http://www.just````inggoogleit.com/

Dzīve ir spēle ar sevi.
Dzīve ir spēle ar tevi.
Dzīve ir murgs.
Kas dunci mugurā durs.
Dzīve ir sapnis.
Tomēr lepni varu teikt:
Ne visa dzīve ir sapnis,
Ne visa dzīve ir murgs.
Ir brīži kad liekas,
Ka neesmu nekas
Bet tie ir brīži,
Kad esmu viss.



my art

ūt

Stiprās puses:

Patstāvīgi ir domīgs; mēdz visu izanalizēt; ir nopietns un mērķtiecīgs; viņam piemīt tieksme uz ģenialitāti; ir talantīgs un mākslinieciski vai muzikāli apdāvināts; ir filozofisks un poētisks; jūtīgi uztver skaistumu; ir smalkjūtīgs pret citiem; ir gatavs upurēties; veic darbu pēc labākās sirdzapziņas; ir ideālists.
Trūkumi:

Pārāk koncentrē uzmanību uz negatīvo; ir untumains un nomākts; tīksmnās par apvainojumiem; izrāda tēlotu pieticību; dzīvo it kā citā pasaulē; ir ar zemu pašnovērtējumu; dzird tikai to, ko grib dzirdēt; ir egocentrisks; ir pārāk intraverts; ciešs no vajāšanas mānijas; ir ar noslieci pārspīlēti bažīties par savu veselību.
Viņi sevišķi labi spēj:


* Uztvert dziļas domas un ievērot detaļas;
* rakstīt dienasgrāmatu, veidot kartotēkas un grafikus;
* atrisināt problēmas; kas citiem šķiet sarežģītas;

Mīlestība dzīvo mīļos sīkumos.

Visa labā ienaidnieks ir kas vēl labāks.

Baudas dvēsele ir tās īsums.

Kas ir stiprs savā ticībā, to nekas nespēj pavedināt.

Visrāmākā ir mīlestība uz labo.


bļ*

«Indiana Džonss» atzīts par 2008. gada visvairāk gaidīto filmu

Torrent Download
07-Stupid MF

Grifidors 31
Slīdenis 14
Kraukļanags 7
Elšpūtis 0

[12:20:10 PM] Džeks saka: CAN'T TAKE MY EYES OFF OF ME

Linus_Torvalds_facts

bondage

rofl. njā. laiks kā uz jāņiem
man jau arī. izeju vakar ārā. ar lietussargu, aizeju līdz mājas stūrim -- protams nelīst
err. headstrong zini? viena viņu dziesma ķipa bullet for my valentine, tikai man vairāk patīk ^^



Bet Billy Talent būs pirmais
Blonda ar trīs zvaigznēm
trīszvaigžņu blondīne roflew

Kājās bija rozā puanetes un baltas zeķubikses. Skatu papildināja rozā triko un balti balerīnas svārciņi.

http://www.youtube.com/watch?v=JUOqgLXeJxg

Es nogalinu visu, ko uzskatīju par skaistu.

es šausmīgi atvainojos ka jūs piedzērāties.

http://www.davidguetta.com/en/news

jā, es arī tevi mīlu

nepaspēju. toties palasīju dieneni un man garīgais pagāja vēl kādu stabiņu uz leju ..bēt duh. tā ir bijis, un tā būs. man jāsamierinās. njā.
bet garīgo uzlaboja tava un nadīnas klača. ^^ lai arī man tādu nav.
"viņam jau būs par grūtu .. viņš dievina omju protēžu smaidus .. viņa dievina pelējuma smaku

zinot, ka mani nīst ir prieks, ka ir vismaz viens cilvēks, kurš nenoliek, paldies tev.
kādēļ gan cilvēki ir aizmirsuši par iekšieni? kādēļ?vienmēr ārišķības. un viss.

http://uk.youtube.com/watch?v=oW28iuu80Fk&...feature=related

lai vai kā, es šobrīd došos

Latvijas Radio koris

Drēbes:
Mati:
Ēdiens:
Dzēriens:
Domas:
Jūtas:
Runājos ar:
Dzirdu:
Patīk/mīlu:
Gribu:
Ienīstu/Dusmojos:
Gaidu:

Ieteicams novannoties vai nopeldēties, domās atbrīvojoties no uzkrātās nastas.

Nav velme paķert Rū vai pašai sevi un atlaisties līdz šejinei?

:love: :love:

bullets

http://www.draugiem.lv/?pid=3655431#com

LInDuxXi bu4KoWsku

kamīn, es iesaucos kaija, mašīna un vēl kaut ko

19 01 19

Your form which returns gently to heaven
What else can I do, besides avenge you?
I watched it for the longest time, until my tears dried up.

And the sorrow overflowing from the scar which can't be erased,
I swore that I would never forget it.

I'll flap my broken wings and erase it all some day you'll see,
Until the last bell ringing the dirge completes.

You told me to live as if you were to die tomorrow.
Fail not and be what we were now,
Face as if we want to have forever.

Red tears traced by a trembling finger,
I had nothing to lose, nothing to lose
It crashes through the dark memories.
The last smile wavered, and disappears,
And the warmth is all that's left.

Your kind and gentle words can't heal me now,
This body's only dedicated to the never ending fight.

Because everyone returns to heaven, some day,
You'll never need to say goodbye.

Break Out!
I'll flap my broken wings and erase it all some day, you'll see,
Until the last bell ringing the dirge completes.
Your kind and gentle words can't heal me now,
This body's only dedicated to the never ending fight.

Redemption!
Redemption!

– 1 Spielen Metallica
1.637

http://www.imdb.com/name/nm0001570/

funny games

Hello Jurmala, po un fig man. Uzdāvināsi baloniņu man?

Ooh Watching Me, Hanging By A String This Time
Oh Easily The Climax Of A Perfect Life.
Ooh Watching Me, Hanging By A String This Time.
Oh Easily, My Smiles Worth A Hundred Lies.

If There’s Lessons To Be Learned, I’d Rather Get My Jamming Words In First Oh
Tell Ya Something That I’ve Found, That The Worlds A Better Place When It’s Upside Down Boy
If There’s Lessons To Be Learned, I’d Rather Get My Jamming Words In First Oh
When Your Playing With Desire, Don’t Come Running To My Place When It Burns Like Fire, Boy.

Sweet About Me, Nothing Sweet About Me, Yeah
Sweet About Me, Nothing Sweet About Me, Yeah
Sweet About Me, Nothing Sweet About Me Yeah
Sweet About Me, Nothing Sweet About Me, Yeah

Blue, Blue, Blue Waves They Crash
As Time Goes By, So Hard To Catch
And Too, Too Smooth, Ain’t All That
Why Don’t You Ride My Side Of The Tracks

If There’s Lessons To Be Learned, I’d Rather Get My Jamming Words In First Oh
Tell Ya Something That I’ve Found, That The Worlds A Better Place When It’s Upside Down Boy
If There’s Lessons To Be Learned, I’d Rather Get My Jamming Words In First Oh
When Your Playing With Desire, Don’t Come Running To My Place When It Burns Like Fire, Boy.

Sweet About Me, Nothing Sweet About Me, Yeah
Sweet About Me, Nothing Sweet About Me, Yeah
Sweet About Me, Nothing Sweet About Me Yeah
Sweet About Me, Nothing Sweet About Me, Yeah

Lene Alexandra - My Boobs Are OK

Hello!

My Boobs, my boobs
My boobs are ok
My Boobs, my boobs
My boobs are ok

I'm lazy, admit it, work is not for me
Busy doing nothing
I'm a beauty queen
I don't cook, I don't clean
They do it for me
I'm such a stupid girl

I keep my religion in a Gucci purse
Oh my god, I just forgot the rest of this verse
Who cares? I never passed junior high
It was so hard!
So what?

(Chorus)
My Boobs, my boobs
My boobs are ok
My Boobs, my boobs
My boobs are ok
And no matter what you say
I know they're ok
My boobs are ok

Just stupid to study
I ain't got a brain
So I never went to college
Couldn't find the way
I wished every tomorrow was a holiday
I'm such a crazy girl

Dumb as they come, oh, can't you see?
My cup size and IQ work in harmony
Just don't ask me about economy
Unless it is for free

[Chorus]

And with the makeup on, to make these fine
A little glamour from my hips to my tongue
That's the name of the game
You gotta know the rules
If you wanna give up
You gotta play it cool
You're so cool!

Come on, girls
Give me a Boo (Boo!)
Give me a b (B!)
Give me a s (s!)
Go Boobs!

Go Boobs!

Go Boobs!

[Chorus]

My Boobs, my boobs
My boobs are ok

My Boobs, my boobs
My Boobs, my boobs
My boobs are ok
My Boobs, my boobs
My Boobs, my boobs
My boobs are ok

And no matter what you say
I know they're ok
My boobs are ok

Redwall

Some of ya'll got it twisted
Hell, why risk it?
Life, can be fixed through Christ, I'm a witness
And I don't care about 5 mics or a hit list
I'm getting kinda used to gettin' dissed as a Christian
Let's get one thing straight,
Out the gate, I'm the type of dude to put a slab of truth on your plate
And I don't care if ya heard it twice
I ain't trippin' if you just left church, ya heard of Christ
Let me tell you what was holdin' me
Six hours on the Cross while His Holy Blood flowed for me
What you know about a sacrifice?
When you step off the throne for the same one that snatched your life
Man, let me tell you dawg Christ is real
Without Him you got nothing,
You're living off of life's appeals
Make Him Lord in your life
Cause ya'll in Death Row talking bout ya kinda like that deal..

Hey yo, I might have to bleed for this
I'm not ashamed of Christ, there's Romans 1:16 for this
And I don't care if I'm blinded dawg
Everytime I trip and fall, I just be reminded dawg
And you call yourself grinding dawg?
You can served more birds than churches
But you still dying dog
I don't care what city you from
Whether from the suburbs or from the slums but Christ still gon' come
And matter of fact, if He come now
You can be a six-eight, heavyweight, but your knees gon' bow
Ain't no telling Him to ease on down
And when the trumpet sound
And *blat* everybody see that ground
I don't care about fame and wealth
Put my God on a shelf? Naw Dawg I'd rather hang myself!
Forgive me if I can't contain myself!
Cause if YOU DIED, and didn't hear the Gospel, than dog I blame MYSELF!

Tātad. Gribi rakstīt? Lūgtum -- citēju:
So, you’ve got the perfect story: a great character, your basic plot, a world, and hey – maybe you’ve even sketched out a few scenes. But there’s just a few things missing – maybe the dialogue just doesn’t seem to work, or your action scenes don’t seem realistic. So for all of you out there who just need a few quick pointers, I hope this helps.

Disclaimer: I am not, and do not pretend to be, a published author. You can take my advice or leave it, and you’re fully entitled to your opinions as to its helpfulness.
The Description

When having trouble writing description, try blocking out the scene in very general terms. What are you trying to convey? Is it hot? How many people are there? What kind of floor are your characters standing on? You don’t need to get into the really fine details, but your audience is going to want a mental picture. I normally stick to three main characteristics: atmosphere, the general placement of objects or people, and what the main character is doing or what he/she looks like.

“The town was bright and bustling; nary a breeze ran through the crowded city streets. The sweltering midday sun was as hot as midsummer, though the seasons still claimed the day as spring. The abundant light flashed and reflected off metal armor and shining trinkets in the various stalls of Travelers’ Square. A young guard wiped his forehead with the back of his tanned hand at his post in the corner of the Square as he surveyed the ever-changing scene. Merchants bartered and haggled, shouting across the busy cobblestones as they advertised their wares. A few roadside performers practiced their acts, gaining the attention and coin of several passersby with their prowess. Old Alchnet the wizard scowled as he caught the guard’s stare, and the youth quickly redirected his gaze. He looked down, carefully refastening the cuff on the stiffened jacket of his cobalt uniform.”

Atmosphere: Hot & crowded – not a very personal or quiet place.

Placement of objects/ people: There are stalls to either side of the road, backed by merchants, and travelers line the cobblestones.

Main Character: A young guard on duty, wearing a blue uniform.

Words like ‘sweltering midday sun’ give both the time of day and the temperature – effective in concisely describing the scene and giving the reader a feel of the heat before the scene has even truly begun. The guard’s tanned hand shows that this kind of day isn’t so unusual – Traveler’s Square is a temperate place. The roadside performers, merchants, and the stalls themselves all add a certain sense of reality, in addition to making the Square seem crowded.

Granted, this example would be best used for an introduction to a chapter or story – it sets the scene with minute details, but very little action takes place. Scenes like this one are good to introduce new settings, but can be easily overused, making the story long and drawn out.

Descriptions don’t have to be long – in fact, most character descriptions won’t be. A sentence or two is enough to give a basic understanding of a character, which can be built upon later – in the meantime, the action can continue. (Some character descriptions take place during an action scene already in motion. See Erin M Evans’ ” The Deception of Description” for more on writing in-action descriptions of characters.) For quick character descriptions, focus on the most obvious attributes. If the character towers over everyone in the room and has ornate tattoos all across his bald head, don’t tell us about his dainty nose. Remember: not everyone is perfect. Some characters should have physical flaws – don’t forget to describe them.

And last: add little details about the nonentities – that is, the characters who don’t particularly have a big part – or give more depth to your character by referencing their past. Both give a sense to the reader that this world isn’t being created – it’s being viewed. Adjectives are your friend, and details make the story. Use your imagination!



The Dialogue

Many of the steps for good dialogue are similar to those for a good description. Dialogue is a great opportunity to sneak in details about the characters – what they’re wearing, their personalities, or their current mood. The tone of a voice, or the action of a character speaking expresses a lot to the reader. In this first example, notice Alchnet’s temperament – he’s just been robbed, and he isn’t too happy with the guards who are on duty. (Note: the elf mentioned is stationed on a roof nearby, listening to the conversation, unbeknownst to the guards.)

“If I may, sir,” interjected the second guard, “what did the thief look like?”

The wizard immediately grumped, “Tall. Elven.”

“Tall, sir?” The elf gave a slow smile at the guard’s questioning tone. “Aren’t elves short, sir?”

The wizard hissed in exasperation, then said in a patronizing tone, “Most, yes. But this ‘un was tall, sir.” The elf almost laughed. No one knew as well as Alchnet how to rankle a guard.

The first guard, Marik, quickly asked, “What was his hair like, sir?”

Glaring, Alchnet snapped, “Silver.”

To indicate Alchnet’s anger, I used the words ‘grumped’, ‘snapped’, ‘glaring’, and other similar phrases. If you were a happy-go-lucky halfling who’d just won a bet, you wouldn’t be ‘snapping’, now, would you? Also, notice how many times the word ‘said’ is used: once. ‘Said’ is boring. It doesn’t say anything about the character, what they’re feeling – it simply sets the stage for dialogue. No more.

Note, also, that this is another way to describe a character: through dialogue, we now know that this elf is tall, elven, and has silver hair. Not the most poetic way of describing, but, in some cases, it is effective. Be careful not to use this technique often , however – having your characters described this way is memorable, and it gets impractical very quickly.

The next example is multi-purpose: it describes the character, gives insight to his personality, and - as an added bonus – shows the benefit of dialect. A thief growing up on the streets doesn’t have the education of a high-elven noble – one of the ways to demonstrate this is through his language.

“Ye’ve got a fertile imagination on ye, taka. Don’ even try yer dagger.” The stranger’s eyes glinted, and Marik dropped his hand. His captor was a black-haired youth, obviously of Lowertown. At his waist was a belt strapped with at least seven daggers; his left arm boasted a worn leather band with another. “Ye look like ye’ve been ‘ere awhile. Ye should know th’ rules… Unless ye’re just thick-‘eaded.” The youth let Marik fall, and leaned against the opposite wall of the narrow alley. He took out a dagger and tested its point. “What’re ye doin’ ‘ere?”

The most important thing to remember when using dialect is not to overdo it. Dropping out half the letters in a word and replacing them with an apostrophe isn’t going to sound real. And even in a fantasy story, the reader seldom enjoys a tale that isn’t believable. (To an extent, at any rate.) Secondly, make sure the character is consistent in his dialect. If he drops all the ‘h’s and never says ‘you’, only ‘ye’, remember that. Make a note somewhere – readers often remember such quirks better than the author. (And they aren’t going to hesitate to point out an error.)

Notice that certain characters speak different ways. A dwarf has more of a tendency to speak roughly, while an elf might use words such as ‘thee’ or ‘thy’. One of your characters might call everyone ‘mate’, while another would be disgusted by such comradie. How much a character speaks also develops their personality. If a seer only speaks once in three pages, while her companions have been conversing the entire time, she might come across as shy, or perhaps wise. (Depending on what she says.) In the same way, someone who always speaks in riddles and rhymes will probably sound a little crazy. It all depends on what you want to convey, but a great deal of personality can fit between the quotation marks.



Action!

Here, balance is the key. As said by S. B. Hulsey (“Writing Action Scenes”), too much description can slow down the action. Still, some is not a bad idea – it helps to form a picture of the scene in the reader’s mind.

Of course, my first suggestion isn’t description – it’s choreography. In a battle scene, the placement of characters can be confusing, and the descriptions of their actions are often lacking. I suggest going over your scene mentally… Then getting up and trying it yourself. If you’re really dedicated, get a friend or family member to be the other characters. Position them as you imagine the scene, then run through it – is it possible? I’ll use my own scene as an example:

"Easily parrying her first advance, the youth darted under her defenses, scoring a light blow on the ribs. As he came out, Krishena slammed the hilt of her dagger against his forehead, and he rolled to the side, blood welling in the wound. Unflinching, he got to his feet in a single fluid movement, seemingly unharmed, though blood ran down the contours of his face. Dropping one of his blades as she threw hers, he grabbed the oncoming missile by the base of the blade, its edge cutting into his hand. Reversing the grip, he circled warily, searching for an opening."

Krishena, the woman, attacked first. The youth, a thief skilled with knives, was able to parry her blow while ducking under her arm and slashing at her ribs. However, he made the attack quickly, since he was defenseless for that short period of time – hence, he only scored a light blow. As he ducked back under her arm, Krishena brought down her own dagger on his forehead, and he rolled with the impact. And so on. I tried this scene myself, and I think it’s actually possible. (Again, you’re entitled to your opinion.)

And – as I keep saying – little details make it real. If you don’t know much about battles, use your favorite authors for reference – R.A Salvatore, in particular, is known for his choreography. Or just try the scene and see how it works. Rolling to the side to avoid a blow or reversing the grip on a dagger are both examples of common battle tactics – but it’s not something a barbarian character would do. Fit the fighting style with the character, and try to logically reason out their actions, even if you don’t truly know what they would do.

Remember, not all action scenes have to contain a battle. A Court debate can contain a great deal of excitement, even if the characters aren’t fighting. Conflict makes action, but conflict can be emotional as well as physical. Even simple games, in some cases, could be considered action. A game of throwing knives, for example, doesn’t have to turn violent to be fast paced – tension, not violence, defines action.

On a grammatical basis, both dashes and the length of paragraphs are important to the feel of a piece. Dashes bring attention to the second clause of the sentence – almost like an extended comma, or a semi-colon. I usually use them to speed up action; two sentences take far longer to read than just one. With a dash the ideas stay linked, but less formally than with a semi-colon or period.

It stuck true, less than a finger’s width from the exact center, drawing looks of surprise from the others of the group. The woman was only one who seemed to not notice.

It stuck true, less than a finger’s width from the exact center, drawing looks of surprise from the others of the group – save the woman.

Shortened sentence style and fast dialogue also help to spice up a scene, but don’t overdo it. If the sentences get too short, the piece sounds choppy and overdramatic.


A Combination
It’s a combination of action, dialogue, and description that ties any story together. Without action, the story drags on, and the plot never continues; without description, the setting is nothing more than a blank wall. Dialogue shows the characters’ personalities, and complements both action and description at the same time. To learn to meld them all takes time, and practice. So start writing!


Citāta beigas. Lūk, kas tev jādara
ps. ieej http://youtube.com/watch?v=LYOpT5TvKyA
offspring + bleach <3

tāpēc virve ap kaklu iežmiedzās miesā, un pārlauztais koks nokrita uz zemes

http://img99.imageshack.us/img99/8357/11378238xk0.gif

(Spiderman soundtrack)

http://www.youtube.com/watch?v=LYOpT5TvKyA

viņš spēlē 'Liepājas Lauvās' ja?

Take a Bow

http://www.lka.edu.lv/modules.php?op=modlo...ex&topic=61

N - 8
A - 6
P - 6