They’re called Equesticles because they’re men and have testicles
I’m watching the Bob’s Burgers “Equestranauts” and it’s as glorious as i imagined
Hi there! I was wondering if you had any advice or blogs to share, when it comes down to creating your own language?Anonymous
Creating a language (aka conlanging to the cool-ish kids) is a rather large and strenuous undertaking that will make you laugh and cry and punch walls and marry an alpaca and so on and so forth. The main piece of advice I would offer to a brave new conlanger is as follows: DO YOUR RESEARCH. Learn how real languages work, read about ones other than your native tongue to find cool new linguistic features, don’t “pad” your conlang with things like silly romanizations that are intended to mask a lack of knowledge. Unless you just need a few foreign sounding words to throw around and don’t want to put that much work into it, like this, a lack of research will make me and presumably various other people around the world cringe. But now, without further ado: links!
The Language Construction Kit- this one is a great starter for anyone looking to create a realistic language
Deconstructing Conlanging- tumblr blog that often posts very useful information/articles on the subject
Imaginary Languages- also tumblr; great inspiration for when you don’t know where to go with your language
How to Create Your Own Language- also a great starter
Language Creation Society- for if you wish to be surrounded by other conlangers
Conlang Wikia- more inspiration
Conlangery Podcast- podcast with useful information
There are countless resources online for conlanging, but these are the ones that I’ve found useful so far. And an addendum to my previous advice- have fun with it. Languages are ridiculous and complicated and funny and if you don’t enjoy making them then it might be best to go a different route with your writing. Because honestly, if you believe that English (or any other language) is anything other than a cosmic joke, then you’ve clearly never seen the word “ghoti.”
Screenwriters! Get your claws into this awesomely helpful list of screenwriting terms. Scribble them on post-it notes, make them into posters, tattoo them to your body, or simply favourite this post…
'Playwright and scriptwriter, Isla Gray, brings us this great glossary of scriptwriting terms to help you format your script on the page. She’s even thrown in a downloadable template, too…
Non-dialogue sections of the script detailing what you see on screen, also known as scene direction.
Tells us which character is speaking. Appears centred above dialogue IN CAPITAL LETTERS.
Can appear bracketed under each scene heading to list the characters appearing in that scene e.g. (FRANKIE, JACK, ALEX). If you are writing for a specific television programme the script team will outline whether or not they adopt this formatting.
Dialogue spoken by the same character that continues uninterrupted on a new page or after interrupting action. Marked by the character’s name with [CONT’D] added in brackets e.g. FRANKIE [CONT’D]
A transition command at the end of the scene to demonstrate that the action moves to a new scene, jumping location and/ or periods of time. (See “Transitions”)
CUT TO CONTINOUS:
A transition command at the scene end to demonstrate the action moves to a new scene immediately, jumping location but not time. (See “Transitions”)
Single-spaced lines of speech under the appropriate character name.
When two characters speak simultaneously, formatted side-by-side within the script.
A version of the script. Each new draft is numbered chronologically e.g. First draft, Second draft etc.
Appears at the start of the scene heading to indicate that the scene takes place outside.
The first version of the full script.
For screenplays, Courier (New) 12 point is standard.
FX (or SPFX)
Shorthand to outline special effects.
Information printed at the top of every page. For example, the left hand side can be the script title, on the right hand side the page number.
Cutting back and forth between two scenes occurring at the same time when appropriate e.g. INTERCUT SCENE 7 WITH SCENE 8.
Appears at the start of the scene heading to indicate that the scene takes place inside.
JUMP CUT: (or SMASH CUT:)
A transition command at the end of the scene to demonstrate a super-fast transition from one scene to the next.
Dialogue spoken by a character who’s present in the scene but does not appear on-screen when their dialogue is spoken.
Appears within a line of dialogue to show what action a character is doing at time of speaking.
Producer/ Director draft (P/D draft)
The version of the script read by the production team for the Producer/ Director meeting. This version will be redrafted after notes to deliver the Shooting script.
Scene heading (slug line)
This is one line of text in CAPS at the beginning of every scene telling the location and time of day the scene takes place e.g. INT. CAFÉ – DAY
Appear at the start of every scene on the same line as the scene heading.
Programmes include Final Draft, Movie Magic Screenwriter and CeltX. CeltX, Page 2 Stage, Five Sprockets are free and available on the web. Scriptwriting is possible in MS Word, but be ready to change the margins repeatedly for the various elements.
The version of the script used during production shooting. This should be your “final” draft, but it can include ongoing amendments.
Spec script (speculative script)
A non-commissioned unsolicited script.
The first page of a script detailing the following information – SCRIPT TITLE and writers name (central). Writer contact information or agent’s details (bottom left or right hand corner).
Marks the end of a scene and instructs how the action moves to the next scene e.g. CUT TO:, CUT TO CONTINUOUS: Formatted capitalised at the right hand side of the page.
V.O. (voice over)
Dialogue spoken by a character who isn’t present in the scene (and therefore does not appear on-screen) when their line of dialogue is spoken.
Like in all good glossaries nothing ever begins with Z.