From someone who’s definitely been in too many and would very much like a refund...ツ
⊹ Waiting rooms are emotional purgatory. They’re too bright, too quiet, and weirdly timeless. Fluorescent lights buzzing, TVs playing muted news no one watches, coffee that tastes like burnt stress. People aren’t relaxing in there, they’re just existing, awkwardly pretending their phones are interesting while dissociating at 40% battery.
⊹ Everyone talks in a whisper, but not because it’s respectful, no, it just feels wrong to speak normally. Like the walls might be listening, like if you talk too loud, something worse might happen, even the loud people get quiet in hospitals.
⊹ Overnight stays are hell. hospital chairs? medieval torture devices with upholstery. even if someone’s trying to nap next to a patient, they’re not sleeping. They’re half-listening to the symphony of beeping machines, nurse shoes squeaking, the occasional cough, and distant Code Something crackling over the intercom. it’s anxiety with a blanket.
⊹ The smell is unforgettable, like it’s not just antiseptic. it’s plastic and cafeteria meatloaf and sweat and fear and the smell of a place where people are very much not okay. the first time your character walks in, it’ll hit them like a wall. later, they might not even notice, or maybe it’s the only thing they can smell for days after.
⊹ Talking to doctors is a weird performance. You're trying to be calm, they’re trying to be calm. But no one is calm, your character wants to ask 47 questions and not sound desperate. The doctor explains things like they’re narrating a science video, and when they leave, someone will immediately go “wait... we forgot to ask” every. single. time.
⊹ Monitors beep constantly. half the time, it’s nothing. A wire got loose, someone rolled over. But the second it is something, the vibe shifts fast. Nurses appear like ghosts, machines start going off, and everyone starts moving. And your character? they might freeze, or panic, or forget they have lungs. Go with whatever makes sense for them, but make it visceral.
⊹ Time goes full funhouse mirror. Ten minutes waiting for test results feels like a year. A full hour stretches into eternity, meanwhile, three hours can pass without anyone realizing it. You can use this in your pacing, make it drag when the waiting is unbearable.
⊹ Hospital cafeteria food: Garbage. It’s either offensively bland or stupidly overpriced. The grilled cheese is six dollars and tastes like regret, and someone will 100% cry into a cold sandwich at 3am, because grief doesn’t care where you are.
⊹ People start fixating on tiny, random things. They can’t control the big stuff, so their brain zeroes in on a sock slipping off, a crooked IV pole, the repetitive drip-drip-drip of medication. Let them obsess over something small, it’s how the brain copes with being completely powerless...
Write a scene that clearly centres on a powerful emotion, but never use the word that names it. Instead, rely on actions, physical sensations, internal monologue, and dialogue to convey that emotion.
This exercise helps you focus on showing, not telling, by using body language, metaphor, and sensory detail to create clarity.
When you’re stuck, change something small. Shift the point of view, move the setting, change the weather, or mix up the style (like writing it as a letter or diary entry).
Sometimes a tiny change can unlock new ideas. Don’t wait for inspiration. Experiment and make inspiration come to you.
♡ “why did it have to be you?” “what do you mean?” “why did i have to fake it with you?”
♡ “in name only?” “if that is truly what you want.”
♡ “husband, fetch me the remote.” “this is not becoming a thing.” character gets the remote anyway.
♡ “where is your ring?” “oh i left it on the nightstand, i didn’t think you’d care.” “i don’t.” (they care very much.)
♡ “just because we are technically married does not mean we are sleeping in the same bed!”
♡ “i am doing everything i can to remember that you shouldn’t matter to me, to remember that this is all fake, and i am failing tremendously.”
♡ “where are you going?” “to my room?” “our room is that way.”
♡ “i always thought i would marry for love, this is not what i wanted for myself.”
♡ “home sweet home, mrs. (character A’s last name)” “i did not agree to that!” character B screams.
♡ “you were just supposed to be a convenience.”
♡ “don’t worry you will only have to tolerate me for 8 more months, then we can go our separate ways.” “what if i don’t want us to go our separate ways?”
♡ “heck, we do make one good team.”
♡ “hm, i guess you will have to do.” “excuse me?”
♡ “this has got to be the worst decision of my life.” “didn’t you go skydiving without a parachute?”
♡ “i don’t like dogs.” “well too bad, me and mr. bean are a package deal, this was your idea after all.”
As I dive into researching signs of fear for my horror WIP, I wanted to share some of the most compelling and visceral reactions I’ve come across. Whether you’re writing a chilling scene or crafting a character’s panic, these 20 signs of fear can help bring tension and realism to your story.
Physical Reactions
Hyperventilating — sucking in air but never feeling like it’s enough
Chest tightens — feels like a weight or hands pressing down
Limbs shaking violently, knees buckling
Complete loss of muscle control — collapsing or unable to stand
Cold sweat soaking through clothes
Heart hammering so hard they feel it in their throat or head
Tunnel vision — the world narrowing down to one terrifying focal point
Ringing in the ears or sudden deafness, like the world drops away
Write the Scene Like a Camera Lens Is Controlling It
Zoom in.
Zoom out.
What’s the most important detail in the moment? Is it the way their hands shake on the steering wheel? The single drop of sweat trailing down a temple? Or is it the massive wildfire on the horizon swallowing up the sky? Focus determines impact. If you describe everything equally, nothing stands out. Control where the reader’s eye goes.
For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words).
Things Real People Do in Dialogue (For Your Next Story)
Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):
1. People Interrupt Each Other All the Time
In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.
2. They Don’t Always Say What They Mean
Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.
3. People Trail Off...
We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.
4. Repeating Words Is Normal
In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.
5. Fillers Are Your Friends
People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.
6. Not Everyone Speaks in Complete Sentences
Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”
7. Body Language Is Part of the Conversation
Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.
8. Awkward Silences Are Golden
People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.
9. People Talk Over Themselves When They're Nervous
When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.
10. Inside Jokes and Shared History
Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.
11. No One Explains Everything
People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!
12. Characters Have Different Voices
Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.
13. People Change the Subject
In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.
14. Reactions Aren’t Always Immediate
People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.
Important note: Please don’t use all of these tips in one dialogue at once.
10 Non-Lethal Injuries to Add Pain to Your Writing
While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas:
Sprained Ankle
A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.
Rib Contusion
A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.
Concussion
This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.
Fractured Finger
A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.
Road Rash
The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.
Shoulder Dislocation
This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.
Deep Laceration
A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.
Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.
Pulled Muscle
This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.
Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.
Looking For More Writing Tips And Tricks?
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
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Worldbuilding. You either love it and spend all your time dreaming up rules rather than writing, or you hate it and try your best to avoid it despite writing fantasy or scifi.
Or you are in the middle, which is where you should be. You have a healthy appreciation for what makes worldbuilding so special, but you also don't obsess over it.
Worldbuilding does not need to be complicated to be effective, as I've harped on a few different times now. So how do you strike the right balance? Let's take a look.
As always, this is just my opinion based on my own efforts creating The Eirenic Verses. You can disagree and that is fine. However, I hope you'll consider thinking about what I offer here as you craft your own world.
A lot of what people focus on when worldbuilding is not what the audience cares about.
Very few people like to read a book littered with random terms they have to keep track of. We want to build a unique world, but we also don't want to throw such an extreme amount of lore at our readers that they tune out.
When worldbuilding, we want to consider the cognitive load on our audience. This is how much information the reader needs to remember throughout your story so that they can follow along.
Cognitive load includes things like:
Character names and appearances
Relationships between characters
Place names, such as cities and countries
Unique mythological creature or fauna
Backstory, including mythology and folklore
Language names
The general plot (who is the protag, who is the enemy, etc)
Magic usage (who has the power, how they acquire it, any conditions it comes with, etc)
Power dynamics between characters, countries, and so on
Political systems, if included
Even in the most barebones fantasy story, this is a lot to remember. As such, we need to consider what is most important for our readers to generally understand the plot and emphasize this, letting the rest serve as background information that is not quite as essential. The more emphasis we put on something, the more we direct a reader's attention.
At the same time, we want to create a world that feels lived-in and interesting so that readers want to know more. How do we do this?
Consider what you think about foreign countries in our world.
Most of us will have a general concept of a country but only will think about the specifics if it is currently relevant.
Let's take Japan for an example. (I'm a bit of a weeabo, okay?) Here is what I personally think about when I imagine Japan, in order of what I consider important.
Japanese cuisine (sushi, ramen, ochazuke, sake, lots of rice dishes, seafood)
What the people are like according to my own stereotypes/cultural perceptions (polite, quiet, respectful, hardworking, punctual)
Climate and geography (temperate, island country, volcanos, mountains, beaches)
Any festivals I might know of (cherry blossom festivals, moon viewings, Obon)
Your own list may have these in a slightly different order, but it's probably what you most think about.
Notice that you will likely not think about these things:
Political system
Specifics of the language
Interpersonal hierarchies
International relations
Specific landmarks
Specific historical events
Famous figures
So why do we think like this? Because in real life, we also have a cognitive load that we must balance with things that are more relevant to our everyday lives.
If I tried to memorize specific details of every country in the world, I would go insane. I have better things to do, so I create a general image of a country based on pictures I've seen, people I've met, food I've eaten, and so on. You do the same thing.
To be realistic, you do not need to be specific. You need to approach worldbuilding the same way people generate their world knowledge: basic concepts and visual imagery.
What to emphasize in worldbuilding
So let's break this down on what you want to think about when creating a world.
Food is one of the most accessible elements of a culture.
Food is how many people learn about different cultures for a simple reason: if you have the ingredients, you can cook food from anywhere. You don't need to be introduced to it by a native of that culture.
Plus, humans tend to like food. We kind of need it to exist.
Think about these things when considering national cuisines and eating habits of your fantasy world:
Do they have spicy food? Bland food? Heavy hearty dishes?
Is most food served hot or cold?
What kind of spices and vegetables do they use? Root vegetables, beans, cinnamon? Salt?
What type of meat do people eat (if any)? Seafood, poultry, beef, pork?
How is bread prepared? What is it made of? (Look, nearly every culture has some sort of bread, we love carbs)
What about pasta? Does that exist here?
Are desserts important? What are they made of?
What kinds of drinks do they have? Coffee, tea, milk, lemon water?
Is alcohol a thing? What kind of alcohol? How often do people drink? Are there bars?
How often do people eat, and when? Do they have the typical three square meals, or do people eat kinda whenever they feel like it?
Do people prepare food at home or are there restaurants?
Are communal dinners common?
Cultural stereotypes provide tension and can help craft your characters.
Are people in your culture known for their boldness? Their cunning? Their resilience? Their standoffishness? Their fiery tongues, or their passive-aggressive jabs?
You can play with a lot of this, either confirming or denying the assumptions through your characters.
Landscape gives us an idea of where we are and what to expect.
Landscapes are some of my favorite aspects of worldbuilding rather than intricate magic systems and political concepts. Readers get a good sense of environment when you focus in on landscape and how it impacts the characters. You can also build a culture off your landscape, such as how certain geographic features may influence peoples' attitudes and lifestyles.
For example, a coastal landscape will have beautiful views of the ocean, sparkling beaches, and maybe tall cliffs. Being a fisherman may be seen as an honorable but dangerous profession. People might cliff dive for fun.
Mountainous areas may produce cultural enclaves, especially in a fantasy setting where everyone is more isolated. One mountain town may have a completely different vibe than the town over.
Flat, wide-open plains mean people can spread out, but since moving from one place to another is easier, there may be a more cohesive culture.
An area with caves will have a sense of mystery and fear; there may be a lot of superstitions about the caves.
A swampy area can also be very mysterious as there are so many places to hide out and a lot of dangerous animals.
Climate influences how people behave.
Hot climates make people need to conserve energy, so they may take afternoon naps in the worst of the heat. They might value relaxation and calm over industry and productivity because bro, have you ever tried to even walk outside in the Florida heat? Shut up and get me air conditioning.
Cold climates make people need to stay active to stay warm, but they can also produce a sense of isolation. Think about how outdoorsy the Finnish are but how they looove their personal space.
Temperate climates are probably a bit more even-tempered, but as weather changes get more extreme, people will vary their behaviors based on the seasons: spending more time outdoors during summer but holing up during winter. The culture may emphasize hospitality because people need to rely on one another to survive, and they have time to meet their neighbors during the summer.
I am very partial to temperate climates, being from the American Midwest. We're known for being nice and hardy people. You should come visit.
Flora and fauna help the world feel real.
When I worldbuild, I often base my cultures on a real place and what kinds of animals or plants are there. For example, Breme is based on Mongolia so I have herbivores, big raptors, and a lot of grasses.
A warm climate will have lots of reptiles. Sea life will be important in a coastal area. Swamps might have big predators. Mountains will have hardy creatures that can climb. A savannah area will have huge herbivores and fast, hungry predators.
General cityscapes or villages are great for providing a sense of place.
Do people build low spread-out cities or tall rickety homes? What kinds of building materials do they use? Are there lots of markets, bars, apocetharies, temples or churches? What do homes look like here? What are any unique architectural features?
This gives a sense that we are in a different but specific world that has a rich culture.
Clothing tells us what people prioritize.
Cold places will have lots of layers. Hot places will have soft draping outfits or very skimpy outfits. Natural materials that are easily available will make up the majority of the clothing in a fantasy setting. You wouldn't have people wearing cotton in a place that doesn't grow cotton. If there are lots of sheep, people will wear wool. If there's lots of cattle, people will wear leather.
You can also think about adornment. Is jewelry common? What type? Why is it important? Is it a status symbol, a way to keep wealth, or perhaps ways to honor ancestors?
Cultural icons demonstrate what the society values.
A warlike culture will prioritize weaponry. A pacifist culture will think about art and music. A nomadic culture may have a rich oral tradition. An agrarian society will emphasize farming rituals.
Think of a few things that symbolize your society, whether that's musical instruments, weaponry, textiles, statues, or jewelry. Consider how those traditions could have come about and why.
Folklore and mythology offer an offbeat but important sense of history.
Folklore is often tied up with many other factors of a society, such as their religion, landscape, history, and overall values.
For example, the Japanese believe items survive for over a century gain a kami, or spiritual essence. This shows that the Japanese cherish their long history and their material culture, and it also infuses their Shinto belief into folklore.
You can also think about cryptids or ghost stories. Isolated and difficult terrain often makes people think of monsters lurking in the woods. Areas with lots of caves will have myths about what is down there. Coastal areas develop myths about ghost ships.
Idioms, turns of phrase, and gestural quirks tell us more about the culture without overwhelming readers.
This one can be more challenging (I haven't done much with it) but if you can manage it, you'll have a very rewarding story.
I'm not talking about making a whole new language here, but rather about idioms and turns of phrase. Think about all the fun idioms that English has, like "beating around the bush" or "break a leg." Without cultural context, you can't understand them, so you'll have to incorporate an explanation without actually stating it.
For example, you can have a character say "the horses are running fast" as they look out the window to see a sheet of rain. We can guess from this that the idiom is rain = horses, so lots of rain = fast horses. We'll understand from this that this culture probably loves horses; maybe they're a formerly nomadic race.
Gestures, like whether people give thumbs-up, point with their index, or bow with their hands to their chest all give us a feeling of the culture without being overwhelming.
What not to emphasize
Now that we've gone through some things to focus on, let's talk about what you don't need to make up for your world.
A whole-cloth language
Please, you don't need to create brand new words for things that exist in our world. You can reference a language, but do not make people memorize nouns they don't need.
Don't even make up the language at all. Say there's a language and then write the rest of it in English.
Made-up languages are irritating for readers because they want to focus on the characters and plot, not mysterious words they need to translate.
It's possible to make languages interesting without going into specifics. For example, the Bas-Lag trilogy by China Mieville has a species that communicates in clicks but the species can also learn human languages if necessary. There's a language called Salt that's basically the common tongue blended from everything else.
Do we need to know how Salt works? No. Doesn't matter. We're told someone is talking in Salt, or they're learning it, or they switch to it when meeting someone from a different culture. That's plenty.
Specifics of a magic system
You're not going to instantly summon up all the rules of magical realms when you visit a new country; you might not even know them. And your readers won't be too interested in them either.
For example, in The Eirenic Verses, I have High Poetry. Readers will come to know that this was a magical system where certain people given the power can recite a poem and whatever they speak comes true. Every poem can only be used once.
It was given by the goddess Poesy to a specific woman, Saint Luridalr. It was so successful that the goddess started giving it to more women and a whole religious system arose.
I don't need to explain exactly how it works because no one cares. Someone makes things happen by coming up with a poem: that's about it. We don't need to question whether certain rhyme schemes or meter or punctuation impacts anything. That's too technical.
If you've got pages and pages of notes on all the intricacies of the magical system, you have too much. Pare it down.
Political systems
Unless you're writing a fantasy where politics are absolutely critical to the plot, you can just reference the political system in passing and maybe elucidate a few key elements, like who the leader is, how power is transferred, etc. You don't need to go into all the specifics because most people are not going to care.
Hierarchies
Please don't lay out the entirety of an army's ranking system or how someone is promoted. Make up something consistent and stick with it, but don't go into exhaustive detail. People aren't going to sit and question whether a captain is above a lieutenant or how long it takes to become a general.
We'll know that a general is a big deal if the characters make it a big deal. We'll know who the head of the army is but we don't need to know how they got to that position.
Exact city layouts
You do not need to tell us where everything is in relation to one another. Tell us characters are moving from one landmark to another. You could say "this is across a bridge, this is up in the mountains, these buildings are right next to one another, these two buildings are in opposite ends of the city." That's plenty.
If somewhere is very far away, just show them travelling there and how long it takes. You don't need to measure it in miles or leagues or whatever. We will guess that if it takes them a week to walk there, it's pretty distant.
Economic systems
We just need the basics here: mercantile, capitalist, bartering, etc. We don't need to know if the coinage is pegged to a certain precious metal or if people invest their money or how people are paid. That's boring.
In my world, I have two currencies: quillim for Breme and barnals for Sina. What's the exchange rate? I don't know and don't care. How much is one quillim worth? One quillim is not a lot but 2,500 quillim is. How much is the average person paid? Doesn't matter. Do people keep lots of coins on them? No one is asking that. It's not important.
Transit systems
Tells us if the roads are cramped, spread out, nonexistent, poorly maintained. Tell us if there are road blocks or toll booths. Tell us if there are roving bandits. The more physical and sensory you can get, the more real it feels.
Few people care about the specifics of even their own transportation system. I know highways are fast, I know tollroads are expensive, I know parkways are pretty, I know some cities have weird turnabouts and dead ends. That's exactly what I need and what I care about.
That's what I've got for you today. If you liked this, maybe you'll consider checking out The Eirenic Verses series, which follows most of these principles.
I've been told that my fantasy writing is very approachable, even for those who don't usually like fantasy, specifically because I don't get too insane with my worldbuilding. So maybe you'll enjoy it too!
List of 120 unique fantasy jobs to give to your fantasy characters. Writers save this!
1. Spellscribe: Weaves magic into ink, creating enchanted scrolls and spellbooks.
2. Dreamweaver: Shapes dreams, ensuring a peaceful slumber for all.
3. Star Cartographer: Maps constellations and celestial paths.
4. Potion Alchemist: Brews elixirs, love potions, and invisibility brews.
5. Whispering Wind Courier: Carries messages on ethereal zephyrs.
6. Crystal Harmonist: Plays melodies on gemstone xylophones.
7. Arcane Librarian: Guards forbidden tomes and ancient grimoires.
8. Stormcaller: Commands lightning and tempests.
9. Shadow Weaver: Manipulates shadows for stealth or illusion.
10. Fey Ambassador: Bridges the gap between humans and fae.
11. Time Tinkerer: Repairs temporal rifts and broken clocks.
12. Soul Gardener: Tends to souls in the afterlife.
13. Dragon Whisperer: Communicates with fire-breathing beasts.
14. Labyrinth Architect: Designs mazes with shifting walls.
15. Aetheronaut: Pilots airships through the skies.
16. Cauldron Chef: Cooks magical stews and enchanted pastries.
17. Goblin Negotiator: Haggles with mischievous goblins over stolen treasures.
18. Wisp Shepherd: Herds glowing wisps across moonlit meadows.
19. Constellation Painter: Dips brushes in stardust to create cosmic art.
20. Swordsmith of Destiny: Forges blades with prophetic properties.
21. Oracle of Riddles: Answers questions through cryptic puzzles.
22. Moss Whisperer: Encourages moss-covered stones to share their secrets.
23. Harvest Moon Dancer: Leads celestial dances during lunar eclipses.
24. Chimera Veterinarian: Cares for mythical hybrid creatures.
25. Lore Bard: Sings epic sagas of forgotten heroes.
26. Stardust Prospector: Mines cosmic minerals from fallen meteors.
27. Mistwalker: Guides lost souls through foggy moors.
28. Enchanted Cobbler: Crafts shoes that grant extraordinary abilities.
29. Celestial Clockmaker: Constructs timepieces powered by starlight.
30. Gargoyle Sculptor: Carves stone guardians with hidden sentience.
31. Wandmaker: Whittles wands from ancient tree branches.
32. Mermaid Translator: Deciphers underwater songs and sea whispers.
33. Nightshade Apothecary: Harvests moonflowers and midnight herbs.
34. Serpent Charmer: Mesmerizes serpents with haunting melodies.
35. Skyship Navigator: Charts courses through floating islands.
36. Frostfire Sculptor: Shapes ice and flame into ephemeral statues.
37. Cursed Cursebreaker: Lifts hexes and breaks enchantments.
38. Goblin Archaeologist: Digs up lost goblin civilizations.
39. Sylph Perfumer: Captures the essence of zephyrs in fragrances.
40. Mystic Cartographer: Maps hidden ley lines and magical nexuses.
41. Moonstone Miner: Extracts shards of moonlight from caverns.
42. Gryphon Trainer: Raises and trains majestic gryphons.
43. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
44. Starwhisper Cartographer: Maps cosmic phenomena—comets' paths, shooting star trails, and celestial alignments.
45. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
46. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
47. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
48. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
49. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
50. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
51. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
52. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
53. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
54. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
55. Frostbite Healer: Extracts shards of moonlight from caverns.
56. Gryphon Trainer: Raises and trains majestic gryphons.
57. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
58. Starwhisper Cartographer: Maps cosmic phenomena—comets’ paths, shooting star trails, and celestial alignments. Their charts guide explorers to hidden constellations.
59. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
60. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
61. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
62. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
63. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
64. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
65. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
66. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
67. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
68. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
69. Frostbite Healer: Treats frostbitten extremities with salves made from frost sprites’ tears.
70. Chalice Enchanter: Carves runes into crystal goblets, infusing each sip with memories or emotions.
71. Goblin Archaeologist: Digs up lost goblin civilizations, unearthing rusty gadgets and cryptic hieroglyphs.
72. Sylph Perfumer: Captures the essence of zephyrs in fragrances—dawn mist, thunderstorm ozone, and moonrise musk.
73. Mystic Cartographer: Maps hidden ley lines and magical nexuses. Their charts reveal portals and ley-gates.
74. Moonstone Miner: Extracts shards of moonlight from caverns, which can be used for enchantments or as lantern fuel.
75. Gryphon Trainer: Raises and trains majestic gryphons for aerial patrols or epic quests.
76. Candlemaker of Whispers: Crafts candles that flicker with spectral flames, allowing communication with the departed.
77. Stardust Prospector: Mines cosmic minerals from fallen meteors—star iron, comet opals, and nebula gems.
78. Golem Animator: Breathes life into clay and stone constructs, imbuing them with purpose.
79. Wraith Whisperer: Communicates with restless spirits, negotiating unfinished business.
80. Celestial Navigator: Guides ships by star charts, steering vessels through astral currents.
81. Chaos Theorist: Predicts chaotic events using butterfly-wing equations, preventing or exploiting chaos.
82. Fairy Ring Dancer: Enters mystical circles to converse with fairies, striking bargains or seeking wisdom.
83. Banshee Lullaby Singer: Soothes grieving souls with haunting songs, easing their passage to the beyond.
84. Goblin Diplomat: Negotiates peace treaties between realms, balancing goblin mischief and human interests.
85. Veilwalker: Steps between dimensions using shimmering veils, exploring parallel worlds.
86. Moonshard Weaver: Threads moonstone shards into cloaks that grant moonwalking abilities.
87. Gryphon Whisperer: Communicates with gryphons through empathic bonds.
88. Cursed Curator: Collects cursed artifacts, safeguarding them in hidden vaults.
89. Sphinx Riddler: Poses enigmas to travelers seeking wisdom, granting answers in exchange for riddles.
90. Bard of Echoes: Sings songs that echo through time, preserving forgotten tales.
91. Goblin Inventor: Constructs whimsical gadgets—umbrellas that predict rain, shoes that dance, and hats that translate squirrel chatter.
92. Serpent Astronomer: Studies cosmic serpents—constellations that writhe across the sky.
120. Starforged Smith: Hammers star fragments into celestial armor and swords.
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It's that time again! I've got all new prompts for you! Go be smutty!
Art credit: @rosefuckinggenius
There's really only one rule here: Make it smutty. Real smut or cringey lemons, it's up to you. Fics and artwork will be accepted. Submissions are open until 11:59 p.m. CST September 30th, 2024.
To ensure you get reblogged and added to the master list, make sure to do the following:
Tag @choicesprompts
hashtag #choicespromtps and #smutember2024
Don't forget to tell us which prompt you're using!
Prompts don't have to be done in order or used on any particular day. Pick and choose as you like, and submit whenever. You may combine prompts. You may have more than one submission per prompt if you like.
Tips for writing those gala scenes, from someone who goes to them occasionally:
Generally you unbutton and re-button a suit coat when you sit down and stand up.
You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.
When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.
A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)
Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)
The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.
Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.
Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.
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