(Ch. 2) Response Post – Due Monday 9.10

Assignment Due Monday, Sept. 10 by 11:59 PM:

Read the articles from Chapter 2. Watch, read or listen to two scott-scripts-1725of the featured screenwriters posted on the page: “The Screenplay: The Blueprint Matters (Ch 2).” You will need to address three questions including question 1 (mandatory), and then any two of the following questions (2-6). Hit reply to this post, and you should also write your name at the bottom of your post:

  1. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts.

2. Compare the Freytag Pyramid to Blake Snyder’s approach to understanding story. Where do you see the most similarities?

3. Based on what you heard (or read) about writing, what do you feel is the most important element (or elements)? Why? Offer details (identify which writer you viewed/listened to).scriptwriting3

4. How is writing reflected in real life? What makes you say that? Give details (identify which writer you viewed/listened to).

5. What is one of the greatest challenges to writers? Why? (identify which writer you viewed/listened to)

6. What impressed or intrigued you the most about the writing process? Why? (identify which writer you viewed/listened to)

17 Comments Add yours

  1. 1. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts.

    I’m actually surprised at how many varieties of stories there are. This past week in my Western Civ class we discussed original thought. It’s almost impossible to have a thought that has not been thought of before. I think this also relates to storytelling. In a way, every story has been already told. The guy saves the girl, a father and son are reunited, or the crew arrives just in time to save a shipwrecked crew. Due to the number of films that have been made, I believe that it’s harder to create a unique story. For example, in the Avengers Infinity War, the ending was surprising and yet predictable. At the ending of the film, a number of key characters are killed. The surprising part is learning who dies. But the predictable part is that all the characters are going to be resurrected in the next film. Now a day’s standalone films have mostly been created into franchises, due to this, major characters are rarely ever killed off. To tie this all together, I am very critical of stories that are predictable, I gain this awareness of predictability since I have seen a huge variety of films. I start to notice similar themes in stories and I am able to predict what will happen. I believe that I’ll be a better film critic because now I can see more similar elements in stories.

    5. What is one of the greatest challenges to writers? Why? (identify which writer you viewed/listened to)

    I believe that one of the greatest challenges that writers face is the fear of rejection. Not just the fear that no one will like it, but the fear that no one will want to read it. I listened to Emma Thompson’s interview and I heard her talk about the amount of effort she has placed into certain projects that have never been created into films. Failure is inevitable. Every person puts effort into their work, Thompson placed nine years of effort into one of her scripts. For me, it would be so hard to spend so much effort into rewriting a script so many times. But if she had succumbed to the feeling of doubt that her work would never be made, her dreams wouldn’t have come true.

    6. What impressed or intrigued you the most about the writing process? Why? (identify which writer you viewed/listened to)

    Another interesting thing about Thompson was that she believed that less is more in the screening writing. Especially when adopting a book to film. A book is so detailed in how it describes a world and conversations. Thompson describes that when adapting a book to film its good to take out as much as possible (like conversations and events) to make the viewer more interested in figuring out why a character is acting a certain way. Sometimes less is more in storytelling. Capturing the audience’s mind through curiosity is a key component to writing a good story.

    Liked by 1 person

    1. noeltmanning says:

      Sam – As you explore predictability in even more dept in films, how do we find a way beyond that? How do we find a way to still appreciate films (even within formulas)? How do we critically offer a “good” grade to a film if we feel we’ve already seen it? I think that’s a question for all of us moving forward.

      I think your point about “fear of failure” of even “fear of rejection” is something we can apply to a variety of different things in life (not just writing) . I think those very things impact all of us in some way, and to some extent.

      As we explore screenwriters and adaptations in more detail in the coming weeks, we’ll talk about “how do we trim away” the excess materials, and scale thoughts down to the essence.

      Thanks Sam


  2. 1. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts. Understanding Blake Snyder’s approach can help us categorize in order to compare. Comparing a rite of passage film to a whydunit is like comparing two different olympic sport events. Running and swimming for example: both competitors were amazing, but they’re so different. If it came to deciding which one was better overall, it may be impossible. Snyders’s categorizes film so we can compare the ones that are in the same playing field. More than that as well, as film critics it can help set personal bars or classics for each of genre.

    5. What is one of the greatest challenges to writers? Why? (identify which writer you viewed/listened to) I watched Emma Thompsons interview and it was very interesting to hear how many times she mentioned crying despite the fact she works in the comedy field. Quote, “It’s hard to be funny.” You can even see her fear of not being entertaining whem the hosts play her – hilarious – sketch of victorian ladies discussing her experience with a lap alien. Between Emma’s interview and Mrs. Browns, I think one of the greatest to challenges to writers is to come across effectively. Ami talked about having to doctor a script in order to Americanize it, and her whole career almost seemed to be communicating something without saying it outright. Writers, especially screenwriters have to work really hard on getting feelings and understood motives/vibes across through a screen (even though it looks like it’s nothing but the actor’s job).

    6. What impressed or intrigued you the most about the writing process? Why? (identify which writer you viewed/listened to) Something that intruiged me is something that Thompson said when she was telling the story of creating a screenplay and mentioned someone had told her she needed to completely scrap the work she had done on the most previous draft, go back tothe last one, and start again. The idea of completely chunking probably months of work away, mortifies me. However, in her telling the story, you can tell she has come to terms with this plainly being part of the job of a screenwriter.

    Thank you!
    Kelsey Tanner

    Liked by 1 person

    1. noeltmanning says:

      Kelsey, Interesting comparison to “the Olympics” of comparison; I like that.

      Comedy is not only difficult to write, but it is equally as difficult to translate that writing into a performance that hots the mark. I think comedy is probably one of the most challenging of all genres. Because so much of “comedy” is cultural in nature, that can even tie back to Ami’s thoughts about American-izing a script.

      I don’t know how much I’ve completely thrown away a first draft of items I’ve written, but I can definitely say that my final drafts of work “do” look much different than the first most times. I’ve been told over and over in my life that “writing is great, but rewriting is where the magic really happens.” – Thanks Kelsey


  3. Celia García Martín says:

    1. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts.

    I had never thought about movies from Snyder’s point of view before reading his article. From all the movies that I have watched I have indeed recognized elements in common beyond their genres; and all those thoughts have taken shape while analyzing Snyder’s ideas. As soon as I read the different categories he mentions in his article I immediately started thinking about movies that could correspond to each classification. It is no surprise that I have come up with many examples for all of them. Therefore, although I did not know about these theories before, I think that, consciously or unconsciously, we all make our own movie classifications and all of them have been expressed very clearly by Snyder.

    As for the point of view of a film critic, Snyder’s approach can be really useful to relate a movie we are writing about to others that deal with the same topic. Thus, we could make comparisons between different movies (even from different genres) that share one of Snyder’s patterns so as to analyze the different perspectives.

    On the other hand, keeping Snyder’s approach constantly in mind while watching a film might be counterproductive. That is to say, if we become too obsessed with identifying the film’s pattern we could run the risk of forgetting about many other important elements. Ultimately, finding the right balance between Snyder’s thoughts and our own perceptions of the film might be the key to develop a good film critic.

    2. Based on what you heard (or read) about writing, what do you feel is the most important element (or elements)? Why? Offer details (identify which writer you viewed/listened to).

    From Emma Thompson’s and Amy Fuller’s interview I have come to the conclusion that one’s own background and later experiences in life make the perfect combination for (screen)writing.

    For example, Emma Thompson explains how her childhood influenced her to become familiar both with acting and screenwriting. Since her father was also and actor and had to write screenplays at some points during his career, Emma’s attraction to acting and writing could have not been more natural.
    In the same way, she mentions that some experiences in her life as well as some events that she witnessed served as a source of inspiration for many of the sketches that she wrote.

    Ami Fuller Brown, on the other hand, explains how some environments not directly related to the writing scope might end up being the perfect source of inspiration for creating a screenplay. In the interview, she tells how one of her first ideas for a screenplay occurred to her while working in her art gallery. Once you start working as a writer, she highlights the importance of acquiring skills relevant to the job. For example, being able to write in different styles that reflect each character’s personality and also being able to use different variations of your own native language. In this regard, she tells how she got to edit some screenplays for Great Britain since she could use the British English variant as well.

    3. What is one of the greatest challenges to writers? Why? (identify which writer you viewed/listened to)

    One big challenge, not only in screenwriting but in any profession, is being able to accept failure. Emma Thompson recalls a screenplay for a sketch that she wrote in the 80’s that turned out to be a complete disaster and she confesses that she did not write any monologues again after that. She later realized about how sad she had felt about that and how important it is to learn how to deal with failure.
    Ami Fuller Brown focuses more on the challenges faced by screenwriters when having to adapt a novel to the cinema. So as to do that, the first step is to read the whole novel and try to extract the most important events from it. Then, we must have the perfect balance between the information extracted from the novel and our own imagination to connect all the dots and create a meaningful story. In this process, we must also be able to decide whether we should follow the order of the story or if we should rather change the course of events so as to create a bigger impact on the viewer.

    In short, being a screenwriter means to be able to manage failure in a healthy way and to make important and difficult decisions that will have a direct impact on any film’s success.

    Celia García Martín

    Liked by 1 person

    1. noeltmanning says:

      I think now that you’re aware of the “Snyder-approach” you’ll continue to recognize his formulas show up from film to film. But, you hit on it perfectly -find the balance between exploring story-formula and the other aspects of film.

      Taking in one’s background (or baggage) in screenwriting can become a perfect foundation, I completely agree on this one. Also the aspect of being “a witness” to society, people and events and working to “journal” those story-ideas are great examples.

      The more you write, the more you learn about other people, culture and society, the stronger you can become as a writer.

      Adapting a screenplay from a novel is truly an interesting challenge – what to keep, what to leave out … what to add? We’ll explore this even more in a future lesson.

      Thanks Celia


  4. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts.

    I think that most people, myself included, tend to think of film genres in a very broad, general fashion. There are action and adventure films, dramas, horror flicks, psychological thrillers, comedies, etc. However, this does not truly do a film justice. If you only provide the label “psychological thriller,” you could put completely different films like “A Quiet Place” and “The Silence of the Lambs” under the same category. While both share the characteristic of playing on the mental and emotional psyche of the audience, “A Quiet Place” has more of a “Monster in the House” story-genre, compared to “The Silence of the Lambs,” which I would consider a combination of “Whydunit” and the “Serial Monster” subcategory of “Monster in the House.” As a film critic, we are often conveying information about movies to audiences that have not yet seen the film. It is important to accurately relay to the audience the specific type of film being analyzed, so that they are aware of what they may or may not be going to see.

    . What is one of the greatest challenges to writers? Why? (identify which writer you viewed/listened to)

    From listening to the interview of Ami Fuller Brown, I would say that deciding what exactly to incorporate and omit while writing a film is a very difficult challenge. Many of the projects that Brown worked on required her to adapt a screenplay from a novel or book. Her first step in the process was to read the book and make notes of significant events that she thought could be candidates for scenes in a film. As she created an outline with this information, Brown described the challenging procedure of whittling down the various possible scenes into a final draft. Something else she mentioned to be a hurdle was finding ways to physically display the thoughts and feelings of the characters. In a book, it is much easier to describe in words the internal emotions of a figure. However, unless there is a narrator in the film, these feelings must be shown externally through actions and expressions. This seems like a very tricky road to navigate.

    . What impressed or intrigued you the most about the writing process? Why? (identify which writer you viewed/listened to)

    Aaron Sorkin did a magnificent job elaborating and creating an image of the challenges of the writing process. One thing that really stuck out to me was Sorkin’s comparison of a screenplay to a musical. When writing dialogue, a screenwriter has to make sure that the words blend perfectly with the physical actions in a scene. Dialogue and action must flow smoothly and efficiently in order to produce a coherent story. I have learned throughout my time in school that producing a well-written essay is difficult enough, so I can’t imagine the energy that goes into crafting a written work that syncs up impeccably with the visuals on screen. Sorkin also detailed the difficulty of creating a new, fresh version of Steve Jobs’ story. He did not want this film to be labeled as a biopic. He wanted the story to be rich with depth and development, not flat and recycled. One particular quote that I thoroughly appreciated from Sorkin was something along the lines of “I was creating a painting, not a photograph.” It would have been easy for Sorkin to simply show a basic, monotonous story of Steve Jobs that had been shown multiple times before. Yet, Sorkin truly loves putting work into the art of film. This is why he is one of the best screenwriters in the business.

    – Thomas Manning

    Liked by 1 person

    1. noeltmanning says:

      Thomas – Awesome exploration here: “’A Quiet Place” has more of a “Monster in the House” story-genre, compared to “The Silence of the Lambs,” which I would consider a combination of “Whydunit” and the “Serial Monster” subcategory of “Monster in the House.”’ – you get it.

      I’ll echo what I mentioned to Celia adapting a screenplay from a novel is truly an interesting challenge – what to keep, what to leave out … what to add? We’ll explore this even more in a future lesson.

      Expressing character’s “feelings” visually really can be a challenge for writers. That’s where characterization, set up and strong acting will come into play.

      Sorkin truly is a master screenwriter. I’ too loved his comparison of writing to “the musical.” Good catch.

      Thanks Thomas


  5. 1. How do you feel that understanding Blake Snyder’s approach to exploring “story-genre” can help you as a film critic? Offer examples to defend your thoughts.

    After reading Blake Snyder’s take of film critiquing, it has been able to be a very easy and fundamental approach to be a film critic. I was really fascinated by how refreshing his take was and it’s not something that you get every now and then. I’ve always been in the mindset that storytelling should always start at your own pace and with patience. And no matter at what cost, a great story should have every element the writer wants in his or her story. I was appreciative of his formula, or the way sort separated movies from one another in little sub-categories. But in some way, you can observe the different film genres and identify anything that the two movies have in common.

    2. How is writing reflected in real life? What makes you say that? Give details (identify which writer you viewed/listened to).

    Like anything in life, art is used to reflect life in some shape or form. I watched the Aaron Sorkin portion of this assignment because I’ve always been a fan of his writing style, and one quote from Sorkin himself rally opened my eyes. “The difference between writing for television and writing movies is time.” I’ve always found myself in debates with people when talking about writing for movies as opposed for writing a script for a TV show and I do agree with what Sorkin says. I feel as if when writing a script for a TV show, you’ve got to get it finished and complete ASAP, depending on the show. Movies, I think, have way more time and lenience. There’s a deadline for TV and movies aren’t that harsh.

    3. What impressed or intrigued you the most about the writing process? Why? (identify which writer you viewed/listened to)

    Something that Sorkin said was really interesting and it was about the idea of a director and writer almost being inseparable. “I didn’t write the screenplay for Molly’s Game with the intention of directing, but from the moment I started thinking about it, I knew that there were dozens of very attractive ways to do Molly’s Game.” A writer, ultimately, is one of the most important pieces when making a movie because everything starts from the script; all the elements of any story start from there. His comments on this idea is what every writer should keep in mind when you’re in the early stages or even when you’re in production because you’re the person most responsible for creating everything.

    Thank you!
    Zane Gray

    Liked by 1 person

    1. noeltmanning says:

      Zane – When you apply Snyder’s formulas, it’s a fun to find differences as it is commonalities. As I’ve explored his approach to “understanding story genre” I constantly find myself searching for films “outside” of story genre … I try to look for that “original formula.” It’s really harder than most people think.

      I think, as we talk about writing, for TV compared to film – we can really get into some long and deep dialogue. Sorkin, who’s done both, and been equally as successful has found a way to master the two. In TV you can take the “long-game” approach. Yet. We’re also seeing that in some film franchises now. Let’s take the MCU for example, in many ways it has been written with “expanded story-telling” in mind … much like episodic TV.

      You nailed it, and brought back other elements from this particular lesson … the blueprint “is” the foundation.

      Thanks Zane


  6. jalissa9 says:

    1. I think when reading his ideas and thought process he does a very good job of separating different scenarios. I believe this will help me better understand movies when it comes to details. I will probably try paying more attention and depicting the certain areas where the character or plot could be used in a different scenery. Such as the film Twilight its known to be typically a romance film, but with a lot of the film certain changes could take place to where you almost could mistake it for action/horror. His concept breaks it down to where you can figure out what is what and when it happens or when someone does something. Also, when it comes to predicting you could tell a lot of foreshadowing now a days in movies especially when certain events happen. Example fast and furious when Paul Walker dies, but the next furious movie was already taking place to come out. Everyone was already wondering what they could possibly do and that in the movie he would have to die as well, but instead they did a twist and made him just go his separate way sort of a farewell instead of a tragic death which made it even more emotional since we all know that in reality he could never come back.
    2. The different between the two is I feel Snyder’s is better to understand when it comes down to critique movies. It breaks down the three-act structure to where it is manageable and each section has a specific goal for the overall effect of the story itself. The pyramid I see the structure based off books this is the same structure we used when reading stories not necessarily movies even though you could use this system still. Snyder’s approach seems better when breaking it down in detail form.
    5. I think one of the greatest challenge’s writers face is rejection or judgment. When it comes out you immediately get reviews you immediately get comments movies take a long time to produce so to have your movie final be playing it’s a 50/50 shot of being a HIT OR MISS. If the movie gets bad reviews then you have to look back on okay where did I go wrong what did I not produce currently in the storyline, character roles etc. If I were a movie director I think that would be my greatest challenge is facing basically the whole world with my creation and not knowing how they will react to it. Just like with Thompson she is super talented, but she didn’t just wake up one morning and got to where she was she had multiple trial and error such as when she had to rewrite the script and it took her 9 years to get it the way she wanted it.

    -Jalissa Herrera

    Liked by 1 person

    1. noeltmanning says:

      Jalissa – Interesting thoughts in bringing in the foreshadowing aspects of “knowing formulas exist.” As you think about Blake Snyder’s approach, which category would you place “Twlight” and “Fast and Furious”?

      Snyder’s approach compared to Freytag provide a much more detailed understanding of story types (within structure).

      I think your comment about “instant critique” is important to think about event beyond the “screenwriting aspect.” When music is released, TV shows, art in galleries are films on the screen – immediately we are asked to share our thoughts, our critiques. But, sometimes reviewing the works is best when we’re able to take them in an digest them. But we live in a world at this point in time where audiences (and critics) feel compelled to share their thoughts immediately.

      Thanks Jalissa


  7. drewpeden says:

    After reading the article on Blake Snyder’s approach to exploring “story-genre” I was really shocked. I personally had no idea how many different sub categories there were within a specific genre. I feel as if his approach into being able to place any film into a sub category within the main one is amazing, and I know that this is very helpful for film critics, that way they go into a movie open minded, knowing what kind of film they should expect. You wouldn’t go into watching Paul Blart Mall Cop the same way as you would going into watching a movie like Dunkirk. Paul Blart Mall Cop, falls under the comedy realm of films, but even so, it may fall under a sub category known as Superhero. Now to most, this doesn’t make any sense, but if you go look at the movie with an open perspective, you may notice that yes while there is a great amount of comedy and stupidity that happens, ultimately, it’s the story of a hero saving people from danger and protecting the ones he loves.

    Writing in some way, shape, or form, is reflected in real life. Many times, writers use things that are happening in their own lives, and articulate those thoughts and moments into the screenplay somehow. Writers, most of the time, pull thoughts and ideas from their own heads on things that are going on around them, and things that are relevant to the current time. I know this wasn’t one of the writers from the chapter, but a perfect example of how writers take things from the real world and turn it into a film is with the new movie Blackkklansman. Written by Charlie Wachtel, this film is clearly a movie that deals with extreme racism and police brutality back in the day, but this topic is still relevant to the world we live in today, and you can even see some of the things that may have been portrayed in the movies, happen in our world right this very day and age to some degree.

    The thing that intrigued me the most about the writing process came from the SoundCloud with Ami Fuller Brown. She spoke on how she began writing a story about a girl that owned an art gallery, and it got noticed, and while she started out writing movie reviews, she was able to succeed greatly in her field. It just shocks me so much how one splitting moment can change someone’s life forever. They may never think that they would ever be that successful, and then one moment occurs, and takes their career farther than they ever thought it would be. I am not much into writing, I occasionally jot things down that bring up interest to me and I occasionally write down random things that I think about, and sometimes if people see my ideas and my thoughts, they tell me those are great ideas and I should do something with it. Now while my example is minute compared to world famous screenplay writers, it’s the same principle for the writing process and how unique and unexpected it can be sometimes.

    -Drew Peden

    Liked by 1 person

    1. noeltmanning says:

      Drew – Can you think of any other sub-categories not listed? If so, I’d love to hear your thoughts. Just to be clear, Snyder doesn’t really explore films from the typical “genre-study” approach. He is more interested in the formula of “stories.” I just wanted to make sure you understood that distinction.

      Real life, everyday interaction, and stories ripped from the headlines all come into play for writers. Someone once said “write about what you know …. And make it even better and more unbelievable.” Great example with Blackkklansman. Good thoughts here, but which writer best shared that? That was part of the question.

      Every moment matters, don’t let a single one slip by … if you do, you may have missed an amazing opportunity to explore talents you had beneath the surface.

      Thanks Drew


  8. noeltmanning says:

    Luke Gazak – 9.10.18 – 9:21 PM
    1.The formulas and molds that Blake Snyder laid out for exploring “story-genre” doesn’t require a whole lot of intensive though or speculation. However, that is the beauty of it in how it can be applied to myself as a film critic and my analysis of movies. Whenever I myself or any film critic goes about analyzing a movie it is important to be able to understand things from the top down. The best way for myself personally to go about this is to look at the larger details and then work the smaller things in under that. For example, if I am applying Snyder’s formula to my most recent film critique on “Good Will Hunting”. I first need to understand the movie in a very general manor, and then find which mold it fits according to Snyder. The rites of passage formula would fit perfectly considering the context of the movie. With that in mind it is easy to sort out the next level of details into the formula. The life problem (Will’s struggle with relationships, and society from his childhood struggles), the wrong way (Will’s troubles with drinking, smoking, jail, interacting with people, and abusing his gift of genius), and finally acceptance (Sean helps Will understand the problems with him come from his past issues and he comes to accept them and change his life for the better). Having figured out the larger details of the movie into Snyder’s formula It becomes easier and more in depth in understanding the movie from the top down. From there all the smaller details of the movie and more complex thoughts can fall under a larger detail until the movie is analyzed from all important aspects
    2.When comparing the Freytag Pyramid to Blake Snyder’s approach to understanding a story. The similarities are primarily in how a film critic can apply them. Just as Snyder’s approach can be used to understand the general ideas of a story, so can the Freytag pyramid. Both approaches allow the critic or observer to essentially fill in the blank with the general picture of important aspects in a film. The main difference however, is the specificity of the approach. Snyder’s approach has many different molds or formulas that can infer a bit more detail right off the bat as opposed to Freytag’s pyramid which has a more basic structure, but achieves a similar goal in the end and requires a bit more thought than Snyder’s approach.

    6.) What intrigued me the most about the writing process that I heard during Emma Thompson’s interview about screenwriting was her perspective on the punchlines for jokes in men vs women. She essentially says that men’s jokes are all leading up to a punchline for one big laugh. Were as women and their punchlines tend to be more circular in nature. Meaning that they have little laughs here, big laughs there, and the jokes tend to fall on to each other. Emma Thompson believes that the jokes and punchlines between men and women are relative to our gender in a way. I find that interesting because when I think about the context of my jokes as well as my friends in comparison to the jokes my mom and her friends make, the difference is pretty similar to what Emma Thomson said. I also find that interesting because as a screenwriter you can apply that simple knowledge to cater to one, or both audiences of men and women.

    Liked by 1 person

    1. noeltmanning says:

      Luke – Wow -incredible breakdown for “Good Will Hunting” and a perfect exploration of the formula and stages. Great job.

      You’re right, Snyder’s approach is much more details and expands on the Freytag structure by providing more depth and layers to the characters and the storyline itself.

      Emma has been a wonderful screenwriter and actress. She’s also been in dramas, mystery films and comedy. I agree about her “comedy” perspective and can see that times there are “gender-barriers” in some comedy. Of course this isn’t across the board, but it is based on personal observation and research. As we move forward we’ll discover that comedy is one part math, one part science, one part art and another part “foreign language.”

      Thanks Luke


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