#Auxiliary Rope

[asahiropesblogs]

Piling Rope । Auxiliary Rope

In the realm of heavy-duty applications and demanding industries, the reliability of equipment and safety measures takes precedence. Asahi Ropes, a renowned leader in the field of rope manufacturing, has consistently excelled in providing innovative solutions for various sectors. Among its extensive product range, piling rope and auxiliary rope stand out as essential components that play a pivotal role in ensuring safety, efficiency, and longevity in diverse industrial settings.

The Significance of Piling Rope

Piling ropes are indispensable in construction and maritime industries, where heavy loads need to be lifted or moved with precision. Asahi Ropes recognizes the critical role that piling ropes play in such operations and has designed its range to meet the highest standards of quality and performance.

Strength and Durability

One of the key features of Asahi's piling ropes is their exceptional strength and durability. Constructed from high-quality materials and engineered with precision, these ropes can withstand the toughest conditions. Whether it's lifting heavy construction materials or supporting the installation of offshore structures, Asahi's piling ropes ensure reliability and safety in every operation.

Abrasion Resistance

Working in harsh environments, such as construction sites or marine installations, exposes ropes to significant wear and tear. Asahi's piling ropes are designed with a focus on abrasion resistance, ensuring a longer lifespan and reducing the need for frequent replacements. This not only enhances cost-effectiveness but also contributes to a safer working environment by minimizing the risk of sudden failures.

Corrosion Resistance

In marine and offshore applications, exposure to saltwater and harsh weather conditions can lead to corrosion, compromising the integrity of ropes. Asahi's piling ropes are equipped with advanced corrosion-resistant features, making them ideal for use in saltwater environments. This ensures that the ropes maintain their structural integrity, even in the most challenging conditions.

Auxiliary Rope: Enhancing Efficiency in Rigging Operations

Auxiliary ropes play a crucial role in supporting and complementing the primary ropes in various applications, including rigging operations. Asahi Ropes understands the multifaceted requirements of industries relying on rigging, and its auxiliary ropes are designed to optimize efficiency and safety.

Load Distribution

In rigging operations, the distribution of loads is a critical factor in preventing overloading and ensuring the stability of the structure. Asahi's auxiliary ropes are engineered to provide even load distribution, minimizing the risk of uneven stress on equipment and structures. This results in enhanced safety and longevity of the rigging system.

Versatility and Adaptability

Different rigging operations demand different characteristics from ropes. Asahi's auxiliary ropes are designed to be versatile and adaptable, catering to a wide range of rigging applications. Whether it's securing loads in construction, lifting equipment in manufacturing, or supporting sailboat rigging, Asahi's auxiliary ropes offer solutions tailored to specific needs.

Asahi Ropes continues to uphold its commitment to excellence by providing top-notch piling ropes and auxiliary ropes that meet the highest industry standards. The combination of strength, durability, abrasion resistance, and corrosion resistance ensures that these ropes contribute significantly to the safety and efficiency of operations in construction, maritime, and other heavy-duty sectors. Investing in Asahi Ropes' piling and auxiliary ropes is not just a choice for quality; it's a commitment to the seamless and secure execution of critical industrial tasks.

Tag:-  Piling Rope । Auxiliary Rope

[jamscandraw]

2024 designs from my merfolk AU! Steve is a sailor/sea monster hunter and Murph is the merfolk that he befriended as a child, but was captured and injured by other humans from his village and now hates all of them. Lots of lore under the cut!

MERFOLK exist in both freshwater and saltwater varieties, along with many other magical beasts. Saltwater merfolk are typically larger, with long muscular tails and many small fins that aid in agile swimming. They have multiple sets of gills, and a pair of auxiliary lungs that allow them to survive in air; however they risk death by drying out if they are above the water too long. They have their own language that sounds like melodious singing but cannot be comprehended by humans above the surface; however, it can be “heard” and understood if the listener is submerged underwater. Some merfolk have bioluminescence, shell-like plating or even poisonous barbs depending on their environment. They tend to live in family units, but in contact with each other over vast reaches of the ocean to form disparate communities. They rarely gather in large groups save for spiritual ceremonies.

Many human stories paint merfolk as dangerous tricksters who lure people to their deaths with sweet songs or false promises of treasure, and they should not be trusted. Some stories say that a merfolk will trick you into falling in love with them, and a merfolk’s kiss will turn you into one of their own kind, unable to return to the land. Other stories describe them as having powers of compulsion, driving sailors to fight each other to the death, or control over sea and storm. They are often depicted as being able to communicate with other sea creatures, including the Leviathans, which are colossal beasts that live in the very depths of the oceans. They supposedly only ever come to the surface when hungry, and could swallow an entire fleet of ships in one bite.

There is an active black market trade in merfolk body parts, as many are believed to have curative properties. Hair, scales and blood are the most commonly sought items. A live specimen, if caught, could be worth a sailor’s salary for ten years.

🧜‍♀️🧜‍♀️🧜‍♀️

STEVE grew up in a small port town by the sea. As a boy he works as a shipwright’s apprentice near the docks. He spends most of his free time at the water’s edge, looking out to sea, dreaming of one day. One day he finds a young merfolk trapped by the low tide, and despite all the warnings he received growing up about how dangerous they are, he helps them back into the water. They come back a few days later with a gift of fish to say thank you, and when Steve realises they mean him no harm, a secret friendship is formed. They become very close and learn to communicate with each other, but they are discovered when Steve almost drowns after hitting his head underwater and his companion pulls him to shore. The merfolk is captured by the townspeople and will be sold or killed; Steve tries desperately to set them free but he is locked in his room and forbidden from going near the water again. In the morning, the net has been torn apart and there is no sign of his friend; there is a lot of blood on the floor, and he thinks he must be too late. 

MURPH is a saltwater merfolk who dwells in deep coral reefs. As a child they are warned about going too near the surface, as humans are known to hunt their kind, but curiosity gets the better of them and they like to hide in the shallows and watch the people at the docks. They are immediately smitten with the kind human boy who helped them, but they know he is still wary of them. They bring him trinkets from the ocean floor that he can sell, with the hopes of buying his own boat one day; in return Steve tells them stories about the mainland and shows them pictures of strange places. When they are captured, they wait all night for Steve to rescue them, but he doesn’t appear. Their trust in humans is shattered -  they chew themselves free of the ropes and one of their arms is mangled by fish hooks in the process. Injured and afraid they manage to escape and return to their family, and promise never to trust another human again. Over the years, more and more of their people are hunted and killed by humans, and the balance of life in the ocean is becoming unstable. They start to fight back by attacking ships and summoning bigger creatures to scare sailors away from their home waters, but it only seems to attract more hunters, and a vicious cycle begins.

🧜‍♀️🧜‍♀️🧜‍♀️

TEN YEARS LATER, Steve has achieved his dream of becoming a sailor and is a part of the Navy Guard, an organisation that patrols the seas and protects cargo and passenger ships from dangerous sea monsters. It is mostly cold, wet, thankless work, at sea for many months at a time, with rarely a sign of anything, but one night he is awoken to hear that the captain has captured a real sea monster and hauled it aboard. Desperate to see one in the flesh, he sneaks below deck but is horrified to find it isn’t a sea monster, but a merfolk. And not just any merfolk, but one he recognises immediately. Instead of being happy to see him, Murph is furious and attacks him, calling him a beast and a traitor for leaving them to die all those years ago. Steve realises that Murph is the one behind the awful storms recently, in which many sailors have drowned. He’s horrified at their new hatred for humans, and that some of it might be his fault. He overhears that the captain plans to take Murph ashore at the next port and sell them at a high price to a collector, who will probably dissect them for study and sell their body parts. The money from the sale would be enough for Steve to feed his family for years. With only a few weeks until the ship drops anchor, Steve has to make a choice; does he set them free and potentially doom hundreds more people at sea, or does he keep to his code and leave his old friend to die like he did before? And regardless of what he chooses, can he at least make amends with them before it’s too late?

[the-golden-vanity]

Is there anything that’s stood out to you as different or unexpected the first time you went sailing? Especially if you’ve ever spent long trips out at sea. I’m writing a seafaring character and I’d love to hear any firsthand experience about it 👀✨

Hello, shipmate!

Firstly, I'm honored to be asked such a question. I'm far from an expert, but I suppose crewing a tall ship on the open ocean is an experience few are lucky enough to share in this day and age.

I signed on to the Pride of Baltimore II for a voyage up the coast with the idea that after reading so many books about pirates, whalers, explorers, and other seafarers, and after watching so many movies and TV series set during the Age of Sail, the only way I could feel truly complete was by experiencing the Age of Sail firsthand. I think I told more than one person on Boat Tumblr that this would either fix me or it would make me worse.

...I'd like you to guess which one happened.

Much of what I encountered on the ship was familiar to me from history and fiction. However, what reading and watching movies can never quite capture are the physical sensations. Here are a few:

The ship makes noise. All the time. It's very rhythmic and predictable, and it is constant. Timbers creak, ropes strain; if the wind is variable or unfavorable, the sails flap loudly. Some of my fellow guest crew were bothered by this, but I loved it. At the end of a watch, especially one where a lot of work needed doing, the rhythmic noises and the rocking motion of the ship were just what I needed to fall asleep for the next seven hours, or until I was called up for standby. I understand now what it means to be "rocked in the cradle of the deep."

If your vessel is well-ventilated, your vessel is sinking! When you are belowdecks, you are essentially in a wooden box. If it's warm on deck, it is oppressively hot and stuffy below, and although my berth had a door, I kept it open most of the time to catch what little breeze came through the main hatchway. The temperature cooled down as we sailed north, and was eventually pretty decent, except when the auxiliary engines were on. I can only imagine in the 19th and early 20th centuries, with steam-powered auxiliary engines, it would have been even hotter!

No one knows what day it is on board. Everyone's on watch on a "4 hours on—4 hours off—4 hours standby" schedule, so you're on duty for 8 hours total, split between opposite sides of the 24-hour day, so "days" don't really have much meaning. This would probably also explain why I saw several of my shipmates wearing an outfit multiple days in a row–it just didn't occur to them that it was a different day.

Before you get your sea legs, you will spend a lot of time stumbling around, falling on your ass, holding onto things for dear life. This, I think, is pretty common knowledge. What I don't think is common knowledge is the fact that once you get your sea legs, land feels like it's moving under your feet. While you're fully awake, it goes away pretty quickly. However, I was waking up for days afterward—like, 4 or 5 days afterwards—convinced that my room was rocking like a ship. Deeply strange, but absolutely worth it, since it meant I had been at sea.

That's what I can think of right now! Let me know if you have any other questions, I'm always happy to answer them.

[ivebeensetonfire]

What are your thoughts on Stoneward portrayal in the Stormlight Archives? (I finally finished the last book)

Oh boy do I love this question. Let's go to Nuancetown, and have a lovely conversation about this. For those unaware, I am a huge Stoneward fan. In lieu of canon, I wrote my own version of their Oaths, and was extremely excited for more representation. You may have seen my crackpot theory about Adolin being a Stoneward that I developed between books 3 and 4. SPOILERS AHEAD (but you knew that): Let's talk about a few things: what we see of their powers, representation in notable characters (Taln, Stormwall), what I hoped for, and what we got. Let's start easy: the powers. The abilities to make stone like liquid, or water as stone, as well as to make loose or pliable materials rigid and vice versa. On the surface, these sound interesting, but not particularly noteworthy when put up against things like the Windrunners (functional) flight, or the Edgedancers Regrowth healing. Here's the thing.

1: the Stonewards are the heavy infantry to the Windrunners light cavalry and the Edgedancers auxiliary infantry on a battlefield. Their job is to be solid, and to move slow but hit hard. The ability to both aid your own troops maneuverability (see making stairs in steep cliffsides in a Vision) or to bog down your enemies movements (really hard to fight when you're up to your knees in thick mud while your opponents walk briskly across the surface). Additionally, fantastic defensive skill, as it allows for easy fortification building and reinforcement. 2: Allows for highly creative arms utility. See the Stormwall's arm blades. For those unaware, these are very similar to Gideon Jura's sural from Magic the Gathering. These are essentially thin razor strands, that upon command become loose light rope or steel hard blades. Easily stored and allows for high versatility on the battlefield, given how difficult they are to defend against. We get to see some truly biblical stuff done with the Stoneward powers in the Monastery during Szeth's fight and this brings an equal part horrified and gleeful expression to my face. Proper stuff. All in all, I really really like the representation of the powers. Next up, let's talk about the characters. We saw a Stoneward in Rhythm of War in Zu, but she was a minor character at best. The real representation is in the Stormwall, and Talenelat'Elin. The Stormwall: No notes. He's a fantastic character, and everything I hoped we would see from the Stoneward Order. The nickname, the tower shield, the attitude, all of it. My only wish is for a novella of him. I want more Stormwall in my life. Talenelat'Elin: Oh boy. How this man is my hero. While I am sad that we don't truly get to see him rip and tear during the book, I'm glad we do not because nothing could truly do him justice, I think. The imagination will always be stronger than the presentation, and I'm okay with that. Simply knowing that he piled a mountain of bodies of the foes best fighters, while naked and barehanded, and moves fast enough that he leaves a vacuum in his wake is enough. Now let's get into the nuance. On the topic of Taln, I love his character as the One Who Did Not Break. The Bearer of Agonies. We know him as the common man who chose to be a Herald, the one abandoned to hold the line for all of humanity. We know him as Stonesinew. Then, we see him stand to defend the broken and the wounded, and that is absolutely within character and a good thing, full stop. But. The way Stonewards are presented in Character and Style in the narrative strikes me as the Windrunners We Have At Home, and I think that does them a disservice. Now, I love the Windrunners, I do. I love their ideals of protecting others and standing up for those who cannot defend themselves. But Stonewards are different. The difference is subtle, and I feel it was not brought across in the ways it could have been especially in Taln's scene. While a Windrunner will step between you and the foe, with a "Stand back, I've got this fight." a Stoneward steps beside you and says "Come on, let's do this, together." That's the difference between them. A Windrunner takes over the fight to protect you, and a Stoneward realizes it's Your Fight, but is going to back you up as you fight it together. A comrade in arms, rather than a soldier to defend a civilian, you see? I always represent it thus: Samwise Gamgee carrying Frodo up the hill is within Stoneward ideals. "I can't carry it for you, but I can carry you!"

So, when Taln stands to defend the weak and injured, he of course is doing good. But that's more of a Windrunner thing, you see what I mean here? (I'm not a professional writer, so take this with a grain of salt) Here's what could have been done to keep this scene as it was, in essence, but bring across the Stoneward more.

The dome line breaks. The Fused are loose in the city, and the city is dead to rights. Abidi sneers and sends his soldiers after the wounded to break morale. Adolin gathers a few of the less wounded and forms a shield wall at the door, being pushed back inside while they scream for any backup at all, doing everything in their power to hold the line. That is when you hear Taln stand, seeing those who need help. Who need someone to Be There. To stand beside them, in a hopeless fight, to do what is right, even if it looks impossible. To never sit aside and let evil happen before you, especially when someone is trying to stand in the tide. That is what breaks the Bearer of Agonies free of his chains. That is when the Fused know fear.

So in that, you still get the fact that he is defending the weak, but its not the Windrunner taking on the fight for himself, but the ideal of joining a battle as reinforcements, knowing you can make the difference.

You want the ideal (lol) Stoneward scene? The breakthrough scene. Adolin sees that the far side of the Dome battle is breaking, and he knows he HAS to get over there to save the city, and the only way to do it is a Hail Mary style blitz, through the enemy center, hoping that the confusion will allow him the break he needs to get through. So he takes off running, crashing through the lines and makes it to the other side, just in time to come to their rescue. This is already great Stoneward tactics (I Will Be There When I Am Needed is their 2nd ideal), but then, on top of that, to push it to the maximum, his self-appointed bodyguard FOLLOWED HIM THROUGH THE LINES to get there and still has his back. THAT is Stoneward behavior. He didn't take Adolin's fight, but by the Almighty and the Passions he would be there.

So, all in all, I'm very glad we got Stoneward representation, and overall I am pleased with it. I do feel a little let down in that we could have had more pointed moments of Stonewards doing their thing, but instead they tend to feel more like budget Windrunners than anything else. The nuance got lost to me in the narrative, and that made me a bit sad.

[suguwu]

you wake slowly.

there's something buzzing in the air, the low hum of a mosquito's drone. it sinks beneath your skin and resonates there, caught between your bones.

you lift your head. wince at the pull of it, your neck stiff and sore from the position. you take in your surroundings. you huff a laugh and lean back in the chair you're tied to.

"this wasn't quite the candlelight dinner i was expecting, satoru."

he shifts in the chair he's straddling, leaning forward until two of the legs are off the ground.

"i know."

he's beautiful in the candles' glow. it gilds him, warms him, his snowy hair melting into cream, spring-kissed. his long arms are folded on the backrest of the chair; he has his chin tucked into them, the very picture of nonchalant.

you test the bonds, if only for your own satisfaction. with satoru present, there's nowhere for you to go.

"you always did get a little rough," you purr.

he laughs. "you always liked that."

"i did. but the execution chamber is a bit much."

he hums, reaching out and tracing a finger over the talisman pinned next to you. his fingers are tender against it. you wonder what it would feel like to break them.

"sorry," he says. "i've used up all my chances."

you hum. "gojo satoru doesn't run out of chances."

he smiles. "i did this time."

"it was just one auxiliary manager."

"yeah. but the fourth time."

you shrug; it aches, pulling the ropes tight against you. "oops."

he laughs. it's cold-edged, sharpened like an icicle.

"i can't save you this time," he tells you.

you sigh. when you lean forward, he lets you. you sigh again, your breath fluttering over his lips. when you breathe in, you catch his exhale on your tongue.

"you better kill me yourself, satoru."

he smiles thinly, laying a long-fingered hand against the curve of your jaw.

"don't worry," he says. "i will."

[hayatheauthor]

The Rejection Checklist: Manuscript Pitfalls to Avoid

The literary industry’s writing standard can be hard to meet, especially when you’re a debut author querying your first manuscript. Even with a flawless query letter and a captivating storyline, authors often find themselves facing rejection due to subtle shortcomings in their writing. What seems like an insignificant writing quirk to an author can be the reason for an agent’s rejection. 

As an #amquerying author, I have received personalised feedback from agents and editors alike that has helped me curate the best version of my manuscript. If you’re an author looking to get traditionally published, here is my rejection checklist of things to look out for before querying. 

Passive Voice

The use of passive voice in your manuscript can be a stumbling block on your journey to securing an agent. This seemingly innocuous writing quirk, if left unaddressed, can lead to rejection. Passive voice occurs when the subject of a sentence receives the action rather than performing it. It often involves the use of auxiliary verbs like "is," "was," or "has been," which can make sentences sound less direct.

Passive voice can introduce ambiguity and make sentences less engaging. It tends to slow down the narrative flow and may distance readers from the action. Agents and publishers often frown upon its excessive use. Consider the following examples to better understand passive voice: "The book was read by Jane" (passive) versus "Jane read the book" (active).

Agents are looking for manuscripts that grip readers from the start. Passive voice can weaken the impact of your prose and hinder reader immersion. Agents may interpret it as a sign of weak writing, leading to rejection. To spot passive voice in your writing, pay attention to the use of passive verbs and phrases. Look for sentences where the subject isn't the primary "doer" of the action. Reading your manuscript aloud can often help identify passive constructions.

Over Description

In your quest to paint a vivid picture with words, it's easy to fall into the trap of over-describing every detail. While rich descriptions can enhance your storytelling, an excess of it can lead to manuscript rejection. Agents and publishers often seek balance in narrative description.

Over description can slow down the pace of your story and, ironically, detract from reader engagement. When every element is meticulously detailed, readers may become overwhelmed, losing sight of the plot's core. Agents may see this as a sign that the narrative lacks focus and that the pacing is sluggish.

Finding the right balance is key. Instead of inundating your readers with exhaustive descriptions, consider focusing on elements that contribute significantly to the scene or character development. Encourage readers to use their imagination, allowing them to fill in some details, which can create a more immersive reading experience.

An easy way to distinguish over description is by considering whether your passage helps set the scene or is distracting from the actual plot. For example, if your character was kidnapped and in a dark room with a blindfold on their eyes describing what they can hear or the harsh ropes on their wrists would be adequate description. 

However, if you go too much into it and start writing winding paragraphs about the way the chair feels, the smell of moss in the air, etc. you risk ruining immersion. Are these details interesting? Yes. But do you need them to help set the scene? Not really. 

Show, Don't Tell

One of the golden rules of effective storytelling is to "show, don't tell." Agents and publishers look for manuscripts that immerse readers in the narrative by allowing them to experience the story rather than being told about it.

When writers rely too heavily on telling, the narrative can become flat and unengaging. Readers want to see and feel the story unfold through vivid scenes, actions, and dialogue, rather than being handed a summary of events. Agents recognize the power of showing and may be quick to reject manuscripts that fail to employ this technique effectively.

Consider the difference between these two approaches:

Telling: "Sarah felt incredibly nervous about the job interview."

Showing: "As Sarah sat in the waiting room, her palms grew sweaty, and her heart raced. She fidgeted with her resume, her eyes darting around the room as she rehearsed her answers."

The second example allows readers to experience Sarah's nervousness rather than being told she's nervous. To address this issue in your manuscript, focus on crafting scenes that engage the senses, evoke emotions, and enable readers to draw their conclusions.

An important thing to remember is that simply adding a couple of words can also help you show the scene, you don’t have to add new paragraphs to fix every ‘tell’. 

Lack of Atmospheric Detail

Creating a rich and immersive story world is essential for drawing readers into your manuscript. When a manuscript lacks atmospheric detail, it can lead to disengagement and ultimately result in agent rejection.

Agents and publishers seek manuscripts that transport readers to unique and vivid settings. Without atmospheric detail, the story may feel flat and fail to capture the reader's imagination. Agents understand the importance of world-building and its impact on reader immersion.

To address this issue in your manuscript, focus on incorporating sensory descriptions and setting elements that bring your world to life. Consider the mood, sounds, smells, and visual cues that define your story's environment. By painting a detailed and evocative picture, you'll enhance reader engagement.

During the editing process, review your narrative for places where atmospheric detail is lacking. Are there scenes where you can infuse more sensory descriptions or highlight unique aspects of the setting?

Remember that we have five senses for a reason and it isn’t good to solely rely on your characters’ sight.

Character Connections

One of the key elements that agents and publishers look for in a manuscript is the ability to create a deep and meaningful connection between readers and the characters. When you’re researching agents you will often see this listed on their MSWL or website pages. 

Agents understand that relatable, well-developed characters are the heart of a compelling story. Without this connection, readers may struggle to empathize or invest emotionally in the characters' journeys. Agents often consider character development as a critical factor in manuscript evaluation.

To address this issue in your manuscript, focus on crafting characters with depth, complexity, and relatability. Consider their motivations, flaws, and unique qualities that make them stand out. Encourage readers to form emotional bonds with the characters by weaving their personal stories, struggles, and growth into the narrative.

During the revision process, evaluate your characters. Are they multi-dimensional and relatable? Do readers have a reason to care about their fates? By enhancing character development and forging emotional connections, your manuscript becomes more appealing to agents and readers alike.

Dialogue and Authenticity

Authentic and engaging dialogue is a crucial element in creating relatable characters and advancing the plot. When dialogue feels forced or unrealistic, it can lead to a rejection from agents.

Agents and publishers recognize that authentic dialogue not only brings characters to life but also deepens reader engagement. Dialogue that lacks realism can disrupt the reader's immersion in the story. Agents may view this as a sign of weak character development or storytelling.

To address this issue in your manuscript, focus on crafting dialogue that reflects the unique voices, personalities, and motivations of your characters. Avoid excessive exposition through dialogue and prioritize the use of conversation to reveal character traits, conflicts, and plot progression.

A good way to edit your dialogue is by reading it out loud or pasting only the dialogue in a new document and see whether it flows well. You can also add certain quirks or words into your characters’ vocabulary to help you make the dialogue authentic to that character. 

Pacing and Tension

Pacing is the heartbeat of your story, and it plays a vital role in maintaining reader engagement. When the pacing is off or the tension doesn't build effectively, it can lead to manuscript rejection.

Agents and publishers are attuned to the rhythm of storytelling. They understand that pacing and tension are critical to keeping readers turning the pages. Manuscripts that lack well-managed pacing can lose reader interest quickly. Agents may view this as a sign that the narrative lacks direction or fails to hold their attention.

To address this issue in your manuscript, focus on managing pacing effectively. Consider the balance between action, description, and dialogue. Use pacing as a tool to control the reader's experience, speeding up during action-packed scenes and slowing down for character development or crucial moments. Tension should steadily rise as the story progresses, keeping readers on edge and eager to find out what happens next.

Author Notes 

Finally, I would like to remind all querying authors this is an unpredictable and highly subjective industry. Rejection is an inevitable part of the process, and it's important not to let it deter you from pursuing your dreams. 

An agent can think you have a great book and love your writing but still reject it because of external reasons like marketability. And that's perfectly alright because as an author you deserve to find an agent who can help you reach your full potential. 

Accept feedback with an open mind but also with a grain of salt, as not all agents share the same viewpoint. I've had two agents reject the same sample pages because one thought there was too much description and the other thought there wasn't enough. This goes to show there really isn't a one-size-fits-all formula for securing an agent. 

This blog post is a way for me to share knowledge and help fellow querying authors, but it's not a strict guideline you must follow. As you embark on your querying journey, I wish all of you the best of luck in your querying process and remember, one no is never the end of the journey!  

I hope this blog on The Rejection Checklist: Manuscript Pitfalls to Avoid will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[possuminaskirt]

Welcome! Come on in, we're all ready for you. I'm Claire, this is Gwen. We just joined the club's auxiliary training program and we're eager to learn the ropes of what we get to do with you >:}

[scotianostra]

On April 21st 1703 a “Company for the Quenching of Fire” was formed in Edinburgh, the ancestor of the modern fire service.

The crowded tall tenements of Edinburgh’s Old Town had a long history of disastrous fires and fire prevention regulations were introduced as early as 1426. The first fire service was set up in 1703, 12 auxiliary firemasters were appointed , 300 leather buckets made, 12 ladders hung in the Old Kirk and creels full of horse dung or muck made available. Citizens were instructed to keep a supply of water and ropes in their homes and tenements.

Further services were set up by the insurance companies, but these ignored fires in buildings in which their companies had no financial interest. It was not until 1824 that a series of disastrous fires forced the city fathers to set up a professional and independent Brigade, the first in the United Kingdom, under the visionary leadership of James Braidwood.

[howtoditchyourdragon]

Random Wiki Trivia pt.2 (S2)

I’m back babyyyy - my last post of this got a weirdly large number of likes so here’s season 2, I guess. My streak of finding random historical references in rtte continues apparently:

Returning for the random US history references is this: Astrid’s speech to the auxiliary riders in Team Astrid (2x1) is almost word for word of the Rifleman’s Creed, a WWII speech given my General William H. Rupertus of the U.S. Marine Corps so I guess the streak of US history related facts continue

The Twins hug each other for the first time ever on screen in the whole franchise in Bad Moon Rising (2x4)

In real life both Tuff and Snotlout would have died because of the events of Bad Moon Rising - Tuff from the wolf bite and Snotlout from his several bites one of which was a sea snake which are apparently VERY venomous and almost impossible to cure

Ruffnut’s middle name is Eugene

There are several references to classic movies in this season: the first is the ropes being soaked in nightmare gel in Edge of Disaster (2x9) while the Hunters are climbing up them is a reference to Home Alone when Kevin does this with kerosene

In the same episode Tuff says the line "We've been expecting you” while petting Chicken which is a direct copy of a scene and line in James Bond

In A Time to Skrill Hiccup (2x11) mentions the Dragon Hunters have a new net launcher which are exactly the same design as the one Eret uses in httyd2

[emonydeborah]

trektober day 14: historical AU/recruitment

Pikeuna wwii AU for historical AU day

———

"Take him to Number One." Chris swallowed. The tone in which the resistance fighter- Neera, one of the others had called her- spoke of their leader made him feel underdressed for the occasion. He could hardly be blamed for his appearance; it hadn’t been his choice to crash in the French countryside. Still, he surreptitiously tried to smooth his hair and wipe the mud off his face and he was led the through the dilapidated, bombed out apartment building. The ropes around his wrists didn’t help.

People cut off their conversations as he passed, pressing themselves against the wall and staring like they had never seen a man in uniform.

Probably not his uniform, Chris thought with regret. The Allies weren’t even close to liberating this area.

“In here.” Neera opened an apartment door and nodded for him to enter. Shabby wallpaper and cracked plaster flickered in lantern light, splashing monstrous shadows on the wall. Chris squinted in the low light.

Two women were hunched over a table, pointing at a map and speaking in tense voices. The shorter woman was facing the door, and when Chris entered she straightened.

“Commander.” She nodded towards Chris. The other woman straightened to her considerable height and turned.

Chris’s jaw dropped. “Una?”

She was paler and gaunter than when he had known her. Dressed all in black rather than the bright colors she used to favor, she looked more like a prison camp survivor than the leader of a resistance cell.

It occurred to Chris that she could be both.

“Chris?” Her face lit up, and it was the most beautiful sight Chris had seen in some time.

She took a step forward, arms half raised, but glanced around and stopped in her tracks. She cleared her throat.

“Give us a minute,” she said. The other woman at the table bristled, watching Chris with open suspicion.

“Commander, for your safety-”

“Now, La’an.” Una nodded to the guards still restraining Chris, and they let go with some reluctant mumbling. Neera dragged them out of the room, and with a click of her tongue La’an followed them out. She gave Chris a warning look, and held eye contact until she shut the door. Chris tried not to gulp.

Cold fingers on his wrist made him jump, and Una smirked. She pulled the rope off his wrists, and Chris didn’t even wait for feeling to return to his hands before he pulled her into his arms.

She was slower to hug him back than she used to be, but she held him just as tightly as she always did.

The kiss was natural and desperate, anything to convince him she was alive. She wasn’t as substantial as before, and he felt like no matter how tight he held her, she was seconds from slipping away through the cracks in the walls.

She broke the kiss and just held him, trembling.

“I can’t believe you’re alive,” Chris murmured into her hair.

“You thought I was dead?” Una pulled back just enough to look him in the face. She absentmindedly ran her fingers through his hair, and Chris took her hand and kissed it.

“I didn’t hear from you for months, and no one would give me any answers,” Chris said. “I didn’t know what to think.” Una stroked his cheek with her thumb.

“You didn’t think I just got bored of you?” she teased.

“Nope.” Chris couldn’t find it in him to make it a joke, but Una still smiled. She didn’t offer any answers, just leaned her forehead onto his with a sigh. “Una.”

“Hm.”

She didn’t want to talk about it. He hadn’t seen her in eighteen months and he knew she didn’t want questions. But his last thought before hitting the ground had been of her, and how he was going to see her soon.

Not like this, though he much preferred it this way.

“How did you end up here? What happened?”

Una sighed again. “I couldn’t stand by any more, Chris.”

“The Women’s Auxiliary-”

“I know, it was important work, but I felt so useless.” Despite his resistance, she peeled herself away and led him to the map. “Did you know I was born here?” She pointed to an obscure town a few miles from what Chris guessed was their position. “My parents moved us to America when I was seven, made me a proper American girl.” Chris wrapped an arm around her waist, unwilling to let her get too far. “I enlisted to fight for America, but the more I heard the rumors out of France the more I wanted to help.”

“You were helping,” Chris insisted. “You and the other auxiliary pilots-”

“It wasn’t enough!” Una burst. She broke away and rounded the table. “People are fighting and dying everyday here. Not soldiers, civilians, young and old, women and children- I had to do something.” She gripped the edges of the table, face reddening in her fervor. “I dropped off my plane but I didn’t go back to the states. I hitched a ride across the channel and made my way here and I didn’t look back.”

Not once did she look up into his eyes. Her gaze was locked on the little town, barely more than a dot on the map. Chris slowly made his way around the table and laid his hand over hers.

“That was really brave,” he said quietly. She let out a breath.

“I’ll try to arrange for you to get back to your men,” she said, businesslike. Chris’s eyebrows jumped up.

“Through that?” He gestured to the enemy strongholds, a thick barrier between him and any allies.

“We’ll get it done,” Una said firmly. “There’s a path, most of us know it.”

“Una.” Chris squeezed her hand. “Let me rephrase: I’m not leaving you.” He nodded at the map. “It’s not worth risking anyone to get me through there.”

“Chris-”

“I’m not losing you again.” Una knew better than to argue with that stubborn tone. Chris grinned. “You need a pilot?”

“Nope,” Una answered. “But I’m sure I could find a job for Captain Christopher Pike.”

[asahiropesblogs]

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Tag:- 6x19 steel wire rope supplier,  Auxiliary rope,  6x36 wire rope sling

[nathanielbuildsatesseract]

Post-Traumatic

Kainora Week, Day 4

I don't know what happened this weekend, but two years later I finally finished writing another of the Kainora Week 2022 prompts. It must be a Thanksgiving miracle.

This story takes place in my Pacific Rim AU, of which I've published exactly one sentence before today. Content note for kaiju-vs-mecha action and attempting to salvage the TLOK Season 2 finale.

The op had categorically gone to hell.

Unavaatu had them on the ropes, and not just metaphorically. The betentacled Category 4 had come through the Breach and beelined for Republic City, brushing off of levels conventional deterrence that had obliterated lesser kaiju. With both of the Shatterdome’s Jaegers out for repairs and the Earth Kingdom and Fire Nation teams hours away, the United Forces would probably need to drop a nuke (or three) in Yue Bay if there was going to be any hope of saving the rest of the Republic.

From her position in the Shatterdome, Jinora willed Juicy Blue to another swing at the kaiju. They’d launched the untested prototype Jaeger in a last-ditch attempt, but there’d been no time to un-rig the remote piloting system. Korra had actually gone out in the damn thing, and the millisecond lags between their actions was costing them. No one was meant to drift over such distances.

She could feel Korra thinking the same thing. They weren’t even regular drift partners, but none of the other experienced pilots had trained on the system. It was this or sacrifice the city.

Their swing was too slow, and Unavaatu managed to ensnare Blue’s arm in its tentacles. A part of Jinora’s mind wondered how it controlled that many, did it have an auxiliary brain for it?—but most of her attention was on trying to break free. The Jaeger’s chest-mounted laser cannon was ready to fire again, and they unleashed another pulse. The kaiju staggered, but didn’t let go.

Another swing. Another miss. Another fire. The dance repeated, seemingly endlessly, until Unavaatu maneuvered itself and took a damaging stab at the Jaeger’s torso. System failures screamed across Jinora’s consciousness. Power, cooling, armaments, controls, communications. The drift faltered and failed. Korra’s mind disappeared in a storm of searing pain—

“Jinora, wake up!”

Jinora’s eyes shot open. She was soaked in sweat, drawing breath in long heaving gasps as she took in her surroundings. A dimly-lit Shatterdome dorm room, the too-small bunk, and her boyfriend crammed in with her.

“You were thrashing and crying out,” said Kai. “Were you—?”

“The battle. With Unavaatu,” she managed to get out. The sights and sounds and sensations were still running through her head. “The drift breaking, Korra—”

“Is fine. We just saw her after dinner,” said Kai, stroking her hair. She forced herself to take a slow, measured breath. He was right. They’d last seen Korra a few minutes before taps. The experienced pilot had been teasing the young couple about their little sleepover.

Jinora felt a familiar, gloriously mundane huff of indignation at that. Opal hadn't given them any grief over letting them have the dorm to themselves, and Korra was sure one to talk!

“I didn’t realize you still had nightmares about it,” said Kai. That was true, he wouldn’t know. She hadn’t had one with him, before.

“Less and less. But they haven’t stopped.”

“Do you think going into battle brought them back?”

“I don’t know. Maybe.” She rolled over to face him. “Hold me?”

“Of course.”

Kai tucked her head under his chin, holding her close to his chest. It was a bit sweaty and uncomfortable, but Jinora found she didn’t care. She focused on regaining control of her breathing, slowly matching Kai’s tempo.

“What time is it?” she asked once she had.

Kai strained slightly to see the clock. “0230. Do you think you can get back to sleep?”

“Yeah.”

“Okay.” Kai gave her a gentle kiss on the forehead. “Goodnight, Jinora.”

“Goodnight, Kai.”

Moments later she was dreaming again, this time of their many successful simulations and handful of victorious battles on the rim of the Mo Ce Sea.

[rocketrouquine]

And here we go Episode 3, second viewing :

The little squeaking wheels as Stede is following with the towels, fuck me.

Sergent Maaka, you don’t recognize Anton? Shame on you. (Also John bartholomew is a real pirate, right *goes to check* « Bartholomew Roberts, de son vrai nom John Roberts » okay, no)

Queen, this is how I aspire to talk to some of my male collegues. I have the passive agression irony nailed down but the gorgeous pettiness ? gurrrrl you got it locked ! And then they are eating in the palm of their hand

aaaww forget it… it’s sillyyy GIRL I’ve done it so many times, stop it.

So a …Talk it through or die situation ?

« The revenge ? » « our ship. » « ED » And this is the moment I lost all dignity on my first viewing.

I was actually jumping like Stede in the water like there was a fucking trampoline in my shoes.

Do you remember the pilot episode when he struggled going down on a rope held by his crew ? Now, he’s climbing all by himself from the fucking sea ! GROWTH.

I heard your sneaky little notes, Gnossienne, don’t triffle me !

Ahahahaha ! When the guy responsible for the zombie apocalypse shows up back from his vacation. These poor birds though… Buttons would be most displeased. (Imagine if it was Olivia… I would slaughter everyone)

The « oh shit. This ? is this Stede?! » is so precious to me as a film maker/technician because in almost everything I watch, these basic human and normal reactions when people get caught up with information are never shown and it takes me out of it because suddenly, I see actors playing their lines. Here, I believe it. (Even if it’s just played for laugh and to press the fact that Stede is in fact NOT what you would think about, if your pirate life had been ruined by him leaving fucking legend Blackbeard)

Why can I get a straight answer from any of you ? I see what you did there, David.

And here he is : bitch Bonnet right on cue every time Izzy is around. I love him.

Thank you Zheng Yi Sao to confirm what I suspected with leather and sea weather : BO.

Apart from the cold blue sky, this is the same beach where Steard bested Izzy and rolled around in the sea with smouldering Ed. I had theorized that this was a fever dream/coma, sooooo very happy about it.

Am I your hostage ? Wow. This rings a lot different when you know who « just Ben » (just Ed ) is.

On my first viewing, when auntie goes all Will Graham *this is my design* I was sure someone had snitched to her and she was playing them. Obviously nobody did so she really guessed everything. Sooooo is Buttons really a sea witch, anyone ?

« You’re kinda the best friend… » I screamed FRIENDZONED but now I don’t know… a polycule or throuple could work, it’s just not what they set last season and it kinda shows (feels forced if what I mean)

Aaaaaand HERE YOU ARE GNOSSIÈNE ! With the 50 knives and shit… (go to the auxiliary closet I want to see if all the fan fictions were right)

I don’t mind actually. I think the knives really help bring the place together Stede, your metaphor is showing.

I know you think you understand him…. *Stede proceeds to say exactly what happened.* Open your eyes, Izzy. You’re not the one understanding him.

Ahahah his crutch is a mop. Sorry, not funny. (Kind of funny)

Maybe I’m an horrible person but if I was Stede, I would be kind of be flattered/proud that my boyfriend (shipmate) would go that insane by me leaving.

When Izzy tells him that it’s both their fault, all that follows is such a different vibe. There is fucking respect and equality in the dialogue. You can almost sense a captain and his first mate talking, devising a plan. Who would have thought ? (It’s a joke, a lot of people)

Who’s the pig ? Who does the fucking pig represent ? I need to know.

Move on. Blow your brains out. Make some soup. Ok.

Girl, how are you ? you are insane, writers. I worship you.

Edward Teach | Jeff / Reader, AU, Inn, confort, angst, TW multiple killing

I loooooooove Taika in this scene. All playful playing with his little accessories and stuff. Keeping his cool and being like okay why are you being a dick, play the game correctly please. Don’t worry baby girl, Stede is excellent with people. No client will end up dead. (I think)

Holy shit, Stede was the only one he ever told about his father. Not even Izzy. Wow.

Come on Bonnet give me your worst. The silent devastation in both of them. The feeling of waste. Uh I can’t. And then he helps them escape and take back the revenge and being an excellent resourceful captain and they are following him like a real crew (now I know that it’s going to be Ed who can’t move, getting better and Stede being the captain…) AAARRRHH FUUUUCK and then he, he… oh shit, here we are, it’s coming, this fucking scene…

But before :

Intercourse. Orgasms. A lot of them. You thought of him. You gonna fuuuuuck.

Boatmance (the queen is not up for a polycule, if you were wondering)

The immediate joy of everyone around Stede making the escape. He’s the best. I’ll fight everyone to the death. (And look at him making his little knots like it was nothing. Honestly I don’t think Izzy has that much to learn to him.)

Am I the only one hearing « JULIEEEEEEETTAAAAA !? » with this music ? No, only me ? Okay. (Mind you, I was 12 when Romeo+Juliet was released, it’s kind of imprinted in me like the trigger words in the winter soldier)

I fucking knew Olu would move his feet like a little school girl/boy, I SAID IT ! You just have to scroll up. (I was so sure Jim would be the one surprising them but it’s a better show than that)

* Zheng Yi Sao sees Olu waving.* Girl, how are you ?

Stede crying his lost love after having fixed some mistakes with gusto and a smile. What is it in my eyes ? Is there some fucking dust in the air or what ? (They are already cleaning the ship in the background)

HornigoldEd is doing a fine impression of calico Jack if I dare say.

Ed doesn’t want to die, I repeat. He had made a choice to live. It’s just that some other part of himself thought he was too far gone. And that’s where Stede saved him. But he was gonna live for himself also… next week is going to be glorious.

*Kate Bush in the distance* oh no.

*Sobs uncontrollably*

I started to laugh through my tears because it’s fucking Rhys Darby swimming with a glittery goldfish attire and chest hair glowing in the sun. But then… The profile of the both of them. Their smile. Taika’s lean into Rhys’s space -> and yes I said Taika because you mothaf*ckas KNOW that it was an impro like the foot touch. (On third viewing, Rhys is leaning first very subtly and then Taika GOES FOR IT)

And then the hand. The gasp and laugh.

Time of death : 02:32 am, Paris, France.

Ps : the black cravat is back on (we didn’t see it before) when Ed goes into the storm, it’s off when he’s in the gravy basket, it’s on when Stede makes him come back to life.

[bubblesandgutz]

Every Record I Own - Day 797: Rolling Stones Their Satanic Majesties Request

The Rolling Stones put out their first album in 1964. By 1967, they had released their eighth album, Their Satanic Majesties Request. Despite those fruitful first couple of years, there isn't much from that period that really appeals to me until they released Aftermath in 1966. Up until that point, the majority of their catalog consisted of covers, with the occasional original tune by Jagger and Richards thrown in for good measure. While their early takes on American blues and rock n' roll weren't without their merits, those early albums have yet to really rope me in. For me, the Stones become interesting when they become their own songwriting force.

While by no means their first flirtation with baroque pop / psychedelia, Their Satanic Majesties Request captures The Stones at their most "out there." Sure, they would take a stab at a ton of different music styles over the next ten years... everything from punk to disco to reggae to gospel... but no Stones album seems less in step with their general sound than Satanic Majesties.

Forget whatever you thought you knew about the Stones: Their Satanic Majesties Request is a strange and fantastic trip. Initially panned by critics and chalked up as a rip-off of Sgt. Pepper's Lonely Hearts Club Band (somehow neglecting the Stones' penchant for being the evil twins to the Fab Four), the album has now generally been considered a standout of their lengthy career. Sure, "Sing This All Together" and "On With The Show" possess some of Sgt. Pepper's strange carnival spirit, but the Beatles never went as far down the rabbit hole of psychedelic drones and sound collage as the Stones went on tracks like "Sing This All Together (See What Happens)" or "Gomper."

I'd also argue that nothing on Sgt. Pepper's comes close to pop perfection as songs like "2000 Man" and "She's A Rainbow." If your idea of the Stones involves Keith Richards' pentatonic guitar lines and Mick Jagger's sassy vocals, you'll barely recognize the band on Satanic Majesties. The guitar is buried in a mix saturated with organ, brass, sitar, and auxiliary percussion. The songs are constructed around pop melodies and studio experiments instead of riffs. While most Stones' albums from the '60s and '70s involved the band jamming together until they captured lightning in the bottle, Satanic Majesties was pieced together as members wandered in and out of the studio between dealing with drug issues and resulting legal troubles. As a result, it sounds less like a rock band in the wild and more like, well, what you see on the album cover.

Their Satanic Majesties Request vacillates between pop perfection and the kind of sonic explorations that krautrock bands would make their bread and butter in the next decade. It's strange. It's catchy. And it's one of those most exciting outliers in the Stones catalog.

[orions-bolt]

Just out of curiosity, what’s your workout routine?

First off, I’m super flattered that someone is actually asking me this 🥺 Here is what I typically do every week:

Sunday:

Squats are on Sundays, and I always start by doing back stretches beforehand. It’s easy to fuck your back up doing them, so this is a must! I do a full pyramid routine with 9 sets (max out on weight at set #5). When I’m done I usually do hip adductors and abductors, leg curls, and calf raises. In between these workouts I usually do some forearm curls or shrugs as auxiliary exercises.

Monday:

Usually I just hit up the gym and do deadlifts. Sometimes Monday is a break day depending on how I’m feeling. If I take the day off, I add deadlifts to my routine on Tuesday.

Tuesday:

Dumbbell chest press, waiter curls, upper cable flies, overhead tricep extensions with rope cables, and incline dumbbell chest press

Wednesday:

overhead dumbbell tricep extensions, seated one arm dumbbell curls, cable tricep pushdowns using the V-bar, rope cable curls, overhead tricep extensions with rope cables, incline dumbbell bicep curls, standing dumbbell curls - with these I do a circular motion - start in a hammer curl position, then come back down with the dumbbells horizontal.

Thursday or Friday:

seated shoulder press with dumbbells, lat pulldowns, face pulls with rope cables, seated rows, dumbbell shrugs, and standing dumbbell flies

Saturday:

dumbbell chest press (sometimes i’ll do bench; just depends on my mood), waiter curls, upper cable flies, rope cable pulldowns, and incline bench press

[sayitaliano]

Saltare

The verb saltare translates as "to jump", but it has many idiomatic usages you can hear us say in our dialogues. Usually "saltare" needs the auxiliary verb "avere" especially if you use it to refer to a serie of jumps or a prolonged action (eg. ha saltato tutto il giorno = he jumped all day long), but if you use it for a single jump or the passive ofc you'll need the verb "essere" (eg. è saltato giù dal letto = he jumped out of bed; sono saltato sull'autobus = I jumped on the bus; mi è saltato *via* un bottone della camicia = a button broke away from my shirt).

Next, I am going to list a few examples of the general meaning and of the figurative (=fig.) one.

saltare con la corda: to jump the rope

saltare *via* qualcosa: to jump sth away (eg. saltare la siepe: to jump the hedge away); OR saltare qualcosa: to jump away/to not do/read... out of distraction (eg. leggendo, hai saltato una riga: you missed/didn't read a line) or out of any other reason (eg. ho saltato una lezione: I didn't follow/missed a lesson; saltare una classe/un anno -scuola-: to miss a class/a year of school)

saltare qualcuno: to jump sb away (esp. in sport fig. to dribble); OR to not include someone/leave someone out of something (eg. hai saltato una persona nell'elenco = you missed/left out a person from the list) also in the passive form "venire saltato": to be missed/left out

saltare a piè pari : to jump with both feet (also fig.: to avoid doing something on purpose)

saltare dalla gioia: to jump out of happiness/because you're happy (also: fare *i* salti di gioia)

saltare dal trampolino: to jump from the diving board

saltare in sella alla moto: to jump on the motorbike (fig. to sit on a rush)

saltare addosso a qualcuno: to jump on someone (to attack sb out of anger/passion -fig.)

saltare al collo: to jump at the neck (to hug or attack someone -fig.)

far saltare qualcuno: to make sb act/do what they need to do (fig.) or to make someone jump the rope (while holding the rope); also to remove from a job/dismiss (eg. far saltare il governo/il presidente = to dismiss the government/the president)

saltare come un grillo/un canguro: to jump like a cricket/a kangaroo

saltare via: to jump away (something breaking suddenly away like a piece of plaster or fig. to jump scare)

saltare in aria: to explode (fig. lit. to jump in the air; at times used just as "saltare" as well eg. far saltare la banca = to make the bank explode)

far/saltare: to make something break suddenly (fig. eg. far saltare la serratura: to make the lock break away/shoot it; è saltata la valvola: the electric valve broke away)

far saltare i nervi a qualcuno: to make someone angry (fig. lit. to make someone's nerves break away)

(far) saltare a la mosca al naso: to get angry/lose patience (fig.)

TW (fig.) far(si) saltare la testa: to shoot you/sb in the head /TW

saltare fuori: to jump out of something suddenly; (fig.) to discover something suddenly; also found as "saltare su": to say/do something suddenly and often at the wrong time

far saltare fuori qualcosa: to make something reappear suddenly out of nowhere (fig. usually for something lost eg. fai saltare fuori i miei soldi = make my money jump out back again)

saltare agli/negli occhi (also as volare negli occhi) a qualcuno: to overreact to someone, to angrily reply to someone even physically (fig.)

saltare agli occhi: to notice evidently (fig.- eg. la differenza di colore salta subito all'occhio = the color's difference can be easily seen/spot)

saltare in mente/testa: to have an idea pop up suddenly in your mind (fig.)

saltare da un posto all'altro/da un'idea all'altra = to jump in between or consider at the same time two places/ideas also without a logical explanation (fig. fixed expr.: saltare di palo in frasca)

saying: o mangi questa minestra o salti la finestra: lit. you eat this soup or you jump out of the window. (fig. to choose the less painful option among two kinda harsh/difficult ones)

saltare in padella: (food, fig.) to make food "jump in the pot" so that it won't burn

(feel free to check here for more)