This is a side blog for writing prompts, writing advice, long posts with wonderful stories, and--occasionally--writing by me! My writing is tagged "my content."
Some posts may be not sfw. I will tag them accordingly as (without the slashes) “n///sfw” and “not sfw.”
I will tag triggers. Should I make a post listing what triggers I tag? Okay, if I do, I’ll link to it here.
See my main blog, @always-a-fairycat, for my sociopolitical views so you can decide whether to interact or not, block or not, and so on.
🍖 How to Build a Culture Without Just Inventing Spices and Necklaces
(a worldbuilding roast. with love.)
So. You’re building a fantasy world, and you’ve just invented:
→ Three types of ceremonial jewelry
→ A spice that tastes like cinnamon if it were bitter and cursed
→ A holiday where everyone wears gold and screams at dawn
Cute. But that’s not culture. That’s aesthetics.
And if your worldbuilding is all outfits, dances, and spice blends with vaguely mystical names, your story’s probably going to feel like a cosplay convention held inside a Pinterest board.
Here’s how to fix that—aka: how to build a real, functioning culture that shapes your story, not just its vibes.
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🔗 Culture Is Built on Power, Not Just Style
Ask yourself:
→ Who’s in charge, and why?
→ Who has land? Who doesn’t?
→ What’s considered taboo, sacred, or punishable by death?
Culture is shaped by who gets to make the rules and who gets crushed by them. That’s where things like religion, family structure, class divisions, gender roles, and social expectations actually come from.
Start there. Not at the embroidery.
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2.🪓 Culture Comes From Conflict
Did this society evolve peacefully? Was it colonized? Did it colonize? Was it rebuilt after a war? Is it still in one?
→ What was destroyed and mythologized?
→ What do the survivors still whisper about?
→ What do children get taught in school that’s… suspiciously sanitized?
No culture is neutral. Every tradition has a history, and that history should taste like blood, loss, or propaganda.
─────── ✦ ───────
3.🧠 Belief Systems > Customs Lists
Sure, rituals and holidays are cool. But what do people believe about:
→ Death?
→ Love?
→ Time?
→ The natural world?
→ Justice?
Example: A society that believes time is cyclical vs. one that sees time as linear will approach everything—from prison sentences to grief—completely differently.
You don’t need to invent 80 gods. You need to know what those gods mean to the people who pray to them.
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4.🫀 Culture Controls Behavior (Quietly)
Culture shows up in:
→ What people apologize for
→ What insults cut deepest
→ What people are embarrassed about
→ What’s praised publicly vs. what’s hidden privately
For instance:
→ A culture obsessed with stoicism won’t say “I love you.” They’ll say “Have you eaten?”
→ A culture built on legacy might prioritize ancestor veneration, archival writing, name inheritance.
This stuff? Way more immersive than giving everyone matching earrings.
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5. 🏠 Culture = Daily Life, Not Just Festivals
Sure, your MC might attend a funeral where people paint their faces blue. But what about:
→ Breakfast routines?
→ How people greet each other on the street?
→ Who cooks, and who eats first?
→ What’s considered “clean” or “proper”?
→ How is parenting handled? Divorce?
Culture is what happens between plot points. It should shape your character’s assumptions, language, fears, and habits—whether or not a festival is going on.
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6. 💬 Let Your Characters Disagree With Their Own Culture
A culture isn’t a monolith.
Even in deeply traditional societies, people:
→ Rebel
→ Question
→ Break rules
→ Misinterpret laws
→ Mock sacred things
→ Act hypocritically
→ Weaponize or resist what’s expected
Let your characters wrestle with the culture around them. That’s where realism (and tension) lives.
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7.🧼 Beware the “Pretty = Good” Trap
Worldbuilding gets boring fast when:
→ The protagonist’s homeland is beautiful and pure
→ The enemy’s culture is dark and “barbaric”
→ Every detail just reinforces who the reader should like
You can—and should—challenge the aesthetic hierarchy.
→ Let ugly things be beloved.
→ Let beautiful things be corrupt.
→ Let your MC romanticize their culture and then get disillusioned by it later.
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📍 TL;DR (but like, spicy):
→ Culture is not food and jewelry.
→ Culture is power, fear, memory, contradiction.
→ Stop inventing spices until you know who starved last winter.
→ Let your world feel lived in, not curated.
The best cultural worldbuilding doesn’t look like a list.
It feels like a system. A pressure. A presence your characters can’t escape—even if they try.
Now go. Build something real. (You can add spices later.)
—rin t.
// writing advice for worldbuilders with rage and range
// thewriteadviceforwriters
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in 2026, remember how GOOD writing feels. remember how satsfying it is to get your characters to the point you have been dying to get to, where they will experience the love, fear, relief or whatever the feeling you want to bring to life may be. let this year be the year of writing, prgress and of satisfactory endings.
And I'm not saying every story with a Black character has to be the most serious, most deeply researched thing on the planet. I'm really not. Basic respect in depiction isn't a bonus, it's an expectation.
But what I am often saying is that the Stakes to Mess It Up for a one chapter slice of life coffeeshop AU are gonna be quite different from a historical fiction Western set in 1856 Kansas, and it is your responsibility as an author to 1) understand that, and 2) make sure that you are doing the best you can to treat that character- and by proxy, your Black audience- with respect, every time. It is never the wrong answer to educate yourself in preparation!
There used to be a lot of activities that took place around a populated area like a village or town, which you would encounter before you reached the town itself. Most of those crafts have either been eliminated in the developed world or now take place out of view on private land, and so modern authors don't think of them when creating fantasy worlds or writing historical fiction. I think that sprinkling those in could both enrich the worlds you're writing in and, potentially, add useful plot devices.
For example, your travelers might know that they're near civilization when they start finding trees in the woods that have been tapped, for pitch or for sap. They might find a forester's trap line and trace it back to his hut to get medical care. Maybe they retrace the passage of a peasant and his pig out hunting for truffles. If they're coming along a coast, maybe your travelers come across the pools where sea water is dried down to salt, or the furnaces where bog iron ore is smelted.
Maybe they see a column of smoke and follow it to the house-sized kilns of a potter's yard where men work making bricks or roof tiles. From miles away they could smell the unmistakeable odor of pine sap being rendered down into pitch, and follow that to a village. Or they hear the flute playing of a shepherd boy whiling away the hours in the high pasture.
They could find the clearing where the charcoal burners recently broke down an earth kiln, and follow the hoof prints and drag marks of their horse and sledge as they hauled the charcoal back to civilization. Or follow the sound of metal on stone to a quarry or gravel pit. Maybe they know they're nearly to town when they come across a clay bank with signs of recent clay gathering.
Of course around every town and city there will be farms, more densely packed the closer you are. But don't just think of fields of grains or vegetables. Think of managed woodlands, like maybe trees coppiced-- cut and then regrown--to customize the shape or size of the branches. Cows being grazed in a communal green. Waiting as a huge flock of ducks is driven across the road. Orchards in bloom.
If they're approaching by road, there will be things best done out of town. The threshing floor where grain is beaten with flails or run through crushing wheels to separate the grain from its casing, and then winnowed, using the wind to carry away the chaff. Laundresses working in the river, their linens bleaching on the grass at the drying yard. The stench of the tanners, barred from town for stinking so badly. The rushing wheel-race and great creaking wheel of the flour mill.
If it's a larger town, there might be a livestock market outside the gates, with goats milling in woven willow pens or chickens in wooden cages. Or a line of horses for the wealthier buyer or your desperate travelers. There might be a red light district, escaping the regulations of the city proper, or plain old slums. More industrial yards, like the yards where fabric is dyed (these might also smell quite bad, like rotting plant material, or urine).
There are so many things that preindustrial people did and would find familiar that we just don't know about now. So much of life was lived out in the open for anyone to see. Make your world busy and loud and colorful!
This is a big reason that I have always loved the Brother Cadfael novels, set in the mid 1100s. Written by Ellis Peters, each book has such a vivid sense of the place and the time period. Many different settings around Shrewsbury are described, along with the people and their various jobs.
I love that kind of world building and would add that many resources were tightly regulated that we don't consider nowadays. Examples are the right to herd your pigs in an oak forest belonging to a specific monastery (saw an example where an altar piece had a carved pig to make sure the claim was known and advertised) or down to which farmers had the right to tree leaves in the fall (shortage of other animal bedding in certain Swiss valleys). The idea of a wilderness in a medieval setting is not what we think.
Forever recommending A Collection of Unmitigated Pedantry as an introductory resource for this! The author is a historian of the ancient mediterranean and he has a lengthy two-part blog post on "lonely cities": how fictional cities tend to look in pseudomedieval fantasy versus how real cities actually worked, specifically how they reshaped the land use for many miles around. Part I, part II, or available read aloud on YouTube here.
Religion in fantasy worlds: Everyone believes the exact same things about Green Nature Goddess and has official rituals for her that are the same everywhere
Religion irl: Technically it’s heresy for me to worship this skeleton but my spiritual advisor said that it’s legit so I’m gonna keep giving it offerings of yogurt
Religion in fantasy worlds: These are the rules. The rules are law. Nobody can break the rules.
Religion irl: Okay you say that there are “rules” but how exactly are we defining “rules” here? Like is a suggestion a rule? How are we defining suggestion? No come back. Listen. Are we going by nuance in the original language or are translations fine or-
High control religions/cults recruiting in fantasy worlds: Join us! For we shall all eat the moon! This is a legitimate position to have!
High control religions/cults recruiting irl: We have free snacks. That shirt looks sooo cute on you btw. What, you heard that we wanna eat the moon? The media is always telling lies about us you know. We may have some unorthodox opinions about the moon but, tell you what. Come get some snacks, make some new friends, maybe chat about the moon a bit. See what you think. We’ve got pizza.
Religions in fantasy worlds: We will never EVER change the pantheon for those filthy pagans
Religions irl: well no, you can't pray to your Old Pagan God... but you can pray to our saint/minor god that has the same name and functions and lives in the same river! That we just added! Just add our main guy's name to the prayer and pay your taxes, ok?
Quick word of warning for fellow writers. In the last couple of days I've seen a lot of accounts pop up and offer beta reading under the posts of writers. These are scammers. They stalk the "beta reader" tag to look for writers in need of betas, but they will likely run your story through AI and send you some vague feedback (example here).
Please pick someone who is active in fandoms, a fellow writer or an active reader of fanfics, not someone with an empty account.
Additional Tags: menstruation, fluff, 2nd person POV, no use of Y/N, AFAB reader, gender neutral reader, body dysphoria, gender dysphoria if you squint
Summary: On the first day of your period, all you want is to hear comforting words from your favorite bear.
Some of the biggest fantasy worldbuilding fails that I see, in no particular order
Gods without religion. The Gods are real and a known historical fact, but virtually nobody is religious.
Cultural racism/discrimination without structural racism/discrimination. Discrimination that exists only in microagressions or mean comments, without existing in any sort of structural way.
Secret history with no clear reason for it to be secret and no clear method for maintaining that secrecy. Major parts of the world's history are kept entirely secret, even though there's not an obvious reason to do so and even when history has shown this is virtually impossible to enforce (especially in a world with any movement or communication across borders).
Large, homogeneous countries. Even without immigration, virtually no country larger than the Vatican will be fully homogeneous in terms of culture, dialect, beliefs, traditions, etc., much less a large one with limited communication technology as is often seen in fantasy. The Planet of Hats problem.
@cuteykitsune asked in a reply: How do you show religion in your story? Prayer? Chuch? Holidays? Traditions?
I wanted to actually give a full response to this, because I think it's a great question.
Religions consist of a few things:
Stories
Beliefs/creeds
Rules/norms
Traditions
These aren't quite collectively exhaustive, and they're certainly not mutually exclusive (they are closely tied to each other), but they encompass the vast majority of what makes up a religion.
Stories are probably the simplest part of a religion: the written or oral tales passed down in the religion that tie to its beliefs, teachings, and/or origins. The Bible, the Torah, the Quran, stories about pantheons, creation stories, etc. all serve to both explain the world and provide guidance on how to live a proper religious life. These stories don't need to be part of the official canon of the religion and can be about historical figures tied to the religion (e.g., Catholic saints).
In stories, this may show by through people telling or referencing stories, through art or architecture depicting those stories, or through references to holy books, as some examples.
Beliefs are about the shared ideological viewpoints of the religion. These are often documented in the religious stories, but don't necessarily have to be. They can be as formal as the Nicene Creed or as informal as just a general shared understanding.
Theism is a major belief for the vast majority of religions, though it is not necessary. It also includes belief in what is sacred, what is acceptable, whether there is an afterlife, what good or bad traits are, etc.
If the religion is a theistic one, this belief would also include one about how the god(s) engage with the world and with people. Do they believe there is direct physical engagement (see: Zeus and the many mortal women he sleeps with) or that guidance is provided spiritually? Do they believe that there may be intervention in times of crisis? Do they believe that the god(s)'s hands are shaping the world constantly or that they created the world and then stopped? Do they believe that the god(s) listen to direct prayer from anyone or that specific locations, objects, rituals, or qualifications are required? Are the god(s) benevolent? Omniscient? Omnipresent? Do they care about humans?
In stories, this can show up any way you show the character thinking about the religion or gods. Do they think that the god(s) support their actions or if their actions follow their religious teachings? Do they care if that's the case? Do they always wash their hands carefully because their religion teaches cleanliness is important? Do they believe that certain things are good or evil?
Rules/Norms cover the institution/enforcement of those beliefs. These may be strict laws outlined in religious texts or by religious institutions (e.g., dietary restrictions) or general norms (e.g., dressing up for church). This may dictate how someone can engage with the religion or how religious people can engage with the broader world.
This is also where two religions or sects with similar beliefs really start to differentiate from each other. One might explicitly disallow something that a different one begrudgingly tolerates, even if both believe that it's bad
The structure of the religion also starts to come into play here. If a religion says only men can serve certain roles, for example, men will then be the ones playing those roles in the religious institution.
In stories, this is shown the same way any other rules or norms are.
Traditions, in my view, cover a wide range of things, from big societal traditions like holidays or rest days to small personal traditions like prayer. This is what you do as part of a religion--the actual actions taken by individuals or groups to participate in the religion.
Do people go to a physical location on a regular basis? Are all locations equal or can a person only go to certain ones? Is there someone who leads services? If people congregate for worship or other religious practice, how often? What does it look like?
Do people pray individually? What does that look like? Do houses have shrines or other dedicated areas for worship, or is it only conducted in congregate areas?
Do religious practices include specific rituals? Specific objects? Specific clothing?
This is also where the structure of the organization really shows up. Is there an organized structure (a la the Catholic Church) or is it religional? Local? Individual?
In stories, this can look like any physical practice of the religion.
some highlights from my writing seminar with honestly one of my favourite authors of all time who shall remain nameless bc i dont want her to know i was spilling her secrets online
The first trick is to detach yourself from your idea. You don’t have just one novel inside you, and it’s not a big deal if you don’t finish this novel.
She was skeptical of the common advice “just write!!1!” - she talked about how long ideas for her most popular novels were marinating inside her before she properly wrote them
As a continuation of that, she was a big believer in knowing what you want to write before you write it. Not what you’re going to write, what you want to write.
The first thing she decides about a novel is what the mood is going to be, and this informs every other decision (e.g. the mood for Shiver was bittersweet)
Ideas should be personal, specific, exciting and they should exclude secondary sources. A personal idea isn’t necessarily autobiographical (which should be avoided), but it speaks to your emotional truth.
She said she had been read Ronsey fanfiction and she couldn’t view her car in the same way since.
Story is the thing that seems most important to reader but is most changeable to the author - story is subservient to your mood and your message. Change what you like in the plot as long as your book retains its sense of self.
Story is conflict, exploration and change. A good story has active tension -the characters want something, instead of just wanting something not to happen (e.g. wanting to kill an enemy instead of simply defending a stronghold against an enemy)
A story needs to have a concrete end, something to be done.
Satisfaction is important - deliver what you promise to the reader. The other shoe has to drop. Ronan Lynch doesn’t ever talk about his feelings, so its rewarding when he does.
Earn your emotional moments (she threw shade at Fantastic Beasts lmao)
Forcing a character to be passive is dissatisfying to the reader.
Characters are products of their environments, consistent/predictable, nuanced and specific, moving the plot, and subservient to other story elements.
She always starts with tropes for ensemble casts like sitcoms. Helpful for building good character dynamics.
Write scenes with characters saying explicitly what they’re thinking and then go back and make them talk like real people in the edit.
An action can also prove what they’re thinking, instead of making them say it or another character guess it (e.g. Ronan punching a wall).
Move the reader’s emotional furniture around without them noticing.
All her books follow the three act structure. Established normal -> inciting incident -> character makes an Active Decision -> fun and games -> escalation -> darkest moment -> climax.
Promise what you’re going to do in the first five pages.
Read your book out loud. Record yourself reading it.
If you have writer’s block, it’s because you’ve stopped writing the book you want to write. She likes to delete everything she’s written until she gets back to a point where she knew she was writing what she wanted to write, and then carrying on from there.
Describing aromas can add a whole new layer to your storytelling, immersing your readers in the atmosphere of your scenes. Here's a categorized list of different words to help you describe scents in your writing.
🌿 Fresh & Clean Scents
Crisp
Clean
Pure
Refreshing
Invigorating
Bright
Zesty
Airy
Dewy
Herbal
Minty
Oceanic
Morning breeze
Green grass
Rain-kissed
🌼 Floral Scents
Fragrant
Sweet
Floral
Delicate
Perfumed
Lush
Blooming
Petaled
Jasmine
Rose-scented
Lavender
Hibiscus
Gardenia
Lilac
Wildflower
🍏 Fruity Scents
Juicy
Tangy
Sweet
Citrusy
Tropical
Ripe
Pungent
Tart
Berry-like
Melon-scented
Apple-blossom
Peachy
Grape-like
Banana-esque
Citrus burst
🍂 Earthy & Woody Scents
Musky
Earthy
Woody
Grounded
Rich
Smoky
Resinous
Pine-scented
Oak-like
Cedarwood
Amber
Mossy
Soil-rich
Sandalwood
Forest floor
☕ Spicy & Warm Scents
Spiced
Warm
Cozy
Inviting
Cinnamon-like
Clove-scented
Nutmeg
Ginger
Cardamom
Coffee-infused
Chocolatey
Vanilla-sweet
Toasted
Roasted
Hearth-like
🏭 Industrial & Chemical Scents
Metallic
Oily
Chemical
Synthetic
Acrid
Pungent
Foul
Musty
Smoky
Rubber-like
Diesel-scented
Gasoline
Paint-thinner
Industrial
Sharp
🍃 Natural & Herbal Scents
Herbal
Aromatic
Earthy
Leafy
Grass-like
Sage-scented
Basil-like
Thyme-infused
Rosemary
Chamomile
Green tea
Wild mint
Eucalyptus
Cinnamon-bark
Clary sage
🎉 Unique & Uncommon Scents
Antique
Nostalgic
Ethereal
Enigmatic
Exotic
Haunted
Mysterious
Eerie
Poignant
Dreamlike
Surreal
Enveloping
Mesmerizing
Captivating
Transcendent
I hope this list can help you with your writing. 🌷✨
Feel free to share your favorite scent descriptions in the replies below! What scents do you love to incorporate into your stories?
Go participate! Go see every movie. See the bad ones, the good ones. Watch movies with the sound off and you can see how a movie's made. If you ever think your movie you're making is too long, it is. If you ever wonder, "Should I cut this?" the answer is, "Yes." And somebody has to like it beside the person you're fucking and your mother.
It's a double feature this October here at the Prompt Foundry with both Prompts That Go Bump In The Night and OC-tober.
For Prompts That Go Bump In The Night, let's get creepy with it, get in touch with our dark sides, make Edgar Allan Poe proud, and get into the spirit of spooky season!
Feel free to combine different days' prompts with each other, or combine them with other events! Use your OCs, your favorite characters from media, your own experiences, whatever tickles your fancy.
Make this as scary as you want, just remember to tag appropriately!
If you use this list, please tag me here @thepromptfoundry, I’d love to see your writing and art and learn about your characters!
Respond to as many prompts as you want or as interest you, don’t worry about missing or skipping any. Remember, this is supposed to be fun!
If you have any questions or musings, check our FAQ, and if you don't find your answer, shoot me an ask.
Plain text list below the cut:
1 Too many eyes
2 A whisper in the dark
3 Someone who shouldn't be there
4 Vampires
5 Blood
6 An untimely death
7 A shadow in the window
8 The darkness before dawn
9 Nobody's child
10 Open graves
11 Zombies
12 A stolen face
13 Something behind you
14 A lying smile
15 Creaking floorboards
16 Witches
17 The full moon
18 Werewolves
19 Screams on the wind
20 Skeletal remains
21 A black dog
22 Rattling chains
23 Restless spirits
24 The wrong way home
25 Icy breath
26 A forgotten name
27 Words never spoken
28 The other side of the mirror
29 Lights going out
30 An unheeded warning
31 One last chance to escape
speculative fiction writers i am going to give you a really urgent piece of advice: don't say numbers. don't give your readers any numbers. how heavy is the sword? lots. how old is that city? plenty. how big is the fort? massive. how fast is the spaceship? not very, it's secondhand.
the minute you say a number your readers can check your math and you cannot do math better than your most autistic critic. i guarantee. don't let your readers do any math. when did something happen? awhile ago. how many bullets can that gun fire? trick question, it shoots lasers, and it shoots em HARD.
you are lying to people for fun. if you let them do math at you the lie collapses and it's no fun anymore.
