present tense

Korean Verbs: Present Tense

Group 3: 아 and 오  verbs without an ending consonant

      If a verb stem ends with an 아 or 오 and doesn’t have an ending consonant all you need to do is add 요

For example: “Got7 앨범은 비싸다” → “Got7 앨범은 비싸요” “BTS albums are expensive”

Here’s a few more examples:

사다 → 사요 to buy:  Got7뱀뱀은 많이 옷을 사다요 (Got7’s bambam buys a lot)

만아다 → 만아요 to meet:  Got7와 BTS는 서로 만난요 (Got7 and BTS meet each other)

자다 → 자요 to sleep 잭슨 과 마그 함께 잠을 자요 (jackson and Mark Sleep togher) lol

youtube

Radiohead - Present Tense

Noi non viviamo mai nel presente. Anticipiamo il futuro, troppo lento ad arrivare, come per affrettarne il corso, o ricordiamo il passato, troppo rapido nel passare, come per fermarlo. Vaghiamo, imprudenti, in tempi che non ci appartengono e non pensiamo affatto al solo che ci appartiene; vanamente preoccupati di quelli che non sono che un nulla, senza riflettere fuggiamo l’unico tempo che abbia realtà. È che il presente per lo più ci ferisce. Lo nascondiamo alla nostra vista perché ci fa star male e se è piacevole è allora spiacevole vederlo passare. Tentiamo di farlo durare verso il futuro e ci preoccupiamo di predisporre cose che non sono affatto sotto il nostro controllo perché sono in un tempo – il futuro – che non siamo affatto sicuri di riuscire a vivere.
Ciascuno esamini i propri pensieri. Li troverà tutti diretti verso il passato o verso il futuro. Non pensiamo quasi affatto al presente, e se lo facciamo è solo per trarne lumi per organizzare il futuro. Il presente non è mai il nostro scopo. Così non viviamo mai, ma aspettiamo di vivere, e preparandoci sempre ad essere felici finiamo per non esserlo mai.

Blaise Pascal

THIS IS A LOT OF INFO, NO ONE EXPECTS YOU TO LEARN IT ALL AT ONCE. There are heaps of other irregular verbs, but this isn’t a bad list. Remember this is a Master Post so don’t get freaked out by the quantity of information. This is more for reference as you are learning.
WHAT YOU SHOULD KNOW/TAKE AWAY FROM THIS:

-Learn the regular conjugations of -ER (e, es, e, ons, ez, ent), -IR (is, is, it, issons, issez, issent) and -RE verbs (s, s, nothing, ons, ez, ent)

-Learn these common irregular verbs by heart in the present tense: aller, avoir, dire, être, faire, pouvoir, savoir, vouloir, voir, prendre, mettre, tenir, venir, manger, appeler etc. 

NOTE: I know that not all of these irregular verbs are listed, but I will eventually add them when I have regained the will to live

WHO?

YOU!

WHAT?

You know what.

——————————————————————————————-

WHEN?/WHERE? aka USES of the present tense

- For things that you are currently doing/feeling:

Je marche dans la rue - I walk/am walking down (in) the street

Je suis fatigué(e) - I am tired

- For things that you usually do:

Je vais au parc tous les samedis - I go to the park every Saturday

Words associated with frequency of actions:

souvent (often)/chaque (every)/tous les + day of the week (every…)/toujours (always)/parfois (sometimes)/quelquefois (sometimes)/d’habitude (usually)

- For things that will happen in the immediate future

Il arrive ! - He’s coming

-For absolute/undeniable truths

La terre est ronde - the Earth is round

-To use during an analysis

Dans Le Père Goriot, Balzac peint un amour paternel passionné. (From Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

-For si clauses

Si je peux, je viendrai

-For descriptions

Les fenêtres donnent sur la rive de la Seine (the windows look out to the banks of the Seine)

HOW?

Aka how to conjugate verbs in the present tense:

——————————————————————————————-

-ER Verbs - FUN FACT(S)! 

-They are the largest category of French verbs - over 80% of French verbs end in ER, but many everyday verbs are irregular

-15% of ER verbs have spelling changes

CONJUGATING REGULAR -ER VERBS: model verb- parler (to speak)

Je parle 

Tu parles

Il/Elle/On parle

Nous parlons

Vous parlez

Ils/Elles parlent (BEWARE!!!! The -ent is silent, it is pronounced like parle)

Overview: regular er verb endings - e/es/e/ons/ez/ent

CONJUGATING IRREGULAR -ER VERBS: 

Aller (very irregular but very important *tears* - there’s no rhyme or reason, you just have to learn it)

Je vais

Tu vas

Il/Elle/On va

Nous allons (regular ending <3)

Vous allez (regular ending <3)

Ils/Elles vont


CONJUGATING -GER VERBS: model verb- manger

There is a spelling change in -GER verbs to maintain the sound of the verb

other -GER verbs: bouger, changer, charger, diriger, interroger, loger, mélanger, nager, obliger, partager, protéger, ranger etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

Je mange

Tu manges

Il/Elle/On mange

Nous mangeons - the e is added to keep the ‘zh’ sound that the ‘g’ makes

Vous mangez

Ils/Elles mangent


CONJUGATING -CER VERBS: model verb- commencer 

other -CER verbs: avancer, annoncer, forcer, lancer, placer, renoncer etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

Je commence

Tu commences

Il/Elle/On commence

Nous commençons - the cedilla is added to keep the c soft

Vous commencez

Ils/Elles commencent


CONJUGATING -ELER and -ETER verbs: model verb- appeler and jeter

other -ELER and -ETER verbs: épeler, étinceler, ruisseler, renouveler etc.//feuilleter, cacheter etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

J’appelle

Tu appelles

Il/Elle/On appelle

Nous appelons (regular ending <3)

Vous appelez (regular ending <3)

Ils/Elles appellent 


Je jette

Tu jettes

Il/Elle/On jette

Nous jetons (regular ending <3)

Vous jetez (regular ending <3)

Ils/Elles jettent

SPECIAL CASES FOR PREVIOUS VERBS: model verb- acheter

other verbs like this: geler, haleter, peler etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

The consonant isn’t doubled, rather an accent grave (è) is put on the e

J’achète

Tu achètes 

Il/Elle/On achète

Nous achetons

Vous achetez

Ils/Elles achètent


CONJUGATING -OYER, -UYER AND -AYER VERBS: model verb- envoyer

Other -OYER, -UYER AND -AYER verbs: employer, noyer, tutoyer etc.

appuyer, ennuyer, essuyer etc.

balayer, effrayer, essayer, payer etc. NOTE: -AYER verbs can use both -aie and -aye conjugations e.g. je paie AND je paye

(list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

J’envoie

Tu envoies

Il/Elle/On envoie

Nous envoyons

Vous envoyez

Ils/Elles envoient

——————————————————————————————-

CONJUGATING REGULAR -IR VERBS: model verb- finir

Je finis

Tu finis

Il/Elle/On finit

Nous finissons

Vous finissez

Ils/Elles finissent

OVERVIEW: regular -IR verbs end with: is, is, it, issons, issez, issent

CONJUGATING IRREGULAR -IR VERBS: model verbs: VOULOIR, SAVOIR, MOURIR, FALLOIR, acquérir, apercevoir and s’asseoir

other verbs like vouloir: pouvoir, valoir

Je veux

Tu veux

Il/Elle/On veut

Nous voulons

Vous voulez

Ils/Elles veulent


Je sais

Tu sais

Il/Elle/On sait

Nous savons

Vous

Ils/Elles


Je meurs

Tu meurs

Il/Elle/On meurt

Nous mourons

Vous mourez

Ils/Elles meurent


Il faut - this is an important verb, it means one must/you need to

other verbs like acquérir: conquérir, requérir, s’enquérir (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

J’acquiers 

Tu acquiers

Il/Elle/On acquiert

Nous acquérons 

Vous acquérez 

Ils/Elles acquièrent 


other verbs like apercevoir: concevoir, décevoir, percevoir, recevoir (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)

J’aperçois

Tu aperçois

Il/Elle/On aperçoit

Nous apercevons 

Vous apercevez

Ils/Elles aperçoivent


Je m’assieds/m’assois

Tu t’assieds/t’assois

Il/Elle/On s’assied/s’assoit

Nous nous asseyons/assoyons

Vous vous asseyez/assoyez

Ils/Elles s’asseyent/s’assoient

NOTE: I think you can use whichever form you like. I prefer the second, however to a guest or a student I would say assieds-toi (sit down)/asseyez-vous (sit down [formal]). 

CONJUGATING IRREGULAR -ILLIR VERBS: model verb- cueillir

other -ILLIR verbs: recueilir, accueillir etc.

Je cueille

Tu cueilles

Il/Elle/On cueille

Nous cueillons

Vous cueillez

Ils/Elles cueillent

——————————————————————————————-

CONJUGATING REGULAR -RE VERBS: model verb- attendre (to wait [for])

(Regular -RE verbs are a very small group)

J’attends

Tu attends

Il/Elle/On attend

Nous attendons

Vous attendez

Ils/Elles attendent

OVERVIEW: regular -RE verbs end in: s, s, nothing, ons, ez, ent


CONJUGATING IRREGULAR -RE VERBS: model verbs: FAIRE

Je fais

Tu fais

Il/Elle/On fait

Nous faisons

Vous faîtes

Ils/Elles font


CONJUGATION IRREGULAR VERB ÊTRE (TO BE) ********** vvvvvvvv important

Je suis

Tu es

Il/Elle/On est

Nous sommes

Vous êtes

Ils/Elles sont


CONJUGATING IRREGULAR -PRENDRE VERBS: model verb- prendre

other -PRENDRE verbs: appendre, comprendre, entreprendre, s’éprendre, se méprendre, surprendre etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Teyssier)


Je prends

Tu prends

Il/Elle/On prend

Nous prenons

Vous prenez

Ils/Elles prennent


CONJUGATION IRREGULAR -URE VERBS: model verb- conclure

other -URE verbs: exclure, inclure etc.

Je conclus

Tu conclus

Il/Elle/On conclut

Nous concluons

Vous concluez

Ils/Elles concluent


CONJUGATING IRREGULAR -UIRE VERBS: model verb- conduire

other -UIRE verbs: construire, cuire, déduire, détruire, enduire, induire, instruire, introduire, produire, réduire, séduire, traduire, luire, nuire etc. (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Tessier)

Je conduis

Tu conduis

Il/Elle/On conduit

Nous conduisons

Vous conduisez

Ils/Elles conduisez


CONJUGATING IRREGULAR -AINDRE VERBS: model verb- craindre

Other -AINDRE verbs: plaindre, contraindre

Je crains

Tu crains

Il/Elle/On craint

Nous craignons

Vous craignez

Ils/Elles craignent 


CONJUGATING IRREGULAR -EINDRE VERBS: model verb- peindre

other -EINDRE verbs: atteindre, ceindre, enfreindre, éteindre, étreindre, restreindre, teindre (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Tessier)

Je peins

Tu peins

Il/Elle/On peint

Nous peignons

Vous peignez

Ils/Elles peignent


CONJUGATING IRREGULAR -RIRE VERBS: model verb- écrire

other -RIRE verbs: décrire, inscrire, prescrire, transcrire (list from Nouvelle Grammaire du Français by Y. Delatour, D. Jennepin, M. Léon-Dufour, B. Tessier)

J’écris

Tu écris

Il/Elle/On écrit

Nous écrivons

Vous écrivez

Ils/Elles écrivent

10

“I won’t turn ‘round or the penny drops. I won’t stop now, won’t slack off or all this love will be in vain. To stop from falling. Down a mine. It’s no-one’s business but mine. Where all this love has been in vain. In you i’m lost, in you i’m lost.” Radiohead - Present Tense

3

#VeilDeservesBetter

Uh, I had a thought to share. Typing it out made it grow. Oops.


GAMES

Prowl loves a good strategy game. As a matter of fact, he’s consistently in the top scoring position on the most difficult strategy games available in Teletraan I′s vast collection.

Then he’s out of contact for a week or so on a mission, diplomatic in nature, uneventful but necessary, and unable to play. When he returns, he settles in that evening to wind down with a round or two of his favorite game. His shock is tremendous when he discovers his name replaced in the coveted top spot by none other than Sideswipe, a mech who only started playing shortly after Prowl left on that mission. A quick check shows even his most obscure game preferences have his name bumped down into the number two slot, all of them under Sideswipe.

Is this a glitch? Have the games been hacked? Or is Sideswipe somehow in possession of a much keener strategic mind than anyone ever gave him credit for?

Keep reading

thevikingwoman  asked:

For DWC - welcome :) : Spiral, sky

For: @dadrunkwriting
Characters: Solas x F!Inquisitor
Setting: Post DA:4
Rating: E
Words: ~400


She awakes to a green sky.

Pulse racing, she jolts upright with a gasp, palms already clammy. In her state of not-quite-wakefulness, she scans for that ominously-expanding spiral she is fate-bound to by her palm. But the Breach is not there. Not anymore. 

Neither is her palm, she thinks with a dry chuckle. She spares a glance down at the space where her hand had once resided, as if to confirm. She could have had that back, too, but she preferred some things remain unchanging.

With a gentle groan, she stretches the stiffness of slumber from her muscles, reaching upward, arching, and twisting, sighing with relief as she releases each motion. Gradually, it helps clear the fog from her mind. 

She focuses on the sky again. It is not exactly as it was during the time of the Breach. It is calmer, the green less severe. Perhaps only because she wills it so. 

She has never shied away from power, but she does not exactly hunger for it, either. The malleability of everything makes the balance of it all seem fragile, like a canvas full of paint that will never dry. 

Of course, that meant one could just change it all back with equal ease, but one always risked the correction not being as good as the original. 

Solas. He is out in the terrace below, guiding elven, human, dwarven, and qunari children alike through the lessons of their shared history the Fade has to offer. There was no need to dream to access them, now: he could ask it of the spirits, and they would rush to reenact the scenes of the past all around them.

Now that is someone who knows a thing or two about bad corrections, she smirks. She rises to descend the stairs, bare feet pleasantly warm on the smooth, white stone. 

He stops his lesson abruptly at the sight of her, his smile all the more radiant for the years it took to see it again. There is no dearth of time any longer, but he treats her presence as a rare gift nevertheless.

He cups her face between his hands, a gesture she can tell is still rooted in blissful disbelief: she is real, she is here, and despite all the odds, she actually found a way.

theguardian.com
Ten things I learned about writing from Stephen King
The novelist James Smythe, who has been analysing the work of Stephen King for the Guardian since 2012, on the lessons he has drawn from the master of horror fiction
By James Smythe

Stephen King is an All-Time Great, arguably one of the most popular novelists the world has ever seen. And there’s a good chance that he’s inspired more people to start writing than any other living writer. So, as the Guardian and King’s UK publisher Hodder launch a short story competition – to be judged by the master himself – here are the ten most important lessons to learn from his work.

1. Write whatever the hell you like

King might be best known – or, rather, best regarded – as a writer of horror novels, but really, his back catalogue is crammed with every genre you can think of. There are thrillers (Misery, Gerald’s Game), literary novels (Bag Of Bones, Different Seasons), crime procedurals (Mr Mercedes), apocalypse narratives (The Stand), fantasy (Eyes Of The Dragon, The Dark Tower series) … He’s even written what I think of as being one of the greatest Young Adult novels of all time: The Long Walk. Perhaps the only genre or audience he hasn’t really touched so far is comedy, but most of his work features moments that show his deft touch with humour. It’s clear that King does what he wants, when he wants, and his constant readers – the term he calls his, well, constant readers – will follow him wherever he goes.

2. The scariest thing isn’t necessarily what’s underneath the bed

Horror is a curious thing. What scares one person won’t necessarily scare another. And while there might be moments in his horror novels that tread towards the more conventional ideas of what some find terrifying, for the most part, the truly scary aspects are those that deal with humanity itself. Ghosts drive people to madness, telekinetic girls destroy whole towns with their powers, clowns … well, clowns are just bloody terrifying full stop. But the true crux of King’s ability to scare is finding the thing that his readers are actually worried about, and bringing that to the fore. If you’re writing horror, don’t just think about what goes bump in the night; think about what that bump might drive people to do afterwards.

3. Don’t be scared of transparency

One of my favourite things about King’s short story collections are the little notes about each tale that he puts into the text. The history of them, the context for the idea, how the writing process actually worked. They’re not only invaluable material for aspiring writers – because exactly how many drafts does it take to reach a decent story? King knows! – but they’re also brilliant nuggets of insight into King himself. Some people might think that it’s better off knowing nothing about authors when they read their work, but for King, his heart is on his sleeve. In his latest collection, The Bazaar of Broken Dreams, King gets more in-depth than ever, talking about what inspired the stories in such an honest way that it couldn’t have come from another writer’s pen. Which brings us to …

4. Write what you know. Sort of. Sometimes

Write what you know is the most common writing tip you’ll find anywhere. It’s nonsense, really, because if we all did that we’d end up with terribly boring novels about writers staring out of windows waiting for inspiration to hit. (If you like those, incidentally, head straight for the literary fiction section of your nearest bookshop.) But King understands that experience is something which can be channelled into your work, and should be at every opportunity. Aspects of his life – addiction, teaching, his near-fatal car accident, rock and roll, ageing – have cropped up in his work over and over, in ways that aren’t always obvious, but often help to drive the story. That’s something every writer can use, because it’s through these truths that real emotions can be writ large on the page.

5. Aim big. Or small

King’s written some mammoth books, and they’re often about mammoth things. The Stand takes readers into an apocalypse, with every stage of it laid out on the page until the final fantastical showdown. It deals with a horror that hits a group of characters twice in their lives, showing us how years and years of experience can change people. And The Dark Tower is a seven (or eight, or more, if you count the short stories set in its world) part series that takes in so many different genres of writing it’s dizzying. When he needs to, King aims really big, and sometimes that’s what you have to do to tell a story. At the other end of the spectrum, some of King’s most enduring stories – Rita Hayworth & Shawshank Redemption, The Mist – have come from his shorter works. He traps small groups of characters in single locations and lets the story play out how it will. The length of the story you’re telling should dictate the size of the book. Doesn’t matter if it’s forty thousand words or two hundred, King doesn’t waste a word.

6. Write all the time. And write a lot

King’s published – wait for it – 55 novels, 11 collections of stories, 5 non-fiction works, 7 novellas and 9 assorted other pieces (including illustrated works and comic books). That’s over a period of 41 years. That’s an average of two books a year. Which is, I must admit, a pretty giddying amount. That’s years of reading (or rereading, if you’re as foolishly in awe of him as I am). But he’s barely stopped for breath. This year has seen three books published by him, which makes me feel a little ashamed. Still, at my current rate of writing, I might catch up with him sometime next century. And while not every book has found the same critical and commercial success, they’ve all got their fans.

7. Voice is just as important as content

King’s a writer who understands that a story needs to begin before it’s actually told. It begins in the voice of the novel: is it first person, or third? Is it past or present tense? Is it told through multiple narrators, or just the one? He’s a master at understanding exactly why each story is told the way it’s told. Sure, he might dress it up as something simple – the story finding the voice it needs, or vice versa – but through his books you can see that he’s tried pretty much everything, and can see why each voice worked with the story he was telling.

8. And Form is just as important as voice

King isn’t really thought of as an experimental novelist, which is grossly unfair. Some of King’s more daring novels have taken on really interesting forms. Be it The Green Mile’s fragmented, serialised narrative; or the dual publication of The Regulators and Desperation – novels which featured the same characters in very different situations, with unsettling parallels between the stories that unfolded for them; or even Carrie’s mixed-media narrative, with sections of the story told as interview or newspaper extract. All of these novels have played with the way they’re presented on the page to find the perfect medium for telling those stories. Really, the lesson here from King is to not be afraid to play.

9. You don’t have to be yourself

Some of King’s greatest works in the early years of his career weren’t published by King himself. They were in the name of Richard Bachman, his slightly grislier pseudonym. The Long Walk, Thinner, The Running Man – these are books that dealt with a nastier side of things than King did in his properly attributed work. Because, maybe it’s good to have a voice that allows us to let the real darkness out, with no judgments. (And then maybe, as King eventually did in The Dark Half, it’s good to kill that voice on the page … )

10. Read On Writing. Now

This is the most important tip in the list. In 2000, King published On Writing, a book that sits in the halfway space between autobiography and writing manual. It’s full of details about his process, about how he wrote his books, channelled his demons and overcame his challenges. It’s one of the few books about writing that are actually worth their salt, mainly because it understands that it’s about a personal experience, and readers might find that useful. There’s no universal truths when it comes to writing. One person’s process would be a nightmare for somebody else. Some people spend years labouring on nearly perfect first drafts; some people get a first draft written in six weeks, and then spend the next year destroying it and rebuilding it. On Writing tells you how King does it, to help you to find your own. Even if you’re not a fan of his books, it’s invaluable to the in-development writer. Heck, it’s invaluable to all writers.

10 Biggest Mistakes I See in Early Drafts