he sits vs. he does not sithän istuu vs. hän ei istu
he is singing vs. he is not singing
he barely workhe seldom thinkhe scarcely turn up
she tell him not to buy bitcoin
she know that he wasn't at work
she doesn't know that he work in finance
he sits vs. he does not sithän istuu vs. hän ei istu
he is singing vs. he is not singing
he barely workhe seldom thinkhe scarcely turn up
she tell him not to buy bitcoin
she know that he wasn't at work
she doesn't know that he work in finance
he sits vs. he does not sithän istuu vs. hän ei istu
he is singing vs. he is not singing
he barely workhe seldom thinkhe scarcely turn up
she tell him not to buy bitcoin
she know that he wasn't at work
she doesn't know that he work in finance
Olivia Sikes needs approximately 8 interrelated languages/dialects, with some proto-forms, for a series of fantasy novels. The action takes place in a world that is generally based off medieval Europe. The languages are spoken by humans/humanoids (with the exception of a language spoken underwater by sea nymphs, which do still have human anatomy), and are somewhat based on, or similar to, medieval European languages. One language, while based on Norse/Nordic languages, has a unique evolution: it evolves with magic spells, so normal rules of evolution don’t really apply. One language already has phonetics, grammar, some roots and some vocabulary sketched out, but the conlanger is free to change it as much as is necessary.
During the initial stage, conlangs sketches will be sufficient. Later on, full languages and some translations will be needed.
The conlanger will also likely have a hand in worldbuilding the cultures, as language and culture are integral to one another.
Olivia Sikes
Open until job filled
Deadlines are loose, but three finished languages are needed within a year.
Compensation is $150 for each conlang sketch as soon as it’s finished, with $150 dollars following for the rest as soon as funds are acquired. In addition, the conlanger is promised a negotiable share of the royalties once the book is published. This will be a recurring job, meaning that translations will be needed for several books, so the conlanger will get a share of the royalties for several books.
In addition, the conlanger will be credited for his work, probably even in the dedication.
Email Olivia Sikes at grace “dot†sikes77 “at†gmail “dot†com to express your interest in the project. Please include qualifications and samples of previous work.
Note: Please assume that comments left on this post will not be read by the employer.
A TV producer is looking for a conlanger to support our writer in creating lines of dialogue for fantasy characters including fairies and other mystical characters in a fantasy adventure TV series set in Medieval Britain (up to around 1100AD).
While we are not looking to construct a whole language, as in ‘Game of Thrones’ or ‘Lord of the Rings’, we are looking to add to the culture and texture of the world by having a dedicated set of rules / words / differences in the way that these non-humans communicate. We would ideally be looking for someone based in the UK, who has some familiarity with or understanding of Medieval British languages and/or folklore so that the dialogue created fits with our time period.
You will be working together with our writer to help create specific lines of dialogue within the existing scripts.
ND
We are looking for to start initial conversations immediately with a view to start working together soon, so please send CVs, any examples of relevant work and why you think you would be suitable for the job. We will no longer accept applications after the 19th September, but will anticipate speaking to people earlier than this so please get your applications as soon as possible!
We would expect work to start in September, to support the pre-production process. Deadlines will be established once the scale of the work has been assessed between you and the producer.
The scale of work needed will be discussed between the successful applicant and the producer. Payment details will be confirmed during this discussion, but we are willing to start at £300 for all work up to and including the lines of dialogue for the first episode. Compensation for further work will be negotiated. All work created will be exclusively owned by the producer upon receipt of payment. br>
Besides compensation, the conlanger will be credited for their work.
Please email Zack Fox at asst “at†pistachio “dot†uk to express your interest in the project. Please include qualifications and samples of previous work.
Note: Please assume that comments left on this post will not be read by the employer.
"HE might bite," Alice cautiously replied, not feeling at all anxious to have the experiment tried.
"Very true," said the Duchess: "flamingoes and mustard both bite. And the moral of that is — 'Birds of a feather flock together.'"
"Only mustard isn't a bird," Alice remarked.
"HE might bite," Alice cautiously replied, not feeling at all anxious to have the experiment tried.
"Very true," said the Duchess: "flamingoes and mustard both bite. And the moral of that is — 'Birds of a feather flock together.'"
"Only mustard isn't a bird," Alice remarked.
David J. Peterson received a BA in English and Linguistics from UC Berkeley in 2003 and an MA in Linguistics from UC San Diego in 2005. He created the Dothraki and Valyrian languages for HBO’s Game of Thrones, the Castithan, Irathient and Indojisnen languages for Syfy’s Defiance, the Sondiv language for the CW’s Star-Crossed, the Lishepus language for Syfy’s Dominion, the Trigedasleng language for the CW’s The 100, and the Shiväisith language for Marvel’s Thor: The Dark World, among others. He’s been creating languages since 2000.
Abstract
This article is a collection of all the Keynote slides and the syllabus of Linguistics 183: The Linguistics of Game of Thrones and the Art of Language Invention—a six week course taught at UC Berkeley during the A session of the 2018 summer session. Each build of each slide is included, though audio and video is not embedded. While there were audio and video components on certain slides, their use should be more or less clear given the context.
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