“Imagine knowing your favourite dwarf has a crush on you but not saying anything about it because you don’t know how to deal with it.”
– Prompt taken from ImagineXHobbit on Tumblr
For Jade, who dared me to write something Hobbity,
and Rachel, who told me I should write a Fantasy novel someday.
On pronunciations and pronoun use…
(From Quenya, Et-tel-ee-ah)
Meaning ‘foreign’ or perhaps ‘stranger’. This is Glorfindel’s ‘pet name’ for the protagonist, and also her name which serves her as Elf-friend to the Eldar.
Dwarf, Dwarves, Dwarrow, Dwarrowdam and Dwarven
Tolkien specified in his introductory notes that the plural of ‘Dwarf’ was in fact ‘Dwarves’, though he also alluded to ‘Dwarves’ being “…a piece of private bad grammar”. He instead, would have used ‘Dwarrow’ to refer to ‘Dwarf’ in a pluralistic manner, but the only noted time of him doing thus in his writings is in allusion to the Ancestral Dwarven home of Moria, as he called it ‘Dwarrowdelf’. Tolkien instead used ‘Dwarves’ to conform with the pluralisation of ‘Elf’ to ‘Elves’.
In this story, ‘Dwarf’ is the singular pronoun form, with ‘Dwarves’ referring to the race as a whole. Smaller numbers, or referring to Dwarves in a more intimate and friendly manner, will be shown through the inclusive pronoun ‘Dwarrow’. ‘Dwarrow’ also provides some distinction between the gender of the Dwarves, with ‘Dwarrow’ being masculine, and ‘Dwarrowdam’ as the female equivalent (the suffix ‘-dam’ the denotation of the female persuasion).
‘Dwarven’ and ‘Dwarfish’ relates to how nouns are classified, much in the same way for Elves, ‘Elven’, and ‘Elvish’ and are plausibly interchangeable- though I feel that ‘Dwarvish’ and ‘Elvish’ is technically reserved for the respective languages of both races; for example, “Dwarven sword” notates that the sword is crafted by the Dwarves.
A full Glossary will be provided at the end of the story.
All characters and places appearing in this work are fictitious.
Any resemblance to real persons, living or dead, and places, is purely coincidental.
All rights go to J. R. R. Tolkien,
New Line Cinema, Metro-Goldwyn-Mayer, WingNut Films, and Warner Bros. Pictures.
This includes the rights to the screenplay written by Peter Jackson,
Fran Walsh, Philippa Boyens, and Guillermo del Toro.
Dialogue and sequences that may seem familiar to those in the script,
film, or book, as well the characters, as well as quotes sighted at
the start of each chapter, belong to either the aforementioned
or other individual parties.
Erin Walsh and other fictitious constructs, do not belong
to the aforementioned, as they are created by myself for this work.