E.V.Whitla. I write Fantasy, dark fantasy, horror, gore and Mafia things(occasionally) and SO much more. I've also been writing for a while but sometimes I'm a useless sausage. This blog is my side blog for EVERYTHING writing related. I'm always open to talk and make friends/writing buddies ♡
So, what are Wraith?
Wraith are a spiritual creature, inspired by Celt/Gaul folklore, that have three distinct forms. Wraith wear the cloak and/or cape of an animal, allowing them to take on the form of that animal. Like a Selkie, but not restricted to the form of a seal.
Wraith are a mainly female dominated spirit, but a proportion are male.
Female wraith are labelled Morrigan (Moh-rri-gan) while the males are labelled Cernun (Ker-nun). The overall label is Wraith.
Now, lets get into everything!
So what are they? but in a little more depth. Well for many reasons Wraith can be considered a form of demon, though they are simply a spirit and ultimately creatures of the energy of nature. They are as helping as they are foreboding but can turn fiercely vengeful incredibly quickly. They are prone to bribes of sweet things and jewellery in order to get them to complete favours. A Wraith will always complete a favour, but often with an evil twist that will leave someone worse off than they were beforehand.
Morrigan are by far the more vengeful of the two.
Cernun are the males, mostly, of horned/antlered species. Cernun are much more mischievous and wild than their Morrigan counterparts. Cernun are, despite being wild, known to be nurturing of those they favour and very protective of children; often being the ones to save human children from danger. They are protective as well, but in a gentle way.
Cernun in their animal form are considerably larger than the normal animal of the species they take to, as are most Wraith.
In their Wraith and human forms they have their animal skin cloak and they were a 'diadem' fashioned with the antlers of their animal.
Morrigan are the females, mostly, of more aggressive carnivorous mammals such as felines, wolves and foxes.
They are often considered to be symbols of something bad to come as they are present upon death, with rumour saying they are guiders to the soul.
These Wraith are known to present themselves to a side in a confrontation and the side they present to are considered blessed and will come out the victor.
The Morrigan will not save but are protective, defensive, but the vicious protection and defence of a mother animal.
Forms; Wraith have three distinct forms they can be seen in. Their animal form, Wraith form and their human form. All three of these have differences.
The animal form is the form that they take from the animal skin/fur they wear. The animal form is almost the same as the actual animal, with some differences. Eye colours will not be natural, the animal form has a much larger stature than the actual animal, and the animal form is able to express humanoid expression and even talk with the Wraiths voice. Not to mention the level of intelligence shown that a normal animal would not.
The Wraith form is their primary form, if not in their animal form. It is a 'humanoid' form but not their human form. The Wraith form resembles a human in body and general looks but they appear more ethereal, with unnatural eye colourings, clear skin like nothing else and sharp teeth a human certainly does not have, nor do they have a personality a normal human would. Some wraith will even have faintly pointed ears and Morrigan with hair tips of smoke or mist.
The human form is a form rarely used and only used when couplings or human interaction is absolutely required. But even in their human form they have off features like the unnatural eye colours and even sometimes, slightly sharp teeth.
Hollows are the beast once the Wraith has left. They are animal, essentially the just the skin once filled by the Wraith. The skin left to wander the earth until it returns to the ground to pass like the soul.
Wraith do not live forever and will return back to nature and leave their animal skin when they deem they need to. Its is like dying, as they come back reborn, either with the same skin or another. Every wraith will return to the earth and rest until they have enough energy and spirit to come back and be reborn, and when they leave the skin is left to live out its days.
Hollows simply look like the animal the skin is, but they have give away features that they were not born an animal. Hollow have pitch black eyes; the iris is black, the pupil and the sclera are all black. And shiny. They are also much larger in size than the animal they live with. These two things are the only dead giveaways. These hollows will live like a normal animal, though they can be seen closer to humans that a normal animal. Perhaps still with the instinct of their former selves. Though they are fear by humans immensely and do not provide protection or any hint of it. They are simply animals, haunted by instinct they don’t understand.
Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot
You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”
We don’t know them.
We’ve just met their tropes.
Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.
So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.
1. Hair: It’s About Story, Texture, and Care
Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?
Good hair description considers:
Texture (fine, coiled, wiry, limp, soft)
Context (windblown, sweat-damp, scorched by bleach)
Emotion (does she twist it when nervous? Is he ashamed of losing it?)
Flat: “Her long brown hair framed her face.”
Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”
You don’t need to romanticise it. You need to make it feel real.
2. Eyes: Less Color, More Connection
We get it: her eyes are violet. Cool. But that doesn’t tell us much.
Instead of focusing solely on eye color, think about:
What the eyes do (do they dart, linger, harden?)
What others feel under them (seen, judged, safe?)
The surrounding features (dark circles, crow’s feet, smudged mascara)
Flat: “His piercing blue eyes locked on hers.”
Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”
You’re not describing a passport photo. You’re describing what it feels like to be seen by them.
3. Facial Features: Use Contrast and Texture
Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.
Things to look for:
Asymmetry and character (a crooked nose, a scar)
Expression patterns (smiling without the eyes, habitual frowns)
Evidence of lifestyle (laugh lines, sun spots, stress acne)
Flat: “She had a delicate face.”
Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”
Let the face be a map of experience.
4. Bodies: Movement > Measurement
Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?
Ask:
What do others notice first? (a presence, a posture, a sound?)
How does their body express emotion? (do they go rigid, fold inwards, puff up?)
Flat: “He was tall and muscular.”
Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”
Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.
5. Let Emotion Tint the Lens
Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.
In love: The chipped tooth becomes charming.
In rivalry: The smirk becomes smug.
In mourning: The face becomes blurred with memory.
Same person. Different lens. Different description.
6. Specificity is Your Superpower
Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.
Examples:
“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”
“Her nail polish was always chipped, but never accidentally.”
Make the reader feel like they’re the only one close enough to notice.
Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.
Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.
What to Give a Sh*t About While Brainstorming Your Book
(A.K.A. Before You Even Touch That Shiny Blank Page)
↳ What You’re Actually Obsessed With
Stop trying to write what’s trendy. What do you spiral about at 2 a.m.? What ideas make you grin like a gremlin and mutter, “Ohhh, that’s juicy”? That’s your story. Chase that weird, niche, can’t-let-it-go stuff. Your obsession will be the fuel that drags you through chapter 27 when everything sucks and you kind of want to fake your own death.
↳ Your Story’s “Why the Hell Should Anyone Care?”
Not in a mean way. But genuinely—why should a stranger give up sleep to read this? What itch does it scratch? What feeling does it deliver? Figure that out early and let it guide you like a tiny emotional compass. If you can’t answer it yet, cool. But keep poking at it until you can.
↳ A Character With Big, Messy Feelings
Don’t start with a plot. Start with a person. A disaster with a wound and a want. Someone who wants something so badly it makes them do unwise things. Get to know them like a nosy therapist. Let them tell you what kind of story they want to be in.
↳ Conflict That Isn’t Just Vibes
Mood boards are fun. But conflict is what makes a story move. Make sure you’ve got some stakes, emotional, relational, existential, literal. If your idea doesn’t have anything to push against, it’s not a story yet. It’s an inspiration board.
↳ A Rough Emotional Shape
Not an outline. Not yet. Just… the feeling. Where does it start (lonely)? Where does it go (rage)? Where does it end (hopeful)? Think of your book like a rollercoaster. You need the high points, low points, and those slow creaky climbs that make people scream. If it’s all flat? Snoozefest.
↳ The One Vibe You Want to Nail
Every great book has a thing. An atmosphere. A flavor. Your job during brainstorming is to catch the scent of it. Is it spooky and tender? Funny and tragic? Cozy but secretly brutal? Whatever it is, write it down. Tattoo it on your brain. Let it infect every scene.
↳ Something You’re Scared to Write About
You don’t have to go here. But if something in your gut says, “Oh god, I could never write about that”… maybe poke it. Maybe there’s gold in there. Maybe the story wants to heal something. You don’t have to bleed for your art—but if it makes you uncomfortable in a thrilling way? That’s your fire.
Write/note down any sentence or phrase that comes to mind!
Even if it's not related to anything you are writing at the moment, even if it's a simple sentence to describe a scene or characters, even if it's a simple few words a character might say.
Anything just put it all in a document and you'll find your brain wants you to keep going.
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!
The Captor Who Shouldn’t Have a Heart (But He Does And It’s Beating for Her) She’s been taken. Not by accident. Not by mistake. He wanted her, so he took her. She should hate him, does hate him, but the more time she spends locked in his world, the harder it is to tell where the fear ends and something darker begins. Because the real problem isn’t escaping. It’s that a twisted part of her isn’t sure she wants to.
The Hitman Who Was Supposed to Kill Her, But Couldn’t. She saw something she shouldn’t have, and now there’s a price on her head. He was supposed to pull the trigger, but the moment he looks into her eyes, everything changes. She’s terrified of him, and she should be. He’s done unforgivable things. But now he’s the only thing standing between her and the monsters worse than him.
The Villain’s Bargain (Where Love Is Just Another Kind of Trap) She made a deal with the wrong man. A deal she knew was dangerous, but desperation made her reckless. Now, she belongs to him, body, soul, and whatever’s left of her sanity. And he likes watching her struggle. But the more she fights, the more fascinated he becomes. The real game isn’t power anymore. It’s control. And neither of them knows who’s really winning.
The Underground Fighter Who Can’t Decide if He Wants to Protect Her or Ruin Her. She wandered into the wrong place, at the wrong time, and now she’s tangled up in a world of illegal fights, blood money, and a man who is nothing but danger wrapped in bruised knuckles and whispered threats. He should scare her. He does scare her. But when he fights, it’s not just survival in his eyes. It’s something else. Something dark. And it’s looking at her.
The Mafia Prince Who’s Always Had His Eyes on Her. She’s off-limits. Untouchable. A good girl who doesn’t belong anywhere near his world. He’s cruel, merciless, and doesn’t care about things like morality. But when someone else threatens to take her, his patience snaps. If the world won’t keep her safe, he will. Even if it means keeping her for himself.
Here's My Free E-book On Amazon on character development,
And Here’s the Show, Don’t Tell freebie book and my newsletter.
Punching scenes are a staple of action sequences in many genres. Whether it’s an intense brawl, a quick defense, or an emotional outburst, a punch can carry a lot of weight both physically and narratively. As a writer, it’s essential to understand what really happens when a fist meets a face—from the immediate impact to the longer-lasting effects on both the person getting punched and the one throwing the punch.
This guide will help you craft authentic, detailed, and believable punch scenes by exploring different areas of the face, types of punches, and the aftermath of such an impact.
1. Target Areas of the Face and Their Vulnerabilities
A punch isn’t a one-size-fits-all situation. Depending on where the fist lands, the consequences will vary significantly. Different parts of the face have varying levels of vulnerability, and targeting these areas produces different effects, from knockouts to broken bones.
A. Jawline: The Knockout Zone
The jawline is a classic target in many fight scenes, especially when knockout punches are involved. This area is highly vulnerable because a hit here causes the head to snap to the side, leading to a sharp rotational movement of the brain inside the skull. This movement disrupts the brain’s communication and often results in a temporary loss of consciousness—what we commonly refer to as a "knockout."
Common Effects: Dislocation or fracture of the jaw, loss of consciousness, slurred speech, and severe pain.
Visual Aftermath: Swelling around the jawline, bruising, and possible misalignment of the jaw if broken.
B. Nose: Breaking and Bleeding
The nose is another vulnerable target, known for being easily broken. It’s not just a fragile bone structure, but it’s also connected to many blood vessels, meaning a direct punch to the nose often results in immediate bleeding. The nasal bone can fracture, causing difficulty in breathing, and in some cases, the nose may need surgical intervention to reset.
Common Effects: Intense pain, bleeding, difficulty breathing, potential for a broken nose.
Visual Aftermath: Blood running from the nostrils, swelling, and significant bruising around the nose and eyes.
C. Cheekbones (Zygomatic Bones): Bruising and Fractures
The cheekbones are one of the more solid structures in the face but are still susceptible to breaks, particularly from a heavy blow. Damage here can lead to not just bruising, but potentially severe injuries that can affect the entire facial structure.
Common Effects: Fractures of the zygomatic bone, swelling, bruising, and pain extending to the eye socket.
Visual Aftermath: Black eyes, noticeable swelling on one side of the face, and a sunken appearance if the bone is fractured.
D. Forehead: A Hard Target
The forehead is much harder than most parts of the face and is less vulnerable to severe damage. However, punches to the forehead can still cause pain, disorientation, and dazing of the recipient. While it’s less likely to result in a knockout, it’s effective in dazing an opponent, especially if the puncher’s goal is to create an opening for another strike.
Common Effects: Swelling, redness, and potential concussions if hit with enough force.
Visual Aftermath: Redness, minimal bruising, and a dazed expression.
E. Eyes: Black Eyes and Swelling
A punch to the eyes is particularly brutal because the area around the eyes is delicate, and the skin is thin. It’s not just about swelling but also potential damage to the orbital bones. The impact can cause "black eyes," characterized by intense bruising and swelling that may close the eye shut for days.
Common Effects: Swelling, black eyes, potential orbital bone fractures, temporary blurred vision.
Visual Aftermath: Discoloration that starts purple and turns yellowish-green as it heals, swollen shut eyes.
2. Types of Punches
Not all punches are created equal. The type of punch thrown can drastically change the outcome of the scene, both in terms of damage and realism. Understanding these different types of punches will allow you to convey more varied and dynamic fight sequences.
A. Jab: Speed and Precision
A jab is a quick, straight punch, usually thrown with the non-dominant hand. It’s not meant to be a knockout punch but more of a setup punch to create an opening or keep the opponent at a distance. Jabs are fast and can be disorienting, especially if they repeatedly land in quick succession.
Common Effects: Light bruising, potential cuts, and swelling in the area hit.
B. Cross: Power and Impact
The cross is a powerful, straight punch delivered with the dominant hand. It’s often aimed at vulnerable spots like the jaw or nose. Unlike a jab, the cross is meant to deliver a significant amount of force, and when landed properly, it can cause serious damage.
Common Effects: Knockouts, broken bones, severe swelling, and bruising.
C. Hook: Lateral Devastation
A hook is a wide, circular punch that targets the side of the head, particularly the jaw or temple. It’s one of the most powerful punches and is often used with the intent of knocking the opponent out.
Common Effects: Knockouts, severe disorientation, potential for concussions, and jaw dislocations.
D. Uppercut: Lifting from Below
The uppercut is thrown upward, usually aimed at the chin. It’s a devastating punch that can lift the opponent’s head and jolt their brain, leading to knockouts. Uppercuts are especially dangerous when they land cleanly on the jaw or chin.
Common Effects: Knockouts, broken teeth, jaw fractures, and disorientation.
E. Haymaker: Risky but Powerful
A haymaker is a wild, swinging punch delivered with as much force as possible. It’s often thrown with reckless abandon and is easy to dodge, but if it connects, it can deal significant damage. Because of its wide arc, it leaves the puncher exposed to counterattacks.
Common Effects: Knockouts, severe bruising, and possible fractures if landed correctly.
3. Punch Wounds: What They Look Like and Healing
Punches to the face leave lasting marks, some immediately visible and others taking days to fully form. Understanding the aftermath of a punch will help you describe the physical toll on your characters more accurately.
A. Immediate Effects
Swelling and Redness: Swelling can begin almost instantly, particularly in areas with soft tissue like the eyes and lips.
Bruising: Bruises start off as red, then turn purple, blue, and eventually fade into yellow or green as they heal.
Bleeding: Punches to the nose, lips, and even cheeks can result in bleeding, either from the skin breaking or from internal damage like a broken nose.
B. Long-Term Injuries
Black Eyes: Punches near the eyes can lead to bruising that darkens the skin around the eyes, giving it a purplish hue.
Fractures: Broken bones, such as the nose or jaw, may require weeks to heal, and in severe cases, surgery may be necessary.
Scarring: If the skin is cut open, there’s the potential for scarring, especially if stitches are required.
C. Healing Process
Bruises: These typically take about a week to two weeks to heal, with the colors shifting as the body absorbs the blood trapped under the skin.
Fractures: Healing from fractures can take several weeks to months, depending on the severity.
Swelling: Swelling can last anywhere from a few hours to a few days, with cold compresses helping to reduce it.
4. How the Punch Affects the Puncher
While we often focus on the person receiving the punch, it’s important to remember that throwing a punch can also take a toll on the puncher.
A. Physical Strain
Knuckle Damage: Hitting a hard surface, like a jaw or forehead, can cause damage to the puncher’s knuckles. This is known as a “boxer’s fracture,” where the small bones in the hand break due to impact.
Wrist Injury: If the punch is not aligned correctly, the wrist can absorb too much force, leading to sprains or breaks.
Fatigue: After multiple punches, especially in a drawn-out fight, the puncher can become fatigued, leading to less powerful or accurate strikes.
B. Emotional and Psychological Effects
Adrenaline Rush: For inexperienced fighters, throwing a punch can lead to an adrenaline surge, which can cause tunnel vision or reckless behavior.
Moral Conflict: If the puncher is not used to violence, they may experience guilt or shock at the damage they’ve caused, especially if the recipient is significantly injured.
5. Psychological Impact of Receiving a Punch
A punch to the face doesn’t only cause physical damage. For the recipient, it can have a lasting psychological effect, especially if the punch was unexpected or in a vulnerable situation. Writing this aspect adds depth to your characters and shows that a punch is more than just physical pain.
A. Shock and Fear
Fight or Flight Response: Getting punched can immediately trigger a fight-or-flight reaction. Some characters might freeze or retreat, especially if they’ve never been in a physical altercation before.
Loss of Confidence: For characters not used to violence, being punched in the face may cause a significant loss of confidence. They may question their own strength, bravery, or ability to defend themselves.
Increased Aggression: Alternatively, the punch may trigger a rage-fueled response, pushing the character into aggressive, reckless action.
B. Embarrassment and Humiliation
Public Fights: If the punch occurs in front of others, there’s often an added layer of humiliation. Characters might feel embarrassed, even if they weren’t at fault.
Internalizing the Event: The recipient of the punch may carry the emotional impact for a long time, replaying the event in their mind, feeling shame, or seeking revenge.
C. Post-Traumatic Stress
Lingering Anxiety: In extreme cases, receiving a punch can cause anxiety or even post-traumatic stress disorder (PTSD). Characters who’ve experienced significant trauma might relive the event through flashbacks or become hyper-vigilant, avoiding confrontations in the future.
Fear of Future Confrontations: A character who’s been severely beaten might actively avoid scenarios where they could be hit again, making them overly cautious or paranoid.
6. Writing Tips: Making It Believable
Writing a punch scene isn't just about describing the physical action. To make the moment believable and impactful, you’ll need to consider various elements—from pacing and sensory details to character psychology and aftermath. Here’s how to make your punch scenes authentic:
A. Build Tension Before the Punch
Foreshadowing Conflict: Build up the tension before the punch is thrown. Is the character agitated? Are there verbal warnings or body language that suggests things are escalating? By slowly ramping up the tension, the eventual punch feels earned and inevitable.
Use Dialogue: A heated exchange of words can make a punch more meaningful. If the punch follows a particularly cutting remark or threat, it adds weight to the action.
B. Focus on Sensory Details
Physical Sensations: Describe not just the punch itself, but how it feels. Does the skin split? Does the puncher’s knuckles scrape against teeth or bone? Is there an immediate sting or delayed throbbing pain?
Sound: The sound of a punch can enhance the realism of the scene. A dull thud as a fist connects with soft tissue, the crack of a bone breaking, or the splatter of blood hitting the floor are all effective auditory details.
C. Show Immediate and Delayed Reactions
Physical Reaction: After being punched, characters rarely shake it off immediately. Staggering, falling, or momentarily losing their vision are realistic reactions. You can also show how the puncher feels—did their hand hurt from the impact?
Emotional Fallout: Punches are often emotional events. Show how your characters feel right after—whether it’s satisfaction, regret, or shock. The emotional weight of a punch can be just as impactful as the physical consequences.
D. Consider the Aftermath
Healing Process: Don’t forget that punches have a lasting impact. A black eye will take days to heal, and a broken nose could require medical attention. Characters might have to deal with soreness, swelling, or difficulty talking and eating.
Ongoing Tension: A punch can dramatically shift relationships. A once-trusting friendship could be shattered, or a bitter rivalry could be born. Make sure to carry the emotional weight of the punch forward in your story.
7. Common Misconceptions About Punching
Many writers fall into the trap of perpetuating unrealistic portrayals of punches. These misconceptions can make your scenes feel less authentic or overly cinematic. Here’s how to avoid them.
A. The Myth of the "Clean Knockout"
Reality: A punch to the jaw might cause a knockout, but it’s not always instant. In real life, knockouts are often messy and unpredictable. The recipient might stagger or struggle before finally losing consciousness, and they could wake up with serious concussions, memory loss, or nausea.
B. Punches Always Cause Immediate Bleeding
Reality: While a punch to the nose often causes immediate bleeding, not all punches result in visible blood. Even when skin splits, it might take a moment for blood to pool and become visible. Bruising and swelling often take hours to fully appear.
C. Punching Doesn’t Always Lead to a Win
Reality: Throwing a punch doesn’t guarantee victory. The puncher could hurt themselves, miss entirely, or end up escalating a fight they weren’t prepared for. Additionally, punches to the forehead or temple might not have the knockout effect portrayed in movies—they could just make the puncher’s hand hurt more than the opponent.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!
Like writing a speech, petend you have an audience and read it out loud a few times. Then, you'll see if it flows off your tongue. If it does, it'll flow in the mind of the reader as well.
Let me preface by saying this; I do not come into my interpretation with a religious mindset, as many pop-culture portrayals have. I simply have one idea; Vampires are predators.
But lets begin.
This is long. Prepare yourself.
General appearances,
In my opinion Vampires, widely speaking, have an 'otherworldly' attractiveness. Unnerving but for some reason you just can't take your eye off them. Often invoking an unease in any human that looks at them for to long.
When it comes to the Skin of a vampire,
Vampires have a colder tone to them, no matter their initial skin colour. The cold tone comes from the lack of blood within their bodies. People with an already cool tone when they were human, appear to be more 'eerie' as a vampire then someone who had a warm skin tone. Along with the coldness of their skin, their veins become more prominent and shine like the inside of raw opal when they are in the right lighting.
This opaline appearance in the veins varies in colour and shade from vampire to vampire with some having a 'fire opal' vein and some having 'black opal', 'white opal' and other variants of opal. But the commonality is always that the opaline shine is the raw appearance of the opal.
This colouration comes from the venom within their veins.
Any injuries caused by other Vampires will show up as scars in the same sheen as the Vampires veins.
The Eyes of a Vampire,
Vampiric eyes are red, varying shades of red, but still red. Some shades can be specific to the individual Vampire but their eyes will still go through multiple shades.
Each shade is dependent on the hunger level of the Vampire and is essentially a gauge in how much human blood remains in the Vampires system. The hungrier/thirstier a Vampire gets the darker their eyes get and the darker the bruising under their eyes will become.
Now, Vampires have impeccable vision, better than any human and better than any animal, but their night vision is by far their best sense.
Vampires have an overdeveloped tapetum lucidum (the 'mirror' at the back of the eyeball that allows increased night vision), which means that their eyes have the same distinct eyeshine as an owl when any light is directed at their eyes.
The eyeshine is much like their vein colour, and can be distinct to the particular vampire but generally speaking their eyeshine is an eerie red and orange like Barn Owls.
The Teeth of a Vampire,
A Vampires sharp teeth, in my interpretation, have to grow in. This happens in a time-span after they’ve been bitten. Their Vampiric, sharpened teeth must grow in to the bone of the jaw, which is excruciatingly painful for the period of time in which is happens. The teeth grow in and the human teeth fall out, over a reasonably quick period of time (for some). And even then, not all of the teeth are in fact sharp. The main function of regrowth being to harden the teeth and bring forward the sharpness needed for tearing.
Some teeth that regrow will not be 'pointed' and sharp, but will have a sharper edge to them. This happens on both bottom jaw and top jaw.
The central incisors, for one, are a pair of teeth that don’t need to be angled/pointed and therefor won’t be when the vampiric ones grow in, but will still have a sharper edge.
The lateral incisors can develop a slight sharp edge and can become more canine when they grow in, but for some do stay ‘blunt’. Now, canines, do become more angled/pointed and sharp; more ‘canine shaped’ as you could say.
The molars and premolars don’t change so much, but they do get a sharper edge to them. Some premolars, first premolars, can become shaped a little bit more like canines, in order to help with any slicing.
Time frame of tooth growth,
The time in which it takes for a full set of teeth to grow in depends on the individual Vampires ability to 'receive' the change and how their body heals to the change. The rough average amount of time it takes for a full set of teeth to grow in is roughly a year and a half to two years. Which is not time in itself for a Vampire really. If growth of new teeth takes longer than 2 years, that vampire can be slightly looked down upon as having ‘dirty blood/venom’ or as simply being weak. But a vamp who’s teeth grow in within the year is usually seen as being ‘purer’ and having ‘cleaner blood/venom’. (Which will be discussed more).
In this whole time period a (fresh) newborn will not be able to feed effectively as their jaws will be in excruciating pain, depending on growth rate. And that affects the ability to bite.
Vampire Age basics,
Age is something that doesn't particularly matter to Vampires, but there are two very important stages; the first being the period that is known as ‘Fresh’ newborns, and newborns. 'Fresh' newborns are the ones who are in the major growth period of their existence; when their teeth are growing in, their emotions are regulating and their lust for blood is beginning to regulate. I say 'beginning' because even Vampires past all newborn stages can be feral and snap when they're incredibly thirsty.
The fresh newborn phase, for the most part, completes at around 3 to 3 and a half years. As that is when the most of the changes will have finished, for the majority. But Vampires can still, emotionally, be newborns for over a decade. When they’ve passed both newborn phases there isn’t much more labeling that goes on. The next labelling is for 'ancients' which are over hundreds of years old but such Vampires are not to common.
Vampire Issues (in reference to newborn phases),
In relation to their emotional regulation and impulses when they’re in their 'fresh' newborn phase. Mainly their violence.
'Fresh' newborn and newborn violence is an issue created, and highlighted, by the fact that every emotion and feeling is amplified by the change. The intensity with which they feel becomes something most newborns can not handle and this causes horrific lashing out. Rages, anger, sorrow, etc. are the emotions that tend to have more of an effect, seeing as those are the emotions to affect human and non-human more. The 'slap in the face' of these bad emotions leads to rather vicious and harsh snaps, usually resulting in death of the vampire or humans around them. These snaps are things that are not remembered due to the moments being ‘blackouts’ completely and utterly.
The 'blackout' could be acquainted to the adrenaline rush humans get in order to survive. It is a period of time the brain erases in order to prevent stress and anxieties re-emerging.
While in these 'blackout' periods newborn Vampires are all animal and not much human and will do the most damage to themselves and others whilst 'blacked out'. But it usually last no more than 5 hours.
Further issues come personality traits. The strongest trait is something that gets amplified by the change, as with other personality traits, though not so much. The issue manifests from the element of ‘malicious’ traits being much more amplified over other traits. Possibly as a survival mechanism.
The Venom of a vampire,
Vampiric venom is a substance of high acidity and is highly corrosive to everything other than the vampire it came from. This means that Vampire venom will burn other vampires it comes into contact with and it will burn materials it comes into contact with.
Venom is also highly individualistic and many vampires venom will have different acidity levels.
Vampires are also not 'Inland taipan/snake' Venomous they are more so 'Komodo Dragon' Venomous. This relates to the way venom is administered to the body of the victim. As venom replaces every single liquid in the body (to an extent and a certain strength), it replaces saliva and this is how Vampiric venom is administered to the victim. They can not 'inject' venom like a snake, they rely on their sharp teeth to gore wounds severe enough to allow larger quantities of venom into the bloodstream.
Even then, it usually takes more than a single bite to effectively turn a human. And a 'killing' wound to actually kill their prey, whatever it might be.
Within the world of venom some Vampires possess 'cleaner venom' or venom considered to be purer then others. This comes down to the age of a Vampire as the older they are the more pure their venom is as it gets cycled and reproduced by their bodies it becomes purer with age. Newborn phases of Vampire have considerably less pure venom and that will affect the person they were sire if they bit someone (as mentioned before).
Vampire feeding habits,
Vampire feeding habits vary massively depending on the individuals ability to metabolise blood. In this way a slow metabolism is something that will benefit a vampire as they get longer out of a meal. But a fast metabolism will require more frequent feeding and larger quantities of blood.
A Vampire can only consume human blood.
I believe vampires can consume small quantities of human meat, but only organ meats such as kidneys, liver and other such organs. Not the heart, as that is mostly muscle and realistically does not contain much value.
Bone marrow is something a Vampire can consume to have a slow release of 'energy' because it is responsible for the production of blood cells.
It is not uncommon for Vampires to absolutely rip open a human and devour the organs they can, and break open bones to access the bone marrow.
Vampire powers,
Aside from the 'powers' Vampires already posses; their inhuman speed, senses and inhuman ability to not be injured by normal means, etc. Vampires can have other abilities manifest after their creation.
These abilities can be simple things like emotional manipulations, basic shapeshifting (limited to one species of animal), seduction, able to sense more spiritual things, etc.
Or more complicated abilities such as forms of 'mind control', forms of 'teleportation', elemental manipulation etc.
But the more complicated the ability the more of a drain it presents on the Vampire, require a Vampire with a readily used complicated ability to need to consume more and more to sustain themselves healthily.
Some Vampires will gorge themselves on blood and organ if they know they're going to need to use their (complicated) powers.
Vampire weaknesses,
While Vampires are just about indestructible they do have a few weaknesses.
One being Vampire venom; as mentioned before Vampire venom will burn other vampires and will kill them if enough is introduced into their system.
Fire; I see Vampire venom as being considerably flammable, so if a vampire has open wounds they can catch on fire and it will not be able to be put out until every last drop of venom is burnt up. Effectively killing the vampire.
Dismemberment; Ripping a Vampire apart will kill them. None of this 'they can stick themselves back together' I've seen before.
Other 'in-human' beings; I see Vampires being weak to other beings such as werewolves (to an extent because in my interpretation werewolves will avoid vampires at all costs) and some of my own beings.
Other thoughts,
Vampires can cry; Tears from a vampire will burn anything they land on, and will burn another vampire, but will never burn the vampire they came from. Perhaps like an acid burn/stain on a concrete floor.
Vampires can sleep; Sleep is possible for a vampire, but the vampire must be fully fed and must feel completely comfortable where they are, often leading to vampires hiding to sleep. Sleep is not needed, but is simply enjoyed by most.
Vampires are 'up themselves'; God complexes and narcissism are two highly common personality traits because vampires are incredibly powerful and of course that will give them a superiority complex.
Vampires see humans as food; Humans are seen as nothing more than a meal. Some vampires may form bonds with humans, but they are not healthy bonds, bonds of romance or any positive bond in general. Humans = Food.
Vampires can vocalise; Vocalisations can be labelled as '(big) cat-like.' They can hiss, growl, snarl, even 'scream' like a Cougar. Although their 'scream' is very rarely used and is often used more to scare human for fun, and communicate long distances if absolutely necessary.
Vampires are not entirely solitary; Vampires are incredibly wary of other vampires and will often just go their own ways if there's nothing terribly interesting about the other person. But they do still seek out forms of companionship, be it a mate, a friend or just another vampire to wander with. They do seek companions.
A Coven, the label for a group of vampires, is usually a small group. Covens are built more on coalitions of vampires with powers in order to hold more power over other covens and lone vampires. In a coven there may be a pair of mated vampires.
Generally speaking mates tend to stay away from larger groups.
Vampires share hunts but not meals; Vampires will share their hunts with others extremely close to them. Often coven-mates or close friends, as well as mates.
Vampires do not share their meals as their instincts override common thought when drinking and will become vicious to any other vampire around them.
Vampires can produce young; I believe vampires can produce their own children, but under incredibly specific circumstances.
For one, a vampire can not be in it's newborn phase and will often have to be over 50 (years of vampire existence).
And it takes a hell of a lot of time for a vampire to actually fall pregnant.
This is because vampires can create other vampires with venom and so their bodies simply do not need to procreate so it takes two determined mates and a lot of years to do so.
Vampires can and do mark territory; For non-nomadic covens of vampires mapping and keeping a territory can be very beneficial. But you have to let other vampires, and of course other creatures, know that it is your area.
To do this a Vampire would mostly use raw venom, direct from the body. Not venom that has been sitting in the mouth, acting as a form of saliva. Raw venom comes from a wound so in order to produce this venom Vampires will create a wound, by biting the top of ones forearm for example, and smearing the venom on objects that are often inanimate like rocks.
Plant and animal matter will often burn from the acidity.
Interestingly the scent of Raw venom can be picked up by humans but is described as a sickly-sweet floral scent.
Ultimate List of Weapons and Arsenal for Fantasy Setting: Purpose and Who Uses Them. Writers save this!
Melee Weapons
1. Swords
- Longsword - Used by knights and warriors for versatile combat.
- Broadsword - Wielded by heavy infantry for powerful strikes.
- Rapier - Favored by duelists and nobles for precision and speed.
- Scimitar - Used by desert warriors and pirates for slashing attacks.
- Katana - Carried by samurai for swift, precise cuts.
- Claymore - Wielded by Highland warriors for heavy, sweeping attacks.
- Falchion - Used by mercenaries for its chopping power.
- Cutlass - Preferred by sailors and pirates for close-quarters combat.
2. Axes
- Battle Axe - Used by berserkers and heavy infantry for devastating blows.
- Hand Axe - Carried by scouts and light infantry for quick strikes.
- Throwing Axe - Utilized by skirmishers and hunters for ranged attacks.
- Great Axe - Wielded by barbarian warriors for massive damage.
- Tomahawk - Used by tribal warriors for both melee and throwing.
3. Maces and Hammers
- Warhammer - Used by knights and paladins to crush armor.
- Mace - Carried by clerics and guards for bludgeoning.
- Morning Star - Wielded by heavy infantry for spiked attacks.
- Flail - Used by foot soldiers to bypass shields.
- Maul - Carried by executioners and strongmen for heavy strikes.
4. Polearms
- Spear - Used by infantry and phalanx formations for thrusting.
- Halberd - Wielded by guards and soldiers for versatile attacks.
- Glaive - Carried by cavalry and elite guards for slashing and thrusting.
- Pike - Used by pikemen to counter cavalry.
- Trident - Favored by gladiators and fishermen for thrusting.
- Naginata - Wielded by samurai and monks for sweeping attacks.
5. Daggers and Knives
- Dagger - Carried by assassins and rogues for stealth kills.
- Stiletto - Used by spies and infiltrators for piercing.
- Dirk - Favored by sailors and scouts for close combat.
- Kris - Used by tribal warriors for its wavy blade.
- Bowie Knife - Carried by frontiersmen and adventurers for utility and combat.
6. Blunt Weapons
- Club - Used by peasants and guards for simple bludgeoning.
- Quarterstaff - Carried by monks and travelers for defense.
- Cudgel - Used by commoners and militia for self-defense.
- Baton - Carried by law enforcement for non-lethal control.
Ranged Weapons
1. Bows
- Longbow - Used by archers for long-range attacks.
- Shortbow - Favored by scouts and hunters for mobility.
- Crossbow - Carried by soldiers and hunters for powerful, accurate shots.
- Recurve Bow - Used by nomadic tribes for its compact design.
- Composite Bow - Favored by mounted archers for its strength and flexibility.
2. Throwing Weapons
- Throwing Knives - Used by assassins and ninjas for silent kills.
- Shuriken - Favored by ninjas for distraction and quick attacks.
- Throwing Axes - Utilized by skirmishers and hunters for ranged combat.
- Javelins - Carried by light infantry and hunters for throwing.
- Boomerang - Used by tribal warriors for hunting and combat.
3. Firearms (in some fantasy settings)
- Flintlock Pistol - Carried by pirates and duelists for close-range combat.
- Blunderbuss - Used by guards and hunters for its spread shot.
- Musket - Carried by soldiers for long-range engagements.
- Hand Cannon - Used by adventurers and mercenaries for powerful shots.
Magical Weapons
1. Enchanted Swords
- Flameblade - Wielded by fire mages and warriors for burning attacks.
- Frostbrand - Carried by ice mages and knights for freezing strikes.
- Shadowblade - Used by dark mages and assassins for stealth and shadow attacks.
- Lightbringer - Wielded by paladins and holy warriors for radiant damage.
2. Staves and Wands
- Wizard's Staff - Carried by wizards and sorcerers to channel magic.
- Wand of Lightning - Used by storm mages for lightning attacks.
- Staff of Healing - Carried by clerics and healers for restorative magic.
- Wand of Fireballs - Used by fire mages for explosive attacks.
3. Magical Artifacts
- Amulet of Protection - Worn by adventurers and warriors for defense.
- Ring of Invisibility - Used by spies and thieves for stealth.
- Cloak of Shadows - Worn by assassins and shadow mages for concealment.
- Orb of Power - Carried by archmages and sorcerers for enhanced magic.
Exotic Weapons
1. Whips
- Chain Whip - Used by martial artists and monks for flexible attacks.
- Fire Whip - Wielded by fire mages and circus performers for fiery strikes.
- Lightning Whip - Carried by storm mages for electrifying attacks.
2. Chakrams
- Throwing Disc - Used by warriors and hunters for ranged combat.
- Bladed Chakram - Favored by assassins and acrobats for slicing attacks.
3. Claws and Gauntlets
- Dragon Claws - Worn by beastmasters and warriors for slashing.
- Thunder Gauntlets - Used by storm mages and warriors for electric shocks.
- Poison Gauntlets - Carried by assassins and alchemists for toxic strikes.
4. Other Exotic Weapons
- Scythe - Used by reapers and necromancers for harvesting souls.
- Kusarigama (chain and sickle) - Wielded by ninjas and martial artists for versatile attacks.
- Nunchaku - Used by martial artists for rapid strikes.
- Tetsubo (iron club) - Carried by warriors and ogres for heavy bludgeoning.
Siege Weapons
1. Catapult - Used by armies to hurl large stones or projectiles at fortifications.
2. Ballista - Employed by defenders and attackers to shoot large bolts.
3. Trebuchet - Used by besieging forces to launch heavy projectiles over long distances.
4. Battering Ram - Carried by infantry to break down gates and walls.
5. Siege Tower - Used by attackers to scale walls and engage defenders directly.
Improvised Weapons
1. Torch - Used by adventurers and villagers for light and fire attacks.
2. Pitchfork - Carried by farmers and peasants for self-defense.
3. Shovel - Used by laborers and gravediggers for digging and combat.
4. Rock - Thrown by anyone in desperate situations for a quick attack.
5. Chair - Used in tavern brawls and by anyone needing an impromptu weapon.
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List of 120 unique fantasy jobs to give to your fantasy characters. Writers save this!
1. Spellscribe: Weaves magic into ink, creating enchanted scrolls and spellbooks.
2. Dreamweaver: Shapes dreams, ensuring a peaceful slumber for all.
3. Star Cartographer: Maps constellations and celestial paths.
4. Potion Alchemist: Brews elixirs, love potions, and invisibility brews.
5. Whispering Wind Courier: Carries messages on ethereal zephyrs.
6. Crystal Harmonist: Plays melodies on gemstone xylophones.
7. Arcane Librarian: Guards forbidden tomes and ancient grimoires.
8. Stormcaller: Commands lightning and tempests.
9. Shadow Weaver: Manipulates shadows for stealth or illusion.
10. Fey Ambassador: Bridges the gap between humans and fae.
11. Time Tinkerer: Repairs temporal rifts and broken clocks.
12. Soul Gardener: Tends to souls in the afterlife.
13. Dragon Whisperer: Communicates with fire-breathing beasts.
14. Labyrinth Architect: Designs mazes with shifting walls.
15. Aetheronaut: Pilots airships through the skies.
16. Cauldron Chef: Cooks magical stews and enchanted pastries.
17. Goblin Negotiator: Haggles with mischievous goblins over stolen treasures.
18. Wisp Shepherd: Herds glowing wisps across moonlit meadows.
19. Constellation Painter: Dips brushes in stardust to create cosmic art.
20. Swordsmith of Destiny: Forges blades with prophetic properties.
21. Oracle of Riddles: Answers questions through cryptic puzzles.
22. Moss Whisperer: Encourages moss-covered stones to share their secrets.
23. Harvest Moon Dancer: Leads celestial dances during lunar eclipses.
24. Chimera Veterinarian: Cares for mythical hybrid creatures.
25. Lore Bard: Sings epic sagas of forgotten heroes.
26. Stardust Prospector: Mines cosmic minerals from fallen meteors.
27. Mistwalker: Guides lost souls through foggy moors.
28. Enchanted Cobbler: Crafts shoes that grant extraordinary abilities.
29. Celestial Clockmaker: Constructs timepieces powered by starlight.
30. Gargoyle Sculptor: Carves stone guardians with hidden sentience.
31. Wandmaker: Whittles wands from ancient tree branches.
32. Mermaid Translator: Deciphers underwater songs and sea whispers.
33. Nightshade Apothecary: Harvests moonflowers and midnight herbs.
34. Serpent Charmer: Mesmerizes serpents with haunting melodies.
35. Skyship Navigator: Charts courses through floating islands.
36. Frostfire Sculptor: Shapes ice and flame into ephemeral statues.
37. Cursed Cursebreaker: Lifts hexes and breaks enchantments.
38. Goblin Archaeologist: Digs up lost goblin civilizations.
39. Sylph Perfumer: Captures the essence of zephyrs in fragrances.
40. Mystic Cartographer: Maps hidden ley lines and magical nexuses.
41. Moonstone Miner: Extracts shards of moonlight from caverns.
42. Gryphon Trainer: Raises and trains majestic gryphons.
43. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
44. Starwhisper Cartographer: Maps cosmic phenomena—comets' paths, shooting star trails, and celestial alignments.
45. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
46. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
47. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
48. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
49. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
50. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
51. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
52. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
53. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
54. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
55. Frostbite Healer: Extracts shards of moonlight from caverns.
56. Gryphon Trainer: Raises and trains majestic gryphons.
57. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
58. Starwhisper Cartographer: Maps cosmic phenomena—comets’ paths, shooting star trails, and celestial alignments. Their charts guide explorers to hidden constellations.
59. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
60. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
61. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
62. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
63. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
64. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
65. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
66. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
67. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
68. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
69. Frostbite Healer: Treats frostbitten extremities with salves made from frost sprites’ tears.
70. Chalice Enchanter: Carves runes into crystal goblets, infusing each sip with memories or emotions.
71. Goblin Archaeologist: Digs up lost goblin civilizations, unearthing rusty gadgets and cryptic hieroglyphs.
72. Sylph Perfumer: Captures the essence of zephyrs in fragrances—dawn mist, thunderstorm ozone, and moonrise musk.
73. Mystic Cartographer: Maps hidden ley lines and magical nexuses. Their charts reveal portals and ley-gates.
74. Moonstone Miner: Extracts shards of moonlight from caverns, which can be used for enchantments or as lantern fuel.
75. Gryphon Trainer: Raises and trains majestic gryphons for aerial patrols or epic quests.
76. Candlemaker of Whispers: Crafts candles that flicker with spectral flames, allowing communication with the departed.
77. Stardust Prospector: Mines cosmic minerals from fallen meteors—star iron, comet opals, and nebula gems.
78. Golem Animator: Breathes life into clay and stone constructs, imbuing them with purpose.
79. Wraith Whisperer: Communicates with restless spirits, negotiating unfinished business.
80. Celestial Navigator: Guides ships by star charts, steering vessels through astral currents.
81. Chaos Theorist: Predicts chaotic events using butterfly-wing equations, preventing or exploiting chaos.
82. Fairy Ring Dancer: Enters mystical circles to converse with fairies, striking bargains or seeking wisdom.
83. Banshee Lullaby Singer: Soothes grieving souls with haunting songs, easing their passage to the beyond.
84. Goblin Diplomat: Negotiates peace treaties between realms, balancing goblin mischief and human interests.
85. Veilwalker: Steps between dimensions using shimmering veils, exploring parallel worlds.
86. Moonshard Weaver: Threads moonstone shards into cloaks that grant moonwalking abilities.
87. Gryphon Whisperer: Communicates with gryphons through empathic bonds.
88. Cursed Curator: Collects cursed artifacts, safeguarding them in hidden vaults.
89. Sphinx Riddler: Poses enigmas to travelers seeking wisdom, granting answers in exchange for riddles.
90. Bard of Echoes: Sings songs that echo through time, preserving forgotten tales.
91. Goblin Inventor: Constructs whimsical gadgets—umbrellas that predict rain, shoes that dance, and hats that translate squirrel chatter.
92. Serpent Astronomer: Studies cosmic serpents—constellations that writhe across the sky.
120. Starforged Smith: Hammers star fragments into celestial armor and swords.
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Is it okay if a large majority of my characters are atheists, agnostic, or having an ambiguous religion?
I myself am agnostic and though I respect all beliefs, a lot of tall around religion reawakens my fears and bad experiences around it, especially involving my Sexuality.
I only write religious characters on very few occasions (trying my best to portray them in a faithful way) and I occasionally write a personally made religion in several fantasy stories I've made.
I also enjoy nonhuman creatures in writing like angels and devils, but I tend to enjoy them more in a fantasy setting.
I don't see why this could be bad, I never slander or try to disrespect them, but I tend to have severe anxiety around specific topics.
So, with all this in mind, is it still okay to write many of my characters as non religious?
As a young adult who has been writing for at least 6 years, I might have some helping words.
I struggled with a lot of things around my characters, especially with how the outside world may view them, but to be honest, it all comes down to what you are comfortable with.
Every single character you create is something that is an extension of yourself, perhaps not noticeably or perhaps with intention. Those characters are something you have to be comfortable with in order to develop them as you write them or imagine them going through situations. Comfort in your creation will make your creation so much easier to work with and care for.
If you are more comfortable with your characters remaining non-religious, then you are doing everything right! If perhaps you aim to explore religious characters, I would suggest that the idea of having a self created religion might be easier to work with. But as I mentioned, comfort in your creation.
It is perfectly fine to write characters that are non-religious. It's perfectly fine to write characters that you know well. It's perfectly fine to avoid writing about things you really are not comfortable doing so.
If you love a character, it will be present in every way you write them. So create them the way you want and love them.
