@tolkiensiblingsweek day one | protection | fíli & kíli
I swear I’ll protect you—
—from every scrape and fall,
—from stupid childhood mistakes,
—from your own stubbornness,
—from danger and darkness,
—from your foolish heart,
—from swords and spears,
—from death itself,
—with my own life.
It’s what big brothers do.
I’ll stand by you, brother. In life and in death.
(But I didn’t mean for you to die for me, too)
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DISCLAIMER: These tips work for me, they may not work for everyone, but I hope that at least some of these may be helpful for some of you.
1. Figure out your writing style
Do you overwrite? Underwrite? In my drafting and writing stages I tend to just let the words flow. During the editing stage, I fix up what I wrote. If you tend to underwrite, try to find where you can expand and write more details. If you overwrite, see what you can cut down.
Similarly, if your writing lacks in dialogue, try to add some. If your need more description or action, add some of that.
2. Sort out your goals
This mainly applies to chapters in novels, however it can also be applied to short stories. Whenever I am editing a chapter, I try to figure out what my goals for it are. For example, to solve a conflict, to introduce a conflict, to add tension, to introduce a new character or anything else. Then I try to see if I’ve accomplished that, and how I can try to make it more effective.
3. Read aloud
This one’s quite well-known, read out your work so it’s easier to catch mistakes or awkward phrasing.
4. Variation in sentence structure
While doing line edits, it helps to vary your sentences and structure. Make sure that your sentences don’t all start with the same word, or are all the same length. Vary the types of sentences and the length of those sentences. This can also be used to change the tone, build tension, etc.
5. Simplicity
Personally, I often find that I overcomplicate my sentences during the drafting process. This makes it hard to read and follow the story. To combat this, I try to split up and simplify my writing to make it easier to understand. A text that is overly simple is usually preferable to an overcomplicated one, but this also heavily depends on the style and the genre of a piece.
Hey everybody. I know how much I want to get all my WIPs out to you guys, but I haven’t really got the time. But, once I do finish them, it would really help so much if I could get a second opinion. If any of you are good editors and are interested, could you please please maybe send me a message and help me out? Please don’t feel obligated to do this. Only if you really want. And you can choose whatever ship, fic, series, etc. you want to edit. Thank you so much for taking the time to read this. I really appreciate it! :)
@tolkienfashionweek day three | classes and professions | smith-princes of the noldor
Of the smith-princes of the Noldor there is much recorded, and yet much more that has been lost. Mightiest of them, and of all smiths in Arda save Aulë himself, was Fëanor, called Curufinwë, in whose works the Doom of Arda is caught. But skilled also was his son Curufin the crafty, and his son Celebrimbor, greatest of the People of the Jewel-smiths in the Second Age. Many were their creations: weapons, and armor, and tools; but also lamps lit from within, and beautiful jewelry, fillets and necklaces and rings, and gems created from the skill of their hands.
Indeed from Fëanor came the Silmarils themselves, and from Celebrimbor the Rings of Power (though his work was not unaided as was his grandfather’s); but from Curufin it is said his greatest work was Celebrimbor, his son. Yet he perhaps produced the most of any of his line when it came to weapons of war, and if one could claim to possess a sword forged by the Lord of Himlad, that is of great worth, despite the darkness of his later deeds.
Whilst in the forges, the smith-princes wore simple aprons of leather; one who saw them in court or in the field of battle would scarcely recognize them as the same practical laborers. For gems and precious metals were ever the delight of the Noldor, and their princes wore only the finest of clothing and jewelry, made by their own hands. Of the smith-princes, alone in his preference for simple attire was Maeglin of Gondolin; but he was not of Fëanor’s line, and took more after his father, the Dark Elf of Nan Elmoth. Yet he too was a mighty smith, and his works should not be discounted among the best of the First Age.
~
Fëanor was the mightiest in skill of word and of hand, more learned than his brothers; his spirit burned as a flame.
...Curufin the crafty, who inherited most his father's skill of hand...
—The Silmarillion, “Of Eldamar and the Princes of the Eldalië”
Seldom were the hands and mind of Fëanor at rest...
...Fëanor and the craftsmen of the Noldor worked with delight, foreseeing no end to their labours...
—The Silmarillion, “Of Fëanor and the Unchaining of Melkor”
In that time were made those things that afterwards were most renowned of all the works of the Elves. For Fëanor, being come to his full might, was filled with a new thought... Then he began a long and secret labour, and he summoned all his lore, and his power, and his subtle skill; and at the end of all he made the Silmarils.
—The Silmarillion, “Of the Silmarils and the Unrest of the Noldor”
In Eregion the craftsmen of the Gwaith-i-Mírdain, the People of the Jewel-smiths, surpassed in cunning all that have ever wrought, save only Fëanor himself; and indeed greatest in skill among them was Celebrimbor, son of Curufin...
—The Silmarillion, “Of the Rings of Power and the Third Age”
@esotolkienweek day three | skies, demand | velindo
Wéland (Smith): Eriol asks innocently is not Aulë him that we call Wéland and they (Rúmil?) laughing says no and tells of Velindo or Gwilion the fay — one of Aulë’s folk who was sent by Aulë into the world to fetch at his need some of the gold heavy red gold of the dwarves.
There his pride swelled by reason of the amazement of men and dwarves at his skill; and he never returned to Aulë but set up on his own — and was once famous far and wide but with the fading of the fairies his power has waned.
He was not wicked but very vain — Eriol touches on the Bodvildr legend [in which Wéland escapes the captivity of the cruel king Niðhad and elopes with his daughter by flying away on invented wings] and Rúmil says that if it is true it shows the vanity of Wéland (Niðhad must be a dwarf king).
Notes: This character, while deeply obscure, is also deeply charming to me! In notes unearthed only in Parma Eldalambaron, Tolkien gives two Arda versions of the Old English smith-legend Wéland (written probably around the time of The Book of Lost Tales): one where Wéland is a proto-Fëanor figure (with the original myth’s hard edges rounded off), and another where he is a servant of Aulë who goes rogue. Since Fëanor, of course, has an integral role in the later legendarium, I choose to adapt Velindo into my wider Silmverse instead. I envision him as something of a sixth wizard, the Red Wizard, who flies around on invented wings and has a dwarven wife he stole away from a wicked king! As his escapades were not sanctioned by Aulë, he doesn’t have to follow the rules of the Istari, and is probably happy in his own corner of Middle-earth, living alongside his master’s children among one of the more obscure dwarven clans.
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@tolkienseaweek day one | yearning, unrest, wandering | maglor x daeron
They live their lives in flashes, in moments. One night together at the Mereth Aderthad. A single duet at the edges of the Girdle. A letter, two, smuggled by footmen marchwardens; and then— Nothing.
Daeron vanishes. Maglor is left—
Not alone. They had not truly been together. But—perhaps adrift.
Maglor is only alone after it is all over, when the Sea devours Beleriand, and he is left roaming the scars and wounds that are the remnants of its beaches. He wanders, and he wonders: Is Daeron drowned, out of reach forever, or did he wander far enough before the end came?
The waves crash endlessly, unforgivingly, each one a flash of promise, or of doom. He may never know.