=BACKGROUND=

Gwýsene ⟪ثِتونج ځوېٓسِنہ⟫ ⟨th'Tundj Gwýsene⟩ /θɛˈtund͡ʒ ˈʝyːzɛnɛ/ (or "the least Germanic Germanic language") is a Germanic language descendant from Old English spoken in Nabataea (modern-day Jordan, Sinai, and northwestern Saudi Arabia). It takes place in a timeline where the Anglo-Saxons get kicked out of Britain by the Celts, therefore they sail all the way to Nabataea (I pride myself on my realism here) and settle there. Most of them eventually convert to Islam, and, as a consequence, Arabic becomes elevated to the language of academia, nobility, and poetry.
"English" as we know it still survives in-timeline as Englisc — basically Middle English with some modifications — spoken as a minority language in southeastern Britain (or Pritani as the Celts call it in-world).
==ETYMOLOGY OF GWÝSENE==
⟨Gwýsene⟩ ⟪ځوېٓسِنہ⟫ is derived from ځوېٓسِن (Gwýsen) + ـہ- (-e, adjectival suffix), the former from Middle Gwýsene جِٔويسّمَن (ɣewissman), a fossilization of جِٔويسّ (ɣewiss, "Geuisse") + مُن (mon, "man"), from Old Gwýsene יוש מן (yws mn, yewisse monn), from Old English Ġewisse monn.
⟨Tundj⟩ ⟪تونج⟫ is loaned from an Arabized pronunciation of Old Gwýsene תנג (tng, tunge) (from which descends the doublet ⟨Togg⟩ ⟪تُځّ⟫ /toɣ(ː)/, "tongue")
The Englisc exonym is ⟨Eizmenasisc⟩ /ɛjzmɛˈnaːsɪʃ/, From Brithonech (in-world Conlang) Euuzmenasech /ˈøʏzmə̃næsɛx/, from Middle French Yœssmanes /ˈjœssmanɛs/ (hence modern in-world French Yœssmanes /jœsman/ and Aquitanian (in-world) ⟨Yissmanes⟩ /ˈiːsmans/), from Middle (High) German \jewissmaneisch (hence modern in-world German *Jewissmännisch** /jəˌvɪsˈmɛnɪʃ/, Saxon Jewissmannisch /jɛˌvɪsˈma.nɪʃ/, and Hollandish Iweesmanis /iˈʋeːsmanɪs/), Ultimately from Middle Gwýsene جِٔويسّمَن (ɣewissman). Doublet of Englisc ⟨iwis mon⟩ /ɪˈwɪs mɔn/ + ⟨-isc⟩ /-ɪʃ/

=PHONOLOGY=

Consonants	Labial	Dental	Alveolar	Post-Alveolar	Palatal	Velar
Nasal	/m/		/n/
Plosive/Affricate	/p/ /b/		/t/ /d/	/t͡ʃ/ /d͡ʒ/¹		/k/ (/g/)²
Fricative	/f/ /v/	/θ/ /ð/	/s/ /z/	/ʃ/ /ʒ/¹	(/ç/)³ (/ʝ/)³	/x/ /ɣ/
Tap/Trill			/ɾ/ /r/
Approximant	/w/		/ɹ/ (/l/)⁴		/j/	/ɫ/

Vowels	Front	Central	Back
Close	/i/ /iː/ /y/ /yː/		/u/¹ /uː/¹
Near-Close	(/ɪ/)⁵ (/ʏ/)⁵
Mid	/e/ /eː/ /ø/ /øː/		/o/ /oː/
Open-Mid	(/ɛ/)⁵	(/ɐ/)⁵	(/ɔ/)⁵
Open	/æ/ /æː/		/ɑ/ /ɑː/

1. Nonnative phonemes
2. allophone of /k/ inter-vocalically
3. allophones of /x/ /ɣ/ near front vowels
4. allophone of /ɫ/ when not near any back vowels and/or velar consonants.
5. allophones in unstressed syllables

These are the phonemes of Standard Gwýsene, and, expectedly, they differ from dialect to dialect.
==EVOLUTION FROM OLD ENGLISH==
The Phonological evolution from Old English to Old Gwýsene are as follows:

• /g/ /j/ => /ɣ~ʝ/
• /h/ => /x/
• /f/ /θ/ /s/ => /v/ /ð/ /z/ word-internally
• /l/ => /ɫ/
• /x/ /ɣ/ => /ç/ /ʝ/ near /i/ /e/ /ø/
• /eo/ /eːo̯/ => /iɔ̯/ /iːɔ̯/
• /æɑ/ /æːɑ̯/ => /iɐ̯/ /iːɐ̯/
• /iy/ /y/ => /ø/
• /iːy̯/ => /øː/

From Old Gwýsene to Middle Gwýsene:

• /ŋk/ /ŋg/ => /kː/ /ɣː/
• /w̥/ /r̥/ /l̥/ /n̥/ => /fː/ /sː/ /ʃː/ /nː/
• /-çt/ /-xt/ => /-ç/ /-x/
• /r/ => /ɹ~ɻ/ post-vocalically
• /iɔ̯/ /iːɔ̯/ => /iɐ̯/ /iːɐ̯/
• /i/ /y/ /u/ => /ɪ/ /œ/ /ʊ/ when unstressed
• /e/ /ø/ /o/ => /ɛ/ /ɛ/ /ɔ/ when unstressed
• /æ/ /ɑ/ => /ɐ/ /ɐ/ when unstressed

From Middle Gwýsene to Modern Gwýsene:

• /p/ /t/ /k/ /b/ /d/ => /b/ /d/ /g/ /v/ /z/ word-internally
• /p/ /t/ /k/ /b/ /d/ => /f/ /s/ /x/ /v/ /z/ word-finally
• /wi/ => /wy/ => /yː/
• /ɪ/ /œ/ /ʊ/ => /ɛ/ /ʏ/ /ɔ/
• /ɔ/ => /ɐ/
• /i(ː)/ /u(ː)/ => /y(ː)/ /o(ː)/
• /o(ː)/ /æ(ː)/ /ɑ(ː)/ => /ɑ(ː)/ /e(ː)/ /æ(ː)/
• (/æː/ /uː/ => /i/ /ɑ/ in open syllables)
• /eː/ => /i/
• /iɐ̯/ /iːɐ̯/ => /eː/ /iː/

==DIALECT GROUPS==
Gwýsene has 4 main dialect groupings:
1- Southern Dialects
Spoken around in-world Áglästrélz /ˈɑːɣɫɐˌstɾeːɫz/ [ˈɑːʁɫ(ə)ˌsd̥ɾeːɫz]. Speakers of these dialects tend to pronounce:

• /Vm/ /Vn/ /Vɫ/ as syllabic [N̩] [ɫ̩]
• /ɹ~ɻ/ as [ɰ] in non-rhotic accents
• /w/ as [ɥ] near front vowels
• /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
• /p/ /t/ /k/ as [b̥] [d̥] [g̊] word-internally
• /ɛ/ /ɐ/ as [ə]

Regarded as the oldest dialect by Gwýsens as it encompasses the original "homeland" (if we don't count the Anglo-Saxons that is). They're also considered the most "posh", and the standard accent is loosely based on the southern dialects.
2- Central Dialects
Spoken around in-world Keü-Nüvátra /keʏ ˌnʏˈvɑːtɾɐ/ [kɛɨ ˌnɨˈvɒːtɾɐ]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [h] [j]
• /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭] word-internally
• /Vɹ/ /Vːɹ/ as [Vʴ] [Vʴːɹ]
• /ʏ/ /y/ /yː/ as [ɨ] [ʉ] [ʉː]
• /u/ as [ɯ] (though not that common)
• stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
• /ɑ/ /ɑː/ as [ɒ] [ɒː]
• /æ/ /æː/ as [ä] [äː]

Central Dialects are considered posh by northerners and westerners, but not by southerners.
3- Western Dialects
Spoken in in-world Ettúr /ɛtˈtuːɻ/ [ətˈtuːɽ]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [x] [ɣ]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭]
• /p/ /t/ /k/ as [b] [d] [g] word-internally
• /b/ /d/ as [β̞] [ð̞] word-internally, instead of /v/ /z/
• /ɹ~ɻ/ as [ɾ~ɽ]
• stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
• unstressed /e/ /ø/ /o/ as [ə] [œ] [ə]
• /eː/ /øː/ /oː/ as [ɛː] [œː] [ɔː]

4- Northern Dialects
Spoken in in-world Ämma̋n /ɐmˈmæːn/ [(ʕ)ɐmˈmæːn]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [h] [j]
• /ɫ/ as [l]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭]
• /p/ /t/ /k/ as [b] [d] [g] word-internally
• /b/ /d/ as [b] [d] word-internally, instead of /v/ /z/
• /ɹ~ɻ/ as [ɾ~ɽ]
• /Vɹ/ as [Vː], or [Vɾ] in rhotic accents
• /Vːɹ/ as [Vːː] or [Vː], or [Vːɾ] in rhotic accents
• /ʏ/ /y/ /yː/ as [ɨ] [ɨ] [ɨː]
• /ø/ /øː/ as [ə] [əː] or [ɵ] [ɵː]
• /ɑ/ /ɑː/ as [ä] [äː]

==LEXICAL DOUBLETS==
The differing analyses of the Old English sequences /xe͜o xæ͜ɑ/ & /je͜o jæ͜ɑ/ when the change from /e͜o æ͜ɑ/ to /iɔ̯ iɐ̯/ was taking place led to:

• In the south, /i/ was elided into the palatal /ç/ /ʝ/, yielding Modern Southern [χɑ xæ] [ʁɑ ɣæ]
• In the (at the time) North, /i/ was fully pronounced, yielding Modern Central [heː] [jeː]

For example, Old English heofon & geofon evolved into:

• [ˈχɑvɱ̩] & [ˈʁɑvɱ̩] in Southern dialects. Used natively in the south and the west and were adopted as the standard forms /ˈxɑvɐn/ & /ˈɣɑvɐn/
• [ˈheːvɐn] & [ˈjeːvɐn] in the Central dialects. Used natively in the center and north and considered nonstandard.

=ORTHOGRAPHY=

Gýsene uses the Arabic script natively alongside a romanization
==SCRIPT BACKGROUND==
Since Gýsen use of the Nabataean & then Arabic script preceded the Persians by centuries, the Gýsen Arabic script differs quite a bit from the Indo-Persian system:

1. Rasm: Gýsens writing in Nabataean (& carrying over to Arabic) tended to follow Aramaic & Hebrew convention for representing consonants, while the Persian convention was derived from the most similar sounding preexisting Arabic consonants, leading to drastic differences in pointing convention (i‘jām). As Islam spread, the 2 conventions spread in their respective halves of the Muslim World: The Indo-Persian-Derived Eastern convention, and the Gýsen-Derived Western convention:

(Loose) Consonant ↓	Western ↓	Eastern ↓
//v//	⟪پ⟫	⟪و⟫ ǀ ⟪ڤ⟫
//tʃ//	⟪ڝ⟫	⟪چ⟫
//p//	⟪ڢ⟫	⟪پ⟫
//f//	⟪ڧ⟫	⟪ف⟫

1. Vowel Notation: The western convention has a definitive way of expressing vowels when diacritics are fully written, while in the eastern convention diacritics often serve dual-duty due to limitations of Arabic short vowel diacritics.

==Script keys==

Romanization ↓	Arabic ↓	Standard Phoneme ↓
ä ǀ a	◌َ	/æ/ (stressed) ǀ /ɐ/ (unstressed)
e	◌ِ	/e/ (stressed) ǀ /ɛ/ (unstressed)
o	◌ُ	/o/ (stressed) ǀ /ɔ/ (unstressed)
a̋ ǀ ◌́	◌ٓ	/æː/ (standalone) ǀ /◌ː/ (coupled with other vowels)
a	ا	/ɑ/ (stressed) ǀ /ɐ/ (unstressed)
b	ب	/b/ ǀ /v/ (intervocalically)
g	ځ	/ɣ/ ǀ /ʝ/
d	د	/d/ ǀ /z/ (intervocalically)
h	ھ	/ç/
w ǀ u	و	/w/ (glide) ǀ /u/ (vocalic)
z	ز	/z/
ch	خ	/x/
t	¹ط	/t/
y ǀ i	ي	/j/ (glide) ǀ /i/ (vocalic)
k	ک	/k/ ǀ /g/ (intervocalically)
l	ل	/ɫ/
m	م	/m/
n	ن	/n/
tj	ڝ	/t͡ʃ/
-	¹ع	/Ø/ ǀ /◌ː/ (post-vocalically)
p	ڢ	/p/ ǀ /b/ (intervocalically)
s	¹ص	/s/
k	¹ق	/k/
r	ر	/ɾ/ ǀ /r/ (geminated) ǀ /ɹ/ (post-vocalically)
s	س	/s/ ǀ /z/ (intervocalically)
t	ت	/t/ ǀ /d/ (intervocalically)
y	ې	/y/ (stressed) ǀ /ʏ/ (unstressed)
f	ڧ	/f/ ǀ /v/ (intervocalically)
ö	ۊ	/ø/ (stressed) ǀ /œ/ (unstressed)
-	ء ǀ ئـ	initial vowel holder
v	پ	/v/
th	ث	/θ/ ǀ /ð/ (intervocalically)
tj	¹چ	/t͡ʃ/
dj	¹ج	/d͡ʒ/
dh	ذ	/ð/
j	¹ژ	/ʒ/
sj	ش	/ʃ/
dh	¹ض	/ð/
dh	¹ظ	/ð/
g	¹غ	/ɣ/ ǀ /ʝ/
v	¹ڤ	/v/
a ǀ ä	²ـى	/æ/ (stressed) ǀ /ɐ/ (unstressed)
e	²ـہ	/e/ (stressed) ǀ /ɛ/ (unstressed)
'l-	لٔـ	/‿(ə)ɫ-/
th'-	ثِـ	/θɛ-/

1. nonnative
2. only occur word-finally

=GRAMMAR=

Gwýsen grammar is extremely divergent from the Germanic norm, having been brought about by extremely harsh standardization efforts by the ruling class while backed by academia & scholars. It's heavily influenced by Arabic — being the encompassing liturgical, academic, and aristocratic language during the Middle to Early Modern Gwýsen periods.
==PRONOUNS==
^\this entire segment will use the romanization only]) The Pronouns themselves have remained relatively true to their Germanic origins, apart from the entire set of Arabic 3rd person pronouns & the genitive enclitics. Gwýsene still retains the Old English dual forms, but they're only used in formal writing:

1st Person	Singular	Dual	Plural
Nominative	ih /iç/	wi /wi/	wi /wi/
Accusative	mih /miç/	án /ɑːn/	ós /oːs/
Standalone Genitive	min /min/	ág /ɑːɣ/	ór /oːɹ/
Enclitic Genitive	-min /-mɪn/	-ag /-ɐɣ/	-or /-ɔɹ/

2nd Person	Singular	Dual	Plural
Nominative	thách /θɑːx/	gi /ʝi/	gi /ʝi/
Accusative	thih /θiç/	in /in/	iw /iw/
Standalone Genitive	thin /θin/	ig /iʝ/	iwar /ˈiwɐɹ/
Enclitic Genitive	-thin /-θɪn/	-ig /-ɪʝ/	-iwar /-ɪwɐɹ/

3rd Person Masculine	Singular	Dual	Plural
Nominative	chá /xɑː/	chama̋ /xɐˈmæː/	chám /xɑːm/
Accusative	hin /çin/	chama̋ /xɐˈmæː/	chám /xɑːm/
Standalone Genitive	his /çis/	chama̋ /xɐˈmæː/	chám /xɑːm/
Enclitic Genitive	-his /-çɪs/	-chama /-xɐmɐ/	-cham /-xɐm/

3rd Person Feminine	Singular	Dual	Plural
Nominative	hi /çi/	chana̋ /xɐˈnæː/	chán /xɑːn/
Accusative	hi /çi/	chana̋ /xɐˈnæː/	chán /xɑːn/
Standalone Genitive	hir /çiɹ/	chana̋ /xɐˈnæː/	chán /xɑːn/
Enclitic Genitive	-hir /-çɪɹ/	-chana /-xɐnɐ/	-chan /-xɐn/

==NOUNS==
Middle Gwýsene inherited the Old English nominal declension, but due to merging & reduction of (final) unstressed vowels, all endlings were dropped except for the accusative & dative plurals which were later generalized. Middle Gwýsene also dropped the neuter gender, merging it with the masculine & feminine genders based on endings

Regular Noun Declension	Singular	Plural
Masculine	-	-an /-ɐn/
Feminine	-	-as /-ɐs/

This has been standardized to all nouns, with some ablaut irregulars:

"Man" (man) ǀ "Bách" (book)	Singular	Plural
Masculine	man /mɑn/	menan /ˈmenɐn/
Feminine	bách /bɑːx/	bitjas /ˈbit͡ʃɐs/

...and some nouns retain colloquial plural forms more reminiscent of their Old English counterparts:

"Tjylz" (child) ǀ "Chänz" (hand)	Singular	(Standard) Plural	(Common) Plural
Masculine	tjylz /t͡ʃyɫz/	tjylzan /ˈt͡ʃyɫzɐn/	tjylro /ˈt͡ʃyɫɾɔ/
Feminine	chänz /xænz/	chänzas /ˈxænzɐs/	chänza /ˈxænzɐ/

===Possession===
Gwýsene has two distinct methods of indicating possession dur to the dropping of the genitive case:
1. A loaned version of the Arabic construct state (present in the standard language, urban areas, and most of the Northern and Western dialects). the Arabic definite article (-الـ) was loaned with its use in the construct state into Late Early Modern Gwýsene as a separate "letter form" [-لٔـ] and prescribed by Grammarians ever since as a "genitive" maker. This method also assumes definiteness of the noun it's prefixed to; it must be prefixed to eneg ("any") for indefinite nouns.
Bách 'lgörel /bɑːχ‿ɫ̩ˈʝøɹɛɫ/ ("the boy's book")

bách 'l - görel book ɢᴇɴ.ᴅғ - boy 

2. Use of a prefixed fär (equivalent to English "of", cognate with English "for") (present in rural areas and is generally viewed as a rural or "Bedouin" feature). This method does not assume definiteness, and a definite article is required.
Bách färth'görel /bɑːχ ˌfɐɹðəˈʝøɹɛɫ/ ("the boy's book")

Bách fär - th' - görel book of - ᴅғ - boy 

==ADJECTIVES==
Much like Nouns, adjectives decline for number and gender:

Regular Adjective Declension	Singular	Plural
Masculine	-	-an /-ɐn/
Feminine	-e /-ɛ/*	-as /-ɐs/

\due to its similarity with the common adjectival suffix* -e, adjectives derived that way would not decline for gender in the singular
==VERBS==
Gwýsen verbs are the most mangled, both by Arabization and regular phonological development. Gwýsen word order is VSO. Due to pronouns coming after the verb, they merged with the preexisting endings and formed unique endings that were later generalized to standard verb declension (rendering Gwýsene a pro-drop language)

Present Verb Conjugation	---
Infinitive	-en /-ɛn/
Present Participle	-enz /-ɛnz/
Past Participle	ge- -en /ʝɛ- -ɛn/
Singular Imperative	-
Plural Imperative	-on /-ɔn/
1ˢᵗ singular	-i /-ɪ/
1ˢᵗ plural	-swe /-swɛ/
2ⁿᵈ singular	-tha /-θɐ/
2ⁿᵈ plural	-gge /-ʝʝɛ/
3ʳᵈ singular masculine	-scha /-sxɐ/
3ʳᵈ dual masculine	-schama /-sxɐmɐ/
3ʳᵈ plural masculine	-scham /-sxɐm/
3ʳᵈ singular feminine	-sche /-sxɛ/
3ʳᵈ dual feminine	-schana /-sxɐnɐ/
3ʳᵈ plural feminine	-schan /-sxɐn/

the subjunctive is formed with a prefixed les- (if the verb is consonant-initial) or let- (if the verb is vowel-initial)
As a consequence to the fusional suffixes, the preterite suffixes completely merged with the present ones, so weak verbs need an auxiliary to indicate simple past, which segways us to-
===Auxiliary Verbs===
Most auxiliaries have 2 conjugations: an auxiliary conjugation & a standalone conjugation:

Sőn ("to be") Conjugations	Auxiliary	Standalone
Singular Imperative	ső /søː/	ső /søː/
Plural Imperative	sőn /søːn/	sőn /søːn/
Singular Subjunctive	ső /søː/	les-... /ɫɛs-../
Plural Subjunctive	sőn /søːn/	les-... /ɫɛs-.../
1ˢᵗ singular	ém /eːm/	émi /ˈeːmɪ/
1ˢᵗ plural	synz /synz/	synzwe /ˈsynzwɛ/
2ⁿᵈ singular	érs /eːɹs/	értha /ˈérðɐ/
2ⁿᵈ plural	synz /synz/	syngge /ˈsynʝ(ʝ)ɛ/
3ʳᵈ singular masculine	ys /ys/	ysscha /ˈyssxɐ/
3ʳᵈ dual masculine	synz /synz/	synzchama /ˈsynzxɐmɐ/
3ʳᵈ plural masculine	synz /synz/	synzcham /ˈsynzxɐm/
3ʳᵈ singular feminine	ys /ys/	yssche /ˈyssxɛ/
3ʳᵈ dual feminine	synz /synz/	synzchana /ˈsynzxɐnɐ/
3ʳᵈ plural feminine	synz /synz/	synzchan /ˈsynzxɐn/

There are 4 tense-related auxiliaries: Wesan (past auxiliary, "was"), Sőn (participle auxiliary, "be"), Bín (participle auxiliary, "be"), and Víden (future auxiliary, "will"):

Auxiliary Declensions	Wesan ↓	Sőn ↓	Bín ↓	Víden ↓
1ˢᵗ singular	wes /wes/	ém /eːm/	bí /biː/	va̋ /væː/
2ⁿᵈ singular	wir /wiɹ/	érs /eːɹs/	bys /bys/	vés /veːs/
3ʳᵈ singular	wes /wes/	ys /ys/	byth /byθ/	véth /veːθ/
dual/plural	wiran /ˈwiɹɐn/	synz /synz/	bíth /biːθ/	va̋th /væːθ/
Singular Imperative	wes /wes/	ső /søː/	bí /biː/	víz /viːz/
Plural Imperative	weson /ˈwezɔn/	sőn /søːn/	bín /biːn/	vídon /ˈviːzɔn/
Singular Subjunctive	wir /wiɹ/	ső /søː/	bí /biː/	víz /viːz/
Plural Subjunctive	wiren /ˈwiɹɛn/	sőn /søːn/	bín /biːn/	víden /ˈviːzɛn/

===Stong Verbs===
Most of the strong classes remain in Gwýsene, albeit with completely unorthodox ablaut patterns. They've been re-sorted based on patterns that I've Grammarians have found. Strong verbs also never need the past auxiliary.

Type (Gwýsene)	Corr. Type in Old English	Present stem vowel	Past singular stem vowel	Past plural stem vowel	Past participle stem vowel
I	VII.c	é /eː/	í /iː/	í /iː/	é /eː/
II	IV	e /e/	e /e/	i /i/	a /ɑ/
III.a	I	ý /yː/	a̋ /æː/	y /y/	y /y/
III.b	III.a	y /y/	ä /æ/	o /o/	o /o/
IV.a	II.a	í /iː/	í /iː/	o /o/	a /ɑ/
IV.b	II.b	a/á /ɑ(ː)/	í /iː/	o /o/	a /ɑ/
IV.c	III.b	é /eː/	é /eː/	o /o/	a /ɑ/
V.a	VI	ä /æ/	á /ɑː/	á /ɑː/	ä /æ/
V.b	VII.a	a̋ /æː/	i /i/	i /i/	a̋ /æː/
V.c	VII.e	á /ɑː/	í /iː/	í /iː/	á /ɑː/

=TRANSLATIONS=

==NUMBERS==

Number	Cardinal	Ordinal	Adverbial	Multiplier
1	A̋n /æːn/	Föress /ˈføɹɛss/	Mer /meɹ/	A̋nfélz /ˈæːnˌveːɫz/
2	Twin /twin/	Áther /ˈɑːðɛɹ/	Merdén /mɛɹˈdeːn/	Twýfélz /ˈtyːˌveːɫz/
3	Thrý /θɾyː/	Thryzz /ˈθɾyzz/	Thrémra̋s /ˌθɾeːˈmɾæːs/	Thryfélz /ˈθɾyˌveːɫz/
4	Fíwar /ˈfiːwɐɹ/	Fíradh /ˈfiːɹɐð/	Fírmra̋s /ˌfiːɹˈmɾæːs/	Fíwarfélz /ˈfiːwɐɹˌveːɫz/
5	Fýf /fyːf/	Fýfedh /ˈfyːvɛð/	Fýfmra̋s /ˌfyːvˈmɾæːs/	Fýffélz /ˈfyːfˌfeːɫz/
6	Sysj /syʃ/	Sysjedh /ˈsyʃɛð/	Sysmra̋s /ˌsysˈmɾæːs/	Sysjfélz /ˈsyʃˌfeːɫz/
7	Sévan /ˈseːvɐn/	Sévadh /ˈseːvɐð/	Sévmra̋s /ˌseːvˈmɾæːs/	Sévanfélz /ˈseːvɐnˌveːɫz/
8	Éht /eːçt/	Éhtadh /ˈeːçtɐð/	Éhmra̋s /ˈeːçˈmɾæːs/	Éhtafélz /ˈeːçtɐˌveːɫz/
9	Nygan /ˈnyʝɐn/	Nygadh /ˈnyʝɐð/	Nygamra̋s /ˌnyʝɐˈmɾæːs/	Nyganfélz /ˈnyʝɐnˌveːɫz/
10	Tőn /tøːn/	Tődh /ˈtøːð/	Tőmra̋s /ˌtøːˈmɾæːs/	Tőnfélz /ˈtøːnˌveːɫz/

==THE COLD WINTER IS NEAR==
‎‫بېث نيٓھ ثِوېٓنتِر ڝِٓلز، پِٓث ڝۊٓمسخى ستارم سنِوى. ڝۊم وِثنَن خُٓمسمين وِٓرم، برآثَرمين. سَلٓم! ڝۊم ھېذ، سېځّ ءَنز شّيٓڧ، ڧرِس ءَنز درېھّ. بېثِّس خُطَّمين. ھِپّسوى وِتِر، ءَنز زۊٓثِن، ءَنز مِٓلخ، بېثِّس ڧِرش ءُٓسڧرى ثِکآ. ءوٓ، ءَنز براث وِٓرم!‬
Byth ních thʼwýnter tjélz, véth tjőmscha starm snewe. Tjöm withnän¹ chósmin wérm, bráthärmin². Säläm³! Tjöm hydh, sygg ænz ssjíf⁴ ⁶, fres⁵ änz dryhh⁶. Bytthes⁷ chottämin⁸. Hevvswe weter, änz zőthen⁹, änz mélch, býtthes fersj ósfrä¹⁰ thʼká. Ó, änz brath!
be.3.ꜱɢ.ᴘʀᴇꜱ near ᴅꜰ-winter cold , ꜰᴜᴛ.3.ꜱɢ come-3.ꜱɢ.ᴍᴀꜱᴄ storm snowy . come.ɪᴍᴘ.ꜱɢ in house-1.ꜱɢ.ɢᴇɴ.ᴄʟ warm , brother-1.ꜱɢ.ɢᴇɴ.ᴄʟ . Welcome ! come.ɪᴍᴘ.ꜱɢ hither , sing.ɪᴍᴘ.ꜱɢ and dance.ɪᴍᴘ.ꜱɢ , eat.ɪᴍᴘ.ꜱɢ and drink.ɪᴍᴘ.ꜱɢ . be.3.ꜱɢ.ᴘʀᴇꜱ-that plan-1.ꜱɢ.ɢᴇɴ.ᴄʟ . have-1.ᴘʟ water , and beer , and milk, be.3.ꜱɢ.ᴘʀᴇꜱ-that fresh from ᴅꜰ-cow . Oh , and soup !

/byθ niːç θə‿ˈyːnzɛɹ tʃeːɫz veːθ ˈtʃøːmsxɐ stɑɻm ˈsnewɛ/
/tʃøm wɪðˈnæn ˈxoːsˌmɪn weːɹm ˈbɾɑːðɐɹˌmɪn/
/sɐˈɫæm tʃøm çyð syʝʝ‿ɐnz ʃʃiːf fres‿ɐnz dɾyçç/
/ˈbyθθɛs ˈxottɐˌmɪn/
/ˈçevvswɛ ˈwedɛɹ ɐnz ˈzøːðɛn ɐnz meɫχ ˈbyθθɛs feɹʃ ˈoːsfrɐ θəˈkɑː/
/oː ɐnz bɾɑθ/

1. the words for “in” and “on” merged to än, which was kept for “on”.‬
2. Gwýsens tend to use “brother” as an informal form of address‬.
3. Säläm is only used by Muslim Gwysens. Christian Gwysens prefer Pastos /pɐsˈtos/ (from Ancient Greek ‬ἀσπαστός).
4. comes from Old English hlēapan.
5. comes from old English fretan.
6. Drykken & Ssjípan are within a class of verbs that have a differing imperative stems than the usual inflected stems due to sound changes. In this case the usual stems are Drykk- & Ssjíp-, while the imperatives are Dryhh & Ssjíf. In the central and Low Northern dialects this particular /k/ => /ç/ is not present, and the imperative stem is also Drykk.
7. contracted from of Byth thäs (“that is”)‬.
8. from Arabic خُطَّة.
9. from Latin zȳthum.
10. contraction of old English ūt fra (“out of”).

I am currently designing a script that can be used to transcribe every Turkic language accurately in a way that clearly connects them with ancient Turkic people and each other. Runic, arabic, and latin are in my opinion either too imprecise or foreign for this purpose, so I am interested in making my own script. However, I would like some additional input from you on what kind of script would be more ideal for this purpose.
I have a few ideas in mind. Firstly, I would like to not distinguish voiced and voiceless characters except through diacritics or other markers, similar to Japanese and Korean. That way, there will be a clear visual similarity between these letters regardless of whether it has voiced or devoiced over time and between languages. Voicing doesn't seem to affect the meaning of most native Turkic words except at the end, so this should simplify the script a bit. I would also like to base the shape of the letters on something that would hold significance in ancient Turkic life, such as horses, yurts, dogs, wolves, numbers, and the sky. I am interested in making a dual script system where there are curved and angular scripts used for different purposes, similar to japanese kana. However, that's about where my ideas for this script end.
I have a few questions on what kind of script would you prefer.
Would you want it to be an alphabet, abjad, syllabary, or abugida? Alphabets would be the safe option. Abjads are not quite suited for Turkic languages, however, as seen in Arabic. I am interested in experimenting with syllabaries and abugidas, but Turkic syllable structures and the abundance of vowels may make this very complicated. Or we could compromise and go for something similar to Korean Hangul, which is essentially an alphabet compressed into syllable blocks. This type of script is compatible with Turkic, although unique.
What would the shape of the letters be? Should they be angular and sharp, like they're carved on stone? Or round and curvy, like they're written on ink? Perhaps both?
Should each vowel have its own symbol or should they be grouped into pairs based on frontness/rounding? If grouped, should they be distinguished with diacritics or just by context?
Same with the consonants. Should they all have their own symbols? Should they be distinguished on voicing? Frontedness? This would be akin to the Orkhon script, where consonants are doubled into front and back pairs. In that script, letters like k and q are paired, along with g and ğ. Establishing a clear relationship between similar sounding letters in languages where these sounds do have a relationship would indeed be an advantage, but I'm not sure what I should differentiate them on.
How many scripts should be part of this system? I am interested in making a secondary script to pair with it, which could work like the uppercase-lowercase system in Greek-derived scripts like Latin and Cyrillic, or like the hiragana-katakana system of Japanese kana, however it is not necessary. Still, the pairing of angular and round versions of the same letters in a way that connotes additional information and tone strikes a chord in my brain.
What should the shape of the letters be? Should they be based on the shape of the mouth, things that would be present in daily life, nearby scripts, or completely random? Anything else? This is something really crucial, so I'd like to know your thoughts on this one as much as possible
Should I add letters for sounds that are rare or aren't used in Turkic languages outside of loan words? I'm talking letters like w, zh, ts, dz, th, dh, and f, which only appear natively in a few Turkic languages. Perhaps I could add additional letters as part of an Altaic DLC.
Also, what way should the script be written? Left to right like Latin? Right to left like Orkhon and Arabic? Top to down like Mongolian, Japanese, Korean, and Chinese? Or a mixture of both? I personally prefer top to bottom and a combination of left to right.
If you have any other suggestions for this supposed script, please let me know.

It mostly occurs at word boundaries, but it occurs A LOT.
^{For no reason in particular}, in the last few months I've been exposed to a lot of arabic speakers of Italian.
And Arabic doesn't seem to love hiatus as much as Italian does.
So, they tend to insert some sort of consonant at the syllable boundary. Most of the time, it's a glottal stop. However, some of the time, it's a pharyngeal fricative instead. How do they choose which to use?
Well, turns out that Italian has exactly 4 native words that use as a standalone (ie. not part of a digraph): 4 conjugation of the verb "avere", to have. "Ho", "hai", "ha", "hanno" are spelled with an initial H in order to distinguish them from homophones (except for the ho/o pair which is two distinct phonemes that normally are represented identically).
And apparently, those arabic speakers are taking inspiration from that orthographic convention to turn "che hanno" [ke.'an.no] into [ke.ˈʕæːn.no]

The diphthongs are a bit weird but that's because they appear frequently and I don't want overly long text
Consonants: /n̪ n d̪ʱ dʱ gʱ ʡʱ t̪ʼ tʼ kʼ ʡʼ ðʱ ɹʱ ɰʱ ʕʱ ð ɹ ɣ ʕ ɾ ʀ/
Vowels: /ə jə wə əj əw ʌ jʌ wʌ ʌj ʌw/
Romanization
Consonants:
Vowels: <ə y w əy e a i u ai o>

678 159 234 

Póvh ad vonyg ad o okuc cangov o ohyod thudca giga dugo.
/poʋx æð̞ ʋɒɲg æð̞ ɒ ɒˈkuc ˈcæ.ŋɒʋ ɒ ˈɒ.çɒð̞ ˈθuð̞.cæ ˈɰi.ɰæ ˈð̞u.ɰɒ/

Póvh ad vonyg ad o okuc cangov o ohyod thud -ca giga dug -o Dignity in right in and equal free and being human-ADJZ all be.born-PRS 

All human beings are born free and equal in dignity and rights.

About

Yiyocthiv (endonym: Yiyocdiv /ji.jɒcˈð̞iʋ/) is a moribund languague isolate spoken by the Yiyocthiv people, the native inhabitants of Antarctica. Since foreign countries started establishing the first bases and research stations in Antarctica, bringing technology and infrastructure to the continent, the Yiyocthiv people have experienced a significant increase in their quality of life, with many of them deciding to live at or near research stations. Interaction with researchers has been mostly peaceful throughout history, but the fact that researchers are the ones bringing and controlling most resources in the continent meant that the Yiyocyhiv had to adapt to speaking their language. This processs meant the researchers languages (specially English and Spanish, due to the abundance of American, Argentine and Chilean research bases) gradually became more prestigious, used and important than Yiyocthiv, which has experienced a steady decline, to the point of currently being down to one last living speaker, an elderly woman.
Due to close contact with researchers from all around the globe, Yiyocthiv borrowed a plethora of words from other languages before going nearly extinct. Spanish and English are the largest "contributors". In real life, Yiyocthiv grammar was heavily inspired by another conlang. Can you guess which one?

Phonology

Yiyocthiv has 19 consonants and 7 vowels. Yiyocthiv is unusual in it's lack of two very common phonemes: the consonant /l/ and the vowel /a/. Syllable structure is (C)(C)(C)V(C)(C).
Consonants

	Labial	Dental	Alveolar	Palatal	Velar	Labial-velar
Nasal	m	n		ɲ (ny)	ŋ (ng)
Stop	p	t		c	k
Fricative	f	θ (th)	s	ç (hy)	x (h)
Approximant	ʋ (v)	ð̞ (d)	ɹ (r)	j (y)	ɰ (g)	w

• /ʋ/ and /ð̞/ can be syllabic
• After a pause, after a nasal consonant, and at the beginning of an utterance, all approximants are pronounced as voiced stops at the same place of articulation (except /w/, which becomes [gʋ]).

Vowels

	Front	Central	Back
Close	i (i)		ɯ (g) u (u)
Mid	e̞ (é)	ə (e)	o̞ (ó)
Open	æ (a)		ɒ (o)

• The only possible diphtongs are those envolving the semivowels /j/, /ɰ/ and /w/. Otherwise, any two vowels written next to each other are always pronounced as a hiatus.

Syntax

Yiyocthiv is also infamous for its unusual word order, which earned it the nickname of "backwards talk" among antarctic researchers of various nations.

• object-subject-verb-oblique (OSVX) (verbal phrases)
• place-time-manner (adpositional phrases)
• relative clause-noun-adjective-number-genitive/demonstrative-postposition (noun phrases)
• adjective-adverb
• verb-adverb
• main verb-auxiliary verb

Grammar

Once you get used to the unusual word order, you'll notice that the Yiyocthiv grammar is surprisingly simple.
ARTICLES, NOUNS AND ADJECTIVES
Along with pronouns, articles are the only word class to have separate singular and plural forms:

• Singular: oc (definite), ed (indefinite)
• Plural: ca (definite)

Nouns are invariable, except for the feminine form, which applies the suffix -ad. Adjectives are completely invariable. The plural indefinite article is unmarked, therefore any noun without an article is assumed to be indefinite plural, unless context indicates otherwise. Example: Kavayo a tungo (horse 1SG.NOM have.PRS) - I have horses
Note: Kavayo is a loanword from Spanish, while tungo is not. The similarity to spanish "tengo" is just a (rather amusing) coincidence.
PRONOUNS
Personal

	Nominative	Accusative	Genitive
1st Singular	a	tho	thod (singular), thoda (plural)
2nd Singular	ge	go	god (singular), goda (plural
3rd Singular	ac	oac, hyo (reflexive)	hyod (singular), hyoda (pluarl)
1st Plural	dihy	odihy	div (singular), diva (plural)
2nd Plural	pihy	opihy	piv (singular), piva (plural)
3rd plural	aca	oaca, hyoa (reflexive)	civ (singular), civa (plural)

Other

	Singular	Plural
Proximal demonstrative	hag	haga
Distal demonstrative	hug	huga
Relative/Interrogative	nyo	nyoa

VERBS
Yiyocthiv has no verbal agreement, as verbs are only inflected for Tense-Aspect-Mood. Verbs are incredibly regular, as linguists are yet to find a defective verb that doesn't follow the conjugation below

Conjugation	Suffix	Example	Translation
Infinitive	-od	ohyod	to be
Past tense/participle	-oh	ohyoh	was/were/been
Present tense	-o	ohyo	is/am/are
Future tense	-vua	ohyvua	will be
Conditional	-vuahy	ohyvuavy	would be
Imperative	-∅	ohy!	be!
Present participle	-udg	ohyudg	being

Much like in English, ohyod (to be) can be added to any transitive verb to form the passive, while tungod (to have) forms the perfect aspect. In both cases, these auxiliary verbs are the ones who express the TAM while the main verb is conjugated in the past participle.

Thanks for reading! Now please tell me your thoughts. Criticism is very welcome

Do you ever feel like people struggle to understand you when you speak? Maybe you find yourself mumbling, rushing through your words, or slurring certain sounds. These could be signs of articulation problems.
Articulation refers to how clearly we form the sounds that make up words. When we have articulation difficulties, it can impact our ability to communicate effectively and leave us feeling frustrated.
Common Articulation Challenges

• Mumbling: This can be caused by speaking too softly or not opening your mouth wide enough when you talk.
• Talking too fast: Rushing through your words can make them sound jumbled and hard to understand.
• Lisping: This is difficulty producing the "s" sound correctly.
• Imprecise consonant sounds: Sounds like "r," "th," "l," or "k" may be unclear.

Overcoming Speech Barriers: Tips for Clearer Articulation
The good news is that articulation challenges can be improved! Here are some tips to get you started:

• Slow Down: Focus on speaking deliberately and taking your time. This allows you to form each sound more precisely.
• Be mindful of your mouth: Pay attention to how your lips, tongue, and jaw move when you speak. Practice exaggerated movements for challenging sounds in front of a mirror.
• Tongue twisters: These silly phrases can be a fun way to exercise the muscles involved in speech.
• Record yourself: Listen back to recordings of your speech to identify areas for improvement.
• Seek professional help: If you're facing significant challenges, a speech-language pathologist (SLP) can evaluate your speech and provide personalized strategies.

Building Confidence with Clear Communication
Clear articulation is an important part of effective communication. By overcoming articulation challenges, you can boost your confidence in social and professional settings.
Wellness Hub: Your Partner in Communication Health
At Wellness Hub, we believe everyone deserves to communicate confidently. We offer a range of resources and support for individuals facing speech and language difficulties.
Note: This article is for informational purposes only and should not be considered a substitute for professional medical advice.

The inventor of the Armenian Alphabet was named Maštoc’, later also known as Mesrop. Due to his prominence in history, his name occupies a unique place in Armenian. These names are of odd shape if native Armenian, and have no clear source in neighboring Iranian (from which many other Arm. names came), etc. Their resemblance to each other when neither has a clear etymology makes it possible that they both come from the same unusual name, adapted and changed in Armenian (as versions in different dialects or something similar), which could make finding its origin dependent on a finding a single word that contains several consonants that alternated in Armenian.
​
Though -c’ vs. -p seems like it would be impossible, since *tr and *pr / *tt and *pt often merge:
​
Arm. *tr > *θr > *fr > wr (*pH2tr-os ‘father’s’ > *patroh > *faθr > hawr )
​
Arm. *tt > *θt > *(θ)t > *(f)t > t / th (*wid-ti-s > *vittih > Arm. giwt -i- ‘finding / invention’, git -i- ‘finding / gift’, and many more)
​
it is possible that a cluster containing *θs / *fs or similar might work. Aspirated *ths > *tsh > c’ vs. unaspirated *ps > p (or similar) would be just as *θt gave either t or th (t’) :
​
*g^noH3-sk^-ti- > canawt’ ‘an acquaintance’
​
*trHg^- > Greek trágō / trṓgō ‘gnaw / nibble’, Arm. aracem ‘pasture’
*trHg^-ti- > G. trôxis ‘gnawing / biting’, Arm. arawt ‘pastureland’
​
As for -r- vs. -t-, this is also seen in some words:
​
*trito- ‘third’ > *θriθo- > *hriðo > erir
​
*dheH1ti- ‘placing / putting’ > *ðið^i > dir ‘position / site / order’
​
*doH3ti- > G. Dōsí-theos, Skt. bhága-tti- ‘luck bringer’, Arm. -tur \ -tu ‘giver / bestower’
​
and *tš or *št becoming both št & sr is possible (especially if from metathesis from *-t-, etc.); no native examples clearly show *št > *st, but it’s likely a similar change for *tš > *ts existed in:
​
Av. astvat-ǝrǝta- ‘having righteousness/truth ?’, *astvat-ǝša- > *astvat-ša- > *astvat-sa- > Astuac, gen. Astucoy ‘God’
​
A language that Armenian might have borrowed names from long ago and had many θ’s is Hebrew, and the name Mattiθyāhū (to Greek Mattathíās / Matthíās, English Matthias, Matthew, etc.) seems to make sense. Though h disappeared between vowels and native *au / *aw > aw (later > ō ), if foreign ahu > au still remained pronounced as 2 syllables, a-u, it might become a-o then o. There is also optional y > ž in Arm. yolov ‘much/numerous / many people’, but *žolov- in žołovurd ‘multitude’, which makes θy > θž > θš possible (maybe also optional θš / θs, but the timing of many of these changes is uncertain with no other examples). A path for both names could be:
​
*
Maθtiθyahu
Maθtiθyau
Maθtiθžau
Maθtiθšau
Maištauθθ
Maištauθθ Maištaufθ
Maištautθ Maištaupθ
Maištautθ Maištaup
Maištauthθ Maištaup
Maištauths Maištaup
Maištauths Maišraup
Maištauths Maisraup
​
V’s
a-u > a-o > o
a-i > a-e > e / a
​
C’s
tt > θt
θy > θž > θš
θ > f (optional)
f > p before fricative (regular?)
θ > t / th before fricative
​

Albanian orthography but without digraphs.
vowels:
/a e ə i o y u/ (tosk) =
/ɑ ɑ̃ ɒ ɛ ɛ̃ ĩ ɔ ɔ̃ ũ ỹ/ (gheg) = <ą ã ǫ ę ẽ ĩ å õ w̃ ũ>
consonants:
/m n ɲ/
/p b t d ts dz tʃ dʒ c ɟ k g/

/f v θ ð s z ʃ ʒ h/
/ɾ r l ɫ j/
Sample text (Tosk)
Ty điþy ňeryzit lindin ty liry çe ty barabarty ny diňitet çe ny ty drejta. Ata kany arsue çe ndyrđeđe çe dwhet ty siłen ndaj ňyri tjetrit me frumy vyłazyrimi.
Të gjithë njerëzit lindin të lirë dhe të barabartë në dinjitet dhe në të drejta. Ata kanë arsye dhe ndërgjegje dhe duhet të sillen ndaj njëri tjetrit me frymë vëllazërimi.
Sample text (Gheg)
Ždo ňeri kan le t'lir mę ňãjit diňitęt eçę dreta. Ata jan ty pajisun mę męňe eçę vet-diję eçę dwhyn ty vepråjn ka ňãni-tjetrin mę ňi špirt vłąznimit.
Zhdo njeri kan le t'lir mê njãjit dinjitêt edhê dreta. Ata jan të pajisun mê mênjê edhê vet-dijê edhê duhën të veprôjn ka njãni-tjetrin mê nji shpirt vllâznimit.

LESSON ONE
Welcome to a new start, or what we call kaie, in Masonese. This will be your introduction and guide to the sound system of Standard Masonese, the dialect that used to be known as Western Masonese.
Let's start with the vowels! For those who know their IPA, here is the Masonese standard vowel chart:

Vowel Chart	Front	Central	Back
Close	i iː		u uː
Close-mid	e		o oː
Mid		ə	ʌ
Open	a aː

For people who are less familiar, let me introduce you to the vowels of Masonese.

• a and ā sound /ah/ and /aa/
• i and y sound /ee/ and /eee/
• o and ō sound /oh/ and /ohh/
• u and ū sound /oo/ and /ooo/

The harder sounds now follow:

• i before any vowel except itself and y, serves as the palatal approximant j or /y/.
• e in the middle of the word sounds /eh/ but at the end sounds /ey/. The only exception to this is when the e at the end represent the old ı vowel of High Masonese, then e is pronounced as a schwa, ə, /euh/. That sound is only created for verbs, other words will inflect e to show its pronunciation.
• in saying that, the diphthong ae sounds eɪ or /ey/ and the diphthong ai sounds aɪ or /eye/. Ae generally does not come at the end of a word, as e can represent the same sound. Ae and ai tend to be the stressed part of any word.
• ē either represents an /eh/ sound at the end of the word, or more of a schwa sound. It rarely occurs, so it's not always important to know which. The letter has come to replace two separate letters from High Masonese, and thus represents two similar sounds.
• u can sometimes be pronounced ʌ or /uh/ when in the unstressed position, or when used in the particile sul. This is not too important to remember.

- Eu is always the schwa sound, that mid-placed grunt sound.
LESSON TWO
And now let's move onto the consonants! Everything must be placed in the context of the language that predates Standard Masonese, and that is High Masonese. The Old Language had a convoluted and difficult writing system which has defined the language. However, it could no longer meet the needs of Masonese, with certain words being pronounced invariably different from the spelling. So, here is New Standard Masonese orthography, we'll start again with an IPA chart.

Consonant Chart	Labial	Dental	Alveolar	Post-alveolar	Velar	Uvular	Glottal
Nasal	m		n
Plosive	p b		t d		k g
Sibilants			s	ʃ ʒ (sh j)
Other fricatives	f v	θ ð (th dh)				χ (g or kh)	h
Trill			r
Lateral			l

Notes on the chart:

• voiceless plosive consonants have a habit of being voiced in Masonese, and tend to be actualised particularly at the start of words as their voiced equivalent. Taera, palus, kalis, often are actualised as daera, balus, galis.
• the voiced post-alveolar sibilant ʒ is sometimes actualised as dʒ at the start of words, but any distinction between the two sounds does not affect comprehensibility or fluency.
• the trill r can sometimes be actualised as a tapped r, though a rolled r is a necessary and important part of proper Masonese pronunciation.
• in regards to χ or what was once x in High Masonese, in general terms if it lands between two vowels it will be shown as g and if it at the start of the word it tends to be kh. However, learning whether a g is /g/ /χ/ or making no sound at all, is a natural part of learning Masonese and indeed any language. And of course, becomes easier with time.

A Ā B D DH E Ē F G H I J K L M N O Ō P R S SH T TH U Ū V Y TS KS PS
Aidē
Vetım Vö Adonavë Valah Mbaq

Is it true that natives sometimes cut the "th" in the word "with" and it's just like a "wi"?example: "im talking wiTH that/this guy" or does that only happen when the following word starts with a "th" so they kinda fuse the "th" in the word "With" with the following word that starts with a th like "this,that,the,they" so when you say it, you don't say : "wiTH THat" you say "Withat" yknow? etc. And I've heard natives say it like that when the following word contains a consonant but I don't know if its a rule. Also, I kinds struggle to say "with" when the word after doesn't start with a vowel

Part 2
Kathy Evenson, Professional
Standing on the Porch of a Small Tavern in the Seventh World
"Searcher," the man beside her whispered. Kathy glanced at him to see his eyes were wide, full of a well-managed, but very obvious fear.
"We should go inside," he said, clearing his throat. "Right now, miss."
"Why?" Kathy asked. The man nodded at the woman, still staring down her opponents in the street.
"Trust me," he said. "She's not one t'be toying with. Them men is as good as dead."
"Who is she?" Kathy asked. The man turned his eyes back to her, and she could see a trace of pleading in them.
"Please, miss," he said. "Trust me. I'll tell ye th'whole tale inside, I swear. Let's just get."
"No," Kathy said decisively. She could sense everyone around her, including the red-haired woman, and could feel the magic coursing through them. The woman had more magic than anyone else around here -except for Kathy- but still no more than your average wizard. If she turned on the onlookers, Kathy was confident she could stop her.
The man sighed. He glanced down, unfastening the peace knot, required by the tavern, from the machete and dagger on his belt, then checking that the weapons rode lightly in their sheaths.
He sighed again as he turned his eyes back up. The men had begun to cautiously approach the woman.
"She's one o'them what they call the Searchers," he said. "A reputation, they have, an' not a nice one. Siblings, all four o'em. Been hunting the man what killed their father, they say. Ever since- Ope, 'ere we go."
The first of the men closed the distance with a sudden rush, swinging an axe at the woman's head. She caught it expertly with her shield and spun slightly. Kathy held her breath, waiting for the sword stroke that would take the man's extended arm, but it never came.
Instead, she reversed her turn, taking the man off balance, and swept her sword down, low to the ground at the feet of the second man, who'd broken into a charge as soon as she focused on the first. He stopped as she attacked, but too late. The tip of her blade smashed through one of his shins, sending a spray of blood flying out as he collapsed, shouting in pain and alarm.
Two more were almost on her. One of them caught her shield in the face as she rose, the other juking aside to avoid hitting his companion with his club. The woman bulled the man on her shield back, keeping him off balance as the club-wielder swung at her back and missed. The first man she had engaged had gotten his bearings after the sudden disengagement and swung his own axe.
The woman caught his blow on her shield again, the sudden release of pressure as she whipped it aside making the man in front of her stumble. Her sword darted forward, slipping through a pair of his ribs and punching out the back before she withdrew it, lightning-quick and slashed back.
She caught the club-wielder's arm and took it off, just below the wrist. His weapon bounced ineffectually off her shoulder, the hand still wrapped around it.
She whipped her body around, and Kathy knew the fight was over. The last two men had reached her, but both hung back, wary. There were only three hands between the two men in front of her, and with a sudden feint right, then a rapid pivot to a cut from the left, she lowered the odds further by reducing the number of heads to one.
The axeman's body slumped down as his head rolled away, spraying huge spurts of blood. Kathy notched up an eyebrow. Cutting a head off was no simple feat, not even for a large man. For a woman her size to have done it, she needed either supernatural strength or to have perfectly bisected two vertebrates. Neither was something most warriors could do without a whole lot of talent and training.
The club-wielder finally realized where his weapon had went, and scrambled back, holding his stump with his other hand and screaming at it. His two remaining companions closed around him, and as one, they took off running, leaving their dead and injured behind.
Kathy watched with some interest as the woman walked over to the injured man and pointed her blade at him. She said something too quietly to carry this far, and the man winced and shook his head. The woman said something else, and the man shouted back, "I don't know!" in a voice choked with fear.
Kathy watched her shake her head sadly, then thrust her blade through the man's throat like a striking snake. The man gasped and grabbed at the blade with both hands. When the redhead drew it back, fingers went flying, and the man slumped over, dead.
She eyed the man for a moment, as if waiting for him to get back up, then slowly turned. She scanned the rough-hewn wooden huts, the muddy road, and the handful of onlookers the commotion had attracted, and then she met Kathy's eyes.
Once again, Kathy felt a flash of familiarity.
She turned and walked forward with a purpose.
"Miss, please," the man beside her pleaded. In a flash, Kathy remembered his name. Kells. "We should go. That lass is not one to trifle with, and she seems of a mind t'inspire some trifling."
"No," Kathy said again. "I need to speak to her."
"Shitballs," Kells cursed, then suddenly shook his head and turned back to the tavern. He stuck two fingers in his mouth and blew a shrill whistle. Kathy glanced back to see a half dozen of the roughest-looking patrons stand, finishing their drinks and unsheathing weapons.
"Don't attack her," Kathy said.
"Miss," Kells replied. "I'm a fair bit more concerned about her attacking us, and I cannot, in good conscience, let you fall t'her blade over whatever misunderstandin' jes happened. If she means t'fight, well, I dinnae how we'll stand, but I'd rather die fightin'. We'll damn sure hold 'er off long enough to get yerself gone."
Kathy eyed him up and down. His clothes were simple, homespun material. His shirt had a few stains on it, and had been repaired in a few places. His pants, too, had some repair marks. Kathy noted that woven leather strip pants would likely be expensive, even in a world that care little for fashion, but also very rugged. The sort of thing one might invest in. The machete and dagger at his belt both had simple wooden grips, well-worn, nicked and notched. The men assembling in the tavern by the door all wore similar outfits. Simple cloth shirts and leather pants, with simple, functional, well-worn weapons in their hands.
Kells looked to be in his late fifties, but given the difficulty of life out this way, Kathy pegged him as early forties. Which was about the right age to be a leader of a group of men like this.
She was impressed. Hard lives often bred hard people, she knew. Yet here he was, ready to fight to defend a stranger, merely out of his sense of honor and chivalry.
"That won't be necessary," Kathy said with a sudden, broad smile. She turned back right as the woman got within talking distance.
"Got a name?" Kathy asked. The woman eyed her critically, like an obstacle she meant to go through.
"I'm Kathy Evenson," Kathy said, and recognition dawned in the woman's face.
"I've heard of you," she said, her voice a little awed. Kathy's eyebrows shot up.
"Oh? From where?"
The woman shook her head.
"I need to know if any gods have been through here," she said. "Do you know of any?"
"Name?" Kathy prompted. The woman's eyes narrowed again. Kathy sighed.
"If you want to have a conversation, it's only polite to introduce yourself."
The woman didn't respond for a moment. Kathy could sense magic working inside her head, and pegged it as communications, based on the threads coming out of her third eye. She was mentally speaking to someone. Her command of magic was pretty good, she noted.
Finally, the woman sighed.
"Luna Williams," she said. As she spoke, four men materialized behind her. The one furthest to the left was short, slight and shockingly familiar. It was a face Kathy hadn't seen in years, because she'd watched that same face age for decades. But she knew it well, except for the eyes. The eyes were similar, but a different shade, blue where she remembered brown, and lacking the thick, long eyelashes he still possessed. He wore simple, dark clothes, and clutched a pair of short swords in his hands, with the hilts of knives protruding from all over.
Next to him, a taller, even thinner man stood, clutching a long-barrelled rifle of an unfamiliar design in one hand. He wore nineties-era BDUs with no rank or nametape, the simple woodland pattern altered by vertical slashes of dark brown and black dyes. His shaggy mop of brown hair was as familiar as the first one's eyes.
On the right were two identical men, similar enough in appearance to be his brothers. Clearly twins. They wore matching black and red outfits; long coats with tight-fitting pants and shirts. Both had extra material on the shoulders, bare hands, and belts full of pouches, vials and small bottles of various sorts. And though they bore a strong resemblance to the first man, they reminded her much more strongly of someone else she'd once known. She looked back to the woman, picturing her red hair turning jet black. Kathy gasped as she realized why the woman had looked so familiar, despite having never seen her before. She knew who these people were, or rather, who their parents were.
"Sarisa and Jerry," Kathy gasped. All five of them locked their eyes on her as she spoke the words. Even as she did, her confusion lessened. The domain of Time had been bandied about in the past several years, and she and Jerry had both had experiences with temporal oddities.
"What timeline produced you? And how far in the future did you come from?" she asked.
The five all turned to regard each other, unspoken words being exchanged without the aid of magic.
"That doesn't matter," the one who reminded her the most of Jerry said. "We're searching for our father, Gerard. It's of the utmost importance that we find him, and we think he might have been through here."
"He has to die," Luna added. "The whole universe is at stake."
----
Julie Allard, Diligent
Walton Speech Center, Baltimore, MD
"I see a red barn. I found a cow inside. She was a friendly cow. We took a walk in the field," Julie intoned dutifully. The speech therapist nodded and took down some notes.
"Feminization isn't a problem at all, your voice isn't even a little bit masculine," she said after a moment. Julie glanced over at Liam, currently doing the job of her bodyguard in his full battle rattle. He flashed her an I-told-you-so smirk, making her blush and turn away with a smile.
The therapist looked up from her notes and smiled. "You have a little bit of work to do on your hard consonants. 'Cow' sounded a bit like 'gow' and 'took' sounded a little like 'dook', but you're really doing remarkably well. I think you'll be ready in another couple of weeks."
Julie smiled back, still not happy enough with her voice to speak any more than she needed to. But she was getting there. The hoarseness of her voice was much reduced, and the pitch had climbed back up to its normal level.
"You got this, beautiful," Liam intoned, his voice a few steps deeper than usual. She knew what he was doing, giving her a contrast. She'd told him why she was upset about her voice. And of course, he had resolved to solve that problem for her, or at least help her. Like most men she'd known, he simply couldn't accept that sometimes, these things weren't entirely rational. His efforts, while much appreciated, weren't actually doing anything to help.
Actually, she realized, they were. They didn't make her any less self-conscious about her voice, but they certainly made her feel better in a general sense. And that, in turn, motivated her to work harder to get back the voice she had spent so many years acquiring. She beamed a smile at him.
"Karaoke next week?" she asked. Liam grinned back.
"Fuckin' bet," he said.
----
Gary Johnson, Sad Old Dude With a Gun
Darby's Branch Pentecostal Cemetery, Hog's Hollow, KY
"We did it, Pops," Gary said, brushing a little bit of dirt off the top of the brand new headstone. "We got rid o'them zombies, and killed a couple thousand vampires, too. I been runnin' the Group, what with Julie recovering from the attack, an' between us an' th'Army, we got it all cleaned up. Things ain't exactly back to normal, unless yer accountin' fer how abnormal things've been since th'gods all started waking up. Iffen ya do, then I suppose errything's back to normal."
He ran his fingers over the name inscribed there.

"Pops" Patrick Ulysses Johnson Jun 3rd, 1947 - August 13th, 2041 Father, Grandfather, Soldier 

He glanced over at the much older tombstone next to it.

Sarah May Johnson, nee Bigsby July 21st, 1950 - January 30th, 1999 Beloved Wife and Mother Everybody's Cool Aunt May 

He kicked himself for not specifying the word 'Beloved' on Pops' marker, but it was a little late now, unless he meant to replace the whole thing. Pops had certainly been beloved. There weren't hardly a single soul in the county between the ages of fifteen and fifty who hadn't learned to shoot, at least in part, at Pops' direction. According to Aunt Gladys, even Pappy Clayton had gotten a little misty-eyed at the services. Gary wished he could have been there for it, if only to say goodbye one more time.
He sniffed, then cursed himself. He was an old man himself. He'd fought multiple wars, lost too many friends to keep track of. This wasn't even the first parent he'd lost. He should be dealing with this better.
Gary lowered his head, resting a hand on the stone, just remembering. He remembered being a little kid, seeing his dad's grinning face below those stupid patrol caps the Army used to make him wear whenever he did something new. Throwing a pitch at a baseball game. Shooting a buck. He remembered the way Pops' eyes had sparkled even as he dressed Gary down for defiling the honor of Samantha Tatum, the first girl Gary had ever been interested in. That was back before he'd accepted that he liked men a lot better.
He glanced back, to where Chris and Nat stood. She was so big now. She wore bras, bras that Gary had had to take her shopping for, and explain how to fit, seeing as he was the only one in the house with any experience with them. She wore one now, under her t-shirt and the dress that Gary thought was a little too short, but which Chris insisted was perfectly fine. She was a gorgeous young lady, sure to break more than a few hearts on her climb up the ladder of success. He thought Pops would have been proud.
He stood, his joints creaking more than he'd like, but less than they should, given his age. He thought about Nat again, and wondered if he'd live to see her become a grandmother. He'd still been at the very end of his fighting days when he became a demigod, and as best as he could tell, he hadn't aged much since. The gray in his beard, while expansive for his age back then, hadn't taken over any more. The wrinkles on his face were as much the result of the sun and the almost-perpetual squint of a professional gunfighter as they were of age.
He walked back.
"I'm good," he said, his voice less sure than it had been talking to the markers. Chris immediately cupped his cheek in one hand and kissed him gently on the side of the mouth.
"You can take some more time if you want," he said. Gary tilted his head back and kissed the tip of Chris' nose.
"I'm good," he repeated, his voice steadier now. "I known for a while I was gonna end up burying Pops. It jes' happened a little sooner than I'da liked."
Nat threw her arms around his waist and squeezed. "I miss him already," she said.
"I know, Darlin'," Gary said. His damned voice cracked again. "Me too."
Part 4

after some feedback on the last one, i've started from scratch :)

Archīan Alphabet: Bb BHbh Cc Dd Ff Gg GHgh Hh Ll LLll Mm Nn NGng Pp Rr Ss SHsh Tt Ww
Vowels: Aa Ee Ii Oo Uu Yy
Rules: 1. If a vowel, skip 3 VOWELS along. Do not skip through the consonants. (E.G: If the letter is A, skip 3 vowels along to O (A>E>I>O)) If a consonant, skip 4 CONSONANTS along. Do not skip through the vowels. (E.G: If the letter is D, skip 4 consonants along to G (D>F>G>GH>H)) This system is called ‘the Skip system’.

2. If a word is only one vowel long, add ‘m’ with an apostrophe before it to the end. 

(E.G: Turn Y (the word for I) into Y’m. This does NOT change the meaning. Even thought it has two letters, it will still be classed as a 1 letter word in Archīan)

3. If two vowels are next to each other, add an acute accent mark for a, e, i, o, u (á, é, í, ó, ú) and a circumflex accent for only y (ŷ). This does NOT change the pronunciation of the letteword. 

(E.G: ‘yos’ (I am) will turn into ‘yós’ and ‘oys’ (Aim) will turn into ‘oŷs’)

4. If a 1 letter word and a 2 letter note are together, combine them together. 

(E.G: If you have Y’m (I) and Os (Am), remove the ‘m and combine them to make Yós. This also applies if the 2 letter word comes before the 1 letter word)

5. If a letter that doesn’t exist in Archīan (like K or Q) skip to the next letter that is in the actual alphabet. 

(E.G: if you have to translate K, skip to L and start the Skip System from L)

6. If you have to translate either BH, GH, LL, NG, SH, or TH, the skip system does NOT apply and the letters will stay the same. Plus, TH will be turned into Ð, and will still be classed as a double letter. 

(E.G: the word ‘this’ will be turned into ‘ðyw’ and the word ‘shy’ will turn into ‘shi’)

7. If S is next to A, I, O or Y, it will be pronounced as /s/. If it’s next to E or U, it will be pronounced as /sh/ or more formally referred to as /ʃ/. 

(E.G: Se (No) will be pronounced as (sheh) but Soso (Nana) will be pronounced as (sosoh))

8. If two double letters (BH, GH, LL, NG, SH or Ð) are together, take away the second letter of the second double letter. If the double letter is before a vowel, add either an acute accent for a, e, i, o, u (á, é, í, ó, ú) and a circumflex accent for y (ŷ).) 

(E.G: The word Lwoshghu (France) will be changed to Lwoshgú)

9. Every noun that describe names of people (like Lily and Ben) stay the same. If there are letters in the name that aren’t in the Archīan alphabet, they will be substituted for letters that make the same sound. Every other noun will be changed. 

(E.G: Emily will still be Emily in Archīan but Kayla will be changed into Cayla. Nouns like France will be changed into the Archīan word which in this case is Lwoshgú)

10. If three vowels are in a row, apply Rule 3 and replace the last vowel with the next consonant. The skip system does NOT apply here. 

(E.G: the word ‘you’ would be ‘iáf’ because the next consonant to what would of been E is the before to F)

11. If there is the letter Y before a consonant, add the letter A in between Y and the consonant 

(E.G: Ybh (It) becomes yabh)

12. If the sentence is a question, add ‘ón’ to the end of the last word of the sentence. If the word ends in a vowel, use ‘bón’. 

(E.G) “Dob yabh lesón?” = “Was it fun?”