Graffiti from Pompeii I.10.4 (near the rear entrance vestibule of the House of Menander); 8356: At Nuceria, look for Novellia Primigenia near the Roman gate in the prostitute’s district. I.10.4 (exterior of the House of Menander); 8304: Satura was here on September 3rd I.10.7 (House and Office of Volusius Iuvencus; left of the door); 8364: Secundus says hello to his Prima, wherever she is. I ask, my mistress, that you love me. II.2.1 (Bar of Astylus and Pardalus); 8408: Lovers are like bees in that they live a honeyed life II.2.3 (Bar of Athictus; right of the door); 8442: I screwed the barmaid II.3.10 (Pottery Shop or Bar of Nicanor; right of the door); 10070: Lesbianus, you defecate and you write, ‘Hello, everyone!’ II.4.1 (bar; left of the door, near a picture of Mercury); 8475: Palmyra, the thirst-quencher II.7 (gladiator barracks); 8767: Floronius, privileged soldier of the 7th legion, was here. II.7 (gladiator barracks); 8792: On April 19th, I made bread VI.14.20 (House of Orpheus); 4523: I have buggered men
This guy sent me an email so I decided to grade it My reply is below. I didn't try to be funny when I wrote him back, I just kept it simple and sincere. I've never been accused of plagiarizing Bob the Angry Flower before, so this was a refreshing change from some of the other fine folks who have contacted me in the past. *note:* It's a pain to embed clickable links in that email screenshot, so here they are instead: When I first launched my website, most of them followed that format, e.g. When to use i.e. in a sentence 5 Tips for Writing Kick-Ass Characters Bryan Cranston as Walter White Characters make the story. They are the most difficult aspect of any work in progress, and the most crucial to its success. There are so many elements to be considered when dealing with characters, especially when your cast is many. And let’s face it; your characters are in need of some tender loving care. Have no fear! 1. What was the last book you read, film you watched, or game you played where you were rooting for the main character, wishing you were by her side to help in the struggle? Now ask yourself why you felt this way about that character. Relatable characters are the ones that you can identify with, the ones you want to see succeed, and the ones who make your throat tighten when they are in jeopardy. That level of emotion is what you want your audience to experience during the trials and tribulations of your characters. 2. So, where do you begin? Start with a role that needs to be filled, and then work around that. 3. 4. 5. See Also: Codey Amprim
10 Words You Need to Stop Misspelling How To Use An Apostrophe Passionate Reason the blog of author L.E. Henderson: How I Lost My Guilt and Became Addicted to Writing Since early childhood, I wanted to be a writer. I wrote exuberant stories about vampires, hidden treasure, and animals. Over the years, teachers, friends, and relatives read my stories, smiled, and encouraged me. They told me I wrote well, and so I should write more. By adolescence, writing was not just something I wanted to do. It was a sacred calling. It became even more serious after high school graduation. With the intensity of a pilgrim, I marshaled my energies and earnestly began to plan. However, with all my ambitious planning, I had a big problem: I rarely ever wrote. I did have scattered episodes of exhilarating inspiration, and I would hurry to my notebook and scribble down my thoughts. Writing felt too important, too sacred, to even begin. At the same time, I was uncomfortably conscious of the monstrous gap between my plans and actions. When this strategy failed to make me prolific, I was led to an unsettling conclusion: I must have poor character. These efforts never worked.
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