#be sure to read the examples they list so you know the context

[tuesziday]

Here's a useful resource from the IRS explaining what counts as political involvement/election interference—if your pastor is telling you to vote for a specific candidate while representing the church, that compromises their tax exempt status!

Gonna add this one too

And this

There seems to be a trend of US church leaders telling their young folks to get on social media and spread the church's message - which is invariably anti-LGBTQ, anti-choice, etc. That's not just astroturf; it could cost them their tax-exempt status. If you see them doing this, here's the link you need.

[disabilityawarenesspride]

How to Write an Image Description: A Fundamental Guide.

[Plain Text: How to Write an Image Description: A Fundamental Guide. End PT]

General Guidelines:

[PT: General Guidelines. End PT]

Object, Action, Context

[PT: Object, action, context. End PT]

This is what you want to prioritize. What are we looking at, what is going on, and what is the surrounding environment?

Keep it simple and get to the point

[PT: Keep it simple and get to the point.]

Try to use short, clear sentences and prioritize what the reader needs to know in the context of the post. We don't need to know that the tweet was posted at 2:08AM or what color rings someone is wearing. That doesn't really provide useful information. If you really want to provide some relevant details, be sure you get to the main point of the image first.

Context is Important

[PT: Context is Important. End PT]

Why is the image posted there? What information does it lend to the content around it? Make sure the viewer knows what they need to know to understand how the image relates to the text and content partnered with it.

For a meme or a tweet screenshot, we don't need to know all the details or what the background looks like, we just need to understand the joke. For something like art or photography, you may want to include more details.

Don't Assume

[PT: Don't Assume. End PT]

Don't assume gender, race, and pronouns of the subject(s) of the image. If you can find this context in the post, on op's blog, or somewhere else you can include it, but try not to make baseless assumptions.

Alt Text vs Image Descriptions

[PT: Alt Text vs Image Descriptions. End PT]

Alt text is great for people using screen readers, but it isn't always the most accessible option. Alt text can be glitchy, the font size cannot be changed for those who need large text, and it doesn't show up at all until the image either loads or completely fails to load.

For this reason, a longer description in plain text in the body of the post is a more accessible option.

I suggest a short summary in the alt text so people can get the overview of an image and a longer description in the body of the post. For example, compare the image description and the alt text for the following image:

[Image ID: A guide to writing alt text on images. At the top, it says "Writing Alt Text" in big white text. It then lists off five major steps to writing alt text. Identify who, expression, description, color, and interesting features. It then shows an image of a capybara, with a sample alt text that reads, "A capybara looking relaxed in a hot spa. Yellow yuzu fruits are floating in the water, and one is balanced on top of the capybara's head." with each block of text color-coordinated to show which of the five steps it corresponds to. At the bottom of the image is the word "Puzzle" stylized into a logo. End ID.]

The Alt text provides the bare minimum of what you need to know to contextualize the image, while the ID expands on details that help to understand it and provides more details.

Formatting:

[PT: Formatting. End PT]

Try your best to use correct spelling and grammar, but transcribe accurately. Use clear language and concise sentences where possible. However: Don't censor words or correct spelling when transcribing something from the image. You want the description to be as accurate to the image as possible.

[PT: use correct spelling and grammar, but transcribe accurately. End PT]

Always use plain text. Never use formatting like bold, italics, other fonts/font sizes/text colors, or text in all caps. If they appear in the original image, transcribe it in plain text like this:

[Bold, underlined] Always use plain text. [End bold and underlines.]

Begin an ID with square brackets [[these]], followed by "ID:" or "Image:". End the description with "End ID" and a closed square bracket ] to signify the end of the descriptions.

Screenreaders and visually impaired people sometimes struggle with symbols and emojis. Transcribe these instead when possible!

[PT: Transcribe these instead when possible. End PT]

The image description should be directly after the image, before any post caption or commentary.

Never use a readmore! If you delete the post or change your url the description is gone forever. It also makes the ID harder to reach in general, which is not accessible.

[PT: Never use a readmore! End PT]

Make your post accessible from the start if you can. Don't post something without an ID then reblog it with a description so that people have a chance to spread the inaccessible version of the post if they "prefer" the one without the "clutter" of an ID. That's ableist. If you post something without a description then end up describing it later, edit the ID into the original post.

[PT: Make your post accessible from the start. End PT]

Resources:

[PT: Resources. End PT]

The People's Accessibility Discord Server: I will always suggest this server! It's full of people that can help write descriptions, give feedback on IDs you've written, answer questions about accessibility, and more!

Online OCR: Image(/PDF) to text converter! This is really helpful, especially for transcribing text in tweet screenshots, article excerpts, etc. You will still have to do a bit of work formatting and correcting things sometimes, but it's a really helpful tool

CaseConverter: Good for converting lots of text in all caps for plain text transcriptions.

Meme Image Descriptions: This google doc has descriptions of many common meme images and templates!

Some simple Image Description formats: tailored largely for replies and screenshots from social media.

WebAim: A whole website for web accessability!

Online Accessibility Masterpost focusing on image descriptions from tumblr user @anistarrose. This has a ton of good resources, reading, and tips!

Reading & Guidelines:

[PT: Reading & Guidelines. End PT]

Cooper Hewitt guidelines for image description: This focuses on describing art, but it's a fantastic resource. It gives a good description on the distinction between alt text and long descriptions and gives guidelines for each. It's a pretty concise and easily comprehensible read with a lot of good tips towards the end.

Medium's How to Write an Image Description: Concise and helpful. The origin of "object, action, context".

Diagram Center Guidelines for Image Description: I really suggest reading through this. It gives a much more comprehensive understanding of what is important when writing a description and has different sections for help describing all sorts of things like photos, art, comics, diagrams, charts, math, chemistry, and more! A longer read, but it has a lot of specifics.

Perkins School for the Blind how to write alt text and image descriptions: Another great resource! Concise and helpful, shorter than Diagram Center's articles.

SiteImprove's Alt Text Best Practices: Focuses on Alt text not long image descriptions

Last Call Media- Accessible Comics: Great info for describing comics!

American Anthropological Association's Guide for creating image descriptions: an additional resource on IDs just because

Some tips from Tumblr user @keplercryptids! I reiterated a lot of these points here, but it's still a very helpful post!

General guideline from @can-i-make-image-descriptions and @accessibleaesthetics

Alt Text and Image Description Guide by @brownandtrans

Huge list of blogs that post accessible content!

And another google doc of accessible blogs!

If this post was too much information to read and absorb all at once, I suggest reading the first two links as well as some of the last few links that lead to Tumblr posts.

[PT: If this post was too much information to read and absorb all at once, I suggest reading the first two links as well as some of the last few links that lead to Tumblr posts. End PT]

Those probably have the most concise and easily digestible information, so choose one of those. If I've said anything incorrect in this post, please let me know so I can correct it ASAP! Thanks so much for reading and happy describing!

[gendercomsumer]

hiii ^^ I would like some headcanons for riddle, malleus, vil and rook with a fem mc that accidentally ends up making them laugh (because what she says or does is very random xd maybe an example would be like jennifer lawrence sjjs she is very funny ) well that's all, thanks and take care <3

Riddle, Malleus, Vil, and Rook with an S/O who can make them laugh with the most random things

A/N: Hello to you too Anon! I know this has been in my inbox for gods knows how long- But thank you still for sending this in! I hope this is to your liking! I actually did watch some Jennifer Lawrence videos for inspiration and I have to agree the comedic timing she has is perfect!! I also used some google translate in Rooks part so it may not be accurate ^^;

Characters: Riddle, Malleus, Vil, and Rook

Warnings: Cursing to a mild degree, playful mention of stalking in Rooks (I love him I swear!!!), lightly proof read

Fem!Reader

Riddle Rosehearts

Riddle is a bit difficult to get a good genuine laugh out of, at least in my opinion.

Like sure you have a small chuckle when he finds something amusing, but i feel like it'd be a bit of a challenge to get a good genuine laugh out of.

Then you came in, saying the strangest things at the most unrelated times!

And Ace and Deuce find this absolutely hilarious

You'll say the most out of pocket shit with the straightest face and somehow half the people around you start to laugh some others breaking out in giggles

Ace and Deuce have definitely talked about this 'talent' of yours, at least in their words.

You had said some of these strange comments around Riddle and he found them strange a bit endearing as well

I'd think the time you got a good laugh out of him was when you had come with him to take care of some of the hedgehogs

The two of you were sitting in the grass some of the hedgehogs were playing while a few had decided that climbing on the two of you was a good way to pass the time

One had wandered up onto your head and almost fell off but luckily you were able to save the little guy before he fully hit the ground

After Riddle worriedly checked the little guy over you while looking over his shoulder at the small animal said:

"Well at least we know this one has no self preservation"

Unwillingly, or maybe subconsciously, a small laugh makes it's way through Riddles chest to his lips.

Well, now maybe he saw what those two were blabbering on about

Your little comments were always appreciated with Riddle

Even if they didn't cause him to laugh they did brighten his mood at least somewhat

"Yes, this one does tend to be a bit of a handful. Reminds me of a certain rose I know"

He teased before you two fell back into the pattern of caring for the small animals

More chuckles and comments to come no doubt

Malleus Draconia

At first Malleus didn't understand why the rest of Diasomnia found your remarks so comical

Yes his child of man did tend to bring a certain warmth where ever she walked

But he didn't see this as an excuse for the amount of laughter you cause people around you

Most of the remarks you make will fly over his head

I'm sorry but he seems like the kind of guy to not get the joke until you explain it to him-

Now the Thorn Prince does share a few chuckles with those around him when he finds something amusing, similar to Riddle

But it's even more difficult to get a laugh out of him considering he doesn't get a lot of the play on words type of jokes

but something abrupt and slightly out of context?

I feel like that would get some sort of laugh out of him

One day you were talking with Malleus about some of the things you did in your old world

The topic of amusement parks came up and you started listing the rides you used to go on as a child

Roller coasters, bumper cars, lazy rides where you could relax, until you blanked on the name of a ride

It was frustrating considering it was probably something simple and you would remember it after their conversation, but you wanted to keep the ball rolling

Malleus mean while was partly enjoying seeing how frustrated you got over a simple word

You really were a strange thing weren't you Child of man?

"I'm sorry Mal- I know what I'm thinking of! It's on the tip of my tongue- It's like one of those horse tornado things!"

Horse.. tornado..?

Now that got Malleus attention

he understood the other rides you described, favoring the lazy rides

but what ever this horse tornado was... it sounded.. strange, yet curious at the same time

"CAROUSELS!! FUCKING CAROUSELS, THAT'S WHAT THEY'RE CALLED!"

Malleus let out a small puff of air before he started chuckling under his breath

You truly were a strange one weren't you child of man, just like the world you came from

Malleus pressed a kiss to your forehead letting out one more chuckle before speaking

"Truly fascinating, maybe one day you could bring me to one of these 'horse tornados' you have me interested"

Sure jokes your fly over his head, but he would tease you some what for your small skips in memory

Vil Schoenheit

Now Vil, having acted in a lot of movies, (If I'm correct) Would have probably had a few good laughs in that line of work

Weather that be on set or behind the cameras

But he doesn't often let out a good laugh in public, it's not really part of the proper image he'd want to put out there

As for behind closed doors or with close friends he's definitely willing to have a laugh

And who better to bring a smile to his face than his lovely sweet potato?

Though one good moment always stuck out to him that caused him to have one of the most genuine laughs in awhile

The two of you were getting ready to go out to a fancy restaurant, courtesy of Vil of course, hair, makeup, shoes things like that

While Vil was sitting at his vanity working on his eyes when you came out of the bathroom in a stunning dress hand picked by Vil

It brought out all your best features while still being enough coverage to where it wasn't uncomfortable to wear into a public area

The two of you made idle conversation as you sat on a near by chair to slip on a matching set of heels for the dress

As you stood up in the heels to work on your own makeup you lost your balance thanks to the new height the heels provided

Although Vil was quick to catch you making sure you came no where near the floor he still was concerned

"Oh sweet potato are you alright? What happened?"

Yes looking back on it the question seemed dumb but he was concerned

but you just let out a giggle while regaining your balance before saying:

"Well I'm not sure what happened, but I remember wanting to yell 'fuck' as my last words before I embarrassed myself"

Vil took a moment while looking at you

then a chuckle escaped his lips which soon turned into the two of you sharing a small laugh

Now Vil doesn't know why he laughs at your antics, in hindsight they're just normal phrases

But maybe it's the delivery?

Or the way you smile at him?

What ever it may be it always causes a smile to grace his lips or a chuckle to be drawn from him

Sure Vil maybe all about preserving beauty and making sure he looks flawless

But if he happens to get a few smile lines because of your antics, he will never hold it against you

"Well my darling, I'm glad to hear you're alright. It would be a shame if you or your lovely dress got roughed up before we left. Now come, you still want to do your makeup don't you? Allow me to help"

Rook Hunt

Now Rook has plenty of laughs in his life

Weather that be from stalking some poor soul or a genuine laugh among friends

Rook out of the four is probably the easiest to get a laugh from

He's a joyful guy wanting to see all nature and the world has to offer! Can you blame him?

Then enters you who some how can't help but leave Rook giggling when ever you do something!

You put your tie on wrong? Oh silly Trickster aren't you just the sweetest thing!

Then comes your words which to Rook is a whole new ball park

Rook tends to hold onto every word meant for him, weather that be written or spoken out loud

His darling Tricksters words are so elegant and so sweet how could he not treasure everyone!

What really gets him chuckling and laughing is the moments when your words aren't as sweet and graceful

Cut to one day when you and Rook were in the fields often used for flying class

Rook had a desire to teach you archery so he happened to drag you along with a quiver and bow to some targets set by his hand

After the first few moments of Rook teaching you how to properly hold and aim the bow and making sure your arm guard was secure (He wouldn't want his darling trickster to get rope burn!) He let you shoot

All was going well as you hit targets in an... acceptable way

But all that seemed to end when a large gust of wind sent your best shot yet off course and into the ground

And just as Rook was about to offer some encouragement to keep going and try once more

some colorful language came from you to say the least

"Wind!? Really!?! Could you not wait two fucking minuets!! Nooooo! You just had to thro my best shot off course you-!"

Now don't get Rook wrong he hold the sweet words you two share close to his heart

But there was just something about you yelling at the wind of all things that caused him to start laughing

As he laid on the grass of the field eyes closed as he laughed

Oh? It seems your colorful language is directed towards him now? Even better!

"Trickster- reine de mon coeur! Please I believe- I believe you have shared plenty enough words with the wind today!"

A/N: This is actually the first time I've taken a good look at the name of Malleus' dorm. Dia = Dragon. Somnia = Sleep

Diasomnia = Dragon of sleep

just a ting i found silly :)

[sleeplesssmol]

I think Vertin might be a tactile person.

Here are examples taken from the voice lines and context clues.  This isn't an all conclusive list of touchy interactions, just what I could find. Someone stop her before she gets hurt. Update: I'm going to keep adding on as we find more interactions together because this is really fun.

Sotheby (hat and hair): Stop it! You can't just touch an adult's head! (She is 13. Vertin probably sees her as a baby and pat her head).

Bette (hands): Ha ha ... They might be a little rough. To tightly grab the eave does require abundant practice. (assuming Vertin is holding her hand. Don’t ask me how we got here.)

Rabies (clothing and torso): Straws ... be hugged. Rabies ... feels it. (she hugged him 🥹)

A Knight (hat and hair): One step further, and you will be in close contact with Someone's nose... As long as you can hit Someone's head. (how close is Vertin standing to the AK? Or maybe she was looking for an invisible head to pat.)

Mesmer Jr (Hands) :Compared to the incurable anxiety, these wounds are minor. Oh, watch your distance. (smh Vertin not everyone likes being touched.)

Melania (hat and hair): "Well done. Please keep on." ...Aren't you going to say that? (more headpats but Melania needs vocal praise too.)

Lilya

Clothing and torso:  Feel awesome? Now it's my turn to pet you. (...what is Vertin petting? This is clothing and torso but I'm lost.)

Hat and hair: You should be grateful that I am too lazy to move now. Or you should know that the first-class pilot’s got a first-glass head-butt, too. (Vertin taking advantage of the moment to give headpats. I'm telling you, its a THING)

Leilani (Hands): Shaka brah! Ooh! Do you want a handshake or a high-five, my friend? I'm fine with either! (She’s so wholesome)

Cristallo 

hat and hair: Are you patting my head? The doctor says, this is a reward for good children. Have I done something right? 

Hands and sleeves: Would you like to hold my hands? I could be with you anytime. (Cristallo is weak and frail. The nurses say she could be blown away by a gust of wind. Despite this she says she’ll be with Vertin anytime. To me it reads as Vertin being worried Cristallo will disappear too. Cristallo notices so she offers to hold hands and says she will always be here as a way to comfort her.)

Darley Clatter

Hat and Hair:  Oh ... I can't deny you are really good at patting.

Clothing and Torso: Take a look at my beautiful muscles! I don't need to explain how fabulous I am. Hey, watch out! Rub me in the direction my mane grows.

Bonus Intimacy : Adorable? Ahh? You don't even have a taste! (Vertin pets him and calls him adorable. Darley, don’t let the girlies know. They might end your noble bloodline.)

Pavia (Hat and Hair): Wanna know how many holes I've made on others' heads? No? Then stop it. (What possessed her to give Pavia headpats?)

Dikke (hat and hair): Thou art overstepping my boundaries, arcanist. (I’m guessing Vertin is at it again with the headpats. Dikke smiles when she says this so she isn’t offended. If anything, she seems amused. )

Eternity (hands and sleeves): Go on, try holding it, and feel its temperature rising in your hand… Easy, sweetheart… take it easy, heh heh… (more hand holding but Vertin wasn’t prepared this time)

An-an Lee (hands and sleeves): What? You want a palm reading? (Vertin, why are you like this? Are you randomly touching people's hands?)

Regulus (hands and sleeves): What do you want? I don't have any spare scratch. (I'm sure she knows you're broke since she's your boss. Vertin's just being Vertin at this point.)

Vertin leads Regulus by the hand into her Suitcase in the prologue

Blonney (hands): Interesting! It's been a while since I last met someone who would start with holding hands.

She also holds Blonney's hand as she calms her down during the green lake event.

I feel like I should have picked up on this sooner. Gift-giving, hand holding, and headpats. This is the Timekeeper way.

[hyperpotamianarch]

So, Jewish Fantasy! A very nebulous idea that tries to catch form in many different ways. I don't know much about how it works outside of Israel - I saved the recommendation list that circulated around here but didn't try anything from it yet (outside of Spinning Silver, which I read before I ever saw the list). So, if anything of what I say seems ludicrous to you because you've seen a book that does it well - don't hesitate to recommend it to me! Though I'm not sure how applicable it will be for what I'm about to say.

There are a couple of angles from which one can try to get at Jewish Fantasy: through using Jewish folklore and myth as a basis for your story, through using Jewish characters or by writing out of a Jewish cultural context. In certain stories, different angles tend to be more pronounced - Charashta is based on Midrashim and Jewish folklore, Spinning Silver has Jewish characters, and Agam HaTzlalim is written out of some degree of Jewish culture. Yeah, two of those are Israeli books that weren't translated, feel free to give alternative examples but those are the only one I can safely talk about since I've actually read them.

I could elaborate more on that, but what actually made me want to write a post on the topic was a post about how so much of Fantasy is Greek (in a way) and Sci-Fi is Roman. And that made me think, what about Jewish Fantasy? And while this is a topic I've thought of and been somewhat involved in conversations on for some time now, this is looking at it from a particular angle. An angle which could be examplified by the simple question: why is there no Jewish Disney Princess?

All right, all right, settle down. I know about the Vanollope von Schweetz thing. Quite frankly, considering the source for it is the word of the actress and that it has no effect on the story whatsoever, I think I'm fine with ignoring it. Feel free to shout at me in the comments, hopefully the rest of the post will explain this better.

You see, the problem is that Disney Princesses mostly come from stories about Medieval Europe, and in that particular time and place "Jewish" and "royalty" were inherently contradictory. A Jewish girl couldn't have been a princess, because Jewish communities were never a part of the ruling class. At least not in medieval Europe.

Now the reason what I'm saying is rubbish is because of other contradictory examples, like Mulan or Tiana, and maybe Pocahontas or Esmeralda. And based off of those examples I could probably whip up a couple of ideas on how to do an interesting Jewish Princess story - base it on the Book of Judith, for example, or offer a Jewish twist on some European folktales (which might be hard considering some of them actually have straight up Jewish characters playing as the villains), or... have a movie about Jews assimilating into European culture... Yeah, I can see why Pocahontas or the Hunchback of Notre-Dame might feel a little uncomfortable. But the point is: Fantasy is based on Medieval times, and Jews' role during that time wasn't one of royalty.

You can't really write a medieval Jewish kingdom, because there wasn't really any. And yes, many people try using the Khazarians for that. However, their kingdom was only Jewish for a century, maybe, before it was completely destroyed. Plus, we barely have any data on what it looked like, and its culture was likely very different from Jewish culture. So the medieval presentation of Jews would have to be of a persecuted minority. That, essentially, is what we see in Spinning Silver: a Jewish family in medieval times, a member of which serves as our protagonist. And Maryem is pretty much constantly angry about the antisemitism flourishing all around her. So I suppose that could be an example to follow - along with the stories about Maharal of Prague and the Golem, fighting blood libels.

So, you can portray Jews as an oppressed minority, constantly fighting their persecution. An alternative could probably be following the example of Ḥassidic stories, talking about the Rebbe, the Renter, the Trader and the Widow (regular character archetypes in such tales). You could have the antagonist be the local Pariz, nobleman, or perhaps the gentile that decided to be a robber, or occasionally a fellow Jew who out-leassed your protagonist from their home. All regular tropes in the day-to-day life of an... (checks notes) early modern Eastern Europen Jew? Huh. I suppose it's not exactly the same period.

Either way, if you want your story to be more fuly Jewish, to not always play against the backdrop of a non-Jewish kingdom, you have some interesting options. The first question would be: are you taking from the past or the present? If you choose present, well, you can choose between Diasporan or Israeli culture. In addition, this will more or less constrain you to some type of Urban Fantasy or other Hidden World stories, with not much of an option to delve into Epic Fantasy. If that's what you want to do - great! Go ahead and do that. Personally, I have some degree of a problem with how I've seen Israeli culture portrayed in stories so far, but that's a story unto itself.

If you choose past... well... Jewish history is nothing if not long. And if we're really trying to make a more Jewish backdrop, we'll probably need to pull from Jewish independant states or kingdoms. Of which there are a couple that can be used - Ancient Israel throughout the time of the Tanach, from the Judges through the first kings and the divided kingdoms of Judea and Israel; Yehud Medinta, which while it existed under the Persians had a Jewish governor for certain periods; the Hasmonean Dynasty, with all its ups and downs; the Kingdom of Adiabene, which converted to Judaism for a time; some short-lived Jewish independant states in defiance of the Romans; and of course, the infamous Kingdom of Khazar. There are also legendary kingdoms of the lost 10 tribes, which could possibly work as interesting additions. It is also important to note that in the Tanachic period I included a pretty vast array of periods, including the Judges (periodical local saviors and heroes), the House of Sha'ul (which isn't too easy to characterize), the Davidic Dynasty (Temple! Prophets! A bloodline promised to last! Evrything you might want from a kingdom), and the Kingdom of Israel (a couple of dynasties have their own characteristics, but most didn't survive for long).

Maybe I'll try my hand in suggesting what a kingdom based on the Hasmonean Dynasty could look like later. For now, let us start with: there is no medieval Jewish kingdom, so we'll take one from the Hellenistic period or from the Bronze Age to cover it up! Either that, or we'll try figuring out the structure of the early medieval kingdom that converted to Judaism that one time.

I'm not sure how much of a point I made, really. Thank you for reading, and have a good day!

[legendofzoodles]

This post is a little gory, reader discretion is advised.

Sky: Would you help me hide a body?

Hyrule: No I am not helping you! I want nothing to do with this!

Hyrule: [curious] ...But why? Is hiding bodies a fad in society now? Dang I'm really out of touch.

Sky: In what Hyrule is that a fad?!

Wild: [coughs]

—

Time: [sighing] I'm always cleaning up after you boys.

Sky: Wait Old man it was just—

Time: [pulling a trash bag from his adventure pouch] Where is it?

—

Wild: Hide...a body? O-Okay sure, I'll help you...

Wild: [muttering] Oh but not all of it I'm sure I could find uses for at least a few of the body parts...

—

Wind: [thumb up] Yeah of course! We'll just toss it into the ocean.

Sky: Ok but what if the Hyrule was landlocked...?

Wind: What if what? I'm a pirate.

Sky: Is that really how it works?!

—

Warriors: [polishing his sword] Huh? Dispose of a body? I can do that.

Sky: You...can?

Warriors: [glancing at his reflection] Eliminating traitors is a bit sporadic with its state funding so, I've had to get my hands dirty.

Sky: ...oh buddy.

—

Legend: Whose body is it? Under what circumstance? Who did the killing?

Legend: Sorry, I need to know if I should do it with enthusiasm or not.

Sky: [voice crack] Ledge...

Legend: Well I'm sorry, you keep telling me to find joys in life. I am trying!

—

Twilight: A-A body?! W-Why would you want me to...?!

Twilight: Wait, this one of Wild's pranks? Is he in that bush with his Sheikah Slate?

—

Four: [deadpan] Here's a list of ten efficient ways to dispose of a body.

Four: [very deadpan] It was my best self study project when I was a kid.

Four: [we all know this is Vio talking] The example body wasn't human, but that can't be too different.

Sky: [disturbed] ...No you can have it back. That question was just...

Warriors: [dutiful in improving his craft] Great can I have it?

—

Sky: Ok this is the last hypothetical! Between Wind's magic box thought experiment, Four's out of context question and this?! We're clearly really bad at these.

Twilight: Not sure what kind of responses you were expecting with that one to be honest.

Sky: ...You're right this one's on me.

~~~

Thanks for reading! Based off this

Sky got the fun hypothetical question from a friendly bar patron.

Wild coughed in that first one because with the restoration of his Hyrule ground in Hyrule field is being built on and, well, they are unearthing a lot of 100 year old skeletons. Not exactly hiding bodies, but...

Masterlist

[the---hermit]

oral exam tips

I have at least one other post on exam tips, but they were mainly focused on giving tips on history exams. To me oral exams in academia have been the norm since high school, but I know that in other countries that might no be the case, so I decided to write down a list of advices coming from someone who is quite used to this kind of tests.

If you aren't used to having oral exams, you might need to change your study method, or at least add a few steps. I recently made a post entirely dedicated to my study method, which might be useful for this, but what I suggest is to add a step in which you review things out loud. What I would do is to just sit down with your notes or your materials and pretend to give a lecture on everything. Even better if you have a friend or family member to listen to you, because by having an active listener you will be forced to not skip stuff and have clear explainations, and they might ask you questions or clarifications. Those are always good because that might happen during the exam as well, but also it will help you memorizing those things. I recommend reviewing out loud multiple times. This way you will get more comfortable with the exposition of the topics you will be tested on, and you'll have a chance to find your own "voice".

by finding your own voice I mean finding a good compromise between using your own words to explain things, while still using the correct specific vocabulary of whatever topic you'll be tested on. This is fundamental. You are not there to recite a poem by heart, you are there to show you have understood the topic, that you sat with it and made it yours. You have to show you know how to clearly explain things but also reflect on it, making links with other things, and so on. At the same time there's some academic and specific vocabulary you want to include, because you are not in fact discussing the topic with a friend. So practicing out loud before the exam is good to find a good compromise between these two things.

I kind of mentioned it already, but it is absolutely fundamental to show that you understood the topic and not just memorized it. Whatever you do do not learn things by heart. It's better to be slightly insicure about a specific date, than to repeat your book word by word. And if you practice enough, and are comfortable enough with the informations in general believe me you can work around those things you can't remember perfectly well as you are being tested. Moreover your mark on the exam will be much higher than if you just learn things by heart.

on the very delicate topic of not remembering something specific you have been asked. Don't panic, you can still kind of save it. Whatever happens do not stay silent. There are several things you can do depending on whatever the question is, and I will later tell you a very specific example of something that happened to me. As I said do not panic, surely you will remember about some context on the topic so start by talking about that. As you are giving the context you might start to remember additionals informations, or you might build up enough informations to be able to logically guess whatever you are not remembering correctly. If you are half sure about something go for it, even if it's the wrong info if you contextualise it well enough you'll show you knew about that and it might just be read as a slip of you confusing two things. Now there might be situations in which the question is so direct that you can't do much, it happened to me once during my Greek history exam. I was asked the specific date of an event, and I could not for the love of the gods remember it. You know what I did? I told the professor, I cann't rememebr the exact date, but giving certain informations (that I then explained) I can tell you it was more or less in this half of this century. What I did was admit a fault, but while doing that I showed her that I knew what we were talking about it, I had enough informations on the matter to logically place it on the chronological line and contextualize it, and showed her that I can in fact work with the informations I studied. And at the end of my exam the professor complimented me on those exact things, saying she appreciated seeing me use my brain instead of midlessly memorizing informations I didn't understand.

So whatever happens do not stay silent. Anything is better than that.

Another potentially bad thing that might happen, and believe me it happened to me multiple times, is panicking so bad that you cannot get the words out, or confuse things. You know what happened everytime I found myself in that situation? The professor clearly saw me panicking, and told me to calm down, wait a couple of minutes, get my ideas in order and try again. And I got good grrades despite that in the end. You are under a lot of pressure, because you are giving an exam, and you have to be quick and ready instead of being able to reflect like with a written exam. Professors know that, and they keep it in mind, and they can tell when you are mixing things up because you are nervous, and not because you don't know things. I once had a professor look at me in the eye after i mixed up numbers on two dates twice in a row, and told me I know you know them take two deep breaths and try again. And I did. I have so many personal stories from my previous degree in which professors saw I was nervous and told me that it was okay I just needed to take a minute and breathe, and honestly that was exactly it. It was okay and I really needed to breathe, and then the exam when well.

The best tip I can give on answering questions is to balance the actual answer of the question with additional informations. You want to give context and add more infos to whatever has been asked to you, but you should also try not to lose focus on what was being asked. My personal way of doing this is to structure the answer in three parts: 1. general context that works as an introduction to the actual direct answer 2. the actual answer 3. further additions like more context, comparaisons and links with other topics or informations you had to study. This way you show off you know things, you make sure to show the professor you are not just rambling because you don't know the answer, and finally show you are comfortable enough with the informations to reflect on them and link them to other things. Ideally the professor will stop you while you are speaking, that in my experience is the best possible sign, because they are satisfied with your exposition and want to move onto other things.

So always build up on the answer to the question you have been asked. Never stop at just the information that serves as an aswer. You studied, it's your time to shine and make yourself proud.

Contextualizing your informations is absolutely fundamental no matter what, again because it shows you have a clear idea about what you are talking about. This can mean making a small introduction on the time and place, if you are an historian like me, or maybe give an introduction on the person you are talking about (whether they are an historical figure or a scholar you are talking about). Adding the little informations you weren't asked about is great. You are briefly mentioning an even and know the date? Add it in. Everything is a good addition.

Again I have definitely already mentioned in previous points but showing you are capable of reflect on the topics you are talking about is always a bonus. Make sure that when you are giving personal options or personal reflections you are stating this is your thought, but that is usually appreciated. After a good exposition of a topic you might even get the professor asking you your opinion on certain things. It happened to me multiple times, often I was asked to give an opinion of books I had to study for the exam, and that always prooved as an oportunity to add more informations and as I said show that I could make reflections of my own.

Last thing, that again kind of came out from other points, is that you want to show you are comfortable enough with the topic to be able to jump from one point to the other while reflecting on things or making comparaisons.

I am pretty sure I have forgotten something, but once again if you have specific questions I am happy to help, my inbox is always open. I know people who aren't used to oral exams are very scared of them, but as long as you try to approach it like a normal conversation on the topics you had to study, and you have practiced, things will be fine. To be quite honest with you after years of experience I'd say I very much prefer oral exams to written ones, because you can in a way shape the conversation and bring it to the topics you liked the most, know best. I hope this post was somewhat helpful to someone out there, and good luck if you are about to take an exam!

[zenkindoflove]

Fandom Shipping Terminology 101: ACOTAR edition

Hi! So I decided to put a little resource together for the ACOTAR fandom. Since many people join the SJM/ACOTAR fandom and have never been in fandom before, they encounter a lot of fandom terminology that they are not quite sure what it means or have seen others use it incorrectly so they get a false impression of the meaning of the word. So I put this together, including examples from the fandom, so that people can use it as a reference to learn more about what these terms mean and when they're appropriate to use. This list is focused on words related to shipping.

Tldr definitions (note: these are definitions that I wrote based on my own experiences/research on fanlore. These are always up for interpretation and meaning and nuance change over time and depend on fandom context)

Canon ship - a relationship where the characters have romantic interactions in canon

Fanon ship - a relationship where in canon the characters are platonic but the fandom has accepted as a ship with romantic undertones, canonical potential, or has become so popular within a fandom it's has surpassed the need/desire for canon

Crackship - a pairing of two characters where the idea of them together is strange or funny depending on the circumstances. Often in these ships, the characters have little or even no interactions in canon

Rare pair - agnostic to fanon or canon status. A rare pair simply means the fandom does not make a lot of fan content for it.

End-game - This is a canon ship that is together by the end of a series.

Slash ship - Fanon ships that feature queer relationships. M/M usually takes on the term slash and F/F has the term femslash.

OTP - Stands for One True Pair. This is a ship that a shipper considers to be the most important one that they love in a fandom.

NOTP - anti-OTP, or a ship that a shipper detests/is squicked out by

Multishipping - the act of shipping a character with multiple other characters.

For more context and thorough examples read more under the cut 

First, what the heck is a ship?

The origins of shipping and becoming obsessed with fictional relationships predate our modern understanding of fandom. Modern fandom roots can be traced as early as Star Trek: The Original Series. But the terminology of calling a couple you like a ship or the act of obsessing over fictional (and sometimes non fictional) couples "shipping" has its origins in the X-Files fandom. While ACOTAR is a romance, many fandoms do not have romance as a central element of its plot, and yet, shippers find a way. That's exactly what happened for the fans of Mulder/Scully. Those who wanted them to be in a romantic relationship were called "relationshippers" which then got shortened to "shippers". The verb "to ship" would appear later from this origin.

The way to think about "what is a ship" though is really based on do people think up romantic scenarios with these two characters? If yes, then you have a ship. And in ACOTAR, oh baby, are there MANY, MANY SHIPS.

Canon vs. Fanon ships

Where does a canon ship end and a fanon one begin? Now that, my friends, is not as clear cut as you might think.

I think this discussion is very important for the ACOTAR fandom because of the state of the ship war currently. Often, there is back and forth about which ship is canon or fanon (and *eye twitch* people throwing around crackship as a derogatory term to de-legitimize a ship which makes me wanna punch shit).

I'm gonna burst everyone's bubbles and say, I personally think Elriel, Elucien, and Gwynriel are all CANON ships.

Why? Well, that's the part that is up for interpretations my friends. What is deemed canonical romantic interactions? That is where a lot of lines can become blurry and if you have ever shipped a fanon ship before - you KNOW what I mean by that. Is it a charged glance? A caress of a hand that lingered too long? Is it a shared kiss? Or do the characters have to explicitly declare "I'm yours and you're mine"?

I've shipped a lot of kinds of ships. Canon. Fanon. Canon that had its end-game blown up. You name it, I've shipped it. And to me, a canon ship is anytime the writer of the canon is putting characters in a romantic situation, regardless if they end up together or not by the end of the series. If they wanted you to feel butterflies and think "could they?", and you felt butterflies, well my friends, you're responding to canon romance. And we've seen evidence of all three ships having those moments.

But, what does that mean for fanon ships? I have shipped a fanon couple where I got butterflies from their canonical scenes together. I've read into their moments and thought "wow, that was romantically charged". I think this is where the lines of canon and fanon are blurred. Because what this comes down to is, did the author intend this? Or am I seeing more into an interaction because I like it? Most fanon ships do hinge a lot of their interest in said ship because of what happens in canon. But, often times, the authors of said content are not necessarily wanting you to take away from their writing that these two characters are interested in each other romantically. You just can't help it. You see it. You see the potential, and you want it to go there so you see more of it the more you look.

Sometimes fanon ships are very clear that the canon is not even hinting at these two characters together romantically. And that is perfectly fine. To me, a fanon ship is a ship that has become so ingrained in the fandom community that the fandom thinks of these two together romantically. That it doesn't really matter anymore what the canon says or doesn't. The fandom has created this relationship and it lives and breathes within what the fandom builds for it. Azris is a perfect example of a fanon ship in ACOTAR. The canon interactions between Azriel and Eris are sparse and platonic in nature, yet the fandom itself has created a whole fanon around them with a large enough community that as soon as you enter the ACOTAR fandom, you immediately know this ship exists.

Rare pairs and Crackships

These two terms are often used interchangeably as if they are synonyms. Now, a rare pair can be a crackship but not all rare ships are crackships and vice versa.

Generally, a rare pair is devoid of canon or fanon connotations. A rare pair is a ship that receives little attention from fans and has few associated fanworks. So, a rare pair could be a fanon couple that few people think about romantically. For example, Emerie and Gwyn have a lot of interactions in canon. I would not think shipping them together to be a crackship because I mean, they're friends, they like each other, they read smut together. There are a lot of scenarios one could imagine them falling in love. But they have a whopping 12 fanfics under their tag in AO3. Therefore, they are a rare pair but not necessarily a crackship.

A rare pair can also be a canon ship. For example, Thesan and his unnamed lover are canon. However, when you look up their relationship tag on AO3, there are 23 works and most do not appear to be focused on them.

I also have seen people use rare pair for very popular ships (like Azris) when they mean fanon. Again, rare pair is really an indication of "how much fan content can you find for this" not necessarily are they canon.

Crackships really were birthed from the intention of putting two characters together "4 da lulz" to bring back early 2000s internet lingo. Crack shipping is usually a pairing that the idea of them together is a little absurd but also fun. Beron/Tamlin is a quintessential crackship example, especially why it came to be (but we will avoid getting into all the origins of that). There is no real reason to think Beron or Tamlin would ever have a romantic interaction and thinking about it makes you laugh. Crackships can sometimes turn into fanon ships. This is another example where the lines do get blurry. But really, crackshipping is about intention and the use of absurdism within fan creation.

I also want to say, often what I see in the Elucien v. Elriel and Elriel v. Gwynriel ships wars is the use of crackship in a derogatory way, and thinking that if one of these ships does not become end-game, therefore, it proves the other was a crackship. Simply put - no. That's not how it works.

End-game

Related to the above point, I think often where the ACOTAR ship wars really derail themselves, is conflating fanon/canon/endgame with each other. I don't see people often using the term end-game, when really, it would help so much with the judgmental and strange ship policing that this fandom loves to do. Specifically, this fandom has a hard time talking about the value within shipping fanon, or shipping the blurriness between fanon and canon for any characters that do not have end-game potential. ACOTAR is not a complete series. Therefore, in a strict definition, no couples are end-game. However, given the genre, there are several couples who are clearly going to be end-game. And really, what I think the ship war community needs in their discourse, is to start using the term end-game when they want to discuss the outcome of Elucien, Elriel, or Gwynriel having a canonical Happily Ever After. The reason being is that you can use end-game, and not insult another ship. End-game is simply a fact. There is no hierarchy involved in what ship is best or not. Because ships can be beloved whether they're canon or fanon or canon who did not end up together. And they all can have very valid reasons why people ship them despite not achieving end-game.

I also urge the ACOTAR fandom to realize that end-game is not the end of YOUR experience of your ship. Your ship lives on despite what the canon may or may not give you. Even if you ship a canon ship that does not achieve end-game, you can create those fanon end-games for yourself. Many popular ships end up being popular because of the effect of that ship not achieving end-game. And while I am using the prime-ship war as examples within this post, I've seen other microshipwars popping up within the fandom as well. So, I'm not trying to pick on this specific set of conflicts, it's just the one I see most prominently.

OTP vs NOTP

I think the ACOTAR fandom could also really benefit from adopting this terminology.

The point of declaring OTPs and NOTPs is a way for you to signal to others in your fandom, "This is how much I care about this ship. Whether I love it it or hate it. Tread carefully". These terms are not meant to say one ship is better than the other from a moral standpoint. Instead, it's to indicate to others that you have a strong preference. You're going to love your OTPs regardless of what arguments others throw at you to convince you to not love them. You will probably be very annoyed by your NOTPs regardless of what others try to do to convince you that they're actually cute/sexy/hot/perfect for each other. And what the ACOTAR fandom could benefit from, from readopting OTP/NOTP language, is having a common understanding where different shipping communities boundaries are and how they can better utilize those boundaries to prevent constant fighting. Now, ship wars are inevitable because of how people see their OTPs and NOTPs, but general rule of thumb is - don't engage with your NOTP's content for your own mental sanity.

Multishipping

Multishipping can be used in many ways. Some people use it to say, hey I'm in this fandom, and I ship a lot of couples. But the origins of multishipping as a term, comes from ship war discourse in other fandoms. Multishippers generally are people who ship one character with multiple other characters. For example, if you ship Elain/Lucien, Elain/Azriel, Elain/Gwyn, Elain/Tamlin, etc etc etc, you are a multishipper. I generally would not consider someone a multishipper if all of their ships do not cross streams. It just sort of means that you ship a lot of couples. Which tends to be normal for romance series with a lot of couples. Maybe not a single of those couples is your true OTP, and that's what you mean by saying you're a multishipper. And that's okay. I think though that multishipping generally in other fan spaces is a marker of you telling others that you don't draw harsh lines with who you see characters with. I often see multishippers not declaring NOTPs. It's kind of a state of how you go about shipping often. I, for one, identify as an OTP shipper. I've never really multishipped. But I also have a very strict standard of what I call my "ships". Anyways, this is to say, this term has a lot of uses. And sometimes it can be confusing which of these uses a person means when they say it.

Slash shipping 

I've seen over the years that slash as a terminology has fallen out of favor. In the past, slash shipping was the pinnacle of shipping in fandoms. The term slash comes from the first modern fanon ship, Kirk/Spock, where the / between their names, which we now all know and use to indicate a romantic pairing (note: & is used to indicate a platonic interaction between characters), exists because the Kirk/Spock shipping community really were the originators of shipping communities creating fan content and sharing it in with each other in a massive way. In general slash (and femslash) is an important modifier of shipping because it explicitly tells you that this is a queer ship which often were not mainstream and considered canon until more recently. With the rise of canonical queer ships, I think the subversiveness of shipping queer couples has lost it's edge, therefore slash is not needed as much anymore to directly state the nature of your ship.

I wanted to keep this in the post though, because I think it's incredibly important history for ALL ACOTAR fans to understand. Shipping queer couples, and especially shipping FANON queer couples, has always been the backbone of fandom. Kirk/Spock walked so Destiel could fly. These are all queer ships that have strong fanon roots (and that fanon has had impacts on their canon) and have shaped fandom and your concept of shipping and romance tropes in inextricable ways. You don't have / without Kirk/Spock. You don't have Omegaverse, without gay shipping within the Supernatural fandom. And I wanted to make this point because this fandom has a strong het (heterosexual) ship bias. Which is okay. It's a romance series with a lot of heterosexual canon couples. But, I think because of that, many people are not entering this fandom with an understanding that people shipping queer fanon couples have been the ones who were the originators of many fandom terms that we have come to know and use today.

Conclusion:

I hope you all found this informative and that you can take away something from this post that can help you have better interactions and ability to communicate with others in this fandom. Again, I want to stress, that this is heavily influenced by my own 25 years of experience being in fandoms. And I haven't seen it all. Others will have different interpretations of these terms and experiences using these terms. So, feel free to add on anything that you think would be helpful to those in the ACOTAR community to better understand how to "ship and let ship". I do think that ship war are inevitable and not necessarily a bad thing. But using the right terms can help you engage in a more respectful way within ship war discourse.

[thorraborinn]

Would it possible at all for you to point me in the direction of how to translate elder futhark runes ie: “Thor, Protector of Humanity”. I’m entertaining the idea of woodburning Norse art.

lol you're gonna hate this. Nobody asks me shit like this anymore so I'm gonna take it too seriously.

Really the answer is "no." I can try to do it for you but I don't think it makes sense for me to say "learn Proto-Norse" and hope for the best. Learning how to do this is a lot more difficult than learning Old Norse or Old English (and tbh "learn ON or OE or OHG" is the actual advice I'd give here). I know you're asking about doing this in general, and not for that phrase in particular, but you happened to provide a good example so I'm going to try a translation and show all my work.

I did put together a very non-exhaustive list of sources on runes available here but honestly that will not get you far here. Turning Proto-Norse into runes is easy, it's the language part that's hard. I also made a big list of deity names in Elder Futhark. Apparently the font embedding broke so it looks like nonsense, and I'm not gonna fight with it now. But the bolded text in each entry can be transliterated into runes. I haven't looked at this in years, but did just update Thor to be more in line with what I have here. Also, don't trust Wikipedia or Wiktionary for this stuff, you can use them as a research tool but verify independently or just use them to find other sources.

If I were in your position, I would consider using Old Norse and the runes that wrote that. Völuspá even gives us a near parallel: Miðgarðs véurr, and one of many ways to write that might be ᚦᚢᚱ ᛬ ᛘᛁᚦᚴᛆᚱᚦᛋ ᛬ ᚢᛁᚢᚱ.

I should make sure sure you're asking what you want to be asking. I'm assuming you want to translate into language that was spoken when the Elder Futhark was used. Some people say "translate" when they mean the less-commonly-known-but-more-accurate "transliterate" (turn "abc" into "ᚨᛒᚲ"). Maybe you just want to go ᚦᛟᚱ ᛬ ᛈᚱᛟᛏᛖᚲᛏᛟᚱ ᛬ ᛟᚠ ᛬ ᚺᚢᛗᚨᚾᛁᛏᛁ and call it a day, and there's nothing wrong with that but you don't need my help for it so I'm guessing that isn't what you mean.

Anyway I'll give you my crack at a translation of the phrase you provided now in case you don't want to read the rest of this but the explanation is after the break:

*þonaraʀ warjaʀ *man(n)akunjas þonaraʀ warijaʀ manakunjas ᚦᛟᚾᚨᚱᚨᛉ ᛬ ᚹᚨᚱᛁᛃᚨᛉ ᛬ ᛗᚨᚾᚨᚲᚢᚾᛃᚨᛊ

(the i ~ ij thing is on purpose. word boundary markers optional)

Thor

There are some unclear phonological aspects of *þun?raz > Þórr. Haukur Þorgeirsson recently addressed this (this article is currently paywalled but for some reason the whole thing loaded just fine for me a few hours ago, not sure why), and I find his conclusions satisfactory, which complicates things. Haukur proposes an earlier *Þunurr but doesn't rule out *Þonarr (or earlier reflex of these). By Haukur's analysis the former is easier to resolve within Old Norse but the latter is more convenient with some other proposals already made, especially by comparative linguists. So we find ourselves with two proposals for the god's name in Elder Futhark-era language: ᚦᚢᚾᚢᚱᚨᛉ *þunuraʀ and ᚦᛟᚾᚨᚱᚨᛉ *þonaraʀ. I'm conditioned to favor *þonaraʀ, but I can't find fault in Haukur's preference for *þunuraʀ within the context of his own paper.

The only reason I'm not siding with it is that it seems impossible to resolve with Old High German donar and Old Saxon thunar (both 'thunder'; compare *eburaz > OHG/OS ebur, not **ebar). So while Haukur's got me convinced that *þunuraʀ seems like a more likely immediate precursor to Þórr, I can't shake *þonaraʀ being what seems to me, at least for now, a necessary precursor to the OHG especially. And for now, "seems necessary" beats "more likely." Of course variation is possible but that isn't a way to handwave conflicting data, it's a whole separate thing to investigate, and I haven't done that yet.

If I were researching something for myself, or for something permanent like a tattoo, I'd keep going and make sure I'm more confident. Even Haukur leaves open possibilities I haven't mentioned here. If nothing else, at least *þunraz no longer seems necessary to maintain (as Ringe 2014 thought following Noreen 1923).

Alternatively, one who does prefer *þunraz as the Proto-Germanic could probably be convinced to allow an epenthetic vowel for Elder Futhark-era language, so we're safe there.

I probably could have left all this out. *þonaraʀ is a fairly normal, mainstream way to reconstruct Þórr. But that wouldn't have been an accurate depiction of the situation. However we work this out, it highlights that what we're doing is not speaking/writing ancient, dead, unattested language. Or, if we are, it's only incidental to the primary thing we're doing, which is trying and sometimes failing to understand how attested words relate to each other, and taking sides in arguments about that.

protector

Selecting a word for 'protector' is difficult. It was only with some hesitation that I went with warjaʀ, a word only attested in compounded personal names like Landawar(i)jaʀ on the Tørvika A stone. It's highly likely to be derived from *warjan- 'to protect/defend.' What's a little weird, though, is that it seems to always be written warijaʀ, in apparent violation of Sievers' Law. I won't get into details here because this post is gonna be long enough as it is, but let it be known the word (and others -- the (i)ja thing recurs a bunch in the Elder corpus) is controversial and my preference for leaving it as it's attested would probably not be universal.

Snorri calls Thor verjandi Ásgarðs, Miðgarðs 'protector of Ásgarðr, Miðgarðr.' To be honest, this isn't the most common use of verjandi; usually it means 'defendant' in a trial, but we can get its meaning from context. We should stop to question whether it could have been used that way some 700 years before Snorri, and once we're satisfied that we can use it we run into trouble again with the non-phonological change of the suffix *-andz > -andi. The *-andz suffix is poorly attested in the Elder Futhark. We have the Tune stone's witada witanda-, but it's a compound word and doesn't give us the nominative ending. Then there's the Eggja stone's suwimąde swimmande and gąląnde galandi which are late enough to be basically fully Old Norse, and doesn't tell us much about earlier language. In Old Norse, these -andi words have the same endings as an n-stem in the singular, and maybe they did in Proto-Norse, but we don't have nominative (or even uncompounded in any case) forms from early enough to be sure. *warjandʀ or *warjanda? Or something else? If not for this, it's the word I'd probably use, and if we want to come as close as we can to technical dictionary accuracy, we'll have to be okay with a shot in the dark at the morphological state of the language.

Also derived from verja are vernd, verndari, vǫrn, vǫrðr. Both vernd and vǫrn mean roughly 'protection' and it makes more sense to say that Thor gives or provides them than that he is them. A vǫrðr is a guard or warden -- Heimdallr is definitely a vǫrðr but I'm not certain Thor is. Most likely, verndari is a later, Norse-era formation, which is unfortunate because it is the word I'd use if we were translating to Old Norse (might go a little bit something like ᚦᚢᚱ ᛬ ᚢᛆᚱ(ᚿ)ᛐᛆᚱᛁ ᛬ ᛘᚭᚿᚴᚢ(ᚿ)ᛋ).

In Old Norse there's also gæta. It isn't attested outside of North Germanic which means relying on internal reconstruction, which isn't great. Kroonen's (2013) *ganhatjan- makes sense and PN *gą̄tijaʀ does seem pretty reasonable as a reconstruction. Semantically, I'm not sure if it's a good fit, though I'm having trouble articulating why. Its meaning should be something like 'to watch, tend, take care of' and in most modern language is more like what I��unn does with her apples, or what a shepherd does with their flock, than what Thor does with humans, but I don't know that we can be so precise with Proto-Norse and in either case I don't think it's wrong. Actually, perhaps gætir Miðgarðs would be a better way to put it (hint: gætir Miðgarðs < *gą̄tijaʀ miðjagarðas ᚷᚨᛏᛁᛃᚨᛉ ᛬ ᛗᛁᛞᛃᚨᚷᚨᚱᛞᚨᛊ).

The Norse word hlífa might be closer to what we're looking for, though it might only seem that way because we have little evidence to contradict it. In Norse it means 'to protect/defend/shelter (from something)' and works here, but its attestations in other Germanic languages are a little weak and don't inspire confidence in the semantics.

Given all this, I can't help but feel it's best to return to war(i)jaʀ. Though unattested outside of names, it presumably had an independent existence at some point, and is transparently derived from the verb *warjan- 'to defend.' And maybe most importantly, it is actual, attested language. This is a rare opportunity to forget about what I said at the end of the "Thor" section and connect to real language committed to real record by real people.

As an aside, véurr, mentioned way above, is probably etymologically equivalent to vé + warjaʀ, so *wīhawarjaʀ ᚹᛁᚺᚨᚹᚨᚱᛁᛃᚨᛉ.

humanity

We catch a break with 'humanity.' There are complications but they won't end up mattering. There are a few ways to say 'humanity' but they all start man(n)-; we can have our pick of -kin or -kind to end it but -kin is more common, which in PN is *kunja. But the 'man' words in early Germanic languages are a little weird. Sometimes it has one n, sometimes two; it's always two in Old Norse, but it's hard to say if that was true in elder runic language. Fortunately we can sidestep this: in most runes you only write a letter once, even if the sound is long. But to use a connecting vowel or not? Gothic has compounds in mana-, manna-, man-, and mann-. So *man(n)akunja or *man(n)kunja? Well, as Martin Syrett (1994) pounds out, Germanic in general and Gothic in particular are not consistent when it comes to stem vowels in compounds. There's a tendency to spread -a- as a connecting vowel even where it doesn't belong. So we should feel pretty safe that even if *man(n)akunja isn't the inherited form from Proto-Germanic, it was always a possibility. Finally, worst comes to worst, you could just let ᛗ stand for the whole word, given that it's the 'man' rune anyway.

Last, we'll have to put that in the genitive case to make it 'of mankind.' We don't have examples of neuter ja-stems in the genitive from the Elder Futhark but there isn't really strong reason to believe it wasn't *-jas, so: *kunjas.

We've arrived at my answer:

*þonaraʀ warjaʀ *man(n)akunjas þonaraʀ warijaʀ manakunjas ᚦᛟᚾᚨᚱᚨᛉ ᛬ ᚹᚨᚱᛁᛃᚨᛉ ᛬ ᛗᚨᚾᚨᚲᚢᚾᛃᚨᛊ

Anyway I hope you don't mind me going completely over the top answering this, I don't think I realized before starting to answer this that I needed to get it out of my system.

[rqbossman]

Hello Mr Bossman! (and possibly anyone else who reads this)

Its an honour to be here, I have a few questions. First i appologise for the long paragraph, you may dismiss it for the questions at the bottom. For context, i am here after finishing TMA and being up to date with TMAP, i then went over and listened to RQG, and have just finished listening to Epilogue 3 and might i just say, good sir I am grateful for your podcasts. I am currently just a few months away from my final exams of High School, and as someone who even just 1 year ago was very lost, struggling with school and being just overwhelmed. TMA isnt exactly comforting, but the characters and plot managed to serve as a good form of escapism while sorting myself out. I found my self engaging more in creative things that i had originally put aside in favour of maths and science (which i hated but thought i needed to do). I started drawing again, even if just fanart. and i found things going well. By finding podcasts, story telling and these communities have helped me in my own understanding of what i want in life. I got an ADHD diagnosis earlier this year, and almost directly after started RQG and as my first hyperfixation (that i was aware of as an hyperfixation) gosh dang it hit hard. (in a good way). Ive been able to do so much more creative writing and drawings, and got re-involved with a small dnd group with some friends who i played one game with almost 4 years ago now. So overall, inspirational sounds cringe, but it was. Im doing my best with the upcoming exams, but trying to get in to Medicine is not my only prority, and the fact ive been re-introduced to my first love (Literature and story telling), im planning to go do an Arts degree and i know i wouldnt have been able to confidently make this decision, or even have survived this long in the school system without the work you and your coworkers do. Now the sap is out of the way, Question time! (if you could answer even just one of these questions it would be so cool)(they go in order of RQ relevant to random stuff)(dont feel pressured to answer all/any. i know i wrote alot): 1. what would you say is the best way to draft out a long-form story. (with "Erasing the Line" as an example) Did you start at the end, with the links to the overarching plot.

2. When working with the players (in a form of TTRPG), what did you do to make sure you didnt miss relevant timing of plot points/ avoid creating spoilers while still giving enough detail?

3. What are good places to start with making a job out of storytelling/voice acting/audio etc. In the case of RQ, how is this a job and where do i sign up please! /j (what i mean is, how is best way/how did you find all the people involved and was there a common path that you were all on before getting to where you are now?) 4. Do you have recommendations for Terry Pratchett Books, i may be an literary-leaning student, but it seems i have never actually properly read any of his books. so where is best place to start?/What did you read first?

5. Similar authors or similar inspirations? Did you have a favourite podcast you listen to in your free time that you havnt had a hand in producing/directing/working on. 6. Favourite song/album/artist. And more specifically, what you like listening to in background when doing either writing or (for ttrpg) character research/game planing. 7. Since the olympics are on at the moment, what has been your favourite sport to watch, if you have been watching at all. Thank you for your time :)

Thankyou for all the kind words. Knowing our work is helping people really keeps our engines fired up. Let's see if I can't answer your questions: 1. I "sandbox" which is where I just shove everything I can think of into an unorganised bullet point list. Characters, setting, plot, all of it in one big mess. Then I decide what type of story you want to tell, copy and paste to a new document and then start to organise the thoughts (with the sandbox on standby if new stuff comes in I don't know what to do with). I think of it like scultping, you cut away bits and reshape until something comes out the other end that is story shaped. Only then do I attempt to build the sandcastle and put something coherant together like a synopsis or scratch draft etc.

2. Very tricky. I did a complete review and update of all notes after each recording session and don't forget the audio eas edited. I made lots of gaffs that you never heard as audience.

3. I contacted anyone I could convince to take part and just proved I was serious by overworking. I don't reccomend that route. Unfortunately it really is "who" you know. That doesn't mean chase established professionals as much as it means you need to get out there and associate with other up-and-comers who match your vibe. For me the route was long and windy and not a particularly good example. 4. I normally recommend people do not read his books in publication order. Don't get me wrong, its wonderful watching his craft grow from one title to the next but I would recommend new readers tip their toe into his later works to see if they like where he ended up before committing the time. I often recommend 'Monstrous Regiment' as people's first one. My favourite though is 'Thief of Time.'

5. I don't get much time to listen to podcasts in the last couple of years. I used to listen to a lot of non fiction. 'Stuff you Should Know' and that ilk. I also read a fair amount of classic YA fiction to unwind (Windinsger trilogy, Bartimeous, stuff like that.) 6. Paul Simon's Graceland but when working I assemble a playlist for each seperate project that is tonally appropriate. If I really need to focus I listen to Classical Minimalism. Or the Old School Runescape soundtrack. I'm allowed to be ecclectic. 7. I am actually in an incredibly busy work crunch at the moment so haven't seen any of it!

[multi-bookworm]

Why does nobody in this universe want to learn Greek like me :( making me sad, and bored, so I've made a list of all THE BENEFITS TO LEARNING GREEK:

1. The writing is really sexy. For example, even saying "you are a fish with a large forehead" looks beautiful

είσαι ένα ψάρι με μεγάλο μέτωπο

(even insulting someone is now gorgeous)

2. You could read Homer's odyssey or iliad with much less confusion since it will make more sense in the original language. Also you seem smarter reading the iliad or odyssey.

3. You seem really cool, this honestly comes with learning any new language, but Greek is connected to English, making it easier to learn, often, despite its complexity.

3. Understanding English itself will be easier since a large amount of the english language stems from Greek, as well as Latin, but Latin writing isn't quite as sexy (my own personal opinion, this is probably just because it is so similar to English, which is boring to me)

4. It is still spoken, as opposed to learning Latin, a dead language, making it easier to learn since you are more likely to have a conversation in it with somebody else.

5. The alphabet is interesting, as all foreign languages are, but the use of certain letters, how there are two different s's, three different i's and two different o's.

6. Interesting etymological origins from words. Some words came from myths, such as the man Narcissus, and particularly my favourite is when something is καλλίπυγος (Callipygious) which originated from an association with Aphrodite calling her Aphrodite Kallipygos, as well as roman reference of callipygian Venus. Callipygian means "one with/of beautiful buttocks," which I find to be quite hilariously accurate in addition to the common reference to Aphrodite in this manner.

7. If none of this enticed anybody and you dont think youll even go to greece so why bother, here are many things in Greece worth seeing:

A) THE MUSEUM IN ATHENS: multiple museums in Athens houses more history than the British Museum (that's saying a lot) with 11,000 artefacts in just the Natural Archaeological Museum in Athens alone (the British Museum has only 2,000 artefacts). Unlike many societies, they docked down much of what they did very early on so we have so much unscripted and crazy history from the Greeks alone in writing, and even moreso in their abundance of beautiful, detailed art. Even if you hate the Greeks (every country has done some bad things) it's still worth checking out the museums there just for historical knowledge and context, it will teach you a lot, i promise you that.

B) THE COASTAL WATERS: just look at the Mediterranean water, does that NOT make you want to jump in??

C) there are cats everywhere, particularly in Crete.

D) there are thousands of sites related to greek myths such as: the cave and temple of the Oracle of Delphi, which actually existed, and are still sometimes praised to Apollo today; Mount Olympus, the largest mountain in greece and worth a climb; the site where the Spartan Society thrived (my favourite society of all time, whom you should seriously check out here if you do not know already, if you do know... you should check it out also bc Weird History in yt really explains it accurately and in such a cool way).

E) greek culture. An ancient custom is to be kind to travellers, which was a belief that the traveller could be a God in disguise, so one always must treat them like a king and invite them into their home. (Again, this was an ancient custom, I'm not sure how prominent it would still be but it is a nice thought and the general public say that Greeks, particularly rural, are the loveliest people you will meet, for they have the strongest connection to this culture.) If you see blue roofs in greece this was a cultural belief as well, thought that rhat particular shade of blue would ward off evil spirits and protect the home from disease and impurity. Greece's long history of celebrated gods which are now well known worldwide through the many tales told about them and worship in their names.

If you still aren't enticed, that's okay, I am not offended, I'm just passionate I hope I didn't hurt anybody's feelings, and pls tell me if i have offended anyone who is greek themselves, because I am not greek, just heavily in love with your culture, so pls do correct me. Have a lovely day everybody :>

[hecate-editing]

Making Characters That Make Sense

Walk-through character template & "how to" guide for writing complex, original protagonists.

If you google "character templates for writing", you'll get a lot of very basic examples that read like a grocery list: eye colour, hair colour, skin colour, positive traits, negative traits, etc.

And sure, filling out this kind of template isn't completely useless - but it's also not particularly useful, either. Choosing whether your protagonist has blue eyes or green eyes isn't going to determine whether readers connect with them or not.

Instead, I prefer to use the below template:

There's some fairly left-of-centre categories here, so in this blog post I'll be creating a character from scratch to demonstrate what each section means and how to use the template effectively.

Primary Goal & Raison D'Être

Fantasy Romance is having a bit of a tournament-to-the-death moment right now, with Hunger Games-inspired stories like Fourth Wing, Throne of Glass, The Savior's Champion, and The Serpent and the Wings of Night in high demand - so that's what we're going to work with in today's blog post.

The story premise and primary goal of the protagonist are almost always interconnected. In this case, the story premise is a tournament to the death - and the character's main goal is to win that tournament, obviously.

But where there's room for some originality is in the raison d'être. This loosely translates to "reason for being" or "purpose". It's the why of it.

For example: what motivated this character to risk their life by entering such a tournament in the first place?

It is sometimes helpful to look at similar stories when thinking about this category. Not so you can copy their protagonist's motivations - but so you can do something different.

The whole selfless-self-sacrifice thing, for example - that's done. At least in relation to this particular sub-genre. We can do better for our hypothetical Maera Mystfang character.

Actually, let's really turn the trope on its head and make her raison d'être incredibly self-centred.

Already, this is character is shaping up to be something a little bit different within the niche of tournaments to the death. Which goes to show how putting a little bit of thought can go a long way, even with something as simple as identifying your character's initial purpose.

Primary Obstacle

Every protagonist needs a goal - and every goal needs an obstacle. This is what gives the story some tension and keeps readers turning the page.

An obvious choice of obstacle for this hypothetical character, since we're dealing with a fantasy romance, would be that Maera starts to develop feelings for one of her fellow competitors.

This concept has definitely been done, but that's okay. Not every section of this list has to break the mould. Tropes exist for a reason and it is totally okay to lean into them sometimes.

However, just for funsies, I'm going to try and put a slightly different spin on this one too.

Instead of the obvious "I love one of the people I'm meant to kill", let's make Maera's (previously dormant) conscience be the problem. Her reasons for entering the tournament may have been self-motivated, but as she gets to know her fellow competitors - admires some of them, even - she starts to second guess those reasons.

Core Traits

A lot of character templates will divide personality traits into positives and negatives - but I don't think this is particularly helpful. It is far too one dimensional - not to mention unrealistic. The key components of someone's personality aren't usually so black and white.

In fact, most core traits are both good and bad at the same time - it just depends on the context.

Instead of being wholly positive or negative, try to think of three core character traits that can serve as two sides of the same coin, with both positive and negative implications to each.

For Maera, I've given her these core traits:

Self-reliant;

Rebellious; and

Good-humoured.

Her self-reliance means that she is incredibly capable - but it's also the cause of her selfishness. She's always had to look after herself, so she expects others to do the same.

Her rebellious attitude means she isn't willing to accept the status quo. But at times she is also a rebel without a cause, causing trouble just for the fun of it.

Her good sense of humour means she is fun to be around, but she also tends to not take things as seriously as she should.

Thinking of core traits in this multi-faceted way not only adds realistic complexity, but it also sets you up well for showcasing character development and growth throughout the story.

Fatal Flaw & Character Arc / Growth

You've probably read negative reviews that throw around terms like "Mary Sue" or "Gary Stu". People tend to be over-zealous with these terms, especially for Mary Sue, but the gist of it is that the character in question is "too perfect".

They're the chosen one, they're good at everything, all the boys like them, etc.

Some characters can get away with this just fine. Look at Aragorn. He's the ultimate Gary Stu but I still swoon every time he opens those damn doors. You know the scene I'm talking about.

Ooft.

But for the most part, you want to incorporate a fatal flaw into your protagonists - because this is what gives them room to grow.

And, no. "I was born to be King but I don't wanna" does not count as a fatal flaw.

Instead, think bigger. Think worse. Think about where your character starts versus where you want them to end up. Think about how you want the events of the narrative to change their world view - or even their initial goal.

For Maera, her fatal flaw is pretty obvious, given her initial motivations for entering the tournament. Similarly, her growth/arc is linked to her primary obstacle, which is developing a conscious.

Her journey throughout this hypothetical story might be learning to appreciate how her past shaped her, while also acknowledging that there are things she can do to ensure others don't have to go through what she did. By being shown acts of kindness, she learns to appreciate their value.

First Impression

Now that we've covered all the "big picture" stuff, let's get into some of the smaller details that give your character some texture.

The first impression category is a hypothetical exercise where you image how your character might appear to a room full of strangers. In dual, multi, or omniscient POVs, you might even get the opportunity to include this impression somewhere in the story.

But even for first-person narratives, it is still worth thinking about, because it will help to inform how other characters interact and respond to your protagonist (at least at first).

For Maera, I've written this first impression as: a fun person to have a few drinks with - so long as you keep a close eye on your wallet.

From this description, we can guess that Maera probably likes to have a good time, but also comes across as untrustworthy. Whether that impression is deserved or not is up to you, as the author, to decide.

There's also a lot of deeper directions you can take this first impression category, too. Like if most people react to Maera this way, but one particular character doesn't, then your readers are going to sit up and pay extra attention during that interaction. Especially when that person reacting atypically is the future love interest.

Spirit Animal

Ah, this one is a fun one!

I always encourage my authors to assign a "spirit animal" to their characters - especially when they're doing multi-POV.

There are two main reasons for this:

It will allow you to assign some very distinct adjectives and verbs with that particular character; and

It is an opportunity to flesh out some additional character traits beyond the core traits.

For Maera, I've chosen "spider" because she is solitary by nature, opportunistic, and patient.

But, more than that, I also like the idea of Maera being the kind of person who knows how to watch and wait. While her first impression might be "here for the good times", her joking façade is actually a mask she wears while carefully observing others.

For example:

Her words were laced with venom. She crawled her way across the rooftop. At some point, weaving lies had become more of a past time that a necessity. Her thoughts were a tangled mess. She didn't bother to conceal her predatory gaze. Inch by cautious inch, she crept forward. Her sanity was already hanging by a thread. If there was one thing she knew how to do, it was spin a good story - truth be damned.

I've never outright compared Maera to a spider in these examples, nor have I made it blatantly obvious that that's what I'm doing. But by peppering these kinds or words throughout the story, I'll be able to subtly create a very distinct kind of impression for her character.

For comparison's sake, let's assign "cat" to the love interest. Examples of possible words to consider in this instance might be:

He clawed his way through the bushes. "What are you doing?" he hissed. The comment had some bite to it, that was for sure. He slunk away into the darkness. His still, unwavering focus was unnerving. He prowled towards her. In a few quick, agile steps, he'd made it across the parapet. He yawned and stretched out beside her.

Of course, not every single word you use in association with a character needs to be related to their spirit animal. But keeping a certain type of animal in mind - and finding opportunities to throw in some subtle messaging through language choice - can be beneficial on so many levels.

It helps to distinguish your characters from one another through the kind of language you use to describe them - but it's also just really, really fun way to add some bonus texture to your characters. Giving your readers some little easter eggs like this is never a bad thing.

Love Language

If you're unfamiliar with the concept of the five basic love languages, then here's a quick visual overview:

Love languages aren't a consideration that's specific to romance. They're important for friendships and familial relationships too.

Because thinking about what your protagonist values most in love is going to tell you a lot about who they are. Especially when you take the question deeper and think about why this is something they value.

For Maera, I've chosen "Acts of Service" because this ties in quite well to her character arc.

In terms of Maera's why, I could easily go with "because this was how she was shown love as a child" - and this is a good enough option most of the time. However, since her love language is very much tied into growing out of her fatal flaw, then I actually want to do the opposite.

Maera winds up valuing acts of service because this is something she craved - and wasn't given - as a child. She had to do things the hard way instead. Hence why she ends up appreciating the kindness of others so much. Such generosity is new to her - and precious.

Conflict Response

This is potentially one of the most overlooked character components. Conflict and tension is central to story telling, yet there is so little attention given to creating authentic, original responses to conflict.

The way I see it, there are three main considerations in regards to conflict response:

How your character reacts in the moment;

The unhealthy methods they use to deal with the aftermath; and

The healthy methods they use (or discover) to self-sooth.

When faced with conflict, Maera's immediate reaction is to antagonise. She doesn't like to back down and enjoys creating trouble.

However, in the aftermath, the conflict affects her more than she lets on. She stews on it - and her solution to that is to get drunk until she can forget about it completely.

But even though she sometimes forgets it, Maera has a more healthy coping mechanism at her disposal. When she is surrounded by nature - in the forest, by the sea, whatever - it calms her.

In addition to identifying your protagonist's various responses to conflict, it is also helpful to think about why. Again, this is a great opportunity to insert something unique into their character backstory.

With Maera, for example, let's think about why she finds nature so soothing. Perhaps, amidst a very bleak childhood, one of her fondest memories is of picking grapes in a vineyard.

Perhaps the elderly woman who owned the vineyard was very rude and abrupt - but also quite kind to Maera in her own way. Maybe she would sometimes stitch up Maera's clothes or feed Maera a hearty, meaty dinner - even though she didn't have to.

If you're struggling to think of a real, tangible, unique memory such as this - then it's always helpful to go back to the old classic of write what you know. Think of a real life moment or memory - something that's stuck with you, no matter how simple - then adapt it to your character.

To create this vineyard example, I simply drew on my experience of picking strawberries with my Nonna after school.

Mentor / Idol

I could write an entire thesis on mentors. Or, more specifically, the "death of the mentor" trope - both in its literal and metaphorical interpretations.

But, for the sake of brevity, let's save that sh*t for another time and focus on what's important for a basic (yet complex) character template. And that is:

The Formative Mentor (past); and

Transformative Mentor (present).

The formative mentor (or idol) is someone who influenced your character prior to the events of the novel. Sometimes they're a character the reader will meet, or other times, they're long gone before the novel even begins.

The transformative mentor is a much looser term. It doesn't necessarily have to be a traditional mentor character, but rather it is a character who heavily influences or changes your protagonist throughout the events of the novel.

For Maera, I want her earliest idol to be a random female sell-sword who she crossed paths with. Prior to meeting this sell-sword, Maera was living without hope for a future, surviving on scraps and petty crime.

But after seeing an independent and moderately wealthy sell-sword in her local tavern, Maera got a glimpse into the kind of life that might be possible if she learned to fight. With the right kind of skills, she might be able to earn some decent money for a change - and travel the world.

This is an example of how "mentors" don't always have to be a wise wizard who oversees your protagonist's training and education. Young minds are impressionable - and even distant figures can have a lasting impact.

Just look at all the women who cite Legally Blonde as the reason why they were drawn to law. Elle Woods wasn't even real - but for plenty of young girls, she made an impact.

Similarly, your protagonist's "present" mentor or idol doesn't necessarily have to be a wise wizard either. It can simply be someone who motivates them to change their world view or strive to be better.

In romance, it is more than acceptable to have the present mentor coincide with the love interest - especially in standalone enemies-to-lovers. I know this seems counter-intuitive, since the word "mentor" implies a power imbalance, but it makes more sense if you readjust your definition of mentor to be "inspires change".

However, for Maera, I kind of like the idea of pairing her up with a love interest who shares some of her flaws. I vibe with the idea of making him a bit self-interested too, although for different reasons.

So in her example, I've listed the present mentor as a selfless secondary character. The way I would envision this going is Maera and the love interest team up early on - but somewhere along the way a secondary character saves them both. They're both heavily influenced by this character before this character sacrifices themselves. The aftermath of this incident rattles both Maera and her love interest, and serves as the spark for growth.

I hope you found this template - and very long explanation - useful!

[allgirlsareprincesses]

Hi. Not sure if you've answered this before, but do you have a list of books to recommend on fairytale/mythic analysis?

So I finally have a real response to this question, but it's LONG, be warned:

First, it depends what you want to get out of your folklore study, what lens you'd like to use for analysis. And second, it's important to know that the practice of folktale analysis has changed over time, especially in the last ~15 years or so as the scholarly consensus has evolved toward decolonization.

For example, the common historical starting place was Bruno Bettleheim's The Uses of Enchantment. Candidly, I haven't read it yet for a few reasons: 1) It focuses fairly exclusively on Western European fairy tales like those of Grimm, Basile, and Perrault. 2) It assumes the primary audience for such tales are children. 3) It's a white man's perspective, and there are already enough of those to go around. That said, it's considered a foundational text for folklore study, so I'll probably get to it eventually. There are some modern authors who might be considered scholarly successors of Bettleheim, like Maria Tatar. I haven't read her books yet but I know she's also a powerhouse of Western fairy tale analysis.

Some other popular perspectives include the works of Carl Jung and his protégés in psychoanalysis, Marie-Louise von Franz and Erich Neumann. These are wonderful sources for learning about depth psychology and the universal unconscious which causes certain motifs to recur in storytelling across the globe and over centuries. Another popular author in this field is Robert Bly, who dove deeply into the concept of the Shadow as it appears in folk tales.

But for me, my favorite sources have been a collection of feminist authors who were active in the late 80s and early 90s, notably Barbara Fass Leavy and the incomparable Clarissa Pinkola Estes. While their work is pretty firmly grounded in second-wave feminism and therefore not very intersectional as we understand it today, they were the first to begin exploring interpretations of folk tales outside of a patriarchal context. I personally refer to Leavy's In Search of the Swan Maiden and Estes' Women Who Run With the Wolves more than any other books.

A lot of the most current perspectives are only accessible via blogs, like Jeana Jorgensen AKA The Foxy Folklorist, who often explores fairy tales through a Queer lens. Another brilliant voice working today is Helen Nde of Mythological Africans, who is doing the long-overdue work of decolonizing African folklore.

And while all these sources will help you develop a framework for analysis, still one of the best things you can do is read the tales for yourself. One of my favorite series is that of Heidi Anne Heiner of Sur La Lune Fairy Tales, who has amassed impressive collections of folk tales of the same type from around the world, making comparison easy. She also provides excellent footnotes that offer context to the versions and translations she's selected, and every tale has a source.

Outside of that, I like to read regional collections from indigenous scholars and native speakers: some editors will even include a copy in the original language along with the English translation, thus allowing others to "check their work." One of my favorite folkorists like this is Inea Bushnaq, who collects Arab folktales and again provides accessible cultural context. It's important to remember that most oral folktales which are now available in English were first recorded by colonizers, so the versions we have may be edited, mistranslated, or even maliciously altered to suit Western tastes. This is why seeking out versions from actual members of indigenous communities is critical.

Right now, I'm reading The Japanese Psyche: Major Motifs in the Fairy Tales of Japan by Hayao Kawai, and I'm next going to try Oral World and Written Word by Susan Niditch. I tend to just go where the spirit moves me, journal a bit, go down a research rabbit hole about a particular topic... it's fun. But whatever you're looking to get out of your folk tale study, rest assured you will never run out of material!

[writingquestionsanswered]

okay so you’ve talked about mentioning modern day items, products or media in books before, but i wanted to ask about those same things but outside the US or the such as products from (insert third world country here) that ppl in the UK or The US would probably never hear of, because they aren’t locals who grew up in the area like someone like myself has.

Mentioning Less Familiar Products or Media

I'm not sure about the context you're referring to, because I've talked about it in a few different contexts in the past:

Timelessness - Specific products, businesses, services, and media have a tendency to "date" your story, meaning that they act as a timestamp that lets the reader know when your story takes place. For some stories that's not an issue, because you want the story to be rooted in a particular time period. For example, maybe you wrote a coming of age story set in the 1980s, so you mention products, media, businesses, etc. that were popular in the 80s. But let's say you want readers to feel like the story is current, whether they read it in a year or ten years from now. In that case, you wouldn't want to mention products and media popular today, because ten years from now those things will no longer be popular. This is true regardless of your story's setting, where you're from, or where your target audience is from.

Legalities - You generally want to avoid portraying real businesses, services, products, and people in a negative light, because although the likelihood is probably slim, there's always a chance they could sue you for harming their image and negatively impacting their income. This is true regardless of your story's setting, where you're from, or where your target audience is from.

Relevance - The products, businesses, services, and media should generally reflect the setting of your story, regardless of where you--the writer--are from, regardless of where the target reader is from. If you're Nigerian and writing for a Nigerian audience, and you set a story in New York City, the products, businesses, services, and media mentioned in your story should reflect the NYC setting. If your story is set in Nigeria and is written for a western audience, the products, businesses, services, and media should reflect your Nigerian setting. Even if most westerners won't be familiar with those goods and services.

I hope that answers your question!

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[savethegrishaverse]

Something I think isn't talked about enough is the representation of what gambling really is vs. what it feels like. Ding ding ding it's a character essay.

We see gambling in movies like James Bond, Last Holiday, Limitless, and even in heist movies like Oceans 8. I'm sure there are a million other examples that could be listed here. Also I've never actually seen Oceans 8 so if there isn't actually gambling in it lol that's awkward.

But I think it's just as important when we see what gambling addiction is, and how addiction affects everything around you. On paper, I can say I know what gambling addiction means, but it's hard to truly understand the gravity of what living with a gambling addiction is like. That's why seeing it represented (ideally represented well) in stories helps bridge that gap.

Watching characters like Gi-hun from Squid Games and Jesper Fahey from Six of Crows, we see characters who actively have gambling addictions and how it caused their suffering.

Every decision they make, both the good and more importantly the bad, you can follow and understand when given the context of their addiction. They're both very earnest and kindhearted people who are quick to make decisions (impulsive, one could say) and that need to gamble when the stakes are high causes actual consequences in the story. It makes the reader/watcher upset because we know why they did it, and we know they didn't intend to hurt the people around them or themselves, but they did anyway and they can't take it back now. We understand their motivations, their fears, their wants and desires, and as the audience we can relate to them on a more personal level because everyone has times where they can't help themselves. But, we as the audience can also come to understand why gambling addictions ruin lives. We can see where Gi-hun's or Jesper's addictions directly cause their grief or their pain, and when they put forth effort to change and understand those addictions we can feel pride in them.

This (taps my screen for emphasis) this is why it's important to have characters in media that struggle.

As cringe as it sounds, because I watched Squid Games and because I read Six of Crows/Crooked Kingdom I can honestly admit that I am kinder. I am more likely to stop and listen and think about the people around me and why they ended up how they did. I am more cautious, but I also make a harder effort to leave everywhere I go even just slightly better than I found it. Now this isn't to say everyone all the time is always going through life with the best of intentions. The worst characters you can think of are just as inspired by real life as the best characters. Some people don't want to get better, and they don't care about the consequences of their actions.

But seeing a queer, emotionally lost, well-intentioned POC farm boy with a quick mouth and a habit of getting in trouble struggle with an addiction that he is learning to cope with makes me feel more seen in return. Hearing Jesper's struggles and hearing how desperate he was to do good and despite that sometimes he still did something bad anyway in turn makes him more compelling. Seeing Gi-hun actively work to do good when faced with the worst circumstances makes me feel good and I feel in a bizarre way seen when I am doing the same small good. And it feels real. It makes addiction feel more grounded, in a way, and gives it a more tangible shape in my head. And that shape in turn helps me empathize with people I wouldn't ordinarily understand. It makes me feel more accountable of my own actions, and it makes me feel less lonely to know I have characters like Jesper and Gi-hun to relate to. Granted, I don't struggle with a gambling addiction, but I do struggle with anxiety and OCD. I am plagued with impulses I can't help and I have to fight hard to control them so I can live my life. I can sometimes have the best of intentions and still end up in a giant (metaphorical) dumpster fire of a situation anyway completely because of the decisions I made in the process.

Addiction has a million faces. Mental health problems can rear up in anyone's shadow. You never can fully know what weighs on a person or why they act the way they do. And because of that, characters who struggle in that same way will always be important because they both teach us that intangible shape we may not yet know and simultaiously provide stories for suffering people to hold onto when they need it.

TLDR Netflix CEOs stop letting all your decisions be motivated by capitalism/greed. You are entirely missing the point of the stories you are telling. Stop cancling shows when they have genuinely good characters and good ideas, and stop overworking a production just because it is successful. Slow the fuck down already and make genuinely thought out decisions.

Also if you haven't seen Squid Games yet it's a great (but devestating) watch. If you (somehow) haven't read Six of Crows/Crooked Kingdom yet it is unironically one of the greatest duologies I've ever read.

[mine-fujiko]

I’m sure you’ve seen pictures like this one over the internet in the form of memes, in self-declared manifestos and articles that claim to be from the queer community.

Looks like it’s Jigen asking Lupin, right? This does indeed get sold to the internet as if Jigen is asking Lupin such a big question.

The actual scene:

I posted a while ago an example of a very piss-poor translation of a chapter from the original manga that is used by the same people who write this so called propaganda as evidence of ‘gayness’ going on with these characters. You can read it here, TokyoPop simply made a poor job but that also is, apparently, taken seriously and spread all over the internet.

It all could be easily dismissed with a laugh because in the end the show itself is meant to be fun and being in the fandom should be fun but I keep asking myself if this fandom attitude qualifies as queerbaiting. What’s sad is that it comes from other fans who are... in good faith??? (color me suspicious) fooling people into believing things that are not there.

I’m sorry to have to say this but apparently there are some who actually trick people who are invested in certain characters and who might be fragile. People who, right because of this propaganda based on wrong translations, fake pictures, jokes being taken too seriously and too far and cultural misunderstandings, might end up deluded and hurt.

The list of these ‘misunderstandings’ or even misrepresentations can go quite on, here you get just the basic idea.

We’re all up in arms when queerbaiting comes from the powers that be authors and producers but when it comes from allegedly fellow fans is maybe even worse.

“Propaganda” in itself is already a bad word, if you need propaganda to convince people through memes plastered all over the internet that’s another sign that something is wrong. Not to mention most people only know the characters through the internet grapevine and therefore completely out of context, because by their own admission, they don’t even watch the show.

These characters have been around since the 60s, in Japan... I wouldn't even go near them being 'coded' because it could mean having to code them in a really bad way.

Feel free to share your view.