#it's an adjective in one and a noun in the other

[curiousobsession101]

My own thought process for these polls: Wet can mean "the human body detects this as having water on it" in which case yes. It can also mean "has water on it". In which case, almost always because it's extremely uncommon for any molecule of water to exist in isolation and water tends to stick together (creating surface tension). Therefore I think of the "is wet" vs "makes things wet" distinction as a false dichotomy.

Salty can mean "contains salt" but more often is just a word that describes a taste. Therefore salt qualifies.

Dirty can mean "has soil on it" but I usually use it to mean something more like "having a substance on it which is unwanted, germy, unpleasant, and/or unhealthy". The "germy" one there isn't the best way for me to say that because I don't mean just any germs I mean specifically ones that could pose a potential problem or cause unpleasant odors but I don't know how to be that specific without writing out this full length sentence. Anyway, soil usually doesn't qualify unless it's been contaminated with something (although it can qualify in the "unwanted" category in certain circumstances). This gets more confusing when you consider that I absolutely do use the noun "dirt" just as often to mean soil as any other substance that qualifies. It's specifically the adjective where I normally exclude soil.

The aflame one is interesting. I've never seen the word "aflame" used to mean "burning" in general, I've always seen it used to mean "on fire" - as in, it specifically refers to the fuel being burned. Judging by the votes on that poll, there are plenty of people who do use it to mean "burning" I just haven't seen that.

Hairy is another interesting one. I always see it used to mean "has multiple hairs growing out of it" which means the answer to this really, really depends on what species you're talking about. Most mammal hairs are usually each an individual hair, but there are some animals that have hairs that branch out into more hairs (all the examples I know of are arthropods, I don't know if there are non-arthropods that have this). So if it was an option my answer would be "It depends?"

[gxlden-angels]

I think it's so funny when Christian flat out reject the concept of being intersex like oh so me and about 2% of the population aren't real but you expect me to believe homeboy's gonna come back after (holy) ghosting us for over 2000 years?

[fogwitchoftheevermore]

the use of latin in the 100dmv series is like. cool. fun. a practical way for me to use my latin classes that i suck at. however everyday i worry for the day legs tries to use the words "book" or "free" because minecraft doesn't support macrons and without the macron those are the same word.

[ranahan]

And now for the third part where I have some theories. There will also be a fourth with still more theories.

A theory about -yc, -cy-, -cye and -cya

There are two adjectival suffixes in Mando’a: -la and -yc. You’ll often see -la reduced to just an -l- in compound words. But what about -yc?

Well, what I think happens it gets reduced to just /ʃ/… which is spelled as ⟨cy⟩.*

And you know how Mando’a uses the plural suffix to derive nouns from other word classes?

I think -cya and -cye are effectively combinations of -yc + either the archaic plural suffix -a or the modern -e. (Well, -a also seems to be a regular nominal suffix I guess, but the phonological process would be the same.) Meaning that nouns that end in -cya or -cye were probably derived from adjectives ending in a regular -yc.

This theory btw only accounts for words where the cy can be analysed as a suffix, but not for e.g. cyare. So it’s a special case of why cy is pronounced that way, rather than the full explanation.

More palatalisation

To be clear, this is where I veer from analysis to creative interpretation in an attempt to make Mando’a make sense as a language.

Well, is it only this one sound (whatever sound c used to be) that’s affected by palatalisation?

There are no other consonants that would display this kind of a phenomenon where they change pronunciations based on what follows.

There are, however, other consonants that are followed by the semivowel y. So how ought those be pronounced? Are they palatalised? Or if not full-on palatalised (as in the sound change), maybe palatalised (as in secondary articulation)? Maybe either or anything in between is possible, depending on the dialect.

entye[ENT-yeh]

Ba'gedet'ye![BAH-geh-DET-yeh]

Gedet'ye[Geh-DET-yay]

⟨ty⟩ could be /tʲ/ or /c/, /t͡ʃ/ or /t͡ɕ/

kyor[KIE-ohr]

kyorar[KIE-ohr-ar]

kyorla[kie-OHR-lah]

⟨ky⟩ could be /kʲ/ or /c/, /t͡ʃ/ or /t͡ɕ/ (yes, it’s the same set as for ty—these often merge in languages with this phenomenon)

tracinya[trah-SHEE-nah]

Usen'ye![oo-SEN-yeh]

⟨ny⟩ could be /nʲ/ or /ɲ/, like the Spanish ñ.

chaashya[cha-SHEE-ah]

dralshy'a[drahl-SHEE-ya]

dush'shya (doshishya)[doo-SHEESH-ya]

jate'shya[JAH-tay-SHEE-ah]

ori'shya[ohr-EE-she-ya]

⟨shy⟩ could be /ʃʲ/ or /ɕ/, although Traviss’s pronunciations seem to suggest ‘shya has two syllables. However, see my commentary in the first post on the problems of using English orthography to represent the sounds of another language.

Also these “ya” sounds apparently were originally inspired by Russian**, where they are not diphthongs but palatalised sounds. So that’s the interpretation I’m inclined to go with. It also fits nicely in my phonotactics draft.

* cy might also represent /ʃʲ/ or /ɕ/ rather than /ʃ/, but obviously Traviss’s pronunciation guide wouldn’t be able to represent this difference.

I think palatalisation (however it is realised exactly) is phonemic in Mando’a, i.e. for example kyor and kor would be recognised as different words.

These (plus c) are the only consonants appearing before the y in canon. Perhaps palatalisation is restricted to them, or perhaps it could affect most (but not necessarily all) consonants. Slavic languages certainly have a wide variety of palatalised consonants, although there are also languages with much smaller sets.

** According to David Collins, the audio lead of Republic Commando games in this group interview with Harlin, though as far as I can tell, Harlin himself has directly only admitted to being inspired by Latin, Hungarian, and soviet anthems (see e.g. this interview, although he mentions it in several different interviews), and listening a lot of Hungarian, Russian, and Romanian (see the first link). If anyone has an interview or another source stating differently or adding more support, please send it my way!

In the next part, I’ll elaborate on palatalisation of different consonants and how that could also explain another thorny problem of Mando’a orthography…

C, cy, yc—why are they pronounced like that?

I think I’ve mentioned before that the rule is very nearly regular, so here it is. I’ve reproduced Traviss’s original pronunciation guides here (so you can see whether what I’m saying holds true).

c (without y) is pronounced as /s/ before high front vowels /e i/

cerar [sair-ARR]

ceratir [sair-AH-teer]

ceryc [sair-EESH]

cetar [set-ARR]

cetare [set-ARE-ay]

cin [seen]

cinargaanar [see-NAHR-gah-nahr]

cinarin [see-NAH-reen]

cin'ciri [seen-SEE-ree]

cinyc [SEE-neesh]

ciryc [seer-EESH]

mircin [meer-SEEN]

mircir [meer-SEER]

mirci't [meer-SEET]

racin [ray-SEEN]

tom'urcir [tohm-OOR-seer]

ver'mircit [VAIR-meer-seet]

otherwise as /k/

That is, after other vowels:

ca [kah]

cabuor [kah-BOO- or]

cabur [KAH-boor]

ca'nara [KAH-nah-RAH]

can'gal [CAHN-gahl]

carud [kah-ROOD]

ca'tra[KAH-tra]

cuir [COO-eer]

copaanir [KOH-pan-EER]

copad [KOH-pad]

copikla [koh-PEEK-lah]

copyc [KOH-peesh]

cu'bikad [COO-bee-kahd]

cunak [COO-nahk]

cuun [koon]

cuyan [koo-YAHN]

cuyanir [coo-YAH-neer]

cuyete [coo-YAY-tay]

cuyir [KOO-yeer]

cuyla [COO-ee-lah]

du'car [DOO-kar]

du'caryc [doo-KAR-eesh]

ge'catra [geh-CAT-rah]

jorcu [JOR-koo]

ori'copaad [OH-ree-KOH-pahd]

vencuyanir [ven-COO-yah-neer]

vencuyot [vain-COO-ee-ot]

vercopa [vair-KOH-pa]

vercopaanir [VAIR-koh-PAH-neer]

…and in a word-final position:

balac [bah-LAHK]

bic [beek]

ibac [ee-BAK]

ibic [ee-BIK]

norac [noh-RAK]

tebec [TEH-bek]

yc is always pronounced as /iʃ/

aikiyc [ai-KEESH]

aruetyc [AH-roo-eh-TEESH]

balyc [BAH-leesh]

beskaryc [BES-kar-EESH]

burk'yc [BOOR-keesh]

chakaaryc [chah- KAR-eesh]

copyc [KOH-peesh]

dalyc [DAH-leesh]

daryc [DAR-eesh]

diryc [DEER-eesh]

duumyc [DOO-meesh]

etyc [ETT-eesh]

gaht'yc [GAH-teesh]

gehatyc [geh-HAHT-eesh]

haamyc [HAH-meesh]

haatyc [HAH-teesh]

haryc [HAR-eesh]

hayc [haysh]

hetikleyc [hay-TEEK-laysh]

hettyc [heh-TEESH]

hodayc [HOH-daysh]

hokan'yc [hoh-KAH-neesh]

iviin'yc [ee-VEEN-esh]

jagyc [JAH-geesh]

jaon'yc [jai-OHN-ish]

jari'eyc [JAR-ee-aysh

jatisyc [jah-TEE-seesh]

johayc [JO-haysh]

kotyc [koh-TEESH]

kyr'adyc [keer-AH-deesh]

kyrayc [keer-AYSH]

kyr'yc [KEER-eesh]

laamyc [LAH-meesh]

lararyc [lah-rah-eesh]

majyc [MAH-jeesh]

morut'yc [moh-ROO-teesh]

narseryc [nar-SAIR-eesh]

nayc [naysh]

neduumyc [nay-DOO-meesh]

nehutyc [neh-HOOT-eesh]

nu'amyc [noo-AHM-eesh]

nuhaatyc [noo-HAH-teesh]

ori'beskaryc [OH-ree-bes-KAR-eesh]

ori'jagyc [OH-ree-JAHG-eesh (or OH-ree-YAHG-eesh)]

ori'suumyc [OHR-ee-SOOM-eesh]

oyayc [oy-AYSH]

piryc [PEER-eesh]

ramikadyc [RAH-mee-KAHD-eesh]

ret'yc [RET-eesh]

ruusaanyc [roo-SAHN-eesh]

sapanyc [sah-PAHN-eesh]

shaap'yc [sha-PEESH]

shi'yayc [shee-YAYSH]

shuk'yc [shook-EESH]

shupur'yc [shoo-POOR-esh]

sol'yc [sohl-EESH]

talyc [tahl-EESH]

tomyc [TOH-meesh]

tranyc [TRAH-neesh]

tratyc [TRAH-teesh]

tug'yc [too-GEESH]

ulyc [OO-leesh]

urcir [oor-SEER]

utyc [OO-teesh]

verburyc [vair-BOOR-eesh]

verd'yc [VAIR-deesh]

vutyc [VOOT-eesh]

yaiyai'yc [yai-YAI-eesh]

Note that this is still true when yc occurs in the middle of a word instead of the end:

barycir [bah-REE-shir]

besbe'trayce [BES-beh-TRAYSH-ay]

dirycir [DEER-ee-SHEER]

ke'gyce [keh-GHEE-shay]

majyce [mah-jEE-shay]

majycir [MAH-jeesh-eer]

mar'eyce [mah-RAY-shay]

mureyca [MOOR-aysh-ah]

cy is pronounced as /ʃ/

burc'ya [BOOR-sha]

burcyan [BOOR-shahn]

cyare [SHAH-ray]

cyare'se [shar-AY-say]

cyar'ika [shar-EE-kah]

cyar'tomade [SHAR-toe-MAH-day]

mirshmure'cya [meersh-moor-AY-shah]

murcyur [MOOR-shoor]

oyacyir [oy-YAH-sheer]

Ret'urcye mhi [ray-TOOR-shay-MEE]

sheb'urcyin [sheh-BOOR-shin]

sho'cye [SHOW-shay]

tracy'uur [trah-SHOOR]

Exceptions

The above holds true except for some exceptions:

The first is a group of words with a combination of u + yc:

buyca [BOO-shah]

buy'ce [BOO-shay]

buycika [BOO-she-kah]

This might be related to the status of /ui/ as a diphthong in Mando’a & could be a piece of evidence against it. What do I mean? Well, every instance of ⟨uy⟩ in the dictionary, Traviss breaks up in two syllables /u.i/. Could be there’s no diphthong /ui/ in Mando’a? However, I think it’s more likely this is because Traviss gives the pronunciations with an English orthography (i.e. how an English speaking reader would know to pronounce the words), and there’s no diphthong /ui/ in English, so in order to represent those sounds in English, they have to be broken up in separate syllables.

I also think the long /u:/ in buy���ce etc. is likely simply an elision: try going slowly from /u/ to /i/ to /ʃ/, and you’ll notice it’s easier to slip directly from /u/ to /ʃ/. I would generalise it as the diphthong /ʊɪ/ being realised as /uː/ before palatal consonants (at least; maybe others as well).

and:

buyacir [boo-ya-SHEER] /bʊ.ja.ˈʃiɾ/

Which has no excuse for being irregular except for influence on its spelling from buy’ce, so you could alternatively spell it as buyacyir or pronounce it as /bʊ.ja.ˈsiɾ/ (either would be regular).

The other exception to the rule is:

acyk [AH-seek]

The rule for this could be formulated as “y is the only vowel in a syllable, it’s pronounced as /i/ and the pronunciation of c follows that.” Except for…

tracyn [trah-SHEEN]

Which itself could be analysed as a combination of the above rules: y as an only vowel gets pronounced as /i/, but the consonant in cy is still pronounced as /ʃ/ (in which case it would be acyk that is irregular instead).

It’s the derivations that appear irregular:

tracinya [trah-SHEE-nah]

tracyaat [tra-SHEE-at]

tra'cyar [tra-SHEE-ar]

Tracinya is plainly a derivation of tracyn, just spelled with an i instead of y. Interestingly, in Harlin’s Mando’a tracyn is pronounced as /tra.ʃin/ and tracinya as /tra.sin.ja/. So perhaps it’s acyk which should be pronounced as /a.ʃik/?

I’ve chosen to adjust the pronunciation of the other two to conform to the rule of pronouncing cy as /ʃ/: /tɾa.ˈʃaːt/ & /tɾa.ˈʃaɾ/.

And then:

yacur [YAH-soor]

Idek? I have do idea where this one comes from.

And:

Coruscanta [KOH-roo-SAHN-ta]

which is a loanword and doesn’t count. Although I’d suspect that “Corusanta” might be a fairly common misspelling among native speakers.

Explanation

So why is it pronounced like that? The explanation is something called palatalisation, which is the same reason why c in Latinate words is sometimes pronounced as /k/ and sometimes as /s/.

In very simple terms, the high front vowels and the semivowel /j/ are pronounced such that the tongue is at or very nearly the palatal position. So they tend to pull the preceding consonants to the palatal place of articulation (instead of whichever place of articulation they used to be pronounced at).

So in Mando’a:

c → k

c + high front vowel /i e/ → /s/

c + semivowel /y/ → /ʃ/

Not sure if /k/ is the original value of ⟨c⟩ since this rule doesn’t seem to apply to ⟨k⟩. Maybe ⟨c⟩ had originally another value, which has later changed into /k/?

There will be a second part to this post later, but I’ll break this off here for now.

[coquelicoq]

les misérables:

Cela même lui avait été plus facile qu'à Roméo; Roméo était obligé d'escalader un mur, Marius n'eut qu'à forcer un peu un des barreaux de la grille décrépite qui vacillait dans son alvéole rouillé, à la manière des dents des vieilles gens. (IV, 8, I, p. 341)

me: that's weird, isn't gens masculine? guess i'll look it up on wordreference in case it's also a feminine noun meaning something different.

wordreference:

Inflections of 'gens' (nmpl): pl: gens Toujours au pluriel quand gens = les hommes en général ou un nombre indéterminé de personnes. L'adjectif qui précède s'accorde souvent au féminin.

me: what the

frick frack

[digitalcockroach]

flirting with the concept of being bi-/multi-gender

[go to tags]

so really what i mean is that im exploring reclaiming being a woman without having to give up being a man like I think ive reached a place in my life where id like to try womanhood back on like an old coat and see how i feel layering it with my manhood and sexuality and queerness

[end post]

[humanmorph]

I still think about “Another Word for Righteousness” by boo_cool_robot btw. Like its just up there. The Divine Scrupulosity is making me sooooooo. Like what do you meannnn thats MY brand of mental illness in the form of a divine software program that lives in a man’s brain/the suitcase he carries around. Good lird

It’s so sick that theyre listed as synonyms truly but like I get it. I got there. It’s incredible really.

righteous (adjective) 1: acting in accord with divine or moral law : free from guilt or sin 2: a: morally right or justifiable     b: arising from an outraged sense of justice or morality

(+ from the fatt. wiki article for Rightenousness: “[...] a deep commitment to others in the broad sense, but in the narrow sense is willing to do whatever it takes for that commitment, [...]”)

scrupulous (adjective) 1: having moral integrity: acting in strict regard for what is considered right or proper

And like. The way that scrupulosity too makes you intensively care about others and to do right by them but in a way that puts yourself down while holding yourself to this high standard that righteousness just brings from itself...

It’s Ibex and Righteousness putting themselves Above... They know what’s best. What has to be done. And then Orth and Scrupulosity

But then again, Scrupulosity never likes its Candidates to be too comfortable.

-

Orth closes his eyes. “The first thing in any situation that Scrupulosity finds the flaws in is me. I don’t think meanness can scare me anymore.”

And how this makes Orth easier to manipulate like I’m going to screammmm. The way he numbs to it it is internalized and also what’s so so good here is that it is really truly exhausting to feel like this. And Orth is Oh so miserable and susceptible to someone complimenting him or trusting him even if he KNOWS it can’t be true.

“Meaning no offense to you of course. Dogs are wonderful. People trust dogs.”

“None taken,” Orth assures him. It would be nice to be trusted.

^ So good to meeeee because when you constantly have to be on guard that extends to yourself too and how you think other people perceive of you. Orth mentioning multiple times he Expects people to be put off or not trust him. Augh !

ALSO Orth making a point to separate himself from Scrupulosity (specifally to put himself down too. “Not my specialty. Scrupulosity’s.“). BUT at the end when

Scrupulosity says, You can’t trust him.

Scrupulosity says, You can’t trust yourself.

“I know,”Orth says aloud. He’s always known that.

Attar Rose looks down at him and smiles.

                  sorry i lost it for a moment. Because it Is a part of him it’s in thereeee. Maybe it’s always been.

anyways. good fic good fic

[therevengeoffrankenstein]

like i literally am obsessed with maybe the perfect old man for me specifically to be obsessed with. like it's so perfect and aligns so well ! it's a miracle, a coincidence, a blessing, a phenomenon. it's almost like there's a reason i like him so much or something!

[omgthatdress]

Sooooo ummmmmmm this is something that's probably going to piss a lot of people off, but I feel like I really need to say it.

If you get a message from an account claiming to be a Palestinian fundraiser, it is a bot. It is a scam. You need to report & delete the message and encourage others to do the same.

I know because I get messages on this account DAILY. I have a very high follower count and I'm pretty active and I interact with my followers a lot, and apparently that all adds up to one big bot magnet.

Bots following and messaging this account was a MASSIVE problem before Tumblr fixed its new account policies. I used to spend literally hours blocking and reporting the hundreds of bots that I would get following me each day.

I learned a lot about bots and how to identify them. The easiest way is with no avatar, "untitled" in the blog description (BTW if your avatar is still set to default PLEASE FOR THE LOVE OF GOD change it because you run a substantial risk of being accidentally blocked & reported as a bot).

One of the dead give aways of a bot was what I call "word salad" names. Three seemingly random words strung together making no sense, always adjective, adjective or noun, noun. If you reported a lot of these bots, you'd notice the same words kept showing up.

Nowadays, I am bombarded with fundraiser requests and sometimes, they don't even bother to hide the fact that they're a bot. The avatar is default, the blog title is "untitled," and the blog name is a classic randomly-generated word salad.

However MOST of the requests I get come from at least semi-legit looking accounts. There are pictures, a name, a story. Never mind that I've gotten that message three times from different accounts.

Sometimes, they claim to be vetted, but the whole vetting system essentially adds up to "trust me bro." There is no way of guaranteeing that this account isn't just lying about being vetted, claiming to be vetted by a false person, or are using the identity of a real Palestinian to scam people.

Previously, I've seen a lot of people getting attacked for raising questions about these fundraisers and getting attacked for being racist or for harming Palestinian families in danger, like Tumblr isn't a website famous for its scams and the words "The Arkh Project" "All or Nothing" or "Miss Officer and Mr. Truffles" mean nothing to you.

I personally have been scammed by people claiming to be charities on Tumblr before, specifically, The Leelah Project which used the name of a trans teenager who died by suicide to swindle people out of their money.

Luckily, there are actual, respected charities out there you can give money to if you want to help the cause:

Palestinian Children's Relief Fund

Palestine Red Crescent Society

United Nations Relief Works Agency

Islamic Relief

World Central Kitchen

Médecins Sans Frontièrs

One of the hardest things to accept about the situation in Palestine is that realistically, there is very little that your average outsider can do to change it. However, these large, well-respected and trustworthy charities are out there doing the hard work to keep people alive, and should be where the donation money is going

These scam bots feed on people's naïvety and need to believe that they are making a difference, and even worse, feed on the fear that by ignoring them, it somehow makes you a racist doing direct harm to a refugee family, when in fact they are using the suffering of Palestinians to take away money from those in need.

As far as fundraisers that don't send out random asks for donations, I honestly don't know. You'll have to do the work yourself and approach with much caution.

Be careful out there.

[writers-potion]

Writing Character Accents in Fiction

Hey there, thanks for the question! I speak English as a second language; most English speakers I encounter aren’t native (yes, including fictional people); thus, this is a concern I’ve explored personally when I write. 

I think the core principle regarding accent writing is this: it shouldn’t be distracting. 

For the same reasons why Stephen King prescribes the basic dialogue tag “said” rather than fancier alternatives like “whispered”, “shouted” or “screeched”, dialogue must be first and foremost easy to read. It must flow like a real conversation – the pace and tone are a lot more important than how specific words are being pronounced by the character. 

Focus on what effect the accent has:

Using adjectives to describe their voice in general. Different types of English (American, British, Australian, etc.) will give off a different vibe, also partly dependent on how your character speaks in general:

Lilting: Having a smooth rise and falling quality; sing-song like. Welsh accent is often described as singing. 

Posh: from a high social class. This is the term generally used to describe the upper-class British accent.

Nasal: this happens when the sound goes through somebody’s nose when they’re speaking. North American accents are more nasal than, say, British pronunciations. 

Brash: harsh, loud, indicative of sounding a little rude. 

Slur: speaking indistinctly; words merging into one another.

Using metaphors.

Her voice was cotton and fluffy clouds. 

When he spoke, the ‘r’s scratched the insides of his throat. 

Mentioning their accent with a brief example(s). 

“Would you like to drink some wine?” she said, though her Indian accent gave extra vibration to her ‘w’s and ‘r’s, making the words sound more like ‘vould you like to drrrink some vine’.

“I want some chocolate.” His syllables were choppy and ‘l’s rather flat, saying ‘cho-ko-lit’. 

Some Tips:

Don’t phonically spell out everything. Perhaps give a few examples in the beginning, but stick to standard English spellings. 

Pay attention to word choice, slang, and colloquialisms. 

An Australian person would say “tram”, not “trolley; “runners” instead of “sneakers”

A Canadian may refer to a “fire hall” – what Americans call a firehouse or fire station

If your character comes from a non-Enligsh background:

Use vocabulary from other languages. 

“What time was the exam, ah? Two o’clock? Jiayou!” → putting “ah” or “la” at the end of sentences + Jiayou means “break a leg” in Singlish. 

“I can’t believe that 4-year-olds have their own SNS accounts now.” → “SNS” is short for “social networking service”, a term used to refer to social media in Korea. This would a subtle difference – even though it isn’t technically Korean at all!

Transpose grammar from different languages. 

For example, in French, plural nouns take plural adjectives (whereas in English, you would speak of ‘white cars’, not ‘whites cars’).

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! Also, join my Tumblr writing community for some more fun.

💎Before you ask, check out my masterpost part 1 and part 2 

[januaryembrs]

hot chocolate!!!

what about bau!reader who’s super affectionate with spencer (and he just takes it with a blush and sugary coffee)

example; jawline kisses that are supposed to be cheek kisses instead of hello’s and goodbye’s & reader having her arm around spencer’s waist at all times cuz she’s just so used to his body warmth!!!

(for some reason i’m imagining s9 reid & new-ish reader but u can do what u want ofc!!)

FUGITIVE AFFECTIONS | Spencer Reid x BAU!reader

description: fugitive (noun) meaning escape, runaway. (adjective) meaning fleeting, brief, passing.

Length: 1.1k

warnings: fluff fluff FLUFF.

He knew what was coming the second he heard her footsteps. The coffee machine spluttered with effort as it churned out his third cup of the day, and he was already perched with the sugar waiting for the appliance to do its thing. Spencer barely had chance to acknowledge the approaching figure when he felt arms wrap around his waist, someone attaching themselves to his back with a feather light kiss to his spine. 

“Good morning,” He called over his shoulder, and you hummed, quickly squeezing the soft pooch of his stomach and releasing him. 

“Morning,” You said, and he leaned up to open the cupboard door, which wasn’t a big feat for him with his heinously long limbs. Plopping a mug down on the side, he poured coffee in your cup first before he started on his own, “Reports due today?” 

“Hotch wants the Minnesota and the Nevada cases wrapped up,” He said, sliding the milk and sugar over to your side of the counter and keeping his head down. Spencer felt his ears run hot, like they usually did whenever you got so close to him, which just happened to be always. 

He doubted the words ‘personal space’ were ever a thing in your vocabulary. It had started with Garcia, with the two of you linking arms and braiding each other's hair after two weeks of you moving to the BAU, and he’d figured that Garcia had won you over with that natural, bubbly charm of hers. But Spencer was perceptive, and he’d quickly realised the behaviour was not strictly limited to Penelope and her chirpy attitude. You tended to walk close to everyone, like you were trying to mesh you bodies in with them and the shoulder bumps and hands brushed against one another didn’t matter. In the end, rather than push you away, Morgan had taken to wrapping an arm around your shoulder as the two of you waltzed around the office together. Even Blake was succumbing to your touchy-feely attitude as you liked to cosy up next to her on the jet, usually falling asleep with your head on her shoulder, and she thought little of it now, just continuing with her crosswords unbothered. 

And then you’d set your sights on Spencer. 

He supposed you hadn’t quite got the memo about his germaphobia, or perhaps the transference of bacteria between humans during simple hand holding just never occurred to you. Yet after just a month of being desk buddies with him, he nearly jumped out of his skin the day you slipped your fingers in between his when the two of you had been paired up on a case and you were heading down the witness’s driveway to interview them. 

He’s been about to ask what the hell you were doing, or perhaps scramble to shove you off, and sanitise his hands with the emergency gel he kept in his bag at all times. But by the time he’d looked over at you, his cheeks a flaming strawberry colour with what he’d thought of as annoyance, you were simply smiling at him, and began swinging your joined hands back and forth, nudging your temple into his shoulder affectionately. 

“You look really pretty in that purple shirt, Spencer,” You said simply, and whatever scathing remark about how eighty percent of pathogens are transferred during hand holding was robbed from his gullet and he was stunned into silence. The way you’d said his name alone made his lips part in wonder, because he’d never heard it said like that. 

“T-thankyou, I like your jacket.” He cringed as soon a he said it, and the two of you looked down to your government issued FBI vest, the same one he wore, the same one Hotch wore, the same one they’d all worn for the past nine years. 

You sniggered, bumping him again with your forehead like you were a cat purring up against him, marking your territory. 

“You’re cute,”

You were full of sweet, loving words like that he realised, all buttercups and candy floss and honey and sweetie and my love and he felt himself expecting it now, biting his lip in worry if you were ever just the tiniest bit too busy to fluff him up with affection.

Like when you’d been called out by Blake on an emergency, the two of you scrambling to grab the SUV keys to go meet Morgan and JJ where they were moving into the building  after the suspect. 

The two of you had all but ran out of the precinct in the effort to catch up with the other agents, leaving Spencer, pen still in his hand as he mapped out the geographical profile, and he hadn’t realised anything was missing until he heard the door slam shut and he hadn’t felt the warmth of your hug, your hand in his hair ruffling it lovingly, not even a ‘goodbye, sweetie!’

Spencer pouted, despite the fact he’d spent the first few weeks wondering if he should be shying away from your touch because he was quickly running out of sanitizer and had yet to want you to stop. He felt like his routine had been interrupted, because that’s definitely what the source of his disappointment was, not the fact he wondered if he had done something wrong, and yet before he could think too hard about it, the door swung back open, Blake yelling something from the hallway that he could just about make out was your name, before a body crashed into his side and your lips were on his jaw, kissing him lightly through laboured breaths. 

“Bye, Spence.” You murmured, kissing up his cheek a few times to apologise for the wait, and he hadn’t even had the chance to return the favour through the fish out of water gape as he watched you run back to the door, Blake looking at you incredulously. 

“I just watched you run up three flights of stairs for that?” She asked, the door slowly closing behind you and giving him unfiltered snooping on your conversation. He smiled so wide his cheeks hurt, the same one that you had just kissed over and over again like it was a normal thing for you two, and he wondered if he could coordinate you rushing out of the office every time if it meant he’d have that again. 

“It’s Spencer, it was important,” You insisted, and he squoze his hands so tightly his nails dug into his palm, because it was too late to tell you just how much you’d made him feel in such a tiny gesture, and the electricity from your kisses had to come out somewhere. If not, Spencer worried he might explode. 

His hand sanitizer sat empty in his pocket, the same way it had been for months, and Spencer couldn’t care less.

[ross-hollander]

The unofficial guide to...

...naming your mercenary company:

You are not a "Legion" unless your actual fighting force is somewhere between one and five thousand, support staff not included.

Similarly, avoid numbered groups. Units listed as the "Dirty Dozen" or "Forty Thieves" may be called upon for a head-count to ensure that they are not guilty of false advertising.

You are not the [Adjective] Wolves, [Proper Noun/Noun's] Wolves, or in general anything related to canis lupus as a whole. There is a queue and until the last generation of units to take those names cycles out, nobody else can get anything wolf-related.

Always try to keep military-related names vague. Do not go with "Sappers" because that is very well-defined and clear. "Grenadiers", on the other hand, is harder to precisely pin down.

Intimidating names look great on the lists, but please note that "Executioners", "Butchers" or "Tyrants" tend to draw more fire than "Free Corps" or "Rangers".

At the same time, please note: the self-effacing, bashful-type names like "The Not Dead Yets" or "Better Than Nothing" are not as funny as you think they are.

No stealing names from mercenary units of better repute. "Stealing" here constitutes any name which, pronounced in casual speech, would be indistinguishable from the original, as in Erry-Danny Light Horse or North Wind Hylanders.

No names with words or slang considered profane on more than two planets. (Exceptions permitted for words used in an inoffensive sense, to the relief of the Slag Makers.)

No trolling search algorithms. Names along the lines of "Best Budget Mercenary Forces Security Solutions Security Manpower PMC" are disallowed.

[cherryredstars]

hello can I request a reader being from 1610 Miles universe and she feels left behind by him since all he can do is like Gwen, so somehow she ends up in 42 Miles universe and they hit it off.

Pairings: Miles-42 x gn!reader

Warnings: Fluff, Slight Angst?, Reminder: READER AND MILES ARE MINORS!

A/N: Hello! Of course you can!

Unedited

It's the same just... different.

It seems like home, smells and feels like it. But something in your gut tells you it isn't. Your gut screams that something is wrong, that something is missing. Your mind just can't prove it. Not yet, anyways.

You're not sure how you got here, how you can be asleep in one place and wake up in another without ever moving. Maybe it's some sort of fever dream, one of those insanely vivid ones that leave you yearning when you wake up. You're sure it has to be. How else would you explain this.

Your heart beats widely for the boy in front of you, even though your mind rations that it isn't really him. This isn't your Miles (and some cruel part of your mind sneers that he wasn't yours to begin with). This is someone else, something else. But he looks and feels like Miles. He speaks and acts like him. He has the same lopsided smile, same deep eyes that draw you in, the same carefree yet playful tint to his words. The only thing that differentiates him from the real Miles is his hair.

Two thick braids run down his scalp, containing his usually natural afro. They look good on him, like they're made for him. Now that you've seen them on him, imagining his hair in any other hairstyle feels wrong. There is something so complementary about this simple style on this specific Miles, and your gut tells you it's because this Miles has something that yours lacks.

For example, that look in his eyes. It isn't very unique to this Miles, because your Miles has that same tell-tale shine in his eyes too. But it's not for you, it's for Gwen. The girl who up and left one day but left some remnants behind that Miles clings to like a lifeline. That particular glossy sheen that envelopes his pupils when he talks about her, that rise of color that highlights his cheeks when you find him drawing her silhouette over and over. But this Miles- the one standing in front of you- is looking at you with those eyes and blushed cheeks. He's looking at you the way you wished Miles would.

He's tripping over himself, sputtering on his words as he tries to pull a faux illusion of calm. One so horrible and see through that you can't help but laugh, causing his eyes to widen and his collar to feel tight around his neck. He can feel the heat of his blush forming perspiration on the nape of his neck, the pounding of his heart sounding like it's shaking the whole space. He reminds you of a puppy, instantly fascinated with the new things dangling in his line of sight.

He opens his mouth and closes it, the words forming a ball in his throat. His eyes scan you as he tries to gather the words. He feels like he's in kindergarten again, trying to collect the numerous cards of words and trying to piece them together to find something that makes sense. In the end, he fails, the meaning of what they all mean- all these nouns and verbs and adjectives- escaping him until his mind locks onto the only word he really knows.

"Pretty."

Breathless and intrigued. You smile, a warmth flooding your face and your heart singing. This may not be your Miles, but he's the Miles that wants to be. The Miles without a Gwen. The Miles who makes you feel like you're not someone's second choice. This Miles who looks at you like you're the stars in the night sky. This Miles is the one that was made for you.

You only fear that you'll wake up from this dream too soon.

[gentsma]

An Incomplete List of 2024 Additions to the Merriam-Webster

bingo card noun … 2 slang : a list of possible, expected, or likely scenarios — usually used in the phrase on one's bingo card

bussin’ adjective, African American English slang : extremely good : excellent; especially : delicious, tasty

chef’s kiss noun : a gesture of satisfaction or approval made by kissing the fingertips of one hand and then spreading the fingers with an outward motion — often used interjectionally

cold open noun : a scene of a film or television episode that precedes the title sequence or opening credits and that typically takes place in medias res

cromulent adjective, informal + humorous : acceptable, satisfactory

doggo noun, slang : dog

doomscroll verb : to spend excessive time online scrolling (see scroll entry 2) through news or other content that makes one feel sad, anxious, angry, etc.

edgelord noun, slang : someone who makes wildly dark and exaggerated statements (as on an internet forum) with the intent of shocking others

jorts plural noun : shorts made of denim or jean : jean shorts

nerf verb 1 informal : to reduce the effectiveness of (something, such as a character, attribute, or weapon) in a video game; broadly : to make (something) less useful or effective 2 informal : to lightly bump (another car) in an automobile race

padawan noun, informal : a young person especially when regarded as naïve, inexperienced, etc.

rage quit verb : to suddenly stop participating or engaging in (something) in a fit of anger and frustration : to quit (something) in anger

rizz noun, slang : romantic appeal or charm

simp verb, informal : to show excessive devotion to or longing for someone or something

smashburger noun 1 : a hamburger patty that is pressed thin onto a heated pan or griddle at the start of cooking; also : a patty (as of beans or ground turkey) prepared similarly 2 : a sandwich featuring one or more such patties

[markrosewater]

Elegance

Here’s my original article for Elegance.

 This is a topic I’ve wanted to write about for a long time.  Ironically, the words needed to explain the concept kept the column from being elegant. So I did what all artists do.  I found a way to say a lot in a little space.

 Enjoy,

 Mark Rosewater

 [NOTE: EACH OF THE ABOVE FIFTY WORDS IS HYPERLINKED.  BELOW IS THE FIFTY HYPER LINKS.  THE HEADERS SHOULDN’T BE ON THE LINKED PAGE.  I’M JUST INCLUDING THEM SO YOU KNOW WHAT EACH LINK IS.]

 ELEGANCE

 Merriam-Webster’s Collegiate Dictionary has five definitions for elegance:

 • refined grace or dignified propriety

• tasteful richness of design or ornamentation

• dignified, gracefulness or restrained beauty of style

• scientific precision, neatness and simplicity

• something that is elegant

 The common elements appear to be dignity, simplicity, and taste.

 THIS

 Elegance requires thinking, but it also requires feeling.  Elegant prose is judged by how it makes the reader feel. It needs to generate a sense of calm that puts the reader at ease.  Everything in your writing should feel as if it was carefully positioned to create the proper effect.

 IS

 Pound for pound, the writer’s greatest writing tool is the verb.  Nouns add substance and adjectives add flourish, but it’s the verb that drives the sentence.  Choose a strong, descriptive verb and the sentence has flair and purpose. Choose a weak one and the sentence lacks any sense of drama.

 A

 Here’s a little game to test an elegance relevant skill (based on an old game called Inklings).  Randomly choose a noun.  Try to convey that noun to the other players using the least number of letters possible. You’ll be surprised how much you can communicate in just a few letters.

 TOPIC

 One of the greatest stumbling blocks to elegance is the inability to choose a single focus.  Elegance requires simplicity.  Simplicity requires a single purpose of thought.  This means that elegance starts before you write a single word.  A good sculptor must know his image before he picks up his chisel.

 I’VE

 One of the common misconceptions of elegance is that it requires a writer to be fancy. Elegance though is more about familiarity than formality. You shouldn’t be afraid of friendlier language such as slang or contractions, assuming that such language adds an element of ease rather than one of laziness.

 WANTED

 An important element of elegance is a sense of passion.  Brevity does not mean pulling away emotionally from words, but rather the opposite.  When you find yourself limited to fewer words, you must pack each individual word with extra emotional punch.  You are not reducing your message, simply your messenger.

 TO

 A good tool in understanding elegance is studying poetry.  Poetry is the most concise of all written art forms.  It strives to maximize impact while minimizing expression.  Each word carries the burden of evoking some essence of the poet’s message. If it cannot carry its own weight, it is excised.

WRITE

 To be an elegant writer, you have to become a student of prose.  You have to study the mechanics of language to understand how it can be shaped.  Once you have learned how to transfer the feeling in your head into meaningful words, you are on the path to elegance.

 ABOUT

 Be careful not to fall in love with ambiguity.  While intoxicating in its beauty, it is the enemy of elegance. Remember, the goal is not to make the reader struggle for comprehension.  Rather it is to lead them to the obvious conclusion. Elegance should be used to illuminate, not confuse.

 FOR

 Elegant prose requires connecting with your reader.  To do this, you have to understand who that reader is.  Nothing should come before this task.  It needs to be done before writing can begin. I like to compare this to planning a trip.  Maps are useless until you know your destination.

 A

 Another major key to elegance is the understanding of the importance of the tiniest detail.  Just as a chain is only as strong as its weakest link, a piece of prose is only as tight as its messiest detail. A good writer doesn’t stop at the nouns, verbs and adjectives.

 LONG

 Don’t confuse elegance with brevity.  Elegant things are short not because they have to be but because the difficulty to craft an elegant piece of prose combined with the limitations of time forces writers to be brief.  Elegant novels, for example, do exist, but they are few and far between.

 TIME

 To quote Roman orator (and letter writer) Marcus T. Cicero, “If I had more time, I would have written a shorter letter.”  

 Simplicity takes more time not less.  Anyone can get a point across with ten thousand words.  But a true artist can do it in ten (or possibly fifty).  

 IRONICALLY

 Irony is a potent tool for commentary.  Its genius lies in the fact that it comments not on what is, but rather on what isn’t.  Like all good humor, irony makes you laugh.  But like the best type of humor, it also makes you think.  It’s both funny and funny.

 THE

 Elegance in writing is about more than words. Equally important is how the words are woven together. Tempo, pacing, rhythm – these are the tools that set the mood for the piece.  Try reading aloud your text.  The natural beat of language is more suited for the ear than the eye.

 WORDS

 To realize the power of words, you must first understand how they work. Art is expressive; words are connotative.  That is, words draw their power from their ability to extract different ideas from different people.  A circle is a circle, but the concept of “scary” varies from person to person.

 NEEDED

 Elegance is not the result of any one attribute.  It is the combination of numerous factors coming together in harmony. This is why it’s such a hard skill to master.  Most people can pat their head or rub their tummy.  But put them together and it’s not quite so easy.

 TO

 An elegant piece of prose needs to hit the reader at a gut level.  Often they won’t know exactly why they like it, but they will recognize that something about the piece moves them.  There are many types of writing where subtlety is lost.  Elegant writing isn’t one of them.

 EXPLAIN

 There are many ways for you to explain an idea.  The most elegant one though is not through definition but by example. By connecting your idea to one already known by the reader, you’re leaving the work of teaching to someone in the past.  Education is hard.  Comparison is easy.

 THE

 If writing is like building a house, the structure is like the foundation. Its design will dictate how the house is built.  If it’s faulty, no amount of fancy brickwork will undo the damage.  So take the time to ensure your structure is building the kind of prose you want.

 CONCEPT

 Never underestimate the power of a concept.  An important part of elegance is condensing big ideas into little words. This is far from an easy task.  It often takes a genius an entire lifetime to create a truly innovative concept.  So take advantage of all their hard work and inspiration.  

 KEPT

 A common barrier to elegance is the belief that only one way will work. Often a writer is unable to abandon a beloved piece of prose even when evidence demonstrates otherwise.  If something doesn’t add to the larger sense of the piece, you have to learn to let it go.

 THE

 Readers notice things at a minute level far beyond their mind’s ability to interpret. This means that although they may not consciously notice many of your tiny details, they will do so unconsciously. Aesthetics teach us that it’s this unconscious structure that will determine whether or not it feels “right”.

 COLUMN

 All communicators, whether through speaking or print, need to find a voice. A voice provides familiarity and it teaches the listener or reader how to more quickly absorb the information. Elegance is all about the conservation of ideas.  Having a pre-learned voice to guide you is a very valuable tool.

 FROM

 I’ve spent some time talking about understanding your reader.  But there is one more person who is even more important to understand – yourself. Writing is about sharing your ideas with others.  If you haven’t spent the time to figure out what you think, how can you possibly communicate it?

 BEING

 “A picture is worth a thousand words.”

 Or so the saying goes.  What the cliché forgets to mention is how many words a single word is worth.  For example, take the word “being”. To capture the essence of what “being” represents is tens of thousands of words if not more.

 ELEGANT

 What is the value of being elegant? Why should you care? Elegance adds aesthetics. It evokes poetry.  It grants beauty.  Elegant prose draws the reader closer because it gives them something to not just learn but to admire.  Good prose stimulates the head, but elegant prose resonates in the heart.

 SO

 Who, what, where, when, how - all important questions.  But for a writer they pale next to why.  If you don’t understand the reasoning beneath the surface, the other details are irrelevant.  The act of elegance is cementing the why.  It’s taking the purpose and engraining it into the piece.

 I

 Elegance is a very personal thing.  If something doesn’t resonate with you, there’s no way for it to resonate with your reader.  Writing is an art, not a science.  There is no rulebook for how things must be done.  If your instincts are telling you that something isn’t working, listen.

 DID

 An important tool in your toolbox is time. Elegance cannot be rushed.  Mental ruts only get deeper the harder you focus on them.  Make sure to work time into your schedule so you are able to walk away from your writing. An hour next week is worth a day today.  

 WHAT

 Don’t let attention to detail pull you away from having a larger sense of what you’re writing.  Take this column as an example.  While I spent a lot of time fine tuning each entry I never lost sight of the effect they created when all the entries were put together.

 ALL

 Elegance requires taking a holistic view of writing.  Every word, every sentence, every paragraph is a piece in a larger puzzle. It’s not enough to understand the impact of a single element. You must understand how any two elements interact if you want to understand the potency of your text.

 ARTISTS

 Elegance and art are very intertwined.  Both seek to achieve a similar goal: to illuminate and inspire with a conservation of expression.  If you’re trying to be elegant, I think it helps to think of yourself as an artist. The instinct for the latter mirrors the needs of the former.

 DO

 An important part of any writing is understanding the feeling you’re trying to evoke.  And then realizing what mechanic tools you have available to evoke that feeling. Diction, verb tense, sentence length, alliteration, word flow, phonetic juxtaposition – each of these will control the mood and tone of your piece.

 I

 A writer’s life is the ultimate fodder.  Don’t be ashamed to plumb your own experiences.  You understand them deeper and more personally than anyone else.  No painter would refuse to use his finest paints. And, as a bonus, by using your own experiences, you will become better educated about yourself.

 FOUND

 Don’t forget that the act of revealing is also an act of exploration.  Don’t be afraid if you learn more than the reader you’re trying to educate.  Writing is not an exact science.  (Or even an exact art.)  Often you will find that the road to salvation has a fork.

 A

 Your future is paved with your past.  If you want to learn how to grow as a writer, you need to look back at what you’ve written. With time and a detached eye, your will find your mistakes become clearer.  Remember that it’s failure, not success, that bests drives education.

 WAY

 The problem with looking for a single solution is that you’ll never find more than one.  And the first one isn’t always the best.  But if you’re open to the possibility that every problem has an infinite number of answers, you’ll have the freedom of choosing the solution you want.  

 TO

 Sentences are filled with freeloaders.  Because writers seem to love overwriting. (I include myself in this camp.)  Make sure to create time for the editor side of you to prune unnecessary words.  If a word can be excised without any harm to the sentence, it has no right being there.

 SAY

 I’m spending my time today talking about elegance in prose, but most of what I’m saying is applicable in speech.  The key difference is that prose has less defining attributes like appearance or tone.  The key to elegant speech is making people focus on the words rather than everything else.

 A

 It’s ironic that something designed to be so simple can be so complex.  But that, my faithful readers, is the joy (and mystery) of elegance. Like an onion, elegance has numerous layers that reveal themselves as you slowly peel them away.  Oh yeah, and it can sometimes make you cry.

 LOT

 An interesting exercise is to look at each word you’re using and think about how much content is loaded in that word.  Then explore what other words exist that fulfill the same role but with added content.  Once you’ve found the word you can’t best, move onto the next word.

 IN

 A good way to get better at understanding elegance is to look for it in every day life. I think you’ll be pleasantly surprised where and how often you find it.  Study each example carefully and try to see if you can put your finger on what makes it work.  

 A

 Writing is a shared endeavor.  No one owns the words.  If someone uses a technique that works, there’s no shame in borrowing it.  Like science, writing creates technology that’s brought back to the group to spur further advancements.  Elegance is hard enough to accomplish without refusing to use the toolbox.

 LITTLE

 How big should a piece of text be if you want it to be elegant?  The answer is as big as it needs to be – and not a word more. Just think of it as playing the game Jenga. Keep pulling words out of your prose until it collapses.  

 SPACE

 One of the most important lessons in art is learning the value of negative space, the idea that the eyes are equally drawn to what isn’t there.  Prose has a very similar quality.  When writing pay careful attention to what you aren’t saying. Often it will speak the loudest volume.

 ENJOY

 For some reason people tend to equate dignity with seriousness.  And as such they come to the false conclusion that elegance has no room for humor.  Ironic as humor is one of the most elegant of styles.  A good joke is no longer than is necessary to do its job.

 MARK

 As is always true when I head off the beaten path, I am curious to hear your feedback.  What did you think of this article?  Was it entertaining?  Was it educational? Did you actually read all fifty links?  And if not, why not?

 Tell me.  Inquiring mind wants to know.

 ROSEWATER

 I couldn’t end this week’s column without my trademark closing.  I mean, how inelegant would that be?

 Join me next week when  I go from being a letter man to a Letterman.

 Until then, may you learn to appreciate now just the “what” but the “how” and “why”.

 Mark Rosewater