Words

There are many words I love, ones I like, and ones I'd rather just stop calling me.  Our language is everything, it's how we perceive the world around us, how we tell of it to others.  Words, are one of the most personal and powerful things we as humans have created.

And some of them suck.

So, here's a list of words that are either deplorable, fantastic, or just no longer of use to us as a society:


Leaped: I don't like this word, the concept is brilliant, when you say "jumped" it sounds like a more forceful hop over something, you can jump out of the way of a car.  But if you "leap" away from a car, it's instantly heroic. But leaped sounds, odd, to me.  I prefer "leapt". That harsh T makes the E less EEE and more EH, L-eh-p-t.  So, I don't use Leaped, I use leapt.  Because language is flux, and I intend to make a new word.

Heroine: I hate this word, in its' place, I use "Hero".  Why? Because hero should be neutral, not for rights or equality issues, but Heroine is uselessly longer, for no real reason.  There's no point to have a separate word for female heroes, it's a distinction that is moot. Calling the protagonist a "heroine" puts the notion that "female" is something of note, above the fact that this person is a "hero".  The goal of creating a character is to not make something like Gender a staple of the character, their -character- should be the staple.

Definitively: I like this word, I don't know why.

Fuck: This word bores me, as much as it can ruin a good line.  It's a harsh interjection at best, that breaks the flow of a sentence.  Removing it, can go completely unnoticed.  It has it's place as reply, or in the dialogue of someone unrefined, but for narration it loses it's power.
They decided to fuck.
"They decided to fuck."
One of those is a pithy, quick reply, the other is uninspired narration.

Conjunctions in narration:  they give the work a more casual feel.  If something's being called "A Legend", casual narration doesn't fit.  This is a saga, a powerful work of emotional and powerful proportions, "the hero won't lose this fight, because a world run by evil ain't something they can abide", sounds... lesser for it.  But if you're taking a closer angle, looking at the less glorious side of life, it can pull the reader in more.  Casual makes them feel as if they're the ones thinking, formal makes them feel as if this is a story about someone amazing.
Note: The Iron Rose's narration is written in formal, while the dialogue is written in casual, so that the reader would get the feeling that this is a massive fantasy world, filled with sagas and tales across it, but these people sort of stand out as "odd".
In "#Villain" the narration is casual, while his dialogue is formal, so the reader feels as if they share feelings and thoughts with this madman, but when he speaks, it's suddenly fantasy.  It shows that inside, he's a careful genius, but he acts like he lives in a fantasy world of his own making.

Action in dialogue: I like dictating action in dialogue, in varied and specific settings.  This is where you have a character, mid dialogue, calls out another characters actions.
"I know, right? People are always doing things when I'm- put the orange down, dear, when I'm speaking to them."  You know nothing about that scene, save that there are two people, and one of them picked up an orange they weren't supposed to, and was corrected.  One line of dialogue, you now have the scene.

Inept sentence structure, to show stupidity/ignorance: this is probably something that's universal in most media, but really doesn't explain the situation properly.  Having someone speak like their five does sort of imply they're stupid, but it more wrongfully implies that those who speak clearly in well mannered sentences, are smarter.  People can have well structured, grammatically correct sentences, and be utter morons.   Let's use Batman movies as examples!

Joker: speaks in usually slang, broken dialogue that isn't really proper, he's crazy and silly... and brilliant.  His plans always come together, and Batman is always barely ahead.

Bane: Speaks like the perfect gentleman, but his plans are so mind-shittingly- stupid, one is surprised Batman is needed to stop him.

Riddler: Speaks in memes, crazy brilliant.

Batman: Brilliant, cunning, dangerous: when confronted about being sleepy "Uhh... what you see, is not how I am..." Or, as anyone who's been tired and lied to their boss: "Coming down with a cold."


Basically, words and uses of them depict how we think, how we act, and how the future moves.  Parting thought:  English requires a person for any describing situation.  If there isn't one, it falls apart.  We assign nouns to outcomes "Tom broke a dish", describes the same incident as "Tom's dish broke".  Both assign blame, one blames Tom for the broken dish, the other blames the dish itself for breaking.  This means that English demands culprits for outcomes, even in the event of unpreventable accidents. 

Think about that next time you pass a car on the side of the road, you'll automatically start assigning blame.

So, because of reasons, I'm going to be taking up the blogging again.  I'm terrible at remembering things like this, but maybe I need them?  We'll see.

Anyway, today's is simply something small and meaningful.



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I will take responsibility, not because I'm not to blame,
but because someone has to.

I will not blame them, not because they're not to blame,
but because I will most past it.

I will stand before the storm, not because I have to,
but because I choose not to hide.

I will move forward, not because I cannot go back,
but because it is the direction I choose.

I will stand in defiance, not because I am outmatched,
but because I refuse to be matched.

I will not sit in my darkness, not because I am afraid,
but because I choose to stand in the light.

I will move forward, into the dawn.


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