The Ravings of a Madman

AO3: https://archiveofourown.org/users/Devils_Advokid

[devilsadvokid]

Hi there, I'm Tádhg, and I sometimes make fan works!

This blog will mainly be used to keep track of my creations, and to info dump about them off my main.

Under 18s beware, many of my works won't be suitable for you.

Asks welcome!

[devilsadvokid]

Just thought of the funniest/stupidest reason we haven't got TES 6 (which someone's probably already said, but it's 2am when I started writing this so I can't be arsed to check)

Alduin is dead

I'm serious. With him dead, there's no new Kalpas, no progression

How a Kalpa works in TES isn't a "new world" in the sense of a brand new original world, but the same general world going through changes (a snake shedding it's skin. It's still the same snake). A new coat of paint instead of a new building

That's basically what the games do. The differences between Arena and Skyrim are massive, with people happy to discuss the Dragon breaks featured, but rarely mentioning that Arena can't be affected by a Dragonbreak, it's a different world entirely, one that predates the gods/dragon breaks/kalpas, but it's still the same collection of worlds, same way Arena and Skyrim are a part of the same franchise (Arena is literally called the first chapter)

We know its the same gods (Shor son of Shor literally says it outright) who keep repeating the actions of their previous selves, just like how the gods have been repeating certain actions since they were introduced in Daggerfall (since the gods didn't exist until that point in the games, but did exist in the original DnD campaign that TES is now based on, which was being played after Arena wrapped up), with mostly minor changes (such as the lack of certain gods and elevation of minor gods like Auriel) between games. TES 1-4 isn't about one Uriel Septim, but 4 different and connected Uriels across 4 different games/Kalpas

It's not intended, but on a meta level it's really interesting that the only games we've gotten since TES V are;

Blades, taking place before Skyrim and adding lore that did not exist, such as the village, the spider farms, and whatever Sheo is doing

ESO, taking place before Skyrim and adding lore that did not exist, and changes everything from the geography to the gods (including a Daedric Prince that is literally a god of fate and mirrors, which is a piece of iconography used in Shor Son of Shor to explain the different forms of the gods, Kyne VS Kynareth)

(quite frankly ESO is the best example of the idea of the same snake with shedded skin. It's obviously a part of the same franchise, but the differences between it and Skyrim are staggering)

Legends, which takes (took, rip) place everywhere it can, but definitely adds to the lore in ways that weren't planned when Skyrim was being written (and people have been saying for years that certain characters don't look like themselves in the card art. I know it's because of art direction, but they're literally the same people with different skins)

Castles, a game no one considers canon (for obvious reasons honestly) that still adds things to the lore that weren't previously planned, and takes place before/during Skyrim

None of the games (or novels as far as I know) take place after Skyrim. On a Doylist level, that's because Bethesda is still figuring out what they want to do with TES 6, but it's interesting on a Watsonian level to assume it's because we killed Alduin and prevented any more Kalpa's. Nothing can move further than Alduin's death until the world is eaten so another can be born

(Oblivion remastered could technically be included, because again, it's literally the same snake (Oblivion) with a very literal new skin (remaster), but I haven't played that game to say if there's any major changes beyond graphics and voices)

The fight in the Dawn Era is outside of time, so as long as the gods fight, things can move forward, but it can't break through the most recent (chronologically in-universe, not out) Kalpa. The snake can't shed it's skin

This also gives an in-universe reason as to why I can play Arena and not have Cyrodiil be a jungle. Yes, Talos still destroyed it and made it into clear forest, but the Kalpa/game he existed in comes after Arena, so the Champion of Cyrodiil is unaffected. They're from a different world

That's why each major hero (all Shezzarines) causes a new game, they (as Vivec says) recreate the war in the Dawn Era ("And the awful fighting began again") and force another Kalpa to be born, which not only adds to, but destroys the previously held world ("your father's... you create every time you spit out your doom")

Is this intended? Fuck no, they wouldn't have ever teased TES 6 if it was, but it's very funny they did this shit after, '"prevent the world from ever ending/growing so it can remain stagnant/trapped in this time" The Game'

"I like this world, I don't want it to end", indeed. No wonder Todd keeps re-releasing Skyrim, we wanted this!

[devilsadvokid]

Spoilers for Apparently Sir Cameron Needs to Die under the cut

Just realised the reason his female body is shorter, bustier, and less strong is because he's a riff on playable fantasy characters

Think of the Elder Scrolls (and especially Skyrim for customisation); the women are shorter, and instead of muscles you make your tits bigger

That's why he has naturals to rival Gandalf, he's buff as hell as a male, so when the sex is toggled over the muscle slider is the same, so he gets massive boobs instead

[devilsadvokid]

Finally made art of her I was happy with, so I'd like to introduce: Cyna (she/her)

Info on the adaptable racer and her tragic backstory under the cut:

One of the playable characters in the 2013 Wreck-It Studios game 'Turbo Time Junior Racing', Cyna is the legacy character to their recent smash hit 'Hero's Duty'

Raised on earth by her mum, Cyna was born under the name Grace Adlering, daughter of an incredibly talented engineer.

Cyna was created to capitalise on the fanbase's love of cy-bugs; her cart looked like a juvenile cy-bug, her motorbike was based on scrapped concepts from the original Hero's Duty, and even her racing abilities were based on the eat and copy mechanic of the cy-bugs

To match the game she was based on, Cyna was outfitted with a tragic backstory. Most of it is found outside of gameplay (primarily the guide book and the official game site), but hints to it remain in the Hero's Duty themed track: Lab With No Name

To unlock Cyna in story mode, players are required to beat her in a race in the newly unlocked track 'Lab With No Name', where a small lab on the Planet With No Name is under siege by cy-bugs (the cy-bugs act more like pirahna plants in Mario Kart, so no teenagers are getting consumed, unfortunately)

Once unlocked, her primary ability is, "Eat, Destroy", where Cyna is able to (briefly) use the abilities of other racers immediately after removing a piece of their cart. Her special, "Multiply", causes a swarm of young cy-bugs to surround her, damaging any carts that get within it's radius, and the cost of some of her carts added parts

Her tragic backstory goes like this:

Most people know what happened.

The first cy-bug breaks out of containment and becomes the cy-bug Queen, birthing an army, forcing the government to send the space marines, who arrive six months into the lab being on lock down, most of the civilians confined to the canteen while they waited out the swarm

Grace was one of those citizens, but she was not in the canteen. She was delivering lunch to her mother, who worked on the upper floors, developing the metal alloys that make up the cy-bug bodies

By the time Ms Adlering found her daughter, with the help of friend and coworker Dr Brad Scott, two days have passed, and Grace had become Cyna, a cy-brid of Grace and a cy-bug she named Hopper

At this time, Cyna was much closer in appearance to a juvenile cy-bug, two eyes, no wings, a small tail, her modified brain visible beneath a clear headcase. Her voice had also changed, duplicating over itself as she spoke, though she could now communicate like a cy-bug, could now communicate to them

Scott believed that Cyna was not Grace and was just a cy-bug that managed to eat the poor nine year old girl and obsorb her memories. Adlering believed Cyna and refused to harm her daughter

When Scott asked to use Cyna so he could create weapons capable of killing the queen, Adlering ran, her daughter in her arms

The two managed to survive the six months of lockdown without ever entering the csnteen, not one cy-bug ever attacking or threatening them

When the space marines find the two, the recently activated beacon causing Cyna to fall asleep, it takes Adlering throwing herself on top of her daughter to stop the marines from shooting an unconscious Cyna on sight

It was General Lockload that signed the papers that defined Cyna as minimum risk, a non-combatant in their war against the cy-bugs. But that did not make her harmless

He also decided to keep her confined to the planet, not to be released until the queen was destroyed. With the main lab under the control of the cy-bugs, Lockload set up a new lab multiple miles away, the Lab With No Name

Adlering on the other hand is sent back to earth on Lockload's orders, dragged kicking and screaming off the planet, with the promise of financial support and access to 24/7 communication with her daughter

Coincidentally, the marines would be attacked the same night Adlering was sent away, a group of cy-bugs targeting the supplies that would be used to build the minor lab. Lockload was hospitalised during this attack

The marines held up their promise, Adlering had all the money she could have, 24/7 communication with her daughter, and anything else she demanded from the marines, far more than could be said of other scientists who worked on the Planet With No Name when the cy-bugs broke out

When Cyna was 11, General Lockload was forced to return to earth due to health problems caused by the Cy-bug attack

When Cyna was 12, she transformed, gaining the form seen in the image above

It's only at the age of 14 that she's left the planet for the first time in half a decade, becoming a racer alongside other teens being trained by Turbo Sr., thanks to Adlering working with the retired racer to get her daughter into the school. The attack on the lab by cy-bugs the very day Turbo Sr. sent other teens to pick her up was pure coincidence

No one has to know Cyna brought a few friends with her (They know. The other teens play games with the juveniles, and Turbo Sr. is trying to train some of the adults to move scrap metal out of the race track without eating it)

[octoswan]

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

[firelightinferno]

Oh, that’s very helpful indeed!

[writing-prompt-s]

!!!

[arthropoidangst]

@latrodecti

[patientno7]

the suffering never ends

[sinksanksockie2]

This is the real process

[thewritingbeast-blog]

Resources for you!

Character Ideas:

Character creation masterpost

Character Alignment Chart

More character alignment descriptions

Muslim Character questions

Characters with magical powers

Building a new character advice

How to create a character for an online or tabletop RPG (also a good guide on creating characters in general)

Royalty/nobility TV Tropes page

Basic character profile

OC masterpost

Random character generators - (1), (2), (3), (4)

D&D Character Building Tool

Character Design Ideas:

How clothing affects a character’s personality

Character Design Inspiration blog

Concept art, fan art, cool art to be inspired by

Character design references and inspiration

Sources for POC character design ideas and models

Create your own character model using HeroForge

For horned characters

Body and hair types guide

Random outfit generator

Naming Help:

Amazing site with an endless amount of naming resources

General advice on avoiding naming appropriation

Hispanic Surnames

Gothic Victorian names

Huge master list for character things in general

Masterlist of names of all types - including but not limited to ancient/old world names, Celtic, African, Northern European, Southern and Central American Native names, Japanese, Chinese, Mongolian, Polynesian, and more

Another name masterlist

How to pick a character name guide

Yet another names masterlist

Creating Background/backstory:

Character Sheet/Development Sheet

Another character development list

In-depth character personality, motivations and traits sheet

320 talents and passions for characters

On writing likes and dislikes that aren’t frivolous

Why you should write non-human characters non-conforming to the gender binary

Stereotypes, tropes, and archetypes

Random backstory generator

Assassin and thief character tropes to avoid

Character Interactions and putting your character into your world/story:

Comparing character height/height references

Characters who are scientists and writing about them doing science

Describing what different voices sound like

Describing skin tones

Writing friendship interactions that are platonic

Why having one character knock their friend unconscious to prevent them from doing something is a bad idea

Advice on shipping OCs with canon characters and what to avoid doing

Sweet Polly Oliver and Sweet on Polly Oliver situations (think of Disney’s Mulan for an example)

How to write multiple viewpoints/juggling a main cast of more than 4 to 6 characters

How to make readers care about your morally gray hero/anti-hero

On platonic OC and canon character relationships

How to avoid Godmodding in RPs

When it’s cheap to kill off a character

Writing dialogue

Things you shouldn’t do to canon characters

Avoiding purple prose in writing and RPs

Slang resources

Dialogue tips

Websites to chart your story/plot/character relationships

Bonus art masterlist!

[brucewayneright]

BLESS EVERYONE IN THIS POST.

[jasmehraj]

Oh my God!

It’s amazing, some links aren’t working for me but those who are, are spectacular.

[tamsinswriting]

Reblogging because NAMING IS HARD

[writing-prompt-s]

!!!!!!!

[allthingswhumpyandangsty]

HOW TO WRITE A CHARACTER WHO IS IN PAIN

first thing you might want to consider: is the pain mental or physical?

if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc

if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc

because your character will react differently to different types of pain

PHYSICAL PAIN

sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.

acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).

dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).

if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?

neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.

EMOTIONAL PAIN

grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)

heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.

betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.

there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.

hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.

fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.

and I think that’s it for now! feel free to add anything I may have forgotten to mention here!

[werewolfism]

WIKIPEDIA MONSTER COMPILATION PAGES FOR PEOPLE

japanese creatures

greek creatures

creatures organised by type

creatures listed by letter

humanoid creatures

filipino creatures

chinese creatures

cryptids

‘fearsome critters’

angels

beings referred to as fairies

creatures that pretend to be human

a page on therianthropic creatures

shapeshifters

hybrid creatures

extraterrestrial creatures

deities

a page of mythology page links

a section of folklore page links

flying creatures

theological demons

fictional species lists

mythology related lists

legendary creature related lists

[wildsurvival]

[bear--hearted]

This is a beautiful graphic but it doesn’t explain the pros and cons of each fire type.

The Swedish torch is good for an efficient and contained fire, it’s controlled and good for cooking over and produces less light and heat than other fires. It can be difficult to keep going once you burn through the original log

The teepee is your traditional campfire. Good for heat and light not great for cooking, burns through fuel fairly quickly

The star fire is one of the slowest burning and not well protected but provides an even heat good for slow cooking and is excellent if you have limited fuel and need the protection a fire can provide

The lean to is a compact and efficient fire that evolves into a dense and hot bed of coals. The structure creates a good source of air flow which can help damp wood burn. A slightly better cooking fire that isn’t as bright. It also provides protection from wind on one side

The platform fire is incredibly hot and will create a very thick bed of coals but it doesn’t have a lot of air flow and is a little harder to get started.

The log cabin is big and bright and has lots of air flow which again is good for damp logs. You can also use this structure to start a smaller fire in the middle while drying out bigger logs. This fire will crumble into a messier bed of coals that don’t produce particularly even heat for cooking.

The modified leanto is excellent if you need it to perform multiple functions. The side with more fuel will burn bright and hot and the side with less fuel will burn less hot but more evenly and controlled, this gives you different cooking options.

[rinitachan]

reblogging for writing purposes. the exact reason will come soon enough.

[patentlyabsurdrpgideas]

DMs, if a player ever utters the word “realistic” in a critical tone, make them figure out what type of campfire they want to make completely in-character.

[thatrabidwolf]

Questions to ask yourself when creating a magic system

I have more questions for you!!! :D

As there are no real-word examples for this one, I’m going to be talking a lot about my own magic systems, and those of the medias I enjoy! There will be a list of all the things I referenced at the bottom!

What does magic DO

Exactly the title. What does magic do? (Can it make potions? Cast spells? Animate things? Transfigure things? Create things? Kill things? Cast hexes or charms? Multiple of these?)

What does magic have an affect on? What does it not?

How strong is magic? What are its limits? How do these differ from person to person, or place to place? 

Does magic do different things for different people?

How does a magic caster’s intention for a ‘spell’ affect it? Is magic entirely reliant on a mental image of what is wanted, or does it need to be casted a certain way to work, like a recipe?

How is magic casted? (Note- I recommend being creative here! It doesn’t have to just be waving a wand. It can be through making pottery, it can be through sewing certain patterns, or dancing a certain dance, etc etc etc)

How can spells be used for something that is not their intended/common purpose? How are new uses of magic discovered? Which uses are most common, and why?

How does societal standards affect the use of magic? Will less people know about more harmful or taboo spells? Will it be less common for, say, a woman to use/be trained in magic?

Source of Magic 

Where does magic come from? (Do the gods give access to their most devout followers? Is it handed down in one’s blood? Does it come from the earth?)

Is magic learnt, or are people born with it? (E.g does magic work through potions that can be made by anyone with the right ingredients, or is it only possible if one has magic already in their blood?)

Can someone who logically shouldn’t know magic learn/possess it by alternate means? (E.g. Luz from The Owl House learning magic  via ‘glyphs’ despite not being a witch) how would people treat this? (Is it seen as ‘lesser’ or somehow not ‘real’ magic?)

Can magic be harnessed through a wand/staff/etc? Can it only function through this conduit, or can it be done without? How does magic function if it does not have the aforementioned conduit? (Is it harder to manage? Is it more dangerous? Is it simply lesser?) 

Another dot-point because the last one was far too long; how is the use of ‘magical aides’ (wands, etc) treated? (Is it seen as something only a child would use? Is it very common? Is not using one seen as dangerous and bad?) How does the function of magical aides affect this? (Note- a very good example of this is the string in A Marvellous Light, which functions via ensuring a magicians cradles [hand movements one does to cast a spell] are more precise. It is only used by those with little magic, so it is looked down upon.)

How would one learn magic? (Is magic taught in schools? Are there books on it?)

Can magic be done/enhanced if multiple people cast it together? How would this be done? 

Is magic a separate entity from it’s user? Is it an entity at all? Can it react without instruction/ disobey it’s user? Is it a possession of it’s user? Is this different/ perceived differently for different people?

Can magic be mistreated/ abused? (Note- here I do not mean an ‘abuse of power’ I mean abuse in the way one could abuse a pet) what are the consequences of this? (Might magic stop working, or turn on it’s user?)

Affect on Culture/the greater world

Who has magic? Who does not? Who knows about magic? Who does not? Is it a secret? How is this secret kept? Who enforces that it must be a secret? What is the punishment for letting the secret be known?

Can people have more or less magic? Can people have more or less knowledge on it, or skill with it? Does this cause any power imbalances or issues for either side? 

How do the uses of magic impact the way things are done? (E.g. if there is a spell used to dry things, people may not use drying racks.) would the skills of those with more magic be useful in a work setting? (E.g. if some people know the aforementioned drying spell and some do not, might those who do know it work as something close to a washerwoman because of their skill?)

Is magic regulated at all? Who regulates it, what are the regulations, how strict are they, and what are the punishments for breaking them?

Is magic seen as normal? (Keep in mind: if magic is possessed by a majority of people, it very well may be. Because of this, characters may be less likely to be impressed by magic. Think about how this will affect the language surrounding magic, and how people treat it.)

How will different people view or interact with magic? (E.g. a rebellious teen, a businessman and an elderly woman are not going to have the exact same view or uses of magic. Try to explore this!)

How will those with a great deal of magic view those without/ without a great amount, and vice versa? How does this affect the world and it’s prejudices?

Consequences

How can magic hurt a person if misused/overused/ used at all? (Is the damage physical, mental, physiological, all three?) (E.g. my own magic system causes people to actively unmake themselves as they use their magic, leading to sickness, insanity, derealisation, hallucinations, etc etc etc)

Is this damage known? How does the knowledge of it affect the treatment of magic? (Are people terrified of it? Do they not care, and see it as a worthy risk? What might lead  someone to push through the damage?)

How does this damage manifest, and how noticeable is it? (E.g. Are there physical scars or other warning signs, or is it entirely unnoticeable until it is too late, like magical rabies?)

Can damage from magic be reversed or healed? How? Can potential damage be avoided? How? 

Can one’s magic turn on oneself? How would this happen, and what are the consequences of this? 

Can magic be hurt/diminished? How does this affect its users? (E.g. silver and werewolves)

When an attempt at magic fails, how does it fail? Is it like baking, where at worst it’ll ‘taste good, but be a little dry’ or is it like mixing volatile chemicals, where at worst you die?

Appearance

How does magic look? (I highly recommend finding a metaphor or motif for magic, as this really helps flesh out its appearance and makes it easier to describe!!)

Can its appearance look different for different people? Can it change over time?

Does magic manifest itself via means other than visual? (One of my characters has very strong nature magic, and thus he grows flowers when he is happy, and always smells floral)

Does magic have a physical effect on it’s users? (E.g. the dark magic in The Dragon Prince)

Is one able to tell when magic has been cast upon something? 

Every piece of media I referenced in this, in order of appearance

The Owl House, a TV show on Disney written by Dana Terrace

A Marvellous Light, a novel written by Freya Marske (this series is a wonderful example of how to make a magic system. It is very well thought out, and the varied experiences and views of magic for each magician character is so, so good. 10/10. If you want a good example of magic please read this!!! (Granted I might be a little biased because I just love this book series))

The dragon prince, a TV show on Netflix

[berrybird-blog1]

Helpful things for action writers to remember

Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 

Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 

Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 

Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 

Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 

ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 

Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.

Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 

A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 

If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 

ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)

If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 

People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 

Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 

If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

[ave-aria]

How to apply Writing techniques for action scenes:

- Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap. - Same thing with words - short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere. - Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts. - Go back and cut out as many adverbs as possible. - No seriously, if there’s ever a time to use the strongest verbs in your vocabulary - Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it’s now. - Don’t forget your other senses. People might not even be sure what they saw during a fight, but they always know how they felt. - Taste: Dry mouth, salt from sweat, copper tang from blood, etc - Smell: OP nailed it - Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain. - Pain will stay with a character. Even if it’s minor. - Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack. - If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too. - Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.

Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate - no theories or what ifs.

If writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)

Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.

[uccelletto-di-kokuyo]

More for martial arts or hand-to-hand in general

What a character’s wearing will affect how they fight.  The more restricting the clothes, the harder it will be.  If they’re wearing a skirt that is loose enough to fight in, modesty will be lost in a life or death situation.

Jewelry can also be very bad.  Necklaces can be grabbed onto.  Bracelets also can be grabbed onto or inhibit movement.  Rings it can depend on the person.

Shoes also matter.  Tennis shoes are good and solid, but if you’re unused to them there’s a chance of accidentally hurting your ankle.  High heels can definitely be a problem.  However, they can also make very good weapons, especially for someone used to balancing on the balls of their feet.  Side kicks and thrusting kicks in soft areas (like the solar plexus) or the feet are good ideas.  They can also (hopefully) be taken off quickly and used as a hand weapon.  Combat boots are great but if someone relies more on speed or aren’t used to them, they can weigh a person down.  Cowboy boots can be surprisingly good.  Spin kicks (if a character is quick enough to use them) are especially nasty in these shoes.

If a character is going to fight barefoot, please keep location in mind.  Concrete can mess up your feet quick.  Lawns, yards, etc often have hidden holes and other obstacles that can mess up a fighter.  Tile floors or waxed wood can be very slippery if you’re not careful or used to them.

Likewise, if it’s outside be aware of how weather will affect the fight.  The sun’s glare can really impede a fighter’s sight.  A wet location, inside or outside, can cause a fighter to slip and fall.  Sweat on the body can cause a fighter to lose a grip on an opponent too.

Pressure points for a trained fighter are great places to aim for in a fight.  The solar plexus is another great place to aim for.  It will knock the wind out of anyone and immediately weaken your opponent. 

It your character is hit in the solar plexus and isn’t trained, they’re going down.  The first time you get hit there you are out of breath and most people double over in confusion and pain.  If a fighter is more used to it, they will stand tall and expand themselves in order to get some breath.  They will likely keep fighting, but until their breath returns to normal, they will be considerably weaker.

Do not be afraid to have your character use obstacles in their environment.  Pillars, boxes, bookshelves, doors, etc.  They put distance between you and an opponent which can allow you to catch your breath. 

Do not be afraid to have your character use objects in their environment.  Someone’s coming at you with a spear, trident, etc, then pick up a chair and get it caught in the legs or use it as a shield.  Bedsheets can make a good distraction and tangle someone up.  Someone’s invading your home and you need to defend yourself?  Throw a lamp.  Anything can be turned into a weapon.

Guns often miss their targets at longer distances, even by those who have trained heavily with them.  They can also be easier to disarm as they only shoot in one direction.  However, depending on the type, grabbing onto the top is a very very bad idea.  There is a good likelihood you WILL get hurt.

Knives are nasty weapons by someone who knows what they’re doing.  Good fighters never hold a knife the way you would when cutting food.  It is best used when held against the forearm.  In defense, this makes a block more effective and in offense, slashing movement from any direction are going to be bad.  If a character is in a fight with a knife or trying to disarm one, they will get hurt. 

Soft areas hit with hard body parts.  Hard areas hit with soft body parts.  The neck, stomach, and other soft areas are best hit with punches, side kicks, elbows, and other hard body parts.  Head and other hard parts are best hit using a knife hand, palm strike, etc.  Spin kicks will be nasty regardless of what you’re aiming for it they land.

Common misconception with round house kicks is that you’re hitting with the top of the foot.  You’re hitting with the ball.  You’re likely to break your foot when hitting with the top.

When punching, the thumb is outside of the fist.  You’ll break something if you’re hitting with the thumb inside, which a lot of inexperienced fighters do. 

Also, punching the face or jaw can hurt. 

It can be hard to grab a punch if you’re not experienced with it despite how easy movies make it seem.  It’s best to dodge or redirect it.

Hitting to the head is not always the best idea.  It can take a bit of training to be able to reach for the head with a kick because of the height.  Flexibility is very much needed.  If there are problems with their hips or they just aren’t very flexible, kicks to the head aren’t happening.

Jump kicks are a good way to hit the head, but an opponent will see it coming if it’s too slow or they are fast/experienced.

A good kick can throw an opponent back or knock them to the ground.  If the person you’ve hit has experience though, they’ll immediately be getting up again.

Even if they’ve trained for years in a martial art, if they haven’t actually hit anything before or gotten hit, it will be slightly stunning for the person.  It does not feel the way you expect it too.

Those yells in martial arts are not just for show.  If done right, they tighten your core making it easier to take a hit in that area.  Also, they can be used to intimidate an opponent.  Yelling or screaming right by their ear can startle someone.  (Generally, KHR fans look at Squalo for yelling)

Biting can also be used if someone’s grabbing you.  Spitting in someone’s eyes can’t hurt.  Also, in a chokehold or if someone is trying to grab your neck in general, PUT YOU CHIN DOWN.  This cuts off access and if they’re grabbing in the front can dig into their hand and hurt.

Wrist grabs and other grabs can be good.  Especially if it’s the first move an opponent makes and the character is trained, there are simple ways to counter that will have a person on their knees in seconds..

Use what your character has to their advantage.  If they’re smaller or have less mass, then they’ll be relying on speed, intelligence, evasion, and other similar tactics.  Larger opponents will be able to take hits better, they’re hits may be slower depending on who it is but will hurt like hell if they land, and size can be intimidating.   Taller people with longer legs will want to rely on kicking and keeping their distance since they have the advantage there.  Shorter people will want to keep the distance closer where it’s easier for them but harder for a taller opponent.  Punching is a good idea.

Using a person’s momentum against them is great.  There’s martial arts that revolve around this whole concept.  They throw a punch?  Grab it and pull them forward and around.  Their momentum will keep them going and knock them off balance. 

Leverage can used in the same way.  If used right, you can flip a person, dislocate a shoulder, throw out a knee, etc.

One note on adrenaline:  All that was said above is true about it.  But, in a fight, it can also make you more aware of what’s going on.  A fight that lasts twenty seconds can feel like a minute because time seems to almost slow down while moving extremely rapidly.  You only have so much time to think about what you’re doing.  You’re taking in information constantly and trying to adjust.  Even in the slow down adrenaline gives you, everything is moving very rapidly. 

Feelings will be your downfall even more so than adrenaline.  Adrenaline can make those feelings more intense, but a good fighter has learned not to listen to those feelings.  A good fighter may feel anger at being knocked down or in some way humiliated - their pride taken down.  Yet they will not act on the anger.  Acting on it makes a fighter more instinctive and many will charge without thinking.  Losing control of anything (adrenaline rush, emotions, technique, etc) can be a terrible thing in a fight.

Just thought I’d add in here.

[bamonnineties]

YES. YES.

[literaryvein-reblogs]

Worldbuilding Worksheets

Worksheets & Templates Geography; World History; City; Fictional Plant

GEOGRAPHY

Major…

Geographical features:

Geographical events:

Climate / flora zones:

Landscapes:

Resources:

Boundaries:

Routes:

Questions to consider…

How does the geography change over time?

What lies outside the boundaries of the world?

Are there unexplained geographical phenomena?

How does geography affect transport?

Are there cycles of change?

How do people interact with the landscape?

How do their activities alter the landscape?

How well are people adapted to the landscape?

How do people study and record their world's geography?

How well do people know the geography of their world?

What are some misconceptions about their landscapes?

Does the landscape provide enough resources?

How does the landscape change people?

Are there unreachable or unexplored places?

How do people feel about the landscape?

How does geography inform science?

How does geography inform art?

Settlement:

Resources:

Features:

Borders:

Geographical Features:

How was it formed?

When was it formed?

How do people use it?

Draw a map of your world (or settlement).

Doodle of a landscape.

WORLD HISTORY

Major...

Eras:

Cultures:

Wars/Cultures:

Events:

Movements:

Disasters:

Leaders:

Alliances:

Polarisations:

Advances:

Regressions:

Discernible Patterns:

Questions to consider...

How is history recorded?

How far back do records date?

Is any history lost and forgotten?

How biased are different cultures' historical accounts?

Is historical knowledge available to everyone?

How seriously do cultures take the study of history?

What are some points of contention?

Are there "natural" historical records?

What is considered the purpose of recording or studying history?

CITY

What is the city’s name?

What defines the settlement as a city?

Who lives here and what are they called?

Why do they live here?

What do the inhabitants do?

What are the city’s resources?

What resources need to be imported?

What is the main source of income?

Where is the city?

Who are its closest neighbours?

Why was the city built here?

How large is the city?

What do the dwellings look like?

Why do they look the way they do?

Are there threats to the city?

If yes, how has the city adapted?

What is the prevalent architectural style?

Who are the city leaders?

Who are the outsiders?

Where do they live?

Is there crime?

If yes, what do the criminals want?

Is there a large rich-poor gap?

How are the thoroughfares arranged?

Where do the inhabitants work?

What are the modes of travel?

How has transportation shaped the city?

Is it easy to leave & re-enter the city?

Are there many foreigners?

How are religions and rites accommodated?

What are the main districts?

What other factors might have affected the city’s development?

What are its landmarks?

What is the air like?

Does the city create its own microclimate?

How is the city regarded by its inhabitants?

How is the city regarded by outsiders?

How old is the city?

Have parts been redeveloped?

Has the city been planned?

How are resources distributed?

How are dwellings laid out?

What materials are used in construction?

What flora and fauna live in the city?

What is characteristic of the citizens?

How does the city reflect the tastes of its inhabitants?

Is the city famous for anything?

What is the city’s emblem / mascot / coat of arms?

What language is spoken?

Do the citizens have a distinct dialect / accent?

FICTIONAL PLANT

Who or what planted this plant?

What does this plant see or sense?

How does this plant get on with its neighbours?

How is this plant adapting to its environment?

What is at the root of this plant?

Who was this plant’s last visitor?

Where are this plant’s parents or progeny?

How did this plant look when it was younger?

Follow this plant through the seasons.

If this plant could talk, what would it tell you?

What makes this plant unique?

Look up the botanical description of this plant.

What makes this plant perfect?

What makes this plant imperfect?

What is this plant’s greatest desire?

What is this plant’s greatest fear?

How does this plant defend itself?

How does this plant deal with adversity?

What will happen after this plant dies?

What is this plant’s favourite memory?

What does this plant think about itself?

How does this plant move?

What do you feel when you touch this plant?

What can this plant sense that you can’t?

How is this plant like you?

What can you learn from this plant?

Source Writing References: Worldbuilding ⚜ Plot ⚜ Character

[literaryvein-reblogs]

Writing Reference: Poisonous Plants

Belladona - sweet but poisonous; its black berries can be deadly

Castor oil plant - each spiny capsule has 3 beans inside

Hemlock - all parts are toxic; the seeds contain the most poison

Lily of the valley - this pretty plant is highly poisonous

Manchineel - its dangerous leaves can cause blisters if touched

Oleander - its poisonous leaves are very bitter

Pong pong - its fruit contains a poisonous seed—eating it can kill a human in 2 days

Rosary pea - a single seed contains enough poison to kill an adult human

White baneberry - its bitter, white berries look like the eyes of a doll

White snakeroot - its toxic leaves poison the milk of cows that feed on them

Wolfsbane - its purple, helmet-shaped flowers give it its other name, “Devil’s Helmet”; the deadly sap of its leaves may cause a rash if touched

Yew - its toxic leaves can kill within hours if eaten; its harmless red berries hide poisonous seeds

NOTES

Many plants produce poisons to prevent them from being eaten. While some will cause only a stomachache, others can kill. You should never eat any part of a plant, unless an expert can confirm it is safe.

Throughout history, humans have known about the poisonous properties of certain plants and used them for deadly ends:

Belladonna was used to make poison-tipped arrows.

Hemlock is said to have been used to kill the great philosopher Socrates in ancient Greece.

Wolfsbane was rubbed on arrows for hunting wolves, and during Roman times, it was commonly used for murdering enemies.

Ricin, extracted from the castor oil plant, remains one of the most deadly poisons known today.

Although all the plants shown here are toxic to humans, some are harmless to animals. For example:

Birds can eat the berries of the white baneberry plant and yew without any ill effects. The birds then spread the seeds in their poo.

Iguanas are known to feast on the fruit and leaves of the toxic manchineel.

Source ⚜ More: Notes & References ⚜ Poison Ivy & Oak ⚜ Food Poisoning Poison ⚜ Fictional Poisons ⚜ Worksheet: Fictional Plant ⚜ Pain & Violence

[soft-butch-cassidy]

I was getting pretty fed up with links and generators with very general and overused weapons and superpowers and what have you for characters so:

Here is a page for premodern weapons, broken down into a ton of subcategories, with the weapon’s region of origin. 

Here is a page of medieval weapons.

Here is a page of just about every conceived superpower.

Here is a page for legendary creatures and their regions of origin.

Here are some gemstones.

Here is a bunch of Greek legends, including monsters, gods, nymphs, heroes, and so on. 

Here is a website with a ton of (legally attained, don’t worry) information about the black market.

Here is a website with information about forensic science and cases of death. Discretion advised. 

Here is every religion in the world. 

Here is every language in the world.

Here are methods of torture. Discretion advised.

Here are descriptions of the various methods used for the death penalty. Discretion advised.

Here are poisonous plants.

Here are plants in general.

Feel free to add more to this!

[whitegoldtower]

Saving this for writing later! Yippee!

[bump-of-whump]

Ref Recs for Whump Writers

Violence: A Writer’s Guide:  This is not about writing technique. It is an introduction to the world of violence. To the parts that people don’t understand. The parts that books and movies get wrong. Not just the mechanics, but how people who live in a violent world think and feel about what they do and what they see done.

Hurting Your Characters: HURTING YOUR CHARACTERS discusses the immediate effect of trauma on the body, its physiologic response, including the types of nerve fibers and the sensations they convey, and how injuries feel to the character. This book also presents a simplified overview of the expected recovery times for the injuries discussed in young, otherwise healthy individuals.

Body Trauma: A writer’s guide to wounds and injuries. Body Trauma explains what happens to body organs and bones maimed by accident or intent and the small window of opportunity for emergency treatment. Research what happens in a hospital operating room and the personnel who initiate treatment. Use these facts to bring added realism to your stories and novels.

10 B.S. Medical Tropes that Need to Die TODAY…and What to Do Instead: Written by a paramedic and writer with a decade of experience, 10 BS Medical Tropes covers exactly that: clichéd and inaccurate tropes that not only ruin books, they have the potential to hurt real people in the real world. 

Maim Your Characters: How Injuries Work in Fiction: Increase Realism. Raise the Stakes. Tell Better Stories. Maim Your Characters is the definitive guide to using wounds and injuries to their greatest effect in your story. Learn not only the six critical parts of an injury plot, but more importantly, how to make sure that the injury you’re inflicting matters. 

Blood on the Page: This handy resource is a must-have guide for writers whose characters live on the edge of danger. If you like easy-to-follow tools, expert opinions from someone with firsthand knowledge, and you don’t mind a bit of fictional bodily harm, then you’ll love Samantha Keel’s invaluable handbook

[prompt-heaven]

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawn shop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

wind mill

wishing well

wizard tower

[headspace-hotel]

in case you are building a REALLY big minecraft city

[kagedbird]

I know this was just released like four hours ago but FOR THE LOVE OF ALL THAT IS TES, LISTEN TO THIS!!

Immediately brought to tears from Doom Drum alone, I cannot wait to listen to all of this!!!!

There's also a nexus mod for it! https://www.nexusmods.com/skyrimspecialedition/mods/115096