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Nice

nice

dear non-spanish speakers writing spiderverse fanfiction (or anything with spanglish),

in spanglish you don’t switch by word, you switch by phrase.

it’s not:

“[first part of the sentence in english], [second part of the sentence in english], mi amor.”

“[full english sentence], querida.”

it’s:

“[first part of the sentence in english], [segunda parte de la frase en español], mi amor.”

-

also miles is boricua, miguel is mexican. they have two different accents and use different vocabulary for certain words.

also miles is “nyourican” - a puerto rican native to new york - while his mom is directly from the island, so there are differences there, too, because his spanish is more influence by new york english. 

here’s some good references that aren’t google translate (which usually pulls from spain, a country that speaks vastly differently from latin america)

SpanishDict

WordReference

here have some random videos on different slang/spanish accents:

Puerto Rico

Mexico (1) (2)

-

in spanish most words are gendered, so most feminine words end in a and masculine/gender neutral words end in o. adding ito/ita makes something cuter, smaller and more affectionate.

spanish nicknames that aren’t “mi amor”

“querido/a” - darling

“cariño” - dear (always masculine regardless, of who its being said to)

“mi princesa/príncipe” - my prince/princess

“mi rey/reina” - my king/queen

“papí/mamí” - can be used in any way; romantic, sexual, familial for one’s parent or child, or just platonically

“tesoro” - treasure

also spanish is a language that uses adjectives as terms of affection both cute ones and ones that might sound insensitive in english

gordo (fat), flaco (skinny), negro (black), blanco (white), linda (pretty), bella (beautiful), morena (brown skin), etc.

and like most languages that are not english, spanish has multiple ways of saying i love you.

“te amo” - romantic

“te quiero” - familial, platonic (although there’s nothing wrong with using it romantically)

see also:

te adoro - i adore you

te deseo - i want you

te necesito - i need you

 and, of course, they can vary regionally too.

please use this because i have read a lot of really well written things that take me out of it because the use of spanglish is terrible. don’t just go on your presumptions that spanish/spanglish works in the same way that english does.

buena suerte, gringos.

- signed your friendly neighborhood afro-latina

DONT SCROLL THIS IS IMPORTANT!

im begging anyone who sees this post to prevent rapesexual, im begging you. no one will see this but if you do reblog to get the message out that these fuckers exist and dont deserve to exist heres the flag so you can know who to fucking block, report and tell to fuck off

i dont want this to ruin the pride and help with self esteem of being lgbtq+ so a signal boost from larger accounts might be nice

In the dog world, humans are elves that routinely live to be 500+ years old.

My favorite screenshots from The Arcana

*cough* Mulan *cough*

small SPOILERS FOR LUCIO'S ROUTE

The expression on the left is quiet new (or I don't remember it... it's been a while since I played this game! Not counting yesterday) but I like it.

The screenshot on the right... This fucking face! Always! It always gets me! Whenever Lucio has this expression I always feel all sorts of things, but what it does mostly to me is that... it turns me on. I know he is a fictional character but I can't help it! And I am sure as hell that whoever draw him like this, did it on purpose.

Behind every fanfic update, there is a writer being turned into THIS as they await your reactions

If Optimus wanted to adopt me, I wouldn’t stop him.

Reblog if you think our OP would be a great dad.

on fanfic & emotional continuity

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions. 

The fact that ficwriters en masse - or even the same ficwriter in different AUs - can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative.