Welcome to my conlang blog! My main blog is @levuna, and you can also find my conlangs on Bluesky and Youtube!
My current worldbuilding project is Valya, a language spoken on an island on another world where people make magic through songs. The inspiration behind it was to have a language that would be ideal for songs and poetry, and I’ve started to map out the kinds of music the speakers of Valya would make.
Sdefa is my musical conlang, whose phonemes are musical notes. It’s designed to be very flexible as a language so that you can make actual music with it!
T’owal is a sort of engelang-artlang-ish language. It’s designed to be fairly simple and totally regular. It’s basically complete, aside from the ever-expanding lexicon and ongoing tweaks to the alphabet. Sometimes I like to translate tumblr posts and other things into it!
I have a few conscripts that aren’t associated with any conlang, like one designed for/inspired by magical circles, and one which is designed to look like knotted ropes.
I have an unfinished and unnamed non-linear conlang, which is inspired by the language UNLWS, created by Sai and Alex Fink.
I also have a couple inactive conlangs, both with the same setting, a world without a sun or moon. Mindutme was my language for Lexember 2022, and Tlette for Lexember 2023.
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Any advice for working conlangs into fiction? Like sociolinguistics or linguistic anthropology? Thanks in advance
So there are a few things to consider when you're incorporating your conlang into something:
What's the medium? In novels and short stories, it's usually best to stick with names, isolated words, and shorter phrases, while conversations can just be rendered in the language of the work with a tag saying the characters are speaking "in Somelang" or whatever. For videos and films, though, you can have significant conversations in a conlang with subtitles. It all depends on how the medium presents information to the audience.
What functions do these languages have in your society? Every language, at some point in its existence, is the home language of some ethnic group. But some languages become a lingua franca, a liturgical language, or take on some other role. Other languages might be seen as lesser because of the social position of their speakers. That informs how they'll appear in the story.
What is the story function of the conlang? Is it window-dressing to allude to the world? Does it mark the identity of certain characters? Is the language itself a plot obstacle (trying to decipher an ancient text, trying to communicate with a people whose language you don't speak)? This partly falls out of the overall linguistic worldbuilding and the identity and history of your characters.
yooo hi!! i remember following you a while ago and i’m only just now seeing your posts again. i wanted to pop in and say hey your conlangs are cool and they’re inspiring me to return to my old projects!
which brings me to: how have you found ways to motivate yourself to keep working on a project rather than keep jumping to the next idea you have?
Hello! Thank you so much!
Uhhhhhhh that’s a great question and if someone else has a good answer I’d love to hear it.
I’m not the best person to ask, because I am constantly switching between projects and coming up with new ideas that I do not have time for. In the last couple of years, though, as I’ve gotten more confident about my conlanging skills I’ve been returning to projects more instead of abandoning them, so now at least when I set aside a conlang to work on some other new idea there’s a good chance I’ll come back to it eventually.
Also, I do like to think of those abandoned conlangs as exercises: without the lessons I learned from them I wouldn’t have been able to create my more recent languages, and so they were worthwhile even if I don’t keep working on them. So maybe it’s not so bad if you do go on to the next idea!
But really, if anyone else does have a better answer please tell us lol
The Sdefa word you gloss as "end" in your translation of the beauty of the house (DEF♯A) is different from the word you glossed as "end" in your translation of the left hand of darkness (A♭GD♭C), is this a deliberate vocabulary change, a synonym, or accidental?
Good catch! There are, as far as I can tell, four ways of saying “end” in Sdefa, with slight differences.
One reason for this is to allow for greater flexibility: say you’re writing a bit of Sdefa and so far everything fits nicely into D major, but then one word doesn’t fit so well within that key. You could pivot and make a key change, or have one chord that’s a bit out of left field… or you could choose a different word that fits better in that key.
Also, I do sometimes make mistakes and make a new word when I already have one with that meaning. Usually if this happens I try to differentiate them in some way after the fact, though.
Anyway, here are the different words for “end”:
The one in the translation of The Beauty of the House (from Piranesi) is {D E F♯ A}. This refers to the end of an event or period of time specifically. The most literal interpretation of “[the house’s] kindness [is] infinite” using this word would therefore be that the house is kind forever, that it will never stop being kind.
The one in the translation of The Left Hand of Darkness, {A♭ G D♭ C}, is “end” as in “goal” or “destination” (think “means to an end”). You could use this interchangeably with the first one if you’re talking about the end of a journey, for example, but it would still be the destination of that journey even if it was never completed. And this word wouldn’t make sense in the Piranesi quote, because it doesn’t refer to kindness being without a goal. I think you could make a case for one of the other words working in the LHoD quote, but the pairing of “end” with “way” in that case makes me think of this sort of “end” first. I guess that just means it’s a bit of wordplay in English that doesn’t translate directly into Sdefa.
Another word that could be translated as “end” is {D E F E}, which is also “edge” or “boundary.” I think you could also interpret the original quote from Piranesi as meaning “it has an infinite supply of kindness,” in which case this word might be a more literal fit than {D E F♯ A}. However, I think both work and that one was a better fit musically. Or maybe I just didn’t think of this word at that time.
Then there’s “end” as a verb, {E G D B}. Obviously that wouldn’t work directly if you want “end” as a noun, but there’s always the nominalizing prefix so {F D E E G D B} would work to mean “ending,” “completion,” etc.
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I've been learning to harvest clay and I used my very first batch to write something in Proto-Seraphic! It was a writing system originally meant to be written in clay so I'm very glad it came out so clear. On the left is the unfired tablet and the write is the fired tablet. It ended up cracking and breaking (first time firing greenware whoops) but I don't mind because it gives it an archaeological feel to it!
Ndeytğĺ pr-afwék ju-Tawawí, qe pr-vim ju-Kirawí, qe pr-jahwúvim ju-Tlad.
PFV.FUT.RES=that.[DIST] by (o).HEAT.[SG] of tëwėlwī and by (t).light.[SG] of cīralwī and by (m).crop-PL of tlāod
"By the warmth of Tëwėlwī (the Nurturer; Sun deity), by the light of Cīralwī (the Protector; moon god), by the gifts of Tlāod (the Firmament; earth goddess), it shall be."
excerpt in translation from the 1978 compendium Cyra the Mason, and Other Stories (originally published in Borlish as Cyra Cimter e Racont Ancour), compiled by Borlish author Willaum Desq. Also known in his role as a Kentish media personality as Godwilham Desk, he wrote modernised adaptations of myths and fairy tales in order to appeal to children (not entirely through bowdlerisation).
Y reyaum soffreu par un yarn amaug, eð y torn dy saçon venoy cosogr for un erref teun.
The kingdom suffered a deep winter, and the turn of the seasons didn't offer much relief.
Caye un neyanç vert, eð y vent torveglous de stað vagiscen con respir quaglant e gelant.
Snow fell in spring, and the storm-winds of summer howled with a biting, icy breath.
Rumour parvasiscen y rout ny citað creint ig y Cauç Ragnt aye y coroun n'argent volað dy Domn de Joivr, e la pretene a y tar venjar fin a lo fos luy algebrað.
Rumour spread through the city streets that the Wild Hunt had stolen the silver crown of the Lady of Frost, and she intended to punish the land until it was returned.
Je Coyol de Stað, y Rey ny Dal amandau haubrjour por heros voccar des par toll'eiðel e por lou armar a y reyaum soucorrir.
On Midsummer's Day, the King in the Valley sent heralds to summon heroes from throughout the realm and to charge them with saving the kingdom.
Segr Berengal avenoy ant sy gavlot sacr, eð y voutaç de Çadrosc entraurn volant dy ciel ovester.
Sir Berengal arrived with his holy lance, and the witches of Çadrosc flew in from the western sky.
in a row, sequentially, one after another, successively, located in a linear span across space or time;
one at a time, individually, occurring in discrete instances
Etymology: attested in various forms since the late Middle Borlish period, an ideophonic idiom used to refer to single-file sorts of arrangement or motion. The phrase is hypothesised to originate in farmers' livestock-counting numerals, which may be reflected by the modern appearance of to-rutto in counting-style nursery rhymes. These rural tally-like systems (e.g. an, to, ry, bo, bum, …), which are present across Borland, derive from Germanic or Celtic numbers.
Veleð aular a to-rutto lonc y forcul.
/veˈlɛθ oˈlar a ˌto.riˈto lɔnk i fɔrˈkɪl/
[vɪˈlɛ‿ðʊˈlɐː‿ʀɐˌto.ʀɪˈto lɔŋk i fʊːˈkɪl]
will.sbj-2p walk-inf at single.file along df pass
Cross the mountain pass in single file.
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fir tee leng the spekers ef uther lenguages woth leass merphology heeve hod ut ta easy. nuw ivery ward en onglish hes vewil martations. strung vorbs? tree strang prupositions.
The Beauty of the House is immeasurable; its Kindness infinite.
That line is from one of my favorite books of all time, Piranesi. This short song is a translation of the line into my musical conlang Sdefa!
Piranesi is a fantastic short novel by Susanna Clarke, who also wrote Jonathan Strange & Mr. Norrell. I highly recommend it to anyone who likes … well, actually, to anyone. I mean, when have you ever seen anything like this on a Wikipedia page before:
Below, I’ll show how the music works, with some specific translation notes!
Sdefa is a musical language: the notes of the melody convey meaning. In this particular song, it’s the violin that is “speaking” in Sdefa, while the piano is there to provide harmony and structure.
If you want to know more about Sdefa, you can watch an introduction video here or check out my Sdefa tag here on Tumblr. I’ve been making new Sdefa words for Lexember this year, and four of them so far have been words I needed for this translation!
A more literal re-translation of the Sdefa text would be “The House’s Beauty cannot be measured; the House’s Kindness lacks an end.” Here’s an interlinear gloss, which shows exactly which notes carry which bits of meaning. Rhythm doesn’t have meaning in Sdefa, so it isn’t shown.
The various -3s with subscripts are third-person pronoun suffixes. The first time you see each one, it’s suffixed onto a noun. After that, it appears on verbs and adjectives to show that the verb’s subject or object is that noun, or that the adjective modifies that noun. The prefix NOM- indicates nominalization; that is, it turns “beautiful” into “beauty” and “kind” into “kindness.” Since “beauty” and “kindness” are nouns, they also get third-person suffixes (-3₂ and -3₃ respectively), which are then treated as the objects of verbs (“measure” and “lack”).
The IRR- prefix is for “irrealis.” It’s sort of an all-in-one subjunctive, hypothetical sort of mood marker. When combined with the -IMPRS (impersonal) suffix, it means something like “it is possible for someone to do this.” Add the NEG- (negative) prefix, and you get “this can’t be done.”
Finally, here’s what the text looks like in Sdefa’s two writing systems:
Earlier today I had a fun moment where I had a thought, and then realized I could express that thought in Valya! Not that I know the language well enough to actually think in it in the moment, but I knew I had all the words and bits of grammar to express it.
Or, almost. I forgot that I didn’t actually have a word for “door,” but now I do: ntfüri It’s derived from the word for “swing,” as in “something that swings open” (or really “something that is swung open”).
Lbahwi zaku kinksi bigamuftara, ra ga mirgngi tu kiksuftara twashi kintfüri.
“Before I went outside to shovel, I saw a wren on the shovel just outside the door.”
It was a Carolina wren, one of my favorite birds, and it’s always nice to see one up close!
I got a late start and a late finish for Lexember 2025, and didn't post any of it on Tumblr, so here's the whole month compacted into one post. This year (last year?) I worked on my as-yet-unnamed steppe language. Notable features of the language include a fronted/backed distinction that appears on both the consonants and vowels, significant vowel reduction and general weirdness, and a decent amount of inflection. Part of the fun I've had with developing this language is semi-arbitrarily applying regularization and analogy to fix problematic forms. Inflecting verb entries list important principle parts, and noun entries list case forms and the definite clitic (ka- for animate nouns, mi- for inanimate nouns), as well as if the definite clitic causes the stem to change.
Day 1 - Cut
ksóan(-), ksíen-, ksan-, ksin- [qʂóɑɳ(-), csíɛn-, qʂəɳ-, csɪn-] *kasun - v. perf. cut
Day 2 - Cook
ptjíel(-), ptjéil-, ptjal-, ptjil- [pȶíɛl-, pȶɛ́il-, pt̪əɭ-, pȶɪl-] *putel - v. imp. apply heat, cook, treat with heat
brìenit (mi-), bròaskas (mia-), briníedmi, brinítti [brìɛnɪt (mɪ-), bɻòɑʂqəʂ (mɪə-), brɪníɛdmɪ, brɪníttɪ] - *werun-ʔit - n. in. meat
Day 3 - Soup
tjiással (mi-ttjiással), tjissíealgas, tjisséilmi, tjissíedli [ȶɪɑ́ʂʂəɭ (qəɪ-ȶȶɪɑ́ʂʂəɭ), ȶɪssíɛəɭɢəʂ, ȶɪssɛ́ilmɪ, ȶɪssɛ́idlɪ] *kejos-ʔal - n. in. soup
Day 4 - Salt
òspail [òʂpəɪl] *watpel - cv. to salt, pickle
spéidlit (mi-), spíealskas, spidlíedmi, spidlítti [spɛ́idlɪt (mɪ-), spíɛəɭʂqəʂ, spɪdlíɛdmɪ, spɪdlíttɪ] *watpel-ʔit - n. in. salt
spidléssit (mi-), spadláskas, spidlissíedmi, spidlissítti [spɛ́idlɪt (mɪ-), spíɛəɭʂqəʂ, spɪdlíɛdmɪ, spɪdlíttɪ] *watpel-has-ʔit - n. in. pickle, something salted
Day 5 - Pot
tjéski (mit-tjéski), tjiskíeas, tjiskíemi, tjiskéi [ȶɛ́scɪ (mɪȶ), ȶɪscíɛəʂ, ȶɪscíɛmɪ, ȶɪscɛ́i] *kejos-koj - n. in. pot (primarily for soup)
Day 6 - Knife
ksóanar (mia-), ksanàorgas, ksinìermi, ksanòadra [qʂóɑɳəɻ (mɪɑ-), qʂəɳɑ̀oɻɢəʂ, csɪnìɛrmɪ, qʂəɳòɑɖɻə] *kasun-ʕur - n. in. knife, with regularization of the genitive (expected form ksianaìermi [csɪəɳəìɛrmɪ])
Day 7 - Drink
méirgi (mi-), mirgíeas, mirgíemi, mirgéi [mɛ́irɟɪ (mɪ-), mɪrɟíɛəʂ, mirɟíɛmɪ, mɪrɟɛ́i] *hamor-koj - n. in. cup, mug, drinking vessel
máor [mɑ́oɻ] *hamor - cv. (with mnòs “take in”) to drink, suck, eat liquid food, imbibe, smoke (inhale)
móadras (mia-), máskas, midréizmi, madráissi [móɑɖɻəʂ (mɪə-), mɑ́ʂkəʂ, mɪdrɛ́izmɪ, məɖɻɑ́ɪssɪ] *hamor-has - n. in. drink, beverage
Day 8 - Eat
gàol [ɢɑ̀oɭ] *ŋaʔal — cv. (with mnòs “take in”) eat
gèilgi (m-èilgi), gilgíeas, gilgíemi, gilgéi [ɟɛ̀ilɟɪ (m-ɛ̀ilɟɪ), ɟɪlɟíɛəʂ, ɟɪlɟíɛmɪ, ɟɪlɟɛ́i] *ŋaʔal-koj - n. in. bowl
Day 9 - Pierce
skóa(-), skíe-, ska-, ski- [ʂqóɑ(-), scíɛ-, ʂqə-, scɪ-] *ʔiskuw - v. perf. to pierce, stab
skóar, skàorgas, skìermi, skòadra [ʂqóɑɻ, ʂqɑ̀oɻɢəʂ, scìɛrmɪ, ʂqòɑɖɻə] *ʔiskuw-ʕur - n. in. skewer, with analogical deletion of intervocalic *w in the ergative (expected form skavàorgas [ʂqəʋɑ̀oɻɢəʂ])
skèirin, skaràonas, skirìenmi, skirìeni [scɛ̀irɪn, ʂqəɻɑ̀oɳəʂ, scɪrìɛnmɪ, scɪrìɛnɪ] *ʔiskuw-ʕurjin - n. in. stinger, needle, with irregular deletion of intervocalic *w
Day 10 - Horn
vàs, vàskas, vèizmi, vàissi [ʋɑ̀ʂ, ʋɑ̀ʂqəʂ, ʋɛ̀izmɪ, ʋɑ̀ɪssɪ] *wohas - n. in. horn, with regularization of the ergative (expected form òskas [òʂqəʂ])
Day 11 - Tooth
fóan(-), fíen-, fan-, fin- [fóɑɳ-, fíɛn-, fəɳ-, fɪn-] *pehun - v. perf. bite
fóanar (mia-ghóanar), fanàorgas, finìermi, fanòadra [fóɑɳəɻ (mɪə-ʁóɑɳəɻ), fəɳɑ̀oɻɢəʂ, finìɛrmɪ, fəɳòɑɖɻə] *pehun-ʕur - n. in. tooth, with irregular brightening of the genitive (expected form fianaìermi [fiəɳəìɛrmɪ])
ksóand-vóanar, ksóand-vanàorgas, ksíend-vinìermi, ksóand-vanòadra [qʂóɑɳɖ-ʋóɑɳəɻ, qʂóɑɳɖ-ʋəɳɑ̀oɻɢəʂ, csíɛnd-ʋinìɛrmɪ, qʂóɑɳɖ-ʋəɳòɑɖɻə] *kasun + *pehun-ʕur - n. in. carnassial, the shearing teeth of a carnivore, lit. cut-tooth
Day 12 - Wing
bìe [bìɛ] *wijew - cv. (with “go”) fly
bìear (mi-bìear), biàorgas, bìermi, biòadra [bìɛəɻ (mɪ-bìɛəɻ), bɪɑ̀oɻɢəʂ, bìɛrmɪ, bɪòɑɖɻə] *wijew-ʕur - n. in. wing
Day 13 - Hear
áolgan [ɑ́oɭɢəɳ] *halkon - cv. (with mnòs “intake”) hear, listen, (with ktjíe “do”) heed, obey
algàonar (mi-), alganàorgas, ilginìermi (m-), alganòadra [əɭɢɑ̀oɳəɻ (mɪ-), əɭɢəɳɑ̀oɻɢəʂ, ɪlɟɪnìɛrmɪ (m-), əɭɢənòɑɖɻə] *halkon-ʕur - n. in. ear, with irregular brightening of the genitive (expected form ilgianaìermi [ɪlɟɪəɳəìɛrmɪ])
Day 14 - Bind
bdjào [bd̪ɑ̀o] *mokeʕ (“bind”) — cv. (with ktjíe “do”) bind, tie, (with [] “strike”) enslave
bdjào-skóa [bd̪ɑ̀o-ʂqóɑ] *mokeʕ (“bind”) + *ʔiskuw (“pierce”) — cv. (with ktjíe “do”) sew
bdjàol, bdjáolgas, bdjéilmi, bdjáoidli [bd̪ɑ̀oɭ, bd̪ɑ̀oɭɢəʂ, bȡìɛlmɪ, bd̪òɑɪdlɪ] *mokeʕ-ʔal (“bind-product”) — n. in. knot
bdjàor, bdjàorgas, bdjìermi, bdjòadra [bd̪ɑ̀oɻ, bd̪ɑ̀oɻɢəʂ, bȡìɛrmɪ, bd̪òɑɖɻə] *mokeʕ-ʕur (“bind-tool”) — n. in. rope
bdjàovar, bdjòarar, bdjòargas, bdjivìermi, bdjavòadra [bd̪ɑ̀oʋəɻ, bd̪òɑɻəɻ, bd̪òɑɻɢəʂ, bȡɪʋìɛrmɪ, bd̪əʋòɑɖɻə] *mokeʕ-wur (“bind-animal”) — n. an. python
bdjèirin, bdjaràonas, bdjirìenmi, bdjirìeni [bȡɛ̀irɪn, bd̪əɻɑ̀onəʂ, bȡɪrìɛnmɪ, bȡɪrìɛnɪ] *mokeʕ-ʕurjin (“little bind-tool”) — n. in. string
bdjèi-ghíe, bdjào-ghóas, bdjèi-ghíemi, bdjèi-ghéi [bȡɛ̀i-ʝíɛ, bd̪ɑ̀i-ʁóɑʂ, bȡɛ̀i-ʝíɛmɪ, bȡɛ̀i-ʝɛ́i] *mokeʕ (“bind”) + *kihew (“grass”) — n. in. bind-grass (a type of grass used for weaving basketry etc.)
Day 15 - Ride
plót [pɭóʈ] *polut (“ride”) — cv. (with pnjét “go”) ride
plóttas (ka-blóttas), plótsar, plóskas, plittéizmi, plattáissi [pɭóʈʈəʂ (qə-bɭóʈʈəʂ), pɭóʈʂəɻ, pɭóʂqəʂ, plɪttɛ́izmɪ, pɭəʈʈɑ́ɪssɪ] *polut-has (“ridden”) — n. an. horse (specifically for riding)
plíttis (ka-blaíttis), pliótsar, plióskas, plittíezmi, plittíssi [plíttɪs (qə-bɭəíttɪs), plɪóʈʂəɻ, plɪóʂqəʂ, plɪttíɛzmɪ, plɪttíssɪ] *polut-his (“ride-person”) — n. an. rider, with analogical brightening of the accusative and genitive (expected plótsar, plóskas [pɭóʈʂəɻ, pɭóʂqəʂ]), likely to avoid homophony of those forms with plóttas (“horse”)
Day 16 - Death
ljáo [l̪ɑ́o] *ʔoljuʕ (“be dead”) — cv. (with ktjíe “do”) kill, (with bròan “be”) be dead, (with [] “fall”) die
ljóavas (ka-), ljóar, ljóaskas, ljéizmi, ljássa [l̪óɑʋəʂ (qə-), l̪óɑɻ, l̪óɑʂqəʂ, ȴɛ́izmɪ, l̪ɑ́ʂʂə] *ʔoljuʕ-ʔos (“death-hunt”) — n. an. crow (a rare instance of a noun zero-derived from compound verb, perhaps out of taboo)
Day 17 - Lie and Truth
djvàs [d̪ʋɑ̀ʂ] *jewos (“lie”) — cv. (with ìskit “say”) lie
bèi [bɛ̀i] *mipaj (“truth”) — cv. (with ìskit “say”) speak the truth
ìskit, skát-, skét-, skat-, skit- [ìscɪt, ʂqɑ́ʈ-, scɛ́t-, ʂqəʈ-, scɪt-] *jaskat — v. impf. say, speak
Day 18 - Know
vés(-), víez-, vis-, vas- [ʋɛ́s(-), ʋíɛz-, ʋɪs-, ʋəʂ] *hawhes — v. stat. know
Day 19 - Clean
gdèt [ɟdɛ̀t] *ŋatat — cv. (with ktjíe “do”) make clean, (with bròan “be”) be clean
gdèttit (mi-), gdàskas, gdittíedmi, gdittítti [ɟdɛ̀ttɪt (mɪ-), ɢɖɑ̀ʂqəʂ, ɟdɪttíɛdmɪ, ɟdɪttíttɪ] *ŋatat-ʔit (“clean-stuff”) — n. in. soap
Day 20 - Tortoise
ríe (ka-raíe), réiar, ríeas, ríemi, réi [ríɛ (qə-ɻəíɛ), rɛ́iəɻ, ríɛəʂ, ríɛmɪ, rɛ́i] *haruj — n. an. tortoise (large)
réin (ka-raéin), rìeniar, ràonas, rìenmi, rìeni [rɛ́in (qə-ɻəɛ́in), rìɛnɪəɻ, ɻɑ̀oɳəʂ, rìɛnmɪ, rìɛnɪ] *haruj-jin — n. an. tortoise (little), a term of endearment
Day 21 - Goat
djvèil (kai-dvèil), djvìeliar, djvàolgas, djvèilmi, djvìedli [ȡʋɛ̀il (qəɪ-ȡʋɛ̀il), ȡʋíɛlɪəɻ, d̪ʋɑ̀oɭɢəʂ, ȡʋɛ̀ilmɪ, ȡʋìɛdlɪ] *jowel — n. an. goat, with regularization of the accusative and ergative (expected forms ghìeliar, ghiàolgas [ʝíɛlɪəɻ, ʝɪɑ̀oɭɢəʂ])
Day 22 - River
réit (mi-), ráoskas, ríedmi, rítti [rɛ́it (mɪ-), ɻɑ́oʂqəʂ, ríɛdmɪ, ríttɪ] *ʔuroʕ-ʔit (“flow-stuff”) — n. in. river,
réizjin (mi-), raizjíeanas, rizjíenmi, rizjíeni [rɛ́iʑɪn (mɪ-), ɻəɪʑíɛɑɳəʂ, rɪʑíɛnmɪ, rɪʑíɛnɪ] — *ʔuroʕ-ʔitjin (“little flow stuff”) — n. in. creek
Day 23 - Island
àozjas [ɑ̀oz̪əʂ] *ʕotjus — cv. (with píear “give”) water
djòskal (mia-zjòskal), djaskáolgas, djiskíelmi, djaskóadla [d̪òʂqəɭ (mɪə-z̪òʂqəɭ), d̪əʂqɑ́oɭɢəʂ, ȡɪscíɛlmɪ, d̪əʂqóɑɖɭə] *ʕotjus-kul (“water-land”) — n. in. island
djìssit (mizjìssit), djòskas, djissíedmi, djissítti [ȡìssɪt (mɪ-ʑìssɪt), d̪òʂqəʂ, ȡɪssíɛdmɪ, ȡɪssíttɪ] *ʕotjus-ʔit (“water-stuff”) — n. in. water
Day 24 - Hill
maès [məɛ̀s] *maʕes — cv. (with ktjíe “do”) pile, heap, stack
màskal (mia-), maskáolgas, maiskíelmi, maskóadla [mɑ̀ʂqəɭ (mɪə-), məʂqɑ́oɭɢəʂ, məɪscíɛlmɪ, məʂqóɑɖɭə] *maʕes-kul (“pile-land”) — n. in. hill
Day 25 - Sun
ptjít (kai-), ptjíear, ptjéaskas, ptjíedmi, ptjítti [pȶít (qəɪ-), pȶíɛəɻ, pȶɛ́əʂqəʂ, pȶíɛdmɪ, pȶíttɪ] *putit — n. an. sun
Day 26 - Moon
ngiòt (kai-), ngìear, ngìaskas, ngìedmi, ngiòtta [ɲɪòʈ (qəɪ-), ɲíɛəɻ, ɲìəʂqəʂ, ɲíɛdmɪ, ɲɪòʈʈə] *ŋojut — n. an. moon
ngìe (mi-), ngìeas, ngìemi, ngèi [ɲìɛ (mɪ-), ɲìɛəʂ, ɲìɛmɪ, ɲɛ̀i] *ŋoj — n. in. light
ngiòad-ngìe — n. in. moonlight
ptjíed-ngìe — n. in. sunlight
Day 27 - Quiet
fsís [fsís] *pithis — cv. (with bròan “be”) quiet
fsíez-bìear — n. an. owl, lit. “quiet-wing”
fsíeazvar (ka-fsóazvar), fsóarar, fsàorgas, fsizvíermi, fsazvóadra [fsíɛəʐʋəɻ (qə-fʂóɑʐʋəɻ), fʂóɑɻəɻ, fʂɑ́oɻɢəʂ, fsɪzʋíɛrmɪ, fʂəʐʋóɑɖɻə] *pithis-wur (“quiet animal”) — n. an. butterfly
Day 28 - Crest
njìevil (mi-), njiviáolgas, njivéilmi, njivíedli [ȵìɛʋil (mɪ-), ȵɪʋɪɑ́oɭɢəʂ, ȵɪʋɛ́ilmɪ, ȵɪʋíɛdlɪ] *janij-pal (“stand-thing”) — n. in. crest, comb (of a bird)
Day 29 - Health
bdàozais (mi-bdiàozais), bdazáskas, bdizéizmi, bdazaéssi [bɖɑ̀oʐəɪs (mɪ-bdɪɑ̀oʐəɪs), bɖəʐɑ́ʂqəʂ, bdɪzɛ́izmɪ, bɖəʐəɛ́ssɪ] *motas-ʕes (“whole-ness”) — n. in. health, with regularization of the ergative and genitive (expected forms bdáskas [bɖɑ́ʂqəʂ], bdiazaéizmi [bdɪəʐəɛ́izmɪ])
bdàozais [bɖɑ̀oʐəɪs] *motas-ʕes — interjection. a greeting and farewell phrase
Day 30 - Honor
tnjéin [ȶȵɛ́in] *kinen — cv. (with píear “give”) honor
tnjíenis (kai-dnjíenis), tnjíeziar, tnjíeaskas, tnjinéizmi, tnjinéssi [ȶȵíɛnɪs (qəɪ-ȡȵíɛnɪs), ȶȵíɛzɪəɻ, ȶȵíɛəʂqəʂ, ȶȵɪnɛ́izmɪ, ȶȵɪnɛ́ssɪ] *kinen-has (“honored”) — n. an. village leader, with regularization of the locative (expected form tnjanáissi [t̪n̪əɳɑ́ɪssɪ])
Day 31 - Season
ngnàs [ɴɳɑ̀ʂ] *ŋonos — cv. (with pnjét “go”) turn
sfés [sfɛ́s] *kaswes — cv. (with ktjíe “do”) blow
zòa(-), zìe-, za-, zi- [ʐòɑ(-), zìɛ-, ʐə-, zɪ-] *wosuw — v. imp. grow, with regularization of the infinitive (expected form òa [òɑ])
ngnàs, ngnàskas, ngnèizmi, ngnàssa [ɴɳɑ̀ʂ, ɴɳɑ̀ʂqəʂ, ɲnɛ̀izmɪ, ɴɳɑ̀ʂʂə] *ŋonos — n. in. season, turn (period of time with a consistent type of weather), with regularization of the genitive (expected form ngàoskas [ɴɑ̀oʂqəʂ])
sféssit, sféaskas, sfissíedmi, sfissítti [sfɛ́ssɪt, sfɛ́əʂqəʂ, sfɪssíɛdmɪ, sfɪssíttɪ] *kaswes-ʔit (“wind-stuff”) — n. in. wind
ái-sféssit (mi-ái-sféssit) — n. in. winter, hunting season, lit. hunt-wind
zòai-sféssit (mi-òai-sféssit) — n. in. summer, growing season, lit. grow-wind
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The first few Valya Lexember words were made with this translation in mind. After that, it was sort of just whatever came up at the time.
I did the bulk of the translation at the beginning of December, and filled in the gaps as I made new words. The video itself, though, I made yesterday—from start to finish! I don’t really know why I did that. But the audio recording, music, drawings, and all the editing were done in one day. I will probably not be doing that again.
I'm debating doing the Conlang Year stuff this year, but am unsure if I should, since I'm not sure we can keep it up every day.
I should probably at least try though, no?
I recommend it! Valya started as a Conlang Year project, and eventually just sort of took a life of its own. I started in May iirc so I wasn’t on schedule anyway, so I did multiple prompts per day sometimes, or took days off. Once I had enough established I jumped around between prompts as stuff came up.
