#non-verbal thesaurus

[physalian]

Your colloquialisms are ruining the immersion (or, non-contemporary dialogue)

I am no expert here! Whenever I wrote historical fiction it was anachronistic historical fiction. This advice is from a reader’s perspective and from my experience writing high fantasy.

So what’s the deal with immersive dialogue? I’m going to ignore writing dialects and accents and so-called “old English” with the thee, thy, thou and such. Solely focusing here on the narrative telling me this isn’t set in present times, and yet the dialogue being painfully colloquial like present times.

This is coming from a book I had to read set in HRE times. In it, characters were spouting modern curse words, tacking on verbal tics and crutch words like “or something” and “um” and drawing out words like “daaaamn” and “nooooo”. Rip out the dialogue and toss it in a script with zero context and it would read like two high schoolers from 2009, not two adults from the Holy Roman Empire. Which is a problem, because it completely shattered the immersion. —

1. On so-called “formal writing”

Everybody knows that nixing contractions doesn’t do a damn thing to help your writing look more “formal”, it just looks robotic and stiff, right? We’ve gotten past this as a society? There’s a time and a place for replacing contractions with the full words, but not for every single sentence.

I swear this show keeps creeping into my writing advice but here we go. Transformers Prime. The context for Optimus’ dialogue has a lot to do with his aging voice actor, Peter Cullen, and the perception of the character over the decades from the corny 80s paragon hero everyman type leader to the grizzled and wizened old soul type leader. Optimus isn’t “one of the guys,” he’s old. Very old. He’s the dad of the group (one dad, his grumpy medic is the other dad).

So he gets lines like:

“I fear Megatron’s ambition is at its zenith.”

“But if his return is imminent as I fear, it could be a catastrophic.”

“I bore Skyquake no ill-will.”

He doesn’t curse like the other Autobots. His voice only raises in surprise, horror, or rage. He doesn’t go “um/ah/so/but/eh” and always thinks about what he’s going to say well before he says it. Despite him, Ratchet (the dad medic), and Megatron all being very old, Optimus is the only one who’s “proper” and collected and dignified with his lines. The writers didn’t achieve this simply by omitting contractions, he gets them where necessary and removes them when effective (e.g “We do not.” / “We don’t.”)

2. Thesaurus Rex

Continuing with the Optimus example, no other character in that show would use “zenith” unironically. Or “ill-will”. This doesn’t mean crack open and abuse a thesaurus but there’s a huge divide between:

“Megatron’s gone crazy and he’s going to implode soon” and “Megatron’s ambition is at its zenith”.

I can’ think of a better word to use than dignified, perhaps distinguished to describe his dialogue.

He doesn’t say “what?” when he’s confused, he pauses and says something like “please elaborate”.

This is both word choice and a syntax issue so if you’re struggling to fit a non-contemporary vibe for your work, pay attention to both.

3. When to abstain from cursing

There’s something very special about the dialogue in the Lord of the Rings movies: It’s PG-13 so they can’t curse, but if they had, it would have probably ruined the trilogy. These characters are able to yell in rage and anguish, spit vicious insults at their enemies, and stare down armies that are determined to kill them, all while never breaking the immersion.

Insults like:

“Late is the hour in which this conjurer chooses to appear.”

“Keep your forked tongue behind your teeth, you witless worm.”

“Your words are poison.”

And all three were said by or about Grima Wormtongue.

Characters aren’t dumbasses, they’re fools, with the exception of Gollum’s insults toward Sam, the “stupid, fat hobbit”.

Even devoid of name-calling, Denethor absolutely trounces his second son by asking (and I’m paraphrasing) “Is there any man here willing to do his lord’s bidding?” right after Faramir expresses some apprehension about a suicide charge with his remaining soldiers, completely ignoring him and implying that he’s not a real man.

LOTR is full of juicy lines beyond curse words, too. One of my absolute favorites is: “Dark have been my dreams of late” as opposed to “I’ve been having nightmares lately.”

Do you see?? It’s poetry. The motif of Shadow and Darkness as if they’re real, physical things, all the lines of poetry pulled straight from the books like Theoden’s “where is the horse and the rider” monologue just before Helm’s Deep.

It’s dignified.

—

This one was a bit harder to, ironically, put into words without doing a full-blown case study into either franchise’s ability to write dialogue and monologues. I didn’t even talk about Ratchet’s several monologues (one of which was done perfectly in the sound booth on the first take) because Jeffrey Combs has a voice like ambrosia.

TLDR: Immersion goes far beyond your vivid setting descriptors and the clothing or the names and languages. I mostly write fantasy and sci-fi and whenever I read or watch fantasy and sci-fi that isn’t meant to be a world different from our own, or about characters who don’t speak modern English, and they go off with modern slang, syntax, and verbal tics, it just feels sloppy and weak. Pay attention to the following:

Syntax

Modern slang and jargon

Filler words/verbal tics

Curse words/curses

Flat, unmotivated vocab

*All of the quotes were from memory because I watch both of these franchises way too often. So apologies if I got any wrong.

[orion-starbelt]

I was asked recently to give some advice on what books a library that was being started should try to get. Here’s what I said,

“1. Y.A. Novels (any genre is really fine, this is the main fiction part that I’d focus on)

2. Educational (any nonfiction that is about learning something, either physical or theoretical) - I’d say this category would also be the basic summary of classes type stuff. Like crash course but book form. A basic review of bio, chem, algebra, geometry, English, stats, etc, etc. For those who need a refresh, a reference, or cannot afford or otherwise cannot go to school)

3. Historical (especially different accounts of the same event from different perspectives, even better if it’s not like the victors or if it’s marginalized people. Evidence based historical books like diaries would be amazing as well. Books that are based on historical events are nice because they can help people understand but they tend to gloss over the actual facts sometimes)

4. Picture books (kids books can be helpful, just make sure they’re diverse, or just other basic diagram books for things like plants or similar. Not everybody can read or has the eyesight to be able to read text)

5. Language (a variety of beginner language books or resources -flashcards, dvds, cds, etc-. Focus most on English and Spanish but if you can get ASL, French, German, Japanese, Mandarin, etc. Focus on the most popular languages than branch out. Books on Morse code, asl, or other non verbal languages would be amazing as people don’t need to be able to speak to communicate

6. Home steading ( how to live off the grid type books basically. Like how to cook, sew/knit, garden, can foods, clean, gather wild stuff, basic safety, how to make dirty water clean, how to make sure food is safe to eat, basic survival skills, basic first aid, basic wilderness skills, knots, etc. Whatever you might think you would need if you were in a zombie apocalypse)

7. Don’t forget reference type books like dictionaries and thesaurus’s.”

I believe that information should be freely available. Banned books are an assault against knowledge itself and all the centuries we’ve spent learning about everything around us. If knowledge is power, than they are keeping us powerless.

My hope is that for those who have the ability to do something but who don’t have the resources available to afford an education, to get a job, to learn a language, to survive; are able to learn. To have a foundation to build off of in their attempt at survival and at living in this capitalist hellscape.

Knowledge should never be hidden. Donate old items. Thrift as much as you can. Volunteer. Recycle. Never stop working towards bettering your knowledge and yourself.

[nld-as-insights]

Emotion Recognition Resources

I have non-verbal learning disorder (NLD or NVLD), also called developmental visual spatial disorder (DVSD), and have had difficulty recognizing my own emotions. I am better at recognizing them now, so it is easier to take care of them.

I have found it helpful to use feelings lists or to sort through cards with feelings words on them. I have also found a book called The Emotions Thesaurus to be helpful. Here is the link: https://writershelpingwriters.net/the-emotion-thesaurus-a-writers-guide-to-character-expression/ Also, here is a free app called “Animi” that advertises itself for people with alexithymia, and looks like it could be helpful for anyone. Alexithymia is a medical term for difficulty recognizing one's own emotions, and gave examples of what it can be like in a previous post called "What is Alexithymia?" Here is the link: https://www.animiapp.com/

[kitkat-the-muffin]

Your ideas are great! And they gave me a few more myself!

I’ve come to realize that I’ve been projecting my dynamic with my own twin on Thesaurus and Dictionary, but I’m not gonna stop

Dictionary is book smart, Thesaurus is street smart. Dictionary is a righty, Thesaurus is a lefty (in dominant arm terms not political oh my god I will NOT give them political headcanons)

They both think Dictionary is the “smarter” twin but it’s actually Thesaurus. Dictionary gets to be the “evil twin” tho

I like to think they both have diagnosed autism but different versions, like maybe Dictionary is non-verbal while Thesaurus is more talkative (all my ocs have autism tho because I’m constantly projecting)

They’ll always have each other’s back even when they’re at each other’s throats, as most siblings are

Dictionary goes by they/them pronouns, Thesaurus uses all pronouns

I encourage more reblogs because they fuel my creative spirit

I know I haven’t finished my Webtoon design yet but now I’m contemplating personifying Thesaurus.com and Dictionary.com as like a set of twins maybe

Dictionary is friends with Wikipedia and Thesaurus is friends with Ao3, that’s they’re dynamic so far XD

What do you guys think? Should I make MORE OCs????? (Or maybe just do my homework so I have time to finish Webtoon)

[femmefatalevibe]

Femme Fatale Guide: How To Master The Written Word & Communicate Like A Queen (Tips For Aspiring Writers)

Communicating your ideas in a clear, comprehensive, and compelling fashion is an essential life skill. Verbal prowess is important. However, mastering the written word is equally (if not often more) powerful. Leveraging this skill is beneficial for everyone who wants to connect with others, cultivate influence, and leave an impact – not only authors, journalists, or copywriters, who require a deep knowledge of this craft by the nature of their work.

Advice like doing your research, editing for proper grammar, and utilizing your thesaurus is tried and true. However, training your brain and reframing how you make logical or textual connections is the ultimate game-changer if you want to leverage words in a way that captivates every audience – from strangers and potential business partners to clients, coworkers, or new friends.

Learning how to think is the first step to elevating your writing – whether it's writing an article, book chapter, essay, or crafting the perfect email, proposal, or message for someone you admire.

As a writer in some capacity – academically or professionally – for the past decade, here are some of the most useful tips I've learned for communicating your ideas and intentions in a clear, compelling way.

Practice your prose until they flow: Embrace wordplay. Explore different variations when editing for syntax.

Create phrases that have you feeling some type of way: Emotional connection to your words is essential to crafting beautiful prose. Place every word, sentence, or turn of a phrase carefully within your copy to arouse a specific emotion.

Seduce The Reader: You need to fall in love with language and the art of allure. Writing is like sex; it requires cultivating a skillset that, with regular practice, titillates the mind and makes the rest of the world stand still, enveloping you in a satisfying cadence.

Engage in Power Play: Write from the purview of the reader. Metatextualize your perspective - write as though you're observing the reader becoming acquainted with the viewpoint of the narrator. This point applies to both fiction and non-fiction writing. In the latter, the narrator acts as the mouthpiece authority.

Read, Study, Steal: The best way to learn how to improve your writing is to read. Study the prose, the syntax, and how the author conveys themes, articulates emotions, and bridges logic gaps. Apply similar frameworks to your prose. Adjust to suit your unique writing style and the subject matter at hand.

Line-Edit For Logic: Ensure that your sentences, scenes, and small takeaways connect and create a logical flow between paragraphs or general ideas.

Get To The Point: Brevity makes your writing more compelling. Cut any unnecessary words. Shorter phrases increase the impact of every word.

Consider your word choice with immense care. Match the intensity to its desired emotional impact or implication. Embrace metaphorical descriptions. Construct a picture of the scene with all the contorting sensations and emotions in the reader's mind. Flex your creative muscles. Remove yourself as the middleman. Encourage them to become the secondary voyeur.

[beemers-hell]

I saw that you hc Jeb as trans! Do you have any more info about him?

I sure do! According to me, Mr Jesus kinnie is:

Somewhere in his late 60s

Middle Eastern

Has suffered some kind of permanent damage to his right eye, which hasn't left him necessarily blind in that eye, but his vision is severely impaired

Is autistic, and mostly non verbal. But when he talks, oh boy, he pulls out the thesaurus in his brain and will say some needlessly complicated shit just to say normal ass stuff

Mostly socially withdrawn, dude has no desire to do stuff with anyone outside of like, Tricky n Pathos

Has a very weird attachment to his Smith&Wesson

Majority of his body is stitched up and sort of Frankenstein'ed together, thank you 2b

Really likes 2000s angsty ass rock!

[daring-elm]

how to write the sanders sides

an incomplete reference

i used this post by @suibianbichen and this post by @coconut-cluster as a reference, thank y'all for a) making them and b) inspiring me to make this!!

this is based on my observations from the series, interpretations differ and that's okay!! if you have something to add, feel free to let me know :D

Virgil

rarely dominant in conversation

communicates easily (occasionally non-verbally) with logan; struggles with roman (speech overlaps, roman dominates), patton (tries, but often overwhelmed); cuts communication with janus (ignores, cuts off), remus (doesn't engage)

"oh, for crying out loud"

very thoughtful speech, often weighted, pauses between words

struggles to get words out when anxious

either flat or urgent tone

very good at understanding non-verbal communication

bites thumb

messes with clothes when anxious/uncomfortable

will make up nicknames

small gestures with one hand while looking for words

two-fingered salute!!

barely uses visual metaphors, pulling on brief pop culture/meme references instead

does not like to talk about himself

mutter, snap, grumble, grimace, growl, tense, grit teeth, hesitate

Logan

often dominates conversation

communicates easily with virgil; struggles with patton (disregards, conversational styles clash); clashes with roman (argue, roman dominates, cooperation unintentional/non-existent); cuts communication with remus (disregards); insufficient data surrounding logan/janus

less impulse control than we give him credit for (throws stuff A Lot without thinking)

confident in his knowledge

common gestures: raises eyebrow, adjusts glasses, furrows brow

goes silent when interrupted or stutters massively (easy to throw off his rhythm)

very clear speech, sure in what to say before he says it

becomes barely more urgent when frustrated, struggles with expressing anger in a healthy manner so it seems to come "from nowhere" when he reacts explosively

struggles to express emotions

Does Not Sugarcoat (states positives and negatives side-by-side when only one is appropriate) -> comes off as harsh while interpreting others as idealistic, avoidant, secretive

don't just pull out a thesaurus for his dialogue; he doesn't speak outside the realm of regular understanding, just a little more complex

rarely uses visual metaphors, quotes sources instead, states facts clearly -> relation to topic occasionally unclear to others

unempathetic

(use few dialogue tags)

sigh, nod, correct, start, huff, pause, frown

Patton

dominates conversations when pressed to (often by thomas)

communicates easily with roman (clown-to-clown communication, Brain Go Fast and they keep up with each other), janus (often opposing viewpoints but similar communication); struggles with virgil (tries, but often ends up overwhelming), logan (emotional/heavily metaphorical style clashes with logan, often disregarded); no communication with remus (distracts from, takes too seriously, intimidated by)

not as soft as fanon pat, rather quirky -> a bit random

clumsy, also in gesturing

Does Not want to talk about his feelings but will immediately take to others'

Brain Go Fast from topic to topic -> fast speech

very willing to change, will play some follow-the-leader if he thinks it'll help

always believes he's at least a little in the wrong

that super strained smile he does when he wants to Move On Now

metaphors!! weaves topics together to make them more relatable/understandable to the individual, gets a bit carried away with them

impulsive when comfortable in a situation

puns!!

easily overwhelmed

struggles with words, keeps speech light, externalises feelings

highly empathetic

try, smile, chastise, insist, hesitate, nod, shout

Roman

consistently dominates conversations

communicates easily with patton (clown-to-clown communication, similar associations/can easily follow thought highways); struggles with virgil (often speaks over, sensitive to anxiety); clashes with logan (nicknames, speaks over, talks past Entirely); non-communication with janus (is manipulated/flattered or clearly antagonises); hostile towards remus (insufficient interaction)

he is So Extra

rhymes!! and yells!! and gestures holy fuck where do i just get a masterlist of all the roman stuff roman does

someone said his speech is somewhere between a medieval prince and frat boy and yeah that works

if anyone figures out the secret to roman dialogue please tell me i'm begging you

confident in his opinion until it's unmistakably disproven -> will argue until the very end

Brain Go Fast

no impulse control -> says really weird things

speaks a lot and very fast, metaphors are grandiose and sometimes miss the point a little

parallel: patton (occasionally) notices when metaphors get away from him, roman doesn't (corn vs. feral cats)

associations with pop culture (especially disney), mythology, etc

when he's uncomfortable he does a sorta half-smile and looks away

Really Easily Startled

not super empathetic

sing, grin/beam/smile, seethe, falter, stutter/stammer, cheer

Remus

consistently dominates conversations

insufficient data surrounding remus/janus and remus/roman; does not communicate with the other sides (disregards, brushes off, threatens, speaks over)

takes parts of what others say and adds onto own point (without speaking to them)

Brain Go Fast

constant need to be the loudest presence in a room (reacts to everything he can)

gestures are quick, seem controlled (if impulsive)

no impulse control -> says Anything that comes to mind

quickly desperate when ignored

tends to throw out fractures of ideas, barely/not elaborating on thought process

sing-songy, shrill tone

playful/childish in a kinda creepy way

there's not a lot to say about him because he's barely present

no (apparent) empathy

jeer, grin, pout, wink, wave, snarl, shriek, sing

Janus

purposefully dominates conversations: does this subtly (steers/takes over topic more than speech)

communicates easily with patton (opposing viewpoints but similar communication style); unequal communication with roman (manipulates, flatters, purposefully misunderstands, abuses weaknesses); non-communication with virgil (virgil ignores, cuts off, argues); insufficient data surrounding janus/logan and janus/remus

flat speech (seems sarcastic)

uses sources, simple metaphors/examples to explain points

small gestures, always seem intentional (performative)

acts superior, condescending

short fuse

struggles to adjust to others' points of view

messes with/looks at gloves(/hands) a lot

mostly calm/honeyed tone

feigns innocence sarcastically when attacked for anything

low empathy, high sympathy for others (knows, but doesn't feel what others feel)

smirk, hiss, coo, deadpan, sneer, grimace, sigh

like i said, this is an incomplete reference—feel free to add on! my general recommendation for writing any fanfiction, really, is to rewatch some of the source material to get a feeling for the character voices (videos i'd recommend for this: lntao, dwit, svs:r)

hope this helps someone!!

[fontainebleau22]

100 Days of Writing: Day 95 (3rd September)

[Referencing The Emotions Thesaurus:] Show your character's frustration by using one of the expressions above.

This is in fact one of the aspects of writing with which I struggle, because all the outward expressions of emotion which come up in writing feel so cliched to me when I try to use them. Clenching fists for anger, tapping a foot for impatience, casting the eyes down in embarrassment - it makes me feel that I’m writing by numbers, largely because none of these is anything I’ve experienced - people tend in my experience to express emotion in very individual ways which you can’t read unless you know them.

There’s also the question of point of view: I tend to write very firmly in one character’s view at all times, and how far they pick up on non-verbal cues like this depends partly on how observant or empathetic they are. Some characters are very engaged with their interlocutors and know them well, so they would pick up on tiny idiosyncratic actions, but other characters might be disengaged or notoriously unobservant (like me*) so they wouldn’t be paying close attention to signals of frustration and would be surprised when someone burst out into anger.

I try (or at least I hope I do) when I need an action like this to give characters regular tics and habits, so pulling an action from a generalising list isn’t something that I find very helpful.

[*Once I was walking down the street and two cars crashed into each other right in front of me; one of the drivers leapt out and said, ‘You saw what happened, didn’t you? It was his fault!’ and I had to admit that I hadn’t registered the crash at all, because I was thinking really hard about spaceship design.]

@the-wip-project

[nona-gay-simus-main]

How to Fix White Room Syndrome In Your Writing

Disclaimer: I do not claim to be an authority on writing, I'm simply trying to share something that has helped me.

White Room Syndrome was something I struggled a lot with, when I started out, and still do, in some scenes. In fact it was the second biggest issue with the last draft of my novel. (The first was its structure, but that's a post for another day.)

WRS is what I call it when there's a dialogue scene, but the characters feel like voices in a white room. They don't really feel grounded in the setting, you can't see the way they are standing in relation to one another, and you can't see their bodies moving.

If you've ever gotten your work critiqued, it's unlikely that anyone has called it white room syndrome. Some of the feedback I received said things like: "you need to add more details /interaction with the environment", "you need to flesh out the scenes", "" the characters are at a party, but it doesn't feel like it", "there's no setting", "the conversation feels stilted and unnatural", "the conversation has no space to breathe", "the conversation feels too fast" and so on. (One beta even said "this is not how real people talk" about a different old draft, although to be fair, to this day I have no idea if she was referring to the dialogue itself or the fact that the scene was white-roomy and I probably was still overusing dialog tags.)

So how do you fix it? 

There are several things you need to pay attention to in a dialogue scene, aside from the dialogue itself: body language, vocal cues, visceral reaction, and internal monologue.

Body language is pretty obvious. 93% of communication happens non-verbally, so how characters' bodies (and faces, but be careful not to restrict descriptions to facial expressions only) move through the scene SHOWS their emotions, instead of having to spell them out for the audience.

Vocal cues are about the way characters' voices change in different situations. Do they raise their voice when they are angry? Do they start whispering, when sharing a secret? Do they get breathy when they're aroused? I wouldn't overrely on them, but when used appropriately, vocal cues can really add to the setting.

Visceral reactions are instinctive gut reaction to a stimulus. One problem with them however, is that there’s only a limited number of gut reactions, so you need to think of more creative ways to use them. The other problem is that they are strong so they may seem rather melodramatic if used too often. Personally I also avoid describing them about anyone who isn't the POV character, because they are so personal, it might read like you are switching perspectives (also called head-hopping and a big no-no).

And finally, there's internal monologurme. People don't just talk about situations, they also think about them. But be careful not to name the exact emotion the character is experiencing. Emotions should be shown, not told. Also, a character's internal monologue shouldn't repeat their dialogue with minimal, if any, changes in wording. Characters should be saying something or thinking it, but rarely both - this can feel like you're holding your audience's hand and talking down to them. Most readers are actually pretty smart, so give them the benefit of the doubt and don't overexplain your story.

(NB: sometimes you can use the same words in both the narrative and the dialog for a joke, or in order to characterize your characters, or both - but this is a trick that should be used sparingly.)

I don't know what the best process to fix this in your own writing would be, but here’s my process: 

On my first draft of the scene, I write ONLY the dialogue, with no description ls of any kind, not even dialogue tags. Once in a while, I might add an action tag or two just because I see it so clearly in my head, and I might put a placeholder description like "and then they ate diner", but mostly I write pure dialogue.

There are two major benefits in drafting dialog scenes this way:

The first is that you don't have to break your flow to wonder what's the best description or thought to put here, so it doesn't slow you down or distract you.

The second is that you can more easily spot places where the dialogue becomes repetitive or you break one character's dialogue with a question when that's unnecessary. For example:

A: I went to the library today.

B: Wait, really?

A: And i found the book on secret pirate treasures.

B: What did it say?

Sometimes this structure can be used for emphasis, but more often than not, this exchange would stronger as:

A: I went to the library today and I found the book on secret pirate treasures.

B: What did it say?

After I’ve drafted the dialogue scene, I read it again to cut repetitive parts (as shown above), the occasional filler word like just or really or characters elaborating on their point when that's not really needed. And if there are more than two characters speaking, to better distribute the dialog between them.

Then after all that, I finally go back to the start and set the scene. If you know what the setting around them is, it makes it easier to know what elements can the characters interact with. The five senses are your best friend. All 5 are rarely needed, but what your character pays attention to characterizes them and shows their voice.

Then I start weaving the aforementioned four elements through the dialogue. Keep in mind that sometimes you don't need any of these elements and you can let the dialogue speak for itself for a couple of lines, that’s okay too. 

Some resources to help you further:

The Emotional Thesaurus. I really cannot recommend this book hard enough. Not only does it teach you all this in-depth, but it has thesaurus of all the main emotions and all the body language, sensations, verbs and so on associated with them.

Alexa Donne’s Video on The Topic

Setting the scene for dialog

Action and Movement In Dialog

How To Create Space

The Case of Vanishing Setting 

[goldinavonlea]

Yeah I’m gonna let myself go on about it a little but the snippet of Anne and Gil dancing—Anne’s expression really reminds me of the moment outside the cafe in Charlottetown where Gilbert says about ‘spelling out a few words, for old time’s sake’ and she laughs, or when she opens the thesaurus and reads his note.

I love that because it’s such a specific expression—it’s the face you make when someone you care about is teasing you in a fun way, or when something happens you know you shouldn’t laugh at but you catch eyes with someone across the room and you know you’re both really struggling. It’s such a particularly fond and private and wonderful thing to share little non-verbal moments like that with people, it’s kindred and intimate (though obviously not inherently romantic at all)—that sense that for a moment you are absolutely on someone else’s wave length, just for that little moment you are entirely understood and entirely understand. 

And I love the humour it brings into that moment when they’re dancing. You can tell at the begining of the gif that she’s looking him right in the eyes, then she closes hers and smiles and you can just so clearly imagine Gilbert raising his eyebrow at her and her thinking knock it off and trying not to laugh, and I think that’s why it’s such a lovely little snapshot: we have a lot of (really wonderful) moments between them when they’re slightly off-footed by each other, where they don’t quite know how to react (see also in the trailer: the return of Anne And Gilbert Staring At Each Other In Centre Frame); but that dancing moment is so completely comfortable. It’s familiar and playful and has that slightly... not competitive feel, but like they’re on completely the same footing and keeping pace with each other—it’s a dance not just in the physical, actual sense, but in the other aspects of their interaction as well, they’re either friendly enough at this point or just naturally well matched enough to have this sense of non-verbal communication about them, like an inside joke. It’s a moment not of romantic tension or ‘will-they-won’t-they, how are they gonna get to that point?’ but a snapshot into the potential they have, how easy and complementary and happy they could be together.

[ookamikasumi-writer]

The Non-Verbal Thesaurus

Don't need No Stinkin' "SAID!"

I write my dialogue without using "said" tags, unless I am actually describing a change in voice, tone, or volume in the same paragraph -- and even then I avoid them. I use the speaker's actions to define who is speaking to whom. I use ACTION TAGS.

“What the heck is an Action Tag?”

BODY LANGUAGE

Want to express how your characters really feel -- even when their lying -- without head-hopping? Cue their dialogue with their body-language!

Dialogue is Visual -- not just a bunch of words.

Watch the average conversation between two people. Over 90% of that conversation isn't in what's Spoken, it's in what they are DOING as they are speaking. It's in their Body Language. Body-language cues the reader as to what is going on in a character’s head – in ADDITION to dialogue and internal narrative.

Now that we’ve gotten that straight, here’s a handy-dandy List of Body Language associated with the most common Emotions displayed:

The NONVERBAL THESAURUS A Writer's Cheat-Sheet to BODY LANGUAGE CUES

ANGER

Annoyance, Resentment, Rage

a. Jaws tensed to a biting position; “I’m going to bite you!” b. Chest display, and/or hands-on-hips; “I’m bigger than you.” c. Cut-off and head-jerk cues; “I don’t want that.” d. Hand-behind-head. “I may or may not strike you.” e. Fists, palm-down beating gestures. “I will strike you!” f. Frowning and tense-mouth expressions; “Don’t make me bite you.” g. Growling voice tones; “Consider me a threat.” h. Staring; “I consider you a threat.” I. Gaze avoidance; the head is turned fully away to one side; “Run while I am not looking and I will not attack you.”

(Cover of Devil x Devil by Sachio Sawauchi)

DISGUST  

Revulsion, Loathing, Nausea

a. Curled upper lip, a retracted upper lip, and mouth movements. "I feel like vomiting." b. Digestive vocalizations of repugnance. Guttural sounds ("ach" or "ugh"); "I AM going to vomit!" c. Narrowed or partly closed eyes; “Don’t make me look at that!” d. Lowered brows of the frown face. "Ewww...gross!" e. Backward head-jerks and side-to-side head-shakes. “Keep it away from my mouth.” f. Visible protrusions of the tongue. “I can see that it tastes bad.”

(Art by ROYO)

FEAR  

Anxiety, Apprehension, Dread

a. Angling body away; “Don’t touch me.” b. Release of underarm scent; “Go away -- I stink!” c. Increase in breathing rate. "I'm going to run away!" d. Trembling and/or chattering teeth. "I want to run away!" e. Crouching. “Don’t hurt me!” f. Crying. “I’m hurt enough!” g. Displacement gestures; “How did I get here?” h. Fast eye-blink rate. “I don’t believe this!” i. Fear grin. “I’m friendly! Honest!” j. Widely opened flashbulb eyes. “I don’t believe this!” k. Unconscious escape motions designed to remove a body part, or parts, from danger (e.g., flexing the neck to lower and protect the head). "Don't hit me!" l. Freeze reactions; “Am I in danger?” m. Hair-bristling; “I feel danger!” n. Accelerated heart rate. "I'm getting ready to run away!" o. Tightened shoulder muscle tension; “Do I need to flee?” p. Screaming; “Don’t touch me!” q. Squirm cues; “Let go of me.” r. Staring eyes with dilated pupils; “How much danger am I in?” s. Sweaty palms. "Too slippery to grasp." t. Tense-mouth. “Don’t make me bite you.” u. Throat-clearing. “I do not approve.” v. Audibly tense tone-of-voice, either low and close to a growl, "I'm warning you..." or high to present a non-threatening sound. "I'm not a threat!" w. Yawning. “No fangs, see? I’m not a predator!”

HAPPINESS

Contentment, Well-being, Joy

a. Laugh or smile b. Crying; “I am overwhelmed.”

Unlike most other facial signs of emotion, the smile is subject to learning and conscious control. In the U.S., Japan, and many other societies, children are taught to smile on purpose, e.g., in a courteous greeting, whether or not they actually feel happy.

A true (i.e., involuntary) smile, crinkles the skin around the outside corners of our eyes, forming "crow's feet" or smiling eyes.

(Art by ROYO)

SADNESS  

Sorrow, Unhappiness, Depression, Gloom

a. Bowing postures; “I’m terribly sorry.” b. Cry face and lip-pout; “Please don't hurt me anymore.” c. Gazing-down; “I am not a challenge.” d. Slumped flexed-forward posture of the shoulders; “I give up.” e. Audible sigh; “I give up.” f. Compressed lips; “No, I don’t want that.”

The facial features constrict as if to seal-off contact with the outside world. In acute sadness, muscles of the throat constrict, repeated swallowing occurs, the eyes close tightly, and then tears.

(Art by ROYO)

UNCERTAINTY

Indecision, Misgiving, Doubt

a. Involuntary sideward eye movements; “Who is watching me?” b. Self-touching gestures; “Am I still in one piece?” c. Frown d. Hand-behind-head; “I don’t think so…” e. Side-to-side head-shakes “No.” f. Sideward head-tilts; “I don’t want that…” g. Lip-pout, lip-purse, and tense-mouth expressions “That tastes bad.” h. Palm-up gestures; “I surrender.” i. Shoulder-shrug; “Don’t touch me.”

Men will rub their chins with their hand, tug at the lobes of their ears, or rub their forehead or cheeks or back of the neck, in reaction to the increased tension. Male college students express uneasiness by changing their sitting posture to a more direct body orientation. “I’m going to to defend myself.”

Women will put a finger on their lower front teeth with the mouth slightly open or pose a finger under the chin. “I have no fangs, I am not a predator.” Female college students show uneasiness by sitting still and arm-crossing. “Dont touch me.”

(Art by ROYO)

SUBMISSION  

Acknowledgment, Compliance, Surrender

a. Turning away “No thank you.” b. body-bend, body-shift, and bowing “Please don’t…” c. displacement cues “How did I get myself into this?” d. facial flushing e. freeze reactions “Am I in danger?” f. gaze-down; “I am not a threat.” g. give-way; “I will not challenge you.” h. head-tilt-side; “Don’t…” i. Mimic of superior’s body movements “I will not challenge you.” j. laughing; “I will not challenge you.” k. palms-up; “I surrender.” l. exaggerated personal distance; “Don’t touch me.” m. pigeon toes; “I can't chase you, I am not a threat.” n. shoulder-shrugging; “Don’t touch me.” o. shyness; “Don’t notice me.” p. difficulty gazing directly at, or cross lines of sight with, a dominant individual. "I don't want to challenge you." q. higher vocal pitch "I'm weak, and helpless." r. yawning; “No fangs, see? I am not a threat.”

Note the considerable overlap between expressions of lower status (submission) and fear.

(Art by BROM)

DOMINANCE 

Aggression, Influence, Power, Control

a. Eyebrow raise; “Are you challenging me?” b. Hands-on-hips posture; “I’m ready for battle.” c. Head-tilt-back; “I dare you to bite me.” d. Palm-down gesture; “Do I need to strike you?” e. Swagger walk; “I’m stronger than you.” f. Table-slap; “I will strike you!” g. Lower tone of voice, close to a growl. "Don't make me bite you." h. Wedge-shaped chest display; “I’m bigger than you.” i. Direct stare; “I consider you a threat.” j. Looming with chin down; “I will bite you.”

Aggressive behaviors include the head brought forward toward another person, chin out and pushed forward, wrinkled skin on the bridge of the nose, and a sharp movement of the head towards the other person, as though in preparation to bite.

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Exaggerated chest display Strength cues are tailored into every Brooks Brothers® suit. The coat's squared shoulders exaggerate the size and strength of the upright torso. Flaring upward and outward, lapels enhance the illusion of primate pectoral strength. Dropped to fingertip level, the jacket's hemline visually enlarges the upper body to gorilla-like proportions. Pads and epaulets cover inadvertent shrugs and slips of the shoulder blades, to mask feelings of submission or uncertainty in the boardroom or on the battlefield.

(Art by ROYO)

LOVE

Affection, Devotion, Attachment

a. Physical contact, including hugs and kisses. "You belong to me." b. Increased breathing rate; “I want to smell you.” c. Courtship behavior; “I want to make love to you.” d. Direct gaze with wide pupils; “I find you pleasing to look at.” e. Facial flushing "You make my heart pound." f. Head-tilt-side; “Are you looking at me?” g. Increased heart rate "I am aware of you." h. Mimic of behavior and/or appearance; “We make a set, we belong together.” i. Softened tone of voice; “Come closer.” j. Closing personal distance "I want to touch you."

~~~~~~~~~~~~~~~~~~~~~~

Summary of Facial Expressions

1. Nose: a) nostril flare (arousal)

2. Lips: a) grin (happiness, friendship, contentment) b) grimace (fear) c) lip-compression (anger, emotion, frustration) d) canine snarl (disgust) e) lip-pout (sadness, submission, uncertainty) f) lip-purse (disagree) g) sneer (contempt)

3. Brows: a) frown (anger, sadness, concentration) b) brow-raise (intensity)

4. Tongue: a) tongue-show (dislike, disagree)

5. Eyelids: a) flashbulb eyes (surprise) b) widened (excitement, surprise) c) narrowed (threat, disagreement) d) fast-blink (arousal) e) normal-blink (relaxed)

6. Eyes: a) big pupils (arousal, fight-or-flight) b) small pupils (rest-and-digest) c) direct-gaze (affiliate, threaten) d) gaze cut-off (dislike, disagree) e) gaze-down (submission, deception) f) CLEMS* (thought processing)

*CLEMS -- An acronym for "Conjugate Lateral Eye Movement." When the eyes move sideward (to the right or left) in response to a question. --Rightward movement is associated with symbolic thinking, or Memory, (what we KNOW.) --Leftward Movement is associated with visual thinking, or Creativity, (what we INVENT--lies).

Right = TRUTH -- Left = FICTION

Don't just SAY it! ~ SHOW IT!

Skip the dialogue "he said / she said" tags altogether by using Body-language cues and ACTIONS to SHOW what the characters mean when they say: "I love you."

Visualize this:

“I love you too. Oh yes, I truly do love you.”

Now, Visualize this:

“I love you too.” She rolled her eyes and sighed dramatically. “Oh yes, I truly do love you.”

“I love you too.” She dropped her chin and pouted. “Oh yes, I truly do love you.”

“I love you too.” She glared straight at him. “Oh yes, I truly do love you.”

“I love you too.” She turned away and wiped the tear from her cheek. “Oh yes, I truly do love you.”

"I love you too." She raised her balled fist and smiled with bared teeth. “Oh yes, I truly do love you.” She thrust up her middle finger.

Can you SEE the difference?

~~~~~~~~~~~~~~~~~~~~

This information gleaned and paraphrased from the research by:

The Center for Nonverbal Studies (CNS)

.

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The modern-day OED checklists 'couth' as a 'humorous' word, meaning cultured or improved, as well as a 'back formation from words 'rude' significance crude, which by the 1500s had actually come to be a much more widely utilized definition of uncouth. This 'back development' relates to the recent meanings, not words's beginnings. Initially, concerning 1300 years ago 'couth' meant acquainted or understood. It was stemmed from the previous participle of the old English word cunnan, to know. An old version of uncouth, 'uncuth', implying unknown, is in Beowulf, the significant old English message of c. 725AD.

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This significance appears to have converged with the Celtic words 'Taob-righ' (' king's party'), 'tuath-righ' (' partisans of the king') and also 'tar-a-ri' (' come O king'). They started calling themselves 'Conservatives' in 1832, yet the Tory name has continued to stick. toe the line - comply with policies or policy, act as needed - from early 1900s, first stemming from armed forces use, pertaining to parade drill, where soldiers' foot positions were needed to straighten with a real or imaginery line on the ground. tit for tat - retribution or retaliation, an exchange disrespects or strikes - 'tit for tat' advanced from 'suggestion for faucet', a middle English expression for strike for impact, which also suggested a trade of verbal disrespects.

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These cliches, words and also expressions origins as well as derivations show the ever-changing complexity of language and also communications, and also are optimal totally free materials for word problems or tests, and also team-building games. Mottos and also expressions are detailed alphabetically according to their keyword, as an example, 'save your bacon' is detailed under 'b' for bacon. Some expressions with 2 keywords are detailed under each word. worth his salt - a valued participant of the group - salt has long been related to a guy's worth, since it utilized to be a much more valuable product than now.

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Walking is English from around 1800, whose origins oddly are unidentified prior to this. The alliterative top quality of words hitchhike would definitely have motivated popular usage. walking - raise or force up dramatically - according to Chambers, hyke as well as heik initially appeared in colloquial English c. 1809 meaning walk or march intensely. The meaning encompassed hitching up a pair of pants/trousers during the mid-late-1800s as well as was first videotaped in 1873. As well as prolonging from the above, around 1904, walk was first tape-recorded being used in the feeling of sharply elevating earnings or costs. The very same use is first tape-recorded in American English around 1930.

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Tat developed from tap partly because of the alliteration with tit, but likewise from the spoken argument aspect, which made use of the impact of the Center English 'tatelen' suggesting prattle, which likewise gave rise to tittle-tattle. ( eg 'pointer and also run' still defines a bat as well as ballgame when the player hits the round and also runs, as in cricket). Tit for tat was certainly in use in the mid-late 16th century. Similar to lots of these old expressions, their usage has been enhanced by comparable sounding international matchings, specifically from N.Europe, in this situation 'dit vor dat' in Dutch, as well as 'tant pour tant' in French. Skeat's 1882 dictionary of etymology references 'tit for tat' in 'Bullinger's Works'.

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Paradoxically much of this use is as a substitute for the word uncouth, as an example in referring to crudity/rudeness/impoliteness as "not very couth", and comparable variants. Alternate poetry vernacular are lotion biscuits and also cream crackered, which triggered the expression 'creamed', suggesting tired or beaten. a pet cat might view a king/a cat might consider a king/a cat might make fun of a queen - humble individuals are qualified to have and also to express point of views about allegedly 'remarkable' people. The various variants of this older proverb are based on the initial version, which is first referenced by John Heywood in his 1546 book, Sayings. The origin is unidentified, however it remains a superb example of how reliable proverbs can be in conveying fairly intricate significances making use of really few words. is normally that no-one is actually over objection, or immune from having a good time jabbed at them by 'lower' individuals for behaving wrongly, irrespective of their condition.

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The expression comes from as far back as Roman times when soldiers' pay was given in provisions, including salt. The contemporary version most likely grew from the one Maker references in 1870, 'true to his salt', suggesting 'faithful to his employer'. tories - political Conventional event and also its participants - the initial tories were a band of Irish Catholic hooligans in Elizabethan times. The word derived from the Irish 'toruigh', from 'toruighim', suggesting to rob all of a sudden.

on tenterhooks - very anxious with expectation - a metaphor from the very early English cloth-making procedure where towel would be extended or 'tentered' on hooks placed in its seamed edges. ' Tentered' originates from the Latin 'tentus', indicating extended, which is also the origin of the word 'camping tent', being made of stretched canvas. teetotal - abstaining from alcohol - from the very early English practice for a 'T' to be added after the names of people that had pledged to abstain completely from alcohol. Similarly, people that had actually signed the abstaining promise had the letters 'O.P.' (for 'Old Promise') included after their names. If anybody knows anything about the abstaining promise from very early English times please inform me.

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Brewer in 1870 recommends for 'tit for tat' the recommendation 'Heywood', which must be John Heywood, English playwright (not to be perplexed with an additional English playwright Thomas Heywood ). According to James Rogers thesaurus of quotes and cliches, John Heywood made use of the 'tit for tat' expression in 'The Crawler as well as the Flie' 1556. thunderbolt - fictional strike from above, or a substantial surprise - this was ancient folklore and also astronomy's attempt to clarify a lightening strike, before the appreciation of electrical power. The original old expression was 'thunderstone' which came from confusing rumbling and lightening with meteor strikes and shooting stars, and also was later on superseded by 'thunderbolt' (' screw' as in the short arrow discharged from a cross bow). Words 'thunderbolt' gave rise straight to the much more current cliche implying a large surprise, 'bolt from the blue'.

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Third, and probably a lot more probably, dual cross stems from an old meaning of the word cross, to deceive or fix a horse race, from the 1800s (the term obviously appears in Thackeray's 'Vanity Fair', to explain a fixed horse race). Dual cross particularly defined the technique of pre-arranging for an equine to lose, however then reneging on the repair as well as allowing the equine to win. couth/uncouth - these words are really interesting since while the word uncouth is in prominent usage, its favorable as well as originating opposite 'couth' is not widely made use of. Many individuals believe it is no more a 'correct' word, or do not recognize that words 'couth' ever existed whatsoever. Actually 'couth' is still a perfectly genuine word, although it's not been in typical English use since the 1700s, and was provided in the 1922 OED as a Scottish word.

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more information of Lipo-Sculpt crm ', nor 'huge as a knee' show up in 1870 Maker, which suggests that the expression grew or came to be popular after this time. Based Upon Nigel Rees' well looked into and also reputable dating of 1923 for first taped use, it is most likely that earliest actual usage was probably a few years prior to this. The money jargon area contains money slang as well as word origins and also significances, as well as English cash history. Sayings and expressions give us many terrific numbers of speech as well as words in the English language, as they evolve by means of usage and mis-use alike. Lots of cliches as well as expressions - and also words - have fascinating and unexpected origins, as well as several prominent presumptions regarding definitions as well as derivations are mistaken.

It's worth noting that playing cards were a very significant aspect of home entertainment and also entertainment a few centuries ago before TV as well as computer systems. cake stroll, piece of cake/takes the cake/takes the biscuit/takes the bun - easy task/wins - from the custom of offering cakes as prizes in rural competitions, and possibly people origin. Brewer informs of the custom in U.S.A. enslavement states when servants or complimentary descendents would certainly walk in a procession in sets around a cake at a celebration or celebration, the most elegant set being granted the cake as a reward. The variations of bun as well as biscuit most likely show previously meanings of these words when they explained something closer to a cake. On which point, I am encouraged that the American version expression 'triumphes' arguably precedes the British variation of 'takes the biscuit'. Maybe, possibly not, because 'takes the biscuit' appears to have a British insurance claim dating back to 1610 (see' takes the biscuit '). This all increases better interesting questions about the different as well as transforming significances of words like biscuit and also bun.

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Adding also to the significance of the cliché, black pets have have for centuries been fiendish and also harmful signs in the superstitious notions and also folklore of different cultures. have actually long been a symbolic icon due to the fact that they are icons everybody can identify, just as we have several expressions including similarly appealing symbols like pet cats and also canines.

he's/ she's a card - an unusual or significant person - opinions are split on this one - probably 'card' in this feeling is based upon based upon playing cards - suggesting that an individual is a challenging one (' card') to play. Maker describes that the full expression alike use at the time (mid-late 1900s) was 'card of the house', implying a differentiated individual. If the Shakespearian root stands this definition possibly mixed with and was ultimately more popularised by the having fun card allegory. Remarkably Maker checklists a number of various other currently obsolete expressions comparing people and also situations to cards.

Wilde maintained names of bad guys in a book, and along with those who gained his security by giving him with valuable info or paying adequately he noted a cross. When they ceased to be of usage Wilde included a second cross to their names, and would certainly turn them in to the authorities for the bounty. Allegedly Wilde was eventually betrayed and went to the gallows himself. An additional description is that it associates with the name of a British knowledge team in The second world war, took part in tricking German spies to flaw.

Biscuit in America is a different thing to biscuit in Britain, the last amounting the American 'cookie'. Bun to many individuals in England is an easy bread roll or cob, but has several older associations to sweeter baked rolls and cakes. Early Scottish use words cadet, later caddie, was for a duty boy.

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The original meanings of couth/uncouth (' known/unknown and also 'familiar/unfamiliar') altered over the following 500 years to make sure that by the 1500s couth/uncouth described well-mannered and courteous as well as crude as well as awkward. At some stage in this process the words became much rarer in English. Their usage was maintained in Scottish, which allowed the 'back development' of tacky right into typical English use today. Unfortunately during the 1800s and 1900s couth lost its appeal, and its condition as an 'official' word according to some dictionaries. Technically couth stays an appropriate word, implying cultured/refined, but it is not used with excellent self-confidence or sentence for the factors given over.

brass neck/brass-neck/brass necked - boldness or impudence/audacious, impolite, 'cheeky' - brass neck and brass necked are combinations of two metaphorically used words, brass and neck, each individually meaning impudence/impudent, audacity/audacious. As pertains to brass, Maker 1870 listings 'brass' as implying insolence. Several of these meanings relate to brass being an affordable imitation of gold. Several of the definitions likewise associate with brass being a very tough and durable material. Phonetically there is additionally a similarity with bold, which has similar meanings - disrespectful, vulgarly self-assertive. At some stage during the 20th century brass and also neck were combined to develop brass neck and brass necked. black dog - depression or sullen state of mind - an expression very old beginnings; the saying was made well-known in recent times by Britain's WWII leader Sir Winston Churchill describing his very own anxieties.

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Phyrric (Part One)

Genre: Fanfiction (SebastianxCiel)

Word Count: 1k

Warnings: Not applicable

Description:

pyr·rhic /ˈpirik/ adjective (adj.) Definition: (of a victory) won at too great a cost to have been worthwhile for the victor. A Pyrrhic victory (PIRR-ik) is a victory that inflicts such a devastating toll on the victor that it is tantamount to defeat. Someone who wins a Pyrrhic victory has been victorious in some way, though the heavy toll negates a true sense of achievement or profit. This can be equivalent to a battle, a war, or in this case, giving up your life and pride for a loved one who as neither. In this case, death. In this case, loving a demon at the expense of your very humanity.

A Sebaciel (Sebastian x Ciel) au

Ciel's POV

ai·lur·o·phile /īˈlo͝orəˌfīl,āˈlo͝or-/ Noun (n.) a cat lover.

•

"Are you sure?" It spoke.

"That's an order!" I screamed. I saw the demon's toothy smirk sparkle evilly in the darkness, sending a chill down my spine. He emerged from the darkness, his raven black hair falling over his demonic gaze.

"Yes, my lord."

* 9 months later

"Sebas-chan!" I yelled, setting down my writing implement and looking up towards the door. Sebastian, my chauvinistic butler, was there in an impromptu manner.

"Yes, young master?" He inquired, standing upright in front of my desk. I placed my hands, folded, in my lap, straightening my spine as I sat elevated.

"How goes the ridding of the rat infestation?"

He shook his head. "Not well, my lord." There was a crash from the corridor as Mey-Rin ran past with a broom, yelling obscenities at the rodents. I sighed. This matter had gone on for far too long. I had to do something about it. The rats were all over the residence, and I was nearing my last nerve.

"Fine, then," I concluded. "Sebastian, get my coat."

"Yes, my lord," He brought the article of clothing to me, dressing me in the warm material. "Might I ask where we will be going?"

"Sebastian," I responded promptly. "We are getting a cat."

Sebastian paused. "A cat, my lord?"

"Did you not hear me, Sebastian? We are getting a cat." I adjusted the collar of my coat before striding towards the door to my office. Sebastian promptly followed.

"I hope you don't mind, my lord," Sebastian began. I shot him a look, causing him to grin before continuing. "Most house cats are less likely to kill rats than feral cats because they neither have to hunt any further than their food bowls to survive nor do they have access to many small creatures. The cats don't generally solve the rodent problem by killing rats and mice, although," He paused, scratching his chin and holding open the front door as I walked through. "The cats are game for doing so if they catch them. Rather, the cats simply leave their scent. Once rodents get a whiff of feline presence, they move on."

"And that, Sebastian, is why we are getting a cat."

I boarded the carriage as Sebastian instructed the driver on where we were going, him following shortly after and reclining across from me.

"Do you have any particular cat in mind, young master?"

"No, Sebastian."

Sebastian smiled brightly. "Can I assist you in selecting the feline, my lord?"

"I don't see why not," I returned the facial expression with gratitude.

The ride was mainly in silence. We soon reached our destination. I glanced up at the sign above the establishment as I was exiting the carriage, which read, 'Raito Fantasutikku Neko No Ie'. (Translation: Light's Fantastic Feline House)

We entered the shop - which was more of a house, now that I look at it, which makes sense - and took in the large number of felines that were moseying about. A man appeared in the doorway to our left, and approached us.

"Hello, young men! Here to adopt a cat, I presume?"

"Yes, kind sir," Sebastian answered.

"Well, come on, then!" The hazel-eyed man gestured for us to continue into the house. We entered a room with twice the number of cats, along with a black-haired man with dark circles under his eyes sitting in a recliner, petting a calico cat with green eyes. A large number of cats suddenly attacked Sebastian's legs, rubbing against him and purring loudly.

I met Sebastian's eyes, and he just shrugged. "I'm a cat person," He grinned widely as he bent over to pet some of the felines.

*

The ride home was not as silent as I had hoped it to be, but still pleasant. I was cradling a midnight-black female cat with grey patches and blue eyes.

"We could name it Patches," I opted, rubbing her stomach. "Or should we go for a more common name, like Nao or Masaki?"

"I didn't take you for a cat lover, my lord,"

I blushed. "I-I'm not, of course not." The cat purred and nuzzled my cheek, and I poked her nose and set her in my lap as I scratched her soft belly.

Sebastian laughed softly. "I think your actions would beg to differ, young master." He folded his hands in his lap. "Have you selected a name yet?"

"No," I responded.

"The naming process is an important one," Sebastian began. "Our mind works like a thesaurus, and remembers the meaning rather than the individual words per se. A name without an emotional, non-verbal association will not be retained. A symbiotic relationship is necessary to embed it."

"But Sebastian, a rose by any other name would still smell as sweet. what does the name matter?" I countered, smirking at him.

"You see, my lord," Sebastian rebutted. "A rose may well smell as sweet if it was called something else, such as a thorny flowering bush, but the fact is that it wouldn't necessarily get the same emotional response."

I chuckled softly, as not to disturb the cat. "Sometimes, Sebastian, I wonder how on Earth you retain all of this information." I paused for a moment. "Well, we could name it Hikaru, or Michi, or Kiyoshi, or maybe Eiji! Or Dai, that would be funny." I continued to nuzzle the feline.

Sebastian chuckled. "Or Akuma." He mumbled.

I looked up at him. "Akuma, as in... demon?" I laughed out loud at the irony. "That's perfect!" I burst into hysterics, causing Akuma to jump off of my thighs and onto Sebastian's lap. Sebastian began to pet the feline, his lips curling into a smile.

"I'm glad you think so, young master."

[oliviahend1-blog]

Fieldwork #6

Concept #1: Miscegenation

Article: https://www.history.com/topics/civil-rights-movement/loving-v-virginia

Richard and Mildred Loving (Loving vs. Virginia)

Miscegenation is another term for interracial marriage; interbreeding among races. There were many laws and restrictions against miscegenation since as early as the colonial ages. Many states in the U.S. was against this form of marriage. Before the 1950s, it was determined anti-miscegenation laws were legal because it punished whites and blacks equally. Richard and Mildred Loving were an interracial couple, Richard was a White man and Mildred was a Black and Native American mixed woman, who fell in love and got married in Washington D.C. were interracial marriage was legal. They returned to Virginia, where they lived, and shortly were arrested for violating anti-miscegenation laws. Later, they pleaded guilty and were sentenced to 1 year in prison. The sentences were cut short under the condition they we would not return to Virginia for a 25-year period. This is an example of miscegenation because they were followed and investigated for weeks before their arrest after their legal marriage in D.C. The state of Virginia was inserting themselves on 2 non-troubled citizens who just wanting to be together in marriage. Virginia was creating trouble by making it a big deal and banning the couple away from their home state just because they wanted to be together.

Concept #2: Racism

Racism is an individual’s thoughts and action that create or reproduce access to power, privilege, resources, and opportunities based on imagined differences among groups. This image is a perfect example of racism because these white males are holding up a sign that directing attacks and demeans African Americans telling them to “go back to Africa” which is 100% disrespectful and a wrong act to do. This image shows that the white males assume they have power and deserve to be in their environment more than their black counterparts. Additionally, they are displaying their privilege by holding up that sign acting in that derogatory manner because only whites could do something like that and not get punished for it. They are showing racism because they have this imaginary idea that they are better than blacks and they should be shipped off to their “native” lands. All which is completely false and doesn’t solve any racial problems that are existing.

Concept #3: White Supremacy

Article: https://www.adl.org/education/resources/reports/state-of-white-supremacy

In this article, it depicts the state of white supremacy in the U.S. White supremacy is defined as the belief that whites are biologically different from and superior to people of other races. In this frightening article, it shows that white supremacy is still alive and active in the states today. Many white supremacists aren’t necessarily in active hate groups but do organize white supremacist movements. They white supremacists engage in a wide variety of activities to show their ideas and invoke fear into their enemies. They commit murders, put together terrorist plots, and commit other criminal violence towards others who don’t fit their mild. However, much of these crimes are often ignored in the legal system. Even in the legal system, it shows a bit of white supremacy in the legal system that in a way these crimes are just and aren’t worth the report.

Concept #4: Hypodescent

Hypodescent is the assignment of children of racially “mixed” unions to subordinate groups. In this picture, this woman is seen as a brown skin (black) and a light/white skin. As seen on the darker skin side, are all of these negative comments demeaning her hair and giving her any praise for embracing her natural, ethic, black hair. On the lighter side, all the comments are positive. The comments show praise for her straight hair and celebrating her “whiteness”. This shows that how labeling has great effect on people based on physical appearance. On one side, she’s obviously black and the other side she seems to be white. On both sides she is black, but her apparent blackness puts her automatically in the black category compared to the “white” side.

Concept #5: Individual Racism

Article: https://amp.theguardian.com/lifeandstyle/2019/apr/09/colorism-racism-why-black-people-discriminate-among-ourselves

In the article, it explains the concept of colorism and how black are often racist among other blacks in their community. Among African Americans they’re many different shades that can describe a black person. The shades can be light (labeling someone who is black a light skin), in the middle (labeling someone who is black a brown skin), and dark (labeling someone who is black a dark skin). Many black unconsciously feel a certain way about their skin tones. Many feels that light skins are often celebrated and looked at as “beautiful” compared to dark skins. Dark skins often feel overlooked and feel as though they are the “ugly” type of African Americans. With this, many light, brown, and dark skins will say slick comments and act in a certain way with the other type of shade complexion. This isn’t often thought of as a form of racism, but it is. All this is created ideologies of different groups based upon skin complexions.

Concept #6: Microaggressions

Article: https://www.macmillandictionary.com/us/thesaurus-category/american/offensive-words-for-people-according-to-nationality-or-ethnicity

In this article, it gives many different words that are offensive among different ethnicities and nationalities. Theses are all microaggressions. Microaggressions are common, everyday verbal and behavioral acts that communicates hostile, derogatory, and negative messages about someone’s race, gender, sexual orientation, or religion. Words like cracker, Eskimo, colored, the “n” word, wetbacks, and Yankee are all demeaning towards different racial groups. These words are still used today in our language. Many people know they shouldn’t say these words to describe other because there’s more appropriate words to use instead of these. It can be hurtful and communicate an idea about someone that isn’t true. Microaggressions can be unconscious, but its important to educate people on the right words to use because these words don’t show the right side of history we should be on.

[chadtindel-blog]

Be Skeptical of Labels, Particularly When Self-Diagnosing Health Issues

Be Skeptical of Labels, Particularly When Self-Diagnosing Health Issues!

I bet that if any of us opened a thesaurus of health symptoms and conditions we'd be more filled with serious concerns about our health after only a few pages.  Health-related symptoms are among the highest searched standards on the internet.

Occasionally being given a label increases the worry of everything by fuelling health and stress anxiety.  It's very important to be careful of tags, especially when self-diagnosing health issues!

 ' they may ask.  But, just as when you buy something from a store that has a sticky label firmly attached, I often find that by giving somebody a specific label to describe their feelings it may mean that they need extra treatment sessions to then detach that label!

Yes, occasionally clients are relieved when they can set a name to how they're feeling, but oftentimes there are effective ways of managing issues without having to label and categorize them.  It's fine to take that there are instances when we're tired, depressed, stressed or overwhelmed.  Things in life can gradually accumulate and result in us feeling bloated and bruised.  Maybe not every thing 's a critical health issue though, and occasionally those times supply a nudge to sort out how we're running our life.

Learning effective ways to deal with challenges may teach us better ways to cope, to recuperate from the knocks life intermittently throws our way and then to turn every bad situation around.

- Accept that occasionally feeling exhausted, out of sorts, vaguely unwell is how it is.  We may have a phase of not sleeping too well, of being somewhat weepy, of feeling a bit down.  Be gentle with yourself at those times.  Occasionally our hormones, body clock, even a change in the weather or the cycle of the moon can throw us out of equilibrium.  Treat yourself with kindness; go to bed a bit earlier, ensure you eat well, keep hydrated, take some gentle exercise, possibly eliminate an hour or even a day or 2.

We teach individuals how to deal with us.  I think it was Eleanor Roosevelt who said this, but certainly, a large proportion of communication is completed non-verbally.  We communicate our responses to situations through cues so delicate that we may be unaware of them; fear, guilt, resignation, a desire to please are evidenced through our breathing, stance, body language, posture.  Tuning in and becoming aware of what we're projecting can turn a situation around Chad Tindell Knoxville Attorney.

- Remaining quiet and uncommunicative, or alternatively always saying 'yes', can be interpreted as you being fine with how things are being handled.  

- Be careful not to compare yourself and how you're performing or coping with others.  Most of us have different stories, priorities, situations we're dealing with, service networks, skills, and motives.  1 person's nightmare situation could be another's piece of cake and vice versa.  Comparisonitis may result in massive insecurities.

- When we're exhausted and feeling low it can be because we're sorry for ourselves, feeling hard done by, unappreciated or taken for granted.  Becoming appropriately assertive can be the way forward.   ' Or conversely, we escape into sadness, introspection, and melancholia.  Often a better result is achieved through affection, love and by remaining calm and even-tempered.  Learning how to say, 'no', professionally and professionally, perhaps without explanation or justification, can teach both yourself and other people to enjoy and appreciate you more.

- Being short of time is something a lot of us struggle with, but spreading ourselves too thinly may result in burnout and overload.  Clues that all isn't well can be frequently going to bed later, getting up earlier, missing meals, canceling breaks, exercise, and fun.  Again self-help comes from accepting personal responsibility and communication to other people how you're feeling and what you need.  Can there be only you who's competent to perform those jobs?  Perhaps it's time to educate somebody else, learn how to delegate or become realistic about your job v health options.

- Deal with stress.  Ensure you have a set time when you switch off unless there's an occasional, genuine emergency.  Are there specific times when you frequently feel frazzled?  Most of us have our early warning signs of stress.  Become acquainted with yours and recognize when you need a 'water-cooler' break, a slice of fruit, time to get a game of golf or a long leisurely lunch.  Research has discovered that we do better, frequently bringing new ideas and thinking to an issue after we've had some time away to detach a bit.

If you find you're becoming more and more worried, snappy, not sleeping or are experiencing low mood booking a health checkup is a good idea.  However, a lot of us can learn how to intervene early on and begin to introduce positive, continuing treatment.  Enjoy you may only do so much each day before mistakes, accidents and bad concentration begin to affect your health.  By introducing great habits you attain a healthy balance in your life, becoming equipped to deal with those unavoidable times when sacrifices have to be made, you have to work longer hours or manage unanticipated requirements.