natural motif

Hozier is Edgar Allan Poe

I know it sounds a little crazy on the surface, but really think about it for a minute and you’ll see how exactly 100% correct I am.

First, consider the following themes and motifs: magic, nature, grief, sin, love, death, death, death, the subversion of everything you thought you knew. Consider the tenuous thread connecting love and joy. Consider the stronger thread connecting love and sadness. 

Consider how both Hozier and Poe understand your innermost feelings in exactly the right way. Consider being twelve years old and reading “Annabel Lee” and crying, and being nineteen years old and listening to “Work Song” and crying, and feeling a strange familiarity. 

Consider also the following quotes (italicized is Hozier, bolded is Poe, not that it matters, because they’re the same): 

  • the way she shows me I’m hers and she is mine 
  • all I loved, I loved alone
  • honey don’t feed it; it will come back
  • deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dream no mortal ever dared to dream before
  • offer me that deathless death; good God, let me give you my life
  • sleep, those little slices of death
  • only blue or black days
  • years of love have been forgot in the hatred of a minute
  • there’s something wretched about this, something so precious about this; oh, what a sin
  • invisible things are the only realities
  • I had a thought, dear, however scary, about that night, the bugs and the dirt / why were you digging, what did you bury, before those hands pulled me from the earth?
  • deep in earth my love is lying, and I must weep alone
  • when my time comes around, lay me gently in the cold dark earth / no grave can hold my body down, I’ll crawl home to her
  • neither the angels in heaven above nor the demons down under the sea can ever dissever my soul from the soul of the beautiful Annabel Lee
  • the blood is rare and sweet as cherry wine
  • this is a world of sweets and sours

I could go on, but I think I’ve made my case. Hozier is Edgar Allan Poe - reincarnated? Immortal with some cosmetic alterations? Possessed by his ghost? We may never know. All we know for certain is that Poezier’s dark influence is too powerful and I hope there’s not more than two of him.

Anonymous said:

My favorite novels encourage readers to read between the lines. But when I try to write like that, beta readers get entirely the wrong idea, or frustrated enough to throw the story away. How do you properly infer something without spelling it out? Or should I just use an omniscient narrator that tells the reader what the clues are and what they add up to?

This is a difficult thing to define, because “reading between the lines” can mean a lot of things with fiction. Literature classes teach us to do this, and we learn about wordplay, foreshadowing, theme, motifs, and symbolism, and we’re taught how to interpret these things so that we can better understand what we’re reading. What’s funny about that, though, is that you’ll go on to discover that the author never intended for those things to be interpreted that way. These things either came about naturally or people are seeing what they want to see. So, I think this type of “reading between the lines” is not something you should think too hard about as a writer. Don’t force it. If a natural symbol, theme, motif–whatever–comes about as you are writing, definitely run with it, but don’t ram it down anyone’s throat. It’s better that a reader not see it than for it to be obvious.

When it comes to “reading between the lines” with things like clues and foreshadowing, though, there’s a delicate balance that must be achieved. Let’s say you’re writing a murder mystery, and you’re trying to deflect suspicion away from the real killer. That’s great and all, but there still have to be subtle clues that point to the real killer. Otherwise you’re cheating. When the killer is revealed, the reader needs to be able to think back to all the clues that pointed their way, even if they didn’t realize it at the time. You want those kinds of clues to be subtle in the moment but obvious in retrospect. If the narrator bludgeons the reader with the clue–HEY! LOOK AT THESE MUDDY SHOE PRINTS TED IS LEAVING! LOOK AT THEM! LOOK AT THEM! WHERE WAS HE? WHY WAS HE SOMEPLACE MUDDY WHEN HE WAS SUPPOSED TO BE AT THE OFFICE? THIS IS SUSPICIOUS! LOOK AT THEM!!!!–the reader is going to suspect Ted of being the murderer, and may figure it out well before the big reveal. That ruins the fun. But, on the other hand, you don’t want to gloss over it. Ted reached down to wipe a smudge of dirt off the top of his shoe and said, “I’m late for my meeting. Let’s go.”  A smudge of dirt on the top of his shoe is nothing. When Ted is revealed to be the killer, no one will remember the smudge of dirt and think, “Yes! That must have happened when he buried the body.” Instead, you want to make it more obvious while making it seem like no big deal. 

The sole of Ted’s shoes were encrusted with mud, probably from having to park in the unpaved satellite lot this morning. “Did you get stuck in Z-Lot today?” 

He looks at me for a moment, a blank, blinking stare. “Oh–yeah,” he says finally. “And, of course it rained last night,” he adds, gesturing to the mud on his shoes.

This makes the mud suspicious for a moment, but then explains it away. Later, the MC can see Ted’s car in the main lot, so the MC can think, “He must have gone out to move it at lunch.” And that’s that. But, later on, when clues and lies and things start to stack up, and we find out Ted is the real killer and he stalked across a muddy field that morning after hiding the body, then the MC and the reader can think, “So THAT’S why his shoes were muddy.”

Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

The Day and Night AU reference compilation

To be updated as I find fabrics and with my outfit breakdowns, etc. 

Debut: Otakon 2017 or Winter 2017 (tentative)

So I fell in love with @beanpots Viktuuri Au where they’re Day and Night and I asked if I could take their art and make it. I just checked and saw that a few days ago? they gave me permission (and posted outfit designs for Otabek, Yuri, and Pichit!) I’m really excited for this, like it’s ridiculous how excited I am. But this will be my run of references, notes and thoughts as I start planning the outfit. So feel free to skip, I’ll be posting WIPs as soon as I start making the outfits.


Gold/bronze braid -  appears military grade. study dad’s old uniform, see where it can be purchased, find design and braid self? Think more on this.

Cape - learn how to ombre dye fabric, pale blue to royal blue/pale yellow to orange. Soft fabric, fleece or fur?

Crown - seven (7) points, same gold/bronze as braiding/metal detailing. further detailing to be decided

Man dress - either find a matrix pattern or cut at knee length and pair with boots and pants? lined in white. turned up cuffs? Cuff edged in gold braid, white lining visible. Buttons for ease. 

Detailing -  cape chain is darker metal, standing collar. Peacoat type closure? Shoulder boards need some thought. Is a nod to the British royal family military uniforms. Braid does NOT go behind shoulder


Cape - lined in pale gray. high collar, should be freestanding. Slight ombre from top to bottom. Hand paint stars, constellations and galaxies?

Bottom - empire/high waisted, tied with cord. Navy/midnight colored fabric under mesh with stars. Hand paint stars for ombre, add crystals for extra glam. Decorative tie in back?

Top - Leotard base, covers back of hand, middle finger loops to keep this length in place. Wide neck overlayer. Long kimono sleeves.

Crown - constellations or random stars. wire and light string (more thought needed)

Detailing - choker out of velvet with interchangeable moon focal pieces (references somewhere on hard drive)


Cape - ombre, mix of Viktor’s colors to Yuuri’s lighter blue. Attached at shoulderboards (more thought needed for this). Lined int pale pink to orange ombre. 

Dress - Simple floor length design, bishop sleeves with simple cuff (buttoned on side for ease). fitted through torso. simple round neck or collared v neck? Where skirt starts at waist slight ombre from orange color of inner cape to pale pink. Midweight cotton?

Vest/waist coat - Same color as the bottom of his outer cape, simple closure along front. v neck. cape part of vest? collar attached for structural support?

Detailing - shoulder boards are done in the same color as Viktor’s metal detailing. Pin appears polished and brighter, gold braided rope. through shoulder board fixment. Navy/midnight blue of  Yuuri’s top as sash.

** Keep undergarments light as possible to avoid overheating with the layers.

** Capes should be midweight

** Look into fabric detailing and keep it natural, vines/leaves for Viktor and Yuri. Dark on dark detailing on Yuuri but still natural motifs. 

heyo! i’ve done some more zestiria world guidance translations, this time of the world timeline page. it includes the names of the eras, their timespan (some don’t have one), and main details about the events of that era. the page had the ‘main events’ column, and then another column out to the side for most of them with more details about it, so i’ve separated those with “//”. i only know a few of the localized terms for these names, so most of these are translated straight from the japanese version. if you know any of the localized terms for these things, feel free to pm me them and i’ll fix it!

also please be aware this contains major spoilers, so don’t read this unless you’ve finished the entire game. it’s under the cut!

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Lady Smallwood fussed at the bodice of the gown. “Now you look a proper young lady.”

I’m not a lady, Arya wanted to tell her, I’m a wolf.

“You are very beautiful, my lady,” the seamstress said when she was dressed.

“I am, aren’t I?” Sansa giggled, and spun, her skirts swirling around her. “Oh, I am.”

solarpunk and dance

Well, here it is, my first big long theory post- typed up in the few minutes I have before I go to my own dance class~

So! In a solarpunk society, a lot of emphasis would be placed on fine arts, like dance, music, painting, etc. Probably everyone would be able to do at least a little bit of something, even if it was only hand-making pottery or painting a mural onto one of the walls of their room. 

One of my personal favorite concepts is the idea of a big, public (well… like a lot of museums, you could go for free but you’re really encouraged to donate to keep the place in business) auditorium! And yes, in my solarpunk reality money is still a thing, because it’s going to take a lot to get rid of money.

The auditorium would have a gorgeous stained glass ceiling over the stage, and seats stretching almost straight up around the central well. High ceilings, lots of embroidered curtains on the walls. I picture the ceiling looking something like the dome on the Ursuline Institute’s wintertuin.

In the daytime, there would be multicultural music events, and maybe some scheduled open mic times throughout the day for people to present their own poetry and music. The light from the stained glass would color the performers and scatter over the people in the first few rows of the audience.

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64 days in heaven and hell (102)
Day 17, November 8
Gauguin had started his vineyard work a few days earlier. 

At the moment he’s working on some women in a vineyard, entirely from memory, but if he doesn’t spoil it or leave it there unfinished it will be very fine and very strange. (Letter 717 to Theo, November 3, 1888)

‘Working from memory’ for Gauguin didn’t mean that he wanted to reproduce what he had seen in any exact way. He worked from memory ànd imagination, rather than from motifs in nature as did Van Gogh. E.g.: in the case of ‘Human Misery’, he claimed that he had depicted the people in the vineyard in Arles as breton peasants and that the figure at the left was a woman from Le Pouldu in Brittany.  And the girl in the middle? Well she resembles the girl in the still life a lot, don’t you think?

Paul Gauguin, Misères humaines (Human Misery), c. November 3-11, 1888. Oil on burlap, 73 x 93 cm. Ordrupgaard, Copenhagen, Denmark
Paul Gauguin, Nature morte aux fruits (Still Life with Fruit), 1888. Oil on canvas, 43 x 58 cm. Pushkin Museum, Moscow

Vincent van Gogh
Lilac Bush

This marvelous work was painted at Saint-Remy, where the artist was undergoing treatment. Van Gogh depicted a lilac bush in the hospital gardens, the broken, separate brushstrokes and vibrant forms recalling the lessons of Impressionism, yet with a spatial dynamism unknown to the Impressionists.

This bush is full of powerful, vivid energy, and dramatic expression; the modest natural motif is transformed by the master’s temperament and the brilliance of his emotions. Embodied here in this fragment of an overgrown garden, we find all of nature’s life-giving forces.

In rejecting Impressionism, Van Gogh created a new artistic language, expressing his own romantic, passionate, and deeply dramatic perception of the world.

anonymous asked:

Which stories from Greek Mythology remind you of Arya?

tbh im a greek mythology rookie lol esp compared to a lot of people around here but ive been getting into more seriously these days. and my favorite thing is to connect things to arya so 

THE ODYSSEY: i’ve already talked about this a lot so i’ll try to keep it brief but this is the ultimate greek myth for arya bc you can actually tell grrm was influenced by it. unsurprisingly since its the archetypal hero’s quest. the odyssey is an epic tale of one solider’s long journey home after war. arya and odysseus face similar challenges but survive using their wits. they are taken prisoner multiple times while slowly losing all their companions. they fall into hopelessness at times but odysseus eventually made it home. and arya will too.

ANTIGONE:  i wouldn’t be surprised if there were intentional nods to antigone in arya’s storyline too. especially on the trident; where arya rebels against the crown by striking the prince just like antigone did when she buried her brother. both are fiercely loyal, determined, and brave. they refuse to let gender roles restrict them.

THE UNDERWORLD: ok so i don’t necessarily have a specific story in mind here but the house of black and white is very much supposed to be a sort of underworld. the atmosphere alone is very reminiscent. it’s where people go to die or to pray for death. the faceless men give the gift to those who are selected. it sort of feels like an inbetween place where people are prepared for the afterlife. which has a lot of potential effects on arya. its not uncommon for heroes (ie: odysseus) to journey to hell, its actually a trope too, but its usually more difficult getting out then in. but you come out a lot stronger too.

NEMESIS: often portrayed with a sword or dagger in hand, she delivers divine retribution against evil deeds. what really reminds me of arya is how the original myth of nemesis would deliver the punishment deserved in accordance for ones actions. arya often throws her enemies words back at them to remind them of their crimes before she kills them. nemesis was often called upon to deliver justice when themis (goddess of law and order) failed too. which is what motivates arya. she watched crimes go unpunished by the state and the gods so she takes matters into her own hands.

ARTEMIS: goddess of the wilderness, animals and a protector of young girls, she’s my favorite goddess for arya. she has a strong nature motif in her storyline and she’s connected to many animals. esp bc of her skinchanger status. artemis was also associated with dryads, oak tree nymphs. she was fiercely protective of her mothers reputation as well. she could be quite ruthless and vengeful  

+ACTAEON: he was a young hunter who stumbled upon artemis while she was bathing. in a fury she turned him into a stag and his own hound tear him apart.  i saved this one for last because it hasn’t actually happened. yet. but i really want it to lol. with a twist of course. ramsay is notorious for hunting women with his dogs. i would love nothing more than for arya to turn the tables on him (like she does ^^^) and have ramsay run from either his own hounds or a pack of wolves and be teared apart. sorry boys but SnowBall aint gonna cut it for me


I really love the costume designers and what they do with the different characters at significant moments.

Whenever Dottie is interacting with Peggy, her clothes are neutral and staid. She’s buttoned up to the collar. She has floral patterns. She’s feminine and harmless. It could also be seen as her camouflage, based on the colours and the use of natural motifs.

The moment she goes to work though, she’s in red, which is the symbolic colour of Russia. The bland disguise has been cast off. She’s showing her true colours. But more significantly, the red overlays white. Symbolically, the Soviet red is wrapped around the innocent white. The Soviet colours are enclosing the innocent child she was before. 

There are hints of red in her everyday-wear - look at the flower pattern and her nails. Plus, red is a bold colour. Peggy wears red and we all know what she’s like. The bold colours on a meek little thing like Dottie seem out of place. Somewhere underneath the lamb’s wool, there’s a wolf.


Bringing Nature to Life on Ceramics with @niharikahukku

To see more photos and videos of Niharika’s ceramics and paintings, follow @niharikahukku on Instagram.

“For me, to create form and function out of what is essentially mud was magical,” says Sydney-based artist Niharika Hukku (@niharikahukku). With a background in painting, Niharika started out her career as a commercial illustrator, but later decided to pivot into the field of pottery making. “I always felt a pull towards ceramics,” Niharika says. “I wanted to do something that was personal and organic.”

Now she devotes her time and creative energy to producing porcelain and other ceramic items, which has also allowed her to revisit her painting roots. “While I work all day and into the night, I work at a languid pace relishing in my surroundings, tools, materials and books,” she says. Her workspaces include a garage studio for wheeling and shaping the ceramics and a sun-drenched painting room where they are further enhanced with nature-inspired motifs. For Niharika, her pottery is a way to bring extraordinary ideas to life — like cupping the moon in her hands or catching the clouds in a vessel. “My work is an expression of what I find elegant and beautiful with inspiration seeded in my observations in nature.”

For The First Time

For Klaine Advent day six: fan + Cheesy Hallmark movie summary at the end this time, because it kinda spoils it. 

(This one is R, where Hallmark doesn’t dare go.)

“I’m a big fan of your work.” Blaine admits this before his date, Kurt, Kurt, perfect swoop of chestnut hair, leanly muscled, hard lines of jaw and cheekbones and legs and narrow hips. His smile is wry, his eyes speckled with the glow of the oil lamp between them on the table.

The restaurant noise fades to a meaningless din around them, just him and Kurt, and Blaine has to curl his twitching fingers into his palms so he won’t reach out and touch and hold and never let go. He wants. So much.

“Is that so?” Kurt says, his own fingers busy setting and resetting the flatware. “How long have you been following my work, Blaine?”

Blaine is unashamed to answer, “About fifteen years now. Or longer, if you count before.”

“Before,” Kurt says. Not a question, fork and spoon and knife lined just right.

Blaine’s mouth ticks up. “Before.”

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anonymous asked:

Is there a different between witchcraft and wicca? Is wicca a subgenre or is wicca just another name for witchcraft? Thanks :)

Hello, there actually is a difference between the two. And i think the best way is if I quote Scott Cunningham himself, with his descriptions of what each is:

Wicca is a contemporary pagan religion with spiritual roots in shamanism and the earliest expressions of reverence of nature. Among its major motifs are: reverence for the Goddess and the God; reincarnation; magic; ritual observances of the full moon, astronomical and agricultural phenomena; spheroid temples, created with person power, in with ritual occur.

Witchcraft is the craft of the Witch - magic, especially  magic utilizing personal power in conjunction with the energies within stones, herbs, colors and other natural objects. While this may have spiritual overtones, Witchcraft is not a religion. Some followers of Wicca use this word to denote their religion however.

Witch, anciently, is a European practitioner of the remnants of pre-Christian fold magic, particularly that relating to herbs, healing, wells, rivers, and stones. one who practices Witchcraft. Later, this term’s meaning was deliberately altered to denote demented, dangerous, supernatural beings who practiced destructive magic and who threatened Christianity. This change was a political, monetary, and sexist move on the part of organized religion, not a change in the practices of Witches. This later, erroneous meaning is still accepted by many non-Witches. It is also, somewhat surprisingly, used by some members of Wicca to describe themselves.

So in the end, it is all up to what you believe you are. You can be Wiccan but not believe in a deity; or you can call yourself a Witch and follow the Wiccan yearly rituals. There are no solid set rules, unless you join a coven, so do what feels right in your soul.