#ranjana

Learning to Look Back

So I've mentioned my unnamed short story on here before but this has turned into a novelette. It has a title now!

Basics

LTLB is a speculative novelette with elements related to time.

Small cast, focus on two characters

Installment of potential stories of similar length

POC and female representation

Third person, mixed with past and present tense

Themes of learning from experiences and relying on others

About

Ranjana is a chronosian, an inorganic sentient cosmic being who exists in a pocket dimension outside of time. Some members of her people monitor time to ensure the timeline remains healthy and on track.

Tiffany Isaac is a human scientist working on her own time machine that inadvertently begins to poison time, so Ranjana enters the timeline in order to prevent the disaster.

The two must work together in order to stop time from unraveling.

LTLB is primarily a drama.

Where Am I?

I'm almost done with the first draft! I have a better sense of where the story is going and plan to make this draft focus on character work and themes, which I kind of just improvised.

I have an old draft from high school that functions as a prequel. I may adapt it later.

I hope to make installments set in this universe in the future.

Tags

I will be tagging related posts as #learning to look back #ltlb and even for funzies #little b cause that's kinda what the acronym looks like

To monitor updates I will tag related posts as #ltlb update and excerpts will be #ltlb excerpt

All characters have their own tags

Ask to be added to or removed from the tag list! @thepeculiarbird @mrbexwrites @mymomsaysbobcipher

Super excited for our new release – Nithya Ranjana! A typeface based on the calligraphic style of Ranjana script from Nepal. Sponsored by Murali K. Prahalad, Ph.D. Designed by Tathagata Biswas and Noopur Datye (Ek Type) with support from Ananda K. Maharjan (Callijatra)

Nithya Ranjana is a typeface based on the calligraphic Ranjana script practiced in Nepal. Ranjana originated sometime between the 8-11th centuries and is used to write Sanskrit and Nepal Bhasa. It was mainly used for writing Buddhist and Hindu texts in South Asia and is also used for cultural contexts by the Newar people of the Kathmandu valley in Nepal. It has a rich legacy in manuscript calligraphy, stone inscriptions, wood engravings and paintings, but it has had limited digital representation due to its complexity and lack of Unicode support.

The challenge in creating the Nithya Ranjana font was to strike a balance between Ranjana's heritage and contemporary requirements. Apart from vowels, consonants, numerals and punctuation marks, Nithya Ranjana supports 750+ unique conjuncts used in Nepal Bhasa, Sanskrit and Pali. It includes an additional 500+ character-specific matra forms and matra-specific character forms to correctly and elegantly represent its many unique combinations. It has four stylistic sets, one each for alternate conjuncts and above base matras, and two for 40 Kutakshar forms (monogram-style word marks) making it ideal for historical and contemporary usage.

The Ranjana script does not have Unicode support to date. Hence, this typeface is currently available in 2 versions – Nithya Ranjana DU (based on Devanagari Unicode) and Nithya Ranjana NU (based on Newa Unicode). We hope to update it to Ranjana Unicode as and when the proposal for Ranjana Unicode is accepted.

This project was initiated and sponsored by Murali K. Prahalad, Ph.D. His interest in helping create a modern font for Ranjana is deeply linked to his passion for preserving the world’s Sanskrit heritage for future generations by ensuring the successful transition of Sanskrit into the digital world. He has a keen interest in scripts that facilitated the spread of Sanskrit literature and knowledge across Asia. This font is named after his eldest daughter Nithya, for whose generation he hopes to preserve this tradition.

Nithya Ranjana is designed, engineered and maintained by Ek Type, India with support from Callijatra, Nepal. Key contributors of this project are Tathagata Biswas (Type Design), Noopur Datye (Type Design), Ananda K. Maharjan (Script Expert) and Sarang Kulkarni (Project Management).

In a shelter in Vrindavan, known as a “city of widows,” Lalita (at right) bears the cropped hair and white wrap her culture once considered obligatory for widowhood. Shelter manager Ranjana, a much younger widow, is less constrained by traditional customs.

कुटाक्षरय् आखः च्वं क्वय् (Top to Bottom) स्वानाः च्वयेगु, आखःग्वः पुवंके बलय्‌ क्वय् निसें च्वय् (Bottom to Top) पुवंकेगु ।

दकले न्हापां छगः छगः आखः निं पुवंक च्वयेगु, अले आकार इकार उकार एकार ओकार तयेगु, दक्वं आखःया मंकाः कथं छगू हे जक चिं तयेगु ।

ल्हाः दुगु आखःया ल्हाः आखःसिबें पिहां वइ । ल्हाः दुगु आखलय् क्वय् निसें ल्हाः पिकयाः पुवंकाः च्वयेगु । 

क, ज, क्ष, ज्ञ, / झ, फ, ह आखलय् मेगु आखः चिनेबलय् न्ह्योनेया ध्वलय् आखः चिनेगु व ल्यूनेया ल्हाः पिने सालेगु ।

'ह' आखलय् मेगु आखः चिनेबलय् 'ह'यागु स्वरुप पाइ अले न्ह्योनेया ल्हातय् चिनेगु, ल्यूनेया ल्हाः पिने सालेगु ।  

कुटाक्षरय् आकार, इकार, उकार, एकार, ओकार व औकार आखःया दथुइ च्वयेगु मखु, आखः च्वये क्वचायेकाः दकले लिपा आखःया ल्यूने जक तयेगु ।    

कुटाक्षरय् ( ा) (आकार ( ी) इकार ( ु ) उकार ( े) एकार, (ो) ओकार या चिं छगू हे जक तयेगु । 

Kutākshar is a monogram of the Ranjana script. It is only one of the Nepalese scripts that can be written in monogram. Ranjana Kutakshar form is written from top to bottom. It is also called Guptakshar. 

#Kutakshar is written for secret message or mantras. Generally only the person who have written it can read it properly, others may decode it in different way. Though it can be written in anyway secretly, but there are certain rules to write Kutakshar. And lots of rules come from Nepal Lipi, you will have to know the rules of Nepal lipi to understand the rules of Ranjana lipi for joining letters. There is no half form in Ranjana lipi and Nepal lipi, the two letters are combined into 1 letter as compound letter. 

In case of both raswo + dirgha ikar and ukar, both ikar could be combined, so only Dirgha ikar is sufficient for represent both ikars. We use Matras (Aakar, ikar, ukar, ekar, aikar, ikar and aukar) the common for all or multiple matras. So it would be better to use dirgha form only. We write only aukar even there were ekar, aikar and okar. Similarly it is better to write dirgha ikar and dirgha ukar even there are hraswa Matras. And in case of two raswo ikar, we shall put only one raswo ikar as commonly. Normally vowels (maa-akha) are written separately, However artistically they can be joined to make it look better. Aakar and ikar always comes at last. Ukar is placed at last bottom letter. The next letter is placed below where we put ukar.