#just the most probably overused example:

[clovermunson]

honestly the discourse in the stranger things fandom always amazes me because it’s absolutely ridiculous and almost always some bullshit

(incoming rant in the tags)

[max1461]

Would you say that the distinction between high-context and low-context languages is real? I was skeptical at first, but japanese seems to leave a lot more information implicit in a typical utterance than english.

No such distinction is used (or at least commonplace enough that I have heard of it) in linguistics. If one were to introduce such a distinction, they would have to put forth some way to measure or operationalize "low/high-contextuality"; in the absence of that there's very little I can say about it scientifically.

What I can say is that laymen's subjective impressions about "what different languages are like" are very often more grounded in bias than in fact. There was a good post that went around here a few months ago to the effect of

People everywhere: "[Language I learned in childhood] is so subtle and emotive, whereas [language I learned in adulthood] is so cold and logical".

Often, these subjective impressions then get filtered through the cultural-theorizing-industry and elaborated more and more, becoming more entrenched as "established wisdom" about X or Y language among non-linguists, and in the process getting farther and farther from any real or verifiable truth.

Well anyway, I think the claim that "Japanese is more contextual than English" is probably one of those. Until someone comes up with a real metric for "contexuality", at least, I will probably continue to judge that to be the most reasonable hypothesis. Here are two ways such an impression could have come about:

For English speakers who learn Japanese as adults, things which are left to context in English but not in Japanese will not appear to be "absent" and they won't notice any gaps, whereas things that are left to context in Japanese but not English will strike them as "absent" and they will be more aware of them.

English speakers who speak some Japanese but are not proficient will not in fact be fully familiar with the rules governing the interpretation of utterances, and so things which are actually grammatically determined may appear to rely on nebulous "context".

Here is a salient difference between English and Japanese: in Japanese, any noun phrase may be dropped "when its meaning can be contextually determined". For example, you might say

(1) kinou inu ga nikki tabe-chat-ta! yesterday dog SUBJ diary eat-COMP-PST "yesterday my dog ate my diary!"

(2) wanpaku da yo naa naughty COP ASS TAG "he's sure naughty"

In (1), we see that where English has possessive pronouns ("my"), Japanese doesn't use them. In (2), the noun phrase referring to the dog is dropped entirely. In fact, in both of these sentences, not dropping these things would be considered unnatural and stilted. Overuse of pronouns and NPs is a common marker of non-fluent Japanese as spoken by Westerners. Saying

(3) kinou watashi no inu ga / yesterday me GEN dog SUBJ / watashi no nikki tabe-chat-ta! me GEN diary eat-COMP-PST "yesterday my dog ate my diary!"

instead of (1) would technically not be ungrammatical, but would be markedly foreign sounding and corrected immediately in any intro Japanese class.

However, this already tells you something: the fact that (3) is unambiguously unfelicitous tells you that there are some underlying rules here, it isn't just "drop when you feel it". These rules are called information structure rules, and every language has them. In fact, Japanese explicitly marks information structure in a number of ways that English does not.

Some of the basic rules in Japanese of relevance here (this is a fairly crude analysis and does not account for various things, but it's probably good enough for our purposes) are:

Every discourse has a topic

If no topic is specified, the speaker is by default assumed to be the topic

A non-topic subject may be introduced into the discourse with ga

A noun already in the discourse may be made into the topic with wa

A salient subject already introduced, but not explicitly topicalized with wa, may be implicitly topicalized

Empty NP positions and unmarked possessors should be taken to refer to the topic

Items that are (semantically speaking) likely to be possessed should be interpreted as possessed before they are interpreted as indefinites

These rules are not inviolable, and in particular (5) requires some contextual definition of "salience" and (6) is certainly not this simple in reality (there are often multiple empty NP positions and the full ruleset for interpreting them seems complex; for instance subject positions are favored for topics over object positions and so on), so there is still some amount of combinatorics with referents and syntactic positions that presumably is going on somewhere in speakers' brains or whatever. But the point is that these rules narrow down pretty starkly what interpretations are "reasonable", and the actual role of context in disambiguating between reasonable interpretations is not so vast.

Anyway, using the above rules, it is not so hard to go through (1) and (2) again, and see that only a single reasonable interpretation actually presents itself.

As mentioned, Japanese very often makes information structure explicit using the particles wa, ga, and wo (not mentioned above, but the object equivalent of ga), which is somewhat uncommon among the languages of the world. English, on the other hand, does not do this. English speakers do not drop noun phrases, but they still replace noun phrases with pronouns very readily, and disambiguating pronoun referents uses pragmatic and information structure rules of exactly the same type! Consider, for instance

(4) My boyfriend went on a "boys trip" with Will and Tod last weekend... I told him not to let them pressure him into skinny dipping again. What was up with that anyway?

Think about what you're doing when you assign referents to these pronouns. It's automatic so you don't notice it, but is it unambiguous? Not at all! You know, for instance, that "him" refers to the boyfriend and "them" to Will and Tod, and you know in the second sentence that "that" refers to peer pressure skinny dipping. Some of this (in particular the referent of "that") I think has to be chalked up to pure context; it's the semantics from which we derive the correct assignment. But some of it is mediated by syntactic or information structure rules as well; for instance consider

(5) Jacob went on a "boys trip" with Will and Tod last weekend... I told him not to let them pressure him into skinny dipping again.

We are still able to produce the correct pronoun assignments in this sentence, even though the semantic context which informs us about which one of these people the speaker is most likely the closest to has been removed. This is, again, a product of information structure rules: Jacob is the topic here, and so (by whatever rules operate in English; not identical but not dissimilar to those in Japanese) we infer that "him" refers to Jacob.

Anyway, the point is that all languages make reference to context very freely in matters of interpretation (which is a big part of why language models had to develop implicit world knowledge before they could speak convincingly), and also languages make reference to context in a structured way which can often be described fairly precisely, and which leaves less open to chance and misinterpretation than might initially be assumed. The gulf between English and Japanese is not so large here. It might be the cases that the [pronouns + unmarked topicalization]-English system is more explicit than the [empty NP positions + marked topicalization]-Japanese system, but I don't know. And of course it might be the case that in some other domain of grammar Japanese is more explicit than English. So one must be careful with any broad assertions.

[solarisfortuneia]

— grace and coordination? who?

them with a clumsy reader. (ft. kaeya, thoma, tighnari, diluc, alhaitham, ayato, zhongli, childe.)

notes: pinkie swear this'll be the last repost for a while, bc i'm working on some new stuff mwah <3

kaeya's reaction to your mishaps depends on the situation. sometimes he's literal prince charming, the very picture of concern and worry. and other times, when you're not in a lot of danger— like when you've tripped down a set of four stairs, for example— he'll try really really hard to keep a straight face to protect your feelings.

over time, he'll develop a sense of when and where accidents are most likely to happen and take measures to either remove the obstruction, or guide you away from it entirely. however, if the situation is inevitable, he'll try his best to catch you. one downside though— or upside, depending how you see it— is that he'll always hit you with an overused, cliché line.

"looks like you're falling for me all over again, sweetheart."

this sweet, sweet boy is the most worried of all. initially, thoma thinks every scratch and every bruise is a consequence of something serious, but soon learns that they're most probably a result of your klutziness. even if you stumble lightly and regain your balance, he's instantly at your side, asking you if you're alright. he won't just take you at your word though, he'll check you himself from head to toe, and only then will he be satisfied.

he'll also carry bandages, antiseptic liquid, lotion, anything he thinks you might need. his pockets are endless. he'll even have small treats to console you after a bad fall.

"oh, dear! here, let me help you up. no injuries? good. here's a candy to cheer you up."

frankly, he's exasperated. and also very concerned. whenever you bump your head on a branch or fall backwards on your butt, he just sighs and shakes his head before helping you. he knows you're no careless fool, just very prone to unlucky incidents, so he'll spare you the lecture.

tighnari is a firm believer in the fact that prevention is better than cure. so, he'll make sure your footwear is comfortable and supportive and make you change if any parts of your outfit have the potential to be a tripping hazard. if you wear glasses, he'll remind you to keep your prescription up to date. all in all, he'll minimize the possibility of you tripping due to things in your control.

"you'll trip on that robe of yours if you walk outside wearing it. go put on something else, i'd rather not see you fall into a hole in the ground again."

diluc never expresses anything because he'd rather not come off as overbearing, but he's very careful with you. you can see it in the way he brings a hand to the edge of the table to stop you from hitting your head when you bend to pick up a spoon you knocked off the table, the way he keeps any sharp objects out of your reach, the way he's always scanning his surroundings.

he'll find himself doing all that even when you're not with him, and he'll be glad you weren't there to witness that. he'll baby proof his entire house just for you, and if he can, he'll baby proof yours too. he's the type to use the high quality silk handkerchief he carries around to bandage a scuffed knee.

"don't worry about it, cloth can be washed. the injury should be our first priority."

there is no question alhaitham can't answer and no puzzle he can't solve, except, of course, the conundrum of how you manage to stumble over air, or slip on a completely dry surface. he'll observe you carefully, try his best to figure it out but eventually he'll chalk it up to circumstances being arranged against you.

he takes matters into his own hands and just fixes said circumstances for you. beyond that, he knows he cannot do much. he has the uncanny ability to know exactly when you're about to do something where you'll end up with a bump on your head, even if you're miles apart. he's also not too worried, he knows that a tumble isn't the end of the world. the problem only arises when you don't get back up again.

he'll firmly refuse to go dancing with you though, both for his sake and yours. he'll turn you down gently and suggest alternatives.

"dance with you? i'm not sure that's such a great idea. how about we spend the evening at the café?"

kamisato ayato is grace, elegance and perfection. so it comes as a surprise to most of inazuma when they see that his partner is a walking disaster. he's fond of this trait of yours though; he thinks it's endearing. he's also very forgiving if you happen to step on his toes or bump into him. he has no issues replacing anything you break on accident too.

he knows he cannot personally keep an eye on you, so he'll have someone watch over you from afar to make sure nothing serious happens.  that's not to say he won't tease you, no. even though he knows the answer, he'll always ask playfully about any recent 'misfortune' you've been a part of every time he sees you.

"ah, there you are. have you fulfilled your daily quota of disaster for the day? now now, don't give me that look, you know i'm just teasing~"

he's unfazed, really. he's seen many types of people and creatures over the years, from the most poised rulers to the most unsteady fawns. one thing he does do for you is carefully consider any gifts he's thinking of giving to you, and dismisses the item if it has pointy corners or is fragile.

zhongli's the type to fall with you so you're not alone. he was once a powerful archon, a little accident in a busy hall is nothing for him. and seeing him mimic you with a stoic face to help you feel better is always a treat to witness. then, he'll dust himself off as if nothing happened, and offer you a hand.

"think nothing of it, dearest. i simply wish to accompany you on any journey i can, even if it is a short one to the floor."

childe's first and foremost reaction is to laugh when you hit your head on a pillar right in front of you, then he'll chuckle at the face you make at him when you're offended. he can't help it! it reminds him way too much of his siblings.

he sincerely promises, with a hand over his heart, to kiss any boo-boos better. and he'll insist on lifting you in his arms, and won't take no for an answer.

"no buts! i'm carrying you home like this. after all, the best way to stop you from tripping is to make sure your feet don't touch the ground, wouldn't you agree?"

[supersoakerfullofblood]

Dialogue Tags and Action Beats, Pacing and Scene Development; a Brief Overview

I've seen a few "dialogue tags to use instead of 'said'" posts now, but most of the tags provided by these posts are trying too hard and are much more distracting than "said" would be. "I'll kill you," he declared; "It's okay," she exonerated; He remarked, "He shouldn't have done that." These are clunky to varying degrees, and if you don't recognize that now, you will with practice.

The truth of the matter is that "said" is pretty much always blank space that the reader will skim over without a second thought. It's maybe the only word we have with this function, and it should be treated as such! So why don't we use dialogue tags that add meaning to the dialogue? Something like "argued," "rejoiced," "remarked"? You can, and these should be used now and then (maybe not "rejoiced"), but overusing them weights down the prose, and in general, they should be replaced by action beats or description.

In much the same way adverbs and adjectives should be avoided if the noun they modify already has the qualities of its modifier, wordy dialogue tags should be avoided if you can show the character's emotions through other means. Dialogue tags are telling; action beats and description are showing. Look at these examples:

He remarked, "I can't believe it's not butter."

His eyebrows rose. "I can't believe it's not butter."

"I told you not to do it," she cried.

Her body shook; words rasped her throat. "I told you not to do it."

"Cried" and "remarked" here aren't bad, but they are weaker than they could be. In the first example, "remarked" indicates tone, but it doesn't do anything else. "His eyebrows rose" indicates tone and also develops the scene. It places the character in the reader's mind's eye, and we understand how that specific character reacts to margarine. How would a different character react differently? This dialogue feels embodied; it belongs to a specific body, a specific host. The second example is embodied too, and a little flowery, though not excessively so. We see how a character reacts to whatever "it" is, and we aren't told how they react. How does she cry in the first sentence?

The debate about dialogue tags, however, misunderstands what tags are actually for. Probably 10% of it is imbuing meaning where there is none (a simple word like "whisper" is a great replacement for "said" when used with restraint), but 90% of it is about tempo/flow/beat/pacing/whatever you want to call it. Read these sentences:

She said, "This is none of your business, and you aren't telling anyone about it."

"This is none of your business," she said, "and you aren't telling anyone about it."

"This is none of your business, and you aren't telling anyone about it," she said.

These sentences convey the same information, but to the careful ear, they carry a world of difference. The first reads snippy, like a terse command; the second gives some added gravity to the second half of the quote, landing hard on the last clause; the third one may be effective if the character is responding immediately to something another character said, since there isn't anything to preface the dialogue, and there's nothing halting it in the middle. All this happens in the two syllables of "she said." Use this word to affect the flow of your writing; use this word to affect how people read your writing. Another sin of other dialogue tags is that they may have too high of a syllable count to warrant use. "He expostulated" is a wild distraction from otherwise smooth prose. "She interrupted" is also clunkier than just having the character interrupt with your choice of dialogue tag/action beat placement or omission. In general, I'd be wary of any dialogue tag longer than two syllables.

Wordy dialogue tags can also be avoided by seeding description in your conversation scenes! Just as the world still operates when we have conversations, so too should it for your characters. Here's an exchange from a story I wrote:

He smiled. “Sleep well?” “Girls were up late.” “Is that a yes—” “No. I didn’t sleep.” She squeezed her eyes closed. “They were screeching.” The crowd caught up with them, swallowed them, and they were carried along the cement. “Oh.” Carmen paused. “Sorry.” “It’s okay.” “Is it all bad?” Bodies shifted in the crowd, and Piper glimpsed Beatrice again. Familiarity warmed her chest. Here was the world outside the camp; here was everything Piper knew. She stood between Beatrice and Carmen and lived again in band class, lived again on the bus home, let public streams flood her roots and grow her as a social monolith, an independent and undisputed landmark in her social circles. But at camp, she was little more than Beatrice’s friend, than Carmen’s apocryphal lover. “It’s not all bad,” she said. “Bea is here. And you.”

Description can easily mold into a character's internal monologue, as it does here. You can also go straight to the monologue if you'd like:

Was she sad, Piper thought, or coy? No, it was the start of a joke. “You didn’t think you were a big deal?” But Beatrice didn’t smile. “I didn’t think people cared that much.” She drew her hands close on the table, covered right with left, and looked into her knuckles. This was defeat, Piper recognized. Beatrice conceded, but of her own will. Piper won, but her score was sour, and Beatrice seemed to crumple her arms into the abject statue of her body. And Piper felt as she never had before, as if a storm of locusts ate at the border of her stomach, as if her skin turned to deep and polluted waters, as if moving one hand or twitching one muscle would irrevocably alter the course of life; the drumming of a finger would set off some idle paranoia in Beatrice, or a sniff of the nose would throw her from the wide window, drop her thirty feet down the wooded hill, and crack herself in two on the base of an implacable oak. This was grief, Piper felt, or something approximating it, something resembling internally a dark and blank horizon, something feeling as a stone feels in a pond whose size may only house that stone, something taking shape in the woman before Piper, shrinking now to a girl, now to someone uninspiring in a world of couplets. Piper sat still, because she did not know how to affect the world without ending it. “I’m sorry,” she said.

Imagine if the second example read:

"You didn't think you were a big deal?" Piper said.

Beatrice frowned. "I didn't think people cared that much."

Piper frowned because Beatrice was sad. "I'm sorry."

Much weaker! Why is the description so long in the second example? Because it's a big emotion! In the world of pacing, big things get big descriptions. In both examples, you feel exactly what the characters are feeling, even though I never used a dialogue tag besides "said." And I used "said" a few times to affect the pacing, which adds to how you perceived the characters. You understood the characters because stronger, more descriptive, more pacing-aware things replaced what could've been clunky tags.

Still, you can do whatever you want with tags, beats, and description. I've read incredible prose with zero tags and sparse beats, prose with paragraphs of beats and plenty of tags, and anything in between. It's all a matter of style, which is to say, experiment! Writers will be stubborn and say things like, "I don't use anything besides 'said' in my prose" or "I'll never use 'said' in my prose again," but neither of those are your personal style. They're declarations that you'll die on this hill you don't fully comprehend, to take a stand on an idea you've never genuinely played with. Go full maximalist; go full minimalist; find what feels right for the pacing you want to incorporate into your style, and recognize how pacing changes depending on the context and content of a scene. Nearly every word is permissible somewhere, it's just a matter of finding the right scene for it. And "said" is permissible always.

[obsessivevoidkitten]

There are some common things I find really cringe in omegaverse fics and I wanna know if anyone else feels the same.

-Over reliance on the omega moaning out "alpha", not so bad sparingly and I have probably been slightly guilty but it just seems kinda cringe and overdone.

-Characters having an "inner alpha/omega". This one bugs me most of all. It is so overused in so many fics. It's like the alpha/omega aspects are a separate split personality. Examples: "His omega purred and urged him on." "His inner alpha craved the omega".

-A third one I am more neutral on, I don't conpletely hate it but having scent glands in the neck and that being where pheromones and musk come from to the exclusion of anywhere else. Like why not musky crotch and underarms??

That's where people smell musky irl and there are almost no a/b/o fics that have sniffing focused on those spots if at any sniffing is done there at all. In my fics I like and use the neck but also real life smelly bits.

Sorry for the random ramble, curious whether or not people agree or if I missed some. Let me know your thoughts <3

[novlr]

How do you set a scene without overusing visual descriptions?

Practical Tips to Show, Don’t Tell

Show, don’t tell is probably the most common writing advice any author will ever receive. Instead of explicitly telling readers what is happening or how characters are feeling, showing allows them to experience the story firsthand. It’s good advice, and important for writers to take to heart, but sometimes it can be difficult to get the balance right. Here are some practical tips to show, don’t tell:

Set the scene

To really immerse your readers in your story, you want them to feel as if they’re in it – experiencing the world you’ve built. By writing about how characters perceive and interact with their surroundings, you’ll draw your readers in.

Examples:

Telling: It was winter, and the water was cold.

Showing: I hunched my shoulders up, burrowing deeper into my coat as my heavy boots crunched through the thin ice forming at the water’s edge.

Keep up the pace

Excess scene description will almost always bring your narrative pacing to a screeching halt. Instead of describing the scene every time, describe your characters’ actions within it.

Examples:

Telling: The lake was frozen and the trees were covered in snow.

Showing: My heart pounded as I almost lost my balance on the ice beneath my feet. I ducked and weaved my way home, dodging the snow that the howling wind shook loose from the treetops above me.

Keep your language descriptive, but simple

When it comes to show, don’t tell, it can be easy to fall into the trap of over-describing. Language that is too flowery or over the top can be just as bad as telling. You want to set a scene, not explain it to death.

Examples:

Too much: The azure-blue lake glinted like diamonds under a glittering sun that shone like a lightbulb in the darkness.

Just right: The sun reflected off the ice brightly, highlighting the deep blue of the water beneath it.

Create a sense of character

The way a character speaks and acts can be the perfect way to show your readers who they are and set a scene without over-describing it. For example, you can use body language, like gestures and posture to reveal a character’s emotions or attitude in a way you can’t reveal by simply describing the scene. Sometimes an intricate description of the location is not as important as how the character feels in the moment

Examples:

Telling: The room was the same as he remembered as a child, with its red carpets, brown-papered walls, high ceilings, and huge wooden table propped in front of large bay windows. It made him anxious.

Showing: He shuffled anxiously to the table overlooking the garden, his mind heavy with the weight of childhood memories.

[toxicpineapple]

writing tips masterpost

hello to my loyal tumblr followers... i am often asked to give writing advice but usually when people ask me this i'm nooooot completely sure what to say despite having a ton of advice to give. it's such a broad question when there are so many different things i can advise on, right? so i thought i'd make a sort of writing advice masterpost where i can compile the tips that i think people specifically in fandoms could benefit the most from hearing, OR that i wish someone had told me when i was still finding my footing as a writer.

hopefully this will be helpful to you. i am putting all of the advice under a read more since this is going to be a long one. let's roll!

✬ paragraph breaks are your friend

the fastest way to get me to stop reading a fic is if i click in and see that there are NO paragraphs made and the entire piece is in a huge block of text. no matter how good your work is, i just can't read it at that point. the giant paragraph makes me get lost, i can't focus on anything... it's a huge no.

the trick is you want your paragraphs to sort of act as a guide for your reader, taking them through the story, keeping them engaged. do not be afraid to do short paragraphs! i can understand wanting to shy away from one or two sentence paragraphs for fear of not having "enough substance" in your work, but the truth is, a thousand short paragraphs is ten times easier to read than a huge block of text.

realistically, you want to have a good amount of variety in your paragraph length. variety is key. readers will notice when your work gets formulaic, and some people will like that, but for others that can turn people away from your work. but don't force it! a paragraph should end at the end of a statement, or if the paragraph is getting too long then cut off the thought and continue in the next paragraph with a transitional phrase.

as a general rule of thumb, you want lines of dialogue by different speakers to be put in separate paragraphs. you also want to avoid doing huge chunks of narration or exposition in the same paragraph as you introduce a new speaker. just make a new paragraph! no big deal. i guarantee you your reader will be way more engaged and nobody is going to come at you for doing more rather than less.

✬ make sure the reader knows who is speaking and when

you don't have to end off every line of dialogue with "she said" and in fact i would really recommend you don't. but you ALWAYS need to have some kind of indication in the text as to who is speaking, otherwise the reader can get lost.

this doesn't necessarily mean that you always have to explicitly say who is saying what, though. if it is obvious in a scene who is saying something -- so for example, a scene where there are only two characters talking OR the dialogue has some kind of phrase, statement, etc that makes it obvious who the speaker is -- then in that case you can just let the dialogue speak for itself. sometimes in writing less can be more. you disrupt the flow of a scene if you start to exposit unnecessarily when the reader could reasonably work something out for themself.

✬ "said" is your friend too

related to the last piece of advice, here's another note: don't shy away from using the word "said".

don't overuse it, either. obviously, you don't want every single line to be "he says" "she says" back and forth, especially when they might be asking questions or shouting, in which case the word "said" probably isn't all that applicable at all. but it's a nice default. if you catch yourself busting out the thesaurus, my recommendation? quit it. just use said. it's not going to hurt you and the reader isn't going to mind.

but yeah, in the event that a character is raising their voice, whispering, inquiring -- there are tons of other words you can use in lieu of said and then an adverb. it's just context-dependent, and also, you don't really want to lean too far one way or another. like i said, variety is key. too much of the same breaks immersion.

✬ if you wouldn't say it yourself, probably don't use it in writing

another related tip. look, i get it. you want to spruce up your writing with synonyms. but the fact of the matter is that a lot of these words that "mean the same thing" on paper actually have wildly differing connotations and if you don't understand what those are you're going to look kind of silly whipping out a word you just found off the internet. we can usually tell, too.

your vocabulary will naturally grow and expand as you continue to read and learn. you don't have to try and force it to seem smarter in your writing. people who can write compelling prose and dialogue without throwing in fancy words they barely understand look a lot more intelligent than people who have a thesaurus at the ready 24/7.

✬ if there's a simpler way to say it, take it

this one can be sort of style-dependent, so if it's not your cup of tea then feel free to take or leave this tip, but in my opinion, taking a whole seven-line paragraph to describe a simple action wastes both your and the readers' time.

how many times have you read a fic where the main characters are having a conversation with these long rambling paragraphs between lines of dialogue? sometimes this makes sense! if you were writing a death note fic it would absolutely make sense for light or L to be pausing every few seconds to carefully analyse their opponent's move... but that's not always the case. sometimes characters are just making small talk.

i'm not saying you can't show off. you should show off where applicable. but there's a time and place. sometimes a scene benefits more from you taking the easy way to describe something and moving on. flowery language is great, but if you're meandering too much the reader will lose interest and attention.

✬ a metaphor is useless if nobody knows what it means

writing is subjective and highly personal. write for yourself first and foremost, and use the metaphors that feel right to you -- but the best metaphorical pieces, to me, are the ones that people can understand and identify with.

you've read a story like that, haven't you? with a reoccurring theme or motif that comes back into play at the end in a way that makes you feel so satisfied and complete? THAT'S what you aim for with literary devices like that. if you write a story that nobody can understand, with metaphors that just don't make any sense -- then you haven't really successfully told a good story, have you?

i understand wanting to have a magnum opus. i think it's easy to fall into the "misunderstood writer" mindset where you want your pieces to be so magnificent that only the likeminded will get it -- but writing is a form of communication. metaphor is just another means with which we can illustrate how we feel. you WANT your readers to understand what you're doing with the metaphors, you WANT the people who step away from your story to know what you were trying to say. you don't have to be obvious, just make it good. make it something that can be reasonably drawn from the text.

at the end of the day flowery language is just flowery language. that doesn't actually make your story good.

✬ grammar intermission

(.) period/full stop: used at the end of sentences. oftentimes not used at the end of sentences in dialogue, because lines of dialogue are considered a fragment of a larger sentence. use a period/full stop at the end of a line of dialogue if the dialogue is followed up by another complete sentence. example:

"i just went to the store," he said, scratching his head.

"i just went to the store." he scratched his head.

(,) comma: used in the middle or to separate different clauses (parts/sections) of sentences. used for incomplete clauses, AKA sections of the sentence that could not function as individual sentences. also used to indicate a slight pause. example:

she reached for the ripest banana, plucking it from the bunch.

a comma can also be replaced by a conjunction like "and" or "but". example:

she reached for the ripest banana and plucked it from the bunch.

(;) semi colon: used to separate different complete clauses in sentences, AKA sections of the sentence that are related but COULD function individually as their own sentences. example:

he sighed as he looked out the window; it had been so long since he stepped outside.

not to be confused with

(:) colon: used at the end of a line that leads into or introduces another line. example:

his fingers drummed restlessly against the window sill. it was finally happening: he was finally leaving this place.

(-) hyphen: used to connect compound words like three-years-old or hyphenated surnames like jones-smith.

(–) en dash: used to indicate ranges of time or distance, like 3–4 hours.

(—) em dash: a girl's best friend. slash j. but an em dash is used to indicate a few different things: an abrupt end to a thought or sentence, a "cut-in" where you interject something tangentially or unrelated before returning to the original thought, or a diversion in the sentence/thought. examples:

"no, listen, you don't understand—"

he scowled—an ugly look on his usually handsome features—and told her to be quiet.

it's not like she had wanted it to go that way—but when had it ever mattered what she wanted?

(()) parentheses: used to add additional context, information, or a semi-unrelated thought that would break the flow of an ongoing sentence without completely taking the reader out. example:

"no, i'm sorry. i just forgot to call you this morning," he said, looking away. (in truth, he'd sat by the phone for fifteen minutes trying to psyche himself into it, but hadn't been able to muster the courage.)

✬ show don't tell, and tell don't show

show don't tell is one of the classic pieces of writing advice that i do, often, think is correct -- but it's a little more nuanced than just never telling your readers what a character is thinking. you want the work to speak for itself without you implanting messages or themes into the reader's brain. at the same time though you don't want them to be doing too much work because it breaks immersion.

this ties into what i was saying above about simpler being better sometimes. you want to be concise especially in scenes that might call for it. a fight scene should be quick and snappy. no need to dig into the physical sensation of being enraged -- just say the character is pissed! but if a character is having a meltdown or panicking, you can get SO much more out of describing how that feels than just outright saying it.

✬ remember your perspective

another huge thing with show don't tell is that you don't want your character to be able to objectively say what everyone else is thinking and feeling -- unless that makes sense for them within the context of the story. really dig into it. DOES the character have a reason to know what their opponents, friends, etc are thinking? how well do they know the other characters? how attentive are they to the emotions of those around them?

it's better to focus on descriptions than labels in that case. say what face a character is making, describe their body language or tone. your character can have impressions, just make it clear that those ARE their impressions. and let your character be wrong! they do not have to be a completely objective source of information.

✬ when it comes to representation, if you aren't confident you can do it well, don't do it at all

i'm one of those people who's kind of of the opinion that white or cishet or otherwise systemically advantaged people have no place being the loudest voices in conversations about representation, least of all AS the representatives. if you are someone with systemic privilege and you choose to portray someone who is oppressed -- that's not necessarily a bad thing. but you need to be willing to do your research and have a sensitivity reader, and you have to be ready for people to say you did it wrong.

not much else to be said about that. your voice on the matter isn't actually all that important. there are people from the demographics involved who DO have stories to tell about themselves that will be MUCH more valuable than your perception of them, so it's honestly better to just let them tell it. that's how i feel.

✬ don't break the rules unless you know how to follow them. in other words, your rebellion should be obvious

a lot of times i see people breaking grammar or other rules and citing "stylistic" choices as their reasons why. which is all good and well, to an extent -- but you want it to be very clear that you ARE breaking the rules on purpose in a way that adds to the artistic merit of your piece.

if you don't know the rules, then it really just comes across like messy work. you both have to know how to apply the rules, and also how to break them in a stylistically significant way. if it doesn't make sense for the rules to be broken, if it says nothing... it's honestly better to just follow them. that's my take.

✬ don't be scared of names and pronouns

i said before that you want variety in your work, and that is very very true -- but it's also true that certain words like names, pronouns, etc will sort of blend into the background in writing. people don't notice them. that means if you're using a name or pronoun a lot in a scene to make it clear who exactly is being referred to...

hey. look into my eyes. breathe. it's okay. you do not have to resort to highlighting arbitrary characteristics of the characters. i know. just breathe. it's okay. use their names. they have them for a reason. it's all good.

this isn't to say that you SHOULDN'T do that, just do it when it makes sense to. if height is something the characters are noticing then use "the shorter boy". if age is relevant, eye colour, hair colour, whatever -- go ahead and use them. but don't be excessive with it. i should not be having to read the bluenette more than i'm reading shuichi's actual goddamn name.

✬ read

this is the huge one. reading other works informs your writing. it teaches you skills and tricks you can use. it helps expand your dialogue and your world view. it might even highlight to you things you do too much of in your own writing. read, all the time, whenever you can. it doesn't have to be books. it can be fanfic, articles, whatever -- just keep reading, because you will be passively absorbing knowledge during that time and it'll help you grow as a writer.

✬ practice

BOOOOOO TOMATO TOMATO TOMATO! SHE SAID THE THING SHE SAID IT!

but listen, it's literally just true. i write almost every day for at least a couple of hours and i have been on a trend of consistent growth for the past five years. go read my fics from 2019 if you don't believe me. i've grown fast and i've grown constantly. you just DO grow through constant practice, even if it doesn't always seem that way.

not only that, but you start to build confidence too. writing a lot helps develop those muscles to a point where you start to realise that you ARE that good and you DO have that dawg in you. or whatever. you just have to keep at it. you're not going to magically improve thinking for six months about how you want to be a better writer without practicing anything about it.

✬ yeah, betas are good

you want to have a good editor. i know that that can feel like having someone ELSE be the reason your piece is good, but that's genuinely not it. a beta reader is a second pair of eyes on your work, someone who can tell you about the issues and mistakes you're missing. they'll tell you when something doesn't make sense. they'll point out your punctuation errors. you don't NEED to have a good editor for every crummy little oneshot... but it's good to have one.

✬ numbers are fine and all but don't compare yourself to other people

i think almost everyone in some kind of creative pursuit wants to get some kind of acknowledgement for it. we want to be the best we can be, and it can be discouraging to receive utterly no validation along the way! i get it!!

just don't get caught up in crunching the numbers. you are not as good as your fanbase is. you alone know your skillset and you absolutely should not say "well this other writer got THIS much attention" because that'll just wear you down. it really will. external validation will only keep you going for so long, and you'll always end up needing more. you HAVE to build your own personal confidence first or you'll crash and burn.

✬ read your writing out loud

there is no quicker way to see if something is wonky in your prose than reading it out loud and seeing if it makes sense verbally. i highly recommend this to anybody who struggles with sentence flow. it's a good one.

✬ yippee hooray!

🥰 and that's what i've got for now. thank you if you made it this far, please take all these tips as you will, it is all subjective of course, these are just the tips that help Me the most when i sit down to write something.

please feel free to ask me for additional advice (on specific topics if you could!) at any time, i love encouraging new writers and i am passionate about writing so i will gladly offer support in any way i can, including beta reading works for anybody who might need that.

take care now 💖

[natt-writes]

~5 Writing tips that actually help~

(These tips are meant for fiction books, especially fantasy. so if you’re writing nonfiction a decent amount of these won’t apply to you. Sorry!)

Find your writing voice.

one of the biggest issues I find in things written by beginners is a lack of emotional connection with the narration. Sure the story can be great, but without personality, without looks into the characters minds, without little quips here and there, it really isn’t all that interesting. Something that really helped me to realize this was a book called the tragical tale of birdie bloom. It’s a kids book but it honestly has such a good narrator (and storyline tbh) that you can look past the little kiddy-ness. I recommend you check the book out if you’re looking for some inspiration. I will be making a post about how to develop your writing and character voices soon so if you want some extra help with that, stay tuned!

2. Get to know your characters.

I know that you all probably already know this, but characters are one of, if not the most important part of a book. Readers don’t want to read about a flat, boring character who just feels like a vessel for the horrifying amount of trauma you add to your story. They want to read about people that feel real, people with flaws and feelings and hobbies and backstories. When I wanted to develop my characters I started going through the drafts, the plot outlines, everything and seeing what the characters did, said, felt. Then I took their basic backstory and started lining things up. Like if a character decided to get into a fight with another character, I would see what had happened to them that might have caused this. Maybe they had been abused as a child and thought that any disagreement meant they had to fight for their life. Maybe this person reminded them of a former enemy. After you start to figure out what connects the characters to the big plot points, you can then start to develop subtle things. You could start writing something, realize this situation would have triggered a character, and then drop subtle hints towards them feeling uncomfortable. Go nuts with it, after all you can never over-analyze a character.

3. Describe things uniquely.

Descriptions are what help us to understand what’s going on in a scene. They can tell us about the tasty drink a character is enjoying, the slick dress that someone is wearing or the way a characters muscles tense when a certain someone enters the room. But sometimes descriptions a fall a bit flat and that can ruin the experience for the reader. Something I always try to remember is to try and come up with new words describe something, for example; “her eyes were a beautiful shade of brown.” Is a very basic and over used description, instead you could try; “her eyes sparkled as she sat across from me, gleaming a rich chocolate shade as the light from the candles reflected off of them”. This is a much stronger sentence as it gives both environment hits and a description of the eyes, all while staying away from overused terms. I often see this theme in stories written by beginners, things being described in a very straight forward manner. And of course this is ok once in a while, especially if this isn’t a very important topic, but it still sounds better when you branch away from that basic sentence structure. I always like to use descriptive sentences to push things forward. Here is another example; “she was wearing a fluffy green dress with lots of lace. She walked over to the door and opened it.” Vs “the lacy trim of her green dress dragged on the floor as she walked towards the door. She smiled wide as she held it open, inviting her guests into the building.” Making strong sentences is very important, so please toy around with different words, structures, etc, until the sentence fits the type of book you’re trying to write.

4. Make trauma realistic.

Yes, even if you’re writing a fantasy book, characters experiences have to be realistic. Something that always gets on my nerves is when writers come up with a good idea for some trauma, so they just give to a character, even when it doesn’t suit them at all. if you are going to give a character trauma you need to explain it, set it up so it actually fits into their character arc, then have the character actually be affected by it. They can’t just randomly be like “I got shot by a dude.” And that’s it if there is no way that character could have gotten shot given their life experiences. Also if you want a character to be relatively unaffected after an extremely traumatic event you have to plan it out so that they have a specific and consistent trauma response that makes them not react shortly after an event like that. Characters are supposed to be like people, and no two people react to trauma the same way, so you do have some leeway if necessary, but people also don’t just stay the same after something horrible happens, they are affected by it and that has to be accurately portrayed. This does get easier the more you get to know the characters though, as soon you will know how they react to things and how to plan trauma that suits them.

5. Make a plot outline.

I cannot stress this enough, make a plot outline. Making a plot outline literally saved my book, and they are really easy to make! I recommend you download a spreadsheet app like XL spreadsheets or Apple numbers but you could even use google docs if you want. You want to put in all the chapters and then give each chapter at least six spots to write scenes. Add a spot for adding the main event of the chapter/a summery of what you have to write. This will help you to understand what you have to write for that chapter and how it fits into the next chapter. After that you start to fill all the scene boxes in with your plot information. Having a plot outline is great as it can be super vague and messy, but still hold all your ideas. It also helps to prevent unnecessary rewrites later, as you can just edit the plot outline before you start writing the first draft. You can even make a plot outline after you’ve started writing your book. That’s what I did and I promise, it still is very helpful. (Example of a plot outline below.)

[jell-o101]

How dark could you see canon Super Mario Bros getting (either in the movies or the game's plots? The series has had moments where it's not all sunshine and rainbows (but considering the nature of Super Mario, it is sunshine and rainbows much of the time) The most obvious example I can think of is the recent movie where they dialed up the intensity of Bowser where he has a pretty strong bloodlust, a death row chamber, and a Luma who craves death.

Like I really don't see them going down the route of killing off a major character (without reviving them shortly after) but that does create a risk of cheapening death. One way they could do this is by making death reversible, but it still leaves deep seated psychological scars (think Steven Universe or Puss in Boots 2)

I also wonder if they could do a bittersweet ending sort of thing as well. I've seen some animated movies with a young audience in mind do this, but obviously they're not going go down the road of something like Grave of the Fireflies or The Little Matchgirl.

Ok ok so

Hers some random thoughts that the hardcore gamer in me thinks about.

We’re on the verge of a new console for the Switch. And that means a new 3D Mario game should be revealed soon after the new console is announced or released (stay with me, ok?)

In the personal opinion of a couple of people, Super Mario Odyssey was good! But it wasn’t AS GOOD as Super Mario Galaxy, which was a game that wasn’t really that dark, but had some moments that were out of place for an Mario game that had come before and after (not including spin offs, which seems to have the best plot of any Mario game than the mainline games).

If the next 3D Mario game is to be just as good, if not, BETTER than Galaxy, it needs to have an AMAZING story (gameplay is not my concern tbh).

As someone who enjoys a little bit of angst here and there, I had thought of two different ideas that could work for the potential Mario game.

Mario goes to a parallel universe where he lost an important battle and Bowser has taken over. Anyone who sees Mario would DEFINITELY not believe that it’s actually him and probably be enemies. And main characters like Luigi or Peach could be bosses. I imagine Luigi being the first boss completely in denial that Mario is right in front of him (imagine how cruel the realization would be SHJOSJKHSJASNOJ) and Peach could probably be the second to last OR final boss for the same reason. Idk it’s a neat idea in my head.

Another idea could be Mario accidentally being sent to the past. And I mean the FAR past before Bowser’s rein. Heck, before his birth! I see the way Bowser’s castle is themed after in Odyssey and I like to think that’s what Koopa culture looks like. I also just like the idea of Bowser being super formal when not in battle. Like the bowing, the utensil etiquette, etc. Bowser’s father, or grandfather if Nintendo decides to change it, could be the main antagonist and next to the throne could be a small nest of eggs. Mario’s goal is to use Kamek’s wand (or something magic) to get back home without changing the course of history or something. Yada yada yada, Mario learns more about Koopa culture, yada yada yada, he’s get destroyed except one, yada yada yada Mario gets back home,but Kamek catches a glimpse of him, setting up the plot of Yoshi’s Island (idk is that a good idea?) And Mario, after getting back home, just suddenly hugs Bowser and everyone is super confused. Idk I like the super sappy ending.

Idk it wouldn’t be TOO terrible in angst, but the slight change in tone for a Mario game makes the difference to me. Those are some ideas I had come up with (might draw them idk anyone’s allowed to draw this if they liked it so much) They might be terrible and overused plot points but it would be cool to see that in the next Mario game…

….

Did this…answer the question? I feel like I got off track 😅

[heeseungzz]

what enhypen would call their s/o

pairing: bf!enhypen x gn!reader

wc: 654

a lot of people seemed to like when i did a txt version of this so i thought i’d do enhypen too!

heeseung — baby & angel

i feel like it would take a while for him to warm up to calling you pet names, claiming they were cringe. but honestly, that was because he wanted to find the perfect name for you. once he started calling you angel, your name was no longer y/n to him, it was angel. he loves calling you angel but only when it’s the two of you <3 he calls you baby a lot because it’s simple but effective, and he likes how it sounds. he doesn’t mind calling you baby around anyone else! but angel is something special saved for when it’s just the two of you

jay — darling & hun

in my mind jay takes a lot of inspiration from his parents relationship. he always grew up hearing his dad call his mom darling so he calls you the same </3. hun is what he uses the most when he’s like, preoccupied. for example when he’s cooking and needs your help. he loves to show off your relationship around the boys and overuses these pet names around them. he finds joy in making them uncomfortable lmaooo. he would be the best boyfriend, i take no criticism

jake — love & sunshine

okay, honestly i only put love here because the thought of him calling someone love with his aussie accent makes me wanna sob (in a positive way). the first time he called you love and saw how much you liked it he continued to use it. i think he would use sunshine quite often, mostly in public/around others. he still can get kinda awkward “presenting” your relationship so this is more comfy for him :)

sunghoon — prince(ss) & beautiful/handsome

of course, you call him your prince, so naturally he calls you prince(ss). it really boosts his confidence when you call him prince which is why he calls you the same. obviously, he calls u beautiful/handsome, bc you are… duh. beautiful/handsome is what he frequently calls you. i also think he would call you baby when he gets whiny (i say this endearingly). kinda like jay, he overuses these pet names around the boys. it makes you super flustered which he loves lol, i can already imagine that really hot cocky smirk on his face

sunoo — sweetie & pinky

please :( he is so sweet i love him. now that i got that out of the way, he loves calling you super cute pet names. sweetie is already an adorable pet name so imagine it coming from him. honestly, you don’t really know where pinky came from, one day he just started calling you that. at this point, he honestly never even uses your real name. he also would call you whatever animal you remind him of (like puppy or something idk)

jungwon — sweetheart & bubs

he makes me so soft, so obviously, i had to use the softest pet names lol. you started calling him sweetheart, and he started calling you the same. he also calls you bubs a lot especially when you’re having a rough day :( like can you imagine coming home from a really tough day and him being like “cmere bubs” and pulling you into a hug omg :(( pt 2 of he would be the best boyfriend, i take no criticism

niki — babe & jellybean

i think because he’d be new to the whole relationship thing, that babe would be the most comfortable for him. it feels really natural for him so it’s definitely what he uses the most. he started calling you jellybean as a joke, but then it needed up sticking. (he shoved a jellybean up your nose when you were watching a movie… don’t ask). he probably would also just call you your name around the boys

[i-smoke-chapstick]

What advice or tips do you have for a writer wanting to write the characters from Succession for the first time (Shiv, Kendall, Roman, Tom, Greg etc)

Not sure if this was meant for me, since I haven't yet written for Succession, but I can still try my best to help out! Here are some tips <3 Sorry for the long post.

Whenever I'm writing for a character, I really try to incorporate their canon dialect and dialogues here and there. For instance, Roman stutters on his words quite a bit erratically, and Greg has a lots of "uh"s and "oh"s and awkward, bumbling uncertainty. It's all about the characters voice, because I find fanfics with lots of dialogue to be the most enjoyable! If I was writing for succession, I'd typically try to follow these tips for each character,

Shiv: Shiv sometimes speaks with an underlying tone of superiority, and a lot of her interactions also have fraught tension. When writing a character, you need to look at their insecurities and desires to get a feel for what they want vs. how they express it. Shiv struggles with a desire to prove herself, but wants power. Because of this, she's blunt in all the wrong ways.

This sounds dumb, but I always do a short writing exercise beforehand and I really encourage it! One of my favorite things to do is just imagine the conversation I'm trying to write. For instance, if Y/N were ask Shiv what her favorite color was. She might say something like,

"My favorite color? Seriously, Y/N, that's the question you come up with? Well, if we're going to play this game, I guess I'll indulge you. Let's see... I don't know, maybe the color of money? Honestly, I'm more concerned with the color of success, and right now, it's looking pretty green to me."

Kendall: Similarly stutters like Roman, and can switch between being aggressive and vulnerable.

Here again with the favorite color theory:

"Uh, favorite color? That's a... good question. You know, it's, uh, probably something classic. Black. Yeah, black. It's, uh, timeless, powerful. Like, I don't know, it's just... it's a strong color. Represents, like, the intensity and, uh, the seriousness of, you know, life and business." (Long example, but I'll dive into this!)

Succession characters are very human. The pauses in their words, their overuse of "like" and "uh" (especially for Kendall). I try to use Kendall's "media trained" upbringing as a way for him to spin the question into something flattering for himself. Like if he was in an interview.

While as If we were writing for Roman, he might say something like,

"My favorite color? Seriously? Okay, um, let's go with... I don't know, red? Yeah, red. It's bold, it's sexy. Plus, it's the color of blood, and blood is, like, life or whatever. Or maybe it's just 'cause I look good in it. Either way, red. Final answer."

Roman has a lot more vulgarity in his dialogue, as well as pop-culture references and anything completely outlandish. Sometimes I like piecing together canon dialogue from the show to form answers as well, because the reader can more affectively imagine the character saying it!

Tom: When you're writing a character like Tom, his interactions really depend on whoever he's talking too, and how stressed he is about a situation. If he's speaking to a reader whose a Roy, or more powerful than him in a way, he's fumbling; not trying to impress them per se, but trying to fit in. Also, if in this universe you're writing, Shiv is apart of, Shiv is just a major part of his character in general, he'll probably mention her now and again. Once again, the favourite color theory!

"Oh, my favorite color? Well, I'd have to say blue. It's calming, you know? Reliable. Like a good, steady stock that just keeps going up. Plus, it’s a color that commands a certain... respect. Not too flashy, but still, quite distinguished. And, well, Shiv looks great in blue, so there's that too."

Now, if you're writing for someone like Greg who asks the question, someone who he doesn't view as a threat, Tom is much more assertive and aggressive. He'd be more sarcastic, less enthused, and simply wouldn't care. Might not even answer the question. He has the same loose, condescending tone as Shiv would.

"Oh, my favorite color? You know, Y/N, of all the things you could ask me—my thoughts on the latest market trends, insights on corporate strategy, or even just what I had for breakfast—you went with favorite color. Remarkable. Adorable, really. Y/N, what is this? Preschool? Do I look like someone who has time to contemplate the nuances of the color spectrum?"

Greg: Poor Greg.

"Ah, favorite color, huh? Well, that's a tough one. I reckon I'd have to go with a good ol' forest green. Reminds me of these long hikes through the woods back home. Plus, it's just got this calming vibe to it, you know? Like being surrounded by nature's...embrace." Que the awkward cough, realizing he's ranting or saying things that don't quite sound right.

Greg is more compassionate, more air-headed then the Roy's. He's probably the only one on this list to add a subtle,

"What about you?" To make more semi-awkward conversation.

Okay, Thank you for coming to my Ted Talk. I really don't think this was meant for my blog, but regardless, I love questions like these <3

[starflungwaddledee]

hii!! i just wanna say your comic and starspeak lore are SO cool omg!! the way you incorporate the essence of the starfolk culture into their language is incredibly creative and very fitting auauagahsahdbsnsnn <3

i'm pretty interested in all the grammar of the language!! i think you mentioned that there's a question particle that kind of works like mandarin chinese, do other final particles exist? little tone indicators in the language seems like it would help mutual understanding between a bunch of mystical star-beings :0

also, if it's been developed yet, how do verbs work in this? granted, i don't know a lot about greek/latin languages or if you're basing the grammar off of them too, but does it lean more towards romance language's crazy conjugations, or a simpler "subject verb noun" structure?

sorry if this is a lot haha i know the language is still a wip, but it's such a cool concept! i think languages are really interesting and the way you incorporate it into kirby is so mmbdbbrnzmxfh✨✨

alright, this one took me a very long time to get to (because i knew it would be long and i've been working on it on and off for a while) and i'm so sorry! thank you so much for your patience veve! and it's been a little while since we've had a starspeak post so let's go!

(i will preface by saying again that the language is still very much a wip which i could change at any time, and that i'm no trained specialist; i'm just doing this for fun and there's a high chance i fully have no clue what i'm talking about 😅)

❓ i'll start with the easiest one of these and go for the question particle!

i think that Celestials are not often doubtful or questioning things, but when they do the particle is an opener rather than a sentence-final (such as ma (嗎/吗) in mandarin chinese). it otherwise works extremely similarly in that it is tagged on to turn a sentence into a question.

so the most common starspeak question particle is tc, almost a mouth sound than a word. the letters are a combination not often used elsewhere in their speech patterns, which i like to think also wraps back around to them being fairly certain of most things they open their mouths to say.

tc is predominantly used when seeking clarification about someone else's experiences, which is probably one of the more frequent times they wouldn't know something in (self-presumed) absolution.

combining it with some other things we've learned; épios (see) and eu (you) we can ask someone what they're seeing presently, where the target of the speaker (eu) is in active possession of the seeing action and vl is an active tense:

"tc vlépios eu?" // "(what's) seen (by) you?" // "what do you see?"

unfortunately in the conlangs current state, moving things around even a little bit throws out the meaning of sentences a lot, which is something i could probably iron out more with significantly more time 😅 "tc eu vlépios?" for example would be closer to "you're seen?" and "tc vlépios-eu?" would probably be like.. "what sight possesses you?", which is... still kind of the same i suppose but it's just an unnecessarily intense way to say it 😂

🥰 okay! question particle done and it was not actually the easiest but anyway; onto the personaliser! "ki".

i'm not 100% sure if this sort of thing exists in other languages or what it might be called to begin researching, but it's ostensibly a way to turn an external item or concept into something internal or individualised

asté (star/s) for instance is a very overused word in their language, understandably. you can use it to refer to gaseous bodies, other Celestials, other non-Celestial beings, or even a specific individual rank within a relationship system. ei asté applies an amount of ownership over the star/s, but still does not make them an individual in their own right. you would most likely use this if you happened to be carting around an actual giant flaming ball of gas

ei astéki however immediately makes the star something more personal, a little soul-deep. maybe it's a warm light inside you, or maybe it's the beating heart of another living being. dropping the 'ei' you could use this as a nickname, though it'd be kind of like calling someone 'person'.

"ei astéki skotei koris eu" // "my stars dimmed lacking you" // functionally just a really big ham "i missed you"

🤏 alright rolling on, last one: a diminutive. this one's easier i think; maybe i ought have started here. oh well!

like it says on the tin, this is to make things small and/or cute! the particle is ró and it is usually tacked on at or towards the end of a word. much like in english i think this is usually done affectionately. though it could be done a little pettily or rudely, being small in size is significantly less of a negatively-judged-concept by Celestials than being low in brightness.

here's some examples, probably the easiest way to go about this one! all of these are actively affectionate, not unlike a pet name?

moiydísró - (small) cheeky one astéróki - small star (personaliser; makes this a clear nickname) ei Vaýtitaró - my little gravity

💬 and then to wrap up, this last part about verbs and conjugations!

answering this one with complete confidence would require that i were a bit better at this and had it more fixed and figured out, but i'll do my best!! i'm not really basing the grammar off any one language in particular (I only use translations to form a rough sound/word and go from there), just kind of what feels like the right sort of vibe.

because i was just doing this for myself and for fun i didn't start out with any rules, just rolled with what i enjoyed! if you were doing conlang more seriously i think it would help to set those rules up at the outset 😅

in its present state, my starspeak seems to me to be a topic prominent language with less individual conjugations and more modifiers; including significant reliance on sentence order and word placement

so instead of having many different words for see (seen, saw, to see) it's more about the placement, word combinations, and other modifiers;

ei épios - me see (a request, often used in place of 'wake up') vlépios ei - seeing by me (active tense added by vl but it's not strictly necessary) eu épios - you see (the speaker sees the target) épios-koris eu - without seeing by you (sight possesses a term for "lack", so the sight itself is lacking. "you don't see clearly", ostensibly.) épios ei prioto - seeing by me before (i saw it earlier)

this is sort of a necessity because right now the overall variety of words is limited; both by the earliness of its development and also because i think that this is a species that might not have needed a lot of words.

maybe they moved the same few hundred words around and minced them up in new ways rather than making lots of new ones. maybe they might have communicated through body language as much as with words (despite how much galacta knight clearly loves the sound of his own voice) or maybe i'll change my mind and they'll be a talkative bunch and we'll have dozens of new words soon 😂

anyway, i hope this is a ~fun and cool answer~ that you will enjoy despite its incredible lateness and sprawling length!! thank you so so much for asking me about the language; as you can tell i dearly love to talk about it despite its nebulousness, and i'm sorry it took me so long to get this out!

[bloomeng]

I made a post talking about my frustration with Lxc mischaracterization and several people mentioned in the tags the adjacent fanon Lxc problem, aka the “himbo” characterization.

Himbo is now just one of those internet words that has been so overused and thrown out of its original context that to me it almost has no meaning. My eyes sort of just glaze over it, which might be why it doesn’t bother me as much. But as far as mischaracterization goes— oh definitely Lxc is not at all a himbo.

Definitions vary but in my opinion to be a himbo one must be three things:

1) Obviously strong

To be a himbo it’s not enough to just be strong, you must be visibly strong. Bimbo and himbo’s were originally negative descriptors given to hot people who were supposedly stupid. What I’m getting at is it’s a visual aesthetic. If a character’s strength isn’t immediately identifiable then they’re not a himbo. I’m not talking “has to have a six pack,” I’m talking clothing that inadvertently reveals their strength. It’s about how they present themselves the same way bimbo is about how you present yourself. To be clear the majority of characters aren’t aware of the himbo label but they are conscious of the way they dress. They’re not dressing to fit a mold they’re dressing to show off in a way they think is cool. (Ex: characters like Itto and Galo walking around shirtless for the vibe)

2) Dumb in an oblivious way

Himbos aren’t book smart, nor are they great at grasping highly technical things, but they do shock everyone around them with their emotional intelligence. This trait comes from the newer, more positive interpretation of the label that the internet has created. Himbos are no longer flat out stupid, no they’re just a little dumb but they have a big heart. It’s the simplicity in their logic that allows them to be so straightforward and cut through the bs to the humanity of any given issue. However, it also means a lot goes over their heads. The obliviousness is the key to their dumb characterization because it’s what allows them to be so open and loud about what they believe in.

3) Kind

I already partially touched on this in the previous blurb but apart of the new understanding of a himbo is their capacity for kindness. Usually himbos are written to have strong internal moral codes that are very simple, but it’s the simplicity that allows them to see past the cultural norms and politics and just be respectful to everyone regardless of their background. That’s why people often say himbos can’t be sexist, racist, etc. Which I mostly agree with, but I do think that there are levels to this. I think if we’re discussing characters, himbos are allowed some minor prejudices as a flaw that they then work through. Sokka, while not a himbo, is a good example of a character who starts a series with a flaw (sexism) that comes from a well meaning place but grows from it. The important thing is the capacity to respect everyone.

Now Lxc does have some of these traits but he doesn’t display them in a way that matches what a himbo is.

Stength:

He’s very strong both in his cultivation and physically. Too bad we can’t see that just by looking at him.

Oblivious:

Lxc’s whole thing is that he’s literally book smart. Never once is oblivious to a situation. He purposely allows himself some blissful ignorance when it came to the situation between Jgy and Nmj but that was his one selfish act. He’s well adept when it comes to handling politics more so than anyone in the book. If you think that Lxc’s internal logic is simplistic that’s a fundamental misunderstanding of his character. The dumbest he ever gets is tied to class, where he struggles to do daily chores, and even then he’s never shown to be oblivious to the social hierarchy.

Kindness:

This is probably the trait Lxc embodies the most. He is very kind. That being said his internal logic system is not simplistic at all. Lxc is a lot more morally grey than he seems at first glance. While he feels strongly about not judging others based on their backgrounds he also has a deep understanding of exactly why certain people aren’t accepted in the first place. He understands his status and accepting Jgy was absolutely a calculated move on his part. It was coming from a good place but he also understood the delicacy of the situation. If he were actually a himbo he would’ve had none of that delicacy and pitched a very loud fit over it.

All of this is to say he’s no where near the realm of himbo. I think the only types of people who refer to him as one are typically the same people who only engage with his character on the most surface level. They mean well because it’s supposed to be a compliment— which might be why I don’t mind it as much— but it’s also just fundamentally the exact opposite of his character. He’s a passive reserved artist who’s been forced into a leadership position where he has to navigate politics.

[changingplumbob]

A Guide to my Content Warnings

Please note I will not label posts simply for having LGBTQIA+ characters because a)I'd probably label every post and b)LGBTQIA+ people exist, I'm one of them. We're not going anywhere and if our existence offends you I humbly invite you to unfollow me.

Most of the time my stories are in the G/PG realm but occasionally they'll drift into the M realm, or mention topics which may be hard for some people. I thought I'd make this guide to attach to my future posts with content warnings (cw) so you know what to expect. I do overuse content warnings but I'd rather take the time than have someone be surprised in a way that will muck up their day. If you feel I haven't labelled something I should have that occurs in my stories just let me know.

Common or repeated topics are

Low Level Sim Spice Moderate Sim Spice Mentions/Discussions of Death Pet and/or Sim Death Mentions of Violence Distressed Infant/Toddler/Child

Low Level Sim Spice

My sims being extra flirty. Usually contains innuendo or talk of what they want their woohoo to be like.

Examples

Rahul: *chuckles and winks* Later, we’ve got to get these ones sorted. But you are also looking very tasty Mrs Chopra. So maybe we’ll both have some private dining later Samir: Jerk. Almost makes me want to bend you over the table just to spite him Reece: I mean you could and I would endorse such action

Moderate Sim Spice

Contains a scene with woohoo that's more than the sims disappearing under the covers. Will sometimes have what sims are saying as they woohoo or vague descriptions of their actions.

Examples

Rahul manages to maintain his composure until she begins to slide his fingers into her mouth and his lust overcomes him. Now he knew every sigh, shiver and squeal Cassandra made meant that she loved him. Tuesday: You see how I did that, you try Monica: But will he really like that Joey: Most guys do Tuesday: Trust me. A girl can do a heck of a lot just by playing with things in her mouth

Images will not show pixel parts (genitalia or female nipples) but occur during woohoo.

Examples

Mentions/Discussions of Death

There will be mention or discussion of a sim having passed away. Sims may also talk about how the loss affected them.

Examples

Charlie is understandably devastated. She had Allie for half of her own life, and doesn’t have many happy memories that don’t include the dog. Marta: I didn’t have to leave after padre and mama died. I had the community still but I felt alone

Pet and/or Sim Death

Either a pet or sim dies. I have changed to NOT show the pet/sim when dead, but my older content may have a few dead human sims. I normally show a photo on the wall of them and/or the urn. When my characters die they go to the timeless save where they are young so this will also be shown.

Examples

In the early hours Allie crosses the rainbow bridge After taking Sachiko’s remains to the cemetery... Indeed, a hop skip and jump later he’s in the timeless save with his mum and fellow litter mates. Dale happily plays at peace... Olive: All sims deserve to rest, no matter what they have or have not done

Mentions of Violence

I don't like to show violence, the most you'll get from me is the clouds when sims fight. However some of my sims have had violence in their pasts. Mentions can range from stating what happened to more vivid descriptions but these will not be shown.

Examples

Unfortunately Joey is knocked down before he can get a word out. Liam yells and charges at Keira, beginning an all out brawl. I’m sorry to say Othman was in several pieces, and the blood pools around him appeared to have been walked through.

Distressed Infant/Toddler/Child

No one enjoys seeing a kid panicking so I like to warn people before hand if it will be more than the usual tummy time or night night time crying.

Examples

Viola sniffles and wipes her tears from under her glasses. Why won’t this lady just pick her up? She loves being carried and desperately wants a cuddle. Tiana panics... She is alone again! Feeling betrayed she bursts into tears.

[avelera]

My two favorite character-related cheat codes for writing that I've spent a lot of time practicing lately are:

1 ) When in close character point-of-view (POV, 1st or 3rd) ie, "we're in this character's head and no other, and we're set immediately in their thoughts", try filtering the description and narration through their POV.

Ex. "The coffee machine was broken." -> "The coffee machine was broken, because of course it was, just when Bob needed it most."

Note: Like all tools, this can be overused and it's not suited to every story, but narration flavored by the character's POV can really make a story pop.

Caveat: There can be limits as far as what this character would notice and describe when this deep in their head. For example, neutral narration might say, "Bob's cheeks darkened with anger." However, Bob cannot see his own cheeks (unless he's got a mirror or is going through an out of body experience, I suppose) and so even if one is not in 1st person, it can be jarring for the character to note things they can't see. Also applies to some descriptions like, "Bob's dulcet voice that called to mind a nightingale." Bob would probably not think that about himself, unless maybe he does, but that's a very specific type of self-confident character who thinks something like that about themself. Whereas another character can think that about Bob, or a neutral word-of-god narration style can.

2 ) If you, the author, don't know how something works in your story or what the character would do next, the POV character doesn't have to know it either! And in fact, exploring this can add richness and texture to your story!

This can be applied to multiple situations you might be stuck on as an author. For example, in a sci-fi story, maybe you feel under obligation to explain how the Space Widget works in space. But the thing is, most people don't know, for example, how their microwave works, let alone know it well enough to build one. You're absolutely allowed to have a character in a genre setting like sci-fi/fantasy, when confronted with the futuristic technology of their time, not actually know how it works or how to build it! Unless the character is a space mechanic, it's completely reasonable and can lend to humor and character realism if they don't.

Along these lines, coloring your narration with incomplete knowledge, whether it's true or false, and opinion is another way to enrich your story. Most people don't have perfect knowledge of the history of our world, let alone knowledge that's 100% correct! Two people having different opinions about that historical event that happened 600 years ago is a great way to do exposition and to reveal character, for example, if it was a peasant revolt a character with a peasant background might sympathize with the peasants, an aristocrat sides with the king! Also, people might just not know much about that revolt that happened 600 years ago, or perhaps it's been erased from history, or mythologized to the point of falsehood, or turned into propaganda for the winning side. When worldbuilding, sometimes it matters less what actually happened and more what people think actually happened. This also feeds into what are the opinions and the entertainment people enjoy to in this world? What does that say about your characters?

You can also use this trick for bigger questions like, "Should my character forgive their deadbeat father in the next scene?" You, as the author, might feel as if you should have this figured out but the thing is, realistically, your character might not have the answer either and it's a complex enough emotional question that it is, in fact, more realistic that the character doesn't have a ready made answer or decision too! Adding a scene where you, the author, sit in the characters head, in a scene, maybe talking to a friend of theirs going through their options of whether or not they should forgive their deadbeat father is another opportunity both for a character moment and for you the author to work through which option the character would pick as the character. You can always toss the scene later but then at least you have the knowledge in your head.

And finally, it's ok to have other characters react with surprise to the character's choice in the same way the reader or you, the author, would. "Wow, I really thought you were going to forgive your deadbeat dad, but you didn't, that's great/terrible!" That is a character revealing exchange and might be a great jumping-off point for future drama. Don't sweep it under the rug. As noted above, it's normal, human, and interesting for characters to have opinions about the world around them and the actions of people they know (or don't know, vis a vis, tabloids, famous people, current events, etc). Indeed, word of god objective truth rarely exists in the real world, history is a myth agreed upon, and everyone's got a different take on every story. This is extremely valuable to utilize when worldbuilding and constructing narratives/narration.

[slexenskee]

Would quirks like Stain's work on Satoru? The thought just popped into my head and it won't leave. Like how does it even work yknow?? Is there a range, is there a limit on how old the blood can be or can stain just. eat a blood clot and it would still paralyze the target? Sorry I got a bit off topic but like quirks. How.

Basically, are there any quirks that can get past his Infinity? And how do quirks work in this verse?

Short answer: yes it would work in theory but in practice probably not. And no, there are no quirks that can get past Infinity. At least not in a conventional way.

Ok I'm not a huge MHA expert but my understanding of quirks is that they're powered by "Plus Alpha Energy", which is basically an amalgamation of physical and genetic traits that make up a person's quirk. I treat it identical to Chakra in Naruto, or Cursed Energy in Jujutsu Kaisen - meaning its like a secondary energy source separate from their physical energy. Kind of like how in video games you have your HP bar but you also usually have a secondary MP bar for spellcasting, and you can run out of Magic even though you still have full Health. But more like the above examples, because I believe in MHA its possible to die /severely injure yourself if you overuse your quirk, so they're not entirely exclusive systems.

According to the wiki there are 3 main types of quirks: transformation types, emitter types, and heteromorphic types. I don't believe they're mutually exclusive, bc someone like Hawks is sort of heteromorphic + emitter (since his feathers are telekinetic). But they all require the use of Plus Alpha Energy. Even for emitter types / telekinetic types, they're using Plus Alpha Energy to control those powers.

For the sake of my sanity, I am treating PAE (I'm going to start shortening it I'm sorry it's annoying to type) like any other energy wave - soundwaves, microwaves, visual light, radiowaves, etc., in that it still needs to move through physical space to get to its target, even if you can't see it. So just like any other energy wave, it can be blocked. I have to imagine this is canon, since quirk-blocking handcuffs exist. (?) Or maybe that's fanon idk. They exist in my story lol.

For the most part, PAE is really only used to interact with the world in a certain way. Examples:

Shouto's emitter PAE creates fire/ice across his skin, and he can push it out in various ways and create ice walls/fire blasts etc but they all have to start at his skin, which is why he can't just point at a building and light it on fire. Katsuki's Explosion is similar.

Eraserheads emitter PAE is in his eyeballs but reacts telekinetically, because he doesn't need to touch people to negate their quirk, just look at them. But PAE is still energy, even though his quirk is activated telekinetically it still needs to travel through reality

Blocking PAE, with handcuffs or Tartarus cells or other quirks like Erasure, stops the PAE from working and therefore stops the quirk. So even 'instantaneous', ranged telekinetic quirks like Erasure, or I imagine any amalgamation of mind control quirks, could theoreteically be stopped by anything that can block PAE. Because PAE is an energy wave, it's possibly for Infinity to block it.

In canon JJK we already see that Gojo can block soundwaves if/when he wants (fight scene with Jogo) - it's not unrealistic to assume he can block all various types of energy waves, radio, ultrasound, etc.

TL;DR: No Quirk can get past Infinity, because it's an energy wave and Infinity can block those.

However!

Infinity is not infallible, because Gojo is not a robot (or actually a god) and has human limitations. He almost always has it up in some capacity (as its canon that he can pick and choose what filters through, i.e., soundwaves and the visible light spectrum etc, can normally pass through) but he does pull the 'physical' barrier down for a lot of reasons.

I also headcanon that he's not as religious about keeping it up at all times as he was in JJK.

So for random examples:

Stain: Let's say he somehow acquires and ingests Gojo's blood. His PAE would then kick in and he would try to telekinetically stop Gojo's body. That PAE still has to travel through space to get to Gojo, and Gojo's Infinity expands the space between himself and the universe endlessly, so it would get stuck forever trying to make contact with Gojo and can never do it. So nope it wouldn't work. ❌

Toga: Again, through a very improbable but not impossible series of events she somehow gets Gojo's blood. Steals it from his regular doctor or something, whatever. She ingests it, and can turn into him/has access to his quirk. Idk if she'd have access to his Cursed Energy, because it's still unclear how much of Cursed Energy is Body vs. Soul. Technically, her quirk does work because it doesn't need to cross Infinity ✅

Naomasa/Makoto: This one was a tough one, definitely had to puzzle it out! I believe their quirks work on the response of the person, not by forcing their quirk onto others. So, Naomasa asks a question. This is just a normal soundwave, interacts like any other human voice. But then Gojo responds. It's his response that Naomasa's PAE interacts with, and since that response already traveled out of his Infinity barrier, Infinity is useless to stop a quirk like this. ✅

Ragdoll: Another one I had to ponder. This would depend on how Ragdoll's quirk works, which we don't know. In my story, I've decided it works by ingesting the PAE of the world around her, analyzing it, and putting that on a mental map. Because her PAE works by absorbing/reading the PAE of others, she's not pushing it out into the world around her in any way. It's Gojo who's pushing out his PAE, because Infinity is a one-way barrier (Gojo's cursed techniques/energy, his voice/soundwaves, and his kinetic/physical force all can pass the barrier). So Ragdoll's quirk would work on Gojo, because it doesn't need to try to pass his Infinity barrier. Gojo's PAE naturally leaves his barrier on its own. ✅

Eri: Her Rewind canonically doesn't need physical touch, if I'm not mistaken? I feel like i saw a panel somewhere where it's going haywire and affects everyone in her vicinity. Either way it's irrelevant, it still doesn't work on Infinity. It emits from her horn and is pushed out into the world around her either, by touch or possibly telekinetically, which means Infinity will stop the PAE before it reaches Gojo. And she wouldn't accidentally hurt Gojo either, even if he had Infinity down already because he's carrying her or whatever, because his Six Eyes would be able to see the surge of PAE in her horn before it manifests and react accordingly by pulling Infinity up. ❌

Shinsou: His quirk is basically him lacing his voice with PAE. Because its traveling through the air as both an energy wave and a sound wave, it gets stopped by Infinity. ❌

Basically, the rule of thumb for whether Gojo would be affected by someone's quirk is how their PAE interacts with the world. Any quirk that a user internalizes/doesn't push out of themselves will work on him, while anything that tries to force its way through his barrier will not.

Gojo >>> Quirk ✅

Gojo <<< Quirk ❌