commonly confused

The Etiquette of Herb-Gathering

As a practicing Witch and small-scale herbalist, I often find that when I’m out and about I’m also absentmindedly on the lookout for any new, interesting or useful herb species that might help me in my practice. I even carry a small clean jam jar and a sharp penknife in my handbag at all times for if I spot a herb I just can’t resist and need to take a cutting of it for my collection back home. However, while I’m avidly seeking out roadside feverfew or happily snipping cuttings of a rare cultivar of lavender or sage, I’m always acutely aware of why I call the etiquette of herb-gathering.

These are a few simple rules by which I suggest all foraging Witches, alchemists and herbalists should abide that dictate the correct course of action for those who seek to collect herbs from places other than their own gardens. They are mostly fairly common-sense, but a few are ones that might be overlooked, but which can actually be of profound importance!

I will list the rules below, but bear in mind that it’s not like this is some onerous obligation that must be fulfilled, and nor is it some sort of “Witchcraft commandment” or infallible and unchanging list of sacred laws. These are a few things that I created for my own usage, and nobody else is under any obligation to use them. If you choose to do so, I’ll be thrilled; if you find a way to improve them, please do reblog this post with your corrections! 

The Etiquette of Herb-Gathering

  1. Remember that all plants are living things, and if you harvest them too severely, they will die. This seems obvious, but you’d be shocked how many people forget! This is especially important when what you’re harvesting is the plant’s leaves - always remember that leaves are how plants make their food, so leave enough of them to enable the plant to keep growing strongly.

  2. Never forget that you may not be the only one foraging. Make sure that, when you harvest a wild growth of a herb, there may be others in the area who would also like to harvest that plant. Take only a little from a lot of patches, rather than using only two or three patches, but taking almost all of what is available at each one. This will not only ensure that other foragers can use that patch too, but will mean that when the patch regrows, you’ll know where to go back to in order to find it again instead of needing to hunt down a new patch each time.

  3. When foraging on another’s land, ask their permission first! This seems so straightforward, but sadly people forget that plants growing in other people’s gardens (yes, even their front lawn) are that person’s private property! Taking cuttings or fruits from plants on that property without the owner’s permission is legally theft, and can be punished just like shoplifting or stealing a bike from a railing. It also means that the owner will know that their plant is looking smaller because it’s been harvested, rather than them thinking it’s died or been eaten by some wild herbivore.

  4. Always cut stems at a diagonal angle. Never snip a stem so that it forms a circular, blunted end, because this can allow rainwater to build up on the surface of the cut. This rainwater can trap fungal spores, and cause the plant to get a serious fungal infection that may damage or even kill that whole patch. Instead, cut the stems at a roughly 45° angle, so that water beads up and rolls off more easily. 

  5. When collecting flowers, remember that other people like to look at wildflowers. Never take ALL the flowers from any wild plant, both because it prevents that plant from reproducing as it naturally wants to do, and because it means others who walk past the plant don’t get to see it’s beautiful blooms! If you own the plant, that’s another matter - you may WANT to snip off all flowers to prevent it from bolting, like with parsley. However, with wildflowers, always leave at least half the flowers on the plant so that it can continue to reproduce as nature intended.

  6. Never pick a plant you can’t identify with total certainty. Yet another seemingly-obvious one that is nevertheless often ignored. This is often quoted for fungi, because some fungi can be quite poisonous, but if anything it’s even worse for plants. The medicinally fabulous plant known as yarrow, Achillea millefolia, is a very useful plant and a common component of herbal medicines. However, it looks almost identical to spotted water-hemlock, a species of plant so deadly that one bite can kill you in 20 minutes. Make completely certain that all plants you collect are positively identified, and that you flag all plants with commonly-confused poisonous cousins for further identification later if you’re not 100% sure.

  7. Never harvest flowers from plants around beehives. Bees are one of the most important families in the natural world, being responsible for the pollination of tens of thousands of species of flowering plants all over the world and on every forested continent. Whilst most species of bees are solitary, and don’t form the large hives we assume are common to all bees, those that DO form vast colonies need similarly vast numbers of flowers to support themselves. When you come across a beehive, especially a boxed hive that’s clearly domesticated by humans, try to avoid harvesting any flowers from within 500 metres (about a third of a mile) around the hive(s). The hive needs all the nectar and pollen it can get, and due to the rising threat of colony collapse disorder the life of every single hive is a precious thing that must be preserved at all costs. It might be inconvenient for you, but it’s worth it.

***************

These are just a few of the major rules that I personally suggest all foragers and herb-gatherers take to heart. Remember that you’re not the only Witch who needs their supplies! Thank you for reading :)

– Juniper

I’ve been reading some fics and...

I’ve noticed some common mistakes with the uses of -ah and -yah at the end of names, so here’s a quick tip! (I’m Korean so this is just some basic knowledge.)

When you use (name)-Ah or (name)-Yah, its similar to saying “Hey, (Name)”. It calls attention to the person you are addressing.

You don’t add it every time their name is mentioned like you would use (name)-san or (name)-kun in Japanese.

Ex: Jimin-ah, did you eat yet?

Wrong ex: Jimin-ah ate lots of food.

Another mistake that I see commonly is the confusion of when to use ah and yah.

When a character’s name ends in a vowel, you use Yah

Ex: Yoongi-yah, Hobi-yah

When a character’s name ends in a consonant, you use Ah 

Ex: Namjoon-ah, Seokjin-ah

Last thing is that using ah and yah is informal language. You wouldn’t use it on someone older than you unless your age is considerably close.

Since Jungkook is 5 years younger than Seokjin, he wouldn’t call him “Seokjin-ah” he would call him “Seokjin-hyung”

Hope that made sense! happy writings~~!

Commonly Confused Words

IRISH 101 | GAEILGE 101

cathaoir — chair
cathair — city
ceathair — four

ceann — head, roof, end, one
céanna — same
cheana — already, previously

fear — man
féar — grass
fearr — better

fuair — got
fuar — cold

muinteoir — teacher
muintir — people

— or
— nor, neither
na is the article “the” in the plural and feminine singular genitive

post — job, post
pósta — married

— can mean he, it, or six

siúl — walk
súil — eye

You’re a Cutie

Request: GIVE ME SHY NON CONFIDENT READER AND THE EVER SO CONFIDENT & SELF LOVING JEROME HAVING FLUFFY MOMENTS

Notes: I AM SO SORRY THIS TOOK SO LONG FORGIVE ME PLEASE

“Hello doll.”

“Uh, goo- I mean hi… Jerome.”

Jerome let out a chuckle as the pink cheeks of the girl stood to attention. The girl, Y/N, was looking towards her shoes as they turned in shying away from the cocky ginger that stood in front of her.

“You are way to shy for a girl as pretty as you.” he commented as he forcibly looped arms with Y/N and started dragging her along the street littered with the rich, homeless and the ones in-between. She remained tense as her legs dragged along and her enlarging eyes started at Jerome’s determined and chipper smile.

“I wouldn’t say I’m pretty Jerome.”

“Well, if you won’t say it than I will.”

“…Uh, Jerome, were are we going?” Y/N asked nervously as she started to linger behind him his fast strides making it hard to keep up. Jerome let out a small chuckle at the girl that had taken multiple one sided conversations to get a ‘hi’ out of. He was proud thinking about how far he had come, and he was going to earn her trust.

“A place you’ll love, guarantee.”

“You sure?”

“Always.”

Y/N kept a emotionless face disregarding the cockiness in his voice as she got pulled down another street where he came to a almost comical halt.

Jerome flung a stiff hand towards a building with a devious, confident smile. The gesture caused Y/N to jump back and give a nervous smile before she noticed it was a cafe she commonly visited. Confused and worried she looked towards Jerome, “Jerome it isn’t open these hours on Sunday… So I’m just gonna go…” Y/N trailed off starting to shyly walk away from Jerome before Jerome slammed two hands beside her head stopping her movements, her body landing on the locked door of the cafe.

“You worry to much cutie,” he said one hand slithering down, unknowingly to Y/N revealing a key, “You act like I can’t manage to pull of a few strings.”

Y/N suddenly fell into the cafe, the door unlocked by Jerome who stood their with an amused smile as he stepped in and closed the door watching Y/N push herself up from the floor, “I managed to rent the place out for an hour, so you can do anything you want here with me, aren’t I amazing?”

Y/N ignored the last question with a present smile on her face as she looked around, pillows and blankets around the room with lights hanging from the ceiling, she couldn’t believe Jerome had done this (though he didn’t actually). She turned to Jerome with a grateful but reserved smile, “Thank you so much, this is so sweet I don’t know who you managed this!”

Jerome smiled before grabbing a tray of cupcakes, “Wanna cupcake?”

Y/N laughed and nodded waiting for the tray to come within reach only for it to be pulled further back, “I wanna kiss first doll.”

Y/N nearly choked on air and her face blew up red, she took a step back and shook her head, “What? No! I’m not gonna kiss you.”

Jerome frowned, “Why not?”

“Because, because… I don’t know.”

“Nervous?”

“…Yeah?”

Jerome chuckled and leaned forwards leaving their faces very close to each other his eyes glinting with a usual sparkle it had, “Don’t worry sweet cheeks, I’ll handle it.”

Jerome quickly dove in for a kiss, Y/N’s eyes widened and didn’t move frozen in shock, when Jerome pulled back his smile a lot more dapper than usual, he pushed a cupcake towards Y/N’s face, one she didn’t grab still in pure shock.

“I…Uh, I -uhhh, umm, wha?”

Jerome chuckled looking at the Y/N’s bashful form, “Was I that good?”

“…You realise I know nothing about you Jerome?”

“Is that a problem cutie?”

“Should it be?”

“No, of course not.”

Writing Tips Pt. 1 Commonly Confused Words

Affect & Effect
Affect (V): To change or make a difference to something.
Effect (N): A result.

Advice & Advise
Advice (N): A recommendation of a solution for a problem.
Advise (V): To recommend something.

Allowed & Aloud
Allowed (Verbal Noun) : To be permitted, “I am allowed.“
Aloud (Adv): Out loud.

A Long & Along
A Long (Adj): Describing something long.
Along (Verbal Noun): Moving or extending horizontally onwards.

Alter & Altar
Alter (V): To change something.
Altar (N): A sacred table in a church.

All Together & Altogether
All Together (Adv): All in one place, all at once.
Altogether (Adj/Adv): Completely; on the whole.

Aisle & Isle
Aisle (N): A passage between rows of seats.
Isle (N): An island.

Bear & Bare
Bear (V/N): To carry or put up with / a wild animal (a bear).
Bare (V/Adj): To uncover / naked or uncovered.

Brake & Break
Brake (N/V): A device to stop a vehicle / to stop a vehicle.
Break (V): To separate into pieces.

Bated & Baited
Bated (Adj): In great suspense “with bated breath.”
Baited (V): Baited with an object; to bait.  

Compliment & Complement
Compliment (N/V): To praise / A remark of admiration.
Complement (N): An addition that improves the original; two things that go together.

Defuse & Diffuse
Defuse (V): To make a situation less tense.
Diffuse (V): To spread over a large area.

Exercise & Exorcise
Exercise (V): To do physical activity.
Exorcise (V): To drive out an evil spirit.

Elicit & Illicit & Explicit
Elicit (V): To draw out a reply or reaction.
Illicit (N): Something not allowed by laws or rules.
Explicit (N): Something clearly explained.

Hoard & Horde
Hoard (V): To collect without throwing away anything.
Horde (N): A group of people or animals.

Insure & Ensure
Insure (V): To provide compensation in case of death or damage.
Ensure (V): To make that certain something will happen.

Imply & Infer
Imply (V): To suggest something indirectly.
Infer (V): To draw a conclusion of something.

Lose & Loose
Lose (V): To be deprived of.
Loose (V/Adj): To unfasten; to set free / something that is too large to fit an object, “my pants are too loose.“

Pedal & Peddle
Pedal (N): A foot-operated lever.
Peddle (V): To sell goods.

Practice & Practise
Practice (N): The use of an idea or method; “a dental practice.”
Practise (V): To do something repeatedly to gain skills.

Principal & Principle
Principal (N): The head figure of a school.
Principle (N): A fundamental rule or belief.

If I missed anything you think is important feel free to add it! I have more masterlists here!

anonymous asked:

Hi, is it possible/common to not really show any signs of autism as a child but to show several when you reach adulthood?

Absolutely! A lot of the time, adults miss disorders in children because they chalk off any “odd” or disordered behavior as just “being a kid”. “[x] is a kid, kids throw tantrums. [x] just needs to grow up,” as a reaction to autistic meltdown, and so on. Neurotypical or allistic adults especially, tend to rationalize everything on the basis that autism, neurodivergence, and mental illness are Extremely Rare and Couldn’t Possibly Happen to Someone I Know.

As we get older, neurotypicals expect us to drop the “childlike” behavior. If you see a 15 year old having an autistic meltdown in public, you might get the impression that they’re not neurotypical off just a few seconds of their life. You don’t even have to interact with them to know they’re not neurotypical, because that behavior is considered “childish” by neurotypical rules and they’re expected to have “grown out” of it.

A lot of autism traits are seen this way. I’m turning 19 this year, and I commonly get confused for being around 10-12 because I don’t bother to hide my neurodivergence. My incredibly short hair, my voice and speech patterns, the movement patterns that come naturally to me, so on and so forth- people see them and all the other disordered traits I show*, and assume I’m a child. Neurotypicals just don’t realize what they’re seeing when they notice those traits.

So try to learn more about autistic traits in children and ways that autism in young kids actually manifests. You might find that you showed more autistic traits than you think you did.

*- I consider these to be disordered traits on me personally, but they’re not inherently disordered. For example, I choose my haircuts based on ease of care, not looks, and you can tell I cut it at home. I have a slight lisp and a very high-pitched, childlike voice, paired with a speech structure modeled directly from books. So on and so forth. I just feel that these traits combine on me personally to create a decidedly neurodivergent picture.

-Mod Crane

Dear writer,

The noun you are looking for is vise, meaning a tool that holds an object in place while it is being worked on. A vise looks like this:

The homophone vice, on the other hand, refers to bad behavior or crime. Examples of vice might be drinking to excess, abusing drugs, or gambling. You may also be familiar with the term “vice squad,” a special division of police that address crimes related to these behaviors.

Vice Squad is also the name of a rock band. They look like this:

Please do not confuse these two words, or your readers may think you are referring to “a grip like a 1970s rock band” rather than “a grip like a metal tool made for holding objects tightly.”

rachelrambunctious  asked:

My favourite word is, anamonapia It's just so fun to say!

Alright..so after a lot of googling..this is not a real word, but apparently a word commonly confused with Onomatopoeia. It means:

1.The use or formation of words whose sound is intended to imitate the action or sound they mean, such as bang” or ”splash.” 2. Use of words which sound like the thing described.

If that’s not at all what you meant…whoops.



“Bam! Bam! Bang! Boom!”

Noctis’ nose crinkles and he turns, utterly ignoring the giant beast rushing at him in his confusion (Gladio will stop it..probably.)

“What?”

Prompto blinks at him, also pausing in his fighting and shrugging, “I dunno dude, I like to pretend okay?”

Noctis rolls his eyes, “Yeah but Prom..this isn’t pretend? Your gun is already making nose? That would be like me yelling “swoosh” everytime I swung a sword?”

Prompto huffs and points a finger at him, “You’re not thinking about this the same way Noct! C’mon man, just let me do it?”

“It’s distracting!”

Prompto opens his mouth to retort, but Ignis’ very angry voice intercedes.

“I will gladly fucking let you shout all the sound effects either of you do or do not feel like if you’re actually going to fight anytime soon!”

It’s the tone, the swear word, and the sight of Ignis and Gladio trying valiantly to hold off the iron giants that really kick the two of them back into gear.

“Prom?”

“On it! BANG, BANG!”

“Bang.” Noctis mutters, taking the shot at the end of the chain, and hating that it is…kinda fun.

Guide: Archery

Disclaimer: I have been practicing archery since I was eight and became really involved with the sport / hobby since turning eighteen; despite my experience, I am by no means an actual expert but I do know a considerable amount and am capable of answering any and every question you all may have!

  • Types of Bows: recurve, long / flat / traditional, compound, crossbow, pistol crossbow, war, mongolian, takedown, priminitive, composite
  • Types of Archery: traditional, competitive, field, target, hunting, 3D, military
  • Types of Arrows: aluminum, carbon, fiberglass, wooden ( traditional ), bolts ( crossbow )
    • Types of Fletchings: straight, helical, flu-flu. Material: feather, plastic
    • Types of Points: target, bullet, blunt, field, judo, fish, broadhead, fixed blade, mechanical blade, small game, bludgeon ( stump ). Medieval: bodkin, war, crescent leaf, swallowtail, hunting. Some are push-ins and others are screw-ins, the material tips are made out of can also vary: plastic, aluminum, stone, flint, carbon, etc…
    • Types of Nocks: push/press-in, pin, overnock, convential. For crossbows, the nocks will be different as the arrow sits differently (such as: flat, capture, omni-nock, and half moon)
  • Types of Draws: mediterranean ( most common ), mongolian, pinch
  • Types of Quivers: hip, back, side, pocket, bow
  • Types of Gear: shooting gloves, shooting tabs, arm guard, chest guard, quivers, silencers, wrist sling, bow sling, finger sling
  • Types of Stances: square, open, closed

Anatomy of a Bow generally consists of their limbs, riser, bow string, grip / handle, ( arrow ) rest, and nocking point. Additional features ( mostly with compound and competitive archery ) also include: sight, stabilizer, long rod, side rod, limb bolt, clicker, shelf. Additionally, there are two sides to a bow ( a front and back ), the outer portion — or the part that faces away from you when you aim — is called the back and the inner portion is called the belly

Anatomy of a String: Sometimes, with some strings you will see three points of the string with different colours at the ends of the limbs and at the center, these are called servings. Top, bottom, and center.

Anatomy of an Arrow: Point ( tip / insert ), shaft, crest, fletching, nock

Terminology:

  • Anchor Point — A consistent part on the face where the draw hand comes back to.
  • Cant — This is a bow that is being tilted to one side or another, more commonly used by hunters.
  • Dry Fire — NEVER do this to your bows, this is VERY harmful to the bow and decreases longevity. A dry fire is when you pull the string back WITHOUT an arrow nocked then release.
  • Sky Draw — This is illegal and incredibly dangerous, don’t do this. This is the act of aiming your bow towards the sky and releasing. Do not pull a Katniss Everdeen. It’s not worth it. Only do this in places in a wide open and empty field or somewhere it is at least permitted.
  • Index Feather / Vane — There are commonly three fletchings to an arrow with two of three being one colour; the one that is the odd one out is called the index. This should be facing out / away from the bow’s arrow rest.
  • Nock — Commonly used and confused for notch ( similar to blood spatter vs blood splatter ). This is the slot at the end of an arrow; there is also an accompanying point on the string itself where the arrow sits on top of for a consistent level of shooting. Additionally, on some arrows, there is a nock nodule that typically lines up with the index feather ( this is used to easily nock an arrow into place without having to look down mid-aim or shooting, so typically hunting ).
  • Overdraw — The act of using a shorter bow compared to draw length, thus putting an overload of pressure on the limbs. It can also mean using a shorter arrow than meant to be used with draw length.
  • Poundage ( # ) — A bow’s weight at full draw. For instance, while the poundage of a bow says forty#, the bow isn’t actually going to weigh that much ( bows, in contrast, are actually really light ). 
    • Draw Weight — I see this used interchangeably with poundage but there really isn’t such a thing as a draw weight? Or, at least, it doesn’t have a specific function that I am aware of. 
  • Draw Length — This is the length of how far you can pull the string back to your anchor point; the length typically is about the half of your arm span from middle fingertip to middle fingertip. Measured in inches ( “ ).
  • Bow Length — The length of the bow unstrung from limb tip to limb tip.
  • Bow Arm / Hand — The hand that commonly grips the handle.
  • Dominant Eye / Hand — The hand that pulls on the string; and the eye that more accurately sees the target. Sometimes, the dominant eye and hand are not on the same side of the body but there are ways to get around this!
  • Spine Flexibility — When getting new arrows, it’s important to test the spine for any cracking sounds. If an arrow does that, you do not want to use it. Also checking for arrow hardness. 
  • Archer’s Paradox — The arrow flexing as it leaves the bow. Also, an arrow arches, it doesn’t go straight out like how a bullet might. 
  • Followthrough — Holding your posture / position after letting go of the string to when the arrow hits the target.

Other Information:

The correct way to draw / pull a bow is by using back muscles rather than your arms ( arms are used too but not as majorly as the back ), this helps lessens fatigue! And allows you to use the maximum poundage. In saying that, bows are not the same from person to person; for example, because I use a longbow ( 48″ ) and my arm span is shorter, even though my bow is 40#, I am actually drawing 35#. And unless you’re using a primitive bow or a bow that has a versatile grip, bows are specifically made to be used by one hand or the other ( so left or right ). And just like all bows aren’t the same from person to person, all arrows aren’t the same and don’t necessarily work with every bow, especially indoors versus outdoors, grain, shaft thickness / hardness, tip, weight, etc…

When aiming, it’s important to keep in mind: direction and force of wind, height of target in comparison to you ( is it higher or lower ), indoors vs outdoors, stable or moving target, terrain, distance, etc…

The best way to build up stamina and strength is to consistently do muscle strength exercises, practice with the bow often. I also recommend holding the string back for thirty seconds to a minute at least three times in a day.

There is A LOT of muscle memory involved! And like overtime if you don’t exercise or ride a bike, getting back into the sport can take a readjustment to get up to par. The elbow of your bow arm should be pointed out and not down at the ground ( this is to get your elbow out of the way so that the string doesn’t slap against your forearm upon release ), your back should be straight ideally, and your should have your weight evenly resting on your hips ( not shifted ).

Do NOT use wooden arrows with compound bows. It will more than likely explode in your face and cause bodily injury. Additionally try to use the right arrow with the right bow and bow poundage; it’s like using a gun, you wouldn’t overload it with ammunition it’s not meant to shoot, so don’t do that to your bows. Also, traditional and recurve bows tend to be more forgiving than compound bows because of the difference in anatomy; compound bows have wheels attached to the limbs and warping or twisting the string at all while pulling it back can cause the string to detach from the railing ( but in general, avoid twisting your hand, wrist or forearm as you draw back the string ).

If a bow creaks or makes any kind of sound while you draw it back, do not use that bow. Same with an arrow. It’s safer to avoid injury.

Do not fire a bow with anyone or anything in your peripheral or around the target. Be very aware of your surroundings.

War bows have the highest poundage, that I am aware of, that goes up to 180# and are made of a different wood. These are incredibly powerful and dangerous weapons, so I don’t recommend a war bow to shoot in your basic backyard unless you have a really great stopping tool / target. War bows also take the longest to train for and can’t just be used by anyone right off the bat compared to modern bows, because the heavier the poundage, the more back and arm muscle needed; so strength needed will be needed for this ( and this is why archers from medieval periods who used these bows were documented as to having thicker arm bones because they trained in their youth as to use such a bow ).

If you can, try to practice at archery ranges. Hunting with a bow requires a license; please check your city / state laws regarding archery and its restrictions ( some don’t allow backyard shooting ).

Lastly, bows ARE weapons. I know they are treated very much like toys but they are not! Even the toy bows that you see at medieval fairs and in stores, those are still dangerous. Actual bows should be taken seriously; do not have an arrow nock and at full draw while you haphazardly aim the bow in jest at your group of friends, claiming to be the next Legolas or Katniss. That is the quickest way of hurting someone, don’t do it. In saying that, television and all other mediums of entertainment are not wholly accurate depictions of archery; some of the moves they do are highly ridiculous and unrealistic ( Hawkeye, Arrow, THG, LOTR, etc… ). While there are good depictions out there and some decent moments, they should not be your basis of instruction. It’s of course okay to take inspiration from these characters but don’t treat what they do as fact and law.

Confusing German Words

So I have access to the book ‘1001 Pitfalls in German’ and in the Nouns section there are 2 sub-sections dealing with confusing words, I’ve typed them up onto a Google doc so you can all access them.

#1 Definitions of commonly confused words (German left > English right)

Link: https://docs.google.com/document/d/18WrU6t53vQY_PBtM4vT0BnLZDktYCfiUWix8gBz5ZSw/edit?usp=sharing

#2 Definitions of more confusing words (English left > German equivalents right)

Link: https://docs.google.com/document/d/1CXd2EV_JsboCty_Lo__A0b_YLt4k7V_REuarEoeDdoI/edit?usp=sharing

Enjoy.

If the links break just drop me a line init.

This is Labradorite My gemsona. technically labradorite isnt exactly a gem but rather a type of feldspar, but its a very pretty and vibrant gem, commonly confused with rainbow moonstone, however in all the rainbow moonstone i’ve seen, its white where as labradorite is usually darker colors. I read a myth once where The Northern Lights were trapped inside the stones and if you shine a light you can see the lights dance. 

I absolutley love Labradorite, i live on the southern side of the east coast so i have never seen nor will i get to see the northern lights from where i live. But labradorite helps me feel that much closer to them. And since it is my favorite gem, i decided to make a gemsona about it. 

So yeah, this is Lapris, or Labby. The labradorite. She wears warm clothes, and belongs to Blue (or possibly White) Diamond. She has doubts about her place in the universe, and has a dry sense of humor, much like lapis lazuli. But when she gets excited, her colors flare. Like a total prism of colors. 

I look forward to RPing with anyone up for it. 

Grand Writing Masterpost

All the links are exactly the same as before, just condensed a lot.

I spent a long time putting this together so any likes and reblogs are appreciated. 

School Writing Resource Masterpost

School Resource Masterpost

Names

  • Family Tree Maker

  • Family Trees Explained

  • Facts About Names [More 1]

  • 1000+ Names [Girls] [Boys] [Demon] [Medieval]

  • Demons & Deities [Demons] [Gods]

  • Name Generators [More 1] [More 2] [More 3] [More 4]

Description

  • Describe Colors [More 1][More 2]

  • Eye Color List [More 1]

  • Describing Skin Colors

  • Describe Voices

  • Describe Facial Expressions [More 1]

  • Describe a Character’s Look [More 1] [More 2]

  • Be More Descriptive [More 1] [More 2] [More 3] [More 4]

Personality Traits

  • List of Cliches

  • Personality Generator.

  • Positive [More 1] [More 2] [More 3] [More 4]

  • Negative [More 1] [More 2] [More 3] [More 4] [More 5] [More 6] [More 7][More 8] [More 9]

  • Traits [More 1] [More 2] [More 3] [More 4] [More 5] [More 6] [More 7] [More 8] [More 9] [More 10] [More 11] [More 12] [More 13]

  • Personality Types [More 1] [More 2] [More 3] [More 4]

  • The Difference Between Personality and Behavior

  • How to: Show a Characters Personality In a Paragraph

Heroes, Villains and Archetypes

  • Courageous Characters [More 1] [Heroine] [Hero]

  • Sympathy Without Saintliness

  • Character Morality Alignment

  • Villains [More 1] [More 2] [More 3]

  • Antagonists [More 1]

  • Manipulative Character

  • Archetypes[More 1] [More 2]

Genders

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People Types

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Jobs

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  • On Assassin Characters

  • Interesting Jobs [More 1] [More 2] [More 3]

Religions

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Supernatural

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Other

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Habits and Quirks

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  • Character Habits

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  • Phobias List A-L (Part 1), M-Z (Part 2)

Secrets

  • List of Character Secrets [Part 1] [Part 2] [More 1] [More 2]

  • I Bet You Didn’t Know..

  • Character Plots And Secrets

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Disorders, Disabilities and Drugs Masterpost

Romance

  • Types of Attraction

    Pregnancy

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  • Synonyms for Love [More 1]

  • The Little Ways a Ship Gets Build

  • How to: Write a Romantic Scene

  • Do’s and Don’ts of Writing Relationships

Kisses

  • How to: Write a Kiss

  • Different Types of Kisses

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Smut

  • How to: Write Smut [More 1] [[More 2] [More 3] [More 4] [More 5] [More 6] [More 7]

  • Smut Guide: Casual Sex

  • How to: Smut (For Virgins)

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  • Domination and Submission

  • How to: Write a Blowjob/Prepping for Smut

  • Writing A Friends With Benefits Relationship

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Create Your Characters

  • Help With Character Creation

  • Writing an Original Character

  • Creating Believable Characters [More 1] [More 2] [More 3]

  • How to Create Fictional Characters [More 1] [More 2]

  • Character Building [More 1] [More 2]

Character Writing Resources

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  • Writing Specific Characters

  • Fiction Writer’s Character Chart [More 1]

  • Web Resources for Developing Characters

  • How to Write a Character Bible

Finish Your Characters

  • Character voice

  • Character Flaws [More 1]

  • Character Description [More 1]

  • Tips for Characterization

  • Making Your Characters Likable [More 1]

  • Making a Character Stand Out [More 1]

  • How to: Write a Fully Developed Character

  • How to: Create a Cast of Characters [More 1]

  • Handling a Cast of Thousands

Writing Characters of the Opposite Sex

  • How Not to Write Female Characters

  • Red Flags for Female Characters Written by Men

  • Writing Strong Female Characters [More 1] [More 2] [More 3] [More 4]

Biography Writing

  • Bio Help

  • Resources for Biography Writing [More 1]

  • Components of Your Biographies

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Emotions

  • Degrees of Emotion[More 1]

  • Describing Emotions [More 1][More 2] [More 3] [More 4] [Positive] [Negative]

  • Tone, Feelings and Emotions

  • 100 Words for Facial Expressions [More 1]

  • Victoria’s Vitamins: Mood

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Body Language

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Character Development

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  • 30 Day Character Development [More 1] [More 2]

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  • Character Development Series [Part 1] [Part 2] [Part 3] [Part 4]

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  • Torture a Character

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How to Set the Scene

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Locations

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Eras

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Alternatives For

  • Very

  • Wrote

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  • List of Actions

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  • List of Words to Avoid and Misused Words [More 1][More 2] [More 3]

  • Beautiful and Ugly Words [More 1] [More 2] [More 3] [More 4] [More 5] [More 6]

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Find a Word

  • Find That Word [More 1]

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Description Alternatives

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  • A Description Resource [More 1] [Food][Scent]

Titles

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Ideas and Inspiration

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Plot Help

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Plot Writing

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Tips on Writing Dialogue

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  • How to Write Dialogue Unique to Your Characters

  • Writing Dialogue: Go for Realistic, Not Real-Life

  • Establishing The Right Point of View

  • How to Start Writing in the Third Person [More 1]

Content

  • Exposition [More 1]

  • Building Suspense [More 1] [More 2] [More 3]

  • Hit Your Reader in the Gut

  • Root for Your Main Character [More 1]

  • Flashbacks with Multiple POVs

  • Word Count [More 1]

  • Breaking Writing Habits

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Writing Tips

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  • Writing The Perfect Scene

  • The Great Swampy Middle

  • Becoming the Next Gatsby

  • Plunge Right Into Your Story

  • How To Write A Novel [The Snowflake Method]

  • You’re Not Hemingway [Write Like Hemmingway]

  • Hook Readers and Reel them In [More 1] [More 2]

  • Essential Story Ingredients [More 1] [More 2][More 3]

  • The Difference Between Good Writers and Bad Writers

  • Have Confidence in Your Writing [More 1] [More 2] [More 3] [More 4] [More 5]

  • Writing Tips [More 1] [More 2] [More 3][More 4] [More 5] [More 6] [More 7] [More 8] [More 9] [Joss Whedon] [Kurt Vonnegut] [Stephen King]

Miscellaneous Advice

  • Write Interactive Books

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  • Writing 2 Stories Simultaneously [More 1]

  • Co-writing [Additional Tips]

  • The length of a chapter

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Motivation:

  • Backhanding Procrastination

  • Habits and Taking Care of Yourself

  • More Troubles With Writing Motivation

  • The Inner Critic and Ways to Fight it [More 1]

  • The Writing Life is Hard On Us

  • For Troubles With Starting Your Story

  • Writing Stamina Builds Slowly

Writers Block [More 1] [More 2] [More 3] [More 4] [More 5] [More 6][More 7] [More 8] [More 9]

Revision

  • Beginning Revision [Five Steps]

  • Revising Your Novel [More 1] [More 2]

  • Finishing Your Novel [First Draft] [More 1] [More 2]

Editing

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Grammar and Punctuation

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Critique and Advice

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  • What to do With Bad Writing Advice [More 1] [More 2]

Self Publishing

  • Copyright
  • Avoiding Publishing Scams

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Writing Tools

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  • Nanowrimo Start Kit

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  • Focus Booster

Mind Mapping and Planning [LiquidStoryBinder] [OutlinerofGiants] [MindMeister] [TreeSheets] [RealtimeBoard][Space Tracker][Family Echo] [AutoRealm] [OakOutliner] [WorkFlowy] [VUE] [Mindmaple] [Freemind] [Lucidchart] [FreeMind] [NovaMind] [Mindomo] [Coggle] [Scapple] [Mural] [Blumind] [Popplet] [Bubbl] [Xmind]

E-publishing Tools [Mobipocket] [MyWritingNook] [SuperNotecard] [OnePageperDay] [Trelby] [PageStream] [PDFCreator] [ScriptBuddy] [WriterDuet] [WriteorDie] [DarkRoom] [Sigil] [CeltX] [Page2Stage] [Acrobat] [InDesign] [Calibre] [CutePDF] [Jutoh] [PagePlus] [Scribus] [Plotbot] [Scripped] [Slugline] [Highland] [Scrivener] [yWriter] [Oneword] [Penzu] [Spaaze]

Role-play Help

  • Para Titles [More 1] [More 2] [More 3] [More 4]

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  • Prompts List [More 1] [More 2] [More 3] [More 4]

  • Drabble Prompts [More 1]

  • Lots of RP Guides

  • IC and OOC Surveys

  • Getting Over Roleplaying Insecurities

  • Improve Your Paras

Role-playing How To’s

  • How to: Get Into Character

  • How to: Write a IC Para Sample [More 1] [More 2]

  • How to: Write an Impressive Para Sample

  • How to: Lengthen Short Para’s

  • How to: Make a Set Ship RP Work [More 1]

  • How to: Create the Best Plot for Your RP

  • How to: Spice Up Your Roleplay Plots

  • How to: Play the Greek Goddess ‘Harmonia’

  • How to: Roleplay In the Victorian Era [More 1]

What is the Higher Self?

Just today alone, I’ve answered three asks/fanmails that were talking about the Higher Self and what exactly it is. I think the Source is trying to tell me something. It’s a commonly confused subject, since the Higher Self isn’t the spirit that travels outside of our body (consciously or subconsciously). I’ve tried to form the best explanation I can gather, with the help of some of my spiritual comrades too, and I’d be more than willing to add to this with input from anyone. 

Let’s do this in question format, since that’s the easiest to format! 

When I travel outside my body and I’m not aware of it, is that my Higher Self?

In this case, it isn’t your Higher Self that’s causing you to travel. This is your spirit just in another plane/dimension, that you consciously, as a spirit, chose to travel to. We can all exist in many dimensions at once, which I’ll explain in more detail below. Your Higher Self never leaves your internal being, but instead travels as a self inside yourself in all the ways you exist and every will exist. The Higher Self travels with you, as the internal intuitive force/Source connection, but is not the consciousness choosing to travel. 

Then what is the Higher Self if it can’t leave my being?

The Higher Self is something that every spiritual being and human soul has. It is an aspect of ourselves that is within the very center of our spiritual being, and is our intuitive guide. In a way, it’s the personification that we mentally create to communicate with the Source-aligned center of our being. The Higher Self is pure divinity, truly our “highest self.” The Higher Self will never do harm, since the Higher Self is our mental interpretation of the pure Source energy within us all. The Higher Self is our True Self, completely free of ego and attachment, but translated through our mental personification. The True Self can’t be mentally interpreted, since Source energy is too much for the mind to directly comprehend, so our minds and spiritual consciousness translate this True Self into something more mentally palatable: the Higher Self.

How can I communicate with my Higher Self?

The Higher Self is best reached through meditation, specifically ones that call for aligning with the Universe Within/the Source inside your spirit. Often, this translates easiest, in the everyday, as a pure and strong intuition. The kind that’s strong enough to prevent you from harm when there are no logical signs, but you just know you’ll be harmed if you don’t listen to your intuition. Or the intuition that steers your towards your best and highest purpose and reminds you “hey, maybe you shouldn’t do _____ because it’s going to harm you in the long run.” Intuition, and listening closely to it until you can clearly discern your intuitive voice from anything mental or egoic, is a great gateway towards communicating with your Higher Self. 

Is my Higher Self another being that isn’t “me?” 

Nope! The Higher Self is as much you as your every thought, in fact, it’s more you than thought (since thought is in the mind). The Higher Self is your truest and brightest form. The “healer within,” the “universe within,” “inner god(dess),” the “all you are.” These are all names for the Higher Self. Communication with this Self just means deeply listening to that pure voice inside yourself. The Higher Self will always communicate what is in your best and highest interest, and you will know that very deeply, since it takes a lot of dedicated meditation and energy work to really get to know your Higher Self. Talking to your Higher Self is basically talking to the personification of your Life’s Purpose/Dharma. The Higher Self will perfectly align you to who you are meant to be and what you are meant to do. The Higher Self has no purpose traveling outside of your being, since it is you (and you can’t travel outside of your spirit) and, even if this was possible, there would be no purpose to it. The Higher Self is for your own personal guidance and alignment to the Source, not for communicating with other beings–your consciousness is for that (whether you mentally remember it or not). The Higher Self totally accepts who you are, where you are on your journey, and everyone in your life. The Higher Self is totally open to emotion and experience, understanding that sadness, grief, anger, fear, joy, love, completeness, and acceptance are all divine emotional experiences that can be experienced with total compassion. The Higher Self brings compassion into emotion: in a way, your Higher Self is your heart. Your deepest, most loving, most open, Self. 

I don’t understand how I can spiritually travel if I don’t have another self. How does this happen? 

Since the Higher Self is an internal part of one’s spirit, not the spirit that goes out subconsciously and interacts with people and beings and stuff, it is not the you that can travel. It is a part of yourself that you can be conscious of in all travels, but not the part of you that does the traveling. When you access your Higher Self, you do so through conscious intention, and you will always consciously feel the guidance (or at least the rise of an intuitive reaction!). This interaction will always align you with your dharma/life’s purpose, and will never do harm or close you off from pure compassion. It’s a common belief to think the Higher Self is one’s spirit outside of their physical consciousness, but this is a misunderstanding. It’s easy to see how this is a hard thing to figure out, though! Terms are really tricky, and it took me a long time to make sense of this concept. (And now I’m doing my best to explain and hopefully provide a bit of clarity). 

When you get to a certain point (like 3-6 years of spiritual work), you’ll usually start being conscious of what your spirit does in higher planes, but most people are subconsciously traveling higher planes, not mentally aware of what their spirit does (if you were completely aware, your mind would have to comprehend all memories from shards, all dimensions you’re in, etc etc). You can easily be in multiple planes at once, but reflecting these multiple existences into one consciousness (the human mind) is incredibly overwhelming. 

Sometimes, most commonly, people will experience their subconscious or higher plane travel through dreams or meditation. This is just you in a different plane, out of your body, like spiritually projecting. All spirits are multi-dimensional beings, and can travel with or without a body. The mind just rarely comprehends most, if any, travel outside of what the mind intends to do (conscious travel). Think of an analogy to dreaming–you always dream during a night’s sleep, but your mind doesn’t always remember your dream travels. They still happened, but all your dreams are sometimes too much for your mind to comprehend, or unneeded information, so the mind doesn’t hold onto it. We only witness, mentally, what we need to for our role in this body with this mind. Our whole spiritual experience can’t be comprehended through our mind, so our travels are often not “recorded” mentally for us (though they are recorded in our personal Akashic field). 

This traveling is still wholly us, though. The Higher Self never travels, since it’s the internal connection to the Source that is within us all. The more integrated and aware of this Intuitive or Higher Self, the more Source-aligned a person is. The more bright and unconditionally loving they are as a result. Spirits can do harm, like during subconscious or conscious traveling, but the Higher Self will never ever do harm. In beings that harm others, they are disconnected from the presence of their Source self, their Higher Self, not reacting as their Higher Self, which is what most people believe the Higher Self does–acts as a spiritual being. The Higher Self is really just an internal guide. 

During spiritual travel, we can (and always do) exist in multiple places at once (like when astrally or spiritually traveling, you’ll be aware of both your body and astral self; you’re multidimensional, yet still one self). Only someone who views you will interpret you as a separate self spiritually, astrally, physically, etc; despite you actually being all one conscious self, just viewed in different states. It is difficult to comprehend the idea of multidimensionality, since thinking of yourself as one being in many states is an odd (and not commonplace) concept. When your spirit acts without you knowing, you’re still conscious of it (and can return to the memories, know what you did if someone says you did something, etc), but you just can’t always remember it when it happens, since not all that information is comprehensible to the mind instantaneously. All the acts of our spirit are still accessible, we just have to intuit it consciously, to tell our minds to perceive something specific. 

I hope this all makes some sort of sense! I tried to make this as in-depth as possible, for such a philosophical and esoteric topic.