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andytfish · 4 years

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FREELANCE GUiDANCE: A 10 Part Series - #3 Setting Up Work Parameters

One of the benefits of Freelancing is the FREEDOM but sometimes too much freedom leads to disorganization and chaos. Possibly the biggest challenger a Freelancer faces is the ability to be his own boss-- with no one constantly over your shoulder, no fear of a walk thru by the uppity mucks there's plenty of opportunity to slack off, and that will kill your career.

1. ESTABLISH YOUR WORK HOURS - This should be a "general" guide because as I've already covered sometimes creativity cannot be caged. Sometimes that great idea or inspiration comes at 2 in the morning rather than at 9. Everyone is different and this is a find your way kind of rule. During a week of working freelance take occasion to jot down notes of the time and productivity-- you'll likely see a pattern emerge. In my own case I like to get an early start but seldom do. But after years of study I've discovered my peak productivity blocks in the day- 5am-8am and 2pm to 10pm. We'll get into this a bit further below.

2. ESTABLISH A WORK AREA - This is the BIGGEST key for me. I don't allow my work to spread out all over the house. I work ONLY in my studio space. The entire third floor of my house is my office area. It houses my computers, drawing tables, easels, supplies and reference material. I DON'T spend ANY time in there NOT working. You wouldn't drive to your corporate office job so you can search eBay would you? I treat my work area with the same respect.

3. KNOW WHEN A JOB IS NOT THE RIGHT FIT - It’s hard when you're just starting out to turn down a job, but sometimes (especially early on) things come along that are not right for you. I can't draw cute. I can't. Bunnies might start KIND OF cute but eventually they're going to look depraved. It's not in my makeup. Early in my career I would have taken that gig and kept at it killing myself and doing four times the work to make it right for the client. Now I know better. You turn down the WRONG job so you're available when the RIGHT job comes along.

4. DEADLINES TRUMP EVERYTHING - My kids from an early age knew the phrase "Dad's on a deadline" -- which meant I'm a phantom that might pop up out of my studio 2-3 times a week. The Deadline is the thing. I don't miss deadlines. This should not be your every week routine— you need to have a life, but those deadline crunch times are special circumstances.

5. SET UP PRODUCTIVITY - Da Vinci used a similar schedule and I've found this works; 45-90 minute working sessions with breaks in between makes me MUCH more productive.

LET'S GET A LITTLE FURTHER IN-DEPTH to my talking points

1- Establishing Your Work Hours-- I would suggest you even buy yourself an OPEN/CLOSED sign that you can put outside your workroom door. It doesn't have to be a fancy neon one, it can be a simple cardboard one. In my studio I use to blowmold ghosts that sit at the edge of my desk-- when they're on I'm working. It not only lets other people know you're "at work" it gets yourself into the right frame of mind.

Share your working hours with significant others. Let them know you're going to be struggling to "work from home" and you'll need their help. They wouldn't walk into your office on Park Avenue with your co-workers all around and your boss down the hall clutching the light bill and saying we need to talk about that neon beer sign you must have on 24 hours a day-- they would wait until you're home from work, and just because work is now home there should be no difference.

They need to understand that work from home does NOT mean you don't work. It does not mean every elderly relative can expect you to shuttle them around to doctor appointments, it doesn't mean you're instantly the chaperone at juniors Zoo trip. YOU ARE STILL WORKING just AT HOME.

You’ll need to decide if you are going to follow a standard Monday-Friday work week or will you take Mondays and Tuesdays off? Resist the urge to not take days off because money is coming in. I strongly advocate days off for your own mental health. It's easy to swing the opposite direction in Freelance and work 24/7.

One of the first things I wanted when I went Freelance was weekends off. After years of working in retail I never got to enjoy them. In retail I had every Sunday and Wednesday off. SPLIT days-- and I was looking forward to two together. It seemed like a dream to me.

The downside to being off weekends is so is everyone else. So those Wednesday trips to the bank or the post office I used to make were a breeze compared to trying to go on Saturday morning.

Now, I schedule days off (and to be honest A Day Off) the week I'm working. It allows me to better balance projects. And being completely honest, I LOVE working freelance, sometimes taking a day off is like punishment. But even on the weeks I don't take a day off I take a morning off, or an afternoon, or an evening-- that works for me. Starting out-- I'd give yourself at least one day off each week as you're figuring out what works for you.

How About Holidays? That seems like a no-brainer until you're on that big project and it's due Dec 27th and using the Organizational skills I set up for you in Session 1 you realize you're behind. Suddenly you have a virtual scale in front of you held by Santa Claus with family and friends on one side and the client on the other.

Deciding up front that it's a hard and fast rule that you won't work CERTAIN holidays is a concession I made right away. I don't work on Christmas-- in fact I don't work two days BEFORE Christmas and I don't work the week FOLLOWING Christmas up through to Jan 2nd. I don't. Nope, not gonna do it.

Why? I like Christmas and it's a holiday I look forward to. I work extremely hard up to Dec 22nd but truth be told Christmas is VERY Slow in Freelance because most clients aren't thinking about projects either. So a studio shut down is perfectly acceptable.

But the OTHER 99 holidays on the calendar? They are all up for grabs. I don't work the night of my wife's Birthday and I keep the schedule light during the day-- but other than Xmas, New Years and my Wife's Birthday I will work any other holiday even at the drop of a hat.

Knowing this helps me keep the stress level down. My family knowing this keeps them from asking me why I'm not coming to the Memorial Day cookout, or the Patriots Day party.

2. Establish a Work Area - My wife has her own studio on another floor of the house. We meet daily for Breakfast and Lunch which is a nice break. Her studio is very zen. Very few things, a handful of books, some sparse furniture and warm inviting lights with some inspirational artwork hanging prominently around the room. Mine is the polar opposite of Zen. It's loaded like a High School locker. There is not an inch of space on my walls or shelves that is not filled with comics, posters, original art, toys, action figures, vintage japanese vinyl toys, a lifesize Frankenstein, an Adam West Batman Cowl, a Nicholas Hammond Spider-Man Mask a Tony the Tiger display head, Darth Vader mask, more toys, more art more action figures and did I mention Books? Libraries come to me to borrow things. There are THOUSANDS of books.

I love the kinetic cluttered energy it gives off. At Christmas time I decorate Frankenstein with colored lights. The rest of the year Halloween Lights hang in my studio. It's my own personal Batcave-- all I'm missing is a British Butler walking in with coffee and scones every forty five minutes.

But that space works for me. It gets me juiced up and ready to work.

That's how you need to set YOUR space. When you're just starting out you may have to incorporate a drawing or work area in another room because of space restraints. When I was first starting out in a one bedroom studio my bed was three feet from my drawing table. It made for some tough nights sleeping because it was hard to "turn off" working mode in the same room.

Regardless of space, make some for yourself. I have a good friend whose first studio space was a medium sized closet. It was actually kind of cool-- you had to climb in like a race car but once you were encased in the environment like a man piloting a lunar shuttle to the moon you were ready to work.

The point is to make this space YOUR work inspiration-- so make it a place you WANT to spend time in.

3. Know when a Job is NOT the Right Fit - Easy to say when you're established. You're going to take pretty much any job that comes along at first, and that's okay. Sometimes you don't even know the job isn't right for you until you're doing it. When we get to PART 5: GETTING PAID SON we'll look at how to budget for these types of jobs so at least you're getting paid well for something that isn't a fit.

Let's assume that despite your portfolio of Goth Animals someone comes to you thinking you'd be perfect for that highly detailed photo accurate oil painting of Grandma. That's not a good fit for you, you know it, they don't. But the light bill is due and there's not a lot else coming in right now so you're thinking hard about taking it. It's a fork in the road decision:

A. You take it and spend HOURS upon HOURS resisting the urge to give grandma dark undereyes and floppy ears. If you went with this option the biggest advice I can give you is do a lot of research and spend a LOT of time warming up. Look at portraits, look at Presidential Portraits and study the brush strokes. Grab your favorite sketchbook and some colored pencils and get to an art museum and do some sketching of the portraits in the collection. Get your head ready for the project and then give it your best shot.

B. Pass on it and recommend a friend you know who would be a better fit, earning Karma points from the friend and freeing yourself up for that job that WILL fit. Spend the downtime Marketing yourself (also coming up in the series) which is a better expenditure of your time and resources.

4. Deadlines Trump All - All my rules of work parameters combined with the skills I imparted in the ORGANIZATION session should lead you to a point where you don't have to work overtime, but in the real world we know that occasionally that IS going to happen. If you find yourself CONSTANTLY working overtime on projects re-evaluate your working methods and see if you are actually being productive or if you're wasting a lot of time.

5. SetUp Productivity - The eight hour workday became the norm at the turn of the last century and pretty much has been the standard ever since. This method goes back LONG before that to the days of Leonardo Da Vinci who often used this seemingly odd method to accomplish the amazing array of achievements he did over the course of his life.

It's simple-- you work in 45-90 minute sessions with breaks in between. During the session you do NOTHING but work. You don't answer the phone if it rings (that's why Voicemail was created) you don't check your email. You don't jump on IMDB to see who was the actor inside Darth Vader's suit (it was Dave Prowse, body builder and former Frankenstein actor). YOU WORK. Because SO much of our day is actually filled with distraction. That's OK if you work for SNIDELY WHIPLASH INDUSTRIES who is paying you a fat check to work 30% of the time, as a Freelancer you only get paid for the hours you actually WORK. Novel concept isn't it? It's the price you pay for being your own boss.

This is best accomplished either by setting up a PLAYLIST running the allotted time, or by streaming an episode of a TV series or even setting an alarm clock. Give it a try-- WORK for the allocated time and THEN take a break of 15-30 mins (also timed) to check your mail, return phone calls, do whatever-- you will be AMAZED at how this works if you can really be disciplined about it.

NEXT WEEK: LIVE WITHIN YOUR MEANS -- it's the difference between eating and not.

Andy Fish is a freelance artist and writer who has been living the lifestyle longer than there has been an iPhone on this planet. The advice given has worked for him, it might work for you, he hopes it does. But like all advice, take it with your own situation in mind. If you want to contact him shoot him an email [email protected]

#ADVICE #FREELANCE #FREELANCE LIFESTYLE

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chanoyu-to-wa · 4 years

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Nampō Roku, Book 4 (19b.1): Appendix II, Part 1 -- Selections from the Gunsho Ruijū (Vol. 19) [羣書類、第19輯].

❖ Selections from the Gunsho Ruijū (Part 19) [羣書類、第19輯]¹.

￮ With respect to the way to attach the bird, it is not appropriate to use a branch from a plum tree during the springtime. However, throughout the year, so long as setsu-bun [節分]² has not yet passed, [a bird] can be attached [to a plum branch].

Elsewhere³, it is said that in the Autumn, Winter, and Summer, one should attach [the bird to a plum branch]. One such consideration is based on an old poem. In the Ise monogatari [伊勢物語],

waga tanomu kimi ga tame ni to oru-hana ha toki-shi mo wakanu mono ni zo ari-keru

[我たのむ君かためにとおる花はときしもわかぬものにそ有ける]⁴.

￮ In spring, a flowering branch should be used. However, with regard to sending [a branch of] cherry blossoms to a place where an auspicious celebration is taking place: because there is something that gives one pause, it is best not to do so -- so it has been said⁵.

The reason for this is because, once this flower opens, just seven days will pass until [the petals] scatter. Since that date is fixed, and because we cannot estimate it⁶, this makes [sending a flowering branch of cherry blossoms] something to which we should be averse.

￮ With respect to the dimensions of the branch, the lower part [below the bird] should be 1-shaku; that above should be 2-shaku. The above [added together] are 3-shaku⁷.

In Autumn and Winter, it is better if a branch from a pine tree can be used.

￮ When speaking about the rule⁸ for the to-shiba, [the branch used] should [suggest] a tree in which [the bird] sleeps⁹. This should be [a tree] in the mountains -- but the tree can be of any kind¹⁰.

A [branch of a] tree to which a bird has been attached is called a to-shiba [としば]¹¹.

Speaking of the Gosechi¹², [this ceremony is held] in the Eleventh Month, on the middle day of the rabbit¹³. After that date the bird may also be attached to [a branch of] the kunugi [くぬぎ] oak¹⁴.

￮ If we say that the length of a bird's neck is 2-sun 5-bu¹⁵, then this should also be the distance between the neck and the legs [of successive birds¹⁶] when they are attached [to the branch].

[The bird] should be attached with a length of ao-tsuzura [青葛藤]¹⁷. But if tsuzura is not available, then there will be no objection to using green wisteria vine¹⁸.

Regarding the way [the birds] should be attached, in Spring, the female bird should be above, while the male bird should be attached below.

￮ In Autumn and Winter, the male bird should be attached above¹⁹.

When two birds are being attached, if it is a male, it should be [oriented] “katamune” [かたむね]²⁰; while if it is the female bird, the “moromune” [もろむね]²¹ [orientation] should be used when attaching it [to the branch].

However, when we say “katamune,” [we mean that] the left side of the bird’s chest should be held so that it rests [against the branch]²². When we say “moromune,” [this means] that neither [side of the breast] should be pressed tightly [against the branch]²³ -- so it has been explained. Again, at the place where [the bird is oriented] katamune, it is secured in place with thread: the body is supported by the attached wing [on that side], which is pierced and sewn through²⁴. The bird’s wing is attached to the tree on both ends [near the shoulder and near the wing-tip]: it is tied onto the branch.

The female bird’s head is carried on the left²⁵, while the male bird’s head should be carried on the right²⁶. This [teaching] is absolutely secret²⁷.

[Nevertheless] there is a case where the female bird may also be [arranged] like [a male]: if you only [attach] one [bird], it should [always] be katamune.

￮ This [sketch] shows the way the bird should be attached²⁸.

[The writing reads (from right to left): katamune ondori (かたむね男鳥)²⁹; ashi to kubi to no ma ni-sun nari (足と首との間二寸也)³⁰; tori yori shita isshaku (鳥より下一尺)³¹; moromune metori (もろむね女鳥)³².]

__________________________

¹The material translated here is taken from the Gunsho Ruijū (Vol. 19) [羣書類、第19輯], which was originally published in An-ei 8 [安永八年] (1779)*. The series was reissued as a facsimile of the original block-printed editions of the documents between 1898 and 1902. Authorship of the passages included here is credited to Shijō Takashige [四條隆重; 1507 ～ 1539]† in the original version, with the manuscript on which the printed edition was based‡ having been dated “the middle of the Ninth Month of Tenmon 4” (Tenmon yon-nen kiku-zuki chū-ku [天文四年菊月中句]**), 1535.

In this translation I will remain faithful to the original division of the material into sections -- even though, occasionally, it might seem more natural to group things differently in English.

In the specimen of the block printed pages from which this translation was made, I decided to redact the preceding passages (which dealt with the way to prepare the several varieties of birds that were commonly taken with hawks for eating††), as well as the editor’s publication notes and specifications, which immediately followed the final entry, since this information was completely irrelevant to the discussion we are undertaking here. ___________ *This was an encyclopedic compendium of all of the known manuscripts, dealing with all cultural matters, that had been identified from ancient times. The block-printed edition of the Kundai Kan Sa-u Chō Ki [君臺觀左右帳記], and one of the versions of the O-kazari Ki [御飾記], were included in this source.

†Takashige was a court noble, whose house was directly descended from the northern branch of the Fujiwara family.

Their family name derives from the location of their mansion, at Shijō ・ Ōmiya [四条・大宮], in Kyōto.

‡According to a note that accompanies the ascription, the editor indicates that the text was based on a copy of Takashige's original manuscript that was dated the year that he died. Unfortunately, historical records indicate that Shijō Takashige actually died several years later.

**Tenmon yon-nen kiku-zuki chū-ku [天文四年菊月中句]: kiku-zuki chū-ku [菊月中句] literally means “in the middle part of the Month of Chrysanthemums.” “Month of Chrysanthemums” is the classical name for the Ninth Lunar Month.

††Several particularly unsavory culinary preparations -- such as when the raw skin of a wild goose is intended as a side-dish, “it should be soaked briefly in sake,to draw out the ‘black blood,’ which should then be discarded” -- are described in more detail than one might consider strictly necessary.

Unfortunately -- or, perhaps, fortuitously -- those passages in the original manuscript were riddled with missing words, rendering Takashige’s unappealing prose even more obscure.

²Setsu-bun [節分].

Setsu-bun [節分], which occurs on February 3 or 4 each year, marks the beginning of Spring. Since it is calculated according to the solar cycle, the date does not vary (any more than the equinoctes or solstices vary from year to year) the way the months do in the Lunar calendar. Sometimes setsu-bun occurs after the Lunar New Year (as was the case this year), and in some years, it is before.

The passage is saying that a plum branch can be used for the to-shiba [鳥柴] between the end of Spring (rikka [立夏], the first day of summer, occurs on May 5 or 6) and the setsu-bun of the following year. During this time, the branch will not have any flowers (or the withered remains of flowers): from autumn there will be buds, but before setsu-bun they will still be small, and not showing color. (Of course the argument does not take into consideration the fact that global warming has advanced the season, so that the ume occasionally begins to bloom as early as December now.)

³Aki fuyu natsu wa tsuke-koto aru-beshi tomo ta-hon ni ari [秋冬夏は付事あるべしとも他本にあり].

Ta-hon ni [他本に], which I have translated “elsewhere,” literally means “in books [written by] others.” The author of this material does not cite any external sources for this version of the argument.

⁴This is the same poem, a fragment of which was quoted by Yoshida Kenkō, in his entry devoted to an explanation of the to-shiba.

As translated there (under footnote 17 of the previous post, which was Appendix I), the poem reads:

“I entrust them [to you] -- since it was [just] for you [that I made] these folded flowers

“which do not know the season [to bloom] -- these things are like that.”

This precedent is apparently interpreted to mean that plum blossoms should be used when they are not flowering: when fabricating a branch of artificial blossoms, an actual branch of the appropriate species was used in the interests of realism. (People of those times were more intimately familiar with the trees and plants that populated their environments than we are today.)

Citing this quotation makes it clear that Shijō Takashige was familiar with Yoshida Kenkō’s writings.

⁵Tadashi sakura wa shūgen no tokoro e wa habakari aru yue ni fuka-tsuki to iu-iu [但さくらは祝言の所へははゞかりある故に不可付と云々].

Shūgen no tokoro [祝言の所]: shūgen [祝言] means festivities or celebrations of a happy or auspicious nature -- today the word is usually used to refer to a wedding; tokoro [所] means the place (where such festivities are being held).

Habakari [はゞかり = はばかり] means hesitation, hindrance.

As the saying goes, cherries are loved not only on account of their beauty, but because they flower so briefly. This brief flowering, and the fact that the petals scatter from the fully open blossoms (without withering, as most flowers do) would not auger for an auspicious and long life (indeed, it suggests a life that is cut short in its prime*), and this is why one would feel a certain hesitation about sending a to-shiba to a place where such celebrations were taking place. ___________ *And that is the sense with which cherry blossoms are sometimes used in poetry.

⁶Sashite-hodo naki ni [指して程なきに].

Sashite-hodo [指して程]: sasu [指す] means to point, designate, indicate; hodo [程] means about, approximately.

But here we have no ability (naki ni [無きに]) to conjecture the approximate date (when the cherry blossoms will fall), since we do not know when they opened*. Thus, if one happens to come across a cherry in bloom, while it will be beautiful, and tempt the huntsman to use it for his to-shiba, he should not do so if the place to which he will send the to-shiba is celebrating a happy occasion† -- since the falling petals will bode ill for a long and prosperous future. __________ *The branch to which the bird or birds are attached is supposed to be collected from the area of the hunt, and the hunting party (which was mounted on horseback, so they could follow the hawks pursuit of the game that had been flushed) would likely have arrived there purely by chance.

†This is the point. A branch of cherry blossoms may be used -- and likely would be appreciated (even if some of the petals are scattering), perhaps even moving -- under ordinary circumstances. It is only when the to-shiba will arrive during a celebration that one needs to be circumspect.

⁷Ijō san-shaku nari [以上三尺也].

Ijō [以上] refers to the previous phrases, not to the length of the upper part of the branch.

⁸Shiki [式の].

Shiki [式], in this case, refers to the formula or plan dictating the correct way to do something. The construction that will result in the image or impression that one is supposed to create.

⁹Tamomu-no-ki nari [たもむの木なり].

Tamomu [眠む] means to sleep. Tamomu-no-ki [眠むの木], then, refers to a “sleeping tree” -- not a tree that is sleeping, but a tree in which the birds sleep.

This is why the bird should arranged so that it appears to be squatting on a branch, since that is the normal way for birds to sleep.

¹⁰Kore ha yama ni ari, tadashi ki ha nani ni te mo are [是は山にあり、但木は何にてもあれ].

The tree should be of a kind that is found in the mountains. However, the kind of tree is not specified -- one makes use of whatever is available, since the idea is to give the recipient an idea of where the prey was taken.

¹¹To-shiba to yobu nari [としばとよぶ也].

Here the intent appears to be to indicate the correct pronunciation. It is “to-shiba” [としば = 鳥柴], not “tori-shiba” [鳥柴] (as might seem to be the correct reading, based on the kanji).

¹²Gosechi [五節].

This refers to an ancient court ritual involving dances performed by groups of young women who were selected from among the daughters of the lower echelon of court nobles (their rank is shown in the drawing by the long, white trains that were attached in back to cover the hems of their robes). The dances were originally part of the Shintō Harvest Festival.

The Gosechi-no-mai [五節の舞] seems to have been lost during the medieval period*, which may be why Shijō Takashige felt the need to state the date (since it was apparently based on this date that the use of the kunugi [櫟] as the branch for the to-shiba was sanctioned -- just as the arrival of setsu-bun dictated the beginning of the period when a branch from a plum tree could not be used). __________ *During the centuries when the different military families were vying for control of the country, the Imperial Court was often denied the funds needed to stage ceremonies such as this; and when such a state of affairs had continued for a number of years, the details began to be lost.

¹³Shimo-tsuki no naka no u-no-hi [霜月の中の卯の日].

This appears to be the date of the Gosechi dances.

Shimo-tsuki [霜月], the “Month of Frosts,” is the classical name for the Eleventh Month of the Lunar year.

U-no-hi [卯の日] is the “Day-of-the-Rabbit”: the 12 animals of the Chinese zodiac were used to designate the sequence of days in a repeating cycle*, and the Day-of-the-Rabbit was the fourth day in the cycle.

The Gosechi dances (according to this source) seem to have been performed on the middle* (or second) Day-of-the-Rabbit† that occurred during the Eleventh Month. __________ *Since the cycle is twelve days, while each month has 29 or 30 days, each of the animal-names occurs two or three times each month. While the series remains the same -- rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig -- the animal corresponding to the each day of each month differed from year to year.

†The term naka no u-no-hi [中の卯の日] means that the u-no-hi [卯の日] (Day-of-the-Rabbit) occurred three times during the month. This would have been the second occurrence of the day.

There was another rule that decreed the date of the dances when the Day-of-the-Rabbit occurred only twice during the Eleventh Month -- but Takashige has not included it in his comments.

¹⁴Kunugi [くぬぎ].

Kunugi [櫟] is an Asian species of oak (Quercus acutissima)*, referred to as the sawtooth oak in English. The acorns of this oak can be used for food.

This kind of oak was used for fuel†, which may be the symbolic reason why it could be used from this time‡. __________ *This oak makes up a considerable proportion of the brushwood species that populate the understory of Japanese forests on Honshū.

The timing is probably related to the fact that after the middle of the Eleventh Month, the wood would have dried out sufficiently to be used as fuel.

†Oak charcoal was made from this tree. This kind of hardwood charcoal was used in iron production, and requires a forced air flow to burn at its hottest. (It cannot be used in the furo or ro, for example. The charcoal used in chanoyu is softwood charcoal, originally made from pine.)

‡Since, from this time, the winter will be deepening.

¹⁵Tori-no-kubi no ahahi ni-sun go-bu to iu ha [鳥のくびのあはひ二寸五分と云は].

Ahahi [間] means the interval, in other words, the length from the base of the skull to the shoulder.

To iu ha [と云は]: the present phrase is a supposition. Birds necks are naturally of various lengths.

¹⁶It would appear that the ideas about the number of birds that could be attached to a single to-shiba had evolved in the 300 years since Yoshida Kenkō [吉田兼好, 1284 ~ 1350] recorded the story of Shimotsukeno Takekatsu's explanation of the precedents to Konoe Iehira [近衛家平; 1282 ~ 1324].

Yoshida Kenkō was, of course, a slightly younger contemporary of the Okamoto kampaku (the text of the Tsurezure-gusa [徒然草] was written between 1330 and 1332).

¹⁷Ao-tsuzura [青葛藤].

This is a kind of liana, Cocculus orbiculatus*, related to the kuzu [葛] (arrowroot vine)†, which bears small clusters of blue to black drupes in the autumn. __________ *Or possibly C. trilobus. There seems to be no clear distinction between these two names in the literature (they may be botanical synonyms, but this, too is uncertain); while the range of C. orbiculatus appears to be much farther south (Java) than even the most southern of the Japanese islands.

Sometimes members of this genus (which is extremely widespread, with species being found in Africa, Asia, and North America) are referred to as coralberry or moonseed in English.

†Mentions of “kudzu vines” being used for the purpose of tying, in English translations, are probably references to this vine.

¹⁸Aoi-fuji [あをき藤].

This means the wisteria vine during the growing season. Once the vine has turned brown and hardened, it will be too stiff to use for the present purpose.

Ao-tsuzura, on the other hand, is about half the thickness of wisteria vine, and remains reasonably pliable even in winter, when the vine is mature.

¹⁹This statement seems to have migrated away from the one that precedes it.

²⁰Katamune [かたむね].

Katamune [片胸] means one side of the bird's breast -- in other words, (only) one side is positioned so that it adjoins the branch.

²¹Moromune [もろむね].

Moromune [諸胸]* means “both sides” of the breast -- that is, the the bird's breast-bone is oriented toward the branch, so that both sides of the breast come into contact with the branch slightly. __________ *Moromune [諸胸] literally means that “all” of the bird's breast is oriented toward the branch.

²²Tori no hidari-no-hittare tomaru to ha toru-beshi [鳥の左のひつたれとまるとはとるべし].

Hittare [ひったれ] means the flesh of a bird's breast*. Hidari-no-hittare [左のひったれ] would mean the bird’s left breast, the flesh to the left of the sternum. __________ *Specifically, the flesh that can be eaten.

Anatomically, it appears to correspond to mune [胸] (which means the chest), at least as the words are being used here.

Both the hitatare and the momo [腿], thigh, were used as meat. The rest of the carcass was generally boiled to make soup.

²³Sukoshi mo kizu tsukenu [すこしもきず付ぬ].

Sukoshi mo [少しも] means (in this case*) not at all.

Kizu [着ず] means not cling to, not adhere to; and tsukenu [付けぬ] means not be attached.

The sternum faces toward the branch, but it is not tightly pressed to it (the bird is secured by the neck and by the legs, and sometimes by one of the wings). __________ *Because we are dealing with a negative.

²⁴Mata katamune no tokoro wo nū-koto, mi yori tasuke no tsugi-no-hane wo nukite nū nari [又片むねの所をぬう事、身よりたすけの次の羽をぬきてぬう也].

Nū-koto [縫う事], and nū [縫う], mean to sew or stitch together.

Tsugi-no-hane [次の羽] means the wing next to (the side of the bird's body facing the branch).

Nuku [貫く] means to pierce, penetrate.

The left side of the bird is held to the branch by a piece of thread sewn through the wing, and then tied to the branch.

²⁵Metori wo ba hidari ni atama wo yadoshi [女鳥をば左に頭をやどし].

Yadosu [宿す] means to hold or carry.

The editor of the block-printed edition has included a gloss beside this line: migi wo mi-suru nari [右を見するなり], which means “it looks to the right.”

²⁶Ondori ha atama wo migi he yadosu-beshi [男鳥は頭を右へやどすべし].

The editor of the published version added the comment: hidari wo mi-suru nari [左を見するなり], which means “it is looking toward the left.”

²⁷Goku-hi [極秘].

Literally, “the most extreme secret.” Top secret.

²⁸In the block printed edition, this sketch was printed elsewhere, with only a gloss to indicate that it should be found here. I have restored it to what is assumed to have been its original place in Shijō Takashige’s manuscript.

²⁹Katamune ondori [かたむね男鳥]: the male bird (is oriented) as katamune. The bird represents something like a pheasant (kiji [雉 -- though “雉子” is preferred today]).

³⁰Ashi to kubi to no ma ni-sun nari [足と首との間二寸也]: the distance from the legs (of the upper bird) to the neck (of the lower bird) is 2-sun.

³¹Tori yori shita isshaku [鳥より下一尺]: below the (lower) bird, (the branch extends) 1-shaku (further).

³²Moromune me-tori [もろむね女鳥]: the female bird (is oriented) with the whole of its breast (toward the branch).

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project-ml · 6 years

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Project: Lunar New Years 2018 Chapter Two

Plot/Concept: @qookyquiche, @chalala-chan, @panda013, @piikoarts, @purr-cat-stinate

Comic Version

Sketch Artist: @lishylu

Line Artist: @lijau

Color Artist: @qookyquiche

Script: @jezzicabell, @lishylu, @lijau

Fan Fiction

Author: @jezzicabell

Beta: @mimosaeyes

Word Count: 1108

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Masterposts

If Marinette weren’t so sure that she’d always be able to spot Adrien’s halo of golden hair in a crowd, she would have been more worried about losing him among all the other people wearing red. Which was the majority of the people.

“There’s so much red everywhere, I can hardly see where one stall ends and the other starts,” Adrien commented. Marinette took a deep breath, determined not to stutter for once, and turned to make a clever and engaging reply. Before she could utter anything embarrassing, as she knew she would anyway, one child ran around a corner and bumped straight into her and caused her to stumble backwards with a startled oomph. The child wasn’t as lucky and fell back onto her bottom, dropping the doll in her hands along with two small red envelopes. Marinette quickly crouched to help the young girl. “I’m very sorry,” the child said, looking a little upset. “I wasn’t looking where I was going.” “That’s okay little one,” Marinette said gently, picking up the fallen toy and handing it back. “As long as we’re more careful next time. Now I believe these are yours?” Marinette held out the two dropped envelopes, and the girl took them back with both hands, her toy tucked securely under her arm. “Of course, and thank you!” The child beamed at Marinette before rushing back off into the crowd. Marinette giggled before standing up again. “You’re very good with kids,” Adrien commented, startling Marinette a fair bit. “Oh well, I kid with babysit… babysit a kid. Sorry, I got a little twisted there,” Marinette says, blushing and chuckling half-heartedly. “Manon is always a handful, but when you’ve dealt with that troublemaker, you’re prepared for kids. You’re prepared for looking after kids, that is.” Marinette wasn’t sure if it was the red cheongsam that gave her the ability to not completely muddle her words, too much anyway, but she was thankful. Idly she wondered if she should wear red clothes more often, but she quickly dismissed the idea before changing the topic. “So what brings the festival out to you, I mean brings you out to the festival?” Marinette tries politely, feeling her face heat up again as her words got twisted. “My Chinese tutor instructed me to come out and practice my Chinese,” Adrien replied with a kind smile. “He’s out of the country on business, so he expects me to immerse myself in the culture.” “Oh well, it’s a good thing you came out here then,” Marinette replied. “Not that it’s a good thing that this is just more work for you but the festival is good, and the dances are fun, and the food is good and—” Marinette cut herself off, realising that she had started rambling. So not cool. “So you’ve been to these festivals before? That’s so cool. Though your uncle was a Chinese chef, so I suppose I shouldn’t be surprised.” Marinette could’ve died happy at that moment. Adrien thought she was cool and even remembered that time with her uncle and his soup. “Oh!” Marinette exclaimed, suddenly remembering the bag of pastries her mother had packed. “Would you like a pastry? We’ve been making heaps at the bakery in preparation. You can’t have Chinese New Year without the proper goodies.” “I would be honoured to be a part of this tradition. How much are they?” “How much? No no, no money just try them,” Marinette said in a rush. Was she so awkward that he believed she would try to sell them? That wasn’t a happy thought. Pushing it aside, she watched as Adrien bit into a Sugar Ring. She bit her lip, hoping he would like the sweet treat. “These are amazing Marinette!” he exclaims after a moment, face lighting up. Slightly shocked at the quick response, Marinette almost stuttered again. “They’re Sugar Rings, although Maman says that in Chinese they are called tánghuán.” “Tánghuán,” he repeats. “These are delicious.” Marinette giggles. “They are understandably well liked by children,” she explains happily. “They’re eaten during these festivities to represent togetherness and sweetness.” Marinette held out another sugar ring that Adrien happily took and nibbled on. “These are Sesame Seed Balls, or máqiú, they represent fullness,” she continues pulling out a pastry for herself. “Not as sweet as the sugar rings. But still delicious. Would you like to try one?” “Definitely?” Adrien responded, accepting the goody offered to him. Biting down on the goody Adrien made another amazed face before turning to Marinette. “Honestly Marinette, these are amazing. I would probably live in a bakery if I got food like this all the time.” Internally Marinette felt like she was shutting down and held in a scream, instead turning to look at the festival so that Adrien wouldn’t see her flushed face. Where was Alya to slap some sense into her when she was needed? The conversation turned quiet as the two continued to munch on their snacks. “How did Chinese New Year start?” Adrien asked. Marinette was slightly thrown by the question. She paused to consider it. “Well, I know why we have certain traditions? Like we wear red and have fireworks and stuff because it wards off the bad spirits.” “Yeah, there is a heap of traditions, my tutor told me about a lot of them, but when did they start? Why did they start?” Marinette pondered it for a moment, thinking over the many traditions she knew of, before realising she had no idea. “Huh, that is curious. I’m not too sure…” Adrien pouted slightly before lighting up with an idea. Pulling his phone out he flashed her a brilliant smile and unlocked it to see if he could find out the answer to his question. “Now now, no need for any fancy technology to find the answers you seek, as useful as it sometimes is.” Marinette jumped when a vaguely familiar voice came from her left, and then again when she felt an arm on her right. With a quick glance, she realised that Adrien had jumped as well and reached out to her in the process. Instead of becoming a puddle on the spot Marinette forced her attention back to her left where a fairly familiar face was standing at the entrance to a story-telling booth. The booth was covered with red drapes, and Marinette eyes various miraculous patterns that were woven into the design of the fabric. “Master Fu?” she questions. “Yes, yes, you must both come visit my booth, and I will tell you a tale. The tale from which the traditions stem. Knowledge can be a powerful tool. Come inside.”

#miraculous ladybug #adrienette #adrinette #marinette dupain cheng #adrien agreste #lunar new years #themlgroup #project: lunar new years 2018

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lonelypond · 7 years

Text

Casual Lunacy, Chapter 16

Love Live, NicoMaki 4K, 16/?

Friend Or Foe

Nico glanced at her phone and grimaced, “ARRGHHHH. Kashima!”

Maki’s head snapped toward Nico, who smiled and shrugged before frantically scrolling through her contacts. And then Maki was behind Nico, leaning over her shoulder, arms wrapped around Nico’s waist, voice a low, sexy growl that made Nico shiver, “What did Kashima do?”

Nico shook her head, getting more frantic as she got closer to the end of her contacts list, “Not Kashima. Kashima’s singing voice.” Nico put her phone away and turned around, exasperated, eyes dull, “My rehearsal pianist quit.”

Maki frowned. Nico sad was unacceptable. No sparkle in the ruby eyes was a crime against cuteness. And this, Maki could fix, “I can play the piano. I’ll do it.” Maki kissed Nico and grinned proudly, having easily solved this first problem for her GIRLFRIEND.

Nico stared. Surely not...then she remembered the karaoke, “Can you sight read?”

Maki shrugged, “Sure.”

“I have a piano reserved for this afternoon…” Nico sounded tentative, like she was having trouble believing Maki was telling the truth.

“More time with Nico for me.” Maki twirled Nico. Umi sat up behind them, stared at the two of them for a minute and then moved to the kitchen, pulling a plate out of the oven and pouring coffee.

“Kashima will be there too.” Nico broke away from Maki, hands on hips, brow darkened, “And Nico needs Kashima. You can’t scare her.”

Maki moved closer, sliding her arms through Nico’s, enjoying the feel of her hands on the curves of Nico’s hips, “I will only be paying attention to you.”

Nico still looked suspicious, “And the music.”

Maki nodded her head as she angled for a nip at Nico’s neck, “And the music.”

“Explain.” Umi’s coffee mug hit the table and Umi’s voice echoed. Nico pulled her neck away from Maki, who blew air along its length, making Nico shiver.

“Nico.” Umi’s voice was threatening. Nico pushed Maki toward the kitchen.

“Grab the plates for us, pretty girl. Nico’s starving.” Nico sat down across from Umi, “I only found out right before your party. I didn’t know the night Maki slept over.” Nico shook her head at the smug redhead, “Nico’s still a little annoyed about that too, by the way.”

“You.” Umi turned to Maki. “Explain.”

Anxiety and confusion from Umi, worry from Nico, worry and that new mix of scents that made Maki want to get as close to Nico as possible. She slid her seat Nico-ward and took the suspiciously still dynamo’s hand under the table, swallowing a whine.

“I transform into a wolf, voluntarily, sometimes involuntarily if I’m stressed enough and the moon’s full. It’s from my father’s side, as long as anyone remembers, long before we immigrated from Japan. Papa doesn’t transform…” Nico was paying close attention to Maki’s expression, her hand a squeeze of encouragement. Umi continued stoic, but her vibe was a friendly one, so Maki powered through her hesitation to share, “M..my first transformation happened at 8.” She turned to Nico, lavender eyes troubled, “Some things are more…” Maki sighed, trying to think of the right word as Nico rested her head on the werewolf’s shoulder “urgent when I’m in wolf form.”

“Can it be transmitted to others?” Umi folded her hands together.

Maki shook her head. “There’s no science I know of, but Mama, my grandfather and other relatives have always been fine.”

“Genetic anomaly then.” Umi stated. Maki nodded. “Interesting.”

Nico hummed, relaxed on Maki’s shoulder, and the warmth spread. Maki felt her tension ease, slightly, “Papa’s done some research, but he can’t publish it anywhere.”

“Is there a network?” Umi wondered.

Maki shook her head, careful not to disturb Nico, who had closed her eyes. Their food was getting cold but neither of them paid any attention to it. “I know a few who aren’t family.” Maki swallowed nervously, “I..it’s fairly easy to...sniff them out. We smell and hear things better than other people.”

Umi glanced down at her still folded hands, considering, for a long, nervous moment. Maki heard Nico’s sotte voce thought, “That’s how you knew Nico was scared.” Maki snuffled her nose through Nico’s hair, finding the hints of lavender, as Umi looked up with a serious expression. Maki froze.

“Maki, No cute, na...k...no clothes wolfdog in front of Honoka and Kotori. Ever.” Umi tapped her finger on the table, “And Nico.”

“Yes?” “You do all the vacuuming from now on.” Umi pointed at Maki, “Her shedding is your problem.”

Nico grinned and bounced over to kiss Umi on the cheek, causing a surprised whimper from both Umi and Maki, “You’re a real tyrant, Umi Sonoda.”

Umi coughed, “And Maki...”

Startled, Maki focused on Umi instead of how much farther Nico was getting away from her, “Yes?”

“Nico will explain the house rules we have both agreed to at her earliest convenience. Kotori and Honoka follow them precisely.”

Nico muttered “Honoka” with a snort, putting the coffeepot, two mugs and muffins on a tray, and Maki leaned forward, paying close attention as Umi continued speaking, her tone uncompromising.

“And while I am not Nico’s immediate family, should you cause her any distress or trouble, I WILL be your immediate concern.” Nico almost dropped the tray at the chill in Umi’s voice as Maki’s eyes went wide.

Maki wondered if meeting Nico’s actual family would be this nerve wracking. Nico put a muffin and a mug in front of Maki without even looking. Barista reflexes, Maki realized.

“Don’t scare her, Umi. She’s skittish enough. I don’t want her jumping every time you open a door.”

“Hey!” Maki barked, indignant. Nico patted her on the head.

Umi glared at Maki, her syllables precise. “Roommate talk. Interruptions by romantic partners are discouraged.”

Nico poured coffee, “I use that clause on Honoka all the time, don’t blow it for me, pretty girl. More, Umi?”

Umi nodded. Nico poured, then sat and bit into a muffin. Maki picked one up, sniffing cautiously, pumpkin, cinnamon, ginger and cardamon exploded inside her mouth and she salivated, suddenly starving.

“Never play poker, coffee, black, ears, cute, dating Nico for her cooking,” Nico’s knee bumped Maki’s playfully under the table; Umi laughed as Maki swallowed the muffin nearly whole. Nico was definitely liking this Sunday mood.

Eli was impressed by so many things about Nozomi, but her grit in the face of what seemed to be overwhelming pain was pretty high on the list. Nozomi had a meeting with Erena Toudou, the lighting designer’s assistant and she refused to miss, reschedule or relocate it. Nozomi had scrubbed her face, left off her makeup, tied a bandana around her head, pulled a pretty purple and white sweater dress over black leggings and headed to the theatre. Eli came along, even though she didn’t have a dance rehearsal scheduled. She was both worried about Nozomi and curious about what the artist was doing. Nozomi had shown her some sketches last night. Eli wanted to see the full effect, how light and color added to depth of the mood Nozomi had managed to capture in a few lively pastel strokes.

Nozomi had been mostly quiet over breakfast. Eli figured she was saving her energy for the explosion of pain being in the theatre seemed to cause. Eli was wearing her jacket open, not that bothered by the chill and thrilled to see the sun, when Nozomi stopped in front of her, gloved hands reaching for the parka’s zipper, “You should really zip up, Eli-chi. I don’t want you to catch cold.”

“Russian blood,” Eli stamped her foot and grinned, “This is summer.”

Nozomi stepped closer and closed the zipper, her lips also closing the gap to Eli’s, her hands on settling below Eli’s shoulders. “Your lips are cold.”

“Liar.” Eli smirked, as she drew Nozomi closer.

“Convince me.” Nozomi winked.

“Anything the lady wishes.” Eli leaned in, Nozomi’s lips tingling at the connection.

Erena was perched on the edge of the stage, typing urgently into her laptop. Nozomi stopped once she got inside the door, her hand reaching for Eli’s.

“Nozomi?” Eli whispered, concerned. Nozomi squeezed Eli’s hand once and smiled brightly as she let go and headed toward the stage.

“Erena!” Nozomi chirped.

Erena looked up, her brows frowning, “Nozomi. You sound in a better mood than the last time we talked.”

Nozomi giggled, “It’s a beautiful day, I’ve been kissed by a beautiful girl. And now I get to work with a handsome one.”

Erena nodded, “Glad to see you’re in a good mood. I had an idea for the lighting during the “Ringed By Wolves” song.”

“Ooh, let me see it.” Nozomi jumped up on the stage, and leaned into Erena. Eli smiled over her Econ textbook, glad to see some liveliness back in Nozomi’s eyes.

Maki had waited at the table, drinking coffee under the watchful eye of Umi,who was cleaning up the counter, while Nico changed,

“You live in the area?” Umi asked.

“A little bit north of campus.” Maki sipped as Umi joined her at the table.

“Honoka, Kotori and I are from Minneapolis. Kotori wanted to study costuming and fashion here; Honoka and I decided on Marketing.”

“Did Kotori do the party decorations?” Maki asked.

Umi nodded.

“Pretty. I loved the lanterns. My mother can never find a decorator to do the Lunar New Year theme with the right flair.” Maki found herself wondering how long Nico was going to take. She couldn’t hear much going on in the bedroom, Nico was surprisingly quiet when doing anything other than talking.

“Kotori will be pleased to hear that.” Umi expression was a subtle take on pleased and proud without going so far as to smile.

And Nico was about to walk back into the room. Maki turned, eager, and Umi chuckled, making Maki whirl with a barked, “What?”

“Your body language is very similar in whatever form you’ve taken.”

Maki rolled her eyes, hopped out of her chair and grabbed Nico for a hug. Nico batted at her arms, but Maki just laughed and whirled Nico. When she put Nico down, the smaller woman readjusted her cherry red dress over her snowflake leggings, grumbling, “Nico will just wear blacks if you’re going to mess everything up the second I walk into a room.”

Maki knew Nico wasn’t really upset so a question was safe. “Blacks?”

“Stagehands wear black backstage. Less distracting. Every theatre major has some.” Nico explained. “If you’re ready, let’s head out. I want to get there before Kashima so you can run through the song with Nico.” Nico grabbed a small backpack covered with cute pins and kitschy patches. Maki shrugged back into her track jacket, following Nico. “I have work later, Umi so I won’t be home ‘til late.”

“Honoka’s coming over to study; Kotori’s going to be working at the costume shop all night.”

“I know. Nico can’t wait to try out Mina Murray’s vampire hunting outfit.”

Any clothes Maki was wearing were vampire hunting clothes, if Kashima was the vampire, Maki thought with a scowl as the taller woman preened and Nico frowned in Maki’s direction. But Maki had promised Nico she would not scare Kashima so Maki bit back both a growl and a whine and sat up a little straighter at the piano, waiting for Nico to cue her. If only she could avoid gagging on the all too pervasive stink of Kashima’s cologne. Maybe she could beg Nico to have a word with Kashima now that she didn’t have to hide the truth about how sensitive her werewolf nose could be.

Along with Kashima had come a crowd of three tittering girls neither Maki or Nico knew. They were who Kashima was preening for. One of them detached from the vampire in training and leaned on the piano. It was only a console piano, but Maki didn’t care as Nico was what she was there for. The girl, short, blonde, lilac, murmured at Maki, “Are you a music major?”

Maki shook her head, not really paying attention as Kashima leaned in the doorway and winked at Nico, who then suddenly noticed one of Kashima’s hangers on was missing and whirled, moving quickly to the piano and pushing the straying girl Kashima-ward, “Kashima, if you can’t control your groupies, they have to leave. Nico can’t work with so many distractions.”

“Sorry, Nico.” Kashima shrugged, not looking sorry at all as she whispered something in the ear of the one who smelled mostly of chocolate. More tittering. Maki flexed her fingers and started improvising, to distract herself from Nico’s increasing flutterings of anger and impatience. Maki was going to snarl at Kashima if this kept up and she was pretty sure Nico would not be willing to take provocation into account.

“OUT!” There was a shout and Nico somehow managed to wrestle the three girls, all taller or broader than her, out of the room, barely breaking a sweat, “Nico needs to work.” On her way back into the room, Nico dragged Kashima to the piano by the collar. Maki was impressed by Nico’s ability to physically exert her personality. Kashima, bereft of her following and faced with the prospect of an angry Nico and actually singing, seemed subdued. Maki smiled, close lipped, no fangs, thinking encouraging thoughts on Nico’s behalf. Surely Kashima couldn’t be as bad as Nico claimed.

Nico leaned toward Kashima and Maki narrowed her eyes, her fingers off the keys. Nico waited until Kashima met her glance, then smiled brightly, “Thanks for coming today, Kashima. I’ve been looking forward to working with you.” Maki couldn’t help it, she snorted. Nico kicked straight back, her heel colliding with Maki’s ankle, causing a yelp. “Let’s start with warm ups.”

Kashima opened her mouth and Maki realized that Nico had not been exaggerating. Maki glanced at the sheet music again and groaned. No one had rewritten the music to reflect Kashima’s higher range than the baritone who should have been cast. This was a disaster from the start, Kashima’s natural lack of ability aside.

“Nico?” Maki hesitated. Nico was right there, arms around Maki’s shoulders, her head resting right next to Maki’s ear as she whispered, “Is there a problem, pretty, pouty, piano playing girl?”

“Kashima’s part is written for a baritone. I’ll have to take it up an octave for an alto…but someone should rearrange this.”

Nico sighed and hugged Maki, “Director has no musical skills, musical director is terrified. It’s a bad combination.”

“I can rearrange it. Maybe have Kashima Rex Harrison her way through it, but the composer might object.”

Nico kissed Maki on the cheek, then stood, “Maybe not more than hearing Kashima stumble in a range not natural to her.”

Kashima had taken a seat and was staring, worried, “Nico?”

“Don’t worry, Kashima, Maki’s going to help us. Nico’s going to make sure no one actually dies on stage.”

Nico started leading Kashima through warm ups again while Maki grabbed Nico’s backpack to search for a pencil or pen. This was going to be a long afternoon. But music was a challenge she had missed.

Rin was relaxed in Hanayo’s lap as they listened to K-Pop stream over Hanayo’s laptop speakers, Hanayo singing along softly, her hand brushing through Rin’s hair. Then an alert went off and Hanayo tensed.

“Kayochin?” Rin was puzzled, they spent a couple of hours every Sunday afternoon like this, when Rin didn’t have practice or rehearsal.

“Sorry. I have a message. From work.” Hanayo grabbed the laptop and put it to the side, so she could read without disturbing Rin.

“What kind of work?”

“Computer coding.” Hanayo’s answer was automatic (she’d rehearsed) as she read the urgent message from Erena. “Rin, remember you promised you wouldn’t change when I’m not here, right.”

“Sure, Kayochin.” Rin was picking up an unusual mix of worry and fear from her fiancée

“Good.” Hanayo pulled Rin up into a serious hug, ruffling the ginger’s hair, enjoying the softness, “I have to go out for a little while. Why don’t you study for that quiz you’ve got? And when I get back we’ll play video games.”

Rin raised a suspicious eyebrow, but Hanayo was too busy getting ready to go outside to notice. Unaware of Rin’s scrutiny, Hanayo paused in front of the mirror, checking her hair, straightening her hat and muttering, pausing for a minute to look herself in the eye, then nod. “I won’t be long, Rin. Please don’t follow me.” Hanayo turned around, kissing Rin before Rin could get out any questions, “And remember your promise.”

Rin stood still for a second, arms slack at her side. Then, she grabbed her phone and sent a panicky text to Maki.

R: MAKI MAKI MAKI ( ⁰д⁰) Kayochin’s breaking up with me (≖͞_≖̥) HELP (/∇≦*)

Nozomi hadn’t flinched even once, which was great, but Eli found herself putting her textbook aside to watch Erena, who seemed to be paying as much attention to Nozomi as Eli had initially. Eli’s arms had crossed over her chest and her blue eyes gone ice, which attracted a puzzled look from Nozomi before the artist got involved in shuffling between projections.

“E...excuse me?” A soft, shy voice sounded from the back of the theater.

“Koizumi!” Erena boomed and hurried to the center aisle.

“I...I think I found w...what you wanted.” The mousy brunette nervously fidgeted with a messenger bag.

“Great!” Erena grabbed the bag, “I’ll show you what to do in case this happens again.”

Koizumi nodded, glancing nervously around the room. As Erena led her backstage, Eli decided to interrupt Nozomi. “I can’t wait to see your art with the finished set.” Eli slid next to Nozomi on the bench that had been moved to the front of the house with a temp table for the light board.

“I know. The colors are so evocative of the tension inherent in every interaction Dracula has. Who knew you could do so much with gray?” Nozomi leaned into Eli, “I love when the set is half built and the theater is empty. There’s a lurking mood. It’s exciting.”

Eli hugged Nozomi, glad to hear excitement in her voice. But then Nozomi tensed with a hiss.

“Nozomi?” Eli glanced at Nozomi, who had raised a hand to her head.

“I’ll be all right, Eli-chi. Don’t worry.” Nozomi muttered.

Eli frowned, “I came over here to tell you I’m going for a quick walk, but I’ll stay if you need me…”

“No,” Nozomi raised her head and smiled at Eli, who noticed her eyes watering, “If you sprint over to Norris, I could use some food.”

“On it!” Eli stood, kissed Nozomi gently and strode out of the theater, stopping as soon as she hit the corridor to lurk. It was a only a few minutes before Erena’s delivery girl left and Eli followed her outside, waiting until they were clear of the entrance to grab her arm and pull her to the side.

“What did you and Erena do to Nozomi?” Eli’s voice was a furious whip. Purple eyes widened, then there was a squeak.

“Nozomi?” Hanayo tried to pull away.

“Nozomi Tojo, the artist doing the projections.” Eli knew she was looming over the smaller girl but she didn’t really give a damn.

“Is she a w...werewolf?” Another squeak as Hanayo struggled.

Eli stepped back, staring, “What?”

Koizumi shook her head, “Never mind.”

“No. Not never mind.” Eli was getting louder. “What are you doing to Nozomi?”

Hanayo flinched, but her eyes were sympathetic, “Don’t shout. Please.”

Eli snorted, taking a step in, “Why should I listen to you? You listen to me…” “STOP!” The loud cry surprised Eli, who let go. The smaller woman panted from the exertion, but continued, her tone urgent, “I’m p…p...protecting someone too.”

Eli froze, shocked silent. What was going on?

Nico had sent Kashima on her way and crashed next to Maki on the piano bench, exhausted after the nearly ninety minute session. Maki had been impressed by how much seriousness Nico brought to her practice. No flirting, no joking, no breaks for more than a swig of water. Relentlessly leading Kashima by example and encouraging Maki to demonstrate how to work through the song. Maki had, after picking up a few hints from Nico’s ever agile expression, managed to find a way to help Kashima without completely overshadowing her vocally.

“We should sing a duet.” Nico murmured, “Maki has a nice voice.”

“Next party.” Maki offered, enjoying Nico’s proximity, deciding not to tease Nico about liking her duet with Honoka. Maki swung a leg over the bench so she could wrap her arms around Nico and pull the smaller girl into her torso. Snuffling her nose through Nico’s hair, inhaling the even muskier, sweaty Nico magic helped cut out the lingering Kashima funk.

“Nico needs a shower.” Nico sighed, her weight against Maki.

“Nico is fine,” Maki murmured, eyes closed, lips working their way down to Nico’s neck, tongue flicking out for a quick lick. “Tasty.”

Nico laughed, “Nico is not a donut. Does Maki need a snack?”

“I prefer Nico.” Maki nipped at Nico’s ear, her hands tightening around Nico’s waist.

With a groan, Nico forced herself away, leaving Maki staring after her with a pout. “Nico has to work, pouty puppy eyes. And then Nico has classes and rehearsals and studying and more work.”

And Maki had a week of going home right after her classes unless her mother softened. Maki stood, reaching over to pick up Nico’s backpack and sling it over her shoulder, “I can walk you wherever you’re going.”

Nico’s pursed her lips, hand resting on Maki’s forearm, “When do you have to be home this week?”

“By 5:30 most days.” Maki looked down at Nico, letting her eyes glow with the surge of desire that Nico’s touch triggered.

“You look too tempting.” Nico slid her hands until her arms were around Maki’s neck, making sure her hands were in contact with Maki for the entire motion. The luminous green deep in the pools of lavender pulsed as Maki’s breaths raced. Nico was fascinated. And the fangs were back, with that endearing, impish grin as Maki tilted her head, her hands pressing Nico closer, fingers learning Nico’s every twitch and tell.

“Maki.” Nico let her voice wrap the syllables, warm and teasing and certain and affectionate and bold. Maki’s eyes went wide, Nico’s voice a cunning, provocative charm, and then she pounced, kissing Nico with a breathtaking fierceness that drove Nico forward, every change in pressure as Maki's lips explored, scattering more and more of Nico's practiced discipline.

“YOU NEVER ANSWERED YOUR PHONE!” Rin complained as she slammed the door open.

Nico jumped; Maki growled, her heart going so fast blood thudded in her ears, her fists clenched “Are you kidding me? What the hell, Rin?”

Rin yanked Maki away from Nico, frantic, “This is serious, Maki. SERIOUS. An emergency. Kayochin’s dumping me. I can smell other women.”

Nico took a good look at the shorter ginger haired girl. Smell? Did Maki have a werewolf friend? And who was Kayochin?

“Didn’t Hanayo get a job?” Maki asked, calm more quickly than Rin deserved. That was a name Nico recognized. The nice friend with glasses. “That’s probably why she smells different.”

“She’s acting sneaky, Maki. Something’s wrong.” Rin was sullen, suspicious, pacing the room. “She told me not to follow her. Or...”

“You know she worries about you. Because she…” Maki glanced quickly at Nico, blushing, ‘l...loves you. Didn’t she propose?”

“But that was before…” Rin’s eyes had no gleam left.

“Before what, Rin?” Maki had never seen Rin this low.

“College.” Rin collapsed into the corner, arms over her head.

Nico immediately pulled Rin to her feet. “No sulking.” Nico announced, “It never helps. You two are walking Nico home, then going off for a run or something.” Nico winked at Maki, “Nico is sure Maki has some energy to burn off. And Nico is sure Maki’s cute friend will feel better soon, right?”

Rin just shruffled as Nico pushed her out of the room. This was ridiculous. Maki knew there was no way Hanayo was doing anything with anyone who wasn’t Rin. And If Maki had to shake Rin out of her gloom to convince her, she would.

A/N: Thanks for your patience and sorry about the delay. And I appreciate those of you who Tumblr and expressed your willingness to wait for a complete chapter while some professional upheaval settled. Ta da! Complete chapter. Hope you enjoy. Things are getting serious. Now, if only I can stop interrupting Nico and Maki alone time, right (=｀ェ´=)

Also, Adam Ant songs are fun to be reminded of (⌒.−)＝★

#nicomaki #nishikino maki #yazawa nico #love live #fanfic #Casual Lunacy #werewolf #howling #sonoda umi #nozoeli #rinpana #coffeeshop #theatre #college #amping up the drama #etc

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nctinfo · 7 years

Text

[TRANS] "Ten" Thai in Korea, determined to improve and gain experiences

After debuting and becoming a Korean idol in the band “NCT”, how do feel when someone refers to you as “Ten NCT”?

At first, I was unfamiliar with Ten NCT, because everyone used to call me Ten SM Rookies, including the people in Thailand. However, after debuting with NCT, I feel very happy that our group finally has its own name (smiles); that we have our own signatures. When people call our names and follow with “NCT”, it makes me feel very proud - like we’ve accomplished part of our goal. But for me, this is only the beginning.

From the time where you were a trainee to today where you get to stand on a stage, how do you feel and in which areas do you think you have learned and improved on?

When I was a trainee, there were times where I went on stage to represent SM Rookies. After debuting, the excitement I felt on stage didn’t change much, but now, we have our own songs and we get to perform our own songs. This made me feel like I had to show my individuality for the fans to see. In terms of improvement, it’s probably confidence. When I was a trainee, I did feel like I had confidence, but it wasn’t that much. We had to do what the staff said. However, after debuting and performing on stage, we were able to express our emotions more. Other than this, I still practice regularly, in order to provide a show that improves every time.

These days, have you adjusted more to the Korean lifestyle?

Currently, I’ve adapted to the lifestyle by a lot. The thing I haven’t completely adjusted to is language. Right now, it’s at a certain point but I want to be able to speak it more fluently and I want to know more vocabulary and fix my accent to be clearer as well. However, in terms of food, I have no problem with it (smiles).

When do you feel tired and discouraged in Korea and how do you cope with it?

I felt most discouraged during my trainee days. When training, I wanted to see specific results, but sometimes, it takes more than just 1 or 2 days to get what you want. During these times, I felt very frustrated with myself and I thought about why I didn’t get those results. However, after debuting, I came to know that in order to master something, we have to collect those skills bit by bit. We also have to know our own bodies and not overdo anything. Thus, I believe we should think thoroughly and gradually practice. That is probably the best thing that we can do. As for when I get tired, the first thing I do is talk to my parents. Also, I always think about my goal before coming to Korea, and the reason why I want to join the entertainment industry. When I think about these things, it gives me motivation to keep on going.

Did you have any friends or sunbaes in SM that gave you advice?

Actually, all the sunbaes were kind to us and talked to us, especially Siwon from Super Junior. For example, during Chinese New Year, which occurs on the same day as the Lunar New Year in Korea, Siwon bought food for the all the international hoobaes to eat together. Taemin from Shinee also gave us advice and took care of us. At first, Siwon also came and spoke Thai with me, saying “sawadee krub” (hello), but these days he doesn’t say it anymore (laughing).

If you were to release a duet, who would you want to be your partner?

Oh, there are many people (smiles). In terms of Korean artists, if I had the chance, I would want to collab with Taemin Shinee because he’s my idol. I want to be skillful like him. As for my group members, I would want to try making a song with everyone, because everyone has different personalities, different taste in music. If we were to produce a song, the color of each song would be different; that’s why I would like to work with everyone. Personally, if I were able to duet, I would like to make a song with pop and R&B sounds with a medium tempo.

Could you talk about your experiences from performing in “Hit The Stage”?

It was the first place that I was able to show my dancing skills alone. At first, I was quite scared, because after debuting and going through tough competition, I had to compete with all these sunbaes from different groups. At first, I felt a lot of pressure (smiles), but after showing my stage, I felt unfettered and had a lot of fun. Being on this show made me know that I like dancing. Before this, there were some times where I felt like dancing was tiring, but after performing, I knew I truly liked dancing.

What did you learn from “Hit the Stage” and which of your performances do you like the most?

I learned about performing. When I was in SM Rookies, I once gave an interview about how I had trouble showing my facial expressions when I was performing. I think that if anyone tries, they can become a good dancer, but the most important thing is showing our emotions through our facial expressions. This is extremely challenging as it isn’t something we can copy from someone else. We have to incorporate our personality as well. At that time, I performed and tried to find more of my own personality, and that also gave me more confidence. As for the stages that I like the most, the first stage is called “Devil” and the stage that got me first place is “The Thunder”, which represented an orchestra in which I was a conductor for. The reason I chose this stage was because most of the time, I dance a lot, and sometimes, I want to challenge myself. This stage had both a lot of dancing and facial expressions. It was challenging in respect to the areas that I wanted to improve on. But really, I like every show I’ve done, it’s just these two shows that I had the most fun with and felt the most unfettered.

Let’s ask about “NCT” now. Which of your members speak the best Thai?

I think Taeyong has the best accent and Mark is the best overall. If he practiced a bit, he would probably speak very clearly. Actually, I don’t teach them Thai, but when the other members ask how to say something. Taeyong is the one who says “sawadee krup pom chue taeyong krub” (hello my name is Taeyong) most often. The Thai that I teach them is mostly numbers. For example, when Taeyong came to Thailand, I taught him how to count numbers in Thai, how to order food and drinks. I try to teach words that are used in everyday life.

Do you have any other dreams you want to achieve?

In the future, if given the chance, I would want to draw a lot and open my own gallery using pictures that I drew and photos that I took and let people come see it. I’ve always liked drawing. I used to learn drawing but then I stopped. Currently, I’ve started taking lessons once again. I mostly like drawing black and white sketches. Although they may not be that pretty (smiles) , but each drawing reflects my thoughts at the time. Of the photos I’ve drawn, there are many that I like. I really like flowers and the photo that I like the most is one of a flower, a butterfly, and a bee. It has a lot of meaning in itself. I have yet to draw my group members (smiles).

What principles do you apply in work?

The thing that I think about all the time is if we want something, then we have to try, not wait for an opportunity to arise alone. We have to consider both because we will never know when an opportunity will arise. Therefore, the thing that is best for us is to practice our hardest to prepare.

Can you share your experiences on coming back to Thailand to pay respects to the late king?

I was in Korea when I saw news of the late king. At that time, I was shocked. My manager came up to me and asked if something was wrong, if I was okay. I then called my mom and told her I wanted to go back to Thailand, I wanted to bow to king rama 9. My mom also wanted me to come back, so we talked to SM, and they accepted our request. That day, I came to line up at 6AM with my mom, my sister and a staff. We signed our names and mourned. I felt sad, and kind of empty, like something was gone. That day we came to bow to the king, it felt like we came to show our respects to our father.

In what ways do you feel impressed by His Majesty?

I know that His Majesty did a lot for Thai citizens, but the thing that I’m most impressed by is the Royal Rainmaking Project, because farming is very important in Thailand and we have many farmers. His Majesty showed us that he truly loves and cares for Thai citizens.

Your birthday is coming up. If you could make 1 wish, what would you ask for this?

I wish that I would be able to do things that I want to do in the future, and for NCT to become more popular around the world. If the members want to do anything, I hope that it comes smoothly (smiles).

Lastly, do you have any words for Thai fans, the people that have always supported you?

Thank you for always keeping up with NCT and me. Thank you for always supporting us through every project and cheering us on. In the future, if NCT and I were to repay and thank all our fans, it will probably be through one of our projects. The reason we work hard and do more work is to produce good projects to give to our Thai fans.

Translation: Pomme @ FY! NCT (NCTINFO) | Source: DailyNews

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#NCT #NCT U #ten #t:trans #t:interview

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