#and i just like accents and dialects in general

[novlr]

I’m just starting out with writing, and I really want my characters to feel different from each other. How do I make sure they have their own unique voices so my readers can tell them apart?

Experiment with character dialect

Dialect refers to the language people use when they speak: their accent, their slang, their regional or generational vernacular. When we think of “dialect”, we often think of things like “y’all” or “yer man” or “innit” — clichéd indications of place. You can definitely use these in your story, but also challenge yourself to go deeper.

Dialect can be a result of generational trends — you’ll notice that today’s teenagers don’t talk the same way their parents or grandparents do! Words fade in and out of fashion all the time. They can also be tied to a particular industry or subculture. When developing each character’s unique voice, consider what kind of slang or specialised language they might incorporate into the way they speak. 

Vary your characters’ syntax

Syntax has to do with the way we structure our sentences. Some characters will use only short, compact sentences, while others will ramble for miles. Some will always use grammatically correct language, while others will speak in fragments. 

A useful exercise is to write a conversation between two characters who use very different syntax in the way they talk. You can take their different approaches to the comical extreme until you get a sense of their different voices, and then dial it back and incorporate their individual syntaxes with more subtlety.  

Consider your characters’ word choices

There are very few true synonyms in the English language; each word has its own distinct connotation and tone. For example, one character might describe themselves as loquacious, while another describes them as a motormouth. Or, they might describe an authority figure as derisive, while the other character says they’re mean. 

The words a character lands on in any given situation can communicate a lot about how they see the world and themselves. 

Put your characters in moments of conflict

Conflict, tension, and suspense reveal who your characters really are. One character might become loud and aggressive, while another shuts down and speaks only in quiet monosyllables. Sometimes, a character’s voice contrasts the words they’re saying (you can communicate this through dialogue and action tags); for example, if a character says, “I’m not afraid!” in a strained, rattling voice, that belies their fear. 

As an exercise, try writing an argument between two of your characters and explore how the tension changes the way they speak. Then, you can incorporate this into your story.

Don’t neglect body language

On that note, a big part of a character’s distinct voice is the way they behave when they talk. You can convey this through action tags (“She hugged herself tight as she spoke”) or through descriptions surrounding the dialogue. 

Look at how your character holds themself — do they sprawl, taking command of the space, or do they try to make themself disappear? Do they only half-listen to the person talking to them, or do they make them feel like they’re the centre of the world? The way you communicate body language to the reader will inform the way they hear that character’s voice.

Read your work out loud

When you’ve finished the first draft of a story, it’s always a good idea to read your work out loud. This helps you catch any misused words, typos (the age of autocorrect is notorious for this), or inauthentic speech. You don’t have to let anyone hear you while you do this — it’s simply a tool for you as the writer to get a better sense of how your words come across on the page.

When you read, listen to each character’s dialogue and check to make sure it sounds true to that particular character. If you can’t tell the character voices apart, you may need to create a little more distinction through your revision process, using the tools we looked at above. 

Listen to character voices in the wild

A great way to develop your ear for character voices and get inspired along the way is to listen to the way real people talk. Go to a public park, a café, or a marketplace and stealthily absorb the language people use to express themselves. See if you can get a sense of what they’re thinking and feeling underneath their words. Then, you can incorporate elements of these experiences into your characters. 

Remember — human beings are unfathomably complex. Each is the epicentre of their own little universe, with all its dangers and joys. To create characters that readers will follow to the end, ensure that each one has a voice that’s unique and alive. 

[bloomfish]

I think the reason I'm so hyperaware of accents is because I've been forced to become hyperaware of my own. When I moved to the US American were very much in that phase of "omg British people 😍😍" and so every single time I would say ANYTHING in school it everyone would make a huge fuss. It wasn't malicious teasing, they loved it but like, imagine if every time you spoke everyone went batshit. That would make anyone self-conscious let alone a child. I trained myself to speak American but certain things slipped through– the hard "R" has always been impossible for me it feels so wrong lol. I remember a girl discovered that the way I said "water" was funny and for a few months I could not move without being chased around with cries of "say water!!!" to the point I wrote an entire presentation about submarines to avoid saying water lol

In highschool I was pretty sneaky about it and I did this by not talking much. Like this whole ordeal really made me become incredibly shy whereas in the UK I had always been a chatty kid. And whenever I had to actually talk at length such as a presentation everyone would be like wait.... What are you...

I finally let go of this in early adulthood and just started saying what came out of my mouth naturally. but I'm still very conscious of my accent which just flip-flops between American and my original accent. Nobody ever knows where I'm from I'm so mysterious

[thatonefatgumsimp]

I NEED HELP (DND Stuff, might be a dumb question idk-)

So genuine question for DND side of tumblr, but- I've been thinking recently...

And are the things next to the dragonborn colors in the player handbook, like, types of damage that are less effective, their magical girl power, or both?

Cuz I never really thought about that before and I have absolutely no idea-

[oathofkaslana]

do you guys think qingce village has a different accent than liyue harbor

[error404vnotfound]

why is youtube recommending me videos like "tips for visiting barcelona"

bestie I go to class there every day and you know it wtf

also not the "Montserrat is it worth it?" video 💀 bestie check my location I can see the mountain from my front yard. I think my school took is there at least 4 times only in primary school 💀 what is wrong with you

[yuurei20]

Twisted Wonderland Curse Word Compilation: Main Story

⚠️Language Warning!⚠️

Note: these localizations are not literal translations (“くそ” does not literally mean “to damn something,” for example), and are more so examples of what the characters might be saying if they were speaking American English ^^

This post was made in collaboration with the wonderful @irafuwas to whom I am most grateful for the wonderful explanations ♡

#1: くそ (kuso)

An interjection used to express feelings like anger, frustration, disappointment.

Meaning: Dammit/damn it, damn, god damn it, shit, bloody hell, fucking hell, fuck

Ace is the #1 user of this word in the main story, repeating it at least 5 times from the prologue to Book 6.

Jamil repeats it at least four times from Books 4 to 6, Grim at least three times and Deuce at least twice.

Cater,  Epel, Idia, Kalim and General Lilia all use it at least once.

(Note: there seems to be a rumor that Epel uses very dirty language that is being hidden by his dialect, but I did not find this to be the case ^^ I collected all examples of Epel slipping into his natural dialect in the main story and it is mostly just normal words in an accent. He will use casual verb forms with his senpai, which is impolite in a similar way, but he is not using literal curse words.)

#2 ち (tch)

Not so much a word as it is an onomatopoeia, “tch” is still very impolite and is used to express frustration or disdain. It can be considered equivalent to clicking one’s tongue, tsking, or tutting.

Leona is the #1 user of this sound, repeating it at least 30 times from the prologue to Book 7.

General Lilia repeats it at least six times (as of Book 7-4), Jack repeats it at least six times, three times for Floyd, three times for Ace and at least two times each for Azul, Idia and Jamil. It is also used at least one by Cater, Baur, Sebek and an unnamed person in Book 5.

#3 馬鹿 / バカ (baka)

Meaning: Idiot, moron, fool, dumb ass, dummy, stupid

Leona is the #1 user of this word in the main story, repeating it at least 8 times (at least five of which were in a kind of cute way, possibly to make it sound less harsh as it is when he is speaking to Ruggie).

Ace uses this word at least five times (three times to insult Deuce specifically).

Azul uses this word twice, as does Deuce, although one time is just him agreeing with Ace and insulting himself.

Jamil also uses the word twice, as does Lilia (one normal-Lilia, one General-Lilia).

Jack, Jade, Floyd, Epel, Vil, Idia and Sebek also use it at least once each.

#4 野郎 (yarou)

“Yarou” has a literal meaning of “guy” or “dude”, but can be used in a derogatory manner with a meaning of “asshole” or “jackass”.

It can be attached to an otherwise neutral noun to turn it into an insult, which Leona has a penchant for doing, depending on who he is talking about (e.g., snake-yarou for Jamil, octopus-yarou for Azul, etc.).

Leona uses this word a lot, repeating it at least 11 times in the main story.

Unnamed students, Azul, Deuce and soldiers in Book 7 also use it, while General Lilia will sometimes use it to refer to his own men.

#5 ちくしょう (chikushou)

An interjection used to express feelings like anger, frustration, disappointment 

Meaning: Dammit/damn it, damn, god damn it, shit, bloody hell, fucking hell, fuck

Another word used similarly to how “dammit” is used in American English (it is a little harsher than kuso, maybe), Epel uses it at least three times in the main story.

Deuce uses it twice, as do unnamed students at the school, Ace once and General Lilia once (as of 7-4).

#6 間抜け (manuke)

Meaning: fool, moron, blockhead, half-wit, idiot.

This word is used to insult someone for lacking awareness or being absent-minded.

Leona uses it at least twice in the main story, and it is also a part of the string of insults that Jamil delivers to Kalim in Book 4.

#7 アホ (aho)

This is a common insult similar to “idiot” or “stupid,” used at least once by Ace and once by Deuce (in a more slang way) in the main story.

[hobiebrownismygod]

Researching Characters so you don't have to Part 1: Hobie Brown & His Accent

Art above IS NOT MINE! Click for the link to the original art! Artist: @Jay19

A lot of people write Hobie Brown like Tom Holland, but this just isn't accurate if you want to write a good fan fiction. Hobie is a homeless black teen from the 70s, who was born in Cambridge, and is also a punk. He's not gonna sound like Aaron Warner or Tom Hiddleston. Just because he has a British accent doesn't mean he's going to sound like your average British movie star.

British English is a dialect, not technically an accent. An accent is how someone pronounces words, while a dialect includes pronunciations, but also includes general vocabulary and grammar. This means that despite Hobie speaking English, he won't use the same vocabulary that American-English speakers use, so if you write him that way it won't be accurate.

The British accent that most people are used to is called Received Pronunciation, which is considered the "upper-class" British Accent. However, Hobie does not have a a Received Pronunciation accent. He's cockney. They do not sound the same as upper-class British people, and have a completely different set of vocabulary.

How do you write a cockney accent?

Rule 1: Never pronounce the "H"

For example, house becomes 'ouse. Hat becomes 'at. Hello becomes 'Ello. By writing the words with an apostrophe in place of the "h", it would read more accurately.

Rule 2: -ing becomes -in

For example, running becomes runnin'. Helping becomes 'elpin' (because both the h and the g are silent). Walking becomes walkin'. Those speaking in a cockney accent don't pronounce the "g" part of the ending -ing.

Rule 3: Words starting with "th-" are usually replaced with "f-"

For example, thing becomes fing. This becomes fis. However, don't overdo it. If you write out every word starting with an f, it'll become difficult to read. Only do it if you're trying to enunciate some words over others. Even if you're trying to write an accent, it should still be comprehensible.

There's other rules as well, but these were the main three I saw during my research!

How do you write a cockney dialect?

Cockney rhyming slang

Hobie consistently uses Cockney rhyming slang in ATSV. For example, he calls Miles, "Peter Pan" which is Cockney rhyming slang for "Little man". Using Cockney rhyming slang can make your writing seem more authentic

Some other examples are "Apples and pears" for stairs. "bees and honey" for money, etc. You can google other ones for any words you want to use!

As always research is your best friend, so while writing Hobie, make sure to have another page open with lots of slang and other words available for you to use in your writing to make your character sound as authentic as possible!

Note: I'm not cockney nor British, so if you see any mistakes with my writing, please let me know <3

[hallowvamp]

I know we always praise Jacob's accent work on this show, but I still don't think we praise it enough. We should praise it even more.

I usually never like brits doing southern accents in movies or shows because they always do such a generic southern accent, and a lot of the time it's done poorly. Most of them never put in the work or research to make the accent feel real or authentic and they always seem to forget that there are so many different types of southern accents and dialects. They all do the same accent regardless of where in the south their character is supposed to come from. And that is just sloppy and lazy.

But Jacob Anderson, the amazing and talented man he is, has put in the work. He didn't want to just slap on a generic southern accent. He knew that people in New Orleans speak a specific way and it's not the same way people speak in, say, Tennessee. He made sure that specific accent was done justice and was done properly. He did such a phenomenal job. I just really want him to get his flowers for that.

[intuitive-revelations]

Headcanon: one of the reasons why Gallifreyan is a) so complex, and b) so inconsistent, is because it's less one language and more a complex mishmash of thousands of languages and dialects.

Think about how one of the reasons English can be complex to learn is because of the mix of Germanic and romance language roots, and now take it up to 11.

While one might expect Gallifrey to be monolingual, given its age and class structure, this probably isn't technically the case. After all, why limit your culture to one language when the average citizen is effectively panlingual (to the point that TARDIS translation circuits are actually dependent on their pilots' knowledge, rather than the other way round)?

Thus, if there once were distinct languages on Gallifrey, they probably have all been merged at this point into modern Gallifrey's super-Esperanto. Add in loan words from notable civilisations across all of spacetime (but likely primarily from Gallifreyan colonies and allies like Dronid, Minyos, Cartego etc.), and it quickly becomes quite unwieldy.

It's also likely that there's a lot of overlap between these sub-languages, which can make distinguishing meaning hard to an outsider. Gallifreyans likely get around this courtesy of their telepathic connections.

TBH, given Time Lord sensibilities, it's likely that every single word variation has its own delicate meanings, derived not just from their societal uses but also from the etymology and history of each one. Canonically (though I don't have a source) we know that there are 30 different words meaning "culture shock", for example, which likely have very minor distinctions in meaning. We also know, unsurprisingly, that there's at least 208 tenses to help in describing time travel.

As an example - imagine being a Sunari ambassador at an embassy gathering and accidentally offending every Time Lord in the room because you accidentally used a definite article derived from the memeovored Old High Tersuran colony dialect, now considered low-brow by association with modern Tersuran, when you intended to use a nearly identical form of the word originating from the Founding Conflict, a triumphant post-Rassilonian intervention, distinguished by a near-imperceptible glottal stop.

It's likely that some of these Gallifreyan sub-languages/dialects may still be spoken with increased frequency under certain conditions, such as in one's own House or when visiting other city complexes. We know, for example, that Arcadia seems to be associated with a "Northern English" accent (which Nine picked up subconsciously post-regeneration, with the Fall of Arcadia being one of the last things the War Doctor remembered before DOTD's multi-Doctor event - hence "lots of planets have a north") when translated, which may indicate some dialect differences in the original language. I suspect there is a societal expectation for Gallifreyans to code-switch depending on the situation, with Citadel business generally expecting the Gallifreyan equivalent of RP, though it's relatively common for Time Lords less concerned with respectability and politicking to not comply.

One nice benefit of all this complexity, and the reason I made this post, is that there's a good argument to be made that every fan attempt to construct a Gallifreyan language can be 'canon', contradictions and all.

Greencook Gallifreyan? A formal evolution of Pythian prophecy scripture into the post-Intuitive Revelation era (based on its similarities with the Visionary's scrawling in The End of Time).

Sherman Gallifreyan? A modern katakana-like phonetic alphabet for the rapid-onslaught of new loan words following President Romana's open academy policies. Recently adopted by the Fifteenth Doctor for writing human proverbs.

Teegarden Gallifreyan? An archaic but recognisable near-Capitolian dialect from the Prydonian mountains, once spoken by Oldblood houses like Lungbarrow and Blyledge.

Or, in a nutshell, the state of Gallifreyan conlangs (and maybe in-universe Gallifreyan dialects):

I guess the dream project would be to accept the complexity and create some sort of grand modular "meta-Gallifreyan" conlang, merging as many fan interpretations as possible with their own distinctions and overlaps, that can continue to be updated as new ideas come up and new stories are released...

[factsinallcaps]

I have to know-- what's ur opinion on this

LOOK, I'M JUST GOING TO, RIGHT HERE, ANSWER THE MANY, MANY "BUT COULD YOU PRONOUNCE THIS A CERTAIN WAY IF YOU PRONOUNCED ALL THE LETTERS DIFFERENT THAN THEY SHOULD BE PRONOUNCED" MESSAGES I'VE BEEN GETTING

THE ANSWER IS NO, YOU CANNOT TAKE LETTERS-AS-USED-IN-ONE-WORD AND TRANSPLANT THEM TO PLACES IN OTHER WORDS AND EXPECT THEM TO BEHAVE THE SAME. THE W IN "ANSWER" IS THE SAME W THAT'S IN "WALL." THE "H" IN "GHOST" IS THE SAME ONE THAT'S IN "HELP." "T" IN "LISTEN" IS THE SAME ONE THAT'S IN "TANK," AND THE EXTRA "A" IN "AARDVARK" IS NO MORE SILENT THAN THE SECOND "O" IN "DOOR." TWO A'S IN A ROW MAKES A DIFFERENT SOUND THAN ONE A IN A ROW.

THE REALITY IS, IF YOU TOOK THOSE LETTERS OUT OF THOSE WORDS, AND PUT THEM TOGETHER AGAIN TO SPELL "WHAT," THEY WOULDN'T BE SILENT ANYMORE, BECAUSE THEIR PRONUNCIATION, OR LACK THEREOF, IS BASED ON THE CONTEXT OF WHERE THEY FALL IN THE WORD, AND WHAT THEIR ETYMOLOGY IS. IF YOU TOOK ALL THOSE LETTERS AND REASSEMBLED THEM INTO "WHAT," IT WOULD BE PRONOUNCED LIKE "WHAT."

A LOT OF PEOPLE KEEP ASKING THESE QUESTIONS BASED ON THE CONCEPT OF WHETHER IT'S "VALID" TO PRONOUNCE CERTAIN LETTERS SPECIFIC WAYS, BASED ON THE FACT THAT THEY'RE PRONOUNCED THAT WAY IN CERTAIN WORDS. UNFORTUNATELY FOR THEM, LETTERS HAVE NO INHERENT PRONUNCIATION WHATSOEVER. THEY'RE PRONOUNCED THE WAY WE PRONOUNCE THEM BECAUSE OF A COLLECTIVE AGREEMENT BY SPEAKERS OF ANY GIVEN LANGUAGE TO PRONOUNCE THE LETTERS USED IN THAT LANGUAGE'S ALPHABET IN MUTUALLY AGREED-UPON WAYS.

SOMETIMES THERE'S SPECIAL-USE CASES THAT COME FROM A WORD'S ROOT LANGUAGE-- FOR INSTANCE, "J" IS PRONOUNCED DIFFERENTLY IN SPANISH AND ENGLISH. THE WORD "FAJITA" EXISTS IN ENGLISH, AS IN ITS ORIGINAL SPANISH, AND THE J IS STILL PRONOUNCED THE SAME WAY AS IT WAS IN SPANISH

AND, CRUCIALLY, THERE IS ALREADY A MARGIN-OF-ERROR IN WHAT WE ALLOW RE: PRONUNCIATION. THIS IS HOW DIFFERENT DIALECTS AND ACCENTS FORM. MY APPALACHIAN COUSINS AND I UNDERSTAND THAT EVEN THOUGH I'M SAYING "WIN-DOH" AND THEY'RE SAYING "WIN-DER," WE'RE BOTH SAYING THE SAME WORD: "WINDOW," BECAUSE -OW AT THE END OF A WORD IS PRONOUNCED DIFFERENTLY IN MY ACCENT AND THEIRS. WHEN SOMEBODY WALKS UP TO ME AND SAYS "LET ME ASK YOU A QUESTION" BUT THEY PRONOUNCE IT LIKE "AXE," I KNOW WHAT WORD THEY'RE USING.

I'VE MET PEOPLE NAMED, FOR INSTANCE, ROXHINA AND UXHINE, PRONOUNCED IDENTICALLY TO THE ENGLISH NAMES "REGINA" AND "EUGENE," BECAUSE IN THEIR FAMILY'S LANGUAGE, THOSE LETTERS WERE PRONOUNCED DIFFERENTLY.

I HAVE ALSO SEEN PEOPLE SPELL THINGS INCORRECTLY, IF SERVICEABLY, IN WAYS THAT IT'S EASY TO LET SLIDE BECAUSE IT'S CLEAR THEY WERE GOOD-FAITH EFFORTS TO COMMUNICATE THE MEANING OF THE WORD-- FOR INSTANCE, IN A BAR I SOMETIMES WORK AT, THERE IS A BOX LABELED "CHAMPAIGN GLASSES." THAT'S NOT THE CORRECT SPELLING, BUT ANYBODY WHO KNOWS HOW TO PRONOUNCE THE WORD "CHAMPAGNE" IS GOING TO UNDERSTAND WHAT THE LABEL MEANS. THAT'S ALL LANGUAGE IS-- A GOOD-FAITH EFFORT TO CONVEY MEANING BASED ON A SHARED UNDERSTANDING OF WHAT WORDS MEAN AND HOW THEY ARE CONSTRUCTED.

ALL OF THIS WAS VERY EASY FOR ME TO ACCEPT! BUT IF SOMEONE FROM APPALACHIA, WHO SPEAKS THE SAME LANGUAGE AS ME, WROTE THE WORD "XHOWL" ON A PIECE OF PAPER AND EXPECTED ME TO UNDERSTAND THAT IT MEANT "GIRL," BECAUSE IN ALBANIAN "XH" IS PRONOUNCED "G" AND IN APPALACHIA "OW" IS SOMETIMES PRONOUNCED "ER," I WOULD NOT FEEL LIKE THEY HAD MADE A GOOD-FAITH EFFORT TO EFFECTIVELY COMMUNICATE THE WORD "GIRL."

SO MY ULTIMATE ANSWER HERE IS THAT I DISAPPROVE OF ATTEMPTS TO FIND ESOTERIC WAYS TO PRONOUNCE LETTERS OR SPELL WORDS THAT MAKES IT IMPOSSIBLE FOR SOMEONE TO MAKE THAT GOOD-FAITH EFFORT. WHETHER IT'S "YOU CAN SPELL FISH AS GHOTI, AS LONG AS YOU SAY ALL THE LETTERS WRONG," OR "YOU CAN PRONOUNCE 'WHAT' SILENTLY IF YOU DON'T SAY ANY OF THE LETTERS" I AM GENERALLY NOT IN FAVOR OF THESE FAKE-DEEP, DESPERATE-TO-BE-CLEVER ATTEMPTS AT SAYING "YOU KNOW, IF YOU DISRESPECT THE LISTENER AND/OR READER'S GOOD-FAITH EFFORT TO UNDERSTAND YOU BY MAKING AN INTENTIONAL EFFORT TO BE DIFFICULT TO UNDERSTAND, THEN ENGLISH HAS NO RULES!"

IF ANYONE IS INTENDING TO SEND ME A "WHAT ABOUT--" SORT OF MESSAGE TO THIS, REFER BACK TO THE BEGINNING OF THIS POST AND THEN KEEP READING UNTIL YOU DON'T SEND THAT MESSAGE.

TL;DR - ANYONE WHO SAYS SHIT LIKE THIS WAS ALREADY MOCKED IN THIS COMEDY SKETCH AND I ROUGHLY AGREE WITH MESSRS. FRY AND LAURIE

[batmanisagatewaydrug]

Hi,

I am very much not american so I must admit that my first impulse when seeing all the rap/racism discourse was something like "do I really need to consume more american culture, it's fucking everywhere already". Idk but to me it feels like american/english-speaking culture absolutely dominates a lot of the world, sometimes at the cost of out own cultures and languages, if something is in English it is "good", if it is in own own languages it is "bad". Musicians often start singing in English and more american-like after a while to get bigger. We value American culture and music, they mock our accents (and languages sometimes) and best case scenario see us as funny and silly.

Then I started thinking. Do you think that americans kind of see rap kind of like foreign music still? Like low-brow unexotic foreign music.

I don't know this is a really fresh thought and I'm not sure if I am explaining it very well.

hey first off I just want to say -

you are entirely correct in your reaction that people outside of America/the English-speaking world do not need more American culture thrust upon them! this discussion is extremely centered on Americans, the reception and reaction to rap within America, and excuses that white American use to avoid interacting meaningfully with Black culture, art, and ideas. while anti-Blackness as an issue obviously extends far outside of America, this particular conversation is deeply tied to American culture. I appreciate you pointing that out!

I also think you're point about rap, and by extension other Black artforms, being Othered in American pop culture. certainly in terms of language, African American Vernacular English (AAVE), which is utilized by many rappers, is still heavily disputed in its validity as a "real" language, with many dismissing it as a bastardized version of "proper" English and associating it heavily with those who are lower-class and uneducated. in a similar way to many international artists having to work in English to gain wider recognition and validation, many Black Americans are proficient in "code switching," the practice of switching between AAVE that they likely grew up speaking and an English dialect that is considered more "professional."

similarly, I think your use of the term "low-brow" is very apt. Black music has always been met with distrust and disdain by white audiences. there's a reason that so many people feel the need to bring up sex, drugs, and violence when they talk about rap; to many white cultural gatekeepers that was all rap was. (and, like, we should very much talk about why that is in and of itself a bad thing, when white crime is so often glorified in pop culture. why is the Godfather a classic masterpiece but Black men making art about their own experiences with racism, violence, poverty, and survival don't deserve serious consideration?) and that didn't start with rap! in the early 20th century jazz, also a Black creation, was seen as dangerous for promoting promiscuity among nice white teens. no matter what Black people make, white cultural gatekeepers will find a way to start a moral panic about it.

the reverse also happens as well, with Black people being treated as foreigners even in music genres that they helped pioneer. Black Americans were hugely formative in the early days of country, but are met with hostility in the contemporary country scene. Lil Nas X's Old Town Road was one of the biggest songs of the year it was released and undeniably country but was largely snubbed by country music community, and Beyoncé's new country album, Cowboy Carter, is a direct response to her hostile reception at the Country Music Awards in 2016.

the point being, yes, I don't think it's off-base to say that, to many Americans, rap and Black music and art generally are like... very optional and avoidable parts of pop culture in the way that more white-dominated genres are not, similarly to a lot of international and especially non-English art.

[leletha-jann]

Headcanon in which I should be sleeping:

The speaking voice of Castle Heterodyne is the combined voiceprint of all the Heterodynes the Castle has ever known.

It started with Faustus, of course, because the Castle's mind was originally a print of his. He taught it to speak. But it learned more from Faustus' children, and from their children, and so on. It listens. It records. It plays back. It took its voice from them. As accents and dialects shifted over time, the Castle picked up those from its Heterodynes too.

It's an average - the Castle isn't playing back a word from one Heterodyne, a word from another, and so on like some kind of newspaper-patchwork ransom note. It's just...all of them. At once. Overlaid and combined and remembered.

A chorus of treasured, beloved ghosts giving voice to their home.

Sound and music and harmony is what the Heterodynes do, after all. A chorus is a multitude, a multilayered thing, in harmony and counterpoint, and that's what heterodyning is. Their voices are the thing that distinguishes them from other Sparks. And isn't the Castle one of the family, originally, after all? Shouldn't its voice be from the family, too? It can't sing the way they do, but it speaks with their voices.

When the Castle speaks, isn't it the family speaking? It's the generational memory of the Heterodynes. Wouldn't it preserve their voices, too, and make them its own? Their bones in its crypts, and their voices in its halls?

You'd never notice, to listen to. Hundreds of years of sound and speech, absorbed, merged, and made into something new. But the Castle remembers its family, in the ghosts and fingerprints layered into its own voice.

Agatha's voice will be in there, one day. And as the Castle loves her, listens and replies to her, knows her as true family and its rightful master, perhaps she already is.

[german-enthusiast]

What makes German a difficult foreign language to learn?*

Phonology / Pronunciation & Comprehension

✳️ accent-based language (accent isn't fixed, rhythm isn't as melodic and forseeable)

✳️ 16 vowel sounds (lots more than the average 5-6!)

✳️ complex syllables

Morphology

✳️ Case system (Kasus) - allows for variable word order but requires lots of inflection on articles, pronouns, nouns and adjectives

✳️ Kasus-choice changing the meaning (esp. Akkusativ/Dativ with movement verbs)

✳️ rule-governed fusion of article and preposition (z.B. zur, zum, hinterm)

✳️ 9 plural markers for nouns

✳️ 3 grammatical genders (with mainly only probabilistic rules of which is which

Vocabulary

✳️ very frequent use of

🔅 composite worde (z.B. das Rathaus, die Weltkarte, die Mitternachtsformel)

🔅 derived words (z.B. laufen -> verlaufen, günstig -> ungünstig)

🔅 conversion of words (z.B. laufen -> der Lauf, hoch (adj) -> das Hoch (N))

Syntax:

✳️ word order is very variable, but there's still lots of rules (keywords: Verbklammer, Satzglieder, topologisches Feldermodell)

✳️ the verb is often split in two with stuff in between its parts

Miscellaneous

✳️ localizing verbs

🔅 mode of movement often in verb itself, direction often in separate word

🔅 position verbs vs. contact verbs and static vs. causal location (I sit down & I sit on the chair vs. Ich setzte mich hin & ich sitze auf dem Stuhl)

✳️ variety of prepositions (on the table & on the wall vs. auf dem Tisch & an der Wand))

*Disclaimers:

Furthermore of course difficulties that language learning generally has (like vocabulary as a whole, various registers, dialects, etc).

I'm not saying German is more difficult than other languages, just that these are typical difficulties in German (other languages will have many of these as well).

This is also not only from an English-native perspective! (German has 16 vowel sounds + 3 Diphthongs, English 12 vowel sounds + 8 Diphthongs, but Russian, Greek and Spanish for example have only 5 vowel sounds each! so 16 is a lot more in those cases))

[drdemonprince]

Okay I am really interested in hearing y’all’s conversation about voice/accent because mine is all over the place! Like I’ve got my American standard professional accent, my twangy southern regional accent that comes out when I’m at ease or angry, my weird southern valley girl accent that comes out when I’m talking to straight women especially, and I will often adopt dialects based on who I’m talking to without realizing it. It makes me feel super fake to be switching constantly, but I am usually completely unaware I’m doing it. I’m guessing it’s autistic mirroring or something, but I feel this paranoia that people will think I’m mimicking a culture I don’t seem to represent because they don’t know my background or because they’ve only know the generic professional voice me. I’ve tried to lean more into my natural accent and less “professional” voice, but that really doesn’t have the same effect in the workplace when I need to be heard. It’s such a weird thing!

This is sooo common! I'm not sure how to phrase it exactly, but there are chameleon/mirror Autistics who reflexively take on others' turns of phrase and mannerisms so instinctively, and then there are immovable stone Autistics who just will not fucking change how we present no matter who we are talking to or the social pressures of the context, even if our job depends upon it. (helllooo pda!)

[catwouthats]

Young Justice (98’) and their ACCENTS because it drives me insane

Bart Allen: Internet/game accent with a southerner twang (plus, speedsters process the world around them differently, including language, so I imagine there is a sort of “speedster accent” since he’s not used to speaking slow)

Anita Fite: Bayou, Haitian, and slight Jamaican accent (probably got not as strong after less time with her relatives. Btw her dad is Jamaican. Also, where did she move to with her dad after gma’s death? Bc that would influence it too)

Tim Drake: Gotham accent (NY or NJ. Mid-Atlantic) kinda privileged white boy version.

Kon El: I hc him as speaking in a “charming” city/suburb way (Delaware aka metropolis), while trying to hide that ever so slight rural mid-west accent from slipping out at certain words

Cissie King-Jones: A suburban east-coast accent (She is from Pennsylvania) but add the fact she goes to an all girls school (groups can form their own dialects)

Cassie Sandsmark: suburban east-coast accent mostly. (mixed slightly with NYC style accent)

Slobo: he’s from another planet, but if ya interpret how they spell what he says mixed with his personality you get rough city-southern (slurred speech with some consonants spat. Harsh, gravelly voice.)

Secret: She grew up in Rhode Island (suburbs I think?), so New England accent. Also, based on how they show her speech bubbles/text: soft spoken, week voice, strained

More languages headcanons:

- Kon tries to avoid saying words like “dog” around his friends and crushes. When he does have to say it, he’s very conscious of how his pronouncing it and will pause a moment before saying it slightly slow.

- Because of Bart being neurodivergent, he picks up accents easily. And his accent can fluctuate occasionally into the accent of who his speaking to. (This is technically canon)

- A Valley Girl moved to Cissies school and infected the whole school with her accent. She then has a slight valley accent for a bit (never fully goes away)

- Bart Allen confuses the FUCK out of other southerners since he speaks so fast with a slight southern accent.

- Bart’s voice is fucking weird in general bc he had to get used to speaking 10x slower than normal (bc VR world n shit)

- It’s canon that Cassie says “like” a lot, and I just wanna point that out again

- They all mock the way Tim speaks

- Nobody mocks the way Bart speaks (some of them want to but literally don know how to since his accent is so weird)

- Slobo’s accent is slightly softer than Lobo’s (genetic runt n all). He tries to force it to be harsh most of the time though.

- Secret is so soft spoke with a strained voice bc of her ptsd. After she becomes human again she is slightly better, but the way she strains her voice hurts her now since it’s a solid body.

- Not exactly a hc, but did Anita smack Kon after he mocked her accent? Bc if they didn’t show it in the comic, I hc she did. Kon tried to be better after mocking her accent that one time though (This is canon. She pretended something he said once was a racist thing and he got so scared. She laughed at him for it and said she was just messing).

- Strangers sometimes stare at Bart and Slobo talking to each other bc their accents are so odd. When one of them notice, they silently signal to the other, and then they both suddenly stop talking to turn ominously to the person looking. (They also later let Anita in on their trick bc they noticed that some racist people occasionally shoot her weird looks. They love scaring bigots with this trick.)

- After all her parents died, Anita noticed her accent start to slip and that frustrated her, so she made sure to make sure to have her Haitian accent prevail (visits to her hometown, etc.)

[saintsenara]

You mentioned in your post about the war of the roses and the snape/marauder dynamics that James chose to wash snape’s mouth out for cursing because he found that behavior uncouth, but in your fic you have James and Sirius use more explicit language. Do you think that James just finds it uncouth coming from snape’s mouth? Is it a class thing? Or does he just not like swearing? Love that fic btw!

thank you very much for the ask, anon! and thank you for the shoutout to the war of the roses!

now, let's be frank, the reason why the fic contains more explicit language than the canon text is because i don't need to get it past the censors in a children's literature publishing house. order of the phoenix has to keep it vague - snape's "stream of mixed swear words and hexes" - in a way which allows there to be a bit of ambiguity about what exact language is being used to offend james so much. i - on the other hand - can have snape call a cunt a cunt.

but yes, it's also class-based hypocrisy.

which is to say, it's the result of classic in-group vs out-group stuff - in which a behaviour is fine when it's done within the group [when it's done by us], but unacceptable when it's done outside of the group [when it's done by them] or across group lines [when it's done to us by them].

a real-world example would be how men are generally happy to use cruder or less polite language when in an all-male group, without the use of this language being understood as indicating negative character traits like crudeness or rudeness on the part of any of the men within the group.

[what it indicates, instead, is masculinity.]

a woman who joins the group and uses the exact same language, on the other hand, is likely to be perceived as crude, rude, or coarse.

the tone and register of language - and accents, dialects, and so on, which fall under this umbrella - is a really key aspect of the maintenance of divisions between social classes in a hierarchical system. it's not that the language being used is unrecognisably distinct between different class-groups, it's that the class groups at the top of the pile are able to discriminate against those lower down by deciding to categorise their language as indicating something negative, while regarding their own as neutral/positive.

and so james and sirius can understand their use of vulgar language as only taking place within a set of parameters which make this language acceptable. in contrast, they see snape as always existing outside of these parameters. they are sophisticated, and their language simply adds colour to their witty conversation. he is ill-bred and worthy of censure.

[this - as an aside - is part of what lily's talking about when she says that james is "as bad as" snape is. she's not saying that james' bullying of snape is equal - or lesser - in severity than any attacks snape launches on james, nor is she saying that james messing up his hair etc. is equivalent in terms of offensiveness to snape calling her a mudblood, and nor is she saying that she thinks james needs to dispense with his hatred of snape. what she's saying is that james is a hypocrite - that he justifies his behaviour to himself with the idea that it's for some great, acceptable reason and castigates his victims' behaviour as unacceptable - and what she's asking him to do isn't to suddenly become sweetness and light, it's to - as sirius puts it - "deflate his head" and stop pretending he's some sort of righteous legend. she doesn't mind him being a prick, she just wants him to be an honest one.]