Do Your Middles Hang Low? Do They Wobble To and Fro? Can You Tie Them In a Knot? Can You Tie 'Em In a Bow?

Can you throw 'em over your shoulder like a regimental soldier? Do your ears hang low?

Surely you learnt that song as a kid.

Well, maybe with ears. So, if you guessed, today we're going to talk about saggy middles. Don't worry, there shall be no Tyler Durden scouring the trash for your novel's fat arse tonight (just to sell it back to you in a bar of soap).

But firstly: maybe you noticed that you didn't hear from me all of last week? Maybe you didn't. It's cool. I didn't notice either, until I sat down to write this week's post. I had a seminar to create over last weekend for Extension English, so on a procrastination front, I was either going to write a post or waste hours of my life being moody and adolescent on Tumblr. I know, excuses, excuses, "why have thou forsaken me?" and all that jazz. Well, I apologise - hey! I might even write another post tomorrow.

So, I'm going to begin (for the second time) by telling you that there will be no sit-ups involved with this post and turning all your thinking caps off via the fuse box. Now, you're all readers. I want you to imagine a book you read recently, or not recently, where there's been this breath-taking beginning with unbelievable characters and plots and themes and setting and then you get about two-thirds of the way through and you start to notice how you lug this damned book everywhere, reading a page or a paragraph here and there, making the book itself look loved but not loving your ride so much to an overwhelming degree. Yeah, you get that? I sure as hell do. And now that you can imagine other books where you've encountered this, can you imagine your own novel, whether it be present or past, and honestly tell me that your middle is a bad-ass motherchucker? If you can...Really?

I find saggy middles insufferable to read through, and so embarrassing to encounter in my own writing. I've been reconstructing and rebuilding RETURN almost in its entirety because of the overwhelming weaknesses in my early drafts, especially in the middle.

I notice, particularly in YA, that authors will sometimes treat the middle as more of a transition from Point A to Point C (Particularly in the paranormals: you begin with a girl who is without a boyfriend and you end with a girl dating her soulmate-of-another-dimension). No, sweetheart, no. Well-developed conflict is what drives a story, not the untamed beast in your heroine's panties.

(Before I begin: if you're still writing your first draft, then don't look back. Keep writing, keep writing, keep writing. Don't second-guess yourself! You'll never finish if you edit as you write, so go away and write your novel!)

It's been a while since I gave you an analogy, so let's roll with that. Think of your novel as a domino line of something (be it smart phones, pens, iPods, books, staplers or, God forbid, dominoes) and that as you pass each checkpoint, one domino falls. Now, if one of those dominoes don't fall properly, or just don't fall, your novel is lacking. Once you introduce that conflict at the beginning, you've set the cause-effect chain off. And your middle is important because it bridges the initial finger-flick of the first domino to the final domino torpedoing off the tabletop.

Strong middles also allow you to interweave side plots and effective twists, introduce backstory to characters, setting and the conflict itself. OK, so I want you to visualise the major plot points of HARRY POTTER AND THE GOBLET OF FIRE as dominoes. Got it? Good. This instalment is far from my favourite of the series, but you have to admit that the plotting is absolutely beautiful. But if you took any of the small scenes within the middle out, or weakened them, the final twist-execution wouldn't have been half as effective, right? If you hadn't showed Cedric as nice, or dropped those Barty Crouch Jr. hints. Exactly. I think this is one of the beauties to Rowling's writing - She isn't afraid of her middles, she embraces them and allows them to craft her world and her secondary cast into something magical and tangible.

But at the same time, you can see how both of my points here could result in something unruly and ineffective. Too many dominoes means too many chances for error. Too many subplots and side characters equate confusion and a whole lot of "WTF? Who the sodding hell is that and why does he want to kill Harry?"

Remember: you need to build this story up so that your reader actually cares when it comes to climax time. Depending on how into the book they've been through the middle (not the beginning), your reader can find your climax intense. And you want them to find it intense because then they'll tell their friends to read it because "it is intense" (or, I.I.I - It Is Intense).

But how do we get to III?

Your middle should develop the characters, relationships and your world. It should also evolve those pesky problems that drive your plot like that bloke in The Transporter and build to the "III" climax.

Now, sagginess occurs when you begin to describe the layout of a house or the mini-mini-miniscule details of a street, or when you have four dialogue scenes purely based around wit and enforcing one particular nervous trait for your MC. Yeah, saggy. This sort of middle results in Tyler Durden getting a whole lot of soap out of your novel's fat arse.

You should be aware of plots that are thin and weak. Earlier, when I told you to imagine your plot as a line of dominoes? Well, now it's getting a little more complicated. The kind of plot I'm speaking ill of now is where you have a series of action scenes, each merely relating one event and leading into a scene that relates the next. Sort of like a really long rope with knots in it that are spaced really far apart. So on the domino front, I want you to colour all the dominoes that relate to the main plot red, and for each subplot, a different colour. I want you to have the strangest, most colourful line of dominoes.

Opposing this approach is the daydream of a pothead with Japanese synth music pounding in the background. You know the type: there's deliberation before an action scene, an action scene, then a scene reacting to the action scene. It goes around and around and around and you're so busy flipping the pages for the next important point that you miss things altogether and end up throwing the damned thing across the room.

On a structure level, you need to think on a ten-year-old level. So I'm going to tell you that when you write a story, you put a man up a tree, throw sticks at him, then get him down. You have already put the poor sod up there, and he wants to get down. But you need to make it complicated. You need to ask: "What can go wrong for the protagonist?" Maybe he's afraid of heights, or he meets a nice tree-hugger that misunderstood and climbed the wrong tree to prevent it getting cut down or he has a ten-metre drop to the ground with no branches. If it doesn't have to do with your characters, the tree, or getting him down, then it doesn't matter.

I used to look at writers who said that the time that they ever really wrote was when they were revising with a look of derision (Sheldon Cooper style). Now, I call myself one of them. I wrote the first draft of RETURN when I was thirteen/fourteen-ish. I am currently revising it for the seventh time, this being the first thorough time. I will tell you right now: it sucked. It sucked so bad that I couldn't even hold it up beside some of the crap that I've read (and I have read some crap). Its middle sagged more than Julia Gilliard's earlobes (Aussie side-joke, apologies) and I cannot believe that no one told me.

Once I started revising, I realised that these weaknesses were dragging the whole novel down into Dante's INFERNO. Plots and itty-bitty but vital pieces of information where getting lost in ohsoclever but pointless spouts of dialogue, my characters' traits were tedious and their personalities were beginning to blend into one, my antagonist had no definable motivation and my plot was just getting bad.

You need to be aware. Chances are if you're having a lot of trouble editing your middle, your readers are going to have a lot of trouble reading it (to a certain extent, of course). If your side plot is nothing but an amusing distraction, then maybe you don't need it? Next time you sit down to revise, you should prepare yourself, tell yourself that you ought to be open to hacking away at your subplots and side-characters.

In closing: in no way whatsoever am I giving you permission to neglect your beginnings and ends. Do you hear me? Yeah, that's what I thought.

Now, to help you recover from that blathering of ridiculousness and incoherent stupidity, I'll just give a couple other bits.

Diana Wynne Jones died! I felt like crying when I heard this, and I immediately grabbed my copy of HOWL'S MOVING CASTLE and hugged it. This woman allowed nine-year-old me to wish that I was an old woman so I could run off with a wizard and his talking fire demon. And to make my mourning more official, I rented the Hayao Miyazaki film and watched Billy Crystal insult Christian Bale as a ball of fire. But that aside: she died! I don't think it'll kick in until I go to the library and find her books on the shelf.

And reviews. Reviews. Something I haven't done in ages. Ah, well, you see, writing up reviews takes a lot of time for me and so I figured that (seeing as I have one more week until my three week school holiday - which I am pumped for, I assure you) once I'm liberated from school-related obligations, I can throw out ten-ish reviews over a couple days. So, I've accumulated: EMMA, THE COLOR PURPLE, ALL QUIET ON THE WESTERN FRONT, NEVER LET ME GO, CLOCKWORK ANGEL, SHIVER and FALLEN; and I have in a pile beside my bed to be read: LOOKING FOR ALASKA, VAMPIRE ACADEMY, THE EYRE AFFAIR and BEHEMOTH. So, you are permitted to dread me burdening you all with my opinions a whole sodding lot.

Is that it? Yes. That's it. Dismissed.

Honey, I've Got a Non-Teen YA Protagonist (Or, "Mum, Dad, I'm Moving in With a 907 Year Old Time Lord")

I'm unsure whether I write this post more as a reader or as a writer. Alas, we shall have to stay tuned to see what the verdict is.

Just very quickly before I begin, I'd like to divert your attention to another matter: the absolutely gorgeous Aimee L. Salter took time away from her life to write a post about none other than moi. And you know what? It made my week. A snapshot: "If her profile is to be believed, at just sixteen years old this chick has developed a voice, intellect and amusingly snide pretentiousness I can only aspire to". *Gives bow* Hon, I am indeed sixteen, seventeen in October. I also wish I could send you a planet or something gift-wrapped for the post.

Now, age. Specifically, protagonist age.

I see this matter pop up every-bloody-where.

The basic question seems to be: can you classify a novel as YA if the protagonist doesn't fall within the Holy YA Age Range of thirteen to eighteen? And the general consensus? MCs beyond this range = très tough sale.

Comments and arguments seem to be based around the idea that senior students and university students don't read, or that younger teenagers don't relate to protagonists that are university-aged. The question-asker usually, by this stage, has hummed and agreed and lowers their MC's age to below 18 without another thought.

Me, a lurker and YA-aged myself, am standing at the back waving my arms around. STOP IT. It is impossible to make accurate generalisations about a good majority of the YA audience. I beseech you. Think about the television shows that are popular among us. Sure, you have things such as Glee, based in high school, but then you have university-aged Gossip Girl and Gilmore Girls and then you have all those shows we're obsessed with that are populated by adult characters. We can't relate to who?

A lot of these people expect people my age and above to be tossed into the endless adult ocean and empathise with a middle-aged man who's facing his midlife crisis? Sure, there are kids I know that are probably experiencing a premature midlife crisis, but wouldn't it be more practical to thrown in a couple older YA characters? That isn't to say that it would turn me off a book if the protagonist were middle-aged. I'm trying, and failing, to enforce my point that there are always those older adolescents who've been reading about 30-year-old fantasy heroes since they were ten, or who you'd have to pry the middle grade section from upon their death bed.

Age doesn't matter as much as you'd think.

And from what I've observed, especially recently, children and teenage readers tend to read up in regard to age. I remember I first read an Agatha Christie when I was eleven, and that when I was around that age, nearly all of my books had 13 to 16 year old protagonists. I had no problem whatsoever relating to these older characters. Also, think about this: at that age and even a little younger, kids watch TV shows with 16 year old characters. (EG: Lizzie McGuire for me, maybe Hannah Montana and iCarly for today's kids?) They have no problem relating to them, and that's how they learn about adolescent life and learn to anticipate what waits for them in their imminent teen years.

Remember that episode of The Simpsons where Homer jumps that huge gorge on Bart's skate board? Remember how bloody huge that gorge was? Well, now that I'm in my last two years of high school, I've reached the edge of YA where I have the publishing industry on the other side, in the Adult world, waving their picket signs at me and chanting "JUMP DAMN IT!"

Maybe I'd like to anticipate my university years. To be honest, the idea of that new life, that new routine, scares the absolute shit out of me. What should I expect? Why can't people my age get the same treatment as our ten year old counterparts? I think most of us would like to know. What is university like? What is renting your first apartment, or starting your career like?

Now, I know it's a given that if I'm talking about this, I'm going to have to bring up New Adult. Yes, you are right in imagining me hanging my head. Okay. Compose yourself, Nina. While I whole-heartedly support this concept, waiting around for New Adult is like waiting around for that Stargate Atlantis movie.

Personally, I think that when it comes to classifying YA, themes should take precedence over age. (I'd like to also just mention that tone does take precedence when an adult novel containing a young cast gets to stay in the adult section.) Tone and themes are key. Take my novel, RETURN, for example. I know, I know, I heard your collective sigh. But hear me out. My cast comprises of six uncostumed heroes, from eighteen to twenty-one. But even then, they're still trying to find themselves. Their coming-of-age journeys haven't ended. They haven't matured entirely, well, not all of them. They still act like teenagers. To a certain extent, I think everyone retains parts of their adolescent selves. I can tell you right now that they could all be in their twenties and I would swear up and down that the novel, right down to its tone and messages, screams YA.

And when an author has just dropped the age of their protagonists to fall within the Holy YA Age Range, it's incredibly obvious to the reader. Incredibly. And sometimes, for the characters that we're trying to create, particularly in Fantasy, it just isn't feasible to have a fifteen year old. Warriors, assassins, superheroes. No one would take a gritty YA novel with a fifteen year old [insert crazy career] seriously. If my characters were all three years younger, it wouldn't be possible for them to have accumulated the knowledge, the experience that they have. Making them their respective ages gives them that by default.

So, in closing, I ask of you: what are your thoughts of the Holy YA Age Range? Would you be interested in fiction with university-aged protagonists? Would you buy books with main characters in the dead zone of nineteen to twenty-five (ish)? Do you think that there are certain authors who should've had older protagonists, or do you think that the audience themselves could just up the ages while they're reading to create more "believable characters"?

Young Adult Needs Better Adults (Or, Stop Trying to Imagine Justin Bieber in Briefs and Imagine Mr Clooney)

I would like to start this post off by reiterating the fact that I am a sixteen-year-old girl and was indeed born in the year of 1994. Just saying. Indeed, Zac Efron and Robert Pattinson are supposedly the heart throbs of my generation. I am here to tell you to look beyond the dishevelled youth (Except that new Spiderman. He's the sex.) *Clears throat* Hem hem.

I pose you this question: who was the last significant secondary adult character in a YA book who was as well-developed as other secondary adolescent character? Exactly.

For this post, I shall be focusing on male adult characters, as I find that I've encountered more of them as significant secondary characters than females as of late. (I apologise, this may be more getting to talk about older men I'm in love with than coherent writing talk)

So, first off, we're going to look at the 25 Under 25 from last year. The boys? Shia LaBeouf (who doesn't count because when was the last teenager he played besides Sam Witwicky?), Robert Pattinson (and the rest of the Twi-boys), Daniel Radcliffe (who's type-cast, the poor sod), Zac Efron (who I can't, personally, take seriously), Aaron Johnson (I have friends with manlier voices), Jaden Smith (who won't big a heart throb for another decade), Taylor Lautner (who is forever Shark Boy to me), Alex Pettyfer (click, but douchey), Michael Cera (also type-cast not as a character but as a type) and Jamie Bell (melt-worthy but...). So what have you got? Sure, there are other heart throbs out there, but looking at these guys, you've got a lot of washboard abs, effeminate voices, and illiterate douche-characters. But that's okay. For, it that's what the ladies want (and clearly that is what we're after. Though, I'm quite content dibsing Spidey Boy).

Now ask any female reader (you know, those voracious adolescent girls that hang out in the food court at the mall) why she likes her favourite male leads and she'll probably deliver some gushing, incoherent response teamed with a "he's so [adjective, probably one they wouldn't use in front of their mother] hot". So you can understand what the motive is for writers to create such heart-melting male protagonists are in YA (if not just to stare at Alex or Jamie for a while and calling it the Creative Process).

But hold the bloody phone.

When young men grow up, they become adult men, no? Therefore, is there some chance that an adult male character can be "[adjective] hot"? I say yes! For argument's sake, I'm classifying "adult" as 35+, and I honestly believe that there are men far older than that whose movies I'd be squealing over just as I would Alex Pettyfer's. So what's the hold up? Why isn't Male Hearthrob's Designated Older-Man Mentor allowed to be three-dimensional and interesting? Why can't he be the witty, deprecating one? I mean, we all watch TV shows with adult characters all the time and we treat them endearingly with secret longing. So why can't that cross over and trickle into YA? Why do I have to go hunting for wild boar in the brooooooad Fiction section of bookstores when I yearn for a good adult?

At the moment, I'm fairly certain that most YA adults look like Mr. Gibson to the left. Boring, proper, old. Not worth our reader's time in the slightest bit. I'm nearly 100% certain that someone has said at some time in the past two thousand years that a writer ought to make use of every ounce of space in their novel. Every scrap. So why do we see the faceless clone of the YA Adult everywhere? The Designated Older Man Mentor is another chance for the writer to show off, to develop the plot and the conflict further, to churn out another character. And for people who love characters, like me, this is imperative.

Of the few other writers I've spoken to about this, many of them defended this by saying that the reader doesn't care about this character, this character won't generate a following like my leading man will, and older men are unpopular. I mean what have you been smoking? Let me give an example. The singular most invigorating adult character I have ever come across was Prosper English from Catherine Jink's EVIL GENIUS books. In fact, he's in the top five non-Rowling-related characters I've ever come across. He is the only factor that kept me dedicated through the final instalment in the EVIL GENIUS series. I could see a man like Ralph Fiennes or even Kevin Spacey bringing this character alive, and even despite the physical description, Prosper sauntered off the page, hands tucked in his tailored trousers and posture faultless. He was conniving, witty, intriguing and he was an adult. And if you look at my other favourites, you have more adults. Sirius Black. Remus Lupin. Dustfinger (I had such a crush on Paul Bettany after that movie *fans self*).

Character development works best through situations and through interactions with others. The way an adult treats a main character or how they are treated shows a lot about both characters, so keep that in mind. When your teenager flips her parents off or your hero betrays his Designated Older Man Mentor, it reflects on them as well. Sometimes I feel that YA authors don't bear that in mind.

Now, onto motivation. I will tell you right now that the appearance of a character is a great factor in how dedicated I become to them. They don't have to be attractive, in fact, I'm find interesting looking people more appealing as characters. The thing I often like about adult characters in TV and movies is that they are quite capable of defying archetypes, whereas in youth-targeted material such a thing is often taboo.

I ask that you think of it, not just as writers but as readers, so that perhaps, if there is a need amongst the audience, someone talented and lucky will help satiate said need.

I'll list some examples of interesting adult characters, in hope that someone out there will understand my meaning in this incoherent, late night post. Stanley Tucci in The Devil Wears Prada or the father from Easy A, and possibly one of the greatest, most quirky men running around. David Tennant, our Doctor, who is filled with the most absurd facial expressions and accents, and who carries long-winded facts oddly well. Clive Owen, the type to both kill ruthlessly for MI6 and go parental (a la Martin Lawrence in Bad Boys) with his daughter's boy friend. Liam Neeson, who's so tank he doesn't need anything further. David Wenham, a classic Dad figure who could do a little Rufus Humphrey with his younger experiences and still be a kick-ass Spartan. Bill Nighy, who could run any paranormal-slash-totally-human boarding school you throw at him. Robert Downey Jr. as an adulterous, endearing mentor character. Gerald Butler, Jeffrey Dean Morgan, Colin Firth (Did you SEE The King's Speech?), David Thewlis, Hugh god damn Laurie (Jesus, look at HIS character!), Sean Bean, Russell Crowe (!), Alan "My God" Rickman, Al Pacino (My favourite older man), Tim "Lie to Me" Roth, Nathan "Captain" Fillion, Gary Oldman, Johnny Depp, Ben Stiller, Bradley Cooper, Michael Caine, Leonardo Di Caprio, Rob Lowe, Morgan Freeman, Robert De Niro, anyone from Band of Brothers but particularly Damien Lewis, Ian McKellen, Brad Pitt, George Clooney, Colin Farrell, Ryan Gosling, Geoffrey Rush, David Caruso, Jeremy Irons, Kevin Costner etc.

It may essentially be a list of every good actor I could possibly think of, but it's also my attempt at proving my point. I'm hoping that all but three or four sparked a character in a particular movie or TV show for you. Someone memorable, someone adult. Just think of the amount of character in some of the roles that are hinted at here. I know it's wrong to some extent to use actors to talk about the fundamentals of character, but I'm trying to motivate you. Just think: you don't say "holy shit I want to see that movie because that kid who was on iCarly a couple times is in it", you might give a "oh, that looks okay". You don't wait or pre-order tickets because that kid who was in a couple of those famous adaptation films but not much else has a new movie coming out. No. You say "Oh, shit, I am going to see that new Russell Crowe film because it's a Russell Crowe film". You don't really say "I've got a video shop coupon so I'm going to get out that Michael Cera film because he's timeless". No, you substitute Clooney or Di Caprio, or McKellen into that sentence.

Adult characters have a greater chance at being believable and wholly interesting, at having experiences and know-how that your sixteen-year-old MC couldn't dream of. They hold insight and bad-arsery in their wrinkled fists. The only good thing about Eragon was Jeremy Irons and John Malkovich (ohmygodIdidn'tputJohnMalkovichinthatlist) and they didn't even break a sweat doing that film. You have a good chance at developing an awesome, memorable character who is capable of generating a following bigger than your MCs. Um, hello - Dumbledore much? And besides Seth, Sandy Cohen was the best thing about The OC. Everybody loves a good Dad joke that they can turn around in their lounge rooms and say: "Dad, seriously. You say that all the time". My friend Susie hasn't had a crush on a character younger than 40 since she was 12. I think that of my thousands upon thousands of celebrity crushes, well over 80% are men over the age of 35. You're targeting girls my age with YA. That's virtually what the definition of it is. So if we all go bonkers of Johnny Depp, what's the harm of including an oddball older character for the readers to melt over and quote from?

Well, now it's time to draw this to a close.

I'm not saying insert adult characters into situations where they are unnecessary. I'm saying that if you have an adult character, and they are vital to the progress of the novel, why do they have to have as much character as a Star Trek red shirt?

If that made any semblance of sense, I hope the message you got was a good one.

Gone But Not Forgotten, a Blogfest (Or, "Zoe, I'm Paying You Too Much")


There's a common saying in my house: "Of course it's a great show, they cancelled it". Yes, I am referring to television shows that have ended or been taken off the air and really shouldn't have because us devoted fans loved them so tenderly. And what calls for this post? As alerted to me by the darling Trisha, some astounding women are hosting the Gone But Not Forgotten Blogfest, where the participants are to list our top five favourite TV shows which are no longer running but which reside in a special place in our hearts, specifically, the Taken-Off-The-Air-And-So-I-Tried-To-Assassinate-The-Producers-But-Failed-Dismally place. So, let's kick it off with an obvious one (and these are in no particular order).

1 FIREFLY: "The hero of Canton, the man they call Jayne" is still my alternative to singing the school song at assemblies. I cannot believe that they cancelled this show. Pardon my French, but what the fuck? Don't producers know they have a good thing when they actually have it? Christ almighty. And to just farewell it with that stupid film? Well, at least I can honestly say that if I ever see Nathan Fillion in the street, I'll dip my head and say "Cap'n".

2 DARK ANGEL: Yes, my pretties, that is indeed Miss Jessica and Sir Dean Winchester in a boxing ring. (Hint: She kicks him in the cobblers.) I regret never watching this show right through again, I loved it dearly. James Cameron (Yes, as in Titanic) created this show starring Alba as Max, an escaped genetic experiment, Michael Weatherly as a paraplegic genius, not to mention Sir Ackles as her brotherly Manticore-cellmate Alec. It was amazing, and could've gone for at least another two seasons, and I still think James Patterson ripped it off almost entirely to create his MAXIMUM RIDE series about birdkids who escaped from their military facility captors, or whatever.

3 STARGATE ATLANTIS: It is so incredibly nerdy of me, my friends have told me this already. And I am aware that they were able to actually bring this to some kind of close when they cancelled it, but still. I actually hated SG1 and Universe, but this I loved. I can't actually convey how much I clung to each episode, McKay's inadvertent funniness, Sheppard's lone-slinger act, Ronan's Ronan-ness, the odd humour in the middle of another galaxy. So, these guys find Atlantis, as a city in the Pegasus Galaxy and they go there through the Stargate (You know the stargate, that movie with James Spader in it?) and madness ensues.

4 TERMINATOR - THE SARAH CONNOR CHRONICLES: I explicitly remember watching the last episode of this show's second season, knowing that this was the end. When the credits appeared, the was most definitely a loud "What the fuck?" on my end. Most definitely. This show was the shit, man. Summer Glau, Thomas Dekker and Terminators - not to mention time travel? This show being cancelled just proves that producers will just turf something that will develop a fanbase and constant love and attention in light of a movie with Christian Bale and Sam Worthington that will get press for a few months before dying in the arse because low and behold: Avatar.

5 GILMORE GIRLS: Oh, the wit! The fantastic wit! My, my. I tried very hard to be best friends with my Mum after watching this show. I also blame it for a lot of other things: my talking speed, my constant film referencing (which, I discovered, is not understood as often as it is in this show), my expectations of gentlemen suitors. Oh my. I don't think there will ever be another Gilmore Girls, not in my heart. Why did they cancel this show? WHY? And what have the actors done lately? Starred in a couple CSI episodes or done a straight-to-DVD film? I mean, come on. Rory and Lorelai were Gods in my mind - the epitome of caffeinated fun, the reward of studying for a solid three hours. It made me want to go to Yale, to fall for my own Jess, my own Logan. And I miss it so much. If anyone had any sense, they would have never cancelled this show. Alternatively, they better make a kick-ass movie farewell or so help me God...

HIGHLY COMMENDED: Life, Numb3rs, Veronica Mars

So, what shows do you miss like hell?
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