adenoidal: if someone’s voice is adenoidal, some of the sound seems to come through their nose
appealing: an appealing look, voice etc shows that you want help, approval, or agreement
breathy: with loud breathing noises
brittle: if you speak in a brittle voice, you sound as if you are about to cry
croaky: if someone’s voice sounds croaky, they speak in a low rough voice that sounds as if they have a sore throat
dead: if someone’s eyes are dead, or if their voice is dead, they feel or show no emotion
disembodied: a disembodied voice comes from someone who you cannot see
flat: spoken in a voice that does not go up and down. This word is often used for describing the speech of people from a particular region.
fruity: a fruity voice or laugh is deep and strong in a pleasant way
grating: a grating voice, laugh, or sound is unpleasant and annoying
gravelly: a gravelly voice sounds low and rough
gruff: a gruff voice has a rough low sound
guttural: a guttural sound is deep and made at the back of your throat
high-pitched: a high-pitched voice or sound is very high
hoarse: someone who is hoarse or has a hoarse voice speaks in a low rough voice, usually because their throat is sore
honeyed: honeyed words or a honeyed voice sound very nice but you cannot trust the person who is speaking
husky: a husky voice is deep and sounds hoarse (=as if you have a sore throat), often in an attractive way
low adjective: a low voice or sound is quiet and difficult to hear
low adverb: in a deep voice, or with a deep sound
matter-of-fact: used about someone’s behaviour or voice
modulated: a modulated voice is controlled and pleasant to listen to
monotonous: a monotonous sound or voice is boring and unpleasant because it does not change in loudness or become higher or lower
nasal: someone with a nasal voice sounds as if they are speaking through their nose
orotund: an orotund voice is loud and clear
penetrating: a penetrating voice or sound is so high or loud that it makes you slightly uncomfortable
plummy: a plummy voice or way of speaking is considered to be typical of an English person of a high social class. This word shows that you dislike people who speak like this.
quietly: in a quiet voice
raucous: a raucous voice or noise is loud and sounds rough
ringing: a ringing sound or voice is very loud and clear
rough: a rough voice is not soft and is unpleasant to listen to
shrill: a shrill noise or voice is very loud, high, and unpleasant
silvery: a silvery voice or sound is clear, light, and pleasant
singsong: if you speak in a singsong voice, your voice rises and falls in a musical way
small: a small voice or sound is quiet
smoky: a smoky voice or smoky eyes are sexually attractive in a slightly mysterious way
softly spoken: someone who is softly spoken has a quiet gentle voice
sotto voce adjective, adverb: in a very quiet voice
stentorian: a stentorian voice sounds very loud and severe
strangled: a strangled sound is one that someone stops before they finish making it
strident: a strident voice or sound is loud and unpleasant
taut: used about something such as a voice or expression that shows someone is nervous or angry
thick: if your voice is thick with an emotion, it sounds less clear than usual because of the emotion
thickly: with a low voice that comes mostly from your throat
thin: a thin voice or sound is high and unpleasant to listen to
throaty: a throaty sound is low and seems to come from deep in your throat
tight: a tight voice or expression shows that you are nervous or annoyed
toneless: a toneless voice does not express any emotion
tremulous: if something such as your voice or smile is tremulous, it is not steady, for example because you are afraid or excited
wheezy: a wheezy noise sounds as if it is made by someone who has difficulty breathing
wobbly: if your voice is wobbly, it goes up and down, usually because you are frightened, not confident, or are going to cry
So over the weekend, we passed 10,000 subscribers on our YouTube channel. We’re really excited and amazed by this! Thanks so much for your support for us. We even got lucky enough that our staff writer Stephan managed to snag a screenshot of our page just when we hit 10,000:
As is customary for this milestone, we’re planning on doing a Q&A video to commemorate the occasion! Feel free to ask us stuff here, or on Twitter or Facebook or wherever. It can be about language stuff, the channel, or whatever else you feel like! Then we’ll pick among the questions and answer them. I’ll try to get together the whole team to do the session, too. ^_^
Also, another reminder: We’re going to be at VidCon this Thursday to Saturday! Our director Adele and I will be both attending. We’re really happy to meet up with people, so please come say hi. ^_^
I just want to say how thrilling it is to be part of this project and to be able to make linguistics videos for the wonderful audience that you all are!! Thank you to everyone who has subscribed so far and everyone who enjoys our videos.
East Asians on Western Screen – Text Printed across GIFS reads:
Constance Wu– I think in my early years being Asian was an advantage to me because that was a time when casting was more concerned about hiring POC actors to be PC. Not because there was a curiosity in the thing that made them unique. I was going out for the auditions that were “the best friend” or “the assistant” to sort of “put color” around the lead white person’s story.
–I wish people wouldn’t just see me as the Asian girl who beats everyone up, or the Asian girl with no emotion. People see Julia Roberts or Sandra Bullock in a romantic comedy, but not me.
I don’t want to play an Asian character that white America finds cute and funny because it’s a variation of Long Duk Dong in Sixteen Candles. I remember going to a Rush Hour 2 premiere and talking to a producer, and he was really excited talking to me because Hong Kong films were really kind of cool at the moment…And he goes, “How come you don’t have an accent?” And I told him that I was from Berkeley. And immediately I wasn’t as interesting to him anymore, and he walked away. But if I was from Hong Kong, and with a funny accent, maybe i’d been cuter to him, and more something that you can market.
Steven Yeun –
People ask, “So, how are the roles now? You must be getting so many!” And it’s like, I don’t know if you know, but i’m Asian still. It’s not a complaint, that’s just how it is now, and I have to forge my own path through it and see that through. I think that if I had not been Asian, I probably would have a whole plethora of roles, at least to audition for, but it’s just not what has been written.
Ming-Na Wen – That’s definitely been my lifelong career goal; to break stereotypes and not be afraid to embrace what our culture has to offer.
John Cho – I experienced racism, and in my professional life, I try to take roles (and have always tried to take roles) that don’t fall within the parameters of any Asian stereotype. And so to me, hopefully, that’s a positive thing I can put into popular culture and so maybe in some bizarrely tiny way that helps people not think of Asians in one particular way.
Ardon Cho – Turning down another role. Super-hot Asian trophy wife with a thick Asian accent. No thanks. #racist Even though it’s a studio film with stars.
Daniel Dae Kim – I’m such a fan of films and books like Lord of the Rings and even Star Wars, despite the fact that, as an actor, I’ll never be employed by them, simply because of my race.
Sandra Oh – I’d always known that I worked in an industry that blatantly excluded people based on their race. But i’d believed, naively, that I could break through those barriers if I just worked hard enough. I still have to squeeze my way into auditions, because people often can’t imagine that someone who looks the way I do could play a certain role. It doesn’t occur to them – but I know I can make it occur to them, if they just give me a chance.
Daniel Henney – I grew up in a farm town and was the only Asian. So you looked at television for inspiration. Even then, there was nothing aside from martial artists and sidekicks with accents. The Asian man has been desexualized ; in Western media] and that’s something I always fought against.
Masi Oka – Hollywood is fickle, it follows trends. If a show or a film did well with an Asian lead, then it would take off.
She discussed with us a number of topics, including the evolution and innateness of language, whether language is a module in the brain, the importance of science literacy, and more. You can find the whole thing below here!
How do we put our words together? What varieties of building blocks do we stack up to create bigger meanings? In this week’s episode, we talk about derivational and inflectional morphology: what roles each of them play, how to tell them apart, and how differences in how we string them together can lead to ambiguity.
Back talking about morphology for the first time in a while! Looking forward to hearing what people have to say. ^_^
We were voted one of the Top 25 Language YouTube Channels again this year in the Bab.la and Lexiophiles Top Language Lovers contest! We really appreciate your support for us, and we’ll keep doing our best to make good videos for you, and write interesting linguistic stuff here, too. It’s good to know people are into what we’re doing!
Thanks again to everyone who voted for us, and for all of you following us here. ^_^
Not Even: Well, if you’re only mid-list worthy you’ll have at least twenty rejections.
You want to get published? Fine. You need to accept that every single day of your career will have rejection.
Everything you write will be rejected.
Every book you publish will be hated.
Every character you love will be degraded.
Every hour you put in – the blood and sweat and tears – will be dismissed as “…talentless hack who doesn’t know how to string a sentence together.”
Millions of people will never read your book because they can’t read at all.
Millions of people will never read your book because they don’t speak the same language as you.
Millions of people will never read your book because they hate your genre.
Millions of people will never read your book because they don’t like fe/male authors.
Millions of people will never read your book because they didn’t get into it.
Billions of people will reject your work. They will mock you. They will dismiss you. They will talk trash about you.
You. Will. Be. Rejected.
It doesn’t matter. You aren’t writing for the millions. You are writing for the one.
The one person who tells you your book made them cry because it spoke to them.
The one person who tells you your book changed the way they saw the world.
The one person who tells you your book was the only light in a dark time.
The one person who tells you your book inspired them to be something more.
You are writing for them.
They will wish they could take your characters to prom.
They will read your book after their mother’s funeral.
They will curl up in bed with your book on a cold night after their first real break up.
They will turn to those pages time and again to revisit the places they love.
You’re going to get rejected. And you’re going to take that punch square on the chin and not ever back down because you know who you are writing for. Because you know it takes more than a pretty font to make a book work, you have to be willing to take the rejections. You have to go into this knowing you will fail a million times with a million readers, and that it doesn’t matter because you aren’t writing for them.
Keep your chin up. You are someone’s favorite author even if they don’t know it yet.