There's a seven-months old, nine-minute long YouTube video titled "Celebrimbor - Is this a joke, Amazon?" with 400k views and the following description:

"The Great Elf Lord, Celebrimbor, was not exactly as I had hoped for in Amazon's "The Rings of Power". Watch how the series reimagines Celebrimbor, showcasing his role in this new brave and stunning tale set in Middle-earth's Second Age."

The video contains no narrative. It simply alternates between scenes of Celebrimbor as depicted in season 1 of Rings of Power, and scenes of Celebrimbor as depicted in the two video games "Middle-earth: Shadow of Mordor" and its sequel, "Middle-earth: Shadow of War".
The video starts with a scene from the video games showing a character named Celebrimbor dressed in a battle uniform, leading a group of warriors, shouting "Face me, Sauron!" Sauron appears immediately and says, "You will give me what's mine, Celebrimbor!" Celebrimbor replies, in a try-hard faux-manly voice, "You have no claim, Deceiver! I AM THE TRUE LORD OF THE RINGS!" The video then shows a scene from season 1 of Rings of Power where Celebrimbor and Elrond are having a conversation. Celebrimbor says: "And I've... I've... I'd forgotten that until... Til this moment. Isn't that odd?" Elrond asks, "You seem unsettled today, my Lord. What troubles you?" To which Celebrimbor replies, "No, I promised myself I wouldn't mention it. He's your friend. Either he's avoiding me or he's... he's hiding something."
The video continues on, but the message is clear. Celebrimbor in the video games is a "better" Celebrimbor than the one in Rings of Power because the one in the games is depicted as a strong warrior who shouts at Sauron and kills orcs all the time, while the one in Rings of Power is weak because he's talking to people and wearing a robe rather than fighting orcs in metal armor.
I couldn't disagree more with this idea. I, for one, much prefer Celebrimbor as the calm, quiet figure depicted in Rings of Power than the warrior depicted in video games.
Anyone who's read The Lord of the Rings at a minimum would know that Tolkien doesn't particularly enjoy writing battle scenes. They're short and not very detailed (but his writing shines nonetheless for the brief space those scenes take in the text). If anything, the lead-ups to those scenes are more detailed. Tolkien obviously much prefers writing conversations, poems, songs, and descriptions of nature. The story of The Lord of the Rings and the extended Legendarium, including the Second Age during which the story of Rings of Power takes place, is not about wars and battles. There are enough warriors and battles in the story already. And much of modern fantasy is almost exclusively about warriors and battles. It quickly gets boring and uninteresting. At least it's uninspiring.
A subset of fans also seem to think that LOTR characters should always be serious and sound badass, as if that's the way Tolkien wrote his characters (spoilers: it's not). In LOTR, Legolas cracks a joke at Gandalf's expense, and Gandalf half-jokes about making Pippin shut up by using his head as a ram to open a door. Tom Bombadil, one of the most powerful beings in Middle-Earth, laughs his ass off all the time. And The Hobbit has drunken Elves.
For all the flaws in Rings of Power, and I would count myself as one of the early critics, but I am fortunate to have come around to appreciate and like this show more, one thing it gets right is how down-to-earth the Elves can be, heroes are not supposed to be action figures like almost every other protagonist in modern fantasy, and Tolkien's story is emphatically not about action, war or battles.

Hi everyone, my name is James Vang and I have a public service announcement. If you’re all unaware, I wrote a book and narrated it, but more importantly, I am using Amazon’s network in order to produce and sell it. It is 2024, there are no longer people standing in our way deciding whether our idea is worth it or not. If you have a little bit of know-how and follow through, you can do it too! It’s pretty simple if you grew up in the 21st century and paid a little attention to computers and programs.
The two websites are ACX and Kindle Direct Publishing. Anyone can sign up and submit stuff to be reviewed, printed and sold by them. They have programs that review and show you what you may need to fix to resubmit so there is some quality control. I see people out here with Youtube, spotify and FB, might as well throw in some book publishing and audiobook recordings into your resume/portfolio. More likely than not, you have a point of view someone is interested in and can monetize it. Children’s books, old fables, short stories, poems, please share. We have the power to print and sell within our grasp so we must take advantage of it. The world is quickly digitizing and we may need to reach to the cloud to continue to feed ourselves.
I wrote my book, put it into Kindle Create, moved it around for formatting, viewed how it would be on paperback, claimed it on ACX and submitted audio recordings for review and sale. It’s much easier than actually writing a book, though it may take trial and error. Anyways, that’s it from me, just want to let you all know it’s there.
Kindle direct publishing - https://kdp.amazon.com/
ACX - https://www.acx.com/

How do the poets present the effects of conflict in Poppies and one other poem?

In this essay, I am going to explore how Jane Weir presents conflict as affecting someone not directly involved in war by analysing how Weir presents the mother of a young soldier feeling during a war. I will contrast this by discussing how Simon Armitage presents someone directly involved in the Iraq War (Guardsman Tromans) as being mentally scarred by his involvement. I will mainly focus on how war effects people emotionally / mentally, whilst also exploring how Armitage presents the physical effects of conflict in Remains. Additonally, i will consider how the idea of propaganda during wartime affects how people feel about the conflict.
In Poppies, Weir decided to make the poem be through the lens of a mother. The name of the mother or son is never given, rather she utilises vague pronouns such as “You” to describe the son, perhaps this was deliberate as to make the poem reflect a universal experience, which may highlight how many people conflict can effect, therefore presenting conflict as having a major effect, not just on the people fighting it, but everyone. Also, “Armistice Sunday” is a combination of Armistice Day and Rememberance Sunday, perhaps Weir has left the war being remembered ambiguous, as to increase the number of people who share this experience, yet again foregrounding the sheer number of people who have felt this way. It creates the impression that Weir has made this poem to act as a microcosm for the shared experience of every mother with a young son going to war, therefore reflecting the sadness and fear those not fighting in the war feel, raising the awareness of this issue to those who hadn’t considered it as a result. In contrast Armitage created Remains to highlight the experience and effect of conflict on only one person – Guardsman Tromans. Remains juxtaposes Poppies, since Remains cannot really be seen as an attempt by Armitage to reflect a common experience from war. This is because the poem can literally be viewed as a first hand account from Tromans himself. This may be indicated by the fact that Armitage has made the poem have an unreliable narrator, which can be interpreted as Tromans himself trying to distance himself from the “looter” that he killed, as if it will alleviate him from the guilt and psychological effects of the killing. This is seen at the start of the poem where the looter is described as being “Probably armed, possibly not.”. Here, two adverbs “Probably...possibly” are utilised in short succession to foreground how Tromans is trying to make himself believe that the looter was a danger to him, which would give him a reason to kill the looter, however, the comma acting as a hesitation and “Possibly not” suggests Tromans believes the looter couldn’t hurt them. When coupled with the fact that Tromans is so clearly emotionally disturbed by this moment, one can interpret that the man was not armed, perhaps being the reason for Tromans guilt.
Also, in the first half of Remains Armitage presents the physical effects of conflict by describing the brutal murder of the looter. He creates a semantic field of agony and suffering which contrasts the playful imagery created before “Tackle some looters...”. As a result the death of the looter is foregrounded via the juxtaposition, as it would have made the reader shocked. Also, the verb “Tackle” suggests that Tromans before the murder may have not viewed war that seriously, perhaps indicating he has been so greatly disturbed by the murder as it made him realise the war was real. It also gives connotations to the WWI propaganda poet Jessie Pope, who convinced many young men that war was “a game”. The idea of propaganda affecting people during conflict is explored in Poppies too. In the first two stanzas it is unclear whether the mother is sending a child of to school, or a young man to war. This may suggest how the mother was affected by propaganda, since she is not immediately frightened by her son going to war. Additionally, the son is described as being “Intoxicated” when the world is presented to him. This verb may suggest the young man as being almost drunk on excitement, like he himself believes that the war will be a fun game, rather than a horror. Whilst it may seem the mother also believes the war may be a “game”, Weir utilises biblical imagery through the hair of the boy being described as “gelled blackthorns”. “Blackthorns” may allude to the crown of thorns Jesus wore during his crucifixion. As a result, it could be inferred that the Mother thinks her son is being sent to war as a sacrificial lamb, undergoing great pain to ultimately assist in salvation (ending the war).
As discussed earlier, Armitage creates a semantic field of agony through the way he describes the looter’s death in Remains. An example of how this is achieved is through the declarative metaphor “I swear, I see broard daylight on the other side”. “I swear” suggests that Tromans wholeheartedly knows the severity of the murder. This further suggests just how significant the mental effects of the war have been on Tromans, as he has replayed this scene so many times he is fully sure this happened. “Broard daylight” is visceral imagery created by Armitage, suggesting the man was shot so many times there is a hole big enough to see daylight on the other side. This is coupled with the euphemism “Sort of inside out”, this almost suggests that the looter was in such a bad state that Tromans cannot even bring himself to describe the image, or that his vocabulary is this limited, which foregrounds how this experience is uniquely his, as the narrative voice reflects Tromans own. By using these techniques, Armitage presents the physical effects of war as being strong enough not just to kill someone, but to completely destroy the body itself.
Finally, both of the poets highlight how the effects of war are long-lasting on those affected. In Remains, Tromans’ PTSD is shown in the second half of the poem. This is after the volta “And then I’m on leave”, Armitage suddenly includes a volta after the description of the murder to show Tromans’ poor psyche due to his PTSD. Whilst in the first half, Tromans clearly recounts his experience with high detail, the second half shifts in topic and location suddenly, suggesting that Tromans is entering and exiting the world, perhaps the “drink and drugs” he is self medicating with are causing him to lose large track of time. But i think Armitage does this to show how Tromans’ PTSD occurs so often and suddenly. It also explains how Tromans is able to recount his experience in Iraq so clearly. As he has replayed the moment so many times, showing how conflict affects people long after the fact. Similarly, in Poppies the mother hopes to hear her son’s “Playground voice”. This suggests the mother wanting to remember her son as a child, we can interpret he is dead as she is at the “war memorial”. By doing this, Weir creates the impression that the Mother has, and never will have closure regarding her son’s death, as she wants to hear him one more time. We can infer his death was a result of war, therefore showing how war effects people after it has ended, since people are still grieving for those who died in the process.
In conclusion, both Weir and Armitage present war as having long-lasting powerful effects, both emotionally and physically in Armitage’s case. They present how war has wide-reaching effects, as well as arguably stronger effects on individuals directly involved in conflict. The theme of propaganda stemming from conflict affecting people is also suggested in both poems.

Unlocking the Beauty of Terza Rima**
Summary:
Terza rima is a poetic form originating from Italy, traditionally associated with Dante Alighieri's "Divine Comedy." It consists of tercets (three-line stanzas) linked by a rhyme scheme (ABA, BCB, CDC, and so on), with the final stanza often a rhymed couplet.
Examples:

1. Classical: "The Divine Comedy" by Dante Alighieri.
   
2. Modern: "Acquainted with the Night" by Robert Frost.
   
3. Modern: "Ode to the West Wind" by Percy Bysshe Shelley.
   

Tips for Creative Writing:

• Embrace Unity: The interconnected rhyme scheme adds coherence to the poem.
  
• Explore Themes: Terza rima lends itself well to exploring complex themes or narratives.
  
• Rhyme Creatively: Experiment with word choices to create a harmonious and rhythmic flow.
  

Questions for Exploration:

1. How does the interlocking rhyme scheme contribute to the poem's overall structure?
   
2. Can you identify any modern poems or songs that use terza rima?
   

Additional Resources:

• Read more of Dante Alighieri's work, particularly "Purgatorio" and "Paradiso."
  
• Explore T.S. Eliot's "The Waste Land" to see a modernist take on terza rima.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore.
Step 2: Craft the first tercet (ABA).
Step 3: Build on the narrative or emotion in the next tercet (BCB).
Step 4: Continue the pattern, leading to a concluding rhymed couplet.
Example: In the twilight's embrace, whispers linger (A), Reflecting shadows dance, a silent figure (B). Beneath the moon's glow, memories trigger (A).
Remember: Terza rima offers a structured canvas for poetic exploration and narrative development.

Mastering the Repetitive Beauty of the Triolet**
Summary:
A triolet is a short poetic form with eight lines, typically characterized by a specific rhyme scheme and repeated lines. The first, fourth, and seventh lines are the same, as are the second and eighth lines. This creates a rhythmic and melodic pattern within the poem.
Examples:

1. "A Triolet" by Christina Rossetti.
   
2. "Triolet on a Line Apocryphally Attributed to Martin Luther" by A. E. Stallings.
   
3. "Triolet" by Robert Bridges.
   

Tips for Creative Writing:

• Choose a Captivating Refrain: Craft a refrain that can be interpreted in multiple ways.
  
• Explore Emotional Layers: Use repetition to emphasize different emotions with each iteration.
  
• Mind the Syllabic Count: Maintain a consistent syllabic count for each line.
  

Questions for Exploration:

1. How does the repetition of lines contribute to the triolet's impact?
   
2. Can you think of everyday situations or emotions that could be beautifully expressed through a triolet?
   

Additional Resources:

• Explore triolets by French poets from the 17th century for historical context.
  
• Read contemporary poets like Mary Jo Bang for innovative approaches to the triolet form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion for your triolet.
Step 2: Craft a captivating refrain that encapsulates the essence of your chosen theme.
Step 3: Develop the narrative or emotion within the remaining lines, incorporating the refrain.
Example: In twilight's embrace, shadows softly fall (A) In twilight's embrace, shadows softly fall (A) A dance of darkness, a poetic sprawl (B) In twilight's embrace, shadows softly fall (A)
Remember: The triolet's concise structure offers a canvas for exploring depth within brevity.

Current:
Patrick Weekes, Lead Writer: Writers Mass Effect: They wrote several side quests, including Citadel: Family Matter and Presidium Prophet.
Additional Design Dragon Age: Origins
Writers Mass Effect 2 and Writers and Manager on Lair of the Shadow Broker: They co-wrote Miranda, and I believe also Garrus, co-wrote Liara during LOTSB. They wrote Tali, paraphrased Thane's romance dialogue, and contributed writing to other characters. They also contributed to the ending content for the game.
Senior Writer Mass Effect 3: Alongside John Dombrow, they assisted Lead Writer Mac Walters in managing the rest of the writing team. They co-wrote From Ashes and served as Senior Writer for Leviathan. They were also the Senior Writer Manager, working with John Dombrow as a co-lead (Basically) on Citadel. They wrote Kasumi, Tali, Mordin, Jack, Traynor, Joker, and Jondum Bau, and co-wrote Legion. Additionally, They wrote Liara's conversation with Matriarch Aethyta and Priority Eden Prime. They co-wrote Priority: Tuchanka and wrote Priority: Rannoch.
Senior Writer Inquisition, Lead Writer Jaws of Hakkon, Consultant The Descent, Lead Writer Trespasser: They wrote The Bull's Chargers, Cole, Krem, The Iron Bull, Solas, and Svarah Sun Hair. They also wrote the majority of Here Lies the Abyss.
Lead Writer Canceled Project Joplin DA4
Dragon Age Finaling Team Mass Effect Andromeda: Wrote several note texts.
Short stories: Dragon Slayers, Glass Beads, I Am Looking for a Book..., Why the Elders Bare Their Throats, When She Grows a Soul, Injure the Corners, Release the Knot, Shepard Off-Duty and Unleashing the Flyers of L
Comics: They co-wrote the story for Mass Effect Homeworlds #2 with Mac Walters.
Books: They are the writer of the Rogues of the Republic Trilogy, which consists of The Palace Job, The Prophecy Con, and The Paladin Caper. They also wrote Dragon Age: The Masked Empire and contributed to The World of Thedas Volume 2. Additionally, they served as both writer and editor for Dragon Age: Tevinter Nights, writing Three Trees to Midnight and The Dread Wolf Take You. They also wrote the novel Feeder.
John Epler, Franchise Creative Director since January 2022, formerly Narrative director until December 2021:
Prior to joining Bioware, he spent several years volunteering for various fan sites and dabbling in the modding community for various games.
QA Sonic Chronicles: The Dark Brotherhood
Term Testers Dragon Age: Origins and Cinematic Designers for Witch Hunt
QA Story Team Mass Effect 2, additional QA on Normandy Crash Site, Zaeed - The Price of Revenge, Firewalker Pack, Kasumi - Stolen Memory, and Overlord.
Cinematic Designers Dragon Age II, Cinematic Designer The Exiled Prince, Cinematic Designers on Legacy and Mark of the Assassin
Cinematic Designers Dragon Age: Inquisition, Lead Cinematic Designer on Jaws of Hakkon and Trespasser: Working with the animation team, he worked to remove the race-gating on Iron Bull's romance
Dragon Age Finaling Team Mass Effect Andromeda
Animation Systems Designers/Storyboard Supervisor for Anthem
Executive Producers Dragon Age: Absolution
Books: Writers Dragon Age: Tevinter Nights, wrote The Horror of Hormak and Half Up Front
Sylvia Feketekuty, Senior Writer:
Writers Lair of the Shadow Broker: Wrote Feron and Glyph, wrote Liara from the beginning of the DLC until the scene after the defeat of the Shadow Broker, and wrote a few lines of her dialogue after that.
Writers Mass Effect 3, also the Resurgence, Rebellion, Earth, Retaliation, and Reckoning Multiplayer Expansions: Wrote Glyph, Liara, and Samara. Also, she wrote the final version of Kallini: Ardat-Yakshi Monastery, wrote Rannoch: Admiral Koris and Geth Fighter squadrons, contributed to much of the content on the Citadel, including various quests, the refund guy, and various other background material. she also co-wrote Legion.
Writers Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser: Wrote Josephine, Champions of the Just, and the final versions of Before the Dawn and Under Her Skin.
Writers/Narrative Designers Anthem
Short Stories: The Flame Eternal
Comics: She co-wrote the story for Mass Effect Homeworlds #4 with Mac Walters.
Books: Writers The World of Thedas Volume 1-2, Writers Dragon Age: Tevinter Nights, wrote Down Among the Dead Men and Luck in the Gardens
Sheryl Chee, Senior Writer:
Writers Dragon Age: Origins, also co-writer for The Stone Prisoner, Return to Ostagar, and Awakening, and the writer of Golems of Amgarrak. Writers Witch Hunt, Wrote Cullen, Dog, Leliana and Wynne, as well as Oghren, Sigrun, and Velanna during Awakening. Also wrote the Magi Origin, Broken Circle, and the Urn of Sacred Ashes.
Writers Dragon Age II, also on Legacy and Mark of the Assassin: Wrote Isabela and All That Remains
Writers Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser and writer for the Multiplayer: Wrote Blackwall, Leliana and the multiplayer characters
Writers Mass Effect Andromeda: Wrote Vetra and Suvi
Writers/Narrative Designers Anthem: Wrote Mathias
Short Stories: Isabela, Minrathous Shadows
Books: Writers The World of Thedas Volume 1-2
Brianne Battye, Senior Writer:
Assistant Writer Leviathan credited as Additional Design
Writers Citadel
Writers Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser: Wrote Cullen
Writers/Narrative Designers Anthem
Short Stories: The Next One, Won't Know When and Each Minute Closer
Books: Writers The World of Thedas Volume 2, Writers Dragon Age: Tevinter Nights, wrote Hunger and The Streets of Minrathous, and the writer of wholehearted (poetry collection)
Poems: Short Poems
Former:
Lukas Kristjanson, Senior Writer until September 2023 laid off:
Lead Writer Baldur's Gate and the Tales of the Sword Coast expansion: Wrote Minsc, Jaheira, much of the main story and main campaign, and many of the side quests Also contributed manual editing and compilation.
Writers MDK 2
Designers and core design team for Baldur's Gate II: Shadows of Amn and additional design on Throne of Bhaal: Wrote Jon Irenicus and also contributed manual writing/editing.
Designers, Core Design Team, Manual Writers and additional programming on Neverwinter Nights
Designers Star Wars: Knights of the Old Republic: Wrote parts of Taris, Manaan, and Korriban, much of Tatooine and Kashyyyk, and also contributed manual writing.
Lead Writer, later Co-Lead on Jade Empire.
Writers Mass Effect: Wrote Kaidan and Joker, co-wrote Kirrahe, wrote Feros, and co-wrote Virmire.
Writers Dragon Age: Origins, and the Writer of Leliana's Song: Co-wrote A Paragon of Her Kind
Writers Mass Effect 2: Wrote Jacob and Joker, contributed writing to other characters, wrote Joker's Mission on the Normandy, contributed to the game's ending, and advised Dusty Everman in the writing of the non-companion NPCs on the Normandy.
Writers Dragon Age II, also on Legacy and Mark of the Assassin: Wrote Arishok, Aveline and Carver
Senior Writer Dragon Age: Inquisition: Wrote Sera, In Your Heart, and several codex entries.
Writers Mass Effect: Andromeda: Wrote Liam
Comics: Co-wrote the Baldur's Gate promotional comic.
Short Stories: Aveline and As We Fly
Books: Writers The World of Thedas Volume 1-2, Writers Dragon Age: Tevinter Nights, wrote Callback and Genitivi Dies in the End
John Dombrow, Senior Writer left in August of 2023:
Writer Universe at War: Earth Assault
Petroglyoph Studio staff on Panzer General: Allied Assault
Writer Overlord
Senior Writer Mass Effect 3: Alongside Patrick Weekes, he assisted Lead Writer Mac Walters in managing the rest of the writing team. He co-wrote From Ashes and served as Supervising Writer for Leviathan. He were also the Senior Writer Manager, working with Patrick Weekes a co-lead (Basically) on Citadel. He wrote Wrex, Garrus, Javik, Padok Wiks, Wreav, Eve, and Victus. He also wrote Liara during From Ashes and contributed writing to Kai Leng and The Illusive Man. He wrote Priority: Sur'Kesh, co-wrote Priority Tuchanka, and wrote Priority Thessia. Additionally, he developed the initial Grissom Academy mission and wrote the first draft. He also edited Garrus and Javik.
Senior Writer Bioshock Infinite: Burial at Sea
Writer Telltale's Game of Thrones Episode 3 and additional writing on two of the other episodes
Writer and associate producer Mytheon
Writers and later co-lead for Mass Effect: Andromeda following the departure of original lead writer Chris Schlerf: Wrote Prologue Hyperion, Planetside, and the Salarian Ark Mission.
Senior WriteNarrative Designer Anthem
Short stories: Ruins of Reality
Comics: He co-wrote the story for Mass Effect Homeworlds #3 with Mac Walters and the story for Mass Effect Discovery
Books: Oversaw the development of the Andromeda novels.
Films: Production Assistant Sliver, Writer Control Factor, Screenwriter Deadly Swarm
Writer and developer The Sixth Extinction (Unproduced
Writer original screenplay The Hills Run Red
Films: Production Assistant Sliver, Writer Control Factor, co-screenwriter Deadly Swarm. Also, writer and developer The Sixth Extinction (Unproduced). Additionally, wrote the original screenplay for The Hills Run Red.
Left to go join Sucker Punch Productions as a Senior Writer
Mary Kirby, Senior Writer until September 2023 laid off:
Writers Dragon Age: Origins: Wrote Cauthrien, Sten, Loghain, much of the Qunari lore and the Chant of Light, and most of the Landsmeet.
Writers Dragon Age II, also on Legacy and Mark of the Assassin: Wrote Merrill and Varric
Writers Star Wars: The Old Republic: Wrote the companion conversations for Fideltin Rusk
Writers for Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser: Wrote Varric, Vivienne, and In Hushed Whispers
Writers/Narrative Designers Anthem: Wrote Max
Short Stories: Merrill, Varric and The Wake
Books: Writers and editors The World of Thedas Volume 1, writers Volume 2, Writer for Dragon Age: Hard in Hightown
Courtney Woods, Writer left in February of 2020:
Prior to joining Bioware, she worked as an Editorial Intern at DC Comics for 3 months and as a Contributing Writer at Newsarama where She specialized in video game journalism, including previewing and reviewing video games and related projects. She provided written and photographic coverage of pop culture conventions such as Star Wars Celebration V, New York Comic-Con 2010, and E3 2011
Community Coordinators Star Wars: The Old Republic also on the Rise of the Hutt Cartel and Galactic Starfighter expansions. Lead Community Coordinator on Galactic Strongholds and Shadow of Revan. Writers on Knights of the Fallen Empire
Co-writer The Descent
Writers Mass Effect: Andromeda: Wrote Lexi, Reyes and much of Kadara
Senior WriteNarrative Designer Anthem
Books: Writers Dragon Age: Tevinter Nights, wrote The Wigmaker Job and Eight Little Talons. She also contributed to the Development of the Mass Effect Andromeda: Nexus Uprising Novel
Left to work on the Star Wars: Knights of the Old Republic as the Lead writer left in September of 2022
Currently a Senior Writer as Sucker Punch Productions
Arone Le Bray, Narrative Quality DesigneAnalyst left in April of 2021:
Contact Testers Jade Empire: Special Edition
QA Term Testers Mass Effect
QA Sonic Chronicles: The Dark Brotherhood
QA Analysts Dragon Age: Origins
QA Story Team Lead Mass Effect 2, additional QA on Normandy Crash Site, QA Zaeed - The Price of Revenge, additional QA Firewalker Pack, QA Kasumi - Stolen Memory, and Lair of the Shadow Broker.
Additional QA Star Wars: The Old Republic
Content Analysts Mass Effect 3
Analysts Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser
Analysts Mass Effect: Andromeda
Analysts Anthem
Books: Writers Dragon Age: Tevinter Nights, wrote An Old Crow's Old Tricks
Theatre: Founders Basic Acid Theatre company. Director and an Actor in Finer Noble Gases, Writer and Director of Occupied.
Left to join THE CHINESE ROOM LTD as a Narrative Designer on Vampire: The Masquerade - Bloodlines 2. Currently serving as a Principal Narrative Designer on the game.
FormeUnknown:
Alexis Kennedy, Freelance Writer:
Founder and former CEO Failbetter Games Left in August of 2016
Original developer and lead writer Fallen London
Creative Director Tales of Fallen London: The Silver Tree
Creative Director Machine Cares!
Creative Director Dragon Age: The Last Court
Creative director, lead writer and Designers Sunless Sea
Co-founder Weather Factory
Writer and Designers Stellaris: Horizon Signal
Writer, designer, and coders for Cultist Simulator and its DLC."
Initial Concept Sunless Skies
Writer and Designer Book of Hours
He also worked on an unspecified research and development project with Telltale Games
In August 2019, he was accused of harassment by Meg Jayanth and Olivia Wood, a writer at Failbetter. Bioware has cut all ties with him.
Unknown
Ben Gelinas, Consultant:
Prior to joining Bioware, he worked as a staff writer for Guelph Mercury, Multimedia Reporter for The Waterloo Region Record, Crime Writer, and later Arts Writer for the Edmonton Journal, and as a Freelance Journalist.
Writing Special Thanks Mark of the Assassin
Editors and Additional Design for Mass Effect 3 and From Ashes. Editors on Leviathan and Citadel. He collaborated with the programmers to design the games Kinect voice command system
Editors Dragon Age: Inquisition, also on Jaws of Hakkon and Trespasser: Product owner for the game journal
Editors on Star Wars: The Old Republic: Knights of the Fallen Empire and Knights of the Eternal Throne
Editors and Writers Mass Effect: Andromeda: Some writing for Drack and additional story content.
Founder Copychaser Games Inc.
Writer and Designer Speed Dating For Ghosts
Game Design Instructor Sheridan College Jan 2018 - Apr 2018
Narrative Designers Control, Co-writer Control Expansion 1 - The Foundation."
Writers Gotham Knights
Writer and Designer Times and Galaxy
He is also working on a game about sleep paralysis
Books: Lead Writer and co-project Lead The World of Thedas Volumes 1-2, contributed an essay to Shy: An Anthology, Writer The Art of Dragon Age: Inquisition, worked on the English language version of The Legend of Zelda Encyclopedia, and wrote BioWare: Stories and Secrets from 25 Years of Game Development. He also contributed to the Development of the Mass Effect Andromeda: Nexus Uprising Novel

1. Device Identification Exercise:

• Provide excerpts from various texts and ask students to identify and annotate instances of specific literary devices.
  
• Discuss their findings as a class, exploring different interpretations and applications of the devices.
  

1. Creative Writing Prompts:

• Assign each student a specific literary device and ask them to craft a short story or poem that prominently features that device.
  
• Encourage creativity and exploration of the device's nuances in their narratives.
  

1. Literary Analysis Essays:

• Assign students a literary work (poem, speech, or prose) and ask them to write an essay analyzing the author's use of a chosen literary device.
  
• Emphasize the impact of the device on the overall theme and tone of the work.
  

1. Collaborative Storytelling:

• Divide the class into small groups and have each group create a collaborative story.
  
• Assign a different literary device to each group, instructing them to incorporate it seamlessly into their narrative.
  

1. Speech Writing and Delivery:

• Have students choose a social or political topic and write a persuasive speech using anaphora or epizeuxis to enhance their rhetorical impact.
  
• Organize a speech delivery session where students showcase their use of repetition for emphasis.
  

1. Literary Device Showcase:

• Assign each student or group a different literary device and ask them to prepare a presentation showcasing its historical origins, notable examples, and contemporary usage.
  
• Encourage multimedia elements such as visuals or short video clips to enhance engagement.
  

1. Rewriting Exercises:

• Provide sentences or paragraphs containing common expressions and ask students to rewrite them using more complex literary devices.
  
• Discuss the impact of the changes on tone, mood, and overall meaning.
  

1. Debate on Stylistic Choices:
   • Organize a debate where students defend or critique an author's use of a specific literary device in a given text.

• Encourage students to articulate how the device contributes to or detracts from the effectiveness of the work.

1. Literary Device Scavenger Hunt:

• Provide a list of literary devices and have students search for examples in books, articles, or online.
  
• Discuss their findings in class, exploring how different authors use the same device in diverse ways.
  

1. Themed Poetry Slam:

- Task students with creating a thematic poetry slam where each participant focuses on a different literary device. - Host a class poetry slam event where students perform their pieces and discuss their choices. 

1. Interactive Online Quizzes:

- Curate online quizzes or interactive activities that allow students to self-assess their understanding of literary devices. - Provide instant feedback to reinforce learning. 

1. Peer Review and Feedback:

- Implement peer review sessions where students exchange their creative writing assignments and provide constructive feedback on the integration of literary devices. - Encourage discussions on the effectiveness of different approaches. 

1. Literary Device Journal:

- Assign students a literary device to track in their personal reading over a set period. - Have them maintain a journal documenting instances of the device, their interpretations, and reflections on its impact. 

1. Literary Device Bingo:

- Create bingo cards with different literary devices - As students encounter instances of these devices in class readings or discussions, they mark off the corresponding squares on their bingo cards. 

1. Real-world Application Project:

- Challenge students to find examples of literary devices in advertisements, speeches, or news articles. - Present their findings, discussing how the devices are employed for persuasive or artistic purposes in the real world. 

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in poetry.
Feel free to continue with additional weeks or ask for specific details!

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

1. Nature Walk and Observation:
   
   • Encourage songwriters to take a walk in nature, observe surroundings, and draw inspiration from the environment.
2. Photograph Analysis:
   
   • Provide a set of diverse photographs and ask songwriters to create lyrics based on the emotions or stories conveyed in the images.
3. Emotion Mapping:
   
   • Have songwriters create a map of different emotions and then write lyrics corresponding to each emotional zone.
4. Word Association Game:
   
   • Initiate a word association game where each participant contributes words, and then challenge them to turn those words into lyrics.
5. Object Storytelling:
   
   • Ask songwriters to pick an everyday object and craft a song that tells a story related to that object.
6. Literary Exploration:
   
   • Have songwriters read a short story, poem, or novel and use it as a springboard for creating song lyrics.
7. Song Title Challenge:
   
   • Provide a list of intriguing song titles and challenge songwriters to build a story or emotion around each title.
8. Character Creation:
   
   • Ask songwriters to invent a fictional character and write a song from that character's perspective or about their experiences.
9. Current Events Reflection:
   
   • Encourage songwriters to explore current events and write lyrics expressing their thoughts or reactions.
10. Dream Journaling:
    
    • Instruct songwriters to keep a dream journal and use elements from their dreams to inspire song lyrics.
11. Collaborative Storytelling:
    
    • Pair up songwriters to collaboratively create lyrics, merging different perspectives and styles.
12. Random Sentence Generator:
    
    • Use a random sentence generator to spark creativity and challenge songwriters to build a narrative around the generated sentence.
13. Travel Diaries:
    
    • Have songwriters write lyrics inspired by their travel experiences, capturing the essence of different places.
14. Historical Exploration:
    
    • Research a historical event and challenge songwriters to craft lyrics that transport listeners to that moment in time.
15. Dialogue Exercise:
    
    • Create a dialogue between two characters and challenge songwriters to turn the conversation into song lyrics.
16. Mood Board Creation:
    
    • Ask songwriters to create a mood board with images, colors, and textures that inspire a specific mood for their lyrics.
17. Reverse Songwriting:
    
    • Start with a chorus or a hook and challenge songwriters to build the rest of the lyrics around it.
18. Genre Fusion:
    
    • Encourage songwriters to explore different musical genres and write lyrics that blend elements from two or more genres.
19. Song Cover Transformation:
    
    • Pick a well-known song and challenge songwriters to transform the lyrics, creating a completely new story or perspective.
20. Personal Artifact Exploration:
    
    • Have songwriters bring in a personal artifact and write lyrics that delve into the emotions or memories associated with that item.

A Luc Bat is a traditional Vietnamese verse form that consists of alternating lines of six and eight syllables. The structure typically follows a pattern where each six-syllable line (short line) is followed by an eight-syllable line (long line). The final short line of the poem rhymes with the preceding long line, creating a rhyme scheme that continues throughout the poem.
The term "Luc Bat" translates to "six-eight" in English, reflecting the alternating line lengths. This form is often used for narrative poetry and has been employed in various Vietnamese literary works.
😅😅😅😅😅😅😅😅
In the pot, a symphony of flavors brews (6) Simmering broth, a dance that slowly stews (8) Carrots and onions, a colorful blend (6) Aromas rise, a savory trend (8)
Chunks of beef, tender and succulent (6) Herbs and spices, a fragrant testament (8) Potatoes absorb the savory delight (6) Stew's embrace, a comforting night (8)
With ladle in hand, we savor each spoon (6) A hearty concoction, a culinary tune (8) In the warmth of stew, memories accrue (6) A bowl of comfort, a homely view (8)

Today (May 18) marks the beginning of our reading of Ovid’s Metamorphoses. We will be reading it over the course of the next eight weeks and will be reading two “books” aka chapters per week until the final week, where we will be reading the final book. Below is our reading and discussion schedule:

• Start Date: 18/05/24
• Week 1 - Books 1 & 2 - 25/05/24
• Week 2 - Books 3 & 4 - 01/06/24
• Week 3 - Books 5 & 6 - 08/06/24
• Week 4 - Books 7 & 8 - 15/06/24
• Week 5 - Books 9 & 10 - 22/06/24
• Week 6 - Books 11 & 12 - 29/06/24
• Week 7 - Books 13 & 14 - 06/07/24
• Week 8 - Book 15 - 13/07/24

​
To see our full schedule for 2024, click here.
It is important to note, that many of the stories within the Metamorphoses are extremely violent and, depending on your translation, graphic in nature. There are many instances of on-page sexual violence and rape, so please be aware of this before reading. Unfortunately, I haven’t read this text before, so I can’t provide you guys with a more detailed list of warnings or of when said things happen within the text. I wish I could. If anyone has read this text before and would like to help me with adding content warnings, please leave a comment below or DM me.
Aside from this, the Metamorphoses is seen as accessible for modern readers. I have a translation guide available here, which provides some info on which translations are more graphic than others. Please note that every translation will contain some references to the violence in the original text. This is a good thing, in terms of preserving history but may not be comfortable for some readers, which is understandable.
Ovid:
Publius Ovidius Naso aka Ovid was born in 43 BCE and lived until 17CE. This means that he was born during the final years of the Roman Republic and lived most of his life during the early years of the Roman Empire. He was born to an old and wealthy family. He began writing quite young and was a celebrated poet for most of his adult life. He started out writing romantic poetry and then moved into more ambitious (and subversive) styles. He was famous during his lifetime, which was kind of his downfall – the Emperor, Augustus, exiled him in 8CE. We don’t know what he did to anger Augustus specifically, but it was enough to get Ovid exiled to a place called Tomis for the rest of his life. There are some theories that Ovid was associated with someone who helped Augustus’ granddaughter in her adultery, but we will never know for sure. It appears that Ovid spent his last few years writing in Tomis, with some hope that the publication of more of his work could lead to Augustus forgiving him. That didn’t happen, but Ovid did complete the entire Metamorphoses, which has gone on to be a major source of what we know about the Greco/Roman mythos for generations. It also appears that, unlike with Virgil's Aeneid, Augustus had little to no chance at interfering with the work (as it was complete upon Ovid's death). Which is a major plus, in terms of us getting to read what the author intended us to read.
The Metamorphoses:
The Metamorphoses is a long narrative poem that is split over fifteen books. The poem is extremely ambitious in its scope: from the creation of the world to Ovid’s lifetime. The main thing that links all the stories together is the theme (and title) of the text: transformation (Metamorphoses). As mentioned in the last section, Ovid was an acclaimed poet and a master in his craft. In the Metamorphoses, Ovid plays around and even deconstructs the myths and the poetic styles that have come before. So, even though the overall text is very pro-Rome, I think it is fair to say that, from a technical and story standpoint, the overall work is subversive. It has had a huge influence on other writers and artists since the time it was published.
A lot of myths are included within these books so it would be hard for me to list them all here. However, some of the best-known versions of the myths come from the Metamorphoses such as the tragic story of Medusa, the birth and early life of the god Bacchus (aka Dionysus) and tales like the story of Atalanta. The poem also covers some myths we are familiar with here on the sub, such as the story of Jason and the Argonauts and the Trojan War. It will be interesting to read Ovid’s more Roman-centric perspective of this older myths.
Due to this text being written by a Roman poet, the names of the gods and many of the heroes are different here than in the other (Greek era) texts we have read. Here’s a link to a breakdown of the major name changes.
After we finish the Metamorphoses, we will be reading Natalie Haynes book Pandora's Jar, which is a modern collection of essays that focus on the portrayal of women within the Greek mythos.

“We are king and queen, chained together as surely as prisoners in a dungeon. And if we are not to suffer as prisoners do, we must make peace with each other.”

Happy Thursday writing friends!

I apologize for the second week in a row of tardy posting! I hope you like this new theme. I’m really looking forward to seeing all your different interpretations! <3 Good luck and good words!
[IP] [MP]

Bonus:

(These constraints are not required! If your story is better for not including them, please do what’s best for your work!)
Constraint: (10 pts)

Your story should be told by an unreliable narrator. Please note at the end of your post whether you’ve included this constraint! (An unreliable narrator is a narrator who cannot be trusted, one whose credibility is compromised.)

Word of the Day: (5 pts)

demarcation/de·mar·ca·tion/ˌdēmärˈkāSH(ə)n/
noun

• the action of fixing the boundary or limits of something.
  
• a dividing line.
  

Here's how Theme Thursday works:

• Use the tag [TT] when submitting prompts that match this week’s theme.

Theme Thursday Rules

• Leave one story or poem between 100 and 500 words as a top-level comment. Use wordcounter.net to check your word count.
• Deadline: 7:59 AM CST next Wednesday
• No serials, established universes, or stories that have been written for another prompt or feature here on WP
• No previously written content
• Any stories not meeting these rules will be disqualified from rankings and will not be read at campfires
• Does your story not fit the Theme Thursday rules? You can post your story as a [PI] with your work when the TT post is 3 days old!
• Vote to help your favorites rise to the top of the ranks! I also post the form to submit votes for Theme Thursday winners on Discord every week! Join and get notified when the form is open for voting!

Try out the new genre tags!
Theme Thursday Discussion Section:

• Discuss your thoughts on this week’s theme, or share your ideas for upcoming themes.

Campfire

• On Wednesdays we host Theme Thursday Campfire on the Discord voice lounge. Join us to read your story aloud, hear other stories, and have a blast discussing writing!
• Time: I’ll be there 7 pm CST and we’ll begin within about 15 minutes.
• Don’t forget to sign up for a campfire slot on discord. If you don’t sign up, you won’t be put into the pre-set order and we can’t accommodate any time constraints. We don’t want you to miss out on outstanding feedback, so get to discord and use that !TT command!
• There’s a Theme Thursday role on the Discord server, so make sure you grab that so you’re notified of all Theme Thursday-related news!

As a reminder to all of you writing for Theme Thursday: the interpretation is completely up to you! I love to share my thoughts on what the theme makes me think of but you are by no means bound to these ideas! I love when writers step outside their comfort zones or think outside the box, so take all my thoughts with a grain of salt if you had something entirely different in mind.
(This week’s quote is from Mary Stuart)

Ranking Categories:

• Word of the Day - 5 points
• Bonus Constraint - 10 points
• Weekly Challenge - 25 points for not using the theme word - points off for uses of synonyms. The point of this is to exercise setting a scene, description, and characters without leaning on the definition. Not meeting the spirit of this challenge only hurts you! This includes titles and explanations/author's notes.
• Actionable Feedback - 15 points for each story you give detailed crit to, up to 30 points
• Nominations - 10 points for each nomination your story receives
• Ali’s Ranking - 50 points for first place, 40 points for second place, 30 points for third place, 20 points for fourth place, 10 points for fifth, plus regular nominations (On weeks that I participate, I do not weight my votes, but instead nominate just like everyone else.)
• Voting - 10 points for submitting your favorites via this form (form will be open after the deadline has passed.)

Last week’s theme: Summoning

First by kazemakase Second by Ryter99* Third by MaxStickies

Crit Superstars:*

• katpoker666
• Ford9863

News and Reminders:

• Want to know how to rank on Theme Thursday? Check out my brand new wiki!
• Join Discord to chat with prompters, authors, and readers!
• We are currently looking for moderators! Apply to be a moderator any time!
• Nominate your favorite WP authors for Spotlight and Hall of Fame!

Unveiling the Magic of Metaphor**
Summary:
Metaphor, a powerful literary device, involves comparing two unrelated things to convey a deeper meaning. It goes beyond a simple comparison, creating vivid imagery and enhancing the reader's understanding.
Examples:

1. Classical: "All the world's a stage, and all the men and women merely players." - William Shakespeare, "As You Like It."
   
2. Modern: "Time is a created thing. To say 'I don't have time,' is like saying, 'I don't want to.'" - Lao Tzu
   
3. Modern: "The classroom was a zoo, students swinging from the chandeliers with wild ideas." - Educator's blog post.
   

Tips for Creative Writing:

• Be Original: Strive to create metaphors that are unique and fresh.
  
• Use the Senses: Incorporate sensory details to make your metaphor more vivid.
  
• Avoid Clichés: While some are timeless, challenge yourself to think beyond the ordinary.
  

Questions for Exploration:

1. Can you identify metaphors in everyday language?
   
2. How does metaphor contribute to the emotional impact of a poem or narrative?
   

Additional Resources:

• Explore poems by Emily Dickinson and Pablo Neruda for diverse use of metaphor.
  
• Read "Metaphors We Live By" by George Lakoff and Mark Johnson for a deeper understanding.
  

Creative Writing Prompt:
Step 1: Choose a concept or emotion (e.g., love, time, success).
Step 2: Brainstorm related images or ideas.
Step 3: Create a metaphor that captures the essence of your chosen concept.
Example: Love is a delicate butterfly, fluttering in the garden of the heart, leaving traces of colors in its wake.
Remember: The beauty of metaphor lies in its ability to evoke emotions and paint vivid mental images.

Handout: Mastering the Elegance of the Sonnet Form**
Summary:
A sonnet is a 14-line poem, traditionally composed in iambic pentameter, with various rhyme schemes. Two well-known types are the Petrarchan (or Italian) sonnet and the Shakespearean (or English) sonnet.
Examples:

1. Petrarchan: "Sonnet 18" by William Shakespeare.
   
2. Shakespearean: "Shall I compare thee to a summer's day?"
   
3. Petrarchan: "A Silken Tent" by Robert Frost.
   

Tips for Creative Writing:

• Embrace Structure: Sonnets often follow a specific rhyme and meter, providing a structured framework.
  
• Volta Moment: Introduce a "volta" or a shift in thought or emotion around the ninth line.
  
• Play with Themes: Sonnets are versatile and can explore various themes, from love to nature.
  

Questions for Exploration:

1. How does the rhyme scheme contribute to the overall tone of a sonnet?
   
2. Can you identify examples of modern sonnets in contemporary literature or poetry?
   

Additional Resources:

• Explore the sonnets of Elizabeth Barrett Browning for a feminine perspective.
  
• Read "The Sonnets" by Ted Berrigan for a modern take on the traditional form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore in your sonnet.
Step 2: Determine the rhyme scheme (Shakespearean or Petrarchan).
Step 3: Craft the first quatrain, introducing your theme.
Step 4: Develop the narrative or emotion in the following stanzas.
Example (Shakespearean): Shall I compare thee to a summer's day? (A) Thou art more lovely and more temperate: (B) Rough winds do shake the darling buds of May (A) And summer's lease hath all too short a date. (B)

I just love it, every time I am feeling stressed about something, or a little depressed just pop open the Lord of the Rings and instantly my mind is on fire with happiness, questions, fond memories and everything else.
I am re-reading the books again and at this point I have lost count of how many times, and there's just so many little details that I love.
Every time I read them too I find myself preferring one part or another on that time. This time I am way less about the action and way more about the dialogue heavy chapters, Shadow of the Past, The Council of Elrond, Flotsam and Jetsam....the chapters where the characters just sit and discuss the history of Middle Earth of the recounting of an event earlier in the books. There is so much lore that it just feels like I am reading the history of a civilization that existed before my time.
And the language is just beautiful. As I get older and find myself appreciating the use of language more, and also the fact that I no longer live in a country where English is the native language, I just find joy in the use of certain words or phrases. The examples he uses in his similes to describe the smell of the air, or the feeling of fear at that particular moment, even describing the different kinds of darkness at night is just amazing.
And the speeches/songs/poems/monologues are just fantastic, lately one of my favorite passages is the Gleowines song at the eulogy of Theoden
“Out of doubt, out of dark, to the day’s rising he rode singing in the sun, sword unsheathing. Hope he rekindled, and in hope ended; over death, over dread, over doom lifted, out of loss out of life, unto long glory”
Just that one line, 'he rode singing in the sun' captures the glory of Theodens last battle so well
and the questions I find over such small things like in the chapter where Sam meets elves for the first time (Gildor I believe it was) and the narrator describes it as one of the chief events of Sam's life....I always wonder, is the narrator referring to Sam's mood at the time, as in, up until this point it was one of the chief events of his life.....or does his first meeting of the elves, and first true experience still ring out as one of the chief experiences of his life even after passing through Rivendell, Lorien, and everywhere else he has been on his journey.
Did the ents truly forget their own strength while thinking the march to Isengard may end up killing them all, or were they preparing for a bigger battle?
How badass was Boromir to have killed more than 20 fucking uruk hai solo?
Was the hobbit who supplied Saruman with pipe weed just happily accepting more than the usual price from a stranger and none the wiser of who he was actually selling too, or was it someone hoping to eventually use Saruman to get more power in the Shire?
Would Sam, Merry, and Pippin have enjoyed such great lives post-journey had the Scouring of the Shire never happened?
How soon after arriving in the Undying Lands did Frodo pass away?
Who in the name of god is Tom Bombadil?
and more
And I love not knowing the answers to some of them, and knowing I never will. When I need hope, I always have a quote from LotR to work with

For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.

When I need motivation I can always get a lil from the ol gaffer
'It's the job that's never started that takes longest to finish'
When I need to remember to be more open-minded I can look to Gimli the dwarf, who despite the stubbornness of his people kept an open-mind and always paid respect to those around him, be they elf, hobbit, or a marshall of the Riddermark who needs to be learnt gentle speech
I could go on forever, but I was just listening to the Shire theme while reading the scene where Faramir questions Frodo in the woods of Ithilien and the excitement made me nearly leap out of my chair

How did Anton Reicha's compositional style change over time?
This is a question definitely not answered in the training data, since there is not a lot of holistic scholarship on Reicha's music. Whenever a new model comes out, I ask this question, and the answers are highly plausible but totally incorrect, usually suggesting that he became more adventurous over time. The simple answer is that Reicha instead became more conservative over time, with his earlier works being quirkiest; a more accurate and sophisticated answer would consider the various purposes of composition (curiosity, ambition, professional expectation, camaraderie) and the variable quality of his work and would have to involve fresh scholarship about the actual dates, which are often uncertain. (this collection of essays seems like a start in this direction if you're curious).
I don't think this sort of 0-shot obscure question is a good use of LLMs at all, if your concern is getting accurate information. But what does it reflect about llm creativity? Mistral-7b will give crazy nonsensical far-less-plausible answers to this question, but they're a lot more "interesting" if you ignore truth (mistral's answer below is not THAT interesting, but a composer who started as a church organist and then dramatically changed course both upon learning about haydn and later upon learning about beethoven is more interesting than what gpt-4 comes up with). I think of it as, mistral-7b knows a tiny bit about Reicha--roughly when he composed and that he has some sort of relationship with Beethoven and Haydn--and comes up with various unrealistic narratives accordingly. gpt-4o is equally or more useless for information, since it sounds more plausible but is still wrong, but because it knows more about Reicha and about the typical course of composers' careers, its incorrect answer is also less interesting.
I guess this is a similar problem as "delve"--when the models become more knowledgeable and coherent, do they become really annoyingly dull without very very extensive prompting? If you ask gpt-4o to give an implausible and interesting answer, it just dresses up its original answer with some crap like "aliens told him about new harmonies"--it's still not creative, because now instead of being confined by its knowledge of reicha and of other composers, it's confined by the least-common-denominator representation of "implausible theory".
I'm mostly curious if this question--the trade-off between coherence and interestingness--has been deeply explored by anyone. I'm sure it has, just want to read more.
Mistral-7b-chat:

Anton Reicha, a French composer of the Romantic period, is known for his innovative and versatile compositions. His style evolved significantly over time as he incorporated new musical ideas and techniques into his works.
Reicha began his career as an organist and choir director in the early 18th century. During this time, his music was heavily influenced by the Baroque style of Bach and Handel. He composed various religious pieces such as motets, cantatas, and oratorios that showcased his skillful handling of counterpoint and harmony.
In the late 1700s, Reicha became interested in contemporary music and started studying composition with Joseph Haydn. This exposure to Classical symphonies and chamber music led him to develop a more secular repertoire. He began writing sonatas for violin and piano, symphonic poems, and operettas, which reflected the changing tastes of the public towards lighter genres.
Around 1820, Reicha experienced a shift in his aesthetic again when he came across the works of German composer Ludwig van Beethoven. The profound emotions and expressive power of Beethoven's music greatly . . .

gpt-4o with temperature 0:

Anton Reicha's compositional style underwent significant evolution over the course of his career, reflecting his broad musical influences and innovative spirit. Here are some key aspects of how his style changed over time:

1. Early Period (Late 18th Century):
   
   • Classical Influence: In his early works, Reicha was heavily influenced by the Classical style, particularly the works of Haydn and Mozart. This period includes his early symphonies, chamber music, and piano works, which adhere to the formal structures and harmonic language typical of the Classical era.
   • Traditional Forms: His compositions from this period often employed traditional forms such as sonata-allegro, minuet and trio, and rondo.
2. Middle Period (Early 19th Century):
   
   • Innovative Techniques: As Reicha matured, he began to experiment more with form and harmony. He was particularly interested in counterpoint and fugue, and he wrote several theoretical works on these subjects. His "36 Fugues for Piano" (1803) is a notable example of his innovative approach to counterpoint.
   • Wind Quintets: Reicha is perhaps best known for his wind quintets, composed during this period. These works were groundbreaking in their use of wind instruments and contributed significantly to the development of the wind quintet as a genre. They exhibit a blend of Classical clarity and innovative textures and harmonies.
3. Later Period (Mid-19th Century):
   
   • Harmonic Experimentation: In his later years, Reicha's music became more adventurous harmonically. He explored unusual modulations, chromaticism, and even early forms of polytonality. His theoretical work "Traité de haute composition musicale" (1824-1826) outlines many of his advanced ideas on harmony and composition.
   • Influence on Romanticism: While Reicha himself is not typically classified as a Romantic composer, his later works and theoretical writings had a significant influence on the next generation of composers, including his students Hector Berlioz, Franz Liszt, and César Franck. His forward-thinking ideas helped pave the way for the harmonic and structural innovations of the Romantic era.

Throughout his career, Reicha maintained a balance between respect for classical forms and a desire to push the boundaries of musical expression. His contributions to music theory and his innovative compositions have earned him a lasting place in the history of Western music.

I'm embarking on an ambitious project - a multi-book free verse poem that will serve as response to John Milton's epic Paradise Lost. This opening sequence sets the stage and lays out the narrative ground I intend to cover.
In these first stanzas, I am reintroducing the story and framing it as a response to where Paradise Lost left off- Adam and Eve being banished from Eden. The first six lines are direct quotes from Milton’s poem Paradise Lost.
The next section will see me directly invoking the Holy Spirit as my muse and guide, much as Milton did with his famous Opening Invocation to the heavenly muse. I'll post that portion soon!
Anyways, here is the planned opening sequence:
Of Man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the world, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful seat, Sing Heav'nly Muse! Yet here mine art relates This sacred song serves as another collection Continuing from Paradise once lost Through disobedience's guilty breach - When disobedience and pride overdaring, defied The Eternal Sovereign’s high command, plunging our shared ancestry Into pandæmonium’s abysmal depths. But now arrives the light of glad renewal, Reversing that fell tragedy, the golden strands Regathered, rewoven into Eden's reparation cord! Let me voice then recall how virgin-born Radiant glory came, irrigating the blighted field With grace's purling streams, until from the tomb Deathless life arisen, and sin's vile burial chamber Was as hollow as the narrow gate through which obedience and righteousness Ushered eternal life, unclouded breath, The unfading amaranth wreath! Let my lips give voice To the emancipating birth that unbound our adamantine chains From earth, reattaining the world's pristine morning When heaven and nature dwelled in espousal's embrace, Before the fissure of dishonest desolation yawned. This luminous evangel be my soul's inspired proposal, As I give a voice to the Holy Spirit’s breath.
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. Cinquain: Whisper, Soft breeze, Rustling through leaves, Nature's gentle melody, Serene.
. Ghazal: Moonlight spills, a silver stream, Love's refrain, a poet's dream. Roses weep, their petals gleam, Lost in verses, shadows scheme.
Sestina: Moonrise casts its ethereal glow, Each night, a cyclical ebb and flow. Stars witness tales, both high and low, As time weaves stories, to and fro.
Tanka: Autumn leaves descend, A tapestry of farewell, Crisp whispers of time. Nature's brush strokes paint the scene, Seasons change, memories cling.
Pantoum: In the moonlit dance, shadows play, Shadows weave tales in the silvery night. Echoes of laughter, whispers sway, Night unfolds its magical light.
. Rondel: Sunset's hues in vibrant array, Paint the sky in hues of gold. Nature's masterpiece, bold and bold, A canvas where dreams hold sway.
. Rondeau: Joyful laughter, a sweet refrain, Echoes through the sunlit glade. Hearts entwined, a bond well made, Love's melody, a constant gain.
. Triolet: Whispers of wind through ancient trees, A tale told by the rustling leaves. Whispers of wind through ancient trees, Nature's song, a timeless tease.
Quatrain: Moonlight weaves a silken thread, Night unfolds in shadows' spread. Stars whisper secrets overhead, Dreams bloom in the quiet bed.
Elegy: In the quiet of the setting sun, Memories linger, stories spun. A solemn ode to what is done, Elegy for a life well-run.
. Ode: Sing, muse, of nature's wondrous grace, A symphony in every living trace. Ode to the moon's soft, glowing face, Illuminating night's quiet embrace.
. Ballad: In a valley where the rivers twine, A ballad echoes through ancient pine. Heroes rise, and villains decline, Tales of love and loss intertwine.
. Epic: A saga unfolds in realms unknown, Heroes clash with a thunderous tone. Epic battles in a world overthrown, A timeless tale, through ages, is sown.
. Narrative poem: Through the forest and over the hill, A narrative weaves, tranquil and still. Characters dance, their destinies fulfill, A poetic journey, a quill's skill.
Epigram: In few words sharp, a truth unveiled, Wit and wisdom in balance, finely scaled. Life's ironies, humor exhaled, Epigram, where truths are hailed.