Zookie is on Vacation
This blog is on a likely permanent hiatus. Feel free to continue to use any of my references. I am still posting on my main, but it's very different from this.
Good luck on your writing endeavors!

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Today's Document
DEAR READER
Mike Driver
trying on a metaphor
Sweet Seals For You, Always
todays bird
Not today Justin

if i look back, i am lost

tannertan36
d e v o n
$LAYYYTER
Lint Roller? I Barely Know Her
we're not kids anymore.
untitled
almost home
taylor price

pixel skylines
Cosmic Funnies

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@helpfulzookie
Zookie is on Vacation
This blog is on a likely permanent hiatus. Feel free to continue to use any of my references. I am still posting on my main, but it's very different from this.
Good luck on your writing endeavors!
hi I'm from your pseudo-medieval fantasy city. yeah. you forgot to put farms around us. we have very impressive walls and stuff but everyone here is starving. the hero showed up here as part of his quest and we killed and ate him
yeah umm actually everyone kinda lives, inside.. the walls yeah. no yeah theres not any surrounding farming communities or villages to levy taxes from so we're pretty much just in a stone pit all together. Theres a massive stone castle tho! where did the infrastructure for the stone quarring come from? I dont know... Evil wizard maybe?
If you actually want to know how medieval (and overall pre-industrial) cities interacted with its rural enviroment, check out these articles:
This week and next, we’re going to look at an issue not of battles, but of settings: pre-modern cities – particularly the trope of the city,
Last week, we looked at a model for what the countryside around an ‘ideal city’ might look like. Today we’re going to introduce some complic
Long story short, cities weren't islands in the middle of nowhere. If you're a generic fantasy character approaching a city, you wouldn't find a lonely Shining City Upon A Hill (hmm, interesting imagery there, wonder what it means...), but actually a highly populated area of farms, orchards and all that feeds and maintains a city.
Remember how the entire presence of Ankh-Morpork in Uberwald in The Fifth Elephant is to secure TALLOW CONTRACTS
Here’s an invaluable writing resource for you.
Was looking for this information just yesterday. Thanks so much.
Y’all I could have used this so many times before oh my good god
all the tips I found for drawing a fantasy map are like :) “here’s a strategy to draw the land masses! here’s how to plot islands!” :) and that’s wonderful and I love them all but ??? how? do y'all decide where to put cities/mountains/forests/towns I have my map and my land but I’m throwing darts to decide where the Main Citadel where the Action Takes Place is
okay so i know i said most of this in the replies but it might be easier to actually reblog and say stuff instead lmao
Cities - go near water! freshwater lakes and rivers (rivers especially) are the best places for cities because A) source of water and B) travel and trade is much easier cus you can put your boats like right there. Basically ever relevant city ever was built on a lake or a river.
for rivers in general - because gravity, rivers run from mountains (forming from melting snow and ice (this is why they get fat in spring–more stuff melting)) to lakes/ocean where they can empty out (and even lakes will have rivers leading out that eventually get to the ocean), which can help when mapping out where those start and end. rivers are also much thinner and faster in steeper elevations and very slow and wide when the land is flat
mountains - i like to think of what the tectonic plates look like because that’s what makes mountains! mountains are also never standalone they’re always in mountain ranges (archipelagos are really just underwater mountain ranges babey). a cool trick I like to do is occasionally separate mountain ranges across continents, because over time the tectonic plates shifted and literally split the range in half. These mountains are really old tho so they’ve eroded and therefore it makes them smaller and rounder (like the appalachians) as opposed to relatively young mountain ranges like the rocky mountains which have taller and sharper peaks
Another mountain trick: if your mountains run along the ocean, the ocean side of the mountains will get a LOT of rain while the other side will be very dry–almost desert-like, in fact. think of temperate rainforests in British Columbia vs the drier conditions in the canadian prairies
forests - depends on how warm the area might be. coniferous forests are found further north (before you hit the tree line, and then it’s only tundra onwards) but as you head south you get leafier trees, and the leaves tend to get larger too
If you think about general elevation too, you’ll have places that might be swampy (wet + lower). if your world has an ice age like we did, then glaciers may have carved the land, leaving piles of soil in the south that was left when the ice receded and places where the bedrock has been bared north of that (like the Canadian Shield in Canada–the reason we see that is because of the glaciers)
You might also have a land that’s dotted in a shitton of freshwater lakes as well because the meltwater filled the holes that the glaciers scraped out (this is why canada has so many goddamn lakes)
and if the ice age was more recent than it was in our world, then you might not even have the forest re-growth and it could be a lot of open plains
tl;dr i like to think of major climate events that might have also shaped the land on top of some basic rules
The Artifexian has an entire series on building your world from literally the stars down and then the ground up.
All my worldbuilding videos
Though, for fantasy, you can make the world operate on entirely different principles:
With that done, the actual topic of city placement can be covered by videos like this:
Or
Once you have your places, if you want help naming them in realistic ways, this video can help:
This one is on architecture, which is definitely a subset of cities:
But for a more relevant practical guide on making settlements realistic:
Here’s a quick guide for making demographics:
holy shit?
worldbuilding is what writers do when they want to justify a petty aesthetic choice
Worldbuilding is also what writers do when they want to justify not actually writing.
Reading this comment was like looking down to see that I’ve been stabbed through the back in the middle of gloating.
I’ve said it before, I’ll say it a thousand more times: No piece of dystopian fiction has ever been a prediction of the future. They are observations and criticisms of the present.
“Wooow! How did Orwell predict the surveillance state so well in 1984??”
He didn’t. He was making an observation of the surveillance state that already existed in his present, and exaggerated it to make the metaphor obvious.
Learning and discussing these works in terms of them being predictions and having test questions like “do you think his prediction came true?” is not only pointless, but actively counterintuitive. When you frame these works as being ‘people from the past knew that the future would be terrible’ you shift the entire perspective to one of some kind of nostalgia for a past that didn’t exist.
These author’s aren’t oracles. They’re satirists. Their predictions ‘come true’ because they were already true when they wrote them.
If you’re a historical fiction writer for books, TV shows or movies and you’re including any action scenes where arrows are involved, please make sure you don’t never have any characters say, “Fire!” when commanding someone to shoot an arrow.
The command “Fire!” is meant for cannons and any other heavy artillery where actual fire is involved because the command is given to actually add fire to the weapon in order to make it work.
Maybe you can have someone say “Fire!” if you’re including fire-laced arrows and if the character is telling them to dip the arrows with fire before they shoot them. But even then, you should have that person say, “Shoot!” or “Loose!” after the fire is administered onto the arrow.
Writing advice from my uni teachers:
If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.
Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.
Don’t overuse metaphors, or they lose their potency. Limit yourself.
Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.
Surnames are just as important as given names. So, I compiled a list of the websites I use to find my surnames.
English Surnames
Dutch Surnames
Spanish Surnames
Scottish Surnames
German Surnames
Italian Surnames
Irish Surnames
French Surnames
Scandinavian Surnames
Welsh Surnames
Jewish Surnames
Surnames By Ethnicity
Most Common Surnames in the USA
Most Common Surnames in Great Britan
Most Common Surnames in Asia
For whoever needs these.
I NEED THE ITALIAN LAST NAMES SO BAD
We are like fireworks…: Surnames Master Post.
Chinese surnames
Indian surnames
Indonesian surnames
Pakistani surnames
Bengali surnames
Japanese surnames
Filipino surnames
Korean surnames
Syrian surnames
Mongolian naming and clan names
Thai surnames
Asia is not a single country.
one of the best pieces of writing advice i’ve ever gotten:
if a scene isn’t working, change the weather.
it sounds stupid, but seriously, it works. thank u to my screenwriting professor for this wisdom
on poetry
less than certain: how to teach bewildering poems, rachel mennies
the poetics of disobedience, alice notley
mystery & birds: 5 ways to practice poetry, ada limón
how to write a poem, bhanu kapil
facing altars: poetry and prayer, mary karr
back draft
someone is writing a poem, adrienne rich
some notes on organic form, denise levertov
in defense of poetic nonsense, with a character who shares your frustration, alice notley
the power of words to save us, marie howe
this quote from adrienne rich
back to the body: an interview with natalie diaz
bewilderment is at the core of every poem, kaveh akbar
a few additions, if i may :-)
3 statements on poetry, e e cummings
a poetry handbook, mary oliver
how to read a poem, edward hirsch
a retrospect & a few don’ts, ezra pound
poetry is not a luxury, audre lorde
the figure a poem makes, robert frost
via @PaperFury
Common Micro aggressions: African Americans and/or Black People
Anonymous asked: What are some common micro-aggressions that a black american will regularly have to deal with?
Behold! This masterpost of common micro-aggressions towards African Americans and/or people in the African Diaspora.
A Few Facts:
Micro-aggressions are the “little” incidents of racism that may not be so obviously racist, but come from a place of ignorance or stereotyped views
Micro-aggressions can be perpetuated by White people as well as fellow Black people and People of Color.
Several of these may be applicable to other People of Color.
We (Black mods writing this) live in different Westernized countries & have personally experienced every one of these or know someone who has.
For a fuller understanding of micro aggressions and the affects it has on individuals overtime, please see this: “These incidents may appear small…”
Use of microaggressions in writing
This is just to give a thorough understanding of some of the things a Black person (often in America or other western countries) deals with.
Unless writing about racism, we would not recommend overpacking your Black character with every one of these experiences, or at least not within the narrative.
Sprinkling in a few here and there is acceptable and adds realism.
Do not forget to include reactions to these micro-aggressions and when they occur, show they’re not okay somehow in the text.
The micro aggressions tag has plenty of applicable advice.
General Micro-aggressions
People excusing blackface.
Having our grammar and annunciation corrected.
“I don’t see you as a Black person/ I don’t see colour.”
Calling Black people ghetto, thugs, rachet, sassy, urban…
People debating why they should be allowed to say the n-word.
Then saying the n-word anyway.
Whispering, spitting, or stumbling over the word “Black” as if it’s a curse.
Refusing to pronounce your name right, or just calling you by a different name that’s easier.
Alternatively, “jokingly” calling you a “ghetto” name.
Constantly mixing up unrelated and not even resembling Black people, because you know.. ‘Black people all look the same.’
Dismissing our experiences as “just overreacting,” defending the wronging party, or using our plight to talk about one’s own experience (e.g. “well as a gay man i’ve got it rough…”).
Telling racist jokes and calling you sensitive when you don’t find it funny.
“______ is the new civil rights movement!” Black folks are still fighting for their rights, so…
Media
Fox news (xD)
Caricatured depictions of Black people on TV.
Casting calls for Black people only tailored for “race roles.”
Media treating white criminals and killers better than Black victims (see these headlines).
Stereotypes
Assuming you only listen to rap/hip-hop/r&b.
Assuming you love chicken, Kool-aid, and/or smoke weed.
Assuming you’re good at sports.
Assuming there’s no father in the picture in Black families.
Assuming all Black people (see: young girls) have children.
Calling Black people who don’t conform to preconceived images of Blackness “less black,” acting white or an “oreo.”
AAVE
Non-Black People mimicking/imitating AAVE.
People falling into AAVE when talking to Black People.
“Why don’t Black people speak real English instead of ‘ebonics’?”
Insults/doubting intelligence:
You’re so articulate!”
“You take advanced classes?!”
“How did she get into that [prestigious school and/or program]?”
“They only got x because they’re Black/Affirmative action.”
Assuming a Black person (usually male) attends college because of a sports scholarship.
Counselors discouraging Black students to take prestigious coursework, assuming it’s too difficult for them.
Respectability politics:
“You’re a credit to your race.”
“I’m glad you’re not like those other Black people. You’re not ghetto or listen to that rap stuff..”
Tone policing: dismissing someone’s reaction/argument/etc. because they are too “emotional.” Thinking that we need to be calm in order to be taken seriously.
Pitting African immigrants against African Americans, especially those coming to America for education, aka “Good Blacks.”
Beauty Standards and Dating
“You’re pretty for a Black girl.”
“You’re pretty! Are you mixed?”
“I don’t usually date/aren’t attracted to Black people.”
Calling attraction to Black people “jungle fever.”
Fetishization/Othering
People asking you what you are or where you’re really from.
Referring to Black people or our features as “exotic.”
Referring to Black people’s skin as chocolate or other foods.
Assuming dark skin doesn’t need sunscreen. Like other humans, we do!
Black Women/Misogynoir
Saying Black women are ”strong, independent and don’t need no man.“
Calling Black women ”sassy“ or angry if she shows passion/emotion.
Overreactions/exaggerating our actions. This often involves assigning aggression where there is none. (Black person speaking firmly is yelling. A Black woman disagrees with someone: “why are you attacking me?”)
Referring to white and non-black women as “girls” and “women” while calling Black women “Females.”
Men who apply courtesy to white women (holding doors, giving up seat) but don’t apply the same to Black women.
Referring to Black women on government assistance as “welfare queens” (While ignoring that white people, white women especially, get more government assistance than Black people in the USA).
“Black women All woman are beautiful.” (Stop. That. Please.)
Hair
People touching/petting your hair without consent.
“So is that your real hair? Are those extensions?”
Calling natural black hair unprofessional.
White people appropriating Black hair styles (dreads, twists, etc) and being praised as edgy, while it’s “ghetto, unprofessional, and unclean” on our own heads.
Poverty Assumptions:
“Do you live in the ghetto?”
“Can you afford that?”
“Here are the value prices of this product…”
Racial Profiling + Criminalization:
Crossing the street to avoid passing Black men/people.
Following in stores, assuming Black people are stealing.
Moving aside when we pass, clutching purse, locking doors.
Asking Black people for I.D. when paying with card (while white people are not asked).
Being pulled over + arrested at astonishingly higher rates than white people.
~Mods Colette and Alice
things you can use in place of cultural monsters
Can’t use golems in your fantasy world because they’re beings that belong to Judaism and you aren’t Jewish? Try using elementals!
Can’t use w*nd*goag in your story because they’re monsters from Native beliefs and you aren’t Native? Try wraiths or forest spirits!
Can’t use Skinwalkers, either? How about changelings, The Thing-type aliens or faeries?
Don’t want to use Christian biblical angels? Try eldritch monstrosities from another world.
Don’t want to namedrop La Llorona, Hachisukisama or the Cupecabrah? How about old-fashioned undead, zombies or ghosts?
Just because certain supernatural beings are only for certain groups, doesn’t mean you have to limit your monsters! There’s plenty of demographic-neutral alternatives to famous creatures that you can use without culturally appropriating or disrespecting people’s beliefs.
ok which popular person rbed this
No offense but how is any of that cultural appropriation? That’s like saying you can’t use Krampus in your work of fiction because you’ll offend people who celebrate Christmas.
I mean if you’re gonna use a creature like Wendigo or a Golem, make the effort to do some research about them so you can get a clear idea how they are represented in said culture.
I’m not trying to sound rude (apologies if I do sound it) but saying using certain creatures in your story is cultural appropriation is just absurd. Cause to be fair with proper research it would be nice to have some representation of these creatures in media.
Look I’m not a Native person but I know that w*ndigoag can’t be used by non-Native folks because their beliefs are a closed religion, and I’ve seen plenty of Native folks say that white people shouldn’t talk about them.
I’m not saying that using creatures like that are inherently offensive per say, but its kind of a bad choice to use beings from a religious belief or culture that have already been misinterpreted heavily in media. Chances are, people who make the diluted and incorrect depictions of these monsters probably said the exact same thing.
td;lr like you can, I guess, in some situations but it’d be better not to.
i’ve said this before on a previous post but:
using golems as your fantasy “monster” is inherently antisemitic.
they’re not only specific to jewish folklore, but they are benevolent. they’re protectors of the jewish people from those intending to harm us.
you can understand the problematic implications here, yes?
I have a question: is it okay to have a golem be a protector in your story, even if you’re not Jewish? Would it be better to have them protect, specifically, a Jewish character and their belongings/allies? Or should someone who is not Jewish omit the idea of a golem entirely from their writing? (I am not trying to start and argument or be malicious, I am just curious. I like getting writing inspiration, but I also like educating myself on these types of things and would like to know if I should abandon the effort to include a golem before even starting). Thank you.
In my opinion, I think a golem as a protector/ally for a Jewish character would be a better choice. As long as the golem is not portrayed as a monster or enemy in any way and the story you’re writing is based on Jewish folklore, you can have a golem in your story.
To clarify in a little more detail:
Golem mythology is deeply and intrinsically linked the the concept of Blood Libel.
Blood Libel was the very real historical practice of Christians making up stories about Jews kidnapping and cannibalizing Christian children in order to justify antisemitic genocide. Frequently, Christians even went so far as to plant actual bodies of Christian children in ghettos in order to whip up hate mobs (and often, in order to cover up the child abuse that had actually caused the deaths of the children in question). Many, many, many pogroms and antisemitic genocides were started over accusations of Blood Libel – it’s a real thing that had a real body count. (And as an aside, this is also why you should never draw Jewish people drink blood or eating children – we have a really traumatic history with that accusation.)
The story of the Golem has many variations, and exists in many Jewish cultures, but the basic structure is roughly this:
First, a Christian (sometimes a criminal, sometimes a priest, sometimes just a bigot) attempts to start a Blood Libel by hiding a Christian dead body (often a child he himself killed) in the Jewish quarter. The plot is thankfully discovered, and the villagers, fearful of how close they came to destruction, consult the local rabbi. The rabbi then takes some clay, and using magic, creates a construct with the singular mission of protecting the Jewish people from Blood Libel. In many versions, the Golem is brought to life by the word “Truth” being carved into the clay, because it’s purpose to uncover the truth, ie. to prevent Christians from framing the Jewish community and then committing genocide.
Generally, the fun part of the story happens at this point, after the Golem is brought to life, but before anything important happens. Since it was constructed with only one purpose, Golems are generally hyper-literal and very bad at doing anything other than protecting the Jewish community. People will sometimes try and get the Golem to help with chores, leading to unhelpful and hilarious results when the Golem follows their instructions Amelia Bedelia style. Sometimes, children will try and befriend the Golem, also to hilarious results. Note, however, that the traditional myth DOES NOT include the Golem accidentally harming the children who try to befriend it, or otherwise endangering the community in any way. The Golem’s hijinks are always ultimately harmless, and annoying more than anything. Sometimes the rabbi will even chastise the villagers involved by pointing out that the Golem was made only to be a protector, and if the Golem screwed up their chores, that’s their own fault for treating it like a servant.
The next part of the story typically deals with an attempted Blood Libel, which the Golem is used to thwart. Someone (frequently the same bad actor from the first part of the story, or sometimes their relative who is looking for revenge) attempts to start another Blood Libel. The Golem typically stops or kills the person responsible.
Sometimes – and this is where things get frequently misunderstood – the Golem grows to a gigantic size and gets out of control, and even violent. HOWEVER, it is important to note that this is always in order to protect the Jewish community. If the Golem is unable to fully prevent the Blood Libel, and if some of the villagers are killed by a Christian mob as a result, it will sometimes grow to a gigantic size and tear up the Christian community that murdered the villagers. If a mob has already gathered outside the ghetto walls, sometimes the Golem will single-handedly fight them all back. Sometimes, if the bad actor in question was a priest who was abusing children and starting a Blood Libel to hide it, the Golem will tear apart the local Church, and burn it to the ground. But always, when the Golem becomes violent, it targets those who were attempting genocide, not those who created it (although sometimes there is collateral damage to the ghetto due to the fight).
Regardless of whether or not the Golem grows gigantic and goes on a rampage, the story typically ends the same: the rabbi who created the Golem will see that its purpose has been fulfilled, and so he will retire it. Typically, this is done by erasing or removing the letters that were used to animate the Golem – if the Golem was animated by the word “truth”, the rabbi removes the first letter so that the Hebrew now reads the word for “death”, and the Golem “dies” by reverting back into a lump of clay. Typically, the rabbi then carries the clay back to the community, and stores it in a secret place so that the Golem can be revived if the community is ever threatened by genocide again.
If you’ve deeply internalized the purpose and meaning of this basic mythological structure, and if you’re thought long and hard about the real historical events that made this myth so appealing and culturally important, then I feel like you can easily use Golems in fantasy, even if you aren’t Jewish. But if any of what I’ve just written here strongly conflicts with your idea of Golems as a fantasy trope, you should consider steering clear. If you are using Golems in your story as monsters which needs to be defeated, you are unwittingly placing your main characters in the role of anti-semites and child abusers who are attempting to commit a genocide. And that should maybe give you some pause.
writing an autistic character when you are not autistic - a masterpost
completely double spaced version on google docs here – this post is more blocky for the sake of people’s dashboards, but still long so people will be less likely to glaze over it. my apologies if that makes it hard to read
things to look for and avoid in an autistic character
• symptoms only manifesting as “nonverbal and rocking” • super smart / living calculator • super dumb / doesn’t understand anything • all the symptoms you can come up with for them are “awkward” and “has special interest(s)” (please do more research) • trains, technology, and/or math as special interests • acting like a child • getting treated like a baby • unreasonably cruel and uncaring about others’ reactions to them being cruel • if they’re comparable to sheldon from the big bang theory, start over • animal comparisons • a lack of feelings • please no stories about what it’s like to be autistic told by allistics
the right way to write an autistic person
• lots of symptoms, including secondary ones not included on a general diagnosis requirement list (here’s a list i rather like that was made by an autistic person – their blog is also a good resource) • having a good amount of general knowledge and actually talking about it (i cannot believe that i have to say this) • talking about things outside of special interests (again…. come on……….) (special interests are usually the default things our brains go to when theres no stimulation or we want to entertain ourselves – it isn’t literally all we think or talk about ever. if a conversation has no connections to a special interest, reconsider having your autistic character bring it up in a context that is not an introduction.) • explicitly expressed to be capable of attraction and romantic feelings – if your character is an adult, add sexual feelings to this point • capable of general functioning, just with a disability that makes it more difficult – not a walking disability (….sigh) • a wide amount of feelings and emotional turmoil (but perhaps only being able to express it in limited ways) • we’re people • just people whose brains are wired differently
things to avoid in research for an autistic character
• autism moms / autism blogs and websites not run by autistic people • any affiliation with autism $peaks means you should walk away and never look back • a scientist trying to create explanations for what autistic people do without actually asking / not mentioning asking autistic people • anything about a cure for autism • a person that “worked with autistic kids” phrased in the same way as “worked with animals” • talking about autistic people as if they are mysteries, are like animals, or are otherwise othered weirdos instead of people
things to look for in research for an autistic character
• actual autistic people talking about their experiences and symptoms • just stick to that and you’re good but it’s hard to find sometimes ngl. just look for the above red flags
things i would personally like to see in an autistic character
• less easy to swallow sadness and more destructive anger. i would love to see a canonically autistic character who was frustrated easily by small things and had trouble communicating why • not a story about being autistic, a story that happens to have a character or characters who are autistic – it isn’t pointed out or questioned, they’re right at home with the rest of the cast and not othered (a la symmetra from overwatch) • intensive sensory issues / small sounds making large reactions • clear communications about not liking x sensory thing (for example being touched) • poor motor skills / clumsiness and not being laughed at for it • walking funny (body bent downwards, walking very fast, walking slowly, big strides, shuffling, stiffness, etc) – no one treats it as if it’s funny or something totally strange • a big personality that has a presence so they can’t be cast aside (but feel free to have quiet characters too) – if this was along with being nonverbal they would probably leap to being one of my favorite characters ever • a fear of asking for clarification on sarcasm or jokes because of past experiences and an arc about the character becoming more comfortable asking questions
>> if any fellow autistic people want to add something, feel free <<
allistics are encouraged to rb this