clever phrasing

Sherlock on Charles Augustus Magnussen: I’ve dealt with murderers, psychopaths, terrorists, serial killers. None of them can turn my stomach like Charles Augustus Magnussen. He’s like a shark – it’s the only way I can describe him. I hate him because he attacks people who are different and preys on their secrets. He is the Napoleon of blackmail and quite simply the most dangerous man I’ve ever encountered. 

Sherlock on Culverton Smith: I take it back - he is the most dangerous, the most despicable human being that I have ever encountered and this monster must be ended. That creature, that rotting thing, is a living breathing coagulation of human evil, and if the only thing I ever do in this world is drive him out of it, then my life will not have been wasted.

Sherlock on Jim Moriarty: He isn’t a man at all – he’s a spider at the center of a criminal web with a magnificent brain that I admire. He’s never disappointing and always delightfully interesting, smart, and elegant as one should come to expect from someone who has given new meaning to the phrase “clever as the Devil”. He’s insane, he’s brilliant, he’s me. Also, he’s a shortarse. I miss him.

Great Minds Think Alike (Riverdale - Jughead x OC) Part 2

Pairing : Jughead x OC

Synopsis : A new girl arrives in town around the time of Jason Blossom’s accident. That alone makes her suspicious and unlikeable to most people. Jughead has every reason to investigate on her, the timing is too perfect, right? And it has nothing to do with the young girl’s odd yet charming way of always seeming to find her way back to him, no matter the situation.  

Word Count : 2.3k


Part 1 <<< >>> Part 3

When Jughead saw her walking through the door at Pop’s the next day he was torn between two opposite feelings: utter annoyance at being once again disturbed in his writing, and eagerness to share another conversation with this girl whose ability to use sarcasm as a means of communication matched his. It was a surprise to have her walked straight to his booth and sit down like they were old friends and not merely acquaintances who met the day before.

The truth was, he kind of hoped this would happen – it was a lonely life that of writer and High School outcast. Jughead wasn’t going to deny himself a little company a few hours a day if he could, especially since his best friend bailed on him the day they planned their road trip and hasn’t really spoken to him much since then. Can you feel the bitterness?

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chaoswolf1982  asked:

Belief has power, in the realms of magic. And when it is the foundations of your reality, truth is the utmost of importance. Thus, while the Fair Folk can deceive with clever phrasing or incomplete information, they cannot outright lie, or it will risk literally unmaking them if big enough, and even a "little white lie" can bring pain and discomfort. This is part of why humans fascinate Them - we lie constantly, casually and subconsciously, and none of it harms us at all the way it would Them.


For some reason “Limb-Ripper is back. He’s back for some limbs” has been popping into my head and cracking me up all damn day.  Like most of these mailing list emails have some sort of clever little phrase or excessive emojis in the subject line as a little eye-catch or whatever, but whoever runs the Spirit Halloween mailing list is just like, “Limb ripper.  He rips limbs.  Perfect.  Aaaaaaaaaand SEND.”  And honestly??? Fucking mood.

ShadowClan: Common Behavior


ShadowClan highly praises devotion of any kind - devotion to a task, one’s family, their faith, or even to just one particular cat. Dedication is a welcome trait in the territories, but in the marshes, a cat’s worth is judged on their focus and drive. It is said that ShadowClan is more tightly bonded than the rest of the Clans due to valuing loyalty to the degree that they do. 

Alongside that, this Clan is notorious for their devout religiousness. A barren territory and history of hardships have turned them to constantly speak of the gods above, and pray to StarClan and the Three in search of even a sliver of hope. ShadowClan is used to its suffering, but that doesn’t mean it will let its members fall to despair just because they haven’t eaten in three days.  

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anonymous asked:

What do you think of Taylor's new song and her album so far??

ALRIGHT if we’re going to do this let’s do this

Originally posted by key-change

And let me preface this with… I love Taylor’s music. I love Fearless, Speak Now, Red, 1989. I went to the Red and 1989 concerts. I watched the Speak Now concert on youtube multiple times and cried every time. I have purchased merch. I have titled my fics after her song lyrics.


This ask is from August 23rd. Apparently I am a seer. 

My opinion hasn’t really changed much from this, which sucks, and it looks like i was right when I was saying that the music would have a more pop/current radio feel. I also think I was right when I felt that she might shift her lyricism in this effort to try something new. 

So let’s go a bit more in depth into this. 


So far, the music is incredibly unimpressive and unoriginal. It feels like the vibe you get from this person who has been waiting to sit at the table with everybody and play with them. Now she’s given herself the opportunity, and we’re left thinking… wait a hot second. You were way more interesting when you weren’t changing yourself to sit with the cool kids. 

The music is exactly like everything else you hear on the radio, to the point where it’s disappointing. Like, would I love Ready For It if somebody else sang it? Sure I would. (I bet Fifth Harmony would do a mean job with it, actually). Do I love it with Taylor Swift as a singer? No. Not really. The thing is, Taylor is Taylor and everybody else is everybody else and that’s why I have always appreciated her. She makes her own music and makes music her own.

LWYMMD’s chorus falls flatter than my hair after I haven’t washed it in three days, and because of the monotony of the rest of the song, it needs a strong chorus or at LEAST a strong hook (all the hooks on 1989 were lit, whew, wig), but it provides neither. It doesn’t build the way a song should– actually, all four of the songs have this problem. The best part of the song is “The world moves on another day another drama, drama/but not for me, not for me, all I think about is karma/And then the world moves on but one thing’s for sure/maybe I got mine but you’ll all get yours” and the way that merges into the chorus. I like the build there. The song doesn’t build ANYWHERE ELSE. It’s like… FREEEE MEEEE. 

Ready For It has the best chorus so far, I think. It got stuck in my head immediately after I heard it for the first time. I like the bridge to the chorus, I like the way it builds and then drops off. The production of the chorus (the instrumentation in the background and the rhythm) sounds very similar to Shape of You, and I noticed that during the verses she was utilizing Ed Sheeran’s style in respect to syllable arrangement. It feels like an homage to him. This, for the record, is not a concession that Taylor Swift should be “rapping.” Taylor Swift should not be rapping or “rapping.” 

Gorgeous sounds… so similar to the other two songs? It’s like the same song as Ready For It but with a chorus that I would love if the lyrics were better. I’ll rant about the lyrics later. I think I like the tune of Gorgeous, but I wish the lyrics weren’t about this. I know she’s trying to paint herself as a regular girl who goes to clubs and has hangovers and gets crushes, but also… the lyrics might be better if they fit into a different tune? (Or, you know, if they were less… accusatory). I think I would really love Gorgeous if the instrumentations on the verses were a bit more in the major key and the subject-matter was more like Stay, Stay, Stay or Ours. I can hear that song in my head and I personally think it’s cute.

The biggest bone that I have to pick with all these songs is that they’re way over produced, and you can figure out why when you listen to Gorgeous. Frankly, it sounds a lot like Can’t Keep My Hands to Myself. They utilize the same pop-music tactics, it’s really similar and has this uniform type.. formula, I suppose? Which is all fine and wonderful, but we are in a time period where women are putting out revolutionary music that is pop yet is their sound. I don’t feel like this is Taylor’s sound. I feel like this is what Taylor likes listening to and what Taylor thinks everyone else likes listening to. 

Obviously my favorite one is Call It What You Want To. It feels the most 1989 musically, almost like it was written during that era and then thrown on this album instead because musically it was too similar to You Are In Love. It’s also just the most pleasant to listen to, imo. This song feels familiar, and it has that intimacy that I have always adored out of Taylor’s music. I actually wish it wasn’t her speaking to the audience about how she was okay, and instead her speaking to her boyfriend. But that’s more lyrics, so let’s get into it. 


I think one of the first things I said about LWYMMD was that it sounded like an echo of Taylor Swift. You can hear her style in the writing of these lyrics. But the problem here, and throughout the album, is that she is trying to use another person’s style too. And it’s just not working. 

The lyrics on this album are a weird effort to change-up her writing, and when you pair that with the musical change too, it is not going well. First of all, we know that Taylor Swift really cares about her reputation. The album is called “Reputation.” Every song feels like she’s writing it for an audience except for Gorgeous, which I actually respected about that song until she goes “I guess I should stumble on home to my cats.” And then I was like… right. You’re portraying an image to an audience. This is reputation. 

It’s like she’s trying to group together Lorde’s style with Halsey’s with Hemingway’s with Taylor Swift’s style. But there’s a problem with that. It’s blunt and minimalist, but not cleverly so. There isn’t much elegance to these lyrics, they’re dry to the point that it’s like reading off a grocery list, and the monotony of the tunes doesn’t help. It’s not inspired, it’s just… if these lyrics were boobs, they would be Keira Knightley’s boobs in the first PotC movie when they had to spray paint cleavage onto them. WHERE’S THE SPRAY PAINT? (Disclaimer: Don’t spray paint the flat boobs of seventeen-year-old girls. Do make your music interesting.) 

This is the person who wrote “Call me up again just to break me like a promise/So casually cruel in the name of being honest” and now I’m listening to her sing “You make me so happy it turns back to sad/there’s nothing I hate more than what I can’t have/you are so gorgeous it makes me so mad.” ….are you…? what.

What I’ve always loved about Taylor is the warmth of her descriptive language and how clever her language can be. For example, I found “he can be my jailer/Burton to this taylor” to be incredibly smart. “You asked me for a place to sleep/ locked me out, and threw a feast” is a fantastic line. “My baby’s walking with his head down/I’m the one he’s walking to” is a great line that plays with the expectation of the rule of three, because we think she’s about to go into another description of him but instead she subverts our expectation and uses that description to spin off into something different. It’s especially notable because in the next couplet, she doesn’t do that.

If you want to find the Old!Taylor, she’s pretty visible in Call It What You Want To. She ain’t dead. She’s just experimenting. 

Speaking of experimenting… we get it. You have sex. Stop moaning on your tracks and talking about sex in an obvious-but-not-obvious way because you’re still Taylor Swift. I like the old obvious-but-not-obvious ways. I know you can do better.

Overall I think the biggest problem is that the metaphors and imagery are both super, super stale. Perhaps it’s because she isn’t reading enough so she’s drawing from the same pot she always has? Perhaps it’s because, yeah, she’s mimicking other writers. But if she’s going to mimic the writing style of other writers as a way to experiment, I don’t know if she’s going after the right ones– or maybe she’s just not taking the right things from them. I see what she’s doing, but it feels so uninspired. Her writing seems tired, to be honest.  

This album took a long time to come out and yet I find myself wishing she had spent more time on it. For example, “all the liars are calling me one” is an effort to be clever with wordplay in a super Halsey-manner, but it doesn’t work… it comes off lazy because it doesn’t stand alone as a sentence. You couldn’t put “all the liars are calling me one” after a semi-colon because it doesn’t feel like a complete thought. It’s not that clever turn of phrase that we’ve come to expect from the writer of “we’re a crooked love in a straight line down” or “so you were never a saint, and I loved in shades of wrong.” Those are excellent lyrics that actually make you pause and think. So far, zero-percent of these lyrics have done that for me. 

Plus, the consistent metaphor throughout this album so far is the kings and the queens and the kingdoms and it’s all been done by her before. “Baby I could build a castle out of all the bricks they threw at me” “I don’t like your kingdom keys/they once belonged to me,” and then all the stuff about “all the drama queens take their swings/all the jokers dressed as kings” once again feels super derivative to New Romantics, like a cheap-ass version of “It’s poker, he can’t see it in my face/but I’m about to play my Ace.”


I hate them. 

Like, Taylor’s videos used to be so cute and then freaking Joseph Kahn came along and now I don’t enjoy any of them. The You Belong With Me Video is iconic. The Mine video is iconic. Love Story? Deeply iconic. We Are Never Getting Back Together? Annoying song to many. Yet iconic video. Shake It Off? One of the few videos not directed by Kahn in the 1989 era. Totally awesome. I’ll give Kahn Blank Space, it’s epic, but what’s happening now is just… unpleasant. 

LWYMMD is like… So Much. I can’t talk about this one. But it’s A Lot. 

The Ready For It video doesn’t have anything to do with the song. If I was really going to stretch so fucking far that I’m basically Elastagirl, I would say that dark!taylor is using bits of light!taylor (the chorus, the truth) to paint the picture of dark!taylor to the public, so the verses are a character, and the chorus is the truth, and everything that happens after she breaks out of the cage and is real!taylor. 

But like… hi? Why does it have to be about PR? This song literally is not about PR, LWYMMD is about PR, Ready For It isn’t, why am I watching Taylor prove to the haters again that she is not who they think she is while she bursts through a giant class case with the power of her voice? WHERE’S THE BOY THAT YOU’RE RUNNING OFF TO AN ISLAND WITH, TAYLOR. WHERE IS HE. 

I feel like they were torn between these two ideas for the LWYMMD video and then they picked the other one but were like “I KNOW! WE CAN DO IT FOR READY FOR IT!” and everybody else in the room was like “yes, brilliant,hard decisions made EASY!” 

Ultimately these videos make me think that Taylor is more “persona” than “person.”  These videos aren’t about her. They’re about us watching her. She’s not a storyteller, she’s a brand. And, worst of all, she’s not playing with her emotions or my emotions, which is the reason music is such an important, universal experience. She’s just like look, this is me, you can’t touch me, you hurt me but I STILL WIN and I’m over here like “yes hello I am in emotional pain as I continue to go through life please write a song that I can connect to.”

Also the lyric video for Call It What You Want To has a misplaced comma.


I know y’all are going to say that she is growing up and changing and maturing, but this doesn’t feel like that to me. This feels like she is trying very hard. There’s experimenting, and trying new things, and branching out. And then there’s… this. Which is creating an album that is difficult to enjoy on first listen when the performer, as an artist, already knew who she was and how she excels. It’s like when I’m writing something and I try to put the characters in a situation I’m not good at writing– a mystery or a horror story or something. It’s challenging, and fun, and I’m proud of myself for putting myself through the work. But then I go back to what I lovelovelove writing, which is usually the characters having friends-with-benefits sex while mutually pining for each other. I take what I’ve learned from my not-my-best-work writing and I apply it to what I love, what is strong in my wheelhouse. 

As far as I can see, that’s not what’s happening here. This is not strong, award winning music thus far. And, you know, there’s eleven songs on the album that we haven’t heard yet, plus probably bonus tracks on the target edition that aren’t on itunes, I would assume, so there’s possibly tons of content that we don’t have and therefore can’t See this album. But casual consumers don’t listen to the whole album– they listen to the radio. And the singles do not stand strongly on their own. That’s a problem.

The thing that’s missing that all of us are noticing? It’s this: The songs we have heard so far don’t have much heart or soul, musically. She says that “all my flowers grew back as thorns” and she’s right. There isn’t bloom behind this music. It doesn’t make me feel any emotion for her or her character. It doesn’t make me feel much of anything.

Oh, except disappointed because I know for a fact that this talented woman can do herself better.

Petition to make it “We are the ancestors of the witches you could not burn” bc 1. Gender inclusive and 2. I’m p sure it would be my great great great great grandma if we’re talking the Salem Trials. (Which were widely used to kill outcasts and other people who didn’t actually use Magick/magic but were looked down upon in society)

Anybody in favor say aye

Day 1: Austistic Humor


Humor is important to me, the same way it is to most people. But the thing I hear most, concerning humor and myself, is that I don’t have a sense of humor.

I’m told, quite often, “that was a joke” and “geeze, you have no sense of humor.” Usually the latter follows the former, cause and effect. Someone will say something, I’ll take it literally, and then I’ll be cut off from my response with a, “god, it was a joke.”

I get jokes. I do. But I don’t get tone or social queues. I can understand facial expressions, but only if they’re genuine and generally exaggerated. Subtleties are difficult.

But clever turns of phrase? Returning themes and subversions? Puns? I love those. I love visual humor and physical humor and animals being silly.

Do you see the difference? There’s structure to what I find funny, specific rules for what makes it funny. It can be nuanced but it’s a sort of outlined nuance. A pun is funny for a reason. A remark tossed out abstractly? It’s only funny if you read it that way. If you don’t, then it’s awkward for everyone.

If you don’t think a pun is funny, that’s kind of humorous in itself. You know when to laugh at jokes with punchlines.

I love humor. I love laughing and find a lot of things funny. I just don’t get NT humor.

Starting from the very beginning: a lot of profs like to give you some space to decide on your own topic. That’s great! But what if all you’re drawing is a massive fucking blank? Try these:

  • Try putting together two subjects and find the intersection of them. Basically play matching games with different subjects until you find an interesting thing that has to do with both. Mix and match war history, political history, intellectual history, history of technology, gender history, history of religion, and any others you think of until you find some gold.
  • Always keep in mind what the sources allow. Given literacy rates, destruction of sources over time, and what people bothered to write down or didn’t, what can you squeeze from the primary sources of your era? On the flip side, maybe there’s a really cool primary source – book, letter, law, piece of art, whatever – that you’d love to base an essay off of.

Before you even sit your ass in the chair to start writing anything, you’ll already have spent five hours (approximately) working on the project. This is research time, and it (more than any clever turn of phrase or use of the thesaurus or midnight write-a-thon) is what’s gonna make your essay work.

  • Go to the library. Yes, the physical library with bits of pressed-up tree. In disciplines like history especially, you can’t rely solely on e-book and e-journal evidence. You gotta get in there and smell the lovely old paper. Libraries also have lots of resources to help you, including subject librarians who know their stuff and can help you figure out where to go for research.
  • Research should go from the general to the specific. If you have a wide topic, read some basic grounding stuff then delve into the specificity of what’s gonna be in your essay.
  • Be fucking critical about it. Everyone’s afraid of fake news now, but there’s also fake old news. Did the writer lack certain information? What are they trying to persuade you of? Who are they? When was the book written and what was the historiography of the topic like at that time? Are the writer’s sources good? His credentials? Was this source written as propaganda?
  • Primary. Sources. Get stuff from the actual time period and remember to read and analyse carefully. What can you squeeze from it? What meanings did it have in the context of its time, and not ours?

First Paragraph: an introduction. This must include a general summary of what you’re talking about. Think of the 5 Ws (especially, what topic? When/what period?). But mostly, this paragraph must abso-fucking-lutely include a thesis statement: a single sentence which sums up the argument which the essay supports. Think of it as the TL;DR of the essay.

Middle Paragraphs: sources, arguments and analysis. Remember that the whole of the essay must come back to that TL;DR (thesis). Each of these paragraphs must be relatively self-contained; it may build off of others but it is its own paragraph because it is a separate idea.

  • Get creative as to the order of these paragraphs. Proceed logically by chronology, subjects that flow into each other, by geographical grouping… whatever makes sense for your topic and keeps your arguments well-organized.
  • How long is a paragraph? Well, how long is a rope? As long as it needs to be. Take as much time as you need but don’t repeat yourself.

Conclusion: the conclusion is also a TL;DR, in a way. It’ll restate the thesis and add any last thoughts that you really fucking want your reader to remember.

The most common complaints that profs will give include the following. You’ll thank me for this later.

  • I’ve seen so many students from other disciplines get fucked over in history courses because they forget to talk about change over time or to mention what’s particular to the time period instead of talking in a broad way. For example, if you’re writing about the status of women in Upper Canada, don’t mix examples from 1850 and 1950; choose a manageable time spread and go with it. Change over time is the essence of history.
  • Lack of a thesis. Remember how I said that the thesis is what the essay is all supposed to support? Just to restate, the thesis is literally the whole fucking point. Make sure that yours isn’t trivial (aka already really obvious) or vague. Also make sure to know the difference between a topic and a thesis: a topic is the general subject the essay is about, and the thesis is a very specific argument the essay makes.
    • For example, a topic statement could be: “the essay will discuss the Puritan view on sexuality”. A thesis statement could be: “Although Puritan has been used as a byword for prudishness and repression, the positive Puritan view of sexuality within marriage and the erotic language used to discuss the Church’s relationship with God demonstrate a nuanced social role for sexuality within the Puritan community, in which proper sexual behaviour was defined by a theology of marriage.” One of these things lets you know that Puritans sometimes fucked and had thoughts about it; the other makes a novel(-ish) argument about the Puritan view on sexuality. See the difference?
  • Avoid present-ism. We have a lot of assumptions about how the world is and should be based on when we live, just as much as where we live or who we are. History is not some sort of march towards the glorious present or future and shouldn’t be treated that way.
  • Using long words or repeating yourself in order to impress/pad the length/whatever the fuck you think you’re doing is very transparent. Don’t bother.
When Does Copywriting Happen in the Design Process?

When does copywriting happen in your team’s process? Some people say you should design with real content. They’re not wrong. But real copy in your wireframes will lead to unproductive conversations. So… when should you add your real copy to the process?

There are lots of advocates for designing with real content. “Content-first” design, they call it. Those people preach the idea of using real content in your wireframes and prototypes, rather than “lorem ipsum” text.

That’s a smart suggestion (you thought I was going to disagree, didn’t you?). Although sometimes it is easier said than done.

And “content-first” people know it is easier said than done. That’s why they preach it: it’s easier to ignore the content, but it’s dangerous. Sometimes the best way to do things isn’t the easiest way.

However, if you just say “design with real content” we have over-simplified the whole process, we have made copywriting the most important step, and we are going to delay everything else in production so we can create all of our content first, without knowing what design the content will fit into.

That doesn’t seem right either.

So… when is the best time to include copywriting? 

Well, that depends on what type of copy we’re talking about…


There are two types of copywriting: brand and UX.

It’s an important difference.

As a UX designer, you want to be as direct, as simple, and as clear as possible. No poetry, no clever phrasing, or expressions that a non-native speaker might not understand. Unlike a poet or an author, every word is expensive for a UX designer. 

Our goal is to get the user to click, or understand what they have to do, so they can get to the next page or complete their task, or whatever.

That doesn’t mean that clever, funny, poetic, beautiful, emotional brand copy doesn’t affect the user’s experience — that’s not the point at all — but UX copy (text that a UX designer should write) is not that copy.

The difference between brand copy and UX copy matters to us because those types of copy need to happen at different times in the design process.


Design for real life, not ideal life. 

Let’s get back to this idea of “content-first” design. It’s a good idea, and a good habit for you to get into, but it’s not because copywriting is the most important part of your UX process. 

“Content-first” design actually has nothing to do with copywriting!

Brand copy, for example, can actually happen really late in the process, from a UX designer’s perspective. You can make 100% of your wireframes without having any idea what the exact phrasing is going to be, or what the details of the creative concept will be, or which photos will be used.

Side note: this is where UI designers can really shine. A relatively simple wireframe can become a magical experience in the hands of a talented UI designer, without changing anything fundamental, UX-wise.

As UX designers, our job is to create spaces or containers or opportunities  or structure for content. Not necessarily the content itself. If your design breaks when the content changes, it’s probably a bad design.

Ironically, that is EXACTLY why you should start your design process with content!

Hold the phone… what?!

Yes! You should get a few realistic examples of content and use them in your wireframing and ideation process, because if you don’t, things can get complicated. But it doesn’t matter what that content actually says.


Make your process inconvenient to make your designs better.

Most designers (and I am especially looking at UI designers now…) like to choose short button labels, and short headlines, and short user names, and perfectly symmetrical paragraphs, and articles that fit perfectly into one screen, and profile photos of beautiful faces looking straight at the camera, and they like to position those perfect headlines on perfect photos that have exact layout and color to be perfectly readable.

I have bad news: that doesn’t happen very often in real life. 

I have worse news: if your users get to create the content, it almost never happens in real life.

Even when your employees get to write and choose the copy and content themselves, it’s only a matter of time before you see your design with a button label like…

“Click here now to win your dream vacation to Mallorca!”

…and a three-line, poorly punctuated headline like…

“You’re not going to believe this list of 10 beautiful cafés—that only people from Philadelphia will appreciate—#4 blew our minds!”

…and a user name like Count Remington Von Oppenheimer-McGillicuddy…

…and an article written like the one you’re reading now, with a lot of short lines, and a few longer paragraphs, and some random italics and user-created section dividers (wait, did I just insult myself?)…

Then the profile photo will be a dog’s whole body, aligned in the top left corner, which ruins your circular profile photo design, and it will be overlaid on top of a low-res vacation photo that Count Oppenheimer-McGillicuddy took in the dark, and the one bright part of the photo will be directly under your white headlines, making them unreadable.

And your design will look like absolute shit, because you made your own design process too convenient.

Yes. Count Oppenheimer-McGillicuddy’s terrible sense of design is your fault!

To be a good UX designer, you need to constantly ask yourself: “What is the worst thing that someone could do with this?”

And that is why you should design with some realistic content. So it looks realistic! A shitty photo should not have a major impact on your design, aside from the fact that you don’t like it. A long article should be business-as-usual. A dog’s ass in a profile photo should be just as nice as a human face. Ish.

If you don’t have any realistic content to work with, you can even write some terrible, but real, content yourself. As long as you can give it to someone and say “is this easy to read?” you’re fine. It doesn’t have to be the final copy, or the final creative photography, and you don’t really have to know much about the final content… you just have to know the requirements of real life.

And remember: as the UX designer you can create some of those boundaries, by telling the developers how many characters are allowed in the headline, or what the maximum width of a text column should be in your responsive design, or whatever.

Make your life inconvenient so the users’ lives will be convenient.


So… when does copy happen?

UX copywriting: should start early, but the purpose of starting early is to make sure that your wireframes and prototypes are designed for real life. Your main concern should be realistic copy and realistic content… not the final, exact wording.

Brand copy: final brand copy isn’t needed until very late in the process. Basically the end. Design your interfaces so they will gracefully accept any text, and then give your copywriters the freedom to do what they do best. That being said, it is often helpful to get a rough idea about what the UI designers, copywriters, photographers, and art directors have in mind. If your project is more of a one-time site, like an ad campaign, or a start-up one-pager, or a beautiful-yet-epic, fully-animated, parallax-heavy memorial site for your recently deceased hamster, “Sir Nicholas Cage” —the requirements might be more flexible (because the content won’t change).

And A/B test your copy! Nothing is easier to change, update, and test than text. Headlines can make a big difference in conversion, and you can start experimenting with that copy today. Especially if you have already launched your site!

One exception: you might not think that developers need to know about copywriting, but you might be wrong! Developers can be a wild card in the copy process. If there is any text that needs to be generated by the code (or the coders) like error messages or text that includes calculated numbers like “You have {number} new followers!” — the developers need the exact copy as early as possible.

Copy that is used programmatically (i.e. - it’s in the code) is not as easy to change as most other copy, and it’s annoying for developers to go through their code to make tiny little tweaks… so do them a favor: write down all of the text you need, for all of the situations that might happen, and provide the right text the first time, in a format they can use easily. They will appreciate it. :)

Now get out there and communicate!

We never came out with the words “I love you.” We danced around it with clever phrases like “I really love being with you” and “I love the way we don’t have to say ‘I love you’ and we still know how we feel about each other,” but once we realized we liked each other a whole bunch and that we didn’t have to be in an old-fashioned relationship where we saw each other every Saturday night, we fell into a very comfortable old-fashioned relationship where we saw each other every Saturday night and generally took care of each other.
—  j.n, no ties

Ashton and Luke - Gemini Mars

  • This guys can be great with words
  • But oh when they’re mad, they are just mad
  • Probably they’d be nervous
  • Cause they CAN’T lose a discussion
  • But they’re just panicking so hard
  • So they’d probably just scream non-sense things
  • They would probably calm down easy
  • Like 10 minutes after they’re saying sorry
  • Even if they aren’t really sorry
  • They would want to hang out with you again
  • Luke probably because of his Cancer signs
  • And Ashton because of his Gemini signs

Originally posted by 5sospicturesque

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She was forcing it with her scorn, the kiss she gave me, the hard curl of her lips, the mockery of her eyes, until I was like a man made of wood and there was no feeling within me except terror and a fear of her, a sense that her beauty was too much, that she was so much more beautiful than I, deeper rooted than I. She made me a stranger unto myself, she was all of those calm nights and tall eucalyptus trees, the desert stars, that land and sky, that fog outside, and I had come there with no purpose save to be a mere writer, to get money, to make a name for myself and all that piffle. She was so much finer than I, so much more honest, that I was sick of myself and I could not look at her warm eyes, I suppressed the shiver brought on by her brown arms around my neck and the long fingers in my hair. I did not kiss her. She kissed me, author of The Little Dog Laughed. Then she took my wrist with her two hands. She pressed her lips into the palm of my hand. She placed my hand upon her bosom between her breasts. She turned her lips towards my face and waited. And Arturo Bandini, the great author dipped deep into his colourful imagination, romantic Arturo Bandini, just chock-full of clever phrases, and he said, weakly, kittenishly, ‘Hello.
—  John Fante, Ask the Dust    

Gavin is often viewed as “that fool boy Ramsey keeps around,” a kid that has to be more of a liability than an asset, and yet he’s somehow a well protected member of Ramsey’s inner circle.

Just looking at him, people don’t know how this man got wrapped up with one of the most notorious crews, unless it was some poorly thought out act of rebellion. Gavin looks like he just stepped from one of the mansions in the city, with his styled hair and expensive, well kept clothing. And he doesn’t seem to have the right temperament to be in such a crew.

He’s the kid scared of his own shadow, the one that’s so incapable of protecting himself that the Vagabond tails him like a guard dog every time he leaves. He talks pretty, but other gangs he deals with hear the quiver in his voice, see the way his legs shake beneath him. When a fight breaks out, he’s never in the thick of things, and when he does shoot his gun, you’d have to be extremely unlucky for him to hit you.

Gavin seems to just be in it for the money. For the nice clothes and home and the expensive cars that Ramsey is more than willing to replace when they’re destroyed two days later. But that’s all Gavin ever wants people to see.

The crew are the only ones to see Gavins mask crack and crumble and disappear, or at least the only ones to live past the experience. Behind the bumbling, nervous mask is a young man who’s figured out how to get his way.

Who isn’t gonna want to deal with someone apparently so scared of conflict they’d agree to anything? Or how many people really keep their mouths shut around a fool who probably won’t remember the conversation soon anyway? A kid that’s more likely to kill himself with his own gun or a stunt gone wrong than retaliate against someone who wronged him?

They don’t expect the clever phrasing and suggestions and stories Gavin weaves to get the outcome he wants. They don’t know he files every new piece of information away for future use, or that he knows exactly how to change his act to appeal to a new victim. Gavin strings people along, baits them, makes them dance to his tune, all while making them think they’re in control.

And when that mask is fully removed, it’s not a carefree child out of his element, but a hardened man, a member of the Fake AH Crew. When that mask falls, and Gavin stands still and cold and stoney faced with his eyes flat and uncaring behind his golden sunglasses, you’re fucked. The boy who couldn’t hit the broad side of a barn will put a bullet between your eyes in a swift motion you never see coming.

Gavin is one of the most dangerous of the gang. Cunning and quick, he has everyone wrapped around his little finger. The rest of the crew are just the only ones that know it.

anonymous asked:

I saw a post the other day that said people seem to forget this: and then quoted "Zayn": "There’s no secret relationships going on with any of the band members" and I was thinking: People really seem to forget (or didn't really ever recognize) the ‘I won't mind’ lyrics. I know it's kind of an old topic but I think about this song so much! It's so beautiful and so telling and so obvious! But so many people don't see it. And I don't know it just baffles me so much... (1)

I mean he says he loves this person (“Don’t look around cause love is blind, and darling right now I can’t see you”) and that they are committed to each other (“we found the one thing we said we could never ever live without“) but it’s something hidden/secret (“we are who we are when no one’s watching“) and he’s “not allowed to talk about it”!!!… What or who else could this be about!? (2)

And the song had to be “leaked” with the words “Let the music do the talking” so Zayn definitely wanted to get the message out there… I think songs/lyrics are more truthful than interviews… and I think Zayns lyrics tell so much! I really really liked your analysis of the Mind of Mine lyrics! But I couldn’t find anything about I won’t mind… And I want to know what you think about that song and the lyrics? Or If you have made any posts about it could you please link me? Thank you:)) (3)

Hello!  The funny thing is that when I was done listening to Mind of Mine, my first thought was, “My favorite of Zayn’s solo music is still I Won’t Mind”.  The remix that Eminik made is really good, so I listen to that a lot on my mp3.

I’m not sure that it was leaked by Zayn exactly.  I think the Twitter fight between Naughty Boy and Louis was set up in order to draw attention to the drop and since that fed into the Zayn vs OT4 narrative and eventually the Zayn vs Naughty Boy fight, it was part of the official narrative.  

It was an official release framed as a leak.  They needed something to legitimize Zayn as a solo artist and put distance between him and One Direction in the public eye since his actual music wouldn’t be released for almost a year.

There are many ways for songs to be interpreted, but some are more direct and detailed than others.  The more details a song has, the harder it is to make multiple interpretations fit it.  I think “I Won’t Mind” is probably somewhere in the middle range.

I did a full interpretation below the cut XD

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Seventeen Scenario: Confession Circle (OT13)

A/N: For the anon who wanted jealous Seventeen! Not gonna lie, anon….I have no idea if you meant you wanted a single pairing to be jealous or if you wanted all thirteen to be jealous of each other hahaha but here it is! Thank you for requesting, I hope you like it! It’s kind of cheesy though….

- Admin Mochi ✨

Originally posted by wonnhao

In school, stress and competition are inevitable. At least that’s how it was at the private institution thirteen best friends attended. Their academic peers were all like that: fighting to get to the top even if they were all just teenagers still. They’d stab their own friend in the back if it meant being number one.

Usually, these thirteen boys were very good at avoiding the drama. The closest thing they’ve had to an argument was when Seungkwan ate Jihoon’s quesadilla but even that didn’t last for fifteen minutes. But lately, the tension in school was starting to leak into their inner circle and the result wasn’t pretty.

Jeonghan glared at Seungcheol as the elder lifted weights in their hangout room. What a show-off, he’s been lifting those for the past hour, Jeonghan thought bitterly to himself. The long-haired teen looked at his own lanky arms then scoffed in his head. Whatever.

Across the room, Jihoon was staring at Joshua play the guitar, feeling resentful. Everyone was always complimenting Joshua on the guitar but what about Jihoon? He was just as good as Joshua. This semester, Joshua had gone into the music production class. If Joshua learned how to produce, what would Jihoon be? And what if Joshua was better at it? He certainly had a ear for good American music.

No. That wouldn’t do. When Joshua asked if Jihoon wanted to do a collab, Jihoon had curtly replied, “Sorry, I’m busy.” But even Joshua felt the anger and only shrugged.

Sitting at the desk were Vernon and Wonwoo, surrounded by paper. Both of them were writing rap lyrics for their music period. What most people didn’t know was that even if Vernon’s lyrics were iconic, Wonwoo’s were more poetic. Usually, people liked the iconic factor, the thing that can make a crowd go “OOOOH!” from the cleverness of the phrase. But that must’ve not been what the teacher thought because Wonwoo had gotten an A for his lyrics while Vernon got a C.

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Smiling Gods, or, why Kevin's so cheerful

Headcanon of Kevin being perfectly functional & human in all regards, rather than monstrous and impossibly sadistic.

He’s just a bit… /adapted/ to his living conditions. So while he can intellectually realise that things are wrong and being covered in blood is wrong, he can’t actually bring himself to say anything that might be perceived as negative because negativity is the sort of thing that results in retraining.

So he has, carefully and thoroughly, eliminated almost every possible use of the word ‘no’ from his vocabulary, and almost all other negative terms.

He survives Desert Bluffs being marched on by the Advanced Readers from neighbouring Night Vale, but that doesn’t mean he can just drop back into being the Kevin he was a decade ago, before Strex and so much retraining and Employee Motivation.

When you ask him what the weather’s like, he’ll say “Gosh, we’re blessed with lots of sunshine today!” when he means he’s getting burned in it. Or “Nothing like a brisk breeze to wake you up!” when he’s so cold he can’t feel his extremities. If you ask him a question to which the answer is obviously 'no’, he’ll work his way around it until he can find a positive, upbeat spin. He’s not *able* to be negative any more, as a survival tactic.

He might be able to get clever about the phrasing, but not too clever. Never clever enough to arouse suspicion. Never treading the lines to where he thinks anyone, anyone at all, might pick up even a faint trace of sarcasm. Ask him about blood, and he’ll list every nice thing he can think of just to be on the safe side.

“It’s such a nice colour. And aren’t you glad not to be all dried out? Blood’s so good for the plants, too. All that iron and those other lovely nutrients! Why, it’s all just dandy!”