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JBB: An Artblog!
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izzy's playlists!
YOU ARE THE REASON
if i look back, i am lost
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Origami Around
DEAR READER
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Show & Tell
titsay
I'd rather be in outer space 🛸
Aqua Utopia｜海の底で記憶を紡ぐ
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@concretefeathers
i want to be so kind it echoes backwards in time and undoes the things that hurt you. i want to be so kind it radiates from me. i want to be so kind that i make someone else find faith in humanity again. there’s not much i can do, i’m small and weak and i only know so many words. but i know i can be kind. and sometimes, i believe, that changes the world.
Translated Chapters
(Master list of all translated chapters from HQ’s light novels. I’m trying to stay under the radar, so I won’t be tagging the chapters properly. Note that the chapters were translated from the Chinese version, and I’m by no means a professional translator, so apologies if some parts sound weird. DO NOT REPOST/RE-UPLOAD ANYWHERE.)
*note: I used British-English spelling because I’m more used to it (been taught since young, heh).
Keep reading
The powerhouses’ summer (re-upload)
(All credits to the original source. Please do not claim and reproduce it as your own!)
Keep reading
being bilingual is just *knows meaning of word in your language but not the other* *cant explain it* *mental pause* *words that exist only in one language but not the other* *mixing languages mid sentance* *as you get better in one language you get worse in the other* *mental pause* *confusing meanings* *speaking both languages badly*
People: Cartoon characters aren’t relatable
Cartoon Characters:
The Romance of Tiger and Rose | The nonstop disturbances
hello!! if ur having trouble with literary devices, fear not bc here’s a list of the most commonly common devices used with definitions and examples. i hope this helps :-)
ps: here is a downloadable PDF file
DEFINITION OF LITERARY DEVICES: narrative techniques that add texture, energy and excitement to the narrative, grip the reader’s imagination and convey information.
ALLEGORY:
A symbolism device where the meaning of a greater, often abstract, concept is conveyed with the aid of a more corporeal object or idea being used as an example. Usually a rhetoric device, an allegory suggests a meaning via metaphoric examples.
Example: Faith is like a stony uphill climb: a single stumble might send you sprawling but belief and steadfastness will see you to the very top.
ALLITERATION:
literary device where words are used in quick succession and begin with letters belonging to the same sound group. Whether it is the consonant sound or a specific vowel group, the alliteration involves creating a repetition of similar sounds in the sentence. Alliterations are also created when the words all begin with the same letter.
Example: The Wicked Witch of the West went her own way.
ALLUSION:
Events or characters from another story in her own story with the hopes that those events will add context or depth to the story she’s trying to tell.
allusions are often to very famous works such as the Bible or Shakespearean plays.
doesn’t have to specifically name the character or event it’s referring to
Example: Night after night our hero lay in bed with the flu, hacking mucus and blood and seeing behind his eyelids the angels or devils come to collect him. But one morning, like Lazarus, he was whole again… (allusion to Lazarus who famously rose from the dead)
ASSONANCE:
Takes place when two or more words close to one another repeat the same vowel but start with different consonant sounds
Repetition of only vowel sounds. Assonance is the opposite of consonance, which implies repetitive usage of consonant sounds.
Example: Men sell the wedding bells.
DICTION:
Author’s choice of words
When describing the events of her story, an author never has just one word at her disposal. Rather, she must choose from many words that have similar denotative meanings (the definition you’d find in a dictionary), but different connotative meanings (the associations, positive or negative with a given word).
Example: imagine that a child in a story comes home from school and tells his parents about his day.
· 'Tommy made fun of me, so I nicked his eye with a stick.’
· 'Tommy made fun of me, so I poked his eye with a stick.’
· 'Tommy made fun of me, so I stabbed his eye with a stick.’
· 'Tommy made fun of me, so I gouged his eye with a stick.’
words nicked, poked, stabbed and gouged all have similar denotative meanings, but notice how an author’s choosing one or the other would drastically affect how we understand how well Tommy fared.
EPIGRAPH:
a work where the author under the title has included a quotation from some other work; often the quotation is in italics.
Like an allusion, an epigraph is a reference to another work that an author hopes will help readers understand her own work.
Unlike an allusion, an epigraph stands apart from the text itself rather than being included in it.
Example: T.S. Eliot’s famous poem ‘The Love Song of J. Alfred Prufrock.’ The epigraph is from Dante’s Inferno…
If I but thought that my response were made to one perhaps returning to the world, / this tongue of flame would cease to flicker. / But since, up from these depths, no one has yet / returned alive, if what I hear is true, / I answer without fear of being shamed.
FORESHADOWING:
author hints at the ending of or at an upcoming event in her story without fully divulging it
Example: Ernest Hemingway’s famous novel A Farewell to Arms, a key character dies while it’s raining.
To hint at that death, Hemingway earlier in the book includes a scene where the character admits that she is afraid of the rain because sometimes she sees herself dead in it.While this is just an irrational vision, it also gives the reader an ominous detail and hints at an event that might be to come.
HYPERBOLE
uses specific words and phrases that exaggerate and overemphasize the basic crux of the statement in order to produce a grander, more noticeable effect.
purpose of hyperbole is to create a larger-than-life effect and overly stress a specific point. Such sentences usually convey an action or sentiment that is generally not practically/ realistically possible or plausible but helps emphasize an emotion.
Examples: “I am so tired I cannot walk another inch” or “I’m so sleepy I might fall asleep standing here”.
IMAGERY:
When an author chooses words for their connotative associations (see the above discussion of ‘diction’), she chooses sensory details for the associations or tones they evoke
Example: Theodore Roethke’s famous poem, ‘My Papa’s Waltz,’ we see a young boy dance with his drunken father. It’s a happy memory for the boy, but also the poem hints at the father’s dangerous condition. One of the ways Roethke achieves this is through his selection of imagery.
The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.
INTERNAL RHYME:
practice of forming a rhyme in only one lone line of verse
also known as the middle rhyme because it is typically constructed in the middle of a line to rhyme with the bit at the end of the same metrical line.
Example: The line from the famed poem Ancient Mariner, “We were the first that ever burst”.
IRONY:
playing around with words such that the meaning implied by a sentence or word is actually different from the literal meaning.
used to suggest the stark contrast of the literal meaning being put forth. The deeper, real layer of significance is revealed not by the words themselves but the situation and the context in which they are placed.
Example: Writing a sentence such as, “Oh! What fine luck I have!”. The sentence on the surface conveys that the speaker is happy with their luck but actually what they mean is that they are extremely unhappy and dissatisfied with their (bad) luck.
JUXTAPOSITION:
literary device wherein the author places a person, concept, place, idea or theme parallel to another.
two directly or indirectly related entities close together in literature is to highlight the contrast between the two and compare them. This literary device is usually used for etching out a character in detail, creating suspense or lending a rhetorical effect.
Example: A woman giving birth on a battle field in the middle of a war would be juxtaposition. This scene would compare the beauty of life beginning to the gore of lives ending by force.
METAPHOR
one of the most extensively used literary devices. A metaphor refers to a meaning or identity ascribed to one subject by way of another. In a metaphor, one subject is implied to be another so as to draw a comparison between their similarities and shared traits. The first subject, which is the focus of the sentences is usually compared to the second subject, which is used to convey a degree of meaning that is used to characterize the first. The purpose of using a metaphor is to take an identity or concept that we understand clearly (second subject) and use it to better understand the lesser known element (the first subject).
Example: “Henry was a lion on the battlefield”. This sentence suggests that Henry fought so valiantly and bravely that he embodied all the personality traits we attribute to the ferocious animal. This sentence implies immediately that Henry was courageous and fearless, much like the King of the Jungle.
PERSONIFICATION
one of the most commonly used and recognized literary devices. It refers to the practice of attaching human traits and characteristics with inanimate objects, phenomena and animals.
Example: “The raging winds” “The wise owl” “The warm and comforting fire”
ONOMATOPOEIA
words whose very sound is very close to the sound they are meant to depict. In other words, it refers to sound words whose pronunciation to the actual sound they represent.
Example: Clack, Clack, the gunshots went off during a drive by in Compton!!
PARADOX
use of concepts or ideas that are contradictory to one another, yet, when placed together hold significant value on several levels. The uniqueness of paradoxes lies in the fact that a deeper level of meaning and significance is not revealed at first glance, but when it does crystallize, it provides astonishing insight.
Example: High walls make not a palace; full coffers make not a kin
POINT OF VIEW
Manner in which a story is narrated or depicted and who it is that tells the story.
determines the angle and perception of the story unfolding, and thus influences the tone in which the story takes place.
o Objective Point of View - writer tells what happens without stating more than can be inferred from the story’s action and dialogue. The narrator never discloses anything about what the characters think or feel, remaining a detached observer.
o Third Person Point of View Here the narrator does not participate in the action of the story as one of the characters, but lets us know exactly how the characters feel. We learn about the characters through this outside voice.
o First Person Point of View In the first person point of view, the narrator does participate in the action of the story. When reading stories in the first person, we need to realize that what the narrator is recounting might not be the objective truth. We should question the trustworthiness of the accounting.
o Omniscient and Limited Omniscient Points of View A narrator who knows everything about all the characters is all knowing, or omniscient.
o A narrator whose knowledge is limited to one character, either major or minor, has a limited omniscient point of view.
RHYME SCHEME
Practice of rhyming words placed at the end of the lines in the prose or poetry.
Order in which particular words rhyme.
SATIRE
Practice of making fun of a human weakness or character flaw.
Inclusive of a need or decision of correcting or bettering the character that is on the receiving end of the satire. In general, even though satire might be humorous and may “make fun”, its purpose is not to entertain and amuse but actually to derive a reaction of contempt from the reader.
SIMILE
Referring to the practice of drawing parallels or comparisons between two unrelated and dissimilar things, people, beings, places and concepts.
Using similes a greater degree of meaning and understanding is attached to an otherwise simple sentence. The reader is able to better understand the sentiment the author wishes to convey.
Key words: ‘as’ or ‘such as’ or ‘like’.
SYMBOL
Contains several layers of meaning, often concealed at first sight, and is representative of several other aspects, concepts or traits than those that are visible in the literal translation alone.
is using an object or action that means something more than its literal meaning.
Example: The phrase “a new dawn” does not talk only about the actual beginning of a new day but also signifies a new start, a fresh chance to begin and the end of a previous tiring time.
SYNECHDOCE
uses a part of something to refer to the whole or vice versa. It is somewhat rhetorical in nature, where the entire object is represented by way of a fraction of it or a fraction of the object is symbolized by the whole.
Example: “Weary feet in the walk of life”, does not refer to the feet actually being tired or painful; it is symbolic of a long, hard struggle through the journey of life and feeling low, tired, unoptimistic and ‘the walk of life’ does not represent an actual path or distance covered, instead refers to the entire sequence of life events that has made the person tired.
SYNTAX
actual way in which words and sentences are placed together in the writing. Usually in the English language the syntax should follow a pattern of subject-verb-object agreement but sometimes authors play around with this to achieve a lyrical, rhythmic, rhetoric or questioning effect. It is not related to the act of choosing specific words or even the meaning of each word or the overall meanings conveyed by the sentences.
Example: The sentence “The man drives the car” would follow normal syntax in the English language. By changing the syntax to “The car drives the man”, the sentence becomes awkward.
SOURCES
http://study.com/academy/lesson/literary-devices-definition-examples-quiz.html
http://literary-devices.com/
http://www.learner.org/interactives/literature/read/pov2.html
Uruha decides to measure everyone's heart rate (Radio Jack August 10 2018)
long time no see lmao
Reita: Yes hi hello this is Reita from the GazettE
Uruha: This is Uruha
Reita: So we are in the middle of a wildly successful tour right now
Uruha: Yes
Reita: How’s it going? At the moment we’ve only done two shows right, we just finished the two days in Misato
Uruha: We did, yes
Reita: So how you feelin about it
Uruha: Yes, well, it’s our first tour in a long time, and — the fuck are you smiling at
(Reita chucklin)
Uruha: It’s our first hall tour in three years, so — yeah, it’s been fun.
Reita: Yes, yes
Uruha: My muscles have gotten nicely sore
Reita: Ah you’re starting to hurt a bit?
Uruha: My neck you know
Reita: Ah your neck eh
Uruha: My neck is not having it
Reita: But if you do like five shows it stops hurting so much no?
Uruha: …oh really?
Reita: What, does it hurt for you until the end?
Uruha: Oh good question, uhh, no I think around the end it doesn’t hurt that much, but for the first half it hurts the whole time.
Reita: Yo so, in the dressing room — so Uruha has this app that tells you your heart rate (laughs)
Uruha: Yes I do. (He sounds v enthusiastic)
Reita: So he measured all the members.
Uruha: (Reita laughing in background) Yeah, so around the day before a live, I was watching the morning news and they were saying like, “hey there’s this app,” and I was like “well damn I guess I’m going to have to measure all of the members now.” [w hy]
Reita: Yeah, yeah. But yo, we seem like we would be high right?
Uruha: Yeah yeah yeah, especially me you’d think I’d have the highest right?
Reita: Yeah! But you had the lowest…but then Ruki, like, the most low-key ones had the highest heart rate. Ruki and Aoi. They were both over 100
Uruha: Over 100
(Reita laughs very loud)
Uruha: Like fam ur gonna die
Reita: And then Kai was like 90 — like me, I was around 90 too, and Uruha was like what, 60?
(Uruha giggles)
Reita: Like to the point where you wonder if his heart is even beating…
Uruha: It’s cool to see it in numbers huh
Reita: Yeh
When you are writing a story and refer to a character by a physical trait, occupation, age, or any other attribute, rather than that character’s name, you are bringing the reader’s attention to that particular attribute. That can be used quite effectively to help your reader to focus on key details with just a few words. However, if the fact that the character is “the blond,” “the magician,” “the older woman,” etc. is not relevant to that moment in the story, this will only distract the reader from the purpose of the scene.
If your only reason for referring to a character this way is to avoid using his or her name or a pronoun too much, don’t do it. You’re fixing a problem that actually isn’t one. Just go ahead and use the name or pronoun again. It’ll be good.
Someone finally spelled out the REASON for using epithets, and the reasons NOT to.
In addition to that:
If the character you are referring to in such a way is THE VIEWPOINT CHARACTER, likewise, don’t do it. I.e. if you’re writing in third person but the narration is through their eyes, or what is also called “third person deep POV”. If the narration is filtered through the character’s perception, then a very external, impersonal description will be jarring. It’s the same, and just as bad, as writing “My bright blue eyes returned his gaze” in first person.
Furthermore,
if the story is actually told through the eyes of one particular viewpoint character even though it’s in the third person, and in their voice, as is very often the case, then you shouldn’t refer to the characters in ways that character wouldn’t.
In other words, if the third-person narrator is Harry Potter, when Dumbledore appears, it says “Dumbledore appears”, not “Albus appears”. Bucky Barnes would think of Steve Rogers as “Steve”, where another character might think of him as “Cap”. Chekov might think of Kirk as “the captain”, but Bones thinks of him as “Jim”.
Now, there are real situations where you, I, or anybody might think of another person as “the other man”, “the taller man”, or “the doctor”: usually when you don’t know their names, like when there are two tap-dancers and a ballerina in a routine and one of the men lifts the ballerina and then she reaches out and grabs the other man’s hand; or when there was a group of people talking at the hospital and they all worked there, but the doctor was the one who told them what to do. These are all perfectly natural and normal. Similarly, sometimes I think of my GP as “the doctor” even though I know her name, or one of my coworkers as “the taller man” even though I know his. But I definitely never think of my long-term life partner as “the green-eyed woman” or one of my best friends as “the taller person” or anything like that. It’s not a sensible adjective for your brain to choose in that situation - it’s too impersonal for someone you’re so intimately acquainted with. Also, even if someone was having a one night stand or a drunken hookup with a stranger, they probably wouldn’t think of that person as “the other man”: you only think of ‘other’ when you’re distinguishing two things and you don’t have to go to any special effort to distinguish your partner from yourself to yourself.
This is something that I pretty consistently have to advise for those I beta edit. (It doesn’t help that I relied on epithets a lot in the earlier sections of my main fic because I was getting into the swing of things.) I am reblogging this so fanfic writers can use this as a reference.
A good rule of thumb: a character’s familiarity with another character decreases the need for an epithet (and most times you really don’t need one at all).
when the heart of the card responds to your trust just right
#does this make kaiba kuzco #is kaiba gonna build kaibaland on top of Yugi’s gameshop
#can we turn kaiba into a llama
PLEASE CAN WE HAVE BAKURA AND MALIK AS YZMA AND KRONK?
#does kaiba dress in drag??
i hate you all
THIS JUST GETS BETTER AND BETTER. All I need is Grandpa as the guy who breaks Kaiba’s groove.
“You threw off my groove!”
“I’m sorry, but you’ve thrown off the CEO’s groove.”
What’s next… Bakura becoming a cat?
#omg would Marik’s shoulder devil be Yami Marik?
“Don’t listen to that guy. He’s trying to lead you down the path of righteousness.”
“I’m gonna lead you down the path that rocks!”
What would that make Joey???
#Rebecca should be the wife
#Ok Ok but Kuriboh would totally be the little squirrel >w>
“Kurikurikuri??”
“No nonONONONONONO-”
“KURIK URIRIRHR!?”
THIS KEEPS GETTING BETTER OMFG
Ok just go ahead and redraw the movie scene by scene
So, would the jaguars be Beast-type monsters or Dragon-types?
# The Big 5 turning into animals
“Get them!”
“Hey, I’ve been turned into a penguin. Can I go home?”
“You’re excused.”
Instead of a giant trampoline, it’s magical cylinder.
“For the last time, we did not order a Magic Cylinder!”
“You know pal, you could have told me that before I set it up.”
#would baby kaiba have blue eyes white dragon plushies?
i hate all 126,000 of you
it just keeps getting better and better.
Top quality content on my dash
@squigglydigg
Would the two guys playing a board game be playing Dungeon Dice Monsters?
“Hey Yugi, you just missed your relatives.”
“Yeah, we just sent them up to your house.”
#Kaiba lines up all the yugioh spinoff protags in a line looking for a rival
“Hate your hair. Your hair. And your hair. Annnnd…”
“Lemme guess, you have a great personality.”
# And instead of a sewer crocodile it’s some sewer dragon thing..lol…
what about the part when Kaiba asks “Why does he even HAVE that lever in the first place?”
# The dagger on Bakura’s leg is the Millennium Rod
“Then I bet you weren’t expecting THIS.”
[SCREAMS OF HORROR]
“AHA!”
“Oh, okay.”
#So, when Kuzco gets turned into other animals, does Kaiba get turned into other monster cards, like UFO turtle and Fortress Whale since the big 5 got turned into cards?
“Don’t you say a word…”
[If you like these crossover redraws, consider buying me a coffee?]
*slams fists*
THIS IS THE KIND OF CONTENT I SIGNED UP FOR!
I JUST LOST ALL MY SHIT THIS IS THE BEST THING I’VE SEEN IN FOREVER!
i just lost all my shit this is the best thing i’ve seen in forever
^Haiku^bot^9. I detect haikus with 5-7-5 format. Sometimes I make mistakes. Soon I’ll make fellow citizens beg for mercy. | PayPal | Patreon
So ppl are mad that US Americans aren’t doing shit to help with Article 13...but like no ones giving direction to aid?? All I see is complaining and comparing to Net Neutrality...like ok..?
rapidpunches:
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG | ♡ | ❤ | ⋆
(more coming soon 11/22/2016)
Tips to learn a new language
The 75 most common words make up 40% of occurrences The 200 most common words make up 50% of occurrences The 524 most common words make up 60% of occurrences The 1257 most common words make up 70% of occurrences The 2925 most common words make up 80% of occurrences The 7444 most common words make up 90% of occurrences The 13374 most common words make up 95% of occurrences The 25508 most common words make up 99% of occurrences
(Sources: 5 Steps to Speak a New Language by Hung Quang Pham)
This article has an excellent summary on how to rapidly learn a new language within 90 days.
We can begin with studying the first 600 words. Of course chucking is an effective way to memorize words readily. Here’s a list to translate into the language you desire to learn that I grabbed from here! :)
EXPRESSIONS OF POLITENESS (about 50 expressions)
‘Yes’ and ‘no’: yes, no, absolutely, no way, exactly.
Question words: when? where? how? how much? how many? why? what? who? which? whose?
Apologizing: excuse me, sorry to interrupt, well now, I’m afraid so, I’m afraid not.
Meeting and parting: good morning, good afternoon, good evening, hello, goodbye, cheers, see you later, pleased to meet you, nice to have met.
Interjections: please, thank you, don’t mention it, sorry, it’ll be done, I agree, congratulations, thank heavens, nonsense.
NOUNS (about 120 words)
Time: morning, afternoon, evening, night; Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday; spring, summer, autumn, winter; time, occasion, minute, half-hour, hour, day, week, month, year.
People: family, relative, mother, father, son, daughter, sister, brother, husband, wife; colleague, friend, boyfriend, girlfriend; people, person, human being, man, woman, lady, gentleman, boy, girl, child.
Objects: address, bag, book, car, clothes, key, letter (=to post), light (=lamp), money, name, newspaper, pen, pencil, picture, suitcase, thing, ticket.
Places: place, world, country, town, street, road, school, shop, house, apartment, room, ground; Britain, name of the foreign country, British town-names, foreign town-names.
Abstract: accident, beginning, change, color, damage, fun, half, help, joke, journey, language, English, name of the foreign language, letter (of alphabet), life, love, mistake, news, page, pain, part, question, reason, sort, surprise, way (=method), weather, work.
Other: hand, foot, head, eye, mouth, voice; the left, the right; the top, the bottom, the side; air, water, sun, bread, food, paper, noise.
PREPOSITIONS (about 40 words)
General: of, to, at, for, from, in, on.
Logical: about, according-to, except, like, against, with, without, by, despite, instead of.
Space: into, out of, outside, towards, away from, behind, in front of, beside, next to, between, above, on top of, below, under, underneath, near to, a long way from, through.
Time: after, ago, before, during, since, until.
DETERMINERS (about 80 words)
Articles and numbers: a, the; nos. 0–20; nos. 30–100; nos. 200–1000; last, next, 1st–12th.
Demonstrative: this, that.
Possessive: my, your, his, her, its, our, their.
Quantifiers: all, some, no, any, many, much, more, less, a few, several, whole, a little, a lot of.
Comparators: both, neither, each, every, other, another, same, different, such.
ADJECTIVES (about 80 words)
Color: black, blue, green, red, white, yellow.
Evaluative: bad, good, terrible; important, urgent, necessary; possible, impossible; right, wrong, true.
General: big, little, small, heavy; high, low; hot, cold, warm; easy, difficult; cheap, expensive; clean, dirty; beautiful, funny (=comical), funny (=odd), usual, common (=shared), nice, pretty, wonderful; boring, interesting, dangerous, safe; short, tall, long; new, old; calm, clear, dry; fast, slow; finished, free, full, light (=not dark), open, quiet, ready, strong.
Personal: afraid, alone, angry, certain, cheerful, dead, famous, glad, happy, ill, kind, married, pleased, sorry, stupid, surprised, tired, well, worried, young.
VERBS (about 100 words)
arrive, ask, be, be able to, become, begin, believe, borrow, bring, buy, can, change, check, collect, come, continue, cry, do, drop, eat, fall, feel, find, finish, forget, give, going to, have, have to, hear, help, hold, hope, hurt (oneself), hurt (someone else), keep, know, laugh, learn, leave, lend, let (=allow), lie down, like, listen, live (=be alive), live (=reside), look (at), look for, lose, love, make, may (=permission), may (=possibility), mean, meet, must, need, obtain, open, ought to, pay, play, put, read, remember, say, see, sell, send, should, show, shut, sing, sleep, speak, stand, stay, stop, suggest, take, talk, teach, think, travel, try, understand, use, used to, wait for, walk, want, watch, will, work (=operate), work (=toil), worry, would, write.
PRONOUNS (about 40 words)
Personal: I, you, he, she, it, we, they, one; myself, yourself, himself, herself, itself, ourselves, yourselves, themselves.
Possessive: mine, yours, his, hers, its, ours, theirs.
Demonstrative: this, that.
Universal: everyone, everybody, everything, each, both, all, one, another.
Indefinite: someone, somebody, something, some, a few, a little, more, less; anyone, anybody, anything, any, either, much, many.
Negative: no-one, nobody, nothing, none, neither.
ADVERBS (about 60 words)
Place: here, there, above, over, below, in front, behind, nearby, a long way away, inside, outside, to the right, to the left, somewhere, anywhere, everywhere, nowhere, home, upstairs, downstairs.
Time: now, soon, immediately, quickly, finally, again, once, for a long time, today, generally, sometimes, always, often, before, after, early, late, never, not yet, still, already, then (=at that time), then (=next), yesterday, tomorrow, tonight.
Quantifiers: a little, about (=approximately), almost, at least, completely, very, enough, exactly, just, not, too much, more, less.
Manner: also, especially, gradually, of course, only, otherwise, perhaps, probably, quite, so, then (=therefore), too (=also), unfortunately, very much, well.
CONJUNCTIONS (about 30 words)
Coordinating: and, but, or; as, than, like.
Time & Place: when, while, before, after, since (=time), until; where.
Manner & Logic: how, why, because, since (=because), although, if; what, who, whom, whose, which, that.
Oh i love this concept!
I love it too! I love it mostly because it makes me feel less overwhelmed. When you break it down like this, everything seems so much more manageable. Like, hey, I could memorize 20 words at a time (even if ‘at a time’ varies wildly for me), and just do that like ten times. That’s a HUGE chunk of a language.
(And since I have the habit of doing languages that are similar to ones I’m already familiar with, the grammar part usually comes pretty easy, too.)
As a writer, this also strikes me as useful to know if you are constructing a language.
“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.
“Unless you are following the dialogue with an action and not a dialogue tag.” He took a deep breath and sat back down after making the clarifying statement.
“However,” she added, shifting in her seat, “it’s appropriate to use a comma if there’s action in the middle of a sentence.”
“True.” She glanced at the others. “You can also end with a period if you include an action between two separate statements.”
Things I didn’t know
“And–” she waved a pen as though to underline her statement–“if you’re interrupting a sentence with an action, you need to type two hyphens to make an en-dash.”
You guys have no idea how many students in my advanced fiction workshop didn’t know any of this when writing their stories.
Reblog to save a life
Reblog to save a beta’s sanity.
And it feels like there isn’t enough time to do all the things I want to do before I have to do the things I’m supposed to do.
Dhonielle Clayton, Meet Cute
