#had to learn how to screen rec my subscription just because i needed this on my blog

[leclercsbf]

Charles Leclerc congratulating Carlos Sainz on his podium at the 2023 Monza Grand Prix

[etirabys]

Rec: meditation

I started meditating with the app Headspace in 2017, and started using the app Waking Up this past month at the same time I started meditating a lot more. Part I of this post is a comparison of the two apps, meant to justify why I think someone getting into meditation should start with Headspace. If you are not interested in meditation but enjoy thinking about the human mind, the description in Part I of what Waking Up teaches may still be interesting.

Part II describes my motivation for meditating and what I think other people can get out of it, Part III gives specific recommendations for meditation.

Part I. Headspace vs Waking Up

Note before I go on: Headspace and Waking Up are both paid apps. Headspace is $13/month. Waking Up is $100/year, but many redditors in threads I read about Waking Up before buying it assure me that the team really wants people to meditate and will give it to you for free if you produce a good reason, like “I cannot afford this but I find meditation helpful”.

I think I’m getting about five times more out of Waking Up because I started with Headspace. Some things that I think are very useful before starting Waking Up that Headspace teaches better:

Being sufficiently good at staying at your breath that you can by default stay with your breath for 3 cycles before you get distracted

Being sufficiently good at noticing when you're distracted that distractions are normally <=1m

Either finding body scan (moving your attention down the body, tuning into signals from different subsections) easy/intuitive to begin with, or being familiar enough that you just 'know what to do' when prompted

Headspace teaches you these in a more accessible way. Waking Up asks you to perform new mental motions in almost every session of the introductory sequence, and I think it’s hard to get something out of this if you’re busy struggling on the basics listed above.

Headspace has a 30-session introductory course, where each session is 10m. Even if you never do another Headspace pack, I recommend this. I also endorse speedrunning it by doing it 2/day and finishing in 2 weeks.

Each Headspace course (1 course = 10-sessions with a theme like ‘Anxiety’, ‘Mindful eating’, ‘Pain management’) has 1~3 of the following techniques associated with it:

Body scan (moving your attention from your head to your toes – practicing letting sensory data fill up your mind)

Noting (basically installing the TAP of noticing when you have a thought, emotion, or sensation that is not the thing you intend to focus on, and bringing your attention back to the object of focus, using the breath)

Reflection (Emptying your mind a bit first, then asking yourself a specific question, or rather letting the question sit in your head, letting potential answers come and go)

Focused attention (focusing on one thing, noting when something that is not that rises to your mind, watching the thought run its course, which it generally will much faster if you're watching it rather than running it, and then going back)

Resting awareness (think and feel ~normally without an object of focus, but have a watcher process that's looking at thoughts and feelings interleaved with the process that's actually having those thoughts and feelings)

I don't think Headspace is very good at articulating and teaching the last two techniques. Waking Up teaches those two better, and those are the interesting ones.

Waking Up's schtick, as interpreted by me, is that it asks you to

Model your mind as a projector screen (or mirror, or ‘space’) on which things are appearing,

Notice how much of what's on that screen appears there without your input (like bodily sensations or sounds),

Notice an increasing set of things as 'things that appear there without your input',

Notice the 'you' that is the watcher-entity / consciousness that is separate from everything on the projector screen, because the watcher is not producing mental phenomena

And once you have this model and a visceral sense of using this model to move your mind the same way you use the model of a car to drive a car, you can do things you couldn't do before when your model was "my mind is me, making choices and doing things", e.g. having greater control over how you react to a thought or emotion.

My current view is that focused attention is the practice you do to familiarize your mind with using the "the mind is a screen and watcher" model instead of the "the mind is me" model, and resting awareness is just the thing your mind will do a lot with normal life once it is used to using the model. Like constrained exercises in physical therapy vs normal walking.

Waking Up also teaches you to

5. Notice that the watcher does not really exist – that every mental effort to ‘locate’ the watcher will fail.

because part of what WU tries to teach you is to let go of the notion of the self, completely step out of the “my mind is me” model. The creator thinks that letting go of this is a fundamental component of the mental transformation the practice of meditation is for. I am personally not very interested in this and am electing to ignore this / not actively learn it.

Part II. What for?

My original motivation to meditate came from failing to meditate the first time I tried it, being aghast that it was so hard to do something as simple as focus on the breath for even one minute, linking it to my general lack of mental discipline, and deciding meditation was an obvious way to try to fix.

I have not seen tangible improvement in mental discipline. But after a month of meditation 20m/day on average, I’ve seen tangible improvement in emotional control and what I’m going to call a-freedom-to-choose-the-self.

I have several instances per day where I’m feeling frustrated or anxious or guilty, switch into observer mode, and kind of watch the observer process take up more and more CPU until the original process isn’t running at all.

I sometimes recognize when I’m lost in a thought or feeling that centers around a desire to control or set the course of the future – whether that’s on the scale of hours (will I get enough work done today) or years (am I going to get divorced in the next decade) – and immediately translate it to the present: will I do some work in the next minute, am I paying enough attention to my partner’s existence and needs today. You don’t need meditation to do this, exactly, but it really helps to have a visceral feeling of your entire life being composed of slices of ‘the present’, that the present is sort of the only thing you can control and be responsible for. And have that visceral feeling, it helps to have a lot of practice tuning into the present, which meditating trains you to do.

What I’m labeling freedom-to-choose-the-self is the feeling of (1) having a thought that’s pretty tightly anchored to you – e.g. a sense of judgment about something you’re consistently judgmental of people (including yourself) for, investment in maintaining your status in your workplace or gaming forum that you’ve been part of for years, (2) switching over to the mind-as-screen-and-watcher model and regarding the thought/feeling the same way you’d regard traffic noise that’s happened to arise outside your house, (3) thinking “do I want this thing attached to me? Is it good for me? Do I like it?”, and (4) if you don’t, letting it go with the same gentle indifference you’d let go of the traffic noise. Crucially, you’re not rejecting the underlying drive that generated the thought, or severing it from the self – you’re just choosing not to make that particular thought an “I-thought”. Your future self may very well have a similar thought and choose to claim it as an “I-thought”, and that’s your future self’s prerogative.

Please note that I am still impulsive, undisciplined, full of stupid feelings, struggling with my job, and that I had a ridiculous fight with my partner just this week that was 90% my fault. I am merely happier and more in control of myself as I do all this.

Part III. Where do I start?

Here’s an extremely prescriptive schedule. I have designed it for someone exactly like me.

Get Headspace for a month.

Do 10 minutes every day for a week. (Headspace says the first week is free, which might mean that you can cancel in the first 7 days and pay nothing.)

If you don’t hate it, kick it up to 10m twice a day for the rest of the month. The introductory 30 sessions teach Body scan and Noting, you should definitely do those. After that you can do whatever you want – Headspace’s courses are very similar to each other, despite the names. I liked Acceptance (Body scan, Reflection), Transforming Anger (Focused attention, Body scan), and Managing Anxiety (Body scan, Noting). If you want to try a Headspace course that teaches Resting Awareness you might want to try Pain Management (BS, FA, RA).

After the month is up you should have meditated for about 9h, which I think is a pretty good start.

If you’re still interested at this point, quit your Headspace subscription and get Waking Up, either by paying or asking politely.

Waking Up’s intro sequence made of 10m sessions. Do one a day, and follow it up immediately with 5~10m of unstructured meditation where you just set a timer and either meditate on the breath or continue practicing what the day’s WU session told you to do. The sessions are kind of dense, so do repeat or revert sessions as needed.

Do ramp up. Doing 40m every other day was the frequency at which I started seeing interesting mental shifts after several weeks. (40 consecutive minutes, but not continuous practice – I don’t have enough discipline/attention for that. I do 10m of a Waking Up session, and then 10m each of focusing on sound, breath, and body scan.)

?? (time passes? other things?)

You are a different person? Maybe chiller and nicer and more productive? We do not know.

[nouveauweird]

do you have any recs for learning about screenwriting / how to screenwrite? i'm one of those writers who kind of sees things like a movie and i'm wondering if things would work out better for me with a new medium. thanks in advance!

I hope you’ve got some time to read all of this because it got really frickin’ long.

I was introduced to screenwriting in a Writing Lab in college and followed suit into a Screenwriting IA (Integrative Activity, where students demonstrate what they’ve learned over the course of their studies in the Cinema and Communications program). 

So admittedly, most of what I learned was from two teachers who already knew their stuff and worked in the industry. However, I was so interested in pursuing screenwriting once I’d fallen in love with it, that I bought all the “optional” resource books my Screenwriting teacher had recommended. 

The Screenwriter’s Manual: A Complete Reference of Format and Style by Stephen E. Bowles, Ronald Mangravite, and Peter A. Zorn Jr. really has the basics for what you need to learn how to get into screenwriting. It is available on Amazon for a range of prices. 

I also read significantly through The Screenwriter’s Problem Solver: How to recognize, identify, and define screenwriting problems by Syd Field and to be honest it can actually be useful for any kind of story writer, as I perused it and applied some of its content to a few films I found were really poorly executed. 

I own, but have not significantly perused:

Story: Substance, Structure, Style and The Principles of Screenwriting by Robert McKee 

My uncle who is a screenwriter recommended highly, I personally haven’t dived in yet because the McKee has a stupid disclaimer about why he chose to use He pronouns to refer to the writer throughout the book which was a bit irritating so I just covered it with a sticky note and let it sit for a while.

Writing Short Films: Structure and Content for Screenwriters by Linda J. Cowgill

*Writing Tools: 55 Essential Strategies for Every Writer by Roy Peter Clark.

*Showing & Telling by Laurie Alberts

*Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg (currently reading)

*Take Off Your Pants! : Outline Your Books for Faster, Better Writing by Libbie Hawker. 

* = not screenwriting specific, general writing.

Two other books that come highly recommended by both of my uncles who work in the industry are: Save the Cat by Blake Snyder, and Screenplay: The Foundations of Screenwriting by Syd Field.

Since I didn’t learn this completely on my own, I don’t have many online resources, but a quick google search of “Basic Screenwriting Format” should yield you some decent results. HERE is one I found, which has a few book recommendations in it as well. Airtable has resources for screenwriting as well but I am not as familiar with it, search “screenwriting” in the template section.

Here’s what I can recommend right off the bat, sign up for Celtx. It has free and paid subscription services, and you can keep 3 projects on your account at a time, but you can also just download them as PDF’s to free up space and reupload them later and the format will be in tact. Scrivener also has a screenwriting word processor, but it’s a (one time) paid program. 

There are many other word processors for screenwriting, but the best for beginners is Celtx. Most processors these days do the formatting for you, unlike 10-20+ years ago when you had to figure that shit out yourself. All you have to do is get familiar with where everything goes. 

Which brings me to the next part of my answer…

A Screenwriting Crash Course 

For a whole fucking load more of information, look under the cut.

First and foremost, I think it’s important to understand that the narrative description / action / description (all terms used interchangeably) is written in present tense 3rd person, and that you should focus on describing exclusively on what can be SEEN and HEARD. You should also try to be as concise and brief as possible. I found this was quite freeing because while I do love the metaphorical descriptions in prose, screenwriting is a very snappy and visual medium to write in. 

Another thing to understand is that beyond learning the basic formatting rules of screenwriting, you can pretty much bullshit formatting you’re not sure about. I’ve read many screenplays where certain elements were not consistent, such as whether or not the writer chooses to put their characters’ names in CAPS every single time (you should at least do so when the character is first introduced).

It’s actually really easy to find scripts of your favourite films online with a quick google search, it might take practice but I’ve managed to build a decent collection of screenplays that I like to read and get an eye for certain formatting tricks that won’t be in a “how to” book. Screenplays also read very quickly. There’s a general rule of 1:1 for page:minute, meaning 1 page is usually equal to one minute of screen time, and if not, it usually averages out.

I’m going to pull some quotes from The Screenwriter’s Manual to give you a bit of an idea of where you can start: pg 25 - 44, 49 - 63

You can find photos of the table of contents HERE if you’d like to message me directly with specific questions, I’d be happy to send you photos of the section you want. 

The Staging

The first component in the scene line [or slug line] provides the most basic information about the set-up for the scene.

The staging is ALWAYS abbreviated and followed by a period. There are only two choices for a scene: 

INT. for an interior set, informing the reader that the scene takes place in an inside environment

EXT. for an exterior set, specifying an outside environment. 

1. The Location

The second component in the scene line is the location in which the scene takes place. 

The location follows the INT. or EXT. designation and is separated from it by two character spaces [most screenwriting processors will do this automatically].

Do not abbreviate any words in the location component of the scene line. For example,

INT. APARTMENT is correct, and INT. APT. is incorrect.

VERY IMPORTANT

It is absolutely essential that every specific location be distinguished from every other location. 

If Joe lives in an apartment, then you can call that location INT. APARTMENT But if, in the same screenplay, Bob also has an apartment you can no longer use INT. APARTMENT as a location for Bob’s apartment.

To eliminate confusion, one solution is to call each apartment location by the resident’s name: INT. JOE’S APARTMENT and INT. BOB’S APARTMENT

Once a specific location has been identified in the scene line, all subsequent scenes taking place in that location MUST be identified in exactly the same way.

FIRST NOTE:

The location identifies where the activity and dialogue take place…

… if John lives in a multi-room apartment and John is currently in his bedroom (so that other rooms are concealed from view), then the scene line must read, INT. JOHN’S BEDROOM or INT. JOHN’S APARTMENT, BEDROOM

[If the action moves from one location to another there are different ways to indicate it; one would be to created a new scene line to indicate the new location, or to indicate the new location in the description like “John walks out of his bedroom and into the LIVING ROOM”. ]

…

FOURTH NOTE

A scene line can take either of two common variations: 

Most often, the scene line will define a specific location, such as INT. JOHN’S LIVING ROOM which limits the field of view to the area where the “camera” is placed.

If the scene takes place in a more generalized location, you can write it as an open scene, such as EXT. COLLEGE CAMPUS … By identifying the scene in a generalized way, you are indicating that it is not important to your narrative to identify precisely where on the campus this scene takes place.

THE TIME

The third component of the scene line indicates the general time at which the scene begins. 

The time follows the location and is separated from it by a character space, then a dash, and then another character space.

[ example: INT. JOHN’S HOUSE, ATTIC - DAY ]

The time component of the scene line is most typically specified as a simple DAY or NIGHT. However, the time component can define a more precise period of the day or night. For example, DAWN, MORNING, AFTERNOON, RUSH HOUR, etc.

… You CANNOT specify an exact time, such as 3:30 PM, in the scene line. If such a specific time is required, you need to [include it in your description]…

When there is no lapse of time from one scene to the next, the time element in the scene line could simply be, CONTINUOUS. … if the time lapse is very brief, then you could use something like, MOMENTS LATER, A FEW MINUTES LAYER

AN EXEMPTION:

If a scene takes place in a location in which there is no way to gauge the visible time (DAY or NIGHT), then that element is omitted from the scene line.

ADDING SPECIFICS TO THE SCENE LINE

IDENTIFYING HISTORICAL PERIOD

[example EXT. PARIS, FRANCE - DAY (1946)

EXT. CHICAGO, ILLINOIS - DAY (1920′s)]

INDICATING A MOBILE SITUATION

If a scene opens with a moving vehicle within the location, then that can be indicated in the scene line. For example… INT. JOHN’S CAR - DAY (MOVING)

2. ACTION or [DESCRIPTION]

Description imparts the necessary detail to the essentials of the scene, describing such features as the characters, sets, props, and any necessary action and sound cues. 

It is generally best to keep the level of detail focused on the actions and dialogue that comprise the narrative. That is where your attention and the reader’s interest should be directed. 

By describing the particular props and decor in a scene and how each character dresses or grooms, you can suggest such character information as personality type, emotional condition, religious affiliation, economic level, artistic taste, and for forth.

First, establish the scene, describing only what is visually apparent in the location and giving only as much detail as necessary. 

You cannot describe anything that cannot be seen… until they have been revealed. 

You do not need to itemize things that are generic and would ordinarily be present, such as furnishings, colours, arrangements, [etc]…

However you MUST specify anything that is unusual or essential to the scene. 

[ My uncle imparted me with a great tip; screenwriting doesn’t maintain traditional prose rules about paragraphs. You should try to keep your descriptions a maximum of four lines, and feel free to break them up into one-line or even one-word for emphasis.]

… 

VERY IMPORTANT: 

You can only convey what is happening at the moment… [No what has happened or what will happen]. 

You CANNOT provide any biographical, psychological, or situational information [about your characters] unless you can find visual means to do so (such as a newspaper article, a television program, [etc.])…

INTRODUCING CHARACTERS

Each character must be introduced in the description the first time [they] physically appear in the screenplay. This includes not only major characters, but also supporting characters and even minor characters and groups that function as characters. 

NAMING CHARACTERS

When a character is introduced, [their] name is ALWAYS typed in ALL CAPS regardless of whether the character is identified by a proper name, a profession, or an appearance… EVANS, AGENT ONE, DERELICT…

Once a character has been introduced, all subsequent references to that character’s name in the description should be written in a normal manner with initial caps… Evans, Agent One, Derelict… 

DESCRIBING CHARACTERS

As the screenwriter, you know who is a major character and who is a supporting or minor character because you have the entire story in your mind. The reader, however, is in a different situation.

… The amount of detail you provide about a character’s appearance and demeanor will give the reader a key to that character’s important in the script. 

As a guide, when characters are introduced, you need to make clear how important each is going to be by tailoring the description and context accordingly.

[ You should describe their appearance and what they are doing when you introduce your characters. There are many different formats to describe a character when you are introducing them, and none of them are the hard and fast rule, you will probably end up settling for your own preferred method].

WARREN EVANS, late twenties, intense, handsome with closely cropped hair and a neatly trimmed moustache, is working with cool precision at one of the hundreds of banks of wiring terminals. he is dressed in coveralls and wearing thin latex gloves.

A VARIATION:

A character’s age can also be assigned a numerical designation, such as…

WARREN EVANS (late 20s), ruggedly handsome, dressed in… 

Seated at the table is CINDY LEWIS, late 20s and very attractive…

[ Generally you should only mention eye colour, skin colour, height, weight, hair style/colour if it is relevant to the narrative. ]

WORDS THAT GET CAPPED

In addition to using CAPS to introduce characters in the description, there are established conventions for other elements that need to be typed in CAPS but only if they affect the narrative…

Those elements include: 

all essential costumes, props and decorany important action, effects, or emphasisany required music or sounds

Although some of the following instances require CAPPING, many will be judgement decisions. 

FIRST NOTE:

You CANNOT identify every costume, prop, or decor on the set. Ordinary objects that have no special significance to the narrative should be left [ in normal text].

SECOND NOTE:

… if a certain prop is important to the story, you should CAP it when it first appears, regardless of whether it is important to that particular scene.

WHEN TO CAP AND WHEN NOT TO CAP

CAPPED words can be effective only if they are used sparingly and appropriately, if CAPPED words are used too frequently, their significance will be lost.

3. THE DIALOGUE-BLOCK

The dialogue element, [also] called the dialogue-block, of the screenplay format consists of three components:

the character-name specifies which character is speaking…the dialogue reveals what is being said by that charactera parenthetical, when necessary, instructs [or indicated an element of] how or to whom the character [is speaking].                           EVANS                 (to the group)   Sorry I’m late. This round’s on me.

GENERAL RULES

ALWAYS contains the character-name and dialogue, and it MAY, if helpful, also contain parentheticals.is ALWAYS single spaced with no blank lines that internally separate the individual componentsis ALWAYS preceded and followed by a single blank line

[ Parentheticals should not be used too often, you should be attempting to provide context for how the character is delivering their line in the description by providing adequate mood/intensity/emotion.]

CHARACTER NAMES

A character-name is the designation used for the speaker…

… Once a character-name has been established, you MUST consistently use that name from that character.

For example, if you’ve introduced the character as COLIN PRYCE in the description, then you will probably want to use the designation COLIN or PRYCE in the dialogue-block.

DIALOGUE

Everything that the actor speaks that is heard by the audience is dialogue. 

[Dialogue] is ALWAYS written in basic prose with initial caps and proper punctuation. 

EMPHASIS IN DIALOGUE

To emphasize a particular word or phrase you should underline it.

OFF-SCREEN or VOICE-OVER CUES

[ Off-screen: when a character is not physically present in the scene peaks from a nearby location, close enough that they could enter the scene. Such a character might be speaking from a room out of view or from behind a concealed area.

Voice-over: (1) a voice heard from a mechanical device such as a telephone, radio, intercom, tape recorder, answering machine, walkie-talkie, etc. (2) The voice of a narrator, which is required when the dialogue is spoken by an unseen narrator. (3) The thoughts of a character, applied when a character is visually present and what is heard are their thoughts.

Usually, a character who is speaking dialogue is visually present within the scene. However, there are two important exceptions: off-screen and voice-over.

The off-screen (O.S.) and voice-over (V.O.) cues 

- ALWAYS follow the character-name on the same line- are ALWAYS enclosed in parentheses- are ALWAYS abbreviated in upper case.

PARENTHETICALS

Parentheticals are a convenient device to convey specific information about how the dialogue is being said… 

[Parentheticals] are ALWAYS enclosed by parentheses… are restricted to words, phrases, and fragments… ALWAYS apply to the dialogue that immediately follows it.

Parentheticals need to be concise and direct, indicating such brief information such as:

- to whom the character is speaking (to John), (into phone), (to himself)- a particular gesture or mannerism(raising his glass), (looking at her watch)- how the dialogue is being spoken(angrily), (coughing), (softly), (thick ____ accent)

WRITING PARENTHETICALS

Because parentheticals are limited to words and phrases, they [should always be written in lowercase and with no punctuation, for example:

(loudly)

No more than two directions should be included in any parenthetical. If two directions appear they should be separated by a semi-colon:

(to the class; loudly)

THREE SPECIAL CASES

- a (beat)- a (pause)- an (interrupting)

[A (beat) indicates a change of thought, suggests a moment of indecision, or conveys a dramatic effect.

A (pause) signifies that a break in the dialogue occurs. This is most often used in phone conversations. 

An (interruption) indicates that the dialogue begun be the previous speaker is being interrupted by the current character (there are a few different ways you can format this). ]

I won’t go any further than this because this is already extremely long, but ultimately I invite you to take a look at some of the scripts (here and here) I’ve written and doctored as an amateur screenwriter as well as digging up your own favourite movie scripts which will give you a good idea of how to implements what formatting.