#Writing resource

[prodigal-explorer]

how to write children's personalities

(this is part of my series, how to write children in fanfiction! feel free to check it out if you want more info like this!)

this is the main aspect of writing children that i see people mess up so often, especially in the fandoms i'm in (sanders sides and undertale). children are not adorable little noodles with no brains and no concept besides being cute and silly and crying. children are beings that are just as complex as adults, and they deserve personalities to match. this will make them way more interesting to read about! let's get started!

since there are so many aspects to personality to talk about and i don't want to sit here typing for ten years, we're going to do this guide a little differently. i'm going to divide these issues into archetypes, write a short description, and then make a list of do's and don't's for each one!

archetype one: the cute little baby

okay. babies are cute. we all know this, and i'm not saying it's a bad thing to make your babies cute. a lot of people love reading about moments with adorable little babies. but here are some ways to step this kind of thing up, and some things to avoid if you want to improve upon writing this archetype.

do's:

give the child character another archetype besides this one. though "cute" is the foundation for a lot of child characters, it's not a personality. and if a character is vital to your story, then it needs a personality. that's just a rule. you will read more about other archetypes further along in this post!

make the moments symbolic. though it doesn't seem like it from an outsider's perspective, basically everything a baby does is for a reason, and every action a baby makes can say something about their personality. if you want this baby's personality to be energetic and curious, have them crawl around and explore things, and laugh a lot, and babble. if you want this baby to be more sullen and shy, have them cry quietly instead of wailing, or have them squirm when being held by new people.

make the actions of the baby's guardians affect the mannerisms of the baby. babies act differently depending on how the people taking care of them act and react. for instance, if the baby's guardians are very busy people, then maybe have the baby cry very loudly whenever they want something, since they know that it's the only way to get the attention of their guardians. stuff like that can add depth to a character and to a general story.

don't's:

decide that the baby is cute and call it a day. sweet little babies are cool and all, but they get very boring to read about after a while. this can barely even be considered an archetype because of how bland it is when it's by itself.

keep this archetype around for too long. as babies turn into toddlers and then children, they don't act even remotely the same way. it's strange and off-putting to read about a seven year old acting like a two-year old, unless it's a very clear character choice that is a result of explicit actions and events.

make the baby know that it's cute. realistically, children don't understand the concept of cuteness until they're around toddler age. if then, you want to make the kid be like "i get what i want when i'm cute, so i'll act cute!", then sure, that's hilarious. but when they're two months old, they're not batting their eyelashes because that's their personality. they're batting their eyelashes because they got something in their eye. the main thing that makes a baby cute is that they don't know they're cute. they're just figuring out how to do ordinary things.

make everything a cute moment. while babies are awesome, raising them isn't always sunshine and rainbows. make the baby do something wildly chaotic, because babies do wildly chaotic things all the time. not only does this make things more realistic, but it makes things very interesting!

archetype two: the shy kid

as a former shy kid, i know good and well that these types of children exist, and they are very real and valid. however, there are certain ways i've seen them written that are just terrible because once again, this archetype cannot be considered a full personality on its own. let's get into the do's and don't's.

do's:

make their shyness a deliberate choice. kids aren't usually naturally shy. kids are usually more curious than cautious. is there a reason why the kid is shy? there doesn't have to be a reason why the kid is shy, but there could be a reason why the child is NOT outgoing/curious. try and give something like this some deliberate cause, instead of just making them shy so they can seem more precious and infantilized.

make their shyness manifest in diverse ways. not all shy kids cling to their guardian's leg and sit alone during recess. there are different ways to be shy. you can be aggressively shy, or fearfully shy, or shy due to general unwillingness to change.

make their shyness have realistic consequences. someone who's shy is probably not going to have many friends, if any. not all shy kids magically meet an extrovert who adopts them. someone who's shy probably has underdeveloped social skills, which can lead to them being less emotionally intelligent down the line. this makes the shy kid archetype a lot more three-dimensional than just a wet noodle of fear.

don't's:

infantilize shyness or treat it like it makes the kid some sweet, precious angel. not only is this very uncomfortable for shy people to read, but it's generally unrealistic. shyness doesn't affect how good or bad somebody is - it's a neutral trait.

use shyness as a tool to make characters seem younger. shyness does not indicate age. fear manifests in many different ways, and shyness is not the only way.

rely on cliches. not all shy people have the same journey, and the idea that a shy person becoming more outgoing is the "goal" is not only a bit offensive, but it's very cliche. shyness is not always an obstacle to be overcome.

archetype three: the happy-go-lucky kid

oftentimes, the reason why children characters are written into stories in the first place is to give a little bit of lightheartedness and innocence. to add a unique voice among all the cranky, stingy, burdened adults. but you have to be careful when writing this archetype. i personally really dislike this archetype as a whole, but i'm going to put personal feelings towards it aside because honestly, there's no valid reason to dislike it besides opinion.

do's:

give the kid a trademark. maybe this kid makes a lot of little jokes, or maybe they always see the best in a situation. give the kid one thing that makes them happy-go-lucky instead of just giving them everything because nobody is endlessly happy all the time in every way.

go deeper. while happiness is very often genuine, sometimes, it's a mask that hides something else. this can be an interesting way to sort of spice up your happy-go-lucky kid character. maybe the kid is hiding a big secret behind all those jokes.

don't's:

make the character always happy. while children tend to have simpler thoughts, they don't have simpler minds. this child needs to have thoughts, real, genuine thoughts that aren't just happy things.

see happy-go-lucky as a trait that is exclusive to children. comparing happiness to childhood and viewing them as the only places where the other can exist is just wrong, and it's kind of depressing. maybe give happy-go-lucky kid a happy-go-lucky adult to exchange jokes with!

---

those are the archetypes that i see a lot. but now, i'm going to suggest a few child character archetypes that i LOVE that i don't see enough in fics! feel free to use any of these that you like. alter them, combine them! these are, in my opinion, some of the most fun child character personalities!

the spoiled brat: "i want this, and that, and that, and- why aren't you giving it to me?? if you don't give me what i want, i'll tell on you!". spoiled brats are so fun to read and write about, especially when they have absolutely no reason to be spoiled given the current situation (think riches to rags). they've got everything, humor, angst, and best of all, lots of pockets for personality. think about why the child is spoiled. were they enabled by their guardians? did they grow up rich, with access to everything they wanted? think about whether you want the child to stay spoiled. does something change? do they learn how to improve their materialistic and selfish tendencies? there are so many opportunities to play with the personality of this child!

the know-it-all kid: while i do see a lot of know-it-all kids in media, oftentimes, they don't actually have personality besides bossiness and intelligence. i love know-it-all kids who have depth to them. kids who are constantly spouting information because of their sheer love to learn. kids who have one specific thing that they know everything about, so they never stop talking about it. kids who tell people what to do and act like they know best because they don't have a lot of control over anything at home, so they grasp at whatever control they can find elsewhere. i think this archetype could open up a lot of ideas for personality further down the line. it also has a lot of variety with humor and angst, and general depth.

the serious child: this is an archetype that i cannot get enough of. i love a child that doesn't think they're an adult, per se, and still enjoys kid things, but just has such a calm and regal air about them that isn't learned. it's just natural. think of the kid that doesn't really get excited about things conventionally, but you can tell they're happy by their faint smile. the kid that seems to live in slow motion, and doesn't mind this fact at all. the kid that sits alone at recess just because other kids scare the birds away, and they want to see how a bird acts when it doesn't think its being watched. i love kids who have poignant thoughts, because their thoughts are so creative and different from adult thoughts.

the adult-ified child: now this is another archetype i can't get enough of, but it's for a different reason. this child, on the other hand, does think that they're an adult for one reason or another. maybe their guardians forced them to grow up too quickly. maybe they just wanted to grow up quickly by themselves. but this child has thoughts that are too big for their little bodies. they explore things that aren't meant to be explored when their brains are still so small. they do everything too quickly, they stumble through life as if a clock is ticking somewhere. to me, they're just haunting to read about. it feels wrong and dangerous to just watch them do things that hurt them because they don't know any better, but they're on a page. nobody can stop them. it's just so tragic, i'm obsessed.

the prodigal child: this archetype isn't really as deep or detailed as the others, but i do appreciate it. this archetype is for a child who knew who they wanted to be from an early age. a child who wanders into a ballet class and finds out they're better than the ten year olds by the time they're five. this archetype often pairs really well with the know-it-all kid or the adult-ified child because usually, children don't experience what it's like to be the best at something until they're a lot older. this is just a really cool archetype when you aren't quite sure what to do with that main character's little sister.

the chaotic child: this archetype is so much fun to read and write, to be honest. this is a child that just does as they please, whether it's out of curiosity or for pure enjoyment. think of the crazy stories that your guardians have about you or your siblings being absolutely insane. scribbling in a book and then demanding that the library publish their version. trying to ride the dog like a horse. cutting up clothes in an attempt to be a fashion designer. this one is just plain fun!

---

now, there are so many more archetypes out there, but those are just my spotlights and recommendations! i hope after reading this, you feel more equipt to write child characters that have real, engaging, interesting personalities!

[writer-logbook]

Random pieces of advice about worldbuilding and plot.

If every story is worth telling, there are some elements to take into account to make it right.

Every cause has consequences. A story is logical in one way or another. Whether you plan your story or go with the flow, if you ask about: the origins, reactions and actions to be taken following an event, the pieces somehow will ‘click into place’.

Everything has a cost. Magic system, war, life in general... Don't forget that resources are not unlimited. Consider the societal, social, natural, (magical, if need be) limitations.

Challenge the statut quo and the villain's motivations (if there's a villain in the original sense of the term) : Ask yourself why the villain wants to ‘change the world’ (and really question his legitimacy) and what the world should look like after the final confrontation. If we come back to the original point, it's that the plot didn't serve any purpose, being no more than a ‘historical aside’. Remember that everything happens for a reason, so make that reason a good one.

Make actual research about geography and climate: forest, desert and especially rivers can't pop out of nowhere, they must respect certain natural principles. For example, a river must have its source somewhere, often high up in the mountains. So it seems logical that a river should be close to a mountain. Be careful if you want to incorporate a map in your story !

Be careful when you rely on chance, fate or whatever you call it. I still can't work out whether it's worse than deus ex machina - especially if it's done badly. As far as I'm concerned, if you work well enough with the cause-consequence chain and have a good grasp of the limits of your universe, you won't need to rely on this kind of process. this one is actually pretty personnal, you have every right to disagree.

[inky-duchess]

Fantasy Guide to Early 20th Century Trains

Trains were a popular means of transportation during the early 20th century. The previous decades saw to the explosion of more trains, more services and more tracks linking country communities which were isolated from cities and larger towns. So what do we need to know about trains in the early 20th century?

Typical layout

A basic layout of a train is as follows: passenger compartments, dining cars, luggage and guard vans.

Compartments: Compartments are where the passengers sat. They were divided between three classes – first, second, third. First class compartments were the most expensive. The seats were upholstered, and the floors were often carpeted. They were much larger than the other class compartments. They would be fitted with gas light like the rest of the train, the windows would have curtains, and the walls would often be panelled with wood. Second class compartments were less luxurious but pretty much the same as the first class only smaller and less grand. Third class would feature wooden benches or seats fitted with cushions or fabric, they were smaller and often more crowded. Compartments could be offered as corridor compartments which offered more movement between compartments and cars. Compartments would offer seating areas and areas to store hand luggage. Some trains travelling overnight would offer sleeper cars which offered beds and an area to wash.

Dining Cars: Dining cars were offered on some trains. There would be tables for the passengers to eat and get something to drink. Dining cars were usually offered only to certain classes or segregated by class.

Luggage Cars: Where large luggage would be stored.

Guard Vans: Where railway security staff could get warm. It also held a stove and hand-operated brakes which the designated guard would use to slow the train if needed.

Separation

Trains in this era were divided by class and in some case race. Unlike the American states and South Africa where there were laws preventing certain races from mixing with others or from using any class other than third class, Europe was a little more forgiving in the case of race. However, this is not to say there was no segregation. This was Europe at the height of the age of Empire. People who hailed from the ‘colonies’ were discriminated through subtler means than simple prevention, they would be discouraged from attempting to use the upper class tickets and sometimes they were even treated not as well as other passengers. Class was the main division on the train. First class of course had more ability to move, more access to amenities. They often had separate dining cars where they could sit down to full meals. Larger trains might even offer some other common areas such as smoking compartments. Second class were sometimes permitted to dine in the dining cars but may not have been allowed access to full meals. Third class was not permitted access to the dining cars, often having to bring along meals or buy food at the station before departure. The classes were not allowed to mingle. In cases of a first-class person travelling with a servant, they had the choice to either purchase a first-class ticket for their servant or leave them in third class.

Train and Station Staff

Trains did not run by themselves. The passengers and the train had many needs and there had to be an army of staff available to keep things chugging along *hehe*. That being said, the train staff weren’t the only people who kept things going smoothly, the station staff at each stop would also help out the staff and the passengers.

On the Train:

Drivers: These were the people who drove the train.

Firemen: These were the people who shovelled coal and kept an eye on the steam pressure.

Guards: The guards were there to keep the passengers safe. They sometimes checked tickets and would patrol the luggage cars, mainly to keep an out for anybody sneaking onto the trains without a ticket.

Conductors: Conductors would go from car to car to check tickets, collected any outstanding fares and kept an eye on things in the compartments.

Engineers: Would travel on the train to help out with repairs on the train.

Dining car staff: Such as maids to serve tea and coffee, waiters to serve food and if the train is large enough, kitchen staff and bartenders.

The Station:

Station Masters: Was the person in charge of the station, overseeing the flow of trains and passengers through the station.

Porters: Handled the luggage.

Signalmen: Oversaw the signals to keep the trains on track *hehe*.

Parts of the train

The train is a beast of many parts. A train in this era is a steam train, which links of cars connected together behind a steam engine.

Buffers & Buffing Gear: These are the parts of the train built in to absorb impact.

Cars: The segments of the train.

Couplers: This is what connects the train cars together.

Cowcatcher/Pilot: This is the frame that sits at the very front of the train used to clear things off the track.

Carriages: These are the cars that the passenger compartments are.

Headlamp: This is the light at the front used to improve visibility.

Freight Cars: Used for transporting goods.

Locomotive: This is the train’s engine. It is the driving force of the train, where the driver and the firemen would work.

Truck: The framework that connects the axles to the wheels.

Smokebox: Where the exhaust system of the stream engine is housed.

[cripplecharacters]

Where to Start Your Research When Writing a Disabled Character

[large text: Where to Start Your Research When Writing a Disabled Character]

So you have decided that you want to make a disabled character! Awesome. But what's next? What information should you decide on at the early phrase of making the character?

This post will only talk about the disability part of the character creation process. Obviously, a disabled character needs a personality, interests, and backstory as every other one. But by including their disability early in the process, you can actually get it to have a deeper effect on the character - disability shouldn't be their whole life, but it should impact it. That's what disabilities do.

If you don't know what disability you would want to give them in the first place;

[large text: If you don't know what disability you would want to give them in the first place;]

Start broad. Is it sensory, mobility related, cognitive, developmental, autoimmune, neurodegenerative; maybe multiple of these, or maybe something else completely? Pick one and see what disabilities it encompasses; see if anything works for your character. Or...

If you have a specific symptom or aid in mind, see what could cause them. Don't assume or guess; not every wheelchair user is vaguely paralyzed below the waist with no other symptoms, not everyone with extensive scarring got it via physical trauma. Or...

Consider which disabilities are common in real life. Cerebral palsy, muscular dystrophy, stroke, cataracts, diabetes, intellectual disability, neuropathy, multiple sclerosis, epilepsy, thyroid disorders, autism, dwarfism, arthritis, cancers, brain damage, just to name a few.

Decide what specific type of condition they will have. If you're thinking about them having albinism, will it be ocular, oculocutaneous, or one of the rare syndrome-types? If you want to give them spinal muscular atrophy, which of the many possible onsets will they have? If they have Ehlers-Danlos Syndrome, which one out of the 13 different types do they have? Is their amputation below, or above the knee (it's a major difference)? Not all conditions will have subtypes, but it's worth looking into to not be surprised later. This will help you with further research.

If you're really struggling with figuring out what exact disability would make sense for your character, you can send an ask. Just make sure that you have tried the above and put actual specifics in your ask to give us something to work with. You can also check out our "disabled character ideas" tag.

Here are some ideas for a character using crutches.

Here are some ideas for a character with a facial difference (obligatory link: what is a facial difference?).

If you already know what disability your character is going to have;

[large text: If you already know what disability your character is going to have;]

Start by reading about the onset and cause of the condition. It could be acquired, congenital, progressive, potentially multiple of these. They could be caused by an illness, trauma, or something else entirely. Is your character a congenital amputee, or is it acquired? If acquired - how recently? Has it been a week, or 10 years? What caused them to become disabled - did they have meningitis, or was it an accident? Again, check what your options are - there are going to be more diverse than you expect.

Read about the symptoms. Do not assume or guess what they are. You will almost definitely discover something new. Example: a lot of people making a character with albinism don't realize that it has other symptoms than just lack of melanin, like nystagmus, visual impairment, and photophobia. Decide what your character experiences, to what degree, how frequently, and what do they do (or don't do) to deal with it.

Don't give your character only the most "acceptable" symptoms of their disability and ignore everything else. Example: many writers will omit the topic of incontinence in their para- and tetraplegic characters, even though it's extremely common. Don't shy away from aspects of disability that aren't romanticized.

Don't just... make them abled "because magic". If they're Deaf, don't give them some ability that will make them into an essentially hearing person. Don't give your blind character some "cheat" so that they can see, give them a cane. Don't give an amputee prosthetics that work better than meat limbs. To have a disabled character you need to have a character that's actually disabled. There's no way around it.

Think about complications your character could experience within the story. If your character wears their prosthetic a lot, they might start to experience skin breakdown or pain. Someone who uses a wheelchair a lot has a risk of pressure sores. Glowing and Flickering Fantasy Item might cause problems for someone photophobic or photosensitive. What do they do when that happens, or how do they prevent that from happening?

Look out for comorbidities. It's rare for disabled people to only have one medical condition and nothing else. Disabilities like to show up in pairs. Or dozens.

If relevant, consider mobility aids, assistive devices, and disability aids. Wheelchairs, canes, rollators, braces, AAC, walkers, nasal cannulas, crutches, white canes, feeding tubes, braillers, ostomy bags, insulin pumps, service dogs, trach tubes, hearing aids, orthoses, splints... the list is basically endless, and there's a lot of everyday things that might count as a disability aid as well - even just a hat could be one for someone whose disability requires them to stay out of the sun. Make sure that it's actually based on symptoms, not just your assumptions - most blind people don't wear sunglasses, not all people with SCI use a wheelchair, upper limb prosthetics aren't nearly as useful as you think. Decide which ones your character could have, how often they would use them, and if they switch between different aids.

Basically all of the above aids will have subtypes or variants. There is a lot of options. Does your character use an active manual wheelchair, a powerchair, or a generic hospital wheelchair? Are they using high-, or low-tech AAC? What would be available to them? Does it change over the course of their story, or their life in general?

If relevant, think about what treatment your character might receive. Do they need medication? Physical therapy? Occupational therapy? Orientation and mobility training? Speech therapy? Do they have access to it, and why or why not?

What is your character's support system? Do they have a carer; if yes, then what do they help your character with and what kind of relationship do they have? Is your character happy about it or not at all?

How did their life change after becoming disabled? If your character goes from being an extreme athlete to suddenly being a full-time wheelchair user, it will have an effect - are they going to stop doing sports at all, are they going to just do extreme wheelchair sports now, or are they going to try out wheelchair table tennis instead? Do they know and respect their new limitations? Did they have to get a different job or had to make their house accessible? Do they have support in this transition, or are they on their own - do they wish they had that support?

What about *other* characters? Your character isn't going to be the only disabled person in existence. Do they know other disabled people? Do they have a community? If your character manages their disability with something that's only available to them, what about all the other people with the same disability?

What is the society that your character lives in like? Is the architecture accessible? How do they treat disabled people? Are abled characters knowledgeable about disabilities? How many people speak the local sign language(s)? Are accessible bathrooms common, or does your character have to go home every few hours? Is there access to prosthetists and ocularists, or what do they do when their prosthetic leg or eye requires the routine check-up?

Know the tropes. If a burn survivor character is an evil mask-wearer, if a powerchair user is a constantly rude and ungrateful to everyone villain, if an amputee is a genius mechanic who fixes their own prosthetics, you have A Trope. Not all tropes are made equal; some are actively harmful to real people, while others are just annoying or boring by the nature of having been done to death. During the character creation process, research what tropes might apply and just try to trace your logic. Does your blind character see the future because it's a common superpower in their world, or are you doing the ancient "Blind Seer" trope?

Remember, that not all of the above questions will come up in your writing, but to know which ones won't you need to know the answers to them first. Even if you don't decide to explicitly name your character's condition, you will be aware of what they might function like. You will be able to add more depth to your character if you decide that they have T6 spina bifida, rather than if you made them into an ambiguous wheelchair user with ambiguous symptoms and ambiguous needs. Embrace research as part of your process and your characters will be better representation, sure, but they will also make more sense and seem more like actual people; same with the world that they are a part of.

This post exists to help you establish the basics of your character's disability so that you can do research on your own and answer some of the most common ("what are symptoms of x?") questions by yourself. If you have these things already established, it will also be easier for us to answer any possible questions you might have - e.g. "what would a character with complete high-level paraplegia do in a world where the modern kind of wheelchair has not been invented yet?" is more concise than just "how do I write a character with paralysis?" - I think it's more helpful for askers as well; a vague answer won't be of much help.

I hope that this post is helpful,

mod Sasza

[goatsandgangsters]

Posh Fancy People Name Generator (Debrett's Peerage 1903)

Do you spend a lot of time coming up with silly names for your Jeeves and Wooster fanfic? Do you and your friends get together on weekends to LARP as Oscar Wilde characters? Do you just want to feel grateful that your parents didn't name you Allnutt?

Then have I got the random name generators for you! 

Introducing two Debrett’s Peerage (1903) Name Generators, by yours truly! 

It will give you a first name, TWO middle names (so posh), and a surname, all taken from actual once-living human beings whose names were recorded in the 1903 edition of Debrett’s Peerage 

There’s a posh man version and a fancy lady version

(I also included an optional tick-box to add a title/peerage rank and/or some silly bonus info from me, but you can keep it name-only if you prefer) 

here are some of my fave Actual Names that I found. now imagine how much sillier we can make this by putting it all in a blender

please note: lettice is her middle name. her surname is gore. miss lettice gore, you are an icon.

A few notes on logistics:

Names are not weighted and were entered into each category only once, regardless of how common or uncommon they were in 1903. This means you’re as likely to be named Wyndham as you are to be John, because frankly it wouldn’t be fun if every man you generated was named John 

However! First name and middle names are separate lists, so your first name could be the same as one of your middle names; alternatively, both of your middle names could be the same because middle names are pulling from the same list. This should enhance the absurdity 

The name ‘Napier’ appears in Debrett’s Peerage as a first name, as a middle name, AND as a surname. While it’s statistically unlikely, it is technically possible to generate the name Napier Napier Napier Napier for yourself 

Spelling variations (eg, Ann vs Anne) were included as separate names

The generator is continuously being updated with more names, because there’s a whoooole lot of names recorded in Debrett’s Peerage (yes, I am manually reading and entering names from a 2,000+ page document. what of it.)

For the bonus tick-box: the titles are all real, but they may be paired with a different peerage rank than they were in actuality (e.g., if you generate Lord So-and-So, the So-and-So is a real title, but the generator might tack it onto a Earl instead of a Marquess, etc). I didn’t include any royalty, just aristocracy 

For the bonus tick-box: most are a straightforward “you are a Countess” but some are me being a bit silly and having fun 

[courtofparrots]

Luis is the only motherfucker in the whole cult that knows how to store chemicals

I'm being so serious right now, thanks to @geddy-leesbian and her screenshots I've learned the hazardous waste management in the Los Illuminados labs is ABYSMAL.

Now the game doesn't put a ton of variety into the chemicals that can be found in the lab, it's most often two different things: Iron chloride and hydrochloric acid. You shouldn’t leave random chemicals out anywhere, but especially hydrochloric acid is DANGEROUS and these bitches leave bottles EVERYWHERE!!! Look! Out in the open! On the concrete floor tipped over! RAWDOGGING IT

But Luis Serra Navarro knows better. He's an Umbrella-trained scientist. He keeps his shit locked up correctly AND he stores his hazardous waste collections in a proper containment area (in the states at least it's required that we have them in a bin so we don't risk it falling off the counter, and then all dangerous chemicals currently in use get locked into cabinets.) Look at Luis's chemical storage area:

Gorgeous. Immaculate. All chemicals in a cabinet and waste collection bottles in the yellow tub. He does lose some points for the castle lab tho where he has some HCl sitting on the shelf

But all in all Luis's lab is a breath of fresh air after seeing the rest of the island facilities, and I thought it would be fun to draw attention to.

Also for extra funsies here is the waste containment corner in my own lab as a comparison. Note how similar our chemical bottles are to the ones in game UGH I love the detail it's so cool. The little side handles and everything!

(The bottles in front of the bins don’t have anything hazardous in them it’s just ethanol)

all RE4R screenshots by geddy-leesbian!

[thewriteadviceforwriters]

📚 NEW FREE RESOURCE 💌

My brand new mini eBook is live! "5 Opening Pages Mistakes to Stop Making" - A free, actually helpful, totally-not-basic PDF for writers who want stronger first pages 🖤

What’s inside: → What not to do (with real examples) → What to do instead → How to sharpen stakes, voice, and structure → Commentary for each example + tips

→ DOWNLOAD IT FREE (or tip if you want!) 📎 rin-t.gumroad.com/l/openingpages

Perfect for writers working on a novel, a Submittable piece, or just trying not to flop on page one 😭

Let me know what you think if you read it!!

Click/Press this link:

[tryslora]

2025 Word Tracking Spreadsheet

For those who have used it before, the 2025 Word Tracking Spreadsheet is now available!

For those who have no idea what I’m talking about, the annual word tracking spreadsheet is a robust Excel sheet (it can be used in Google Sheets or other programs that are able to read .xlsx files) which allows you to track your wordcount goals and actual achieved wordcount across several projects. There are graphs, time tracking, and many little bells and whistles.

This is a spreadsheet I created for myself back in 2012 and I’ve been changing it bit by bit as I discover new things I want to track, or ways to motivate myself. I can’t remember exactly when I started sharing it publicly, but I’m happy to share the blank spreadsheet each year.

Both the spreadsheet and an instruction document are available via Google Drive:

2025 Word Tracking Spreadsheet

Word Tracking Spreadsheet Instructions

Fingers crossed that I haven’t missed any bugs this time around! (Long time users know that going into and out of a leap year has traditionally been a time for me to make mistakes as adding/removing a day changes so many formulas!)

Sharing it is a little bittersweet for me this year. I barely used my own; I haven’t even looked to see how many words I officially made as of when I am typing this up. My relationship with writing is a tad bit complicated at the moment, and while I hope to uncomplicate it somewhat by the end of the year, that hasn’t happened yet.

There haven’t been any changes since last year other than the dates. I was playing with some new changes in my own file, but they aren’t ready for prime time, so if I can actually WRITE in 2025, maybe I can get those sorted out (ways to group projects to track them at a higher level, like blogging vs novels vs fics, etc.).

Please feel free to signal boost this post and share the file. If you make changes to the file and share it, please credit mine as the inspiration.

[topazadine]

Writing Research Notes: Horses

I have complained before about fantasy writers (and others) using horses without really knowing anything about them, so I'd like to share some basic Horse Facts. These aren't things about horse physiology, because you probably don't need that for your specific story, but things that you can add into your story for verisimilitude.

I'm not a horse trainer or Horse Expert, just someone who loves horses and rides on a regular basis. This is a casual guide to help give you some inspiration (and know what to look up for more information.)

So, what will we discuss in this embarrassingly long post? This.

General horse knowledge

Approaching and sanitizing Horse

Tack, the Horse Accessory Kit

Putting the tack on Horse

Getting on Horse (second best part!)

Riding Horse (best part!)

Being nice to Horse (most important!!)

General Horse Knowledge

Horses are generally classified as hotblood, warmblood or coldblood.

Of course, being mammals, they are all actually warm-blooded. This is more about temperament and size.

Hotblooded horses are lighter, bred for speed and maneuverability. Thoroughbreds and Arabian horses are hotbloods. They're known for being a bit more temperamental, but they are also very fast and responsive.

Coldblood horses are larger, stockier, and more even-tempered. This includes draft horses like Percherons, Gypsy Vanners, and Clydesdales.

Note that a big horse doesn't necessarily mean they're a good war horse, because war horses need to be fast and light. Draft horses are meant to pull, not carry. In a military series, you can use them as cannon horses or cart horses.

Warmblood are crossbreeds of hotblood and coldblood, giving them a good temperament but also relatively good speed. They're often used for hunting, dressage, and showjumping: disciplines that require both maneuverability and a strong working relationship between horse and rider. Quarter Horses, Tennessee Walking Horses, and Irish Sport Horses are warmbloods.

Horses are herd animals and need friends.

Having a singular horse all by themselves is going to cause them distress and lead to mental problems. This is why people who only own one horse often stable them so that they can get social stimulation and professional care.

Like humans, horses have buddies, acquaintances, and enemies.

There is often a pecking order in a herd, with a leader and followers. Horses may make friends, break up with them, reconcile, etc, just like people do.

And horses, of course, have people they like more than others. To get a horse to like you, be gentle and mindful of their boundaries, pay attention to their feelings, groom them, and speak in a soft friendly voice.

Horses aren't mindless animals: they think, feel, and strategize.

They're actually very sensitive and empathetic animals who can get jealous, have their feelings hurt, or need a little bit of TLC on a hard day. And yes, they can scheme.

Similar to dogs, horses are a bit like toddlers: they need firm but compassionate guidance.

This is why you need to think both for yourself and the horse when riding, keeping your mind clear and focused on your goals. Horses can notice when you're not paying attention and they will do their own thing.

Therapy horses are chosen for both their good nature and their sensitivity to human emotions. They will notice when the rider is getting upset or losing focus, and they will stop what they are doing until the rider is back in the right mindset.

They should get as much outside time as possible.

Horses will come to accept and even like their stalls because it's a safe, quiet space for them, but they should be allowed free time outside as much as possible.

It's important to make sure that their pasture is clean, free of dangerous plants or pesticides, and safe from tripping hazards (horse legs are very delicate).

Make sure they are not gorging themselves on grass, though, as this can cause colic. Horses cannot throw up: they've got a one-way digestive system. Intestinal blockages are a medical emergency.

Horses do like working with nice humans.

This isn't cope, I promise. Just like dogs, they have been bred over thousands of years to look to humans for guidance and to see us as caretakers.

Horses who are treated well like having a job, just like dogs who are treated well will like training sessions. Jobs offer them mental stimulation, offer them praise and rewards, and keep them busy so they're not bored.

You can see this in happy horses. The therapy horse I use, Truly, used to be a jumper and hunter before she came to the therapeutic stable, and she gets really excited if she sees vaults because she loves doing that! She gears up for the trot; you can feel it in her stride. She's ready and wants to go.

But, this implies that you're treating your horses well, praising them regularly, and bonding with them outside of sessions.

Horses that are being mistreated will balk at work because they associate it with pain and fear. Horses that are treated well will happily come out of their stall, ears forward and eyes bright, because they associate work with fun and stimulation.

Approaching and Sanitizing Horse

Horses have a blind spot in front of them and directly behind them.

Unlike humans, their eyes are on the sides of their head because they are prey animals. This means approaching a horse directly from the front or directly behind them may make them spook - and, if you are by their butt, kick you.

Generally, younger riders are taught never to pass behind a horse for safety reasons, so you go around them in a wide circle or duck under their neck. You can also walk behind them if you are out of kicking distance (about 3-4 feet) or right up against them so they can't get their leg up to kick you.

When tacking up or grooming, you should keep a hand on the horse as you move.

This lets the horse know where you are if you are in their blind spot and is especially important if you are around their butt so they don't spook and wonder where you went.

With grooming, you go with the curry comb and hold the bristle brush where you intend to go next so they know what to expect.

Grooming improves circulation and is a good bonding activity.

You use a curry comb, which is a rubber comb with little nubs, and then a brush. The curry comb is moved around in a circular motion to lift dirt and shedding hair, then the brush is angled with the grain of the hair to sweep it away.

Don't use a curry comb on a horse's face, legs, or stomach, which are sensitive areas. If you do want to use a curry comb in these areas because they are super dirty, be VERY gentle and light.

Horses generally like to be groomed because they do this to each other in the wild. It's a good way to make a horse like you.

Picking a horse's hooves, and having regular farrier checks, are crucial for their health.

Like human fingernails, horse hooves grow continuously; they're made from the same material as our hair and nails, keratin. They have a V-shaped "frog" in the middle of the underside of their hoof that is sensitive, but the rest of it isn't very sensitive unless you, like, stab it.

Farriers will file down a horse's feet so they are even, and they will also apply horseshoes if necessary (not all horses wear shoes). You can't just put any old horseshoe on a horse: it has to be fitted to their particular foot. This is a specialized job that not everyone can do, so if your character is not a farrier, they're not going to apply horseshoes themselves.

Cleaning a horse's hoof involves a hoof pick.

When picking a horse's hooves, you take an angled piece of metal called a hoof pick and dig out any dirt or manure or whatever has gotten stuck around the frog, then brush it out with a small brush. If they wear horseshoes, you also need to make sure you get the crevices underneath the shoe.

Generally, we pick feet both before and after riding.

Horses need to be trained to give you their leg. This usually means leaning your body weight into their shoulder, sliding your hand down their leg, and squeezing at the soft indent right above the hoof. You might also need to say "pick it up" or whatever command they've been taught to use.

It's a little scary for a horse to be off-balance like that; how would you feel if someone made you stand on one leg while they clipped your toenails? Be mindful that they may get nervous or put their foot down before you're ready. If this happens, just try again until their feet are clean.

Keep your feet and hands out of the way of the horse's hoof!

Pay attention to where your feet are in conjunction with the horse's hoof so they don't slam their hoof down on your toes. Horses may not even realize they stepped on you because they don't have a lot of sensitivity down there.

Never curl your fingers around the horse's hoof; that's a surefire way to break your hand. Hold it like you're cradling a baby's head.

Do not wear steel-toed shoes in a stable.

It's a common misconception that you should wear work boots or steel-toed shoes; after all, big horse very strong very heavy smash on foot!

Yeah, but a furry hydraulic press will crunch that steel right into your damn foot, and then you have guillotined all your toes.

Wear special riding boots instead. These don't have the ridges that hiking shoes or tennis shoes have, so they won't get caught on the stirrup. Cheap short ones cost like $40 and will last you a few good years. No need to go whole-hog on the long dressage boots if you're a casual rider.

Horses are usually taught to be groomed, tacked up, and mounted from one side.

This may not apply to therapy horses, who are trained to accept whatever way is easiest for the rider.

For dressage horses, they are taught to be groomed, tacked up, and mounted from the left. You should stand on the horse's left side when leading them. You'll dismount from the right.

Tack: The Stuff That Goes on Horse

No matter your discipline, you'll have these general things:

Halter. This is for leading the horse around before you tack them up. Generally, you will tie up the horse to cross-ties while you're grooming and tacking them. It is removed right before you put on the bridle.

Saddle blanket/pad. Western uses saddle blankets, but with English, you'll use a pad. Sometimes, with older horses or those that need a bit more comfort, you will have a blanket and a pad. This goes on before the saddle.

Saddle. Western saddles are very big, made for riding long distances. They are made mostly of leather, including the stirrups, which are attached directly to the saddle. English saddles are much smaller and lighter, and they have more removable parts. I won't get into all the specifics of them because it's probably irrelevant to your story.

There are also more specialized saddles, like jockey saddles.

Girth. Old-school Western saddles have cinches that you tie with the same knot you use for a necktie, but modern ones that detachable girths just like English saddles. They have buckles on both sides. One side will have leather straps; this is the one you put on first, from the left. The other side has elastic so it's a bit stretchier. This goes on the right side.

Bridle. How you control horse. Goes over the face and you hold onto the reins. This is put on last, right after you remove the halter. Put the reins over the horse's neck so you have something to hold onto after you remove the halter!

Bit. This is a metal bar that goes in the horse's mouth, over the tongue. Snaffle bits are the most common; they are made of two parts that meet in the middle. They aren't as uncomfortable for horses as other types. Some people are moving away from bits entirely and using bitless bridles.

Putting Tack on Horse

English stirrups are "run up" when tacking up and leading a horse.

The metal stirrups can bang against things and hurt the horse if they are not pulled up against the saddle by running them up the leather strap they hung from. You'll then tuck the excess strap into the stirrup to hold them in place.

Stirrups can be adjusted with a buckle hidden under the saddle seat. You'll run them up, pull the buckle down to a comfortable height, and then adjust as necessary. Then pull the stirrup down to the bottom, put your hand against the seat, and lift the stirrup up to run along your arm. It should brush against your armpit for most people.

Most dressage stirrups have numbered holes so you can remember what your height is.

Western saddles have leather stirrups that may or may not be detachable or adjustable.

Never tie a horse's reins to anything.

Don't listen to old Western movies that show this. If the horse spooks and they are tied up, they could rip the bit out of their mouth and really hurt themselves.

Horses have bars in their mouth - a blank space with no teeth. This is where the bit sits.

To get a horse to accept a bit, you can stick your thumb into this blank spot to make them open their mouth, just as you can do with dogs.

You then pull the bit up over their front teeth and settle it in there so it's comfortable.

There should be a small bit of pull you can see from the wrinkles around their mouth, but it shouldn't be squeezing them to death. Gentle pressure, happy horse.

Tighten the girth (the strap around their tummy) right before you get on.

Horses like to "bloat," meaning they suck in a bunch of air when you're putting the girth on, then relax so that the girth is loose. You don't want this, because then you can slide off. So put it on loosely at first, then put it up a few slots once you're about to get on.

Don't rachet it up to the highest possible setting you can reach, and don't yank on it, because this hurts the horse. Gently pull it up until it's tight enough to hold on, but not so much that it becomes a corset. You should be able to slide three fingers between the girth and the horse's stomach.

Getting On Horse

Lead the horse to where you want to go by bringing the reins over their head and holding them under the chin.

Do not use a death grip! You don't need to. Loose and happy. Keep the excess in your other hand so it's not a tripping hazard.

Then, of course, put the reins back over their head when you're ready to get on.

Mounting blocks are convenient and safer for the horse.

These are kind of like step stools, and they get you closer to the horse's back. Mounting from the ground puts a lot of pressure on the horse's back and should only be used sparingly.

The procedure is like so for English:

Gather the reins in your left hand, which should be placed near the front of the saddle.

Put your right hand near the back of the saddle for balance.

Put your left foot in the stirrup.

Swing your right leg over.

Settle your right foot in the stirrup.

Don't jump up; you might fall the hell over, lmao. Gentle easy swing.

The stirrup sits on the ball of your feet, with the heel pointing down.

This is true for both Western and dressage. You want it on the balls of your feet so you have leverage and can pivot your ankle to lightly tap the horse on the side, and you want your heel down to help maintain your balance.

A lot of riding boots, including cowboy boots, will have stitching that runs across the top of the foot. You can align this with the stirrup so you know that you don't have your foot too far back in the stirrup.

Your leg is slightly bent when in the saddle.

You do not have your legs straight out, because then you don't have leverage and can't maintain balance.

My instructor says it should feel like you're kneeling, and then when you post (rise out of the saddle during the trot or canter), you should feel like you're coming out of a squat. You're not springing all the way out of the saddle and standing up, because then you will fall over.

Your leg should stay as still as possible, with your heels pointing down to the ground. You shouldn't move them up or forward when you're trotting, a common beginner mistake.

When training in a ring, you don't have a right leg and left leg: you have an "outside" leg and "inside" leg.

Outside leg is the one closest to the wall (or fence), and inside leg is the leg closest to the middle of the ring. This keeps you from getting confused when you change directions.

Horses also have an outside leg and inside leg that you use to determine when to post or perform other maneuvers.

Horses need to be trained to go both clockwise and counterclockwise.

This helps them maintain balanced muscle tone on both sides of the body; otherwise, it's like doing leg exercises with only one leg. When getting a lesson, your instructor will ask you to change directions once you've done a certain exercise so that you can try it the other way, too.

Actually Riding Horse

You shouldn't yank on the reins like you're in a tug-of-war.

This can really hurt the horse and, paradoxically, make them more disobedient. It's like someone put their fingers in your mouth and then stretched your lips as far back as possible.

Keep your body loose.

Your horse is listening to your body language and will feel when you're tense. Every little movement means something to the horse. If you're tight, they think they should be nervous too.

Stay calm, upright, and loose. Legs slightly bent, elbows flexible, hands in line with the sides of the horse's neck and a bit above the front of the saddle.

Squeezing or tapping the horse is called impulsion.

It should be used lightly and with just enough pressure to get their attention. Don't kick the horse with all your might. The more movement you need from the horse, the more intense your impulsion will be.

Don't squeeze with your knees.

Pressure on the horse comes from the thighs and calves, not the knees. Your knees are there to bend.

Yes, your inner thighs will be super duper sore when you're done. It gets better though, prommie.

In dressage, you post at the trot in rhythm with the horse.

This reduces pressure on their back so you're not banging on their spine with each hootbeat. You post when their outside shoulder comes forward and lightly land back in the saddle when their inside shoulder rises: not sitting all the way down, just crouching a bit lower.

When you want the horse to walk again, you will sit down and pull (gently!!) back on the reins. The added pressure makes them not want to trot anymore because it would hurt them when you bump around on their back.

Being Nice to Horse (so Horse Is Nice to You)

Respect a horse's personal space and power.

They are big strong animals that can break your spine if they buck you, or crush your foot, or give you brain damage if they kick you in the head. Healthy respect (not fear) is crucial.

If a horse is pissed off, leave them alone. If they're scared, treat them kindly and speak soothingly. If they're not doing what you want, find a way to redirect them instead of screaming at them and making them more anxious.

And remember that they are prey animals despite their size and power! They may get nervous about things that you wouldn't even consider. Truly, the horse I ride on the regular, gets freaked out by jackets hanging over fence posts and barking dogs.

That's okay and natural; I just have to reassure her that she's going to be alright. You are the leader and caretaker of the horse, making them feel confident.

Training tools like whips, crops, or spurs should be used sparingly.

Any trainer who tells a beginner to use spurs as soon as possible is an asshole who doesn't actually know how to train horses. They don't know how to teach riders to control their body pressure, so they go right to the aversives.

I left a stable because the trainer demanded I buy spurs after like two lessons; my current stable doesn't use these at all, ever.

You should be able to control the horse with your hands and feet without these tools before adding them, and they should always be used as gently as possible: a slight tap with the spurs or crop, not beating the horse with a crop or digging your spurs into their sides. Horses are very sensitive animals and will respond well to a light kick with your heels if they are properly trained.

I've developed such a good rapport with the therapy horse I use (and she's such a good girl) that she can tell when I want to her trot. I start working her up to her "party walk" as my instructor calls it, and then click my tongue, and she's off. No kicking necessary.

Reward, Don't Punish

Same as when training dogs. Don't yell at them and say "no!! bad horse!!" Instead, offer a small correction, like checking the reins, or redirect them.

Do not hit or kick horses when they don't do what you want. They are trained that tap means go; you're going to make them gallop instead of stop.

Give them a pat on the neck and say "good horse!" when they do a good job. You can also talk to the horse while you're grooming and riding, offering them compliments and assurance.

Again, horses look to riders as leaders. They want to know the're performing correctly; if you've built up a good relationship, they want to make you happy and perform well.

Most of the time, horses are not trying to make you mad. You're just miscommunicating with them and need to figure out how to make your commands clearer.

Abusive training tactics are counterintuitive in the long run.

This makes for a nervous, flighty, disobedient, and anxious horse who may become dangerous. They're 1,200 pound animals, and if they don't like what you're doing, they will kick, buck, or bite.

Kicking, hitting, excessive use of spurs or crops, and screaming at horses doesn't make your horse respect you: it makes them fear you. You want your horse to be excited to work with you, to look forward to your training sessions, and to have fun.

I've created a masterlist of writing resources that you can peruse at your leisure, all for free.

The posts I write can sometimes take me hours - they're always intricate, always thoughtful. This one took me about three hours to complete.

I do this as a labor of love for the writing community, sharing what I have learned from almost 15 years of creative writing.

However, if you'd like to support me, maybe you'll consider buying my book for $1.99?

9 Years Yearning is a gay coming-of-age romance set in a fantasy world. It follows Uileac Korviridi, a young soldier training at the War Academy. His primary motivations are honoring the memory of his late parents, protecting his little sister Cerie, and becoming a top-notch soldier.

However, there's a problem: Orrinir Relickim, a rough and tough fellow pupil who just can't seem to leave Uileac alone.

The book features poetry, descriptions of a beautiful country inspired by Mongolia, and a whole lot of tsundere vibes.

Oh, and horse!!! Horse love!! SO MUCH HORSE LOVE.

You can also check it out on Goodreads for a list of expanded distribution.

If you do purchase my book, don't forget to leave a review!

Reviews are vital for visibility on Amazon and help to support indie authors like me. Whenever you love a book, be sure to let the author know! It's much appreciated.

[emilywrites185]

List of Quirks

(The categorized lists are below)

What is a quirk?

Quirks are habits, attitudes, mannerisms, or behaviors that are unusual, unexpected, or strange.

People have quirks, and your characters and locations should too. Think obsessions, a silly or unusual laugh, habits like pacing around the room, knuckle cracking, or braiding or twisting hair while thinking. Someone could always be cold, even in the summer without AC. An old man could have the habit of checking his mailbox twice a day, so much so that there is a path of trampled grass leading to his mailbox.

Locations can have quirks. The front door might have to be pushed or pulled in a certain way to engage the lock. The sink faucets could be switched. The hot water tap could really be the cold water tap despite the label.

Think of somewhere you've lived or a person you knew. What stood out to you about them? What did you find bizarre, aggravating, or charming about them?

Quirks will serve as the little details that will make your characters and settings lifelike. These quirks will say a lot about what you are describing, and they can even be used to allude to something important in your plot. There could be significant explanations to the quirks you choose which can add a layer of depth to your story.

Personality Quirks:

Thorough planner

Never plans for anything

Lone wolf

Needs approval

Adventurous

High strung

Takes things seriously

Skeptical of everything

Loves to argue

Avoids people

Avoids touching people

Honest to a fault

Impulsive liar

The Martyr

Sensitive

Abrasive

Compulsive flirt

Ambitious but lazy

Behavioral Quirks:

Picks at nails

Smokes only certain brands

Drinks a homemade concoction of choice

Tops their food with a specific dressing or additional ingredient

Loud laugh

Subdued laugh

Whistles or hums when walking

Always misses the trash can

Touches their face when they talk

Gets a stomachache at tense moments

Stutters when talking to someone attractive

If they clean is always a deep clean

Avoids public restrooms

Collection of ducks

Collections in general

Very loud sneezes

Kitten sneezes

Hisses when thinking

Always sounds angry even when they aren't

Has a hard time articulating feelings or desires

Often gets cliches or common phrases wrong

Physical Quirks:

Twitchy eye

Twitchy foot

Extremely flexible

Extremely inflexible

Two colored eyes

Chipped nails

Long perfect nails

Distinctive weight distribution

Very short

Very tall

Distinctive marks like birth marks or scars

Clothes/accessories:

Wears new clothes but has an old beaten-up suitcase or bag

Fingers full of rings

Never seen without makeup

Never wears their hair down

Cracked glasses

Socks never match

Old people sweaters

One sock pulled up, the other falling down

Half tucked shirt

Always a pen in the shirt pocket

Wears only a specific color

Crooked pins or name tag

Wears anything with their favorite animal

Wears slippers out in public

Location Quirks:

Squeaky steps

Window that jams

Lot full of old trees

A popular place of business with limited, inconvenient hours

House locks that are hard to open

A front door without weather stripping

Plumbing that rattles when water runs

Whistling windows

Creaky couch

Wavy, uneven floors

Always windy

A yard where critters are always seen

A public place that seems to attract certain people or animals

Always spotless

[yyprompts]

🌙💙🤍

Unique English words for writing:

Citadel (n.) - A fortress on high ground that dominates/protects a city

Cachinnate (v.) - To laugh loudly

Panacea (n.) - A solution or remedy for all difficulties/diseases

Fane (n.) - A shrine/temple

Sepulture (n.) - A burial

Abjure (v.) - To renounce, turn away from

Scintilla (n.) - A little bit of something

Hecatomb (n.) - Large sacrifice or slaughter, killing of one hundred animals or people

Unipara (n.) - A woman who has only given birth once

Deicide (n.) - The killing or killer of a god

Twelvemonth (n.) - A year

Hie (v.) - To go quickly

Cutpurse (n.) - A pickpocket / thief

Coalesce (v.) - To come together to form one mass / whole

Tacenda (n.) - Things that shouldn't be spoken about or made public

[writer-logbook]

How I improved my writing style... without actually writing.

Intro : It's just a clickbait title to talk about theory and side techniques - before actually practicing, of course.

LINGUISTIC ISN'T GRAMMAR - AND IT'S BETTER TO KNOW ABOUT BOTH. It's useful for writing impactful dialogue and giving your characters depth. Your characters' language should (ideally) take into account: their social position (rich or poor), the locality (local expressions?) and sometimes their age (different cultural references). And this is best transcribed with linguistic knowledge. In short: linguistics is descriptive, grammar is prescriptive.

The areas of linguistic analysis are syntax (rules governing the structure of sentences),  semantics (meaning),  morphology (structure of words), phonetics (speech sounds and equivalent gestures in sign languages), phonology (the abstract sound system of a particular language, and analogous systems of sign languages), and pragmatics (how the context of use contributes to meaning). (Linguistics, Wikipedia)

Literary theory isn't as boring as it sounds. Learn more about internal criteria of the text (figure of speech, style, aesthetic...) and external criteria of the text (the author's persona and responsability, the role of the reader and what is left to interpretation...). I refer you to the French Wikipedia page, which you can translate directly via your browser in case you need more information. (Make sure you translate the page not switch language, because the content isn't the same).

Listening to Youtube Video about the analysis of film sequences and/or scenario. Remember when I told you to read historical fiction to learn how to describe a castle properly ? Same vibe.

Novel adaptations of movies. = when the movie exists before the book, and not the other way around. e.g : The Shape of Water ; Pan's Labyrinth. In line with tip n°3, it allows us to see how emotions, scenes and descriptions have been translated into writing - and thus to better visualize concepts that may have been abstract.

Read books about authors' writing experiences. e.g : Stephen King, On Writing: A Memoir of the Craft. Everyone's different, but they can provide some insightful tips not only on the act of writing itself, but on the environment conducive to writing, planning… Comparing completely different authors' experience could also be fun (this video of King and Martin is actually one of my fav)

Ah and many thanks for your ❤ and reblogs on my latest post ! UwU

[inky-duchess]

Fantasy Guide to the Army

I have been asked to do this post for quite a long while and I finally got around to it. This guide is a basic guide, you may need to do further research into specific armies across the world. Armies are a necessary part to any world building, so what do we need to know about them?

(PS I had planned to include air force and navy but I am just one person and I cut myself, and the read more link, some slack)

Ranks

Field Marshal (FM) The Field Marshal is the highest rank of within the Army. The rank of Field Marshal was often granted in times of war (a general must have committed an act of valour, i.e. a victory). The rank can sometimes be used as a divisional command rank or brigade command. The UK, Austria-Hungary, Afghanistan, Germany, India, and Pakistan use the rank as a reward for achievement. Spain and Mexico use it for divisional command while countries such as Portugal, France and Brazil for use it for brigade command. The rank of Field Marshal is a "five star" position. The rank does not exist in the US army. They are addressed as Field Marshal Surname. Their insignia is two crossed batons surrounded by yellow leaves set under a crown.

General (Gen.) A General is the commanding officer of an army or army corps. It is currently the highest rank granted in most armies today, it is a 4 star position. A General is in charge of commanding large units, they are in charge of making strategic decisions for the army, oversee major military operations, manage the needs of the army. They are addressed as General Surname. Their insignia is four stars (US, France, Germany, Russia) and a sword and baton crossed under a crown and a star (UK). Lieutenant General (Lt.Gen) Lieutenant General commands an army corps or a division (tens of thousands of soldiers). They are also involved in strategic planning. They also hold positions within the Ministry of Defence/Equivalents. They would often serve as advisers to the government and aid Generals. It is a 3 star position and they addressed as Lieutenant General Surname. Their insignia is three stars (US, Germany, France, Russia) and a crossed sword and baton under a crown (UK)

Major General (Maj.Gen) Major General is a general officer in the army, responsible for leading and operational roles. They would command divisions of tens of thousands of soldiers. They support the officers above them, helping with strategy, executing the strategy, oversee the training of their units. They are addressed as Major General Surname. They are a 2 star position. Their insignia is a crossed sword and baton with a star (UK) and two stars (US, Germany, Russia, France). Brigadier General (Brig.Gen) Brigadier General is a one-star general officer in the army. They command brigades (3,000 to 5,000 soldiers), assisting Major Generals in tactical planning and coordination of operations. They are addressed as Brigadier General Surname. Their insignia is one star (Russia, Germany, US,), two silver stars (France) and s crown and three stars (for the UK, stars are known as pips). Colonel (Col) Colonels command brigades of about (3,000 to 5,000 soldiers), they are senior staff officers who both provide leadership to their units which are sometimes specialised agencies, such as task forces. Colonels are addressed as Colonel Surname. A silver eagle (US), a pair of diamond pips under a crown (UK), three silver pips upon shoulder braid with silver braid (Germany), three gold pips on a shoulder board with golden braid (France and Russia). Major (Maj) Majors command units of around 120 officers. They are in charge of the training and welfare of their soldiers, administrative duties within the barracks and within their unit. They are the primary staff officer in brigades. They assist superior officers in planning and executing missions and tactical plans. The Major is referred to as Major Surname. Their insignia is 2 gold stars on a shoulder board with golden braid (Russia, France) 2 silver pips on a shoulder board with silver braid (Germany), a crown (UK), a golden oak leaf (US)

Captain (Cpt) Captains lead companies usually around 50-200 soldiers. They are often the second officer in a company working alongside a superior officer. They are responsible for operations in the field such as ensuring equipment is kept up to date and in good condition, offering logistic support, and managing their troops. Captains are addressed as Captain Surname. Their insignia is two silver bars (US), three pips (UK), three silver pips on a shoulder board with silver braid (Germany), three golden pips on a shoulder board with gold braid (France, Russia) Lieutenant (Lt) Lieutenants command a platoon (about 30 odd soldiers). They are in charge of overseeing the training and discipline of their soldiers along with ensuring their welfare. They will participate in missions under the command of a superior. Lieutenants are addressed as Lieutenant Surname. Their insignia is two golden stars on a shoulder board with gold braid (Russia, France), two silver pips on a shoulder board with silver braid (Germany), two pips (UK), one silver bar (US) Second Lieutenant (2/Lt) The Second Lieutenant leads smaller units, working with enlisted soldiers. They are crucial in the training of soldiers, they maintaining personnel records and manage the resources needed for a mission or the units welfare. They would be addressed in conversation as Lieutenant but referred to as Second Lieutenant in dispatches and in correspondence. Their insignia is one gold bar (US), one pip (UK), one silver pip on a shoulder board with silver braid (Germany), one gold pip on a shoulder board with gold braid (Russia, France)

Enlisted Men

Warrant Officer 1st Class (1/WO)This is the most senior non-commissioned rank. They focus on discipline, prisoners, ammunition supplies and various technical and non-combatant services. In the UK, they often hold the rank of Regimental Sergeant Majors (RSMs) and are appointed by the Secretary of State Defence while in the US, the Secretary of the Army appoints them. They are addressed as Mr/Ms/Mrs Surname or Chief. Their insignia is one silver bar and a black square (US), the royal coat of arms (UK), four silver pips on a shoulder board with silver braid (Germany), three gold chevrons and a gold star (France), two gold stars on a shoulder board with golden braid (Russia) Warrant Officer 2nd Class (2/WO) The Warrant Officer Second Class would do similar jobs as the WO1, but they handle the below regimental section. Warrant Officer Class 1 (WO1). WO2s can be referred to as Company Sergeant Majors (CSMs) or Squadron Sergeant Majors (SSMs) (depending on their unit). They take roles within training, discipline and aiding the Warrant Officer Class 1 (WO1). Addressed as CSMs/SSMs and as Mr./Mrs/Ms. Their insignia is one gold star on a shoulder board with gold braid (Russia), Three golden chevrons (France), three silver pips on a shoulder board with silver braid (Germany), crown (UK), silver bar with two squares (US). Sergeant (Sgt)The Sergeant are responsible for the soldiers under their command. They oversee their team, acting as mentors and supervisors to their soldiers. Sergeants are over a squad of 10 soldiers. They are responsible them, from performance, prepare them for combat and their needs. They are addressed as Sergeant Surname. Their insignia is three chevrons (US, UK), two silver pips on a shoulder board with silver pips (Germany), two golden chevrons (France) and three golden chevrons (Russia). Corporal (Cpl)Corporals lead small squads of soldiers, no more than . Corporals are in charge of the training of their soldiers and ensuring that they are up to standard. They handle all the paperwork for their squad such as records. Corporals will accompany their soldiers on missions, leading patrols and overseeing their soldiers in the field. They are usually responsible for large pieces of equipment. They are addressed as Corporal Surname. Their insignia two chevrons (US, UK), one silver pips with shoulder board with a silver braid (Germany), two gold chevron (France, Russia). Lance Corporal (L.Cpl)Lance Corporals help Corporals lead their teams, acting as their second in command. They are in charge of disciplining, mentoring and leading their squads. They are also in charge of large weapons. They are addressed as Lance Corporal Surname. Their insignia one golden chevron (Russia, France), none/one silver pip (Germany), one chevron (UK) and one chevron with crossed rifles (US) Private (Pte)Privates are the lowest rank in the army. They will have just come out of training with the basic skills of a soldier. Privates are given tasks by superior officers, must obey the orders given and are usually given the more hands-on tasks, such as maintenance of weapons and their camp. They are addressed as Private Surname. Their insignia is one chevron/none (US), no insignia (UK, France, Russia, Germany).

Non-Commissioned Officers vs Commissioned Officers

You may have often heard the term "non-commissioned officer" if you have ever watched any war media. The difference is that Commissioned Officers receive their rank via a formal document signed by a high-ranking official, such as the monarch or a political leader. The Commissioned Officers are usually Lieutenants, Colonels, Generals, Captains, Majors. They are responsible for giving orders and making decisions. Non-Commissioned Officers are promoted from the enlisted ranks, gaining their promotion on skills alone. They are in charge of discipline, training and carrying out orders. They are usually ranked among Corporals and Sergeants.

Jobs within the Army

No army is just made up of officers and their soldiers. An army is like a town on the move, there are hundreds of different tasks that must be undertaken to ensure the army is fed, transported, kept in line and kept equipped.

Medic: Medics are the first responders for wounded soldiers, they administer first aid, medication and medical care to the soldiers in their unit. Medics are usually NCOs.

Chaplain: Is a soldier with some religious or spiritual calling that administers last rites, confession, spiritual guidance and solace for soldiers. They will see to soldiers of all creeds and faiths.

Artillery Crew: The Artillery Crew handle the maintenance and inventory of artillery weapons and related equipment. NCOs with training in the handling of artillery.

Military Police: The Military Police are force within the army that keep soldiers in line, maintain order and arrest any soldier caught doing a crime on the job. Always NCOs.

Intelligence: This is the information post, which involves fact gathering, recording and study of information needed by the army to mobilise.

Quartermaster: The quartermaster manages the distribution and gathering of all the things needed for the army from uniforms to equipment for the soldier's packs. Usually NCOs.

Mess Officer: The Mess Officer oversees the Mess Hall, managing the staff as they cook and prepare the army's meals. The Mess Officer would also be in charge of budgeting, inventory, health and safety and providing meals timely. Usually an officer, Captains and Lieutenants.

Adjutant: Is an officer who acts as an assistance to a superior officer taking on secretarial duties such as paperwork and arranging their diary. Usually a Captain or a Major.

Combat Engineer: The Combat Engineer is in charge of maintaining and building fortifications. NCOs with specialised skills in the field.

Logistics: Logistic Specialists handle the supplies, equipment and arranging transportation. NCOs.

Armourer: The armourer is in charge of weapons and ammunition. They handle any repairs needed and see to the safe storing of these valuable items. NCOs.

Communications Specialist: These Specialists handle communications, the communication equipment and its maintenance. NCOs usually with previous experience or training.

Mechanics: Mechanics are in charge of the maintenance of vehicles and machinery. They handle repairs, do check ups, offer support in the field and ensure everything is in good shape. NCOs with training and skills in the area.

Equipment

The soldiers will not be going into any situation without equipment - at least, not at first. Equipment is like gold dust in the field, especially if a unit is within enemy territory or the supply chain cannot be relied upon. Soldiers may often turn to thievery in order to resupply themselves with ammunition, weapons, supplies and even boots. In WWII, the newly formed company the Special Air Service - the SAS - actually raided their allies for supplies.

The soldier would carry essential supplies when they are first deployed. These would include (may vary):

Flasks/Canteen: Or some sort of drinking container. A soldier will need to hydrate if they don't wish to die-dydrate on a long march. They may also carry water purification chemicals such as iodine.

First Aid Kits: All soldiers will carry the basics of a first aid kit. This would include bandages, gauze, burn ointment, tourniquet, pain relief (not the good stuff), scissors and tweezers.

Knife: It is always handy to have something to cut things with.

Gun Cleaning Tools: Soldiers will have the equipment to care for their weapons. An uncared for weapon is an invitation for death.

Ammunition: A soldier would carry ammunition with them.

Entrenching Equipment: Something to dig with, usually a collapsible shovel.

Rations: Soldiers may often carry some sort of food with them, usually of the preserved kind.

Some form of shelter: Soldiers may carry something to shelter themselves such as a sleeping bag, a tent, a blanket.

Signal Mirror: Soldiers carry signal mirrors to send visual signals to communicate with others.

Toiletries: Basic hygiene items.

Weaponry

Soldiers will not only just need equipment to survive on the field. Soldiers will carry all sorts of weapons on them. It was up to the soldier to care for the weapon and ensure it is up to scratch. Ammunition, of course, doesn’t grow on trees and nor do weapons. Weapons and ammunition like supply I mentioned above could often be “liberated” from the enemy or even unwitting allies. Every soldier will carry:

A rifle: This is the long-range weapon carried by almost all soldiers. They will use this in combat, especially if fighting from a fixed position.

A handgun or a pistol: Most soldiers will carry a secondary gun. These guns are useful in tight spaces or close combat.

Bayonet: A knife or blade that is attached to the rifle. This allows a soldier to stab the enemy with their rifle.

Combat Knife: A knife used in combat.

Mortar: This is a short-barrelled artillery piece. It is used to fire shells at steep angles.

Hand Grenades: These are handheld explosives carried by soldiers. They have a delayed fuse, meaning that they are useful as both a long-range weapon and as a close-range weapon – one could leave one behind as a present. They are typically activated by pulling the pin, flinging it away from the body, toward the enemy and denoted.

Uniforms

Above in rankings, we went through the insignia which is the symbols on one's uniform that denotes your rank and place in the hierarchy of things. Soldiers will be inspected every day to ensure their uniforms are up to standard and will face the wrath of superiors if their uniforms are unkempt and their appearance not up to the mark. Every private learns how to shine their own boots, sort out their own uniforms and are responsible for looking their best. There are different kinds of uniform for a soldier.

Casual Uniform: This uniform is comprised of a more casual uniform, made up of a tunic/shirt, trousers and boots. Certain units will wear caps and berets denoting their unit and rank as well. Combat Uniform: This is worn on the field. It will often reflect the climate the soldier is going into, so will be light and heavy depending on the weather. A soldier would wear a combat jacket, trousers, wear a helmet, wear their identification tags/dog tags. These would be in mute colours, usually khaki or camouflage. Service Dress Uniform: This is worn during official duties and formal events. It comprises of a dress shirt, tie, peaked cap/beret, creased trousers and a jacket with their insignia, unit symbols and medals. Dress Uniform: This is worn during very formal ceremonies. A formal jacket pinned with ribbons, embroidered insignia and the medals of their achievements and commendations, creased trousers, dress shirt and tie, polished shoes and a formal hat cap/beret.

Life of a soldier (On Base and in the Field)

Soldiers on active duty will be expected to manage many tasks, not just firing at the enemy or storming enemy beaches. Soldiers are expected to fulfil maintenance work, defence, offence, administrative duties (if needed), engineering and communications.

On Base: A soldier’s day will be planned right down to the second. They will get up at a certain time, have an allotted time to get ready and tidy up their bunk, report to various drills and participate and have a list of duties to undertake within the day. These duties involve maintenance on base, helping with any office work, guarding and patrolling, doing specialised tasks such as helping in the infirmary. Most privates will do the grunt work, anything hands on or labour intensive while officers will see to training soldiers or paperwork or supply management.

In the Field: The life of a soldier in the field wasn’t as regimented as on base – it can’t be, since most soldiers won’t have the exact same day especially in battle or marching from place to place. But every soldier will have certain duties to undertake. Of course, fighting will be included, some soldiers would take it in shifts to man a fixed position or to engage the enemy or to participate in missions into new or enemy territory. Soldiers would take their place “out on the line”, patrolling the edges of their camp to ensure they can’t be crept up on. Soldiers will erect camp every night they aren’t marching which includes the putting up of tents, digging of latrine pits, building fortifications. Soldiers not out on the line or engaging the enemy will spend their time at camp either helping in the mess hall, in the infirmary or keeping the camp ship-shape. Soldiers may often be sent out to “forage” (*cough, cough* steal) whatever they need such as food.

The Realities of the Army

Good vs Evil. Yes, sometimes the army are the heroes. But in reality, war is a grey area. No army in the world is wholly bad or innocent. Every single army on earth has committed war crimes and every army has had to make decisions which some would find morally reprehensible. The point is that painting an army as the good guys or the bad guys in your narrative can’t work because it isn’t realistic. You can of course highlight these issues by the actions of a few soldiers while still retaining the antagonists and the heroes. You can of course pit the ideals of both sides in a war together, to firmly push your reader toward the good guys vs the bad guys. But the reality is a simple one: all armies kill, all armies steal and all armies destroy.

Civilian vs Soldier: The Reality Civilians suffer at the hands of their own army as well as the enemy. Civilians often had to deal with soldiers taking their crops, livestock and overtaking their homes in searches for food, shelter and resources. Enemy civilians would also put up with pillaging, looting and in some cases death, assault and sexual abuse. It is of course against protocol to harm civilians but things do happen in theatres of war.

The Army vs the Soldier

While the army expects a lot out of the soldier as an induvial, the army can often fall short of their duties to that soldier. This can be unintentional, for example supplies can get lost or stolen. But there are instances where soldiers and their needs are sacrificed for the greater good. They maybe passed over for supplies or reinforcements for another unit. They may be placed in difficult circumstances without any hope of relief. They may not have the equipment needed to fight their battle or stay alive. Sometimes, armies even shot their own soldiers for insubordination, ex. In WW1, many soldiers on all sides were shot by their own for “cowardice” – this may have been the case, but some cases involved soldiers who were suffering from PTSD.

Choice vs Obligation vs Threat Why do soldiers fight? What makes somebody join the army? Sometimes it is the search of opportunity, of a place, of rank and a purpose. But sometimes, going to war isn’t the choice of the soldier. Drafts and conscription make military service compulsory for certain age groups and genders. In peacetime, soldiers are enlisted voluntarily in most armies while some countries have compulsory service time even in times of peace. In some wars, criminals in prison were offered the chance to serve in the war as penance for their crimes. There are of course instances when one is threatened or forced into an armed force.

The Effects of War on the Soldier War changes people. The things soldiers see and have to do within war and training will inevitably change them as people. Sometimes, the change is positive, the army has been named by many people as the thing that straightened them out and have them structure. The army sometimes allows soldiers to travel and gain access to opportunities and education that they may never have had access to before. But undeniably, war has negatives effects on soldiers and civilians. Soldiers may suffer from PTSD, depression, suicidal thoughts and feel a disconnect between themselves and their old lives. Soldiers often find it hard to return to their life after the war, especially in radically different settings with people who don’t understand what they have been through. This can lead to substance abuse issues, alcoholism, problems with the law and troubles within relationships among family and romantic partners. Soldiers of course can get injuries while in war or even in training. Loss of limbs, damage to the brain and other organs, broken bones, burns, shrapnel injuries and of course gunshot wounds are all common. Soldiers often get ill while in the field, such illnesses including typhoid, hypothermia, trench foot, dysentery, malaria, pneumonia etc. These are caused by the close living quarters and the often-sub-standard living conditions. Soldiers would often be at risk for pests such as lice and fleas because of their living conditions. Soldiers may often face problems with nutrition, might suffer from dehydration and starvation especially if supplies are scarce.

The Geneva Convention

Your world may not include the Geneva Convention, may pre-date the Geneva Convention or Geneva may not be a place within your WIP, but I include this here so you might have a fair idea about the “rules” of modern warfare. This is just a brief version.

Medical personnel are not to be specifically targeted in operations.

Medical facilities and equipment is not be targeted in operations

Any wounded soldiers or civilians are to be treated, despite allegiance.

Prisoners cannot be tortured or harmed in any way

Prisoners must be fed, well-kept and treated for any injury

Prisoners are not under obligation to tell their captors anything but their name, rank and other personal information – this is so they can be recorded and all information must be recorded and sent to the captured soldier's officers

Prisoners must be allowed to communicate with family and friends.

Prisoners have the right to receive any packages or mail.

Prisoners have the right to access the services of the Red Cross, who cannot be prevented from visiting and inspecting them

Prisoners who are seriously wounded or ill must be released

Any religious figures are to be captured and released as soon as possible

Soldiers cannot take hostages, they cannot pillage, they cannot take slaves.

Soldiers must abstain from humiliating and degrading any captured soldiers or civilians.

Reprisals against civilians and other soldiers are forbidden.

Group punishment is not permitted (Yes, that one teacher did break the Geneva Convention)

Prisoners can be tried by their captors, but they are entitled to a fair trial.

All POWs shall be released at the end of conflict

At sea, hospital ships cannot engage in war.

Any shipwrecked crew on a ship must be rescued despite allegiance.

Children, pregnant women, mothers with very young children, the elderly, the sick and wounded who are imprisoned for a long time, must be released as soon as possible.

Surrendering soldiers, civilians and civilians who participate in acts against an army cannot be harmed and must be taken alive.

The use of weapons to cause suffering, say a non-fatal wound or mutilation is prohibited.  

It outlaws indiscriminate attacks on civilian populations and destruction of food, water and other materials needed for survival.

The destruction of resources that could affect the population such as poisoning the water supply is not permitted.

Certain infrastructure cannot be destroyed or targeted. This includes dams and nuclear stations. Cultural landmarks and religious landmarks are also to be spared.

Recruitment of children into the armed forces is prohibited.

The use of certain symbols such as the Red Cross in order to deceive the enemy is prohibited.

Civilians who do not take part in combat are to be treated respectfully. They are protected from violence from soldiers.

Children and vulnerable people are top-priority to be evacuated to safe havens as soon as possible. All efforts will be made to reunite them with family.

The targeting of civilians and anything that sustains their well-being such as food sources is prohibited.

Military Terminology

This is by no means a full list but these are the most commonly used terms.

Boots on the ground – to physically be in a location

Inspection - a superior officer takes formal note of appearance, condition of living area and weapons.

Drill – a practise in various manoeuvres, marches, procedures

Pass - leave to have some free time, sometimes off base.

Off base - away from military barracks

Tour of duty – the period of time which an action is completed in.

Civvies – Civilian clothing

Detail - a specific task undertaken by a unit or soldier

Mess hall - dining facility

Latrine - toilet

Latrine duty - digging a Latrine pit or cleaning the facility

Flanking - Attacking an enemy formation from the sides

Envelopment - surrounding the enemy from multiple sides

Penetration - breaking past the enemy’s front lines

Reconnaissance by Fire - Firing at positions that may be occupied by the enemy to provoke them into returning fire (so you know where they are)

Ambush - Attacking from concealed position

Retreat - go back the way you came (DO NOT COLLECT €200)

Feigned Retreat - Pretending to retreat and then attacking the enemy

Perimeter - boundary of fortified area

No Man's Land - the space between front lines

Contact line - where opposing sides meet to fight

Supply line - the route the supplies get from base to the field.

Front line - the furthest out troops are place on the line, this is where the most intense fighting happens

Barracks - sleeping quarters in base

Foxhole - a dug position in the ground

Combatant: A person actively engaged in fighting.

Non-combatant: A person not engaged in a conflict.

Civilian: Somebody who is not a member of any military unit.

Militia: Civilians who are armed and trained to fight.

Guerrilla: Small, independent units that takes up arms against an armed force. Very effective.

Saboteur: Somebody who deliberately sabotages equipment and supplies.

Spy: Somebody who gathers information about the enemy.

Operative: A soldier who carries out a specific task.

Mercenary: A soldier for hire

Contractor: A person or a group of people who are hired to provide advice, services and additional support to the army and their operations.

Conscription: Compulsory enlistment.

Enlistment: Joining the army.

Exercise: Simulated military practises or manoeuvres for training.

War game: Simulated war fare for training.

Mission: The operation.

Objective/Target: The objective of the mission.

Campaign: Multiple operations.

Down Range – being within the combat zone

In-Country – being within in a war zone

Quarters – can mean one of two things either it is a medic's order to stay in the camp or barracks or military family housing.

Squared away - to fix

Siege: Where one army sits outside a fortified town or position and tries to claim it.

Convoy: A large group of vehicles such as trucks, jeeps and tanks travel together. It is harder to target more than one vehicle.

Escort: More vehicles and soldiers who accompany a convoy.

Strike/Assault: Attacking the enemy.

Counterattack: An attack to respond to a previous attack

Rear: Behind the formation

Front: Before the formation.

Line: The formation.

Column: The formation in a line.

Formation: The arrangement of soldiers

Deployment: Soldiers moving to a position.

Redeployment: Sending soldiers to another position.

Mobilization: Readying soldiers, their supplies and equipment for deployment.

Demobilization: The disbanding of soldiers after an operation.

Reserve: Soldiers and equipment held back. This is usually to conserve soldiers and supplies for emergencies or shortages.

Reinforcement: More soldiers and equipment sent to the soldiers on the line to bulster their efforts.

Casualty: Death, injury, missing.

KIA: Killed in action.

MIA: Missing in action.

Surrender: Yielding to the enemy.

Ceasefire: An agreement to cease hostilities.

Armistice: A temporary stay of fighting.

Battalion: A large unit of soldiers. Usually in the range of 300 upwards to 800 or so soldiers.

Regiment: A unit made up of several battalions.

Division: A military unit (10,000-20,000)

Corps: A unit, (20,000-50,000)

Theatre: The place where military operations are undertaken.

Engagement: A battle or a conflict with the enemy.

Manoeuvre: Planned movement.

Logistics: The planning of moving soldiers and equipment to soldiers.

Ordnance: Supplies.

Artillery: Large-calibre firearms.

Infantry: Soldiers who fight on foot.

Reconnaissance: Gaining information about the enemy and their positions.

Tactical: Planning and implementation the military strategies.

Strategic: Planning and directing strategies.

Operational: The following through of military operations.

Command/Control: The authority to direct military operations.

Communications: The passing of information between units, base and HQ.

HQ: Head Quarters

Intelligence: Information about the enemy

Counterintelligence: Preventing the enemy from gaining information about the army, such as the famous Operation Mincemeat.

Camouflage: The use of material or paint to hide oneself from one’s enemy.

Fortification: Defensive structure

Entrenchment: Digging trenches or foxholes.

Garrison: Military station.

Bivouac: A temporary camp, but this camp is without no cover. This means no tents or shelter.

Dog Tags - Metal identification tags worn by soldiers

Patrol: Soldiers will leave camp or their positions to walk within their boundaries

Raid: Attacking on the enemy’s position.

Zero Dark Thirty - Early as fuck, from 0100 hrs to sunrise.

Copy - I understand

Unit - can mean any organisation in the military

Platoon - a section within a company made up of 30-50 soldiers

Contact - Engaging with the enemy

Tactically Acquired - Stolen

Squad - a smaller faction of a company

CO - Commanding officer

XO - second in command

Hang Fire - wait for the next set of orders

Demilitarized Zone - a place that is no go for military equipment, weapons and soldiers

AWOL - Absent without leave

PT - Physical Training

Skivvies - ones undergarments

Active Duty - Full time duty in active service

As You Were - Go back doing whatever you were doing or standing how you were standing

BOLO - Be on the Lookout

CP - checkpoint

Bunk - Bed

Ruck - backpack

Smoked - physical punishment for an infraction.

Zone of Action - a specific part of the tactical area.

About face - a manoeuvre where a someone or a group turn to face the opposite direction.

POW - Prisoner of War

POW Camp - facility to house POWs

Halt - stop marching/moving

Present Arms - salute, typically by presenting one's weapon or raising the right hand to the forehead

Parade Rest - stand with one's feet shoulder-width apart, hands folded behind their back

Fall out - break formation

Fall in - get into formation

At ease - stand in a more relaxed position

Attention - stand upright, heels together, back straight, shoulders back, arms at the sides.

Books and Media I recommend

Band of Brothers (HBO, Limited Series)

Beyond Band of Brothers by Dick Winters

Band of Brothers by Stephen Ambrose

M*A*S*H

The Unwomanly Face of War by Svetlana Alexievich

Lady Death: The Memoirs of Stalin's Sniper by Lyudmila Pavlichenko

The Six Triple Eight

Some Desperate Glory: The First World War the Poets Knew by Max Egremont

Poems of the Great War 1914-18

Poems of the Great War by Wilfred Owen

Poems of the Great War by Siegfried Sassoon

Poems of the Great War by Robert Graves

Poems of the Great War by Rupert Brooke

Poems of the Great War by David Jones

SAS Rogue Heroes (BBC)

SAS: Rogue Heroes: The Authorised Wartime History by Ben MacIntyre

Saving Private Ryan

All Quiet on the Western Front by Erich Maria Remarque

All Quiet on the Western Front

Private Peaceful by Michael Mupurgo

War Horse by Michael Mupurgo

Road to War by Valerie Wilding

The Trenches by Jim Elderidge

D-Day by Byran Perett

D-Day by Ben MacIntyre

Japan's Pacific War by Peter Williams

Operation Mincemeat by Ben MacIntyre

War Nurse by Sue Reid

Helmet for my Pillow by Robert Leckie

With the Old Breed by Eugene B Sledge

Hacksaw Ridge

D-Day Through German Eyes: How the Wehrmacht Lost France by Jonathan Trigg

Platoon

Britain’s Secret Defences: Civilian saboteurs, spies and assassins during the Second World War by Andrew Chatterton

If You're Reading This...: Last Letters from the Front Line by Sian Price

A Bridge Too Far

Firepower in Limited War by Robert Scales

Storm of Steel by Ernst Jünger

Dunkirk

The Things They Cannot Say: Stories Soldiers Won't Tell You About What They've Seen, Done or Failed to Do in War by Kevin Sites

1917

On Artillery by Bruce Gudmundsson

Letters From Iwo Jima

Das Boot

The Longest Day

Come and See

War Horse

[thekagemusha]

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And here is part one!

[cripplecharacters]

The Mask Trope, and Disfiguremisia in Media

[large text: The Mask Trope, and Disfiguremisia in Media]

If you followed this blog for more than like a week, you're probably familiar with “the mask trope” or at least with me complaining about it over and over in perpetuity. But why is it bad and why can't this dude shut up about it?

Let's start with who this trope applies to: characters with facial differences. There is some overlap with blind characters as well; think of the blindfold that is forced on a blind character for no reason. Here is a great explanation of it in this context by blindbeta. It's an excellent post in general, even if your character isn't blind or low vision you should read at least the last few paragraphs.

Here's a good ol’ tired link to what a facial difference is, but to put it simply:

If you have a character, who is a burn survivor or has scars, who wears a mask, this is exactly this trope.

The concept applies to other facial differences as well, but scars and burns are 99% of the representation and “representation” we get, so I'll be using these somewhat interchangeably here.

The mask can be exactly what you think, but it refers to any facial covering that doesn't have a medical purpose. So for example, a CPAP mask doesn't count for this trope, but a Magic Porcelain Mask absolutely does. Bandages do as well. If it covers the part of the face that is “different”, it can be a mask in the context used here.

Eye patches are on thin ice because while they do serve a medical purpose in real life, in 99.9% of media they are used for the same purpose as a mask. It's purely aesthetic.

With that out of the way, let's get into why this trope sucks and find its roots. Because every trope is just a symptom of something, really.

Roughly in order of the least to most important reasons...

Why It Sucks 

[large text: Why It Sucks]

It's overdone. As in — boring. You made your character visibly different, and now they're no longer that. What is the point? Just don't give them the damn scar if you're going to hide it. 

Zero connection with reality. No one does this. I don't even know how to elaborate on this. This doesn't represent anyone because no one does this.

Disability erasure. For the majority of characters with facial differences, their scars or burns somehow don't disable them physically, so the only thing left is the visible part… aaand the mask takes care of it too. Again, what's the point? If you want to make your disabled character abled, then just have them be abled. What is the point of "curing" them other than to make it completely pointless?

Making your readers with facial differences feel straight up bad. I'm gonna be honest: this hurts to see when it's all you get, over and over. Imagine there's this thing that everyone bullied you about, everyone still stares at, that is with you 24/7. Imagine you wanted to see something where people like you aren't treated like a freakshow. Somewhat unrealistic, but imagine that. That kind of world would only exist in fiction, right? So let's look into fiction- oh, none of the positive (or at least not "child-murderer evil") characters look like me. I mean they do, but they don't. They're forced to hide the one thing that connects us. I don't want to hide myself. I don't want to be told over and over that this is what people like me should do. That this is what other people expect so much that it's basically the default way a person with a facial difference can exist. I don't want this.

Perpetuating disfiguremisia. 

"Quick" Disfiguremisia Talk

[large text: "Quick" Disfiguremisia Talk]

It's quick when compared to my average facial difference discussion post, bear with me please.

Disfiguremisia; portmanteau of disfigure from “disfigurement” and -misia, Greek for hatred. 

Also known as discrimination of those mythical horrifically deformed people.

It shows up in fiction all the time; in-universe and in-narrative. Mask trope is one of the most common* representations of it, and it's also a trope that is gaining traction more and more, both in visual art and writing. This is a trope I particularly hate, because it's a blatant symptom of disfiguremisia. It's not hidden and it doesn't try to be. It's a painful remainder that I do not want nor need.

*most common is easily “evil disfigured villain”, just look at any horror media. But that's for another post, if ever.

When you put your character in a mask, it sends a clear message: in your story, facial differences aren't welcome. The world is hostile. Other characters are hostile. The author is, quite possibly, hostile. Maybe consciously, but almost always not, they just don't think that disfiguremisia means anything because it's the default setting. No one wants to see you because your face makes you gross and unsightly. If you have a burn; good luck, but we think you're too ugly to have a face. Have a scar? Too bad, now you don't. Get hidden.

Everything here is a decision that was made by the author. You are the one who makes the world. You are the person who decides if being disabled is acceptable or not there. The story doesn't have a mind of its own, you chose to make it disfiguremisic. It doesn't have to be.

Questions to Ask Yourself

[large text: Questions to Ask Yourself]

Since I started talking about facial differences on this blog, I have noticed a very specific trend in how facial differences are treated when compared to other disabilities. A lot of writers and artists are interested in worldbuilding where accessibility is considered, where disabled people are accepted, where neurodivergence is seen as an important part of the human experience, not something “other”. This is amazing, genuinely.

Yet, absolutely no one seems to be interested in a world that is anything but cruel to facial differences. There's no escapist fantasies for us. You see this over and over, at some point it feels like the same story with different names attached.

The only way a character with a facial difference can exist is to hide it. Otherwise, they are shamed by society. Seen as something gross. I noticed that it really doesn't matter who the character is, facial difference is this great equalizer. Both ancient deities and talking forest cats get treated as the same brand of disgusting thing as long as they're scarred, as long as they had something explode in their face, as long as they've been cursed. They can be accomplished, they can be a badass, they can be the leader of the world, they can kill a dragon, but they cannot, under any circumstances, be allowed to peacefully exist with a facial difference. They have to hide it in the literal sense, or be made to feel that they should. Constantly ashamed, embarrassed that they dare to have a face.

Question one to ask yourself: why is disfiguremisia a part of your story?

I'm part of a few minority groups. I'm an immigrant, I'm disabled, I'm queer. I get enough shit in real life for this so I like to take a break once in a while. I love stories where transphobia isn't a thing. Where xenophobia doesn't come up. But my whole life, I can't seem to find stories that don't spew out disfiguremisia in one way or the other at the first possible opportunity.

Why is disfiguremisia a default part of your worldbuilding? Why can't it be left out? Why in societies with scarred saviors and warriors is there such intense disgust for them? Why can't anyone even just question why this is the state of the world?

Why is disfiguremisia normal in your story?

Question two: do you know enough about disfiguremisia to write about it?

Ask yourself, really. Do you? Writers sometimes ask if or how to portray ableism when they themselves aren't disabled, but no one bothers to wonder if maybe they aren't knowledgeable enough to make half their story about their POV character experiencing disfiguremisia. How much do you know, and from where? Have you read Mikaela Moody or any other advocates’ work around disfiguremisia? Do you understand the way it intersects; with being a trans woman, with being Black? What is your education on this topic?

And for USAmericans... do you know what "Ugly Laws" are, and when they ended?

Question three: what does your story associate with facial difference — and why?

If I had to guess; “shame”, “embarrassment”, “violence”, "disgust", “intimidation”, “trauma”, “guilt”, “evil”, “curse”, “discomfort”, “fear”, or similar would show up, because it's always the same shit.

Why doesn't it associate it with positive concepts? Why not “hope” or “love” or “pride” or “community”? Why not “soft” or “delicate”? Dare I say, “beauty” or “innocence”? Why not “blessing”? “Acceptance”?

Why not “normal”?

Question four: why did you make the character the way they are? 

Have you considered that there are other things than “horrifically burned for some moral failing” or “most traumatic scenario put to paper”? Why is it always “a tough character with a history of violence” and never “a Disfigured princess”? Why not “a loving parent” or “a fashionable girl”, instead of “the most unkind person you ever met” and “total badass who doesn’t care about anything - other than how scary their facial difference is to these poor ableds”? Don’t endlessly associate us with brutality and suffering. We aren’t violent or manipulative or physically strong or brash or bloodthirsty by default. We can be soft, and frail and gentle and kind - and we can still be proud and unashamed.

Question five: why is your character just… fine with all this?

Can’t they make a community with other people with facial differences and do something about this? Demand the right to exist as disabled and not have to hide their literal face? Why are they cool with being dehumanized and treated with such hatred? Especially if they fall into the "not so soft and kind" category that I just talked about, it seems obvious to me that they would be incredibly and loudly pissed off about being discriminated against over and over... Why can't your character, who is a subject of disfiguremisia, realize that maybe it's disfiguremisia that's the problem, and try to fix it?

Question six: why is your character wearing a mask? 

Usually, there's no reason. Most of the time the author hasn't considered that there even should be one, the character just wears a mask because that's what people with facial differences do in their mind. Most writers aren't interested in this kind of research or even considering it as a thing they should do. The community is unimportant to them, it's not like we are real people who read books. They think they understand, because to them it's not complex, it's not nuanced. It's ugly = bad. Why would you need a reason?

For cases where the reason is stated, I promise, I have heard of every single one. To quote, "to spare others from looking at them". I have read, "content warning: he has burn scars under the mask, he absolutely hates taking it off!", emphasis not mine. Because "he hates the way his skin looks", because "they care for their appearance a lot" (facial differences make you ugly, remember?). My favorite: "only has scars and the mask when he's a villain, not as a hero", just to subtly drive the point home. This isn't the extreme end of the spectrum. Now, imagine being a reader with a facial difference. This is your representation, sitting next to Freddy Krueger and Voldemort.

How do you feel?

F.A.Q. [frequently asked questions]

[large text: F.A.Q. [frequently asked questions]]

As in, answers and “answers” to common arguments or concerns. 

“Actually they want to hide their facial difference” - your character doesn’t have free will. You want them to hide it. Again; why.

“They are hiding it to be more inconspicuous!” - I get that there are elves in their world, but there’s no universe where wearing a mask with eye cutouts on the street is less noticeable than having a scar. Facial differences aren’t open wounds sprinkling with blood, in case that's not clear. Also, despite what you clearly think, unless your setting has like twelve people total, there will be multiple people with facial differences in it.

“It’s for other people's comfort” - why are other characters disfiguremisic to this extent? Are they forcing all minorities to stay hidden and out of sight too? That’s a horrible society to exist in.

“They are wearing it for Actual Practical Reason” - cool! I hope that this means you have other characters with facial differences that don’t wear it for any reason.

"It's the character's artistic expression" - I sure hope that there are abled characters with the same kind of expression then.

“They’re ashamed of their face” - and they never have any character development that would make that go away? That's just bad writing. Why are they ashamed in the first place? Why is shame the default stance to have about your own face in your story? I get that you think we should be ashamed and do these ridiculous things, but in real life we just live with it. 

"Now that you say that it is kinda messed up but I'm too far into the story please help" - here you go.

“[some variation of My Character is evil so it's fine/a killer so it fits/just too disgusting to show their disability” - this is the one of these cases where I’m fine with disability erasure, actually. Please don’t make them have a facial difference. This is the type of harm that real life activists spend years and decades undoing. Disfiguremisia from horror movies released in the 70s is still relevant. It still affects people today.

"But [in-universe explanation why disfiguremisia is cool and fine actually]" - this changes nothing.

Closing Remarks

[large text: Closing Remarks]

I hope that this post explains my thoughts on facial difference representation better. It's a complicated topic, I get it. I'm also aware that this post might come off as harsh but disfiguremisia shouldn't be treated lightly, it shouldn't be a prop for your whump whatever to play around with. It's real world discrimination with a big chunk of its origins coming out of popular media.

With the asks that have been sent regarding facial differences, I realized that I probably haven't explained what the actual problems are well enough. It's not about some technical definition, or about weird in-universe explanations. It's about categorizing us as some apparently fundamentally different entity that can't possibly be kind and happy, about disfiguremisia so ingrained into our culture that it's apparently impossible to make a world without it; discrimination so deep that it can't be excised, only worked around. But you can get rid of it. You can just not have it there in the first place. Disfiguremisia isn't a fundamental part of how the world works; getting rid of it won't cause it to collapse. Don't portray discrimination as an integral, unquestionable part of the world that has to stay no matter what; whether it's ableism, transphobia, or Islamophobia or anything else. A world without discrimination can exist. If you can't imagine a world without disfiguremisia in fiction... that's bad.

Remember, that your readers aren't going to look at Character with a Scar #14673 and think "now I'm going to research how real life people with facial differences live." They won't, there's no inclination for them to do so. If you don't give them a reason, they won't magically start thinking critically about facial differences and disfiguremisia. People like their biases and they like to think that they understand.

And, even if you're explaining it over and over ;-) (winky face) there will still be people who are going to be actively resistant to giving a shit. To try and get the ones who are capable of caring about us, you, as the author, need to first understand disfiguremisia, study Face Equality, think of me as a human being with human emotions who doesn't want to see people like me treated like garbage in every piece of media I look at. There's a place and time for that media, and if you don't actually understand disfiguremisia, you will only perpetuate it; not "subvert" it, not "comment" on it.

I hope this helps,

Mod Sasza