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#Examples of my Editing
dykeinthedark · 7 months
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i LOVE IT WHEN REDEEMABLE CHARACTERS RELAPSE INTO THEIR OLD WAYS!!! WHEN THEY GO BACK TO THE DARK SIDE!!! TO THE FEIGNED COMFORT OF WHEN THINGS FELT GOOD!! BUT THEY LEARNED SO MANY THINGS ABOUT THEMSELVES THAT THE OLD PLACE DOESN'T TRULY FEEL AT HOME EITHER, BUT IT'S THE ONLY PLACE TO RUN TO!!!! HELLLL YEAH
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guttersnarls · 1 year
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MINE *hiss
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𝔗𝔥𝔢 𝔖𝔨𝔢𝔩𝔢𝔱𝔬𝔫 𝔇𝔞𝔫𝔠𝔢 (յգշգ) 𝔭𝔯𝔬𝔡𝔲𝔠𝔢𝔡 𝔞𝔫𝔡 𝔡𝔦𝔯𝔢𝔠𝔱𝔢𝔡 𝔟𝔶 𝔚𝔞𝔩𝔱 𝔇𝔦𝔰𝔫𝔢𝔶 𝔞𝔫𝔡 𝔞𝔫𝔦𝔪𝔞𝔱𝔢𝔡 𝔟𝔶 𝔘𝔟 ℑ𝔴𝔢𝔯𝔨𝔰.
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armoralor · 2 months
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soft lesbians out, mean toxic lesbians in ✰ WolfWren from Ahsoka ✰ inspired by these iconic posts (x x x) ✰ reminder that T*RFs can fuck off, only interact if you love trans & nb folks ♡ @starwarstoxicfemslash
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blanketforcas · 8 months
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5 times they almost touched or kissed each other and one time jensen wasn't allowed
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coquelicoq · 9 months
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justice of toren collecting songs and one esk/breq constantly humming/singing them is such a good detail and ann leckie does so much with it. an incomplete list:
justice of toren's eager collection of songs is part and parcel of its violent destruction of cultures: these songs are cultural artifacts that it only learns because of its presence on those worlds during their conquest, and in many cases breq is the only one to remember them because their people have died out due to that violence. JoT preserves cultural artifacts for its own use at the same time it directly contributes to the need for that preservation in the first place.
the matter-of-fact way in which this is narrated to us gives us information about JoT's stance on respect and imperialism - that is, contrasted with other characters who look down on the conquered cultures, JoT does actually seem to appreciate their value. and yet it communicates to us no sense of remorse over its role in their genocide.
singing can be a communal activity. this allows us to feel the difference between one esk's multiple bodies singing together in harmony/in a round vs. breq singing alone. this has emotional weight, is an evocative image, and illustrates quite nicely some of the logistic considerations of having one vs. multiple bodies.
the constant humming/singing is extremely notable and idiosyncratic according to other characters, which is a dangerous combination for someone who's supposed to be undercover, so it adds a lil bit of fun suspense for us.
the fact that no one ever figures out breq's identity despite this giveaway tells us something about the other characters' attitudes towards artificial intelligences (though see below about seivarden).
the fact that it's so idiosyncratic also tells us something about the ability of individual AIs to have personalities that distinguish them from other AIs, and the fact that one esk sings constantly but two esk doesn't tells us something about the ability of different ancillary decades that are all part of the same AI to have distinguishing characteristics. this is very relevant to, and illustrative of, the series' thematic throughlines around identity, personality, continuity, etc.
the fact that breq personally has a bad voice also serves multiple purposes. because breq and seivarden both believe that the medic could have chosen a body with a good voice if she had wanted to, we can infer something about how ancillary bodies work, how much the AI (and, by extension, its medics) knows about the individual capabilities of those bodies while they're in suspension, and what kinds of things the AI can and can't control once it has unfrozen and taken over a body.
we can also draw conclusions about the medic that chose that body and about intracrew relations on that ship.
breq's bad voice creates moments of humor and irony in the narrative, such as when breq's constant singing - aka the most obvious clue that she is one esk - is precisely what makes seivarden so sure that breq can't be one esk, because no esk medic would use a body with a bad voice for an ancillary.
constant singing/humming imposes itself on the shared soundscape, meaning other people can't easily avoid it and it has the potential to annoy them, especially if the voice itself has annoying qualities. the reactions of other characters to the frequency and/or quality of this verbal tic tells us something about the level of affection those characters have for one esk or breq.
because singing involves words, the meaning of the lyrics being sung can be used to advance the plot, communicate things about specific characters, create irony in juxtaposition with what's happening on the page, etc.
i especially like what's done with the lyric "it all goes around". it's woven throughout the story in such a way as to manifest its own meaning (the repetition of "it all goes around" is, itself, an example of something going around). by repeating the lyric, breq is the one making it true, and i would argue that her repetition of this particular lyric about things orbiting other things contributes to, and/or is a sign of, her growing understanding of the necessity/reality of interdependence and her place in that framework/her role in constructing it, or in other words, the extent of her own agency and the rights and obligations it confers upon her.
because the singing/humming is a constant, background, automatic action, it only ceases when breq is experiencing a strong emotion. from this we are able to infer things about the emotional state of our famously-omits-details-about-her-emotional-state narrator based on other characters' comments about whether or not she is currently doing this thing.
we also aren't even aware that breq is doing it constantly until another character says so. on a narrative level, this serves the dual purpose of making sure we know about how much she hums AND of reminding us that she's not telling us everything.
the humming is not mentioned constantly even though it is happening constantly - this helps us forget in between mentions that it's going on while also simultaneously reinforcing just how constant it must be, so constant that to mention it every time it happens would be like narrating every time she breathes in or out. whenever someone brings it up, we are reminded anew that something has been happening all along that we forgot about. this means that ann leckie is able, by leaving information out, to hammer home to us how much we are not being told.
through this one character trait, ann leckie efficiently and elegantly communicates not just aspects of character but also of setting, plot, tone, theme, and narrative. there's no extraneous exposition just to tell us about the song collection or singing; everything that tells us about it is serving other functions in the narrative as well. the ways in which she manifests this one character trait in the universe and in the narrative contribute to and exemplify both the story itself and the method of its telling.
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bretwalda-lamnguin · 6 months
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I’m not sure if this is a controversial take or not, but I don’t think Fingon was a particularly good or capable king. The Silmarillion almost seems to damn him with faint praise, his bravery and selflessness are always singled out. But nothing about him seems to suggest he’s a great leader.
All of his best and most heroic actions are either individual or directly leading small numbers of troops, the rescue of Maedhros, routing Glaurung with his horse archers. Not much is said of his leadership during the battle in Hithlum, between the fourth and fifth battles.
I think it’s quite notable that his lands in Dor-lómin are just handed over to Hador. It suggests to me that Fingon either had very little following there or that he wasn’t doing a good job of ruling it and even Fingolfin saw this. After Fingolfin’s death he’s the only viable Nolofinwean heir, Turgon and Aredhel are missing, Argon is dead.
I also think it’s notable that everyone calls the alliance the Union of Maedhros, and Fingon is unable to leverage Orodreth and Nargothrond to back it. Maedhros is the power behind Fingon’s throne, and everyone knows it. Maedhros is the politician and the military strategist. Fingon has little skill or little interest in these I think. I also like the idea that despite the love between them, Maedhros is manipulating Fingon at least a bit. Maybe unintentionally, but Maedhros is a Machiavellian at heart, a determined and capable pragmatist. He will trample the hearts of those he loves to get what he wants.
I also think it’s notable that Fingon charges in after Gwindor while Turgon hangs back. Fingon has let the tail wag the dog, and been drawn into breaking his strategy by one of his subordinates. He’s passionate and emotional, Húrin has to restrain him from charging even before this! Turgon doesn’t get drawn in even when Fingon does, and I’m pretty sure that Fingolfin and Maedhros would not have done this either. That’s not to say Gwindor should have been abandoned to die, but providing some force to relieve them and cover their retreat when they inevitably get bogged down and have to pull back (like Turgon did for Fingon) is very different to committing the whole army to a gamble made with no prior thought.
I like Fingon! He has many good qualities, and up until the 5th battle was a major factor in the success of the Noldor. He’s brave and dashing, selfless, a good cavalry commander. He rescued Maedhros and stopped a civil war! He routed Glaurung! But I do not think he was ever a good king.
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rhettmcsimp · 2 months
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When one of Link’s love languages is words of affirmation 💖
(specifically these types of lines ₊⊹)
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[ x | x | x | x | x ]
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raven · 10 months
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craycraybluejay · 7 months
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Hey! I've been thinking, and I'd like to open commissions for: beta reading/critique, editing, and writing commissions. Please comment if you'd be interested in any of this, and DM me if you want to talk about my experience in any of the above skills. I would also like to mention that I already have a writer (and friend) who is commissioning me to beta for them, and I am very excited about that! The writer in question is @wandering-wolf23 aka K. Ramsuer or C. A. Wood. Please reblog if you think any of your followers may be interested in my services. Thank you <3
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micamicster · 3 months
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Bruce Springsteen's fourth album DARKNESS ON THE EDGE OF TOWN as Penguin Classics (series): Andrew Wyeth / Alan Stephens Foster / John James Audubon / Edward Hopper / Cy Twombly / Robert Hodgell / Kiyoshi Asai / Adolphe Sunaert / Alexander Louis Leloir / Pablo Picasso
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shevr · 9 months
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I love when you draw your goat like a cute cartoon girl. and also when you draw her like the most fucked up little creature ever
hhhrhhh h
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𝔗𝔥𝔢 𝔖𝔨𝔢𝔩𝔢𝔱𝔬𝔫 𝔇𝔞𝔫𝔠𝔢 (յգշգ) 𝔭𝔯𝔬𝔡𝔲𝔠𝔢𝔡 𝔞𝔫𝔡 𝔡𝔦𝔯𝔢𝔠𝔱𝔢𝔡 𝔟𝔶 𝔚𝔞𝔩𝔱 𝔇𝔦𝔰𝔫𝔢𝔶 𝔞𝔫𝔡 𝔞𝔫𝔦𝔪𝔞𝔱𝔢𝔡 𝔟𝔶 𝔘𝔟 ℑ𝔴𝔢𝔯𝔨𝔰.
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petrovna-zamo · 1 month
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What is your favorite memory from working together?
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viiinz · 10 months
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there's something about Dostoyevsky characters suddenly bursting into tears that just hits different
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lab-gr0wn-lambs · 2 months
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I've gotta make a fake trailer for show/movie turning it into a different genre which theoretically is hilarious and fun, but I'm scared because now the fate of my bachelors degree lies in the hands of a shitpost
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