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quantummindclassicalheart · 2 years ago

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Master post of quantum's Critical Role fic

You can now find me on AO3 as FiveCamellia! I will be gradually archiving older fic there. Various other things I’ve written including scicomm stuff and poetry live in my general #writing tag, feel free to check it out! For scicomm specifically, check out my #quantum talks quantum tag.

(This is a repost of my old pinned post, but with the new post format.)

a dream within a dream (AO3, Tumblr. New! Completed 2023/01/21.) > When the fog of Rumblecusp steals away Caleb’s memories, Jester must help him remember. But this time, it’s going to take a little more than a fifth-level spell slot. For Widojest Secret Santa 2022.

The Lovers’ Lie (original song) > There is an old folk song that is sung in Exandria. It goes by a lot of titles–In Marquet it’s commonly known as The Liar’s Love, while natives of Xhorhas would know it as The Fey Groom, and the elves of Syngorn’s version has a title that translates to “The Sacrifice of Truth for Love.” This is one bard’s rendition of the song in Common, as accompanied by ukulele.

verbal and somatic (AO3) > In which Jester has a creative idea for how to use the Polymorph spell, and with a truly heroic effort (and the benefit of War Caster), Caleb succeeds on a series of concentration checks with increasingly high DC. (AKA: Widojest body swap sexy times.) (Post-campaign, established relationship AU.)

a soft place to land (AO3) > A few years after their travels with the Mighty Nein, Caleb and Jester reunite for the summer and kinda sorta fall in love all over again. (Post-campaign, as the summary suggests, but more or less canon-compliant)

a dream of flight (AO3) > My first Loquaerryn fic, about their first dance (and what comes after). Laerryn is used to taking the lead, but when she meets Loquatius Seelie, he challenges everything she knows about following.

rainy days and twisting braids > Yasha braids Beau’s hair, and softness follows. For Beauyasha Week 2022 Day 2: Hair. (Takes place post-campaign.)

like it’s the last time > A Widojest epilogue “missing scene,” i.e. the final conversation Caleb and Jester never got in canon. It’s the night before Fjord and Jester leave Nicodranas, and the Nein are throwing a party. Everything should be great. Except Caleb’s been distant lately, and Jester wants to know why. (Takes place during the Campaign 2 finale, roughly.)

waves of memory > A short Shadowgast piece based on some merperson!Essek AU art.

we must all tend our gardens > A character study of everyone's favorite drow hotboi and his complicated relationship with faith, as told through gardening. (Takes place during the Campaign 2 finale.)

[podfic] Die Smaragdwelle (Jade_Sabre) > A reading of Die Smaragdwelle, a fairy tale about a princess swallowed up by an emerald wave and the wizard who had to find her. (Featuring my vocal impressions of all the Mighty Nein.)

und andere Zemnische Volksmärchen > What if things had gone just a little differently post-Katzenprinz? (Fluff. Fluff is what happens.) For Widojest Week 2021 Day 6: Der Katzenprinz.

four-and-a-half waltzes of caleb widogast > A series of vignettes in which Caleb shares four dances with four of the most important people in his life, and learns to embrace the magic of possibility. (Spoilers for all of Campaign 2, minus the finale.)

the divine transmutation of the self > In which magic changes Veth, and Veth changes her mind about magic. (Spoilers through C2E97)

drawn together > Making stuff for (and with) the people you care about is a love language. In which Beau decides to learn how to draw, and also learns a few other things along the way. (Takes place sometime post-C2E111)

a taste of summer > In which Caleb’s hidden talent for baking and Jester’s love of sweets collide in the best possible way. (Takes place sometime post-C2E111)

sunrise over eiselcross > A little scene between Fjord and Jester from the morning after their big conversation in C2E118.

you're still there > Beau has a nightmare about a path not taken. Yasha’s there to help her through it. Cuddles ensue. (Takes place sometime post-C2E111)

disguise selves > An AU where Caleb and Jester are (human) roommates, preparing for a Halloween costume party over Zoom. Jester being Jester, she insists on a photo shoot in costume. Everything goes better than expected. (no spoilers)

the nature of possibility > Two things possessed me to write this: the concept of including some actual thermodynamics in a fic about dunamancy, and the idea of hand contact during a spellcraft lesson. What ensued was nearly a thousand words of Shadowgast. (Takes place sometime post-C2E77)

an unnatural tide > Caleb doesn't normally forget things. But Rumblecusp isn't a normal island. What did he forget that last morning? Here's my best guess. (Spoilers for C2E105)

#writing #critical role #mighty nein #widojest #(mostly)#if you're new to my fic: here's a taster menu #like it's the last time is bittersweet but hopeful #a soft place to land is post-canon fix-it fluff #a dream within a dream is a character-driven magical adventure into caleb's memories and trauma #und andere Zemnische Volksmärchen diverges from canon right after Katzenprinz and turns into straight fluff #and a taste of summer is my take on a widojest baking fic. it is as sweet as a strawberry cake should be #that's just the widojest fics-- i also have a bit of shadowgast and beauyasha in there. check them out!

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chaosbuzz · 1 year ago

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vladdocs · 3 years ago

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Dracula's life from birth to 7 years by Lyzhina Svetlana Sergeevna (Лыжина Светлана Сергеевна) originally in Russian. http://samlib.ru/l/lyzhina_s_s/dracula_7.shtml In this article I have tried to collect ALL the information somehow related to the early childhood of Dracula, and the story of childhood always begins with the story of the birth, so that's where we'll start. When Dracula was born. The year of Dracula's birth is reported differently by different books. Some say 1429 and some say 1431, but all of these statements are based on the same facts. _ _ _ _ _ Fact 1 - Dracula had an older brother, about whom we know that in 1442 he was 13-14 years old. This is reported in Jean de Wavrin's "Anciennes Chroniques d'Angleterre". Fact 2 - Dracula first ascended the throne in November 1448 and began to rule without the help of a regent, which means that Dracula was already 17 years old at the time. _ _ _ _ _ These two facts are the basis of all the assumptions we find in various books, so it is not difficult to guess where the numbers 1429 and 1431 come from. If the elder brother of Dracula in 1442 was 13-14 years old, it turns out that this brother was born around 1428, which means that Dracula himself couldn't have been born before 1429. At the same time, if you count Dracula's age from the time of his first reign, that is, subtract 17 from 1448, you get 1431. By the way, that is why the birth of Dracula is often associated with another fact - the entry of Dracula's father into the Order of St. George (Order of the Dragon). It is presumed that the accession took place no later than January 1431, since in a letter dated February 8, 1431, drawn up in Nuremberg, Dracula's father, among other things, states that he enjoyed the support of Emperor Sigismund of Luxembourg, who was the head of the Order. House in Sighisoara It is common knowledge that Dracula's early childhood was spent in the Transylvanian town of Sighisoara, where our hero lived with his father, mother and older brother until the fall of 1436, which means that at the time of his departure from the "land of childhood" Dracula was no more than 7.5 years old. How many memories could Dracula have of Sighisoara? About as many as each of us remembers of kindergarten and the first school bell. Is it a lot or not - you decide. The house where Dracula lived is located on the corner of Zhestianshchikov Street and Museum Square. Zhestvenshchikov Street is a historical name, and Museum Square was a street in the Middle Ages and, of course, was called differently. The most likely name is Blacksmith's, so you can imagine the sounds that little Dracula heard from morning to night. The mint in the house. It is also known that Dracula's father set up a sort of mint in the family nest. Special people came to the house and were engaged in minting gold money - the very coins with dragons, thanks to which Dracula's father got his nickname. The minting process and the coins themselves looked like this: https://img-fotki.yandex.ru/.../440.../0_acb55_83f50b94_orig Of course, the presence of unauthorized people in the house and the constant hammering of the stamp caused some inconvenience to the family, but it was impossible to move the "production" to another place, because only Dracula's father had the right to mint money, and in order to comply with legal formalities, he had to do it in his own territory. Frescoes in the house Unfortunately, we don't know exactly what Dracula's house looked like in the 15th century. What we see now is the 17th century, but many researchers believe that the house still has something that existed in the 15th century - a mural on the wall of the second floor. I read on the official website of House of Dracula that there were originally 4 people in the mural, although only 3 images have survived. It is believed that the "man in a turban" and the woman next to them are Dracula's parents, and to the right and left of them the artist depicted guests invited to the feast. That the fresco depicts four people, not three, is more than

likely, but the assumption that next to the owners of the house are depicted guests, I personally think wrong, because Dracula's parents, ordering a painting, would have preferred to see there not guests, but really close people, i.e. relatives. I think the mural was a family portrait, not just a sketch from life. The gray-bearded man on the right side of the fresco looks a lot like Dracula's maternal grandfather, the Moldovan sovereign Alexandru the Good. If I am right, the portrait on the opposite side, which is not preserved, belonged to the Romanian sovereign Mircea the Old, Dracula's paternal grandfather. https://img-fotki.yandex.ru/.../4400.../0_acb56_233d42a_orig By the way, there are other frescoes on the second floor, or rather remnants of frescoes. In some places we can see floral ornaments, and on the upper slopes of the windows we can see figures of some people, depicted waist-length and placed in round frames. Most likely, the frescoes on the slopes date from the 16th century, as the numbers 1576 are visible on one of them. The only thing we can say for sure is that these frescoes depict noble people. Near one of the images there is a figure of a two-headed eagle. Next to the other image is the inscription "archi..." (Latin: archiepiscopus - archbishop). In a third image, a woman's hairstyle and a richly patterned dress are clearly visible. https://img-fotki.yandex.ru/.../440.../0_acb57_354e446a_orig Services in the house Dracula's family was Orthodox, and the population of Sighisoara in the 15th century consisted almost entirely of Catholics, since at that time Transylvania did not belong to Romania, but to Hungary, a traditionally Catholic country. There were no Orthodox churches in Sighisoara at all, and this posed a serious problem for Dracula's father and mother. Dracula's parents were supposed to live a church life, which is possible only with the participation of a priest, who can take confession, baptize the newborn, etc. Dracula's parents lived in Hungary for many years - first at the court of Sigismund of Luxembourg, and then in Transylvania - and all this time were away from Orthodox parishes. For example, it is known that in the Middle Ages there were no Orthodox churches in the Hungarian capital. Such a temple appeared only at the end of the 15th century in the neighboring city - in Pest - and was a wooden church built by the Orthodox Serbian settlers. How did Dracula's parents deal with the issue of confession and baptism of their children? After all, someone had to baptize the newborn Dracula as well! Most likely, the parents, being well-to-do people, hired a certain Orthodox priest, who conducted home services, took confessions, etc. By the way, little Dracula, living in Sighisoara, is unlikely to have confessed, because in Orthodoxy all children under 7 years are considered absolutely sinless, and Dracula at the time of his move from Sighisoara to Romania was (recall) no more than 7.5 years. Dracula's first steps in comprehension of sciences If you believe the textbooks on the history of pedagogy, the basic principles of education since the Middle Ages have not changed so much. In the Middle Ages, as now, science was taught from the age of 7, but Dracula probably began learning a little earlier. The Dracula researcher M. Kazaku suggests that Dracula and his elder brother had teachers in common, as the difference in the age of the brothers was insignificant - two years maximum. If further to follow this logic, then it turns out that the older brother Dracula began to learn reading at age 7 as it should be, and Dracula was put in school at 6 or even 5 - just for the company, so that the younger brother did not hang around while the older one was sitting in class. All the textbooks on the history of pedagogy say that in the Middle Ages the teachers of the "book sciences" were from the church milieu. Even if it was to teach a child who was not prepared for a spiritual career, he was still taught by churchmen, because they were the most literate and educated class. By the way,

this is another argument in favor of the assumption that while Dracula's family was wandering around Catholic lands, an Orthodox priest lived there all the time. Dracula's parents needed this priest also because someone had to teach their children to read and write. In any case, we can say with absolute certainty that the literacy learned by the young Dracula was Slavic. He simply could not have been taught Romanian literacy, because it did not exist in the 15th century. If we look at the history of the Romanian language (old Romanian to be exact) we see that it was an oral language until the 16th century. The earliest known letter written in Romanian goes back to 1521 and is in Cyrillic script, because most of the official documents in Romania at the time were written in Slavonic and the liturgies were held in the same language. Exactly in Slavonic, not in Latin, as many people think for some reason! This gives us reason to believe that the little Dracula, as a child of an Orthodox family, studied first of all the Slavic letters, and not the Latin. It turns out that already at an early age Dracula knew three languages: - Romanian, because it was spoken in the family; - Hungarian, because the family lived in Hungarian lands; - Slavonic, because it was the starting point for literacy. It seems incredible that a child at such an early age could be taught a Slavic language - essentially a foreign language - but there is nothing surprising in all this. At a later time in the so-called "classical gymnasiums" young children had to learn two foreign languages at once - Greek and Latin - but no child died or went mad from this teaching. So could not the little Dracula learn the Slavic alphabet? That is, perhaps, all there is to it, and of Dracula's further maturing one can

#vlad tepes #vlad the impaler #dracula #early life of dracula #history #wallachia #Romania

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lowkeyorloki · 4 years ago

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Masterlist!

I just spent the last three hours rebooting my masterlist to make sure it’s tidy, legible, and updated! It looks completely different and I’m really happy with it. There’s a link to it on my blog, but to anyone who may want it in the form of a textpost, I’ve done that for y’all too. Hope this is helpful to someone out there :)

In each section (one-shots, headcanons, and multi-chapters), the most recent works are at the top. This means the further you go down, the older the fics become. I have written multiple drabbles on this blog, but they are not included on my masterlist. Just search ‘drabble’ on my blog and they’ll come up.

As of 2020, my imagines do not use any type of pronouns or biological descriptions (i.e, breasts or genitalia) unless the fic is smut. This is to make my work as inclusive as I can.

Last updated: July 16th, 2020

🌶️ means the fic contains smut. PLEASE only consume if you are 18+

⭐ means the piece is one of my personal favorites

Enjoy 🐍

One-Shots

Glass Warrior- 🌶️

You’re so beautiful, and so breakable. Loki would never forgive himself if he hurt you.

Dove

You begin to question the nature of your relationship with Loki as he calls you sweet names and looks at you with soft eyes.

Stay Kind

As you lay dying in Loki’s arms, you work up the strength to tell him one final thing.

Wounds- ⭐

You’re injured, and Loki shows a new side of himself as he nurses you back to health.

True Form

You’re intent on seeing Loki’s Jotunn side, even if he doesn’t want you to.

Release- 🌶️

A sensual situation from our favorite god’s point of view.

lbd- 🌶️⭐

After a fight with Loki, you wear the smallest dress you can to an Avengers press event.

Aftermath- ⭐

Loki always hated weakness. Because of this, you try to remain strong- even after being kidnapped.

Wine Drunk

The Asgardian wine Sif gave you is stronger than anything Tony Stark has in his liquor cabinet.

Tell Me You Love Me

You know it’s hard for Loki to be vulnerable, but sometimes, you need to hear those three words too.

An Heir

You have an honest conversation with Loki about the possibility of children.

3:33 In the Morning

You comfort Loki after a nightmare.

Steve

Loki experiences jealousy over a certain one of your past lovers.

Loki’s Perspective- 🌶️⭐

We always read about your first time with Loki through your eyes, but what is Loki thinking?

Phantom Pains

Loki can’t get his encounter with Thanos out of his mind.

Not the First, But the Last- ⭐

You ask Loki about his previous loves on Asgard.

A Different Loki

After Loki’s death in Infinity War, you awake to see him standing next to your bed… and it isn’t a dream.

Snapshots- ⭐

Having moments with Loki isn’t all that it seems.

The Wading Pools

Loki takes you to one of his favorite places in Asgard.

The Other Brother- ⭐

We all tell the story your romance with Loki through his eyes or your own. But what does it look like to the only other person who loves Loki as much as you do?

Scars

Loki returns from the events of Ragnorak after leaving you without a word, and finds you look different than he remembers.

Not His Tricks, Not This Time

After having a dream that may be telling of the future, Loki begins to train with you and become protective.

A Proposition

Loki is at a bar trying to forget you when a woman approaches him.

Blood

Loki awakes looking as perfect as ever- except for his bedhead, that is.

His Eyes- ⭐

After having a dream that may be telling of the future, Loki begins to train with you and becomes protective.

Through Loki’s Eyes- 🌶️⭐

Loki is so guarded around you. Now you can find out why.

Erstwhile- ⭐

You’re different than all the other girls Loki has been with. You’re sure of it.

Professor! Loki x You

A fun AU where Professor Laufeyson invites you to dinner, as he knows how bad the dorm food can be.

Burdened With Glorious Purpose- ⭐

Loki doesn’t have anything he came down to Midgard for. But he has you.

Bait

Villains have started to get wind of how much you matter to Loki, and soon enough, one takes you.

Power

Loki gets candid with his love for you.

Cruel

You’re engaged to Thor but in love with Loki, and it’s hard for both of you.

The First Time- 🌶️

You lose your midgardian virginity to Loki.

Heritage

After Thor’s banishment in the first “Thor”, you confront Odin about lying to his second-born son.

Hate Unguarded

You promise Loki his Jotunn form does nothing to deter you.

What Now?

You ask Professor Laufeyson what will become of the two of you now that classes are over.

I Can’t- ⭐

Loki never wanted to fall in love with you. He isn’t sure how to handle it.

Gone

Loki is a god, and you were always immortal. This was always going to happen.

Shrouded Secrets- ⭐

This is what being in a forbidden relationship with Loki entails.

Warrior

Loki patches up you, his Asguardian lover lover after a battle.

Soulmates (?)

Loki doesn’t believe in soulmates. He does believe, however, in choice.

The Battle of NYC- 🌶️⭐

You’re an Avengers, tasked with protecting the citizens of New York as Loki and the Chituari attack. You find Loki on the ground- but fighting doesn’t seem to be where your head is right now.

What Loki Learned For You

Deaf! reader x Loki request where he learns sign language.

Sleepy Mornings

Loki is cuddly when he first wakes up.

Replacement

A fic inspired by the slander that was Infinity War to MAKE EVERYTHING OKAY.

Get It Together, Laufeyson

Loki isn’t sure how to tell you his true feelings, so he goes to Thor and Valkyrie for help.

I Thought You Were Dead

Loki is overcome with relief after you return to Avengers Tower.

The Throne- 🌶️⭐ (for a version with he/him pronouns, go here)

Loki sits on the throne of Asgard, and it’s everything he ever wanted- you decide to make his fantasy even better.

Loki and Lightning

For Loki, lightning brings less than pleasant memories.

Mythology Nerd

As someone who has loved and studies Norse myths for as long as you can remember, you’re thrilled to meet Loki- not that you would want him to know that, of course.

I’m Not Like Thor- 🌶️

Years of being compared to his older brother have taken a toll on Loki.

Thor’s a Flirt- 🌶️

…and he really should have known better than to court you in front of Loki.

Bullets

You and Loki gradually grow closer and closer.

Loki x Plus Size! Reader- 🌶️

Loki is more than willing to show you how truly beautiful you are.

Five Kisses

Five different types of kisses, each to prove your love.

Charity Event

Stark is always forcing the team to smile for the cameras, but the world hasn’t been accepting of the love you found with Loki.

Nightmares

This is the fic that put me on the map! Loki suffers from nightmares, and you only acknowledge each other at night.

Friday Nights- 🌶️

Loki comes to your apartment every Friday- in multiple meanings of the word.

Kiss Me

Both you and Loki know he loves you, but he won’t say it.

Realizations

As you and Loki grow closer and closer, he notices the shift in his true emotions towards you.

Headcanons

Loki Gets Headaches After NYC- ⭐

Sensual Loki Headcanons- 🌶️

Misc. Loki and Loki x Reader

Loki’s Vices- ⭐

Domestic! Loki Headcanons- ⭐

Random Loki and Loki x Reader- ⭐

Loki and Reader Meeting In the Avengers Compound

Taking A Bath With Loki After A Long Day- 🌶️

Loki’s Jotunn Form Provides Him With High Levels of Stamina- 🌶️

Friends With Benefits to Lovers With Loki- 🌶️

Loki After An Argument- ⭐

Loki’s Favorite Positions- ⭐

Being Pregnant With Loki’s Child Would Include

Does Loki Like Vocal Girls?- 🌶️

Losing Your Virginity To Loki (Established Realtionship)- 🌶️

Dating Loki Headcanons

Multi-Chapters

These are all stories I started when I was a lot younger. They won’t ever be completed, but I have left them up because people enjoy the little there is!

Betrothed: 1, 2, and 3

You and Thor are engaged, but it’s Loki you’re in love with.

Lugh: 1 and 2

Loki died, leaving you to raise your child he never got to know about alone. But then, Loki shows up on your doorstep, and neither of you know where to go from there.

She Shall Have

She Shall Have is a multi-chapter I started on tumblr but moved to ao3, where it is now updated every Saturday. It is the fic I am the most proud of, and I am SUPER passionate and excited about it!

Chapters 1, 2, and 3 can be found here on this blog. It is continued on my ao3, where I write under the pseud lowkeyorloki. Check it out and come say hi!

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olderthannetfic · 5 years ago

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Hey, sorry to ask this, but a few days ago I saw a post/discussion about the history of original work on ao3 (i.e. how and when it was allowed). I thought it was in my likes, but it's not, and I thought you had reblogged it recently, but I didn't find it. I was wondering if you have seen this discussion around? Or where I can find more about it? This specific post talked abt how who defended original work on ao3 were not the BNFs, if that helps.

That was me running my mouth in the reblogs of something or other. It’s just the one comment.

But what’s that you say? Some tl;dr about a pet topic? Don’t mind if I do! ;) (To be honest, most of this debate happened years ago, and a lot of the long meta was by me back then too, so…)

Okay, so, the situation with Original Works is actually super interesting and a microcosm of early years OTW wank.

This is going to be even more tl;dr than my usual. To try to summarize very briefly:

There were two big cultural factions. One thought “original” was the opposite of “fan”. That one was in charge of OTW. It was hard to get voices from the other side into the debate because they already felt excluded from OTW.

This divide broke down more or less into Ye Olde Slash Fandom on the “it’s the opposite” side and anime fandom on the “WTF?” side. Americans on one side and a lot of non-US, non-English language fandom on the other.

I. Media Fandom, Anime Fandom, and Early OTW

I went to that first fundraising party that astolat threw in New York City back in… god… 2007? 2008? I wasn’t on the Board or any official position until the committees got started later, but I was around right from the very beginning.

Whether you’re looking at volunteers or at people who commented on astolat’s original post, there were always a variety of fans from a variety of fannish backgrounds. People aren’t absolutely in one camp or another, and fannish interests change over time. If you go dig through Dreamwidth posts to find who was actually participating in this debate at the time, half of them are probably in the other camp now.

If you think like that sounds like a preamble to me making a bunch of offensively sweeping generalizations and divvying fans up into little groups, you’d be right! Haha.

I.a. Ye Olde Media Fandom

There are a lot of camps of people who like fanfic. One of the biggest divisions has been Ye Olde Media Fandom vs. anime fandom. Astolat’s social circle–my LJ social circle–was filled with people with decades of fannish experience and a deep knowledge of the Media Fandom side of things.

Those fandom history treatises that start with K/S zines in Star Trek fandom in the 70s and move on through the mainstream buddy cops like Starsky & Hutch to the more niche, sff buddy cops like Fraser and Ray or Jim and Blair are talking about Media Fandom. I try to always capitalize it because the name is lulzy and bizarre to me unless it’s a proper noun for a specific historical thing. It was coined as a rude term for “mass media” fandom aka dumb people who like, ughhhh, Star Trek, ughhh, instead of books. This is a very ancient slapfight from the type of fandom you find at Worldcon, often called “SF fandom” or plain “fandom”.

(Yes, this leads to mega confusion on the part of some old dudes when they find Fanlore and fail to understand that “fandom” there refers to what these people would call “Media Fandom”. They think only they get the unmarked form. But I digress…)

Media Fandom is a specific flavor of fandom. It’s where the slash zines were. It’s where the fans of live action US TV shows were. It’s the history that acafans have laid out well and that tends to get used to defend the idea of a female subculture writing transgressive and transformative fanfic. On the video side, Media Fandom is where Kandy Fong invented vidding by making Star Trek slideshows.

(Kandy’s still around, BTW. She’s usually at Escapade in L.A. Ask her to tell you about the dancing penises sketch in person. She’s hilarious.)

Astolat and friends had been going to slash cons for years. They founded Vividcon. And Yuletide. That meant that when astolat said “Hey kids, let’s put on a show!” we all jumped to help. This is a lady who gets things done.

From a Worldcon perspective, or even from an older Media Fandom perspective, this group was comparatively young, hip, and welcoming. Their fandom interests were comparatively broad. Just look at Yuletide!

In fact, yes, let us look at Yuletide… [ominous music]

I.b. Yuletide sucks at anime

From the very first year (2003), Yuletide mods have asked for help with anime fandoms, been confused about anime fandoms, or made bad judgment calls about anime fandoms. They’ve fucked up on Superhero comics and plenty of other things over the years, but anime has been the most consistent (well, and JRPGs, but there’s so much overlap in those fic fandoms).

There was already bad feeling about this. There were years of bad feeling about this.

I.c. Where are the historians?

Academic study of fanficcy things pretty much got started with Textual Poachers and Enterprising Women. Other acafans who are well known to LJ and later Tumblr are people like Francesca Coppa who wrote a very nice summary of the history of Media Fandom. These are not the only academics who exist, these academics themselves have written about many other things, and by now, OTW’s own journal has covered a lot of other territory, but to this day I see complaints on Tumblr that “acafans” only care about K/S and oldschool slash fandom.

There were years of bad feeling about this as well.

I.d. What kind of fan was I?

Now, by the time OTW got started, I’d moseyed over to not only a lot of live action US TV but a lot of old-as-fuck US TV that is squarely in the Media Fandom camp. But once upon a time, I was a weeaboo hanging out with my weeaboo friends in college. I learned Japanese (sort of). I moved to Japan. Livin’ the weeaboo dream!

More importantly, I used to be a member of a lot of anime mailing lists back in the Yahoo Groups days. I didn’t realize what a cultural gap that would cause until the original works issue came up on AO3.

I.e. Anime Fandom, German-language Fandom, Original M/M

Once upon a time–namely in that Yahoo Groups era–there was an archive called Boys in Chains. It was where you found The Good Stuff™. Heavy kink and power exchange galore! It was extremely well known in the parts of fandom I was in, even if you weren’t on the associated mailing list. It contained lots of fic, but it also had lots of original work.

Around that same era, I was on a critique list called Crimson Ink, which was mixed fic and original. The “original slash” and “original yaoi” crowds mixed freely and were in fanfic spaces. Remember, this is like 2003. You’re never going to get your gay fantasy novel published in English in the US. A couple of fangirl presses started around then, but they died an ignominious death after their first print run.

Fanfiction.net used to allow original work before it spun that off into FictionPress. We forget this today, but if you were an early FFN person, the separation wasn’t so great either.

Meanwhile, German-language fandom was hanging out on sites like Animexx.de, a big-ass fic archive that prominently mentions also including original work. I have the impression that Spanish-language fandom was similar too.

Shousetsu Bang*Bang was founded in 2005. It was a webzine for original m/m, but it was entirely populated by fanfic fandom types.

In all of those kinds of spaces, there was a lot of “original” work that was kind of slash or BL-ish and seen as fannish if it was posted in the fannish space. These weren’t anime-only spaces. They were multifandom spaces where it was seen as obvious and normal that a couple of huge fandoms like Harry Potter would dominate but that everything else big would naturally be anime.

While fans from every background are everywhere, I found that the concentration of EFL fans living in Continental Europe, South America, and Asia was much higher in this kind of space, even the exclusively English language part of it, than in my US TV fandoms.

II. AO3 Early Adopters

AO3 went into closed beta in 2009. In 2010, it was open to the general public (albeit with the invitation queue it still has). But not everyone was interested yet. Just like fandom is loath to leave the dying, shambling mess of Tumblr, fandom was loath to leave dwindling LJ/DW circles or was happy enough on Fanfiction.net. I used to see a lot of posts like “Why are you guys trying to STEAL fanfic from the original! FFN is enough!”

I literally could not give away the invitations I had. No one wanted them.

So who was on AO3? Obviously enough, it was all of us who built it and our friends. So that means a bunch of oldschool Livejournal slashers coming from fandoms like Due South or Stargate Atlantis.

The queue was open. Anyone could make an account. Everyone was welcome. In theory…

But more and more, there started to be these posts about how “AO3 Hates Anime Fandom” and “FFN is for anime. AO3 is for Western fandoms.” and “If you guys actually wanted anime fandom on there, you’d invite us better and make us more welcome.”

At the time, I found these posts obnoxious. People aren’t purely in one sort of fandom or the other. No one was stopping anime fandom from making accounts. No one was banning anime fandom. If there wasn’t much from old fandoms, that was because old fandoms seldom move.

Things began to change. Trolls on FFN forced the Twilight porn writers out, creating enough fuss and brouhaha to mobilize people who would rather have stayed put. AO3 got big enough that randos found it by accident. Original work started to pop up, posted by people who’d never looked at the rules and had no idea it was not allowed.

III. History of AO3’s Policy

I had argued for allowing “original work” during the initial discussions about the ToS. On one side of this issue was me. On the other, everyone else on the committee.

I was overruled.

Open Door started importing old archives to save them. Boys in Chains was hugely important to fandom history from my point of view. It was slated to be imported… maybe. Except that Boys in Chains is half original. AO3 was happy to grandfather in those stories, but the final archive owner felt, quite rightly, that it would be unfair to tell half of the authors they were welcome in the new space while spitting on the other half.

I was pissed. I had been pissed since being overruled the first time. To me, the fact that it should be allowed was so blatantly obvious that it was hard to even explain why.

(To be honest, this difficulty in explaining why and the even greater difficulty in figuring out the source of that difficulty is what held the discussion back for so long. When every assumption on either side is completely opposite, it’s hard to communicate.)

I felt betrayed. It would be like if you helped build something, and everyone was suddenly like “Well, obviously, we can’t allow m/m. It’s not normal fanfic.”

So we discussed it again and, again, it was me vs. literally everyone else. And still the “AO3 is only for Western slash fandom” bitching rose in volume and more and more people complained of feeling excluded from the new fandom hub. Finally, the committee agreed to open the issue up for public comment and get some more input. I was a fool and neither wrote nor proofread the post. It went out phrasing the question as allowing “non fannish” work or something of that sort.

I was furious. The entire point of the whole debate was that I saw some original work, the original work that belongs on AO3, as inherently fannish. And now this had been presented to the AO3 audience as something completely different. Think pieces were popping up in the journals of everyone I knew about diluting AO3’s mission and how we needed to save AO3 from encroachment. Public opinion was very negative. That’s both because of how the post was phrased and because OTW die hards at the time were mostly from the same fannish background. This tidal wave of negativity meant that there was virtually no chance of changing this poisonous rule. And if the rule didn’t change, the people who wanted the rule change were never going to show up to explain why it mattered.

If you’ve been reading my tumblr, I think you can guess what happened next.

I posted a long post to my Dreamwidth. It was a masterwork of passive aggression. In it, I wrung my hands about how simply tragic it would be if AO3 had to delete all of the original work… like anthropomorfic.

Now, I think anthropomorfic counts as fanfic as much as anything else, but I also knew that it fails most rigorous “based on a canon” type definitions of fic and, more importantly, it’s a favorite Yuletide fandom of many of the people on the side that wanted to ban original work.

That’s a nice fandom of yours. It would be a pity if something happened to it.

Yup. Passive aggressive blackmail. Go me. Suddenly, there was a lot of awkward backtracking and confused running in circles in various journals. The committee agreed to table the idea for a while but not rule out the idea of allowing original works in the future. We agreed to halt all deletions of original work. If a fan posted it, the Abuse Committee (which I was also head of at the time) would not delete that work even though it was technically against the rules.

Time passed. The people on the negative side got tired. I wanted off that committee and had wanted off for ages, but I was damned if I was going to leave before ramming through this piece of policy. Grudgematch till I die! (Look, I never said I wasn’t a wanker.)

After a while, some other fans came forward with more types of “original work” as evidence that it should be allowed. These were from parts of fandom none of us on the committee knew a damn thing about.

This new evidence combined with the gradual accretion of original stuff on AO3 without the sky falling eventually led us to quietly rule Original Work a valid fandom. There was never even a big announcement post. I slipped a word to the Boys in Chains mod myself.

IV. What Were They So Afraid Of Anyway?

So why were people so resistant? Seems like a dick move, right?

Not exactly.

I mean, I was enraged and waged a one-woman war to change the rules, but the other side wasn’t nuts. The objections were usually the following:

I just don’t get why it would be allowed. It never was in my fannish spaces.

Most of our members don’t want this.

Most of the examples of things that ought to be included are m/m. We are privileging m/m if we allow it, and AO3 already has a m/m-centric reputation that can feel exclusionary to some fans.

AO3 is a young, shaky platform that can barely handle the load and content we already have. If we open to original work, we’ll be opening the floodgates. The volume of posting will be so high, it will drown out the fic we’re actually here to protect.

Protecting stuff that doesn’t need protection because it’s not an IP issue would dilute OTW’s mission.

If we allow it, idiots will try to turn AO3 into advertising space, posting only the first chapter and a link to where you can pay to read the rest.

If we add another category of text before we add fan art, that’s a slap in the face of the fan artists we are already failing.

These arguments all make perfect sense in context.

Obvously, the issue with the first two is that different fannish communities have different norms. I knew that a very large community disagreed with the then current AO3 policy, but since so few of them were around to comment, it seemed like a tiny fringe minority.

The m/m thing is… complex. M/M content with zero IP issues is at risk. It is always at risk in a way that even f/f is not (though f/f is also always at risk). Asking for m/m to be exactly equivalent to f/f or m/f in numbers, tropes, whatever is ignoring the historical realities. In our current moment of queer activism in the West, we treat all types of queerness as part of one community with one set of goals, but once you get to culture and art or even more specific activism, this forced homogenization is neither useful nor healthy.

OTOH, AO3 really did have PR problems related to the perception that we gave m/m fandom the kid glove treatment. That objection wasn’t coming from nowhere.

AO3 was shaky. It was tiny when I first brought up this argument. Hell, it wasn’t even in closed beta the first time we discussed this. Part of what made the quiet rules change possible was AO3 organically getting much bigger and OTW having to buy many more servers for unrelated reasons.

The “floodgates” thing was put to rest by tacitly allowing original work before the rules change. We had a period to study how fans actually behaved, and as I predicted, only a small amount of original work got posted. It was indeed mostly things like original BL-ish stories or original work that had been part of a mixed original/fic fest, exchange, zine, etc. Currently, the “Original Work” fandom on AO3 only has 76,348 works. That’s pretty big compared to individual fandoms but tiny compared to AO3’s current size.

The commercial argument was spurious because commercial spam had been against the rules from the very beginning. OH THE IRONY that nowadays AO3 has all these idiots trying to post the first chapter of their fanfic and then direct you to where you can buy the rest.

AO3 has plenty of fanfic of public domain works. One of the problems with gatekeeping original work is that any way you try to distinguish it (not based on a specific canon, not an IP issue, etc.) will apply to some set of obviously allowable fandoms.

As for fan art… OTW has failed fan artists. They needed protection as much as or even more than fic writers. Just look at Tumblr! If we had succeeded at making DeviantArt but allowing boners, fan art fandom could have been safe all these years. Or when Tumblr inevitably shat the bed, we could have scooped up all those people instead of them scattering to twitter and god knows where.

OTW has failed vidders too, at least in terms of preservation. I know I’m not the only one who thinks this. Other major people from like the first Board and shit have discussed this with me offline. Doing some kind of vidding project, possibly outside of OTW is on a lot of our to-do lists. But at least one of OTW’s biggest victories has been that copyright exemption. OTW has demonstrably done really positive things for vidders that other organizations and sites have not. As a vidder, I never expected to see good hosting for the actual video files, and I’m quite content.

But fan artists… yeah. That argument makes sense at least from a place of frustration.

BTW, for the love of god, if you’re a n00b to OTW stuff, please do not reblog this post excitedly telling me that hosting fan art is on OTW’s road map, so yay, good news. Someone always does that, and it’s so irritating. I haven’t been involved in OTW in years, but I used to be, and I know what is on the roadmap. The couple of you who do heavy lifting on sysadmin and coding and policy things are welcome to weigh in as usual. I know none of us like that we can’t host fan art. It’s not what we intended.

Nonetheless, I found this argument to be the perfect being the enemy of the good. If we can save more text now without losing much of anything, we should do it. The fact that we’re fucking up on the fan art front is not a reason to spread the misery around.

V. Is “Original” the Opposite of “Fanfic”?

Okay, so that tl;dr above is why “BNFs” were on one side and “nobodies” were on the other. BNFs from one cultural background founded OTW. BNFs from the other cultural background weren’t even aware that the debate was going on.

But what was the underlying philosophical problem in even having the conversation?

It took me a long time, but I finally worked it out: We had two completely different ways of categorizing writing, and they were so baked into how we phrased questions that everything ended up being unanswerable to the other side. Here is what I came up with:

Schema 1

Fanfic - based on someone else’s IP

Original Work - the opposite

Schema 2

Non-Fannish Work - School essays, stories you are writing to try to sell to a mainstream publisher

Fannish Work Type 1 - based on other people’s characters directly (i.e. fanfic) Type 2 - based on tropes or whatever (“original slash” and the like)

Now, in the current moment when half of Tumblr just got into Chinese webnovels and the m/m ebook industry is thriving in English, original, tropey, BL-ish work is no longer different from “things I am trying to sell”. But this is how the divide was circa 2005 on fannish websites, and it’s the divide that was driving this internal OTW debate.

VI. Let’s Summarize the Camps One More Time

So, again, the debate makes perfect sense if you understand who was involved.

On the mainstream “But that’s not fanfic? I’m confused?” side:

Big US TV fandoms in English

Fandom historians of K/S–>buddy cop slash–>SGA, etc.

Americans

On the other side:

Anime fandom

“Original slash” fandom that had already been chased off of everywhere

People upset that AO3 wasn’t farther on translating the interface and supporting non-English language fandom.

People upset about US-centrism in fandom

Yes, I am very white, very American, and by now very into old buddy cop shows, but this was basically how the breakdown worked. It meant that something that looked like a minor quibble to one side was really, really not.

#fandom history #fandom meta #original work #cowboyformitski

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iustusetpeccator · 5 years ago

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Viktor Krum meta: language use & accent

Before I even start in earnest, I just wanna say this is particular to my interpretation of Viktor and comes with all my hangups as a Bulgarian person living in Brexit Britain; also it got pretty long. But if you like some light sociocultural analysis along with your meta, by all means read on.

So we all know how Rowling chose to represent Viktor—quiet, grumpy, slightly bumbling, and when he does speak, not particularly articulate. He does have a decent vocabulary range, but his accent is harsh and noticeable. He is also shown to speak in present continuous tense, as seen here:

‘Vell, ve have a castle also, not as big as this, nor as comfortable, I am thinking,’ he was telling Hermione. ‘Ve have just four floors, and the fires are lit only for magical purposes. But ve have grounds larger even than these – though in vinter, ve have very little daylight, so ve are not enjoying them. But in summer ve are flying every day, over the lakes and the mountains –’

Here’s an example from DH, where you can see he still has the accent, but also the (not bad) range of vocabulary he’s given, as well as his correct use of prepositions:

‘He retired several years ago. I vos one of the last to purchase a Gregorovitch vand. They are the best – although I know, of course, that you Britons set much store by Ollivander.’

I'm here to explain why I do it (a little) differently.

First of all, let me lay some groundwork. He was born in the mid-seventies in Bulgaria, which at the time was part of the Eastern Bloc. I'm going to refrain from talking about the ramifications of that on our culture, but keep in mind we were very much in bed with the Soviet Union during his formative years. Furthermore, he went to Durmstrang—a school known for accepting pupils from a very wide geographical range, seeing as it's located somewhere ‘in the far north of Europe’ and yet accepted Viktor, from way down in southeastern Europe. Either he was exceptional, or it's a pretty multicultural school.

So what does that tell us? Well, to begin with, the boy is more than likely to have been fluent in at least, AT LEAST, three languages: Bulgarian, which was his native language, of course; Russian, which was a mandatory subject from an early age in school (even if he didn’t go to muggle school, he would’ve had to speak it to avoid rousing suspicion), and which is relatively easy for a fellow Slavic language speaker to learn and retain; and either German or one of the Scandinavian languages, which he would've been taught in while at Durmstrang. At minimum.

At the same time, the Triwizard Tournament would've presented Viktor's first serious brush with the English-speaking world. English was not taught in school at the time (see also: Cold War); if you picked up a second foreign language (on top of Russian, which basically didn't count), it would be either German or French, due to long-standing sociocultural ties (i.e. our intelligentsia were largely educated in France, and we sided with Germany in both world wars; don't ask). So unless his family went out of their way to teach him English, which they would've had no reason to as it wasn't seen as useful, he wouldn't have learned it formally at any stage.

How do I know all this? Well, I’m Bulgarian for one, and also my parents are only 5-10 years older than Viktor would be. They speak, or at some point have spoken, 4-5 languages between them, of which English isn’t one. In order to study it back in the 70s and 80s, you’d have had to go to a special school that was difficult to get into, and not hugely popular either.

So yes, his spoken English was clumsy in GoF when he was 18, and he probably never lost the accent, but 1) his written English was likely much better (see also: exchanging letters with Hermione for years), and 2) his mastery of the language will have improved pretty rapidly once he made friends who spoke it. The level you see in GoF, animated discussions with Hermione and all, is his default level without having studied English in any capacity, so to think it would stay that way into his adult years is not doing the man justice.

Also him using present continuous at any stage instead of simple present tense makes no sense, considering it’s 1) more complex, and 2) does not exist in Bulgarian, his native language. So I’m not even engaging with that.

Anyway, how has all this informed the way I write him? For one, I mostly focus on the post-SWW period, when he’s:

travelled quite widely in connection with his international career, making a lot of friends from different countries;

been pen-pals with Hermione and kept in touch with Fleur for a number of years;

chosen to settle in the UK in the aftermath of the war.

What all this means is that he’s had a lot more practice reading, writing, and speaking in English, and his words are likely to flow a lot more smoothly, as well as picking up some colloquialisms from his teammates. As for his accent, not doing the whole ‘vos’ thing is a very conscious choice. I don’t shy from a phonetic accent (see also: Alastor), but on the one hand, that’s not what my accent sounds like so I find it hard to reproduce, and two, I think it’s borderline comical, tbh. Also it makes him sound like Otto von Chriek, but that’s neither here nor there.

What I do instead is, I try and limit his vocabulary and the length of his sentences. I’m aware my command of English is above and beyond what he’s likely to attain, so I don’t make him sound like me. I mess up the odd tense and preposition, throw in the odd expression that doesn’t exist in English, make him pause and think a lot about what he says, etc. And that’s it, folks. That’s how actual Bulgarian people speak English. Compared to the other languages he’s fluent in, it’s really not a difficult one to pick up.

What I’m trying to put across here is that the whole stereotype of Eastern Europeans being stupid and bad at English in itself is really harmful. For my American friends who may not be aware of European power dynamics, we are some of the latest additions to the EU and have received tons of backlash from western Europe. Polish, Romanian and Bulgarian immigrants have been racialised by the media, particularly in the UK, and written off as cheap labour/benefit fraudsters. Hell, a lot of people who campaigned and voted for Brexit directly blame us for a lot of the UK’s issues, like the state of the National Health Service (actually due to Conservative party cuts under the guise of austerity) and a poor job market (driven by a shitty fucking economy, and not at all helped by the nearly inevitable Brexit-related recession that’s on its way).

If you want to know more about why that's a massive issue, just hmu, I can go on for days, but in terms of Viktor, I refuse to perpetuate JKR’s subconscious biases against Eastern Europeans by making him sound like some sort of illiterate idiot in my own writing. He was Durmstrang's champion, and as such we have to assume he was reasonably intelligent. Quiet, reserved, lacking confidence in his language skills, nervous around Hermione—definitely. Stupid and bumbling, not so much.

#this got waaaaaaay long #but honestly someone had to say it #i'm so done with everyone shitting on eastern europeans whether consciously or not #he's SMART #and post-GoF he has LOTS of friends he speaks to in english #so give him some fucking credit #char: viktor krum #muse: viktor #headcanon: viktor #meta: viktor #mine: meta

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ookamikasumi-writer · 3 years ago

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Just say NO to Author Intrusion

The Fourth Wall is the Audience. -- Every time the writer addresses their story's audience --their Readers-- they are violating the fourth dimension, or wall, of that story's Reality.

These violations are known as: Author Intrusions.

Author Intrusions show up as little comments that express the author's personal feelings on what's happening in their story, or heavily hint at things to come during the story.

Author Intrusions are a Bad Idea.

----------- DISCLAIMER: This is how I was taught to write for publication purposes by my professional editors. If you don't want to do it this way -- Don't. (Less competition for me.)

WHY Author Intrusions are a Bad Idea.

Author Intrusions jar the Reader out of the mental movie they've generated while reading because the Author keeps rudely shoving them out of the story to remind them that They know something the Reader doesn't.Compare it to watching a movie you haven't seen before with a friend that won't shut up about how cool the next scene is.

See this shit? This is Author Intrusion.

Identifying Author Intrusions:

The most common form of Author Intrusion is when the writer plants overly-obvious hints of things to come addressed directly to the Reader.

Examples:

In hindsight, he would be thankful for his overreaction.

Unfortunately, his choices had truly never been his own.

If only they'd realized how wrong they were.

These are normally found at the end of a chapter, or book, but I've also seen them posted smack in the middle of a scene in progress.They had no idea what consequences their choice would bring.

I have been told that these particular intrusions are meant to be a form of Foreshadowing.

This shit is NOT Foreshadowing.

True Foreshadowing symbolically hints at things to come. It Does Not point-blank TELL the Reader that something is coming.

More on actual Foreshadowing: TV Tropes: Foreshadowing

I have also been told that this form of Author Intrusion is supposed to create suspense and entice the Reader to read the next installment.

This shit does NOT create Suspense either.

The truth is, this sort of cheap-assed teaser-spoiler Does Not add suspense because it entirely Removes the surprise factor of what is coming.

Suspense is about Anticipation. It's about waiting for 'the other shoe to fall'. When an author point-blank announces that there's another shoe, all that lovely anticipation is halved because the Reader now knows for a fact that this shoe WILL fall -- that something IS going to happen.

THINK: How can anyone be surprised if they're already expecting a surprise?

If you want to create Suspense, don't TELL the Reader outright that something is going to happen. Instead, SHOW IT by planting Clues; the butcher knife was missing from the kitchen drawer, and give Hints through ominous Sounds, creeping Shadows, character Body Language, and stilted Dialogue that something is going to happen.

Authors: Keep Your Opinions to Yourself!

The next most common form of Author Intrusion happens when the writer just can't keep their personal comments about certain characters, or what's happening in their story to themselves.

This is particularly virulent in fan-fics written by new writers who get over-excited about what they're writing.

Cut that shit out!

Literally, cut all that shit Out of your work.

Us readers do not want anyone interrupting our stories with their opinions, feelings, or comments about the story we're reading. That includes comments from the Author. Save that crap for the Author Notes.

However...

"Lines like those (in my fan fiction anyway) are actually meant as red flags; a sort of, "Hey, pay attention, I'm doing something over here!" This is because, in the...years I've been writing fan fiction, I've noticed that the majority of 'new readers' (i.e. those new to fan fiction,) will not pay attention [to what they're reading] and will inundate me with questions that are easily answered if they did. With lines like those thrown in, the questions are fewer and I don't have to waste time explaining things that don't need explanations." -- Annoyed FF Writer

While all that might sound like a good excuse -- it really Isn't.

When the author inserts comments about a character or situation happening right there in the middle of the story just to make it easier for lazy-assed readers to figure out what's going on, those comments are nothing more than Spoilers for the rest of us.

Spoiling the Story for Lazy-Assed Readers -- is a BAD IDEA.

While some readers love to be babied like that, the rest of us readers don't. The rest of us are paying close attention and we love ferreting out the author's little hints exposed by the plot's progression and character reveals. We are reading specifically to discover what the heck is going on.

Spoilers strip all the suspense and discovery --the most enjoyable parts of the story-- right out.

I don't know about you, but once all the surprises are gone from a story, I have no reason to keep reading that story.

Fixing Spoilers

If the Reader doesn't get what happened and the information to set them straight IS NOT actually present in the story, then yeah, the Writer messed up.

To fix this, they should REWRITE and REPOST the Relevant Chapter ASAP! NOT answer their reader's query with any comment beyond, "Oh crap! Let me fix that real quick!"

If the Reader doesn't get what happened and the information to set them straight IS actually present in the story, meaning; the Reader simply missed it the first time around, then the Reader messed up -- not the Writer.

When this happens, the Writer should answer their query by politely telling that reader to Read the Chapter Again a little more carefully. NOT by giving them Spoilers!

Seriously, professional authors don't cater to that crap, neither should fan-fic writers.

The only thing catering to lazy-assed readers does is encourage those readers to bug other writers for spoilers -- and us other writers don't appreciate it.

As for Breaking the Fourth wall...

Or is he?

Deadpool: Not actually Breaking the Fourth Wall. He is Narrating his own story.

Yes, Deadpool does address his audience throughout his comic books and movies. In his comics he even comments on the textboxes around him.

Deadpool also freely admits that he's not exactly Sane.

However, addressing his readers, or watchers, or even his text boxes doesn't change the fact that Deadpool is The Point of View Character in both his comics and his movies. He's the one telling the tale. He's expected to comment on everything and everyone around him because that's what POV Characters do.

Deadpool just happens to be narrating his story out loud to the voices, and text boxes, in his own head. That there happens to actually be an audience of readers and movie watchers is entirely incidental.

Now if Stan Lee; the main author of Marvel Comics, popped into Deadpool's story, that would be Author Intrusion--

Oh, wait... He did.

A...tasteful example of Author Intrusion. AKA: The Cameo.

Narration is Not Author Intrusion

The Narrator is The Point of View Character observing --and commenting on-- their part of the tale. If done Right, what is narrated is colored by that POV Character's thoughts, opinions, and comments about what is happening around them.

Breaking the 4th Wall? Nope, just 1st Person POV.

Narration is not Author Intrusion because the author isn't telling the story, the POV Character is.

Deadpool, in both the comics and in his movies, uses First Person Point of View Narration. First Person POV can look like the character is Breaking the Fourth Wall, but they really aren't because Narration is supposed to address the audience. Think in terms of diary entries, or in Deadpool's case, a massive Selfie Video.

The only time Narration should ever be colored by the author's opinions is in a Self-Insert story where the author is the POV character--

-- or in a Fairy Tale.

Fairy Tales were originally told Orally. They were spoken and acted out by a storyteller directly to their audience. The storyteller's opinions of what was happening were part of the act, rather like the Master of Ceremony for a play. When these tales were eventually written down by collectors, such as the Brothers Grimm, they wrote them in the oral style --author intrusions included-- simply because that's how they were told to the collectors.

Later writers, like Hans Christian Anderson, wanted their tales to be labelled Fairy Tales, so they used this oral style specifically so their stories would blend in with the much older collected Grimm's stories.

However, if the story is not a Fairy Tale--

Don't Interrupt Your Readers!

Written stories are viewed in the imagination like a movie. So when the author pops in a comment to make their personal opinions known, it throws the reader out of the movie they're watching in their imaginations because someone is talking to them.

"But the whole story is the author's opinion!"

That's right, a writers has their whole story to express their personal opinions, so there is absolutely No Need for the author to interrupt their readers with additional comments on anything at all during the story.

If a writer absolutely positively must comment on what's happening in their story, an Author Note is where that shit belongs --or their personal blog, or whatever social media floats their boat-- nowhere else.

Author Intrusions: -- If you're Not writing a Fairy Tale -- Don't Do It.

Unless you're Stan Lee. (He can intrude wherever he likes.)

#writing fiction #writing tips #writing tricks

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internationalinguisticsolympiad · 7 years ago

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Non-european countries in the IOL - more wanted please

This post originates from our official blog, for full post go here: http://ift.tt/2vOJIPy

Countries of the IOL 2017

It is well-known that most of the delegations that partake in the IOL are from Europe. I'd like to give a little background to this, and also invite more non-european delegations in. If you can help, be in touch. This is something I've thought a lot about before, and it was recently brought to the forefront of my mind by the funny blog post "Relief As Registration Closes Before Any African Countries Sign Up" by the satire blog Linguistics Olympiad News Network (yes, we're apparently famous enough to spawn satire and memes).

After the announcement of the countries participating in IOL in Dublin, there was relief visible on the faces of the IOL Problem Committee, who had been waiting in dread at the possibility of a team from Africa going to the competition.

[...]

In an LNNO exclusive, IOL media correspondent Hedvig Skirgård told us about the last minute panic when Simona Klemenčič opened her email account to see a registration request from a linguistics professor at the University of Dar es Salaam. She told us, “Having consulted with the problem committee who had written three out of the five problems on languages from Tanzania, we regrettably realised that the deadline for registration happened to fall just prior to the email. We wish Tanzania all the best for Prague 2018.”

The blog post was very funny, as someone who has worked with the IOL for quite some time now I found it unusually spot-on. It clearly plays on the fact that since Africa as a continent and Papua New Guinea as a country contains a VAST amount of linguistic diversity, languages from these areas of the world make for great material for linguistic puzzles. I fully understand that the message was not that we would exclude participants from these countries on any other basis than "to make it easier for our Problem Committee and Jury". Now, I'll get to why that isn't true later, but first some background to the bias.

Map from Worldmapper where the countries size have been scaled to represent the relative number of languages within that country compared to the rest of the world. © Copyright Sasi Group (University of Sheffield) and Mark Newman (University of Michigan).

This satirical blog post did make me think of the more pertinent and serious issue of dominance of European countries. There are reasons for this bias, they're mainly historical, but also in part economical. The contest started in Russia and the first international contests were dominated by slavic countries (IOL history is here). The contest later grew to include first non-slavic countries and then non-european countries. The IOL does not run each contest, it's run by local organizers. This means that it is significantly harder for developing countries and countries lacking the necessary infrastructure. Countries and territories of the IOL Nowadays, we don't speak of "countries" of the IOL as much as "countries and territories", in order to accurately represent participating delegations like those from Anglo- and Francophone Canada respectively and Isle of Man. Here is a list of all 43 countries and territories that have partaken at least once: Canada Francophone, France, Israel, Lithuania, Norway, Turkmenistan, United Arab Emirates, Vietnam, Finland, Greece, Pakistan, Bangladesh, Kazakhstan, Ukraine, Turkey, Germany, Isle of Man, Japan, Spain, Taiwan, Brazil, China, Hungary, Singapore, Canada Anglophone, Czech Republic, Romania, Australia, India, Ireland, UK, Republic of Korea, Slovenia, Serbia, Sweden, USA, Poland , Bulgaria, Estonia, Latvia, Netherlands and Russia. Of those, 30 have an accredited contest. Meaning, there's a contest in that country or territory that the IOL-board has deemed lives up to our criteria and can receive lower registration fees and participate for more than 2 years. The criteria for being accredited are:

be a contest that features problems about linguistics or a closely related field

have a working website that is not excluded from search engine results

be open to all students up to secondary level in the country (i.e not restricted to certain schools or programmes)

display clear information about registration and competing well in advance

have the problem set in the language of the majority of the population or the language of education

have details on how to contact the contest organizers on the website

IOL does not run each contest - the economical problem In order to understand this situation, you also need to understand that the IOL does not directly run each and every national or territory-wide contest. There are separate organisations who do that, they create their own problems and seek their own funding. In order to do this, there needs to be serious enthusiasm and involvement from a group of people and backing from either a non-profit organisation, universities or the ministry of education. On the problem-creating-front, it's worth noting that several national/territory-contest collaborate with each other and share problems. Contrary to what you might think, we actually often receive messages from people in non-european countries who are not yet part of IOL, but who want to join. They contact us here and we try and help as best we can. There's been messages from Uganda, Egypt, Nigeria, Guatemala, Nepal, Kenya, Malaysia and more countries. We then tell them about what would be needed in order to start up a contest, and most of the time they can't meet those requirements and we lose contact. This is sad, and now you know. In particular, the obstacle is often finding the funds to organise a contest that is open too all secondary school students of the country/territory (not just one school) and paying the air fares etc for the international contest. The economical bit isn't the only factor though, there are countries that partake every year that have lower GDP than some who have never partaken (cough, Italy, cough). There is also the matter of there being hard working volunteers and the infrastructure (support from ministry of education, companies or non-profits). The Maths Olympiad can, so why can't we? The International Mathematical Olympiad covers 100 countries and is in some ways similar to the IOL (though much older). My hope is that we will also become as large. The obstacles we're facing are partly economical, but there's also the fact that linguistics isn't taught as a basic subject in schools. We won't let this deter us though, we'll keep aiming high and spreading knowledge about languages, linguistics and our olympiad! Would the Problem Committee (PC) really prefer that fewer non-european countries join? Of course not, I take that as a given. First let's talk about the languages the problems are in, not about. The PC has in the past shown great talent in scouting out language experts to help with translation of problem sets for the participants (all without the knowledge of the national/territory team leaders or organisers). I have no doubt they can take anything we throw at them. Note that the languages of the IOL need to be dominant or official in the country of the contest, so we are not selecting from all 7,000+ languages of the world. For those who might not know: the problem committee does not work with a base version of the problem in English and then translates into the others. They work with a version in a between language Ivan chooses to call "solverese". If you want to read more about multilingual editing of the IOL problems, we propose that you read this paper written by the Ivan:

Derzhanski, Ivan (2013) Multilingual Editing of Linguistic Problems, In Proceedings of the Fourth Workshop on Teaching NLP and CL August 2013 Sofia, Bulgaria Association for Computational Linguistics 27–34 http://ift.tt/1uRZrJr [in English]

Now to the issue of the language the problems are about, rather than in. It is true that the PC seeks to make problems about languages that the contestants are unlikely to know. (The closest we've come in the past to the issue of participants knowing the language of the problem must have been when Australia competed and there was a problem in Vietnamese. That turned out alright in the end, phew!) It should also be said that many of the national/territory contest organisers do probe contestants to disclose what languages they know, and should there be concern the board and/or PC is alerted. Furthermore, most languages are spoken by few people. This is a sad fact, but necessary to relate. This makes it easier to pick a language the contestants do not know, even if they're from language dense areas. Here's a diagram showing the population per language, based on the 19th edition of Ethnologue.

Speakers per language Infogram

Here is a table from Ethnologue that tries to explain this as well, a bit niftier.

Table from Ethnologue summarising the number of speakers per language.

For further background, of the 7,000+ languages in the world there are grammars or grammar sketches of approximately 3,500 of them (Glottolog). Participants of the IOL are not likely to know all of these, even if participants from Africa or PNG would make the scope smaller there's still plenty left. If we then add to that that most grammars of languages of the world are written in languages the PC knows, that makes it even "easier" for them. Not that this is an easy task, but you get my drift.

Languages, coloured by which language the grammar of it is in. By Harald Hammarström, based on Glottolog.org. Read more here.

Help us spread the contest to more places

Finally, we do want there to be linguistic olympiads in more places than there currently are. If you think you can lend a hand with that, do let us know. Perhaps you're a local linguist who would like to make problems? An employee at Google/Apple/Microsoft who could persuade the company to allocate some funds for a local contest? A keen student or teacher who'd like to get together a group and set something up? Or a meming former contestant who would like to give even more back?

Be in touch!

Want more information about the IOL? Visit our super awesome Frequently Asked Questions (FAQ)!

#IFTTT #Blogger #ioling #international olympiad in linguistics #linguistics #languages #science olymp

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zipgrowth · 6 years ago

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The Greatest Enemy of Creativity in Schools Isn’t Testing. It’s Time.

Creativity is one of those ineffable skills that’s important—especially for jobs of the future—but hard to pin down. We know when we feel creative, and we know what creative work looks like. Measuring and assessing such work in a way that keeps kids inspired is another matter, though, and schools aren’t known for being good at it. For years, personalities like Sir Ken Robinson have taken education systems to task for actually testing the creativity out of students.

Author and educator Katie White, who’s something of an expert on the creative process, may have a practical solution.

She argues that creativity actually has a very visible side that can be nurtured. “A lot of people think it’s very formless, but the case that I’m making is that it’s actually very observable, and there’s plenty of things that would indicate creativity,” she says. That means teachers can both tease it out and measure it—provided they know what to look for.

A former art teacher, White is now an education consultant who criss-crosses the continent giving workshops, coaching teachers in her local Saskatchewan district and writing books. Her newest, “Unlocked: Assessment as the Key to Everyday Creativity in the Classroom,” serves as something of a blueprint for schools aiming to spark the creative process in the classroom while staying grounded in a reality that requires them to follow standards and assess students regularly.

White recently spoke with EdSurge about what creativity actually looks like, practical ways teachers can inspire their students and the biggest enemy of the creative process. The interview has been lightly edited for length and clarity.

EdSurge: What does a good formative assessment around creativity look like?

White: There are a few. Depending on the context in which kids are engaging in creative processes, there will be the layer of assessment that relates directly to the content. If they’re exploring various ways to solve various mathematical problems, for example, you’ll have a layer that’s pretty specific. Often you’ll get those criteria from the standards and the outcomes, and teachers and kids can make sense of that work together. That’s sort of the vehicle that’s getting them to the creative process.

But then there’s the criteria for creativity. In other words, “how does creativity look when it’s being lived out?” Well, we want to see kids asking lots and lots of questions. We want to see students who are struggling with ambiguity and are feeling comfortable taking risks. We want to see them recover from mistakes and show engagement and investment in their products and performances. Those will be the same from class to class and experience to experience. But the context that drives creativity will be subject-specific.

Experimentation or risk-taking in a writing class means that students generate an idea they haven’t used before, or come up with new perspectives or opinions. In a science class, risk-taking might be making a hypothesis that goes beyond the surface level and thinking about what might happen and then committing to that idea. Or it might be using less-familiar materials. This risk-taking skill looks different depending on the context.

In your book, you talk about “the four stages of creativity.” Can you describe what this process looks like?

The stages I talk about are a synthesis of the work of lots of other people. I sort of rename them so they’re easier to understand. I talk about introducing kids to creativity through a catalyst or a critical notion: I call that the exploration stage. It’s a time when kids are asking questions and invited into learning experiences that create curiosity.

The kind of assessment I talk about most is dialogue with others, or feedback, and then dialogue with self

The second stage is elaboration, where students will mess around with their initial questions and their engagement with materials. They will deepen their understanding and their questions might shift a bit.

The third stage is expression, and that’s where kids and teachers decide together how to share their thinking with other people. It could be with parents or other students or just sitting beside someone and sharing a solution to a problem. The fourth stage is reflection and response. It’s a little different from self-assessment, which happens in all stages. Reflection and response is that really deep longitudinal thinking about creative processes and which strategies worked for kids, which environments made them more creative and how they’d like to apply it to their learning.

Layered over that is the notion of thinking about assessment in new ways. People most often think of the final summative event where we verify learning. But the kind of assessment I talk about most is dialogue with others, or feedback, and then dialogue with self, or self-assessment.

In order for children and adults to move through these stages, we need to invite them into the kinds of assessment processes that allow them to think about what they are trying to achieve, the degree to which they’re being successful in that moment and how to plan for future engagement—like what they’re going to do next.

Where in those stages might students get tripped up and not able to move on to next stage?

The biggest enemy of creativity is time

If we let kids free with great materials and good catalysts, I don’t know that they get tripped up. You have to provide physical space, emotional space and time for kids to try things and experience either success or failure. In a school environment, we’re often marching through a very content-heavy and skill-heavy curricula, which makes teachers feel pressured to move through things as quickly as possible.

You might go through the exploration, where children are invited to generate their own questions, but then they don’t get the chance to fully search for answers and experiment and experience the creative process. We rush to the answer too quickly.

Or maybe they have a chance to do some exploration and elaboration, but there isn’t enough time for them to express and share their work with meaningful audiences. Often their expression is in the form of handing something in to the teacher.

And then the stage that gets most short-shrifted is reflection and response. Because this is how teachers and kids can connect their creative personality, and who they’re becoming as creative individuals. They can connect past tasks to future tasks and future creative endeavors. We rarely have the time to do that reflection. The biggest enemy of creativity is time.

You’ve written before about using observation as an assessment tool—where the teacher is almost like an Olympic judge. Why do some teachers feel more comfortable than others using observation?

Observation and conversation are just as important as student artifacts

Well, I can only speak from my own perspective. I’ve taught every grade, K-12. When I was teaching the early years [i.e., young learners], we accepted that, developmentally, children aren’t ready yet to commit their thinking in a written form. So we’re willing to have children represent their thinking through images or sounds or puppet shows. There’s lots of ways kids can express their understanding.

The same is true in highly performance-based environments like physical education and practical and applied arts. We would never ask in a P.E. class for children to sit down and write about every time they’re learning a new skill. It’s perfectly acceptable for teachers to observe that, and it’s very powerful because it’s really authentic.

But in some subject areas—science and math and English-language arts—the older kids get, the greater the emphasis on written documentation of understanding. Part of that is justifying a grade. It’s easier for me to justify it if I have visual evidence that I can speak to. Another part has to do with confidence: “Did I really just see what I thought I saw?” And finally there’s the perfectly legitimate reason, which is that we need students to be able to express thinking in a written form by the time they graduate because our society is very text-heavy.

But the power of observation is really critical to creative development. There are a lot of things that we need to see and hear to know that it’s happening. I’m talking about things like engagement or investment, or kids being curious. These are often expressed orally. We need to be able to listen and document. We need to be able to sit back and observe kids trying new ideas on and listen to them confer with others. All of that is really important in a creative environment.

At the very least, in the book I try and make the case for the triangulation of evidence, or the notion that observation and conversation are just as important as student artifacts. Looking at many sources of information would tell us what kids are thinking and feeling about their work.

What are some practical things teachers can do to heighten the way they assess creativity?

Sharing assessment with students is a critical first step. Teachers should be willing to open themselves up to having conversations with kids, about what they’re trying to achieve, what their goals are—both short and long term—and about the decisions they’re making. This helps kids understand that assessment is a process to help determine where they are right now, where they are headed and the space between those two things.

In my workshops, I invite participants to engage an a creative act and then I ask them to co-construct with me criteria for the product. In other words, what needs to be in the finished product? And then we co-construct another set of criteria around what creativity might look like in this context. What would we see if someone was engaging in creativity?

Having that criteria up-front, we can invite students to consider how successful they are. We can actually do a self-assessment feedback session. Teachers can also create a chart with student names along the left-hand side and the criteria for creativity along the top. And when they’re doing observations, they can be formally looking for those things being lived out in the classroom space.

Creativity requires students to make their own choices, but it also requires some structure. Can you talk about the push and pull between free choice and structure?

We don’t have to make a binary choice between creativity and curriculum. We can do both.

I've taught art classes in the community since I was 17-years-old, so for a very long time. I feel like I’ve tried everything under the sun in terms of getting kids to engage in creative processes.

For a number of children, when you place a blank canvas or a blank page in front of them, because there’s no criteria or structure to guide their thinking, it almost requires of them a spontaneous creativity. And that’s really difficult for people who aren’t experienced in terms of their own creative inclinations.

Structure can come in the form of any number of things. Giving kids a question or a series of objects and asking how they might go together provides enough structure to unleash creativity. It’s not so daunting when there’s a framework. It’s easier to think outside the box when there’s a box. We need to know what’s there so we can figure out whether were pushing beyond it.

In art classes, I've said: “Here’s a blank canvas. Create whatever you like, but you need to have two straight lines, three curved lines, a geometric shape and an organic shape.” For some reason, those guidelines really help kids move into that creative part. It seems to inspire them more than just giving them a blank canvas.

But the bottom line is that we do have outcomes and standards we need to work toward. I want teachers to understand that we don’t have to make a binary choice between creativity and curriculum. We can do both.

The Greatest Enemy of Creativity in Schools Isn’t Testing. It’s Time. published first on https://medium.com/@GetNewDLBusiness

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megamanishashekhawat-blog · 7 years ago

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vashikaran real life experience

https://vashikaran.mobi/vashikaran-real-life-experience/

vashikaran real life experience

Yes off course vashikaran mantra is a medicine for your lost love diseases in your life. Along with it, if you want to get your lost love back in your life by vashikaran mantra then you will have to read this article because with the help you can seek your problem solution. Apart from that, now I want to tell you about importance of love in your life. Love is quite precious in our life because without love you cannot make relations with other person in your life. Apart from that, love is not electricity which you can sock in your life. Love is a sweet thing which you realize in your life about happiness and enjoyment. Along with it, when you lost your love in your life then you know about value of love in your life. Apart from that, then you search a way with the help you can Get your lost love back in your life. So vashikaran for love is a boon in this world.

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Without any doubt I explain you in this article that how vashikaran is done. Apart from that, Vashikaran mantra is related to the word of hypnotism in this world. Along with it, subdual is a word which defines vashikaran in Hindi language. I can say that vashikaran mantra is need of everyone like as electricity because we know that electricity has made of need of everyone in this computer era. Along with it, Vashikaran is a Sanskrit word. Apart from that, vashikaran makes with the help of two word vashi and karan. Vashi means that control to someone. Karan means that get a way for get rid of problems. Apart from that, vashikaran mantra is an art to control on mind. Along with it, with the help of vashikaran mantras we can control on anyone’s mind and give direction in that person life according to our desire. Along with it, now you are thinking that vashikaran is real or fake. So with the help this article you can know about this question. Apart from that, vashikaran mantra is quite strong attracting process. Vashikaran mantra works in your life such as magnet control attract iron. Apart from that, with the help of this method you can control you lover and you can take work from that member such as robot in your life.

vashikaran real life experience for love

Apart from that, you can consult with vashikaran astrologers in your life. They give you vashikaran real life experience. Along with it, firstly, he does study on your all aspects of your life after then they give you some suggestion and some remedies or mantras to remove your all problems for permanently in your life. But you will have to utilize of these mantras and remedies with full faith and intentions in your life. After then, you can change your problems in happiness and joyful life. Apart from that, they tell you vashikaran true stories because with the help you can know about that vashikaran works really in your life. Apart from that, one more thing that if you use vashikaran mantra for negative purpose in your life. it can be some side effects of vashikaran in your life.

Getting back of an ex girl friend is possible only through hypnotism or vashikaran. Vashikaran is one of the ancient subject’s of science. It is derived from two Sanskrit words Vashi and Karan. Vashi means to draw attention from others and to influence. To say in simple words it means to gain a person’s mind and control his/her mind. The other word Karan implies the various means and methods to do so. Thus the combination of two words is known as Vashikaran through which a person’s mind, feelings, emotions can be controlled and can be made to act as per the wish of ours. The latest version of Vashikaran is present in atharvaveda. Vashikaran when chanted with mantras and yantras will be very powerful. It can also be used to get rid of the evil effects of planets that are present in ones horoscope.

Through Vashikaran various activities can be performed like getting rid of evil causes, getting back love etc. Such activities can be done only by a famous astrologist’s and the ones who have a good experience with the same. Most of them are also considered to be experts in hypnotism and also vashikaran. Along with these services the other services that he offers are regarding Horoscopes, Palm Reading, and Kundali Matching etc. They have the services all over the world in about 320 countries. Most of such prominent astrologers are considered to be an expert in getting back ex girl friend back through Vashikaran. But he will help only that boy who is in need of his ex girl friend really or else the boy who is suffering from the friendship of that girl when not being accepted by her. These astrologers will not support that boy who is not serious with the girl because it is said that playing with girl’s heart without any proper reason is very dangerous than playing with fire.

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The girl friend can be brought back by chanting powerful mantras based on Vashikaran. With those spells the boy can be able to control the mind of the girl who is somewhere else. When that boy approaches any of these astrologers then he will first test the mind of that boy i.e. whether he really needs his girlfriend back or not. If that boy’s mind does not really want his girlfriend back but just want her for time pass then i will not help that boy. If i comes to know that the boy really wants his girl friend back then he will chant some powerful mantras so that those spells will have an effect on the mind of that girl. Once the girl’s mind will come into control then he will cast some spells in such a way that the girl also wants the boy. There will be many spells and mantras/tantras that have to be uttered simultaneously by the boy and also i. These spells are chanted very slowly so that the girl will be able to recognize the feelings that the boy have for her.

Do you often spend sleepless nights because you just can’t handle failures – the failure of relationships, the failures at workplace or in your business; or those in having a good and happy family life? Do you know why it happens? This doesn’t happen because you are suffering from pathetic insomnia but because you are troubled with all those miserable failures haunting your imagination all the time. Just STOP, STOP WORRYING! STOP Turning into a pathetic soul out there. Here’s a way for you to come out of your failures, and Have SUCCESS on your side in everything that you do! Simply let Vashikaran Mantra work for you and it will bring you nothing less than success, happiness and power. Let’s first see what these mantras are and how do they work. These are special verses often written in old world languages like Hebrew, Old English, Sanskrit and Arabic and even in some kind of other worldly cryptic languages that only the mystics can read and understand. These verses have the power to attract positive energies and let them work for you.

vashikaran real life experience for girlfriend

The word “vashikaran” means the act of attracting with the power of attraction and it works on the laws of attraction of which you’ll often read while reading writers like Napoleon Hill or Rhoda Byrne in books like “Think and Grow Rich” and “The Secret” and so on. This art of attracting power, wealth, good health, happiness and positivity is older than the Bible itself and practitioners have been practicing it from the pre-historic times. With the knowledge of cryptic languages and years of practice of these special verses or mantra and performing the special rituals the mystics are finally ready to use the art for you for various reasons. So, it can be attracting wealth and you get to read about rags to riches stories of people, who had nothing but then owned half of the world. And you can attract good health – haven’t you heard of people suffering from cancer saw the cancer disappear all of a sudden? And of course, it works in attracting love, respect, great position in the society or at your workplace, and so much more.

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So, you know what these verses are, how they are so very powerful and how they work? Now it’s time to learn how they are going to work for you. You’ll simply have to consult a mystic guru or an expert who chants these mantras or verses for your good and hire him for your purpose. However, you’ll have to take care of certain things. These are: – first, check if the person is really an expert and is not faking you. Second, have faith in mysticism as well as on the person you have hired and also on your aim or ambition that has brought you to hire the person for the verse chanting. Third, tell your troubles and discuss what are your aims and ambitions are and what you want the person to do for you. And finally, follow the instructions that your Babaji gives to you. Thus, with the power of vashikaran mantra you’ll have all your dreams fulfilled and have even the impossible things turned into possible realities of life!

Real Vashikaran Specialist Bengali Baba Ji specialist in vashikaran. Vashikaran is a method of attracting or controlling a person by using certain procedures. It can help you win the love of your life and to bring a person permanently under your control. It is most effective when used with a positive intent. Real Vashikaran Specialist Bengali Baba Ji is based on a system of tantras, mantras, and yantras which when used properly help fulfil your desires.Most commonly, it is used when we love somebody genuinely from the heart and that person is unable to return our feelings or when a partner is losing attraction for the other. It is also used by married couples to control their husbands or wives.Vashikaran is the name unveils its importance is controlling somebody. Everybody is the proprietor of his own life and to take any choices. Fundamentally, cherish is considered as a requirement for everybody and this genuine feeling can live your life. Yet, it is not generally conceivable that the individual whom you adore will likewise cherish you back. Vashikaran is an extremely old antiquated strategy that is received from the Sanskrit dialect.

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Vashikaran can even bring back your lost love back into your life. But the procedure to be followed is very strict and may require chanting of mantras thousands or lacs of times and use of Yantras thus one should contact a specialist before performing Vashikaran. Real Vashikaran Specialist Bengali Baba Ji have years of experience who also provides yantras, rosaries, and mantras which if used properly can bring anyone under your control and even win back your lost love. very power full & very strong. vashikaran is sanskrit experation composed the two words ‘vashi’ & karan ‘vashi means to attract. infflyence, excite or desire the prson.in other word it reffer to brringing a particular person under your complete ‘control’.the term ‘karan’ indicate the method or technique of performing it as laid laid down in ancient scriptures.

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christsbride · 7 years ago

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Is The King James The Best Translation?

There is a belief in fundamentalist Christian groups that the King James Bible is the most reliable biblical text and some even claim it is the only true Bible translation. They are firm in the loyalty to the KJV and trust it is the closest version to the original texts of scripture and some claim it is the exact same as the originals in translation. But is this true? To figure this out we will look at the KJV sources, translation, author, and consider God's prevision of his Word through textual criticism.

Source Manuscripts

Most of the Byzantine texts (group of biblical manuscripts) used in translating the KJV source text (Novum Instrumentum omne) are from the 6th and 12th century. Since the time of compiling the KJV, we have discovered other older texts closer to the date and of the Apostles (Alexandrian texts). After comparing all the manuscripts we can see additions in later texts that were not in the earlier texts.

The last 6 verses of Revelation, the translator, Erasmus, had no early Greek manuscripts except for later Latin manuscripts. He attempted to translate those back into Greek. By comparing his Greek translations of Latin manuscripts, to actual older Greek manuscripts discovered later in history, we see some key issues. In this attempt to re-translate, he created 17 variants not found in any other, older, Greek manuscript. In Rev 17:4 he created a new Greek word: ἀκαθαρτητος (instead τὰ ἀκάθαρτα). There is no such word in Greek language as ακαθαρτητος. In Rev 17:8 he used καιπερ εσ��ιν (and yet is) instead of και παρεσται (and shall come). Thus, we can conclude that his translated source text for the KJV is the source for those discrepancies. This causes concern for his translations.

1 John 5:7 has an insertion that is not in older manuscripts. Erasmus was pressured by the Catholic Church of that day to include a statement supporting the Trinity (whether it's true or not) that is not found in older manuscripts. Erasmus based his translation on the codex 61 which is a manuscript dated to the 16th century. Thus showing that his insertion of this verse is not based on any older more reliable manuscript, but instead based on a generated texted around his time. Originally he did not include the addition into his translation, but under pressure from the Catholic Church with the newly generated manuscript, he did.

The issue is not the truth of the inserted statement. The issue is the fact that the statement was most likely not in the original texts from the Apostles. I could insert the statement "Jesus is Lord" where I see fit in the Bible, and, even though it may be true that Jesus is Lord (due to evidence of the older manuscripts), it is not my place or authority to add to scripture where it was not added to begin with. We will discuss Erasmus' 'authority' later in the article.

KJV Matthew 23:24 says "strain at a gnat..." but the more reliable older Greek manuscripts say "strain out a gnat". "At" and "out" are different word meanings for the Jewish figure of speech. This is an error of translation in the KJV. The older manuscripts use "διϋλίζω" which in Greek means "strain through or out". It is an outward through concept not a positional concept. Like looking through someone verses looking at someone.

The debate about which type of biblical manuscript are more reliable is clearly still debated, but in simple terms, the older and closer to the event in location and time the manuscript is, the greater reduction in the issue of copy errors and added incertions. Some of our modernly discovered older manuscripts could have even be the actual copies used in some of the churches most important counsels like in The Council of Nicaea for example. Early quotes from original Scripture, from the disciples of the Apostles and earliest Christian teachers, resembles the older Greek Alexandria manuscripts as well. Manuscripts which Erasmus did not have access to later in the 16th and 17th century until their rediscovery in the 19th and 20th century. This however did not effect or change the truths of the Christian faith; just revealed the problem in the idea that the KJV alone is divine in translation.

King James Bible Revisions

Even after Erasmus' 3rd King James revision of its source texts, it has been revised numerous times over the centuries. The KJV now is not the same as the KJV originally. To argue that revisions of modern bible translations is reason to doubt those; is self defeating and contradictory.

As time goes on, literature evolves with the changing of cultures. Novels written in the 19th century are having culturally and politically correct revisions; such as Huckleberry Finn. Even religious groups, such as the Jehovah's Witnesses, have revised their publications through time as their beliefs (heresies) have changed. With just these modern examples we see how older copies, closer to the date they were written, are more likely to reflect the original. This can be true for scripture as well. Newer manuscripts have additions or slight changes when compared to much older manuscripts. That's partly why. This is also true when considering the first publication of KJV source texts and the four revisions of the KJV.

Cultural Word Usage

There are hundreds of words used in the KJV that English speaking cultures no long use or have commonly changed the definition. An example is the word "gay". If I was to state "I'm gay", that has a different meaning on face value than it did 100 years ago. If you post on Facebook "I'm gay", think about the common understanding people will have. But that word meant something completely different when it was used a century ago.

Even context does not always point to which meaning at that time in history when the word's definition culturally has changed. 2 Timothy 2:15 is an example of this. KJV states "Study to shew thyself..." but this does not mean what is means now. In the NASB, a word for word translation into current English language, states "Be diligent to present yourself..." which helps readers more accurately understand what Paul is saying. To "study" then does not mean the same as now. Now, I can "study" but not in the way this word was actually means. I can study the paint on the wall without effort or diligence. The Greek word in the older manuscripts is "σπουδάζω" which, when it was used in Roman and Greek literature, means "to use speed, i.e. to make effort, be prompt or earnest:—do (give) diligence, be diligent (forward), endeavour, labour, [intensely] study." In which "diligent" is a better fitting word for the current generations of English speakers from a more reliable older manuscript. That's like saying "I moved forward" when actually "I ran forward". Both technically say the same thing because running is moving, but one uses a better descriptive word; especially if the original act was about me running. Also read Correctly Interpret and Understand The Bible

Erasmus' Authority

Proponents of "KJV Only" then appeal to Erasmus as having some sort of divine authority or under divine inspiration when translating. But, due to simple errors this clearly can not be true. First let us understand that he was a self proclaimed and proud humanist thinker. His primary focus is on the importance of man rather than the importance on the supernatural. This self identity played a factor in his rational for his translations. At the end of the day, the will of man when it comes to decision making in regards to translating scripture, took presidents. This is proven by him giving into pressure by the Catholic Church to add statements in his translations that which was not in any of his manuscripts or any older manuscript ever discovered . He knew it too, even hesitated and argued against including it, but eventually he did. He was a great author and scholar, no doubt, but so are some atheists. Most importantly, he never claimed to be directly inspired or influenced by God except in duty and obligation to the Catholic Church.

PRESERVATION OF GODS WORD, BY GOD.

This must be true or Christian truth is unknowable for certain. But considering this logically; God is God. God, creator of the universe, can preserve his written word if he so chooses to. Given the mass amount of total preserved biblical manuscripts, all the outside supporting manuscripts (early church and nonchristian quotes) with historical and archeological evidences; He has. And we can know this for certain. God has allowed us to retain and rediscover older manuscripts and other older quotes to this day. We can compare all known manuscripts and evidences and reliably conclude what the original message is. We can also compare newer manuscripts with older manuscripts and help filter out what was not in the originals more accurately. Though word definitions may change over time and cultures, we can still reliably translate and discern the original message. God has preserved his message contained in the sum of all reliable manuscripts and in the 2nd through 4th century quotations and historical accounts; all of which we have access to today. Strict dependence on Erasmus' problematic translations and his KJV source text is not completely necessary.

TEXTUAL CRITICISM

This issue is directly related to what is known as 'textual criticism'. Where all manuscripts are studied, compared, and organized to determine more accurate readings of the original writing. The exact same process is done with all ancient manuscripts. To simplify it, in relation to Erasmus and the KJV, there are two predominate 'text types': Alexandrian text type (oldest and fewer) and Byzantine text type (later and majority). Alexandria is favored more commonly by a majority of biblical textual scholars.

Alexandrian text type tends to be shorter while Byzantine is longer in wording. In Luke 11:12, the Alexandrian just states "Father" but in the later Byzantine it states "Our Father in Heaven". Even though the message is the same and both true; we can see that the Byzantine added extra. In Matthew 24:36, the Alexandrian has "nor the son" but the later Byzantine omits that. Byzantine scribes may have left that out due to ignorance or fear of negatively effecting Jesus' divinity. Which actually has no effect when properly understanding Jesus' willing and voluntary role on earth. In Acts 20:28 the Alexandrian reading is του Θεου (of God) but the majority Byzantine texts say του κυριου και του Θεου (of the Lord and God). The point is we can clearly see where the Byzantine text type is at more risk for humanistic additions or subtractions (without changing the original meaning).

In some cases there are areas of text that are missing in the Alexandrian texts. The gospel of Mark abruptly ends at 16:8. That doesn't mean that it didn't exist, but for whatever reason, through the manuscripts history, it became missing. How do we know? Because of early church father quotes and 2nd and 3rd century textual support. Other times, some verses are omitted in the Alexandria text types. Why? Damage, corrosion, and being scratched clean to write over (like using an eraser) because the scribe needed the paper. But we can know if it was at one point in the text because of quotes and teachings from the early church teachers who used that type of manuscripts.

The earliest Egyptian Coptic manuscripts of the 1st century are based off the Alexandrian text type. Also used by Clement of Rome (a disciple of Paul and appointed by Peter), Athanasius, and Cyril of Alexandria in their quotes and references. There is even Alexandrian witness in some Byzantine texts used by Origen. Through church history, early teachers and scholar used the Alexandrian texts when available and early Byzantine texts when the Alexandrian texts where incomplete or not accessible. But if you notice, Alexandrian text type was primary source for even the disciple of an Apostle and the earliest church teachers.

Back to the point from that brief simplistic textual overview; Erasmus based his translation on the Greek Byzantine text type but when he didn't have a Byzantine Greek text type, he used a much later Latin Byzantine text type. Thus increasing the likelihood of perpetuating and transmitting textual additions that were not in the original bible manuscript; of which we noted above. Also read Modern Secular Historians and The Bible | Early Accounts of Christianity from Non-Christians | Why The Disciples of The Apostles Matter Today CONCLUSION Erasmus compiled source texts for the KJV using text types that he chose and that which were only available to him at that time. It was a monumental task and effort. He is a respected translator and scholar as well. Despite all this, there exists scores of evidence to show that his source text for the KJV was more flawed than current bible translated source texts. There have been more discoveries of biblical manuscripts and more earlier church father quotes and their notes about more ancient texts to guide us, now, in more accurate textual criticism to determine better biblical translations. This is why most modern scholars favor the Alexandrian text types and the source documents that use the Alexandrian text type as their primary sources. To claim that the King James Bible is a divine translation in the English language and all other translations are 'of the devil' is to ignorantly or selfishly avoid the evidence against this. Given the historical record and considering all evidences; we can conclude that the King James translation is not the best in and of itself. Also read What Makes Christianity The True Faith? | What is 'Doctrine' and does it matter? | Why Are There So Many Translations? | Has The Bible Changed?

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folie-a-beaucoup · 7 years ago

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Irish guy here. In response to someone’s post I’d written a short list of traits to help with writing Irish-sounding English dialogue. I thought I’d post it here as a reference. It might also help people who want to write fantasy dialogue that sounds suitably ‘old world’ compared to modern American vernacular.

Edit: this post describes Republic of Ireland English rather than Northern Ireland English, which is its own unique thing with less Gaelic influence that would require a whole other post i'm not qualified to write.

Irish people tend not to respond to questions with 'yes' or 'no'. This is because there are no words that translate directly as yes or no in the Irish language. 'Tá' and 'Níl' mean 'it/there is' and 'it/there isn't.'

So even though English is Irish people's primary language, we tend to answer questions like this:

Are you hungry? 'I am'

Is it broken? 'it isn't.'

Will she be arriving? 'She will.'

In irish we don't have a verb 'to have.' You don't describe yourself as owning anything. Things are simply present alongside you. Instead possession is described like 'there is a' + 'noun' + 'word that translates as 'with me' or 'on me' or 'in me'.' Example construction: There is a bellyache in me, rather than I have a bellyache.

In english this phrasing get combined with the verb 'have'.

I have a bus ticket, becomes 'I have a bus ticket with me'

He's drunk, becomes 'he has drink in him.'

She has bright eyes, becomes 'she has bright eyes on her.'

When something happens to your possessions, there’s still two identifiers of possession in the form of ‘my’ and ‘on me’

‘My car broke on me.’

‘Her dinner’s gone cold on her.’

'His kid's been acting up on him.'

Actually, just think of how doctors in films say ‘don’t die on me’, but apply it to everything.

When you do 'action x' to 'thing y' in irish, you're not carrying out 'action x'. Instead you're bringing 'thing y' to a state where 'action x' has been done to it. For example:

I've eaten a cake, becomes 'I've a cake eaten.'

You didn't eat that cake, instead you brought the cake to a state where it has been eaten. This applies to lots of things. 'I've my hands washed, a book read, a delivery ordered.' it even applies to things you do to yourself:

I broke my arm, becomes 'I have my arm broken.'

When talking about the past, had or has gets replaced by 'after'.

She has fixed the problem, becomes 'She's after fixing the problem.'

I had my meeting, becomes 'I'm after my meeting.'

Any gets replaced by at all. Sometimes duplicated to form 'at all at all'

Do you have any apples? becomes 'do you have apples at all at all?'

Ye is used as a plural you

Are you all not finished? becomes 'are ye all not finished?'

Were you alone or in company? becomes 'was it all of ye or just yourself?'

Himself/herself often takes the place of him/her, or even he/she in some cases

I asked him about that, becomes 'I asked himself about that'

Here she is, becomes 'Here's herself.'

And what about you? becomes 'And what about yourself?'

Irish people tend to drop the word 'if' in certain cases.

I don't know if it will work, becomes 'I don't know will it work.'

He asked me if I knew her, becomes 'He asked did I know her.'

Irish people tend to drop the 'to' out of many phrases.

I'm not allowed to see her, becomes 'I'm not allowed see her.'

He's gone down to the shops, becomes 'He's gone down the shops.'

In Irish 'take' is not a synonym for 'bring'. 'Take' means to snatch or remove something. There's a stronger emphasis on possession changing between people so it doesn't apply if you're just carrying your own possession somewhere new.

I took my coat with me, so would become 'I brang my coat with me.'

'brang' is commonly used as a past form of bring in place of brought.

On that point, 'dove' is used as past tense of dive instead of dived. This dove rhymes with cove, not love.

'The plumber brang his tools and dove right in.'

Irish is similar to african american vernacular in that there are two present tenses. One for things that are currently true at the moment, and another for things that are generally true but not necessarily happening right now at the time of speaking.

Where a black american person might say 'I be working', an irish person will say 'I do be working,' typically contracted to form 'I d'be working.'

So the concept of 'He is known to sometimes or often tells lies, but I am not claiming he is currently lying in this present moment' is handily conveyed in the short phrase 'He d'be telling lies.'

Irish people tend to attach words to the end of sentences, such as 'now' 'so' and 'sure.'

'There we go now'

'That's fine so'

'there she is sure'

Now conveys no extra meaning and is just used for emphasis.

'You've ruined it now.'

So is used as an article of agreement in place of 'then'.

'Oh we'll just do that so,' in place of 'Oh we'll just do that then.'

Sure is used for something that should be self evident or obvious.

'I'm holding it now sure.'

The Irish sorry:

Irish people frequently pepper conversations with the word sorry. In my experience this eccentricity seems to confuse non irish listeners more than anything else. Hearing sorry all the time, it can sound like irish people are constantly misinterpreting what you say as a criticism or admonishment. But saying sorry is just a casual way of being polite.

Our little sorries are invisible to irish people. We don't fully register they're there when we listen or speak. It’s our way of smoothing social interactions and we don’t mean them as literal apologies.

For example: You can be arguing with an irish person about how they refuse to apologize and take responsibility for something, then ask them for a pen so you can write their details to report them, and as they hand it to you they’ll say ‘oh sorry just a sec. Sorry there it is,' before they go right back to arguing that they don't owe you an apology. But the sorries aren’t sarcastic. It’s just a pleasant little norm for people to show empathy with minor things like you not already having a pen. You poor thing. Blame that verbal tick on catholic guilt maybe.

Another piece of subconscious politeness. Irish people tend to avoid explicitly referring to themselves when asking for something. Instead of me or I, ‘us’ or ‘we’ is used. I.e., ‘Give us two loaves of bread/ Can we get two loaves of bread.’

I now realize this sort of makes irish people sound like Smeagol/Gollum.

When recounting past conversations, irish people will reverse the order of ‘X said’ statements. As in:

‘Look over here, says he. Look where? says I. Here in my hand, says he.’

Note how says is present tense though the story takes place in the past. This is more common with older generations and rural people. You wouldn’t hear a young urban person talk like this unless they were being ironic.

It's also common for irish people to phrase definite statements as rhetorical questions.

That won't work, becomes 'that'll work so will it?'

She's superb at it, becomes 'Isn't she superb at it?'

I was late and he scolded me and I got the day off, becomes 'Sure wasn't I late and didn't he scold me and didn't I get the day off?'

Interestingly, unlike most languages Irish did not originally have a greeting that made reference to god or gods. This concerned the catholic church, and so they imposed the phrase 'Dia Duit', which means 'God with you.' Dia duit is now the standard greeting used in Irish. We don't know what the original hello was, since literacy arrived in ireland with christianity in 432 AD, replacing the ogham lettering system which had been primarily used to mark names on graves. Some believe the original hello was a form of 'Nach tú,' which means 'is it not yourself?' Which is kind of funny when you consider the irish tendency to phrase things as questions might once have extended to kicking off every conversation by asking one another whether or not they're themselves.

'Ah, is it not yourself?'

'It is, and is it not yourself also?'

'It is. Now that we've settled that neither one of us is not ourselves let's tell each other our names since this is out very first meeting.'

#note to self #reference #long post #ref text in link under readmore for convenience

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megamanishashekhawat-blog · 7 years ago

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megamanishashekhawat-blog · 7 years ago

Text

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