You Know Which Bit Of The Fall Of Gondolin Made Me Go Really, Truly Feral? After Tuor And Voronwë See

You ever get like five different ideas from angst but none of them is long enough to stand on its own and so you just make Frankenangst? Yeah

Warnings: character death, description of injuries

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idril is the only person who thinks turgon is funny

It sure is convenient that all these songs that ostensibly weren’t written in English all rhyme when translated into English, isn’t it, Mr. Tolkien?

Hyphens, en Dashes and em Dashes

Oh- and let’s not forget the minus sign, that thing on your keyboard that can be misused as any one of the above! 

It took me a long time to understand the differences. 

The minus sign                         (-)

The hyphen                               (-)

The en dash                              (–)

The em dash                            (—)

Visually, not much in it, is there?  

But oh what a difference the length makes! 

The minus sign is a mathematical symbol. That’s it. Don’t misuse it for anything else.

The hyphen is used to join two elements to form a compound word, like  self-restraint. Numbers between twenty-one and ninety-nine should also be hyphenated when they’re spelled out. Sherlock Holmes-Watson or John Watson-Holmes (interesting to know which one wins in the battle). You should also use a hyphen in a compound modifier before a noun, as in The Crossed Keys Inn was a dog-friendly pub.

The shorter en dash  is used when describing ranges and with the meaning “to” in phrases like “Dover–Calais crossing.” It applies to ranges of numbers, such as times, page numbers, or scores (I’ll schedule you from 4:30–5:00). That said, outside of formally printed documents, it is increasingly being replaced with a hyphen, so if you miss this one, Sherlock won’t hang you for it. 

The longer em dash (—) is about as wide as the letter M (duh, now I get why it’s called this). It’s used to separate extra information or mark a break in a sentence.  An em dash is most often used to indicate a pause in a sentence. It’s stronger than a comma, but weaker than a period or semicolon. 

You can use a pair of em dashes to draw special attention to parenthetical information, as in

Sherlock—who was wearing the same purple shirt of sex—entered the room carrying his violin..

You can use a single em dash to add explanatory or amplifying information, especially when the information is surprising:

I opened the door and there she stood—Eurus, my long lost sister.

Em dashes can also signal a sudden interruption, particularly in dialogue:

“Wait! I forgot to tell you—” The door slammed shut between us and I missed whatever John was trying to say.

Interestingly, there is no firm rule about spaces around the em dash (either word—word or word — word). It’s a matter of style. Whichever style you choose, use it consistently throughout your document.

The em dash is a relatively artistic punctuation mark, compared to the more technical hyphen and en dash, both of which need to be used accurately in legal contracts, for example. 

Have you ever wished there was a comprehensive, easy access resource of Every Tolkien Character Ever? Look no further! Now presenting:

The Tolkien Legendarium Characters Masterdoc!

compiled by @arofili, @ambrorussa aka @welcometolotr, @jaz-the-bard, and @fingons-rad-harp, this spreadsheet contains - to the best of our ability - ALL 1100+ characters that Tolkien incorporated into (or considered for) his Legendarium! this resource is open to the public for perusal and use in your fan projects of all kinds, though its creators are fanfiction writers and we organized the doc with our craft in mind.

we have organized this database by character race/species and Age. each character has attached information on their name(s), cultural/familial affiliation(s), life dates (when known), associated places, textual source, Ages/timeframe of activity, gender, relative canonicity, and brief pertinent information - as well as a link to their page on Tolkien Gateway (our main source) where you can continue your research on any character you choose.

characters of ALL levels of canonicity are represented in this sheet. that includes the wacky, wild stuff from the Book of Lost Tales, as well as Frodo himself! our designations of “how canon” a character is are inherently subjective, and you are free to disagree with our rankings; with this categorization we hoped to give people an idea of what to expect upon exploring the characters yourselves. please consult our Key for information on how we made these decisions. this document is a jumping-off point for your own research!

if there’s something you’d like to sort for that we didn’t provide, you are free to make a copy and reorganize the spreadsheet however you would like. (however, we do ask that you only redistribute the original sheet.)

this sheet includes characters from every text written by Tolkien that we could find information about on Tolkien Gateway. we are only human, and are thus likely to have made some mistakes or missed some characters - if you think that’s the case, please let us know so we can update the document!

if you think there is a character missing, or you would like something added/redacted/altered, contact the sheet owner @arofili on tumblr or annaquenta#6263 on discord and we will consider your request.

in addition to Tolkien’s own characters, we have included some characters who only appeared in Peter Jackson’s film trilogy adaptations. we are open to including characters from other adaptations, but we weren’t familiar enough with those to add them to the document. if you desperately want to see an adaptation-only character in the document, let us know!

we hope this resource is helpful for Tolkien fans of all kinds in learning more about his characters both weird and wonderful! happy headcanoning!

LINK TO THE DOCUMENT: tinyurl.com/TolkMasterDoc

thinking about how the act of bringing someone back from the dead comes from a desire not just to bring back the dead person but to have things return to the way they were before they died. which is, of course, impossible. if a haunting is an open wound, then resurrection is a knife widening the cut.

“Keep descriptions short and don’t use poetic/flowery language in a novel” “if a scene doesn’t advance the plot cut it” “avoid complicated symbolism and hinting at things, just say what you mean” “too much worldbuilding is distracting” bites you bites you bites you bites you bites y

“In 1404, King Taejong fell from his horse during a hunting expedition. Embarrassed, looking to his left and right, he commanded, “Do not let the historian find out about this.” To his disappointment, the historian accompanying the hunting party included these words in the annals, in addition to a description of the king’s fall.“

LMFAOOOOOO rip to that guy

túrin wakes up everyday and chooses violence

Okay, you guys were excited about this so here's how I would have written the Water Tribe characters as an Inupiaq

Note: this is entirely for fun and is based on my cultural experiences as well as my personal taste in media. There's no way I actually expect Nickelodean would let any of the darker content fly, nor am I trying to play script doctor or say any of this should have been canon. I have my own writings for that. I'm also not bothering to assign them Inupiaq names for the sake of simplicity and ease of communication.

Sokka

Sokka would be named after Bato's father who was killed in one of the Fire Nation raids. He would have dismissed the idea he was Bato's reincarnated dad whenever it was used to embarass him (usually courtesy of Katara calling him a grumpy old man) but go along with it when it was a positive thing like Bato calling him "little dad" or people saying he was brave like the one he was named after. He would probably use more Inupiat language than Katara, because he was less interested in works of fiction and poetry that were available from the rest of the world. He reads weather conditions, the process of learning that from his father was his first introduction to science, and respects the animals he hunts.

Katara

Named after her mother's uncle, who showed signs of waterbending skill but kept it hidden so he wouldn't be taken away. A bunch of her and Sokka's little cousins call her Grandpa and she later jokes to Aang they should have called him that because he's the one who's technically over 100 years old. More likely to explain cultural things than Sokka, who prefers to let them observe and figure it out, but knows more of the traditional stories. Even Sokka will admit she's a better storyteller than him. Eventually everyone who travels with them asks her for a story and she gives her best every time

Kanna

Still dumped Pakku for his suffocating ideas of a woman's place but also over some family drama he wouldn't let go of. Her grandchildren make a point that she has sworn to never drum, dance, or sing, and won't even be in the same room as it until the War ends

Bato, Kya, and Hakoda

Bato and Hakoda have labrets now. Hakoda is not just a prankster, but also a skilled dancer. Bato and Kya were both known for the beautul masks they made

Yue

I've already said she's the closest to perfect rep the series has, so all I'd add was scenes of her alone with Sokka's carving. She'd try to find ways to explain to him, holding the carving and talking to it as if it was him, that it wouldn't work out between them, as much as she'd want it too. Stuff like "You've had great adventures and that's exciting, but I don't want that for myself" and "You don't understand, I have a life here and I can't go galavanting off and leave it all behind" and ultimately deciding it would just hurt him more.

Arnook

We'd get to see more of his governing, specifically in the form of figuring out what to do with Fire Nation soldiers taken prisoner. When the Fire Nation says that a few foot soldiers aren't worth calling off the seige, Arnook gives them the choice to live among them and try to assimilate, or take their chances on the tundra. Terrified and abandoned in a strange, dangerous land, two of them agree to stay. The other one decides to take the banishment because he will not live under another nation's rule. Later, when Aang says they can't just leave Zuko behind, we see ravens picking at shreds of a Fire Nation soldier's uniform. This underlines the nature of Arnook's decision to give the soldiers options and shows that he hates senselessly throwing away people's lives.

Pakku

Still unwilling to teach Katara and firmly held to the belief that women shouldn't fight, but specifically as a result of his sister dying after defending against an animal that would have killed her and an unconscious friend. Some bitter part of him thinks the (male) friend should have died instead, even though said friend was Kanna's favorite cousin. Less smug and convinced he's always in the right, more sad and prone to anger, still as unpleasant to be around.

Hahn

His mother was a shaman, or something close to it, with a special connection to the spirit world, who asked the moon to breathe life into Yue. The youngest of three brothers, Hahn was the only one not to go missing on a hunt. Rather than believe they're dead like everyone else, he insists that he will find them someday. He's happened upon various animal spirits before and can painlessly finish off large game with his bare hands. Knowing the spirits are on his side as well as the attention his skills as a hunter have gotten him have made him arrogant. He has the dream of Yue sacrificing herself instead of Arnook, but he mistakes it for Yue sacrificing herself for Sokka, starting the animosity between them.

Hama

Taken from the Southern Water Tribe but after being kept prisoner, a man of minor Fire Nation nobility decides to keep her as a maid, mistreating her and eventually forcing her to marry him. They have a son, who ends up being the first person Hama bloodbends into the underground cave. She accuses the woman on a nearby property of bewitching her son and making him disappear, and the next full moon she bloodbends the unwanted husband into that cave. The people are convinced and the woman is driven away. More people disappear, regardless of class but nevertheless people around her. She plays up the grieving just enough that no one could ever suspect it's her. She's assumed to be cursed and lonely, and so when she leaves this house where her family was taken from her, people understand. When she weeps that the curse must have followed her after the first full moon she lived in that town, the people show her pity. A few suspect her, but they are shut down as being cold and heartless.