Going off of other tumblr posts about humans being survivor space orcs and humans being loving frienddog pet buddies to other alien ships, what if the ability to attach to things was a trait of earth critters.
As long as a behaviour helps achieve the same end, evolution doesn’t care what the behaviour is. So you get both bats and birds with entirely different structures, methods, and styles to flight for different niche purposes (long distance vs. nimble acrobatics) but they both succeed at flying. The same can happen for social structures and space travel.
For most other life in the universe, social bonding isn’t a thing. You get people that you get well along with or don’t. Property isn’t necessary if it doesn’t have a function, people don’t get attached to objects. People strive to increase their station/power and therefore overall happiness, whatever that means to them, which is what encourages a group of them to work together for efficiency and shared earnings. (For example, that is. There are lots of things that could encourage life to reach spaceflight. Like spite. Or blind chance.)
On earth a few animals have evolved favoritism behaviour. Getting attached to objects, other animals, and ideas for no reason other than they like them. This helps ensure the survival of a group, so it encourages repetition. Humans are the only spacefaring creature that has favourite ROCKS because of this. Imagine having a favourite pebble out of the entire universe full of mineable minerals!
It’s just common sense that if you want to survive, add a human to your crew. Because of the space orc endurance toughness thing, being able to survive things others can’t, and being determined to keep going. Combine that with the happy space dog thing where, essentially, you put a Kirk in with a hundred Spocks. The dog Kirk is the one who’s always happy to explore and meet people and make friends and likes everyone. So if you have a being who enjoys your presence for no material reward AND extends their instincts for survival to things they’ve bonded on, you’ve basically got a big bodyguard for your entire crew. For free. You don’t have to pay it. You just have to say ‘thank you’ when it gifts you useless trinkets it found or made.
So you get these ships, and you can always tell which room is the human’s room. It’s the one full of hoarded junk. There’s sheets and dry film stuck to the walls that it ensures you is coded with dyes to make a message. The message isn’t really important, just nice. The human likes it. The human collects lumps of polycarbons that it tells you represent icons of aesthetic and memory. You don’t understand, because your memory works just fine without a visual reminder, but you learn that apparently there are different kinds of lumps and they mean different things.
The human has clothes it prefers when all its body coverings function about the same. It has days it prefers. It has abstract concepts it prefers. It has noise it prefers, and carries the noise around with it.
How would that affect a creature that prefers nothing? A species that constantly strives for a better station would have ambitions and goals for being transported to higher ranks on better ships. Logically, it would also prefer the smartest, strongest, nicest humans to protect their investments. A creature like that would check the stats on available and working humans for hire and want the best one they can afford.
But if you asked a crew which human they would want to work with? If you give them enough time, they’ll start saying their own.
“But isn’t the one on ship 4-aNui 0.93s faster at achieving the emergency fire plan escape?”
“Yes, but ours likes us more and would be more efficient at helping us, specifically.”
“That’s what humans do. They’ll like anyone they’re introduced to.”
“Yes, but ours likes us.”
“The better one will like you too if you give it enough time. I thought you knew this?”
“But I like it.”
I Know Too Much about how libraries and librarians work. This resulted in complicated headcanons about job roles and org charts, trying to figure out how the behind-the-scenes of all the accumulating bits of canon and fanon would work. Hope it’s okay to share this here.
Libraries contain vast amounts of information that create possibilities, and stories, that have an immense amount of narrative weight and power. They are basically one giant liminal space, but one that exists for the people that use it. And it’s the people that work in the library that create that connection.
The Fair Folk have opinions about librarians. There’s a certain amount of idealism involved that would make them vulnerable, but so much of what they know and do is dangerous. They are accorded a certain not-inconsiderable amount of respect and caution, let’s say, and leave it at that.
There are two kinds of librarians at Elsewhere University, two sides to the same coin. There are the librarians who have an employee ID number, and a title on their nametag. They have lunch breaks, vacation time, and salt and iron in their pockets and stashed in odd corners in their desk drawers and offices, just like the rest of the staff and faculty. And then there are The Other Librarians. The other librarians can be found on floors ten through twenty-three. Officially, there are nine floors to the library. (This does not include the rooftop garden that is not accessible by stairwell or elevator.) The sub-basements are officially recognized. The tunnels are not.
The other librarians also have officially-issued library nametags. All they say is “librarian.” Some of the other librarians may have been human once. They may have officially retired. They may have learned too much, or willingly given up something that held them tethered to mundane cares outside of The Library, or made a bargain for something the library needed.
There are stories of a cataloguer, best of his generation, who reached a point where he could recite chapter and verse of the standards, never misjudged a subject heading or used the wrong cutter number. The arcanest of arcane inscriptions held still for him while he captured the true author and all relevant cross-references. There was not a text he could not read, or element of biliographic control that he could not master. The years went by, and the standards changed, Anglo American Cataloging Rules superceded the Rules for Descriptive Cataloging, ISBNs were introduced, AACR became AACR2, and a switch from cards to computer records loomed large. He knew so much, but was afraid so little of it would still be relevant. He made a deal.
He wasn’t the first. There are still cards appearing in the card catalogue today written in copperplate Library Hand script, as proscribed by Melville Dewey, with a pen and an inkwell.
There are still memories on the lower floors of a reference librarian who could find anything. There are people on staff who worked side-by-side with her on late night reference desk shifts, and tell stories of how she had an infinite command of Boolean logic to wring every penny out of the paid-by-the-second online search services. There was not an annotated bibliography or index that she didn’t have at her fingertips, and she could walk a student though the reference interview from “I need a book, I guess” to “help me find three print sources for my introduction to pre-confederate Canadian literature mid-term paper” in twenty seconds with a smile. Rumour has it that she bargained away the memory of every childhood pet she ever had to get internet access in the library for undergraduates. Officially, she retired in the late nineties. But in the Deep Library, there are those who can coax the dial-up modem into connecting to a Dialog subscription that the university hasn’t paid for in two decades, and bring back an answer in seconds every time.
There are fading echoes of the year that the entire cataloguing department and half the reference librarians vanished in the stacks in the early 1940’s. The university was smaller then, and the protections that were needed to balance a tumultuous time in world history took a terrible toll. It was said that if you stood in certain parts of the stacks, you could hear the air raid sirens, and watch the collection grow as refugee books were taken in. There were dark whispers that some of the staff disappeared into the library in a trade for safety for family members or one of the other desperate bargains made in wartime, but some were promoted to the upper floors without warning because the library didn’t want to lose their valuable talents to conscription or worse.
If the Library needs you, it will take you. If you are lucky, it will be on your terms, at a time of your choosing. In most cases, a masters’ degree in library and information sciences from a nationally-certified graduate program is required, though in some rare cases, an equivalent combination of education and experience may be considered.
Most undergraduates and visitors (both the mundane kind that come from outside the campus, and the Visitors), and some university support staff, will leave with a vague impression of any of the librarians as an ominous yet helpful shape, and an overwhelming sense of sameness. This is a type of protective camouflage that the library generates, and it extends to cover all the librarians, the one that leave at the end of the day, and the ones that do not. They cannot all be the same. It is, of course, impossible to run a library without a wide and varied pool of skill sets and personalities, all of which contribute to the, shall we say, unique personalities, egos, interdepartmental rivalries, feuds, and alliances that are the lifeblood of an academic library.
This protection waxes and wanes depending on the year. During the spring and summer semesters following the Chemistry Majors’ Revolt, anyone remotely associated with any of the science departments would find themselves on the doorstep of the library with a ringing in their ears like the sudden absence of a loud noise, holding the books or other information they’d gone to the library to find, with no memory of how it got there. An entire spring-semester introductory chemistry class knows the structure of an APA-style bibliography inside and out, but could not tell you when or where they learned it.
In more recent times, sufficiently motivated undergrads, graduate students, and faculty will have little trouble differentiating one librarian from another, if they are on floors one through nine. (They must, of course, be referred to by job title as they do not have names.)
There are operational needs that must be met. It’s hard to plead your case as to why the library really should keep that critical music theory database for your graduate level seminar course that currently costs as much as all of the journal subscriptions for the art history department combined when you’re not sure if you’re talking to the subject liaison librarian for fine arts, the head of interlibrary loans, or an eldritch creature with no face but a really excellent recall for geopolitical boundaries in medieval Africa, and a working knowledge of twelve dead languages, seven of which were never spoken by a human tongue.
(Interlibrary Loans and Fine Arts–the subject librarian, not the department–have been in the midst of a prolonged feud for the past decade over a hiring committee disagreement regarding practicum student placements and a botched exorcism. It is rivalled only by the cold war between Interlibrary Loans and Cataloguing over supply budgets that’s been running since the late nineties. Confusing one for the other would be unhelpful, to say the least.)
The Other Librarians generally do not encroach on their colleagues’ responsibilities. They are still librarians with all of the professional ethics that entails, and are generally orderly and rule-abiding, unless a fundamental principle of librarianship is at risk. (Do not speak of internet filtering within the library walls if you wish to leave with all of your fingers intact.)
The Deep Library should be approached with utmost caution, regardless. Some people in the profession say, your library should have something in it to offend everyone. EU’s library would agree to that statement, with some extensive additions, explanatory footnotes, and cautionary appendices. Respect the Library.
dan is the captain of the dance team and she was chosen because she understands many dance styles. took ballet when she was very little but moved on to tap and salsa. is their most versatile dancer, though she specializes in jazz and modern dance.
neil as a contemp/modern dance master. he travelled a lot on the run so he’s susceptible to many styles, but since he never stays long enough to master them, he’s learn to take what he learns and incorporate it into what he already knows.
aaron is classically trained. that means he’s been in ballet since he was six and if anyone gives him shit for it, he crushes them with thighs honed by 10+ years of plies. also does hiphop because his body coordination is 12/10
renee is all weirdly bent feet and skinny limbs as a result of years and years of ballet. is trained in russian ballet but is trying to break away from the strict structure and try more modern styles. can get down if warranted. breakdancer-in-training.
matt and nicky as your classic bboys with the basketball shorts and the too-long socks and the scuffed up shoes. kevin likes to say they have scuffed up heads as well. they specialize in props as well, and their hat trick routine has the most views on the foxes’ youtube.
speaking of kevin his mom has put him in dance classes since he was a kid and he’s convinced he knows all the right ways to do hiphop. is the most technical of the hiphop dancers. hates those dark contemp pieces with 40+ dancers and heavy beats with a passion.
allison is jazz/contemp oriented. used to be a cheerleader so she knows how to put the sassiness into her moves. hates the structure of ballet but cannot conform to the flowiness of lyrical. started in her early teens so she still focuses more on improving her technique. has the best basis for choreography on the team, though.
andrew is in charge of choreography, and he performs the least out of all of them. when he does, it’s with quick and powerful but detailed moves that draw from a variety of hiphop influences. by some ironic twist of fate he is the one who does trend dances the best, even though he does them once every blue moon and never where the public can see. can also tap dance, but no one but neil and aaron have seen this skill.
(please bear with me) Okay, so, I'm a 15 year old freshman in highschool, and I've wanting to create some sort of series, whether it be a comic, or something else for a few years. I haven't too serious about it, but after one my of my friends showed me your video, for some reason, i was especially inspired. Now, I already have one character... but that's all i got. How did you come up with the things in your film? And did you ever experience "writer's block"? and if so, how did you deal with it?
No worries dude! So okay, I’m gonna’ be honest, when I read this, I was hit with such a weird mix of, like, “god this is literally impossible to answer”, and “man I remember feeling that way when I was 15″. So I guess the best thing I could do is elaborate.
<ENTIRE poorly-structured NOVEL BELOW THE CUT. I MISTAKENLY THOUGHT THIS WAS BEING POSTED TO MY PERSONAL BLOG. YOU’VE BEEN WARNED.>
What I’ll say is what I love about polyamory and the poly world, is that it allows us to question what we’ve been taught about relationships, because some people have been handed a very dysfunctional model for relating. For me, what’s important about polyamory is not how many lovers you have but having the ability to have conscious choice as to relationship structure and style. That’s something that I feel passionately – I’d like everybody to have that conscious choice.
What is universal and timeless in literature is need–we continue to need novelists who seem to know and feel, and who move between these two modes of operation with wondrous fluidity. What is not universal or timeless, though, is form. Forms, styles, structures–whatever word you prefer–should change like skirt lengths.
“Leading up to today Water Protectors and Indigenous Peoples at Oceti Sakowin/The Big Camp, have been lighting their traditional dwellings on fire.
This morning, Indigenous Rising spoke with Darren Begay who has been managing the Navajo style structures at Oceti. He told us that as This forced evacuation grew nearer, he consulted with elders from his ancestral lands and they all agreed that based on the behavior of the law enforcement in the past, who during raids have broken and thrown away sacred items and who have shown disregard and horrible disrespect to tipis and sacred dwellings, it is best to burn these scared structures instead of having them desecrated by Morton County and North Dakota law enforcement.
Lighting our dwellings on fire is a sign of respect for them. It’s a sign of respect for the purpose they have served over these past few months. They have been containers for prayer and for brining people together. By lighting them on fire we send their smoke up like prayers. By lighting them on fire we ensure these structures go out in dignity.”
Tumblr pagans are carrying on from the 1960’s to now.
A few people who were in Gardner’s covens and left thought lots of his Wicca was B.S. Several of them left at different times and sought something older and Robert Cochrane called it Traditional Witchcraft to distinguish it from Gardner’s design. Cochrane complaining constantly about Gardner caused Valiente )who Gardner had alienated by insisting HPS be younger women but the HP (himself) could be old) to leave Cochrane’s clan and went solitary. She continued her research into older traditions. And this argument continues to this day as Gardnarian Wiccans demand to be called traditional witches and insist that it not be defined as non-wiccan even though that has been a large part of its meaning since day one. Whatever I don’t care.
In 1962 Oberon and Morning Glory Zell-Ravenheart formed the Church of All Worlds a pagan religion based on Robert Heinlein’s science fiction novel Stranger in a Strange World. They replicated rituals, organizational structure, the polyamorous marriage style, and much more based on the book. The cakes and ale ritual language most neo wiccan circles use is from that book. The same founders bred unicorns from goats and toured them in the circus, Oberon dresses like Dumbledore. This is full on life long committed pop culture paganism. And it predates Tumblr by 50 years and the Internet by 30 years. To this day pagans argue over this “brand new form of paganism that was just invented with a particular social media format.” Whatever, I don’t care.
Leslie Odom Jr. to reflect in Hancher on portraying Aaron Burr, path that led there
His first bigger lead arrived in 2013, when he played Sam Strickland in the short-lived but critically-acclaimed NBC show “Smash,” coproduced by Steven Spielberg. And another up-and-comer took notice: actor, composer, and writer Lin-Manuel Miranda.
“While not many people were watching the show around the country, people in the theater watched it a lot,” Odom said. “Lin had been watching.”
Miranda shot Odom an email asking if he wanted to come read “this thing” around a table.
That thing would become Hamilton, a sung-through musical about the life of Alexander Hamilton achieved through a widely diverse cast and music styles. Last year, it received a record 16 Tony nominations, won 11, earned the 2016 Grammy for best musical theater, and received the year’s Pulitzer Prize for drama.
But, at the time Miranda reached out, Odom said, wasn’t offering a Broadway show or a Tony Award.
“He’s just offering an opportunity to have an opportunity,” he said. “He’s offering me the chance to get in a room and try it out.”
And that went on for years.
“Every time Lin invited me into a room to try it out, to sit around a table and read this thing for him and bring it to life for him, I looked at every single time as an audition,” Odom said. “It was a role of a lifetime, the opportunity of a lifetime, that’s how I looked at it.”
Odom said he knew it from the start.
“I knew the quality of the writing was so rare.”
And yet, he said, the whole “wild and wonderful” Hamilton experience wasn’t entirely expected.
“I had no idea that people would feel about it the way they do, and that America — this country — would take to it the way they have,” Odom said. “But I knew how I felt about it.”
The part was groundbreaking not just in its structure and style.
“I knew that Aaron Burr — that a role like that — I had never been offered a part like that, I had never seen a part like that before for an actor of color,” he said. “So if I could be the guy, I wanted to be the guy.”
Performing eight shows a week for a year and a half — totaling more than 400 performances — never got old or tired, Odom said.
“It was such a privilege and honor that I got to be their guide through the first time they were experiencing this piece that I loved so much — these characters and actors that I love so much,” he said.
I hope the writing isn’t too small, full view/open in a new tab to zoom in!!
Some more tips:
If you want to improve just do lots of little studies!! Find pictures from different angles & with different lighting, and even better make strange faces in the mirror & shine a torch at your face!!
Make sure you take the entire face into consideration. When doing each stage of the drawing, eg. outline, dark areas, shading etc, I like to do each step for the entire drawing. That way I don’t end up spending an hour rendering the eyes before realising they need to be further apart to fit the nose. Instead it’s best to outline the whole thing and have it look right, walk away for a while, and then start shading - try to think of the face as a whole & make everything fit together rather than adding parts separately!
Use different darknesses of pencil - I mostly used 2B, and 6B for the darker areas - don’t be afraid to make the shadows dark!!
No matter what art style or medium, the same principles apply for structure! When doing a cartoon style I normally include the central line & outline around the areas that have the most volume, just a bit more simplified!
What do writers mean when they talk about writing style? And how do I find my own writing style?
“Style” refers to the patterns of writing that are common to a particular author. For example, things like sentence length, word choice, balance of action and exposition, amount of dialogue, typical paragraph and sentence structure, and amount of description. Trying to develop your style is a lot like trying to develop your personality. Sure–there are things you can do to improve your personality, like having good manners and being polite, but personality is more or less just part of who you are. It’s the culmination of your experiences and upbringing, your neurological wiring and chemical makeup. Writing style is kind of the same. There are things you can do to improve it, like work on your description, learn how to write effective sentences, and learn how to balance exposition and action–but things like sentence structure, paragraph length, dialogue style, word choice, etc., those develop naturally over time, and to some degree they’re inherent to who you are as a writer. Style can also vary slightly from project to project, and it typically changes with time, especially early on in your writing career.
So, really, the best thing you can do to develop your style is keep writing and write a lot. If you want to, go through some of your more recent works and look for patterns. What do you tend to do in all your stories? For example, maybe you write really short sentences or really long ones. Maybe you use a lot of dialogue or very little. Maybe you have short descriptive passages or long ones. Those recurring elements are part of your style. Keep writing, keep practicing, and your style will continue to develop with experience. :)
——————————————————————— Have a writing question? I’d love to hear from you! Please be sure to read my ask rulesand master listfirst or your question will not be answered. :)
Ok so I thought I’d make a post of this, because people said it would be helpful! It’s just a list of the questions/types of questions I got in my interviews, so it could help you guys with practise. I won’t say which uni’s the questions were from, because they probably wouldn’t like me if I did that lol. Also, bear in mind my interviews were in 2012/2013 (I’m so old).
- Why medicine? (duh)
- What sort of doctor would you like to be? Why?
- What attracted you to our university/course? Why would our course structure/style of teaching suit you?
- What is something interesting you’ve read recently that’s related to medicine?
- Why would YOU be good for medicine? What qualities would you bring?
- What are the most important qualities for a doctor to have?
- Talk about a time you showed leadership/teamwork
- What’s the difference between empathy and sympathy?
- Talk about a time you showed empathy. Why is it important for doctors to be empathetic?
- What are your strengths? What are your weaknesses?
- Talk about a time you made a mistake and what you learnt from it/what you’d do differently
- What hobbies/interests do you have? What clubs would you be interested in joining at our university?
- What volunteering/work experience have you done? What did you learn from it?
- What have you seen in the news recently that involved an ethical dilemma? Talk through it
- *insert ethical dilemma question here* - this could be anything, mine varied a lot between interviews, so just make sure you read up about ethics and learn how to see both sides of things, and maybe research the main things like consent to procedures, euthanasia etc.
- What are the problems facing the NHS at the moment?
- What are clinical commissioning groups and how do they work?
- How could the NHS save money?
- Do you think the NHS should fund homeopathy?
And of course, be prepared to be asked about anything you’ve written about in your personal statement. Good luck everyone who’s applying soon! x
wow i really like your writting and the obito AU is such a good idea, that last fic about obito being re-introduced to the ninja world was amazing. What about how him and kakashi grow closer to each other? I mean, Obito doesn't know him, and Kakashi ... well, he has been longing for someone who doesn't exist anymore (but there are always traces of him, everywhere).
ahhhh thank you very much !!!
what you say. exactly what you say. like this is one of the first things i thought about when i first got this idea. “do i make Obito remember at some point or nah ?” i thought. and i decided. nah. its much more interesting if he doesn’t
anyway the whole… growing closer thing is a very convoluted process. it takes time and doesn’t really make sense to an outside eye. because surely if they’re living together and make the greatest team, they must know everything about each other and be super close right ? (no) (Kakashi is, by Obito’s words, a filthy liar) (Obito isn’t Obito)
i kind of enjoyed writing point by point the other time, so lemme just
First. When Kakashi talks about Obito, it’s with the deference reserved for great heroes and something shaky in his voice. He talks about how Obito was always late and always helped people when he could and never gave up and was in love with a girl called Rin. And Tobio listens, because this is important. And at the same time he wants to grab Kakashi by the shoulders and shake him until he stops saying “you” when talking about Obito. Tobio is always late and always helps people when he can and he never gives up, but the only Rin he knows is the old woman down the street who makes delicious pickled lemons. Kakashi is a nice guy, and they could probably be friends but - not like that. Not with Kakashi looking at him like he’s a god or something. Not when Tobio isn’t Obito, isn’t the person Kakashi expects him to be.
Second. Kakashi won’t admit it, but whenever he talks about the past, he keeps hoping, if only slightly, that Obito will remember something. That somehow, mentioning important events in Obito’s life will flip a switch and that Obito will start looking at him and recognize him. It’s selfish, even moreso since Obito explicitly said he didn’t want to remember. Obito is happy as he is, feels that getting his memories back would somehow kill the person he is now - and he is right, isn’t he ? (Since this is why Kakashi keeps hoping after all.) Truly, Kakashi is a selfish person.
Third. Kakashi is a fucking liar. Sometimes Obito isn’t even sure it’s conscious. “It’s fine” he says as Obito arrives late to training after helping an old lady carry her bags. (Even though he looks like Obito punched him in the face.) “What are you talking about ?” he asks when Obito confronts him about his hesitations to enter his own house. He smiles and it’s fake fake fake and Obito hates his stupid face, hates his stupid mask, hates all the lies Kakashi puts between him and the world. (When Obito asked him when he started wearing his mask, Kakashi answered “I don’t know” and it was probably the most truthful moment he had.) Obito probes and probes until he has answers, gets angry when Kakashi keeps lying and pushing him away, and when Kakashi finally talks he breaks - and Obito is definitely a terrible person for enjoying that. But this is the first time Kakashi has told the truth and Obito can’t help but smile as he comforts him.
Fourth. The only reason Obito puts up with Kakashi is that he doesn’t remember him. The realization comes slow, but Kakashi is certain he is right. If Obito remembered, he would hate Kakashi for breaking his promise to protect Rin, would call him a hypocrite for copying all of Obito’s quirks, would at least resent him for the way Kakashi used to treat him. But he doesn’t, because of Kakashi. (Inoichi said the amnesia was a result of physical head trauma and probable psychological trauma, and that the memories just wouldn’t come back.) Obito doesn’t even resent Kakashi for what happened in Kannabi - and isn’t that the most ironic thing ? Obito said he was grateful for being allowed to live a peaceful life for 15 years, and that if Kakashi was to blame himself for his scars then he should also see himself as the one responsible for Obito’s time in the village with his grandma. Kakashi is sure there must be a fallacy in this argument, but he can’t seem to find it. (The truth is that Obito really died at Kannabi because of Kakashi’s stupidity, and Kakashi is only now coming to terms with the new Obito not being the same person.)
Fifth. Kakashi always pays for their meals. Sure, he complains everytime Obito asks him to, but in the end he always complies. And really it would be great - if not for the fact that Kakashi is a cheap fucker who never pays for anything if he can avoid it. And he could, in fact, avoid it. (Obito may have made a lot of progress, but Kakashi is fast, and if he chose to run and leave Obito with the bill there would be no stopping him.) And really Obito can’t remember a time Kakashi told him no. How far would he go if Obito asked him something ? Obito doesn’t know and it scares him.
(When they fight, they don’t need to talk. The sharingan is a weapon and it comes to reason that the connection between the two eyes becomes better when it is in use. The two of them fight as one, trust each other with their lives, but when all is said and all is done, they don’t really get each other. Not yet.)