The Untold Story of My Life

Sometimes I have to let the things I'm afraid to think free. So I write them down under lock and key, or maybe it's a four-digit padlock that everyone already knows the combination to. But no one can see what I've written. No one except for the people who read my blog...

[i-am-a-fish]

everyone who reads this post will get some big spicy joy within 24 large minutes (hours)

[darknesshaspurplehair]

Ok y'all but like I’m not even kidding about this I read this post yesterday and today I got an email from the peeps at hamilton and I won the lotto gor $10 tickets and I would like to give all my thanks to the internet’s favorite fish, Goldie Gurston, for making this possible because I totally believe they did this with their amazing gay powers

[thuriweaver]

So I know this is likely a coincidence…but I reblogged this and just now discovered I’ve been given a $150 amazon gift card as a bonus at work. So thank you, fish!

[ren-allen]

If it worked for them I hope it works for everyone else

[em3rgence-st]

Some big spicy joy pls

[felixluvsketchup-deactivated202]

SOME BIG SPICY JOY PLEASE

[era-eclipsed-deactivated2019072]

Pleass

[myheartismyink-deactivated20200]

“Who were you before the world made you feel like you had to be anybody but yourself? Who were you before any of… this.”

— scrapnotes | same but different

[myheartismyink-deactivated20200]

“Who were you before the world made you feel like you had to be anybody but yourself? Who were you before any of… this.”

— scrapnotes | same but different

[kiramartinauthor]

When readers lurk instead of commenting/reacting:

[londonfromparis]

I don’t think I’m any good at being alone, but it didn’t feel much better being with you. I thought, even if I don’t really have you – at least not in the way I wanted you, it would be better than being alone. It was the idea that something is better than nothing. But being with someone like that, it can make you feel so empty. Because no matter what you tell yourself, you’ll always want more. It’s a certain type of self-destruction. Waiting, wanting, and hoping things will change when you know they won’t. It makes you think maybe you would be better off alone.

[sheikofthesheikah]

Injury angst for writing dummies.

Hospitals and injury are always such a staple of angst fics, but 9 times out of 10 the author has clearly never been in an emergency situation and the scenes always come off as over-dramatized and completely unbelievable. So here’s a crash course on hospital life and emergencies for people who want authenticity. By someone who spends 85% of her time in a hospital. 

Emergency Departments/Ambulances.

Lights and sirens are usually reserved for the actively dying. Unless the person is receiving CPR, having a prolonged seizure or has an obstructed airway, the ambulance is not going to have lights and sirens blaring. I have, however, seen an ambulance throw their lights on just so they can get back to the station faster once. Fuckers made me late for work.

Defibrillators don’t do that. You know, that. People don’t go flying off the bed when they get shocked. But we do scream “CLEAR!!” before we shock the patient. Makes it fun.

A broken limb, surprisingly, is not a high priority for emergency personnel. Not unless said break is open and displaced enough that blood isn’t reaching a limb. And usually when it’s that bad, the person will have other injuries to go with it.

Visitors are not generally allowed to visit a patient who is unstable. Not even family. It’s far more likely that the family will be stuck outside settling in for a good long wait until they get the bad news or the marginally better news. Unless it’s a child. But if you’re writing dying children in your fics for the angst factor, I question you sir. 

Unstable means ‘not quite actively dying, but getting there’. A broken limb, again, is not unstable. Someone who came off their motorbike at 40mph and threw themselves across the bitumen is. 

CPR is rarely successful if someone needs it outside of hospital. And it is hard fucking work. Unless someone nearby is certified in advanced life support, someone who needs CPR is probably halfway down the golden tunnel moving towards the light. 

Emergency personnel ask questions. A lot of questions. So many fucking questions. They don’t just take their next victim and rush off behind the big white doors into the unknown with just a vague ‘WHAT HAPPENED? SHE HIT HER HEAD?? DON’T WORRY SIR!!!’ They’re going to get the sir and ask him so many questions about what happened that he’s going to go cross eyed. And then he’s going to have to repeat it to the doctor. And then the ICU consultant. And the police probably. 

In a trauma situation (aka multiple injuries (aka car accident, motorbike accident, falling off a cliff, falling off a horse, having a piano land on their head idfk you get the idea)) there are a lot of people involved. A lot. I can’t be fucked to go through them all, but there’s at least four doctors, the paramedics, five or six nurses, radiographers, surgeons, ICU consultants, students, and any other specialities that might be needed (midwives, neonatal transport, critical retrieval teams etc etc etc). There ain’t gonna be room to breathe almost when it comes to keeping someone alive.

Emergency departments are a life of their own so you should probably do a bit of research into what might happen to your character if they present there with some kind of illness or injury before you go ahead and scribble it down.

Wards

Nurses run them. No seriously. The patient will see the doctor for five minutes in their day. The nurse will do the rest. Unless the patient codes.

There is never a defibrillator just sitting nearby if a patient codes. 

And we don’t defibrillate every single code. 

If the code does need a defibrillator, they need CPR.

And ICU. 

They shouldn’t be on a ward. 

There are other people who work there too. Physiotherapists will always see patients who need rehab after breaking a limb. Usually legs, because they need to be shown how to use crutches properly.

Wards are separated depending on what the patient’s needs are. Hospitals aren’t separated into ICU, ER and Ward. It’s usually orthopaedic, cardiac, neuro, paediatric, maternity, neonatal ICU, gen surg, short stay surg, geriatric, palliative…figure out where your patient is gonna be. The care they get is different depending on where they are.

ICU.

A patient is only in ICU if they’re at risk of active dying. I swear to god if I see one more broken limb going into ICU in a fic to rank up the angst factor I’m gonna shit. It doesn’t happen. Stop being lazy. 

Tubed patients can be awake. True story. They can communicate too. Usually by writing, since having a dirty great tube down the windpipe tends to impede ones ability to talk. 

The nursing care is 1:1 on an intubated patient. Awake or not, the nurse is not gonna leave that room. No, not even to give your stricken lover a chance to say goodbye in private. There is no privacy. Honestly, that nurse has probably seen it all before anyway. 

ICU isn’t just reserved for intubated patients either. Major surgeries sometimes go here post-op to get intensive care before they’re stepped down. And by major I mean like, grandpa joe is getting his bladder removed because it’s full of cancer. 

Palliative patients and patients who are terminal will not go to ICU. Not unless they became terminally ill after hitting ICU. Usually those ones are unexpected deaths. Someone suffering from a long, slow, gradually life draining illness will probably go to a general ward for end of life care. They don’t need the kind of intensive care an ICU provides because…well..they’re not going to get it??

Operations.

No one gets rushed to theatre for a broken limb. Please stop. They can wait for several days before they get surgery on it. 

Honestly? No one gets ‘rushed’ to theatre at all. Not unless they are, again, actively dying, and surgery is needed to stop them from actively dying. 

Except emergency caesarians. Them babies will always get priority over old mate with the broken hip. A kid stuck in a birth canal and at risk of death by pelvis is a tad more urgent than a gall stone. And the midwives will run. I’ve never seen anyone run as fast as a midwife with a labouring woman on the bed heading to theatres for an emergency caesar.

Surgery doesn’t take as long as you think it does. Repairing a broken limb? Two hours, maybe three tops. Including time spent in recovery. Burst appendix? Half an hour on the table max, maybe an hour in recovery. Caesarian? Forty minutes or so. Major surgeries (organs like kidneys, liver and heart transplants, and major bowel surgeries) take longer. 

You’re never going to see the theatre nurses. Ever. They’re like their own little community of fabled myth who get to come to work in their sweatpants and only deal with unconscious people. It’s the ward nurse who does the pick up and drop offs. 

Anyway there’s probably way, way more that I’m forgetting to add but this is getting too long to keep writing shit. The moral of the story is do some research so you don’t look like an idiot when you’re writing your characters getting injured or having to be in hospital. It’s not Greys Anatomy in the real world and the angst isn’t going to be any more intense just because you’re writing shit like it is. 

Peace up.

[shittor]

Ya hear that, Buckley? Loss.jpeg ain’t realistic.

[sheikofthesheikah]

of all the additions and replies on this post so far this is by far my fave.

[bold-sartorial-statement]

Thumbs up for this from your friendly neighbourhood physician. (Also, I did mostly emergency care for a few years before switching to radiology. I got the adrenaline junking out of my body before settling down.)

[clucku]

One correction from someone who spent almost a decade working in an ambulance across two states: it is required by law to have your lights on if there is a patient in your rig. Now, this might be a state-by-state law IDK, but in both states I worked in, it was the case. You reserve sirens for Serious Shit because, guess what, they stress out the patient, so unless your patient is crashing in the back of your rig, you don’t run a continuous siren. You are, however, once again required by law to turn on the siren briefly while approaching and driving through stop signs or red lights. (You will also use your siren briefly to get idiots in front of you to move over when you’re stuck in traffic and have a patient whose condition can escalate.)

Also, unrelated to the lights and sirens issue, lemme add a detail about us asking a lot of questions. If you want verisimilitude in your story, remember SAMPLE:

Signs and symptoms

Allergies

Medications

Past illness/injury/disease

Last food, drink, and medication taken

Events leading up to the injury or illness

These are the questions EMTs are trained to ask every patient, though they rarely end up coming out in that order. Also, you can totally add a W to that, which is inevitably “Why did you wait so long to call us?” *sighs forever*

And for some more basic on-scene emergency care, remember CABC: C-spine, Airway, Breathing, Circulation. This time, actually in that order (except for cardiac arrest, in which case remember CAB: Compressions, Airway, Breathing). 

The long and short of CABC is: if the patient fell or was in a car accident or had any other potentially traumatic injury, start with stabilizing the C-spine (typically via cervical collar and head blocks and backboard), because if there is a fracture in the neck and you don’t manage it and end up severing the spinal cord that high up, your patient’s probably going to die, and if not, will probably be paralyzed from the neck down. 

Once C-spine is stable, make sure the patient’s airway is clear (this includes both foreign obstruction and the patient’s own tongue). Yes sometimes this actually involves sticking your finger in their throat to clear shit out, and yes it’s gross. It also means positioning an unconscious patient’s head in a certain way (assuming there is no chance of C-spine damage) to keep the airway open. EMTs also carry little plastic hook things called oropharyngeal airways in a bunch of sizes that keep the patient’s tongue from blocking their airway. And of course if needs be you can intubate, although this is not a skill EMTs have (paramedics do, though, and in some states there’s a certification called EMT-I [the I for intermediate] that also teaches that skill). If someone’s just come across an unconscious person and doesn’t have an airway to use, and you’re sure their C-spine is fine, you can roll them onto their left side and gently curl them; that’ll help keep the airway clear and also helps the heart pump blood a little more efficiently than if you’d rolled them onto their right side. 

Anyway, once the airway’s secure, you move on to making sure the patient is actually breathing. If they’re not, you do it for them with an ambu bag. If they are but are struggling, or aren’t struggling but may for any reason potentially go into shock or have compromised circulation (broken leg, high fever, etc.), you give them supplemental oxygen, typically through a nonrebreather mask, though the flow rate depends on their symptoms. 

Okay so once we’ve secured the patient’s C-spine, airway, and breathing, only then do we worry about circulation (unless the patient’s in cardiac arrest, remember, in which case we secure circulation first). Which in the case of trauma is generally first aid for serious open wounds and preventing or treating shock, and in the case of medical issues may be getting an ECG reading or administering medication or, if the patient does go into cardiac arrest, chest compressions and defibrillation.

Okay, that’s the end of the CABCs, but you’ll note that in the last para I said treating serious open wounds. Because a minor open wound is going to wait until after the next step after the CABCs, which is a full-body assessment wherein we meticulously assess a trauma patient using palpation from, basically, head to toe, looking for broken bones, soft tissue damage, internal bleeding, etc. Some of those things can be pretty serious, so before we treat a shallow cut, we check for, like, broken ribs that might puncture a lung.

So obviously not all of these things happen all the time. A patient presenting with an asthma attack needs neither a full-body assessment nor C-spine and circulation management. So we just jump straight to airway and breathing and forego the rest. (And then ask anyone with them our SAMPLE questions if the patient is too distressed to speak, because we still need those answers, but also if the patient is too distressed to speak you can bet we’re asking their companion in the back of a moving ambulance.)

Sometimes you spend a Long Fucking Time at a scene, either because the patient is resisting transport (this happens a lot, especially with the uninsured; we stick around and do everything we can to help them while simultaneously trying to encourage them to go to the ER anyway), or because the patient’s trapped in a smashed car and we’ve got to cut the door off and peel the roof back and get a cervical collar and a backboard on the patient while they’re still in the damn driver’s seat and lemme tell you that is a goddamn game of Jenga and can take half an hour, or because the patient isn’t critical but you want to minimize discomfort and damage so you take the time to meticulously package them while also getting all your questions answered on scene to make sure you haven’t missed anything, or because … well, you get the point. Sometimes shit just takes forever.

Other times, we do what’s called a scoop-and-go, typically with patients in critical conditions that can’t really be managed without surgery or medications we don’t carry. Like, patient bleeding out while giving birth? Not a whole lot we can do about that, so we get them in the rig as fast as fucking possible and race to the hospital while trying to get the most critical questions answered. These kinds of situations are very rare, though; it’s much more common to be on scene for 15 or 30 minutes than 5 minutes. 

OH AND, another thing. Listen. EMTs do not approach a scene that is not secured. If there’s an active shooter, or a hostage situation, or a raging fire, or a potential for something to explode (or for something that’s already exploded to collapse), or a flash flood, or a hazardous materials spill, or whatever else, we do not go in until the unstable situation has been resolved. It sucks waiting 100 yards away while a critical patient is maybe dying and you can’t get to them yet, but listen, the first thing they teach you is don’t make new patients. IOW, don’t become a victim yourself; you can’t help anyone if you get wounded in the crisis too, and in fact then you’ve just become an additional burden on the personnel remaining.

Okay, so, any questions?

[scriptmedic]

ALL OF THIS. With one exception to what @rachelhaimowitz added, which is: 

I’ve never heard of the lights-must-be-on rule. It’s gotta be one or a few specific states. Generally speaking, lights and sirens increase accident rates, and most states are actively trying to REDUCE their use, not increase them, but I don’t know where she lives, so that’s accurate in her part of the country (I’m assuming the US). But it’s inaccurate in most of the country. 

xoxo, Aunt Scripty

[percussiongirl2017]

Bookmarking for later

[evlpoetry]

“you have not written me in a while is your pen empty or is it your soul?”

— ink

[perfeqt]

friendly reminder

don’t become who hurt you

[kristensnotebook]

“I’ll introduce you to my demons by their first names so you can know them as well as I do.”

— Kristen Costello

[plotlinehotline]

Ive thought about writing a book about a girl finding out she was kidnapped. I don't have an idea to start it off with. Could you help me? Thank you so much for your time in reading this. ❤

NaNoPlaMo - National Novel Planning Month

I’ve been wanting to post about novel prep in anticipation of November’s NaNoWriMo and this seemed like the perfect opportunity to do it. We have an anon with a vague idea that they’re looking to build off of. How perfect!

*If you’ve never heard of NaNoWriMo, read up on it!

The Building Block Method

I’m going to preface the rest of this post by saying that I drew a lot of inspiration from The Snowflake Method. Sarah did a post a while back where she gave us a brief overview of this process. It was originally developed by Randy Ingermanson, and I have to say that this man is my hero. If this method sounds too intense for you, I’m going to simplify it using the building block metaphor. 

Building blocks are a great way of thinking about story planning because each plot element you plan needs support in order to have impact. Starting with a good foundation allows you to build up an impressive structure. And of course, when you’re frustrated, it’s easy enough to tear it down and start again.

Choose Your Blocks

Our anon has a couple story details to start with, but we’re going to backtrack as if we have nothing. To get started off on the right foot, construct your first five blocks. 

Protagonist

Antagonist

Conflict

Setting

Genre

Make sure you have an idea for each block before you start delving deeper into others. Our anon already has 3 blocks figured out.

Protagonist = the girl that is kidnapped OR the kidnapper

Antagonist = the girl who is kidnapped OR the kidnapper

Conflict = the kidnapping

See, I left the protagonist and antagonist open because it’s all a matter of perspective. Does the kidnapper have to be the antagonist? Not necessarily. The important thing is that the writer knows which is which. This leaves us with the setting and the genre. 

Setting = where and when does this story take place, for example: 2018; New York City

Genre = fantasy, science fiction, romance, literary, mystery, ect.

Don’t overthink your genre at this point. You don’t need to define it in specific terms just yet, but it’s a good idea to at least know if your story will be grounded in reality or not. 

Build Each Block

A block has 6 sides, yes? Each of the blocks we defined will need 6 sides to complete it. Start wherever you want with this process. For each side, make sure that each description is no longer than one sentence. Notice that the sides for protagonist and antagonist are the same, because well, they’re both characters. 

Protagonist/Antagonist

Name

Age

Gender

Ethnicity

Sexual Preference

Top priority

*For top priority, think of vague ideas: creative expression, professional advancement, family relationships, financial stability, self acceptance. 

Conflict

Who/what sets conflict in motion?

What will happen if the conflict is not acted upon?

What will be gained?

What will be lost?

Who are the players?

Who will survive?

I’m going to break this down by using the anon’s story as an example. Remember our conflict is the kidnapping. Who/what sets the conflict in motion? The kidnapper. If we know more at this stage, we can provide more as long as we keep it under a sentence. For example, an organization looking to exploit the protagonist’s superpowers may be behind the kidnapping, and therefore, sets the conflict in motion. 

What will happen if this conflict is not acted upon? The girl has been kidnapped, so what will happen if she is not un-kidnapped (i.e., saved)? This will help you define the stakes of your story. If the organization is looking to exploit her powers, the answer to this question could be whatever they look to do with those powers (the world is destroyed) or it could be a personal consequence (the girl is killed, the girl is corrupted). 

What will be gained? Now we’re looking at how the story will actually play out. Think in terms of your protagonist. If the kidnapped girl is our main character, what will she gain from begin kidnapped? This is a tough question to answer, but more often than not, the responses here will have to do with how that person changes as a result of the story’s conflict. If you’ve already completed your protagonist block, it may be as simple as pulling from the top priority side. Perhaps her top priority is self acceptance, and she gains it by going through this ordeal. Or maybe it’s family relationships, and this situation enables her to establish a better bond with a family member.

*What is gained does not have to be the character’s top priority, but it’s a good place to start if you’re stuck on this one. 

What will be lost? Again, we’re talking about what will actually happen in the story. What does our kidnapped girl lose from being kidnapped? She may suffer physical or psychological traumas that change her life. She may literally lose a friend, whether that is because the friend dies in trying to rescue her or because the friend betrays her. Maybe she loses her home because she can’t return there, even after she’s freed from her prison. 

Who are the players? Think basic. We’ve obviously got our kidnapper and our kidnap-ee, but who else is involved? Start with the protagonist’s and antagonist’s allies. For example, who assists the protagonist in obtaining her freedom, or who ultimately rescues her? Who assists the antagonist in carrying out their goal (the henchmen)? Again, you don’t need specifics. Brainstorm ideas for additional characters at this stage. 

Who will survive? Decide upfront if there will be deaths, whether on the good side or the bad side. Planning a character death can help you construct your ending and build to it, so the death feels more integrated into the story and less a matter of shock value. This is especially good for horror stories or murder mysteries where there will likely be a lot of death. 

Setting

Real or fictional? 

Accurate or inaccurate?

Static or variable?

New or familiar?

How is the setting changed?

How does the setting compel change?

Real or fictional is whether you made up the location or whether you based it off of somewhere that’s real. Accurate or inaccurate expands on real locations/time periods to determine if you’re taking liberties or attempting to tell an accurate portrayal. Static or variable refers to the amount of times the setting or time period changes. If a character is on a long journey, you’ll likely have a variable setting that changes constantly. Same with time travel. New or familiar should tell you if your character is going somewhere new, of if they’re facing challenges in an environment they feel comfortable in. 

How the setting changes depends on how the conflict influences it. A barren wasteland may be made fertile again based on the outcome of the story. A violent country may become peaceful. This gets you thinking about big picture goals for your story’s universe. 

How the setting compels change is the opposite. What does the setting do to your character? Does it force them to develop new survival techniques? Does it make them examine aspects of their life they used to ignore?  

Genre

Genre is structured a bit differently. Instead of basing each side on a particular idea, list six concepts or adjectives that will describe your story. These can be more detail about the genre (urban fantasy, psychological thriller, young adult), they can be themes or tropes (coming-of-age, chosen-one, grief) or world-building details (magic, time travel, serial killers) or even types of people or species (fairies, vampires, astronomers, middle-class). 

Think of six words or phrases that you find fascinating. Imagine how you’d complete the sentence: “I’ve always wanted to write about ______.” This will help you develop a story that intrigues you and holds your interest. 

Start Building

Now comes the fun part. You have all your blocks, with 6 sides each. Now you can start making connections. Make notecards for each side (maybe different colors for each block), and then randomly draw 2 or 3 at a time. Look at the items on the notecards and see if you can connect them with new threads. 

For example, say we draw our “who are the players” side, along our protagonist’s age. This gives you an opportunity to consider the ages of the other players, and how they’ll relate to the protagonist. Remember we referred to potential players as the protagonist’s allies? Are they older than her or younger than her? Does this lead to domineering or submissive relationships? Is someone protective of someone else? Does someone look up to someone and think them indestructible? 

Each time you make connections, you’re starting the construction of a new block. These second tier blocks will be more dynamic because they pull in pieces from your five foundation blocks.

Don’t Be Afraid to Knock It Down

As you’re building, you may run into things that no longer work or that just don’t interest you anymore. It’s okay to tear down the tower and start constructing something new, whether you come up with new foundation blocks or attempt to use your existing ones in a different way.

Things may not seem crystal clear during this process, and you may run into some speed bumps along the way, but don’t let it discourage you. The whole concept behind this method is play. You’re developing a story from the ground up and that takes a lot of patience, and a considerable amount of trial and error. Cut yourself some slack and just enjoy the process. 

-Rebekah

[bpdgoner]

my favorite hobby is pretending i don’t need anyone then crying myself to sleep cause i’m all alone

[theinformationdump]

Body Language Cheat Sheet for Writers

As described by Selnick’s article:

Author and doctor of clinical psychology Carolyn Kaufman has released a one-page body language cheat sheet of psychological “tells” (PDF link) fiction writers can use to dress their characters.

[lunarmoment]

Because I realize all my characters do is look at each other and have their eyebrows shoot up. Sometimes they even lower their eyebrows too!

[vomitingwords]

And if I need

to lose myself,

just to be

with you again,

I guess I’ll try

my best

to move on

and be with

my own

company

instead.

Two Ways // ma.c.a

[thepiscesactor-deactivated20121]

Just an experiment. Reblog if you actually give a fuck about male victims of domestic violence and rape.

[minotaursauce]

Of fucking course

What sick bastard doesn’t

[xaldien]

“You’d be surprised”, said Xaldien, who just lost four followers and received a lovely “men can’t be raped” anon shortly after reblogging this the first time.

[minotaursauce]

Yowch, disgusting.

[samuraiko]

If I don’t reblog this, assume I’m dead.

[glory-of-hera-blog]

Always reblog this

[nygmobblepot-der-pool-deactivat]

If you Dont reblog this if u see it then i cant call u my friend

[witchofthefuture]

IF ANYONE TELLS ME THAT MEN CAN’T BE VICTIMS OF DOMESTIC VIOLENCE AND RAPE, I AM SICKENED BY THEIR MERE PRESENCE ON MY BLOG.

If you disagree with me, unfollow my blog, block me and never look at my blog again.

If you want to debate about this or send anon’s about this, I will reply but your actions have consequences.

[witchofthefuture]

Out of 19000+ followers I have, only one of you actually reblogged about this issue, yet a lot of you have reblogged and liked a picture by playboy about catcalling and that how men should never do it.

Additionally, I have received abuse in my ask box (which I will be answering when I can) and threats. In particular death threats and rape threats.

I can see the real problem here already. Male domestic violence and rape is just invisible in our society because we don’t want to talk about this because it just damages the status quo of this fucking website.

[tarothy-deactivated20230301]

I’m a male victim of child sexual abuse. We matter. Please, reblog this.

[happerbunny-deactivated20211002]

Please never forget male victims are real and it can happen to everyone/anyone

[smolkingofhell]

I’m a boy , and when i was younger I was sexually assaulted every damn day for three years by my younger step SISTER, So don’t go saying that ‘boys can’t be raped’ bull shit

[yviinfinite-deactivated20181014]

This is so important. That kinda shit can happen to everybody

[biyorozu]

Anybody can be raped, and anybody can be a rapist

[calculator-cowboy]

[hplyrikz]

Everything I love here

[sterility-deactivated20200503]

[vomitingwords]

So, I am sorry,

for I do not

always speak

everything

that’s on my mind,

because sometimes

people refuse to hear

what they don’t want

to understand.

Closed Mouth, Open Mind //ma.c.a