#a adjective endings rules

[deutschhaven]

Declension Of Adjectives In German

The most interesting thing about German Adjectives isn’t just that they are voluminous but that they may also be declined which in turn makes them complex irrespective of their forms i.e whether they are basic, comparative and superlative Adjectives or those that are derived from either Partizip I or Partizip II. This declension of German Adjectives usually follows a definite pattern which has…

[littlegochu]

indelible│jjk 18+

in·del·i·ble

adjective

not able to be forgotten or removed: "i made an indelible impression on him."

"i want to watch the light drain from jeon jungkook's eyes the moment he realizes who i am."

pairing: jeon jungkook x reader (f)

genre: mafia, cold male lead, girl boss female lead that makes the male lead headover heels eeeee

rating: 18+, smut

synopsis: my job was simple: get close to jeon jungkook, the man at the top, and feed my father everything he needs to burn their world to the ground.

falling for him was never part of the plan. but now every lie i’ve told is starting to unravel—and i’m not sure if i’m here to destroy him… or to save myself.

authors note: ngl this is soooo unedited help lmk if there's any mistakes or confusing parts

pls lmk if this post is unappealing to the eye IM NEW HERE OKAY

-

Two years ago.

They said I died in the attack.

My name, my face, my life—wiped out in one night of fire and gunfire, wrapped in the same headline that buried my brother: "Coordinated assault on Moretti estate leaves heir and daughter dead."

That's what the public saw. A bloody hit. A warning to the underworld. Proof that even the most feared families could bleed.

The family told the world I was gone.

Let them believe it. Let our enemies think they'd wiped out the heir and the daughter.

Let them feel powerful.

It gave me space to disappear. To bury my name. To become someone new.

Now, I am Gia.

Not Y/N Moretti. Not the girl who wore silk gowns and smiled at dinner parties.

Now I am silence, sharpened to a blade.

I don't know who gave the order that night. Not yet. But I know who carried it out. His face is still a shadow. His name, just a whisper.

But when I find him, he'll remember me.

And he'll wish I stayed dead.

-

Present day.

I live like a ghost, but I'm not hiding.

I'm waiting.

The man who killed my brother died two weeks ago. Jeon Jungwoo—also known as "The Judge"—the head of the Jeon syndicate, one of the most brutal men to ever breathe in Seoul's underworld. Ruthless. Tactical. My father's worst enemy. My brother's killer.

He's dead now. Liver failure. The coward rotted from the inside out, and still managed to escape without consequence. Without ever seeing my face.

But his son—the new king in his father's shadow—just took the throne.

Jeon Jungkook.

-

The first rule of stepping into a place owned by the man you plan to destroy: Don't look like prey.

Walk in like you belong. Like your face isn't a ghost he thought was buried six feet underground. Like your pulse isn't ticking just a little too fast beneath your skin.

I ordered a drink I wouldn't finish. Something clear. Strong. I wasn't here to get drunk—I was here to see him.

And then I did.

Jeon Jungkook.

He stood near the far end of the lounge, half-shadowed by the soft golden light, his posture quiet and watchful as a man beside him spoke. He wasn't nodding. Wasn't reacting. Just listening—or pretending to.

He didn't have to do much. The room shifted around him naturally.

My eyes trailed over him, slow, clinical.

"You've been up here a while," he says.

His voice is smoother than I expect—calm, low, like he’s not trying to impress me but still could if he wanted to.

I tilt my head, letting my gaze slide over him slowly. "You’ve been watching me a while."

He almost smiles. Doesn’t, but it’s there—tugging at the corners of his mouth like he’s not used to the urge.

Up close, he’s... unfair. Sharp jaw, dark eyes, a quiet intensity that hums off him like electricity just waiting for skin to touch. But it's not just that. It’s the way he looks at me—like he’s trying to place something. Like I’m not just a girl with a drink, but a thought he can't finish.

"You don’t look like someone who comes here often," he says, eyes still on mine.

"You do?" I counter.

He shrugs, effortlessly confident. "I own it."

Of course he does. That explains the presence. The way people glance over like they’re trying not to look too long. That explains the arrogance, too.

"That explains the arrogance," I say aloud.

That almost-smile deepens—again, not fully formed. Like he’s holding it back on purpose.

"Would it be alright if I asked your name?" he asks, and he sounds polite about it. Careful, even.

I lift my glass, sip slow, keep my eyes on his. "Gia."

It’s not a lie, not anymore. But it still feels like one in my mouth.

He watches me for a beat too long, then says, "I’m Jungkook."

No reaction from me. I don’t blink. Don’t flinch. I know that name. Everyone does. But I can’t afford to look impressed—and honestly, I’m not. Not yet.

He glances over my shoulder, subtle. A habit. A calculated one. When his eyes come back to mine, I haven’t moved.

"You’re not here for the drinks," he says.

"Neither are you."

His voice doesn't match the way I thought it would sound.

It's softer. restrained. Not the cold edge I expected from a man with blood on his name. His presence is heavy—yes—but not forceful. He doesn't try to impress me. Doesn't ask intrusive questions or throw power around to prove a point.

That makes him more dangerous.

Jungkook stands just far enough not to invade my space, but close enough to make his attention obvious. His eyes skim across the club behind me every few seconds, watching everything, but they always come back to me.

He's trying not to stare.

But he does.

Quick glances that linger half a second longer than they should. A flicker to my lips when I speak. The subtle pause when I tuck a piece of hair behind my ear. His restraint is impressive—but not impenetrable.

He's looking.

And so am I.

I notice the way the light hits his features—jaw sharp, cheekbones high, lashes long enough to be criminal. There's a stillness to him that doesn't feel passive, but coiled. He's carved from silence, and yet I can tell he's the kind of man who speaks with purpose when he does speak.

Calculated. Controlled. But undeniably magnetic.

I hate that part of me notices.

But I let it.

Because attraction is a weapon, and right now, we're both holding the blade.

"You always talk to strangers in your own club?" I ask.

He huffs once—almost a laugh, more breath than sound. "No. I usually let them talk to me."

"Do I look like someone who does that?"

"Not even a little."

A beat passes.

He leans on the railing beside me, eyes flicking across the crowd as if it's second nature. He doesn't move much, but when he does, it's purposeful—every shift precise, like he's used to holding a room without saying a word.

"You said you own this club?"

"I inherited it," he says after a pause. "Same as everything else."

There's something dark beneath his tone. Not pity. Something heavier.

"And is it everything you wanted?"

"No. But that stopped mattering a long time ago."

He says it like a man who didn't get to choose what he became.

I finish my drink and set it on the ledge beside me. My fingers linger on the rim, and I catch his eyes flick to them—just briefly. Observant, focused, but not unaffected.

"You're not afraid of me," he says.

It's not a question.

"Should I be?"

His gaze holds mine a beat too long.

"No. But most people are."

"Maybe they don't know the difference between fear and fascination."

The corner of his mouth twitches. A near-smile. It's gone as quickly as it appears.

He opens his mouth again, and that's when I feel it.

Not from him.

From behind him.

I glance over his shoulder, letting my expression stay cool, but my pulse thunders.

One of his guards is walking along the edge of the upper floor, responding to a subtle nod from one of the other men below. He moves with purpose. Height, frame, scar under his right eye.

That scar.

My stomach knots.

It's him.

He was there. In my house. That night. One of the men who helped tear it apart. I remember him stepping over my brother's body. Holding the rifle like it was a natural extension of his arm.

He's older now, but I know him. I'd know that face even if the world went dark.

Jungkook shifts beside me. "Excuse me," he murmurs. "I'll be right back."

I nod. Calm. Still. Controlled.

He turns and heads for the stairs.

And I disappear.

Not through the main floor. I slip around the curve of the balcony, take the opposite staircase, and vanish into the crowd below.

Just as I reach the back of the club, I hear it.

A single gunshot.

Then screaming.

Glass shattering.

I press against a column, eyes scanning for the threat. Chaos swells. Jungkook's men move like clockwork—fast, silent, lethal.

And there he is—the man with the scar. Blood blooming across his side. He stumbles, raises a weapon.

Another shot.

He drops.

Just like that, the last man from that night—the last loose thread—bleeds out onto the floor of Jungkook's club.

I don't wait for the dust to settle.

I slip out the side exit and walk three blocks before I let myself breathe.

Not from fear.

From focus.

It worked.

He noticed me. Saw me.

More than that—he looked.

And now, he'll wonder why the woman who wasn't afraid of him vanished without a trace.

Let him wonder.

Let him remember.

This was just the beginning.

authors note: hey! im new to the tumblr platform for fics and all that stuff buttt i just wanted to upload a snippet of one of my wattpad stories! if you're interested in this story, check out the completed book on my wattpad ,,,, i could also post on here but probably move quicker than the wattpad version anyway pls comment what you think so far!

https://www.wattpad.com/littlegochu?utm_source=web&utm_medium=tumblr&utm_content=share_profile

[raven-dor]

I saw your recent Edmund fic and I’m obsessed!

Could you do one where Edmund gets super jealous/overprotective with reader? I love possessive Edmund!

mine all mine

the four times in which edmund discovers that he is overprotective of his wife, and the one time she proves to him she can take care of herself

PAIRING: edmund pevensie x wife!reader

WARNINGS: fluff, overprotective nature, sword fighting, typical Narnia violence, fluff ending

WORD COUNT: 3.8k

🎶 : my love mine all mine - mitski

AN: This is set during the Golden Age, so all of them are adults!! also your title is fair, as in an adjective for just, not at all a description of what the reader looks like!!

part two (mine, all mine, all mine)

one.

He hadn’t meant to listen in to his wife’s meeting, really. But when he noticed Lord Eluna raising his voice, he couldn’t help but linger outside of the door, his hand on his sword's hilt. Y/N’s constantly calm voice interrupted the seething lord. “While I understand the importance of this situation, it does not warrant you to act poorly towards your queen, Lord Eluna.” 

The man scoffed. “By marriage. A marriage which could be easily annulled, seeing as you have not produced his grace any heirs.” 

Y/N laughed, seemingly not phased by his comment. “We are not in desperate need of any heirs, my lord. If you haven’t noticed, we have a plethora of rulers. Unless you are planning something that would warrant the need of heirs.” She paused, and Edmund could only assume the look on her face, the one she typically made when she was proving him wrong. "Are you?"  

“How dare you insinuate-” 

Edmund forced down a laugh, barging into the room. “My lords.” 

The table of twelve men stood, bowing to their superior. Half hearted ‘Your Grace’s’ were thrown Edmund’s way, but he could not care less. He looked at the man who was still glaring daggers at his wife. “Lord Eluna.” 

“Your Grace.” He tore his eyes from the young queen. “We were just-”

“Yes.” Edmund raised an eyebrow, his voice dripping with sarcasm. “I heard. And while I appreciate your obviously kind and thoughtful concern, my wife and I do not need your advice on that particular matter.” 

Y/N turned bright red, widening her eyes when all the lord's jaws dropped. “Edmund-” 

“I’m sure whatever you were meeting about can be postponed.” Edmund looked around the table, waiting for an answer. “Well?” The lords clambered, nodding quickly in agreement. He smirked and walked over to his wife, holding out his arm for her to hold. “My love.” 

She rolled her eyes but still hooked her arm through his. “You are quite dramatic.” 

He laughed, ignoring the prying eyes around them. “I haven’t the faintest idea what you mean.” The couple walked out the doors, giggling when they knew the lords could no longer hear them. Edmund frowned, rubbing her arm comfortingly. “Do they always treat you so horribly?” 

“You cannot keep doing this, Ed.” She sighed.

“What am I do-” 

She glared at him. “You know what you’re doing. They will never learn to respect me if you keep coming to my defense.” 

“It’s been two years. They should have respected you the minute I married you. Actually-” He scoffed. “They should respect you because it’s the right thing to do.” 

They walked into their chambers, collapsing onto the bed. Edmund wrapped an arm around her waist, pulling her in as she traced shapes into his chest. “You're a gallant and honorable man, Edmund, much more than your lords. But you know as well as I that those old malcontents will never respect me until I give them a reason to.” 

“I wish it wasn’t so.” He leaned down, kissing her temple. “You are a much better leader than me.” 

She scoffed, leaning into his touch. “Not true.”

“Yes.” He nodded, staring at the ceiling. “You are.” 

“If I am..." She appeased him. "It is only because I’ve watched you and your siblings rule with kindness and justice for so long. Please do not put yourself down for my sake.” She stretched up, kissing him gently. “Never put yourself down; you are too perfect for that.” 

“If you insist.” He smiled, feeling lovesick. How could he not? The most beautiful woman in all of Narnia, or, more accurately, the universe, lay beside him.

Of course, he felt lovesick.

two.

“Happy Birthday, my love.” Y/N smiled mischievously at her husband. “How old are you now? Eighty?” 

He glared, kissing her cheek softly. “What a charmer you are.” 

She nodded and took a deep breath, straightening her dress as they prepared to enter the ballroom. “Well, you didn’t marry me for my baking skills.” 

He rolled his eyes. “Your baking skills are perfectly adequate.” 

She scoffed, looking up at him once more. “Don’t lie to me, Edmund Pevensie.” She fought the smile that threatened to break her act. “You flatter me too much, I think.”

He felt the overwhelming urge to kiss her senselessly. He had that urge constantly, but it was especially difficult at that moment. “You are a true beauty. Have I told you?”

She blushed, turning her face back towards the grand doors. “Behave.” 

He nodded, still looking at her in awe, enjoying the way her flushed cheeks complemented her dress. He had always loved her in the color blue. “Yes, ma’am.” 

The ushers opened the doors, and they stepped forward. “King Edmund the Just, and Queen Y/N the Fair.” 

The room exploded into applause for the Just King, and the pair descended the stairs, focusing on not falling in front of all their subjects. Peter, Susan, and Lucy sat on their thrones at the bottom, smiling brightly. Lucy gestured toward the Maestro, and Edmund led his wife to the middle of the ballroom. “I do wonder what they'll play.”

Y/N raised an eyebrow. “What did you do?” 

“I don’t know what you mean.” 

Y/N's smile grew as their wedding waltz’s familiar intro echoed through the hall. “This isn’t fair.” 

He laughed at the irony. “Why not, my love?” 

“It is your birthday, not our anniversary.” 

He spun her around the room, whispering. “I happen to like this song.” 

“Edmund…” She blushed again. “You should have chosen a song that you love.” 

“I did.” The waltz ended, and he bowed. “It reminds me of you; why wouldn’t I love it?” 

Her eyes were watering, and he suddenly felt horrible, his stomach twisting. “I’m sorry, did I-” 

She leaped up, kissing him soundly. The crowd gasped, but Edmund didn’t care. He wrapped his arms around her waist, pulling her close. She leaned back, their foreheads touching. “I don’t deserve you.” 

His heart felt full. “Quite the opposite, really.” He kissed her once more, nuzzling his nose with hers. “I love you.” 

Lucy clapped her hands, pulling the crowd's attention away from the happy couple. “Thank you all so much for attending my brother’s 24th birthday ball!” The room erupted into cheers. Lucy smiled. “Help yourselves to the buffet, or take to the dance floor. Happy Birthday, dear brother.”

The crowd dispersed, and the pair walked up to the thrones, sitting beside each other, still holding hands. Peter muttered, smirking. “Couldn’t have waited until later?” 

Edmund rolled his eyes. “Just because you don’t have a love li-” 

Y/N scolded her husband. “Ed.” 

Peter glared playfully at his brother. “My love life is none of your business, thank you very much.” 

Susan laughed. “How is she?” 

Peter blushed. “She has a name.” He straightened his posture, looking out into the crowd for who Y/N could only assume they were talking about. “As perfect as ever.” 

Lucy giggled. “Have you tried talking to her?” 

Peter closed his eyes, leaning his head back against his throne. “I am getting attacked from all sides, it seems.” 

Y/N smiled. “I think it’s sweet. You seem very in love.” He smiled back, looking longingly at the buffet table, where a gorgeous maid stood handing out desserts. Y/N nudged him lightly. “You could ask her to dance.” 

He laughed, and when he realized his sister in law was not laughing, stopped. “I fear she would not like the fuss.” 

“Ah.” Y/N looked over at the girl again. “I will be right back.” 

Edmund whined. “Where are you off to?” 

“None of your business, Edmund.” She kissed his cheek quickly. “Do have fun at your own birthday party.” 

He sighed as she walked away. “How can I when you’re leaving?” 

The fair queen glided across the floor with the intention of making conversation with the girl the High King was infatuated with. She had almost reached Peter's love when a hand wrapped around her waist. She gasped, pulling herself out of the stranger’s hold. The visibly drunk lord bowed teasingly. “My Lady, would you care-” A hiccup interrupted his question. “Would you care to dance?” 

She smiled politely. “I’m afraid my card is full for the night. But thank you for the offer.” 

The man tried to speak again, but she turned around, walking back towards the maid. 

Edmund had seen the entire interaction, gripping the handles of his throne tight enough to break the solid stone. Peter whispered. “Edmund, don’t do anything rash-” 

“He just-” 

Peter gave him the stare, that older brother stare that he tried to reserve for hard moments. “He will be dealt with, trust me, but you need to be subtle-” 

Edmund stood up, stalking over to the drunken lord. Peter sighed once more. "He will be the first to give me gray hairs.” 

Susan rolled her eyes. “You are twenty-seven, Peter. You’re not graying anytime soon.” 

Edmund grabbed the lord’s arm, dragging him out to the balcony. “A nice night, isn’t it?” 

The lord was in shock, nodding. “Yes, Your Grace.” He grinned. “It is truly an honor to have been invited to your-” 

“It was a nice night.” The young king smiled condescendingly. “Until you harassed my wife.” 

“I-” The old man stuttered. “I meant no disrespect.” 

“Don’t lie to your king.” Edmund seethed. “If you ever do that again, I will rue the day, believe me.” He took a deep breath. “You will apologize to my wife, and after that, you will leave immediately. You are fortunate that I don’t ensure you are barred from the castle grounds.” 

The lord looked upset. Good, Edmund thought, serves him right. “But Your Grace-” 

“Do I make myself clear?” 

“Yes.” The old man nodded. “Yes, Your Grace.” He stumbled back into the ballroom, making a beeline for Y/N. Edmund watched from afar, smiling as she smiled, actually genuinely smiled. Then he frowned when she let him kiss her hand. Oh, how he wanted to have him banished. 

Y/N made her way to the balcony, shaking her head at her proud husband. “What have you done?” 

“Nothing. Why do you assume-” 

“Edmund.” She crossed her arms. “You must stop.” 

“What?” He laughed. “Stop protecting you?” 

“Yes!” She yelled, exasperated from his constant watching eye. “I had it handled.” 

“He harassed you.” 

“Thank you Edmund.” Her voice dripped with sarcasm, something Edmund did not appreciate at the moment. “I wasn’t aware.” 

“My love.” He stepped forward, taking her hands in his. “As long as there is air in my lungs, I will protect you. It pains me to see you go through these things.” 

She smiled, placing a hand on his cheek. “You are a good man, Edmund.” 

He closed his eyes, leaning into her touch. “You shouldn’t have to deal with that.” 

“You’re right, I shouldn’t. But if we make a fuss about every lord who gets handsy while they’re drunk, the ballroom will be empty.” 

He rolled his eyes. “Good. Get rid of the whole lot of them. I would rather it just be you and I anyhow.” 

Y/N gasped, smacking his chest lightly. “Edmund!” 

“No one should have to deal with that.” 

“Well, I agree. But you can’t-” 

“Good.” He nodded, ignoring the fact that he just interrupted her. “Who were you talking to after that incident?” 

“Peter’s love.” She smiled. “That girl is quite kind. Spirited, too.” 

Edmund laughed, pulling Y/N in. “Perfect for Peter then.” 

She hummed, leaning her head on his chest as they looked back into the ballroom. “Perfect for Peter.” 

three.

It had been Edmund’s idea to go on an afternoon ride. Y/N had reminded him of the recent attacks that they were investigating, but he’d ignored her. Their horses galloped through the fall woods, leaves falling as they flew through. Phillip muttered. “Her horse is much younger than me, no wonder she keeps beating me.” 

Y/N’s horse, Vilja, laughed. “Perhaps you are simply slow, Phillip.” 

Y/N fought against the laugh that threatened to spill out. “Now Vilja, play nice. Remember, Phillip has to hold Edmund and his ego.” 

Edmund scoffed, shoving his wife playfully as they slowed. “What happened to playing nice?” 

They tied the horses beside each other, walking through the woods leisurely. “It is perfect outside, is it not?” 

Y/N nodded, leaning her head on her husband’s shoulder. “It is.” She smiled as the lantern came into view. “It’s been too long.” 

Edmund hummed. “We’re happy here.” He looked down, his heart beating fast. “You would tell me if you weren't happy, I hope.” 

“Of course, Edmund.” She smiled. “I'm very happy here. I only meant we’ve been here for a long time. After all, it has been thirteen years.” She looked back at the lantern, pulling Edmund along with her. “I wonder how long it’s been there.” 

He laughed, kissing her temple gently. “Who cares?” 

“Edmund…” She leaned into his touch. Feeling mischievous, she pulled out of his hold, sprinting further into the woods. 

Edmund groaned, chasing after her. “This was funnier the first time.” 

The nymphs giggled as they watched the couple run through the woods. Edmund spun in the clearing, squinting as he tried to find his wife. “Y/N, you know I’ll find-” A piercing scream broke the joyful nature of their fun, and his heart sank. “Y/N?” He waited for her response, another scream echoing through the forest. He ran towards her, unsheathing his sword. “Y/N!” He broke through the woods, finding his wife backed against a tree, a wolf growling in front of her. Edmund stood in between them, pointing the sword at the wolf’s head. “We don’t want to harm you.” 

The wolf simply growled. Odd. Edmund whispered. “Stay still, my love.” He stepped forward, addressing the wolf once more. “You have one more chance to leave us. We won’t harm you if you do so, you have my word.”

The wolf leaned back, lunging at Edmund, and he slashed his sword, killing the animal in a single blow. Y/N stood silent behind him, staring at the ground. “I thought all animals spoke in Narnia.” 

“So did I.” Edmund knelt beside it, checking for any witchcraft of any sort. 

Y/N smiled sympathetically, kneeling beside him. “She’s gone.” 

“He was wild. There had to have been-” Edmund was silenced by a gentle kiss. He blushed. “What was that-” She kissed him once more, smiling. 

“Edmund, she is gone. For good. And you saved me.” She mumbled. “Even though I could have reached for my sword-” 

He rolled his eyes, standing up and extending his hand. “Let me guess? You had it handled?” 

four.

She was radiant in that blue dress, Edmund observed from afar. After he had expressed his love of her in the color, she had ensured that almost all her dresses were that light blue. The rest of her dresses were her favorite color, which Edmund loved on her almost as much. 

Unfortunately, others enjoyed looking at his wife as well. Lately, in Edmund’s opinion, her sworn guard had been looking at her for much too long. He was a conventionally attractive man, Edmund could admit, but he didn’t like that the young knight was looking at his wife the way Edmund himself looked at her. 

He hadn’t brought it up to Y/N, not wanting to be called overprotective for the hundredth time. So he watched from afar, making sure that the knight didn’t make any untoward actions towards her. 

They were currently in the garden, and Y/N was smelling the flowers, laughing and making polite conversation with Ser Ellington. The young man laughed back, reaching out to stable her when she stumbled over a root. Edmund clenched his jaw, forcing himself to remain calm. 

It was his job after all, to make sure his queen was safe.

But when he reached out and grabbed a flower, extending it to the kind woman, Edmund snapped. That was not his job. He practically stalked forward, interrupting whatever conversation the two had been having. “My love.” He called out. “You look radiant.” 

She blushed. “Edmund, I thought you had your meeting.” 

He nodded. “I did, but we finished early, I thought I would accompany you for the rest of the day.” 

“Of course.” She looked over Edmund’s shoulder at Ser Ellington. “You are excused for the day. Thank you, Ser.” 

The knight bowed. “My Queen. Your Grace.” 

Edmund watched suspiciously as the young knight walked away, only turning back to his wife when he turned the corner. Y/N smirked, tilting her head just so. “You have no need to be jealous, my love.” She turned back to the flowers, smelling them. 

Edmund smiled guiltily, following after her like a puppy. “Can you blame me? Ser Ellington is not exactly unappealing.” 

She nodded, still not looking back at him. “He is. But I am not married to him, nor do I sleep in the same bed as him every night.” Edmund turned bright red. “Am I wrong?” 

“You are not, but you have to understand. You’re a beautiful woman, I can’t help but worry that someone will steal you away.” 

She rolled her eyes, turning around. “Do you really think I would hurt you so?” 

“No-” 

“What have I done to make you assume so? I love you; I made a vow to you.” She crossed her arms. “Am I just a prize to you that you desperately need to cling to?” 

“Of course not.” He grabbed her hands in his. “I’m madly in love with you, and the thought of you leaving me, the simple thought…” He pulled her closer, whispering. “Drives me mad.” 

“Edmund.” She glared, pulling out of his hold. “You are exaggerating.” 

He grabbed her wrist, pulling her gently back to him. “Do you really think I do not love you?” 

“I never said that.” 

He laughed. “You act as if we were not a love match. Like we didn’t discover Narnia together. I love you; I think I have since we were young.” He kissed the back of her hand delicately. “I know that I am too overprotective, and I am sorry for that…” 

She smirked with satisfaction. “Good.” 

“But can you blame me? You are a treasure, surely any other man would act that same way.” 

Y/N nodded. “Perhaps. But you are not any other man. You are Edmund Pevensie, and I know you know deep down that I can handle myself. I do not need you to watch over me like a mother hen.” She raised an eyebrow. “I also fought the White Witch, I also helped you form peace treaties, I also-”

Y/N stopped, becoming more irritable by the second when she realized Edmund wasn’t listening. He stared at her so lovingly it made her sick, and she scoffed. “I am going to the library.” 

He nodded, following after. “I shall accompany you.” 

She shook her head. “I would like to go alone.” 

He frowned. “Are you-” 

“Edmund, please.” She sighed. “I love you, but I need to be alone with my thoughts.” Without a second glance, she walked out of the garden, leaving Edmund helplessly staring at her. 

the time she proved him wrong

They had been gone for too long, Y/N thought as she stared at the woods. They had been gone for hours longer than they said they would. She should have gone with them; who knows where they were, where Edmund was. 

She tried to calm herself down and reminded herself that neither Edmund nor his siblings would leave her in Narnia alone, but it was difficult when all of the hunt’s participants were speaking to her at once. 

“Where are they?” Lord Eluna’s voice sounded over the rest. She tried not to glare at him; she could tell the man was enjoying the sight of her under pressure. 

“I understand everyone’s worries; I have them myself, but we all know that the Kings and Queens would never leave their subjects so suddenly. Have no doubt that they will return. I am certain High King Peter and King Edmund dragged their sisters along a trail of the deer’s tracks.” Light laughter echoed through the crowd, relieving her stress slightly. Her stomach fluttered, and she pressed a hand to it, rubbing it slightly. “Does anyone else have any immediate causes for concern?” 

The crowd erupted into chaos once more, and she took a deep breath, clearing her throat. “I will take meetings with all of you individually in the main tent.” 

meanwhile...

Edmund sighed, staring at his older brother as he tried to convince himself the deer was nearby. “Peter, we’ve been gone for hours. If we haven’t found the deer by now, who’s to say we’ll find it later?” He practically pleaded. “We should return to camp.” 

Peter rolled his eyes. “Just because you want to get back to your wife-” 

“Peter, Edmund’s right.” Susan interrupted. “This deer isn’t important, and Y/N is there alone with the entirety of the court.” She frowned. “If it were me, I would be rather overwhelmed.” 

Edmund fell into his thoughts, staring at the ground. Lucy whispered, nudging her brother lightly. “Edmund, don’t-” 

Edmund tightened the reigns on Phillip, racing back towards the camp. Peter sighed, riding not far behind him. The dark-haired king didn’t look back; his only thought was that he had left Y/N alone with the egotistical lords of the realm. Phillip slowed, and Edmund jumped off, running towards camp. 

Everything was fine, almost too fine. It was quiet, with a slight buzz of chatter but no worried voices. He stalked toward the main tent, whipping it open. 

There sat his radiant wife, talking calmly with Lord Dolitmov. The older man saw Edmund and immediately stood, bowing. “Your Grace.” He looked back to Y/N, kissing the back of the queen’s hand gently. “Your Grace.” 

Y/N smiled, waving as he walked out of the tent. Edmund tilted his head, smiling. “What happened?” 

She laughed. "The better question would be, what happened with you?” She hugged herself, rubbing her stomach once more. Edmund made a mental note to address that later. “You were gone for so long I assumed you had returned home.” 

He shook his head, frowning as he realized how stressed she had been. “I’m sorry for the worry we caused you; I fear Peter was too fixated on finding the white steed.” 

She nodded. “I wondered.” 

He took her hand in his, rubbing the back with his thumb. “I’m sorry that I worried you. But I must say, it is rather calm here.” 

She smirked. “I told you I can handle myself.” 

He laughed. “I believe you. Truly I do.” he brought her hand to his mouth, kissing the back gently. “I love you.” 

“And I you.” She walked into his arms, burying her head in his chest. “I would have died from heartbreak if you had left me.” 

“I would never.” He kissed her temple. “You know that.” 

She nodded. “I know you would never leave us.” 

He nodded back. “Correct. I would never leave-” He paused, tilting his head. “Us?” 

Y/N looked up sheepishly. “I-” Her eyes started to water. “I’m pregnant, Edmund.” 

“What?” Edmund grinned, staring at his wife in disbelief. “Really?” 

She nodded, and Edmund grabbed her waist, spinning her around the room. Y/N cackled, smacking his shoulder. “Put me down; you’re going to hurt the babe.” 

“I’m sorry.” He smiled. “I can’t help it.” 

She laughed, kissing his lips softly. “I love you.” 

Edmund leaned down, kissing her soundly. “And I you.” 

taglist: @beebeechaos

[hbmmaster]

in zoology, animal species are given standard "latin" names consisting of two words, the genus name and the species name. typically, the genus name is a noun, and the species name is an adjective. following the rules of latin grammar, adjectives need to agree with nouns with grammatical gender, so if the genus name is a feminine latin noun then all species of that genus are given (in principle) adjectives marked with feminine latin suffixes.

in practice of course, new genus names don't always use actual latin words, so these latin grammatical gender rules need to be grafted onto words that aren't really latin. and this is where one of the weirdest conventions of zoological binomial nomenclature comes in!

how exactly do you determine what the latin grammatical gender of a word is if it isn't a latin word? according to the ICZN, it's simple:

if the word is from greek, use its gender in greek

otherwise, if the word is from a modern european language with grammatical gender that uses the latin alphabet, use the gender in the source language (yes it is that specific)

otherwise, if the name ends with -a it's feminine

otherwise, if the name ends with -um, -u, or -o it's neuter

otherwise, it's masculine

unless of course if the zoologist with naming dibs says explicitly that they think this genus should have an irregular gender.

anyway these rules are fascinating to me. why are they this specific? grammatical gender systems compatible with latin's adjective suffixes are found throughout the entire indo-european language family, so why restrict it to modern european latin-script languages (and greek)? I don't know!

[slimybeth69]

Hungry Man Masterlist

Summary- hun·gry | adjective -feeling or displaying the need for food. -causing hunger. -having a strong desire or craving.

Rating- Explicit

Warnings- Dead Dove: Do Not Eat, dark&sneaky!Joel, unhinged&crazy!reader- they're both going through stuff, OKAY!? unreliable narrator, changing povs, unhealthy relationships (but we knew this), extreme dub-con, some slight non-con, Stockholm syndrome, alcohol & drug use, unhealthy coping mechanisms, praise kink galore, power imbalance, smut (so much more than before), subjectively happy ending, chapters will be tagged accordingly.

authors note: here it is. I highly suggest that you read girl dinner, otherwise you're gonna have no idea what's going on and you're going to be very confused. love you all so much. (also, i'm back on my bullshit with the chapters and summaries for chapters being song titles and lyrics. I DO NOT EVEN CARE GOODBYE)

a/n pt2: please comment below if you want to be added to the tag list.

Chapter 1- Desperate Pleasures 9.6k Summary- Wheel out your god, these are desperate times Talk to your mother, these are desperate times Dance with your lover, these are desperate times Surrender yourself, these are desperate times

Chapter 2- God the Animal 8.8k Summary- “…made me think about what it would be like if God the animal bit me with his razor-sharp fangs. God has huge poisonous fangs and he loves to bite people who follow the rules. If you follow the rules, God's going to kill you with his long teeth ; and I love knowing that.”

Chapter 3- I Know The End (NEW) 6.7k Summary- Close my eyes, fantasize Three clicks and I'm home When I get back I'll lay around Then I'll get up and lay back down Romanticize a quiet life There's no place like my room

Chapter 4- All Eyes On Me (COMING SOON) Summary- Are you feeling nervous? Are you having fun? It's almost over It's just begun Don't overthink this Look in my eye Don't be scared, don't be shy Come on in, the water's fine We're goin' to go where everybody knows Everybody knows, everybody, oh We're goin' to go where everybody knows Everybody knows

[physalian]

How to Make your Writing Less Stiff 4

Let’s keep this train rollin’! This time less down to line edits and more overall scope of your narrative

Part 3

1. Foreshadowing

Nothing quite like the catharsis of accurately predicting where something’s going to go. It doesn’t have to be a huge plot twist or a character death, it can (and should) be little things that reward your audience for paying attention. Double points if it adds to rewatch/re-readability.

Example: In The Dark Knight, this exchange happens:

Harvey: “You’ve known Rachel all her life.”

Alfred: “Oh, not yet, Sir.”

You won’t think anything of it on your first watch. Alfred is just making a witty joke that throws Harvey off. Watch the movie again, when Rachel dies, and it becomes some incredibly dark foreshadowing. Turns out Alfred has, actually, known Rachel all her life.

2. Chekhov’s Gun

Chekhov’s Gun is a narrative concept where a seemingly inconsequential element introduced at some point in the narrative (a gun) must “fire” by the end of the narrative. Sometimes this element leaves audiences uneasy or anxious, because they know something bad must come of it. Sometimes they think nothing of it until it’s about to fire and you get a one-two punch of the realization that it’s about to hit, and then the impact of the hit. It helps create tension, and tension is incredibly important (if you want a whole post of my take on it, lmk).

It also helps your narrative look more cohesive, where nothing is left on the table. Your set-ups and payoffs leave no threads dangling.

3. Repetition

The Rule of threes can apply on a micro and macro scale. I like doing lists of adjectives in threes, (e.g. My cat is soft, fluffy, and adorable) because the cadence and the flow of three is something we’re familiar with in spoken language. We like three supporting examples for an argument. Any less doesn’t feel strong enough, any more feels like you’re trying too hard. This is not a rule it’s a suggestion.

On a grander scale, you can look at the script of Curse of the Black Pearl for a masterclass in macro rules of three, like three parlays. Doing this helps your narrative look more cohesive and like every detail is thoroughly interwoven and nothing is coincidence. Your audience will get to the third instance and mimic that DiCaprio pointing meme—they will absolutely notice.

4. Motifs

Motifs as well, beyond threes, help. Colors are a huge one. For example every time you mention the color purple, you could attach it to an emotion, or a character, or an important plot beat, like how leitmotifs work for character themes in movies and TV shows.

Obvious examples in film are like lightsaber colors or dressing up the good guys in white and the bad guys in black. I did this whole post about color in fiction.

It’s a lot of other things too. Weather elements and times of day, or specific inconsequential objects popping up over and over again, like birds, or litter, fallen leaves, clothing items. Whenever the narrative mentions them, the author is trying to clue you in on some subtext within that scene.

—

My new novel is here!!! Do you like supernatural fantasy? How about queer vampires? How about acespec characters? Then Eternal Night of the Northern Sky is for you!

[reignpage]

Reign's Writing Tips

Pt 1 - General advice

I just want to say first, as a disclaimer, that I don't regard myself as the authority on 'good' writing, I've just gotten quite a few people asking for help and people expressing curiosity for my creative process.

Please don't consider this as a checklist and feel like you're doing things wrong, this is just a way for you to get a sense of where to begin and conceptualise where you'd like to be. We're all on different paths and those paths are not more or less valid than others.

This guide will include examples from my own works and hypothetical ones, using only written fics (smaus have their own guide, please find it in my navigation). This also doesn't tackle how to write fanfiction specifically, just general fictional writing.

These are formatted based on the questions I received in my messages and inbox.

Content:

༯ How to show and not tell ༯ How to write dialogue ༯ How to increase word count and why you might want to ༯ Other advice ༯ Paragraph structuring ༯ Punctuations ༯ How to fix up typos ༯ How to get better generally ༯ Final disclaimers

How to show and not tell!

༯ Beginner writers, and indeed, established ones too, often forget the very important rule of showing and not telling. This rule, of course, refers to the idea of building up descriptions or hinting to a certain thought so that the readers may reach that conclusions themselves.

༯ It's important you trust your readers to be able to follow along on their own. Sometimes if you tell them what to think it can cause a disconnect between your writing and them.

༯ This is also a good way of varying your sentences and not coming off as repetitive.

Emotions

༯ Let's go through some examples via the art of expressing emotions.

Example: Pathetic piner!Gojo

Pathetic piner!Gojo asks, voice rough and distorted, “Did you sleep with him? Do you love him?”

༯ Here, we can see that there is no definitive emotion asserted. I didn't write 'Gojo asks, upset' or 'Angry, Gojo asks'

༯ Instead, I am describing his voice. Using the adjectives 'rough' and distorted' allows the readers to figure out for themselves how he's feeling without being too simplistic.

༯ Often, expressing emotion in this way is better than simply saying he's sad or confused because those words can't capture the complexity of his feelings.

༯ Now, let it be known that it can be just as good to be direct about a character's feelings. It is simply all about intention. What are you trying to convey here?

༯ Another important thing to note is that if your work is written in a certain narrative voice, i.e. first person, you should limit information to what that character could only know realistically.

༯ In the context of the above example, it is 'y/n' who is perceiving Gojo, thus it would only make sense that they'd have a limited understanding of how exactly Gojo is feeling. So, instead of them catching on immediately that he's upset, they instead can only note down these things that are out of the ordinary.

༯ Use body language to describe their emotional state.

More examples:

The corner of his mouth curved up = smiling, finding humour in something

His brows furrowed = confusion, concentration, tension

Her lips pursed = dissatisfaction, barely restrained anger

Hand flexed, jaw ticked, teeth bared = anger, thoughts of violence

Sniffled, bottom lip trembled = about to cry, sad, trying not to be

How to write dialogue!

༯ Vary your sentence structures

Example: Homecoming

“Sorry, Si.” He swings his arm around the back of your thighs, encouraging you to straddle him. “You just look so good.” He hums, letting you get settled in his lap whilst he rubs his thumb over the skin of your hip almost as if he can’t help himself. “Can look as much as y’ want, lovie. ‘m all y’rs.” 

༯ You can have speech at the beginning and at the end of a paragraph. Not in the middle though — it's messy and confusing if written in the middle because the dialogue gets lost in the paragraph (but note that you can do as you please. It's just one of those 'rules' that aren't really 'rules')

༯ You also don't need to use say/said and other variations of that. It's enough to simply have the speech enclosed.

༯ A good rule of thumb when using say/said/other variations is if there's something significant about the way in which it was said.

Example: A Cursed Forest

His amber eyes cut through yours, and with disdain, he orders, “Finish your food, and do not question me anymore.”

༯ Here, I introduce the speech with 'orders' to show that Sukuna (the character referred to as 'he') is not speaking kindly or like they are equals. It reasserts the power imbalance between the two characters. I also say that it is being said 'with disdain' to emphasise the tension between them, to give some kind of understanding as to his feelings towards the other character.

༯ It is also a way for me, as the writer, to add depth to the other character: she is able to recognise disdain because she has faced it her entire life.

༯ Another thing to be aware of when making dialogue is restrict one paragraph to one character's speech. Please don't do multiple people speaking in one section. It's very messy, confusing and not 'proper.' Again, if that is how you like things, perfectly fine! It's your style, but if you care about doing things 'right' then yeah, one person's speech per paragraph please.

How to increase the word count!

༯ I didn't actually know to phrase this so I'll just yap about what I mean

༯ There are going to be instances where you'd like to space out dialogue so it's not coming off like a script.

Example:

He said, "You need to do your homework." "I don't want to." "You must, young lady." "Says who?" "Go to your room!"

༯ Try to avoid, as much as possible, having lots of clusters of these one sentence conversations.

༯ Once in a while is fine and can be effective in expressing something like the speed at which these words are being exchanged, exploring their tense dynamic.

༯ But if snappiness isn't what you're going for and you find that you're having lots of these clusters then fill the spaces between dialogue with details and descriptions.

Example:

Tired yet insistent, he said, "You need to do your homework." "I don't want to." "You must, young lady." Clare's father was always nagging at her. She thought it unfair, considering she had just turned sixteen and ought to be treated like the young lady that she was. Capable and intelligent, she could decide for herself how she was to spend her evenings. "Says who?" "Go to your room!" He roared. Her legs took her upstairs faster than she could process the fright he had given her. Never in all of her life had her father ever raised his voice like that; she knew not what to do. He was a mild-mannered man, not timid or passive, but rather, calm and rational. To see him in a fit of rage so volatile, shook Clare's constitution to no end that night.

༯ Use body language descriptors, describe the weather, the room they're in etc.

༯ What are the characters seeing and experiencing?

༯ Don't write it as if you're a fly on the wall if you've taken on a specific pov. Embody the character. See what they see, hear what they hear, feel for them. They aren't 2D characters, bring them to life with anecdotes, with thought processes, anxieties and fears.

༯ Another instance where you'd like to fill up the word count might be if you're trying to give the sense of time passing.

Example: In Sheep's Clothing

“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts.  Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. And if he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs.  “Is it good?” You ponder. Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping.

༯ This example is actually not the final product. It was my first draft where wolf hybrid!toji is eating and conversing with a woman/y/n he has found himself stuck with during a snow storm.

༯ I thought it awkward in showing that he's eating. Sure, it could seem like he's eating really fast but it felt unrealistically fast, even given the context so I knew I wanted to fill in the space.

༯ Instead of talking on and on about how he's eating, I chose to dedicate this section with y/n's thoughts.

༯ One, descriptions of someone eating gets boring very fast

༯ Two, it would be extremely unrealistic for reader to just accept that this man will be staying with her with just one paragraph of thinking.

༯ Three, the concept of being hybrid needed to consistently matter in the story. So I chose to fill the details with exposition on that aspect of the story

Here is the final product:

“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts.  Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. Though, that really shouldn’t be your responsibility and there is still, of course, the glaring concern of his ability to kill you. One sweep of his figure and you know this towering man, tall and muscular, could snap your neck with one hand.  Or worse. Not to mention, he’s a hybrid. You can tell by the twitching of his ears and his nose, like he’s hearing and smelling things inscrutable by the human senses. You wonder what he is. He has no triangular ears or fluffy tail like a dog, he doesn’t have eyes like a cat, no scales that you can see, but his teeth, when he scrapes them along the spoon, you know they’re much sharper than you’d like to ever find out.  If he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs.  Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping, enjoying the meat more than the potatoes and carrots in there but that’s expected of a man. It does mean, though, that he’s not a herbivore hybrid. You wonder if he likes the taste of a woman’s flesh.  “Is it good?” You ponder. 

༯ Hopefully, in this example you can get a sense of how 'rambling' can be useful in delivering specific effects.

༯ Note: too much dialogue can be bad. We need description and details to fill up the mind. Don't be afraid to give the details you'd like to give if you think it's important.

༯ Alternatively, not enough dialogue can also be bad. Too many thick paragraphs can disengage a reader and many people look forward to dialogue because it's much easier to process than chunks of information.

Other advice!

Paragraph structure

༯ Vary your paragraphs with one sentences and longer sections. Having too many thick paragraphs can be quite boring. Apart from aesthetics, these different length sections can provide a function.

Example: Lying To Himself

The guys at work know better than to open their fat mouths around him when he turns up with an extra wrinkle and a ticking in his jaw. Toji is somehow even more sadistic and violent and eager for blood. Even finally accepts their invitation to go out for drinks and drowns himself in the extra strong shit. Assuming he just woke up on the wrong side of the bed, they don’t question his sour mood.  But what they don’t know is that you texted, just a day before you’re set to come back, to let him know you’re staying another week.  Fucking texted.  Didn’t even get to hear it from your own voice. 

༯ Longer paragraphs can cluster all these actions, detailing the things Toji has gotten up to and summarising how an unspecified time has passed. By condensing his days into one decently sized paragraph, a reader can gain the sense that his days have been monotonous and repetitive without even needing to read every part of it.

༯ The short, two word line is impactful and has been separated from the paragraph before it to deliver the punchiness. Here, Toji is angry. You can get this a) from the swear word but also from b) the fact that it's a two word sentence.

༯ It mimics the way one would grit out as they repeat information they dislike. Readers can very easily picture his face and his mental/emotional state just from two words.

༯ Another thing is to vary your paragraph openings.

A bad example:

He walked up to me, upset and clearly with choice words to deliver. No one else in the diner spared him a second glance. But I have no choice. I'm shaking with fear. He looks ready to punch me. The way his hand is balled into a fist is damn near pushing me to piss my pants. Surely, he wouldn't hit me here, right? There are witnesses. It would be stupid.

A better variation of this:

Walking up to me, upset and clearly with choice words to deliver, no one else in the diner spares him a second glance. But I have no choice. Fear shakes me from within. He looks ready to punch me. Hand balled into a fist, I'm damn near pushed to the edge of pissing my pants. Surely, he wouldn't hit me here, right? Witnesses are around us. Stupid. It would be stupid. Right?

༯ Words like he/she/they/the/it/then are overused sentence openers. They are perfectly fine to use, of course. I am not saying avoid them altogether.

༯ What I am saying, however, is change it up to make it interesting.

༯ Begin a sentence with an action verb like walking rather than simply 'he walked.'

Punctuations

༯ Try to use semi-colons, colons and dashes but read up on how to use them correctly. It's easily Googled. It's not a major issue, it's just a way of varying your writing and making it more interesting.

༯ When using quotation marks, commas and full-stops go before the quotation.

Like so:

"Pick me. Choose me. Love me."

"I love you," she confessed.

Quivering, he asks, "Do you hate me?"

༯ Again, not major issues, but just for cleanliness.

How to fix up these typos and messiness

༯ I write in my Notes app first and then I paste my work in Word just to see the blue and red underlines. It allows me to visualise where there are mistakes so that I don't have to read every word with great focus, I can just skim as I proofread

༯ You can also use things like Grammarly, though I generally wouldn't want to encourage you to use AI to edit your work for you. It's just an option if you need it.

༯ The best trick is to just learn how to follow these rules to do with syntax and language. Watch tutorials online and when reading works online or books, think critically about how things are formatted.

༯ This leads me to my next and final advice in this part

How get better generally

༯ Read more!

༯ But don't just absentmindedly consume media, engage critically.

༯ Ask yourself these questions:

What is it about this piece of work that you like?

What's the style of writing the author has chosen? Is that their general style or have they chosen something specific for this work?

Why is this work more popular than another?

How do their sentences begin?

Is the writing full of prose?

Is it too much prose for my liking?

Oh, there's a particular bit that made me feel scared and uncomfortable, how did they do that? Is it their sentence structure? The adjectives they chose? Is it the build up of tension? If it's the tension, how did they achieve that in the previous paragraphs?

That made me giggle, how did they manage to be so funny?

Is that how I would have written it? If I had done it my way, would the impact still have been the same?

What if I try writing in their style?

Final disclaimers!

༯ You don't have to follow all of this or even any of this. Just having read this and reflected on your writing is a great place to start. If you know who you are as a writer, then you'll be much better placed to express your ideas

༯ Writing is a journey. Most people will look back on their beginning and think damn I was so bad at writing. But that's just a great way of knowing you've come far.

༯ There is no wrong or right way to write, no matter what people say. Even if you write unconventionally and make lots of typos and errors, there might still be many people who enjoy your works.

༯ Don't try to be someone else. It sounds cheesy to say be yourself, but it's true. We need more diversity in writing. My favourite works, the ones who left a mark on me, who shaped me, are all so different from each other.

༯ Don't be afraid to experiment and try something new. Find yourself however it takes.

༯ If you're writing on here or a similar platform, you'll be opening yourself to being perceived. Establish your boundaries from the start. Are you open to feedback? It's completely fine if you are not. Some people aren't here to 'get better,' they're just here to have fun.

༯ And if you are open to feedback, it's absolutely okay to feel upset by what you hear/read. Just remember that a lot of these critiques are founded on preferences and some critics might have just misunderstood your works. There is no supreme authority on right and wrong here. No one knows everything. No one is perfect.

If you have any questions, things you'd like covered in a next part, please share them. Thank you to everyone who contributed to this by asking questions and being candid about their struggles.

I hope this helped and I wish everyone the very best in their writing journey

Happy writing!

[sapphicsparkles]

"Bo-Katan isn't mean" Okay because I'm so tired of hearing this:

[/mēn/] adjective: unkind, spiteful, or unfair. vicious or aggressive in behaviour. Not mean? Okay definitely not vicious or aggressive in behavior Like her first appearance where she's part of Death Watch, a terrorist group and slaps Ahsoka's ass without consent to demean her?

Or when she shoves Ahsoka to the ground and *laughs* in a tent where Death Watch (including Bo-Katan) has stolen women from the local village on Carlac and put them into forced servitude?

OR when she helps slaughter the village and burn down said village for asking Death Watch to leave them alone? (that's her on top of the roof)?

Or after when she tried to kill Ahsoka and Lux for trying to help the villagers and leave?

Or when she aided in a plot to cause intentional destruction and fear to manipulate the people of Mandalore into deposing her own sister and overturn Satine's very successful government that ended the clan wars (the Traditionalists then were given the lush moon of Concordia and their own political agency and government in which Pre Vizsla was the governor)? Then forcefully deposed Satine at gunpoint after she had abdicated because of the will of the people who no longer accepted her rule due to the manipulation of public perception by Death Watch.

While Bo-Katan was likely traumatized by the Mandalorian Civil War/Clan Wars at a young age and there's no solid canon evidence but It's widely believed by fans that Bo-Katan was groomed and/or radicalized by Pre into DW from a young age--even if you believe this, IT DOES NOT EXCUSE HER HORRIFIC ACTIONS. None of it justifies her wrongdoing. She still had agency.

Okay so what about unkind or unfair?

Surely that can't apply to her sarcastic comment to Ahsoka when approaching her after she had watched her struggle on Kessel and made no move to assister her, only watching her to use her to fight back against Maul and reclaim Mandalore. While she does respect and befriend Ahsoka by the end of the Siege, she still initially saw her as someone to be used for her agenda.

Or when she uses Obi-Wan's guilt over his relationship with Satine to convince him to aid her forces in retaking Mandalore, which Republic intervention would disintegrate treaties over a hundred years old and start another war on top of the ongoing Clone Wars. Which to her was a legitimate, even desperate method to reclaim her planet from Maul who was only serving his own agenda, but it wasn't a very nice way to do it. In some ways Bo-Katan is justified in how she is mean, but it doesn't make her not mean.

Then there's her anger towards Sabine after she discovering what the Duchess does and that Sabine created it (after hearing how guilt ridden she is and how she already destroyed it.) Was her anger valid, oh yeah. Was it kind and and fair? No.

What about in The Mandalorian you ask? She's not a literal terrorist anymore in the Mandalorian. She's surely not still spiteful or unkind. Definitely not when she insulted Din's religious beliefs and way of life and called the COTW a cult.

Or when she took credit for killing that one guy's brother without any remorse.

Or when she changed the terms of her agreement with Din and forced him into helping her by withholding the agreed upon information after Din upheld his side of the deal. Which was her plan all along. And then on top of that, mocks him by using his own mantra.

And then there's the disdainful opinion she has of Din and her own superiority.

Only agreeing to help Din save his kid when he has something to offer her to serve her own agenda. Which again, valid but not something she does out of the kindness of her heart.

Oh and then she's so direct and straightforward to Boba, not mean at all.

Then in season 3 when Din shows up to help her reclaim Mandalore the first thing she does is take out her anger on him and once again insult his religion/COTW and invalidate his belief that the Mines will restore his place in his religion. All unnecessary.

TO BE EXTREMELY CLEAR: I'm not discrediting Bo-Katan's personal progress into a better person or when she does do good--a hero even by the end of Mando season 3--that's the whole point of a redemption arc, you have to be redeemed from something. And at her core is a commitment to Mandalore, but you can't ignore the cruelty and ego and dare I say it meanness that has gone with it, that's the beauty of her complexity is that she can be a character that grows and evolves and becomes honorable and also still be bitchy. Bo-Katan doesn't have to be morally squeaky clean or a victim to enjoy her character and her sometimes ruthless determination for Mandalore or appreciate her compassionate aspects and letting go of her ego. She's not an easily consumable or morally black and white character. This is in fact, what I love about her.

Thank you @armoralor for assistance with the screenshots from The Mandalorian!

[literaryvein-reblogs]

Some English Grammar Vocabulary

Atelic

A verb, construction, situation, etc. which does not express an inherent end point or goal.

Examples: "It is raining"; "The children are watching TV"

Catenative

A verb that can form a chain with one or more subsequent verbs

Examples: "want to go"; "hate to tell you"

False Friend

Also called false cognate and faux ami.

A word that has the same or a similar form in two (or more) languages, but different meanings in each.

This term is used in contrastive analysis and foreign language teaching.

Example: The French adjective sympathique (like Italian simpatico) often means ‘nice’, ‘pleasant’, or ‘likeable’ and is therefore a false friend to English sympathetic.

In the same way French actuel means ‘present’, not ‘actual’.

God’s Truth

An extreme view of grammar which assumes that the ‘rules’ of grammar have an objective existence in the language, and that all good grammarians will therefore discover the same facts and propound the same descriptions.

Invented by Fred W. Householder (1913–1994) in 1952.

Greengrocer’s Apostrophe

Use of an apostrophe in an ordinary plural, where it is incorrect.

Example: "Potato’s 75p per kilo."

Hesitation Noise

A sound (or sounds) not classified as a word, but used by speakers to keep conversation going.

Hesitation noises are somewhat inadequately indicated by such items as er, erm, uh, um, etc.

Hypocoristic

(Designating) a pet form of a *word; (that is or has the nature of) a pet name

Example: Auntie.

Irrealis

Of a verb, form, etc.: expressing unreality, non-factuality, extreme unlikelihood, potentiality, etc.

Examples: counterfactual conditional clauses, which contain a past tense form (e.g. If I lived to be a hundred . . . ), and

so-called subjunctive moods (e.g. If I were you . . . ) describe what is extremely unlikely or totally impossible.

Non-Word

A word that is not recorded or not established.

This may be interchangeable with nonce word, but tends to be restricted to inventions that could be unintentional errors rather than deliberate coinages:

1963 PUNCH. The aesthetically displeasing non-word ‘annoyment’.

A string of letters (or sounds) that is not an English word.

Pleonasm

The use of more words than are needed to convey a particular meaning.

Examples: "see with one’s eyes"; "at this moment in time."

Polyseme

A word that has multiple meanings.

Many English words have several meanings which are all uses of the same word that have grown apart over time

Examples:

Draw - ‘cause to move in a certain direction’, ‘produce a picture’, ‘finish a game with an equal score’

Flat - ‘apartment’, ‘note lowered by a semitone’, ‘piece of stage scenery’

Psychological Verb

A verb that expresses a psychological state.

Also called experiencer verb, mental verb, psychological predicate, psych verb; and verb of psychological state.

There are 2 types of psychological verb: those that have an experiencer as subject and a stimulus as object (e.g. I felt the cold);

those that have a stimulus as subject and experiencer as object (e.g. The cold overpowered me).

Royal We

The use of we by a king or queen to mean ‘I’.

Example: Queen Victoria’s ‘We are not amused’.

The style is now restricted to formal documents.

Tmesis

The separation of the parts of a word by an intervening element or elements.

This is not a very productive operation in English, and is largely confined to the insertion of swear words for greater emphasis, as in: "I can’t find it any-blooming-where."

The phenomenon is now usually described by using the term infix.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[torglives]

ok but even beyond the very obvious fact that calling people the r slur Is Bad it’s just kind of like. a completely insane thing to even consider justifiable.

you’ll see his (frankly, heavily manipulated) fanbase claim that it’s fair for him to crash out over all of this because tommy is “always bringing him up.” — and even if that was true, the normal, healthy, mature, well-adjusted (and however many more adjectives we can apply) response is not to call a group of people a slur on twitter. even if he “thought he could reclaim it.”

& he can claim he “didn’t know the slur rules” (insane, by the way) all he wants, but it will never change that. it will never change the fact that he wasn’t even involved in this little scrap and decided to stick his foot in the door for the opportunity to make it about himself. as he does. and then victimize himself after. as he does. you are 25 years old, not a toddler being denied a cookie before bedtime. i have never in my life seen a single content creator with such a massive, putrid ego. he truly outdoes himself every single time.

here is the truth: dream has spent, and will spend, the rest of his life chasing the idea that he is somehow oppressed, a victim of hate, punished for existing. he romanticizes it. he will take any opportunity to not only insert himself in a situation, but will do so solely to make sure everyone knows just how bad he has it. registered republican, messager of underaged fans, private snapchat-owning, shielder of abusers, perpetuator of racists, forever the guy to feel bad for. i truly believe he is unable to recognize that he is in the wrong, because he always believes himself to be in the right. and i believe he is surrounded by people who support those delusions, because they believe those same things about themselves. he lives in an echo-chamber.

he will not learn. he can post as many apologies as he wants, all avoiding that magic five letter word that starts with s and ends with orry, and he will not change. not that that’s something you didn’t know already.

[captainkirkk]

✩ WEEKLY FIC ROUND-UP ✩

All the fics I’ve read and really enjoyed in the past week-ish. Reminder: This list features any and all ratings and themes. Please look at tags and warnings on ao3 before reading.

BNHA

something else to pretend by beeclaws

Bakugou apologies. Somehow, this makes things worse.

Retrograde by redrobin1989

Retrograde /ˈretrəˌɡrād/ adjective: directed or moving backwards noun: a degenerate person. verb: go back in position or time.

Seasoned pro heroes Midoriya Izuku and Bakugou Katsuki are mentally transported back to their younger bodies due to a quirk. All they have to do is wait for the quirk to wear off for everything to return to normal. But sometimes the journey is worse than the destination.

DC

dick move by konan_konan

Part 1 of batfam twitter shenanigans

dim trake ☑ @timdrakeceo・52min guys what if dick grayson IS batman. that’s why he thought he was getting cancelled. it all makes sense. 784K Views | 142 Retweets | 52 Quote Tweets | 63.9K Likes

tason jodd ☑ @jsntdd・49min ↳ replying to @timdrakeceo asshole last week you said i was batman 461K Views | 88 Retweets | 16 Quote Tweets | 18.3K Likes

or: a civilian overhears a conversation between batman and nightwing. twitter does what it always does: makes things worse

the rules of playing make believe by hoebiwan

“We can’t squat in some dead guy’s mansion, Damian,” Tim says. Damian, in the midst of packing all their meager belongings into grocery sacks, ignores him.

“Why not?” Jason demands. “It’s not like he’s using it. Finders keepers, losers weepers.”

Or: Homeless!Reverse Robins squat in Wayne Manor.

Nine Worlds

with a winged heart by celebros

"Cliopher. Cliopher. Cliopher." I blink. It's Conju, standing with his hands on my shoulders, and I go to answer him and realize that I am already speaking, babbling, and Franzel is behind him, wringing his hands and looking near tears. I try to focus on what I'm saying, but it's like a stream, light and splashing past me, too quick to hold, not enough to catch, somehow, somehow – A few weeks before the start of the viceroyship ceremonies, Kip finds himself the unwitting recipient of a truth serum.

Original Work

That Frightful Nest Inside the Throat by whereveryouroam

Part 1 of That Dreadful Clockwork Beats Below

Living horses were in vogue among the high and mighty of the great families, but Peter’s new owners had sent proud motorhorses, clicking over in a blur of cogs and wheels, to draw the carriage. It was a very nice carriage - plush and cushioned. He couldn’t help but think this was sinister. Masters didn’t transport slaves in finery. At least, not slaves like him.

Peter’s spent years under the cruelty of masters who want the Monster inside him to become their weapon. He is quite sure that Lord and Lady Arken will be no different.

Percy Jackson

Through rose-colored glasses (the past is perfect) by Mo13

Part 1 of Rose-colored glasses verse

Luke/Percy were in a non-consensual 'relationship' when Percy was twelve. Percy deals with the aftermath, while constantly convincing himself that his relationship with Luke was fine (IT WAS NOT). Mostly cooperates with canon up to the end of Heroes of Olympus.

The Goblin Emperor

A Complete Education by bomberqueen17

Preparing for the Emperor's wedding, everyone has some things they need to learn about.

Emperor's Best Friend by imaginary_golux

Ino and Mireän decide their cousin Maia needs a special present for his twentieth birthday.

a burning coal of kindness by egelantier for Morgan (duckwhatduck)

When Maia is kidnapped by a faction hoping to halt the construction of Wisdom Bridge, Beshelar, gravely injured, is by his side. It might just be their undoing.

The Stairs Beneath the Heart by hermitknut

Part 1 of Keystone

The reign of Varenechibal IV is over; the reign of Edrehasivar VII has begun. The transition, however, is anything but smooth, as the Alcethmeret household navigates grief and worry as well as adapting to the new emperor.

A series of missing scenes and unseen moments centering around the Alcethmeret household over the course of the first few months of Maia's reign.

[german-enthusiast]

Scary scary German syntax... right?

The following sentence exhibits a typical mistake German-learners make: Heute ich gehe in ein Museum.

It's not conjugation ("ich gehe" is correct!), it's not declension ("ein Museum" is correct too!). The issue is "heute ich gehe". Correct would be: Heute gehe ich in ein Museum (or: Ich gehe heute in ein Museum.)

What's the rule here?

It's unfortunately not simply "there can only be one word before the verb"

German word order is so difficult be cause it is so variable. All following sentences are correct and synoymous (though emphasis shifts):

Der Opa schenkt seiner Enkelin zum Geburtstag ein Buch über Autos.

Seiner Enkelin schenkt der Opa zum Geburtstag ein Buch über Autos.

Ein Buch über Autos schenkt der Opa seiner Enkelin zum Geburtstag.

Zum Geburtstag schenkt der Opa seiner Enkelin ein Buch über Autos. All mean: The grandfather gifts his niece a book about cars for her birthday.

What do they all have in common, syntax-wise? There's only one phrase in front of the finite verb. What does this mean? A phrase is a completed (!) unit that can consist of one or more words (depending on the word class (-> noun, verb, …)) Typical word classes that can be a phrase with just one word are:

Proper nouns, plural nouns, personal pronouns, relative pronous (Lukas kocht. Busse fahren. Ich schreibe. Der Mann, der kocht, …)

Adverbs (Heute, Morgen, Bald, Dort, Darum, …) Most other word classes need additional words to form a full phrase:

adjectives need a noun and article: der blaue Ball, der freundliche Nachbar

nouns need a determiner (= article): der Mann, eine Frau, das Nachbarskind

prepositions need… stuff (often a noun phrase): auf der Mauer, in dem Glas, bei der Statue

…

A finite verb is the verb that has been changed (=conjugated) according to person, time, … All verbs that are NOT infinitive or participles are finite. ich sagte -> "sagte" is the finite verb ich bin gegangen -> "bin" is the finite verb The infinitive and the participle are called "infinite verbs" and are always pushed towards the end (but not always the very end!) of the sentence: Ich bin schon früher nach Hause gegangen als meine Freunde.

So: Before the verb (that is not the participle or infinitive) there can only be one phrase.

Since "heute" is an adverb (-> forms a full phrase on its own) and "ich" is a personal pronoun (-> forms a full phrase on its own), they can't both be in front of the verb "gehe" You have to push one of them behind the verb: Heute gehe ich in ein Museum Ich gehe heute in ein Museum.

Both of these are main clauses (Ger.: Hauptsätze), which in German exhibit "V-2 Stellung", meaning the finite verb is in the second position (after one phrase).

What happens if we push all phrases behind the finite verb?

Gehe ich heute in ein Museum? (Watch out: Gehe heute ich in ein Museum would be ungrammatical! The subject has to come in the second position)

It's a question now!

In German, question sentences (that do not start with a question word like "Was?", "Wo?", …) start with the finite verb (called "V-1 Stellung").

Questions, main clauses,… what's missing?

Dependent clauses!

The third type of sentence exhibits "V-letzt Stellung" or "V-End Stellung", meaning the finite verb is at the very end of the sentence. Ich bin gestern in ein Museum gegangen, … main clause -> V-2 Stellung … weil es dort eine interessante Ausstellung gab. dependent clause -> V-letzt Stellung If you want to practice this....

... determine if the following German sentences are correct. If not, what would be the right way to say it?

Der Zug war sehr voll.

Gestern ich war in der Schule.

Die Lehrerin mich nicht hat korrigiert.

Gehst du heute zur Arbeit?

Das Buch ich finde nicht sehr interessant.

To practice this further, translate the following sentences into German and focus on the order of words:

The boy gave the ball back to me.

I called my girlfriend because I missed her.

The girl saw her brother at the train station.

The horse, which was standing on the field, was white and black.

[shivadh]

Also also, how much of the language do you have figured out at this point? I keep on wishing it was something I could learn, because tavat as a concept has me in a chokehold. Do you only have what you've used, or is there a secret word document with a dictionary and grammar rules being put together?

I've got a little tiny bit of grammar and some vocabulary, but that's about it, and the vocab is basically split between "made it up because it sounds fun" and "nicked it off nearby countries". Like Naran Juice Box Company is a Shivadh company, and they primarily used to sell orange juice so they use the Shivadh word for orange, "Naran", which has an obvious relationship to the Spanish word "Naranja". The football team takes after the "giallorossi" (yellow-reds) of Roma and call themselves the "Levenaran" (blue-oranges) but Leve is just made up because it fit well -- and of course if you are a member of the team you don't just support the levenaran, you are considered "Levenaranh".

Tavat was likewise made up to sound dramatic. :D At least as far as I recall. I wrote most of Infinite Jes on my phone while traveling, across about three weeks, and usually after going to bed, so my memories of composing it are remarkably hazy.

I will eventually actually have a public webpage with all the Shivadh language stuff on it, though. I'm building a wiki for the books which is mostly just needed by me so I'm not constantly looking up shit, and one page will be what is canonical about the Shivadh language.

I know some things; the big one is that the language uses suffixes frequently, so you'd modify a word by appending a suffix rather than using an adjective. The -h on the end of Shivadh to indicate nationality isn't used super commonly but it's meant to indicate origin, like it's basically "of" but where "of" denotes being from somewhere ("I am of Shivadlakia" but not "It's full of stars"). I just recently included -ic in the last short story as a diminutive, so when Michaelis says "tavatic" he's calling his grandson a sweet little prince. He wouldn't use "tavatic" for Joan or Noah, they're too old; when he calls Joan "mio Ioannina" he's speaking Italian, and using a diminutive that's more appropriate to her age.

In the football novel, the protagonist Paolo is often called Paodet, which is a nickname Gerald made up for him when they were younger. Paolo didn't get a ton of Shivadh language because he left the country for football reasons fairly young, but he knows -det means "beautiful" so he's Beautiful Paul, basically. What he's not really cognizant of for a while is that -det has a specific connotation of a thing, so he's beautiful like a statue, not like a person, because he was always a little standoffish.

And of course "Dy" is boat, which gets the general intensifier -chev added to make sure it's the boatiest. Which is also how we get "Ejechev", the equivalent of the Italian "Daje" or the English "Go team!"

But yeah, most of it's just nouns, so I'll have a list up eventually. :D I'm about a third of the way done with the wiki -- all the notes have been taken and sorted into various files, but now I need to turn "a bunch of copypasta notes from the books" into cohesive profile pages on, say, Shivadh culture, or Gerald Dux Shivadlakia, or the RSBC, or Institut Alpin. It's not difficult, just time consuming.

[alien-girl-21]

The Käärijä Research Paper (tm)

aka: Error Analysis of the Use of English Articles in Jere Pöyhönen Interviews in 2023

(Before we start, a couple of clarifications: firstly, I am a linguistics student and this research was my final project for my psycholinguistics course, secondly, this was a group research and I have gotten permission from my friends to share these results with y'all so tysm to them, and lastly, the og work is LONG, 50 pages long, so I'm condensing it into the important bits)

Findings and explanations under the cut <3

Before sharing the actual research, i'm going to share some important terms for you guys to understand the overall layout of this work.

Error analysis: kind of self explanatory, it's the process of analyzing errors, specifically in one's speech, more on how we did this later.

Omission: The alienation of a linguistic form in speech (i.e. I go to (the) supermarket.).

Addition: The opposite of omission, putting an unnecessary linguistic form in a sentence (i.e. It's the maybe half and half.).

Substitution: Exchanging a linguistic form for another one (i.e. He admitted to have stolen a wallet. Instead of: He admitted to having stolen a wallet.).

Overgeneralization: Looking at a grammatical rule and thinking it applies to every case with no exceptions (i.e. finding out verbs conjugated in the past end in -ed and creating conjugations like writted instead of written). Also known as intralingual transfer.

Negative transfer: When your mother tongue (L1) seeps into your second/foreign language (L2) (in this case it's foreign language, but I'll still call it an L2 for simplicity's sake), if we're talking about Spanish negative transfer it can look like: the car red (Spanish adjectives go after the noun, unlike in English). Also known as interlingual transfer.

Local error: An error that does not affect the overall meaning of the sentence, making it still understandable.

Global error: An error that affects the overall meaning of the sentence, making it difficult to understand without clarifications.

Okay, with that out of the way, let me explain what we did:

We decided to make an error analysis on how Jere utilized articles (the, a/an) throughout 2023, for this we considered 2 interviews and 1 Instagram live, the interviews were: KÄÄRIJÄ TRIES LITHUANIAN FOOD (uploaded on 12/04/23) and Episode 3: Käärijä and friends (uploaded on 26/12/23), the ig live was the one he did to promote the release of Huhhahhei on 19/10/23, the dates are important for later.

Now, to do the error analysis in itself we followed Rod Ellis’ proposal for error analysis which follows four main steps:

Identifying errors: Self-explanatory, you see what errors one has committed.

Describing errors: Once you see the errors, you describe what exactly the error is, it can be with grammatical categories, or with omission, misinformation, addition, misordering, and substitution.

Explaining errors: After describing the error you need to explain why this error was committed, the two main ways are through overgeneralization and negative transfer.

Error evaluation: After all this, you identify how the error affected the overall message of the sentence being spoken, was it local or global?

We put these steps into a chart and listened to the interviews and identified the errors we found, it’s a really long chart, so if you want to see it fully you can find it here (hopefully). After identifying all the errors and doing our own error analysis we… well, analyzed the data, duh, according to the objectives we set up for the research.

Our first objective was to identify errors Jere has committed regarding articles in the three videos I mentioned. What we analyzed was more grammatical, so what grammatical structure he used the most. He usually omits an article before a noun and with adjectives, like in: “We go to bar with my producer…”, or “Käärijä goes to boat.”, or “I am fine, uh… little bit tired.”. Obviously, this is kind of expected because Finnish does not have articles, but he also adds articles when it is not necessary, like in: “I have the one festival.” Here are the charts of the grammatical trends:

Then we focused on the describing errors part of our analysis. In this part, we found out that he usually finds himself committing omission errors, with 67 in total across the three videos, like I said before, expected, however, the second most common error is addition, this means he adds an unnecessary article in a sentence, and what’s interesting is that he usually does it with the article “the”. Since this is not an actual academic article I will speculate with a full chest: I think he does this because people are usually taught that “the” is the only article in English (only definite one, but not the only one), and that nouns usually have an article accompanying them, so I think that he adds the when he is unsure if an article needs to go there or not. Finally, there was only one case of substitution: “This is the lovely story.”, not really sure why he did this, but it’s interesting that it only happened once. Have the charts and graphs:

We moved to the next step: explaining errors. When we started this research, we thought that we would only have negative transfers since, ya know, Finnish grammar and all, and we were kind of right? He has committed negative transfer errors the most, with 66 in total, but he also had 23 overgeneralization errors, which I didn’t really expect to happen with articles that much. Not much else to say here, have charts:

Lastly, error evaluation. He made mostly local errors, which is what mainly characterizes his speech, we know what he’s saying, he just usually lacks some grammatical form that doesn’t affect his overall meaning. He did have 15 global errors that unless you have the context, it can be a little confusing to understand what he’s trying to say (like in the ig live he said “here tour” when he wanted to say “here in the tour”). Charts!

Our final objective was to see the evolution of these errors, has he made more or less as time went on? Well, since we all can see and hear, he has made a great improvement! You already have the charts above to understand that, but I just have to explain it. In the first interview, in April, he made 50 mistakes in total, by the ig live he had cut those in half, and by the latest interview he gave in English he had cut the mistakes in half again! Have the graphs to accurately see this:

He has improved so much in such a short amount of time! Even more impressive when he hasn’t really taken any formal English classes, just by talking to Bojan and Alessandra. There’s a difference between language learning and language acquisition that was proposed by Stephen Krashen (cool dude, if you’re interested in language learning, go check him out). He says that people usually learn more by acquiring (unconscious) rather than learning (conscious), and you can see that Jere has learnt so much by acquiring English through his friends and his own experiences! And this is just looking at how he uses articles, there is also a distinctive change in how he uses other grammatical forms (but that was too much work for just 2 weeks, maybe I’ll do it later, no promises on anything, though). Even if we’re not talking about his grammatical and syntactical forms, his pronunciation has improved as well! My friends were fascinated by how his accent seemed to develop from video to video, which was very sweet because his accent is one of my favorite things about his speech, but that’s off topic.

The general takeaway from this research is: Jere still has a lot of Finnish tendencies in his English, he has developed his own grammatical structures to communicate in English, and how much he improved in an 8-month period is kind of insane, especially for an adult (who are the age group who have the most trouble learning languages). He’s the it-girl of blowing off a linguist’s mind (me, I’m the linguist)

That would be all!! If you have any other questions, feel free to ask! I'm more than glad to answer them

[piracytheorist]

Things about Greece you're (probably) getting wrong

When you say "Greece" or "Greek", that's automatically referring to Modern Greece and Modern Greek. It's an existing country with a population of around 10 million people. The Modern Greek language is spoken natively by those 10 million along with 1 million people in Cyprus and around 2 more million in diaspora. If you want to refer to Ancient Greece or its history/culture, just add the word "ancient" to it.

The Greek name for the country is "Hellas". "Hellenic" is an adjective used for non-human nouns. Don't call yourself "hellenic" even if you have Greek roots, you're basically calling yourself "Greek thing".

There is no one correct way of pronouncing Ancient Greek as a whole. That language spanned over a thousand years and across places that didn't communicate easily or were outright hostile to each other. It's like claiming that Shakespeare's works should be pronounced with an Australian accent.

Along with the famous 300 Spartans, in the battle of Thermopylae there were also 700 Thespians (not actors, people from the town Thespiae) and according to some sources, also 900 helots (slaves) and 400 Thebans.

The town of Sparta exists in modern day. However, if you visit Greece, unless you actually are from Sparta, do NOT call yourself a Spartan, no matter what school/university you went to. "Spartans" is the name of a far-right, outright neo-nazi political party, so calling yourself that here equals to associating yourself with that.

Greek houses in American campuses sound weird. Do those letters (some of which are wildly mispronounced, btw) even mean anything

Democracy in Ancient Athens was not fair by today's standards. It was mostly a glorified, expanded aristocracy. The "demos" that had the authority to vote only consisted of land-owning Athenian men. If you were a woman, a slave, poor, an immigrant, or a child of immigrants, along with other descriptions I might be forgetting right now, you didn't have the right to participate in the ruling.

Oh yeah, the "birthplace of democracy" very much did have slaves. Some whom were prisoners of war.

Greece is on the southern end of the Balkan peninsula, located in South-Eastern Europe. However, many Greeks are wildly racist and will not admit we're part of the Balkans or Eastern Europe. There are cultural differences due to Greek not belonging in the Slavic languages (the most common language family in Eastern Europe) and for political reasons, but the main reason this distinction happens is very much racism. They prefer to be called a "Mediterranean country" (because then we're associated with countries like Italy and Spain, you know?)

Greece never recovered from the financial crisis of 2008, and has only been going downhill since then. However, the war reparations that Germany never paid Greece for the damages and the deaths it caused in WW2 is estimated to be over 200 billion euros. The German government considers this matter "to be in the past" (since they never paid them, I guess, we can forget about it!), yet is one of the countries that most strongly demands Greece to keep paying back the loans it took over the years from the EU. This is a very painful matter for all of us (especially considering there are people still alive who witnessed the destruction and death the nazis brought to the country, and now they along with their descendants are paying taxes that'll eventually reach German pockets), yet racism centers around hate for other Balkan countries and Turkey. Divide and conquer I guess.

[unionizedwizard]

i love writing poetry in english and i also love to use a fuckton of adjectives because we dont do minimalism here, sir. HOWEVER. every time i end up googling English Adjective Order Rule because you guys are insane (complimentary)