#hot take but it's about function #asian soups tend to be more liquid and so don't retain heat as well #so having more at once is good for it #western soups tend to be thick and creamy #so they retain heat very well #and thus a flatter spoon allows each mouthful to cool at a similar rate (@khancrackers)

@certifiedsoupposts

The Ballynolan Thistle brooch, a silver brooch discovered near Pallaskenry, County Limerick, Ireland, circa 1000 AD

Dyal Thak, Kin Coedel

Horse figuring carved from mammoth ivory, discovered in a cave in Germany, aprox. 32,000 - 35,000 years old

My cartoon for the latest issue of New Scientist.

Our world.

Also this is not true. You do in fact have the copyright to the specific writing you did in a fic, because that's not how copyright law works. Like this is not a grey area.

People who write IP content for corporations give up their copyright on a contractual basis--the company wants writing they can sell about characters/settings they own without getting entangled in royalty obligations etc, so they hire people. Who sign contracts saying they don't own what they write as part of that job.

That's why you don't own Star Wars stuff you wrote for Disney; you specifically agreed not to own it.

Writing for IP you don't own leaves you in a position where you can't legally monetize it (without taking out the Owned parts ad rebranding), but it absolutely does not automatically cede or void copyright. That is super not a thing.

SUPER not a thing, I cannot say this enough.

I can't sell my Batman fic, but neither can DC Comics without my duly authorized consent. Because they own Batman, but not the prose I composed about him.

Do not perform that kind of massive corporate overreach for them. Holy shit. Do they not own enough.

It’s fascinating that this misconception of copyright still exists. Haven’t we all seen the posts on here where authors beg fans to please not send them fanfic of their works? They’re not doing that because they feel like it, they do that because fans legally own their words and ideas, and an author who takes them even unintentionally can in fact end up in real legal trouble for taking something that’s not theirs. It doesn’t matter whether they own the canon.

This.

Copyright is the most basic of protections for all writers. If there’s anything professional/career writers want spread around, it’s the knowledge that all writers have the same protections that copyright confers on us.

Astonishing indeed that anon would attempt to upbraid somebody on copyright issues when, themselves, they understand them so poorly.

Anon is presumably in the same general category as the dudebros who think it's wrong for visual artists to 'contaminate the data' by using tools that interfere with ai harvesting their work.

Specifically, to “swash a buckler” referred to the act of pounding a buckler (small shield) against one’s own chest as a sort of macho display.

Continue Reading

this is so cool

Absolutely love it

Now, pardon me, but before I get to the meat of this post, the LGBTQ+ stuff, which is what I know we're all looking for 😁 I gotta do a little rant first

😌🙏😙💨

While I deeply appreciate the efforts of several groups over the last couple of years to translate English-language terminology and understanding of gender and sexuality, and the digression and non-conformity belonging thereto, I believe that, ultimately, it's a placeholding wedge-in that contributes to the wider problem of Anglicisation, or more accurately "Béarlachas", as it affects the Irish Gaelic language.

(Yes, I do be calling the language Gaelic - No, I am not American. I have a reason for doing so which I'll elaborate on in another post*.)

Now, Béarlachas is *not* borrowing and loaning words from English and using them seamlessly in Irish - a thiarcais, Irish speakers have been under the yoke of that language for over nine-hundred years, stating that we cannot adopt and adapt its words to our language is tone policing and language oppression of minority language speakers at it finest 🤌.

No, "Béarlachas" is the enforcement of the English-language thought process onto Irish. It comes from a place where thinking that English is more advanced, and has developed ways of understanding, and assuming that no other language, or in this case, Irish, has not caught up, or needs to rely on English.

You can see how this is a problem, right?

Queer people have always been everywhere. People distorting gender and sexuality norms have always been around. I remember growing up and an elderly family member from deep deep rural Ireland saying "Them townies always be looking down and calling peeple transvestites - sure out here that's only Amateur Dramatics!"

One of my parents has a story of knowing an "Auntie Bob" in their local town, someone who lived on the edge of the village, but not shunned by any modern transphobia standards.

There are so many queer stories lying under the surface - so plentiful that I'd encourage anyone to talk to older family members, or elderly people in your community. Now obviously, they won't have our modern terms like "queer" and "transgender" for them, but the stories, the people, are there 🎊.

- rant ends -

Anois! What we've all been waiting for:

LGBTQ+ slang, slurs, terms and explanations in the Irish language 🏳️‍🌈🥳

Starting off, what does the Irish language call "gender" and "sexuality"??

Sex (the act) is usually referred to by learners, second-language speakers and official dictionaries as "gnéas" - but a lot of vernacular speakers refer to it as:

The word comes from the word collaí, meaning "carnal / sexual", which itself comes from the word colla, which in turn is a variant plural form of the word colainn, meaning "body". So a way of understanding collaíocht, would be thinking of it as meaning "body-ing", which ultimately, I think, is a cuter, more accurate and reflective way of referring to the act than Sex.

This is the word most dictionaries have down to describe the act, but let's have a fresh look at the word. Just as teas (heat) comes from the word te (hot), the word gnéas comes from the word gné. The following is the entry from the Ó Dónaill (1977) 'Irish-English Dictionary' for 'gné':

Form, appearance... further down the entry, we also have the word "aspect", as in "every aspect of the matter"... I wonder... sounds an awful lot like gender here to me - and at the time of Ó Dónaill, Ua Maoileoin and de Bhaldraithe composing their dictionaries, 'sex' and 'gender' would have been interchangeable terms.

While I have yet to look into this further, I have to wonder whether ascribing "gnéas" to the act of sex, rather than sex as in "gender" is a case of Béarlachas: applying English-language understandings to Irish-language words.

Which brings me around to:

The word that I suspect of being a definite case of applying an English-language understanding to an Irish-language word. Inscne comes from Sean-Ghaeilge "insce", meaning a saying, a statement or word, and was applied to the sense of grammatical gender, or 'noun class'. Modern groups and most second language speakers apply the word to the English understanding of gender (most vernacular speakers I know simply borrow "gender" from English). Again, my own opinion and proposition, would be to use gnéas for gender, collaíocht for the act of sex, and cineál for sex (body type).

Furthermore, Scottish Gaelic 🏴󠁧󠁢󠁳󠁣󠁴󠁿 also uses 'gnè' for gender, and 'tar-ghnèitheach' for transgender. The word for sex as in body type is 'seòrsa' - which is equivalent to the Irish cineál, which also has been used to describe body types. I think this understanding of the word cineál would be great to separate the traditional understanding of gender = body, and help us in any case to destigmatise bodies 🤷.

*The above have been kinda the groundwork. Here come the slang and slurs™️ proper*

This is the one most people who've done a little digging will've come across. The explanation that usually comes with it is 'effeminate man, sissy' or 'fairy (derogatory)' - but let's break down this word more, and discover the misogyny, reductiveness, wlw-erasure and why it to really only refers to mlm and transfeminine members of the LGBTQ+ community:

Pit is the Irish for 'vulva'. -óg or -eog is a suffix that kind of implies "like" - e.g. a camóg is something that's kinda cam (bent), i.e. a hurley. Piteog literally means "something like a vulva" 🤷.

No, not the Whiteboys of 1800s agrarian agitation in Ireland 🤣, but again another term for men-loving men. I think it's kinda poetic that the rainbow 🌈, the modern global symbol of LGBTQ+ people, is made up white light through a prism, and that the colour white was used to describe a sector of LGBTQ+ people in Ireland fadó.

*The only reason I'm saying this is an mlm term is because I've never come across it being used to describe wlw or other queer identities - but perhaps it could be used in a broader context?? Idk.

Literally translates as "bent". Lúb as a verb means "1. to loop, 2. to enmesh /to net, 3. to bend". Those in/from the Gaeltacht that I've spoken to of an older generation use it casually, with no obvious negative intent behind it, tho I've come across several middle-aged people who are scandalised if you say it (to the same extent as saying someone's 'bent' in English) but I dunno if that is from intergenerational difference is use (whether it became a slur in the last half-century or so) or if it comes from Gen X aversion to calling people 'bent' in English, and them correlating it to Lúbthaí in Irish.

Cam is a slur. While yes, it simply means 'bent', it carries the connotations of "crooked, sly, conniving" and in its usage, it is almost always unmistakeably intended as an insult.

I just want to put this on the list to discuss it. "Aiteach" is a modern construction. If you look up 'queer' in the dictionary, one of the entries you'll get is "ait", meaning 'pleasant, likeable, comical, fine, queer'. Ait is still used in everyday language (we all know the phrase "Is ait an mac an saol"), and was never used to describe LGBTQ+ people, but because of its positive connotations and appearance under "queer" in the dictionary, -each was added onto the end to describe LGBTQ+ people without having to use the abovementioned slurs. Yes, it is borderline Béarlachas, but most young Gaeil (Gaeltacht natives / vernacular speakers) I know don't have a problem with it 😁.

I've noticed the conspicuous gap of wlw specific terminology in this list. What can I say, 100 years of Catholic nationalist censorship on top of a patriarchal organisation of society makes them hard to come by. However, while I've never heard this word used, I've been seeing Gearrán more and more in online spaces lately.

(No, it's not related to gearán (complaint), and the two r's change the vowel sound of the 'ea')

It translates to a gelding, or a pack-horse, and according to Ó Dónaill (1977), can also mean a "Strong-boned woman; drudge, jade", and if that isn't a euphemism for a butch lesbian, idk what is.

Alright, that is an infodump and a half!

And there's still so much I could say... Lads, let's just say there's loads more to come 🤣

Slán tamaill 👋

Please read this before you send me ideas or links to fanfic of any of my stuff. Please.

Got an idea for an author's original universe? Write a fanfic. Share it with your friends. Share it with the whole wide Internet.

For the sake of all decency and little puppies besides, do not share it with the author.

This sort of thing is one reason why a lot of authors used to be so bitterly opposed to fanfic.

PS: Every writer I've the slightest acquaintance with has got more ideas than they know what to do with. Even if your shiny new idea is for somebody else's fanfic, you're better off writing it up yourself* than pushing it on somebody who hasn't asked for it and might well not particularly want it.**

*And perhaps you're saying "What, me? I'm not a writer!" But if you've got an idea, you're on the slippery slope to being a writer in any case. Why not give it a lash? What harm would it do you? **I know you don't mean it that way, well-meaning stranger with an idea, but that's what it often feels like when a reader starts telling you what they think should happen in your WIP. Or, worse yet, saying you should write some completely different story.*** ***Just to be clear, saying you'd like to hear more about something that's already in the story you're commenting on (the likes of "I'd love to read how character x and character y got together" or "Any chance you might write about [character]'s ancestors and how they founded the kingdom?" or "The Martial Magics Mistress is awesome, and I'm desperately curious about her backstory, if you'd care to tell us sometime.") is just grand. I'm talking about comments like: "Needs more sex" (especially when the characters are twelve-year-olds who just had their first kiss); "Harry should be a billionaire with a personal staff of hot Finnish ninja girls who invite Hermione to join them in the sauna"; "Make this a Game of Thrones crossover"; "I think you should write my challenge instead of this S#!7."

breá liom an pictiúr seo

Clay figurine of a hedgehog drinking from a bowl, Greece, 2800-2300 BC

from The National Archeological Museum, Athens

I GOT A FUCKING RAISE THE POTATO WORKED WTF

This potato works. Every. Fucking. Time.

Reblogging because it’s a damn potato and I want to encourage people to assume potatoes are magical.

I need something to be happy about. So, potato of luck, work your magic.

Might as well give it a try.

Ar aon nós, is práta é.

Rinne mé gig le banna triúir fadó agus chuir duine práta sa tip jar s'againne. Deamhan a fhios agam an raibh meon aige síneadh láimhe a thabhairt dúinn agus práta ina phóca aige d'ainneoin é a bheith gan airgead nó an raibh masla eitneach i gceist aige. Years back, there was one time I played a gig with a three-piece band and somebody put a potato in our tip jar. I've no idea if he wanted to leave a tip and had no money but only a potato in his pocket or if it was an ethnic slur.

Speak Your Language Day

BRINGING BACK THE DAY OF LANGUAGES!!!

This year's 7th of May 2023 we use our own language again!

A few basic rules (this is very much copied from the original UYLD creators):

Writing Tips from an Editor (Who Also Writes)

People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?

When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended). 

FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft. 

Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.” 

Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?

It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed. 

The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.

Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.

Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”

That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.

Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them. 

(But said is not dead, okay? SAID IS VERY, VERY ALIVE.)

I love this. Especially the last line !!!!