One thing I just realised is that writers who are considering any kind of combat stuff in their writings should put their combat system in the game skill tree/AOE skill/team combo gauntlets.
Like, if I have a nickle everytime I see a game version of a story and question why they didn't use the combat in the big war arcs, I would have two nickles more than I woke up with.
The first being the combat system in Hogwarts Legacy versus the spells they use in the Harry Potter series. The spells combo. The spells mastery skills. The potions and herbology use?? I was tweaking when I realised the final battle would have been more fun to read/watch if they use Hogwarts Legacy combat system.
The second being the team ultimates in Naruto Ultimate Ninja Storm because WHAT THE HECK DO YOU MEAN WE DIDN'T GET TO SEE THE KONOHA 12 USING THOSE ELITE TEAM COMBOS FULLY-ANIMATED IN THE HUNDREDS OF EPISODES ACTUAL WAR ARC???
I've been using em-dashes in my fanfics and self-indulgent comfort stories across multiple personas and fandoms before ChatGPT exists—back when I still need 3 floppy disks to save one file.
You can try to pry my em-dashes out of my cold, dead hands; and you shall not succeed.
"what did students do before chatgpt?" well one time i forgot i had a history essay due at my 10am class the morning of so over the course of my 30 minute bus ride to school i awkwardly used by backpack as a desk, sped wrote the essay, and got an A on it.
six months later i re-read the essay prior to the final exam, went 'ohhhh yeah i remember this', got a question on that topic, and aced it.
point being that actually doing the work is how you learn the material and internalize it. ChatGPT can give you a short cut but it won't build you the the muscles.
One time in university, I had to do a novel analysis for literature class but I was busy with extra-curriculars that I misremember the deadline. Found out that the deadline is much earlier than I thought it was and I hadn't finished reading the novel, let alone to be able to break it down into proper analysis.
Ended up not sleeping for solid three days reading the novel WHILE making a mindmap and annotations of the elements I need for the presentation, took a whole day organising the slides presentation of my novel breakdown, went to class on presentation day running purely on caffeine and willpower.
Aced the presentation and the report, scored a section based on the novel in the finals a few months later.
Before chatgpt, we put in actual effort in our works. It's much easier to remember stuff when you put effort to understand the subject-matter.
people who write their fics directly onto archive of our own site do not fear death by the way
in all seriousness, please always keep backups of your works, write them somewhere else (google doc is a good choice) then copy and paste onto ao3 when you're done, because ao3 itself does not automatically save your works for you, meaning you can lose all of your progress
Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.
It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.
Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.
blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.
it’s slow. use this to your advantage! more sad writer times hehehe.
Stab wounds:
I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.
also, bleeding takes FOREVER to stop, as mentioned above.
if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)
whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites
Concussion:
despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.
if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.
Fever:
you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.
ACTUAL SYMPTOMS:
sluggishness
seizures (severe)
inability to speak clearly
feeling chilly/shivering
nausea
pain
delirium
symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.
ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.
fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.
keep writing u sadistic nerds xox love you
ALSO I FORGOT LEMME ADD ON:
YOU DIE AT 85F
sorry I forgot. at that point for a sustained period of time you're too cold to survive.
pt 2
also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox
I read a lot of scripts. A lot. From professionals to aspiring writers to complete newbies. Features and pilots. Specs and treatments.
And 8 times out of 10 the fan fic that I’ve read over the last, oh, 15 years is leagues better than this stuff. It’s more inspired. It’s more compelling. It’s genre bending and creative and heartfelt. It’s well-paced and intense and funny and sexy and meaningful. It’s smart and thoughtful and good. It’s novel-quality. Better than, sometimes.
Rare is the script I don’t want to put down, but how often have we stayed up until 3am to get to the last chapter of a 100k fic? And it’s not even a fan fic author’s day job. This is what they do on the side. In their spare time. For free.
So my point is, fan fic authors, you’re good. You’re good writers and great storytellers. I know it doesn’t always feel like it, especially if you’re one of the authors who’s not a BNF and doesn’t get the notes/hits that a few do. And because some people still view fic as “not real writing.” You guys know the shit that gets made into movies. You’re better than that. So be better than that. If writing is what you think want to do, then just know you’re already doing it. You’ve already started.
As a joke you had always said "I dedicate this to Hades" as you threw away food scraps from your cooking and cleaning your plates. When you die you find yourself in front of Charon's boat with Hades sitting in it, seemingly very excited to see his most devoted follower in recent times.
10 plants for your character's medicinal herb garden
PLANT — When to Plant — Conditions & Care — Medicinal Uses
ALOE VERA — spring/autumn — sunny site indoors; pot up as needed; do not overwater — fresh plant gel for minor burns and wounds
CALENDULA — spring/autumn — well-drained soil; full sun; remove dead flower heads — cream for cuts, scrapes, inflamed skin; infusion for fungal infections
COMFREY — spring/autumn — warm sunny site; moist soil — ointment or poultice for sprains and bruises (use the leaf only)
FEVERFEW — autumn/spring — well-drained or dry, stony soil in sun — fresh leaf or tincture for headaches and migraines
LEMON BALM — spring/autumn — moist soil in sun; cut back after flowering — infusion for anxiety, poor sleep, and nervous indigestion; lotion for cold sores
PEPPERMINT — spring/autumn — sunny but moist site; do not allow to dry out — infusion for indigestion and headaches; lotion for itchy skin
ROSEMARY — spring/autumn — sunny sheltered site; protect with burlap in winter — infusion as a stimulating nerve tonic and to aid weak digestion
SAGE — autumn/spring — well-drained or dry, sunny, sheltered site — infusion for sore throats, mouth ulcers, and diarrhea
ST. JOHN'S WORT — spring/autumn — well-drained to dry soil with sun or partial shade — tincture for depression and menopause; infused oil is antiseptic and heals wounds
THYME — spring/summer — well-drained soil, may need a layer of gravel; sunny site — infusion for coughs, colds, and chest infections; lotion for fungal infections
i dont consider myself a 'fashion guru' by any means but one thing i will say is guys you dont need to know the specific brand an item you like is - you need to know what the item is called. very rarely does a brand matter, but knowing that pair of pants is called 'cargo' vs 'boot cut' or the names of dress styles is going to help you find clothes you like WAAAYYYY faster than brand shopping
this also goes for aesthetic or -core titles. 'y2k tank top' is going to get you resellers and fast fashion brands advertising to people looking to meet a current trend. 'thin strap crop tank top' is going to get you a diverse group of results and not upcharge you to hell and back
additionally, shop second hand when you can, second hand and thrift sites typically organize clothes by the cut and color. theyll be more affordable than a depop seller curating you a style to sell you
While it's important to approach writing with creativity and imagination, it's crucial to prioritize responsible and ethical storytelling. That being said, if you're looking for information on poisons for the purpose of writing fiction, it's essential to handle the subject matter with care and accuracy. Here is a list of some common poisons that you can use in your stories:
Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.
Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.
Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.
Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, blurred vision, dizziness, an increased heart rate, and even death when ingested.
Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.
Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.
Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.
Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.
Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.
Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.
Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.
Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.
When incorporating poisons into your writing, it is essential to research and accurately portray the effects and symptoms associated with them. Additionally, be mindful of the potential impact your writing may have on readers and the importance of providing appropriate context and warnings if necessary.
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10 Non-Lethal Injuries to Add Pain to Your Writing
While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas:
Sprained Ankle
A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.
Rib Contusion
A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.
Concussion
This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.
Fractured Finger
A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.
Road Rash
The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.
Shoulder Dislocation
This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.
Deep Laceration
A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.
Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.
Pulled Muscle
This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.
Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.
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Concussions, burns, and lacerations can all be deadly depending on severity and the care given after injury.
Concussions are head traumas that result in the brain "bouncing" off the inside of the skull. In mild cases, it might just make someone dazed and they'll need a break from thinking for a couple days. However, head trauma that results in unconsciousness or more severe symptoms (vomiting, profound confusion, amnesia, etc) generally means a serious concussion, which can cause brain bleeds and death if not properly cared for. Additionally, repeated minor concussions can also cause severe effects, as is often experienced by people who play full-contact sports (rugby, football, boxing, etc).
Burns and their effects differ depending on the degree of the burn. Generally, first degree is surface-level, resulting in maybe just a blister; second degree affects the surface and inner levels of skin (dermis); third degree is burning all the way to the subcutaneous fat; and finally fourth degree is burning to muscle or bone. Anything deeper than a first degree burn can become infected very easily, because they're massive openings in the skin where the body's defense system has been cooked to death. This includes burns meant to cauterize wounds - that used to be a common way of cauterization, until army surgeons realized that soldiers were more likely to die of infection if they'd been heat-cauterized compared to cauterizing with unheated ingredients.
Finally, lacerations and other similar cuts to the skin can be deadly for obvious reasons - infection. Especially in cases of deep lacerations, where there's a risk that the skin heals but the deeper wound doesn't, creating a pocket for anaerobic bacteria (such as tetanus or gangrene) to thrive. This kind of improper healing is far more likely if the wound is being treated without medical knowledge. Additionally, if you cut in the wrong place, it can also result in massive blood loss, even if it's not very deep. And these locations aren't intuitive either! I would recommend looking up a diagram of the circulatory system to see where major veins and arteries are located.
Overall, this list is...fine. But it's lacking in detail and nuance. Humans are both ridiculously stubborn and extremely fragile, and any one of these injuries could become lethal if in the right (wrong?) environment without proper (knowledgeable) medical care. It's surprising how thin the line between lethal and non-lethal can be. Authors, do research on the injuries you give your characters, there are lots of resources by medical professionals made for laypeople like us to understand possible risks and effects of these injuries.
Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real
Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.
So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.
1. Understand What Fuels Your Character’s Anger
To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.
When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.
2. Show, Don’t Tell—But Don’t Overdo It
“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.
That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.
3. Use Dialogue to Reveal Hidden Layers
People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.
Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.
4. Control the Pacing of the Scene
The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.
You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.
5. Avoid Clichéd Expressions and Overused Reactions
When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.
Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.
6. Let the Setting Reflect the Emotion
The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.
For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.
7. Let Consequences Speak for Themselves
An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.
Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.
8. Let the Emotion Simmer After the Scene Ends
Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?
Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.
Could you explain Tariff's , like who pays them and what they do to a country?
Well, I can definitely guess where this question is coming from.
Honestly, I was pretty excited to get this prompt, because it's one I can answer and was part of my studies focus in college. International business was my thing, and the issues of comparative advantage (along with Power Purchasing Parity) were one of the things I liked to explore.
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At their simplest, tariffs are an import tax. The United States has had tariffs as low as 5%, and at other times as high as 44% on most goods, such as during the Civil War. The purpose of a tariff is in two parts: generating revenue for the government, and protectionism.
Let's first explore how a tariff works. If you want to be confused, then you need to have never taken an economics class, and look at this graph:
(src)
So let's undo that confusion.
The simplest examples are raw or basic materials such as steel, cotton, or wine.
First, without tariffs:
Let us say that Country A and Country B both produce steel, and it is of similar quality, and in both cases cost $100 per unit. Transportation from one country to the other is $50/unit, so you can either buy domestically for $100, or internationally for $150. So you buy domestically.
Now, Country B discovers a new place to mine iron very easily, and so their cost for steel drops to $60/unit due to increased ease of access.
Country A can either purchase domestically for $100, or internationally for $110 (incl. shipping), which is much more even. Still, it is more cost-effective to purchase domestically, and so Country A isn't worried.
Transportation technology is improved, dropping the shipping costs to $30/unit. A person from Country A can buy:
Domestic: $100
International: $60+$30 = $90
Purchasing steel from Country B is now cheaper than purchasing it from Country A, regardless of where you live.
Citizens in Country A, in order to reduce costs for domestic construction, begin to purchase their steel from Country B. As a result, money flows from Country A to B, and the domestic steel industry in Country A begins to feel the strain as demand dwindles.
In this scenario, with no tariffs, Country A begins to rely on B for their steel, which causes a loss of jobs (steelworkers, miners), loss of infrastructure (closing of mines and factories), and an outflow of funds to another country. As a result, Country A sees itself as losing money to B, while also growing increasingly reliant on their trading partner for the crucial good that is steel. If something happens to drive up the price of B's steel again, like political upheaval or a natural disaster, it will be difficult to quickly ramp up the production of steel in Country A's domestic facilities again.
What if a tariff is introduced early?
Alternately, the dropping of complete costs for purchase of steel from Country B could be counteracted with tariffs. Let's say we do a 25% tariff on that steel. This tariff is placed on the value of the steel, not the end cost, so:
$60 + (0.25 x $60) + $30 = $105/unit
Suddenly, with the implementation of a 25% tariff on steel from Country B, the domestic market is once again competitive. People can still buy from Country B if they would like, but Country A is less worried about the potential impacts to the domestic market.
The above example is done in regards to a mature market that has not yet begun to dwindle. The infrastructure and labor is still present, and is being preemptively protected against possible loss of industry to purchasing abroad.
What happens if the tariff is not implemented until after the market has dwindled?
Let's say that the domestic market was not protected by the tariff until several decades on. Country A's domestic production, in response to increased purchasing from abroad, has dwindled to one third of what it was before the change in pricing incentivized purchase from B.
Prices have, for the sake of keeping this example simple, remained at $100(A) and $60(B) in that time.
However, transportation has likely become better, so transportation is down to $20, meaning that total cost for steel from B is $80, accelerating the turn from domestic steel to international.
So, what happens if you suddenly implement a tariff on international steel? Shall we say, 40%?
$60 + (0.4 x 60) + 20 = $104
It's more expensive to order from abroad! Wow! Let's purchase domestically instead, because these prices add up!
But the production is only a third of what it used to be, and domestic mines and factories for refining the iron into steel can't keep up. They're scaling, sure, but that takes time. Because demand is suddenly triple of the supply, the cost skyrockets, and so steel in Country A is now $150/unit! The price will hopefully come down eventually, as factories and mines get back in gear, but will the people setting prices let that happen?
So industries that have begun to rely on international steel, which had come to $80/unit prior to the tariff, are facing the sudden impact of a cost increase of at least $25/unit (B with tariff) or the demand-driven price increase of domestic (nearly double the pre-tariff cost of steel from B), which is an increase of at least 30% what they were paying prior to the tariff.
There are possible other aspects here, such as government subsidies to buoy the domestic steel industry until it catches back up, or possibly Country B eating some of the costs so that people still buy from them (selling for $50 instead of $60 to mitigate some of the price hike, and maintain a loyal customer base), but that's not a direct impact of the tariff.
Who pays for tariffs?
Ultimately, this is a tax on a product (as opposed to a tax on profits or capital themselves, which has other effects), which means the majority of the cost is passed on directly to the consume.
As I said, we could see the producers in Country B cut their costs a little bit to maintain a loyal customer base, but depending on their trade relationships with other countries, they are just as likely to stop trading with Country A altogether in order to focus on more profitable markets.
So why do not put tariffs on everything?
Well... for that, we get into the question of production efficiency, or in this case, comparative advantage.
Let's say we have two small, neighboring countries, C and D, that have negligible transportation costs and similar industries. Both have extensive farmland, and both have a history of growing grapes for wine, and goats for wool. Country C is a little further north than D, so it has more rocky grasses that are good for goats, while D has more fertile plains that are good for growing grapes.
Let's say that they have an equal workforce of 500,000 of people. I'm going to say that 10,000 people working full time for a year is 1 unit of labor. So, Country C and Country D have between the 100 units of labor, and 50 each.
The cost of 1 unit of wool = the cost of 1 unit of wine
Country C, having better land for goats, can produce 4 units of wool for every unit of labor, and 2 units of wine for every unit of labor.
Meanwhile, Country D, having better land for grapes, can produce 2 units of wool per unit of labor, and 4 units of wine per unit of labor.
If they each devote exactly half their workforce to each product, then:
Country C: 100 units of wool, 50 units of wine
Country D: 50 units of wool, 100 units of wine
Totaling 150 units of each product.
However, if each devotes all of their workforce to the product they're better at...
Country C: 200 units of wool, no wine
Country D: no wool, 200 units of wine
and when they trade with each other, they each end up with 100 units of each product, which is a doubling of what their less-efficient labor would have resulted in!
The real world is obviously much more complicated, but in this example, we can see the pros of outsourcing some of your production to another country to focus on your own specialties.
Extreme examples of this IRL are countries where most of the economy rests on one product, such as middle-eastern petro-states that are now struggling to diversify their economies in order to not get left behind in the transition to green energy, or Taiwan's role as the world's primary producer of semiconductors being its 'silicon shield' against China.
Comparative advantage can be used well, such as our Unnamed Countries (that are definitely not the classic example of England and Portugal, with goats instead of sheep) up in the example. With each economy focusing on its specialty, there is a greater yield of both products, meaning a greater bounty for both countries.
However, should something happen to Country C up there, like an earthquake that kills half the goats, they are suddenly left with barely enough wool to clothe themselves, and nothing for Country D, which now has a surplus of wine and no wool.
So you do have to keep some domestic industry, because Bad Things Can Happen. And if we want to avoid the steel example of a collapse in the given industry, tariffs might be needed.
Are export tariffs a thing?
Yes, but they are much rarer, and can largely be defined as "oh my god, everyone please stop getting rid of this really important resource by selling it to foreigners for a big buck, we are depleting this crucial resource."
So what's the big confusion right now?
Donald Trump has, on a number of occasions, talked about 'making China pay' tariffs on the goods they import into the US. This has led to a belief that is not entirely unreasonable, that China would be the side paying the tariffs.
The view this statement engenders is that a tariff is a bit like paying a rental fee for a seller's table at an event: the producer or merchant pays the host (or landlord or what have you) a fee to sell their product on the premises. This could be a farmer's market, a renaissance faire, a comic book convention, whatever. If you want to sell at the event, you have to pay a fee to get a space to set up your table.
In the eyes of the people who listened to Trump, the tariff is that fee. China is paying the United States for access to the market.
And, technically, that's not entirely wrong. China is thus paying to enter the US market. It's just the money to pay that fee needs to come from somewhere, and like most taxes on goods, that fee comes from the consumer.
So... what now?
Well, a lot of smaller US companies that rely on cheap goods made in China are buying up non-perishables while they can, before the tariffs hit. Long-term, manufacturers in the US that rely on parts and tools manufactured in China are going to feel the squeeze once that frontloaded stock is depleted.
Some companies are large enough to take the hit on their own end, still selling at cheap rates to the consumer, because they can offset those costs with other parts of their empire... at least until smaller competitors are driven out of business, at which point they can start jacking up their prices since there are no options left. You may look at that and think, "huh, isn't that the modus operandi for Walmart and Amazon already?" and yes. It is. We are very much anticipating a 'rich get richer, poor go out of business' situation with these tariffs.
The tariffs will also impact larger companies, including non-US ones like Zara (Spanish) and H&M (Swedish), if they have a huge reliance on Chinese production to supply their huge market in the United States.
If you're interested in the repercussions that people expect from these proposed tariffs on Chinese goods, I'd suggest listening to or watching the November 8th, 2024 episode of Morning Brew Daily (I linked to YouTube, but it's also available on Spotify, Nebula, the Morning Brew website, and other podcast platforms).
Rene (≽^•⩊•^≼) @aryn-randomness - Tumblr Blog | Tumgag
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