roma★
Not today Justin
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@theartofmadeline
let's talk about Bridgerton tea, my ask is open
he wasn't even looking at me and he found me
NASA
cherry valley forever
Today's Document
Origami Around
trying on a metaphor
PUT YOUR BEARD IN MY MOUTH
dirt enthusiast
Lint Roller? I Barely Know Her
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No title available
#extradirty
Mike Driver
KIROKAZE
祝日 / Permanent Vacation
seen from United States
seen from United States
seen from Indonesia
seen from United States
seen from Kazakhstan
seen from United States
seen from Chile
seen from Mexico
seen from Brazil
seen from India
seen from Iraq
seen from Italy
seen from United States
seen from United States
seen from Chile
seen from United States
seen from Philippines
seen from Uruguay
seen from United States
seen from United States
@imprisonedwritings
all your stuffed animals love you. they're not sad if they're in a box, or on the floor, or not held/played with as much. they understand. they know that you might need another stuffie more, or that you don't have enough space. they're just happy to be with you, and if you ever give them away, they'll be happy there too. stuffies are for comfort. they understand. they love you too. it's okay.
someone in a fanfic: s-stutters in embarrassment
me, closing the tab: sorry I must go
Unrealistic Stuttering: “S-sorry I-I d-d-didn’t m-mean t-to…”
Realistic Stuttering: “Sorry, I uh… I didn’t mean- I didn’t mean to do that…”
When people stutter, they usually reword what they’re saying as they speak, and subconsciously insert “filler words” such as “uh, like, you know,” and etc.
*puts on speech therapist hat*
ACTUALLY! It depends on why they are stuttering.
A Nervous Stutter results in what is called Mazing, or rewording the sentence. That is the classic “I, um… well I… look it’s just that… so we…” that @hellishhues is talking about. When someone is mazing their words you’re seeing a form of Speech Apraxia where the brain is having trouble forming verbal speech. This can be brought on by brain damage, memory loss, anxiety, nerves, and several other things.
The root cause of a nervous stutter is a disconnect between the mouth and the brain.
With this you will also sometimes see the classic “S-s-s-sorry…” especially if the person has been training to speak clearly and is now at a point of fatigue or stress where they are not mentally capable of forming the words.
The other kind of stutter is a Physical Stutter, sometimes referred to as slurring, and another facet of Speech Apraxia. This stutter is caused when the muscles of the mouth, tongue, and throat are physically unable to form certain sounds. This is most often seen in the very young and victims of brain trauma.
Sounds are acquired at different ages, so a 2-year-old will probably not be able to clearly pronounce certain words (which is why toddler sound so off when they’re written with developed dialogue). These mis-pronunciations are sometimes referred to as lisping, but only if the sounds are run together. If the person starts and restarts the sound because they got it wrong, it can also sound like the classic sound stutter.
But it all depends on why the character is stuttering!
Do they have Speech Apraxia, Audio Processing Disorder, muscle dysfunction, or another medical reason to stutter? (1)
Are they stuttering because of anxiety, stress, or fatigue? (2)
Does the stutter stem from intoxication or blood loss? (3)
All of those will sound different!
1 - Will have mazing, repeated sound stutters, and be the classic stutter that annoys OP.
2 - This is where you’ll see the repetition stutter, mazing, rephrasing, and filler words.
3 - This is where you are more likely to see starts and stops and slurring of words.
My mum has apraxia and I just wanted to say that’s one of the most concise and clear ways I’ve seen it explained, thank you!
I myself repeat letters when I’m stressed, so my characters do too, but I didn’t know before about the different causes for stuttering. I will refer to this in future. Thank you.
Watching my toddler figure out how to language is fascinating. Yesterday we were stumped when he kept insisting there was a “Lego winner” behind his bookshelf - it turned out to be a little Lego trophy cup. Not knowing the word for “trophy”, he’d extrapolated a word for “thing you can win”. And then, just now, he held up his empty milk container and said, “Mummy? It’s not rubbish. It’s allowed to be a bottle.” - meaning, effectively, “I want this. Don’t throw it away.” But to an adult ear, there’s something quite lovely about “it’s allowed to be a bottle,” as if we’re acknowledging that the object is entitled to keep its title even in the absence of the original function.
Another good post to read for those writing small human characters.
My son was about three when he came to me in the middle of the day and said, “Mommy, there’s a knight behind the bush.” I thought he meant a toy knight or something. So I follow him outside and he goes, “Listen. Do you hear it? It’s night behind the bush.” It was a cricket. A cricket was standing in the little patch of shade under the bush, chirping. So, my son saw this dark area with accompanying nighttime sounds and decided, okay, well, that is a night right there. Their brains are incredible.
My little bean knows she’s two, constantly saying proudly ‘I’m two!’ And the other day she saw this very frail old lady who looked one foot in the grave, pulled a face and said ‘oh shiiiit. She’s three.’ I almost screamed.
I live in Korea and have a lot of international friends, and the same is true with language barriers in adults.
*Looking at a bowl of pears* “Can you please pass me the… apple’s friend?”
OH SHIT SHE’S THREE
Apple’s friend!
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?
site that you can type in the definition of a word and get the word
site for when you can only remember part of a word/its definition
site that gives you words that rhyme with a word
site that gives you synonyms and antonyms
THAT FIRST SITE IS EVERY WRITER’S DREAM DO YOU KNOW HOW MANY TIMES I’VE TRIED WRITING SOMETHING AND THOUGHT GOD DAMN IS THERE A SPECIFIC WORD FOR WHAT I’M USING TWO SENTENCES TO DESCRIBE AND JUST GETTING A BUNCH OF SHIT GOOGLE RESULTS
Reblog to save sanity!
Save sanity 🤣
The problem started with stirrups.
So I’ve been working on writing Merlin fanfic and, like a moron, I decided I wanted it to be more historically accurate because the actual canon is a shitshow about that.
I start doing some writing, some researching, and discover that stirrups won’t arrive in Britain until the 10th century or so. King Arthur is like… early 500′s roughly.
So no stirrups. That’s not a big problem. Except it is argued that it might have been a major contributor to feudalism. Which, ok, good to know. So Arthur is pre-feudalism, got it. Shouldn’t change too much, right? (wrong)
Oh, what’s this that feudalism requires for those new wealthy landowners?
Fucking. Primogeniture.
(friendly reminder: this is the right of inheritance for the firstborn son. Like for land, or titles of nobility… or kings)
So if my research is right, King Arthur didn’t have an inherent right to the throne because he was the firstborn male heir. He was fucking ELECTED. (or maybe a lady in the lake threw a sword at him, who knows, this is all myth anyway)
But the fucking kicker?
The thing that DOESN’T EXIST in King Arthur’s time?? Because feudalism won’t show up for several centuries?
Fucking.
Knights.
In summary, the story of King Arthur is just modern day fanfiction from medieval/feudal Europe with rampant OCs, overpowered everyone, too much fucking drama, and like three different werewolves.
Also no stirrups.
this is how i learned young there’s no such thing as canon
King Arthur was ahistorical fanfic in the 12th century when the tales as we know them took shape, and in every retelling since then. It’s basically always been about projecting the author’s values backwards in time to an idealized past.
There’s literally a book exploring this and how modern retellings have continued the spirit of High Medieval versions called Silk and Potatoes: Contemporary Arthurian Fantasy. Because silk and potatoes, like stirrups, knights, and feudalism, were also not seen much in post-Roman Britain.
There really is no “historically accurate” way to write King Arthur. Even attempts to set the story in the 6th century are constructed ahistorical fantasies. You basically just have to decide which brand of anachronism you want to go with.
Hello, I have a doctorate in medieval English literature and am here to tell you: Arthuriana was always fanfic. What’s more, they’ve always been EXACTLY like BBC’s Merlin - a mash-up of time periods in their setting, but ‘modern’ (for each rewriting) in their tone and priorities and in-jokes - plus, of course, a dash (or a whole lakeful) of “It Was Better Back In Those Days”. Exactly which days “Those Days” were changes from century to century - by the fourteenth (Chaucer, Sir Gawain and the Green Knight, etc) they were mostly looking back to the days of Eleanor of Aquitaine if they were specific at all. In Eleanor’s time, which we tend to think of as the golden age of chivalry, Arthurian authors (Marie de France, Chrétien de Troyes) were looking back even further (and there’s some wistfulness for a lost pre-Norman England there too); in the fifteen century, Sir Thomas Malory (who gave us what ebcame our definitive English-language collection of Arthuriana for later centuries) was looking back from the vantage point of years of civil war to the glory days of the mid-fourteenth and Edward III’s court.
And Geoffrey of Monmouth (who, yes, is a character in Merlin) is the 12th-century historian that @star-anise mentions who was the first person to popularise these obscure Celtic and British and Welsh myths by pulling them together into something that looked like history and writing them up in Latin AS part of his “history of the kings of Britain” - a work which is itself heavily nostalgic for pre-Norman times - and, incidentally, deciding on a “date” for them to have happened.
But yes, Arthurian knights always had stirrups and were feudal because that was true of the times in which they were written and 100% of Arthurian writers agree that JOUSTING KNIGHTS ARE FUN and that is important. Actually, a lot of them also wore the high fashions of whatever day their stories were written in, because what better way to convey “this fairy queen was unimaginably beautiful and wealthy” than to have her wearing amazing exotic textiles and colours and jewels you’ve only just heard of from far-away lands?
You’re welcome
This is the most useful thing I’ve ever reblogged.
i used to think when people said my cousin twice removed that their cousin must’ve did some fucked up shit to get kicked out of the family twice
Oh so THAT’S what “twice removed” means…
I get asked a lot for tips with coloring black people, so i put together a little tutorial! (and bumps my kofi if you found this helpful)
Don’t be silent and compliant!
Actually
The question I get the most is how I write characters that feel like real people.
Generally when I’m designing a human being, I deconstruct them into 7 major categories:
1. Primary Drive 2. Fear: Major and Secondary 3. Physical Desires 4. Style of self expression 5. How they express affection 6. What controls them (what they are weak for) 7. What part of them will change.
1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it. 2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4. 3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.
4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially? 5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?
6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for. What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of.
7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot.
That’s it.
But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?
If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?
How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?
Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.
They start to breathe.
When I was younger and more abled, I was so fucking on board with the fantasy genre’s subversion of traditional femininity. We weren’t just fainting maidens locked up in towers; we could do anything men could do, be as strong or as physical or as violent. I got into western martial arts and learned to fight with a rapier, fell in love with the longsword.
But since I’ve gotten too disabled to fight anymore, I… find myself coming back to that maiden in a tower. It’s that funny thing, where subverting femininity is powerful for the people who have always been forced into it… but for the people who have always been excluded, the powerful thing can be embracing it.
As I’m disabled, as I say to groups of friends, “I can’t walk that far,” as I’m in too much pain to keep partying, I find myself worrying: I’m boring, too quiet, too stationary, irrelevant. The message sent to the disabled is: You’re out of the narrative, you’re secondary, you’re a burden.
The remarkable thing about the maiden in her tower is not her immobility; it’s common for disabled people to be abandoned, set adrift, waiting at bus stops or watching out the windows, forgotten in institutions or stranded in our houses. The remarkable thing is that she’s like a beacon, turning her tower into a lighthouse; people want to come to her, she’s important, she inspires through her appearance and words and craftwork. In medieval romances she gives gifts, write letters, sends messengers, and summons lovers; she plays chess, commissions ballads, composes music, commands knights. She is her household’s moral centre in a castle under siege. She is a castle unto herself, and the integrity of her body matters.
That can be so revolutionary to those of us stuck in our towers who fall prey to thinking: Nobody would want to visit; nobody would want to listen; nobody would want to stay.
#it’s so so important to remember that representation is not one-size-fits-all#what is empowering to one person might be exhausting and oppressive to someone else#some people need stories about having the strength to save themselves#some people need stories about being considered worthy of being saved#some people need inspiration for their independence while others need validation that they don’t have to be able to do everything themselves#before you lash out against something PLEASE stop to consider:#is this inadequate and/or damaging representation?#or is it just something I don’t personally relate to? [X]
Tropes don’t have fixed meanings. A trope you’ve always thought of as oppressive could be empowering for someone, somewhere, if written through the lens of inclusion, love, and liberation.
“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.
“Unless you are following the dialogue with an action and not a dialogue tag.” He took a deep breath and sat back down after making the clarifying statement.
“However,” she added, shifting in her seat, “it’s appropriate to use a comma if there’s action in the middle of a sentence.”
“True.” She glanced at the others. “You can also end with a period if you include an action between two separate statements.”
Things I didn’t know
“And–” she waved a pen as though to underline her statement–“if you’re interrupting a sentence with an action, you need to type two hyphens to make an en-dash.”
You guys have no idea how many students in my advanced fiction workshop didn’t know any of this when writing their stories.
Okay, but someone please explain question marks when followed by a dialogue tag. How do?
“The speech tag is still part of the previous sentence,” she explained, ‘so it isn’t capitalised.“
“What do you mean?” he asked. “But there’s a full stop as part of the question mark!”
She nodded gravely. “I know!” she said. “A lot of people find this confusing. But the speech tag belongs to the line of dialogue, it’s still part of the sentence, so it’s wrong to capitalise it.”
She reblogged the post again, because she had recently read far too many potentially enjoyable stories marred by poor dialogue punctuation.
I’ve only seen this post in screenshots till now..
NOICE. Can’t wait to use this
“There are two more ways"—she pointed to the blackboard—“to punctuate interruptions. One is with the em dashes outside the quotations marks to indicate continuous speech. The action occurs at the same time as speech. The other—” she sipped from a glass of water “—is em dashes within the quotation marks to indicate interrupted speech.”
Happy Storyteller Saturday! Tell us about a moment your WIP made you smile :) @raevenlywrites
Sorry I dont know how to do these! And sorry it has taken so long to respond.
The moment when Fai and Dory finally have a sibling chat, despite the 19 year difference between them. For Dory's whole life - all thirteen years - Fai has been distant and not the older brother she deserves. His words, not hers.
And Dory looks nearly identical to Ash - both of their older sister, who died eight years before Dory was born - with the only difference being their eye color.
Ash has light blue eyes - almost silver. Dory had the same colour, up until she is about five years old when they darken to a medium blue shade. They both have blonde hair.
It was... just hard for Fai to see his younger sister as anyone beside the sister that - in his mind - abandoned him and made him the oldest.
What “Ghetto” Names Really Mean
“Tinashe” - Means “God is with us” in Shona ( An African language spoken by nearly 80 percent of people in Zimbabwe.)
“Lakeisha” - A Swahili name meaning “favorite one.”
“Ashanti” - Name of a powerful African empire in West Africa.
“Tanisha” - Hausa of West Africa name meaning “born on Monday.”
“Zola” - Means “quiet, tranquil” in Zulu.
“Amandla” - Zulu and Xhosa word meaning “power”. The word was a popular rallying cry in the days of resistance against Apartheid.
“Zendaya” - Means “ To Give Thanks” in Shona
“Latonia” - A Latin name. Latonia was the mother of Diana in Roman mythology.
“Lulu” - Swahili and Muslim name meaning “pearl” or “precious.”
“Ciara” - Means “dark-haired” in Irish Gaelic
“Lateefah” - A North African name meaning “gentle and pleasant.”
“Mercedes” - Means “Gracious gifts/Benefits) in Spanish
“Kaya” - Ghanaian name meaning “stay and don’t go back.”
“Amara” - The Swahili word amara, meaning “urgent business.” Also the Hindu name meaning “immortal.”
“Shanika” - African Bantu name, meaning “young one from the wilderness.
“Zuri” - Means “beautiful” in Swahili.
“Onika” - Word of African origin meaning “warrior.”
JUST BECAUSE A NAME SOUNDS DIFFERENT DOES NOT MEAN IT’S “RATCHET” OR “GHETTO” THEY HAVE BEAUTIFUL MEANINGS.
DON’T BE IGNORANT, LEARN.
Reblog every time it hits the dash.
✊🏽✊🏾✊🏿
Correction: Latonia is a Latin epithet for the goddess Diana. It may derive from “ Latôia “ or “ Latoa “, meaning “daughter of Leto.”
(Leto’s name in Latin was Latona–without an I.)
Storyteller Saturday
Once again, Saturday has struck! And once again, I want to attempt to revive this lovely event! (It was a whole lot of fun last week!)
Reblog this post if you want people to send you asks about your writing, wip, or characters today! For each ask you get, try and send one back in return!
This event was originally started by @lonely-pages-of-ink and @drist-n-dither, and was a huge, incredibly fun writeblr event when I first joined this community, but has since fallen in participation and awareness. You can read the original info post here!
And don’t feel shy about sending asks to writeblrs you know nothing about—this is a wonderful way to get to know new stories, and make new friends!
💗Reblog if u support these lesbian swans 💗
straight people: they need boyfriends scientist: harold, they’re lesbians
