bluegeniuswrites

[bluegeniuswrites]

The Causal Chain And Why Your Story Needs It

The most obnoxious thing my writing teacher taught me every story needed, that I absolutely loathed studying in the moment and that only later, after months of resisting and fighting realized she was right, was something called the causal chain.

Simply put, the causal chain is the linked cause-and-effect that must logically connect every event, reaction, and beat that takes place in your story to the ones before and after.

The Causal Chain is exhausting to go through. It is infuriating when someone points out that an event or a character beat comes out of nowhere, unmoored from events around it.

It is profoundly necessary to learn and include because a cause-and-effect chain is what allows readers to follow your story logically which means they can start anticipating what happens next, which is what is required for a writer to be able to build suspense and cognitively engage the audience, to surprise them, and to not infuriate them with random coincidences that hurt or help the characters in order to clumsily advance the author's goals.

By all means, write your story as you want to write it in the first draft, and don't worry about this principle too much. This is an editing tool, not a first draft tool. But one of the first things you should do when retroactively begin preparing your story to be read by others is going step by step through each event and confirming that a previous event leads to it and that subsequent events are impacted by it on the page.

[bluegeniuswrites]

Don't worry, it's just a scratch. - @juneofdoom Day 2

Edgin Jarvis/Xenk Yendar Rating: T Word Count: 4240 After an exhausting quest when Xenk's exhausted his abilities, Edgin has terrible enough luck that he gets hurt after the quest is done when Bandits sneak up on them on their way home. Maybe getting poisoned is worth it though.

2. “I’m worried about you.”  | InfectionPoisoning | Protective | Confession

Every time they got into a scrape like this, Ed was eternally grateful that Kira was safe at home and studying instead of getting into trouble with them. As he ducked behind a boulder he couldn't help the thoughts that went through his head. Thoughts like "How does this always happen to us?" "I really shouldn't have put my sword down while we were eating." and "How did I justify bringing Kira along on things like this for so long??" He peeked around the edge of the boulder and an arrow went flying right past his face.

The worst part about this whole situation is that since they were still riding high as the Heroes of Neverwinter, Xenk had convinced them to help more for friendship than any real profit and they had actually been done their quest. Cursed object acquired and safely in Xenk's pack and on their way back home tired and a bit bruised but having felt pretty successful and not even minding the lack of payout. Not even an hour ago the only thing he'd had to complain about was exhausting what magic he had and that he was hungry.

The bandits had appeared right as they were finishing their meal and attacked thinking (not quite rightly) that a group such as theirs would have something worth stealing and that they could surprise them. They didn't even have any valuables for them to take! And the cursed object in question was dangerous but didn't even look valuable, it was just a stone. He could hear the clang of metal getting closer and regretted again that he'd chosen comfort over keeping his weapon close. He tried to listen closely to see if he could tell if it was Xenk's sword or Holga's axe coming closer and he pulled his lute off his back, at least he hadn't been dumb enough to put everything down.

The moment he saw the edge of Xenk's armor coming around the boulder he pressed himself tightly against it and lifted his lute. As Xenk backed up from the three bandits who'd managed to team up against him, he acknowledged Ed with a quick glance to his eyes then his lute and turned slightly to make sure their enemies kept their eyes on only him. As soon as all three bandits cleared the boulder, Ed swung his lute and the nearest one hit the ground unconscious. The distraction was just enough to give Xenk the advantage and the other two hit the ground soon after. "Wow, you really must be as tired as I am."

Xenk stared at him for a moment and Ed would swear he saw the slightest eyeroll, "it was a rather exhausting morning. I'll admit I was hoping for a short nap after our meal and was not expecting to deal with an attack."

"A nap sounds wonderful. Okay, how do we end this so we can nap, get that rock where it belongs, and head home?" Ed felt himself yanked out of the way of another arrow just as he tried to look around the side of the boulder again.

Xenk quietly sighed and frowned at him, "We have not yet eliminated the archer. Holga stayed near the fire and is holding her own. We should stop the archer and then the rest will be easily dealt with." He definitely looked surprisingly tired.

"Well my sword is near Holga and the fire, so I don't think I'm much good there. But he keeps shooting this way so...I can definitely distract him."

Xenk murmured quietly, "Yes, you are certainly distracting." already looking around the other side of the boulder. Ed couldn't have heard that right. "I will go this way, wait until I am closer and the try to be just visible." Ed nodded and stuck his lute out to the side to make sure the archer's eyes were on the wrong side of the boulder while Xenk made his approach.

He went to the other side of the boulder where he could see Xenk disappear into the edge of the woods to get closer to the archer. He glanced to the side and saw Holga with three of the bandits on the ground around her and three more attacking her. He watched her flip one of them almost directly into their fire and then glanced back toward the archer to see the glimmer of Xenk's armor through the edge of the woods nearby so he moved to the other side of the boulder and quickly slid out, pretending to think it was safe and moved back behind it as fast as he could, just as he saw an arrow come straight for him. The arrow didn't miss him this time, it just barely grazed his bicep, tearing through his shirt and leaving a narrow line of blood. In the seconds where he'd had a clear view, Xenk had been right behind the archer and he'd seen Holga dispatch the last two bandits, totally worth a scrape.

He heard Holga grunt like she was moving something heavy, "Ed! You can come out now!" Oh, she'd moved the bandit off of the fire. "Here," she shoved the hilt of his shortsword into his hand "Stop leaving this places." She went looked him over and gave him a gentle (for Holga) shove towards his bag "Better clean that."

Ed put his sword away and reached for his bag to pull out a small roll of bandages. "What requires cleaning?" He heard Xenk ask. When Ed turned back towards them he glanced as the red staining his sleeve, "Oh, you're injured. You were meant to distract, not become a target." He glanced down at his hands, "I can heal you once I get some rest."

"Don't worry, it's just a scratch." He undid his shirt so he could bare his arm, kind of glad he'd taken off his jacket and left it next to his sword earlier even if it would have offered a little extra protection. The cut wasn't too deep, he wet the edge of the bandage to wipe it clean and then realized wrapping it one handed might be difficult. Holga had already walked back towards the bandit's bodies to search for anything useful but when he looked up Xenk was watching him. "Xenk, it's really not that bad."

Xenk blinked and refocused and it occurred to Ed that Xenk had been staring at his chest and not his arm. He really must be tired. "Let me assist you." He said as he reached for the bandages. He started unwinding the roll and reached for Ed's arm. "I really did not mean for you to get hurt." he continued quietly.

"I know. Don't worry too much." Xenk's warm fingers pulled gently on his arm to stretch it out so that he could wind the bandages around his bicep. "It's not even that deep."

Xenk tied off the end of the bandage, "I always worry about you, my friend."

Ed laughed lightly, "Well, I am the kind of guy that gets myself into situations." Xenk smiled slightly and shook his head at him.

"C'mon you two. If you're all fixed up then we should get out of here in case these guys have friends that come looking for them." Holga was shoving some coins into her pouch and had a small bag in her hand that she tossed at Ed. "Let's go."

*****

Link to chapter 2 and there's also a chapter 3

[bluegeniuswrites]

Wednesday! Was that a test!? - June of Doom - Day 1

I'm been trying to get myself back to writing and the @juneofdoom prompt list crossed my dash so... I guess I'll Try at least some prompts and see where it goes. This turned out a lot less Doom like and a lot more affectionate than expected.

Wednesday Addams/Enid Sinclair Rating: T Words <1k Summary: Enid wakes up tied up somewhere she doesn't know and gets herself out of trouble.

Prompt 1. “Where am I?”        | Slurred Speech | Duct Tape | Darkness

When Enid woke up she couldn't tell where he was, everything felt fuzzy and her head hurt a little, and even though her eyes were open she couldn't see anything around her. She was laying on her side on something cool and very solid and when she tried to move she realized her hands were bound with something thick and a little bit sticky and it felt like her feet were bound together the same way.

She let out a big sigh, Wednesday had been worrying (in her own way) at her for weeks, convinced that some creepy stalker was out to get her and that because of that Enid, herself, was in danger too. She'd been bullied into taking extra precautions on trips into Jericho and not been allowed to go anywhere alone. Every time she'd tried, Wednesday and appeared grumpily beside her. The protectiveness was nice and usually gave Enid the warm fuzzies just thinking about it, but she hadn't really thought the worry was actually warranted.

Until now.

She remembered dinner, she remembered at least starting to walk back to their room alone since Wednesday had been snarking at Bianca and she had wanted to get started on paper due at the end of the week. Well, Wednesday would probably be looking for her by now, but she'd probably be both smug and mad to be right.

"Okay Enid, get up, figure this out." she mumbled to herself and tried to rock herself upright. Maybe she could get herself out of this or figure out some clues if this really was because of the stalker Wednesday was worried about. "Okay, where am I?" She tried to take deep sniff and coughed at the dust in the air. Wherever she was, it smelled a little musty, very dusty, and kind like she was surrounded by sand and dirt. Her coughs didn't echo much so it must have been somewhere small even if she hadn't hit a wall sitting up. She tried to listen and could hear a lot of nature sounds, so wherever she was there had to be a door or window that led outside close by.

Her head was starting to clear, so she wiggled her fingers to make sure they still had feeling and reached for her feet in the dark to feel what was around them. Her hands skimmed over smooth wide....tape? She was pretty sure it was duct tape. Whoever had bonked her on the head, tied her up, and dropped her here hadn't really thought through things or hadn't done their research. She rolled her eyes a little as she slipped her claws out to slice through the tape around her ankles and peeled it off. "Well whoever did this is just dumb." She turned twisted her fingers back to slice part of the tape over her wrists and used her teeth to tear the rest off.

She huffed as she stood up, wobbling a little and smacking into a wall that had been just out of her reach before with a small thunk. "I can't believe I was caught by surprise by someone who doesn't even know how to tie up a werewolf!, ugh! Wednesday is going to be so disappointed in me." She pouted as she took another deep breath, trying not to cough this time and caught the direction of where it smelled like the air was a little fresher. She skimmed her fingers lightly along the wall as she walked forward to find a break in the wall that felt like a door, moved her hands down until she found the handle and very quietly got it open so she could peek out of the door.

She didn't see anyone, so she opened it more fully to look around...... and saw Wednesday! Holding a stopwatch! "Wednesday what...!?!?"

Wednesday was watching her with her usually unblinking dark eyes, "I'm not disappointed." Enid blushed, "You actually got yourself out of there without panicking once. I'm actually kind of proud."

"Ohmygod, Wednesday! Was that a test!?" Enid was still blushing and covered her face with her hands.

"Just a little one." When she moved her hands to give a questioning look, Wednesday continued explaining, "I'm more worried about you panicking too much to get out of a situation then your ability to actually get out. You did a good job. Except for the talking to yourself before knowing if someone was around."

"Did you really just....?" Enid looked around, they were still on school grounds at least. It looked like Wednesday had dropped her in an old gardening shed.

"Yes." Wednesday frowned deeper than usual. "I need you to be safe."

Enid sighed, "We really have to work on how you show your affection, you know." Wednesday side-eyed her as they started walking back to their room. "Don't give me that look, I've got you mostly figured out by now."

Wednesday glanced ahead again before flicking her eyes back over quickly and avoiding eye contact again, "At least you know it's affection."

Enid rubbed her head where it was sore, "I'd definitely rather just have some kisses or something."

Wednesday reached for her hand and intertwined their fingers, "That can be arranged."

Enid stumbled, staring from Wednesday's face down to her hand in her own. "What? .....oh!." Well, if it was like that then they'd better walk faster. She started tugging Wednesday along the walkway faster and heard a very faint laugh. She grinned, she was going to make Wednesday kiss her head better first, and then she was going to get so many more kisses.

[bluegeniuswrites]

A small list of random ass sites I’ve found useful when writing:

Fragrantica: perfume enthusiast site that has a long list of scents. v helpful when you’re writing your guilty pleasure abo fics

Just One Cookbook: recipe site that centers on Japanese cuisine. Lots of different recipes to browse, plenty of inspiration so you’re not just “ramen and sushi” 

This comparing heights page: gives you a visual on height differences between characters

A page on the colors of bruises+healing stages: well just that. there you go. describe your bruises properly

McCormick Science Institute: yes this is a real thing. the site shows off research on spices and gives the history on them. be historically accurate or just indulge in mindless fascination. boost your restaurant au with it

A Glossary of Astronomy Terms: to pepper in that sweet terminology for your astrophysics major college au needs

[bluegeniuswrites]

Random mansion generator

The Procgen Mansion Generator produces large three-dee dwellings to toy with your imagination, offering various architectural styles and other options. Each mansion even comes with floorplans:

https://boingboing.net/2019/07/12/random-mansion-generator.html

[bluegeniuswrites]

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.

[bluegeniuswrites]

I want to write a book called “your character dies in the woods” that details all the pitfalls and dangers of being out on the road & in the wild for people without outdoors/wilderness experience bc I cannot keep reading narratives brush over life threatening conditions like nothing is happening.

I just read a book by one of my favorite authors whose plots are essentially airtight, but the MC was walking on a country road on a cold winter night and she was knocked down and fell into a drainage ditch covered in ice, broke through and got covered in icy mud and water.

Then she had a “miserable” 3 more miles to walk to the inn.

Babes she would not MAKE it to that inn.

[bluegeniuswrites]

Worldbuilding stuff:

If your story has an idle nobility class, their culture shouldn't just be different from the general population, it should be an over-the-top caricature of the common folks' culture. Whatever the population generally agrees is ideal, fair, admirable, or good, the nobility will take into stupid extremes.

Contrary to the beliefs of many, people are actually not at all happy when they're idle - a person with no assigned task or duty will go out of their way to come up with one. And all around the world, whenever there's been an upper class with nothing to do, they've started to compete with each other over stupid shit, but always stupid shit that the culture they live in considers positive qualities.

From the noblemen in Europe challenging each other to a possibly lethal duel over insulting someone's hat, to a Chinese noblewoman being moved to tears by the beauty of someone's calligraphy, bored elites everywhere have always wanted to outdo each other in their expressions of possessing all the noble traits that this culture in particular holds in value.

You can, and should, use this as a way to highlight what the actual values of this society is. In a setting where being religious is held as an admirable trait, there is nobility coming up with new ways to one-up each other in their expressions of worship. Society that values art and music will have them competing over who hires the most artists, and who employs the most talented musicians. Aggressive, war-like people will have fuels to the fucking death over a stupid hat.

Literally anything can be competed in, and bored people with far too much time and money in their hands will become competitive over the most ridiculous things. This isn't just an useful tool in worldbuilding, but also a fun one.

[bluegeniuswrites]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[bluegeniuswrites]

YOU KNOW WHAT BOTHERS ME

when fantasy books describe the cloth of Quant Farmpeople’s clothing as “homespun” or “rough homespun”

“homespun” as opposed to what??? EVERYTHING WAS SPUN AT HOME

they didn’t have fucking spinning factories, your pseudo-medieval farmwife is lucky if she has a fucking spinning wheel, otherwise she’s spinning every single thread her family wears on a drop spindle NO ONE ELSE WAS DOING THE SPINNING unless you go out of your way to establish a certain baseline of industrialization in your fake medieval fantasy land.

and “rough”??? lol just because it’s farm clothes? bitch cloth was valuable as fuck because of the labor involved ain’t no self-respecting woman gonna waste fiber and ALL THAT FUCKING TIME spinning shitty yarn to weave into shitty cloth she’s gonna make GOOD QUALITY SHIT for her family, and considering that women were doing fiber prep/spinning/weaving for like 80% of their waking time up until very recently in world history, literally every woman has the skills necessary to produce some TERRIFYINGLY GOOD QUALITY THREADS

come to think of it i’ve never read a fantasy novel that talks about textile production at all??? like it’s even worse than the “where are all the farms” problem like where are people getting the cloth if no one’s doing the spinning and weaving??? kmart???

[bluegeniuswrites]

Archery information for writers that no one asked for but probably some of you need and I like talking about archery, so here it is.

when you put an arrow on the string, the verb is called “nocking” i.e. eyes glued on the target, he nocked the arrow

also the part of the arrow that gets put onto the string is called the nock. depending on the type of arrow this can be a piece of plastic glued into the arrow, or with wood or bamboo arrows it can be carved into the shaft of the arrow itself

you do not close an eye when aiming or shooting; you see better with both eyes open.

everyone has a dominant eye that more naturally your brain focuses with. that determines whether you are right or left handed when shooting, and doesn’t necessarily correlate to whether the person is right or left handed in anything else

so if you’re writing a character who has difficulty seeing out of one eye, take that into account when they are shooting

if they are right eye dominant, they hold the bow with their left hand and draw the string with their right. if they are left eye dominant, they hold the bow with their right hand and draw the string with their left

if they shoot left, the quiver sits on their left side/hip/thigh. shoot right - right side quiver.

there are several different ways to draw, if you are writing something historical or in a specific region, then do research on that style of archery. but for a generic place to start that is a more universal way of drawing a bow, here are some things to include

the chin stays down. raising your chin will fuck up your aim

the pointer finger on your draw hand rests on the side of your chin/jaw, and the string of the bow will touch the tip of the archer’s nose

weight is on the balls of your feet, leaning slightly forward off your heels

if it is an older bow/barebow, there is not usually a place for the arrow to rest on the bow. this means the arrow rests on the archer’s hand. if they are not wearing a glove on that hand, the fletchings (that’s the feathers on the arrow) will more than likely slice their hand when firing. this scars.

so if you’re wanting to describe someone observing and archer’s hands (hands are hot, don’t @ me) they would see a silver scar about halfway between the pointer finger knuckle and palm of the person’s hand. (turn your hand vertical and trace down the length of your pointer toward your thumb and stop next to the knuckle. that spot there.)

most archers wear something to protect their fingers on the hand that draws the bow. even with that, they have callouses. without it, a lot of callouses, scars, and blisters.

most common draw uses three fingers on the string: pointer, middle, ring. the arrow sits between the pointer and middle. just like where the draw point is, this is not universal and do research if you’re doing something culturally important.

barebow means that the bow is bare of any instruments. no sight, no weights, etc. the most basic/traditional form of bow

a recurve bow is anything where the tips of the bow curve back around forward, away from the archer

a compound is what you think of as a modern hunting bow, and is recognisable by having wheels at the ends and three strings

arrows have three fletchings that form a triangle, the point faces the archer so that the flat of the arrow will pass the flat of the bow on release. the arrow sits on the side of the bow facing the archer

archers with a larger/raised chest will sometimes where a chest protect so that the string does not catch when firing (this is regardless of gender, i know several cis-men who need it as well)

string can also catch on the forearm that is holding the bow and creates bruises and welts if you don’t wear a protector. modern ones are small plastic and cover just the spot, with elastic holding it in place. traditional ones are leather and wrap all the way around, lacing up on the back of your arm like a corset.

there is literally so much more, but i feel like this is plenty to get you started, and as always, feel free to drop an ask in my box if you need something more!

[bluegeniuswrites]

How To End Your Story

The Circle Ending- A story that does a full circle and comes back to the beginning

The Moral Ending- An ending where you learn a lesson and see the character develop

The Surprise Ending- A big plot twist last minute

The Reflection Ending- The Character looks back on their past achievements and experiences

The Emotional Ending- Leave your readers feeling sad, bittersweet, or happy

The Cliff Hanger Ending- End on something that will leave your readers at the edge of their seat

The Humor Ending- Finish in a funny or humorous way

The Question Ending- Make the reader wonder what will happen next

The Image Ending- Show, don’t tell

The Dialogue Ending- Finish with a quote from one of your characters

[bluegeniuswrites]

I took some historical sword-fighting lessons to make the fights in my novel more realistic - here’s what I learned.

To make the fighting scenes in my low fantasy novel more realistic, I went to see a trainer for historical sword-fighting last week, both to barrage her with questions and to develop realistic choreographies for the fight scenes in the novel. Since I figured some of what she told me might be useful for you too, I put together a small list for you. Big thanks to Gladiatores Munich and Jeanne for making time! (Here are some more pictures if you’re interested.)

Caveat: I’m by no means a sword-fighting expert myself, so take these nuggets with a grain of salt – I might have misremembered or misinterpreted some of the things Jeanne told me. If I did, feel free to tell me.

1.) Weapon choices need to make sense

Let’s start with a truism: always ensure your character’s weapons make sense for a.) their profession, b.) their cultural background and c.) the environment they’re going to fight in. A farmer probably couldn’t afford a sword and might use a knife or threshing flail instead, and someone who doesn’t want to be noticed probably wouldn’t be milling about sporting a glaive or another large weapon. Also, soldiers native to a country with wide open plains would be more likely to carry long-range melee weapons such as spears or large swords, than those from a country consisting of mostly jungle or dense forests. The same applies to situations: if your character is going to be fighting in close quarters (even just a normal house), he’d get little value out of a spear or even a longsword, as there’d be no space to swing it effectively.

2.) Boldness often beats skill

In real swordfights, recklessness was often more important than technique. The fighter less afraid of getting injured would often push harder, allowing them to overpower even opponents with better technique.

3.) Even a skilled fighter rarely stands a chance when outnumbered

While a skilled (or lucky) fighter might win a two-versus-one, it’d be extremely unlikely for even a single master swordsman to win against superior numbers, even just three and if they’re below his skill level. The only way to plausibly pull this off would be to split the opponents up, perhaps by luring them into a confined space where you could take them on one by one. The moment you’re surrounded, you’re probably done for – because, unlike in Hollywood, they wouldn’t take turns attacking but come at you all at once.

4.) Dual-wielding was a thing

… at least in some cultures. I often heard people say that people using a weapon in each hand is an invention of fiction. And while my instructor confirmed that she knew of no European schools doing this—if they did, it’s not well-documented—she said it was a thing in other cultures. Example of this include the dual wakizashi in Japan or tomahawk and knife in North America. However, one of the biggest problems with the depiction of dual wielding in novels/movies/games are the “windmill”-type attacks where the fighter swings their weapons independently, hitting in succession rather than simultaneously. Normally you’d always try hitting with both weapons at once, as you’d otherwise lose your advantage.

5.) Longswords were amazing

Longswords might seem boring in comparison to other weapons, but they were incredibly effective, especially in combat situations outside the battlefield. The crossguard allowed for effective blocking of almost any kind of attack (well, maybe not an overhead strike of a Mordaxt, but still), the pommel was also used as a powerful “blunt” weapon of its own that could crack skulls. Though they were somewhat less effective against armored opponents, the long, two-handed hilt allowed for precise thrusts at uncovered body parts that made up for it.

6.)  “Zweihänder” were only used for very specific combat situations

Zweihänder—massive two-handed swords—were only used for specific purposes and usually not in one-on-one combat as is often seen in movies or games. One of these purposes was using their reach to break up enemy formations. In fact, one type of two-handed sword even owed its name to that purpose: Gassenhauer (German, Gasse = alley, Hauer = striker)—the fighters literally used it to strike “alleys” into an enemy formation with wide, powerful swings.

7.) It’s all about distance

While I was subconsciously aware of this, it might be helpful to remember that distance was an incredibly important element in fights. The moment your opponent got past your weapons ideal range, it was common to either switch to a different weapon or just drop your weapon and resort to punching/choking. A good example of this are spears or polearms—very powerful as long as you maintain a certain range between you and your opponent, but the moment they get too close, your weapon is practically useless. That’s also why combatants almost always brought a second weapon into battle to fall back one.

8.) Real fights rarely lasted over a minute

Another truism, but still useful to remember: real fights didn’t last long. Usually, they were over within less than a minute, sometimes only seconds – the moment your opponent landed a hit (or your weapon broke or you were disarmed), you were done for. This is especially true for combatants wearing no or only light armor.

9.) Stop the pirouettes

Unfortunately, the spinning around and pirouetting that makes many fight scenes so enjoyable to watch (or read) is completely asinine. Unless it’s a showfight, fighters would never expose their backs to their opponent or even turn their weapon away from them.

10.)  It still looks amazing

If your concern is that making your fight scenes realistic will make them less aesthetic, don’t worry. Apart from the fact that the blocks, swings and thrusts still look impressive when executed correctly, I personally felt that my fights get a lot more gripping and visceral if I respect the rules. To a certain extent, unrealistic and flashy combat is plot armor. If your characters can spin and somersault to their heart’s content and no one ever shoves a spear into their backs as they would have in real life, who survives and who doesn’t noticeably becomes arbitrary. If, on the other hand, even one slip-up can result in a combatant’s death, the stakes become palpable.

That’s about it! I hope this post is as helpful to some of you as the lessons were to me. Again, if anything I wrote here is bollocks, it’s probably my fault and not Jeanne’s.  I’ll try to post more stuff like this in the future.

Cheers,

Nicolas

[bluegeniuswrites]

things you can use in place of cultural monsters

Can’t use golems in your fantasy world because they’re beings that belong to Judaism and you aren’t Jewish? Try using elementals!

Can’t use w*nd*goag in your story because they’re monsters from Native beliefs and you aren’t Native? Try wraiths or forest spirits!

Can’t use Skinwalkers, either? How about changelings, The Thing-type aliens or faeries?

Don’t want to use Christian biblical angels? Try eldritch monstrosities from another world.

Don’t want to namedrop La Llorona, Hachisukisama or the Cupecabrah? How about old-fashioned undead, zombies or ghosts?

Just because certain supernatural beings are only for certain groups, doesn’t mean you have to limit your monsters! There’s plenty of demographic-neutral alternatives to famous creatures that you can use without culturally appropriating or disrespecting people’s beliefs.

[bluegeniuswrites]

A Visual #Fashion Guide For Women - Necklines, Skirt Types & More!

By KikiCloset.com

[bluegeniuswrites]

Injury angst for writing dummies.

Hospitals and injury are always such a staple of angst fics, but 9 times out of 10 the author has clearly never been in an emergency situation and the scenes always come off as over-dramatized and completely unbelievable. So here’s a crash course on hospital life and emergencies for people who want authenticity. By someone who spends 85% of her time in a hospital. 

Emergency Departments/Ambulances.

Lights and sirens are usually reserved for the actively dying. Unless the person is receiving CPR, having a prolonged seizure or has an obstructed airway, the ambulance is not going to have lights and sirens blaring. I have, however, seen an ambulance throw their lights on just so they can get back to the station faster once. Fuckers made me late for work.

Defibrillators don’t do that. You know, that. People don’t go flying off the bed when they get shocked. But we do scream “CLEAR!!” before we shock the patient. Makes it fun.

A broken limb, surprisingly, is not a high priority for emergency personnel. Not unless said break is open and displaced enough that blood isn’t reaching a limb. And usually when it’s that bad, the person will have other injuries to go with it.

Visitors are not generally allowed to visit a patient who is unstable. Not even family. It’s far more likely that the family will be stuck outside settling in for a good long wait until they get the bad news or the marginally better news. Unless it’s a child. But if you’re writing dying children in your fics for the angst factor, I question you sir. 

Unstable means ‘not quite actively dying, but getting there’. A broken limb, again, is not unstable. Someone who came off their motorbike at 40mph and threw themselves across the bitumen is. 

CPR is rarely successful if someone needs it outside of hospital. And it is hard fucking work. Unless someone nearby is certified in advanced life support, someone who needs CPR is probably halfway down the golden tunnel moving towards the light. 

Emergency personnel ask questions. A lot of questions. So many fucking questions. They don’t just take their next victim and rush off behind the big white doors into the unknown with just a vague ‘WHAT HAPPENED? SHE HIT HER HEAD?? DON’T WORRY SIR!!!’ They’re going to get the sir and ask him so many questions about what happened that he’s going to go cross eyed. And then he’s going to have to repeat it to the doctor. And then the ICU consultant. And the police probably. 

In a trauma situation (aka multiple injuries (aka car accident, motorbike accident, falling off a cliff, falling off a horse, having a piano land on their head idfk you get the idea)) there are a lot of people involved. A lot. I can’t be fucked to go through them all, but there’s at least four doctors, the paramedics, five or six nurses, radiographers, surgeons, ICU consultants, students, and any other specialities that might be needed (midwives, neonatal transport, critical retrieval teams etc etc etc). There ain’t gonna be room to breathe almost when it comes to keeping someone alive.

Emergency departments are a life of their own so you should probably do a bit of research into what might happen to your character if they present there with some kind of illness or injury before you go ahead and scribble it down.

Wards

Nurses run them. No seriously. The patient will see the doctor for five minutes in their day. The nurse will do the rest. Unless the patient codes.

There is never a defibrillator just sitting nearby if a patient codes. 

And we don’t defibrillate every single code. 

If the code does need a defibrillator, they need CPR.

And ICU. 

They shouldn’t be on a ward. 

There are other people who work there too. Physiotherapists will always see patients who need rehab after breaking a limb. Usually legs, because they need to be shown how to use crutches properly.

Wards are separated depending on what the patient’s needs are. Hospitals aren’t separated into ICU, ER and Ward. It’s usually orthopaedic, cardiac, neuro, paediatric, maternity, neonatal ICU, gen surg, short stay surg, geriatric, palliative…figure out where your patient is gonna be. The care they get is different depending on where they are.

ICU.

A patient is only in ICU if they’re at risk of active dying. I swear to god if I see one more broken limb going into ICU in a fic to rank up the angst factor I’m gonna shit. It doesn’t happen. Stop being lazy. 

Tubed patients can be awake. True story. They can communicate too. Usually by writing, since having a dirty great tube down the windpipe tends to impede ones ability to talk. 

The nursing care is 1:1 on an intubated patient. Awake or not, the nurse is not gonna leave that room. No, not even to give your stricken lover a chance to say goodbye in private. There is no privacy. Honestly, that nurse has probably seen it all before anyway. 

ICU isn’t just reserved for intubated patients either. Major surgeries sometimes go here post-op to get intensive care before they’re stepped down. And by major I mean like, grandpa joe is getting his bladder removed because it’s full of cancer. 

Palliative patients and patients who are terminal will not go to ICU. Not unless they became terminally ill after hitting ICU. Usually those ones are unexpected deaths. Someone suffering from a long, slow, gradually life draining illness will probably go to a general ward for end of life care. They don’t need the kind of intensive care an ICU provides because…well..they’re not going to get it??

Operations.

No one gets rushed to theatre for a broken limb. Please stop. They can wait for several days before they get surgery on it. 

Honestly? No one gets ‘rushed’ to theatre at all. Not unless they are, again, actively dying, and surgery is needed to stop them from actively dying. 

Except emergency caesarians. Them babies will always get priority over old mate with the broken hip. A kid stuck in a birth canal and at risk of death by pelvis is a tad more urgent than a gall stone. And the midwives will run. I’ve never seen anyone run as fast as a midwife with a labouring woman on the bed heading to theatres for an emergency caesar.

Surgery doesn’t take as long as you think it does. Repairing a broken limb? Two hours, maybe three tops. Including time spent in recovery. Burst appendix? Half an hour on the table max, maybe an hour in recovery. Caesarian? Forty minutes or so. Major surgeries (organs like kidneys, liver and heart transplants, and major bowel surgeries) take longer. 

You’re never going to see the theatre nurses. Ever. They’re like their own little community of fabled myth who get to come to work in their sweatpants and only deal with unconscious people. It’s the ward nurse who does the pick up and drop offs. 

Anyway there’s probably way, way more that I’m forgetting to add but this is getting too long to keep writing shit. The moral of the story is do some research so you don’t look like an idiot when you’re writing your characters getting injured or having to be in hospital. It’s not Greys Anatomy in the real world and the angst isn’t going to be any more intense just because you’re writing shit like it is. 

Peace up.

[bluegeniuswrites]

tips for choosing a Chinese name for your OC when you don’t know Chinese

This is a meta for gifset trade with @purple-fury! Maybe you would like to trade something with me? You can PM me if so!

Choosing a Chinese name, if you don’t know a Chinese language, is difficult, but here’s a secret for you: choosing a Chinese name, when you do know a Chinese language, is also difficult. So, my tip #1 is: Relax. Did you know that Actual Chinese People choose shitty names all the dang time? It’s true!!! Just as you, doubtless, have come across people in your daily life in your native language that you think “God, your parents must have been on SOME SHIT when they named you”, the same is true about Chinese people, now and throughout history. If you choose a shitty name, it’s not the end of the world! Your character’s parents now canonically suck at choosing a name. There, we fixed it!

However. Just because you should not drive yourself to the brink of the grave fretting over choosing a Chinese name for a character, neither does that mean you shouldn’t care at all. Especially, tip #2, Never just pick some syllables that vaguely sound Chinese and call it a day. That shit is awful and tbh it’s as inaccurate and racist as saying “ching chong” to mimic the Chinese language. Examples: Cho Chang from Harry Potter, Tenten from Naruto, and most notorious of all, Fu Manchu and his daughter Fah lo Suee (how the F/UCK did he come up with that one).

So where do you begin then? Well, first you need to pick your character’s surname. This is actually not too difficult, because Chinese actually doesn’t have that many surnames in common use. One hundred surnames cover over eighty percent of China’s population, and in local areas especially, certain surnames within that one hundred are absurdly common, like one out of every ten people you meet is surnamed Wang, for example. Also, if you’re making an OC for an established media franchise, you may already have the surname based on who you want your character related to. Finally, if you’re writing an ethnically Chinese character who was born and raised outside of China, you might only want their surname to be Chinese, and give them a given name from the language/culture of their native country; that’s very very common.

If you don’t have a surname in mind, check out the Wikipedia page for the list of common Chinese surnames, roughly the top one hundred. If you’re not going to pick one of the top one hundred surnames, you should have a good reason why. Now you need to choose a romanization system. You’ll note that the Wikipedia list contains variant spellings. If your character is a Chinese-American (or other non-Chinese country) whose ancestors emigrated before the 1950s (or whose ancestors did not come from mainland China), their name will not be spelled according to pinyin. It might be spelled according to Wade-Giles romanization, or according to the name’s pronunciation in other Chinese languages, or according to what the name sounds like in the language of the country they immigrated to. (The latter is where you get spellings like Lee, Young, Woo, and Law.)  A huge proportion of emigration especially came from southern China, where people spoke Cantonese, Min, Hakka, and other non-Mandarin languages.

So, for example, if you want to make a Chinese-Canadian character whose paternal source of their surname immigrated to Canada in the 20s, don’t give them the surname Xie, spelled that way, because #1 that spelling didn’t exist when their first generation ancestor left China and #2 their first generation ancestor was unlikely to have come from a part of China where Mandarin was spoken anyway (although still could have! that’s up to you). Instead, name them Tse, Tze, Sia, Chia, or Hsieh.

If you’re working with a character who lives in, or who left or is descended from people who left mainland China in the 1960s or later; or if you’re working with a historical or mythological setting, then you are going to want to use the pinyin romanization. The reason I say that you should use pinyin for historical or mythological settings is because pinyin is now the official or de facto romanization system for international standards in academia, the United Nations, etc. So if you’re writing a story with characters from ancient China, or medieval China, use pinyin, even though not only pinyin, but the Mandarin pronunciations themselves didn’t exist back then. Just… just accept this. This is one of those quirks of having a non-alphabetic language.

(Here’s an “exceptions” paragraph: there are various well known Chinese names that are typically, even now, transliterated in a non-standard way: Confucius, Mencius, the Yangtze River, Sun Yat-sen, etc. Go ahead and use these if you want. And if you really consciously want to make a Cantonese or Hakka or whatever setting, more power to you, but in that case you better be far beyond needing this tutorial and I don’t know why you’re here. Get. Scoot!)

One last point about names that use the ü with the umlaut over it. The umlaut ü is actually pretty critical for the meaning because wherever the ü appears, the consonant preceding it also can be used with u: lu/lü, nu/nü, etc. However, de facto, lots of individual people, media franchises, etc, simply drop the umlaut and write u instead when writing a name in English, such as “Lu Bu” in the Dynasty Warriors franchise in English (it should be written Lü Bu). And to be fair, since tones are also typically dropped in Latin script and are just as critical to the meaning and pronunciation of the original, dropping the umlaut probably doesn’t make much difference. This is kind of a choice you have to make for yourself. Maybe you even want to play with it! Maybe everybody thinks your character’s surname is pronounced “loo as in loo roll” but SURPRISE MOFO it’s actually lü! You could Do Something with that. Also, in contexts where people want to distinguish between u and ü when typing but don’t have easy access to a keyboard method of making the ü, the typical shorthand is the letter v. 

Alright! So you have your surname and you know how you want it spelled using the Latin alphabet. Great! What next?

Alright, so, now we get to the hard part: choosing the given name. No, don’t cry, I know baby I know. We can do this. I believe in you.

Here are some premises we’re going to be operating on, and I’m not entirely sure why I made this a numbered list:

Chinese people, generally, love their kids. (Obviously, like in every culture, there are some awful exceptions, and I’ll give one specific example of this later on.)

As part of loving their kids, they want to give them a Good name.

So what makes a name a Good name??? Well, in Chinese culture, the cultural values (which have changed over time) have tended to prioritize things like: education; clan and family; health and beauty; religious devotions of various religions (Buddhism, Taoism, folk religions, Christianity, other); philosophical beliefs (Buddhism, Confucianism, etc) (see also education); refinement and culture (see also education); moral rectitude; and of course many other things as the individual personally finds important. You’ll notice that education is a big one. If you can’t decide on where to start, something related to education, intelligence, wisdom, knowledge, etc, is a bet that can’t go wrong.

Unlike in English speaking cultures (and I’m going to limit myself to English because we’re writing English and good God look at how long this post is already), there is no canon of “names” in Chinese like there has traditionally been in English. No John, Mary, Susan, Jacob, Maxine, William, and other words that are names and only names and which, historically at least, almost everyone was named. Instead, in Chinese culture, you can basically choose any character you want. You can choose one character, or two characters. (More than two characters? No one can live at that speed. Seriously, do not give your character a given name with more than two characters. If you need this tutorial, you don’t know enough to try it.) Congratulations, it is now a name!!

But what this means is that Chinese names aggressively Mean Something in a way that most English names don’t. You know nature names like Rose and Pearl, and Puritan names like Wrestling, Makepeace, Prudence, Silence, Zeal, and Unity? I mean, yeah, you can technically look up that the name Mary comes from a etymological root meaning bitter, but Mary doesn’t mean bitter in the way that Silence means, well, silence. Chinese names are much much more like the latter, because even though there are some characters that are more common as names than as words, the meaning of the name is still far more upfront than English names.

So the meaning of the name is generally a much more direct expression of those Good Values mentioned before. But it gets more complicated!

Being too direct has, across many eras of Chinese history, been considered crude; the very opposite of the education you’re valuing in the first place. Therefore, rather than the Puritan slap you in the face approach where you just name your kid VIRTUE!, Chinese have typically favoured instead more indirect, related words about these virtues and values, or poetic allusions to same. What might seem like a very blunt, concrete name, such as Guan Yu’s “yu” (which means feather), is actually a poetic, referential name to all the things that feathers evoke: flight, freedom, intellectual broadmindness, protection…

So when you’re choosing a name, you start from the value you want to express, then see where looking up related words in a dictionary gets you until you find something that sounds “like a name”; you can also try researching Chinese art symbolism to get more concrete names. Then, here’s my favourite trick, try combining your fake name with several of the most common surnames: 王，李，陈. And Google that shit. If you find Actual Human Beings with that name: congratulations, at least if you did f/uck up, somebody else out there f/ucked up first and stuck a Human Being with it, so you’re still doing better than they are. High five!

You’re going to stick with the same romanization system (or lack thereof) as you’ve used for the surname. In the interests of time, I’m going to focus on pinyin only.

First let’s take a look at some real and actual Chinese names and talk about what they mean, why they might have been chosen, and also some fictional OC names that I’ve come up with that riff off of these actual Chinese names. And then we’ll go over some resources and also some pitfalls. Hopefully you can learn by example! Fun!!!

Let’s start with two great historical strategists: Zhuge Liang and Zhou Yu, and the names I picked for some (fictional) sons of theirs. Then I will be talking about Sun Shangxiang and Guan Yinping, two historical-legendary women of the same era, and what I named their fictional daughters. And finally I’ll be talking about historical Chinese pirate Gan Ning and what I named his fictional wife and fictional daughter. Uh, this could be considered spoilers for my novel Clouds and Rain and associated one-shots in that universe, so you probably want to go and read that work… and its prequels… and leave lots of comments and kudos first and then come back. Don’t worry, I’ll wait.

(I’m just kidding you don’t need to know a thing about my work to find this useful.)

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