I wanted Marjelim to be vaguely slavic sounding, but the grammar is cobbled together by whichever grammatical constructions I was interested in exploring. In the spirit of exploration, most sentences have a Verb Subject Object structure. I don't speak any VSO languages, so what a journey it was.
I really wanted to play with ambiguity and different types of specificity. Instead of definite and indefinite articles (the/a) nouns are optionally inflected with a definite affix based on previous mention in the conversation (ves-) or an emphasis of the understanding between speakers to pick out the specific noun being referred to (víz-). Other nouns typically don't have a determiner associated with them.
Similarly, pronouns don't encode gender, just person and number. Gender neutral language is having such a moment in English, it was fun to spend time in a space where it was a non-issue from the start. When talking about several people I think it eventually gets tough to differentiate which saj is which.
I've been meaning to put more time into studying Slovene and I'm still in a honeymoon phase with case systems, but I tried to be modest with the amount of noun cases so I didn't burn out too fast. A noun is minimally constructed by a root form and zero or more affixes. Divinity, possession, and definiteness are expressed as prefixes and number and case are expressed as suffixes. The VSO word order is fairly strict, but Marjelim still marks accusative case on nouns, nominative case is unmarked.
Verbs follow a split perfective-imperfective aspect system. If the action of the verb is considered complete by the speaker it would be expressed with the perfective, if the action is ongoing, incomplete, or has not yet started it would be expressed with the imperfective. Again playing with ambiguity and specificity, there's a bit of leeway for the speaker to decide whether they percieve the action as finished or not.
Most of these decisions aren't motivated by the source material, just an interest in seeing how all of the separate pieces fit together and whether the end result was interpretable at all. I did try to incorporate some themes from Marielda into the semantics and flow of the language, drawing on the use of floral metaphors and industrial language in ways that made sense for that culture.
If you're interested in the details I wrote a mock reference grammar for my final paper in the conlangs course, but I've nailed down the finer points of the grammar in practice.