Several wildfires are forcing members of a number of First Nations to flee their homes in northern Ontario.
âI had time to run home and pack a bag and get to the beach where the boats were waiting,â said a member of Namaygoosisagagun First Nation (Collins). âWe literally had minutes to get on the boats and flee before it took our town.
âOnce we left my house finally after packing what I could in a pack sack, the fire was right behind our place. We had to run to the beach and once we got there, it was only moments before the fire had jumped over the (train) track and was coming for us.â
it has since been confirmed that namaygoosisagagun first nation has completely burnt to the ground. if you would like to help the community navigate an ongoing crisis, i urge you to donate to the anishinabek nation 7th generation, a registered charity seeking to improve the lives of first nations people. donations are going directly to members of namaygoosisagagun first nation.
if you're canadian, you can e-transfer [email protected]. if you're outside canada, they accept paypal as well. see more information HERE
I know it's more nuanced than this but I think having a hard policy of thinking anyone who genuinely hates one group of queer people for their identity might as well hate all of us and thus I should block any queerphobic queer person I see can do a lot to save you from believing anything exclusionists say.
"bomb that kills all-" "I just don't get bi women bringing their-" "pansexuality isn't a real thing-" "all lesbians-" "trans men really are men bcs they're all misogynistic predators-" "theyfabs-" "pfft aroace people are cringe-" "nonbinary people are actually all-" Instant block. Goodbye. Not listening. It's for both solidarity with your fellow queers AND to protect yourself, because once a person is convinced to hate one group for their immutable traits they can be convinced fairly easily to hate another too, and thus I do not trust them.
Just block these people the second they pop up, they aren't your allies and nothing they have to say is worth listening to.
why is it so hard for people to grasp that disabilities disable and chronic illnesses are chronic. yes even when it inconveniences you. yes even when your patience runs out
If you actually care about trans women you'll call out racism and confront people when they're being racist btw, if this is something you refuse to do then you only care about white trans women. Hope this helps!
black artists, they are trailblazers no matter what anyone's opinion is. within every subculture is a black artist who basically predates all the popular styles and trends and aesthetics. they are hidden or removed from history but yet everyone wants bits of our swag. we make our art accessible and yet nobody gives us our flowers.
remember, if you like a certain trend or thing, especially if it's a music genre or clothing style, there was probably a black person who Kickstarted that whole genre/movement. our existence is defiance, alt, doing things differently and authenticity. people want our art without respecting us. remember that.
it's why as a black furry, the keep politics out the fandom types are so annoying when you remember the concept of having a fursona in modern furry was Kickstarted by a black man (Ken Sample)
black people in every subculture are trailblazers never forget that.
I hate the idea that black people's dark skin = more sexually explicit than white skin, I hate how black bodies by default are hypermasculinized and sexualized simultaneously. I genuinely hate how even in progressive spaces people are so hellbent on depicting their black characters as dominant and sexually promiscuous or aggressive.
I hate how my curves are seen as a fetish because I have a black body attached to it as a transmasc person. I hate that I can't express myself because people assume my body type is a sick fetish or belongs to them.
and I hate how people think they are being progressive by removing it shaming reclaimed sexuality black people have over their bodies. we are seen as sexual deviants or completely removed from sexuality on the basis of it being the more "better" option. it's all connected to white supremacy I'm telling you bruh!
Iâm really sad that Gooseworx has closed her asks because people were being so awful to her, because her writing is honestly SO amazing and I just wish I could tell her how much I respect her as an artist, not just in a visual medium, but like. The way that she writes the different layers of characters and emotions, the way that the plot unfolds so beautifully and is somehow both unexpected AND perfect?? Gooseworx if you ever see this I love your writing your work is genuinely better than most things being produced today, your brain is beautiful and you deserve all of the success and none of the hate
The other night husband and I were watching a documentary about the yeti where they were doing DNA analysis of samples of supposed yeti fur, and every one of them came back as bears.
Anyway, the next night we watched a thing about some pig man who is supposed to live in Vermont. People said it had claws and a pig nose but walked upright like a man. Now, I happen to know that sideshows used to shave bears and present them as pig men. So every piece of evidence they gave of this monster sounds to me like a bear with mange.
So now the running joke in our house is that everything is bears. Aliens? Bears. Loch Ness monster? Bear. Every cryptozoological mystery is just a very crafty bear.
Bears. Theyâre everywhere. Be wary. Anyone or anything could be a bear.
As the OP of this post, Iâm going to threaten that if this gets to one million notes by the 10 year anniversary on 1 June 2026, one year from today, I will get a lower back tattoo of the loch ness bear monster.
While it's important to approach writing with creativity and imagination, it's crucial to prioritize responsible and ethical storytelling. That being said, if you're looking for information on poisons for the purpose of writing fiction, it's essential to handle the subject matter with care and accuracy. Here is a list of some common poisons that you can use in your stories:
Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.
Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.
Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.
Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, blurred vision, dizziness, an increased heart rate, and even death when ingested.
Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.
Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.
Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.
Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.
Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.
Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.
Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.
Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.
When incorporating poisons into your writing, it is essential to research and accurately portray the effects and symptoms associated with them. Additionally, be mindful of the potential impact your writing may have on readers and the importance of providing appropriate context and warnings if necessary.
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Itâs called copula deletion, or zero copula. Many languages and dialects, including Ancient Greek and Russian, delete the copula (the verb to be) when the context is obvious.
So an utterance like âyou a bitchâ in AAVE is not an example of a misused you, but an example of a sentence that deletes the copular verb (are), which is a perfectly valid thing to do in that dialect, just as deleting an /r/ after a vowel is a perfectly valid thing to do in an upper-class British dialect.
Whatâs more, itâs been shown that copula deletion occurs in AAVE exactly in those contexts where copula contraction occurs in so-called âStandard American English.â That is, the basic sentence âYou are greatâ can become âYouâre greatâ in SAE and âYou greatâ in AAVE, but âI know who you areâ cannot become âI know who youâreâ in SAE, and according to reports, neither can you get âI know who youâ in AAVE.
In other words, AAVE is a set of grammatical rules just as complex and systematic as SAE, and the widespread belief that it is not is nothing more than yet another manifestation of deeply internalized racism.
Do you still do writing tips?? Cause I need tips on writing a child (12/13) whoâs been trained to be living weapon their whole life??
OH MY GOD YES. I LOVE YOU.
this is a massive post Iâm sorry
Writing a Child Who was Raised to be a Weapon
tw just for abuse, eating disorders, and the like mentioned below
NOW. This is one of my favorite archetypes used in modern media, if you couldnât tell by my batfamily oc insert (little mister was-only-kept-alive-to-destroy-bruce-wayne. hi there, bentley, love you!)
While this is a very compelling and interesting type of character to create and flesh out, itâs easy to brush over some of the inner dialogue and thought patterns these children would have, because most people irl donât have them. (Unless you were raised as a super assassin, in which case, please donât kill me, and I love you)
The bottom line is, the characters entire personality and dynamic with other people relies on what background you give them. And thatâs where I come in! Hi, Iâm maccreadysbaby, and Iâm going to propose some of the routes you can take in writing these cute little (deadly) guys!
COMMUNICATION â´
none of these children are going to communicate normally, because they arenât normal. they werenât raised with a family, or good support system. they might:
be terrified of others. slow to trust. especially if youâre writing a child who was abused when they failed. for example, my oc, bentley, was horrified to be in proximity with any of bruce wayneâs family because he was afraid they would hurt him like his father did. he was afraid to cry in front of them, afraid to admit he was tired or sick or scared, afraid to ask for help, afraid to speak first, because it was all things heâd gotten punished for before. they might also have a terrible relationship with failure, because failure brings pain, and could potentially crumble if they fail or think theyâre going to fail whatever theyâre doing. (a mission, an assassination, or simple things like a school test or a task someone asked them to complete.) maybe theyâre really good at holding it together and pretending they arenât scared, but after all, theyâre just kids. the cracks in their mask are gonna show one way or another.
shut people out. this could be from fear, or from being taught relationships are bad and makes them weak and vulnerable. they might not communicate because they donât want to have another potential weak spot. they might keep their distance, stay quiet, not come out often. they might come across as cold and heartless, but itâs really them just trying to protect themselves, be it from pain, from the idea of eventual heartbreak, etc. but there is a problem with shutting people out, and itâs that theyâre also shutting themselves in, like a prison. kids who choose to shut people out and bottle up everything they feel are slightly more prone to emotional outbursts and breakdowns. especially if theyâre fairly young.
learn different ways to communicate, such as sign language, their actions, body language, etc. they wonât do it like everybody else and thatâs okay! you can take so many liberties with this. maybe they make origami swans and leave them on the nightstands of people they decide they like. maybe they highlight lines in books and leave them places to tell someone how they feel. maybe theyâre an absolute little jerkhole thatâs mean to everyone because they werenât taught how to do it any differently. maybe theyâre insanely submissive people-pleasers that do everything asked of them because they were created to take orders. the possibilities are endless. go on an adventure!
be overly trusting. you typically see this in characters on the younger end of the spectrum, but you can drag it up into teenagers, too. a child thatâs been abused or suppressed in any way, physically, emotionally, or mentally might decide they wholeheartedly trust the first person who is nice to them, who doesnât cause them pain. there might even be a little bit of lag time between the meeting and the kindness and the trusting, but when it comes, it comes full force to the face. theyâd trust these people to protect their lives and might even cling to them, or run to them as an escape from whoever raised them. (assuming they are afraid of the people who raised them.) they might even allow themselves to open up and become more than just a human weapon in the presence of these lucky folks.
believe that theyâre superior to everyone else. obviously they are a higher class, a finer type of person. they can kill in seconds, theyâre a master at martial arts, they can have an adult wrapped around their finger within the first minute of meeting them, they can make a person cave with a single sentence, theyâre just better. better than all these civilians who let their emotions get in the way, who let other people walk all over them and boss them around. theyâre too good for that. this is also a great one to add in some angst. arrogance and pride are often founded on the feelings of uselessness, worthlessness, or that they canât (or donât deserve to) be loved. itâs like a defense mechanism. no one likes me â obviously itâs because of my blindingly obvious superiority. theyâre so much better that they donât need love, kindness, care. (but yes, they actually do. theyâll probably break down crying or throw someone across the room the moment itâs given because it opens their eyes to the fact that theyâre literally freaking starving for it like they havenât eaten in their entire lives. my GOD give these kids a hug.)
FOOD â´
i know this seems random, but itâs something you need to know about your character because it heavily impacts their mental state, mannerisms, energy, and health. chances are being raised as a weapon, they wonât have a stable relationship with food or eating. here are some examples of how you could make them!
refusing to eat. if your child character has had bad experiences in the past regarding food, such as someone using food to manipulate them (if you donât do this you donât get food.), torture them (purposefully feeding them something that makes them sick or have an allergic reaction, even poisoned food.), or if there are bad memories tied to eating (always getting fed before terrible missions, or before days locked somewhere, torture sessions, punishments, etc.) your child may not want to eat at all. after all, these are still just kids and theyâre going to try and avoid everything that can trigger negative feelings, memories, or circumstances. if food is one of them, your other characters are probably going to have to help reassure them that they can eat and need to (if theyâre in the presence of nice characters.) if youâre wanting to go a more severe route, you can even write them getting diagnosed with anorexia (an eating disorder that heavily involves not eating at all.) but of course, you donât have to. (i didnât.) just remember, they are growing kids and are going to be hungry whether they like it or not. but they will try to hide it if hunger has been used against them, which is a good point for hurt/comfort writing, since hunger can cause anything as small and embarrassing as their stomach growling loudly in front of everybody to severe stomach cramps (like your organs being tied in a terribly tight knot), vomiting, and fainting. all things considered, you can take a more severe route, or just write about them working with the help of friends to get up to a better food intake level and higher weight.
struggling to eat. if your child has not been fed properly for most or all of their lives, and then are put into a homelife where they have food at their disposal, they still might struggle with it. (for example, my character, bentley, was severely starved by his father for the first ten years of his life and when he gets put into a new home, he struggles to eat much at all and sometimes feels sick when he eats âtoo muchâ, even though he should be eating more in general.) of course, this comes with a host of complications and all the symptoms that come with malnutrition, not to mention that they wonât even be close to the size theyâre supposed to be. (bentley was the size of a 6-7 year old at the ages of 9&10.) this is similar to the last bullet point in the sense that you can go the more serious anorexia route, or the kind people helping them stay on track route
over-eating. this one is more common for youngsters who didnât have access to food most of their lives, but it wasnât used against them or withheld from them by another person. (a good example would be a child trained in an area where people routinely donât have access to food.) this is highly derived from food insecurity, where they think they have to eat everything theyâre given because they donât know when theyâll eat next. (this can also be used for characters in the bullet point above.) this also can cause health issues and routine sickness. (for example, my character, asten (11yrs), who lived in a poverty stricken part of his city and barely ate outside of school, routinely eats himself sick when he has access to food because heâs been starving without it.) this food insecurity can also lead to extreme emetophobia (fear of vomiting) because they donât want to lose what they do have in them, which can pose a massive problem when this child is either so empty or so full that they need to throw up. so, if theyâre put into a household where they have access to food, it might be a constant stream of stomach aches and nights spent in the bathroom while the person helps reassure them that they will always have food and they donât have to eat it all now. (sorry this is gross but it needs to be said.)
here is a drabble that i wrote recently involving a malnourished child due to poverty, with his internal dialogue and thought processes, if that will help any of you.
ANXIETY / PTSD â´
oh boy. these kids will have it, given how theyâve been raised. the question is in how they treat it and deal with it.
hiding it. maybe they were trained to see fear and anxiousness as weakness. the flinch when someone moves too fast, the tightness in their chest at a certain noise, the inability to breathe if they see someoneâs face, theyâre going to hide it because their fine and theyâre tough. no one has to know that they have nightmares every night and cry when theyâre alone. you can even extend this into anxiety/asthma/panic attacks that they keep hidden. (typically by leaving social settings when they feel it coming on.) no one has to know that theyâre so weak. they might lash out in anger or irritation if theyâre routinely asked if theyâre okay because they need these people to back off before they fall apart in front of them. they might have little mannerisms that other people might notice for calming or showing anxiety, like biting their nails, bouncing their leg, pinching themselves, quietly doing breathing exercises, etc. PTSD will come more like nightmares and anxiety attacks and flashbacks, and they canât always hide those no matter how much they want to. the severity of anxiety and PTSD depends on how graphic you make their backstory. (for example, my character, bentley, has nightmares of being abused, which he breaks down crying after. in his instances, heâs never alone. similarly, he once started crying when he saw christmas decorations similar to those his abuser used to have, and he has his first anxiety attack when he sees his abuser in public) you can keep the character secretive about it or let them have a big old breakdown in front of someone else, your choice.
not hiding it at all. if theyâre with someone they trust, they might just let loose. (thatâs what happened to bentley once he learned his new family didnât care if he looked weak and wanted to help him) they might tell someone when theyâre feeling scared or anxious or bad in any way. they might just cry right in front of them when they have to and have attacks with someone close and all the things because theyâre not alone anymore and these people want to help. it might take a while for them to get to this point, and no one blames them. (for example, bentley was really anxious for school so he went to his new guardians room in the middle of the night) and remember, any steps these kiddos take closer to asking for help is HUGE! make sure your other characters encourage them and let them know theyâre proud for reaching out :)
keep in mind that if theyâve never been talked to about it, they might have no freaking clue whatâs going on if they have an attack of some sort, and will probably need someone to explain to them whatâs going on and that they aren't going to die.
Thanks for coming to my ted talk! If you have more specific questions send them in anon!
As a fantasy author, I thought I'd share my 5 tips for creating a captivating magic system.
1. Are you writing low fantasy or high fantasy?
Firstly, it's good to know from the get-go whether you're creating a magic system for a low fantasy or high fantasy story.
Low fantasy doesn't necessarily mean there are less fantastical elements or that the story has to take place in a version of the real world. Low fantasy simply indicates that the fantasy elements/magic is not commonplace in that world. Magic and other fantasy elements exist, but only a privy few know about it.
Examples of low fantasy stories include Harry Potter by She Who Shall Not be Named, the Mortal Instruments by Cassandra Clare, Ninth House by Leigh Bardugo, Twilight by Stephenie Meyer and my book To Wear A Crown.
High fantasy, on the other hand, indicates that the fantastical elements and magic are known about and commonplace in that world. The people of the world know that magic exists, that there are fantastical beings, other races etc.
Examples of high fantasy stories include Eragon by Christopher Paolini, Crescent City by Sarah J Maas, The Lord of the Rings by J.R.R Tolkien, and Red Queen by Victoria Aveyard.
2. Hard magic systems vs soft magic systems
The next thing that's vital to decide is whether you're creating a hard or soft magic system.
A hard magic system has built-in limitations. There are certain things that magic can do and that's it. Examples of stories with hard magic systems include Avatar: The Last Airbender and Shadow and Bone by Leigh Bardugo.
A soft magic system doesn't have inherent limitations in relation to what it can achieve. Examples of soft magic systems include Eragon, Harry Potter and The Lord of the Rings.
3. What can magic do?
Now that you know whether you're writing low or high fantasy, and whether you're working with a hard or soft magic system, it's time to create some magic!
This is the part where I can't give you too much guidance, because it's all about your creativity.
What do you want magic to look like in your story? What do you want magic to be able to achieve? How big of a role do you want magic to play in the story and your characters' lives?
Do you want different classes of magic wielders, each with mastery over their own element? Do you want magic to be a flexible tool that can be used to achieve almost anything? Do you want your magic to be limited to telepathic actions or creating portals? Do you want different people to have power over different aspects of nature or different magical disciplines?
Can wielders use magic without any tools, or do they need spells, runes or rituals?
The possibilities are endless, but it's important to establish exactly what magic is capable of in your world.
4. How does it work and where does it come from?
Now we know what the magic can do. Next up is why it can do those things. Where does the power of the magic come from and how do wielders command it?
Does the power/force of magic come from within the wielder? Does it draw from inner life force and energy? Does it draw on energy from another realm or dimension? Does it pull from the surrounding natural elements? Does the power come from a deity or from demonic forces?
Identify the source/origin of the magic.
From there, elaborate on how it works. How does a wielder access the source of the magic? Is it through strength of will, incantations, selling their soul etc.?
For example, let's say that the power of your world's magic comes from the cosmic energy of another dimension. In order for wielders to access that energy, they draw specific sigils on their skin and these sigils act as portals to that world. Once the sigil is complete, the cosmic power flows into the wielder and they can now command it.
5. The limitations
Very importantly, you have to be clear on the limitations of your magic system. Fantasy magic systems often fall flat because they don't have clear confines.
If you're writing a hard magic system, this step is a bit easier, since there are inherent restrictions on what magic can do. With soft magic systems, you have to decide just how much magic is capable of.
But whether you're writing a hard or soft magic system, you need to consider the cost of using magic.
Does the use of magic drain the wielder's energy? Does each instance of using magic darken the wielder's soul or deteriorate their body further? Does using magic damage the natural world around the wielder or drain others of their life force?
Magic without a cost, limitations or consequences just isn't as captivating.
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