#and went to that specific instance and used that as the starting sentence

[feralghxuls]

🌹🌹🌹 :)

He curls his toes into the rocky, sandy creekbed, the tension flowing out of him as the water swirls around his ankles with the speed it picks up from flowing over a pile of rocks that stretches across the width of the creek. His skin warms where the water swirls around him, the familiar pleasant tingling of his elemental magic spreading through him. He really should take his clothes off first, but the pull of the water, the desire to be submerged overtakes him, and a moment later he’s lying on his back in the water, a content sigh spilling out of him as he closes his eyes and lets his head go under.

[ajaxbell]

The Truth subtitle files

The Truth/Let's Start Reasoning season 2 is an amazing show, but I think we can all agree the English subtitles are a mess?

Because I wanted them for myself, and I'm always happy to share, here are some very slightly cleaned up subtitle files. You're welcome to download and use these files or edit them yourself as you see fit. (And I'll continue to add new ones as the eps air.)

For clarity, I'm no translator. My Mandarin is barely above toddler level. All I've done here, for the most part, is fix names. There's several places where names are translated literally causing confusion. king for Wang, shellfish/shellpot/scallop for Bei Guo, minibus for Xiao Ba, and so on. Plus the many variations of push for any instance of 推 Tuī.

I did take liberties in a few places. In ep 8 there's two NPCs called Tui AI and Tui Ai (推AI and 推爱) and for English reading clarity I rendered Tui Ai as Tui Mou since there's several instances where they seem to be saying 推某 (Tuī mǒu) so I just went with it.

In a very few rare instances I slightly restructured a sentence. So definitely not fixing for accuracy here, just clarity for following along if you don't understand any Mandarin or simply find the machine translated subtitles in the chaos that is this show even more confusing.

There's a text file in with the subtitle file downloads explaining how to use them if you don't already know. I'm in the US and watching via YouTube, so these files are for those specific videos. If you want to further edit the files, any text editor should do (but I recommend Notepad++).

Again I pretty much only fixed names, and left most the wild weird artifacts of machine translation. Because honestly I find it adds an enjoyable surreal quality to the show. I only wanted to be able to follow who was being referred in the show without having to rewind and listen to what they were saying when the subtitles failed at their job. ETA - there are now two folders at the link, one with files with mostly just fixed names, and one where I've fully edited some files in an attempt to make all of it more coherent. But again I'm not translator (still I think it's better than Tencent gave us on Youtube).

But really sometimes the subtitles are so good they are bad, right?

[bookofmirth]

Since you think ACOTAR5 may be Azriel's POV at the start of the crossover (and you make a very good case for this), but I'm curious how do you think Gwyn's POV (or Elain's) would work in between his chapters? Both of them were completely absent from the crossover events. We know the next two novels are traditional romances with alternating POVs, similar to ACOSF.

Hello! Since @myfriendscallmeraba had a similar question about pov on my prison post and whether we would "need" Nesta's pov, I thought I would tackle both issues here!

First off, here is my post about how acotar5 might begin, for reference. I know this is what you were responding to, I'm just throwing it out there!

So, I use the term "pov" pretty fast and loose because that's how the fandom refers to it, and because saying "third person close, omniscient narrator who focuses on specific characters" is too much of a mouthful to say every time.

Since acotar is now in third person, there are central characters and the narrator follows some of them more closely, but it is not limited in the way that it was when Feyre was the first-person narrator. In fact, in acosf, we were privy to Gwyn's thoughts:

Roslin, Ananke, and Deirdre were close on their heels, propelling Gwyn to push her group harder. She wanted to be the first. Wanted Nesta and Emerie and her to be the ones who wiped the smirks from Azriel’s and Cassian’s faces. Especially Azriel’s.

This whole section is actually quite removed from most of the characters and is describing the Valkyries' experience of going through the obstacle course. The sentences I have highlighted above are Gwyn's thoughts. They are not being told to us because Nesta is hearing them, and in fact, the whole scene is being told at a remove. It's not being filtered through any one characters' perspective, but is "above" them, so to speak, discussing them all:

More of the priestesses cut the ribbon—Roslin. Deirdre. Ananke. Ilana. Lorelei. Everything Azriel and Cassian threw at them, they took and threw right back.

Since sjm has switched to this narrative style, it's not outside the realm of possibility that the narrator back away from the action a bit, providing us with a specific character's thoughts at one point, and then giving us a broader view of the scene in the next.

In my completely gwynriel and elucien-biased opinion, I think that Gwyn is actually going to be present in the crossover parts, when the narrator follows Az. In that original post, I noted that we have a few gaps in our knowledge right now:

How the IC reacted to Bryce landing and how they decided what to do with her (she went from the river house and with no discussion, UtM?)

How they make use of Merrill's research (which Gwyn is familiar with)

Rhys telling the IC that he had been aware of this possibility

How they react to this new info about their history

And in all of those instances, other characters could/should be present in, besides Az and Nesta.

I definitely think that it's possible for sjm to bypass that whole bit and just give a "previously on acotar: other planets are real" infodump. But even if she were to do that, she could easily incorporate Gwyn and Nesta into the story in the same ways that Emerie, Gwyn, and Azriel were incorporated into Nesta's.

So then the implications for Nesta having such a huge presence in Azriel's book are pretty simple to me; she will be a friend to him in ways that the IC has been unable to. They clearly approach him with kid gloves and are super hesitant to ask him questions they think will trigger his anger. Nesta has proven that she understands Az on a deeper level that perhaps the IC can't. They are too close to him and have been for a long time.

We also saw their closeness in hofas. Az and Nesta's friendship has reached a deeper level than we saw before.

Then there is the fact that the Valkyries and Illyrians are going to keep training together. And my idea for the Prison in the next book.

I think that even though yes, each book focuses on one couple, and yes, there is one main character with a love interest, that doesn't preclude other characters from being important. We wouldn't say that Eris was inconsequential to acosf, or Emerie, or Feyre, or Gwyn. They all had a role to play, and by using third person omniscient, sjm has made it much easier for her to incorporate them without it having to be filtered through the main character's pov.

I hope that this makes sense! I think there's a lot of confusion in the fandom about voice and perspective, but if anything, the way sjm has switched to third person for the series makes it more possible for us to see the bigger picture - including other characters' involvement.

[yikes-strikes-again]

highlights from my adventures in Area X, totally blind the whole time until i finished Acceptance. Spoilers for all of it.

me being neurotic about spoilers (this is a common theme)

obsessed with how this is my first instance of theorizing. the last two sentences are eerily accurate and i can't believe i said "alien planet" that's hilarious

this is good analysis too bad i was missing a key piece of information that makes my inadequate conclusion actually make sense

middle of Annihilation, first attempt at analyzing Where lies...this is actually pretty close to what I think about the tower text Now except missing the parts that would have never occurred to me without reading further (that the Crawler is Saul and that Area X is not on earth).

aw this is so cute. They don't even know about the first expedition footage with the sky leviathan POV (i have a pet theory that SR used that clip specifically to brainwash the husband. this is supported by his anecdote of falsely attributing memory to lived experience when its origin was television, as a young child)

i was so right

this is so funny. you are like a little baby

this is still Based

The Antics

this theory is so fucking funny considering how much grace hates lowry

this was like the least brutal of my Control roasts. they ramped up considerably in Acceptance

then i stopped reading the trilogy for eight months and had to start over Authority. but i still thought about it. this is me thinking about it.

This was me like a third of the way into Authority. What the fuck. It's not that creepy when you consider the information dispensed by that point but it's still kind of creepy how accurate my actual predictions were when my ideas were still wrong

then i went to sleep and

so true, me. So righteously true. magic IS real and it's coming to fuck up your town

Future me here: Yea it was a red herring

More Control roasts:

CALL ME IMPORTANT THAT'S MY NAME

Fragment of my "Area X clones are agents of germination" theory. I felt so smart at the end of Authority. So in Control if you will. And then

it was fucking life changing. the homosexuals that they were

first drama in the gc...

This is when the amount of Divine Knowledge brought to me by Accemptance started to get to my consciousness. Once i start saying phrases like "the virgin control and the chad ghost bird" and "the Caroline to his GlaDOS" and "everyone is a clone of a clone of a clone of a clone" that's when you know i've lost the thread

more disjointed quotes because i ran out of images:

"the BASED control vs. the CRINGE everyone else is no longer the dynamic because he's not narrating. i feel like i just broke up with him" "so does ghost bird probably"

"The time dilation really came out of left field. Kind of like a "well shit. thats a hell of a mystery no one thought was a mystery and didnt even really need solving. but damn if it didnt just get solved so nice work"" <- me forgetting how hard i tried to solve the mystery of the cellar journals compost

"When they see that reflection of themselves, they despise it, they need to destroy it This series is about environmentalism as much as it could be The need to make Area X an enemy with a pathological desire to destroy says more about the humans than it does Area X. When they see themselves, they hate so much what they see. But I don't think Area X necessarily hates humans at all. Only the biologist/Ghost Bird can even seem to contemplate that. Maybe Whitby could, briefly, in his endless circular ramblings, but that did not quell his fear and hatred for himself" <- rumination on automatic senseless clone violence

at one point i got whiplash from the Grumpy emotion i got from biologist's borderline ecofascism to the Intense Bittersweet of Saul's fatherly attachment to Gloria in light of everything and then the Pain of trying so hard not to laugh at the thought of someone saying "Don't talk to me like I'm an idiot, I'm aware this looks strange" in response to being caught washing a mouse

"phone creature even BETTER than mouse washing" I characterized the phone creature as "little Lowry - his son that he doesn't want" because that amuses me forever

i love how i'm like "i could pass on more of lowry, i'm so sick of that guy" and then proceed to write four Thousand words of meta about him. i like the Theory of lowry. he's a horrible broken man who throws drinks at milves

and i love imagining that everyone who comes back from Area X is a clone no matter what not because that makes any sense but because i get to imagine two versions of every character. i'm like "i love the idea of Lowry being a clone all this time and somehow being protected from the fact by a quirk of his creation. And that he's imperfect compared to Original Lowry in odd ways but SR just chalked up his change to the intense trauma of the event, and if it ever seriously occurred to them they decided it didn't really matter. And if he knew. I don't know what he'd do And real Lowry is a megalodon in the ocean terrorizing plankton instead of lower-tier bureaucrats"

another thought: "I still love the thing that stitches across the sky. I think it's an avian cosmic leviathan, as the biologist is an amphibious cosmic leviathan. You could call it a dragon."

i ended up with a pretty secure Grand Unifying Theory that isn't interesting because you probably all have the same one. It's about the process

my final words of wisdom:

that's the books.

[gayartbirb]

About Poison Ivy and Count Vertigo

Hi, hello, I’m not dead, I’ve just been incredibly busy and kind of taking a break from social media in general. Currently on a MASSIVE DC Comics kick and there’s one particular topic that I’ve seen some HORRENDOUS takes about on here, so let’s discuss.

I never thought I’d be saying this, but CONTENT WARNING: I’m unfortunately going to be discussing topics related to rape and sexual assault below the cut. If that ain’t your cup of tea, I completely understand, and you’re free to scroll away now. TLDR if you don’t wanna read the whole thing: I’ve seen people accuse Poison Ivy of raping Count Vertigo just because she brainwashed him. These people have clearly never read the comic in question, and I’m sick and tired of this misinformation being spread around.

Okay? Okay, let’s do this.

So, it shouldn’t suprise anyone that Poison Ivy is probably one of my favorite DC characters of all time. I mean, I consider her to be one of my first gay awakenings (the others were Darcy from Winx Club and Emma Frost from Wolverine and the X-Men, if you’re wondering). So, when I see people accuse Ivy of being a full-blown RAPIST, I’m obviously gonna be upset.

Now, me being a simp is not clouding my judgement in this case. When I first saw people making this claim, I tried my dammdest to put my bias to the side and figure out what the hell these people were talking about. Lo and behold, I find out that it’s complete BS.

This particular claim stems from John Ostrander’s run on Suicide Squad starting back in 1987. I’m specifically referring to issue #45. This section on Count Vertigo’s Wikipedia page explains what went down infinitely better than I could, so I’m just gonna quote it here:

“He would later come to join the Suicide Squad in exchange for a shortened prison sentence, and it was revealed that he was plagued by bipolar disorder. After the Suicide Squad disbanded for the first time, Count Vertigo was captured by Vlatavan rebels, who wished to use his powers to overthrow the current Vlatavan government. They used a variety of drugs on him, each with a differing effect on the Count, as he would for example suddenly see himself as an Angel of Vengeance, sent to wreak havoc on the current rulers. Although he largely believed himself master of his own will, his mood swings were completely subject to his captors.

He was captured by Poison Ivy when the Suicide Squad came in and resolved the conflict and Kaligari (then-ruler of Vlatava) was murdered. Count Vertigo was Poison Ivy's slave for a long period of time, during which he grew to hate Poison Ivy and frequently threatened to kill her when he was free of her control. Amanda Waller was able to free Vertigo of her control so that he could stop a group of missiles hitting Dome of the Rock in Jerusalem at the behest of the villain Kobra. If the Dome had been destroyed, innocent lives would have been lost in a resulting war.

Vertigo succeeded, and it turned out that as he went into rehab and expunged the chemicals that had been pumped into his body by both Ivy and the rebels, that he was unwittingly cured of the disorder that had plagued him for so long.”

I’d also like to point out this snippet:

“Vertigo also resolved his grudge with Poison Ivy. During the War of the Gods crossover, he was perfectly willing to let her die when he found her abandoned on an Amazonian island; ironically, she was bound and promised whoever freed her, her undying devotion. Snickering snidely, Vertigo left her to die in the ruins of the collapsing temple they were in. Still, Ivy was saved, and Count Vertigo would later reluctantly work alongside her in the Suicide Squad, leaving their grudge be.”

Now, what does this have to do with Ivy allegedly being a rapist? Well, I’ve seen multiple people on here claim that Ivy raped Count Vertigo when she brainwashed him. To be quite blunt, this couldn’t be further from the truth. There is no, and I mean NO instances of Ivy raping or assaulting Count Vertigo. The worst thing she does is have him do things for her. That’s it. No overly sexual stuff in there at all. Here, take some pages that (hopefully) prove my point:

So, tell me why I’m seeing people say stuff like this (these were all taken from @super-hero-confessions btw. No hate to that blog, and I’m sorry y’all got caught in the crossfire on this one):

“What Poison Ivy did to Count Vertigo is exactly what Purple Man did to Jessica Jones. If it’s okay to stan Ivy, then it should be okay to stan Killgrave.”

“POISON IVY IS A RAPIST, USING HER PHEROMONES TO MAKE PEOPLE DO THINGS THEY WOULDN'T NORMALLY DO IS THE SAME AS GIVING SOMEONE A DATE RAPE DRUG. TRYING TO CALL PEOPLE HOMOPHOBIC BECAUSE YOU DON'T LIKE THE PAST OF YOUR FAVE CHARACTER BEING POINTED OUT, JUST SHOWS IMMATURITY AND THE FACT THAT HARL/IVY FANS FORGET THAT IVY IS A VILLAIN.”

“IT'S REALLY TELLING TO ME THAT THE PEOPLE WHO CALL JOKER A RAPIST FOR WHAT HE DID TO BARBARA ARE THE TYPE OF PEOPLE WHO MAKE EXCUSES OR TRY TO DOWNPLAY POISON IVY ACTUALLY RAPING COUNT VERTIGO. "IT WAS A DIFFERENT TIME BACK THEN, IT DOESN'T COUNT." YOU'RE DISGUSTING AND A HYPOCRITE.”

“I LOVE SEEING POISON IVY FAN BLOGS SAYING IT'S WRONG TO LIKE PURPLE MAN BECAUSE HE'S A RAPIST. I GUESS THEY THINK A WOMAN RAPING A MAN LIKE WHAT IVY DID TO COUNT VERTIGO DOESN'T COUNT.”

“POISON IVY DOESN'T DESERVE A REDEMPTION ARC BECAUSE SHE IS A RAPIST.”

“IT ANNOYS ME WHEN PEOPLE SAY JOKER SHOULDN'T BE GAY BECAUSE HE'S DONE BAD THINGS. POISON IVY IS A RAPIST AND A SERIAL KILLER AND NO ONE COMPLAINS ABOUT HER BEING LGBT? WHY CAN'T JOKER BE?”

Now, I’m saying all of this in relation to Count Vertigo. If there’s any ACTUAL instances of Ivy raping someone, feel free to let me know. HOWEVER, if you’re going to do that, I want you to cite the actual comic where it happens. If there’s one thing I’ve learned in college, it’s that you should never make a claim if you can’t back it up with an actual source.

That being said, I think the idea of Ivy and Vertigo being a couple is really funny, and I’m absolutely down to write a fanfiction addressing all of this stuff if anyone’s interested. I may be a shitty fiction writer, but dammit, I��m willing to try.

Anyway, stop calling Ivy a rapist. Sure, she does stuff that crosses a line on occassion, but she’s a villain. I’m pretty sure they all do that.

Now, if you’ll excuse me, I’m gonna go listen to some Precure OST’s to cleanse my mind of this absolute nonsense.

[robo-cryptid]

What are some common writing mistakes you see in fic that are easily remediable? (also, i love your writing a lot & it has inspired me to start writing as well, sending much love!)

Starting from the bottom because THANK YOU. Inspiring other people to start creating too is probably the best compliment a writer can get. ;o;

As for "mistakes," I don't know if I'm qualified to answer, lol, but I guess one thing I see a lot (and deal with when I'm writing too!) would be using more words than you need. I talk about this a lot, but I don't think I've ever gotten specific about what I mean, so here we go. This answer got pretty long!

The first way I see this is in the "turned and went" category. I was betaing for someone who wanted me to help with pacing specifically, and we figured out together that what made it feel slow and stilted was that every few sentences, they'd use "he turned and went..." or "she stood and walked..." or something like that. You just don't need both verbs. Your readers will know that if the character was sitting and now they're walking, at some point they also stood up.

I also see a lot of overuse of modifying words. "Really," "somewhat," "a bit," etc. The banes of my personal existence are "just" and "a little." I have the words "just" and "a little" in my editing list so that I do a search and delete most instances of them before I post a fic, lol. It's a writing tic that I can't get rid of. A lot of these modifiers are unnecessary 99% of the time, and they clog up sentences so they take longer to read for no good reason.

Next would be over-describing. Sometimes you get into a fic, and the first thing you get is an immediate description of what a character looks like. Because it's fanfic, it's probably a character we've met before, so it's not strictly necessary to include at all. But sure, maybe your POV character is cataloging some details when they first meet. That happens, and it can be an easy way to imply some attraction if this is a romance. Still, they're probably not going to make a laundry list, like, "his hair was black and pulled back with one strand that hung in his face, and he had big brown eyes and a bold nose and great cheekbones, and he had a goatee, and now here's the full detailed list of everything he was wearing too." We also don't need to know every single object that's in a room, or what the journey from one place to another looks like, or the "hello, how are you?" parts of a conversation before they get to the meat of it, or where every person is standing if it's a whole group, etc. You only need enough details to ground your readers, and the details your POV character is most likely to notice. For example, I remain obsessed with Hanzo's huge, expressive eyes in the "Dragons" short, and also I'm just partial to brown eyes, lol, so I often have Cassidy notice their color and maybe that Hanzo's really muscular or something. But I don't give you a rundown of every detail of his face all at once, and you probably only get a quick sense of what he's wearing. Obviously, this is not a hard and fast rule. If your character is especially observant or obsessively detailed or something, having them do this can be a way of showing that. For some people, maybe they want the setting to feel like a character itself, so you'll get a lot more description to get people to really know the place. But in general, most of the time, you only need a quick handful of descriptors and you're good to go.

The other type of over-describing would be microinteractions. Fandom lives and breathes these things. This is probably the one I struggle with the most, too, lol. Fanfic writers give us every minor piece of body language in a conversation, and honestly, that can be fun to read and fun to write, but it can also get tedious fast. Do readers really need to know every time someone sighs? Probably not! In fact, a lot of them are skimming past those details altogether, lol.

I'm of the opinion generally that a desire to over-describe everything from characters' interactions to setting to clothing, and using a ton of words in the prose, is actually us as writers trying to control the readers' experience. Like we don't trust them to "get it" or have imaginations of their own, so we're micromanaging every detail. Not only does this not work (I have had readers who did not understand something I took pains to make extremely clear, and readers who picked up on subtle stuff I barely hinted at), but it's also a pain for you and the reader.

You have to know readers' experiences of your writing are going to be different than you intend. It doesn't make you a bad writer or communicator; it means readers aren't passive sponges, but actively bring their own interpretations, backgrounds, and baggage to what they read. You have to trust that most of the time most of your readers will get it and even enjoy filling in some details themselves, and you have to let go of that desire for control.

Anyway, my final piece of advice on this is that if you're worried about any of these issues, challenge yourself to trim as many words as possible from your fic. (You can paste it to a new document so you don't have to lose the old one!) Seriously, delete things until you're afraid the structural integrity is about to crumble. Then see how much of your fic still makes sense, and which parts might need some description put back in either for further clarity or simply for flavor. Learning to write to word maximums is, imo, as important as, if not more important than, learning to write lots of words.

[dolphin1812]

I forgot just how much I love this chapter. While more subdued tonally than the bishop section (it’s the same premise of “let’s see what this one person can do with kindness,” but Madeleine is much sadder than Myriel), the randomness of what Madeleine does is so funny. Reverse robberies? Using the Power of Guinea Pigs? Nettles are people? All wonderful ideas.

While the nettle speech is somewhat funny, it’s also symbolic. Madeleine makes himself pretty clear when he says that “there are no such things as bad plants or bad men. There are only bad cultivators,” but the specific language used parallels the trajectory of Valjean’s life. The “seed falls as it is ripe,” matching Valjean struggling in his youth, and it can become “useful” instead of “hurtful” if given just a little bit of care, just like him. 

I also love how the line immediately following this speech is about the children loving him because he can make “trifles” out of straw. It feels like Madeleine, who rarely speaks, went on a rare rant and the children’s response was to pause for a moment, then ask about toys. And he loves that! He’s so glad that the children are happy! But the mental image is comical.

The speech is also interesting because it’s not only one of the few moments where Madeleine speaks, but it’s one of the few uses of the active voice for Madeleine in this chapter. While other paragraphs also discuss his actions, they tend to start out with a sentence in the passive voice. For example:

“Although he was no longer young, it was thought that he was still prodigiously strong. He offered his assistance to any one who was in need of it, lifted a horse, released a wheel clogged in the mud, or stopped a runaway bull by the horns.”

The second sentence confirms that he is actually still strong by listing instances where he used his strength, so why preface it with “it was thought” that he was strong? It maintains the emphasis on an unnamed group of people rather than on Father Madeleine. We can assume, of course, that this unnamed group is the inhabitants of Montreuil-sur-Mer, but “the townspeople thought” still sounds very different from “it was thought.” For one, it places us (the readers) outside of the entire scenario. We’re not meant to place ourselves in the position of Madeleine or the townspeople; we’re simply observing everything as outsiders. The passive voice allows for ambiguity in who is thinking this as well. Again, while this probably refers to the people in the town, we don’t know if it’s all the people or only some of them. It heightens the sense that this is gossip, but it’s gossip substantiated by these incidents. 

The vagueness here also presents a fascinating contrast to the section on Bishop Myriel. With him, we had documents to analyze to confirm the facts of his time in Digne (both from his own writings and from those of the people around him, like his sister). The lack of that for Madeleine stresses how much more mysterious he is. At the same time, it illustrates how despite his popularity, he’s a stranger to everyone. No one knows him well enough to say anything definitive about him, and while he’s generally influenced the lives of the townspeople as a whole, he’s not enough of a personal presence for his day-to-day activities to be recorded (unlike, say, references to Myriel in his sister’s letters). The only person who would know the truth of Madeleine’s life and thoughts is Madeleine himself, but his secretive nature means that he isn’t going to communicate that. Rumors fill the void to an extent, but if the people of Montreuil-sur-Mer knew so little about Father Madeleine, then we can only know even less than them.

[enbysiriusblack]

“severus fights james and his friends because he wants to control/be with lily and he thinks james is in the way of that, even though lily just doesn't like him in that way. and james fights severus because severus is picking a fight with him/severus is bigoted. “

Hey so I was scrolling through the tl ans saw you responding to an ask. I totally agree with you that Lily is more of an important character on most of ur points. But i saw this and was genuinely wondering how you got that from the books? This is genuinely not to attack you or be rude. But I saw the canon completely differently than how you have interpreted it, and I do wonder where you get that point from? Specifically that Severus is the one starting things while James is only fighting back? And that Severus wants to control Lily?

Once again this is not me trying to be rude, and I also do not hate James. But Jkr said that James went after Severus mostly because of his connection to Lily. And in the only scene we really see, its James and Sirius going after Severus first while he was sitting under a tree by himself. I wouldn’t call two vs one a rivalry. And I wouldn’t call that Severus going after James.

Once again genuinely curious bc it seems to be a popular notion and I truly dont know where ppl are getting it from.

the moment we see james and sirius going after severus is what i meant with james pocking on severus for sirius (i mentioned that in the post)

Sirius stared around at the students milling over the grass, looking rather haughty and bored...

...'This'll liven you up, Padfoot,' Said James quietly, 'Look who it is'

James is very happily playing with his snitch, he only approaches Severus because Sirius is bored and wants something fun to do (Sirius finds fights fun- i mean he's a british teenager with family issues. it'd be surprising if he didn't find fights fun, and everyone found fights fun at school)

i didn't mean this specific scene. but, for instance, severus invented the sectumsempra curse. which is like,, very dark and torture-y. i can imagine him using it on james or his friends (without knowing how bad the spell is, like harry does with draco). i do think he wouldn't have used it knowing how bad it was, but based on being a kid/teenager with people i hate and have ongoing drama with and having drawn their gravestones and dead bodies (i also have a neighbour kid that recently did that exact thing so i'm assuming imagining the classmates you hate dying as a kid/teen is a fairly common experience), i can very much imagine severus would have made the curse with james in mind. and i think he does use a version of it in this scene, where he gashes james' face so deeply his robes splatter with blood.

also, as i said in that post, i don't think when we see people's memories, it is a completely true viewing of the past. i think it's like how memories are- biased and wavering over time. and since this is severus' memory, i wouldn't take it wholly to heart (but that is more my hc, and i don't think jkr wrote legilimency to be how actual memories work)

continuing on this actual scene (i'm reading it rn and i'm trying to focus on answering your ask but i can't help giggling at the amount of times sirius is called handsome, every line is like "sirius handsomely turned to snape", "sirius head turned, handsomely" /j) i sorts get what you mean with james picking a fight with severus because of lily, but it seems to be more for sirius' entertainment in this scene. lily asks him what severus has done to him, and james just says it's the dact he exists- which does show james doesn't really have a reason for this particular interaction, and it was purely for sirius. but he does say he'll stop if lily goes out with him- making it seem as if he is fighting with severus for lily. but i honestly think that line was more james just trying to wind her up- he knows she'll say no. james acts, during this scene, like a standup comedy act. every sentence seems to intentionally said to receive a specific reaction from his audience (his classmates). the line gives me the same vibe as a heckler at a comedy act, and the comedian interacting back with them.

one of the spells james uses against severus (where he dangles him upside down) is in severus' book of spells that he invented. so for james to know that, it means severus must have used it in the past (not sure if it was canon or not about that spell being a trend at this time or not), but severus would have used it on james or his friends previously for james to know the spell.

then what i said about severus picking a fight with james for lily, and james picking a fight with severus because of severus being bigoted/already picking a fight with him. this comes from when harry goes to remus and sirius after seeing severus' memory.

"I think James was everything Snape wanted to be... And Snape was just this little oddball who was up to the eyes in the dark arts, and James- whatever else he may have appeared to you, Harry- always hated the dark arts."

"Snape was a special case. I mean, he never lost an opportunity to curse James, so you couldn't really expect him to take that lying down, could you?"

sirius says severus picked a fight with james because james got what severus wanted (lily, but also academic validation, with james being naturally talented, which i should have mentioned in the previous post, but i was focusing on lily, not james and severus). sirius then says james picked a fight with severus because of severus' interest in dark magic (and we do see james getting furious when severus calls lily a 'mudblood', james was about to stop before severus said that). and then remus says james, in later years, only went after severus because severus was still going after him.

i didn't mean severus was starting things- more that severus was continuing things. i know they argued when they first met about houses, and i think lily then being put in gryffindor after that argument infuriated severus and caused him to see james as a threat, whilst james found it humorous and would likely mock severus for losing his best friend to gryffindor, which then their rivalry escalated from there and continued because severus was into lily and because james didn't like how severus was into dark arts/severus was already going after him and his friends.

about severus controlling lily. most of what we see of their friendship is very much severus trying to control lily. he tells her she better be in slytherin, he tells her not to listen to petunia because she's just a muggle (this could just be trying to comfort a friend, of course, but the insinuation that lily shouldn't listen to her because she's a muggle, not because she's just jealous and bitter is very weird), lily tries to get severus to stop hanging out with bigoted people that hurt her friends and severus just complains about james and remus, turning the subject to what 'she's doing wrong' instead of actually listening to her, he threatens to sleep outside gryffindor tower unless lily comes to see him, he asks for only lily's life to be spared (not caring if james or even harry, a 1 yr old, die). seems pretty controlling to me.

[school-dekho]

Preposition Exercise with Answers

Introduction to Prepositions

Prepositions are a fundamental part of English grammar, often small in size but significant in function. They help indicate relationships between other words in a sentence, especially in terms of time, place, direction, and manner. In this comprehensive guide, we will explore the various types of prepositions, provide examples and exercises, and offer answers to help reinforce your understanding. By the end of this article, you’ll have a solid grasp of prepositions and how to use them correctly.

What Are Prepositions?

Prepositions are words that link nouns, pronouns, or phrases to other words within a sentence. They are typically short words like "in," "at," "on," "by," "with," and "about." A preposition usually indicates the temporal, spatial, or logical relationship of its object to the rest of the sentence.

Importance of Prepositions in English Grammar

Prepositions are essential for conveying the exact meaning of sentences. They can affect the meaning of a sentence entirely, sometimes leading to confusion if used incorrectly. For example, "He is in the house" and "He is on the house" have completely different meanings, with the former indicating that someone is inside and the latter suggesting someone is on the roof.

Common Mistakes When Using Prepositions

One of the most common errors in English grammar is the incorrect use of prepositions. These mistakes can occur due to differences between languages or misunderstanding of preposition rules. For instance, English learners often struggle with choosing the correct preposition for time or place, such as "in" vs. "on" or "at" vs. "in."

Types of Prepositions

Prepositions can be categorized based on their function in a sentence. Understanding these categories will help you use them more effectively.

Prepositions of Time

Prepositions of time indicate when something happens. Common prepositions of time include "at," "on," "in," and "during."

Examples and Usage

At: Used for precise times (e.g., "at 3 PM").

On: Used for days and dates (e.g., "on Monday," "on the 5th of July").

In: Used for months, years, centuries, and long periods (e.g., "in January," "in 2021").

During: Used for periods or events (e.g., "during the meeting").

Exercises on Prepositions of Time

We will meet ___ 6 PM. (at/on/in)

She was born ___ 1990. (at/on/in)

The concert is ___ Monday. (at/on/in)

He studied ___ the night. (at/on/during)

Prepositions of Place

Prepositions of place indicate where something is located. Common prepositions of place include "in," "on," "at," "above," "below," and "between."

Examples and Usage

In: Used for enclosed spaces (e.g., "in the room").

On: Used for surfaces (e.g., "on the table").

At: Used for specific points (e.g., "at the door").

Above: Higher than a point (e.g., "above the clouds").

Below: Lower than a point (e.g., "below sea level").

Exercises on Prepositions of Place

The keys are ___ the table. (on/in/at)

She is sitting ___ the front row. (in/on/at)

The painting is hanging ___ the fireplace. (above/below/in)

The cat is hiding ___ the bed. (in/under/on)

Prepositions of Direction

Prepositions of direction show the movement towards or away from something. Common prepositions of direction include "to," "from," "into," and "out of."

Examples and Usage

To: Indicates movement towards a specific location (e.g., "She walked to the park").

From: Indicates the starting point of movement (e.g., "He came from the office").

Into: Indicates movement into an enclosed space (e.g., "He went into the room").

Out of: Indicates movement out of an enclosed space (e.g., "She walked out of the house").

Exercises on Prepositions of Direction

He is going ___ the store. (to/from/into)

She came ___ the kitchen. (to/from/out of)

They ran ___ the house. (to/into/out of)

He jumped ___ the pool. (to/into/from)

Prepositions of Manner

Prepositions of manner describe how something happens or is done. Common prepositions of manner include "by," "with," and "like."

Examples and Usage

By: Indicates the method or means (e.g., "She travels by car").

With: Indicates the tool or instrument used (e.g., "He wrote with a pen").

Like: Indicates similarity (e.g., "She sings like an angel").

Exercises on Prepositions of Manner

She solved the puzzle ___ herself. (by/with/like)

He cut the paper ___ scissors. (by/with/like)

They danced ___ grace. (by/with/like)

She painted the picture ___ a brush. (by/with/like)

Prepositions of Agent or Instrument

These prepositions indicate who performed an action or the tool used in performing the action. Examples include "by" and "with."

Examples and Usage

By: Indicates the doer of the action (e.g., "The book was written by J.K. Rowling").

With: Indicates the instrument used (e.g., "The door was opened with a key").

Exercises on Prepositions of Agent or Instrument

The song was sung ___ the choir. (by/with/from)

The cake was baked ___ my grandmother. (by/with/from)

The problem was solved ___ a calculator. (by/with/from)

The letter was delivered ___ the postman. (by/with/from)

Complex Prepositions

Complex prepositions are phrases formed by two or more words that function as a single preposition. Examples include "because of," "in spite of," "on behalf of."

Examples and Usage

Because of: Indicates a reason (e.g., "The game was canceled because of the rain").

In spite of: Indicates contrast (e.g., "In spite of the delay, the project was completed").

On behalf of: Indicates representation (e.g., "She accepted the award on behalf of the team").

Exercises on Complex Prepositions

The event was postponed ___ bad weather. (because of/in spite of/on behalf of)

He spoke ___ his company. (because of/in spite of/on behalf of)

She attended the meeting ___ her illness. (because of/in spite of/on behalf of)

They succeeded ___ the obstacles. (because of/in spite of/on behalf of)

Preposition Exercises

Fill in the Blanks

Complete the following sentences by filling in the blanks with the correct prepositions.

She lives ___ Paris. (at/in/on)

The cat jumped ___ the window. (through/over/into)

He will arrive ___ 10 AM. (at/in/on)

They went ___ a walk. (for/on/in)

Match the Preposition with the Correct Sentence

Match the following prepositions with the correct sentences:

With

She wrote the letter ___ a pen.

At

He is ___ the door.

In

The book is ___ the bag.

On

The vase is ___ the table.

Correct the Sentences

Correct the following sentences by using the appropriate prepositions.

She is waiting at the bus stop. (correct)

The keys are in the table. (correction: on the table)

They arrived on the airport. (correction: at the airport)

He jumped on the pool. (correction: into the pool)

Choose the Correct Preposition

Choose the correct preposition from the options given in brackets.

She is good ___ playing the piano. (in/at/on)

They are interested ___ learning French. (in/on/at)

The picture hangs ___ the wall. (on/in/at)

We arrived ___ the station early. (at/in/on)

Sentence Completion

Complete the following sentences with appropriate prepositions.

She is fond ___ chocolates. (of/in/at)

They are proud ___ their achievements. (of/in/on)

He is responsible ___ the project. (for/of/at)

She succeeded ___ her efforts. (with/in/on)

Answers to Preposition Exercises

Fill in the Blanks - Answers

She lives in Paris.

The cat jumped through the window.

He will arrive at 10 AM.

They went for a walk.

Match the Preposition with the Correct Sentence - Answers

With: She wrote the letter with a pen.

At: He is at the door.

In: The book is in the bag.

On: The vase is on the table.

Correct the Sentences - Answers

She is waiting at the bus stop. (correct)

The keys are on the table.

They arrived at the airport.

He jumped into the pool.

Choose the Correct Preposition - Answers

She is good at playing the piano.

They are interested in learning French.

The picture hangs on the wall.

We arrived at the station early.

Sentence Completion - Answers

She is fond of chocolates.

They are proud of their achievements.

He is responsible for the project.

She succeeded in her efforts.

Read our Article

Commonly Confused Prepositions

In vs. On

In: Used for enclosed spaces or periods of time (e.g., "in the room," "in January").

On: Used for surfaces or specific days/dates (e.g., "on the table," "on Monday").

At vs. In

At: Used for specific points or locations (e.g., "at the door," "at the office").

In: Used for larger areas or enclosed spaces (e.g., "in the city," "in the room").

By vs. With

By: Used to indicate the doer of an action or the method (e.g., "by the author," "by car").

With: Used to indicate the tool used or accompaniment (e.g., "with a pen," "with friends").

Tips for Mastering Prepositions

Practice Regularly

Consistent practice is key to mastering prepositions. Engage in daily exercises, and try using new prepositions in your writing and speech.

Use in Real-Life Situations

Incorporate prepositions into your everyday conversations. This will help reinforce your understanding and improve your fluency.

Learn Through Context

Understanding prepositions within context can make it easier to grasp their usage. Read books, watch movies, or listen to podcasts that use English extensively to see how prepositions are used naturally.

Conclusion

Prepositions may be small, but they play a big role in English grammar. Understanding how to use them correctly can greatly improve your writing and communication skills. Mastering prepositions is essential for clear and accurate communication in English. The Preposition Exercise with Answers provided here serves as a valuable tool for reinforcing your understanding of prepositional usage. By regularly practicing these exercises and reviewing the answers, you can improve your grammatical skills and enhance your proficiency in the language. Remember, consistent practice is key to mastering prepositions and using them effectively in both written and spoken English. Keep honing your skills with exercises and watch your confidence grow!

FAQs

What are the most common prepositions?

Common prepositions include "in," "on," "at," "by," "with," "to," "from," and "about."

How can I avoid mistakes with prepositions?

Regular practice, paying attention to context, and learning the rules for specific prepositions can help you avoid mistakes.

Why are prepositions important in English?

Prepositions are essential for conveying clear and accurate meanings in sentences. They indicate relationships between words and are crucial for fluent communication.

How can I practice prepositions effectively?

Engage in exercises, use them in daily conversations, and immerse yourself in English through reading and listening to improve your preposition usage.

What are some tricky prepositions to watch out for?

Prepositions like "in," "on," "at," and "by" can be tricky due to their various uses. Understanding their specific rules and contexts is key to using them correctly.

[donnerpartyofone]

Because of the previous post I'm having all these flashbacks to my stupid old job, and how many problems we had that were linguistic or definitional. I'm trying not to be overly specific because I'm always afraid they're going to find out I talked shit on my insignificant blog and do something to me somehow, but like

one thing was that we had this really pretentious, condescending set of key tenets that we were supposed to lead our lives by in order to further the ideals and aspirations of the company. It's common for modern businesses to have a central philosophy and principles that are written down somewhere, but in this case it was really infantile and also kind of sinister because you had to invoke them all the time to justify whatever you were working on, and they were also the only reference points you were allowed to use in performance reviews. At one point our CEO tried to come up with a new one that had this new age-y name that didn't immediately make sense. The reason he was inspired to do so was specifically to stop people from criticizing the company; for instance he was angry about negative reviews on Glassdoor (from people who had tried and failed to create positive changes before giving up and quitting), and any time something like that came up he would try to convince us all that we were harming EACH OTHER by being critical, like it was a mean thing to do to your coworkers to speak honestly about workplace problems. ("If you want Cool People to work here, you have to make it sound like a cool place to work!" was one of his actual arguments for trying to censor us) So he tried to pave that over with this new key tenet that was just like...vaguely um...be sympathetic, or empathetic, or something...to your fellow man...by uh...being a really loyal worker who values your employer above all I guess? But since he couldn't really describe what he meant in one clear sentence (because this wasn't actually a tenet or a principle, it was just an expression of his own frustration and ego issues), he pulled all the managers and executives into these endless meetings where we'd have to help him workshop it, and it just NEVER made any sense. The matter was still unresolved, though treated as serious and important, by the time I quit.

Another thing was that he realized that none of us really knew what kind of company we were. Like, we had developed our own technology to create and sell a digital version of certain analogue products, made by other companies, through an app. So, are we a tech company? Or a retailer? Or an internet platform? Or a B2B company? Or (I forget the other options but you get the idea)? So he would quiz us about this with this air like he was being really clever, like it was a riddle. And it was important to bring everyone into consensus on this, because we all have to share a singular vision and sense of collective identity in order to succeed. But like...I honestly can't even remember what he decided the correct answer was. It seemed completely arbitrary to me, so it just went in one ear and out the other even though I worked there for ten fucking years.

I wish I were more comfortable being more explicit about this last thing which is too public, but we had this slogan/mission statement that started out as a neat, concise expression of purpose that was like seven words probably. Simple, perfect. But then the CEO started getting anxious about little variances in specific subgenres and alternative formats and target demographics for our main, basic product, so he started adding more and more words to the slogan to try to cover every single individual consumer case we could possibly have...even though the original version still covered all that stuff, just more generally and elegantly, like a slogan is supposed to do. It was like that scene in THE JERK where Steve Martin is leaving his girlfriend and he goes, "I don't need you! I don't need anything. Except this ashtray. That's the only thing I need...and this paddle game...and this remote control...and this lamp, and this chair...and my dog... (et al ad nauseum)"

I keep thinking about more and more issues at that company that were specifically related to the fact that we didn't know what to call anything, but I have to stop now before I make myself any more paranoid than I am right now. I didn't even have my coffee yet!

[ayin-me-yesh]

Six Words a Day: Please, Thank You, and I'm Sorry in Japanese

Last time I did a post on greetings and salutations. Both that, and this post, can also be considered extensions of my Genki guide to the greetings section.

In each case I'm going to cover aspects of grammar and the kanji that Genki does not at this point.

At any rate, let's get started!

お願い or お願いします: please (emphasize a request) 願い (ねがい) means to "desire" or make a "request." The お in front of it is an honourific that is almost always included when if you're using it for "please." します is the present tense of する, "to do." So おねがい is literally "a request," and おねがいします is basically "[Would you] do [me] a favour?" おねがいします is more formal than おねがい by nature of being a more complete sentence.

どうぞ: please [go ahead] or please [help yourself] (colloquially) どうぞ is a combination of どう, "how," and ぞ which is an emphatic particle often used in commands. You can basically think of どうぞ as "by all means [help yourself]."

While both どうぞ and おねがい are often translated as "please," they're almost exact opposites in usage. おねがい is used to make a request or to ask permission while どうぞ is used to give permission or offer something.

有り難う or 有り難うございます: thank you 有り (あり) is a form of the Japanese verb 有る (aru), "to exist" or "to be" specifically used for inanimate objects. 難う (がとう) is a form of 難い (かたい) which means "difficulty" or "hardship." ありがとう therefore means "to be difficult" or "to be a hardship." ございます is a very formal form of "is," "am," or "are" so ありがとうございます means "it is difficult" or "it is a hardship." You can drop ございます to basically say "a difficulty" or "a hardship" in informal situations. Regardless, this expression of gratitude is an acknowledgement of the effort another person has gone to on your behalf.

It's worth noting you'll also often see or hear ありがとうございました. ございました is the past tense of ございます. You use ありがとうございます to thank someone for an ongoing action or something they have completed at that moment. For something they did in the past, even the recent past, you should instead use ありがとうございました.

どうも: thanks (colloquially); very much (as an intensifier) どうも is complicated. It is a combination of どう, "how," and も, "even" or "also." When attached to ありがとう, as in どうもありがとう, or to ありがとうございます, as in どうもありがとうございます, the literal meaning is essentially "it is done despite the difficulty," but you can think of it more as "thank you very much."

どうも can be used as an informal shorthand for expressing gratitude because the ありがとう is contextually implied. This is common in Japanese. For instance, in the greetings section we discussed how こんにちは just means 'today is..." but works as a complete thought because the context implies a sentence like "today is a nice day, huh?"

済みません: sorry! (in apology); excuse me! (attempting to get someone's attention); thank you! (in the case of someone having done something for you) 済みません (すんません) is a complicated one if you're looking for a direct translation into English. It's the negative form of 済む (すむ), meaning "to be completed" and, importantly by extension, "to feel at ease." Thus, the negative form, used here, means "to feel unease or guilt."

Thus, as an apology, you're saying, "I'm sorry, I feel so bad!" As an attempt to get someone's attention, you're saying, "sorry to bother you!" And as an expression of gratitude you're saying, "I'm sorry you went through so much trouble for me." And this explains why a common response is いいえ, a negation, basically "not at all!", "no worries!", or "don't mention it!"

As a final note on this, sometimes you'll see すまない instead which is just a less formal version of すんません.

ご免 or ご免なさい: I'm sorry 免 (めん) comes from 免ずる (めんずる), which means "to spare" or "to exempt." ご is an honourific, just like the お in おねがい. なさい comes from なさる, the more formal form of する, "to do." Thus, ごめん and ごめんなさい mean, "forgive me" with the latter simply being more formal.

It's worth noting that ごめんなさい is less polite than すんません, when used as an apology. This is because ごめん is directly asking for forgiveness, while すんません only expresses remorse without requesting or expecting anything from the listener in response.

[bleuhisteria]

Deus Ex Machina|| Aizawa x Reader Chapter 9

A forbidden past rekindled by a life-saving spark, reigniting our dreams we thought we had abandoned forever.

__

I waved at Aizawa as he exited the giant gates that led to my house, Elena standing next to me, curiosity gleaming in her eyes.

"Have you thought of what to make, (Y/N)-sama?" Elena asked, turning to me with anticipation.

The sun began to set, casting a warm glow on my skin as I placed a hand on my chin, deep in thought. "I'm not sure yet, but I do have some ideas," I replied, turning to head back inside the house, with Elena following closely behind.

In the garage, I set up the whiteboard that my dad had provided for brainstorming ideas. The marker squeaked as I started to sketch out my thoughts, attempting to visualize the support item that could enhance Aizawa's quirk.

My own quirk, with its ability to detect subtle changes in the human body, had given me valuable insights into the neurological aspects of quirks. Through my observations over the years, I had discovered the existence of what I referred to as "quirk molecules." These molecules remained dormant until activated, using stored energy to unleash a person's quirk.

Depending on the nature of an individual's quirk, these molecules tended to concentrate in specific parts of their body. For instance, Hizashi's quirk relied on his voice, so the concentration of his quirk molecules was centered near his throat and vocal cords.

I placed a hand on my chin, marker in hand, contemplating the incomplete drawing of my draft. There was definitely potential here. Aizawa's quirk concentration mostly resided in his head. Perhaps I could create something that would cater to his thoughts when his quirk was activated. However, to achieve that, I would need to find a material that could react to active quirk molecules. Unfortunately, such technology had not yet been invented in this world.

Despite the advancements in medical technology and robotics, humanity had hit a roadblock when it came to understanding the intricacies of quirks. While there had been progress in the field of mind-affecting technology, its scope remained limited. It felt as though we were still far from unlocking the true potential of quirks, and a sense of frustration washed over me.

Yet in the depths of my thoughts, I knew there was someone who could potentially help me, someone I had conflicting feelings about. He had proven to be a valuable mentor in combat training, but when it came to inventing, our interactions often ended in frustration.

And just like a sudden thunderclap, the door to the garage swung open, revealing the very person I had been thinking about. "(N/N)!" he greeted with a cheerful tone.

"Dad," I acknowledged, keeping my eyes fixed on the whiteboard. I could hear his footsteps approaching as I slumped my shoulders, mustering the courage to ask, "Have you conducted any research on materials that react to quirks?"

I could sense the confusion on his face without needing to turn around, and he responded with a touch of awkwardness, "That depends. Altering the structural properties of materials? It's plausible. But being controlled by the power of the mind? No, not even in theory. We haven't made significant advancements in neuro and biochemistry to achieve that level of control. Why do you ask?" He stood beside me, studying the draft on the whiteboard.

Nodding in understanding, I hummed thoughtfully, "Do... do you remember when I was in middle school?" I asked, a part of me hesitant to revisit such a painful memory, but recognizing its importance in my current inquiry. "...During the science fair, I tried to test a theory, remember?" I continued.

Shadows seemed to cover his eyes as he let out a sigh, nodding solemnly. "I remember... you tried to prove the existence of quirk molecules and recreate their effects, but..."

Nodding again, the flashbacks of the past clouding my vision, I continued the sentence for him, "Everything went wrong." I recalled the disastrous outcome of my experiment, resulting in injuries to three of my classmates. My dad had to cover the medical bills, and I was forced to withdraw from school. But that wasn't the only consequence... the full weight of those memories was too heavy to bear at the moment.

Placing a comforting hand on my shoulder, my dad tried to soothe my troubled thoughts. "Hey, what's in the past is past, and we're safe now, aren't we?" he asked in a gentle voice, his words attempting to alleviate the weight of my memories. I sighed, appreciating his efforts as he continued, "You know, if you really want to learn more about this sort of thing, why don't you start stopping by my office after school again, like the good old days?" His voice carried a sense of nostalgia, reminiscent of the times when we first started inventing together.

Despite the warmth in his suggestion, a chill ran down my spine. I still wasn't ready to return to that place, the town where his office was located. It held too many unsettling memories, and I wasn't sure if it was truly safe for me to be there. "I-I'll think about it," I managed to say, suppressing the feeling of disgust that welled up within me.

I tried my best not to let the unsettling sensation consume me—the feeling of those eyes watching my every move, eyes that violated me and stripped me of my individuality. I still wasn't ready...

Sensing my hesitation, my dad spoke up, noticing the expression on my face. It seemed as though I had broken into a nervous sweat at his suggestion. "You don't have to go," he reassured me. "Since Higari and I rebuilt the garage, we have plenty of room to bring home the old equipment I haven't been using in the office. Give me a day or two, and I'll bring them here." He was trying to find a solution to ease the situation.

Breaking free from my anxious thoughts, my eyes lit up with a glimmer of hope as I turned to him. "Really?" I asked, attempting to conceal the excitement and anticipation in my voice, though failing.

He gave me a wide grin, confirming his intentions. "Of course! You'll have all the time in the world for your research right here!" he exclaimed, pulling me into a warm embrace.

"Oof. Thanks, Dad," I chuckled, reciprocating the hug.

__

Later, as I laid in bed, I couldn't shake off the thoughts of what my next steps should be. I rose from my bed and made my way to the desk, opening my laptop to search for articles on neurotechnology. While I had a deep understanding of quirks, the challenge lay in effectively communicating that knowledge to other researchers. Demonstrating the existence and intricacies of quirk-related phenomena was a daunting task, especially when I wasn't sure where to begin.

I delved into the available information, absorbing it eagerly. I was aware that certain details were kept under wraps due to their potential to revolutionize technology and society as a whole. However, my current focus was solely on finding a way to make the support item I envisioned for Aizawa a reality.

As the night progressed, my laptop screen filled with numerous open articles on neurochemistry and biotechnology. I diligently took notes on the equipment and methodologies they employed, hoping to find a potential breakthrough for the support item I had in mind. If I could acquire similar tools and technology, it might pave the way for significant advancements.

Despite my thorough exploration of various articles and research papers authored by scientists and inventors, I couldn't find any specific information regarding quirk molecules. It seemed that, while many researchers were likely working on the topic, they had not yet published their findings. The elusive nature of quirk molecules added to the challenge of understanding and utilizing them effectively.

With the clock nearing 3AM, I realized it was time to put an end to my research for the night. Closing my laptop, I sank into the embrace of my freshly washed comforter. Exhaustion quickly washed over me, and before I knew it, sleep claimed my weary mind. 

__

The next morning, I was roused from my slumber by a loud, persistent knocking on my bedroom door. Startled, I stumbled out of bed, my mind still heavy with sleep. As I opened the door, I found Elena standing there, her irritation evident in her stern expression.

"(Y/N)-sama, I've told you countless times not to stay up so late," she scolded, hands planted firmly on her hips. Her disapproval hung in the air, but I could only muster a half-hearted apology, my senses still dulled from sleep.

Elena continued, her annoyance evident in her voice, "It's rude to keep a guest waiting. Aizawa-san has been downstairs for half an hour already, and your parents have been keeping him company."

A wave of panic washed over me as the realization sank in. Aizawa was already here, and I had overslept, oblivious to the passing time. Hastily, I darted to my closet, my mind racing to find suitable training clothes. "Elena, please let Aizawa know I'll be ready in a minute!" I called out as I hurriedly changed.

With a resigned sigh, Elena nodded, her annoyance tempered by understanding. She turned and made her way downstairs to deliver my message. Meanwhile, I fumbled with my clothes, adrenaline coursing through me, urging me to prepare as quickly as possible.

__

In the dining room, the tantalizing aroma of a freshly cooked breakfast filled the air as (Y/N)'s mother skillfully arranged five plates on the table. With a warm smile, she placed a plate in front of Aizawa and poured him a glass of orange juice, her curiosity evident in her voice.

"So, Aizawa-kun, how long have you known our (N/N)?" she asked cheerfully, genuinely interested in their connection. Meanwhile, Aizawa gazed at the plate before him, unsure of how to respond. Seeking support, he glanced at (Y/N)'s father, who returned his gaze with a reassuring smile, contently munching on his toast.

Aizawa stared at the plate, his mind searching for the right words to respond. "...We met at the entrance exam," he finally replied.

Shortly after, Elena descended the stairs and entered the dining room. "(Y/N)-sama will be down in a minute," she informed everyone with a respectful tone.

(Y/N)'s mother playfully scoffed, "What she really means is to give her five minutes," she remarked, taking her seat beside her husband. "Elena, come and join us," she instructed the maid, extending her hospitality.

Elena gracefully complied, bowing before taking her place at the table.

"Please, Aizawa-kun, go ahead and eat. Help yourself to seconds if you'd like," (Y/N)'s mother warmly encouraged, her gaze filled with affection as she looked at Aizawa.

"Thank you, ma'am," Aizawa responded with gratitude, picking up his fork and preparing to enjoy the meal.

Suddenly, a series of crashing noises reverberated from the direction of the stairs, accompanied by the sound of something colliding with the walls. (Y/N)'s voice called out, breathless and apologetic, "I'm sorry for keeping you waiting!" She hurriedly descended the stairs, finally arriving in the dining room.

__

I rushed down the hallway, my steps hurried and frantic, bumping into walls and objects along the way as I descended the stairs as quickly as possible. My hair was disheveled, and I had no time to fix it before reaching the dining room.

"I'm sorry for keeping you waiting!" I apologized breathlessly as I tried to compose myself.

Taking a seat next to Aizawa, I felt a sense of awkwardness, particularly because my mom was present.

"(N/N), go ahead and eat before the food gets cold. And please," my mother scolded, her tone firm, "brush your hair, will you?"

Awkwardly scratching the back of my head, I turned to her with a sheepish smile. "Sorry," I responded before turning to Aizawa with a worried expression. "D-did you wait long?" I inquired, concern evident in my voice.

He shook his head, trying to downplay the wait, but my mom interrupted.

"Only thirty-five minutes," she stated matter-of-factly. "Besides, he was just telling us how long you've known each other," she added, her voice filled with curiosity.

"(M/N)-sama, please refrain from obsessing over timing. The day has only just begun," Elena scolded, redirecting my mom's attention.

Dad laughed and chimed in, "It's true, honey. Let the kids have their breakfast without worrying about the time." He placed a comforting hand on my mother's shoulder.

Mom cleared her throat, dismissing both of them. Now focusing on me and Aizawa, she resumed the conversation. "So, back to the topic at hand, how long have you known each other?" she inquired.

I exchanged a glance with Aizawa, and a brief silence filled the dining room, interrupted only by the sound of utensils scraping against plates and the crunch of toast. "We've only known each other for a few days. I'm trying to help Aizawa get into the hero course," I explained.

Mom raised an eyebrow, questioning my approach. "By using the fact that support department students can bring support items to the sports festival? Isn't that kind of cheating?" she inquired, her concern evident.

In that moment, the realization hit me like a bolt of lightning, shattering my hopes of ethically leveling the playing field against a hero course student. My mom was technically right.

I stared at her in disbelief. "H-how did you know that?" I stammered, astonished by her knowledge.

A mischievous smirk danced on my mom's lips as she responded, "I've seen it happen before in sports festivals at UA. I have plenty of recordings," she confessed, her tone filled with playful amusement.

Dad let out a sigh, fully aware that recording the sports festival was prohibited due to the exposure of students' weaknesses. "You know that's not exactly allowed, honey," he interjected, his tone gently reprimanding. "But besides that, I wouldn't call it cheating. It's more like... effective strategizing. They both get what they want, after all. I don't see the big deal," he chuckled, casting a proud glance in my direction, seeking validation for his defense.

I chuckled in response. "Yes, that's it. Thanks, Dad," I replied, appreciating his support.

As I glanced around the table, I noticed Aizawa's gaze fixed on me. Curiosity sparked in my eyes as I tilted my head, wondering what he had to say. But instead of addressing me, he turned his attention to my mom, seeming intrigued by her collection of recordings.

"How many recordings of the past UA sports festival do you have, missus..." Aizawa's words trailed off, realizing that I hadn't mentioned my last name to anyone. It was a precautionary measure, but it seemed I had inadvertently created a small predicament for Aizawa. Oops.

My mom noticed the slip-up and laughed it off. "Collected by my side of the family, I believe I have all of them in my office," she happily shared, not missing a beat.

Aizawa's interest was piqued. His head perked up, and he leaned forward slightly. "Do the events have a certain pattern? Can we predict the events they might use this year based on previous years?" he asked, his curiosity evident.

Resting her hand on her cheek, my mom looked at him with a playful glimmer in her eyes. "My, my~ Perhaps I already have an idea about this year's events. What would you like to know?" she teasingly inquired.

Before Aizawa could articulate his question, my mom winced in pain, causing her to break off her sentence abruptly. It was my dad who spoke up, taking her place in the conversation.

"That wouldn't be fair to the other students. I don't think you should have access to that information. Focus on your training. The sports festival is not only about showcasing your quirks but also how you utilize and react to surprising and unexpected situations," my dad interjected, casually taking a bite of his bread as if he hadn't just stepped on my mom's foot under the table.

Aizawa's expression shifted, understanding the point my dad was making. He nodded in agreement as we managed to eat breakfast in a comfortable silence...

__

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_

_

(Author's note): You know I'm a pretty angy boi when it comes to how the sports fest is arranged, like seriously, why is it all in one day? Like why is the first year, second year, and third year tournament going on simultaneously?

I'm fixing that cause I'm seriously pissed by it lol, and I know that they're trying to showcase the students' quirks and all but isn't that kind of dangerous? You're literally showing their abilities off to the public and potential villains, *cough* *cough* All for One *cough* *cough* so I'm changing that policy too.

Live footage can be broadcasted and archived by news channels, but cameras in general should be banned in the sports festival, if the villains want to scout heroes like this sh!t they better watch it live or record it themselves damn it. UA should take more precaution with their students' safety and should prioritize secrecy.

I stand to protest for a safe ethical UA who CARES for their students, stop doin' sh!t through trial and error and test out dangers to figure out the risks it puts on the students to make a better school damn it!!!

[isaacathom]

very normal about last nights session entirely because in the post-game my gm offhandedly went 'you're assuming theres a good outcome [to the impending confrontation with Mariela]' and thus my brain started running fucking rampant about what the fuck could possibly happen and i am Afraid

so, in brief. naielle kidnapped her sister mariela to prevent her from tearing a hole in reality, and when she brought her back with her to the main plot, Mariela got forcefully made a warlock of naielles patron. marielas been highkey plotting to kill naielle for a while, but the two had come to something of an understanding about their situation, the fact that naielle was sincerely genuinely sorry about it, and that they actually had a way to get them both out of the pact.

however, before this could happen, twin aboleths unleashed a Wish spell on a nigh-divine scale, intending to unwrite the expedition naielle is apart of which has been opposing their forces. this has fucked with a lot of shit, and notably causes problems for mariela.

the way the wish has worked is that it worked backwards to find the spot to rewrite from - the expedition's departure - and changed that event, and then has filled in the subsequent ~year up to the present day, which is the day they unleashed the wish. however, this rewrite is not perfect. while the majority of people dont remember the original timeline, some do, and many of them actually possess the powers they would have without realising it. for instance, while naielle started the campaign as a lvl1 warlock, and thus in this reality should still be a lvl1 warlock, she is actually lvl 13.

which means that mariela, having never been kidnapped, and thus should not be a warlock, DOES have that extant connection to their patron.

there are other things. since naielle was not in the expedition, and as a result several things did not occur, she never teleported home to marry her fiancee, and THUS never aided in the capture of her sister. meaning the holes in reality WERE created. mariela was not stopped in this task (which has some other implications due to how naielle stopped her originally, but naielle doesnt remember that yet)

so, there are holes in reality, which have been used in the loal war, and which have resulted in mariela's side clearly winning and naielle's clearly losing. like indisputedly.

A consequence, at some point in this chain, is that Mariela appears to have gotten Fucked Up. she wields the power of the unravelling of reality, she HAS the warlock powers with an unclear amount of knowledge as to where she acquired them, and has possibly been contacted or manipulated by the twin aboleths who started all this. the amount of meddling isn't clear. but she's supercharged, furious, and inbound.

the party is aware of the weird timeline shit, and is in the process of fixing it. this requires destroying a specific artifact - the scroll which declared the expedition cancelled. this is easier said than done, being of nigh-divinity requiring like power to destroy.

for which there are options :)

Naielle channels the full might of her warlock patron, briefly becoming a mortal demigod and destroying the artifact, at the cost of becoming an aspect of her patron. this is apotheosis, something naielle has been avoiding in the prime timeline

the party find some means of throwing the artifact into one of the holes in reality, ideally rending it asunder (?) and thus destroying it

and

3. "sever the bond of [naielle's] kin"

this obviously means mariela, though naielle does not know that.

so! thats great. delightful.

so obviously, with regards to a 'good outcome' for naielle and mariela, both need to survive this event. now, dying in this reality before it is 'corrected' is not in and of itself a death sentence, as evidenced by a few characters who were dead originally who are not currently (bc the events that lead to their death never occurred, or some external force got involved). HOWEVER. ascension to the astral sea, as in the case of naielle achieving apotheosis, would be a reality-withstanding "death" (she technically isnt dead but she doesnt get to continue being on the material plane, i tell you what).

'severing the bond of kin', similarly, would. probably kill mariela 'permanently'. like this cant be Good. it cant just be as simply as killing her once. it would be sort of primal, given the transformation she appears to have undergone. the nature of her connection to our patron isn't Good and Normal (its actively killing the patron, which is Cool). its. its not good in here!

so now its like oooooh. this might not end well at all. i was prepared for naielle to have to help kill mariela, and then in the fixed reality have to grapple with that and apologising and so on. but there might be like. PERMANENT consequences. which. ooooooh. ooooooooh nooooooooooo

and the bit that hurts that little bit more. that makes it a little bit more painful, especially for naielle?

the last thing mariela said to her, before the encounter where the aboleths activated the dread wish?

"Don't die. Only I'm allowed to do that."

[mitigatingacademics]

I picked up this book hoping that it would address the questions I had regarding the issue of one pleading to a 'lesser' crime, sometimes one not at all related to what actually happened, under oath.

It did that and much more.

It turned out to be an excellent jumping off place for getting started on a topic I didn't have a lot of prior experience with.

What I didn't enjoy as much was the author's take on Shon Hopwood, former violent felon, current professor of law at Georgetown University. Interests raised, however, and his book free on Kindle Unlimited, I later found that it's more Hopwood himself that I just don't care for.

I have many thoughts about Professor Hopwood. Notes on his book, Law Man: Memories of a Jailhouse Lawyer, forthcoming.

I also don't really see the benefit the author seems to appreciate about so called "justice court."

To me, they are a waste of time and resources. We wouldn't need to go through the motions of 'court before actual binding court,' or 'the first bite of the apple' as it were, if we would just fix the problems with the 'real' court.

Which is easier said than done, of course. ...and that said, I'd never even heard of "justice courts" before this book and plan to look into them further.

I would recommend this book to anyone interested in learning about plea bargaining and associated issues within the American court system.

My overall rating would be 3.5 out of 5.

My e-book had a distracting number of typos and editing issues, otherwise I would have given it a 4.

(Please keep in mind that I haven't given a book 5 stars in over a year.)

Below the cut are a series of quotes that I found interesting and informative.

"Instead of providing a process that is supposed to sort out the truth of what happened, our system just lets lawyers negotiate the outcome. Lawyers negotiate about what the defendants' sentences will be, and they sometimes negotiate about what crimes the defendants will admit to committing. The specific crimes the lawyers pick may have nothing to do with what the police think the defendants actually did; it's just what the lawyers were able to agree on, usually because it has a punishment that both sides find acceptable."

[We] "…can't rely on a defendant's conviction to tell us what actually happened: the defendant may have committed a much more serious crime, or he may have committed no crime at all."

"Whether a person faces time in jail or loses property is, in many instances, dictated by hastily made decisions by police or prosecutors. Plea bargaining ensures that those hasty decisions remain hidden from view and are never subject to judicial review or public scrutiny."

"…Brady was not a case about plea bargaining. It was a case about what is called the trial penalty - the substantial increase in punishment that a defendant will receive if she goes to trial, rather than pleading guilty."

"The Supreme Court put its stamp of approval on plea bargaining the year after Brady, in a case called Santobello v. New York."

"…the justices didn't just say that plea bargaining was allowed; they said plea bargaining 'is to be encouraged.' They even went so far as to say that plea bargaining was 'highly desirable' and 'an essential component of the administration of justice.'"

"Without plea bargaining, the Santobello opinion said, 'the States and Federal Government would need to multiply by many times the number of judges and court facilities.'"

"Rather than arguing that long punishments are necessary to punish or to discourage people from committing crimes, lawmakers and prosecutors argue that these punishments are necessary to make defendants to cooperate with law enforcement and to plead guilty."

"Judges have even been known to explicitly threaten defendants or defense attorneys to discourage them from going to trial. … Judges resent these defendants for making everyone - including the judges themselves - go through the time and effort of a trial."

"One recent study of the trial penalty found that people who went to trial received sentences that were on average, three times longer than people who pleaded guilty."

"Plea bargaining doesn't just mean that we don't have trials. It dramatically changes the entire criminal justice system. It leads to incredibly harsh punishments for those people who DO want to have a trial. It also deprives people of other constitutional rights, like the right to discovery or the right to an attorney."

"In 1986 the Department of Justice's Asset Forfeiture Fund collected only $93.7 million. By 2014 that number had ballooned to $4.5 billion per year. The Department of Justice does not track whether this money is connected to any existing or subsequent criminal investigation."

"…a 2017 inspector general's report that examined a subset of federal forfeitures found that federal officials could verify only that less than half of those forfeitures were even related to criminal investigation."

"If the government can prove that it is collecting these fees [booking fees, prosecution fees, jury fees, mandated diversion program fees, etc.] in order to recoup the costs of running its criminal justice system rather than as a punishment for convicted defendants, then the courts will say that these charges are fees rather than fines. If something is a fee, then the Constitution's prohibition on excessive fines doesn't apply. More fundamentally, if something is a fee rather than a fine, then a defendant can be ordered to pay it even if she isn't convicted because technically it isn't considered a punishment."

"If a system relies on fees for operational expenses, then it has an interest in bringing more people through the system. And the more people who come through the system, the more pressure there is to resolve those cases as quickly as possible rather than through trials. And so the cycle continues."

"Sometimes, Feeley reported, the bargaining occurred across cases: a prosecutor would tell a defense attorney that he could not dismiss charges in a case because that defense attorney had already has his "quota" of dismissals that day. Or a defense attorney would argue in favor of a dismissal by noting that he hadn't asked the prosecutor for anything yet that day."

"…I worry that sweeping reform might not be possible because the liberal and conservative reform movements aren't necessarily fighting for the same things - or for the same reasons. Conservatives and liberals frame their calls for reform very differently. While conservatives tend to talk about limiting government powers, liberals tend to talk about how the criminal justice system disproportionately affects people of color."

"The Department of Justice advises the President on criminal justice issues. The DOJ testifies on criminal justice issues. The DOJ testifies in front of Congress, giving the view of "the executive branch" on new legislation. And the DOJ houses those portions of the federal government that are responsible fo prisons, forensic testing, and clemency recommendations. …the Department of Justice has used its role as adviser, spokesperson, and agency head to repeatedly and nearly uniformly block meaningful criminal justice reform."

"…prosecutors were repeatedly letting defendants accused of serious sex crimes plead guilty to charges that had nothing to do with sexual assault even though the prosecutors appeared to think that the defendants actually had committed sex crimes. … If one of these defendants committed another rape in the future, the next judge would not know that the defendant had committed sex offenses in the past."

"Plea bargaining encouraging lies because it replaces fact-finding with compromise."

In plea bargaining there is no jury to decide what really happened. Instead, it is all a matter of negotiation. The attorneys negotiate about what the punishment will be, and then the defendant pleads guilty to a crime that carries that punishment. … [sometimes] the defendant pleads guilty to an entirely different crime with entirely different facts."

"'Fictional pleas' … a case qualifies as a fictional plea if the defendant pleads guilty to a crime he has not actually committed with the full knowledge of the defense attorney, the prosecutor, and the judge."

"…the U.S. Supreme Court endorsed [fictional pleas] in a case called Padilla v. Kentucky."

"Plea bargaining doesn't simply encourage lying; sometimes it actually requires it. That is because, in some places, defendants have to tell the judge that they were not promised anything in return for their guilty pleas."

"…some judges will actually tell defendants what sentence they will impose on them during the off-the-record hearing and then turn around several minutes later and ask the defendants to swear in open court that no one had made any representations to them about what the sentence will be. … …defendants swear an oath to tell the truth before the plea colloquy. We make them swear to tell the truth right before we make them lie. …when defendants try to expose the lies at the heart of plea bargaining, they can actually be punished for it."

"Trials allow defendants to hear the evidence that shows their guilt, and it allows them to tell their own stories. When we punish people without this process and this opportunity, then it doesn't feel fair."

"Defendants aren't the only group of people who have lost rights and opportunities; victims also suffer in a system of plea bargains. Trails of guilty defendants allow victims an opportunity to participate in the criminal justice system and have their voices heard."

"Trials tell the story of what the defendants did and how that behavior affected the victims. Sometimes the victims themselves get to testify, allowing them to tell their own stories. Having the opportunity to tell his story in open court and hear a jury say that the defendant is guilty can give a victim a sense of closure. Guilty verdicts don't undo the harm that a victim suffered, but the verdict lets the victim know what his community agrees with him that what the defendant did was wrong."

"A system that avoids trials makes it more difficult for voters to discover what out public officials are doing and to make them tell us why they've made the decisions that they have."

[kamreadsandrecs]

By Elisabeth Egan

Consider the books that lived in the classrooms of your youth. Didn’t it seem like those stories materialized as if by magic, complete with illustrations, a title and a sturdy hardcover? There wasn’t a lot of discussion about how a book arrived in the world, or the arduous creative process behind every collection of words on a page — not just the ones lucky enough to snag an ISBN.

Dave Eggers is working to disrupt this dynamic (although he wouldn’t use the word “disrupt” in such a context). In 2017, the author of “A Heartbreaking Work of Staggering Genius,” “The Circle” and “Zeitoun” — among many others — was working on a middle grade book, “The Lifters,” when he started talking with his editor Taylor Norman and fellow author Mac Barnett about how to involve kids in the creation of books written for them.

“We had the idea to try to collapse the space between young readers and publishers and authors and give them a peek behind the curtain and let them see manuscripts in progress,” Eggers said in a phone interview. “We started cooking up this idea of showing students or classes written manuscripts and saying, ‘What do you think?’ To show them the process as it went along.”

And so the Young Editors Project was born. It works like this: The program matches an author with a classroom of students who are roughly the target audience for a particular work. The writer might pose specific questions — for instance, Eggers said, “I’d like to know if you think there’s enough foxes in this book” — and the kids provide feedback.

“Most writers that participate get all these very sweet, exclamation-filled notes from classes and students all over the world,” Eggers said. “Every so often they might say something that is very astute and might provoke a rethinking of a page or a sentence.”

Or, as Lemony Snicket put it in his endorsement on the project’s website, “At long last, writers can get free advice from strangers without approaching them in the street.”

The YEP proposes several ways for authors to thank budding reviewers for their input, including acknowledgment by name in the final product (another word Eggers wouldn’t use in relation to literature).

Lo and behold, in his new book, “The Eyes and the Impossible,” which debuted at No. 2 on the middle grade hardcover list, Eggers thanks a slew of early readers hailing from the United States, England, Australia and Canada.

Presumably, this crew learned a valuable lesson while evaluating Eggers’s drafts: Pros need help too. “We’re always telling students that every author goes through 10 or 12 drafts,” Eggers said. “It’s always a process, no matter how many books you’ve written. A lot of writers think if their first draft isn’t perfect, then they’re not a good writer.”

In fact, with enough gumption, they might see their own name on the spine of a book someday.



[kammartinez]

By Elisabeth Egan

Consider the books that lived in the classrooms of your youth. Didn’t it seem like those stories materialized as if by magic, complete with illustrations, a title and a sturdy hardcover? There wasn’t a lot of discussion about how a book arrived in the world, or the arduous creative process behind every collection of words on a page — not just the ones lucky enough to snag an ISBN.

Dave Eggers is working to disrupt this dynamic (although he wouldn’t use the word “disrupt” in such a context). In 2017, the author of “A Heartbreaking Work of Staggering Genius,” “The Circle” and “Zeitoun” — among many others — was working on a middle grade book, “The Lifters,” when he started talking with his editor Taylor Norman and fellow author Mac Barnett about how to involve kids in the creation of books written for them.

“We had the idea to try to collapse the space between young readers and publishers and authors and give them a peek behind the curtain and let them see manuscripts in progress,” Eggers said in a phone interview. “We started cooking up this idea of showing students or classes written manuscripts and saying, ‘What do you think?’ To show them the process as it went along.”

And so the Young Editors Project was born. It works like this: The program matches an author with a classroom of students who are roughly the target audience for a particular work. The writer might pose specific questions — for instance, Eggers said, “I’d like to know if you think there’s enough foxes in this book” — and the kids provide feedback.

“Most writers that participate get all these very sweet, exclamation-filled notes from classes and students all over the world,” Eggers said. “Every so often they might say something that is very astute and might provoke a rethinking of a page or a sentence.”

Or, as Lemony Snicket put it in his endorsement on the project’s website, “At long last, writers can get free advice from strangers without approaching them in the street.”

The YEP proposes several ways for authors to thank budding reviewers for their input, including acknowledgment by name in the final product (another word Eggers wouldn’t use in relation to literature).

Lo and behold, in his new book, “The Eyes and the Impossible,” which debuted at No. 2 on the middle grade hardcover list, Eggers thanks a slew of early readers hailing from the United States, England, Australia and Canada.

Presumably, this crew learned a valuable lesson while evaluating Eggers’s drafts: Pros need help too. “We’re always telling students that every author goes through 10 or 12 drafts,” Eggers said. “It’s always a process, no matter how many books you’ve written. A lot of writers think if their first draft isn’t perfect, then they’re not a good writer.”

In fact, with enough gumption, they might see their own name on the spine of a book someday.