#only things in quotation marks are direct quotes

[t-u-i-t-c]

You're My Important Partner→Hiroto Sutō & Toripter

[abyssruler]

reader who cluelessly plagiarizes an essay because you saw that you can directly take quotes from your source material. cyno hearing about a student who supposedly plagiarizes their papers only to find an airhead like you that makes him question how you even got qualified to enter the akademiya in the first place. for lack of better things to do (and bc seeing your paper get rejected for the thirtieth time is a little pitiful), he decides to teach you how to properly cite your sources.

“No, you can’t just copy direct sentences from that study.”

“But it says here in the guide that I can as long as I put quotation marks!”

“Yes, but then your entire paper’s just going to be the same plagiarized essay but with quotation marks… you didn’t even mention the author’s name.”

[subskz]

do you have any tips on writing? i wanna start my own blog and start writing, but im not sure where to start and how to make it sound good.

ofc! i do wanna preface by saying i’m by no means an expert, and when it comes to writing (or any form of creative expression) a lot of it is very subjective, so there’s not really any set standard for your writing to be considered “good” outside of basic writing/grammar rules! that being said, here are some things i do!

first just a few basic rules:

1.) start a new paragraph each time someone different is speaking

e.g. “What’s that?” she asked, tilting her head in the direction of the other room.

He squinted, taking a moment to listen carefully before another dull thud echoed through the door. “Not sure,” he replied. “Let’s check it out.”

2.) when seperating dialogue, don’t capitalize dialogue tags, treat the text in quotations and outside of quotations as if they’re the same sentence. this is one i didn’t learn until quite recently actually…😭

e.g. “Oh my God,” she muttered. “Why are you so difficult?”

The exception to this would be if the dialogue is seperated by a different sentence!

e.g. “Oh my God.” She was clearly fed up, running a hand down her face with a huff. “Why are you so difficult?”

3.) when a character is quoting something within their dialogue, don’t use quotation marks (“”), use apostrophes (‘’)

e.g. “He told me “do what you want”, so I will.” (this is wrong)

“He told me ‘do what you want’, so I will.” (this is right!)

as for writing tips, these are just some things that i personally do when i write! they’re not necessarily the right way to go abt it, so only follow the advice you want! i also talked a bit abt motivation here

include actions w dialogue! this can keep things from getting monotonous (like a constant back and forth of “he said” “she said” with little in between) and can also emphasize what the characters are saying! for example, instead of writing “he replied dismissively” you could say “he replied, giving a dismissive wave of his hand” or instead of “she said in exasperation” you could say “she rolled her eyes as she spoke” just little things like that to enhance the dialogue. ofc, keeping it simple is necessary sometimes so don’t overdo this!

that brings me to another point, adverbs aren’t bad (i use them a lot!) but sometimes what ur trying to say could be better expressed with just one word. it can get a bit repetitive if things are always described like “said awkwardly” “laughed loudly” “touched softly” etc. you might be able to find a word that gets the point across better. for example, “said irritably” could be “huffed”, “walked casually” could be “sauntered”, “smiled brightly” could be “beamed” and so on. but there are plenty of cases where adverbs are super useful so definitely don’t avoid them altogether!! i just try to make sure i dont use a bunch in a row

simple dialogue tags like “said” “asked” “replied” are your friend!! don’t avoid using them just bc they might seem generic hehe esp if you’re substituting them w verbs that are less appropriate simply for the sake of not using “said”

sometimes, you’re better off not including dialogue at all! like the whole premise of “show, don’t tell”, spelling out every last thing for the reader can sometimes work against you. body language and cultivating an atmosphere is key here! if it’s an awkward situation, you could bring up someone averting their eyes, shifting from side to side, playing with their fingers etc. if it’s a serious situation, you could mention their tensed shoulders/facial expression, their jaw clenching, them pulling away when someone tries to touch them etc. that in itself tells a story! but once again, it’s just abt using methods like these at the right times. sometimes, exposition is necessary

if ur writing abt skz, or any muse really, i think including mentions of their features/habits makes it more fun to read! it can help immerse the reader if u bring up traits that capture the character’s essence, or speech patterns that capture their voice. it’s all fictional ofc and just based off our perception of them, but i like to write skz in a way that’s at least somewhat believable in accordance w their personalities! even little things like the way jisung talks through breathy giggles, binnie’s nose scrunches, how minho looks up when he’s thinking, or how jeongin ends his sentences with a cute nod sometimes. and ofc there’s physical details as well like binnie’s chin scar, chan’s dimples, hannie’s cheek mole etc

this one is probably obvious but paragraph breaks are very important!! both to prevent overwhelming the reader with a huge block of words, and for organizing events/building tension! a paragraph never strictly has to be multiple sentences, you can have a single isolated line of text if you want. timing paragraph breaks can be very effective for creating the right vibe! if something intense is happening, putting a break right after a serious action or putting a single line of dialogue on its own can make them stand out and really add to the drama of it all hehe

don’t worry too much abt using the same word multiple times!! it might feel a lil annoying when you have to repeat a word several times in a paragraph but sometimes that’s the only option there is. if you try to replace it w 10 different synonyms instead of just referring to a book as a book, then it might end up sounding even goofier haha…so try not to stress when you feel like you’re overusing a word!

if you want your writing to be more immersive, take all senses into account!! describe more than just the character’s actions—describe sights, smells, sounds, touch, how the characters are feeling, etc!

arguably the biggest piece of advice i could give!! having varied sentence structure/length is one of the most challenging parts of writing in my opinion but so so important. when smth sounds off in your writing, it could very often be bc of the way a sentence is structured, or bc several sentences back to back are similar in length/format, which makes it flow awkwardly. i think making sure ur sentences range from long, detailed ones w several clauses, commas, semicolons, em dashes etc. to short, direct ones keeps the writing engaging! sometimes combining 2 short sentences can make the flow sound better, and sometimes breaking down a long one does the same! it also makes it a lot more effective when you have a sudden short sentence amidst several longer ones, bc there’s a clear shift in tone! generally just try to avoid having an entire paragraph of sentences that go “she did this and then this. then she did this and then this. then she did this and said that.” the variety will work wonders for how it all connects together!

ofc there are some situations where you might be going for a certain feeling or tone w your writing, in which case it can actually be a useful tactic to have repetitive sentence length/structure. maybe you want a scene to feel overwhelming w several long, complex sentences or you want to really drive in an idea by using blunt, disjointed ones. it’s all abt what you hope to achieve w your writing and your personal preference!

i hope this helps!! once again this isn’t the be all end all, so please only follow what you see fit! if you have any other questions let me know, i’m wishing you the best of luck! ^_^

[crowsmischief]

(i feel the need to say this: English is not my first lenguage, so forgive me - and correct me - any mistakes)

*THE SONG OF ACHILLES SPOILERS*

TSOA is my favorite book ever, i love discovering new things about it and a comment on pinterest ("why is there only one quotation mark, i'm confused") made me realize something new:

it's all just my theory, maybe i'm delusional but i do think it might be interesting...

fact #1: most of the book is narrated by Patroclus AFTER his death, that is made clear with the "i am made of memories" and the use of the past to describe things that are supposed to be happening in the moment.

with this in mind:

1. Single quotation marks are used for a quote within a quote.

2. Double quotation marks are used for direct quotes.

And throughout the book there's certain moments where the double quote is used and others where the single quote is used.

meaning (' '): the majority of the book is a single quote. The dialogue is by Patroclus, something someone else said but in Pat's words.

That's why, later in the book when he dies and his dialogue ends, the narrative style changes and for a moment there we're not reading Patroclus anymore. Achilles' words are with double quotation marks, because they are exclusively HIS.

meaning (" "): before Patroclus' death, when the double quotation marks are used, is because he remembers EXACTLY what was said.

I admit it can be a little confusing (specially for non-native english speakers like myself), but this whole theory makes sense to me. It's part of the beauty of interpreting books. Lol.

[unexpectedly-haunted]

ITLW Lore Stream Summary!

Notes taken from Limited Life + Lore Q&A Stream

Notes taken mostly chronologically, with some elements shuffled around to fit under certain sections. Italics used for poem quotes, quotation marks for direct quotes from Martyn. Also, you can find a summary of the Last Life lore stream here and the stream itself here!

Pillar built, another test: Beginning of Watcher’s influence to betray Scott- he is seriously hated by the Watchers, and there are multiple allusions in the first poem to eventually betraying him.

Pillar also refers to the pedestal the Watcher’s have put Martyn on; they are more interested in him because he has an “emotive soul” and is “more fun to torment.” He has a good emotional range they find interesting- he has the capacity to be honourable and stick with his allies as well as turning on anyone as soon as the situation calls for it.

Pause, unpause, we paralyse/A vacant stare for wandering eyes: Referring to the AFK episode, with Grian as a Watcher who has inserted himself into the games. Grian is attempting to taint the game for the Watchers- his goal is to make the games more fun than it is tragic, depriving the Watchers of the pain they want. The Watchers, angry at his continued interference, used their power to paralyse him, leaving him still physically present but unable to do anything but passively watch- this was supposed to make him easier to kill as well as trying to prevent his positive impact.

“This season they could interrupt his channelling and paralyse his avatar, forcing him to only watch, a claustrophobic and frustrating tomb to be encased in.”

Grian has been acting independently of the other Watchers for some time- he’s a rogue agent of sorts, with Watcher abilities but he’s so new to it he doesn’t have a full grasp of them. “He hasn’t had a full awakening, if you will, and he hasn’t met the Council and things like that.” 

He’s also unaware of the Listeners and believes he’s fighting a solo battle in trying to resist. The Watchers have also tried in-game assassination to shorten his time and prevent him from revealing the reality of the situation to other players, but it hasn’t worked.

Echoes ring for brief exchange/Disruptions by the ones estranged/Tread careful sound/for if we met/our gaze would bring untimely deaf: Watchers are directly addressing the Listeners, a rival power trying to free the players. The Listeners are being of the same type/existence as the Watchers- they’re exactly the same except that they stepped away/deviated from the Watchers, hence why they’re referred to as “estranged.”

Watchers have dominion over all minecraft places, and they can pull people in to do these death games. For the first time, the Listeners have been able to temporarily disrupt the games. 

This is partially due to Grian unknowingly running distraction by being so active this season- all the tnt minecart kills, his quad kill, etc - so the Watchers are focused on countering him, allowing the Listeners to break through.

Body swaps: Listeners swapped in Gem and Lizzie for the sake of Cleo and Pearl’s souls, and Gem and Lizzie were sworn to secrecy. Lizzie was tapped in because Pearl hadn’t quite recovered from the events of Double LIfe. This ties back to the idea that the Watchers will sometimes overindulge and feed too much on the negative feelings, and this time around they didn’t give enough room for recovery.

Martyn showing her Tilly’s ashes then really hurt Pearl, sending her on a bit of a downward spiral, and in recognition of that, the Listeners were able to step in. They were the ones behind the temporary switch.

“Pearl’s aura was still fractured and wasn’t quite whole before the beginning of Limited Life, which meant as the series was going on, there was lots of echoes from the previous season. … Normally the players don’t hold onto those wants and feelings from the previous seasons because these are eaten by the Watchers and each player goes into the next match with neutral feelings about everything. They have those memories, but they don’t hold onto those negative emotions, that sadness, but with Pearl, they kind of messed up with that, which is why Pearl came to me saying ‘Have you got Tilly.’”

On Joel being able to recognise Lizzie when others couldn’t: He was able to recognise her through mannerisms alone, due to the strength of their bond in other worlds.

In response to “no one is a Listener yet” from chat: “Yep, who’s to say, the Watchers were able to bring somebody into the fold. Maybe at some point one of these players would be able to leave. It would be very difficult for them to, the reason it was easy for Grian to become a Watcher was because it was kind of his intent and it was something they wanted to do- the Watchers kind of pulled him out and did it themselves. But here, these players in the Life series and the people that tried to flee from Evo are under such scrutiny and under such close watch it’s hard for the Listeners to really make a dent there and do things like that.”

Pulsing vignette in lead up to final kills: Representing the built up frustration of the Watchers about the Listener’s messing with their games. They’re also mad at Scott (primarily for not abiding by the Boogeyman mechanic in Last Life) and Impulse (for him giving away his time in the name of a fair fight/he’s accepted his place and found peace with the situation). The planned ending the finalists had was too civil, too familiar, it didn’t have the excitement and pain the Watchers want from these games.

More on Martyn’s betrayal: It was both a deeply embedded existing thought (he has always had the mindset of “I will kill who I need to to win this thing”) and the Watchers really amplifying those negative feelings. 

“Mentioning time being delicious was almost like, very slightly, the Watchers slipping in to mild possession towards the end.”

Martyn was left alive in the world until his timer ran out. He went back to the hourglass, moved all the sand to the bottom of the timer, and covered the glass up just as his time runs out. He falls dead into the water, and gets washed up onto the shore. Only the winner’s corpse remains.

There are some who watch/We are those who listen/Not yet free/Still you flee/From a weighted decision: Martyn isn’t aware of this, it is the Listeners semi-addressing the audience.The Listeners have a presence, or part of a presence, in where the players are being held between the death games- they’ve managed to break through the barrier.

Fleeing from a weighted decision: Recognition of the players trying to run away from the Watchers in Evo, and partly Martyn running from the betrayal of having just killed Scott.

Marks/Fragments: The marks are soul fragments that have been lost and it isn’t known if they can be repaired/recovered. The marks visible here are Life series losses, with there being one for each season. The win directly enabled the fragment protection- Martyn does most of the work and the purple being (confirmed to be a Listener) comes in at the end to finish the process/make sure it is properly protected. It does not mean the fragment is safe forever.

There’s a constant battle between the two sides, and this tug of war over the players causes strain and results in smaller fragments, but the Life series marks stand out because they are bigger, more impactful moments.

The marks are shaped like diamonds, with the branching lines being cracks that spread out. 

Life series marks: Mark on his face is from Third Life. “I like the idea of that being placed there because it was a tear shed when Ren fell, because that was kind of the moment that broke character Martyn and made him more selfish moving forwards.” Mark on back from Last Life (hidden secrets), mark on his chest from Double Life (over the heart), and mark on his hand from Limited Life (hand wielding the sword).

Void: The world that Martyn is falling/floating through is an unexplained void. The players are left in suspension because of the instinctive fear of falling, so it’s a passive way to generate fear even while they recover between games. 

Listener’s appearance: When they first break through the barrier, they are pure white/pure light- they become purple when tainted by the Watcher’s domain, this is not reflective of their true colour.

Assorted Notes:

How much is Martyn aware of? He doesn’t know all this is going on. When he’s in the void he’s completely unconscious. In the games, he doesn’t know that Grian is a Watcher. The only time he’s gotten a glimpse of the truth (and couldn’t comprehend it) was the conversation at the end of Last Life.

Number of games: We don’t know, as the audience, whether there have been different games happening in between each of the Life series. Games like Third Life could have been run multiple times before introducing Last Life. 

Wouldn’t people start to question it if they remember all the death games? Probably- he doesn’t think they’d be able to figure out a wider, more ominous picture, but they’d start to ask “Why do we keep doing this?” However, since all the negative emotions are stripped away, it’s likely the players would just view it as a bit of fun sport.

Do the Watchers have any favourites? Martyn is one of their favourites, because he’s shown that he will follow their instructions, but also Skizz and Joel because of how much they lean into the chaotic bloodlust of being Red they find entertaining.

What about other SMPs like Evo or Hermitcraft? Evo is part of the timeline whereas other SMPs are more “I don’t know if dreams is right word, but they’re a different plane.” When the players in in the unconscious state- falling between games- that is when they are “planewalking in a sense.”

Did Martyn lose fragments in Rats SMP because of the multiple lives? No, that was an instance where a fragment was protected.

On the sped up footage during the countdown: It was Limited Life Episode 5, Double Life Episode 4, Last Life Finale, and Third Life Episode 8.

What are the chapters of his Lore? Chapter 1: Memory Lane (indicative of Evo), Chapter 2: Life (beginning of the death games), Chapter 3: Into the Datastream (current), Chapter 4: Fragment Wars.

[tapwrites]

How to Write Dialogue

A lot of a story is told through narration: action, description, exposition, and so on. But a big part of characters interacting tends to be speech. In prose, we call this "dialogue."

The key to what happens in the scene for this is...

People communicate in their own way.

To a new customer entering their store, a gruff character might say "What do you want?" Whereas a more personable character might say "Welcome in! Can I help you?"

Maybe the character would use body language, with a wave as they speak. Or only use body language to communicate in this moment, with a polite nod and smile to the customer with no dialogue.

If they share some knowledge with character they are communicating with, they may speak differently, with an unspoken shared context for their conversation. Compared to speaking to a character who doesn't have that knowledge.

If both characters have the shared context of knowing Frank is coming for tea at 6, it would be odd if one said "Frank is coming for tea at 6." Because the person they are speaking to already knows that. (Unless they have some reason to believe they've forgotten.)

But it would be natural for one to say, "When was he coming, again?" or "I hope he doesn't start smoking like he did last time," without even declaring who they're talking about, or what the situation is. Just the new stuff. Just like people do in real life.

Think about why the character chooses to speak at this time, not before, not waiting until later? What do they want to communicate? How do they want to communicate it, how do they phrase it, what other things go along with it like tone, volume, body language as I mentioned earlier?

And of course, all of those things are affected by the character's personality, their mood and emotions in that moment, their relationship to the people they are communicating with, and the subject they are talking about.

A lot of times all of that just comes naturally from our understanding of the character, and we don't have to think through each of these one at a time. But if you're stuck, making it more of a "process" can help you get rolling.

And now, onto the mechanics of dialogue in the prose itself...

To mark text as being spoken instead of narration, it should start and end with double-quotes, "like this." There are novels that use single-quotes, but this is a rare exception and tends to be more common in older books. But if that's your thing, you do you.

Apparently, the UK flips this and starts with 'single-quotes'. I've lived in the UK all my life, and was taught to use double-quotes. So... I guess your mileage may vary, I don't know what that's all about... 😅

If a line of dialogue ends with a complete sentence, it will normally put the punctuation before the last quote. There are exceptions, and stylistic choices, but that's the general rule for dialogue.

"The sky isn't blue."

You can have quotations within the dialogue, marked with single-quotes. And, in theory, the further down the rabbit hole you go, it switches back and forth between single and double quotes.

So, a quote within dialogue has single-quotes. A quote within a quote within dialogue has single quotes again. And so on...

"And he said to me, 'Go over there and tell them, "Frank said, 'The sky is blue, darn it!'"'"

Yes this does look weird, and yes it can be confusing keeping track of the layers of quotation. Which is why it's very rare, in fiction at least. Instead of making a direct quote, a speaker normally paraphrased, or rewritten in other ways to simplify the structure of the dialogue.

"Frank said to tell you the sky is blue."

If the dialogue ends its own sentence, but the sentence as a whole continues with a dialogue tag, the full-stop/period at the end of the dialogue becomes a comma.

"The sky isn't blue," Geraldine said.

This is because a dialogue tag is actually part of the same sentence.

A dialogue tag is like a luggage tag tied to the end of the dialogue to tell us more about how it was said.

In the example above, there is a dialogue tag to tell us the character who said it: Geraldine.

You could write the dialogue tag in a couple of other ways:

"The sky isn't blue," said Geraldine. Geraldine said, "The sky isn't blue."

But this is uncommon in modern novels, and makes it have a different old-timey vibe that may be confusing or distracting for readers. So bear that in mind if you want to try it out.

Now, if it's part of a longer piece of dialogue, you could leave it to the end of the spoken words to have the dialogue tag as normal. But the reader will be wondering through the whole thing... "Yeah, but who's even saying all this?"

To avoid this, try to have the indication of the speaker sooner rather than later. You can use any of the methods from this article to do so. But one example would be:

"Fourscore and seven years ago," Lincoln said, "our fathers brought forth, on this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal..." (and so on)

For longer text like this, you can actually have paragraphs within the dialogue. The paragraph doesn't end in a quotation mark because the dialogue isn't ending. But then the new paragraph does have a quotation mark to remind the reader it's still dialogue.

"Four score and seven years ago, our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. "Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure."

Again, confusing to read, and rarely needed or used in modern fiction. But something to know about. A better way would be to break up the dialogue with some "Blocking"--a stage term for people moving around the scene.

This would be a new paragraph, as it focuses on something else, and then another new paragraph continuing the dialogue. If we focus on a different character with the in-between paragraph, you might want to remind them who is speaking when they continue.

Lincoln stood for a moment, taking in the crowd. Then drew in a breath. "Four score and seven years ago, our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal." The crowd looked uneasy, a low murmur floating across them. Lincoln shook his head. "Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure."

Going back to dialogue tags... Other verbs can be used instead of "said," to better describe how it was said.

"The sky isn't blue," Geraldine muttered.

There is a general tip that the same word shouldn't be used over and over in quick succession, because it draws attention to itself. But this doesn't apply to all words. Structural words like "a" and "the" shouldn't (and often couldn't) be replaced with a new synonym every time they're used.

This is because they simply fade into the background; the reader knows that they are common words and don't matter to the meaning of the sentence so much. So they just sort of brush over it. "Said" is one such word.

Don't be afraid of "said."

Some writers still try to not use "said" much, and instead use "thesaurus words"--synonyms with the same meaning--throughout their writing. However this actually draws more attention to it that using the simple "said," which people brush over anyway.

Take a look at the following examples:

"The sky isn't blue," Geraldine said. "The sky isn't blue," Geraldine stated. "The sky isn't blue," Geraldine explained.

Is "stated" describing how the line was said better than "said"? Not really. And is "explained" adding anything to the story that isn't from the dialogue? Nope.

If there is a line of dialogue, then it was said/stated/explained/said in reply/asked, depending on what was said and the context. We know what was said. So when a character asks something, the verb "asked" doesn't do anything that reading the question didn't do. So you may as well put "said."

"The sky isn't blue," Geraldine smirked. "The sky isn't blue," Geraldine yawned.

And if you go too far with it, trying to incorporate an action into it, you can get yourself into a real mess. Smirking is not saying anything. You can smirk while saying something. But if the action you are performing is a smirk, or yawn, or laugh... you, my friend, have uttered no words!

These are known as "said-bookisms": words used to avoid writing "said." And named after a book that was written listing such words for writers to use (you may have seen similar posters/graphics on the internet). But as we don't need to avoid writing "said," we can safely throw out the book!

Earlier we used "muttered" instead of "said." Was that okay? Well, did that add to story? Does it tell the reader more about what was said? Yes! Now they know the words weren't simply spoken; they were said quietly, muttered under the breath.

Anything that tells us more about how the dialogue was said is fine. If the character shouted or screamed, or they muttered or mumbled, or slurred... they aren't necessarily obvious from the dialogue. So if they fit, and they describe the utterance of words, then go for it!

Sometimes writers have entire actions as a dialogue tag.

"The sky isn't blue," Geraldine moved over to the window, peering out.

That action isn't describing the act of saying that dialogue. So it doesn't make sense for it to be part of the same sentence. Just split it into its own sentence, and you should be good.

"The sky isn't blue." Geraldine moved over to the window, peering out.

However, these things may be indicated earlier in the paragraph, before the dialogue begins.

Geraldine looked up. "The sky isn't blue."

Because Geraldine has been established as the focus of this paragraph, any dialogue will be assumed to come from Geraldine.

Here, the first sentence describes an action the character took. But it could be a narrated thought. Or an expression. You can indicate the focus of the paragraph in many different ways, but however you do it, that can be used by the reader to infer who the speaker is.

You can of course add a dialogue tag anyway, using the pronoun of the character.

Geraldine looked up. "The sky isn't blue," she said.

The tone of the dialogue--the way it is said by the character--can also be implied by the context in the paragraph up to that point.

Geraldine laughed. "The sky isn't blue." Geraldine gasped. "The sky isn't blue."

Whatever context the reader has before the dialogue will colour how they "hear" it in their minds as they read.

Geraldine whispered, staring up in awe. "The sky isn't blue." Geraldine screamed. "The sky isn't blue!" Geraldine staggered through the door, drunkenly. "The sky isn't blue."

In the last example, the character's general state or attitude is shown. So as you read what she says, you'll naturally imagine it being said differently. That's the beauty of writing...

The final story in the reader's mind is made from the teamwork between writer and reader.

You can actually get away with having no indication of the speaker at all, in particular circumstances.

Geraldine smiled, her nose wrinkling. "The sky isn't blue." "I think you'll find it is, Gerry dear," Frank muttered, packing. "No, no, you don't understand... the sky is not blue!" "Poppycock." "Look!"

Did you have any trouble knowing who was saying what? If not, why not? Because we had other context clues.

The first couple of lines had the speakers clearly declared. And, as they're the only two characters that are in the scene, it's natural that they'd each take turns--going back and forth in their conversation. Also, if this is in the middle of a book and you're used to how the characters talk differently, that can help too.

Just be careful to not rely on this back-and-forth effect for too long, because it will get confusing after a bit. Just pepper in something to remind the reader of whose turn it is--the character does something as they speak, or a simple dialogue tag is added. And the reader will keep up better.

[goldendruid76]

But like. I’m a college student and I’m shocked by how many people I know just.. don’t realize that plagiarism is bad

I once helped my ex-roommate find sources for a history paper. We found a couple of articles on the event she had to write about, I read them through with her, and I watched in horror as she ctrl+C ctrl+V’d entire passages into her google doc without quotation marks

She did not get why I was so horrified. I told her to put any direct passages in quotes and to cite the sources. She ignored me, putting a list of links at the bottom but she did not add the quotation marks or any parentheticals

She was so surprised when her prof noticed and gave her a 0 and made her rewrite it. Literal dictionary definition plagiarism here. She complained about having to rewrite her paper or she would be suspended. She plagiarized several articles wholesale and did not understand that she did anything wrong

Like. I didn’t even know where to begin explaining that plagiarism is bad because that’s just.. something I’ve never had to explain before. Obviously it’s bad. Taking credit for words you didn’t write is always bad. Forgetting to cite a source is not only bad, it also makes your life more difficult when you want to go and revise, so why would you not do it?

It still baffles me. Were some people not taught from the beginning of writing papers that plagiarism is like the worst possible thing you can do when writing anything??

[midnightactual]

Tenshiheisōban is the Title of Only the Head of House Shihōin

Setting aside for a moment what the title means literally, and what it refers to figuratively, I'm going to further clarify something.

I'm going to directly reject the assertion that Tenshiheisōban refers to House Shihōin, as stated by both Viz in the manga in chapter 154, and in Viz's official translation of CFYOW, and in fanlations of the same (listed below in order). They messed up. It's that simple.

No, this is Yoruichi's title. I can actually prove it to you definitively.

In chapter 159, we can see that the term is being applied directly and specifically to Yoruichi. Viz's own wording of "That is the Tenshiheisōban" (emphasis mine) shows it. They could have written, "That is one of the Tenshiheisōban" had it been the case it applied to House Shihōin. This is even clearer in the Japanese:

What's written here, verbatim, is:

〝天賜兵装番〟 四楓院家の姫君だ

That is to say, "'Tenshiheisōban'. She is the hime-gimi of House Shihōin." First, you should notice that Tenshiheisōban is always put in double quotation marks in the Japanese dialogue. When things are being quoted by characters in Bleach they usually use single hook quotation marks. This usage of double quotation marks is extremely unusual. This is normally done to refer to quotes in quotes, or to refer to book titles, or text heard through a phone. Obviously none of those applies here, and a book title is the closest analogy. This presentation draws a tremendous amount of attention to this term.

Furthermore, the following remarks make it clear it is attributable to Yoruichi and Yoruichi alone. If the term applied to the entire clan, this scene would be like pointing at a specific American soldier and saying, "United States Army" or pointing at an American and saying, "United States of America." That would be bizarre. But we can go further.

In chapter 154, Soifon is insulting Yoruichi... but this is where Viz really makes their mistake. The same evidence could be used here of saying this conversation is specifically directed at Yoruichi, but maybe you find contextual arguments weak. So let's look at this in Japanese too.

What's written here, verbatim, is:

〝天賜兵装番〟の 四楓院家も 堕ちたものだ 旅禍に肩入れ したなどと知れたら 四大貴族の一角を 追われることは 確実だそ 志波家の 没落然り 名家の落皖れる様は 余り見栄えの するものではないな

Soifon says a lot here, but the important part is 〝天賜兵装番〟の 四楓院家も堕ちたものだ, and the real core element of that is 〝天賜兵装番〟の四楓院家. The clause of possession here, の (of), is actually directing you to read this as, "House Shihōin of the 'Tenshiheisōban'", or "'Tenshiheisōban's' House Shihōin". It's possessive.

House Shihōin belongs to the Tenshiheisōban.

(For a more complete context, this sentence and the next read as to the effect of: "'Tenshiheisōban's' House Shihōin has also fallen, participating in this Ryoka misfortune. When they find out you did something like this, it's certain you'll be chased out of the Four Great Noble Houses.")

It's made explicitly clear in Japanese that House Shihōin are not collectively the Tenshiheisōban. Rather, an individual, the Tenshiheisōban, owns House Shihōin. And who is the only figure who can claim to own a noble house? The person leading that noble house.

It is therefore explicitly clear that the status of Tenshiheisōban must be broadly coterminal with the status of being the head of House Shihōin. They mean the same thing, and that is the official title of that role. It does not make sense to imagine Yoruichi has some extra title that supersedes head of house status, or that the role moves around between houses or whatever else.

Tenshiheisōban is the official title of the head of House Shihōin. It's put in double quotes because it's the true name of the title, rather than merely an allusion to it like 当主, tōshu, “head of the house”.

This is confirmed by the fact that Yūshirō has the title on his introduction chapter 606 of TYBW (thanks to an anon for pointing this out):

This leaves open the question of when he assumed it if Soifon was teasing Yoruichi with the title while being herself a Shihōin retainer some 22 months earlier; that wouldn't really make sense if he'd already held the position for several years. So presumably he picked it up during the time skip.

Now, why we only learn this official title for the Shihōin, and not for the Kuchiki, Shiba, or Tsunayashiro, I couldn't tell you. They must each have their own specific terms reflecting their specific duties or specialties. The Shihōin one does indeed reflect martial prowess. We know that the Tsunayashiro record and "control" history, we can make some guesses about the Kuchiki and Shiba, and we know the final unnamed house is involved with Hell. Each should therefore have a unique rank title.

Do all other nobles have unique rank titles too? Or are they generic below the rank of Shōichī? I don't know.

[write-it-good-imagines]

Nothing More(M) - Four

~5k words; hi everyone! I am so happy to see this story is still growing wings after so much time, and that you still take some time to read it. Thank you for that! In exchange, I'll give you some crazy action. Enjoy~

I’ve learnt my lesson now… I shouldn’t have had sex with you because I knew, I knew that I’d fall in love with you. You are the person someone would be lucky to be in love with.

“So? What are you guys doing tonight? I’m sure there must be something!”

Leena’s cheerful demeanor put a smile on the barista’s face as well. Not intentionally trying, but she attracted everyone to herself like a magnet.

“Ah, I don’t know. We didn’t plan anything, I mean I am at my cousin’s club tonight,” said Samantha, dipping her head in a silent thank you for her double cappuccino. The little coffee spot by the hospital was just perfect to savor an early august morning, on a Friday that started slower and lazier than all other days.

Leena was not pleased with Samantha’s answer. “Really? Did not plan anything? You tell me, for once in forever, you open your soul up to a guy, after which you two talk non-stop, like a married couple, only to tell me you are taking a shift at the club the day he’s coming back?”

“Well, we don’t talk non-stop, I mean he’s got shows to do and I am taking consults—”

“Outrageous.” Concluded Leena and seated herself at a secluded table. Samantha followed soon enough. “It is exactly because you are taking consults again that I can’t comprehend why you’re running away from him. For God’s sake, you had a surgery.”

Samantha’s eyes fell to the milky foam of her coffee cup. “I had a surgery.”

“And how did that make you feel?”

The woman nodded her head. “Like it was the first time. Thrilling, exciting. But knowing exactly what to do.”

“Just allow yourself to love the guy.”

Samantha scoffed as if Leena had just told her she won the lottery. Highly unlikely, but a possibility even so. “Oh please, I don’t love Mark.”

Leena arched her eyebrows and took a sip of her espresso. “No shit you don’t.”

“No, really. You don’t love a guy who goes up on a stage every night to rip his shirt off and has thousands of girls lining up to get a piece.”

“And does he?” Leena inched closer to Samantha. “Give a piece? Do tell.”

“Well,” Samantha crossed her arms over her chest.  ”Says he doesn’t.”

“Yeah, cause when you assumed he was out whoring he was sleeping.”

“He was sleeping. I think I know a thing of two about him sleeping.”

Leena urged the other to go on. “What else? Ripping his shirt off on the stage you mentioned.”

“Aren’t these kind of guys players? If I look up a photo of last night’s concert, I’ll bet my entire salary that I find one with those tattooed abs of his shoved in my face.” Samantha said, and Leena could not detect even an ounce of regret or sadness in her voice. More like intrigued jealousy.

“You asked him to be your fuck buddy,” with the hand holding the cap, Leena extended an index to point to the other. “Don’t call him a player. Because he was anything but.”

Just as Samantha was opening her mouth to protest, the screen of her phone lit up with a couple of messages. Her actions were stopped to scan the texts with her eyes and a smile tugged at her lips.

“Mhm,” Leena said, tilting her head towards the direction of the phone. “What did he say?”

“Ah, that he’s preparing to go to the airport.”

“The exact words?”

She knew she did not have any chance to escape Leena at that point. “Quote: good morning beautiful. I hope you have an amazing day today. We’re gathering our stuff to fly out. Can’t wait to see you again. End of quotation.”

“Such a player, no?” Leena mocked surprise then laughed at Samantha, who had nothing to contest about what her friend outlined so harshly. In the days following their late-night conversation when Mark was in New Delhi, they kept closely in touch, each texting one another when they found a moment of quiet in their busy schedules. Their discussions did not delve into much depth but were more like quick check-ups to strengthen the connection. Samantha would tell Mark about her days and her patients, and he would ask questions to clarify topics, or would give compliments to praise her work. Mark in turn would talk about the concerts, and the cities he’d fly to, and it took Samantha’s breath away every time he’d say he would take her with him to see what he saw.

Samantha grabbed the phone from the table surface to text Mark back. “What am I even doing, Leena?”

[To: Mark] good morning to you too, Mark 😊

[To: Mark] always aiming to put a smile on my face huh?

[To: Mark] safe travels!! I missed you too

[To: Mark] having a shift at the club tonight, meet me there? I’ll talk to my cousin to leave earlier

“What you are doing,” Leena started, twirling the cup around to play with the dark brown liquid “is not acknowledging your feelings. I can understand you’re still scarred because of Henry but Mark is not him. And I think he’ll help you heal.”

A short ding came from Samantha’s phone almost instantly.

[From: Mark] took you long enough to tell me you missed me

[From: Mark] thanks, flights back home are always tougher

[From: Mark] I’ll be there. there’s a cool skate rink nearby that’s open till late

[From: Mark] if you wanna go, ofc

A sigh escaped Samantha’s lips as her eyes scanned the mobile screen. “I know,” Samantha lifted the phone for Leena to see the texts and the other gave a small gesture, indicating she was on Mark’s side. “I guess I never allowed myself to get over Henry entirely. Not fair to Mark.”

“You said you’d talk to him, right? Besides, you’ve already fucked each other, it’s not like you don’t know intimacy.”

Both Leena and Samantha laughed. Then a lingering expression followed on Samantha’s features. “Mark said he couldn’t make love to me and leave the following day like the next guy.”

Leena’s eyes widened in clear surprise. “Mark said he’s making love to you.”

“It’s just sex, I know. That was an exaggeration.”

“Sam,” Leena adjusted the empty cup on the table and took Samantha’s hands into her own, and, albeit a dramatic gesture, she meant all the seriousness she could muster. “Talk to him. Tell him how you truly feel. He’s not seeing you as a simple fuck buddy anymore. Mark will prove this to you, most likely sooner rather than later.”

During the rest of the day, Samantha felt restless, restless with Leena’s words echoing in her mind, restless with Mark’s words flooding over, time after time. Samantha’s life was growing busier by the day, word of her returning to practice bringing more patients which required her knowledgeable care. She returned to observing surgeries, involving herself in helping whenever necessary, and taking upon other surgeries. Ultimately, she couldn’t make sense of why she allowed herself to be so consumed of Henry’s mistakes and treatment. Why she pulled away from the thing that made the most sense. It was so long ago that she couldn’t remember what prompted her to tug away. It should have been a sign to start anew.

And then life was growing busier by the day with Mark intoxicating her thoughts. A wicked game, chasing away feelings which only returned stronger, more vivid. Samantha did miss Mark, in his entirety. She missed the cozy scent of his Tom Ford cologne when he embraced her, she missed the coarse gentle tone of his voice when he made jokes, and she missed his passionate way of making love.

Samantha decided she would give Mark a chance, beyond just being her fuck buddy.

With that conviction in mind, Samantha left the hospital and rode straight home to prepare herself for the night, in both mental and physical terms. All her makeup products and brushes felt so unfamiliar she found herself wondering when the last time was when she took the time to pamper herself. She dressed herself with a burgundy low-shoulder crop top, with flowy butterfly long sleeves, and a plain black pair of jeans to hug her curves. Samantha gave her hair the freedom to bounce with the wind to complete her look. A quick text exchange with her cousin gave her the green light to leave the club as soon as Mark showed up.

At around 9:30, Samantha arrived at the club, shortly before it opened to the public. Changwook was there as well, an all hands on deck kind of night.

“Hey stranger,” Changwook lifted his head from the bar sink and was thrown off guard by Samantha’s looks. He had to clear his throat to regain his composure. “You’re beautiful.”

“Today only?” Samantha retorted and approached the bar counter, shoving a small backpack under it. She ran a strand of hair behind her ear and Changwook looked away.

“Guess I wasn’t the chosen one.” He stated and threw Samantha an apron. She looked at him with an apologetic look but couldn’t find anything right to say. “It’s cool, really, least I tried.”

“Changwook, it’s not your fault. I’m just…”

Changwook smiled and waved his hand in dismissal. “Not interested. Let’s get to business, we’re opening soon.”

As the night grew deeper, the club welcomed many eager customers to announce yet another successful night for Samantha’s cousin. From behind the bar counter, Samantha noticed a good number of celebrities intertwined in the crowd and her eyes couldn’t help but wander around in search for Mark. In the serving haste, her apron became drenched with water and alcohol, so she whispered to Changwook’s ear that she would go to the back room to get another. Mingling through the crowd, Samantha arrived quickly at the changing room and closed the door behind her. She opened her locker to grab a fresh apron and was just finishing untying the dirty one, when the door clicked open.

Samantha’s lips couldn’t contain an enthusiastic yet nervous smile. She straightened her body, fixing her hair quickly with a swift motion of the hand before turning to the direction of the sound.

She could never have been prepared for the stature towering in front of the closed door.

A white half-transparent shirt which wrapped a chiseled body, with a silver bracelet at the hand lingering in one of the fabric pockets of the trousers, in a stance Samantha knew like the back of her hand. His hair was sleeked back, only a rebel strand playing at his thick eyelashes.

“Henry.” Samantha breathed, the delight of her expression faltering all too soon. She felt her throat choking.

“It’s too bad that happiness on your face was not for me. And saddening you look so bitter instead.” Henry spoke, maintaining a velvety smile. “I’m happy to see you.”

Henry took a couple steps closer to Samantha. She kept her ground. “I’m not. I don’t want anything to do with you.”

“Oh, come on, don’t be so rude.” With each step he took forward, Samantha took one back, until her back was pressed against the cold metal of the lockers. She was looking at him sharply in the eye. “It’s been almost two years, I missed you.”

Samantha pushed a hand to his chest to warn him not to get any closer. Henry complied, keeping at a distance that was still not comfortable for her. “Don’t get any closer. Don’t give me the speech on how you missed me after you humiliated me in front of the entire hospital. I want you to leave.”

It took every ounce of Samantha’s strength an effort to confront Henry at a time like that. If there was anything he was good at, it was taking people by surprise at the wrong moments. The first time in a long while Henry was not residing in the back of her head appeared to be the magic trick to summon him into her life again. When he still had a lot of control over her feelings and her reactions.

Henry drew in closer, his tall stature hovering over her. He kept carrying the same smile, trying to ease the tension between them. When he raised a hand to cup Samantha’s cheek, her body quivered and froze all at once.

“But I’ve heard so many great things about you, darling. Management position, and once again operating. When we see each other tomorrow morning at the hospital, I’d really like to know why you stopped taking surgeries.”

There was not enough time for Samantha to process Henry’s words because the door clicked open to interrupt the scene.

There he was, the reason for Samantha’s happiness, even more handsome with a brown short-sleeved shirt and straight grey trousers, which indicated he took the effort to care for his looks. In his hand, he held a breathtaking bouquet arrangement with delicate snapdragons, elegant red roses, fragrant dianthus, and vibrant alstroemeria. A bouquet of a Parisian romance.

There was Mark, with a smile that lit up Samantha’s whole world, now evaporated into oblivion. At a closer look, you could still distinguish a faint trace of a smile, probably in excitement to see you again. Samantha would never come to know whether that was true. The thing she would know and would remember was Mark’s sadness unskillfully hidden behind a bleak smile.

Mark was not supposed to see that. Had the Universe been kind for once, he should have never seen what he just had. Panic was outlined all over Samantha’s features as soon as her eyes locked with Mark’s desolated ones. With the way he carried himself, even more masculine and so sure of himself, Henry would never guess Mark took a hefty blow.

“Thanks for the chat.” He stated simply and threw a brief look in Henry’s direction before backing away from the room. The murmur of a phrase that became so intimate to her was now the reason the tense air of the room strangled her out.

Samantha slapped Henry’s hand away from her cheek, tears crippling at her eyes. Henry’s gaze grew curious. “So he was the one your happiness was for. Maybe I should thank him.”

“Leave me the fuck alone.” Grunted Samantha and unpeeled herself from the lockers to chase after Mark. She swam through the crowd to get to the bar counter and reached for her backpack in a hurried motion. Changwook’s attention was diverted to her, and he had to look twice when he noticed her tears in his peripheral vision.

“Samantha—”

Samantha lifted her hand in the air to keep the distance and she dashed away, reaching the outside of the club a tad too late. The only sighting of Mark was the bouquet of flowers left desolately on a nearby bench. Samantha stretched her arms to lift it from the bleak wood and a card fell to the ground. She picked it up and a tear fell on the black ink inside the ceramic envelope. Mark’s handwriting lived inside, just for her.

Would you like to be my date?

The fifth call ended to voicemail. Samantha paced back and forth in her living room, fingers covering her mouth while the other hand was clenched on the phone. The moon hung high in the sky yet the translucent gleam painting over the flowers altered them to cast a painful sadness throughout Samantha’s house. She sat down on the couch, an inhibited tiny stream of tears flowing down her cheek. Samantha paid no attention to Murphy whose paws were patting all over her legs, in an attempt to soothe her sorrow. Poor thing couldn’t know why she was so sad, and she didn’t allow him to ease her mind. Murphy settled on curling himself against her feet, waiting patiently for her to let him in.

After some time spent in silence, she chuckled. The whole situation was, in fact, hilarious. Samantha leaned her back onto the couch, eyes fixated on the nothingness of the ceiling. At one point, she thought about going to Mark’s house. The impediment was that she did not know where he lived. And another impediment would be that he made himself clear he would not be happy with her company.

It was funny how things decided to play out the way they did. The perfume of the fresh flowers made her wonder if Mark picked them by himself. Mark was supposed to find out everything, she was supposed to tell him about Henry being the reason she so adamantly pushed him away. Mark was not supposed to see Henry so close in her proximity, touching her so familiarly and playing all the right cards to have her frozen in place.

Now Mark was everywhere, a permanent resident in her mind, a permanent resident in her soul, he was everything Samantha wanted and everything that was sliding away.

The rest of the night passed at an agonizingly slow speed. Samantha spent much of it on the couch, brown orbs dashing back and forth between the flowers on the coffee table and the dark screen of her phone. She managed to doze off for a little while, still aware of her surroundings, and the only scene that replayed in her mind was the handsome image of Mark, with the spending smile on his lips and the ruffle in his hairstyle. It stopped there, and it then replayed from the top. It was like nothing else existed.

It was then she took the decision to go and visit him directly at his studio. At the crack of dawn, Samantha gently awoke Murphy from her feet and took the opportunity to grab some fresh air while walking him. By the time she realized she hadn’t taken off her make-up, she could only hope the mascara was not smeared too much. Feeling a tad more refreshed after the walk, Samantha fed her little man and reassured him, with loving snuggles and pats in his fur, that he was loved and appreciated. With a little bark he must have understood the message.

Samantha took a shower to cleanse off the events of the previous night and went to put on her office outfit for the day. Having early consultations and a surgery check-up scheduled for the second part of the day, she texted her attending that she would join them some time after the rounds. Then, she texted Leena.

[To: Leena] morning Leena, will be late today for rounds, don’t wait up

[From: Leena] oh? Mark kept you up all night?

[To: Leena] something happened last night and we couldn’t be with each other

[To: Leena] I’ll tell you when we meet

[From: Leena] ok, I’ll cover for you

[From: Leena] I’m still good to go on OBGYN.

Mark’s group’s studio was not too far away from the hospital, and Samantha parked her motorcycle outside of the tall building. The sudden visit was not planned ahead by Samantha who let her feelings take the lead. Not the one to usually lose composure, it rarely happened for her to give her heart the reins. Samantha tied her helmet to the bike and strengthened her white coat under the leather motorcycle jacket.

Inside the building, the modern lobby was guarded by three security guards, with subtle movements but ever so vigilant. They cocked their eyebrows as the clicks of her heels echoed against the black marble, her hospital badge dangling by the pocket.

Samantha approached the receptionist’s desk. “Hi, my name is Doctor Samantha Stoss, I am looking for Mark Tuan.”

“Hello. I am sorry but the group is not expecting any visitors today. Should I say you dropped by?”

At the nearby elevator, Samantha heard two other dancers discussing choreography for Mark’s group and that they’d get breakfast before joining them. Which meant that Mark was there, at that exact moment. Samantha’s heart picked up a beat in her chest.

“Yes, thank you, I’ll wait in the visitor’s area for when he’ll be available.”

Samantha was guided by security to the floor where the group was at, and was instructed to wait in the lobby area, where a couple of other people were sitting. All the other people were too busy to notice the moment she left the lobby, to walk towards the hall with the practice studios. Most of the rooms were still devoid of light, except for a singular one at the far end of the hall, where muffled laughter animated the atmosphere. The echo of her heeled steps was reverberating in her ears, enough to stifle the emotions in her chest.

The door to the studio was open and Samantha stopped in the frame.

“Mark.”

Collectively, all the sounds dissolved into thin air, and all the other members stopped dead in their various stretching positions. Mark was sitting on the floor as he tilted his head backwards to look at Samantha. It seemed that, initially, he couldn’t believe Samantha was standing in their doorframe.

“Oh, so you are Mark’s girlfriend? You are astonishing.” Bambam tweedled and Jackson had to muffle his mouth to prevent him from saying anything further, notwithstanding with his own lips parted in blatant shock. One had to give it to him, he was good at breaking a brutal silence. A couple of paces nearby, Samantha noticed Jinyoung smiling at her and if she didn’t know any better, she’d say his greeting smile was razor-sharp. All of a sudden, Samantha wondered how Mark spoke of her to the guys. If he did, at all.

“Excuse us a moment, guys.” Mark straightened his body from the floor, his eyes never leaving Samantha’s silhouette. Samantha stepped aside, allowing Mark to walk by and guide them both to an empty studio nearby. He closed the door behind them with a powerful motion, which tied a knot in Samantha’s stomach.

She was searching for any sentiment in Mark’s posture, be it anger, sadness, excitement, anything it could have been. She was met with stoicism instead.

“You didn’t return my calls.” Began Samantha. Mark simply nodded. “And you haven’t texted back, either.”

“Yeah, I didn’t. Figured you’d be busy.”

The harshness of his words made Samantha wince. “Don’t do this Mark.”

“I’m not doing anything. We’re leaving again day after tomorrow and…”

He stopped for a moment and it took her breath away. Mark’s mask was slowly starting to fade away. It was then Samantha noticed his eyes were tired. They had so few moments together and an entire night out of those was ruined, because of Henry. Because of her.

“…we’re rehearsing a new set. So, I really have just a moment. Why are you here?”  

Samantha wanted to inch closer to him, to hug him, to get lost in his presence. She refrained from doing so. “I’m here because I missed you, Mark. Because last night was a huge misunderstanding and because you didn’t allow me to explain.”

“Explain?” Mark called out in an even voice, but his hand threw the hood of his sweatshirt to rake his hair in a precipitous movement. “You told me no one touched you since I left. That you don’t think anyone will. We were supposed to go out on a date, and I come pick you up to what?”

“Mark, listen to me—”

“Sam, he touched you like he knew you inside out, like he did that a thousand times before. “

“Mark, stop—”

“I don’t know you inside out.”

Samantha’s eyes narrowed to prevent another set of tears from forming behind her eyelids. Mark’s hands dropped to his sides as he took a deep, fatigued breath. “I know I’m just the sex but at least don’t lead me on if you have no other plans for us.”

“Mark, Henry is the more I needed to tell you about!”

Samantha raised her voice, and she didn’t realize a tear escaped away from its enclosure. At its sight, Mark’s features instantly soothed. “I took the flowers home Mark, thank you for not throwing them away. They were beautiful. Yes, I want to be your date, and yes, I am sad you are leaving so soon and I’m throwing us away. I want you to understand Henry has no place in my present, or in my future.”

“Henry,” Mark started, checking his smartwatch as it vibrated, “has a place in your present if he gets to touch you and halt your every move like he seemed to do last night. I gotta go. I’ll call.”

“Will you really?” Samantha exhaled, watching Mark’s back as he turned to walk away. He looked at her over his shoulder.

“Yes. I’ll call.”  

The ride back to the hospital was agonizing, even if fast. There were seeds of doubt and uneasiness planted into her mind. Part of her wanted to believe that Mark would call, and he’d grant her the chance to set the record straight, but the better part of herself pushed her to believe he would pack his bags and get out of her life. Samantha barely had time to gather herself together, just as she got ambushed right at the entrance by both Jonathan and Leena. And they were far from being happy.

“Would you care to tell us why Henry is back and why he’s so boastfully claiming to having you back?”

Jonathan’s voice woke Samantha from her trance. Without any warning, the events of the previous night stretched farther than Mark looking handsome and ready to sweep her off her feet.  

When we see each other tomorrow morning at the hospital, I’d really like to know why you stopped taking surgeries. Samantha felt like she was going to throw up.

“So, it was true.” she said quietly, arming herself with the realest impassivity she was able to forge.

“What do you mean it was true? Why is the bastard here?”

“Jonathan, I have no idea, okay?” Samantha turned to him, and Jonathan’s eyes noticed the anger blended with the heartache in her hazel irises. “He barged into the club last night, surprised me into the changing room and touched my cheek and it made my body tighten. Just as Mark opened the door and looked at me like I was the most disgusting whore on the planet. So, don’t fucking ask me.”

Leena reached to Samantha to envelop her in an embrace. “Sweetie, are you okay? Why didn’t you call me, either of us? Did you get any sleep?”

Samantha shook her head as she tightened the hug. “Not much, no. I went to see Mark this morning. Needless to say, it went badly.”

Jonathan was boiling with displeasure but if anyone saw him from outside, they’d never guess he was ire. Only by his glassy emerald eyes.

“What did he tell you, guys?”

“Certainly, didn’t speak much,” Jonathan concluded, and Leena had to slide her fingers over his knuckles to untighten his hand from the pressure. “He joined the rounds this morning, my neuro rounds. When chief asked for you, he said you’d had a rough night. Gosh, Sam, you should have called us because I was about to smash his head in, thinking he’d forced himself upon you.”

“I’m fine, Jonathan,” at least physically, she was. Mentally, Samantha was only just juggling the tumult. “Henry joined your rounds because there’s only one attending spot in neuro, we all knew.”

Samantha locked her eyes with Jonathan’s. “We’re not waging wars. I am going to walk in there, with my head held high, and I am going to confront him.”

“How can you be so calm? Why are you so calm? Henry’s got no place here, with none of us.”

In the distance, Samantha’s gaze fell upon Henry, absentmindedly flirting with a nurse, while his awareness was invested in her. If she allowed herself to give into her emotions, they would consume her entirely.

“That’s not for any of us to decide. It’s for you to decide if you’re better than him as attending.”

Jonathan couldn’t believe his ears. He was watching Samantha as she walked into the building, in a straight path to the devil. Within himself, he acknowledged she was not in the same spot Henry left her, two years ago. Jonathan was afraid that one wrong move would make her crumble.

“Good morning to you, my fair lady.” Henry shifted his position on the elbow leaning against the nurse’s station, to face Samantha with an inviting smirk. “Can I interest you with a coffee?”

“Doctor Carter,” Samantha acknowledged him, waiting for her charts to be delivered to the nurse’s station. Henry allowed his gaze to observe Samantha’s leather motorcycle jacket, over a tight crayon olive dress, and her doctor’s coat matching the white stilettos on her feet. Samantha was very aware of his charade. It was the same he used to win her from Jonathan, years ago. “No thank you, I’m drinking tea now.”

Henry chuckled, clasping his hands together. “Are you comfortable riding the bike on those gorgeous heels? Jimmy Choos?”

“Look, doctor Carter,” Samantha took the charts from the station, a silent smile directed to the nurse. At that point, not only did she realize she could not compare with Samantha, but she couldn’t keep up with Henry. “Let me set things straight. One, stop claiming me as if I’m some object. Two, I prefer not to intersect paths with you.”

“Oh? So why did you ditch lovely doctor Williams there to talk to me?”

At any given point, Samantha would have succumbed to Henry’s charms. But she took a good look at him, and he was not Mark, and he would never be. Henry had the element of surprise when his fingers brushed against her skin. Samantha was not completely sure her body would fight back should there be another intentional touch of his, but her mind was.

“You see, Henry,” Samantha looked up at him to counter the lingering smirk on his lips. Admittedly, Henry was surprised. “First time, it was on purpose. Second time, I want to set the record straight. Don’t touch me, ever again. I don’t know what your intentions are, but I want nothing to do with you.”

“Is that so?” Henry challenged and lowered his head to match Samantha’s gaze. She gulped, a gesture that did not go unnoticed. “Something tells me you’re not telling the truth.”

“Doctor Carter.” Jonathan’s even tone broke Henry’s stance. The latter fixed the collar of his coat.

“Doctor Williams! Let’s have a healthy competition, shall we? Rumor has it you’re racing for attending this year. And, of course,” he gestured to Samantha “you must have the support of most of the residents of this hospital.”

“What I can say to you is good luck. If you still have that nice camera, you can take a picture of me when I become attending.”

Henry laughed and waved a hand in a dismissive manner in the air, before walking away at his pager pinged. “Didn’t you choose neurosurgery just to try and steal Samantha from me? That’s a bit of wishful thinking on your side.”

Leena’s eyes widened at Henry’s claims, even more at Jonathan’s irritated lack of response. She then looked at Samantha who seemed familiar enough with the remark. Leena’s pager beeped soon after and followed in Henry’s steps, azure orbs lingering on Jonathan’s jaded ones. He was apologetic to her and the last time he saw Leena that day was bitter, with her disappointed expression.

Samantha’s phone started ringing in her pocket. She walked away towards her neo-natal ward and slid a hand to her pocket, answering before checking the number.

“Doctor Samantha Stoss, what can I help you with?”

“Didn’t know you recommended yourself like that when speaking, doctor Stoss.”

Samantha had to recompose herself, exhaling in relief. “Mark, hey. Sorry, morning was just crazy.”

Mark chuckled on the other line. “Doesn’t give you the chance to get bored. You can tell me all about your day tonight, if you wanna watch a movie at my place.”

Samantha giggled, allowing Mark to register her contentment. “Sounds… sounds very nice. Thank you, Mark.”

“Of course,” Mark’s voice adopted a sliver of a commanding tone, “I cannot guarantee we’re not going to have angsty sex before, or after. Or both.”

Samantha gasped. As much as Mark’s words provoked her womanhood, they also provoked anxiety. Anxiety that he’d end their hopes before they grew wings. “I’ll be there.”       

Previous Next

[t-u-i-t-c]

You're My Important Partner→Gunpei Ishihara & Gunpherd

[inventors-fair]

Before you Submit: Nags, Nitpicks & Notions

It’s a new year and I’m still full of aggrandized superiority, so here are some things I’m gonna ask people to do and/or keep in mind to ease my critic-bones.

1. Punctuation/capitalization checks

When separating keywords on a permanent, only the first keyword is capitalized.

Semicolons are only used when a keyword, on a single line with one or more other non-reminder-text keywords, has reminder text.

Make sure that non-keyworded text has periods. Avoid run-on sentences.

When quoting a speaker in flavor text, the quote most be in quotation marks.

When attributing a character, the name should have no linebreak, using shift+enter, and use an emdash (—) before the name.

Capitalize subtypes, but not card types.

When utilizing multiple costs for activated abilities, there’s an order, and EACH PART OF THE COST is capitalized. Mana comes first, then tapping, then additional costs.

In general, read over once. And then again. Carefully.

2. No card stands alone

Except Commanders, perhaps; even then, you’re designing a card for an environment. This isn’t the biggest issue as much as it’s something to keep in mind. When will this card hit the board? When will it have an impact? More importantly, are there any broken and/or easy combos from MTG’s past that will blow this thing out of the water?

3. Double-check on Gatherer/Scryfall

There are so, so many cards and almost every effect under the sun has some precedent. Use available tools to ensure you have proper wording. A single misplaced word can throw things off. For example

Are you applying layers correctly?

Is that a trigger, or a clause?

Are you labeling steps and phases correctly?

What weird interactions may other cards have encountered, and how do they deal with those?

4. Can ≠ Should

We’re a stubborn bunch here. Even then, there are degrees to which we as judges can critique your work.

If you submit a card with obstinance or intentional disruption in mind, it makes it harder to talk about your card in good faith. Pushing boundaries should be done with the intention of creative progress.

5. Flavor is hard

If you’ve had me nitpick your cards for this, I understand if you’re rolling your eyes at this one. So I’ll say it again: writing good, impactful flavor text is really really REALLY difficult. To make your best card, here are some ideas/questions:

Does my card need flavor text, and if so, where do I want to start?

What is the mood of this card, and what cards have comparable moods?

From what perspective is this text being said? Even omniscience has an angle.

Can I use other poetic/prosaic devices from other cards here?

Do I want this card to be abstract or concrete? Does it need art direction?

6. Presentation matters

In the end, your card’s gotta look good. Does it need to look professional? No. Does it need to show, in every aspect, that you understand your card’s place in the world? Oh yeah, absolutely.

This is a contest with no tangible stakes, but it’s a contest nonetheless. Bring as much game as you want to have effort put into it. Learning is as valuable as winning, even more so.

7. We’re here to have serious fun

My personal philosophy is that creating custom cards is a huge section of the MTG community, and it’s because MTG is, inherently, about choice. There is nothing in the rules stopping you from showing up to FNM with a 99 card deck of Mountains, sitting there, and saying draw-go until the timer runs.

We’re not here for that. This is the nuts and bolts, the creation, the interaction, the what-ifs, speculation, fan adoration. Creating good cards is a demonstrable display not only of one’s love for the game but also one’s understanding of what makes gameplay fun, which exercises a number of critical skills that MTG already ingrains in you.

Custom card creation appeals to a specific demographic, and maybe if I philosophize a little more I can delve into it. For now, I’m just glad, as always, to have you here learning along with me.

@abelzumi​

[neuroprincess]

Well, at some point another reader already commented about this and I'll try to explain. It's cultural, in a nutshell. But I will explain here why and how to read with the dashes (at least until, if, I change). My first language is Portuguese and in Br Portuguese grammar preference is given to the use of the dash (-) to mark direct speech instead of the quotation mark (""). And our books are published with dashes, I can affirm this by checking my books right now XD

To make things less confusing, the first line after the - is dialogue and is always in uppercase, the next - cuts the dialogue to scene or action description, this will be in lowercase, if there is a third - is dialogue return. Like this: - Dialogue. - scene - Dialogue.

The only times I use quotes are in quick headcanons and in one shots for thoughts. I'm not saying I won't change the way I write, but if I do it may take a while. And I'm sorry if this is confusing to you, it's literally a cultural thing and all the off-line content I consume in my language has dialogue in this format. It's like asking a writer who uses "" to change since it's something she's used to and grew up with. I really consider changing, but it's hard. So I made this post to help those who read. That's all, thank you.

[tally22366]

Why Tally Software is the Game-Changer Your Business Needs

Tally is a popular accounting software used by businesses worldwide. While it is a valuable tool for managing finances, it is essential to ensure that any content created using the software is free from plagiarism. Plagiarism is a serious offense that can result in legal consequences and damage your reputation. In this article, we will explore how to remove plagiarism from content created using Tally software.

Firstly, you must identify the sources of the copied content. This can be done by using plagiarism detection software such as Turnitin, Unicheck, or Grammarly. These tools compare your content to a database of previously published material and highlight any instances of similarity. If you find that your content has similarities with another source, you must identify the sections that need to be rephrased or rewritten.

The easiest way to remove plagiarism from your content is to rewrite it in your own words. This means taking the original text and rephrasing it using synonyms, different sentence structures, and your ideas. This approach not only eliminates plagiarism but also helps make your content unique and engaging. However, it is crucial to note that only changing a few words or rearranging sentences is not enough to remove plagiarism. Your content must be substantially different from the original source.

Another approach to remove plagiarism from your content is to cite the original source. This involves acknowledging the author and work from which you have taken the content. You can add in-text citations or footnotes to your content to avoid any accusations of plagiarism. In Tally software, you can add footnotes by using the 'Note' option.

Proofreading your content is also essential to ensure that it is free from errors and plagiarism. You can use grammar and spell check tools to identify any mistakes and inconsistencies in your content. Additionally, you can use plagiarism checkers to ensure that your content is unique and free from plagiarism. Proofreading your content helps remove plagiarism and improves the overall quality of your work.

In conclusion, removing plagiarism from content created using Tally software is essential for maintaining academic integrity and avoiding legal consequences. By using plagiarism detection software, rewriting content in your own words, citing original sources, and proofreading your work, you can ensure that your content is original and engaging. Remember that plagiarism is a serious offense and can have long-lasting consequences. Therefore, always make sure to give credit where it is due and use best practices to ensure that your work is original and unique.

In addition to the steps outlined above, there are a few other things that you can do to remove plagiarism from your content. These include:

Paraphrase the content: Paraphrasing involves expressing someone else's ideas or work in your own words. It is important to make sure that your paraphrased content is significantly different from the original source. This means that you should use your own words and sentence structures while retaining the meaning of the original text.

Use quotation marks: If you want to use a short phrase or sentence from another source, it is important to use quotation marks to indicate that the text is a direct quote. This helps to avoid any accusations of plagiarism.

Use different sources: Using multiple sources can help to ensure that your content is original and unique. When researching a topic, make sure to use a variety of sources and avoid relying too heavily on a single source.

Use a plagiarism checker: Plagiarism checkers can help to identify any instances of plagiarism in your content. There are a number of online tools available that can scan your content for plagiarism and highlight any areas that need to be rephrased or rewritten.

Get feedback from others: Sometimes, it can be challenging to identify plagiarism in your own work. It can be helpful to get feedback from others to identify any areas of concern. You can ask colleagues or friends to review your content and provide feedback on its originality and quality.

In summary, removing plagiarism from content created using Tally software requires a combination of techniques. By using plagiarism detection software, rewriting content in your own words, citing original sources, paraphrasing, using quotation marks, using different sources, using a plagiarism checker, and getting feedback from others, you can ensure that your content is original and free from plagiarism. Remember that plagiarism is a serious offense that can have long-lasting consequences, so always make sure to give credit where it is due and use best practices to ensure that your work is original and unique.

It is important to note that removing plagiarism from your content is not only important for ethical and legal reasons, but it also helps to improve the overall quality of your work. By ensuring that your content is original and unique, you can demonstrate your knowledge and expertise in a particular subject area. Additionally, original content is more likely to engage readers and contribute to the credibility of your brand.

Tally software is a valuable tool for managing finances and generating reports. However, it is important to ensure that any content created using the software is original and free from plagiarism. By following the steps outlined above, you can ensure that your content is unique and engaging, and contributes to the success of your business.

Furthermore, using Tally software can also help to streamline your financial management processes and improve your productivity. The software is designed to automate accounting tasks, generate financial statements and reports, and track inventory and payroll. This can help you to save time, reduce errors, and make informed financial decisions.

In conclusion, removing plagiarism from content created using Tally software is crucial for maintaining academic and professional integrity. By using a combination of techniques such as rewriting content, citing original sources, paraphrasing, using quotation marks, using different sources, using a plagiarism checker, and getting feedback from others, you can ensure that your content is original and engaging. Additionally, using Tally software can help you to streamline your financial management processes and improve your productivity. By leveraging the capabilities of Tally software and ensuring that your content is original, you can achieve success in your business and professional endeavors.

if you want know more https://gseven.in/

[tally2345]

Tally Software: The Ultimate Accounting Solution for Your Business

Tally software is a popular accounting software that is widely used by businesses across the world. While it is a powerful tool for managing finances, it is important to ensure that any content created using the software is free from plagiarism. Plagiarism is the act of using someone else's ideas, words, or work without giving them proper credit. It is a serious offense that can result in legal consequences and damage to your reputation. In this article, we will explore ways to remove plagiarism from content created using Tally software.

The first step to removing plagiarism is to identify the source of the copied content. This can be done by using plagiarism detection software, such as Turnitin or Grammarly. These tools compare your content to a database of previously published material and highlight any instances of similarity. If you find that your content has similarities with another source, you must identify the parts that need to be rephrased or rewritten.

One of the easiest ways to remove plagiarism from your content is to rewrite it in your own words. This means that you must take the original text and rephrase it using synonyms, different sentence structures, and your own ideas. This approach not only removes plagiarism but also helps to make your content unique and engaging. It is important to note that simply changing a few words or rearranging sentences is not enough to remove plagiarism. Your content must be significantly different from the original source.

Another way to remove plagiarism from your content is to cite the original source. This means that you must acknowledge the author and the work from which you have taken the content. This can be done by adding in-text citations or footnotes. In Tally software, you can add footnotes by using the 'Note' option. This helps to give credit where it is due and avoids any accusations of plagiarism.

Finally, it is important to proofread your content to ensure that it is free from errors and plagiarism. You can use grammar and spell check tools to identify any errors and inconsistencies in your content. Additionally, you can use plagiarism checkers to ensure that your content is unique and free from plagiarism. Proofreading your content not only helps to remove plagiarism but also improves the overall quality of your work.

In conclusion, removing plagiarism from content created using Tally software is essential for maintaining academic integrity and avoiding legal consequences. By using plagiarism detection software, rewriting content in your own words, citing original sources, and proofreading your work, you can ensure that your content is original and engaging. Remember that plagiarism is a serious offense and can have long-lasting consequences, so always make sure to give credit where it is due.

In addition to the steps outlined above, there are a few other things that you can do to remove plagiarism from your content. These include:

Paraphrase the content: Paraphrasing involves expressing someone else's ideas or work in your own words. It is important to make sure that your paraphrased content is significantly different from the original source. This means that you should use your own words and sentence structures while retaining the meaning of the original text.

Use quotation marks: If you want to use a short phrase or sentence from another source, it is important to use quotation marks to indicate that the text is a direct quote. This helps to avoid any accusations of plagiarism.

Use different sources: Using multiple sources can help to ensure that your content is original and unique. When researching a topic, make sure to use a variety of sources and avoid relying too heavily on a single source.

Use a plagiarism checker: Plagiarism checkers can help to identify any instances of plagiarism in your content. There are a number of online tools available that can scan your content for plagiarism and highlight any areas that need to be rephrased or rewritten.

In summary, removing plagiarism from content created using Tally software requires a combination of techniques. By using plagiarism detection software, rewriting content in your own words, citing original sources, paraphrasing, using quotation marks, using different sources, and using a plagiarism checker, you can ensure that your content is original and free from plagiarism. Remember that plagiarism is a serious offense that can have long-lasting consequences, so always make sure to give credit where it is due and use best practices to ensure that your work is original and unique.

if you want know more https://gseven.in/

[phantomtutor]

Research Paper Assignment:Topic - Indigenous Knowledges of People in Canada Information:The time frame for this project is Before 1900.  Students will articulate how and why attention to a particular portion of research is important, how they can connect the research to what is being learned in class and critically engage with the material they discover.In order to complete this assignment in a timely manner, it is important to start out by reading the unit(s) affiliated with your topic from the course materials.  From there, you should complete some outside research using acceptable primary or secondary sources.  A strong way to structure your paper for this course is to include an introduction that catches the reader’s attention, discusses what will be discussed in the paper, and includes the thesis statement.  Following this, the body paragraphs should follow an understandable structure that includes the research you completed and shows a strong understanding of the content.  Finally, the paper should end with a conclusion that summarizes the material that was discussed and ends with a strong concluding statement.  Some recommendation for how the paper should be completed are included below.-Minimum 8-10 page research paper - Provide minimum 5 sources (per the Research Outline Assignment) including; 1 Journal Article (online or physical copy), 1 book reference other than your textbook (online or physical), 1 Government document (electronic or physical copy) and 1 report from a private organization (electronic or physical copy). NO Wikipedia, Encyclopedias, or dictionary sources. News articles may only be supplementary material and do not count towards the 5 sources. Personal communications must be documented adequately. - Essay must be double spaced in 12 point font, Times New Roman, and 1 inch margins. Length requirement does NOT include the title page or reference page(s). - Analyze the research they have gathered and the points discussed in sources. In order to support your arguments, you MUST use correct APA or MLA citations for both direct quotes and paraphrasing. - Pages will be numbered in the top right hand corner. - No abstract necessary. - Title page MUST have a Running head as well as: The title of your essay, your name, the class code (NATV 1220 and section), and the due date of the Assignment. - Avoid the use of contractions (EG: Don’t should be written out as do not) and avoid Colloquial language (IE: “This is a thing”, slang terms, phrases such as “Pass the Buck”, or idioms like “It’s raining cats and dogs”). - Be aware of your spelling and grammar.A rubric has been provided that shows how the assignment will be graded and how many points each aspect of the paper are worth.  It is immensely important that you cite information that is not common knowledge.  Copying and pasting information from other sources is not an acceptable way of completing your paper.  When using the words of another person directly, including quotation marks as well as an in-text citation with page numbers, if applicable.  Paraphrasing another author’s information is acceptable, however paraphrased information also requires in-text citations and page numbers are a very good choice when including a citation, however they are not always mandatory.Book - Dickason, O. P., & Newbigging, W. (2019). Indigenous Peoples within Canada: A concise history (4th edition). Oxford University Press.

[rollercoasterwords]

i am once again asking people not to share my writing if u aren't going to credit me!

this is gonna be a bit of a rant i think. sorry but also i'm just fed up at this point lol

i've already. mentioned this or talked about it a few times on my blog but like. here's the ~official post~ i guess because over the past year i have lost count of the amount of times i have come across a post--usually on twitter or tiktok--that is quite literally just a direct quote from one of my stories copied and pasted without a single reference to where it came from or who wrote it.

so like, quick reminder:

this is not a quote.

"adding quotation marks to it does not make a quote."

"a quote is only a quote if you QUOTE THE PERSON WHO IT CAME FROM." - rae, @rollercoasterwords tumblr blog

does that make sense???? PLEASE tell me that makes sense. to make it even clearer:

if you are going to quote my writing in a tweet, please include AT LEAST my ao3 username (rollercoasterwords) and also, ideally, the fic title that you are quoting from. if you want to throw a link to whatever ur quoting from, great! but like. at the very least, all i am asking is that you add "quote" - @rollercoasterwords on ao3

if you are going to quote my writing in a tiktok, please include AT LEAST my ao3 username either clearly in the video itself or clearly at the very beginning of the caption, where anyone looking at the video will be able to see it immediately. please don't just put credit in a tag at the very end of a long caption where it isn't clear which tag is the fic title the quote is coming from; please don't just put it in a comment that not everyone will open and find; please don't just put it in a response to someone else's comment asking you what fic the quote is from. and please don't put no credit at all--i've seen tiktoks of my own writing without even quotation marks to let people know that it's a quote! like...at that point you're just plagiarizing my writing for...what? tiktok views? like. ok.

other writers might feel differently about how you credit them when quoting them, but for me--this is what i'm asking. just. at the very least, clearly include my ao3 username, so that people know who wrote the thing that you're sharing.

and like. i think there's this idea that you're doing me a favor by sharing my writing, in any capacity, on the internet. and at the risk of sounding harsh, i want to be very clear: that isn't true. if you are sharing my writing without any indication that it is even mine, then you are not doing me a favor. you are taking something that i worked very hard on and using it to get a few likes for yourself. i know that it's fanfiction, and i know that once i post something on the internet it is, to a certain extent, outside of my control. but like...this isn't something i'm profiting off of. it's not something i'm trying to get the most views possible on. the only reason i'm sharing it on ao3 is so that people who appreciate it can find it, and so that i can connect with those people who take the time out of their day to leave a comment or send a message saying "hey, i loved this, thanks for sharing it!" i would rather have only 5 people see my writing and like it and genuinely connect with me over it than have 5000 people see my writing and like it and never have a single one of them know who actually wrote it.

anyway. i'm not trying to sound ungrateful, y'know? i do truly, sincerely appreciate that there are people out there who have been moved enough by my writing to want to share it with others. but this isn't a numbers thing for me, ok? the amount of people looking at a thing i wrote is not what makes writing worth it to me, and i would truly, genuinely, just rather not have a single person share my writing on twitter or tiktok than have like. fifty people share it without crediting me.