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main | @midterms-crisis Adelie is my name, and writing is my game feel free to send in anything!

[teashoesandhair]

Now that JK has proven herself to be the jk we always knew she was, here is a list of incredible fiction by trans authors, because the best way to tell JK to shove her bigotry where the sun don’t shine is to buy the work of authors who deserve her platform. 

The Tensorate Series - JY Yang: four fantasy novellas about the guild of Tensors, magic users who can control elemental forces known as the Slack. V political, v beautifully written. Gender is a key theme but also there are dragons (naga), so there’s something for everyone tbh. 

Love Beyond Body, Space And Time - anthology: a collection of indigenous sci-fi / spec fic stories with LGBTQ and two-spirit characters and themes. Stories include narratives of transition, love stories, and just good ol’ space romps. 

The Merry Spinster: Tales of Everyday Horror - Daniel M. Lavery: a collection of fairytale retellings with a spooky and disturbing twist. Some of these are darkly comic, and others are just plain dark. All are beautifully written, because Lavery is just That Writer. 

The Spirits Series - Jordan L Hawk: a very spicy paranormal romance trilogy about Henry Strauss, an inventor, and Vincent Night, a psychic, whose differing approaches to communing with the dead cause (I’m so sorry) friction. These ones ain’t for the kiddies, but they’re so good and spooky.

The Mechanical Universe - EE Ottoman: a romance series (w a trans male protag!) set in a sort of steampunk universe, where spellcraft and mechanical animation are vying for equal respect. Tbh, everything by EE Ottoman is Very Good And Trans - The Doctor’s Discretion is my personal fave. Recommend 100%.

Peter Darling - Austin Chant: a trans retelling of Peter Pan, where Peter returns to Neverland to find that his place there is now much less certain than it was before, and he no longer belongs anywhere. There is also a romance with Captain Hook, but it works! I promise! 

The Danielle Cain series - Margaret Killjoy: a duology of novellas following Danielle Cain, a queer punk rock nomad, as she solves spooky mysteries. The first book is set in an anarchist settlement, and the theme of found family + community is prevalent throughout. 

An Unkindness of Ghosts - Rivers Solomon: on board the spaceship HSS Matilda, the last of humanity make their journey towards the Promised Land. Conditions on board are akin to the Antebellum South, and protagonist Aster is driven to find her way off the ship - if she can. 

I Wish You All the Best - Mason Deaver: a non binary teen, Ben, comes out to their parents and is kicked out. Their sister takes them in and they start a new school, where their life begins to change for the better. This one is v sweet and deals well with mental illness. 

Resilience - anthology: a collection of poetry and prose by trans women and amab trans people, featuring work by Casey Plett, KOKUMO, Magpie Leibowitz and many more. 

Small Beauty - jia qing wilson-yang: a mixed race Chinese trans woman returns to her small town Canada home after the death of her cousin, and she deals with her trauma and grief. Beautiful and sad, and absolutely honest about grief. 

Little Fish - Casey Plett: a trans woman begins to believe that her late Mennonite grandfather may have been trans, and while her own life starts to cave in, she attempts to connect with him through those who knew him. This one is A Lot but it’s phenomenal.

A Boy Called Cin - Cecil Wilde: a romance novel (so it’s SPICY) about Cin, a young trans man, and Tom, an older genderqueer billionaire. This is not your typical billionaire romance AT ALL; healthy relationships are depicted beautifully here alongside the reality of transition.

Confessions of the Fox - Jordy Rosenberg: a retelling of Jack Sheppard, the famous jailbreaker and thief. It’s told as though a trans man has discovered a manuscript about Jack (who is trans) and Jack’s story unfolds alongside the personal narrative of the manuscript discoverer. 

Nameless Woman - anthology: a collection of fiction by trans women of colour. There’s something for everyone here - romance, sci fi, personal narratives and more. A lot of the topics covered are very heavy but they’re treated honestly and sensitively. 

Maiden, Mother, Crone - anthology: a collection of fantasy stories about trans women and femmes. You want a story about a dread trans chthonic goddess? Of course you do. It’s right here. Enjoy. 

Caroline’s Heart - Austin Chant: a romance between a trans man (a COWBOY nonetheless) and a trans woman (a WITCH). Cecily has been trying to bring her lover, Caroline, back from the dead via magic, but when Roy gives his life to save her, she has a choice to make. 

The Queen of Cups - Ren Basel: a novelette about Theo, who’s about to set sail on their first voyage. As per their village’s custom, they ask the Oracle to bless their voyage, and she agrees - if she can come along. A great treatise on bravery, loyalty and independence. 

Amateur - Thomas Page McBee: not fiction, but OH WELL!! You gotta read it!! The autobiography of a trans man who learns to box and asks questions about what kind of man he wants to be; can he avoid repeating the toxic masculinity he fears? 

Trans Power - Juno Roche: also not fiction! Oops! Take me to court!! Roche interviews multiple trans people about their relationships with their transness, their sexuality and their bodies, and the result is a super empowering and beautiful book. 

The Shape of My Name - Nino Cipri: a novelette about time travel. I really can’t say much about this one because it’s better to go in without knowing a lot, but the main theme is self discovery and acceptance, especially within the context of a neglectful / abusive family. 

Pet - Akwaeke Emezi: the children in the city of Lucille know that there are no more monsters. They’ve been told so. So when Jam meets Pet, who definitely seems to be a monster, she has to face the problem of saving the world from something that it refuses to admit exists. 

There are obviously many more trans fiction authors out there, but these are the ones I’ve read and can call to mind immediately. On my to read list are Juno Dawson (who writes YA primarily), Kai Cheng Thom (whose story in Maiden, Mother, Crone was my favourite), Meredith Russo (also writes YA), Leslie Feinberg, and Sybil Lamb.

I haven’t included trans poets here because I feel like that’s a separate list in and of itself, but if anyone wants to add any, please feel free!

[bisexualbaker]

Plugging Ana Mardoll: No Man of Woman Born (“[A] collection of seven fantasy stories in which transgender and nonbinary characters subvert and fulfill gendered prophecies. These prophecies recognize and acknowledge each character’s gender, even when others do not.”) and Survival Route (second book in the Earthside series, but can be read on its own; in the series humans are kidnapped by faeries and forced into slavery. This book involves a gladiator-combat-and-”reward” type situation, and the daring escape the humans make together) both feature trans main characters. Audio options are available for all of xer books!

Also plugging Xan West, who does a lot more character-centric work: I’ve read Nine of Swords Reversed (Two disabled genderfluid mages are having relationship problems, and get help from a third by way of a Tarot reading), and am about two-thirds of the way through Their Troublesome Crush (An autistic trans boy finds himself falling in love with one of his metamours). They just published a new Chanukah-themed story as well!

[seth-the-hobbit]

Just adding other responses:

The slice of life webcomic Rain by Jocelyn Samara is about a trans girl, Rain, trying to get through high school stealth.

I Am J by Cris Beam. I wasn’t a huge fan but it is by a trans author so may as well add it to the list.

[teashoesandhair]

Thank you for collating those responses!!

I’ll also add the following that I forgot to include before:

Jonny Appleseed - Joshua Whitehead: Jonny, a young two-spirit indigenous queer person, is living in the big city at last. When he has to return to the reservation he grew up on to attend his stepfather’s funeral, the conflict between his new and old lives comes to a head.

Nevada - Imogen Binnie: a trans woman is dumped by her girlfriend and goes on a sort of road trip of self discovery. It’s less inspirational and cheerful than it sounds; I’d say it’s mostly a black comedy.

Darkling - Brooklyn Ray: m/m romance with a trans protag! Witches! Necromancy! It’s all here! This is the first part in a series.

Lord of the Last Heartbeat - May Peterson: a high fantasy novel with a non binary protag. I’m not normally a huge fantasy fan but this one’s a good ‘un. There’s also… murder.

[teashoesandhair]

Some others I forgot!

Robins in the Night - Dajo Jago: an alt historical (i.e. not period authentic) retelling of Robin Hood from the perspective of Maid Marian, who is a trans woman. It’s not exactly a comedy, but also isn’t exactly… not. It’s hard to pin down. It’s funny except for where it’s tragic, and it’s tragic except for where it’s funny. There are also a lot of snails. If you like molluscs and trans heroines, then you’ll like this one.

Cemetery Boys - Aiden Thomas: this one isn’t out yet, but I’m recommending it purely based on how incredible it looks. It’s a YA novel about Yadriel, a trans Latinx boy who accidentally summons a ghost who won’t leave. Obviously, they fall in love. Because of course they do. I’m super excited for this one and preordered it as soon as the link was available, and I highly recommend you do too.

Who I Was With Her - Nita Tyndall: this is another one that’s not out yet, but US folk can preorder it from Barnes and Noble (us poor UK plebs must alas wait a while). Tyndall is bisexual and non binary, and this YA novel follows a closeted bisexual teenage girl whose secret girlfriend is killed in a car accident, and her journey with a grief she can’t talk about. It’s going to be phenomenal and I’m ridiculously excited for it. If you can, preorder it!

Juniper Lane - Dylan Morrison: important caveat: this book is only available under the author’s dead name, because the publisher is no longer active. I’m recommending it (after having sought advice on whether or not to do so!) because it’s genuinely a good book, following a young woman, Mim, who moves in with her wealthy, eccentric aunt after a breakup. In her new, affluent suburb, Mim meets Nadia, and the two of them become friends. And then more, obviously.

All the Birds in the Sky - Charlie Jane Anders: a world where science and magic are constantly at odds. The protagonists are a cynical scientist and a vigilante witch. It’s kind of weird as hell and hard to define - sci fi??? Dystopian??? Fantasy??? All of the above??? Yes, is the answer. Probably.

Bad Boy - Elliot Wake: Renard Grant is a famous trans YouTube celebrity, but he’s also secretly a vigilante who takes down abusers and oppressors. When he’s accused of being complicit in the thing he’s dedicated his life to shutting down, he has to clear his name and come to terms with his own actions. There’s a lot in here about transition, especially in the public eye, and although it’s a heavy book, it’s pacey.

River of Teeth - Sarah Gailey: Gailey has a few books out, but I’m only familiar with River of Teeth (which has a sequel that I’ve not read). And I’m going to give it to you straight: this book is about an alternative Louisiana in the 1890s where a government hippo-breeding programme has gone terribly wrong, and led to a pestilence of bloodthirsty hippopotami. The cast is gloriously diverse, and it’s a weirdly fluffy read (weird in an unexpected way, not a bad way) so if you’re looking for a serious dystopia, then this isn’t it, but it’s a fun ride.

Chasing a Ghost - DA Ravenscroft: a Les Mis sequel novel. In this version, some of Les Amis d’ABC survived the barricades, and went on to lead lives outside of their activism. Combeferre goes in search of Enjolras, whom he believes to be dead, and the story unspools from there. It definitely helps if you know a bit about Les Mis before you get into this one, but a. it’s not necessary (it works as a standalone because it’s all set up well enough) and b. you could just… watch the musical… like a heathen. (It’s me; I am the heathen). It also has Enjolras as a gay trans man, basically everyone is queer, and yes, this is ExR. You are so welcome.

[cypher386]

Tumblr’s very own @natalieironside “The Last Girl Scout”, adventures of a gender diverse crew in post apocalyptic America. Luckily, this was a book about people and their relationships, with an occasional bit of nod to genre or trope. Warning, this is not a light heated run the countryside. I had to stop reading a couple of times, because I didn’t want anything to happen to the characters. There is no drama without loss. No success without risk, no redemption without sin and no forgiveness without love. I can’t wait to read more.

[inky-duchess]

Fantasy Guide to Architecture

This post has been waiting on the back burner for weeks and during this time of quarantine, I have decided to tackle it. This is probably the longest post I have ever done. I is very tired and hope that I have covered everything from Ancient times to the 19th Century, that will help you guys with your worldbuilding.

Materials

What you build with can be determined by the project you intend, the terrain you build on and the availability of the material. It is one characteristic that we writers can take some some liberties with.

Granite: Granite is an stone formed of Igneous activity near a fissure of the earth or a volcano. Granites come in a wide range of colour, most commonly white, pink, or grey depending on the minerals present. Granite is hard and a durable material to build with. It can be built with without being smoothed but it looks bitchin’ and shiny all polished up.

Marble: Probably everyone’s go to materials for building grand palaces and temples. Marble is formed when great pressure is placed on limestone. Marble can be easily damaged over time by rain as the calcium in the rock dissolves with the chemicals found in rain. Marble comes in blue, white, green, black, white, red, gray and yellow. Marble is an expensive material to build with, highly sought after for the most important buildings. Marble is easy to carve and shape and polishes to a high gleam. Marble is found at converging plate boundaries.

Obsidian: Obsidian is probably one of the most popular stones mentioned in fantasy works. Obsidian is an igneous rock formed of lava cooling quickly on the earth’s surfaces. Obsidian is a very brittle and shiny stone, easy to polish but not quite a good building material but a decorative one.

Limestone: Limestone is made of fragments of marine fossils. Limestone is one of the oldest building materials. Limestone is an easy material to shape but it is easily eroded by rain which leads most limestone monuments looking weathered.

Concrete: Concrete has been around since the Romans. Concrete is formed when aggregate (crushed limstone, gravel or granite mixed with fine dust and sand) is mixed with water. Concrete can be poured into the desired shape making it a cheap and easy building material.

Brick: Brick was one of history’s most expensive materials because they took so long to make. Bricks were formed of clay, soil, sand, and lime or concrete and joined together with mortar. The facade of Hampton Court Palace is all of red brick, a statement of wealth in the times.

Glass: Glass is formed of sand heated until it hardens. Glass is an expensive material and for many years, glass could not be found in most buildings as having glass made was very expensive.

Plaster: Plaster is made from gypsum and lime mixed with water. It was used for decoration purposes and to seal walls. A little known fact, children. Castle walls were likely painted with plaster or white render on the interior.

Wattle and Daub: Wattle and daub is a building material formed of woven sticks cemented with a mixture of mud, one of the most common and popular materials throughout time.

Building terms

Arcade: An arcade is a row of arches, supported by columns.

Arch: An arch is a curved feature built to support weight often used for a window or doorway.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Frescos: A design element of painting images upon wet plaster.

Buttress: A structure built to reinforce and support a wall.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Eave: Eaves are the edges of overhanging roofs built to allow eater to run off.

Vaulted Ceiling: The vaulted ceilings is a self-supporting arched ceiling, than spans over a chamber or a corridor.

Colonnade: A colonnade is a row of columns joined the entablature.

Entablature: a succession of bands laying atop the tops of columns.

Bay Window: The Bay Window is a window projecting outward from a building.

Courtyard/ Atrium/ Court: The courtyard is an open area surrounded by buildings on all sides

Dome: The dome resembles a hollow half of a sphere set atop walls as a ceiling.

Façade: the exterior side of a building

Gable: The gable is a triangular part of a roof when two intersecting roof slabs meet in the middle.

Hyphen: The hyphen is a smaller building connecting between two larger structures.

Now, let’s look at some historical building styles and their characteristics of each Architectural movement.

Classical Style

The classical style of Architecture cannot be grouped into just one period. We have five: Doric (Greek), Ionic (Greek), Corinthian (Greek), Tuscan (Roman) and Composite (Mixed).

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column’s capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Islamic Architecture

Islamic architecture is the blanket term for the architectural styles of the buildings most associated with the eponymous faith. The style covers early Islamic times to the present day. Islamic Architecture has some influences from Mesopotamian, Roman, Byzantine, China and the Mongols.

Paradise garden: As gardens are an important symbol in Islam, they are very popular in most Islamic-style buildings. The paradise gardens are commonly symmetrical and often enclosed within walls. The most common style of garden is split into four rectangular with a pond or water feature at the very heart. Paradise gardens commonly have canals, fountains, ponds, pools and fruit trees as the presence of water and scent is essential to a paradise garden.

Sehan: The Sehan is a traditional courtyard. When built at a residence or any place not considered to be a religious site, the sehan is a private courtyard. The sehan will be full of flowering plants, water features snd likely surrounded by walls. The space offers shade, water and protection from summer heat. It was also an area where women might cast off their hijabs as the sehan was considered a private area and the hijab was not required. A sehan is also the term for a courtyard of a mosque. These courtyards would be surrounded by buildings on all sides, yet have no ceiling, leaving it open to the air. Sehans will feature a cleansing pool at the centre, set under a howz, a pavilion to protect the water. The courtyard is used for rituals but also a place of rest and gathering.

Hypostyle Hall: The Hypostyle is a hall, open to the sky and supported by columns leading to a reception hall off the main hall to the right.

Muqarnas : Muqarnas is a type of ornamentation within a dome or a half domed, sometimes called a “honeycomb”, or “stalactite” vaulted ceiling. This would be cast from stone, wood, brick or stucco, used to ornament the inside of a dome or cupola. Muqarnas are used to create transitions between spaces, offering a buffer between the spaces.

African Architecture

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Somali architecture: The Somali were probably had one of Africa’s most diverse and impressive architectural styles. Somali Architecture relies heavy on masonry, carving stone to shape the numerous forts, temples, mosques, royal residences, aqueducts and towers. Islamic architecture was the main inspiration for some of the details of the buildings. The Somali used sun-dried bricks, limestone and many other materials to form their impressive buildings, for example the burial monuments called taalo

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Afrikaner Architecture: This is probably one of the oddest architectural styles to see. Inspired by Dutch settlers (squatters), the buildings of the colony (planters/squatters) of South Africa took on a distinctive Dutch look but with an Afrikaner twist to it making it seem both familiar and strange at the same time.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Aksumite Architecture: The Aksumite was an Empire in modern day Ethiopia. The Aksumites created buildings from stone, hewn into place. One only has to look at the example of Bete Medhane Alem to see how imposing it was.

Yoruba Architecture: Yoruba Architecture was made by earth cured until it hardened enough to form into walls, or they used wattle and daub, roofed by timbers slats coated in woven grass or leaves. Each unit divided up parts of the buildings from facilities to residences, all with multiple entrances, connected together.

Igbo Architecture: The Igbo style follows some patterns of the Yoruba architecture, excepting that there are no connected walls and the spacing is not so equal. The closer a unit was to the centre, the more important inhabitants were.

Hausa architecture: Hausa Architecture was formed of monolithic walls coated in plaster. The ceilings and roof of the buildings were in the shape of small domes and early vaulted ceilings of stripped timber and laterite. Hausa Architecture features a single entrance into the building and circular walls.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world’s most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren’t for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn’t like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Egyptian Architecture: The Egyptians were the winners of most impressive buildings for s good while. Due to the fact that Egypt was short on wood, Ancient Egyptians returned to building with limestone, granite, mudbrick, sandstone which were commonly painted with bright murals of the gods along with some helpful directions to Anubis’s crib. The Egyptians are of course famous for their pyramids but lets not just sit on that bandwagon. Egyptian Architecture sported all kinds of features such as columns, piers, obelisks and carving buildings out of cliff faces as we see at Karnak. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The Egyptians also only build residences on the east bank of the Nile River, for the opposite bank was meant for the dead. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds.

Chinese Architecture

Chinese Architecture is probably one of the most recognisable styles in the world. The grandness of Chinese Architecture is imposing and beautiful, as classical today as it was hundreds of years ago.

The Presence of Wood: As China is in an area where earthquakes are common, most of the buildings are were build of wood as it was easy to come across and important as the Ancient Chinese wanted a connection to nature in their homes.

Overhanging Roofs: The most famous feature of the Chinese Architectural style are the tiled roofs, set with wide eaves and upturned corners. The roofs were always tiled with ceramic to protect wood from rotting. The eaves often overhung from the building providing shade.

Symmetrical Layouts: Chinese Architecture is symmetrical. Almost every feature is in perfect balance with its other half.

Fengshui: Fengshui are philosophical principles of how to layout buildings and towns according to harmony lain out in Taoism. This ensured that the occupants in the home where kept in health, happiness, wealth and luck.

One-story: As China is troubled by earthquakes and wood is not a great material for building multi-storied buildings, most Chinese buildings only rise a single floor. Richer families might afford a second floor but the single stories compounds were the norm.

Orientation: The Ancient Chinese believed that the North Star marked out Heaven. So when building their homes and palaces, the northern section was the most important part of the house and housed the heads of the household.

Courtyards: The courtyard was the most important area for the family within the home. The courtyard or siheyuan are often built open to the sky, surrounded by verandas on each side.

Japanese Architecture

Japanese Architecture is famous for its delicacy, smooth beauty and simplistic opulence. Japanese Architecture has been one of the world’s most recognisable styles, spanning thousands of years.

Wood as a Common Material: As with the Chinese, the most popular material used by the Japanese is wood. Stone and other materials were not often used because of the presence of earthquakes. Unlike Chinese Architecture, the Japanese did not paint the wood, instead leaving it bare so show the grain.

Screens and sliding doors: The shoji and fusuma are the screens and sliding doors are used in Japanese buildings to divide chambers within the house. The screens were made of light wood and thin parchment, allowing light through the house. The screens and sliding doors were heavier when they where used to shutter off outside features.

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Verandas: It is a common feature in older Japanese buildings to see a veranda along the outside of the house. Sometimes called an engawa, it acted as an outdoor corridor, often used for resting in.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Indian Architecture

India is an architectural goldmine. There are dozens of styles of architecture in the country, some spanning back thousands of years, influenced by other cultures making a heady stew of different styles all as beautiful and striking as the last.

Mughal Architecture: The Mughal architecture blends influences from Islamic, Persian along with native Indian. It was popular between the 16th century -18th century when India was ruled by Mughal Emperors. The Taj Mahal is the best example of this.

Indo-Saracenic Revival Architecture: Indo Saracenic Revival mixes classical Indian architecture, Indo-Islamic architecture, neo-classical and Gothic revival of the 1800s.

Cave Architecture: The cave architecture is probably one of the oldest and most impressive styles of Indian architecture. In third century BC, monks carved temples and buildings into the rock of caves.

Rock-Cut Architecture: The Rock-cut is similar to the cave style, only that the rock cut is carved from a single hunk of natural rock, shaped into buildings and sprawling temples, all carved and set with statues.

Vesara Architecture: Vesara style prevalent in medieval period in India. It is a mixture of the Dravida and the Nagara styles. The tiers of the Vesara style are shorter than the other styles.

Dravidian Architecture: The Dravidian is the southern temple architectural style. The Kovils are an example of prime Dravidian architecture. These monuments are of carved stone, set up in a step like towers like with statues of deities and other important figures adorning them.

Kalinga Architecture: The Kalinga style is the dominant style in the eastern Indian provinces. The Kalinga style is famous for architectural stipulations, iconography and connotations and heavy depictions of legends and myths.

Sikh Architecture: Sikh architecture is probably the most intricate and popular of the styles here. Sikh architecture is famous for its soft lines and details.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles.

Rounded arches: It is here that we see the last of the rounded arches famous in the classical Roman style until the Renaissance. The rounded arches are very popular in this period especially in churches and cathedrals. The rounded arches were often set alongside each other in continuous rows with columns in between.

Details: The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways.

Pillars: The Romanesque columns is commonly plainer than the classical columns, with ornate captials and plain bases. Most columns from this time are rather thick and plain.

Barrel Vaults: A barrel vaulted ceiling is formed when a curved ceiling or a pair of curves (in a pointed ceiling). The ceiling looks rather like half a tunnel, completely smooth and free of ribs, stone channels to strengthen the weight of the ceiling.

Arcading: An arcade is a row of arches in a continual row, supported by columns in a colonnade. Exterior arcades acted as a sheltered passage whilst inside arcades or blind arcades, are set against the wall the arches bricked, the columns and arches protruding from the wall.

Gothic Architecture (12th Century - 16th Century)

The Gothic Architectural style is probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe.

Pointed arch: The Gothic style incorporates pointed arches, in the windows and doorways. The arches were likely inspired by pre-Islamic architecture in the east.

Ribbed vault: The ribbed vault of the Gothic age was constructed of pointed arches. The trick with the ribbed vaulted ceiling, is that the pointed arches and channels to bear the weight of the ceiling.

Buttresses: The flying buttress is designed to support the walls. They are similar to arches and are connected to counter-supports fixed outside the walls.

Stained-Glass Window: This is probably one of the most recognisable and beautiful of the Gothic features. They can be set in round rose windows or in the pointed arches.

Renaissance Architecture (15th Century- 17th Century)

Renaissance architecture was inspired by Ancient Roman and Greek Architecture. Renaissance Architecture is Classical on steroids but has its own flare. The Renaissance was a time for colour and grandeur.

Columns and pilasters: Roman and Greek columns were probably the greatest remix of the Renaissance period. The architecture of this period incorporated the five orders of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite. The columns were used to hold up a structure, support ceilings and adorn facades. Pilasters were columns within a chamber, lining the walls for pure decoration purposes.

Arches: Arches are rounded in this period, having a more natural semi-circular shape at its apex. Arches were a favourite feature of the style, used in windows, arcades or atop columns.

Cupola: Is a small dome-like tower atop a bigger dome or a rooftop meant to allow light and air into the chamber beneath.

Vaulted Ceiling/Barrel Vault: Renaissance vaulted ceilings do not have ribs. Instead they are semi-circular in shape, resting upon a square plain rather than the Gothic preference of rectangular. The barrel vault held by its own weight and would likely be coated in plaster and painted.

Domes: The dome is the architectural feature of the Renaissance. The ceiling curves inwards as it rises, forming a bowl like shape over the chamber below. The dome’s revival can be attributed to Brunelleschi and the Herculean feat of placing a dome on the Basilica di Santa Maria del Fiore. The idea was later copied by Bramante who built St. Peter’s Basilica.

Frescos: To decorate the insides of Renaissance buildings, frescos (the art of applying wet paint to plaster as it dries) were used to coat the walls and ceilings of the buildings. The finest frescos belong to Michelangelo in the Sistine Chapel.

Baroque (1625–1750)

Baroque incorporates some key features of Renaissance architecture, such as those nice columns and domes we saw earlier on. But Baroque takes that to the next level. Everything is higher, bigger, shinier, brighter and more opulent. Some key features of Baroque palaces and buildings would be:

Domes: These domes were a common feature, left over from the Renaissance period. Why throw out a perfectly good bubble roof, I ask you? But Baroque domes were of course, grander. Their interiors were were nearly always painted or gilded, so it drew the eye upwards which is basically the entire trick with Baroque buildings. Domes were not always round in this building style and Eastern European buildings in Poland and Ukraine for example sport pear-shaped domes.

Solomonic columns: Though the idea of columns have been about for years but the solomonic columns but their own twist on it. These columns spiral from beginning to end, often in a s-curved pattern.

Quadratura: Quadratura was the practice of painting the ceilings and walls of a Baroque building with trompe-l'oeil. Most real life versions of this depict angels and gods in the nude. Again this is to draw the eye up.

Mirrors: Mirrors came into popularity during this period as they were a cool way to create depth and light in a chamber. When windows faced the mirrors on the wall, it creates natural light and generally looks bitchin’. Your famous example is the Hall of Mirrors at the Palace of Versailles.

Grand stairways: The grand sweeping staircases became popular in this era, often acting as the centre piece in a hall. The Baroque staircase would be large and opulent, meant for ceremonies and to smoother guests in grandeur.

Cartouche: The cartouche is a design that is created to add some 3D effect to the wall, usually oval in shape with a convex surface and edged with scrollwork. It is used commonly to outline mirrors on the wall or crest doorways just to give a little extra opulence.

Neoclassical (1750s-19th century)

The Neoclassical Period involved grand buildings inspired by the Greek orders, the most popular being the Doric. The main features of Neoclassical architecture involve the simple geometric lines, columns, smooth walls, detailing and flat planed surfaces. The bas-reliefs of the Neoclassical style are smoother and set within tablets, panels and friezes. St. Petersburg is famous for the Neoclassical styles brought in under the reign of Catherine the Great.

Greek Revival (late 18th and early 19th century)

As travel to other nations became easier in this time period, they became to get really into the Ancient Greek aesthetic. During this architectural movement they brought back the gabled roof, the columns and the entablature. The Greek Revival was more prevalent in the US after the Civil War and in Northern Europe.

Hope this helps somewhat @marril96

[breannacarroll-blog]

Publishing for Fun and Profit

So there was a list going around tumblr for a while that made it to my dash of literary journals that accept open submissions (and will pay!), but upon inspection about half of them were closed indefinitely, and I found quite a few other places that looked interesting through further research, so I wanted to post my own list. 

I tried to focus on things that paid professional grade (at least 6 cents per word), were friendly to speculative fiction, and specifically encouraged diversity and writing about marginalized groups.

(Please note that as of right now I have never submitted or been published with any of these, so if anyone has experience with them, good or bad, please feel free to message or reblog this with your experiences.)

Speculative Fiction

Strange Horizons — Speculative fiction (broadly defined) with an emphasis on diversity, unusual styles, and stories that address politics in nuanced ways. 8c per word. Up to 10,000 words, under 5,000 preferred. Responds within 40 days. LGBT+ positive.

Fantasy & Science Fiction Magazine — Sci-fi, fantasy, horror, etc. 7-12c per word. Up to 25,000 words. No response times listed.

Asimov’s Science Fiction — Primarily sci-fi but accepts fantasy and surreal fiction, but no high fantasy/sword and sorcery. Prefers writing that is character driven. 8-10c per word. 1,000-20,000 words. Responds in about five weeks.

Evil Girlfriend Media — Horror and urban fantasy centered on female empowerment and defying gender stereotypes. $100 flat payment. 4,000-7,000 words. No response times given. LGBT+ friendly.

Beneath Ceaseless Skies — Fantasy with a focus on secondary worlds and characters. 6c per word. Up to 10,000 words. Average response time 2-4 weeks.

Fantastic Stories — Speculative fiction with an emphasis on diversity and literary style. 15c per word. Up to 3,000 words. Responds within two weeks. LGBT+ positive.

Fiction Vortex — Serialized fantasy and speculative fiction. $300 for featured stories, $50 otherwise. 3,500 words or less. No response times given.

Shimmer — Speculative fiction with an emphasis on diversity, strong plots, vivid characters, and beautiful writing. 5c per word. 7,500 words or less (will consider longer words with query letter). Usually responds within two weeks. LGBT+ positive.

Clarkesworld Magazine — Sci-fi, fantasy, and other speculative fiction. 10c per word up to 5,000 words, 8c per word after. 1,000-16,000 words. Responds within days usually, gives a tracking number.

Apex Magazine — Speculative fiction of all kinds. 6c per word, +1c per word for podcast stories. Up to 7,500 words, all submissions over will be auto-rejected. Responds within 30 days.

Heliotrope Magazine — Speculative fiction of all kinds. 10c per word. Up to 5,000 words. Responds within 30 days.

Lightspeed Magazine — Speculative fiction of all kinds, with creativity and originality in terms of style and format encouraged. 8c per word. 1,500-10,000 words, under 5,000 preferred. LGBT+ positive. Submissions temporarily closed for their main magazine but is accepting for their People of Color Destroy Science Fiction special.

General Fiction

The Sun Magazine — General fiction, likes personal writing or writing of a cultural/political significance. $300-$1500 flat payment  and a one year subscription to the magazine for fiction (also accepts essays and poetry). No minimum or maximum lengths but over 7,000 words discouraged. Responds in 3-6 months. Physical submissions only.

One Story — Any and all varieties of fiction, “unique and interesting” stories encouraged. $500 payment plus 25 contributor copies. 3,000-8,000 words. Usually responds in 2-3 months.

Camera Obscura — General fiction. $1000 for featured story, $50 for “Bridge the Gap” award, no payment for other contributors. 250-8,000 words. Response time vary, running just over two months as of now.

Flash Fiction 

Daily Science Fiction — Speculative flash fiction (including sci-fi, fantasy, slipstream, etc.). 8c per word. Up to 1,500 words, but shorter stories given priority. Response times not listed.

Vestral Review — General flash fiction. 3-10c per word depending on length to a max of $25. Up to 500 words. Response within four months.

Flash Fiction Online — General flash fiction. $60 flat payment. 500-1,000 words. Response times not listed.

Novels/Novella

Riptide Publishing — Any LGBTQ manuscripts between 15,000 and 150,000 words. Currently especially interested in lesbian romances, trans stories, asexual/aromantic stories, romances with a happy ending, and genre fiction such as urban fantasy. Also has a YA branch.  LGBT+ positive.

Crimson Romance — Romance stories of all kinds, currently seeking LGBT+ stories with a focus on emotional connections and relationships, especially m/m romance. Novel (55,000-90,000 words) or novella (20,000-50,000 words) length.  LGBT+ positive.

Kindle Direct Publishing 

Kindle Direct Publishing — Allows you to set your own prices, create your own cover art, and make royalties off of each sell. Any and all genres are welcome and if you’re prolific and smart about how you’re publishing you can make pretty good money.

General Guide to Kindle Publishing — Gives a good rundown of the publishing process on Kindle.

101 Guide to Kindle Erotica — Great guide with lots of resources about how to make money publishing erotica on Kindle.   

Publishing Comics/Graphic Novels

Here is a list of potential comic companies and what kind of open submissions they accept.  

Here is a list of literary agents who accept graphic novels. 

[bettsfic]

i tried to scroll past this but………….

duotrope is a (paid) service that allows you to search for publishers and agents. if you’re serious about publishing, it’s worth a subscription.

entropy mag provides a Where to Submit series every few months.

if you’re writing genre fiction, which is sci-fi, fantasy, and horror, you are more likely to get paid for your work. the downside is that the market is smaller and extremely competitive, and it’s the standard that you can’t simultaneously submit. i don’t know as much about the genre market, because i don’t write much genre fiction.

if you’re writing literary fiction (here called, weirdly, “general fiction”), it is mostly an unpaid market, but you can (and should) simultaneously submit. i send out to ten places at a time, picked out based on aesthetic, and my familiarity with the publication. there are hundreds of lit mags. it takes a long, long time to learn the market, to find the publications that suit you and would make a good home for your work. publishing is a long con. you can’t just write something and throw it into the wind. it takes work to figure out where it belongs. the new yorker will never accept your story, but a nonprofit mag affiliated with the english department of a college you’ve never heard of might go absolutely nuts over it. 

your other option is to submit to competitions, which pay very well, but have entry fees ranging from $5 to $50, and are very, very competitive. there are also anthologies, etc. 

in terms of comics and graphic novels, if you’re interested only in writing, not art, you will not be able to find a publisher. comics publishers (many lit mags also publish comics btw!) want the whole thing, art and all. it needs to be signed sealed and delivered. 

[minutia-r]

Just want to add that The Submission Grinder has basically the same functionality as Duotrope but is free.

[relfanalae]

@klushund

[wordsnstuff]

Resources For Writing Sketchy Topics

Medicine

A Study In Physical Injury

Comas

Medical Facts And Tips For Your Writing Needs

Broken Bones

Burns

Unconsciousness & Head Trauma

Blood Loss

Stab Wounds

Pain & Shock

All About Mechanical Injuries (Injuries Caused By Violence)

Writing Specific Characters

Portraying a kleptomaniac.

Playing a character with cancer.

How to portray a power driven character.

Playing the manipulative character.

Portraying a character with borderline personality disorder.

Playing a character with Orthorexia Nervosa.

Writing a character who lost someone important.

Playing the bullies.

Portraying the drug dealer.

Playing a rebellious character.

How to portray a sociopath.

How to write characters with PTSD.

Playing characters with memory loss.

Playing a pyromaniac.

How to write a mute character.

How to write a character with an OCD.

How to play a stoner.

Playing a character with an eating disorder.

Portraying a character who is anti-social.

Portraying a character who is depressed.

How to portray someone with dyslexia.

How to portray a character with bipolar disorder.

Portraying a character with severe depression.

How to play a serial killer.

Writing insane characters.

Playing a character under the influence of marijuana.

Tips on writing a drug addict.

How to write a character with HPD.

Writing a character with Nymphomania.

Writing a character with schizophrenia.

Writing a character with Dissociative Identity Disorder.

Writing a character with depression.

Writing a character who suffers from night terrors.

Writing a character with paranoid personality disorder.

How to play a victim of rape.

How to play a mentally ill/insane character.

Writing a character who self-harms.

Writing a character who is high on amphetamines.

How to play the stalker.

How to portray a character high on cocaine.

Playing a character with ADHD.

How to play a sexual assault victim.

Writing a compulsive gambler.

Playing a character who is faking a disorder.

Playing a prisoner.

Portraying an emotionally detached character.

How to play a character with social anxiety.

Portraying a character who is high.

Portraying characters who have secrets.

Portraying a recovering alcoholic.

Portraying a sex addict.

How to play someone creepy.

Portraying sexually/emotionally abused characters.

Playing a character under the influence of drugs.

Playing a character who struggles with Bulimia.

Illegal Activity

Examining Mob Mentality

How Street Gangs Work

Domestic Abuse

Torture

Assault

Murder

Terrorism

Internet Fraud

Cyberwarfare

Computer Viruses

Corporate Crime

Political Corruption

Drug Trafficking

Human Trafficking

Sex Trafficking

Illegal Immigration

Contemporary Slavery 

Black Market Prices & Profits

AK-47 prices on the black market

Bribes

Computer Hackers and Online Fraud

Contract Killing

Exotic Animals

Fake Diplomas

Fake ID Cards, Passports and Other Identity Documents

Human Smuggling Fees

Human Traffickers Prices

Kidney and Organ Trafficking Prices

Prostitution Prices

Cocaine Prices

Ecstasy Pills Prices

Heroin Prices

Marijuana Prices

Meth Prices

Earnings From Illegal Jobs

Countries In Order Of Largest To Smallest Risk

Forensics

arson

Asphyxia

Blood Analysis

Book Review

Cause & Manner of Death

Chemistry/Physics

Computers/Cell Phones/Electronics

Cool & Odd-Mostly Odd

Corpse Identification

Corpse Location

Crime and Science Radio

crime lab

Crime Scene

Cults and Religions

DNA

Document Examination

Fingerprints/Patterned Evidence

Firearms Analysis

Forensic Anthropology

Forensic Art

Forensic Dentistry

Forensic History

Forensic Psychiatry

General Forensics

Guest Blogger

High Tech Forensics

Interesting Cases

Interesting Places

Interviews

Medical History

Medical Issues

Misc

Multiple Murderers

On This Day

Poisons & Drugs

Police Procedure

Q&A

serial killers

Space Program

Stupid Criminals

Theft

Time of Death

Toxicology

Trauma

[ezilyamuzed]

For research and to save onto.

[whatnameshallitake]

anyone up to be a casual beta reader for a batman fic im writing this camp nano?

fic is just me fixing all the familial issues via oc, but not too much for the angst.

will contain an oc of course, canon divergence, focuses on batfam, might be descriptive on violence, will contain themes of sexual abuse and stuff but i want it to be more about recovery. main character is aspec, so being aspec will help but is not needed. more on feedback rather than proofreading ^^

here’s the working summary and title 

Text: 

Title: Robins are Migratory Birds

Summary:

Having a mask and secret identity is common but not required to being Robin.

A story on bird migration, with robins and other bird-themed people flying around the globe until they finally come home.

Wherein Bruce Wayne adopted one more orphan, Batman has three Robins (guess who! no, really. guess.), and everyone relearns the meaning of the word “Family”.

[thecaffeinebookwarrior-deactiva]

Accurately Depicting Bipolar Disorder: Resources

I’ve gotten a few asks requesting some research resources for writing characters who have Bipolar Disorder. I don’t have Bipolar, nor am I a mental health professional, but I have found some helpful resources from people who experience it in order to get you started.

Please let me know if you have any reading recommendations, and if you’d like to share your experiences! 

Also note: apologies I haven’t been able to answer asks the way I used to, as adult life and grad school keep me rigorously occupied. But I always appreciate the people who take the time to write to me!

Happy writing, everybody!

Articles: 

What it’s like to have bipolar, by people who have bipolar

What Bipolar Disorder Is Like, According to Women Who Live With It

My Story with Bipolar Disorder

This Is What It’s Actually Like to Live With Bipolar Disorder

What It’s Like to Be a Black Woman With Bipolar Disorder

Black and Bipolar: Our Melanin Does Not Shield Us From Mental Illness

Accounts from Black, Asian, and other People of Color living with Bipolar

Your Experience With Bipolar Disorder Depends on Your Race

Books: 

Wishful Drinking, by Carrie Fisher 

Haldol and Hyacinths: A Bipolar Life, by Melody Moezzi 

An Unquiet Mind, by Kay Redfield Jamison, PhD

Mad Like Me: Travels in Bipolar Country, by Merryl Hammond

Rock Steady: Brilliant Advice from My Bipolar Life, by Ellen Forney

I’m Telling the Truth, but I’m Lying: Essays, by Bassey Ikpi

OMG That’s Me: Bipolar Disorder, Depression, Anxiety, Panic Attacks, and More…, by Dave Mowry

Videos: 

Living With Bipolar Type II

Destigmatizing Bipolar Depression

Finding Balance in Bipolar

What It’s Actually Like to Live With Bipolar Disorder

Living with Bipolar Disorder

What Hypomania Feels Like: Bipolar Disorder

[bottlecap-press]

Waves Closing Over Us, by Janelle Cordero

Poetry, chapbook, 36 pages, illustrated, from Bottlecap Press. Waves Closing Over Us is a chapbook of seeker poems by a twenty-something who

From Janelle Cordero's chapbook, Waves Closing Over Us, available from Bottlecap Press!

[partywithponies]

[vital-information]

“The Opposites Game,” Brendan Constantine

[legsdemandias]

no one writes love stories better than aromantics send 

[careful-knives]

The amount of care and detail aroaces put into writing steamy romances is unreal.

[legsdemandias]

The thing is we can’t rely on “love at first sight” or “it just is” logic because we don’t have that button, so instead we build relationships up and up and up, realistically, the only way we could imagine love happening 

[holybikinisbatman]

us 👏 aro 👏 aces 👏 make 👏 it 👏 happen 👏

[sailsofsalt]

Aroaces writing romance:

[mikkeneko]

listen asexuals have written some of THE kinkiest hot shit and i can testify that that is because they do not find the mechanics of sex interesting in and of itself, so they look at the scene and say “how can I make this spicy”

[crazy-pages]

Same reason queer romance stories are so often better than straight ones. When the standard literary shortcuts don’t work all that’s left is to knuckle down and actually put in the work.

[hazeldomain]

Regular romance novels: the second I saw them I was overcome with lust.

Ace writers, taking notes: okay yeah but why.

[bluecoolkind]

pop culture intertextuality is just so damn *fascinating*

today a parody movie (50 shades of black) comes out, based on the 50 shades of grey movie, which was based on the 50 shades book, which was based on twilight, which was somewhat based on interview with the vampire (which anne rice based on an earlier short story she wrote), which was based on Dracula and other vampire stories, which originally came from Dr. John Polidori’s The Vampyre (even though Vampires were a thing in folk tales before then, he was the one who made them all classy, etc.)

so really, like so many things, this is all Lord Byron’s fault.

[theaudientvoid]

It is kinda funny how two different staples of the horror genre (the vampire and the mad scientist/monster combo) both have their origins in the horrifying experience of being trapped in a cabin with Lord Byron.

[roisesb]

Computer programming comes from the horrifying fear of your daughter ending up a poet like her father, Lord Byron

[jbk405]

I’m in the middle of re-reading Frankenstein, and something I never quite realized before – even though I’ve seen it pointed out by others – is just how ineffectual Frankenstein is in dealing with anything.  He whines, and he moans, and laments his life, but he never does anything about it.

When he first brings his creation to life and flees in terror, he takes absolutely no action afterwards.  He doesn’t arm himself and resolve to return and kill the perceived monster he has birthed, he just wanders the streets until he goes home and hopes that it has gone away.  When he gets back and sees that it is gone from his apartment he doesn’t try to marshal a pursuit, he’s just happy that it’s gone and that’s it.  He gives absolutely no thought to what it may be doing out in the world, since it’s not his problem anymore.

When he learns that his brother has been murdered and their maid has been framed, he becomes convinced that the creature is responsible but he doesn’t tell anybody.  He doesn’t even make up a mundane story that bypasses bringing a creature to life, like saying that he made a personal enemy who is targeting his family and that is why Justine is being framed.  He just says that he believes her innocent but takes no action, and expects that to get her acquitted.  He even bemoans that he has it worse than Justine since even though she is executed his guilt is so hard to bear.

After Justine’s death he says he is considering suicide, but he resists because if he did so then there would be nobody to protect his family.  Except, again, he isn’t doing any protecting.  He still hasn’t told anybody the truth, nor has he made up that plausible mundane explanation to get them on their guard.  He doesn’t mount a watch at night or go about armed.  He takes no action.

He is so self-centered that all he talks about is how hard everybody else’s pain is on him, and so spoiled that he does absolutely nothing to resolve any situation.  He just seems to expect it to be worked out because he wants it so.

What a tool.

[talesfromthebandgeekmafia]

YES. In 2020 we recognize that Frankenstein was not the monster, or even the doctor, but rather a dumbass little bitch.

[meteor-sword]

i might elaborate later but fanfic replies literally develop writer’s metacognition and make them better writers

[meteor-sword]

so, Metacognition is the practice of thinking about thinking or identifying one’s cognitive process . in essence, metacognition is understanding how you prepare for academic challenges, exams, or tasks, and then being able to reflect on whether you did well, you prepared adequately, and what was most effective. in a writing setting, this type of self-awareness helps you transfer skills in writing, say, fanfiction into writing academically, competitively and professionally. 

here’s an article from brown university on the subject i’ll discuss further. there are 3 parts of practicing metacognition identified in this article: planning, monitoring, and evaluation. how might this look like for a fanfic writer? 

planning: asking oneself ‘what is my goal?’ ‘what strategies should i use to meet that goal?’ ‘how much time/length do i need to meet my goal?’. so maybe my goal is to write a meet cute where two characters kiss. i’ll need to use a perspective, an upbeat tone, and forward characterization to do this. it’ll probably take 5000 words and two days to write. 

monitoring: asking oneself: is my story making sense? am i reaching my goal, or do i need to summarize more succinctly to keep it to 5k? maybe you started with a lot of exposition and now you’re 6k in and the characters haven’t met yet. what went wrong/changed? is it ok that it changed or did you not realize it got away from you? what now? 

evaluation: asking oneself: did i reach my goal? was it effective? what would i change next time? 

this is where comments come in

it is incredibly difficult to evaluate yourself. comments like “i love this!” actually do begin to touch on the evaluation step of metacognition. it means, in general, the writer is on the right track. comments like “i loved the dialogue between x and y” or “the emotions of this section really hit me” begin to answer the questions of was it effective, did i reach my goal and conversely answer what would i change next time (by adding more of whatever was specified as working well). HYPER SPECIFIC comments, like analyzing the story between the lines or pasting in a line that you really liked and explaining why, is like jet fuel for the metacognition process and i’m not exaggerating. specifically pointing out what was effective and why is incredibly useful 

i can straight up credit my writing style to all of my friends and readers who have given incredibly detailed comments. when i found a community who gave feedback like that, my writing improved a thousand times faster than before. so! i guess what i’m saying is give feedback! it goes so much further than you realize!

[unnecessaryligatures]

Wired: Leave comments because it makes your fav writers feel good

Inspired: Leave comments because it will make them write better

[disregardcanon]

Eureka-d: leave comments because it will make YOU write better too. It develops your meta cognition as well

[jenroses]

The fact that people keep telling me, “Oh god I needed something this positive right now” keeps me writing the happy because I need it too. But the Untamed fandom has some AMAZING readers who go through chapter by chapter and pull out all the bits they like and talk about them and it’s honestly very motivating, mostly because it gets me out of my own imposter syndrome. 

[michaelbjorkwrites]

Narrative Anchors: How to hold your readers’ attention, wherever you take them.

One of my old fiction professors, Tom, used to always grab coffee with us students whenever our story had been workshopped.

We’d meet at the downtown coffee shop, where we fought the flocks of students for a table, pulled out a couple wrinkled copies of the story, and discussed feedback over bland coffee.

It was during one of these discussions that Tom pointed out something I’d stumbled into doing well. (He’s very good at that.)

“I think this is great, Mike,” he said, tapping my story on the table. “From the opening line, the question is whether these two will sleep together, and that grounds us. If my attention ever wavers, I can always fall back on, ‘Oh, well have they slept together yet? No, not yet? Okay, cool. I still know where we are, then, and where we’re headed.’ That makes the story easy to follow.”

This wasn’t, admittedly, a major focus of our conversation. We moved on to discuss more important things (like the story’s key flaws), but somehow that comment stuck with me over the years.

And now, looking back, I realize it was the first time I started thinking about something I’d eventually call “narrative anchors.”

What’s a narrative anchor?

It’s something I made up. But trust me, it’s helpful.

In short, I consider narrative anchors to be the craft elements you include in a story to ground your reader. On the one hand, they can help you craft a story that rings with simple, crystal clarity, and on the other hand, they can empower you to challenge readers with fresh, creative storytelling, without ever losing them at sea.

I put narrative anchors into three categories:

Plot Anchors

Character Anchors

Style Anchors

Plot Anchors

Plot anchors are a clearly defined situation, goal, or destination for a story. Tom (above) pointed out a situational plot anchor in my story, but you’ll find plot anchors everywhere. For example, in Avatar: The Last Airbender, Aang needs to master the four elements and defeat Fire Lord Ozai. We know from the beginning that defeating Ozai is the end-goal, so we feel grounded at every stage of the story, knowing where we’re going.

Moby-Dick, by Herman Melville, is another great example. Ahab is hellbent on hunting down the White Whale, and we never lose sight of that goal, even as the narrative stretches across hundreds of pages.

That’s the point of a plot anchor: to give your reader a clear direction, so they always know where they’re going.

Character Anchors

These anchors are the clear motivations and arcs you give your characters. Disney does this well in their musicals, always using an “I want song” (more about those here) to clearly declare what their main characters want: Mulan wants to express her true self, Hercules wants to find where he belongs, and so on. The rest of the story then circles around that character’s pursuit of their “want.”

When readers have a strong understanding of your character’s motivation and journey, they have a much easier time following the story as a whole.

Style Anchors

Style anchors are my handy little catch-all for every other craft choice you make to bring clarity and simplicity to your work. Style anchors can include: short chapters or paragraphs; simple and accessible language; straightforward writing forms; clarity of description; engagement with the five senses; using a smaller cast of characters; sticking to a single POV; and so on.

Cool. So when (and how) do I use these narrative anchors?

Tip 1: Don’t start with anchors. Start with the story. Take your idea, begin developing the characters and plot, and start writing.

Tip 2: As you write and revise, start thinking about anchors. Ask yourself what kinds of anchors you already have in place, what others may be helpful to add, and whether or not you’re doing enough to ground your readers in the story.

Tip 3: Consider your audience. Readers of popular fiction will want to be reasonably grounded, so you should try to always use at least a few anchors. But if your audience likes super artsy, experimental fiction, you may be able to get away with fewer tethers.

Tip 4: That being said, don’t be afraid to challenge your readers, whoever they are. If you want to get creative, go for it. If you want to experiment with form, language, plot, character arcs, or whatever, PLEASE do!

Tip 5: But when you challenge readers one way, try to compensate by grounding them in other ways. For example, maybe your story lacks a clear plot anchor, but you include a character with a clear arc and motivation. Or maybe your story is incredibly challenging on a stylistic level, but you give readers a clear character motive and plot (this was my experience reading Moby-Dick).

Tip 6: If big anchors don’t fit, consider smaller ones. For example, if your story lacks a BIG plot anchor like defeating Fire Lord Ozai, maybe use smaller plot anchors to drive individual sections of the book. Or maybe instead of a BIG declaration of your character’s motive at the beginning, include little anchors for your narrator that act like breadcrumbs for their motives and development.

Tip 7: Mix and match anchors as necessary, because there is no magic formula.

Long story short?

Write the story you want to write — then use narrative anchors to keep your readers reading, wherever your story takes them.

Tom may not have said that all in so many words, but if I bought him a coffee, I bet he’d agree.

Good luck, everybody, and good writing!

— — —

Everyone has stories worth telling. If you’re looking for writing advice or tips on crafting theme, meaning, and character-driven plots, check out the rest of my blog.

[michaelbjorkwrites]

Thought it might be helpful to share how I balance different narrative anchors in my own work. So here we go!

Like I wrote above, you should always start with the story you want to write, and then use narratives anchors to support that story. So for me, more often than not, my stories don’t have any big, story-long plot anchors (unless it’s a short story). In other words, I rarely have a Fire Lord Ozai or a White Whale to ground my readers from beginning to end.

And that’s because my favorites plots are those that unfold, blossom, and evolve in unexpected ways. It’s why I love Stephen King novels and Miyazaki movies. (A couple of pantsers, if there ever were any.)

So instead of using a single, big plot anchor, I use smaller ones – establishing section-specifc plot goals so that there’s always at least some direction and grounding.

Next, I plant initial character anchors to give my readers a clear understanding of what’s motivating my narrator and supporting cast.

Lastly, as a style anchor, I tend to ground my readers in the moment, with clear, vivid descriptions of the setting, characters, and character actions (without bogging down the prose, of course). My personal goal is always to keep readers confident about where they currently are and what’s currently happening, but uncertain (and curious) about what’s around the corner.

That’s how I generally think about narrative anchors in my own work. It’s basically a balancing act: pursuing your goals for your story, but also removing uncertainty whenever it doesn’t suit your purposes.

How do you like to find that balance?

I’d love to hear.

[aritany]

i’d never really thought about this consciously, but i definitely do this. when i start on page one, my question is always: what are we waiting for? 

my biggest frustration as a reader is embarking on a story with nothing to wait for. i’m hooked by a story that has a real question right from the beginning. lots of genres have questions built in (whodunit? are they going to fall in love?), and a really good story is going to have me asking more than one. 

so when i write, that’s the question. what are we waiting for? (english teachers might say: why do we care?)

[michaelbjorkwrites]

Narrative Anchors: How to hold your readers’ attention, wherever you take them.

One of my old fiction professors, Tom, used to always grab coffee with us students whenever our story had been workshopped.

We’d meet at the downtown coffee shop, where we fought the flocks of students for a table, pulled out a couple wrinkled copies of the story, and discussed feedback over bland coffee.

It was during one of these discussions that Tom pointed out something I’d stumbled into doing well. (He’s very good at that.)

“I think this is great, Mike,” he said, tapping my story on the table. “From the opening line, the question is whether these two will sleep together, and that grounds us. If my attention ever wavers, I can always fall back on, ‘Oh, well have they slept together yet? No, not yet? Okay, cool. I still know where we are, then, and where we’re headed.’ That makes the story easy to follow.”

This wasn’t, admittedly, a major focus of our conversation. We moved on to discuss more important things (like the story’s key flaws), but somehow that comment stuck with me over the years.

And now, looking back, I realize it was the first time I started thinking about something I’d eventually call “narrative anchors.”

What’s a narrative anchor?

It’s something I made up. But trust me, it’s helpful.

In short, I consider narrative anchors to be the craft elements you include in a story to ground your reader. On the one hand, they can help you craft a story that rings with simple, crystal clarity, and on the other hand, they can empower you to challenge readers with fresh, creative storytelling, without ever losing them at sea.

I put narrative anchors into three categories:

Plot Anchors

Character Anchors

Style Anchors

Plot Anchors

Plot anchors are a clearly defined situation, goal, or destination for a story. Tom (above) pointed out a situational plot anchor in my story, but you’ll find plot anchors everywhere. For example, in Avatar: The Last Airbender, Aang needs to master the four elements and defeat Fire Lord Ozai. We know from the beginning that defeating Ozai is the end-goal, so we feel grounded at every stage of the story, knowing where we’re going.

Moby-Dick, by Herman Melville, is another great example. Ahab is hellbent on hunting down the White Whale, and we never lose sight of that goal, even as the narrative stretches across hundreds of pages.

That’s the point of a plot anchor: to give your reader a clear direction, so they always know where they’re going.

Character Anchors

These anchors are the clear motivations and arcs you give your characters. Disney does this well in their musicals, always using an “I want song” (more about those here) to clearly declare what their main characters want: Mulan wants to express her true self, Hercules wants to find where he belongs, and so on. The rest of the story then circles around that character’s pursuit of their “want.”

When readers have a strong understanding of your character’s motivation and journey, they have a much easier time following the story as a whole.

Style Anchors

Style anchors are my handy little catch-all for every other craft choice you make to bring clarity and simplicity to your work. Style anchors can include: short chapters or paragraphs; simple and accessible language; straightforward writing forms; clarity of description; engagement with the five senses; using a smaller cast of characters; sticking to a single POV; and so on.

Cool. So when (and how) do I use these narrative anchors?

Tip 1: Don’t start with anchors. Start with the story. Take your idea, begin developing the characters and plot, and start writing.

Tip 2: As you write and revise, start thinking about anchors. Ask yourself what kinds of anchors you already have in place, what others may be helpful to add, and whether or not you’re doing enough to ground your readers in the story.

Tip 3: Consider your audience. Readers of popular fiction will want to be reasonably grounded, so you should try to always use at least a few anchors. But if your audience likes super artsy, experimental fiction, you may be able to get away with fewer tethers.

Tip 4: That being said, don’t be afraid to challenge your readers, whoever they are. If you want to get creative, go for it. If you want to experiment with form, language, plot, character arcs, or whatever, PLEASE do!

Tip 5: But when you challenge readers one way, try to compensate by grounding them in other ways. For example, maybe your story lacks a clear plot anchor, but you include a character with a clear arc and motivation. Or maybe your story is incredibly challenging on a stylistic level, but you give readers a clear character motive and plot (this was my experience reading Moby-Dick).

Tip 6: If big anchors don’t fit, consider smaller ones. For example, if your story lacks a BIG plot anchor like defeating Fire Lord Ozai, maybe use smaller plot anchors to drive individual sections of the book. Or maybe instead of a BIG declaration of your character’s motive at the beginning, include little anchors for your narrator that act like breadcrumbs for their motives and development.

Tip 7: Mix and match anchors as necessary, because there is no magic formula.

Long story short?

Write the story you want to write — then use narrative anchors to keep your readers reading, wherever your story takes them.

Tom may not have said that all in so many words, but if I bought him a coffee, I bet he’d agree.

Good luck, everybody, and good writing!

— — —

Everyone has stories worth telling. If you’re looking for writing advice or tips on crafting theme, meaning, and character-driven plots, check out the rest of my blog.

[michaelbjorkwrites]

Thought it might be helpful to share how I balance different narrative anchors in my own work. So here we go!

Like I wrote above, you should always start with the story you want to write, and then use narratives anchors to support that story. So for me, more often than not, my stories don’t have any big, story-long plot anchors (unless it’s a short story). In other words, I rarely have a Fire Lord Ozai or a White Whale to ground my readers from beginning to end.

And that’s because my favorites plots are those that unfold, blossom, and evolve in unexpected ways. It’s why I love Stephen King novels and Miyazaki movies. (A couple of pantsers, if there ever were any.)

So instead of using a single, big plot anchor, I use smaller ones – establishing section-specifc plot goals so that there’s always at least some direction and grounding.

Next, I plant initial character anchors to give my readers a clear understanding of what’s motivating my narrator and supporting cast.

Lastly, as a style anchor, I tend to ground my readers in the moment, with clear, vivid descriptions of the setting, characters, and character actions (without bogging down the prose, of course). My personal goal is always to keep readers confident about where they currently are and what’s currently happening, but uncertain (and curious) about what’s around the corner.

That’s how I generally think about narrative anchors in my own work. It’s basically a balancing act: pursuing your goals for your story, but also removing uncertainty whenever it doesn’t suit your purposes.

How do you like to find that balance?

I’d love to hear.

[aritany]

i’d never really thought about this consciously, but i definitely do this. when i start on page one, my question is always: what are we waiting for? 

my biggest frustration as a reader is embarking on a story with nothing to wait for. i’m hooked by a story that has a real question right from the beginning. lots of genres have questions built in (whodunit? are they going to fall in love?), and a really good story is going to have me asking more than one. 

so when i write, that’s the question. what are we waiting for? (english teachers might say: why do we care?)

[southslates]

I keep seeing stuff that’s like ‘enemies to lovers is lit, we need some toxicity sometimes’ but like … no? that’s not what the enemies-to-lovers trope is about. 

enemies-to-lovers is about mutual respect. when you go from seeing someone in a negative light to falling in love with them, you see and acknowledge every facet of their personality. in fandom, that means that they can kick your ass, and you know it. the power dynamics aren’t a key part of it - it’s about acknowledgement that you both know every part of each other. you have hated this person, and you have both grown out of why. 

relationships are about growing together, and that’s why enemies-to-lovers takes the cake. when you’ve hated someone, you know their faults. you just choose to see past them and love them for the person they are always becoming, not the person they once were. 

I’d argue that the equalizing aspect of enemies-to-lovers means that when done right it can be a lot more powerful and healthy than other tropes. 

[homesteadchronicles]

“Fantasy is escapist, and that is its glory. If a soldier is imprisoned by the enemy, don’t we consider it his duty to escape?…If we value the freedom of mind and soul, if we’re partisans of liberty, then it’s our plain duty to escape, and to take as many people with us as we can!”

— J.R.R. Tolkien (via writingdotcoffee)