#conlang progress update

[detectiveaku]

fyodor: our language will be free of imperfections and irregularities that plague common tongues. each sentence will follow a strict pattern that will describe the relations between subjects and objects, so that each thought and emotion can be spoken uniquely while always being understood and--what are you doing

dazai: 200 verb tenses. 300 noun cases. and they can permutate with each other and themselves to make millions of combinations. the verb is always split into two parts. the language has no words, only adjectives, pronouns, and relations. any word can be a swear word. any word can represent god. fuck you

fyodor: im going to enjoy killing you.

[cb-writes-stuff]

Alright, got a solid 661 words today. I’m finally getting out of the slog that is the first 1% and it’s starting to be fun.

Favorite sentence I wrote today: “Saksavra bo-ebi mo-janjiken?” No, it’s not English. It’s a conlang, and I finally got to use it in a scene in full sentences instead of just a word here and there. (If you’re wondering what it means, it’s just “What are they [feminine] talking [about]?” I don’t wanna yap too much about it in a progress update though.)

[ancientmyth]

WRITEBLR INTRO : —

hi! my name is mel, and i'm (trying to) write a high fantasy book. i'm a college student, and i've never written anything before, but this world has been living in my mind for a while now and i want to try and do it justice! i'm hoping that by making a side-blog for this it'll help hold me accountable and actually make progress on this project.

my asks are always open, and i'd love to connect with more aspiring writers!! i have no idea if i'm any good, or if i'll ever make this an actual book, but i really want to try. so any advice would be much appreciated!

· · ─────── · 𖥸 · ─────── · ·

BOOK STATUS: still in her planning/outlining era [also known as her tolkien era because worldbuilding is so much fun... i may be making a conlang for this...]

ㅤin the land of erdemir, in ages long past, an ancient kingdom angered the gods and brought destruction upon themselves. this land is now called the overgrown: dense forest and overtaken ruins, inhabited by strange creatures of varying temperament. the wildlings call this untamed land home, while civilizations are carved into the outskirts of erdemir.

you can see the pinterest account for this wip here— but beware!! it contains spoilers, wip characters, stuff that may get scrapped/reworked, etc.

· · ─────── · 𖥸 · ─────── · ·

QUICK LINKS:

ㅤbasic info about the lands of erdemir here

ㅤcharacter sneak peaks here

ㅤintro to the magic system here

TAGS:

#updates ₊˚⊹ 𝘢 𝘸𝘳𝘪𝘵𝘦𝘳 𝘸𝘩𝘰 𝘥𝘰𝘦𝘴𝘯'𝘵 𝘸𝘳𝘪𝘵𝘦

#erdemir ༉‧₊˚. 𝘩𝘰𝘭𝘺 𝘱𝘭𝘢𝘤𝘦𝘴 𝘢𝘳𝘦 𝘥𝘢𝘳𝘬 𝘱𝘭𝘢𝘤𝘦𝘴

#mel talks ₊˚⊹ 𝘩𝘢𝘷𝘪𝘯𝘨 𝘤𝘳𝘦𝘢𝘵𝘪𝘰𝘯 𝘪𝘥𝘦𝘢𝘴 𝘢𝘣𝘰𝘷𝘦 𝘮𝘺 𝘴𝘬𝘪𝘭𝘭 𝘭𝘦𝘷𝘦𝘭

#asks ༊*·˚ 𝘸𝘩𝘢𝘵 𝘴𝘢𝘺 𝘺𝘰𝘶?

#reblogs & resources ₊˚⊹

· · ─────── · 𖥸 · ─────── · ·

MISC:

this is a sideblog, my main is @vxlkyries

multi-pov, epic fantasy

[sadpurpleblood]

Some progress ive been making with my conlang, mostly surrounding pronouns and verbs:

These are all the personal pronouns of the language put into one big chart. There's *some* irregularity there, compared to the standard case and number marking, but not by much. Mostly just vowel alternation and some reduction.

Now for the verbs. Those are fun. The basic verb template is Stem-Voice-Mood-Tense-Object-Subject-Interrogativity, though thats with an asterisk.

Here you can see all those suffixes in their respective tables. As is noted, the future tense may also be used to express an imperative or jussive mood. Additionally, an iterative aspect may be expressed by reduplication of the verbal root's onset and nucleus of the initial syllable.

Based on this paradigm, adjectives are derived from verbal roots and agree with their nouns in case and number, with the slightly modified template Stem-Voice-Mood-Tense-Case/Number.

Also here's an updated list on what the sound changes from this protolang to its descendants might be.

That was all :p

[multiversetravelingjournalist]

Arknights: Durin Conlang

So... I just learned that Arknights and its world of Terra has its own version of the vertically challenged underground-dwelling comedy relief people. so, like any sane artist I decided that they too will get their own language alongside the other languages I have cooking for the other nations (which I should make a list for, like the Mass Effect one).

in under an hour of brainstorming, I know these things will be featured:

Grammatical features will be governed by affixes that change and or remove the existing phonemes/suprasegmentals of the root word. in other words, changing the stress and/or tone, the place/ manner of articulation of the consonants, and/or the openness, frontness, nasality, length, voicing, etcetera of the vowel will determine things like tense, plurality, person, and other features that I haven't seen in any other natural or constructed language.

Derivational affixes (those that change the definition of the word itself down to whether it's now a noun or a verb) will use the more traditional prefixes, suffixes, circumfixes, and the rare infix. as well as good old compounding.

derivation includes a tool for doing the verb, a person who does the verb, and the person who is the receiver of the verb. e.g. "weapon", "warrior/soldier", and "murder victim" could have the same root.

the two systems above have their own metaphorical terms to describe how they work and are viewed by native speakers. respectively, they are called "Sculpture" and "decoration". with grammar being viewed as -- in this case -- literally changing and refining the shape of the word. while the derivations are viewed as adding little touches to an already finished work.

The phonology of this language will have lots of plosive. perhaps in addition to using most places of articulation, they are more diversified by secondary articulations like aspiration, palatalization, labialization. maybe there are additional phonemes such as affricates, nasal releases, lateral releases, rhotic releases, that will drive up that plosive count.

Syllables might have plosives and/or affricates in the onset and the other consonants like nasals and liquids in the coda. this is based on English onomatopoeia like "bam", "clang", "crash", etcetera. a sort of friendly acknowledgement at the literary roots that the race is no doubt based on.

These are the things that I am most sure to include in the final version of the language. but they are also subject to change. already I am wondering if I should switch the morphological nature of the grammar and derivational morphologies. seeing as derivation is more like changing the shape of a word more deeply while morphology is more like the bits and pieces you would add afterwards. what would you think?

there are also some features I am considering but not yet sure about committing to just yet. some of those features being:

subject and object person being marked by the manner of articulation in the onset and coda.

tense/aspect/mood/other marking via the properties of the vowel in the root's nucleus.

direction words encoding three-dimensional information due to living in an underground maze-like environment.

a metaphor for time going from light to dark.

This is all I got for now, I'll try to keep you updated on any progress. till then, feedback is appreciated. till next time... ;).

[skylandersbf]

Conlang Progress Update - 4

Writing System

I feel pretty good about the characters I have made! The script is written vertically. I'm still working on a handwritten script so that you don't have to only write in calligraphy. I still want to make all the letter names a plant, but I have nowhere enough words right now.

Derivation

I am working on more suffixes and prefixes to derive more words. So far I have the prefix "her-" which makes an adjective into a verb.

For example:

Gjalt - large, big

Hergjale - to enlarge, to grow

A suffix I have added it "-ym-" which takes a verb and turns it into the product or result of the verb, similar to "-age" in English.

For example:

Kåre - to cook

Kårymæs - food

[quothalinguist]

I've been so happy to see people sharing their Conlang Year work (and thank you to all who are tagging me in it so I can more easily follow your journey!). I haven't managed to post my updates for my own Conlang Year work on my website quite yet, but I have been doing the prompts for my current language-in-progress, which is a language for Nisse speakers (i.e. gnome-like speakers). I decided to have some fun with how I am sharing the sound system and created this NisseLang drawing to showcase the sound inventory in the proto-language.

Have a conlang day!

[mindutme]

T’owal T’uesday #14

Mélk’o bmán t’on sos bmán sos.

Sorry for not updating in so long! There’ve been a few reasons, one of which is that I’ve been working on a new language and haven’t felt ready to share it yet.

Another factor is that I sometimes worry about the quality of the texts, scripts, and languages that I post, and feel like I shouldn’t share things unless or until they’re perfect (not that I think my previous posts are perfect, by any means!). But that’s silly—for one thing, this is a Tumblr blog and not a fancy journal, so I should feel free to post works in progress and stuff like that. I was recently reminded of that when thinking about how and why I started making T’owal.

It is, for me, the conlang-embodiment of the sentiment “perfect is the enemy of good.” I had been struggling for quite some time to make a naturalistic conlang and in all that struggle I had produced basically nothing. So I decided to set aside naturalism and to just make something, and that something became T’owal. It’s not naturalistic, it’s very straightforward in its grammar, and it has some issues, but it exists as a functional language that I’ve made, which is more than I can say for any of my previous attempts at conlanging!

So I’m going to try to get back into posting, and I’ll start with the sentence above:

Mélk’o bmán t’on sos bmán sos translates to “Perfection is the enemy of completion,” or more literally, “Being completely good is the enemy of being complete.” I think that’s a little more in line with the thought process behind T’owal’s creation, and also makes a nice little parallel with bmán t’on sos (“being completely good”) and bmán sos (“being complete”).

Sometime soon I’ll introduce you to my newest conlang, Valya! All that remains to be decided is if it’ll be Valya Vednesdays or Valya Vridays.

[pemokiandkenacia]

A More Thorough Introductory Post:

Hello, friends, and welcome to our semi-official P&K content blog. I'm @smzeszikorova, and I'm working with @adrielcastlyre on a series of four books, currently titled Pemoki & Kenacia, though that name may be subject to change. We've spent about ten years world-building and character-building. Not an ideal timeline, but I regret nothing. The joy's in the process.

We've laid out the foundations for all four of our books—made the transition from pantsers to planners. The outline's all there, and though there's a few important details to work out, we know what direction we're taking. Phase one's complete. Once I've submitted my thesis (UPDATE: SUCCESS) , we'll be set to hammer out our drafts.

For newcomers:

Pemoki & Kenacia's a bit ambiguous, genre-wise. The closest thing to it's probably hard fantasy. As for our target audience, I'd go with "adult". our POV characters' age range is pretty broad, and their interests and concerns vary accordingly, but they're written with adult readers in mind. I'm cautious to reduce P&K to a string of TikTok tropes. That said, here are some things you can expect to find here:

Multiple protagonists. Our cast is large. We've got approximately 90 named characters in-universe whose appearances in the end product are more or less guaranteed. Granted, most of these aren't central to the plot. But our main cast is on the large side. Each book generally has one to two protagonists; they change from book to book.

Multiple POVs. And to ensure that each character's arc comes to a satisfying conclusion, I switch between points of view somewhat regularly. (My tendency's to head-hop. For college degree reasons, I read a lot of old-timey Russian literature in the vein of Anna Karenina, and it influences my style, but I know head-hopping's a bit of a controversial writing choice these days. Whether we'll try to shift toward a purely omniscient style is currently under debate. Regardless, expect to get to know a lot of characters.)

War and international conflict. Our story's very concerned with the personal struggles of our characters—familial conflict, romance, friendship, betrayal, etc.—but it all takes place within the broader backdrop of these warring countries we've invented. And the war takes center stage often.

Deep worldbuilding. This universe is large—well suited for such a large cast. Currently, it involves five multinational regions, eleven countries, and nineteen cities. With limited space to explore all these places, we highlight what's essential and let the rest inform the narrative in subtler ways.

More reality than fantasy. People who’ve had a look at our works in progress say that we’re pretty grounded in reality for a couple of fantasy writers. All our main characters are human. Magic is a genetically-inherited phenomenon with rules loosely based in science. And while none of our fantasy regions, ethnicities, or religions are meant to be read as directly analogous to any real-world ones, they do draw influence from the real world at times. I’m sure you’ll notice this in the Russian-based languages of the Sitrii Elariny, the English-based language of Kenacia, and the language of Qhiron, which draws from both but perhaps not quite so obviously. In our worldbuilding, we make a point to give our invented nations believable complexity, heterogeneity, and political and economic motivations. We’re not too big on the “This region is inhabited by the stouthearted, down-to-earth Welverpeople who universally prefer farming tools to swords, are warm and inviting to outsiders, practice simple domestic magic, and make for extremely loyal allies” vibe.

Conlang. Fairly self-explanatory. Usually I'll just say, "[Insert sentence here]," Character X said in Pemokese. But now and again, when I feel it enhances the narrative, I'll leave it in my invented language and let readers draw their conclusions about the meaning.

Problematic characters, dark topics, and complex, incomplete redemptions. It's very important to us that we approach our darker topics with caution and sensitivity, but we're not writing Aesop's fables. Don't expect comfortable, obvious answers to the ethical questions we pose. Folks looking for escapism or retributive justice narratives should probably look elsewhere.

Queerness; disability; ethnic, racial, and religious diversity. Our story isn't really about these elements, per se, but our characters come from a variety of backgrounds, both real and invented, and it does inform the story. (We're both white and culturally Christian, and in terms of our relationships with queerness and disability, we'd both make for lousy representation, so we're operating with the understanding that we're gonna need hella beta reading once all this is done.) And on a similar note . . .

We take some unusual liberties with our world. Fake religions (Dzulyan, Kvotian, etc.) coexist with real ones. And though our languages and cultures are obviously influenced by the real world, they're all explicitly invented. We're not too concerned with making our universe consistent with real-world history, so while we do touch on issues related to queerness, ethnicity, etc., we don't go out of our way to align the experiences of our cast with those of people living within a certain real-world time period. When we decide what scientific knowledge and technology to include, our key is internal consistency. We'll guide you through the rules of this universe as needed, but if at any point you find yourself wondering what time period we're supposed to be in, just know that the answer is "none of the above".

Now, with all that said...

What are you likely to find on this blog?

Updates. If you want to know how P&K's coming along, here's where we'll ramble about the process.

Art or other related side projects.

Requests for beta readers, once we get to that stage.

This blog's a writeblr of sorts, but we won't discuss anything unrelated to P&K here. My coauthor's not very involved with social media in general, and I'm in and out of the writers' community on this site. So if you're here for tag games, community events, etc., @smzeszikorova's where you'll find all that. This blog's essentially a dumping ground for P&K materials. I can't imagine it'll be too effective as a hype builder, but once our books are released, everything we post here will be available for our readers to see. And on the off chance that our books get big (which I'm not counting on, but it'd be pretty cool), those of you who join in the fun now will have special clout. "We were here from the beginning." Do with that what you will.

We take asks! If you're interested in putting our characters in (non-erotic) situations, feel free to send in an art prompt.

As for the books themselves, I've tried to be sparing about plot reveals. (That'll be truer from here on out than it was on my other blog. Current mutuals, I swear I'm not kidding when I say all those art posts, quotes, and snippets I used to post are basically void. That's how much we've changed over the past few months. But the first book's premise remains the same:

As the threat of war looms on the horizon, Catherine Leures, an impoverished Kenacian woman living in the north of Pemoki, enlists in an effort to pull her family from the depths of financial ruin.

(I think I'll hold off on descriptions of the other books for now. They'd be pretty spoilery. But I'll post more thorough blurbs as I start getting these published. We do have titles for the second, third, and fourth books: Fledgling's Descent, Stirrings of a Silent War, and The Fallen Star of Thaeryvon.)

What do I mean when I say everything's changed, then?

I mean the process of filling plot holes, removing extraneous plotlines, and accounting for sensitivity in our characterization has resulted in a good number of our characters' personalities, relationships, and arcs being completely revamped. Lucky you! Aside from knowing the names, national and moral alignments, and general appearances of most of the first book's main cast, you'll be on about the same page as new readers if/when P&K gets published.

Before I go, a couple updates about P&K:

Since I started writing my thesis, my writing style has changed significantly. We've been making stylistic revisions to our original draft. Thankfully for our future editors, our first draft's gotten a lot more concise.

All the canon events are essentially set. The "outline" I did for my thesis is basically one long synopsis. All that's left for our first draft is to fill everything out with dialogue and detail. (Easier said than done, but I'm excited anyway.)

My coauthor and I have been playing with the idea of a character narrator: someone with a personal investment in the story. We're not sure yet, but it's a fun experiment.

If you've gotten this far, thanks so much for reading this incredibly long post.

[madelinelovesick]

Introducing the Saraverse

As you might have noticed, I did not resume posting daily Madelineverse pages on July 1, and, indeed, never posted a single Madelineverse page since that date. While many of the causes are largely personal, at least some, I believe, are inherently structural.

Namely, I believe that certain key aspects of the Madelineverse are beyond my current skill as a worldbuilder/conlanger.

For this post, I would like to highlight just two of them:

The map

The mapping method I've chosen for the Madelineverse's primary habitable world (the *Earth) is the plate tectonics method posited by Worldbuilding Pasta and popularised by Artifexian, requiring one to go ca. 1 billion years back and simulate plate movements from that date, making sure that everything behaves correctly. Needless to say, this is a highly involved process, and many newcomers to the process find themselves constantly doubting themselves and having to redo large portions of their work, almost constantly.

Early Creole

Early Creole starts out with less phonemes than Proto-Indo-European had stops, and very simplistic phonotactics to match. While this is not completely unreasonable for a proto-language (Proto-Japonic, for example, is of a comparable complexity), it is still more difficult to work with than something like PIE's phonology. The process is made more difficult by the fact that the speakers of different ancestral languages would end up speaking different varieties of Early Creole, which need to be taken into account before a phonological evolution can even begin.

Taking a step backwards

My conclusion at this point is simple: if the Madelineverse is to simultaneously be my "perfect escape" and constructed according to the most advanced methods available to worldbuilders, then I have to pick it up when I'm more experienced. Note that the current progress does not need to be thrown away, but simply archived for future me.

Instead, to continue the output of this blog in any capacity, I've decided to create the Saraverse, a world that lets itself play "fast and loose" and acts as a test bed for some of the more outlandish Madelineverse ideas, as well as a way to "git gud", so to say.

So far, I've started with a single conlang, very creatively named Saraverse Language I, with a phonology/romanisation that makes it look like Latin, but intended to diverge from the Proto-Indo-European mould in grammar. There is not much work done on it so far, but I can show the ideas for the phoneme list for the original and modern forms:

From now on, updates should be coming every Monday at 17:00 UTC+2.

Thank you for your patience.

[justapalspal]

if anyone wants to see my neocities pages, I updated the WIP site here:

current attractions include a modest cookbook and phonologies for some of pal's conlangs. future attractions to be developed include a "pal's favorite teas" page, a fic recs page, and I... guess a diary or something about my language learning progress across japanese, spanish, arabic, french, and welsh!

[obfuscobble]

Also let me know if I should scream about Jigoku Shoujo / Hell Girl main characters sometime because I have opinions. Yes, Wanyuudo is best boy; deal with it. Honeonna my beloved. Honneonna's two dozen onibi infesting her corpse my beloveds. Yamawaro is kinda meh and I feel his backstory ep didn't _quite_ justify his constant inclusion since je's otherwise a Kikuri interaction vehicle. Ichimokuren actually got character development over time which I was legir not expecting.

LET HONEONNA HAVE FRIENDS GODDAMMIT.

Kikuri is a necessary annoyance. Hellgirl herself is fascinating from a moral perspective and I really do want good things for her even if she's my most "meh" adjudication. Still think season 3 should have handled the posession better. And if one ever rewatches it, even if only a few eps chosen per season, it is indeed _very_ fun to see the progression in what the industry standard for animation was across the decades.

Btw shoutout to jinro soju peach. Absolutely delicious and smooth, yea dazzlingly smooth for a 13% alcohol punch.

Life updates!!! Odekake Kozame season 2 progressing smooooothly. Did y'all see the Aqualand tie-in?choukawaii! My pet leidyula floridiana slugs laid 18 eggys. I bought 2 zebra nerite snails in a 2-for-1 special a few days ago and they seem to be doing well, though one can hadly tell they're stripèd. They are refusing spirulina flakes tjough since our cashew tree keeps shedding cashew fruit into the pond, it's no wonder! Still doing overtime for the old job because it just feels nice to help. :) Discovered I can use excel to do dictionaries for conlangs: revolutionary. Thinking of wading into vowel harmony for my next project after I dominated consonant mutation with my last. And don't make fum of me!but! using minecraft plus a Buck list actually works well for implementing basic vocab, and even grammar when translating death messages/ subtitles. I'm on my fifth rewrite/redraw if the webcomic I want to start. AUGH it's frustrating because I want to lead into the story in the most succint and compelling way possible. Ah well, time and sleep mend all wounds. I just don't want to let down my friend, Metal.

EIGHTEEN SLEGGYIES!!!!!

[sk3tchisworld]

Wish I had some art to share.

But!

I do have tons of updates.

FIRST Dreamy Oak is still in progress!

It's clearly going to be a big game and will require a lot of fiddling before I begin playtesting in pieces. I'm looking for similar systems to what I'm doing and coming up null. While I enjoy being 'original' I'm also a natural skeptic. That being said...

If you have heard of a game using blackjack as a conflict resolution and poker as an oracle and the two work in tandem, I'd appreciate some examples.

In the meantime I need A LOT OF oracles, to settle for the main game loop, further character creation, create character abilities, spit shine the world-building, and feed it my artwork for that ol' ✨razzle-dazzle✨. And that's what I can think of dome.

Second, I am working on a Honey Heist hack called Let Sleeping Dogs Lie.

Let Sleeping Dogs Kid is about trying to best your rival by adding finishing touches to a completed project the night before it's due when you're already dog-tired. You will make mistakes, but you will also have strokes of genius! Will you chug Red Bulls into a caffeine-induced craze but with dry results? Or will you give into the lullaby of sleep's sweet embrace and only dream of the majesty you could have done?

This one is a matter of finishing the oracles, tweaking the oracles, and adding my own hand-drawn art and the masses can have at it.

And as if I am not a psycho on a mission already I'm working on a comic.

It is about Hiero Glyph Inkwell, a daemon and apprentice Book Master. They were cursed to lose their ability to read, write, and speak in all living languages. Now, they are constructing a new language from the remaining sounds within their name to remove a curse and save communication everywhere!

What do I need there? Aha... To learn linguistics and conlanging and how to tell a compelling story with consistent artwork. Nothing too big. Aha..

So you know. I'm busy.

[abidethetempest]

sorry to anyone who is waiting for Eliksni conlang updates for the inactivity! I’ve been busy cramming to finish my fic chapter for tomorrows update (side note: if you like the Eliksni you should check out my fic!) so unfortunately I haven’t made much progress on translations or anything. hopefully next week I’ll have some more time!

[skylandersbf]

Conlang Progress Update - 5

Haven’t been up to much today because I have a lot of homework to do and do other boring adult things :((( but I have been messing around with the script and trying to hone it!

The Script

This is just some incoherent words put together. I’m getting a feel for the script. It almost looks like words form a key shape. I’m digging it!!!

[alansbookdevblog]

as per how tolkien made fantasy

I've made a conlang for my urban fantasy story. I'm still working on the vocabulary and word order still kinda switches between SVO and SOV but I might end up making the word order like it is in german where the its SV1OV2 where V1 is the first verb and V2 is the second verb like in the sentence Ich habe butterbrot gegessen (lit. I have butter bread ate) or I can make it that if you do SOV its more passive than SVO or just make it flexible like in russian but have the primary word order be SVO

Anyways

This conlang is called Angelspeak or kauxam /kaɯ.ʃam/ in its language. Its an analytical minilang that uses cv or cvv where vv is a diphthong and has the ability to combine morphemes (which are in a single syllable) into more complex words with no more than three morphemes. I say that this is a minilang because the morphemes themselves can be used as individual words and I'm not going to have an enormous dictionary. Also minilangs are easier for me in general and more fun imo.

At first I was thinking of having a tonal system like in mandarin but I keep going back and forth whether to have a tonal system or not and if I do it would be more grammar based than the tones indicating that this is a completely different morpheme.

This conlang doesn't have an actual writing and the culture of the speakers of angelspeak (the angels) is purely on oral traditions. However, I've made a romanization system for this conlang which is used by mortals in this world to create sigils which are used as totems and a form of programing language for enchantments. It is said that angelspeak can move souls and lifeforce itself.

I'll update this post (maybe) with a chart of the vowels and the consonants later because I didn't make the chart in my excel sheet but for now I'll just do it like this

vowels

a - /a/

o - /o/

w - /ə/ or /w/ when its next to another vowel

y - /u/

u - /ʊ/

i - /i/ or ⟨ʲ⟩ when next to another vowel

e - /e/

consonants

r - /ɾ/

t - /t/

p - /p/

s - /s/

d - /d/

f - /ɸ/

g - /g/

h - /x/

j - /ʒ/

k - /k/

l - /l/

z - /z/

x - /ʃ/

c - /t͡s/

v - /β/

b - /b/

n - /n/

m - /m/

I did make a chart of which diphthongs are allowed phontactically. In red are diphthongs not allowed in angelspeak. Also, there is no such thing as long vowels in angelspeak which is what ww, yy, uu, ii, etc. are

And here are all of the allowed syllables. Each syllable is a morpheme and each morpheme are characterized by their function

Adjectives and adverbs are basically the same functionally its just one describes a noun and the other describes a verb. Also there is a potential where I would remove syllables with /z/ but keep /z/ for verbs (or I might remove z entirely idk) because I don't think these z's fit with the sound aesthetic I'm going for which is silky smooth. too buzzy imo

For verbs there's present tense, past tense, future tense, progressive, imperitive, and vocative. here's the cojugation using the word lam which means to eat. to make it a sentence, I'm using the first person pronoun pa

Pa lam - I eat

Pa lom - I ate

Pa lim - I will eat

Pa lym - I am eating

for the vocative and imperitive I'll use the second person pronoun py.

Py lwm! - you eat (in a commanding sense)

Py lem! - you should eat (also can be translated as please eat)

Right now I'm still working on vocabulary but I add vocabulary as I'm writing my story.

Here's an example of the language at work

Lw raf xoileo! Lw raf xexoileo! Xwacei?! Xwacei pe xoh pa?!

/lə raɸ ʃoi.leo/ /lə raɸ ʃe.ʃoi.leo/ /ʃwa.t͡sei/ /ʃwa.t͡sei pe ʃox pa/

this is (lit. weird logic)! this is (lit. wrong weird logic)! (lit. what reason)?! (lit. what reason) (third person pronoun) killed (first person pronoun)?!

This is illogical! This is absurd! Why?! Why did they kill me?!

in the context where this will occur in the story, pe refers to a man but pe can refer to anyone of any gender. For the sake of translation of this, I used singular they because this is taken out of context.

In the story, I will translate the angel speak by having either the context of what my protagonist is thinking for example

this is scary. coi.

or I'll do it like this

coi. scary.

hopefully you as the reader would understand the angelspeak this way.

Fuck I should read some of tolkien's work to see how he handles his conlangs in his stories (bc I only saw the movies) but I have such a large book backlog that idk if I can tackle reading either hobbit or LoR atm while I have like, uh, six books that I'm still reading. technically seven but the seventh book I haven't touched in years