Nick Kolakowski

1 week ago | dice.com | Nick Kolakowski

“Tech Connects,” Dice’s podcast, digs into the tech hiring, recruiting, and career topics that matter to you. Subscribe on ACast, Spotify, Apple Podcasts, iHeartRadio, Amazon Podcasts, and YouTube! Our next guest on ‘Tech Connects’ is Paul Farnsworth, who’s president of Dice. I wanted to talk to Paul because he’s had a long career in tech as a specialist and a manager. He’s overseen huge teams, worked on complex projects, and deeply understands the tech industry.

2 weeks ago | culturmag.de | Nick Kolakowski |von Nick Kolakowski

White Lotus and the Gentle Art of Hating Your ProtagonistsI come here not to praise the most recent season of “White Lotus,” nor to bury it, but to dig a moment into its characters—specifically, how those characters violate one of the more facile “rules” of screenwriting that have always driven me slightly insane. If you’ve ever sat through any kind of Screenwriting 101 course, you know that instructors often insist you make a character sympathetic, or at least empathetic.

3 weeks ago | nickkolakowski.substack.com | Nick Kolakowski

When it comes to mysteries and thrillers, sometimes the story’s big twist is the most memorable part. Ask someone their opinion of Gillian Flynn’s “Gone Girl,” Dennis Lehane’s “Shutter Island,” or Agatha Christie’s “Murder on the Orient Express” (to name just three examples) and chances are good they’ll bring up the plot flips that made each of those books so memorable.

3 weeks ago | dice.com | Nick Kolakowski

“Tech Connects,” Dice’s podcast, digs into the tech hiring, recruiting, and career topics that matter to you. Subscribe on ACast, Spotify, Apple Podcasts, iHeartRadio, Amazon Podcasts, and YouTube! On our next episode of ‘Tech Connects,’ we’re talking to two guests about a new report that dives deep into tech workplace and culture, especially as it relates to crucial issues such as age and gender. Here’s our lineup for today.

4 weeks ago | nickkolakowski.substack.com | Nick Kolakowski

When you write a novel, you’re making hundreds of decisions: everything from character names to adjective choice to plot points. This granularity can terrify you if you let it—I have a hard time reading George Saunders’ “A Swim in the Pond in the Rain,” his ostensibly helpful picking-apart of the Russian greats’ short stories, because of how it reveals the almost unfathomable complexities within, say, a single paragraph of Chekhov.