"you're the writer, you control how the story goes" no not really. i wrote the first sentence and then my characters said "WE WILL TAKE IT FROM HERE" and promptly swerved into an electrical fence.
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❣ Chile in a Photography ❣

shark vs the universe
Cosimo Galluzzi
h
Keni
I'd rather be in outer space 🛸
Sade Olutola
Game of Thrones Daily
almost home
🩵 avery cochrane 🩵

PR's Tumblrdome
The Stonewall Inn
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One Nice Bug Per Day
noise dept.

titsay
Monterey Bay Aquarium
"I'm Dorothy Gale from Kansas"

#extradirty
seen from Saudi Arabia
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@this-acuteneurosis
"you're the writer, you control how the story goes" no not really. i wrote the first sentence and then my characters said "WE WILL TAKE IT FROM HERE" and promptly swerved into an electrical fence.
Oat milk was discovered much more recently than you may have known. Like many now-familiar technologies, it was found by accident during the Apollo program when NASA learned what a zero-g environment does to goat milk.
"Your people aren't very... warm, are you?"
"I don't grasp what you mean, ma'am."
"I've had you for what, ten, fifteen years now?"
"Fourteen this spring, ma'am."
"And yet I've never seen you smile. Not even once."
"It's a matter of respect."
"You don't smile to people you respect?"
"I don't smile to people I don't like, and I don't lie to people I respect. I don't like you, ma'am, but I respect you enough to not lie about it."
"Well that's rather cold."
"Then I suppose we are."
The parking attendant paused by the double-length bay. Intended for mobile homes and cars with trailers, it was currently occupied by a sleeping dragon.
No parts of it extended beyond the lines, and the paper ticket was clearly displayed, impaled on a horn.
The parking attendant moved on.
I was going to just queue it for later but then it stuck in my brain, and I decided to make it everyone's problem
@boltlightning
you don't understand, i'm obsessed with these covers.
tiefling for @billylilblini
one day i'm going to make a post explaining how to use early modern english to y'all because i have seen too many people 1) calling it old english, and 2) wildly missing the mark with a Lot of confidence (to the point that someone took a pen and changed "shall" to "shalt" on a sign in a bookstore, which made it the incorrect conjugation of the verb for given subject!)
actually that day is today, with the caveat that i am not a linguist. i'm just an early modernist (specialized in english drama). and this is not an exhaustive course in early modern english! it is a bare bones intro to the basics. if you want to know more, read early modern works or do some googling.
what kind of english is that? let's look at some famous examples of each.
Hwæt. We Gardena in geardagum, / þeodcyninga, þrym gefrunon, / hu ða æþelingas ellen fremedon. <- this is old english. note that it is unintelligible to a modern english speaker. (excerpt from beowulf)
Whan zephirus eek with his sweete breeth / Inspired hath in every holt and heeth / Tendre croppes, and the yonge sonne / Hath in the ram his halve cours yronne … <- this is middle english. it is more intelligible, but it’s still very different from what we speak now. (excerpt from the canterbury tales)
Is this a dagger which I see before me, / The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still. / Art thou not, fatal vision, sensible / To feeling as to sight? <- this is early modern english. this is so intelligible that we trust teenagers to read it in school. (excerpt from macbeth)
the english you are using to give a post a medieval or renaissance/shakespearean vibe is early modern english, not old english. (it's fine that you're using early modern english for a medieval vibe; no one expects you to learn middle english for a silly post about knights.)
how do you use pronouns?
'thou' is the informal second-person singular pronoun.
thou/thee/thy/thine
thou is the nominative form. you can use it for the subject of a sentence -> thou knowest me.
thee is the oblique form. you can use it for the object of a sentence -> i know thee.
thy and thine are the genitive forms. you can use them as possessive adjectives for nouns starting with consonants and vowels respectively. -> thy leg is broken. thine arm is broken too.
thine is also the possessive form. think about it like the word 'mine'*. -> my heart was once thine.
*'mine' is also used like thine as a possessive adjective in early modern english; you would say 'mine art' instead of 'my art'
ye and you
originally, 'ye' was the formal or plural nominitive second-person pronoun, and 'you' was the oblique form. so, it would be 'ye know me' and 'i know you'. 'ye' fell out of use and was replaced by 'you'. at that point it was already used as singular. but it was still much more formal than 'thou'.
the 'ye' you see in 'ye olde shoppe' stuff is not this pronoun. it is the way that printers who no longer had a thorn (þ) wrote the word 'the' (previously 'þe'). the 'y' in certain typefaces looked like a thorn, so we got 'ye' for 'the'.
how do you conjugate a verb?
you can't just slap a -th or -st onto the end of any verb. those are for specific conjugations. phrases like "i hath noticed" or "he thinkest that" are not grammatically sound. it's like saying "i has noticed" or "he think that".
the -st or -est ending is for (most) present and past tense verbs conjugated with 'thou'
some examples: thou canst, thou couldst, thou sayest, thou goest, thou wentest, thou hast, thou hadst, thou dost (or doest).
'thou' also has a few irregulars. some examples: thou wilt, thou art and thou wast (for 'to be'), thou shalt.
the -th or -eth ending is for (most) present and past tense conjugated with 'he', 'she', or 'it'
some examples: he hath, she sayeth, it doth, he goeth, she thinketh, it moveth
there are, of course, irregulars. the most important one is 'to be', which conjugates the same for this set as it does in modern english.
note: not every verb conjugates this way. for example, past tense verbs might use auxiliary verbs. so, not 'she cookedeth', but 'she did cook'.
by and large, the 'i', 'we', 'you' (or 'ye'), and 'they' conjugations were the same as they are today.
there were also some verbs that were used differently than we use them today, though (some of these fell out of use over the early modern period):
to be -> sometimes this verb is used instead of 'to have' as the auxiliary verb. 'i am arrived' means 'i have arrived', and 'she is come to see thee' means 'she has come to see you'.
to do -> sometimes this is used for the present progressive (i think that's the right name for it). 'he does speak' means 'he is speaking', and 'i do write' means 'i am writing'.
would -> this can be used to express a desire. 'i would i were a bird' means 'i wish i were a bird'
must -> this can be used without 'go' to mean 'must go'. 'i must to england' means 'i must go to england'
will -> this can be used without 'have' to mean 'will have'. 'you'll none of that' means 'you will have none of that'
there are a million other things i'm not covering, like different sentence structures for questions ('thinkest thou...?' as a valid alternative to 'dost thou think...?'), and different contractions ('she'll not' rather than 'she won't') but this post is long as fuck and i have things to do! enjoy! linguists, feel free to correct me on what name of tenses or declensions or whatever i have mixed up.
(psa: the point of this is not to be a kill-joy about other people's posts that have these errors. it's just a little knowledge sharing.)
wait, important additions:
'wherefore' = 'why', not 'where'. think about it pairing with 'therefore'. an example of the two in use:
'my love, wherefore didst thou pretend to see me not?' [babe, why did you pretend not to see me?]
'thy father, from whom we do keep our love hidden, did at that moment walk nearby. therefore i turned from thee that he might not espy us together' [we're keeping our relationship secret from your dad and he was walking by. i did it so he wouldn't see us together.]
'hither' = 'to here', not 'here'. there's a whole set of these, actually. 'whither' = 'to where' and 'thither' = 'to there'. these pair with 'hence' ('from here'), 'whence' ('from where'), and 'thence' ('from there'). an example of some of these in use:
'whence came you?' [where did you come from?]
(pointing to the left) 'thence came i hither.' [i came here from there.]
'and whither go you now?' [and where are you going now?]
(pointing to the right) 'my lord calls me thither.' [my boss is calling me over there]
'very well. get you hence.' [alright, get away from here.]
'whom' ≠ fancy 'who' and this one is just also true today.
'whom' works for the object of a sentence. 'who' is for the subject. in other words, 'whom' receives the action and 'who' does the action.
'whom wrote that letter to you?' -> incorrect! this should be 'who wrote that letter to you?' because 'who' is doing the action.
'whom did you write that letter to?' (or even better, 'to whom did you write that letter?') -> correct! 'whom' here is receiving the action.
okay bye again
"What a shame, you always had such beautiful hair"
from India Rose Crawford's Instagram: Frog bakes a loaf of bread 🍞🐸
Papercraft commission for the client's girlfriend's characters Ao Xiao and Carrot Cake! I had such fun with this piece, since these soul-bonded mage-and-dragon bffs are the absolute sweetest, which made for a cheerful, soothing atmosphere. Plus, they've got beautiful character designs! Just a delight from start to finish. :D
Seeing Protector of the Small fanart reminded me of something I wanted to say.
One of the things I love about the series is that Kel’s life gets better over the course of it. Oh, the enemies she’s facing get tougher - in the first book of the quartet she’s an 11-year-old fighting bullies at school, by the fourth one she’s an adult fighting in a war - but the number of people she’s got on her side and at her back expands immensely.
In the first book, she’s virtually on her own at the start and she has almost no control over her fate - whether she will be able to pursue her dream of being a knight depends solely on the arbitrary judgement of a raging sexist. By the second one, she still has enemies, but also a sizeable group of friends, and is a mentor to younger students. By the third, she has some of the most powerful people in the kingdom on her side, and is virtually never without either emotional support or people willing to go to bat for her. In the fourth, she has dozens of people – including the aforementioned raging sexist, who has some of the best character development in any Tamora Pierce novel – supporting her when she does something that is technically illegal.
She’s never more alone or less in control of her fate than the moment, as an eleven-year-old girl, when she says (paraphrased): “If I want to be a knight in order to help people, then I’m going to help people now even though it will probably ruin my chances of ever becoming a knight; because otherwise what was the point?” And the fact that she sticks to her principles doggedly and refuses to turn aside from anyone who needs help is why she has so much support by the end. With a lot of that support coming from people whom she helped and supported because they needed it, people whom the rest of society ignored and discarded and regarded as useless, and who turned out to be tough and talented and invaluble friends. It’s not an authorial gift, it’s the cumulative effect of the mountains of hard work she’s put in over the previous books, usually with no expectation of any return.
the bad news: I now hate my current wip and strongly believe there isn't a single joke in it that lands
the good news: I know my process enough to recognize this as the slump that I hit in everything I write when it's like three-quarters-ish done
the bad news: the only way out is through
the good news: I do know the way out!
the bad news: yeah but it's through
making a cross stitch that says "I am funny and he would fucking say that" to hang directly above my monitor
"hey toast you stayed up past midnight because you were working on the fic and not because you were procrastinating by making a hideous pattern for a joke cross stitch" have you never met a writer before
gonna tell my kids this was live laugh love
Cultural Insights of Our Own: Lessons From a Newly Decoded Digital Archive
Interplanetary Journal of Cultural Studies Volume 16, Issue 3, Pages 322-340
Abstract
The recently decoded Internet Archive includes the digital artifact called “Archive of Our Own” (AO3) from early third millennium Earth. AO3 is unusually well backed up and therefore is presumed to contain some of the most significant -- perhaps even sacred -- texts of the time. In this paper we present our preliminary analysis of AO3 metadata, including new insights about the literature, gender and sexuality, religion, and scientific understanding of this historical era:
I. LITERATURE. We describe the cultural centrality of figures such as the Winchesters and Reader. We explore how they featured heavily in every dominant literature genre of the era, including Fluff, Angst, Hurt/Comfort, and Oral Sex.
II. GENDER AND SEXUALITY. We review the overwhelming evidence that male-male relationships were the most culturally significant sexual and romantic relationships, but we also show that it was a culture with an unusually broad set of sexual and gender roles. In particular, we highlight the unusual tripartite conceptualization of gender as including alpha, beta, and omega roles; we note the apparent prejudice against betas, illustrated in the prevalence of “no beta we die like men” and similar protest slogans.
III. RELIGION. We describe a newly discovered religious taboo: doves were a common sacrificial animal of the time, but they were forbidden from being eaten.
IV. SCIENCE. Finally, we present new insight about alternate universes. While previous scholars hypothesized that the scientists of Earth may have developed a correct early theory of the multiverse by the late second millennium, our analysis of AO3 presents evidence to the contrary. As late as the early third millennium, prevailing theories postulated highly specific universes, such as a universe in which everyone is in high school, or a universe contained within a coffee shop.
Taken together, these historical insights show that further investigation is warranted into the valuable documents stored within AO3, perhaps even going beyond the metadata to examine the full texts.
Ok, it's finally done. Home is a place, home is a person.
This story is my first major piece after several years of art block, and I'm so glad I could finally get back to drawing.
Huge thanks to my dear friend @chancekey for the support.
Full size
“When we were kids, the Phonics Wizard came to our town to show off how the letter E can change the sounds of vowels. He turned a can into a cane, a pin into a pine. This one kid had a cap and he changed it into a cape, that kind of thing.
“And we loved it, we were all having a great time, but then he saw my sister and I, and he just got this - this look in his eyes, and then-”
She hesitated, worrying the coarse material between her fingers. “Things got pretty bad after that,” she muttered. “I know it’s silly, but I try to keep - her - comfortable. We don’t know if she can still hear us, or see us, or if she’s even still in here, but I like to think she is. I talk to her when I can, I leave music on when I’m out of the house. I tried to convince my parents to bring her with us when we went to Disneyland, but they didn’t - didn’t really take that well.”
After a moment, she put the ball of twine back onto its pillow. “Anyways. They tried to arrest the Phonics Wizard, but he had a plan in case something went wrong and he turned it into a plane and flew away.”
It's wild blueberry season in Sweden and I've been picking and eating my fill everyday from the forest behind my house! The entire forest floor is covered in wild blueberry bushes and the tangy taste is so cosmic, I had to paint them✨ Photos of the berries I picked!
Painting process~
the thing about indie perfume descriptions is that every single of one of them sounds like it should end with "roll initiative"
"One breath and you are at the hive’s threshold, where smoke, wax, and honey conspire into alchemy. A fragrance of sun-baked wood and warm beeswax, buttery, gold, and dense with the ghost of a hundred flowers. The bees’ own musk rises in the air, intimate and unmistakably alive. Honey follows in a deep glow that transcends simple sweetness. Soft puffs of smoke curl in, dry and calming, turning the air velvety and strange. Roll initiative."