on ourselves every single day, I don't know what will show you the limits that we put on ourselves every single day. You are capable, I am capable, we are capable of so much more than we allow ourselves to actually put out into the world that it's ridiculous. So I'm going to ask you, have you asked yourself the question again? What would your life look like if you went all out this year and you played at level 10 and you put 100% of what you need to into it?  How amazing would your life look and why aren't you doing it? Why are you limiting yourself? You get one chance from all that we know, one chance to live. Why are you not living to your full potential?  Change yourself, listen to this or say in your head, am I playing at level 10? Am I demanding greatness for myself? How amazing would your life be if you went all out and you decided to play at level 10 and what is holding you back from getting there? That's what you need to figure out and that's what you need to come to terms with. It's not that you have to make a million dollars this year. That's just an arbitrary number I threw out, but it shows you how much we're limiting ourselves on a day to day basis. So ask yourself that question. What would happen if you went all out this year? Why can't this year be your year? And if you did go all out, what would your life look like? How amazing? How much different would your life look like December 31st at the end of this year? So if you liked this episode, please do me a favor. Click the subscribe button and please share this with someone that you love so this message could spread to them as well. So with that, I appreciate you and I hope that you have an amazing day.


Ei yarwain yma, Diolch yn gweithio cefnod y byddwn yn eu rhoi'r rhan o'r mhwyf i'r clywb am yser ychydig hynny Ieithio yw gweithio ar gyfer deallu Fawr fel gympan, dargliw Yong, sefydlu yn didd вид If you would like to donate, the link to my PayPal in the video description If you are interested in one-on-one coaching, you can email me at Narks5erCoaching at gmail.com Check out our Narks5r merchandise store We have Narks5er t-shirts and mugs that are available to purchase The link to our Teespring page is in the video description. The narcissist envy overrides their empathy. Their pathological envy and jealousy overrides any empathy they would otherwise have for you. They will also try to limit or restrict your resources to prevent any further narcissistic injuries. If you want to know what they were so envious or jealous of, pay attention to what they are using to try and make you envious or jealous after the relationship. They will endlessly display or talk about a new car, relationship, money or career to you. The desire or motive behind doing this is from when they had to witness you in a certain car relationship or with money or a career. They find a way to sabotage it and then limit or restrict you from achieving or obtaining that again. Then they use it to remind you of your feeling of loss to regulate their emotions and resolve traumas. In their mind you hurt them and made them feel envious or jealous. You may not have intended to hurt them in any way. You were just living your life. But because they are so self-centred, they take everything personally. In their mind you did that intentionally to hurt them. So once they have sabotaged your once natural way of living, they will then display or talk about things like their new car, relationship, money or career. This is an attempt to hurt you from when they had to witness your progress or success. They will even strategically time themselves to be at certain places at certain times knowing that you will be there. All the while pretending as though it is just coincidental. But secretly they are trying to train you into feeling the very emotions that they once felt when they had to witness your progress or success. They never resolved the narcissic injury that they received from witnessing your progress or success. So even if after they have sabotaged you, you are left with nothing or you are homeless, their feelings of envy and jealousy are still there. They could be envious of your qualities, talents or positive traits. Or they could still be envious from remembering what you once had in the past. They could also be jealous of what you might achieve or obtain in the future. And their envy and jealousy overrides any empathy they otherwise have for you.  They are still envious and jealous of you, even when they have more than you in every aspect of their lives. Another reason for this is because they cannot get the same fulfilment from those things. It doesn't fulfil them, but they know that they fulfil you. So they will use those things as a way to hurt you. As a way to make you feel those feelings of envy and jealousy that they once felt and probably still feel.   It can get to a point where you can't even go out for dinner without causing a narcissic injury and triggering them to attack you or sabotage you all over again. They will do whatever they can to restrict or manage your life so that your progress or success doesn't begin to hurt them all over again. Anything you achieve or obtain, no matter how small, has the potential to make them envious. Anyone you talk to, anything you do that doesn't involve them, has the potential to make them jealous. Anytime that they see you working towards something, it becomes a reminder of how they felt in the past. How it made them feel when they had to witness your progress or success. Whether it was your career, relationships, hobbies, interests or financially. They don't want to feel that way again. So they will do whatever they can to restrict or limit you from achieving or obtaining that all over again. They will enforce fly monkeys, create smear campaigns which could then lead to gang-stalking. They will have fly monkeys to monitor you 24 hours a day, 7 days a week. Because they are terrified that you could achieve or obtain the very things that once hurt them so much. They are aware that you have the capabilities. They are aware that you possess the qualities, talents or positive traits to achieve and obtain everything that you once had. Their mission now is to prevent that from happening. Of course they understand that you are human and you do require the basic needs to keep you alive. But they will still experience envy when they have to witness something as simple as you eating food or having a glass of water. They can't stand it. They become so hypersensitive to their feelings of envy and jealousy because they keep feeding into it and letting it drive them wild so you might be out somewhere having something to eat. And there's this complex analysis process going on in their minds. When you receive the food, they are imagining the visual stimulation you are receiving from looking at your food. They are imagining how you are able to smell the food.  It makes them really mad because they cannot get the same fulfilment. And this is just food I'm talking about here. Just imagine how they felt when they had to witness you having a career, relationships, hobbies and interests or financial success. Now you can see where the desire and motivation comes from to enforce fly monkeys, create spear campaigns and even engage in gangstalking. All of this is designed to prevent you from achieving or obtaining that ever again. They are envious and jealous of you enough even if you have nothing. So as you find ways to achieve and obtain it all over again, they get worse. They become more abusive, more obsessed with you because while they were so desperately trying to limit or restrict everything in your life, they became hypersensitive to anything no matter how small that you might achieve or obtain.  There is no way that you could ever achieve any of that again. Of course, this didn't stop them from being hyper-vigilant or paranoid. They always had this fear that maybe, just maybe, you could find an opportunity to pull yourself out of it. This led them to anticipate or predict potential events before they even happen. They tried to be 10 steps ahead of you at all times. This is why they have to control the environment. It helps them to predict what is going to happen so they can assess and then manage the risk of you achieving or obtaining anything that could provide you with any form of happiness, satisfaction or fulfilment in your life. If you are beginning to return to the person you once were before these people force themselves into your life, please be very cautious. They are not just going to let you achieve or obtain everything you once had without trying to stop you. Just remember how they reacted to your success in the past.  Now any little thing you achieve or obtain could potentially cause a narcissist's injury. They do not want you to have a successful career or relationships. They do not want you to have hobbies or interests. They do not want you to have financial success. They might make you believe that they don't care or time has passed now so you deserve to move on and live your life. Don't believe them. They can't stand the idea of your success. They're not happy, satisfied or fulfilled with their lives. So why should you be? That's how they see it and that's why you need to be very careful. I highly recommend going completely no contact with them. Leaving your current environment would be very beneficial for you once you've caused that narcissist's injury, once they've had to witness your progress or success in any aspect of your life. They will never see you the same way after that who will blame it on something you've done or they will act as though they are trying to help you. Don't believe what they are saying. They are envious and jealous and this overrides any empathy they would otherwise have for you. They sabotage and then control every aspect of your life, isolating you from anyone who could otherwise help you. It allows them to develop this intimate relationship with you but it's very one-sided. It's where you are serving them and giving them everything they want but they will never give anything to you. They do not value or respect you. They don't see you as a human being. They understand that you are human but they see you as an object that exists to serve them, to fulfil their needs. So you end up in this involuntary relationship with them. You don't want to be a part of it but then you are given no opportunities to leave and yet every opportunity to stay. They expect you to give up everything to be their nothing. Anything you get involved with what is outside of their control or outside of them will be reinterpreted to be brought back into their realm. It has to relate to them in some way. Nothing can exist outside of their control or outside of them. The only world that exists is their world. And since these people are likely stalking you and watching everything you are doing 24 hours a day they will be observing everything you are getting involved with. Naturally they are going to feel jealous as you are engaging in things which are outside of them. Their way of regulating their feelings of jealousy and bringing those things back into their world is to associate themselves with whatever you are engaging in. They cannot see anything as being separate to them or outside of them. Their obsessive need for control does not allow them to see it in that way. Everything has to relate to them. Everything has to be associated with them in some way. Nothing exists outside of them or outside of their control. It's either a part of their world, their alternate reality or nothing. That's how they perceive it in their minds. So you might be trying to meet someone new whether a friend or a relationship partner and suddenly a flying monkey is popping up making some form of relation or association with this new person who is outside of their world. They will always find a way to make a connection or relevance to themselves or someone or someone else in their world. In their minds there always has to be a link and attachment which keeps you locked into their world and their way of thinking or being. So they will psychoanalyse this new person. They will put them under the microscope analysing every fine detail of their character and personality, every detail of their appearance until they find something which will have some form of connection or relevance to themselves or someone or someone else in their world. This is the sickness they develop from having such an obsessive need to control you. Their pathological envy and jealousy causes them to be completely obsessed with you where they can't stand to see you involved in anything that is outside of them. Anything that is outside of their world and this becomes very damaging for them. It gets to a point where they can no longer see people or things the same way. Suddenly everyone and everything is the same. Everyone and everything has some form of connection or relevance to someone or something. Nothing is unique. There can even be multiple people or things in their world which they will claim to have some form of connection or relevance. This is real crazy making and they will expect you to see it in the same way. If you don't, something is wrong with you or you're just pretending you don't see it in that way but really you do. In their world, everyone has to see things the same way. There are no unique perceptions. So please be aware of this. They do not want you to leave their world. They will do whatever they can to make you believe that there is nothing outside of their world. Even what you may believe to be outside is still a part of them. That's what they want you to believe. They want you to think that this is all there is and this is all there is for you. Don't believe them. There is so much more for you out there. These people will never value or respect you because they do not value or respect themselves. And that's why it was so easy for them to develop these feelings of envy and jealousy towards you and this desperate need and obsession to control you. But if you can get out of this environment, if you can get out of this world, you will find that there is a much bigger world out there. A world where people will value and respect you. They will not abuse and manipulate you.  They will not try to sabotage everything you try to accomplish. Once you leave the narcissist world, you will discover that there is a better life out there where the things that you want, the things that you want to do, they are available to you. The narcissist world could never provide you with the qualities or resources that you are looking for. But once you leave their world, you will find a new world full of abundance where qualities or resources are available in large quantities. There is a world out there where everything you are looking for really exists. Thank you for watching. I hope this video resonated with you. Please like, comment, share and subscribe. If you would like to donate, my Paypal link is in the video description. Coaching inquiries. You can contact me at nagsifythecoaching.com Also check out our Nagsify t-shirts and mugs on our Teespring page. The link is in the video description. Thank you for watching and I will talk to you soon.


Hey what's it you guys welcome back to my channel if you're new here hi hello I'm Lydia and today I'm going to talk a bit about my experience with different anxiety medications. Now I just want to put a disclaimer in this because I know I'm going to get comments saying this. There is no medication out there at all that will cure your anxiety. However there are medications that can help with anxiety. I've been on a few different things I'll list them. The main one I take and I still take is clonazopam which yes it's a benzodiazepine but it has easily been the most beneficial medication I have taken when it comes to my anxiety. As a side thing with clonazopam I take it twice a day and then I have one tablet PRN if I need it midday which sometimes I do need it and sometimes I don't. I take it morning and night and it's something that genuinely does help with my anxiety. I can go out I can go to a shop and actually buy things without having a panic attack and I couldn't do that before. So I've previously been on other medications such as propanenol which is not benzodiazepine it's a beta block that's actually technically a blood pressure medication. It's used for panic disorders and while it is very widely used and widely successful for me it made me really paranoid and it was not a good fit. It made me really ill and I couldn't go back on it even if I wanted to. The next medication that I went on was actually diazepam. Diazepam was the first benzodiazepine I ever went on to. I have never really had much of an experience with diazepam. It's taken the edge of things but it's never really helped with my anxiety. I took it and I still felt anxious. I still felt on edge. I still didn't feel able to do things and I believe it actually made me worse. The next medication that I went on to was quit hypoen. Originally I was on quit hypoen for my anxiety. I was on a low dose of 25 milligrams and that helped to begin with but it made me really sedated and I ended up having the dose put up because I was experiencing voices and paranoid thoughts and delusional thoughts so I ended up in that dose to the psychosis dose which at one point was 400 milligrams and I'm happy to say that I don't take it anymore. I take heliparadoma which I think is better antipsychotic but that's beside the point. I personally wouldn't recommend quit hypoen. I think it's one of the worst antipsychotics out there. The side effects are absolutely horrific. I just wouldn't recommend it as a medication. Like yes it makes me sleepy. Don't get me wrong, it made me sleepy. It also made me put on 20 pounds. It made me hungry all the time. It made me feel sick a lot of the time. It was a horrible medication to come off as well. It took me a month longer than it should have to come off and it was just horrific. The next medication I went on to was lorazepam which is a very fast acting benzodiazepine and I was on that for around a year. I then started taking that in combination with lorazepam. I was on both lorazepam and lorazepam about just over a year ago and taking two was it definitely helped. Don't get me wrong. I had the lorazepam that I just took a standard a few times a day and then the lorazepam I had for when I needed it and that was fine but eventually I got put onto lorazepam four times a day and lorazepam three times a day and it was too much for me and it just got to a point where I just stopped taking on my medications, had no energy and I ended up in hospital. Would I recommend taking two benzos at the same time? Absolutely not. Not at all. And that brings me onto lorazepam which is what I take currently and people will argue you're just addicted to it. I can go without it. I feel awful and my anxiety is horrific. I don't crave it. I can go days without taking it. Personally I'm gonna say this and some people will disagree with this. I would rather take a pill and have no anxiety symptoms and have a risk of addiction and I'm saying this as someone who has been through addiction and a year and a half sober from cocaine. I'd rather risk the addiction than feel anxious. My anxiety symptoms are horrific. It basically mimics me having epilepsy and it's not healthy. Now I know there are other medications like progabalin. My granddad takes progabalin. Like my consultant, psychiatrist, fully trained professional, has outright said she will never prescribe progabalin because it is just as addictive. And I agree. It works the same way that gabapentin works. And I take gabapentin for pain. I don't like taking gabapentin. I do find gabapentin addictive. If I could avoid taking it I will. Gabapentin is, it is addictive and I find it addictive and I don't want to become addicted to it so I don't really take it that much. So yes there are other medications and some anti-depressants are also used for anxiety as well. I feel like I should mention this. Anti-depressants such as fluorosity, citalopram, surgery, they're all used for anxiety. I'm pretty sure elastopram is too. I'm not 100% there. Personally I did take floxidium for a very short period of time when I was under ITU. It made me really ill. I reacted horribly to it. I'm allergic to some of the ingredients. I was prescribed that because of my anxiety. Anxiety was the first ever diagnosis that I actually receive mental health wires. So understandably I've been on a lot of different medications. If anyone wants me to do like a full video on all the medications that I've been on, let me know in the comments. I just want to say that medication isn't the only option when it comes to anxiety. Therapies like CBT are actually really really beneficial. As someone who I have done CBT and the skills that it teaches you do actually help when it comes to anxiety and panic. It's not so great when you're actually having a panic attack. When I have panic attacks, I need to have medication. I can't calm down on my own, but that's me. There are other people like that. Everyone has their own experiences when it comes to medication. I've just been on a lot for a long time. I just want to say there's also no shame in needing medication for your mental health or needing medication for anxiety. People think oh it's just anxiety, is it really that bad? Anxiety can be more debilitating than bipolar. It really depends on the severity of it. So sometimes yes medication is the only option and that's okay. No one should be shamed for needing medication. You know like some people need it and that's fine. That's life. If you've got any questions that you'd like to ask me about medication, feel free. I genuinely don't want to talk about it. People are always like kind of afraid to ask questions when it comes to benzos. I really don't mind answering them. Personally no, I don't find them addictive. I can go without them. My anxiety goes through the roof and I feel awful because of my anxiety, but I can go without it. I don't crave it. But if anyone does have any questions, please feel free to ask. I am open to that. If you'd like to support the channel, please make sure you check out the end card with all the little things like my paper, my Patreon and my Amazon wishlist. All of which help me and benefit and help this channel because I'm in a position at the minute where I am a full-time student so I couldn't claim benefits if I wanted. I don't want to. I'm trying to get a job but everywhere's closed so where would I work? I'm trying. I am trying. So yeah if you could check out that card that would really help. And also leave a comment down below any video ideas, any questions you have. Subscribe if you're new. Hit the thumbs up button because why not. And I'll see you guys probably tomorrow with a new video. Bye everybody! She's so good.


Good afternoon, ladies and gentlemen. My name is Alexander Anikiev and I'm an American. I live in the city of Wichita in the great state of Kansas. Today is the 4th of July, American National Holiday, the Independence Day. And that's why we're flying this American National Flag, Stars and Stripes. Let freedom ring. Let me also use this occasion to express my deep gratitude to the management of the ITTT program, International Teflon and Salt Training course, which I completed successfully recently. And now I'm ready to start up my English teaching career. I speak some Mandarin Chinese, so I'm going to teach English to Chinese students. In Chinese it sounds like this. Thank you again for this opportunity to start up my English teaching career. I hope it will be successful. Thank you and goodbye. Take care. Thanks so much for watching. We are ITTT, the leading provider for Teflon and Salt Training courses. If you like this video, please subscribe by clicking the button down here and click on any of the videos here on the left for more interesting teaching tips for getting certified to teach English abroad and online.


I think so, but check the website, that's the best way to do it. I had a conversation with the producers who organized all this and figured it all out with the building. So that was, I was just having a quick conversation. I wanted to know about you guys, you know, just to give a couple of weeks for our, because Monday we're out of time. Nothing. Awesome. I feel like, just for some kind of sake. So this is the 11th event. This is watch and work with the lobby of the public theater. I'm still in my parks. And we are going to, for the next hour or so, we're going to make a play together. It's also, or mostly really, a working class. Most people here are writers. And so it's a makeshift free writing class in the lobby of the public theater. I like to say it's just like Shakespeare in the park, but it's not Shakespeare, and it's not in the park. But it's free. And we're here for you, we're here to cheer you on and get you going, or restarted or helping you to continue to work. And we do that by this. First we work together for 20 minutes to create the action of the play. If you will. We work together for 20 minutes, and then we create the dialogue of the play together in which you ask me questions about your creative process, your writing process, where you're stuck, any questions about the business aspect of writing, anything, anything. And we will find an answer or a picture if I can know what we're talking about. So if you'd like to, you guys here who want me to go to the theater, you can just ask me and I'll repeat the question. Right, Brian? Repeat the question, Brian. We'd all appreciate it. Right. And those of you out in the interwebs, Caroline will tell you how to get in touch with us. You can then tweet us through questions on Twitter to the handle at Watch Me Work, SLP, with the hashtag HowlRound and the hashtag New Play. I don't know how to do this. Okay, so we're going to work for 20 minutes. It's a prop. It used to work. It used to be a work of the prop, but now it's just a decorative thing. So 20 minutes of action, and now we're going to do the dialogue. So those of you who have questions about your work, your creative process, ask me. It's so nice. I had a thought. I was emailing one of our producers, Trent, while I was supposed to be working. I stopped to email him on my phone, because maybe we'll go up to Memorial Day and then take a hiatus for a couple of weeks after with Memorial Day. We can do that sort of thing. I think about that. We'll take a poll. Somebody like, you know, a lot of them won't be here the next couple of weeks, and take a break now. Anyway, questions about your work, your creative process? Hi, Crystal. How's it going? I'm just going to say hi. You don't have to. No, I have lots. Oh, you do? Yeah. Oh, me. Hi, Joe. Hi. I guess... Oh, I've been tweening. If you didn't know. Oh, that was cute. Yeah. Oh, I know why now. I didn't know. I was like Crystal. Oh, you were like, yeah. That's cute. That's brilliant. That's brilliant. I've probably figured it out. Perfect. Oh, perfect. Oh, I see. That's what you should be. So, okay. So now your questions are making a different kind of sense. Yeah. And so your answers are kind of making a different kind of sense. Right. Because I didn't know about the process. Yeah. But it makes sense because I think it was spoken in almost a general sense. Right. Right. And so I picked up some stuff. Oh, good. Good, good, good. So just going through the process. I don't know how to try. But we talked about, when I was last year, you said to simplify and tell the story to myself. So, right. Because you were writing one draft in a light way and one draft in a heavy way. Yeah. And you were thinking of combining them. Right. Maybe integrating them. Right. So talk about telling the story to yourself. I'm just repeating what we're doing. Yeah. And then I realized, oh my gosh, that's what my daughter does in school. She writes, but she simplifies and kind of says, okay, this is what happened, this is what happened. She has to do hers, but for school. And I'm like, maybe I should just go to third grade. Right. This is, oh, did you figure it out? Yes. This is actually third grade all over again. Right. Right. But you realize, right, that's what they do. That's what we do when we learn how to tell stories. Right. This is what happened, this is what happened. And you're first to say your daughter does that. Right. Yes. But it turned out that, doing that, I wasn't clear about one of the parts. Oh, yeah. So I kind of had to step, take a few steps back. That's why we asked you to simplify. Yeah. And a lot of times we are having difficulty because there's a part that's not clear. Right. So we need to simplify. So this is what happened in this, then this, then this. Kind of get basic. You realize, oh, I don't even understand what goes on there. Yeah. So, which brought me back to those issues with the questions that I was asking. Right. Based on dialogue and character. And then I realized that, you know, from the very beginning when I first started coming here, to now, both of the characters have changed. They've evolved in height because, you know, it's been a long time. Right. I learned, we talked with Lisa to let them speak. Right. And what I was meant by the height in language was that he was very, it was like contemporary Shakespeare almost. And I didn't know if it was like one of the notes. But then you also said that, I forgot to fall in love at him. He said the love was warm and love was, you know, nice. And I forgot all about that part. And I'm like, that's a whole idea to play. And so I kind of was able to. Roll my whole head.  I'm just gonna roll my head. I fell upon some discoveries about why he speaks the way he speaks. And I'm finding a warm side. And now his words justify why he speaks the way he speaks. Right. So. Right. Thank you. That's really good because Crystal was tweeting in last week and she was talking. She was the one who said, I'm writing this love scene. And I'm like, do that because the language feels elevated. And I was like making fun of her. I know it's her. I was making fun of her going, girl, you know about love, like that. And now I'm like totally making fun of you. But what she says now is that she's writing the love scene. I want to get some scene, which is kind of the same thing. And she had forgotten that it was about love. And we do that a lot in our writing. We forget the specifics of what it is we're writing about. We have all these other things we're trying to do. And we forget, duh, it's about someone wanting to get with somebody else. That's the basic of the scene, right? Yeah. So remember that it's helpful and then other things can come. Yeah. But I mean, just in within that part, I mean, he just, he kind of comes in. That's just what he is. Right. Well, from the experience, from the time that she's first on him when he didn't speak much to now. He said he seemed very, like, expected online. You always comment. Right. It was like, why is he always talking about life and how love is, and why is he always talking about it, you know? But it was like, there's something that happens from their eyes to that point when they meet again where it seems like that's just who he is now. Okay. How he speaks. Right. And also accepting her character for who they are. Yes. Yeah. Thank you. Yeah. I'm very interested in what she has to say, Justin. Just accept her for who she is. And then much attention to her character. Yeah. Yay. This is what you're doing. I know. Well, next time, we'll guess it at you. Everybody in mind. Oh, it's not just Crystal. It's Crystal. Okay. So anybody else? Yes, Justin. How ought I to approach a project that's going to require quite a lot of research? Yeah. How ought you approach a project that's going to require a lot of research? Quite a lot. Yeah. Quite a lot, which is more than a lot. Yeah, which it's one quite more than a lot if we're using the language system. Yeah. It's one quite more than a lot. If we're using the English system. Yes. Okay. Okay.  I would say it's an effing s-load. Yeah. As we would say on the corner right over there, it's an effing s-load of research, of effing research. Yeah. Yeah. Great. And the tricky thing, Jess, which is a really good question, how ought I to approach having to do a ton of research for something that you're writing? It's a good question because often we get lost in the research. It's been like 20 years researching. You know, and kind of, and start telling ourselves kind of what you're telling yourself now, which is probably true. I don't know enough about this to write about it. Fair enough. Okay. It might be true now, but that is a snowball kind of thing.  I don't know enough. I keep running forever. Because I'll never know enough about this subject.  Yes. Yes. It's sort of... You don't have to tell us. I would suggest not telling us the story, but you know like this happened and this happened and this happened and then in the end this kind of thing happened. Yeah. Great. Okay. So what you're going to research is the specifics of the details. Yeah. Right. Sort of things like, because it would be set in the 1930s. Right. And I don't know a whole lot about the 1930s. Right. The sort of trouble is that I finished the previous thing that I was working on. Right. Which I mentioned last time. Yeah. So I'm shopping around for a new idea. Right. Basically. And this thing is exciting. And when I think about it, I get ideas for things that could happen. Right. Like I thought, oh maybe there could be a scene in which they go for a drive. Right. And then I sort of thought, well could they afford to go for a drive in the 1930s? And then I thought, how much did gas cost in the 1930s? And then I thought, how much money would this character be making in the 1930s? And then I realized I have to do a ton of research. Okay. I would say, I would say that is not a ton. And I would say, be aware that you're already thinking that you don't know enough. See, you almost know everything about what you need to write about. You need to do some research. Okay. Because finding out how much money he's going to make a week. And that's like five minutes on Google. Right. Yeah. What's his job? Where did he work? Where did he work? Yeah. That's less than five minutes. Okay. So you have like, let's be generous, a week's worth of research. This is not a ton. It's a week. Yeah. You see what I'm saying? So, since you're already done with the story, you've got to do about a week's worth of research about how much a car costs, how much gas costs, maybe it's a friend's car, maybe it's his boss's car. Maybe it's his boss. Is it so? Return for PD. Or PD. So it costs him nothing, except trying to work on time. There's no research. I'm saying alright. It's like, make it about the characters. You don't really need the specifics of 1930. Yeah. You need to know more about the relationships between the characters. And that is going to give you the specifics. Most of the specifics. What kind of car? That's the research moment. Right? Yeah. Because you want to know where to look while I go. Yeah. So, do you see how I just did that? When you get specific about the story, you find out that you need to know you need a lot less research and your thank you. Because it's about the characters relating to each other. It's always about that. And people who pepper their work with specific, it's like name-dropping at a cocktail party. Who cares? You know what I say? But we want to know the interactions between the characters. So, go and look up. Are they in America in the 1930s? Yeah. Okay. And where in America? I'm not sure. I think it's New England. Great. So, New England in the 1930s. So, kind of pick the town, or pick the general area, Maine, or Boston, or whatever, whatever, Vermont, whatever. And Vermont in the 1930s. Not that I just want to know. Boom! That's like an hour of research. That's all you need. Yeah. It started. You write your first draft. Then you'd be fine. Oh, well, I really need to know more about, he was a carpenter, and he made houses, you know, where he was, and he did fine joinery. How do I get to know more about joinery? And then that's a whole, that's a... Yeah, yeah, yeah. Okay. A lot of times, you spend a lot of time doing research instead of... Right. Right. Because you think, yeah, I'm not, I always think about it when I came 30s. I better do research, because all those scholars from the 1930s are going to call me on them, you know, my stuff isn't real. You know, it's not specific. I did a feminism from the war in the 7th to 1860s, and I, we did an event up at Harvard. Harvard.  And on the other side was Eric Foner, famous historian, and there I was sitting between them, and it was a talk back. And so the audience functioned all about the research that I'd done, and I was like, ah man, I didn't do much, I don't know. And black, like you guys are laughing now, and they both were like, what was pretty good actually, because it was about the people. And not about the specifics of what kind of boots, how you, you know, put a sole boot in the 1860s. It wasn't about that. If it had been about that, I wouldn't have done that research. It wasn't. It was about relationships. So I did a fair amount of research, but not 20 years ago. And they had that song. It's not cool. Very, very good question. Just remember it's about the people, about the people, about the people. Anybody else? Just repeat what you said, because you're so awesome. Go ahead. No, I done a lot of writing, you know, about the 19-20s. Okay. And here you go. Carol's done a lot of writing. I'm just going to hear you out here. Carol's done a lot of writing about the 1920s. And how? When you're, while you're doing your other stuff, just have a paper handy just to write down any questions that's coming to you. That's great. While you're doing, while you're writing, while you're moving ahead, and you can go into the research afterwards when you know what the story is. That's a great idea. That's a great idea. Or if you could... Hold on a pause. While you're moving forward with your writing, right, keep a pad of paper handy and write down your questions that are specific to the 19-20s or the 19-30s or whatever. Yes. If you can always go back and... Yes. And if you can find people who are alive then. Go to Google Play. Research. That's the best. Go to Wikipedia. Wikipedia. Ask them questions. Wikipedia. Sure. Sure. But that's a whole other...  Great. I'm going to talk to them. Gosh, they're only available on Tuesday. We're talking about how to move forward. Yeah, okay. If it works out, great. Right. The chances are that you're going to use that did not work out. I'm thinking of a poet who's beer aunt Sue Ellen and she'll tell me all about... Surely. But I can only see her in January. Because, you know, she's in Hawaii for the rest of the year. So I'll wait. You don't know how many times I've heard those things. And sabotage them. Oh, okay. You went and you hung out. You listened in? Yeah. I have a question. You're allowed to do that? Yes. They don't have lawyers there and contracts? And most of it was family. Oh, family. Oh, okay. Okay. So that's a good... They love to talk. That's a good... Sure, sure, sure. You could... You could... Obviously just do what you're writing first. Yes. But that's a great idea. That's a great idea. So there are people who are living that you can go talk to which is great. There's writing, and while you're writing, Charles suggests keeping that pad of paper with questions or running tab of questions. You can figure out later. Sure, that's great. Great, great, great. Great. He had had so many drafts. Ryan was Ryan, right? He was Ryan. It was the other... Our Ryan, our second Ryan. Yes. Yes. You said start taking pieces from here and pieces to start off. Right. You have to be in it. Right. And I had put my play aside for a while. Right. And like you said, I realized that the story is... and then taking it down and just reading it. The story is... Right. It's all changed. It's all changed. Very good. And... I remember... That's just for me because I just wanted everybody here to listen to something about what Ryan was talking about. We were talking last week about Ryan with his different drafts and how to go to the next draft and how... that it would be... I know it's Rachel Lee's book part. It's a fabulous... Rachel Lee is having a fabulous book part. He saved that. It was so many times. He saved Rachel Lee from talking about it. He could close up the door. That would be great. But so, we're talking about getting that next draft and how... I mean, sometimes you could pick and pick from this draft and that draft, but that could be overwhelming. Sometimes you could just start anew. So Lynn's saying she's ready to do that and she knows the story isn't right yet. So... When you talk to Crystal, I remember thinking about that about all the incentives of what is the story of Ryan walking around and asking yourself. So I come up with the story and it seems to me... Oh, great. Right. But I guess my question is then how do you... You just jump in again. Right. Right. But you do. Right. So Lynn says... So she knew that she had to sort of find the story. Like we were talking about, Crystal keeps it simple. And so she's done that. And now what do you do? You just jump in again. In what form do you have the keep it simple version of your story? In what form? What does it look like? It looks like... This is the story. What does it look like on the page? Is it paragraph? Is it a two page essay or whatever? Yeah. Like paragraphs? Like this? Like that. Great. Okay. Good. So we're going to jump in. And this is how you're going to jump in. Like you're going to... Stones across the river. Bullet points. Outline. Right? So for example, we're going to... This is what happens. Right? And this happens. See? Not a lot. Not a big footprint there. Not a lot. Not... Just boom. This is what happens. And then this. And you're crossing the river. You tell yourself your whole story. And I'll say it by the way. Outline. You know what I'm saying? Yes. Bullet points. Bullet points. We talked about cars. We talked about index cars for right. Because it needs to be grounded. Like that ant halfway. That's showing ant pathways in right now. The public theater. We'll pull it up there. Anyway. It's good. It's good, by the way. And the other question I have is... I think that's your routine. Research. So anyway, so that's... So bullet points. Outline bullet points. You can use cars. You can use index cars. Okay. If you want. Okay. Good. Next question. So research. Yes. You know this over a period of time. That is safe from the early 60s to maybe the mid 70s. Right. One of the characters is... Right. So I was doing some research of the songs. And I wanted to have like the songs of the 50s. And 60s. Right. They weren't like hits. Right. But songs that were, you know. Right. And there was a song called Panjai. Uh huh. You know, which was a very popular song. Okay. So I picked it up. Right. And the information was about Panjai. It was written by... Right. And where it hit on the billboard drive. Right. And then it said it was very controversial. Because the song... It was controversial at one point. Because people thought it was about masturbation. Okay. Now, that's a lot of research. I mean, that's what's feeding it. Right. Right. But that kind of information is something that's researched. That somebody would do today. But at that time... I don't need all that information. Do you understand what this is going to be? It depends what you're doing. It depends on the story. You know, if the person was a... Again, so let's talk about all the research that she's doing for her project. It's set in the 60s and the 70s. She also includes some of the music that was specific to that time. And she looked at the song and she found a whole bunch of information. Which might have been useful. But it might be depending on the character you're writing. If you just want a song or some lyrics from a song, you know, that's one thing. And if you just want something in more detail like that, if oh, it's a controversial thing, you know, then that would be... Sure. It depends on what you want. It depends on where you're going. You see what I mean? I mean, if you want songs from that era, you don't even have to really do research.  I mean, so there's a... There's a whole spectrum. You can do research a lot or none. But I'm... So outline bullet points. Okay. Bullet points out by... You're...  I don't know about that. It's that air... Airbook. Yeah, it's that... Someone's calling you, I think. On your watch. Oh, you have a watch. That's not a thing. So you have a... Someone came to me. Someone came to me. Yeah, they did. It's very nice. Yeah. For example, I just get a song from the sixties. Right? Then I could just look up... Look up minor hits from the sixties. Boom, there's a list. I don't have to click on any one of them. I just... Oh, I don't know any songs from the sixties. Whatever. Blah, blah. He knows everything about it, who recorded it, who wrote it. Okay, that's... See, then that comes in. We just don't need a character passing by the park, singing a song. We have a kid who knows... You can quote the chapter and verse of the song, after hearing only two notes. So you need... You can quote the character, can quote chapter and verse, meaning recording artists, blah, blah, blah, blah, blah, of a song after hearing only two notes. What do I need? I don't need just the lyrics of a song, right, Crystal? What do I need? I need who recorded it, when, who was the drummer on the song, whatever, who played lead guitar, whatever. That's a lot of information. It's specific to the character. If I just needed some lyrics from a character strolling by the park, it's very little research.  So I'm not just doing research for the sake of doing research. I'm doing it to provide the character with some specifics for a dialogue or a character development. It's not Crystal. From At Telling Our Stories, she says, my new play I'm working is an adaptation from a collection of short memoirs that I edited. I've studied Annan DeBeer Smith's work as a guide to work with these personal narratives. I wonder about the structure and dramatic arc with creating tension in the stage play adaptation. So you are working on looking at an adaptation of short memoirs that I edited, and you're going to do them, can we say like Annan DeBeer, like Annan DeBeer Smith's work? Is that kind of interpreting? And you wonder how to create tension in the stage play adaptation. So to answer that question, I'm going to pretend that I'm Annan DeBeer Smith. I think the answer might be the same way you create tension in any story. You're going to feel the groove of the story or story since it sounds like it's a collection, many different people talking about, is there something working? No, it didn't say. Many different people telling those stories from the book of their lives, and you want to find common threads. And so the audience is going to be leaning and wondering, wow, wow, what happens next? What happens next? Things will accumulate. If you know Annan DeBeer Smith, there's a simple question after Annan DeBeer and a strange question answered. The same way you create direct tension in anything, it's not different just because you're in a series of monologues. It is not different.  Annan DeBeer, Danny Hock, many, and Lemon, I can't remember the name of the show, it was here a few years ago, Lemon had a beautiful one-man show. You want the story to accumulate, even if it's not your story, you want the narrative to accumulate, and that's basically it. And you can learn that from anything to read and reread Annan's work, Danny Hock's work, also any well written play is going to teach you how to just make a story accumulate, but keep your set word. That might not be specific enough, but maybe it'll show up next week. This is what I really meant. You can also finish back with more specifics if that was not helpful enough. Thank you for treating me. It kind of goes up. I can pick you back in off of that. And my experience with the bullet points is that I saw my therapist today, she said you sound a little manic, and I was like, hey, you're telling me, girl. I'm like, oh, I'm a little ungrounded, but I feel like with the bullet points I'm still having a hard time coloring in between the lines, like I'm still bleeding into other bullet points, but I keep revisiting them, and I'm just sort of like vomiting out the story, and I know, and I'm not like you said it, I know the story. I keep looking at those bullet points, even though I'm not like hitting them, I'm following, I'm letting the story accumulate or trying to, and then I think once I just feel like I've gotten it all out, and looking at those bullet points, and then to print out the content, I think it'll help me fill in the gaps or take away what's not needed, or I feel like, I mean, things like that, but you give me the advice that I'm really, really trying to go with the bullet points, but I'm still feeling so, I can't, I can't stay within one bullet point, but I know it's within the story, and so I'm sort of trusting that, that. Well you're using many bullet points, right? Yes. I'm finding that the bullet points is like I can't quite get one thing for a bullet point. That's okay, you can make two or three or four, you can do that, but the look on the page are bullet points. Do you understand why? It's not a paragraph. It is a one line. You can even number them, one, two, three, four. I recently turned it out by a person that I'm working on. The scenes were one, two, three, four, five, six, seven. I don't know if that's how it's going to be at the end, but it's just easy reference. And think of, if you can, close your eyes, close your eyes. Boom, the biggest scene that happens on stage in that scene. Right? I mean, that, that, just do it once, so. And I can imagine, the biggest scene that happens on stage right now. The biggest scene that happens on stage. That's a good bullet point. You know, like, he leaves, he's in the war. He comes home. That's the, that would be part one to the movie. All the episode that happens. Of course. You know, I didn't, so those are the bullet points for the plays. For the individual, I mean, all the book. They have a series of bullet points. You see what I'm saying? Yeah, I think, yeah. I think I broke it up. The way I was using bullet points, I wasn't using. I wasn't approaching. I was approaching the sections of time. Not, not like the actions, not like the actions on the time. I was approaching like college, like hospital. Oh, actions. I was, I think maybe I need to be a little more specific, but also a little, but also a little bit more specific of the actions, but not, like. Like your days did.  You got, you put your feet on the floor.  Oh, you're back. I know. You got so much in your sleep. Well, you know. I hope I wore out. But you know, right?  Those are bullet points for the morning. See? Okay. Again, think of stones crossing the river. This happens. This has stones. This has stones. Like those round stones, those are the bullet points on the page. The water is rushing. There's a lot going on. They're sitting. They're octopus. They're called whales. Yeah. So, under those, would you say like, would you say those bullet points would be the big bullet point would be like my morning and then those would be the bullet points to my morning and then I would, if I have stuff to elaborate under those bullet points to elaborate under those bullet points. Sure. Sure. But we said break it down. But morning, noon, night. Like, 2014. Break it down. Spring. Summer. Winter. Fall. Break it down. January. February. March. April. Break it down. January 1st. January 2nd. January 3rd. So I want you to say big ones. I think that's, I think that, I think I was using big ones. I mean, I was, I didn't get specific under them. So, that's why I think other things are bleeding. Okay. That's okay. You have as many as you want. And I like to have only a second. No, we gotta have as many as one. But I used the shape of them You're trying to keep the language tight and contain as if they were all on a flash phone. Yeah. Okay, if you want to get started, then share it out with me, you know what I mean? Thank you. Did that make sense? No, yeah. I mean in her language, or like how I'm writing it, I feel like unintentionally, I can like associate it to like Venus. Great. Great. Great. Yes. All right, Venus. That's hard. That's hard. I mean officially. Yeah. This happened. This happened. It's been played. Yeah. Yeah. From the start of the game. And yeah, um, this happened, and this happened, and this happened, and this happened, and this happened, and this happened. The sawing of the barns, the colt cándol lived in Santa Fe. She and the worker of North Carolina, the forest, flyonet and more, exactly the You know, the Santa Claus comes in and says, yeah, what the fuck? And then, you know, whatever. Right? Yeah. Everyone. I have a suggestion that you can either do or not, if it's attractive to you.  I'm just not very good at it. So what I eventually figured out to do that seems to appeal to me more than doing bullet points on a page is that I would do it with post-it notes on a wall. So I would sort of make, like, and they have to be, I'm only allowed to do them in Sharpie because I have to be concise about it. Otherwise, I go into tons of detail that I don't really need. And I write one event on a post-it note. It can be a scene, it can be a thing that I know has to happen, but I don't know how to write it yet. It could be a thing that I want to have happen, but it's not necessarily, and it's just like a series of events. And I arrange them in a line on the wall. And then that's great because if you want to reorder things, you can just do it. And you can see it on your wall like that. And then if you want to get specific under one post-it note, then you can put another one and another one and another one with details. Like, you could have a thing that says morning routine. That's like the big one at the top. And then you could have things like wake up, put feet on the floor, back hurts, make coffee, spill, cream, and you could list it all under the big heading one. And then it doesn't feel quite as though each of the bullet points is taking up enough space to be no longer a valid bullet point. And then you can also come up with ideas, and if you don't know where to put them, you can just stick them anywhere. You can color code it, you can do things with it. You can take pictures of it so that you can rearrange it and not lose anything because you've all got phones now. And also, if you decide you don't want to do something, the feeling of taking a post-it note off the wall and crumpling it and throwing it away is extremely satisfying. So, yeah. Thank you. This is great. For some reason, though, we suggested cards to Ryan. He's not going to card, so I don't know what. I don't know what. If he might have like paper, I might have not gotten the staples or something. I'm not sure. Maybe you like the sticky post-it notes. But it's like a marrying of the index and not the date. No, go for it. But whatever, you need space and all those kinds of things. I don't know what this space is for. That's a wonderful idea. It is actually. OK. No, it does sound nice. Thank you. You can see the slider or you can not see it. It's just called. But do something, right? Do something and continue. And again, that's great. More, more.  Let us reframe those things that we say those things about them. Because actually, you just explained a method of outlining that sounded like you were good at it. Outlining is a bad graph. I don't know why. I'm not sure why. And it's very effective. Whether you put pieces of paper on the wall or put pens in a bulletin board or post-it notes or index cards that you carry around your hand and put your pocket on the subway or bullet points, if you don't want to write things down on paper. Outlining is very helpful. If you find that you're needing some kind of structure that's very helpful.  Follow the open road. That's an outline we're talking about, right? There it is. We're in time? All right, anybody else have a great question? They'll be really sad if we don't get two. OK, we're really quick with it. Yeah, so we're out with us. If you know how you want to begin and how you want to end, how much do you have to give in? Or what is the compromise between the story writing itself to the end or having your end be the way it is? Like, if you know how you want to begin and if you know how you want to end, what is your question? What if when you're writing, as you're writing, it's hard to get there? Or there's another road that you don't want, is that it? Yes, yes. It seems like it's gelling in a different way. Right, so you know how you want to begin. You know how you want to end. And you start out on your open road, and you find you're not going to OS after all. You're going to Saskatchewan, and you're like, there was, yeah, I want to go to OS. Is that what you mean? Yeah. Yeah. Sometimes you have to just go to Saskatchewan, because that's what the characters take you. Sometimes if you figure out, I really want to go to OS, it's very important to me, how do I get to OS? And that's Dorothy's whole thing, how do I get to Canvas? So, right? Yeah. OK. So you're not trying to come to Dorothy. We'll talk about it more. OK. OK, and so maybe we will do next week, then the next week, and then take a hiatus starting Memorial Day. Better for people, yes? We'll take a hiatus, and then we come back for the summer. Yes, let's put some little hiatus in here as I chat around the universe. Oh, yeah, you're jetting now. Around the universe. Yes. OK. Thank you so much for coming. Yeah. Thanks.


From DailyDoseOfWeirdNews.com, I'm Darren Marlar and this is your Daily Dose of Weird News. If you're already an official weirdo, please share this video on Facebook, Twitter, Reddit and other social media to help get the word out. If you'd like to become an official weirdo, simply click that subscribe button and while you're at it, click that like button to let the world know that you're a weirdo. NASA is seeking to hire a Planetary Protection Officer. According to the job description, Planetary Protection is concerned with the avoidance of organic, constituent and biological contamination in human and robotic space exploration. That basically means preventing extraterrestrial life forces from spreading during space travel. The position offers an annual salary between $124,000 and $187,000 and two weeks paid vacation on Rigel 7. According to a survey, one in four Europeans has fallen asleep in the workplace. A similar conclusion was made about the United States, but all of those were government workers. ***Just when you thought the anti-vax movement couldn't get any crazier, we take you to Brooklyn where veterinarians have reported that some pet owners are refusing to get their pets vaccinated because they're afraid the animals will get autism. Just for the record, by the way, there is no evidence whatsoever that autism even exists in non-humans. Dr. Amy Ford of the Veterinarian Wellness Center in the Boreum Hill neighborhood said this may be stemming from the anti-vaccine movement, which people are now applying to their pets. Dr. Ford said that more and more people hailing from hip areas of Brooklyn are refusing to vaccinate their pets for rabies, distemper and hepatitis, all of which are required by law in New York. According to a study, people who attend religious services weekly live two to three years longer than those who don't attend regularly, which is two to three years longer to wait to get to heaven, which is where we really want to be, so I'm not seeing the benefit there. The average person spends three days of their life on the phone waiting for customer service and an additional month on the phone asking the person with the strong Indian accent to repeat what they just said. In Des Moines, Iowa, folks were simply shocked to see a guy using a hammer to destroy the beautiful sculptures at the Robert D. Ray Asian Garden, a local garden and park. Bystanders called police and begged the nutcase to stop, but to no avail. When police arrived, the man still refused to put down the hammer so they used a stun gun on him, which was quite effective in getting him to stop the madness. He was then arrested without further incident. Man, who knew Thor could be brought down that easily? The University of Wisconsin student has been charged for running around inside the state's Capitol building naked. On the other hand, somebody found something exciting to do in Wisconsin. After their wedding ceremony, a newly married couple in Tennessee went to their motel where they got into an argument which led to the bride reaching inside her wedding dress and pulling out a pistol. It would have been a shotgun wedding, but she didn't have enough room in her bra. Britain's Prince Philip carried out his final official duty yesterday, he is now officially retired at the age of 96. You can afford to retire that young when you are married to royalty. The survey says 72% of Americans think people who speak multiple languages are more attractive. So, I guess it's time to start brushing up on my Klingon. And New Poll shows Kid Rock as the front-runner for a Michigan Senate seat. This episode of Daily Dose of Weird News is brought to you by the audiobook Last Exit by Jason R. Davis, an anthology of 17 horrific tales where life on the road can sometimes take a dark and unexpected turn. Here are free sample and support Marlar House by downloading the audiobook for yourself at DailyDoseOfWeirdNews.com