(no subject)

If theres one thing in the world I dislike- well, no, not really. I dislike organic chemistry and failing long tests and C++ and Silas Marner, but those things arent inevitable. Well, except for maybe Silas Marner. Lets keep this short, because I am not in the mood for long sentences, particularly because talking too much makes my throat hurt, and yet I am too stir-crazy not to not do any talking at all.

(So much for keeping things short.)

I dislike falling ill.

Because seriously. I could have gotten sick last year. I could have gotten sick during our unscheduled sem break, or during the post-field-bio weeks of summer when relaxing was the rule of the day anyway, or even every Friday afternoon from 3:20 to 5, but no, it just has to be during the last few weeks of the school year, with an Econ. magazine and an English play still begging for attention.

---

Hard to believe that this time last week I was- okay, I was not slaving over the combined terror of four quarters of physics and four quarters of Econ in the space of three hours. Hard to believe that this time last week I was reading The Color of Magic instead of studying? Not really.

(no subject)

If theres one thing in the world I dislike- well, no, not really. I dislike organic chemistry and failing long tests and C++ and Silas Marner, but those things arent inevitable. Well, except for maybe Silas Marner. Lets keep this short, because I am not in the mood for long sentences, particularly because talking too much makes my throat hurt, and yet I am too stir-crazy not to not do any talking at all.

(So much for keeping things short.)

I dislike falling ill.

Because seriously. I could have gotten sick last year. I could have gotten sick during our unscheduled sem break, or during the post-field-bio weeks of summer when relaxing was the rule of the day anyway, or even every Friday afternoon from 3:20 to 5, but no, it just has to be during the last few weeks of the school year, with an Econ. magazine and an English play still begging for attention.

---

Hard to believe that this time last week I was- okay, I was not slaving over the combined terror of four quarters of physics and four quarters of Econ in the space of three hours. Hard to believe that this time last week I was reading The Color of Magic instead of studying? Not really.

a good man is hard to find...

... but not as hard as a decent English script.

I have no idea how we're going to get a car. Since we obviously can't get a car, due to financial, legal, and physical constraints, among other things, we have to find a way to get a "car effect"- we have to find a way to give the impression that we are in a car, or at least that we're trying to show that we're in a car, without resorting to one of those cardboard cutout things.

And then we have to make the car brake suddenly, and flip over, and we have to have everyone emerging from it, sort-of slowly, if not gravely wounded then at least rattled due to the fact that the car they were riding turned over.

And I don't know how you're supposed to show that time has passed in a play, without making it drag. It's easy if your play works the way Afraid of Roaches did- if it is simple, quick-paced, and held together not by the conversations but by the actions. It would also help if your play were not based off a short story where subtlety and symbol is everything.

It's a good thing I wasn't sick when the Ramayana rolled about, or else Sodium would have gotten a lot of side notes along with their script.

a good man is hard to find...

... but not as hard as a decent English script.

I have no idea how we're going to get a car. Since we obviously can't get a car, due to financial, legal, and physical constraints, among other things, we have to find a way to get a "car effect"- we have to find a way to give the impression that we are in a car, or at least that we're trying to show that we're in a car, without resorting to one of those cardboard cutout things.

And then we have to make the car brake suddenly, and flip over, and we have to have everyone emerging from it, sort-of slowly, if not gravely wounded then at least rattled due to the fact that the car they were riding turned over.

And I don't know how you're supposed to show that time has passed in a play, without making it drag. It's easy if your play works the way Afraid of Roaches did- if it is simple, quick-paced, and held together not by the conversations but by the actions. It would also help if your play were not based off a short story where subtlety and symbol is everything.

It's a good thing I wasn't sick when the Ramayana rolled about, or else Sodium would have gotten a lot of side notes along with their script.