{Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.}

anonymous asked:

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

Is this Latin? Have I been cursed? Or am I just a dumb American who doesn’t understand other languages…

anonymous asked:

I suppose you are familiar with the work of Denis Dighton, so do you have any idea which "french" hussar Regiment he depicts in this painting from the Royal collection: "fight between the 14th Light Dragoons and French Hussars around 1813". To my best Knowledge there was no french regiment with this uniform. Neapolitan Guard Velites, perhaps? Though theyshouldn't have light blue cuffs & collars. Any ideas?

Hello! Yes, I have posted some works of Denis Dighton and here is the painting in question, I believe:

According to the history of the 14th Light Dragoons they saw action in the Peninsular war between 1808 -1814. According to Osprey’s colour scheme for the French hussars there was no regiment with white dolman:

I checked other units such as Scouts, Chasseurs a cheval, I took a look at the Velites you spoke about  but I found nothing that matches this uniform. I guess it is the imagination of the artist, I like the combination of the colours and the painting itself is very dynamic and dramatic. Here’s another historically inaccurate painting of Denis Dighton:

Here the 1st Life Guards has cuirasses on what’s supposed to be the battle of Waterloo although they adopted it several years later.

Thanks for the question! I am glad I had the excuse make a small research!

   Lorem ipsum dolor sit amet, consectetur adipiscing elit. Maecenas ornare, sapien nec mattis venenatis, quam est consectetur urna, dignissim imperdiet lectus metus dictum elit. Vivamus non venenatis arcu, in sagittis mi. Nulla volutpat augue a quam varius tincidunt. Aliquam neque eros, rutrum id vestibulum eu, pellentesque ut elit. Suspendisse a tellus eget massa convallis scelerisque nec id lacus. Praesent at arcu felis. Morbi sed placerat mauris. Etiam vel sodales risus. Pellentesque cursus, est sed blandit placerat, velit risus pretium augue, ac euismod lorem sem et nulla. Nullam posuere porttitor feugiat. Curabitur maximus euismod justo sit amet volutpat. Fusce malesuada laoreet mi. Etiam ac bibendum turpis. Praesent id cursus turpis. Sed suscipit pretium massa, non congue mi porttitor ac. Cras eros nulla, placerat vitae posuere ut, vehicula sed leo.

   Maecenas egestas posuere sapien. Pellentesque eleifend dolor vitae ipsum egestas tempus. Fusce maximus dignissim lorem, non scelerisque sapien tempus eu. Donec lobortis, odio a ultricies tincidunt, urna sapien euismod velit, quis placerat nibh nisi ultrices metus. Praesent sed enim vel libero consectetur auctor et vel nunc. Nulla tincidunt lacus sed ex consequat, at posuere lectus rhoncus. Etiam consectetur quam id leo pharetra, pellentesque ullamcorper ex malesuada. Curabitur vel odio lacus. Donec iaculis consectetur leo ut luctus. Vivamus eu velit sit amet nunc cursus scelerisque eu quis dolor. Fusce faucibus id ante nec dapibus. Nunc nibh orci, semper et velit in, malesuada semper felis. Ut semper enim imperdiet magna fermentum, vitae auctor eros eleifend. Pellentesque ultricies volutpat condimentum. Aenean quis felis id massa aliquet auctor laoreet quis diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae;

   In lobortis vel justo eu laoreet. Phasellus interdum metus arcu, eu elementum nisi consectetur non. Curabitur enim odio, luctus sed fermentum in, vulputate a nibh. Phasellus eu enim quis ante tincidunt ultricies. Etiam a turpis non ligula bibendum placerat quis at eros. In id ex neque. Vestibulum vitae blandit felis. Integer risus ligula, malesuada at lectus ut, ornare ultricies purus.

   In sodales a ligula ut luctus. Etiam massa leo, mollis nec mauris at, vehicula faucibus ipsum. Praesent dignissim dolor vel nulla aliquet, ultrices aliquam tortor vestibulum. Proin non mattis ante. Nullam volutpat, eros congue semper volutpat, turpis neque varius risus, vel tempor velit urna non augue. In pellentesque porttitor libero vitae laoreet. Sed a orci et est lacinia vestibulum. In ac interdum nunc. Donec euismod at leo vel ornare. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Aenean tempus diam quis rutrum sagittis. In id lacinia dolor. Nunc ut risus egestas, ultricies neque eu, tristique eros. Donec congue sagittis purus, id tristique tortor auctor eget.

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Let's Talk About Armies, part 2/8

This is meant as an information resource for creative folk, not a complete guide. Be sure to supplement this with additional research. Find the rest of the series, including the previous posts on clergynobilitycommon medieval jobsdivinationspirit animalsmythical creaturesmedieval punishmentsarmorpre-gunpowder weaponssiege warfarecastle anatomymedieval clothing, and common terms of medieval life.

Part 134567, and 8.

Once the writer has determined whether they are dealing with a band of warriors or a trained army of soldiers, the next thing to do is decide how the units are laid out hierarchically, as well as what they’re called.

Let’s talk about: army hierarchies. Troops can be arranged in any manner of ways from the type of weapons they are trained in, length of service, level of training, or any number of other ways. The most frequently used method is that of training level. The more training (generally corresponding with how long they’ve been in service) a soldier has, the higher rank they are, the more power they wield. This may or may not have any link to how many weapons they are trained in. A veteran may be exceptionally skilled with a lance from years of being part of the lancer’s cavalry, but may not have any training with, say, crossbows, long bows, compound bows, daggers, halberds, battle scythes, etc.
     Green troops refers to soldiers who have little or no training, or sometimes well-trained soldiers with no field experience. They may (or may not) have good skill with their weapon and are able to march, but they have not been exposed to real action. Without strong leadership and steady units on their flanks, green troop units are likely to break under any sort of duress. (Take the Maryland militia during the Battle of Bladensburg in the War of 1812 who broke and ran when rockets were fired over their heads.)
     Regular troops will make up the bulk of a professional army. They have arms and maneuver training, with some limited action experience such as border skirmishes or putting down riots. They are likely to stand their ground during normal battlefield threats with proficient leadership, and they can be very reliable.
     Veteran troops boast extensive training with considerable experience. They almost invariably have a history accompanying them and are likely to reenact their past glories via storytelling, rituals, or pageants. They may have special privileges, wear special devices on their uniforms, carry extra well-made weapons, or have extra pay. Veteran troops often function as officers for units of regular troops. (For example, the legionnaires of the Roman Empire were veteran troops with their legion’s history displayed on standards that were carried into battle.)
     Elite troops are the best of the best, and they form their own units. They are not always found in armies, but are a prized commodity when they are present. Elite soldiers may be leaders of veteran troops. (A great example is the Sacred Band of Thebes, the two-hundred man unit that died defending their city against the armies of Alexander the Great, who later wept for their valor.)
     Heroes, while more warrior than soldier, have extensive training, experience, and frequently come accompanied by magical abilities. These may take the form of supernatural strength, magically enhanced weaponry, magical companions, etc. They are known to lead veteran or elite troops—sometimes even entire armies—or to function independently.
     Superheroes, demigods, demons, deities…all of these and more come after the above, if the writer so chooses or the world calls for them. Anything is possible, there just needs to be a plan.

Let’s talk about: things for writers to take note of. These are not rules. They’re more of guidelines, anyway. Historically, even elite troops have broken inexplicably while green troops have stood their ground under harrowing circumstances. Considering these things, truly dramatic scenes can be crafted.

Let’s talk about: naming troops. Units and troops can be broken up in a variety of ways and named according to all kinds of conventions. They may be named for the type of armor they use (Greek hoplites were named after their hoplon, a large, round shield.), a particularly esteemed commander (Sharpe’s Rifles or Arikon’s Winged Lightning), a town the soldiers are from (the Mill Village Militia), a weapon they specialize in (Lance Corp), a guardian (“White Wolves”), etc. Literally the possibilities are endless.

Let’s talk about: types of troops. Given that all of this is subject to the whim of the world the writer is using, the following information is simply basic historical examples. From these, writers can glean inspiration and a feel for how they might like to section up their armies.

Infantry: The most versatile arm of a military force are foot soldiers. They can operate under the greatest variety of conditions and with the least expense and equipment. Such troops also tend to be the least glamorous or rewarded of any sorts of soldiers.

Heavy Infantry: As heavily armored as possible (which, depending on the culture, may be very heavy indeed) with close-combat weapons and sometimes secondary hurling weapons. They are trained to fight toe-to-toe with the enemy in close formations. (The Roman legionary would be one example. They were armed with javelins, short-swords, and daggers; the Greek hoplite, armed with armor-crushing weapons like battle axes, maces, and flails also counted.)

Light Infantry: Wore light or no armor, or perhaps only shields and helmets. Typically, they served as skirmishers, launching missiles at the front ranks of an enemy force before close combat, dispatching wounded soldiers on the battlefield, or chasing down retreating foes. (Examples include the velites of Rome who were armed with javelins; the pletasts of Greece who were also armed with javelins; and the pindaris of India who sported pikes and other miscellaneous weapons.)

Missile Troops: Typically wore no armor and could not engage the enemy in close combat. Such troops were often among the most highly trained in the army. (The Balearic slingers of the ancient world and the English longbow-men of the Middle Ages were a few.)

Cavalry: Chariotry was the first effective form of cavalry. Forces of chariot troops conquered much of Asia and India in the second millennium BC. Chariots are even more limited than horses in the kinds of terrain they can operate on, however, and once horses were bred strong enough to carry an armored man, more maneuverable individual cavalrymen eclipsed chariotry around 500 BC.

Heavy Cavalry: Used swords, spears, and axes; wore heavy armor; and fought in close formation, often stirrup to stirrup. The horses of such units were often as heavily armored as the men, equipped with bard of quilted cloth, scales, mail, or plate. (Examples include the Byzantine cataphractoi; the armored knights of the Middle Ages; and the Mamluk slave soldier of medieval Egypt.)

Light Cavalry: Wore little armor and were used to skirmish against, harry, or pursue the enemy, usually using missile weapons such as javelins or bows. Prior to the introduction of the stirrup, most cavalry were this sort. (The Mongolian mounted archers, who could fire accurately from the saddle while moving at a full gallop, are the best example of such troops.)

Tomorrow we’ll talk about some common terms to refer to more specific types of soldiers.


Scipio Africanus - Second Punic War

In 219 bc, when Hannibal Barca first led his Carthaginian army against the Iberian city of Saguntum, a Roman ally located south of the Ebro River, in the opening campaign of
the Second Punic War, Publius Cornelius Scipio was 17 or 18 years old. His father, also named Publius Cornelius Scipio, was elected a Roman consul in 218 bc, and the young Scipio accompanied him in a confrontation with Hannibal’s invasion force near the Ticinus River in Northern Italy shortly after the Carthaginian commander had completed his famous crossing of the Alps.
In the melee that ensued, the elder Scipio became surrounded and was seriously wounded. Perceiving his father’s danger, Scipio the younger urged his troops into the thick of the fighting. When they hung back, the boy rode into the enemy cavalry alone, compelling his men to follow. That attack broke the Carthaginian formation, and the elder Scipio later saluted his son before the army as his rescuer.
As Hannibal continued to ravage Roman armies sent to meet him in Italy, the elder Scipio became convinced that the key to Roman victory lay in Spain. Accordingly, as soon as his wounds would permit it, he left Rome to join his brother Gnaeus Scipio, who had been holding a defensive line at the Ebro River. From there, the two brothers pursued a guerrilla war against the Carthaginians, who were based at New Carthage on the Spanish coast. In 212 bc, however, both elder Scipios were killed in the course of a series of battles in the Baetis Valley, and by 211 bc, only 9,000 legionaries held the Ebro line against three Carthaginian armies totaling more than 45,000 men. Back in Rome, experienced generals shrank from taking command in Spain. Almost by default, therefore, the Senate bestowed the rank of proconsul upon the dead Scipios’ son and nephew. Although not quite 25, he unhesitantly left Rome with 10,000 infantry and 1,000 cavalry to take control of the beleaguered legions on the Ebro.
Upon his arrival in Spain, Scipio began to train his men in tactics he had learned by studying Hannibal’s battles in Italy. He experimented with a smaller infantry unit, the cohort, which allowed greater flexibility of maneuver than the legion. In addition, Scipio armed his men with short Spanish swords (the gladius hispaniensis), replacing the unwieldy weapons used in the past.
In 210 bc, Scipio crossed the Ebro with 25,000 infantry and 2,500 cavalry, leaving Marcus Silanus to hold the river defenses with 3,500 men. Sending a portion of his army by sea along the Spanish coast toward New Carthage, Scipio led the remainder of his troops on a march of 325 miles in seven days to reach the walls of the enemy stronghold before the Carthaginian field commanders had time to react.
During a short, vicious siege, Scipio led a breaching column through a supposedly impregnable lagoon located on the landward side of the city; a strong northerly wind combined with the natural ebb of the tide left the lagoon shallow enough for the Roman infantry to wade through. New Carthage was soon taken, forcing the Carthaginians to fall back upon Gades as a base.
The next year, Scipio attacked the army of Hannibal’s brother, Hasdrubal Barca, near Baecula. In a departure from standard Roman practice, Scipio divided his army in the face of the Carthaginian force and employed his lighter armed troops as a screen in the center while the main force fell upon the enemy flanks. Hasdrubal, severely beaten, slipped away with the remainder of his army and marched into Italy, hoping to join Hannibal, only to be intercepted and destroyed by a Roman army at the Metaurus River. Hannibal learned of his brother’s death when Hasdrubal’s head was thrown into his camp.
In the meantime, with Hasdrubal Barca’s army out of Iberia, Scipio completed his conquest by crushing the last Carthaginian forces under the command of Hasdrubal, son of Gisgo, at the Battle of Ilipa in 206 bc. That success was followed by the capture of the last Carthaginian stronghold at Gades, ensuring the Roman occupation of Iberia for the next seven centuries and winning Scipio the Roman con-
sulship for 205 bc.
Scipio next lobbied the Senate for permission to invade the Carthaginian homeland in North Africa. The senators were reluctant, but Scipio was convinced that such an expedition would either force the Carthaginians to recall Hannibal or at least leave him isolated in Italy. When Scipio threatened to appeal directly to the Roman people if the Senate failed to support him, it voted to give him command of Sicily, which he could use as a base of operations against Carthage.
Scipio spent 205 bc preparing for his campaign. He sent Gaius Laelius into Africa to seek an alliance with the Numidian chiefs Syphax and Masinissa, who were on the verge of revolt against their Carthaginian overlords. Syphax, however, decided to stay with the Carthaginians, and drove Masinissa into the desert. When Scipio attacked Utica on the African
coast in 204 bc, the Numidian cavalry harassed his own line of communications and forced him to abandon the siege. In the next year, however, the Romans defeated Syphax and his Carthaginian allies in two battles, convincing Masinissa to join with Rome.
The Carthaginians panicked and sued for peace. While negotiations were under way, Hannibal slipped out of Italy with the remnants of his once-proud army, returned to Africa and convinced the Carthaginian government that all was not yet lost. In 202 bc, Hannibal had several initial successes against the Numidians, but Scipio still tried to link up with Masinissa to augment his own cavalry strength. Responding to that threat, Hannibal left his base at Hadrumatum in an attempt to cut Scipio off.
Despite Hannibal’s concerted efforts, Scipio finally joined Masinissa near the town of Zama, about a five days’ march from Carthage. When Hannibal learned of the location of the Roman camp, he detailed three spies to obtain information. The three were captured, but instead of putting them to death, as was customary, Scipio appointed a tribune to take all three men on an inspection tour of the camp.
Scipio’s unusually generous treatment of his spies so impressed Hannibal that he arranged to meet the young Roman commander a few days later—alone except
for two interpreters. Their parley was cordial, but they failed to negotiate a peaceful settlement—17 years of warfare between the Romans and Carthaginians had left wounds that could not be healed in an afternoon’s discussion.
On the day of battle, Scipio drew his legions into a classic Roman formation of three lines, but in another departure from the conventional practice of the time, he arranged the maniples of each line to form directly behind those of the line in front, creating lanes that passed vertically through his infantry formations. He then had each of those lanes masked behind a formation of lightly armed skirmishers, or velites, so that the Roman army appeared as a solid mass. The Italian cavalry, under the command of Laelius, was positioned on the left wing of the infantry lines, and Scipio’s Numidian cavalry, commanded by Masinissa, was stationed on the right wing.
Hannibal also drew his battle formation into three lines. His first line consisted of about 12,000 Ligurian, Celtic and Moorish mercenaries. Masking this front line was a corps of 80 elephants supported by lightly armed skirmishers. In his second line, Hannibal placed the majority of his native Carthaginian forces, with his “Old Guard” troops from Italy forming a reserve force in the third line. Like Scipio, Hannibal placed his cavalry on the wings.
As soon as the last of the Carthaginian forces were in formation, Hannibal ordered his elephants to charge the Roman infantry. The sound of bugles and trumpets piercing the air from the Roman front line, however, caused the elephants to panic. Most of them turned tail and drove straight into Hannibal’s own Numidian cavalry, leaving his left flank dangerously exposed. Any elephants not stampeded by the Roman musicians passed harmlessly down the lanes in Scipio’s formation. Taking advantage of the confusion, Laelius launched a charge against the Carthaginian cavalry on Hannibal’s right wing, driving them off in headlong retreat.
At that point, the front two lines of Hannibal’s infantry pressed forward into Scipio’s line. Superior Roman equipment and discipline soon overcame Hannibal’s mercenary troops, who found themselves trapped between the advancing Roman army and their own Carthaginian allies, who would not open ranks to let them pass. As the infantry lines closed for combat, Laelius’ and Masinissa’s cavalry suddenly appeared in the rear of Hannibal’s army, and in the ensuing struggle, the remaining Carthaginian force was destroyed. Hannibal and a few of his men escaped to their base at Hadrumatum, but nearly 20,000 Carthaginians and their allies were slaughtered, compared to Roman losses of 1,500 men.
Following his triumphal return to Rome, Scipio presented the Senate with 123,000 pounds of silver. In return, he became the first Roman general to be honorarily bestowed with the name of the land he conquered, as Scipio Africanus.
Scipio’s popularity soon came to be marred by controversial behavior. His love of Greek customs, literature and art soon brought him into direct conflict with the traditional Roman party, led by the Censor (senior magistrate) Marcus Porcius Cato. In 187 bc, his brother Lucius Scipio was accused of accepting bribes, to which Africanus responded by tearing up the incriminating documents before the tribunal. Later, Scipio Africanus himself was called to the Senate to answer corruption charges—a summons that he simply refused to obey. Retiring to his estate outside Rome at Liternum, Scipio spent his final years complaining of his countrymen’s ingratitude, until his death in 184 bc.

anonymous asked:

I'm trying to edit the pop up tabs and i want to align the text, but it's only letting me center,right, or left it. I want to make a sort of container within the pop up tab i was wondering if you knew how

hi there nonny,

sure - you can check out the ‘how to style popups’ tutorial for another explanation of adding features e.g. links - but this works in exactly the same way.  to add any feature to your theme, whether it’s in a pop-up or just generally, you will need to add two things - the css to style the object and the html to add it to the theme… ( all tutorials, including installing popups are on my tutorials page )

so here, i’ll show you how to add an offset text box… 

going from this - 

to this…

read on!

Keep reading

Aeneis: VII, 331–340

»Tu mir diesen Gefallen, du nachtgezeugete Jungfrau,
diese Hilfe, dass nicht unsre Ehr’ oder schwaches Gerede
schwinden, oder, dass nicht die Troianer Latinus um Hochzeit
bitten, oder die Grenzen Italiens können besetzen.
Du kannst die friedlichen Brüder zum Schlachtenschlagen bewaffnen
und mit Hass die Häuser zerrütten und Schläge den Häusern
bringen und Todesfackeln, du hast der Namen ja tausend,
tausend Künste, zu schaden. Und rüttle das üppige Herz auf,
sprenge entzwei gestifteten Frieden und säe den Krieg aus.
Waffen wolle und fordre zugleich und ergreife die Jugend.«

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  • iggy: ok yo listen
  • iggy: Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum
This is a Text Post.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum. Nam quam nunc, blandit vel, luctus pulvinar, hendrerit id, lorem. Maecenas nec odio et ante tincidunt tempus. Donec vitae sapien ut libero venenatis faucibus. Nullam quis ante. Etiam sit amet orci eget eros faucibus tincidunt. Duis leo. Sed fringilla mauris sit amet nibh. Donec sodales sagittis magna. Sed consequat, leo eget bibendum sodales, augue velit cursus nunc,

Story Elements: Formatting Lyrics Within the Story

Anonymous asked:

i’m writing a chapter in my fanfic where person a is singing to person b. i’ve read your posts on copyright issues but that’s not needed because i intend to write the song myself, it’s just that i don’t want to make it corny. do you have any tips to ease into a song and it’s lyrics? should i just have a space for just the lyrics and nothing else? should i still describe actions/body language from person a to person b as the song is being sung? its a full song with chorus, hooks and everything.

I would do it like the following example, with the “lorem ipsum” text representing the exposition and dialogue prior to and after the song:

Lorem ipsum dolor sit amet, et mea vidit atomorum inciderint, ea pro ceteros expetendis. Ut sale soluta aperiri est. Ne eam labores scripserit. Has te viderer utroque sensibus, sed an quas saepe voluptatibus.

“Cu duo atqui conceptam voluptatum?” nam ceteros.

“Invenire sadipscing ei.Discere mentitum ut mei.”

“Duo te dicat laoreet dissentiunt, an graeco praesent cotidieque per.” Omnesque delicata.

 Vel ne. Id paulo postulant voluptatum est. Meliore mnesarchum qui cu. Cu magna salutatus quo, ad case tollit propriae mei. Congue numquam eos an, duo quodsi vocibus ad, vis nulla nominati in.

Twinkle, twinkle, little star,
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.

When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.

Then the traveler in the dark,
Thanks you for your tiny spark,
He could not see which way to go,
If you did not twinkle so.

In the dark blue sky you keep,
And often through my curtains peep,
For you never shut your eye,
Till the sun is in the sky.

Mel ad congue signiferumque, unum ancillae appetere pro in. Quot vocibus adipiscing vel ei. Vel dicit laudem phaedrum id. Erat cetero elaboraret an quo, pri id elit percipitur, his iuvaret gloriatur no.

“Id eam atqui expetenda, splendide necessitatibus ea per?”

“Ne vis tota facete.Quo an vero oratio eligendi. Et nulla legere vis, inermis fabellas eum et. No agam integre duo. Vel brute veniam eu, modus praesent referrentur ut quo.”

“Sit paulo possim id,” Per at omnium impedit eleifend.

Id alia velit dissentiunt nec, quot unum lobortis vis id. Vix possit interpretaris cu. Quando blandit electram nam at, propriae indoctum sea an. Aliquip admodum verterem nec cu, eam ne alii suscipit. Rebum facilis et quo, dicta utroque periculis at mea.

So, in other words, when you’re ready to put the song in, put in two blank lines, put the lyrics in italics, then put two spaces before going back into the text. The formatting requirements for your manuscript may change according to what your specific editor wants, but this is fine for everything else. 

Now, if you wanted to break after a particular verse to show the person’s reaction or have a quick dialogue exchange, you’d still do it as above. You’d just do it a second time going back into the remainder of the lyrics and completion. :)

*** also, just a side note for anyone else reading *** as anon pointed out, this is for fictional lyrics or public domain lyrics. You cannot use copyrighted lyrics in your story without permission.

Have a writing question? I’d love to hear from you, but please be sure to read my ask rules and master list first or your question may go unanswered. :)

Neque porro quisquam est qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit.

“No hay nadie que ame el dolor mismo, que lo busque, lo encuentre y lo quiera, simplemente porque es el dolor”.

Un Lorem Ipsum.

Lorem ipsum dolor sit amet 👀 👀 👀 👀 👅 👅 👅 🍆💦

consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur 💯 💯 💯 💯 💯 💯 🔥 🔥 🔥 🔥 🔥 🔥