Not Quite Right features discussions that are unfiltered and uncensored,
and may include themes that are inappropriate for younger listeners.
Also, I swear a lot something doesn't seem
quite right.
Welcome to not quite right.
My name's Ed and I'm Amanda.
This is our fifth and final daredevil for the April round of the prize.
How you feeling Excited to roast another daredevil.
So as a reminder, our prompts for this round,
we have the word seal, the action prompt wiping out and the anti
prompt of breaking the rule.
Kill Your Darlings.
And as a reminder, our daredevils are entrants who have
chosen the honour of being roasted on the podcast.
Mm hmm.
So we'll read the story.
We'll we'll share our thoughts and hopefully learn something together.
I mean, that's a very nice way of saying it,
but it is painful.
This will be painful.
So our lamb to the slaughter for this episode is Justin Kramers.
And Justin is the first time Daredevil this round,
and he's got the special distinction of not having actually submitted his story.
Justin missed the deadline, apparently due to American time zone math.
So, oh, we've all been there.
So what we've got here is his story as it was when he realised that he missed the
deadline.
Ouch.
A little bit longer than 500 words.
It's 560 words.
He intended to cut some of those and refine the story, but ran out of time.
So I guess what we're taking here is a not quite a final draught.
It's like, given this, this isn't the final version,
maybe we can help point out where those additional 61 words could have been cut.
And Amanda, you've got the honour of reading the
story today.
I do, So this is Beach Masters by Justin
Kramers.
I suppose deep down I knew this wouldn't end well, but you know how it goes.
A night of bad decisions leads to, well, more bad decisions.
A lifetime of the same and this is what I have to show for it.
They say women dig scars.
They say a lot of things.
I suppose time will tell.
The incessant beeping and hospital staff annoy me with their fluttering care and
detached demeanour.
I'd say something, but my jaw is wide shut.
Tomorrow I have to have a pretty major operation.
I'm now a front runner for the Darwin Awards.
What these people aren't telling me is that I still may die.
They have been on some pretty nasty antibiotics.
I'm pretty much guaranteed to get an infection.
My femur is shattered, my kneecap is just gone and from the knee
down.
Have you ever seen someone tenderise a steak?
It's like that.
Weirdly, my foot looks sort of unharmed.
Unharmed in the sense that it wasn't directly damaged.
It's blue, black.
My foot is dead at the end of my chopper steak leg.
Sorry, I'm sort of delirious.
This is my left leg.
I mean, of course it is.
This is the leg that used to kick 60 yard game winning field goals, say Levy.
But let me tell you, it was so ******* fun.
There was a full moon, so our visibility was great.
We were drinking Corona because we're on the beach in the dead of night,
giggling like schoolgirls.
We lurked around the beach, freezing our **** off.
Beaches along the California West Coast are very cold at night.
It was windy too.
We could barely hear each other over the wind as we debased ourselves sneaking
through the light cast by the givers moon.
I'm sure we were not quiet.
As we approach, waiting until we're about 20 yards off.
We all froze looking at each other, terror and mischief writ large.
I had my underwear on a stick because, well,
I felt we needed a banner to wait for this sneak attack.
I shot my underwear flag into the air and shouted at the top of my lungs,
the signal to Sprint full gallop.
My friends and I charged naked, feet in the sand,
failing to find purchase.
I started my Sprint pretty well, but didn't expect the change in texture.
When we got to the wet sand near the water,
it set my balance off enough that I immediately face planted.
This would be my saving grace, or my coup d'etat as it were.
When I pulled my dumb face from the sand, I could barely see,
but my bravado led me onward, my drunk body sort of obeying me.
Cool grey shark skin was within reach.
I mounted her and began to ride as she lurched towards the water,
surely terrified.
I looked around frantically, wishing I had my underwear flag,
shaking the sand from my face and eyes.
I remember looking at my friends standing there, cheering or yelling,
maybe telling me to look out.
I don't know.
Bottom line, I never saw the bull elephant seal coming.
He sure saw me though.
For those few seconds I felt a freedom from burden, from stress,
a dream realised, conquering an unattainable goal.
Would I do it again?
Hell yes I would do it again.
So thanks, Justin, for sharing his story.
And Justin has left a voicemail message, so we'll play that now.
Hello, my name is Justin Kramos from California.
I wrote this story with really no preconceived notions or ideas what I was
going to write.
It was just kind of call back to what I used to take some pretty writing classes
at a local Community College.
We used to get these kind of prompts.
And I really looked forward to this and went into it completely blind.
Please enjoy.
I mean, we got a few SEAL stories this round.
We got a few SEAL characters and SEAL based stories for obvious reasons.
Yeah.
And so this is the direction that Justin went in.
And I think it's a good choice to give it like that first person voice to make the
story about voice because it is a crazy story, right?
And I think it it relies on having that narrator and having the voice of the
protagonist kind of come through in the story and give it that believability,
I guess.
Yeah, the character who's like going to sell it
kind of thing.
The character really has to sell it.
And if I would say like you get, if you're going to develop this to the
next stage, I would say leave it.
Lean even heavier into that voice.
Make that voice the compelling element, make it like a full on surfer dude from
California kind of deal.
And make it a completely outlandish but at the same time, like, really amusing.
Yeah.
And I think there's some opportunities to do that here.
So there's times when the voice feels like that surfer dude.
Yep.
And who's, like, telling this crazy, wild story.
And then there's times when it feels a little bit more of that authorial voice
coming through.
Yeah.
So for example, I suppose time will tell.
The incessant beeping and hospital staff annoy me with their fluttering care and
detached demeanour.
Like that's quite formal language for this character to be using.
And I think there is an opportunity to describe that same thing in the
character's voice a little bit more.
So yeah, I think, like you say, lean into that more and really just push
that voice because that reveals character as well.
Yeah.
So let's go through the story we open with.
I suppose deep down I knew this wouldn't end well.
And like, you know, as an opening line, it doesn't really tell us much apart from
the fact that like something bad is about to happen.
And also it establishes that voice, that narrative voice that's first person
perspective.
Like this is you're going to get the story direct from the source.
And I think sometimes a more compelling place to start is a bit more of a
specific question.
So when we talk about hooks, like one way to hook people in that
opening is to give them a question and dramatic question that we want to have
answered by the end.
And at the moment, our questions are kind of like, well,
who are you?
What wouldn't end well and what's bad?
Like what bad thing has happened?
So those are some questions, but they're quite broad questions.
And I think having a much more specific question helps us to sort of narrow our
focus and drop into the story a little bit more with like a bit more of an idea
of what's going to come next.
I think you're just looking through these first, you know, dozen or so lines.
If I were to choose one of them to open with,
it might be They say women dig scars.
They say a lot of things like that might be a nice place to open.
A similar impact of like setting up that something is about to go wrong,
but a little less telling.
Yeah.
And I think for me, that opening and it's probably the first
quarter of the story, I think we really could tighten that
right up.
And you've, I agree, like I think that's a great place to
start.
And I also think like this kind of air of mystery that's being established,
I'm not sure that that's adding value.
So I would say like, maybe give us The Who,
the when and the where.
We're in a hospital.
We have a little bit about this character.
If he's saying women dig scars, well, we imagine it's a man saying that you're
not a woman.
You wouldn't say that about yourself kind of thing.
So it's a man, he's in hospital and it's it's
contemporary.
Like he's talking about women digging scars and stuff.
We can imagine that that's a pretty contemporary story.
So yeah, I think that's what you need.
Not this mystery of like, oh, something's gone wrong,
but we don't know what yet.
And that is restated in several ways.
Like we have the women dig scars.
We have like, I knew this wouldn't end well.
And neither bad decisions leads to leads to more bad decisions.
Tomorrow I have a major operation.
Like we're restating the fact that something bad has happened.
Yeah.
But we don't yet know what it is.
So I think, you know, more information sort of being added by
those.
So, yeah, if if I was choosing a starting point,
they say women dig scars.
They say a lot of things and then get into the story.
Mm Hmm.
I do think, though, once we get into this point where what
these people aren't telling me is that I still may die.
And we're talking about the Darwin Awards as well, which I think most people know.
The Darwin Awards is the award they hand out posthumously to people who have died
in really stupid ways.
And riding a shark has got to be up there, for sure.
But we're talking about life or death here.
So we have established some stakes.
We're saying that, like, I could die.
Yeah.
But crucially, the events of the story that follow
aren't what would take him from being alive to dying.
It's the surgery that would do that, which is not what we're looking at in
this story.
So the stakes are somewhat detached from the events of the story,
if that makes sense.
Yeah, that's true.
And I guess you also have that problem when you're telling a story,
like the main character is telling the story afterwards.
You don't have the stakes of, like, something's going to happen to that
person, like they're going to die because they're
there telling you the story.
Yeah.
And look, I think structurally, that's an interesting choice, right?
You've decided to go to the end where we're in hospital now and then tell the
story as back story.
Like, here's how I got here.
And like, I would challenge that because I think
why not just tell the story of going to ride the shark?
That's the crazy part.
That's the part that's kind of central to what's going on here.
And look, that's a creative choice, right?
Like you want to lead with that mystery of like, how did I get here?
And then you're going to present it to us.
But yeah, my personal opinion, like, I think telling the story from start to
end is perfectly fine.
I don't think you necessarily need that air of mystery.
Like, I don't think that necessarily adds value.
I think sometimes telling the story straight is sort of what we want or even,
like, I don't think different to what he's done
there.
But just the part about the hospital and the surgery and the current situation
he's in as opposed to what's happened because you can keep still keeping the
whole chicks dig scars, this is what happened and then tell the
story.
So you're still starting from the same place.
You're still ending up at the same place.
You just don't have the look at me now.
This is what's happened to get me here.
Yeah.
And if you're looking to cut words, I think that's probably a good place to
start.
You don't have to retell it in a different way.
You're just kind of emitting these pieces.
You're emitting the hospital, the surgery.
Well, I guess the reason he adds that is
because of those stakes, because of that life or death sort of
question that's lingering.
But yeah, I guess that's the problem sometimes with
going into back story is that it's that one step removed and that's the main
story.
So you don't want it to be one step removed.
You want it to feel very immediate.
You want it to feel like we're there watching it happen.
So you can do that, though.
You can still do that just expressing the story as in the past.
But maybe, yeah, without that immersion in the hospital
first, we can just immerse ourselves at the
beach.
There's some good imagery here.
Like I like the idea of the tenderised state.
Like that's very visual.
Yeah, you say that, but I'm horribly triggered by that at the
moment.
My mum had her leg tenderised recently, so hi mum.
OK.
And so this is the detail that's thrown in here about like he used to kick game
winning field goals, which like adds a little bit of stakes I
guess to the whole thing.
But retrospectively, like it's already happened.
So there's nothing that can happen there.
I do wish that was more of a feature because it's kind of thrown away offhand.
Like he used to kick these 60 yard goals and now we can't.
But it's kind of tossed aside like it was worth it.
Well, you say that's the stakes, right.
Yeah.
But he immediately says, say lovey.
Yeah, exactly.
So like it is thrown aside.
Yeah.
You know, so it would have been good just to
leverage, I guess, that aspect of it emotionally.
Like.
And I'm not saying this is an emotional piece in that it should become deep and
troubling because it's not.
And maybe that's an aspect of his voice, of his character.
Like, he's very easygoing and he doesn't marble
and I used to kick 60 yard goals and now, like, I'm about to die, kind of.
He's he's like Sailor Chill for anyone.
He's pretty chill.
But that's what I'm saying.
Like, in order for us to buy that level of
chill, you've really got to amp up the voice.
Yeah.
To kind of match that.
Well, I don't know.
I actually would argue that you probably need to tone down the chill a little bit.
And the reason I say that is not because you can't have a character like that,
but because it does water down the stakes.
Right.
If he doesn't care, then why do we as readers care?
Yeah, So.
Well, I guess the problem is that you can't
care because it's already happened.
Yeah.
So it's more just like, what you're getting out of this story is
voice and fun, which is, like, perfectly reasonable for a story and
perfectly valid way to approach the story.
One line I liked is in the dead of night, giggling like schoolgirls,
we lurked around the beach freezing our **** off.
I like that, I think not just because of the the
reason that you think, but you know, like it's, it's a double metaphor.
It's the metaphor, I guess it's taking two cliches and
joining them together in a new way is what I like about that.
All right, I'll leave that to you.
I would challenge though, because I think that's true and I think
that's a good part of this voice, right?
Like you're getting a sense of this character.
But then in the next line, when we're talking about the light cast
by the givers moon, I'm not sure that that fits and looks.
Maybe it does, but it to me it feels like a different
tone, like the kind of person who's noticing
specifically what type of moon this is and is that the detail we're focused on?
If we're just having a lark on the beach, are we like,
it was under the gibbous moon or are we like more focused on what's happening
with our friends?
You know, like the friends are barely mentioned
really.
Like what's going on?
Where's is there any banter?
Like what's going on at this moment?
And in fact, one thing that I think I would call out
is I'm going to go so far as to call it A problem with the story is that what
happened next isn't really clear to me.
It took me some sort of thinking to, to figure out what was going on.
So we get the sense that there's these kids or young people going to the beach
like kind of on a dare or something like doing something a bit wild.
But we don't really know why.
We don't know if they're intending to ride a shark when they when they get to
the beach or if that was just like an accident that happened because he's face
planted and then reached out and like there's a shark there.
In fact, I wasn't even necessarily initially clear
that it was a shark because immediately then we mentioned the seal.
So I'm like, it's not the seal that he's grabbing onto
or No, it's not.
And, and I had to sort of go back and forth a
bit and eventually figured it out.
But yeah, like I wasn't really clear.
Like, were they going to the beach intending to
ride the shark or what?
And what was your feeling maybe a little bit more set up there about like the crew
at the beach and what was going on?
I mean, we're we're dropped in that scene.
It's cold and they're launching what's described as like a sneak attack.
And they've got underwear on a stick that's serving as like the flag to the
sneak attack.
I'm picturing drunk stoned teens and their plan is to do something illegal
slash weird and it's not clear what they're setting out to achieve because
the landing on the shark slash seal or whatever it is appears to be an accident.
Like he loses his footing, he lands on it and he is propelled
forward.
So that's doesn't seem to be what they're there to do.
But it's not clear why they're sneaking around.
Are they?
Were they there to sneak up on the seals?
And he's face planted onto the shark and then the seal is like, attacked him?
Is is that what's happened?
Like, I think we need to know why they're there.
And like, we can guess that they're doing something
stupid because they're kids.
Is this a thing?
Maybe in some places, like maybe we just don't have that
cultural context.
Yeah.
I don't know if it's like cow tipping, but with seals or something.
Yeah.
Or with sharks.
Yeah.
Yeah, I don't know.
In Australia we don't **** around with sharks, not on purpose anyway.
So yeah, I'm not sure if elsewhere that's a thing.
If it is like I, I do think like for both of us,
we didn't get a clear picture of why they were there,
what they were trying to achieve.
You sort of get it a gist, yeah, but it's not enough.
I need to know exactly what they're there for,
especially because that moment where they're launching the sneak attack is
over a number of lines and there is some tension building up there.
And I would like to know what the tension is about.
Yeah.
What's your scene goal?
Are you trying to ride a shark?
Is that what you are trying to do?
If so, let's just be very clear about that and
what are the stakes of that.
Is everyone going to think you're cool if you do that?
Have you done it before?
Like it seems like something they've sort of done before,
like they're kind of going quite confidently to this.
He grabs the shark immediately.
There's no conflict there in terms of getting his scene goal.
That conflict comes later, the consequences.
I'd like to know if this is a real thing as well.
Like, is there some basis for this?
Like, have people ridden sharks?
And I don't know what kind of sharks these are.
These sharks come in all shapes and sizes.
And no.
Is it reasonable to ride a little shark that around for a bit?
Like, is that is that something that happens?
Yeah.
I mean, it's, it's a good question.
And to be clear to you, I had to Google it,
but this bull elephant seal, like they eat sharks, right.
Although that is one of the things that they eat.
So we understand then that the seal has come after him.
Yeah.
And munched his leg basically thinking that it's part of the shark.
Yeah.
Which again, I guess was a little confusing to me as
an Aussie because it's the other way around usually, right?
So yeah, I guess that maybe that's where the
confusion came in is just that cultural context.
I'm not sure.
OK, so just taking a step out then and
looking back at the story, like the idea here, the idea of all right,
I'm riding a shark, you know, sealers come along and try to eat the
shark and that's taken a bite out of my leg as a story concept that works, right.
So it's all of these other pieces making sure that the reader understands what's
going on, making sure that voice is compelling and
captivating and focusing in on the action of the scene rather than like what
happens after or what happens in the present, say like,
I think those are the the main elements there.
And it is something that can work.
Like we've read stories in the comp that are really voice driven and are.
A lot of fun and have this kind of vibe about them.
Not everything needs to be serious.
Not everything needs to be believable.
So I have full confidence that, you know, you can write a story like this and have
it be successful.
Yeah.
And that's the strengths of it, right.
And so you play to those strengths.
You play to that voice.
You play to the craziness of it and the drama of it.
And that's what's satisfying about it.
And it doesn't have to have, like, this deep emotional resonance or whatever
that some other stories might have.
Yeah.
I guess ending the story in a place of, like, would I do that again?
**** yeah.
Like, that's fun and that's all it needs to be.
But just with that ending, right, Like, would I do it again?
Yes, I would.
That's the specific dramatic question that maybe I would suggest having at the
start of the story.
So, all right, chick stick scars.
But would I do it again?
And don't answer the question yet.
Let's wait till the end to see.
Let's see how bad this gets.
Would he do it again?
By the time I think there's no way you would ever do that again.
And then he does want to.
That feels a little bit more like a satisfying wrap up of that story,
I suppose.
Yeah.
And like, a nice insight into that character,
Like the chillest dude to ever.
Yeah, dude, I'm just thinking.
I'm just thinking about, like, options for ending this story.
And if we do want to start in the hospital, right,
a payoff of that might be at the end.
And he's recounted the story and like, a hot nurse walks in and he's like, wow.
And he's like, hell yeah, do it again.
Like, that's a moment as he's, like laying, dying with his, you know,
infection and like, that's gonna get removed.
He's delirious, the pain and the drugs.
He's like, yeah, he's pretty.
That's one way.
I think that, like, you could loop a background if you wanted
to keep a hospital in there.
Yeah.
Look, I think to give this story impact, you would tighten some of that stuff at
the opening that we talked about.
You would lean into that voice, you would make that scene of attempting
to ride a shark really vivid.
And I think it's all there.
But like, let's have some dialogue.
Let's have like some details of that scene happening so we feel immersed in it.
And then ending with, if that's your choice, that yeah,
do it again.
Like let's make that feel a real payoff to the dramatic question we set up at the
start.
And I think that could be a really, really fun piece.
And look, it's fun anyway.
Like these.
We're just suggesting ways that you might lift it onto another level.
And I don't mean look, that's what comes through in this story.
It's it is the fun.
And I think like that's what drives it.
And that's something to hold on to.
Like as a writer, that fact that you're into it,
it's a lot of fun.
And if you're having fun, your reader is going to have fun along
with you, right?
So Justin, you mentioned that you couldn't quite get
it finished and there's some work to do here.
And so, like, that's unfortunate because, yeah,
you could have gotten there with this one.
I think with a little bit more work, there are definitely places,
as we've mentioned, where you could cut down the word count,
focusing on those elements that matter.
And it's a like, it's a fun story.
I would love to read the finished product.
Yeah, for sure.
I mean, there's fun visuals, the underwear on the stick, you know.
Yeah.
All of this stuff.
All right, so let's get to the prompt.
So starting with the word prompt, which was seal,
like featured very heavily in the story.
Very prominently.
There was a seal.
Yeah.
And the seal built his leg off.
You say that so casually.
Yeah.
So the wiping out here, obviously the face plant on the beach,
which is funny because this character is the one who might use the phrase wipe out,
right.
But didn't it's a face plant.
Yeah.
And that works.
And with the anti prompts of breaking the rule, Kill Your Darlings.
I guess we can only guess here what specifically that meant to you, Justin.
There's options, but there are a few options.
And I think like the most prominent 1 is probably the main character here,
your darling, presumably, who hasn't quite died, who didn't,
who could have died but didn't.
Yeah, he might get a runner up for the Darwin
Award.
But there are some phrases here too, like I mentioned the gibbous moon.
And and we also use my naked feet in the sand, failing to find purchase,
like maybe a little bit more purple than what this character might naturally use
in his own speech or thoughts.
So maybe there's a little bit of that there too.
So thank you so much, Justin, for this.
And I love that you've just come in guns blazing with like a wild story.
And even though you didn't quite get it over the line or quite finish those final
edits, you were brave enough to submit it to us.
And I think there's a huge round of applause owing to you for that.
And I hope that we've offered you some insights into how it might have been
received had we judged it for the competition as well.
And I hope some insights for others listening as well about maybe some things
that they could use in their own stories too.
But absolutely, a wild story that stood out for being
original.
And thank you for bringing that surfer energy to the competition.
We definitely appreciated it.
And maybe we've given you some thoughts on how you might finish it if you wanted
to do those final edits.
Yeah.
And we hope you do finish it.
But thank you for sharing that story with us either way,
and we hope that has been insightful.
So that wraps it up for not only this episode, not only the Daredevils,
but for the entire April round of Not Quite Right.
That's sad.
But you know, nice to go out on a high note.
So by now, by the time this episode comes out,
we will have been to Words on the Waves and interviewed some of the writers there.
And so those interviews, if they're not out now,
they will be out soon.
So if you're not already subscribed to the Not Quite Right interview feed,
you can find that on the website and on your preferred podcast platform.
What else have we got?
We've got the Not Quite Right prize for Flash Fiction,
which is still running and submissions are open until the 24th of August.
And there's some wild stories coming in there too, if you will.
They are coming in there indeed.
And of course, as always, have another round of The Price coming up,
and our next one is July, just around the corner.
Really.
Yeah.
I'm excited.
I just can't get enough.
I don't know about you.
Yeah, absolutely.
It's fantastic.
And now I feel super awkward having said that just after immediately after
mentioning Flesh Fiction.
Yeah.
So July, if you're not signed up yet, check out the website and get it going.
Yeah.
Another trophy on the line.
Like, this was a close call.
We talked about it being a bloodbath, right?
Like, it really was.
There was a lot of people in contention.
So it could be you next.
Like, there's.
There's really not a lot standing between many of our entrants and the top prize.
Really.
Yeah.
And this is the brief time in between prize rounds as well,
where we tend to record and release our quote unquote,
regular episodes in the podcast as well.
So stay tuned because no doubt there will be some of those flowing through the
podcast feed very soon.
And our next episode, we will be talking about the TV show
Adolescence.
Bit of a change in tone.
Yeah, from shark riding too.
Let's not go there.
Jeez.
Yeah.
I mean, we will be going there.
So stay tuned for that.
But until then, right on.
Right on.
We hope you enjoyed this special Daredevil episode of Not Quite Right.
If you have thoughts on this story, follow us on social media and join the
conversation.
And if you'd like to participate in the next round of the competition,
head over to ourwebsite@notquiteright.com.
That's WRITE something doesn't seem quite right.
I've got to read you that.
No, I know, but that's only just come to me.
So I'm sorry.
Yeah, you're right.
You're right.
Yeah.
Would you rather say the wrong ******* thing because I can just let you do that?
No, no, it's fine.
No, thank you for that.
I appreciate it.
******.
Rude, aren't you?
What's the word you use?
*****.
You bit *****.
I know.
It's been stressing me out a lot.
I'm really upset about it.
Here's the thing, I don't feel like I invented that.
No, but it's not widespread.
No, but my friend Pat knows it.
Now it's very possible that she would invent it.
OK or her family because they do stuff like that they Dean worse.
No, Dean doesn't know it.
My friend Pat knows it, but she calls it ***** tablum,
which is a step too far in my opinion.
I think Andy knows it separately to me and says it.
So it's like, why do us 3?
Like I'm obviously the common denominator.
Like if Andy said this about his sister as a child, I said this as a child.
I didn't know Andy as a child.
Like, what is this?
Just some weird niche thing that's like only exists?
This is the Mandela Effect.
It is.
And that's what's stressing me out because I'm like, no, my reality is a lie.
And it's really stressing me out a lot anyway.
And it is making me very *****.
And my childhood best friend, I messaged her and she's like,
I don't know what the **** you're talking about.
My fault.
How do you not know it?
You know what I mean?
My sister doesn't know it.
My mum doesn't know.
I'm like, did I never say this?
And this is just a new thing?
And but why would Pat and Andy independently say it?
I've got to confirm.
This is the kind of thing that I would just like, let go so quick.
All right, you're a better person than me.
So *******.
I don't know what to tell you.
Stop getting so ***** about it.
Come on.
It's very strange.
It is.
I've just never heard it in my life, so I don't know what you're talking about.
I wouldn't expect you to have heard it.
Why?
Like, Well, 'cause you're from elsewhere.
And why is that bad?
That's fine elsewhere.
Jeez.
I've been here for a while though.
You know elsewhere USAI actually meant elsewhere in this country, right?
OK.
It's like, it's like sweet euphemism.
I just went to other shops and it's like where your racist art would say, you know,
lots of people from elsewhere.
I'm going to start using that now.