There has been a lot of discourse surrounding the name and mascot vote for the team, and I wanted to lay out what I believe makes a good team name, as well as which of the popular choices best fit.
For this purpose, I’ll use the most common names I see thrown around as potential favorites from what was included in the official vote:

• Outlaws
• Mammoth
• Yeti
• Swarm
• Mountaineers
• Black Diamonds

1 The name should have ties to the location of the team

I understand that there are a number of teams that don’t have any connection to where they are based out of, but that doesn’t change the fact that it’s a somewhat dumb argument to make. For the vast majority of teams, the name has some reason. It can be something historical like the Jazz being passed on from New Orleans and is now part of Utah’s history even though we don’t have a raging jazz scene. It can be tied in with the local wildlife or geographical surroundings of the area like the Coyotes were in Arizona. I could go on with more examples, but the point is:
We are choosing a new name to represent Utah’s NHL team, and that name should represent Utah.
From this requirement, we can narrow down the list to the following possible names:

• Outlaws - History of outlaws in Utah from Butch Cassidy to the Sundance Kid
• Mammoth - Mammoth remains have been found here
• Swarm - Known as the “Beehive State”
• Mountaineers - Mountains. Not really needing much of an explanation
• Black Diamonds - Known for skiing and snowboarding

2 The name should be unique to the major professional sports

I understand that some (looking at you Colorado) are up in arms about their precious Lacrosse teams that are already using the names Mammoth and Outlaws. Unfortunately, It’s going to be near impossible to find a name that is good, and hasn’t been used somewhere before. As long as we’re keeping it unique within the major leagues, it doesn’t really matter if some lacrosse, ultimate frisbee, or your cousin's little league team shares a name. The Utah NHL team would immediately become the most popular team with those names. The vast majority of people you’d ask would have never heard of any of those teams before. Not a knock on the sport itself, but sharing a name with a lacrosse team is an absolute non issue. It’s just not popular enough to make a difference. If anything, maybe it helps draw some attention to the existing team.
They left out names that people really like (Raptors) because it’s already in use for a large professional team. You have to draw the line somewhere, because it’s going to be too hard to have a 100% original name that checks all the boxes.
None of the names remaining are already in use among the 4 major leagues, so we can just move on.

3 The name should be cool and provide a unique branding opportunity

This one is more self explanatory. It can come down to opinion, but since it’s my post, I’ll give mine. I think all of these are unique, but Mountaineers feels like the branding would be easy to fall short. It has potential, but there’s also a chance to get something really boring and generic. The others feel more fool proof, so we’ll remove Mountaineers here.

• Outlaws
• Mammoth
• Swarm
• Black Diamonds

4 The name should flow of the tongue nicely

This one is an awkward one to qualify one name over the other. None of the remaining names have a real alliteration, Yeti being the closest as the start of Utah and Yeti have a similar sound. Utah Outlaws has a near rhyme with the -ah and -law.
While those fit the best, I don’t feel that any are serious offenders of coming out of the mouth awkwardly. For the sake of narrowing the list down, I’ll remove Black Diamonds since it’s just a little bit of a mouthful.
This leaves the list here, with Outlaws having a slight edge in this category:

• Outlaws
• Mammoth
• Swarm

From here, it’s just a matter of choosing your favorite of the remaining names.
The last point really could be finding the name that feels the most "classic". New team names usually stand out from the rest of the league that has old names, established in history. Look at the Oilers compared to the Kraken. It doesn't quite feel right.
To me, Swarm sounds a little XFL/WNBAish. I wouldn’t hate it, but I think it’s the worst of the remaining names.
Mammoth is cool and fits the “cold” theme that they are apparently in love with based off the other names, but the name that I feel check all of the boxes the best is clearly Outlaws.
Classic sounding name with historical ties to Utah, feels like it should already be a team in one of the 4 major leagues but is somehow still available to be claimed and uniquely used, is easy and cool branding, and rhymes with Utah to make it come off the tongue easily. It can also be shortened to “Laws” which is equally cool.
Please vote accordingly.
Tl;dr There are some decent options, but Outlaws checks all the boxes.

1. Simile:
Definition: A figure of speech that compares two different things using the words "like" or "as."
Example: The night sky was like a vast canvas, scattered with stars as bright as diamonds.
2. Metaphor:
Definition: A figure of speech that implies a comparison between two unrelated things, stating that one thing is another.
Example: Time is a thief, silently stealing moments from our lives.
3. Hyperbole:
Definition: A figure of speech involving exaggerated statements not meant to be taken literally.
Example: The suitcase weighed a ton, making it nearly impossible to carry.
4. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The storm brought a bit of rain; nothing too major, just a small flood in the living room.
5. Personification:
Definition: A figure of speech where human qualities are attributed to non-human entities.
Example: The wind whispered secrets through the ancient trees.
6. Assonance:
Definition: The repetition of vowel sounds within nearby words in a sentence.
Example: The melody of the evening breeze gently swept through the fields of wheat.
7. Onomatopoeia:
Definition: The use of words that imitate the sound they describe.
Example: The door creaked open, and footsteps echoed in the empty hallway.
8. Alliteration:
Definition: The repetition of initial consonant sounds in neighboring words.
Example: The playful puppy pranced through the park, chasing butterflies.
*9. Oxymoron:
Definition: A figure of speech that combines contradictory terms.
Example: The comedian's humor was both dark and lighthearted, creating an unsettling joy.
10. Irony:
Definition: A figure of speech in which words express a meaning opposite to their literal interpretation.
Example: The fire station burned down while the firefighters were on vacation—what a twist of irony.
11. Pun:
Definition: A play on words that have multiple meanings or sound similar but have different meanings.
Example: Time flies like an arrow; fruit flies like a banana.
12. Juxtaposition:
Definition: Placing two elements side by side to present a contrast.
Example: In the bustling city, the serene park offered a juxtaposition of tranquility amid the urban chaos.
13. Synecdoche:
Definition: A figure of speech where a part represents the whole or the whole represents a part.
Example: "All hands on deck" implies the need for the assistance of the entire crew.
14. Metonymy:
Definition: A figure of speech where one term is substituted with another closely related term.
Example: The White House issued a statement on the recent policy changes.
15. Zeugma:
Definition: A figure of speech where a word applies to multiple parts of the sentence.
Example: She stole both his wallet and his heart that fateful night.
16. Epiphora:
Definition: The repetition of a word or phrase at the end of successive clauses.
Example: The forest was mysterious, the mountains were majestic, and the rivers were enchanting.
17. Euphemism:
Definition: Substituting a mild, indirect, or vague term for a harsh or blunt one.
Example: She passed away peacefully in her sleep, euphemizing the concept of death.
18. Anthimeria:
Definition: The use of a word in a grammatical form it doesn't usually take.
Example: She bookmarked the page to return to the thrilling story later.
19. Chiasmus:
Definition: A figure of speech in which the order of terms in one of the clauses is inverted in the other.
Example: "Do I love you because you're beautiful, or are you beautiful because I love you?" - Cinderella
20. Allusion:
Definition: A brief and indirect reference to a person, place, thing, or idea of historical, cultural, literary, or political significance.
Example: His ambition was Caesar-like; he aimed to conquer not only Rome but the hearts of its people.
21. Allegory:
Definition: A narrative in which characters and events represent abstract ideas or moral qualities . Example: Orwell's "Animal Farm" serves as an allegory for political corruption and the abuse of power.
22. Metonymy:
Definition: A figure of speech in which one word or phrase is substituted with another closely associated with it.
Example: The pen is mightier than the sword, emphasizing the power of the written word over physical force.
23. Sarcasm:
Definition: The use of irony to mock or convey contempt.
Example: "Nice job on the presentation," she said, her tone dripping with sarcasm as the audience chuckled.
24. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The mountain climber faced a slight challenge as he ascended Everest, navigating only a few treacherous crevices.
25. Cliché:
Definition: An expression or idea that has become overused to the point of losing its original meaning.
Example: The detective followed the suspect's trail like a bloodhound, relying on the cliché methods of his trade. *

1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
   
2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
   
3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
   
4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
   
5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
   
6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
   
7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
   
8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
   
9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
   
10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
    
11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
    
12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
    
13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
    
14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
    
15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
    
16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
    
17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
    
18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
    
19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
    
20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
    

Hi! I work for AQA as a senior examiner (Lit Paper 2, but I have marked Paper 1 and the way they are marked is essentially the same), and thought you might appreciate a few tips. Most of it is probably stuff you already know, but if this can help anyone for the exam, then it's worth typing up.
Assessment Objectives Thought it might be best to start with an overview of the AOs. AO1 refs (6 marks) - this is how well you have used references in your answer AO1 task (6 marks) - this is how well you have answered the question as a whole. If you don't refer to both the extract and the whole text, you can only get 2 marks for this AO. AO2 (12 marks) - this is how well you have analysed language methods, such as metaphor, simile, personification, alliteration, characterisation, single words, symbolism etc, as well as structural methods, such as rhythm, rhyme, iambic pentameter, order of events, caesura etc. (note: you DO NOT have to do BOTH language AND structure) AO3 (6 marks) - this is your understanding of the writers' ideas and the context in which the text was written / set AO4 (4 marks) - this will only be given for the Shakespeare section and is your spelling, punctuation and grammar.
Start with a thesis statement A thesis is an argument that you pose, and you then spend the rest of the essay proving why you are right. Let's say you get a question about how Shakespeare presents Romeo as a character who is passionate. You can spend your whole essay showing and explaining the ways in which Romeo is passionate, but that wouldn't be a thesis; Romeo's passion is a given, so it's no challenge to give examples of it. What isn't a given is the purpose of Romeo's passion. So for this question, your thesis could be: Romeo's passion, and his inability to control and contain it, is what makes him responsible for most of the bad things that happen in the play. You'd want to extend on that a little in the first paragraph, but that would be a good start to a thesis statement. Another thesis statement that would work for this question is: Romeo's passion comes from the deep love that he is capable of, and this love is ultimately a healing force that works for the good of the community and teaches us a lesson about the power of love and the evils of hatred. Both of these statements are very different - one sets out to argue that Romeo's passion is a negative thing, whilst the other presents it as a positive. Either of these could be argued in a convincing way. Some good sentence starters for thesis statements are: - In this text, we go on a journey of understanding that... - We are prompted to consider the universal concepts of... (universal concepts could be life, death, love, relationships, family, order, chaos etc, and LOADS more) - We are made to think about the duality of... (love/hate, chaos/order, old/young, innocence/experience etc) - By the end of the text, we learn / understand / are left questioning...
Use the extract for AO2 AO2 - the analysis of writers' methods - is one of the most commonly missed assessment objectives in both Lit papers. It's also the one with the most weight - you get a potential 12 marks for this AO, so that's what you lose if you forget it. But on Paper 1, you have an advantage - there is an extract right there in front of you, and there will 100% be a method in there that you can use. This will save you the trouble of having to remember a specific metaphor, simile or personification to analyse in your answer. If you struggle to find methods, then there are a couple of workarounds to access AO2. The first is to pick a single word from the extract that you've been given, and analyse the heck out of it. For example, Macduff refers to Macbeth as a "hell-hound". This word (or words) is perfect for single word analysis because of the connotations of "hell"; it emphasises evil, it connects to Christian ideas about morality, and plays on the superstitions of the audience. When connected with the word "hound", we can interpret Macbeth's status (in Macduff's eyes) as a servant of the devil, a mindless creature, and we see him stripped of his humanity by being referred to as a savage animal. Because of the religious implications, you can also link all of this to the witches. Another way to ensure that you include AO2 is to write about characters as tools that the writer is using. For example, you could speak about how the creature in Frankenstein is used to explore ideas about the nature of humanity, specifically ideas about isolation and love. The key word here is "used". If you can speak about the characters as a tool that the writer is using to explore ideas, to illicit a reponse from the audience, to send a message, to make the audience think or consider new concepts, then you are in AO2 territory.
AO3 This is another commonly missed assessment objective. AO3 is all about context, but that doesn't just mean the stuff that was going on at the time the text was written. Sure, that is part of it, but another is the writer's ideas. This is something that you can put in your thesis statement. Consider what the writer is trying to teach the audience. Think how this might translate to an audience in 2024. For example, A Christmas Carol is a text about morality. Dickens wants us to consider how we can be better human beings and work towards a better future by showing kindness to others, by sharing our wealth, and by recognising that those who are less fortunate than us are not always to blame for their circumstances in life. He communicates these ideas through the theme of Christmas to remind people of their Christian faith, values and obligations: to love your fellow man, to look after your neighbour, to be generous of spirit. All of this is fantastic AO3 stuff.
Literally, Metaphorically, Symbolically Some of you may have used this before, but I find it a useful tool for getting my students to squeeze as much as they can out of a reference. When you use a reference (AO2 or not, doesn't matter), you can first explore the literal meaning, which means to take the words at their most basic meaning. Then, you look at the figurative meaning, what is implied. Lastly, you take the reference out of the context of the text and think of the symbolic meaning. This is an excellent way to include AO3. Here's an example: Romeo refers to Juliet as an "angel". Literally, this means that she is a creature from heaven, and a servant of God himself. Metaphorically, we can interpret this as meaning that Romeo regards her as something pure and holy, something that cannot be corrupted. According to the Bible and religious belief at the time, angels spoke truth and were creatures of great beauty, which tells us the high regard in which Romeo holds Juliet. She is perfect to him. It could also mean that he believes she has been sent to him from God, in much the same way that angels were sent to Earth to spread God's word, so he perhaps views her as a gift or a blessing. Symbolically, we understand from Romeo's use of the word "angel" that the love he has for Juliet is good and pure, which links to the message that Shakespeare had for his audiences regarding the power of love and the pitfalls of hatred. If we are able to understand that Romeo and Juliet's love is pure, then we are much more likely to sympathise with them and support their struggle against the toxic patriarchcal system that drives them apart. By the same token, we can understand that this system is corrupt, evil and destructive. If we do gain this understanding, then by the end of the play, we are likely to have learnt the lesson that Shakespeare is trying to teach us.
References don't have to be quotations One of the assessment objectives is AO1 refs (short for references). But references do not have to be direct quotations. For example, if you want to talk about the death of Macbeth, you don't have to sit in the exam hall desperately searching your brain for the exact words from that moment. Simply saying "When Macbeth dies..." is enough as a reference. You can use this for analysis, too, for example: Mercutio's death is a turning point in the play because... Mercutio's death represents... Mercutio's death shows us... In fact, that particular example verges on AO2, as well, as it talks about an event in the play which acts as a trigger / catalyst for what happens next. This is probably a good time to tell you that AO2 can also be marked as AO1 refs, but this is not always true the other way around.
Conclusions are not necessary Don't waste your time repeating yourself, which is what often happens with a conclusion. You don't have the time for that. Set out your thesis, and provide multiple examples of how your thesis is correct. Then finish.
Do not retell the story We know the story. Please don't waste your time retelling it. You have far more important things to write about than regurgitating a story we already know. Focus on analysis.
I hope this helps a bit. If you have any questions, feel free to ask them. I will do my best to help you. Good luck!

Having a baby boy with the last name Badden. We have some names that we've narrowed down to but are open to ideas and your favourites!

1. Ryan Badden - love this but concerned that it sounds a bit strange both ending in "N". Is it dated now?
2. Miles Badden
3. Brody Badden - do we like the alliteration or dislike?
4. Henry Badden

Open to other names. Looking for something strong and timeless if possible.
Let us know!!

CDAN 5.10.24

Blind Item #4
All told there are just five hours of activities spread over the time period the alliterate one and her husband will be in country. What really is the point? Oh yeah, the locally "sourced" coffee that will soon be in a gift basket headed to people who really don't want it.

From the Comments:

image

At this point I'm convinced she's using Rent the Runway and similar services to rent designer clothes that she can't actually afford, which is why they're never hemmed properly and always mildly ill-fitting, because she can't alter them. Plus, seconding the horror show that is her wearing a backless, sleeveless dress that is somehow simultaneously sloppy-looking and too fancy to visit a girls' school where the girls are all in lovely tailored uniforms. She's dressed for some sort of tacky American garden party. Honestly, I'm befuddled at her choices.

Will Megan be gifting the rest of the strawberry jam to the Nigerian people, I wonder?

Rent a Royal gig?

Wait ! You said they're only doing 5 hours of blah fake work ? 3 days at starving Nigerians expenses and 2 days of that is for her to source coffee for her shop? She's more a drug cartels dream for trafficking a cross nations. I'm going with that

ETA: Disclaimer: Any posting from CDAN or Enty is for entertainment purposes and the Harkle tea. I am not endorsing Enty or his site. I am not making any statement of veracity of the tea or of Enty... This is not about Enty, but the gruesome twosome...

Like a lot of other people I was awaiting the Delphi murders trial, this despite the warnings I heard from wiser individuals who knew better, those who could foresee the stall tactic antics disguised as legal wranglings. And while I was waiting around, I was reading a lot--specifically about the motivations of murder because I am a bit masochistic. I obsess over the why?
According to Peter Morrall, a famous British crime lecturer and professor of sociology, I have been overthinking my obsession this entire time. Apparently the question of why someone murders another someone has a very simple formula:

• Lust
• Love
• Loathing
• Loot

If Morrall is correct, every murder in the world has been committed within the parameters of the above alliteration. The formula applies as much to the wife who poisons her husband so she can absorb all the proceeds of his life insurance, as it does to the armed robber who murders a clerk in a convenience store robbery gone bad, as it does to a sibling killing another sibling, as it does to the serial killer who stalks redlight districts for sex workers, as it does to the murder of Abigail Williams and Liberty German.
If RA is the murderer of Abby and Libby, many believe he is either a serial killer or a burgeoning one. If not, he's most likely a one and done with serial killer traits, his long overdue detection owing as much to his disguise, a mask of normalcy and ordinariness, as it does to an alleged filing mistake made by law enforcement.
This hiding in plain sight is a phenomenon known as the banality of evil--a phrase that was first used to describe Adolph Eichmann, the logistical coordinator of the Holocaust. The guy was as dull as a doorknob, something that haunted those who hunted him as much as anything else. How could such a chinless wonder be responsible for the deaths of millions?
Similarly, RA lived a quiet middle class life with his wife of many years and their purportedly well adjusted daughter; he worked as a pharmacy tech and shift manager. These are the environmental factors cited most by those who proclaim his innocence.
Yet many of the same individuals who cannot fathom the unassuming pharmacy-tech as a murderer have no problem ticking off a list of superficially well adjusted killers like Ted Bundy, Dennis Radar, Wayne Williams, John Gacy and Gary Ridgway--all who notoriously hid and killed in plain sight. (That, and no one but the good Lord and the Allen's really know what went on behind their own closed doors.)
Although motive does not have to be proven in a court of law, it is an essential element to understanding how a man like RA could kill two teenage girls. And though the how is tangled up and often deemed interchangeable with the why, the latter part of the question may never be satisfactorily answered or completely understood if it is, despite Peter Morrall's more straightforward formula.
​

Previous post

The upstart

Arch rival to Calap Roud was the illimitable, ambitious, inexcusably young Brash Phluster. That he delighted in the old bastard’s presence on this journey could hardly be refuted, for Brash so wanted Calap to witness youth’s triumph in Farrog. With luck, it would kill him.

Next on the chopping block is Brash Phluster, and what a masterpiece that name is. Brash means many things, including overly confident and lacking respect. Clearly that's how Calap views him at least. And Phluster just looks so much funnier than "fluster". It's as subtle as a brick to the face, but we really get everything we need to know about Brash from just the name.
Note that like with Purse we begin Brash's introduction by pointing out his relationship with Calap Roud. But whereas Purse was Calap's object of lust, Brash is his nemesis. We get a list of Brash's characteristics. He is illimitable, ambitious, and inexcusably young. This is definitely describing Brash as Calap sees him. The tell is the "inexcusably young" bit, but we also see a subtle jab with the way Flicker uses both illimitable and ambitious, words that have very similar meanings. He's definitely imitating Calap here, so it's like he's so incensed at Brash that he's stumbling for whatever word he can find. And accidentally goes for two words that mean basically the same thing.
Then we get Brash being happy at Calap's presence, which makes us think that perhaps the rivalry is one sided. But then we see that it's just because Brash wants to rub it in Calap's face, so the rivalry is definitely a thing. And finally there's the hope that Calap's defeat would kill him. So there's clearly an underlying hatred that runs deeper than a normal rivalry. The rivalry also seems to be generational. Brash represents the younger generation of artists, and he sees this as a conflict between young and old.

Fake it 'til you make it

Seven years Calap had been defecating on Brash, trying to keep him down on the crusty floor, but Brash was not one to let a rain of guano discourage his destiny. He knew he was brilliant in most things, and where he lacked brilliance he could fill those spaces with bold bluster and entirely unfounded arrogance. A sneer was as good as an answer. A writhe of the lip could slice throats across the room. He eyed Calap as would a wolf eye a dog, appalled at a shared pedigree and determined to tear the sad thing to pieces at the first opportunity.

We continue with the Calap/Brash beef, bringing back the metaphor from Calap's introduction with the gilded cage. There we got a brief mention of the "white-headed fools" that Calap shat on, and now we learn that Brash was indeed one of those fools. The imagery here is absolutely foul, with the floor crusted with bird shit and the rain of guano. There's a really nice alliteration here too. We get "defecating" and "down", and then a bit later "discourage" and "destiny". I love how it's all these really negative and nasty words, before flipping it with "destiny".
Flicker is definitely putting himself in Brash's head as he's done many times before, as we get this view of his inflated self image. We get a lot of Bs and Ls here with two instances of "brilliant" before we get "bold bluster". I love how he seems to be just blatantly in fake-it-until-you-make-it mode. And then Flicker dips out of Brash's head to provide his own commentary with "entirely unfounded arrogance".
And then we continue with Flicker giving his not-quite-charitable reading of Brash's character with this quick flurry of sentences. When confronted, Brash doesn't really respond, but just pretends like answering is beneath him. Like Calap he's willing to play the social game in order to get ahead. And that is made clear with the comparison. They're different, but also in some fundamental way they "share the same pedigree", which I think is their mutual willingness to pull all sorts of dirty tricks to get rid of rivals. And Brash is ready to do just that to Calap.

Master of disguises

True talent was found in the successful disguise of genius, and Brash accounted himself a master of disguises. His future was glory, but he would reveal not a single hint, not one that some cragged critic¹ or presumptuous rival might close in on, stoat fangs bared. No, they could dismiss him each and every day for the time being. He would unveil himself in Farrog, and then they would all see. Calap Roud, that stunning watery-eyed dancer, Purse Snippet, and the Entourage too—

Right off the bat I want to say that I love this first sentence. Flicker mentioned Brash's fake-it-until-you-make-it attitude in the previous paragraph, but here we get a hint that perhaps Brash is faking more than he'd care to admit. But he doesn't care, because he's so confident in his disguises.
Erikson has on many occasions remarked upon (and lamented) that many authors are incredibly secretive about their craft. He's mentioned authors on panels whose answers amount to basically just an advertisement for their book rather than an examination of their process. I think here he is poking fun at that attitude. Brash is established as being extremely tight lipped, because he doesn't want the critics or his competitors to find out his secret sauce. Admittedly, since he's traveling with Calap Roud that attitude may not be simple paranoia.
I also love that he calls his rivals stoats, calling back to the weasel analogy from a few weeks ago. Stoats are of course² a kind of weasel (or at least a weasel-like mammal). So we're still not letting go of these metaphors.
We also get a glance at the way Brash is seen by others. He's dismissed by them. Clearly, Brash thinks they're underestimating him, but are they? We'll find out in time when we get some of Brash's poetry. The alliteration here is also nice, with each and every framed by dismiss and day.
He ends with a declaration that he's not even begun to peak. That he's saving the best for last, and he's savoring that. He mentions Calap Roud, who he wants to destroy, and Purse Snippet who he likely wants to impress. Here we also see the difference between Flicker and Brash in action. Flicker saw through to the core of Purse's being. Brash, on the other hand, just sees a pretty dancer. He even notes that her eyes are always watery, but he doesn't even seem to consider that they might be like that for a reason.
And finally, the Entourage...
But we'll get to them next time. That's it for Brash's introduction. See you next week!
¹ There's some nice alliteration here. The word "cragged", itself onomatopoeic, adds that onomatopoeia to the word "critic".
² I say as if I didn't have to look that up myself

1. Simile:
Definition: A figure of speech that compares two different things using the words "like" or "as."
Example: The night sky was like a vast canvas, scattered with stars as bright as diamonds.
2. Metaphor:
Definition: A figure of speech that implies a comparison between two unrelated things, stating that one thing is another.
Example: Time is a thief, silently stealing moments from our lives.
3. Hyperbole:
Definition: A figure of speech involving exaggerated statements not meant to be taken literally.
Example: The suitcase weighed a ton, making it nearly impossible to carry.
4. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The storm brought a bit of rain; nothing too major, just a small flood in the living room.
5. Personification:
Definition: A figure of speech where human qualities are attributed to non-human entities.
Example: The wind whispered secrets through the ancient trees.
6. Assonance:
Definition: The repetition of vowel sounds within nearby words in a sentence.
Example: The melody of the evening breeze gently swept through the fields of wheat.
7. Onomatopoeia:
Definition: The use of words that imitate the sound they describe.
Example: The door creaked open, and footsteps echoed in the empty hallway.
8. Alliteration:
Definition: The repetition of initial consonant sounds in neighboring words.
Example: The playful puppy pranced through the park, chasing butterflies.
*9. Oxymoron:
Definition: A figure of speech that combines contradictory terms.
Example: The comedian's humor was both dark and lighthearted, creating an unsettling joy.
10. Irony:
Definition: A figure of speech in which words express a meaning opposite to their literal interpretation.
Example: The fire station burned down while the firefighters were on vacation—what a twist of irony.
11. Pun:
Definition: A play on words that have multiple meanings or sound similar but have different meanings.
Example: Time flies like an arrow; fruit flies like a banana.
12. Juxtaposition:
Definition: Placing two elements side by side to present a contrast.
Example: In the bustling city, the serene park offered a juxtaposition of tranquility amid the urban chaos.
13. Synecdoche:
Definition: A figure of speech where a part represents the whole or the whole represents a part.
Example: "All hands on deck" implies the need for the assistance of the entire crew.
14. Metonymy:
Definition: A figure of speech where one term is substituted with another closely related term.
Example: The White House issued a statement on the recent policy changes.
15. Zeugma:
Definition: A figure of speech where a word applies to multiple parts of the sentence.
Example: She stole both his wallet and his heart that fateful night.
16. Epiphora:
Definition: The repetition of a word or phrase at the end of successive clauses.
Example: The forest was mysterious, the mountains were majestic, and the rivers were enchanting.
17. Euphemism:
Definition: Substituting a mild, indirect, or vague term for a harsh or blunt one.
Example: She passed away peacefully in her sleep, euphemizing the concept of death.
18. Anthimeria:
Definition: The use of a word in a grammatical form it doesn't usually take.
Example: She bookmarked the page to return to the thrilling story later.
19. Chiasmus:
Definition: A figure of speech in which the order of terms in one of the clauses is inverted in the other.
Example: "Do I love you because you're beautiful, or are you beautiful because I love you?" - Cinderella
20. Allusion:
Definition: A brief and indirect reference to a person, place, thing, or idea of historical, cultural, literary, or political significance.
Example: His ambition was Caesar-like; he aimed to conquer not only Rome but the hearts of its people.
21. Allegory:
Definition: A narrative in which characters and events represent abstract ideas or moral qualities . Example: Orwell's "Animal Farm" serves as an allegory for political corruption and the abuse of power.
22. Metonymy:
Definition: A figure of speech in which one word or phrase is substituted with another closely associated with it.
Example: The pen is mightier than the sword, emphasizing the power of the written word over physical force.
23. Sarcasm:
Definition: The use of irony to mock or convey contempt.
Example: "Nice job on the presentation," she said, her tone dripping with sarcasm as the audience chuckled.
24. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The mountain climber faced a slight challenge as he ascended Everest, navigating only a few treacherous crevices.
25. Cliché:
Definition: An expression or idea that has become overused to the point of losing its original meaning.
Example: The detective followed the suspect's trail like a bloodhound, relying on the cliché methods of his trade. *

I sat down with my morning coffee and opened my email. It was bursting at the seams as usual.
I clicked on the first link and started skimming through its contents.
I grew up in a haunted house… normally used to this stuff… this was the first time I was ever scared.
Interesting.
There was a video file attached. I clicked on it.
It was a video from a doorbell camera. The video feed looked out onto a beautiful wrap-around porch complete with flower boxes and an American flag blowing in the evening breeze. A few bugs flittered by, but I couldn’t see why I had been sent the video. Then I saw it.
Just barely visible in the darkness, peeking from behind the flower boxes was a face. It didn’t move, you’d think it might be a statue by how still it was, and although about 75% of the face was obscured by the flower box, I could tell it wasn’t human. The skin looked rough, like papier-mâché and the proportions were off. It was a bit uncanny.
The wind blew the flowers in the flower box revealing slightly more of the face. One of the face’s large, unblinking eyes was exposed. Like I said, the proportions were off. It was too big, with no lashes or brow, just a giant white circle with a smaller black circle in the middle. It looked almost cartoony. It started directly into the camera. I started to think someone had just placed a creepy mask in front of the camera until I saw it blink.
A shiver ran up my spine and I had to turn around to check my own surroundings. I have to do that sometimes when I get scared. Just a habit from childhood.
When I turned back to the video screen the face was gone. The video clip ended a few seconds later.
Nope, hell nah. I am not getting involved with whatever that was.
I send a message back:
Heyyyy,
Yuck! Pretty weird, but I can’t help with that, sorry! Maybe try the police?
I opened the next email.
We have something in our house. I can’t sleep. I’m worried for the safety of my daughter.
Blah blah blah.
Another video file was attached.
The video was from a mother’s cell phone as she crept silently through a house. She arrived outside of a bedroom door decorated with unicorns and a sign that read, “Sarah’s room,” in bold letters under which another sign spelled NO BOYS ALLOWED.
I could hear something from the other side of the door. It’s quiet at first, but as the camera draws nearer I could make out the muffled sounds of children whispering to each other and the sounds of toys being dragged across a hardwood floor.
A hand comes into frame as the mother slowly pushes the bedroom door open revealing the messy room of a little girl. Toys are strewn everywhere, Barbies, Hot Wheels and ponies.
The girl who I presume to be Sarah is asleep in her bed.
The mother says quietly to no one in particular, “Don’t disturb my daughter. She needs to sleep.” There are a few seconds of silence. The mother lets out a sigh of relief feeling she’s won this battle. She takes a step towards her daughter, presumably to check on her or kiss her on the forehead, when a low growl fills the room.
“No,” the woman says quietly, but firmly, into the room like a mother would to a misbehaving child. There’s another few seconds of silence, then, like a lightning bolt, a long black arm lashes out from under the child’s bed, grabs a toy from the floor of the room and pulls it back into the shadows.
The mother screams in terror, the daughter wakes up screaming.
The video ends.
Nope. Don’t feel like messing with that one either. I still look under my bed all the time.
I shoot an email back.
Pretty Spooky!
This isn’t my area of expertise, looks like you might need a priest or a rabbi or shaman or those ‘spiritual’ girls you see at music festivals, but not me!
Hope this helps :P
On to the next email.
Ever since my roommate passed away, things have been going missing in my house. I think he might be haunting me. Is this a situation you could help with?
Bingo! Easy Money.
During the pandemic I started a side-gig as an online psychic to earn a little bit of pocket money. It started with Tarot cards and palm readings and has since evolved into…something else. Once COVID restrictions eased I started doing house calls. It’s a fun gig. I make good money and meet some VERY interesting people.
Only thing is I didn’t believe in any of this shit. I would make it all up.
I started off in my Zoom call days by reading a script I wrote with a couple friends after a few beers, I’ve got it memorized now. Actually, I’ve memorized several different scripts now. Sprinkle in a little improv here and there, and I’m as good as the real thing. Honestly, I think I’m just a good salesman. Confidence takes you a long way in this racket.
Sometimes I feel bad and think, “Maybe I should just start selling cars or something,” but I can’t give this up, it’s just too much fun. And it's so easy.
The thing is, when people lose a loved one, they start going a little bit crazy. They don’t sleep, they forget to eat, they are constantly stressed out dealing with funeral arrangements, grieving loved ones and restructuring their support systems. They get a little bit harebrained and eventually they misplace something. They forget they leave the TV on downstairs and hear voices when they are lying in bed. Sometimes they are so stressed and sleep deprived they straight-up hallucinate.
That’s where I come in. A knight in shining armor.
I tell them it will all be okay; I pass a message to them from their deceased loved one saying how proud they are of the person they have become. I prescribe some hot tea and a good night of sleep and bam – haunting nipped in the bud. The client gets a clear head and fresh start on the rest of their life and I get a pocket full of cash. The placebo effect is the real deal.
I knocked on the door of the tiny shotgun house 2 days later around noon. The door opened and a small Mexican man stood in the doorway wearing jeans and a black T-shirt with Tweety Bird and the Taz the Tasmanian Devil on it. He looked tired.
“Hi! Are you Pedro?” I asked the man.
“Yeah, are you…” He pulled out one of my business cards from his pocket, “Mystical Mike?”
Don’t laugh at the name. Magic Mike was already trademarked and alliteration is a winning business strategy.
“Yup that’s me”
I followed Pedro into the house and found myself standing in the living room. A basic set up with a TV, coffee table, couch and a loveseat. The other side of the room was occupied by a small and dirty kitchen. A small kitchen table bifurcated the two spaces. A short hallway connected the living areas to two bedrooms and a bathroom.
We sat at the kitchen table and Pedro gave me the rundown about what had been happening. His roommate passed away about 2 weeks ago under suspicious circumstances. He was a happy, healthy 28-year-old with a clean bill of health and no drugs in his system. Pedro found him dead in the bathtub. Heart attack was the official cause of death.
Since his passing, Pedro claimed things have been getting moved or going missing. He says he hears his roommate’s bedroom door open and close on its own some nights.
You know, typical ghost shit. This was going to be another easy client.
Now Pedro was Mexican, and Mexican means Catholic. Catholics grow up in a ritual rich environment - Reconciliations, confirmations, the transubstantiation of the communion. If your client is Catholic you can’t just walk around the house burning sage or an incense stick. You need a ritual. You need props.
I carry a bag of props with me to each jobsite. Every type of client needs a different type of prop. Among a few other knickknacks, it’s got a handful of Crystals for the ‘spiritual’ girls, incense and sage for the indigenous, a Bible, Torah and a Quran for the religious, an EMF reader for the skeptics or the scientifically inclined, a couple granola bars if I get hungry, and for the Catholics i have a few crosses and rosaries. I also have a Ouija board. Some clients go crazy for the Ouija.
I pulled out the Ouija board and Pedro’s eyes went wide. I immediately knew this was the right tool for the job.
“Are you sure about that,” he asked, pointing at the Ouija board, “I heard bad things happen after people use those things.”
“Don’t worry Pedro, you’re in the hands of a capable professional,” I lied, “I know exactly what I’m doing,”
I set up the board between us, lit some candles and burned the end of a stick of incense. Ready to blow Pedro’s mind.
Before starting I had one last question for Pedro, “What was your roommate's name?”
“Archibald”
“Oh god, seriously?” I couldn’t help it.
“Yeah, he went by Arch, so it really wasn’t too bad”
“Ok, yeah that makes sense. Let’s start this thing.”
I placed my fingers lightly on the planchette in front of us and coaxed Pedro to do the same as I started the ceremony. I started by reciting a few Latin phrases I had memorized after taking it as a foreign language in high school. It was mostly nonsense. It started off with the opening line from one of Cicero’s famous speeches that I was forced to recite for an oral exam, followed by a series of pauses and random words.
Quamdiu mihi consuli designato, Catilina, insidiatus es, non publico me praesidio, sed privata diligentia defendi!
Pūmilio!
Mea Culpa!
Habeas corpus!
If I ever come across a client who actually knows Latin, I’d be screwed, so it’s a good thing almost no one does.
I switched back over to English.
“Archibald! I call you to witness!”
I started moving the planchette slowly around the board, not landing on anything in particular, just to give Pedro the sense something was happening.
“That’s not you, is it?” Pedro asked, a thin mustache of sweat forming on his upper lip. He shook his head in disbelief, for a guy with a darker complexion he was very pale.
Again, I called out to the ‘spirits’, “Is this this spirit of Arch?”
I began to move the planchette towards the ‘YES’ section of the Ouija board, about halfway there I encountered some resistance. The planchette froze. I couldn’t move it. It was as if it was glued to the board itself. Weird.
Improvising, I called out another question, “What do you want from Pedro?”
My fingers tingled and seemed to grow hot as I tried to move the planchette, still it remained frozen in place. Then, slowly, the wooden planchette drifted to H then E. I glanced up at Pedro to see if he was fucking with me. His face was as white as a sheet of paper and he was taking huge deep breaths like a dying fish as he looked down at the planchette, horrified. I get the sense he was faking.
The planchette continued sliding around the board. K then N over to O then W then S.
HE KNOWS.
Pedro looked up at me for the first time since the ritual began. He was trembling.
“Pedro, what's going on?” I asked him, “What do you know?”
Just then, Pedro and I both pulled our hands back in pain as the planchette erupted in flames. This is when I started to feel like I was the one being conned. I looked under the table for magnets or any type of machinery that could manipulate my planchette. I waved my hand over the flaming wooden disk in case somehow Pedro had managed to rig some sort of thin wire to it. All my searches came up empty.
A primal fear grew in my belly.
The planchette started sliding quickly back and forth across the Ouija board stopping at letters too quickly for us to even register which letter it briefly rested on.
“No mames!” Pedro shouted, “What’s it saying?”
“Uh, I don’t know,” I had no idea what to do in this situation? Ask it to slow down? That made sense, “Excuse me, Ghost? Can you slow it down? You’re going too fast for us to understand you”
The planchette came to an abrupt halt and the small flame extinguished itself just as quickly. A beat later, Pedro and I heard a Click from across the room. The television had turned itself on.
Click click click
Pedro and I watched in silence as the television flicked through several channels before landing on a random daytime soap opera. It was muted. We watched the characters act out a silent argument on the screen for a few seconds before the TV unmuted itself just in time for one of the characters to shout, “I SAID-”
Click click. The TV cycled through some more stations.
Liam Neeson appeared on the screen, “Give me back–”
Click click click click
The TV stopped on a wounded soldier in the jungle who screamed, “My Leg!” before the television muted him.
Pedro gasped and clasped a hand to his mouth.
Click click click.
The TV stopped again, this time on a man in a beanie in a meth lab. It unmuted itself, “BITCH!”
Pedro got up from the table and walked into his room. I could hear him opening his closet and rummaging around.
Click click click.
I sat there in silence while the television started playing the Final Jeopardy music.
The whole experience was just too bizarre. I could feel everything I had known about the world melt and re-arrange itself in my head. What did any of this mean? What powers have I been tempting and tampering with the past few years, and worst of all – were all those emails I get everyday actually legitimate? I felt like someone had just poured ice water down my back.
I had figured they were just people pranking me. People who figured I was conning people and wanted to poke a little bit of fun.
I quickly packed the Ouija board and was about to leave the house, when –
Click click click click
Kendrick Lamar popped up on the screen, “Sit down. Be Humble.”
I sat my ass back down at the kitchen table. A few moments later Pedro walked back into the room carrying a disgusting looking prosthetic leg. He dropped it onto the table with a loud thud.
Click click click click click
“BURN IT” the television shouted; I didn’t see what was on the screen.
Click click click.
Samwise Gamgee was on the screen now, shouting at Frodo, “Throw it in the fire!”
Pedro pulled a lighter out of his pocket and moved towards the leg.
“Wait,” I said to him, “I’m not sure that is a good idea”
Pedro looked confused, “If we give it what it wants, won’t it leave me alone?”
He was desperate, and I understood that. The past 10 minutes had completely shattered my entire worldview, even so, I had watched enough movies to understand that when dealing with an entity like this, you shouldn’t blindly bow to its will. Giving an evil entity something that it wants might only serve to make them more powerful allowing them to tighten their grasp on you.
“I’ll take it,” I said reflexively. It was the first solution that entered my mind. I didn’t want to take it, but that seemed like the path of least resistance to get the hell out of this house where I couldn’t think.
“Be my guest,” Pedro pushed the leg towards me and pocketed the lighter.
The television was screaming at me.
Click click
“Idiot”
Click
“Fool”
Click click click click
“…What I do have are a very particular set of skills, skills I have acquired over a very long career. Skills that make me a nightmare for people like you…”
I tossed the leg into my bag and headed towards the door.
“Wait,” Pedro called after me, “Don’t I need to pay you?”
I was so focused on getting out of this house I had completely forgotten. I turned to look at Pedro and saw behind him in the kitchen all of the gas burners on the stove were ignited and the cabinets all hung open. I couldn’t wait to get out of here.
“Just hit me on PayPal,” I said, turning again to leave.
“Wait,” Pedro called again, “Do you offer Apprenticeships?”
I stared at the man, dumbfounded. Apprenticeships? What am I, a welder?
“No” I answered
“Wait,” Pedro asked yet another time, “This was really cool and I’d like to be a part of it, what about internships?”
“Jesus Christ, man,” I was on the verge of breaking, I was physically repulsed by this house, my hand trembled on the doorknob, “Sure, you’re hired, just call me next week, you have my number.” Anything to make this guy stop asking me questions.
I pulled open the door and headed to my car. The last thing I heard from the tv before I closed it behind me was, “I will look for you, I will find you, and I will kill you”
That’s how I came into possession of the leg and my intern, Pedro, but things only got weirder from there.

I really love the way this game encourages specialisation and variation between regions. I think the administrative tab and systems could be a great way to push this further. It would be great to have the option to have different options for administering the regions ie: manors, monasteries and municipalities (the names might need to change but I like the alliteration). This could improve the way regions are structured, how existing resources are used, and how they interact.
In the administration tab there would be the option for the three different administration types. The castle planner is a great tool (obviously currently underdeveloped) which would be perfectly suited for each of these types. Monasteries would work very similarly to the current castle with options for walls and then specialised buildings such as a hospital, garden, cloister etc. For the town things like a Rathaus, guild halls, covered market would suit. It would also be useful for allowing the centre of a town to be redeveloped fluidly to suit the later game city which can be a bit awkward at the moment with having to destroy the village size burgage plots to make a denser core.
In terms of gameplay this could help to make different regions feel more varied with some leaning more urban and others more rural to suit the needs of the administration. If the same province was settled as a castle it might centre on a defensible hill, while a town could be on trade routes and the monastery where barley and herbs could be gathered.
Existing resources could be used differently between the types of administration: Leather in town for the cobblers vs in the monastery for book binding. Iron for plate armour in the castle and tools/maille in the city. This could also expand to the battle system where a monastery is rich but defenceless requiring protection of knights from the manor, or a town provides well equipped militia to bolster the knights and peasant levies of the manor.
Regional interdependencies could also benefit from this with rich towns desiring books and wine from monasteries, nobles from the castle wanting luxury clothes from the town etc. While this does exist to some extent already, this could add some depth and a feeling of authenticity to the current system of just needing berries from province A to fuel the clothing industry in province B (not that that should go away).
Finally, each of the administration types could have dedicated tech trees attached to allow even further player choice and specialisation. For example having a rural tech focussed manor surrounded by farms vs a militarily tech fortress protecting a mining industry, or a monastery producing wine vs a pilgrimage destination vs a hospital.
Obviously this would require some further thought but I think this would be a great way to add more opportunity and variation while pushing some of the major strengths of the game as it stands. Loving the game so far :)

Due in 16 weeks pretty much set on the name Cosmo for my first son but I cannot find a good middle name. Last name starts with K ends in -sky. I love the alliteration. Don't want another name that ends in -o. Husband is Jewish and I am part Italian. Other names I liked and considered are Sonny, Lenny, Carmine, Enzo
Would love some suggestions! Thanks

Having a baby boy with the last name Madden. We have some names that we've narrowed down to but are open to ideas and your favourites!

1. Ryan Madden - love this but concerned that it sounds a bit strange both ending in "N"
2. Miles Madden - do we like the alliteration or dislike?
3. Brody Madden
4. Henry Madden

Let us know!!

1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
   
2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
   
3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
   
4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
   
5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
   
6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
   
7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
   
8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
   
9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
   
10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
    
11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
    
12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
    
13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
    
14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
    
15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
    
16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
    
17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
    
18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
    
19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
    
20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
    

As a songwriter, this is the stuff I geek out about.
It's hard for me to pick a single favorite, but I've always loved this line from "Chameleon Moon" by (the criminally underrated) Cory Branan:

I doubt a single wall of this club could stand If it wasn't stuccoed up with these stickers of these long-defunct pop-punk bands.

The humor, the interior rhyme, the alliteration. So good.

Hi! I'm due with our second in two months. It's a boy, and my husband and I having the hardest time coming up with name ideas! Here are some of our parameters:

• We don't want a name that's super duper common/trendy...
• but also don't want one that's so unique people will always be asking how it's spelled or where it comes from (e.g. we do want a name most people in the US are at least a bit familiar with.)
• We don't want a name that starts with a hard C or K sound (for alliteration with last name.)
• We'd love a name that works in Japan/the Japanese language but also in other languages/cultures (the baby is 1/4 Japanese, 1/4 Polish, and 50% other northern European things including Norwegian and German). (For example, our daughter's name is Naomi, which is a name that is used and pronounceable in many cultures and languages.)

Some of the names we've been pondering: Kai; Oscar; Franklin; Frank; Gilbert (Gil / Bert); Milo.
Thanks for helping us with any ideas! Or support for one of the ones on our list!

1. Simile:
Definition: A figure of speech that compares two different things using the words "like" or "as."
Example: The night sky was like a vast canvas, scattered with stars as bright as diamonds.
2. Metaphor:
Definition: A figure of speech that implies a comparison between two unrelated things, stating that one thing is another.
Example: Time is a thief, silently stealing moments from our lives.
3. Hyperbole:
Definition: A figure of speech involving exaggerated statements not meant to be taken literally.
Example: The suitcase weighed a ton, making it nearly impossible to carry.
4. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The storm brought a bit of rain; nothing too major, just a small flood in the living room.
5. Personification:
Definition: A figure of speech where human qualities are attributed to non-human entities.
Example: The wind whispered secrets through the ancient trees.
6. Assonance:
Definition: The repetition of vowel sounds within nearby words in a sentence.
Example: The melody of the evening breeze gently swept through the fields of wheat.
7. Onomatopoeia:
Definition: The use of words that imitate the sound they describe.
Example: The door creaked open, and footsteps echoed in the empty hallway.
8. Alliteration:
Definition: The repetition of initial consonant sounds in neighboring words.
Example: The playful puppy pranced through the park, chasing butterflies.
*9. Oxymoron:
Definition: A figure of speech that combines contradictory terms.
Example: The comedian's humor was both dark and lighthearted, creating an unsettling joy.
10. Irony:
Definition: A figure of speech in which words express a meaning opposite to their literal interpretation.
Example: The fire station burned down while the firefighters were on vacation—what a twist of irony.
11. Pun:
Definition: A play on words that have multiple meanings or sound similar but have different meanings.
Example: Time flies like an arrow; fruit flies like a banana.
12. Juxtaposition:
Definition: Placing two elements side by side to present a contrast.
Example: In the bustling city, the serene park offered a juxtaposition of tranquility amid the urban chaos.
13. Synecdoche:
Definition: A figure of speech where a part represents the whole or the whole represents a part.
Example: "All hands on deck" implies the need for the assistance of the entire crew.
14. Metonymy:
Definition: A figure of speech where one term is substituted with another closely related term.
Example: The White House issued a statement on the recent policy changes.
15. Zeugma:
Definition: A figure of speech where a word applies to multiple parts of the sentence.
Example: She stole both his wallet and his heart that fateful night.
16. Epiphora:
Definition: The repetition of a word or phrase at the end of successive clauses.
Example: The forest was mysterious, the mountains were majestic, and the rivers were enchanting.
17. Euphemism:
Definition: Substituting a mild, indirect, or vague term for a harsh or blunt one.
Example: She passed away peacefully in her sleep, euphemizing the concept of death.
18. Anthimeria:
Definition: The use of a word in a grammatical form it doesn't usually take.
Example: She bookmarked the page to return to the thrilling story later.
19. Chiasmus:
Definition: A figure of speech in which the order of terms in one of the clauses is inverted in the other.
Example: "Do I love you because you're beautiful, or are you beautiful because I love you?" - Cinderella
20. Allusion:
Definition: A brief and indirect reference to a person, place, thing, or idea of historical, cultural, literary, or political significance.
Example: His ambition was Caesar-like; he aimed to conquer not only Rome but the hearts of its people.
21. Allegory:
Definition: A narrative in which characters and events represent abstract ideas or moral qualities . Example: Orwell's "Animal Farm" serves as an allegory for political corruption and the abuse of power.
22. Metonymy:
Definition: A figure of speech in which one word or phrase is substituted with another closely associated with it.
Example: The pen is mightier than the sword, emphasizing the power of the written word over physical force.
23. Sarcasm:
Definition: The use of irony to mock or convey contempt.
Example: "Nice job on the presentation," she said, her tone dripping with sarcasm as the audience chuckled.
24. Understatement:
Definition: A figure of speech where a writer deliberately represents something as much less than it actually is.
Example: The mountain climber faced a slight challenge as he ascended Everest, navigating only a few treacherous crevices.
25. Cliché:
Definition: An expression or idea that has become overused to the point of losing its original meaning.
Example: The detective followed the suspect's trail like a bloodhound, relying on the cliché methods of his trade. *

Hey guys, I'm not from around these parts but I'm hoping to get some advice on a unique project I'm working on. I'll preface this by saying I'm not a painter. I have painted things like houses and barns (and yes I mean physical houses where people live and not paintings of houses) but that's not even really relevant. Maybe it's relevant because it gives a little background on why I felt I could do the project. So anyway, I was casually repainting this crappy old dresser to give it some new life and generally make it less atrocious. I conscripted my dear friend P who is my old roommate and is one of the most creative people I know. She loves getting dirty so I'm like great, let's do this. So I went to Home Depot to get my paint. The plan was to coat the whole thing in chalkboard paint so I could write on it and spray paint an 'abstract' portrait of a woman on it. Again, I don't know how to make anything that is pleasing to look at with paint, especially not spray paint. Really, this wasn't a well-fleshed-out idea. I had a painting I was using as inspiration but it was way beyond what I could realistically do. The more I tried to describe what I was envisioning to P, the less sure I was that I even knew myself. Or maybe it's that I was more sure that I did not know. Common theme for me. Despite me being essentially a pirate captain with two eye patches, we plowed fearlessly ahead. With only a few minor hiccups, we successfully completed the first step of the project perfectly. The first step was just slapping some chalkboard paint the whole way around, but we did it with extreme skill, dedication, and precision. We were feeling pretty good about our prospects at this point, or at least I was. Now for the spray paint. I’m ready to just go in guns blazing and knock this thing out. After all, I intended for this to be a single-weekend project. P wisely suggested that I do a mock-up of the painting style before I went to work on the dresser. I agreed and went to find a blank canvas. My blank canvas was a piece of cardboard that I dug out of a construction dumpster in the parking lot for my apartment. This whole scene is occurring in the parking lot by the way and my neighbors seemed to like it mostly. There were some men working nearby and while they didn’t tell me to stop digging in the dumpster, I refrained from climbing entirely into the dumpster to get the piece of cardboard that I really wanted. So I went to work on this thing, with equal levels of confidence and haphazardness. And the result, well, I was actually ashamed of. It was so bad that P laughed. And I laughed. If nothing else it was good because it led to sharing a good laugh with my friend. As for the dresser however, it was back to the drawing board. P suggested that we didn’t have enough manpower or artistic touch to accomplish the lofty goal I had set out for us and that we recruit our mutual friend D to help. D is a very talented painter. He does mostly oil paints these days and I came to find out that he hadn’t actually painted anything in over a year. I call D up, explain the situation, and he is all in. Perfect. So the next weekend, D shows up to paint the dresser and I realize that this is no longer an outside project. So we precariously set the dresser on the handrail-wall thing of the foyer above my living room. It is a good height for him to work but if a cartoon character were to walk underneath it, well they would certainly be turned into a pancake. D has got all of the tools he needs, it felt like watching a surgeon set up an operating table. He’s got so many easels and palettes and boxes and what-have-you that I immediately knew the severity of what was going to take place. Just like a good surgeon, D even brought his own box of wine to drink while he worked (totally would have been provided by the way! I’m a good host!). Well D proceeds to go to town on this painting. All-in-all it probably took him 4 hours of work including mixing paints, but I kept him distracted enough that he was at my apartment for about 10 hours. We talked about life, love, aspirations, alliteration, and I even made him dinner (I may not be able to paint but I can at least do something). It was a great day, and what made it even better was the masterpiece that was unfolding in front of me. I mean my God I was blown away by this thing. It’s not like I didn’t know D was a good painter; his apartment is basically an art exhibit, but it was so incredible watching this painting occur. Every time I blinked there were new details. It was almost like watching Tom Brady string together a game winning drive in the Superbowl, if it’s not too uncomfortable for you to think of him as an artist in what he does. This painting was truly incredible. I’m sure there may be some of you who could paint circles around him, but I was profoundly impressed by what he did. By the end of the whole thing, I was just in awe. There was no way I was going to be drawing on this think with chalk in the blank space. I honestly had second thoughts about whether it was ok to even use it as a dresser still, because it was now a fragile piece of art. Anyways, I decided to still use it as a dresser, because I don’t exactly have another dresser and my clothes are exactly in piles on the floor of my room. I did decide that I need to protect this thing however, and that is where you all come in. You see I decided that 3 people was not enough manpower for this project and I need some more help. Really what I need is your brain power to figure out how to take care of this thing. I looked into oil paint varnishes to coat the thing but I want to be sure that I don’t need to do something more substantial like polyurethane or some other product specifically for furniture. I really just want to do this thing right. The dresser is still in pieces because I took all the drawers out so they could dry a little better. It’s been two weeks since it was painted. If anyone can offer advice on oil painting coatings I would be eternally grateful.

1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
   
2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
   
3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
   
4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
   
5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
   
6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
   
7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
   
8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
   
9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
   
10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
    
11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
    
12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
    
13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
    
14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
    
15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
    
16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
    
17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
    
18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
    
19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
    
20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
    

I now have breakable boughs as you leave my roots uprooted now my soiled soil leaves me no seed to sow lasting lessons of legacy
I now have no shelter, to shelter as you leave me unseasoned seasons now my stunted sunlight leaves me with withered leaves while the weather wages war
I now have barren bearings as you leave me with dreaded drought now this parched pedigree leaves me with disrupted landscapes and a felled stump of a hurt heart
Now, with my broken boughs and bearings I will pick up what’s left of me As winter passes by slowly, Summer will bring me to life With what’s left of me
Note: Hi all! Thank you for reading my poem on grief. I would love feedback on how to improve this. I know something is missing, I just can’t put my finger on it (is it too much alliteration? Is it too wordy/ hard to read?).