Nikita Chan (Chinese/American), Rainbow Shower, 2025, Colored pencil on paper
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Nikita Chan (Chinese/American), Rainbow Shower, 2025, Colored pencil on paper
New York City ballet production of Midsummer Nights Dream
The fact this isn't a painting is a testament to one of the greatest feats of set design and production I've ever seen.
My god just look at this! The lighting, set design, photography... I've just never seen anything like it.
This is from 1966 and you can see over a hundred photos on the NYPL digital collections website. It is absolutely gorgeous. These are just a few of my favourites.
Plus Puck's face here:
Haunted Castle Emoji x14
Okay I got two tags asking to post my issues with how people worldbuild religion, which is enough, so. Here's my Personal Opinion overview of major pitfalls in how people handle religion in worldbuilding.
(Note that this is again tailored towards non-industrial/pre-modern era/general fantasy/etc settings)
FUNDAMENTAL ISSUES:
-Kneejerk assumptions that any religious beliefs you don’t personally understand, or that differ substantially from your own, or that are superficially irrational given what you (a person who has near-complete access to all accumulated human knowledge at your fingertips) know about how the world physically works, are a result of people just being Stupid. Often manifested as Smart characters just de-facto being quasi-atheists (or otherwise having beliefs closer to the author's own) while it's mainly the Dumb People that actually adhere to their culture's religion. If you're operating from that standpoint you aren't equipped to write religion well, don't have more than a basic understanding of how religion/religious thought Works, and don't have anything particularly meaningful to say About religion (INCLUDING criticism).
-In relation to that, an underlying assumption that religions are ultimately just (flawed/failed) attempts at developing an empirical understanding of the world. That religion Only (or even just Predominantly) seeks to answer questions about physical reality that are not self-evident to human perception. Religion is the compounding of a culture’s entire subjective reality. It instructs on their morality and values, explains why they have the practices they do, why they live where they live, why people are who they are, why society is organized the way it is, etc. It is a part of broader knowledge systems. It is a mechanism of control that compels people to behave in ways that benefit group cohesion (further disincentivizing murder/theft/etc), enforces social norms, and can be a mechanism for enforcing hegemonic structures. It creates and regulates community and group identity. It is a complete worldview that encompasses both subjectivity and hard material forces that shape a culture. And yes, it does include explanations for physical reality and for unknowns like "where does everything come from" "what happens to the consciousness after death" "what exactly is the sun", but the answers to these questions have functions beyond the mere explanatory.
Basically, if you're writing religion as basically a series of checklists of 'here's how they explain x and y and z' with some gods slapped onto it, you're not really writing religion.
If the sun is carried on a chariot, it's not Just because 'well a chariot is an object we know to be capable of carrying things across a great distance, which explains the sun's behavior'. A chariot might be a critical weapon of war, and may be only accessible to lords who can own horses. Warrior status might be illustrious, an ideal of masculinity, a venerable pursuit. They probably experience warfare frequently and see strength in conflict as vital for their continued existence. In this example, the sun being carried on a chariot can suggest that the god who drives it as a lordly and venerable authority figure, an ideal of masculinity, a protector of his people and destroyer of their enemies. Is he chasing something across the sky? patrolling against an enemy above or below, or patrolling his lands to watch over those beneath? is he on his way to do battle with a foe in the underworld each night? etc (and you can expand on A LOT from there). The solar chariot has symbolic meaning that reflects people's values and lived realities, it's not just explanatory.
I saw a video recently showing a little wind vortex that REALLY looks like some invisible little animal is skittering across rocky ground with comments going “ohhh now I get why people believed in spirits” and like. If wind spirits are experienced in this people's reality, they're going to be the wind Itself, or certain kinds of winds, or entities that can control the wind, or etc. They're probably going to be part of a greater schema of spirits existing throughout the natural world, and they're gonna be part of your lived reality whether you've actually seen a creepy vortex or not. Certainly some mythologies are contributed to by/describe sightings of rare natural phenomena, but it's not like someone once saw a tiny wind vortex and went "that looks like an invisible creature made of wind. There must be invisible wind creatures which I will henceforth call 'wind spirits'".
-Treating religion as this thing that is wholly separate from culture (very often due to being culturally Christian and raised semi-religious, wherein religion is consciously Experienced as a thing you go to a certain place to do at certain times). In the majority of cases across history, a religion is an Inseparable component of its associated culture(s). It may very often be tied to a specific ethnic identity. Small rituals are baked into daily routines. There may be religious elements in how food is harvested and prepared, what and how you eat, what you wear, how you interact with others, how you clean yourself and your spaces, how things are built, the language you use, etc. There’s very often no divide between a ‘secular’ and ‘spiritual’ world.
And critically, most of this will be VERY MUNDANE. There’s a tendency to depict such expansive practices as if practitioners are in a constant state of religious fervor, and that’s not the case. Someone who needs to salute their household’s guardian deities every single time they pass through the door will probably be doing it with the same emotional intensity as someone making sure all their lights are off before they leave the house. It’s just a thing you do. If a ritual is something that you see or do on a regular basis, it's probably going to be pretty blasé (even boring) for people who are still deeply vested in its importance.
IDK I see a lot where religious practice is handled as either "everyone smart thinks its stupid and is just bored out of their mind throughout any religious event (they're bored because There So Smart)" or "believers do every form of ritual with the same fervor you see at snake handling churches when the holy spirit's gotten into them" (either within the same religion to distinguish the Smart People from the Stupid People, or with the latter angle being a signifier of a Bad Evil religion that is either an attempt to epically own Christianity or is extremely racist).
-Lack of syncretism. No religious worldview (or any other cultural element for that matter) is going to develop in a vacuum without external influences. ANY sustained interaction between different groups of people is going to result in the exchange of language and ideas. Geographical neighbors with different practices will likely share religious elements (potentially both from shared cultural ancestry and from a history of interchange). The religions of occupying forces will often absorb some facets of the occupied. Gods from different pantheons may be adopted and adapted for political reasons. Converts (whether forced, coerced, or willing) will carry some of their previous practices or ideas into their new one, and this is likely to develop into a distinct form of practice (and maybe eventually its own religion) in cases of group conversion. A society that deems its religion supreme and is actively hostile towards others is still not immune to the transmission of ideas. Your religions should never feel like they exist in a bubble, and should bear marks of a long history of interactions with other peoples.
-Being 'too neat'. Every aspect of the religion feels a little too tidy, too planned, has too few redundancies, and thus doesn't feel Lived In. This one can be challenging no matter how thoughtful you are because like, you're trying to replicate a cultural artifact that has been lived in for generations by a large group of people and shifted and changed throughout that time, but you're one person actively Designing it over a period of like, months or years. I think a one way to help is to Not be precious with consistency in your writing, allow self-contradictions to occur naturally and then revisit and iterate on them. If these contradictions defy FUNDAMENTALS of the religion (ie this religion is squarely monotheistic but you've written in something that sure sounds like another, lesser deity), then see how you can work this contradiction back into the fold without wholly removing it. And then iterate from that. And also just don't be SO stuck on any one idea that you're unwilling to change course if it starts developing in a different direction.
This process will give you elements you can ascribe to religious syncretism, or can describe as some relic of an extinct practice, or can build a schism off of (therefore giving you more to work with! What interactions resulted in this syncretism, what do other religions with common descent from this extinct practice look like, how and why did this schism develop and who adheres to it), and results in something that feels messy and therefore Lived In.
-Focusing too much on writing cool mythology and big rituals and too little on writing how religion manifests in day to day life. Like, you need to be considering what the average practitioner actually Does. How does religion factor into daily routine, clothing, art, language, food, entertainment, etc? And your mythology should not just be Cool Stories, you should be thinking of what values are being communicated, what anxieties are being expressed, how it reflects lived conditions and social systems of the people who tell them. Even if a story isn't a parable that intends to teach a lesson, it will be communicating things like values and morality and reflecting cultural biases all the same.
MISC POINTS:
-Assumption that all religions expect or favor orthodoxy. In a LOT of cases, people don't care what you Think about the gods, they care about what you say and especially what you DO. There may be a partial/complete lack of cultural Giving A Shit if you don't actually Believe in the core deit(ies), or if you believe in others, so long as you adhere to the orthopraxy expected for your station. Please take orthopraxy into heavy consideration and have systems in which it is the primary expectation of adherents.
-Assumptions that every religion has the concept of blasphemy, or cares deeply about it, or otherwise has strong distinction between the sacred and the profane. (Also remember that No Matter What there will be people who blaspheme and joke and make light of their own religion and push the boundaries of what they're allowed to do).
-Just in general remember that a lot of worldviews will have No separation between a mundane and supernatural realm. The afterlife (or the locations of deities or etc) is often going to be somewhere that's Inaccessible but still a part of the tangible world- in the sky, under the ground, across the sea, far away over land, etc. The notion of a divine realm as basically another Dimension is pretty modern and a result of consensus understandings of reality shifting because, yeah, we've mapped the earth and know a lot about its atmosphere and core and there's not room for a physical afterlife-space there. But it follows the same pattern, locating these divine spaces Just out of reach by mortal means.
And also some afterlives/spirit worlds have no degree of separation whatsoever, spirits may be an active part of the landscape in which one lives. The dead may be immediately present and interactive, sometimes taking the form of fauna or flora, sometimes as invisible forces, sometimes remaining in their corpses, sometimes residing in spaces made for them, or a combination. This is usually going to entail strong obligations to the dead and a sense of a continuing relationship with them, as well as strong ties to one's land in part because your ancestors are There.
-Pantheons in which there is one god assigned to each major concept (and potentially nothing else). Like you have one sun god, one moon god, one war god, one agriculture god, one fertility god****, one hunting god, etc. Pantheon systems do not develop by people delineating each major facet of reality and assigning a god to it. They aren't that cut and dry, they tend to have 'redundancies' (and their makeup will VERY often include deities adopted from other belief systems). Any given deity will serve multiple purposes (that may not be not overtly related), and separate deities will have overlapping purposes.
-****Fertility gods specifically piss me off because no one who gets published seems to know what the fuck they are. It Tends to be written as "This is the sex god who is about making babies (Sex) and maybe like, romance, and she's a sexy woman with huge boobs I mean a real set of badonkers. Packin' some dobonhonkeros. Massive dohoonkabhankoloos". The reason fertility is SO important to most religions across history is that it's the bedrock for basic subsistence. You need fertile crops, fertile livestock, fertile land, fertile wildlife, ALONG with fertile humans for your society to survive and thrive. Most deities that can be described as 'fertility gods' will have a focus on subsistence rather than just sex (or sex at all). You won't often find a deity whose Exclusive importance is human fertility, and even if you do it's probably going to include a variety of aspects (ie marriage, love, safeguarding pregnancy, safeguarding childbirth, safeguarding children, etc).
Just as a rule if you're writing a pantheon for a society that practices agriculture, there probably should be Several deities with an agricultural fertility bent.
-Sacrificial killings being written as like 'blood for the blood god', just killing anything you can get your hands on to please a bloodthirsty deity. There's a lot of different philosophies and purposes to sacrifice (does it appease certain deities? is it necessary for the world's continuing function? does it ward off disasters? a combination? etc), but the key underlying factor is that it is a SACRIFICE. It is giving up something that is considered valuable, important, difficult to attain, etc to achieve a greater purpose. Even with very cushy sacrificial models like the Greco-Roman 'burning the parts that aren't preferred for eating as offerings and then eating all the good parts' (they did also do some full cremations/offerings into bodies of water and stuff but I digress), it's still Giving Something Up. On subsistence scales, cattle and sheep and etc are MUCH more valuable alive than dead (they continuously provide food and fertilizer and fuel and textiles), slaughtering it as an offering MEANS something in a society in which slaughter can be an economic/survival gamble for the average person.
Human sacrifice can be more complicated in terms of whether it's strictly 'giving something up' because a LOTTTTT of the time it's members of an out-group or otherwise people considered 'expendable' (though should be noted that not every ritual killing that gets called a 'human sacrifice' would be considered a sacrificial offering by those who perform it). It often has STRONG political functions. If members of an out-group are sacrificed, it's purpose is often (in part) intimidation and a show of power or superiority. It may have implications for the afterlife - ie, warriors whose captives are killed at their funerals to serve them in the afterlife, monarchs and nobility whose slaves/servants/potentially even Officials are killed with them to continue their service in the afterlife. And in cases where sacrificial killings can Potentially happen to members of the in-group, there's often a notion that this is a good death, will grant good status in the afterlife, will gain the favor of a certain deity, etc. All this is just to say that it's never just mindless violence for the sake of violence.
-Monotheism ONLY being represented by Abrahamic (if not specifically Christian) style gods. IE: deities that are creators/rulers/kings, who are personified and have personal relations to you on some level, are omnipotent/omniscient/omnipresent, etc. There's a lot of variety into how singular gods are conceptualized, and some adjacent forms of belief ie- monolatry (multiple gods are recognized but only one is venerated) or henotheism (there is one supreme god but the potential existence of others is not rejected). The deity might be conceptualized as the world, the universe, something beyond the universe that contains it within, something from which the universe emanates, etc. God may be a specific Part of the world- the sun/the land/the sky/etc. God may not be heavily personified, or interacted with directly. Monotheism also isn't exclusive with other forms of veneration, like you can have monotheistic-animist systems, or monotheism with ancestor veneration (in which case the dead may often be go-betweens for the people and the god), etc. Branch out.
-Contemporary-type atheism in pre-modern type settings. To be clear I think there have been people who've thought 'I don't think this deity actually exists' since Belief In Deities has been a thing, but atheism that Utterly rejects every aspect of a belief system/exists as a movement detached from any other philosophy is pretty modern (see: religion usually being deeply embedded into the very fabric of its culture). Your atheists doubting the existence of god(s) are VERY unlikely to just automatically disbelieve everything else that could be labeled 'supernatural' or 'spiritual' in their culture. And any large-scale practice that disavows deities or creator gods is Most Likely to be attached to a religion and/or a school of philosophy (see atheist philosophical schools in the Vedic period and rejection of creator gods in Buddhism and Jainism).
Hey! All of your drawings do not need to be completely unique from one another. Do you know how many versions and replicas of his Sunflowers Van Gogh actually did? Just draw that naked guy ten times. Reuse that colour palette. Do that pose again. Follow your heart for real, no one can care as much as you do.
🍖 How to Build a Culture Without Just Inventing Spices and Necklaces
(a worldbuilding roast. with love.)
So. You’re building a fantasy world, and you’ve just invented: → Three types of ceremonial jewelry → A spice that tastes like cinnamon if it were bitter and cursed → A holiday where everyone wears gold and screams at dawn
Cute. But that’s not culture. That’s aesthetics.
And if your worldbuilding is all outfits, dances, and spice blends with vaguely mystical names, your story’s probably going to feel like a cosplay convention held inside a Pinterest board.
Here’s how to fix that—aka: how to build a real, functioning culture that shapes your story, not just its vibes.
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🔗 Culture Is Built on Power, Not Just Style
Ask yourself: → Who’s in charge, and why? → Who has land? Who doesn’t? → What’s considered taboo, sacred, or punishable by death?
Culture is shaped by who gets to make the rules and who gets crushed by them. That’s where things like religion, family structure, class divisions, gender roles, and social expectations actually come from.
Start there. Not at the embroidery.
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2.🪓 Culture Comes From Conflict
Did this society evolve peacefully? Was it colonized? Did it colonize? Was it rebuilt after a war? Is it still in one?
→ What was destroyed and mythologized? → What do the survivors still whisper about? → What do children get taught in school that’s… suspiciously sanitized?
No culture is neutral. Every tradition has a history, and that history should taste like blood, loss, or propaganda.
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3.🧠 Belief Systems > Customs Lists
Sure, rituals and holidays are cool. But what do people believe about: → Death? → Love? → Time? → The natural world? → Justice?
Example: A society that believes time is cyclical vs. one that sees time as linear will approach everything—from prison sentences to grief—completely differently.
You don’t need to invent 80 gods. You need to know what those gods mean to the people who pray to them.
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4.🫀 Culture Controls Behavior (Quietly)
Culture shows up in: → What people apologize for → What insults cut deepest → What people are embarrassed about → What’s praised publicly vs. what’s hidden privately
For instance: → A culture obsessed with stoicism won’t say “I love you.” They’ll say “Have you eaten?” → A culture built on legacy might prioritize ancestor veneration, archival writing, name inheritance.
This stuff? Way more immersive than giving everyone matching earrings.
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5. 🏠 Culture = Daily Life, Not Just Festivals
Sure, your MC might attend a funeral where people paint their faces blue. But what about: → Breakfast routines? → How people greet each other on the street? → Who cooks, and who eats first? → What’s considered “clean” or “proper”? → How is parenting handled? Divorce?
Culture is what happens between plot points. It should shape your character’s assumptions, language, fears, and habits—whether or not a festival is going on.
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6. 💬 Let Your Characters Disagree With Their Own Culture
A culture isn’t a monolith.
Even in deeply traditional societies, people: → Rebel → Question → Break rules → Misinterpret laws → Mock sacred things → Act hypocritically → Weaponize or resist what’s expected
Let your characters wrestle with the culture around them. That’s where realism (and tension) lives.
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7.🧼 Beware the “Pretty = Good” Trap
Worldbuilding gets boring fast when: → The protagonist’s homeland is beautiful and pure → The enemy’s culture is dark and “barbaric” → Every detail just reinforces who the reader should like
You can—and should—challenge the aesthetic hierarchy. → Let ugly things be beloved. → Let beautiful things be corrupt. → Let your MC romanticize their culture and then get disillusioned by it later.
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📍 TL;DR (but like, spicy): → Culture is not food and jewelry. → Culture is power, fear, memory, contradiction. → Stop inventing spices until you know who starved last winter. → Let your world feel lived in, not curated.
The best cultural worldbuilding doesn’t look like a list. It feels like a system. A pressure. A presence your characters can’t escape—even if they try.
Now go. Build something real. (You can add spices later.)
—rin t. // writing advice for worldbuilders with rage and range // thewriteadviceforwriters
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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.
Another worldbuilding application of the "two layer rule": To create a culture while avoiding The Planet Of Hats (the thing where a people only have one thing going for them, like "everyone wears a silly hat"): You only need two hats.
Try picking two random flat culture ideas and combine them, see how they interact. Let's say taking the Proud Warrior Race - people who are all about glory in battle and feats of strength, whose songs and ballads are about heroes in battle and whose education consists of combat and military tactics. Throw in another element: Living in diaspora. Suddenly you've got a whole more interesting dynamic going on - how did a people like this end up cast out of their old native land? How do they feel about it? How do they make a living now - as guards, mercenaries? How do their non-combatants live? Were they always warrior people, or did they become fighters out of necessity to fend for themselves in the lands of strangers? How do the peoples of these lands regard them?
Like I'm not shitting, it's literally that easy. You can avoid writing an one-dimensional culture just by adding another equally flat element, and the third dimension appears on its own just like that. And while one of the features can be location/climate, you can also combine two of those with each other.
Let's take a pretty standard Fantasy Race Biome: The forest people. Their job is the forest. They live there, hunt there, forage there, they have an obnoxious amount of sayings that somehow refer to trees, woods, or forests. Very high chance of being elves. And then a second common stock Fantasy Biome People: The Grim Cold North. Everything is bleak and grim up there. People are hardy and harsh, "frostbite because the climate hates you" and "being stabbed because your neighbour hates you" are the most common causes of death. People are either completely humourless or have a horrifyingly dark, morbid sense of humour. They might find it funny that you genuinely can't tell which one.
Now combine them: Grim Cold Bleak Forest People. The summer lasts about 15 minutes and these people know every single type of berry, mushroom and herb that's edible in any fathomable way. You're not sure if they're joking about occasionally resorting to eating tree bark to survive the long dark winter. Not a warrior people, but very skilled in disappearing into the forest and picking off would-be invaders one by one. Once they fuck off into the woods you won't find them unless they want to be found.
You know, Finland.
42+ ways to fix a story in progress
(Also posted on: 42+ ways to fix a story)
Here is a list of (some) ways to fix a draft or story in progress. I started it in the observation journal when I was struggling with some story changes.
In summary, these can be reduced to intensify; focus/tighten; swap/invert. But in a tight spot, specifics are often more useful. And making the list was also important, because it reassured me I knew all these techniques, and had used them before, and should calm down.
List 10 terrible endings (adapted from a Helen Marshall exercise), or just 20 endings. Or 100…
Re-outline it
Map it onto another story (I like to quick-outline fairy tales until one resonates, and then identify the parts to strengthen)
Fill it out as a synopsis questionnaire (I used to use Sue Dennard’s 1-page synopsis to trap story ideas)
Ask — what is the story behind the story?
Change the place
Change the era
Genderflip main character
Genderflip everyone
Change the genre
Change the adjectives
Describe the story in one emotion, & align/adjust
Do the same for each scene/section (see also three moods)
Flip (main) character’s personality (quiet to loud, etc)
What happens after
What happens before
What’s happening at the same time
It’s a metaphor for: ___
Pick/change emotional note for end
Scene-map
Match to 3-act structure
Match to 5-act structure
Give characters a preoccupation or secret
Start it later
Start it earlier
End it earlier
End it later
Map it onto a song
Blow something up
Make everything worse
Change [define & intensify] the aesthetic
Explain the reasons
Invert
Make it/ the weak bits A Whole Thing
Make it/ the weak bits a Good/Bad Thing
Make it/ the weak bits The Shape of the World
Tell from a non-obvious point of view (see also: by whom and to whom, and some less common points of view)
Change the type of character in the role (think archetypes and stereotypes)
Change drama – pose (?)
Change motifs
Change sentence structure
Change form, shape (e.g. list, pastiche, non-fiction)
And to these I’d add:
change voice, and
change age.
I might add more as I go. But in the meantime: hey, my debut collection of short stories, KINDLING, is now out from Small Beer Press (in the USA, and coming soon to Australia). It includes the new story “Annie Coal”. And if you look closely at the journal page above, you’ll see that was the story I was editing when I made this list.
One might assume I am reposting this because of the helpful advice on writing, but no. It’s the news that there is a new Kathleen Jennings book that absolutely made my day.
they found a sword and theyre very excited about it
Omg I'm so excited to be a ghost and ask questions
So I saw you answered a question about your process recently and I wanted to know more about it, if that's okay! I personally struggle the most with brainstorming a concept and have struggles with finding an inspirational reference because the internet is sooo saturated. So I was wondering, how do you go about brainstorming when starting a piece?
Welcome friendly Ghost!:D hmmm Let me see how I can explain it a bit more clearly! For me a lot come throught as I am drawing. Like I always start with a pose or a drawn element first or I might just end up looking at reference forever! wait let me get an example!
rogier my beloved!!
HEY THIS IS IMPORTANT whats your favorite place to find drawing references?
so far we’ve got
senshi stock
croquis cafe
line-of-action.com
quickposes.com
posemaniacs
clip studio paint models
pexels.com
sketchdaily
eggazyoutatsu atarichan drawer
designdoll
if you have any more please reply!
Unsplash: All photos published on Unsplash can be used for free. You can use them for commercial and noncommercial purposes. You do not need to ask permission from or provide credit to the photographer or Unsplash, although it is appreciated when possible. More precisely, Unsplash grants you an irrevocable, nonexclusive copyright license to download, copy, modify, distribute, perform, and use photos from Unsplash for free, including for commercial purposes, without permission from or attributing the photographer or Unsplash. This license does not include the right to compile photos from Unsplash to replicate a similar or competing service.
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Stocksnap: Every single image on StockSnap are governed exclusively by the generous terms of the Creative Commons CC0 license. Specifically, that license means you can do any and all of the following: Download the image file.Publish, revise, copy, alter, and share that image. Use the image (as-is or as you’ve altered it), in both personal and commercial contexts. Moreover, you can put StockSnap CC0 images to any of these usages without buying the right to do it, acquiring written permission from the image’s creator, or attributing the work to the image creator. In other words, there’s no fee to download or use these StockSnap images in accordance with the CC0 license. They’re free to download, free to edit, and free to use - even in a commercial project! You don’t even need to attribute the image to the creator, the way you do with other CC or traditional copyright licensing schemes. (However, even though it’s not required, we here at StockSnap do encourage you to include an appropriate attribution. It’s a nice thing to do.)
Burst.Shopify: Burst is a free stock photo platform that is powered by Shopify. Their image library includes thousands of high-resolution, royalty-free images that were shot by their global community of photographers. You can use their pictures for just about anything — your website, blog or online store, school projects, Instagram ads, facebook posts, desktop backgrounds, client work and more. All of their photos are free for commercial use with no attribution required.
Pixabay: Images and Videos on Pixabay are released under Creative Commons CC0. To the extent possible under law, uploaders of Pixabay have waived their copyright and related or neighboring rights to these Images and Videos. You are free to adapt and use them for commercial purposes without attributing the original author or source. Although not required, a link back to Pixabay is appreciated.
Viintage: All images hosted by Viintage.com are considered to be public domain images, each image is presumed to be in the public domain. It may be distributed or copied as permitted by applicable law. Viintage.com assumes no ownership of the images and they may be downloaded and can be used free of charge for any purpose. They may be downloaded and used for commercial and personal use. Understand “public domain” as the permission to freely use an image without asking permission from the photographer or the illustrator. Thus, the creator of the work will not sue you for violating his/her copyrights. It is your responsibility to make sure, displaying the image does not violate any other law. Viintage.com assumes no responsibility for how or where you use the images found on the site.
Gratisography: You may use Gratisography pictures as you please for both personal and commercial projects. You can adapt and modify the images and get paid for work that incorporates the pictures. This includes advertising campaigns, adding your logo or text to an image, printed in any size print runs (e.g., book covers, magazines, posters, etc.), on your website, blog, or other digital mediums, and on merchandise as long as the picture itself is not the merchandise.
As someone who draws a lot of faeries, Faestock is godlike.
A wonderful addition to the list!
Unsplash. Another whopping huge free images site like pixabay: free for commercial and noncommercial use and remixing; just don’t sell the photos unmodified or add them to other photo-sharing sites.
Morguefile. Big old free photo archive from the dawn of the web. “We are a community-based free photo site, and all photos found in the Morguefile archive are free for you to download and re-use in your work, be it commercial or not. The photos have been contributed by a wide range of creatives from around the world, ranging from amateur photo hobbyists to professionals.”
Open Access at the Met. The Metropolitan Museum of Art in New York: “Whether you’re an artist or a designer, an educator or a student, a professional or a hobbyist, you now have more than 406,000 images of artworks from The Met collection to use, share, and remix—without restriction.”
Smithsonian Open Access. Download, share, and reuse millions of the Smithsonian’s images […] from across the Smithsonian’s 19 museums, nine research centers, libraries, archives, and the National Zoo.
Limited use, if you’re doing a Science and need control panels/rockets/futuristic an image search with qualifier site: nasa.gov You have to double-check a photo’s caption it’s really a NASA photo, but photos which were taken by NASA spacecraft and astronauts are public domain, since they’re funded by taxpayer dollars. (This also goes for images of animals archived at the USFWS Digital Library, i.e the US Fish and Wildlife Service, or rocks and landscapes on USGS websites.
Okay updating and consolidating lots of info here; as well as adding links for ease of access. Adding a brief description for some too; as is the case that not all of them have descriptions above. (Warning that some of these links contain nude refs, I will try to mark where possible which ones have more prominent ones.)
Posing Sites and Apps:
Adorkastock. Stock photos for pose refs. DeviantArt gallery started in 2007.
FreePhotoMuscle.com. (translated page link click here) Japanese stock photo pose site that includes buff people, but in funny poses and costumes.
CroquoisCafe. (NSFW, nude model poses warning) A stock photo pose site. You should be aware this org has been linked as pro-Trump. I leave it to y’all to decide if you want to use the resources or not. I highly encourage not financially supporting them and trying to support the individual models if you can.
Line of Action. Fantastic site that includes posing refs, community discussions from other artists, figure study, anatomy, etc. So much stuff in here.
PoseSpace. Extensive library of poses. Some free resources others are paid. I’ve not fully evaluated both, but you should be able to use this all mostly free and get great use out of it.
SketchDaily. This one is one of the better ones out there. You can time yourself, search by pose, clothing options, body type, perspective, etc. All real models.
JustSketch.me. A pose app for any device. Has apps for most devices and a webapp. Customize and pose models/props/scenes.
Quickposes. Pose site that gives you timed challenges to become more proficient at poses.
POSEMANIACS. Ref site with anatomical poses. All the ref pics are of 3D models with only the bones and muscles. Can be helpful for seeing how muscles behave in certain poses. limited to two body types tho.
MagicPoser. A wonderful app that’s great on mobile. Lets you choose size of models, number of them, style, etc. Significant features are use of snap point with the physics engine, adjustable lighting, multiple perspective, 360 angle, articulated hand posing.
Clip Studio Paint Modeler. Free 3d tool that works with Clip Studio Paint. You can import your own data or other models you find online. Not quite an alternative to Blender, but the integration with CSP is very nice.
Egg a Zyoutatsu Atarichan Drawer. (requires enabling flash player or downloading and using standalone flashplayer) Drawing tool for pose practice. The developer is working on an html5 version.
DesignDoll. One of the best pose tool apps out there. You can customize so many things. They also have an extensive collection of ready made poses here. You can use the free or pay once for life and have the poses integrated into the client as well as the ability to export your obj to other programs like blender or smt.
Stock Photo Sites:
Unsplash. Giant free stock image site.
freeimages.com. Another stock photo site, less features than some others.
StockSnap.io. Stock photos with a creative commons CC0 license, which essentially means you can use the photos however you want and don’t have to attribute to them. (though its nice if you do attribute)
Burst.Shopify. Tons of royalty free high quality images. Similar licensing to StockSnap.
pixabay. I feel like most people know about this one, but it features entirely free CC0 licensed Photos, Videos, and Music. No attribution required, but still nice to support a giant site with all this content.
Viintage. Big collection of public domain vintage photos.
Gratisography. For commercial or personal use. They specialize in odd, quirky, wild stock photos.
pexels. Great free stock photos and videos. Only a few stipulations of what they don’t allow, but their license info can be found here.
Faestock. An artist and model with a huge amount of fantasy and fae and other types of photos available. Their terms for use are here.
MorgueFile. Old stock photo archive that’s been around a long time.
Museum and Institution Open Access sites:
USA National Gallery of Art. Over 50k works available for download.
New York Metropolitan Museum open access. 490k works to browse. Even codes for Animal Crossing New Horizons patterns.
The Smithsonian Institution open access. Probably one of the largest open access collections available online. Around 3.9 million items available to view.
Many More. This article from Apollo magazine has an extensive list of open access museums and institutions from around the world. A brief list of places includes: Art Institute of Chicago, Belvedere, Vienna , Birmingham Museums Trust , Cleveland Art Museum , Harvard Art Museums , J. Paul Getty Museum, Los Angeles , Kunstmuseum Basel , Library of Congress, Washington, D.C., Los Angeles County Museum of Art , Mauritshuis, The Hague , Minneapolis Institute of Art , Munch Museet, Norway , Museum of New Zealand Te Papa Tongarewa, Wellington , Národní galerie Praha , Nationalmuseet Danmark , Nationalmuseum, Stockholm , New York Public Library , Paris Musées , Pinakotheken, Munich, Rijksmuseum, Amsterdam, Städtische Galerie im Lenbachhaus, Munich, Statens Museum for Kunst, Copenhagen , Wellcome Collection, London , Yale University .
wow its been a while since ive seen this post, im so glad more useful info has been added!
YOU KNOW WHAT BOTHERS ME
when fantasy books describe the cloth of Quant Farmpeople’s clothing as “homespun” or “rough homespun”
“homespun” as opposed to what??? EVERYTHING WAS SPUN AT HOME
they didn’t have fucking spinning factories, your pseudo-medieval farmwife is lucky if she has a fucking spinning wheel, otherwise she’s spinning every single thread her family wears on a drop spindle NO ONE ELSE WAS DOING THE SPINNING unless you go out of your way to establish a certain baseline of industrialization in your fake medieval fantasy land.
and “rough”??? lol just because it’s farm clothes? bitch cloth was valuable as fuck because of the labor involved ain’t no self-respecting woman gonna waste fiber and ALL THAT FUCKING TIME spinning shitty yarn to weave into shitty cloth she’s gonna make GOOD QUALITY SHIT for her family, and considering that women were doing fiber prep/spinning/weaving for like 80% of their waking time up until very recently in world history, literally every woman has the skills necessary to produce some TERRIFYINGLY GOOD QUALITY THREADS
come to think of it i’ve never read a fantasy novel that talks about textile production at all??? like it’s even worse than the “where are all the farms” problem like where are people getting the cloth if no one’s doing the spinning and weaving??? kmart???
THANK U
pro tip: what do you say instead? I gotcha.
In Ye Olde Medieval Fantasy Dayes, everybody’s layer against skin (shirt tunic or shift) is gonna be linen. it’s almost never wool except stockings or hose (like pant legs). Say “undyed cloth” if you wanna make them sound simple and peasanty. Comment on how you can tell it wasn’t made for them (the fit is off) and has had probably eight owners before.
Outer clothing is gonna be either wool, or a blend called Linsey-woolsey, and again you could say Undyed, but dyes are not only common they are CHEAP and relatively easy. (innerwear is often left undyed or bleached to white because it gets washed to heck- like beaten by a wooden stick on a stone by the river- and dye would just fade out a lot so why bother. Ths is also why innerwear has ties, rarely buttons, unless you are so rich you have people doing your washing delicately because they’re hired to do only that. Buttons would get broken in the washing)
A poorer person is often seen in “russet”, a kind of rusty orange-brown color. Purple was famously reserved for royalty in many times and places, but its also just hard to do. We see a lot more magentas and fuschias for nobles or common middle class folks than we ever see of Purple- and not many of those. Deep blue was more likely on very rich people, but a light blue was common for even poorer folks. Yellow was popular with everyone, and so was green, and many shades of reds, including the color we now call orange (they did not- this is why redheads are called redheads and not orangeheads). Your vision of everyone in very drab brown and mud colors is from Hollywood- most medieval-ren folks have clothing with colors. Sometimes garish colors, to the modern eye. Traffic cone Orange and acid green was a popular combo in the 13th century.
Example medieval dye colors. Lots of yellows and orangey-browns. Woad gave a range of blues that are basically what we think of as “denim colors.” There were purples - royal purple was a specific color from a specific source - but if you mix wine-dye and woad-dye, you get purpleish dye. (Getting the color to stay that way may be more difficult. Everything worn by peasants fades; they couldn’t afford the really good fixatives.)
More examples and explanations here:
Plum, dusty purple, lavender, burgundy, chestnut, blood red
Walnut, chocolate, tan, linen, pale apricot, spice, dark spice
Peasant clothes were often more colorful than the nobility. Nobles could afford bright, clear colors that peasants couldn’t - but one mark of wealth was being able to buy all 4-8 yards of fabric for an outfit at the same time. So nobles would have a full outfit, including hat, stockings, even shoes, of one type of fabric (with ornamentation of a contrasting type, and as many buttons or bits of silver as they could get away with wearing), while peasants would often have a shirt, bodice or jerkin, skirt or pants, stockings, and hat of all different colors.
Dying or re-dying any one piece of clothing was within most of their cost limits - dye itself is cheap; fixatives cost. But boiling your shirt for an hour with onion skins in a copper pot would re-color the fading fabric.
And yet more medieval dye colour samples:
While centered on medieval Europe for the finer points, this is broadly true for any clothing needs
if anyone is interested in way too much information about the spinning, weaving, dyeing, and trading of cloth in ye olden days, pls see these lecture notes by my old economic history prof, who knew more about the textile industry in pre-modern europe than any reasonable person should. they’re old at this point but still pretty reliable.
If Legend of Zelda was a Russian folk-tale.
11, 21, 23, 36, 39, 41, 50 for the writing ask game 💛
11. most bizarre idea for writing you've had?
there was definitely a young justice fic i wrote in like 2012 that was just about artemis having her period and being miserable, because at the time i had my period and i was miserable but i didn't want that to stop me from writing young justice fic. it was just. period gen
21. what narrative style do you like to write in most? which do you end up writing in most?
i really adore writing non-linear narratives, like, every stitch is out of order and seemingly disconnected but each informs the next and the one before and all the rest, and when viewed as a whole they create a definite image or mood or message. these are the most challenging and the most rewarding to write, and the most fun to plan out. i have been writing in a very linear style lately, though—mostly because i recognized that linear, chronological stories are a weakness of mine and i wanted to improve at them. still, my current wip (vento aureo postcanon) has a bunch of spots where i've cheated and put in a flashback for no reason because i simply cannot resist gjhskg
23. what are some common themes you notice throughout your writing, if you have multiple wips/things you’ve written?
i definitely like to write about recovering from grief/trauma and i definitely like to write about love. those things are almost always both present in the things i write lol. i also love to write about things that happen After the story—absolutely cannot write pre-canon or mid-canon for the life of me. and, is it really a thing i'm writing if it's not taking every opportunity to describe the light or specify the trees
36. what is your writing process like?
i feel like i have a different process for each story. there's no standardized way i approach things, or if there is, it's usually temporary. my process has a whole lot more to do with like, where i am mentally than it does with any tried-and-true method, which is... probably not great ahaha. i generally construct stories around a single scene or line of dialogue that comes to me before anything else... like, what is the story that needs to exist for this scene to happen in its full context? i also pretty much have to make a playlist for everything i write. not to listen to while i'm writing it, mind you, because i cannot listen to music when i write, but to listen to while i am thinking about it or motivating myself to go back to it, to stay in the room in my head where i need to stay to see it through to the end. sometimes i outline—very bare bones, and often like i'm just talking to myself—and sometimes i don't (though writing a story from start to finish without a modicum of planning is no longer feasible for almost-30 brella). often it's just the sitting down and the doing of it: the work, word by word, rock by rock. but sometimes there are those bursts of light where it all comes out just right, and man, does that feel like miracle-working.
39. what piece of writing advice do you wish you would have gotten sooner?
you can't always sit around relying on inspiration to strike. sometimes good, clean, solid writing is the product of dull sentences and missed metaphors, painstakingly polished over time, and there's no shame in that at all—it doesn't make you any less of a writer, or any less worthy.
41. what was the last sentence you wrote, and what's the context?
He smells like wind and, faintly, like her: the traces of Acqua di Gioia on his collar, still.
this is in postcanon because everything is in postcanon. trish and narancia are in a car and very bad things are about to happen to them but this is a moment that's precious and safe, with the kind of simplicity of a good calm life that wouldn't register with trish at any other time but that right now makes every detail of it that much more extraordinary.
50. do you have any advice for other writers?
be okay with writing badly. no one has to know that you do it. you can edit it later. making peace with your voice when it's tired and confused and impossible to understand is the bravest and most important thing you can do. i read once that you have to think of it like clay: you can use it to sculpt anything you choose but first you need the soil and the water. make the clay, then make the pot. it's all part of the process.
Artwork for a personal project 🥰
Color has a big role in the story (or more like what happens when it starts to disappear) so thats why some of the locations/etc are almost or entirely black&white ☺️ i wanted to take inspiration from where i live so nordic culture is very present in this story c’: but it’s still just my made-up fairytale haha c’:💖