thorough guide

How I learn languages

So, depending on the level of interest people have in my way of doing things, I might create a more thorough guide in the future. However, in the interest of brevity I will create a very rough step by step guide for people because why not.

1. Pick a language - Pick one you like; don’t worry about it being “practical” or “useful.” If you don’t like the language you’re studying, it’s going to be a miserable experience and learning languages should be fun!

2. Learn IPA - Learning how to read IPA characters (International Phonetic Alphabet) is imperative to being a successful language learner. If you haven’t already, put some time into learning how to read IPA transcriptions because it will save you a lot of time and give you a much better accent when learning the sounds of your target language. Avoid “english-y” transcriptions (e.g. très = TRAY) like the plague. They’re bad and people who make them should feel bad.

3. Learn the alphabet/writing system - Usually it doesn’t take a super long time, and if you’re studying a language like Japanese or Chinese it’s best to get used to using the writing system from the very beginning. You’re gonna have to deal with it eventually so you may as well hop right in. Relying on latin character transcriptions will only put off the inevitable.

4. Learn the pronunciation of your target language - I advocate a pronunciation-first approach. This will be easier or harder depending on how many unfamiliar sounds there are in your TL, but it’s worth going over the phonology (sound system) of your language early and getting used to how its sounds interact. If you don’t learn proper pronunciation in the beginning, you’ll ingrain incorrect pronunciations into your brain which will be hard to undo later on. You don’t have to try to make your accent perfect, accent reduction can come later, but it’s worth spending some time on. This is especially true for language with odd sounds or features (tones, voicing distinctions, etc.)

5. Pick ONE course/book - A problem I see a lot, and one that I have fallen into many times myself, is hording language learning resources. In the beginning, and especially for beginner polyglots, it is better to pick ONE really good course or book to follow, and focus on mastering the material within. If you try to split your time between too many resources or books or websites, you’ll quickly become overwhelmed. Some books/courses/series I recommend that can commonly be found for all languages are: Teach Yourself, Assimil, Duolingo, Linguaphone, and Pimsleur among others. You can always use one of those while you keep searching for more resources, but resist the temptation to dig into multiple books at once.

6. Use an SRS to learn vocabulary/grammar - SRS’s (Spaced Repetition Systems) are my bread and butter when it comes to memorization. Put simply, they are tools for spending your studying time more efficiently, and they warrant an entire post by themselves. Rote memorization is for the birds, so use a spaced repetition system such as Anki, Supermemo, a Leitner Box, or Memrise to avoid wasting your time. (Use Anki. Just use Anki. You’ll thank me later.)

7. Don’t translate - I used to learn vocabulary and grammar using English translations, but you’ll soon find that it’s only useful to an extent as your vocabulary gets bigger and you start running out of unique ways to translate synonyms. A more robust approach to flash card creation can be found in the book “Fluent Forever” by Gabriel Wyner, which I would definitely recommend reading. The short version is: use pictures instead of English translations for picturable words, for more abstract words and grammar concepts, use example sentences with cloze deletion cards (easy to create using Anki. seriously, just use anki.)

8. Speak the language! - Probably the only thing I actually learned from He Who Shall Not Be Named (anyone who’s been in the polyglot community for longer than 30 seconds knows who I’m talking about.) It seems simple but you should really speak the language as much as you can straight from the beginning. “But how can I speak the language if I’m not fluent or if I’ve just started?” Simple, use what you know, and do whatever it takes to make yourself understood. It really doesn’t take much, maybe 100 words or so (a day’s worth of work if you’re dedicated) to start to be able to put sentences together. Learning phrases is even better for this. For this reason, a phrasebook (Lonely Planet is a popular choice) is a worthy investment.

9. Immerse yourself as much as possible! - Watch TV, read books, nespapers, and articles, and listen to music in your TL. Get yourself used to being around the language. Ideally, you’d be able to move to the country or region where the language is spoken and truly immerse yourself, but for many total immersion can be either unrealistic or overwhelming. It’s totally possible to give yourself enough contact with the language and even create a 100% immersion environment all from the comfort of your home. The important thing is to have contact with the language and get used to being around it. This is where you’ll pick up on the rhythms of the language, tonality, intonation, all that good stuff. More importantly, it will get you used to how FAST people talk.

10. Keep looking for things you don’t know. - This is probably the best advice I could give anyone. There are things out there that you don’t even know you don’t know, so the best thing to do is to keep surrounding yourself with new facts, new vocabulary, new grammar structures, etc. If you’re looking for a new course/book, look for one that seems like it has a lot to teach you. Don’t rehash things you already know, it’s a waste of time. This is the basic principle of SRS’s, don’t review until you forget. Going back over concepts you already know is pointless and it contributes to “plateau syndrome” (when it feels like you’re not making any progress in your TL). Review what you need to, when you need to, only so long as you need to. Learning one new concept is worth more than going back over two you’ve already mastered.

11. HAVE FUN - The road to fluency is long. Like super long, I can’t stress this enough. You may not be fluent in 3 months, a year, two years, maybe even 5 years. It all depends on how much time you are willing to spend on the language and to a VERY VERY SMALL DEGREE how talented you are. The important thing is to not rush it and enjoy the experience. If you’re not having fun, modify your goals and your approach until you are.

This is nowhere near everything I have to say, but it’s a start. These are just some things I wish I had known when I started studying languages. So if it helps at least one person well hey that’s enough for me. :D


Zakka Embroidery presents designs that are an elegant blend of Japanese and Scandinavian style

Zakka Embroidery: Simple One- and Two-Color Embroidery Motifs and Small Crafts
by Yumiko Higuchi
Roost Books
2016, 192 pages, 8.3 x 0.6 x 5.9 inches, Paperback
$14 Buy on Amazon

I’m a sucker for fiber arts. I only ever had a passing interest in embroidery and basically did all of my needlework embellishments freehand and on-the-fly. But since hitting the embroidery thread jackpot at a yard sale last summer, I’ve been inching slowly closer to learning the actual craft. Zakka Embroidery was exactly what I needed.

Yumiko Higuchi first draws in readers with a collection of beautiful embroidery motifs (shot clearly and up close so that you can practically feel the stitches on the muslin) with corresponding projects. All the motifs are garden/nature inspired and only use one or two colors of thread. This was a huge selling point for me, as I am not naturally drawn to overly colorful designs and have a hard time figuring out what goes well together (outside of gray and dark gray). The projects range from sweet, floral clutches and satchels, to baby items, to home decor. There are a lot of great gift-projects in this book. The second half is a thorough, photographically illustrated guide to embroidery techniques, and then the actual embroidery and project patterns.

Because many of the projects in this lovely little book do involve sewing, it’s good to have some basic sewing skills to fully utilize it. But don’t let that stop you! You can easily embroider these motifs onto pre-made garments (some projects actually call for this), tea towels, or accessories. You could even make these tiny gardens into your classic wall-hanging, but I think one of the nicest things about this book is that everything is intended to be actually used, worn, and appreciated in action.

– Marykate Smith Despres

March 27, 2017
Step-by-step guide to obtaining insurance coverage for top surgery! • /r/ftm

My friend made this incredibly thorough guide to navigating insurance re: top surgery after a tedious, months long battle with insurance involving multiple appeals to overturn a denial for coverage. The guide includes a general overview of insurance coverage and the steps you’ll need to take to start the process if you’re trying to use insurance for surgery as well as sample letters you can use if you need to appeal a denial.

A lot of effort was put into this guide and the intention is to help as many folks as possible. Please use and share this guide as needed! And if you have any feedback or suggestions, please feel free to contact the email listed in the guide. All feedback and suggestions are welcomed, the goal is to make this guide accessible to as many folks as possible!

Super useful resource.

Japanese Phonemes and Phones

You’d be surprised how hard it is to get a straight answer on how many phonemes exist in Japanese. Most of the time, what you get are the phones of Japanese, which, of course, are quite different. Today we’ll try to settle the question once and for all:

If you’ve ever seen a Kana chart, then you’ve seen the Gojuuon, of the 50 sounds. This in itself gives us a really great starting point to finding the answer.

(Courtesy of

From here, we can guess that there have to be at least 5 vowels and 9 consonants, assuming that the solo ん and な,に,ぬ,ね, and の use the same /n/.

/k/ /s/ /t/ /n/ /h/ /m/ /y/ /r/ /w/ ||  /a/ /i/ /u/ /e/ /o/

But wait, there’s more! 

We also know that Japanese voices various columns, through the dakuten, those being the ゛marks you see after a kana.

With the dakuten, you get voiced /k/ /s/ and /t/; and you also get a voiced bilabial plosive of /p/, which is what /h/ was once upon a time. So we have /g/ /z/ /d/ and /b/. And we also have the handakuten, which is the ゜you sometimes see after the kana starting with /h/, which make /h/ into /p/. 

/k/ /g/ /s/ /z/ /t/ /d/ /n/ /h/ /b/ /p/ /m/ /y/ /r/ /w/ ||  /a/ /i/ /u/ /e/ /o/

But wait, there’s more!

We also have the phenomenon of palatalization, which is represented by the ゃゅょ you can see after き,ぎ, し, じ, ち, に, ひ, び, ぴand み, effectively making digraphs.

For the sake of simplification and, we will call these digraphs /ky/ /gy/ /sy/ /zy/ /ty/ /ny/ /hy/ /by/ /py/ and /my/. This does not correspond with the romanization system we use, but that’s okay. When we’re just transliterating, we’re not terribly concerned about phonemes as such.

Okay, so here’s our answer

/k/ /g/ /ky/ /gy/ /s/ /sy/ /zy/ /z/ /t/ /ty/ /d/ /n/ /ny/ /h/ /hy/ /b/ /by/ /p/ /py/ /m/ /my/ /y/ /r/ /w/ ||  /a/ /i/ /u/ /e/ /o/

24 consonants, and 5 vowels. (We’ll eventually concede them an extra nasal phoneme, but let’s pretend all non-fontal nasals are the same.)

Now let’s figure out the phones.

In a perfect world, one would have one phone for one phoneme. But that’s really never the case. Fair warning, phonetics is a hotly debated topic, so if you talk to 5 different people, you’ll get 5 different answers.

The crossed out phonemes are the ones that we won’t worry much about because they do not have allophones.

/k/ /g/ /ky/ /gy/ /s/ /sy/ /zy/ /z/ /t/ /ty/ /d/ /n/ /ny/ /h/ /hy/ /b/ /by/ /p/ /py/ /m/ /my/ /y/ /r/ /w/ ||  /a/ /i/ /u/ /e/ /o/

Allophones are two phones that correspond to the same phoneme under different distributions. You’ll see what I mean in a minute.

Distribution refers to the surroundings of a phone, i.e. what comes before and after it. Depending on it’s distribution, the sound a phoneme is will change. For example, take the words “house” and “Hugh.” Notice how the /h/ changes from an open sound to a constrained sound. The sound changes because of what’s coming in front of it, it’s distribution.

In Japanese, the most important factor in phoneme distribution is what comes after it, meaning, in most cases, what vowel comes after the consonant. There are three instances where what comes before the phoneme is important: /g/, and /u/ and /n/.


The easiest case to talk about is /u/, because everyone becomes savvy to this very quickly.

Let’s take two anime names: “Uzumaki” and “Sasuke.” Note that those two middle /u/’s are pronounced different. In the first case, it’s pronounced; and in the second it isn’t. 

When /u/ is between two voiceless consonants, it is silent.

Let’s look at once more case, that of verbs: “desu,” “kimasu,” “korosu.” Here /u/ is also silent. But if you look at verbs such as “kiku” and “naku,” the /u/ is pronounced.

In final position, if preceded by /s/, /u/ is silent.

In the case of /g/, this is a dialectical thing, but it’s common enough to talk about. (I’d even say that it’s exaggerated in some instances where people are trying to speak clear, Standard Japanese.)


With /g/, there is a chance it will turn into the velar nasal: [ŋ]

[ŋ] is the same sound that Spanish’s “ñ” represents. It’s the same /n/ in sing. 

You’d be surprised by how difficult it is to pin down when this phenomenon happens. It has probably changed a lot in the past 50 years. We have heard from people who learned Japanese 30 years ago that it’s supposed to be a posh feminine thing, but we’ve heard audio of men doing it all the time. Just keep in mind that it does happen.


There seems to be some consensus that the /n/’s in な, に, ぬ, ね, and の are all the same. It’s the alveolar nasal [n].

In the case of ん, where the thing following it is not a vowel, it will assimilate in position according to the features of the consonant. If it’s followed by a vowel, however, it will be [n], which is why we’ll try to keep it one phoneme. (Some linguists believe that this is actually a nasalized vowel, but we cannot quite see it.)

The most famous case of this kind of assimilation happening is with the word 先輩 (せんぱい/senpai), where it is pronounced with an [m], “sempai.” [m] is the bilabial nasal, and [p] is a bilabial plosive.  

The same thing happens with velar consonants [k] and [g]. 産休 (さんきゅう/sankyuu) will be pronounced as our friend [ŋ].

In cases where it is at the end of the sentence, it will be pronounced as the uvular nasal [ɴ].

When /n/ precedes a bilabial consonant, it is [m].

When /n/ precedes a velar consonant, it is [ŋ].

When /n/ is in final position, it is [ɴ].

In all other cases, /n/ is [n].


/r/ is another famous case. This is a case of two allophones having “equal distribution,” i.e. you can exchange one for another and you’ll never really have a problem.

/r/ is both a flap and a lateral. To put it colloquially, you can pronounce either as an r or as an l. Some people have developed rationales for when a consonant is pronounced either as an the flap [ɾ] or as the lateral [l], but there is a lot of inconsistency between them.


There exist a couple of variations with /h/ (and aspirations with certain plosives), but the one case we need to talk about is when /h/ precedes /u/.

The tendency is to place /h/ generally in the glottal area, so the glottal fricative [h]. 

Before /u/, /h/ can be pronounced as a bilabial fricative [ɸ], the labiodental fricative [f], or the glottal fricative [h].

The standard pronunciation, to our understanding, is [ɸ], but the others are heard. 


/w/ is a dying phoneme. There originally existed four Kana for it (which can still be heard in the Iroha poem): わ, ゐ (wi), ゑ (we), and を. Now only two are in use: わ and を; and を is dying out. If it were not for its functional use, for clearly marking the accusative case particle, it would be gone as well.

We bring up /w/ because there are those who pronounce the /w/ before /o/ and those who don’t. Both seem to be fine, though some may claim that this is an abnormality known as hypercorrection, where a sound is produced unnaturally for the same of some kind of regularity (this is common in cases of assimilation, such as pronouncing the final /s/ in “rings” as an [s] and not as a [z]). 

Regardless, there is an older generation that did learn to pronounce を with the /w/.

When /w/ precedes /o/, it can either be silent or pronounced.

/t/ /d/ /s/ /z/

These four consonants undergo a similar transformation before /i/.

The consensus is that they become post-alveolar affricates.

/t/ before /i/ becomes [tɕ]

/d/ before /i/ becomes [dʑ]

/s/ before /i/ becomes [ɕ]

/z/ before /i/ becomes [ʑ]

It’s worth noting here that the palatal phonemes that /ty/, /gy/, /sy/, and /zy/ have these very same phones.

Then, in the case of /t/ and /d/, when they precede /u/, they become affricates, but alveolar and not post-alveolar, so [t͡s] [d͡z].

/t/ before /u/ becomes [t͡s]

/d/ before /u/ becomes [d͡z]

And that, friends, covers most of everything. 

There are some things involving loanwords and nuances, such as /s/ remaining [s] before /i/ and there being a [v] and not just a [b], but that’s secondary to all this.

Zutter Analysis

so originally i wasn’t going to write anything about zutter because i didn’t think i had that much to say about it but i accidentally wrote a bunch while discussing it with jiyong-oppar so here we are lol. this isn’t a thorough guide through the song or a line by line analysis like what i would normally do, it’s more just a small collection of ideas i’ve had about zutter. anyway let’s start!

Keep reading

anonymous asked:

When will your language be in google translate? It'd help some of us a lot

When I roll a nat20 on life, take over a small nation and subjugate its people to speak Zehzhik lol

In a bit (idk 1-2weeks) when I’m done with the grammar, I’m going to comprise a wordbank of ~250 common words

Hopefully the grammar guide is thorough and intuitive enough.

codydiceyeah  asked:

Do you by any chance know what books would be best for learning the magical and medicinal properties of herbs, plants, and flowers? Like real and good sources? I keep seeing ones that just look hokey.

I had Scott Cunningham’s book for a while, but while it has its magical uses it’s simply not reliable for developing a <i>materia medica</i> for the modern age. 

Recommending books about herbs-as-medicine is a dicey business, because in the US, at least, the American Medical Association maintains a pretty hard lock on the business of diagnosis and prescription for its doctors.  So, remember that this is a hard line that should not be crossed.  

One of the ancient standards, of course, is Nicholas Culpepper’s Complete Herbal, which dates to the middle of the 1600s.  There are modern editions which update the book with modern herbs — but be sure you get an edition which clearly identifies old recipes and new.

C.F. Leyel is another reliable name: The Magic of Herbs was originally published in 1926, and it’s good enough that it’s been reprinted without changes since then; my edition dates to 1961. 

Rosemary Gladstar has a number of books out; I have her Medicinal Herbs book, which I find is excellent.

If you want to have an appropriate understanding of HOW to use herbs (on yourself, because diagnosing and treating others is a really hard-line No-No), then the Traditional Healer’s Handbook by. Hakim G.M. Chishti is a thorough guide to the Unani Tibb system of medicine, which itself is the ‘modern’ descendant of the medicine of Avicenna — Unani Tibb means “the medicine of the Ionians”, that is, the Greeks.  It’s based on the four-humours theory of medicine, which means that by studying Unani Tibb in conjunction with herbal medicine, you’re bringing your magic of four elements — fire, air, water, and earth — into alignment with your understanding of herbs.  And, of course, Culpepper’s information about which herbs are connected with which planets, elements and astrological signs will then make sense.  

If you want to begin to understand alchemical processes and herbs, then Frater Albertus’s, The Alchemist’s Handbook on the manufacture of alchemical ingredients includes as its first few chapters the making of vegetable spagyrics, which is the intensification of herbal medicine into super-powered ingredients.  Robert Bartlett, in Real Alchemy: A primer of practical alchemy, goes over similar ground before delving into the manufacture of metallic medicines.  For those who don’t want to go beyond the vegetable alchemy, The Celtic Golden Dawn by John Michael Greer contains a complete course in vegetable alchemy — the making of spagyrics, and the making of alchemical salts — as part of its larger training course for druids.

I cannot stress enough, though, the advice of Paracelsus, who said that “Poison is in everything, and no thing is without poison. The dosage makes it either a poison or a remedy.”  I have read every book in this list a half-dozen times, and I’ve done a good many alchemical experiments, and made a bunch of teas and other things for myself, and I would not presume under any circumstances to assume I am a “healer”. Having the books is the first step; reading the books is the second; reading them again the third; performing the experiments and making the materiae the fourth through the four hundredth…. and then maybe you’ll be in a position to help others.  Physician, heal thyself!




In order to celebrate my favorite ship of all the ships I have, I’m going to make another post of fanfictions recommendation. It’s been a long time since the last time I made them, so this one is going to be verryy veryy loooong? XD XD 

There are some warnings tho hehe:

  2. There might be a high possibilities that I post the fic that I already post before
  3. I’m being lazy ass to remind you guys which one is rated PG-17, PG-13, etc etc XD XD (but I guess mostly are rated, or at least have mild smut hehe)
  4. Probably will make a rec post about author, soon, hopefully tho hehe. 
  5. Remind me if there’s any mistake.



Part I / Part II / Part III / Part IV

the tmi zombie au part 5/??

parts 1-4 found here! btw the movie that he’s talking about is The Worlds End

“And so they’re going to every pub in the…in the town and then at…one of them there’s these zombies–”

“Robots.” Magnus corrected gently. “Zombies was the other movie.”

“Oh yeah.” Simon blinked, his eyelids fluttering under the weight of exhaustion. Noticing this, Raphael shook his shoulder lightly.

“So the robots come. And then what?” He prompted.

It turned out that the only way for Simon to keep himself awake and distracted from the phantom pains in his arm was to describe his favorite movies in great detail. That worked out well, actually, because Raphael had been sadly deprived of seeing many iconic feature films in his young life.

And it also worked out because Clary was pretty sure that Raphael thought Simon was cute. And maybe Simon would admit to the same thing when he could speak in complete sentences without having to take deep breaths or when he didn’t have to have at least two people with him at all times.

“So then Gary King has to fight the robots and he…he gets to move on from…ow, Magnus.”

Keep reading


By viewer (and Hank Green’s) request, this week’s video is a thorough guide to publishing a book, landing a literary agent, and getting your dreams from your word processor into the wide world! Our amazing buddy, YouTuber and bestselling writer Josh Sundquist, hosted this week. Check him out – he’s so great.

Also, many thanks to Tyler Oakley and Troye Sivan for their, uh, “cameos” in this episode…. :)

P.S. - Bonus video this week! Mike interviewed Josh on Mike’s vlog channel. Check out “Six-Pack Abs & Pick-up Lines: Josh Sundquist’s BEST ADVICE EVER!” 

companionwolf  asked:

So I have. A problem. I have my characters walking a lot as a group, and they're almost always in a line or something. Now I wouldn't be complaining, except I've noticed BC of this and some other times, I've written "they/he/she followed" a bunch of times and I don't know it's getting on my nerves. How can I convey that people are following and are caught up w the group w/o saying "followed", "walked behind", "ran after" or what over and over? ;-;

Trust your readers. If you’ve set up the scenery as you have stated, they’ll figure it out. Also, unless you explicitly state the party has split up for good, your readers will assume that it is still together, and so if two people run off to find firewood, your readers will accurately assume that, once gathering is done, they’ll rejoin the party. Overstating the obvious is something a lot of writers realize they do in their first draft, and need to correct during editing. Guilty as charged: Me. 

Think about this: Janelle and Malcolm are a couple and they are in love and they live together. You’ve established this with no doubts. One night, Janelle goes out to eat with her best friend from high school, and Malcolm goes home to visit his ailing father. Things relevant to the plot and/or the characters’ development happen. You don’t need to explicitly state that later that night, they go back to their apartment. You can have them snuggling on the couch without writing that Janelle got a ride home from the friend and Malcolm drove his car, unless of course during those trips, something critical to the characters and/or the plot happens.

Next night, our two lovebirds have a terrible argument over That Thing that has dogged their relationship all along. Malcolm goes to hang with his slacker friend from college, and Janelle goes to drown her sorrows in a club and runs into an ex – and things relevant to your characters and/or the plot are revealed. THEN, MAYBE, you might need to explain how/if they reunite, but only because you’ve created some doubt as to the stability of the relationship.

I know that’s not a perfect metaphor, but you might have noticed that every scene, every movement, every word exchanged or thought should be relevant to character development and or plot happenings. 

We just reblogged an excellent, thorough guide to writing dialogue beats earlier today that might help for when your characters are talking and walking. I’ll link again because this is one of the most important concepts to master for all writers, whether you just started writing yesterday or have 23 New York Times bestsellers. 

Guide to Split 1/1 (C) vs Switch 1/1 (D) on floor

I’ve seen this question going around so much! I feel like I should make a thorough guide (with .gifs) to help y’all out.

Okay here we have Simone and Kyla whom both have right splits.

Here we have Simone Biles doing a Switch Full in slow motion.

Simone throws her right leg forward, then turns halfway to the right opening up into a right split, then wraps in and does another half twist out to the right. This officially makes a switch full.

On the other hand we have Kyla doing a Split Full in slow motion.

Kyla throws her right leg forward like Simone, but then she turns halfway to the left opening into a right split (this motion is called a tour jete), then wraps and does another half twist out to the left. This officially makes a tour jete 1/2 or a split full.

The motion of the tour jete is a lot easier than the motion of a switch, therefore allowing you to twist quicker. This is a main reason there is a split 1.5 and only a switch full.

To sum this up, if the althete throws a leg forward, and twists towards that leg, that was a switch. If she throws a leg forward and twists away from that leg, it was just a split.

And here’s an even more detailed sum up:

Althlete throws left leg forward and does a full turn to the left, switch full.
Althete throws left leg forward and does a full turn to the right, split full.

Also vice versa in terms of direction.

Now this may not be official but this is a super easy way to tell the difference between the two. And if you have some more questions please send them in my ask box!! And note it may take some time to get the ability of being able to tell which one is which right away!!! Practice makes perfect.

Hometown Glory (a Sugar on the Asphalt drabble)

Hiiiiii! Sorry this is so late and kind of roughly edited! It wasn’t supposed to be 5k, but alas, it is! Hope you enjoy! Can’t wait to hear what you think! <3

Sugar on the Asphalt & Tennessee Teacakes


October 26, 2013

Harry’s parked in front of the Morton (and Ainsworth) residence in a tiny little sports car that Grace knows belongs to Niall. When he told her an hour ago that he had a surprise, she thought he meant he picked up bagels from her favorite shop down the road. Already nervous enough, she has no desire to sit in a car for three hours with the top down.

“What’s that look for?” A grin sweeps over Harry’s face as he opens the door and steps out. He’s bundled up in a brown jacket and a navy beanie, sunglasses shielding his eyes despite the absence of sun. He looks soft and warm and safe. Grace has to resist the urge to run straight into his arms.

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This video was inspired by the 2014 Neon Desert Musical Festival in El Paso, TX.