contract tips

Aim to do something witchy each day!

• cleanse your space
• tend your garden
• collect storm/rain/snow water
• meditate!
• pick herbs/plants
• charge materials
• walk in nature
• top up your supplies
• light a candle
• make a fruit offering to the wild
• practice divination
• read a book on craft
• plant a plant
• clean and collect jars
• go shopping
• read a prayer
• put a wandering bug or a spider friend back outside
• curl up with a cup of tea and scroll through witchy blogs

Witch Tip: Spell Contracts 📝

As much as I adore the elegantly written spells that rhyme and sound like they came straight out of an ancient book of shadows, I personally find that both creating and preforming spells like these is very energetically exhausting. That’s why I usually like to create what I call a “spell contract” instead. Not only is it far easier, but it’s straight to the point, and much more specific imo.

To create the spell contract, I usually just grab a small piece of paper and pen to make a list with the four following categories:

- The “spell type” (ex. glamour, love spell, money spell).

- The “spell creator(s)”, I just write my full name down in this category unless I am casting with someone else, in which case their name would be included as well.

- The “target(s)” of the spell, obviously this is who the spell will be effecting.

- The “terms & conditions” of the spell, which is basically just a detailed description of what you want the spell to do. You could even make subcategories within the terms & conditions if the spell is rather complex. I also include in this category how the contract is activated and deactivated (if the spell is not meant to be permanent).

And finally after signing my signature at the end and properly charging the spell, I’ll fold up the contract and either add it inside a spell jar, burn it, bury it, etc. as a means of activating the contract according to it’s intended purpose. Most often however, I add the contract to a spell jar then burn it if/when I decide I no longer want it to be effective.

Writing Dialogue: Teenagers

Dialogue is one of the trickiest parts for a lot of writers to get down, and teenagers especially. Surprisingly, this applies to teenagers almost as well as it applies to adults—and I think we’ve all read a YA novel written by someone totally out of touch with teenagers.

Personally, I don’t have trouble with dialogue, but after analyzing my own (acclaimed? Not by anyone important) dialogue versus the stilted speech I’ve read, I’ve come up with a list of tips for the YA writer.

Contractions. This is a tip that extends beyond teenagers, because most people contract almost anything they can. However, a lot of writers still refuse to do it, and I think it’s even more pronounced in high-intensity situations and teenagers.

A lack of contractions is generally reserved for formal situations, emphasis, or seething anger.

Don’t use slang. What?! I can hear you protesting. But teenagers are the inventors of most slang! Maybe, but I can’t actually remember a time as a teenager when I used slang and any adult other than someone particularly clueless didn’t not understand.

Commonly accepted “slang” like “okay,” “yeah,” “cool,” and others should be used liberally.

Note that this does not apply to jargon terms. I would classify words like “shipping” as jargon because it makes no sense outside of a fandom community. Not necessarily a “teenage” community. Use jargon like normal.

Awkwardness. Puberty is awkward. If your character says something awkward, this is fantastic!

But everyone feels awkward. If your character says something foolish, they will know. If they say something hammy, even for comedic effect, they will probably be uncertain while they do it. Not even the “popular” kids are all-confident.

Misunderstandings. This is another tip that should be used for all dialogue, but is especially useful for teenagers. And not all misunderstandings need go unspoken. Have your questions say something nonsensical and have their conversational partner go, “that didn’t make any sense.”

This get cut as “unnecessary” a lot, but I don’t think it should. It emphasizes character’s emotional states. And if a character misunderstood something, they might bring up it up later in the conversation and have it re-explained (this can also be good for exposition).

Bottled Chaos. This one is mostly for conversations with more than two people. Teenagers, especially on their free time, will not stick to one topic, even in the same sentence. The topic should jump around and cover a lot of things, and not everyone in the group will be focused on the same conversational gambits.

But this has to be contained somewhat in writing, or it gets too confusing. All the topics have to spring from somewhere that the reader knows, and die when the conversation gets serious or focuses in on what the conversation is there to advance, plot- or character-wise.

But at the end of the day, you just have to listen to people talk. Listen to teenagers talk. What are they talking about? What do they care about? They aren’t a foreign species, even if you think yourself strange and different (or too adult).

When your newspaper is so biased against healthcare staff, that a story about hospital food is framed not as a call to improve provisions for patient meals, but to imply doctors and nurses are eating too well.

I’ll tell you that our undeservedly enviable gourmet meals, wolfed down hours late (if at all) whilst filling in paperwork, usually consist of:

A) At best, passable canteen food you got tired of a week after starting at this hospital.

B) Whatever dry sandwiches the ‘Friends’ shop’ is selling because nothing else is open this time of night.

C) Whatever combination of fridge remnants you managed to scrape into a tupperware container, whilst you eye your colleague’s sloppy canteen food.

D) The dry remnants of the Doctors ’ Mess buscuit tin or the ward cake box washed down with weak tea or the worst coffee you’ve had in your life, with minimal milk because the bottle ran out and there won’t be another til Monday.

Doctors and nurses don’t eat lavishly at work, nor are they responsible for what patients eat. They don’t control the funding for that; the ultimate responsibility lies with the government to ensure the financial needs of the NHS are met.

Framing it as if workers at the frontline are responsible shows just where this paper’s loyalites lie.

(Screenshot from the Junior Doctor Contract Forum, Hat tip to Peter Stefanovic for pointing out the silliness of the headline).

Bet

Simon x Reader #4

Warnings: smuuuutttttt also partying and drinking. Read at your own discretion lol

Requested: yus “MORE SIMON SMUT PLS” and many more times by the same person (via @sidewomanxix)

Notes: this is very long (almost 2000 words ^.^), like i got so carried away with the plot. But enjoy! ~K

——————————————————

“You can’t resist me, might as well just admit it.”

Simon sometimes had an ego the size of Jupiter and here he was showing it, in front of all the guys. You were sat on Tobi’s couch, with Callum, Harry, Tobi, JJ, Josh, and Freya around you and some of them had a couple of beers. So mix Simon’s ego and alcohol to get the predicament that you were currently in right now.

“You’re saying that to me? Oh please you act as if you could keep your hands off me for more than a day,” you said combating him.

Keep reading

Contracted Forms

First things first:
이: This
저: Yon NOUN, That NOUN [way] over there
그: That
무엇: What?
어느: What/Which (one/NOUN)
것: Thing

내: My
제: My (Humble/Polite)
우리: We, our

이/가: Subject particle
은/는: Topic Particle

이것 (This thing):

이것 -> 이거
이것+ -> 이건
이것+ -> 이게 

저것 (That thing), yonder:  

저것 -> 저거 
저것+ -> 저건
저것+ -> 저게 

그것 (That thing):

그것-> 그거
그것+-> 그건
그갓+-> 그게

무엇 (What):

무엇-> 뭐
무엇+-> 뭐가

어느 것 (What/which (one/thing):

어느 것+-> 어느 게

내 것 (My thing):

내 것 -> 내 거
내 것+ -> 내 건
내 것+ -> 내 게

제 것 (My Thing (Humble/Polite)):

제 것 -> 제 거
제 것+은 -> 제 건
제 것+이 -> 제게

우리 것 (We, our thing):

우리 것-> 우리 거
우리 것+은 -> 우리 건
우리 것+이 -> 우리 게

  1. 이것 -> 이거 ——  저것 -> 저거 ——   그것 -> 그거 
  2. 이것은 -> 이건 —— 저것은 -> 저건 ——  그것은 -> 그건 
  3. 이것이 -> 이게 —— 저것이 -> 저게 ——  그갓이 -> 그게
  4. 무엇 -> 뭐 ——  무엇이 -> 뭐가 ——  어느 것이 -> 어느 게
  5. 내 것 -> 내 거 ——  제 것 -> 제 거 —— 우리 것 -> 우리 거
  6. 내 것은 -> 내 건 ——  제 것은 -> 제 건 —— 우리 것은 -> 우리 건
  7. 내 것이 -> 내 게  —— 제 것이 -> 제게   —— 우리 것이 -> 우리 게

Information from Elementary Korean Second Edition and Elementary Korean Workbook.

The Affinity of Heaven and Hell | Closed RP @ arthurtsunderekirkland

The devil leaned quietly against the steeple of a church. He rolled the soul of the priest across his fingers as a juggler would a ball.

I’m bored,’ he thought to himself. Cast out of hell for mysterious reasons, he now must spend eternity gathering souls. Devils used souls for many reasons, gaining power by consumption, trade as currency, and a tithe to the head devil himself. Alfred a demon prince had been next in line for the throne of Hell, but now he lived as no more than a lower class demon. The soul he now held was weak he decided to tithe it instead of eating it, and shoved it into the crystal jar now full of souls. He smiled as he heard their hearts screaming before shutting the container backup tight, and putting it into his bag.

He began to liftoff to head back to his apartment, it would be daylight soon and he disliked sunlight. It was not that it hurt him, it was the fact that it brought with it swarms of humans like locus and Alfred hated humans the most. Suddenly the smell of decay filled the air. The devil looked around to find a parchment suspended beside him. Alfred grabbed the parchment and began to read it.

Prince Alfred,

I offer you a contract, claim a powerful Archangel, recently fallen from grace. Make him one of our own and you will reclaim you right to your throne.

The ring will help you locate him.

Alfred was not sure what to make of it all but the signature on the letter was real or the contract would be void.  Alfred took his black stone dagger and dragged it down his thumb, then signed the contract with the tip of his dagger. A black metal ring appeared on his right hand with a faintly blue glowing black stone. The light, only he could see would glow brighter the closer he got to the angel in question.

“So be it.” The parchment flared up in a blue white flame and disappeared along with the smell of decay.

The devil prince then took to the skies heading for home. He would start his search after he rested. Angels preferred daytime to night unless they were hunting devils. “I will get the drop on him. At least, this should be less boring.”

‘a restful little christmas’: hlwily 12 days of christmas (2015) #7

Being pregnant at Christmas isn’t always so merry…

Another little look into the pregnancy with Rose. 

(and some cuddles and sweet talks). 

12 Days 2015 Post & days 1-6

**

December 24, 2030: 2:31pm

“Mummy…Mumma? Mumma…?”

You opened your eyes to your littlest boy with icing sugar-covered lips, a smudge streaked across his forehead.

“Hi, baby,” you cooed, sitting up a little. Your back winced and your legs felt heavy as you struggled to sit up under Harry’s snuggly blanket.

“Hi, Mumma,” George lisped cheerfully, before his tiny brow pulled together. “Were you sleeping?”

Keep reading

anonymous asked:

Hi, I have a really serious question about commissions? I've been approached by a small time business owner about creating a cartoon for the face of their business. I'm not really comfortable selling the rights to my artwork or having anyone profit from it, (im underage and cant legally create a contract) but I realize that this is a really good business opportunity for getting my artwork out their and known! What are some things I should do before diving into this project with the other person?

Hi there! Congratulations on being approached by a small business owner! I’m glad you’re being smart about this. I went to a panel about contracts / legal rights for artists and they talked a lot about being able to think critically and recognize when your dream opportunity is not nearly as shiny as you think it is. It’s amazing to be approached but I’m super glad you’re thinking ahead. 

Here are some steps you can take courtesy of Mememod, who knows a lot more about law than I do: 

  1. Talk to your parents / legal guardian and see if they have any legal know how. Even though you can’t sign the contract, they can. 
  2. It would also be smart to consult a lawyer if you can afford one. If you can’t afford one you can try the following sites: /r/LegalAdvice || Avvo || CAlawyersforthearts (This was specifically mentioned in the panel I went to, however I’m sure you can find one for your state if youre in the US) || 
  3. Make sure you’re getting paid up front. Make sure you know where your work is going to. Are they printing it on T-shirts? Make sure you’re getting a cut of that profit.
  4. Make sure the business draws up a contract even though you can’t actually sign it. Your parents / Legal guardian can sign it, and you’ll also be able to see in writing what the business wants from you as an artist and what they plan to do with your art. 
  5. Make sure you retain the right of reverter, which means if you change your mind you can return the money to the business but get the right to your work back.  

What I can provide is this, a typed up synopsis of the notes I took during the Special Edition NYC Panel: Lets Talk About Checks, hosted by Ulises Farinas, Vera Greentea, Joseph Illidge, Fernando Ruiz, Chris Sotomayor and Alex De Campi. :) I hope this helps you out! Let me know if you have any more questions.

Edit: Also heres a guide I wrote up that has tips on contracts!

Eggy mod & Meme mod <3

Voice actor hiring cheat sheet

By weird coincidence, a few different people have asked me for advice on hiring voice actors recently.. LIST OF TIPS TIME.

  • How much do they cost? I’m not going to talk specifically about actors I’ve worked with, but the simple answer is.. any amount. A friend might do an afternoon for free, a VO specific actor may ask for a few hundred an afternoon, a named actor a few thousand, someone from that movie you like? Tens of thousands, or even more (unless they get excited about the project and drop their rates). There is a lot of variance.
  • Are there additional costs? Yes, asker of leading questions, there can be. Some actors will want royalty payments, or payments based on platform numbers etc etc. Remember that this is all negotiable. Don’t be afraid to offer flat rates if that makes more sense for you, just obviously be prepared to negotiate that with the agent. You will want to contractually agree on usage, transferring rights to recordings to you. Some agents will provide this documentation, or you may need to get a lawyer to draft something for you.
  • A lawyer? Yes. Get a lawyer. If you have no money, get a lawyer willing to drop their rates for you. You’d be surprised how many games industry specific lawyers are up for doing free or reduced price work.. especially if they think there might be a lot of jobs to do on the follow up game ;) Seriously though, VO is a minor legal concern compared to all the publisher and platform contracts you’re going to be looking at between now and release.. have a professional read them too.
  • But where are the actors? It depends. There are a bunch of voiceover sites online, for hiring low cost pro/amateur voice actors. I know a bunch of folks this has worked out for, and many of these folks have their own mini studios, making turn around super fast. Be sure to audition, both for their performance skills, and to ensure the sound you’re getting is high enough quality (if, like me, you have a rubbish ear for sound quality, get your mate who spends too much on speakers, or a sound engineer, to check for you).
  • But you record in person, right? Yes. I like to work in the room with the actors, directing their performances. With Volume, I also wanted the actors (well, Charlie and Danny at least) in the same room, bouncing off each other. For this, I use a studio called Side, in London. Great space, fairly priced, great engineers to get rid of pops and other nonsense, and placed conveniently enough that UK based actors are happy to record there.
  • So.. you used a voiceover site and then got them to go to the studio? Wow… I see my bullet point and staged question structure is less helpful than I thought. No, not quite. Once you start looking to cast fulltime actors, or actors who are ‘known’.. you start to delve into the world of agents. As long as you find the actor’s VO agent (a lot of actors will have a secondary agent, bringing them in advert or VO jobs in between their 'real’ work) and present yourself and the project well, negotiations should start smoothly. Another option is to go straight to the actor. If they are chatty on twitter, an @ may work, if their email is online, there’s no harm in sending a friendly question their way. Danny was cast in TWA by emailing him a build and a script. Charlie I fortunately share some friends with, so I got a meeting with him to discuss the part, even before the script was finalised. Lucky. But repeatable luck.
  • I guess Andy Serkis is your neighbour, right? No. By weird chance, I do live on the same street as some people off the telly, but chasing folks down the street with a script is too far, even for me. Andy represents the next step up, casting wise. For him, I enlisted a casting director, working at Side (that lovely recording studio I mentioned). They do a bunch of AAA games and some film work, so have great relationships with some top tier agents. I said I wanted Andy, they got him. Of course, it took a lot of prep: We sent him a script, a letter which, to be honest, was basically me geeking out and begging simultaneously, and some concept art from the game. Fortunately he had a gap in his schedule, and we made it happen.
  • So.. someone mentioned unions.. If you are in the US, or working with actors who work in the US, you’re going to hit SAG stuff at some point. Basically, lots of imposed contractual steps required to work with a member of the union, most 100% fair, all of them pretty time consuming. You have three choices: Don’t hire union actors (possible if you have a non US, non US working cast, very tricky otherwise, unless you work with a less experienced cast), work with union actors, and get ready for the 8 step application process, and a lot of hoop jumping, or work with a studio who handles union requirements. SAG allows production companies to act as buffers, so a lot of VO studios can act as an intermediary.. fulfilling SAG requirements, recording and owning VO, then, basically, selling it to you. A good way to avoid mess, but check those contracts (again: Lawyer).
  • What if I don’t get THE STAR? I was chatting to some students earlier in the week, with a very ambitious casting choice. They seemed just the right level of crazy to pull it off, but I did tell them what I’m going to tell you, pretend person asking me all this. No one has ever had a 100% casting hit rate. You know all those stories about actors pulling out of movies, or being unable to reprise a role? Imagine the money on the table in those conversations. Now take a look at your bank balance. It’s unlikely that you have the same sway. You will fail to cast more often than you succeed, so don’t let that get you down. You ask 10 actors so you get 1. It’s always a tricky process, that’s why an entire support industry has appeared around it. I’ve literally received 'sorry, the actor for Monday has flown off to [redacted, because it’ll give away who we’re talking about] for [same thing]’. It happens. You carry on. Don’t place all your hopes and dreams on an actor until you have the CD-R of their VO in your hand. And for the love of god don’t announce any casting choice until you know it’s all worked out.
  • Should I direct it myself? Are you good at that? I wasn’t.. thankfully Danny was talented enough that TWA recordings sort of happened independently of me, I lacked confidence to do more than a few interventions. WIth Volume, I’m better. I’d certainly recommend talking to VO directors to see if you can find someone to get the best out of your investment. Advice I probably should have heeded 3 years ago :D
  • Anything else I should bear in mind? One to consider is the PR around the casting choice.. do you want to post videos of the recording process in making ofs? Does your trailer open with STARRING BOB BOBBINGTON? Do you want to tweet a picture of you and the actor smiling awkwardly? All of the above can actually be locked down contractually. Some actors don’t like having photos taken while working (fair enough, I wouldn’t be a massive fan myself) or don’t like to be used as a selling point for the game. All worth keeping an eye on: And asking for what you want in contracts. My tip: Skip the recording the VO sessions, you don’t need to be thinking about it, the actor doesn’t need to be thinking about it, and unless you have a crazy PR budget, you probably can’t really afford to do it well enough to justify it.
  • That it? As in all things: Be professional. Everyone knows everyone, actors are almost as chatty as indie game devs. If you’re a dick to work with, that word will spread. Likewise, if you treat people with respect and ensure you know what you need, that’ll be known too. Actors are like Dothraki, in that sense.

Feel free to ask any more questions in the comments, and I’ll update.. hope some of this is useful.

Just a Little Snack (Dan)

He woke up that morning to the sounds of birds outside the window. Dan, in his grogginess, recalled the previous night and smiled. You’d both gone to a party at Louise’s house. He remembered your tight, black mini dress and those heels that drove him crazy. He’d brought you home after a bit of drinking and dancing, and he got lost in you. Your moans uttering his name rung in his ears; he was sure he had marks on his back from your dragging nails. Dan never remembered having it like that before.

He looked over at you in ned beside him. You slept soundlessly like a princess in a story…only you were naked. He could make out the details of your naked figure from beneath the thin sheets. The cold in the room hardened your nipples into little pebbles he could wrap his mouth around. You tossed over to show the supple breasts he loved touching. He saw the sheets crease between your thighs where your pussy would be. His mouth watered. He thought about the way you squirmed and wiggled when he buried his head there. He loved seeing your face contort to the pleasure he gave you; it made him proud knowing he could do that to you.

When you turned onto your back, Dan sought his chance. He kissed your cheek first, simply to see if you would stir. When you didn’t, he continued onto your shoulder and collarbone. Dan took in the lingering perfume from the night before, and the softness of your skin on his lips. He wanted to taste you again. You were divine, like a rare fine wine from Paris. He carefully skimmed down your body until he was under the sheet. Leaving your thighs uncovered, Dan took hold of the tops of your thighs.

A swelling built up in his crotch. He could feel his cock pressing into the mattress as blood pumped towards the tip. He saw your pussy an inch from his face. He could smell the familiar musky scent emitting from the folds, and it only made him harder. He placed a soft kiss right on the velvety layers over your clit. His eyes peeked upward at you still slumbering deeply. Dan kissed it longer the second time, and then a third before he was making trails up to your inner thighs. Then, once he couldn’t take it, he stuck his tongue right on that bundle of nerves in the center. He circled around it a few times and then taking it in his mouth. Your sex grew wetter with each lick of your folds. He loved how responsive you could be in your sleep. Dan sucked lightly on your clit before starting on the sensitive area just under it. His moans vibrated through you and his hips began thrusting into the mattress.

“Mmm, Dan…” you said in your morning sleep. It aroused him further. “Dan…don’t stop…please…”

He wasn’t sure if you spoke in full alertness or if you were dreaming, but he listened. Dan poked his tongue inside you every now and then, but mainly stuck to eating the juices secreting from your entrance.

He knew you were awake when your hands fell into his hair. Dan chuckled into you. He dug deeper then. His tongue swirled in circles until he landed right inside you. He felt your walls contract around the tip of his tongue, and he pictured it around his cock instead. Not yet though. He wanted you to come first.

“Dan…Dan, I’m…fuck…” you said after a time. Dan went faster.

Your orgasm came in one large wave. He felt your come spray onto his tongue and mouth as he fucked you. Dan lapped up as much as he could. You tasted wonderful. Bitter but a hint of sweetness like hard sour candy.

“Dan, fuck me. Please fuck me.”

“I just did, baby,” he teased in a smirk, kissing your dripping sex.

“You know what I mean,” you panted. “I want your cock in me. You know how much I love it.”

Oh yes he did. Dan hovered over you on his hands keeping his propped up. He wasted no time in the eagerness. He slide right into you and felt instant relief. Your moan was enough for him. He loved pleasing you. He thrust his hips to yours in slow, deliberate thrusts. He could feel your pussy clamp around him once more, clenching and unclenching like your hand or your mouth.

“Fuck,” he breathed. “You like it when I…when I wake you up like this? Huh”

“Oh yes I do” you answered in a groan. Your hip began pushing back into his. “Waking me up because you’re a horny fuck.”

He grinned, “I was just hungry…”

You gave a breathy laugh. He saw the bites faded around your neck. Most likely from last night, they still excited him. He wanted to recreate that night. He began thrusting harder and faster. His bed even banged against the wall, and moans mixed together like a symphony. Your hands gripped his shoulders. He groaned when your nails dug into his skin.

“Yes, just like…like…like that, you naughty girl.” He repositioned himself in a different angle, lifting your knees over his shoulders.

“Fuck Dan! Fuck just like that!”

He was gonna fuck you into the mattress if he could. Dan felt sweat begin to pool on his back, and bead along his forehead. His muscles constricted to the tight pleasure now pouring down into his cock. He picked up his pace. He saw you grip the sheets under you, your head begin to tilt back and your back arch. He could feel it coming. It was a storm brewing and would crash down hard on you both.

You cried out his name repeatedly. Your nails raked down his arms, and you tried getting as much pleasure as you could from him. His own orgasm came down hard. His cock spilled all he had right inside you. It felt like a lifetime before he finally climbed down from his high.

“And what brought on this, I wonder?” You inquired in a smile.

“Just hungry, that’s all,” Dan responded.

You shared a laugh as he brought you closer to him.

END.