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cripplecharacters · 1 year ago

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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

#mod sasza #writing reference #writing advice #writing resources #writeblr #writing disabled characters #writing resource #long post #writing tips #writing guide

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inky-duchess · 4 months ago

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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

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goatsandgangsters · 4 months ago

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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

#writing resources #random name generator #name generator #1900s #writing #writing resource #writing reference #jeeves and wooster #oscar wilde #oh why not I mentioned ya #downton abbey #let's throw you guys in too for fanfic purposes #this was a fun project to learn how to do

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courtofparrots · 9 months ago

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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!

#also realized that all the dead fish in the lake and fish farm might be due to poor hazardous waste management #I just know they're dumping all their shit down the drain #luis serra #resident evil #re4 remake #science posting #writing resource

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tryslora · 5 months ago

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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.

#writing resource #word tracking #spreadsheet #word tracker

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prodigal-explorer · 2 years ago

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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!

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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!

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topazadine · 8 months ago

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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.

#horses #equestrian #fantasy writing #creative writing #how to write #writing research #writing resource #writing reference #writing advice #writing stuff #on writing #writing things #writers on writing #writing horses

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tragedynoir · 2 years ago

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— server exclusive: ROOTS + [ link ]

a free, minimalist, light academia google doc template for your muse's family tree. it's simple to edit, and the family tree is completely made in google drawings so you can directly edit them from within google docs! there are four preset icons you can use to describe the relationships within the family in the tree, but feel free to create your own. there is also space for writing on the family line, as well as a section for you to go in depth on the details of your muse's relationship with their family members. to access the template, join my discord server (in the link above or in source) and find it under the new releases channel. enjoy!

placeholder images from marianna smiley, mike gorrell and engin akyurt on unsplash — please change it out to fit your muses! feel free to edit as you please, but please do not remove the credit, resell or claim as yours whether wholesale, in part, or modified.

if you like my work, please reblog to share this resource, it really helps me out! ♡ and if you would like to support me further, consider buying me a coffee?

#google doc template #google docs #muse template #template #rp resource #rph #relationship doc #character template #rp doc #multimuse template #writing template #m #writing resource #m se #other template

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thewriteadviceforwriters · 1 year ago

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The Five Types of Readers That Read Your Fantasy Book (For Writers)

As a fantasy writer, understanding your target audience is crucial for the success of your book. Knowing the different types of readers who are drawn to the genre can help you tailor your writing to their preferences and create a more engaging experience. In this blog post, I'll help you explore the five types of readers that are likely to read your fantasy book and provide insights into their characteristics and expectations.

The Escapist Reader

The first type of reader is the Escapist. These readers are looking for a break from reality and crave immersion in a rich and imaginative world. They are drawn to epic quests, magical creatures, and fantastical settings. As a writer, you can capture their attention by crafting a vivid and detailed world, filled with intricate plotlines and larger-than-life characters. Engaging their sense of wonder and providing an escape from their everyday lives will keep them hooked from the first page to the last.

The World-Builder

The next type of reader is the World-Builder. These readers are fascinated by the intricacies of world-building and the lore that shapes the fantasy realm. They enjoy exploring the history, mythology, and geography of the fictional world you create. To captivate these readers, focus on developing a well-constructed and cohesive world that feels authentic and believable. Pay attention to the small details, establish consistent rules of magic, and provide glimpses into the rich tapestry of your universe.

The Character-Driven Reader

Another important type of reader is the Character-Driven reader. These readers are emotionally invested in the journeys and growth of the characters they encounter. They want to experience the highs and lows alongside the protagonists, forming deep connections with them. To engage these readers, focus on creating well-rounded and relatable characters with compelling arcs. Develop their motivations, flaws, and relationships to evoke empathy and resonate with your audience on a personal level.

The Plot-Oriented Reader

The fourth type of reader is the Plot-Oriented reader. These readers are primarily interested in the twists, turns, and surprises that unfold throughout the story. They enjoy intricate and well-paced plots that keep them guessing. As a writer, you can capture their attention by crafting a narrative with unexpected twists, clever foreshadowing, and satisfying resolutions. Keep the suspense high and deliver a satisfying payoff to keep these readers engaged and coming back for more.

The Theme-Seeker

The final type of reader is the Theme-Seeker. These readers are drawn to the deeper meanings and messages embedded within a story. They enjoy exploring philosophical, moral, or social themes that resonate with them on a personal level. As a writer, you can captivate these readers by weaving thought-provoking themes into your narrative. Explore complex issues, challenge societal norms, and offer unique perspectives to stimulate their intellect and leave a lasting impact.

Conclusion

Understanding the different types of readers that are drawn to your fantasy book can help you tailor your writing to their preferences and create a more immersive experience. Whether you are capturing the attention of Escapist readers, captivating the World-Builders with your intricate lore, evoking emotions in Character-Driven readers, surprising Plot-Oriented readers, or stimulating the intellect of Theme-Seekers, knowing your audience is key. By crafting a story that resonates with these reader types, you increase your chances of creating a loyal fan base and achieving success as a fantasy writer.

Blow your readers mind. Happy writing!

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writer-logbook · 3 months ago

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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.

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cripplecharacters · 2 years ago

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Media Representation and Writing Characters with Facial Differences

[Large Text: Media Representation and Writing Characters with Facial Differences]

A writing (?) guide (?) consisting of an explanation of what facial differences are, some basics about the community of people with facial differences, a terminology guide that is extremely subjective, a very long explanation of the real-life effects of misrepresentation of facial differences, a subjective guide on why most tropes surrounding facial differences are awful and unoriginal, and the part that people actually want to see (I hope at least) AKA "types of characters I do actually want to see". As always, this post is meant for people who have no experience with the subject, and not in any way an attempt to tell writers with facial differences on what to do in their own writing.

What Does "Facial Difference" Mean?

[Large Text: What Does "Facial Difference" Mean?]

"Facial Difference" (FD for short) is an umbrella term for any kind of scar, mark, or condition that makes your face visibly different. This encompasses anything from not having parts of the face or having less of them (e.g. anophthalmia, anotia, hemifacial microsomia), having "more" to the face (e.g. tumors, neurofibromatosis, cranium bifidum), conditions affecting how the face moves (e.g. facial paralysis, ptosis, nerve damage), ocular differences (e.g. hypertelorism, nystagmus, strabismus), conditions affecting the colors of the face (e.g. rosacea, vitiligo, pigmentation conditions in general), a "look" that signals a specific disability (e.g. Down Syndrome) and approximately a million more things - scars, burn marks, craniofacial conditions, ichthyosis, visible cancers, and a lot more.

Despite popular opinion (popular ignorance would be more accurate because no one knows about it in the first place) people with Facial Differences have both a movement (Face Equality) and a specific word for the oppression we experience (Disfiguremisia). There is even the Face Equality Week that happens every year in May. This is a real thing that has been happening, and we are generally going unnoticed, even in the "representation matters" circles, the body positivity movement, disability spaces, and so on. There is an alliance of organizations dedicated to this called Face Equality International, who can help you learn about the real-world community and movement. They even have sections specifically about media representation, which is foreshadowing for how important this topic is to the community and for how long the "explaining the issues of representation" part of this post is.

And of course, if you have a facial difference/disfigurement, you can do whatever the hell you want when writing. Call your characters how you call yourself, subvert the tropes you want. I don't want to preach to people who already know all of this firsthand. This post is meant to explain some things to people who don't have experience with having FD.

Terminology

[Large Text: Terminology]

There is a lot of words to describe people with FD. Some of them are alright, most of them are awful.

Please keep in mind that all of these terms (except for the... last one) are used by real life people. This isn't me saying "you can't say that about yourself" (more power to you, I don't care) but rather to educate able-bodied people that some words they refer to use with aren't as neutral as they think (at least not to everyone).

"[person] with a facial difference" - generally the most polite and widely accepted way to refer to us. That's what is generally used in the Face Equality movement, sometimes alongside the next term which is...

"[person] who has a disfigurement" - an alright term that is sometimes used interchangeably with the one above. However, many things that involves the term "disfigurement" to me sound kinda medicalized and/or like lawyer speech. It's not offensive, but just generally used in more official ways. Still better than almost anything else.

"A disfigured [person]" - starting to steer into the "uhh" territory. Describing a whole person as disfigured is, to me, just weird. I get that some communities push for the identity first language, but this just isn't it most of the time. Could be way worse, could be slightly better.

"[person] who has a deformity" - "deformity" is such a negatively charged word that I don't understand how people (without FD) still use it thinking it's neutral. This sounds awkwardly medicalized in a "case study from the 80s" way which is definitely not a good thing.

"A deformed [person]" - pretty much the jackpot of bad terminology, the term deformed, the calling of an entire person by it, it has everything I hate about writers describing people like me. The only one that I think is even more awful is...

"Horribly/gnarly/nasty/monstrous deformity/scar/mark" - again, I'm impressed by what some people think is neutral wording. If you're searching a thesaurus for synonyms of "scary" to describe your character, it's time to just stop writing them. This is about using ableist terminology, sure, but I just can't imagine that someone calling their character that actually will represent FD well. It shows the negative bias and attitude of the writer. I can't imagine someone who writes like this actually likes the people they're writing about.

However, there is also one pretty awesome and simple way to describe them.

Say what they have. Specifically. Really. Assuming you know what condition your character has (which you should) it should be very easy. "She has Treacher-Collins Syndrome." "Xyr forehead has a port wine stain on it." "They can't fully open one of their eyes." It's clear and actually lets your readers know what you mean. You don't have to throw around euphemisms to describe someone not having a nose. When talking about a specific character (as opposed to a social group with similar experiences), this is the best option. If you're in doubt, just name the condition.

Tropes and Current State of Representation

[Large Text: Tropes and Current State of Representation]

If you have read basically any of my previous posts about FD then you probably know what I'm about to say in this section. Still worth a read though. I hope. Warning that this is long, but you probably expected that already.

One thing I will note at the start is that I'm aware that a lot of writers were already turned off from this post just because of the terminology section. I know that artists love describing people like me as ugly deformed monsters. It's literally a tale as old as antiquity, and that's how overdone and stale it is. Visibly disabled = ugly. I get it, I heard it a thousand times before, I hear it majority of the time someone is excited to tell me about how horrible and gross their OC's scar is. But now some guy from that group is telling you to like, maybe stop calling your disgustingly deformed character that.

I want to make it very clear that FD representation in media is not treated like a real thing that's worth anyone's time, even by the most "representation is so important!" writers. I guess it's too inconvenient to unpack the amount of baggage and uncomfortable implications this would cause. It's too good of a device in writing; everyone knows that if a guy with a scar shows up that it means he's evil, the easiest way to make a villain visually interesting is to make them a burn survivor, and if you need a tragic backstory for a serial killer just give them a congenital disability that caused literally everyone in the world to treat them horribly, so of course they started killing people. It's such a good moral signifier that literally every book and tale has done - pretty is good, ugly is bad. Dichotomy is so helpful.

What is less helpful in the real world is that what is considered "ugly" is generally very tightly bound to what visibly disabled people look like. Ugly Laws weren't just like, coincidentally including disabled people and disability activists aren't still forced to speak out against being put in those "Ugliest People" lists by accident. This is all to say that facial differences are considered to be "ugly" completely uncontested, and you probably have this bias too, as the vast majority of people do. The whole "the character is ugly, then they become evil, if they're evil, they become ugly"... you need to be conscious to not do that. Don't make them evil if they're visibly disabled because it will always end up being the same old trope, no matter how many weird excuses and in-universe explanations you give. I want to put it in people's heads that you are writing about a community of people who are technically visible in real life, but have no large voices that the general public would listen to when it comes to how we are seen. The general public relies on media to tell them that.

Putting people with FD in your books or your art seems to suddenly be intimidating for a lot of artists when they realize that not only is facial difference a real thing, but people who have it can see what you write or draw (and your other readers will take some things out of what you write, subconsciously). When an author is faced with the fact that maybe they are doing harm with their writing, they either: suddenly don't want to do that anymore at all, or say: "I don't care! I'm going to be very innovative and make my very evil OC be deformed!", which is kinda funny to me that people actually seem to think it's edgy and cool to repeat the most tired Hollywood tropes, but that's the best we can get, I guess.

The attitudes that people have around the topic of facial difference and the whole "media impacts reality" are very interesting to me in general. On one hand, when I tell someone that I was bullied or ostracized because of my disabilities, no one is ever surprised. On the other hand, everyone is for some reason uncomfortable when I say that this doesn't just... appear out of thin air. People are taught from childhood that facial differences and the people who have them are scary, untrustworthy, or literal monsters. Media is a major factor in that. Like, looking back at it, it makes sense that my parents told me not to stare at other kids because they would get scared. After all, I looked like a kindergarten version of the bad guy from some kid's book. Other kids were able-bodied and looked like the good guy, I was visibly disabled and looked like the bad guy. That's the lesson kids get from media on how people with visible disabilities are: evil, scary, not to be interacted with. So they avoided me because of that while I had adults telling me to not even look in their direction. Dichotomy is so helpful, right?

And this doesn't magically stop at children. When I post a self-portrait or a selfie, I deal with multiple grown people comparing me to sometimes an animal, usually a specific character from a movie, sometimes even making my face into a meme right away. But if people don't generally see people with facial differences on the daily, then how are there so many specific reactions and so many similar problems that we go through? If it's so rare, then how are people so quick to tell me the character I remind them the most of- Yeah, media. It's always media. It's almost funny how everything circles back to one thing.

I want you, the author, to understand the impact of misrepresentation of facial difference. If you feel uncomfortable because you have done these tropes before, good. That's a sign of growth. If you want to help instead of harm, you need to get over your (subconscious) biases for a minute and think about how a person with the same condition as your character would feel like reading about them. Maybe you are even currently realizing that that one OC with scars is just five harmful tropes glued together. Maybe you are going to reblog this and tell me in the tags that somehow your character decided to be like that, as if they have free will instead of being written by a biased human being. Or, as I said earlier, a lot of people will be annoyed by this post and keep doing their thing. Which is like... whatever, I guess. Who cares? There are a dozen huge movies and TV shows every year that do this. It's so basic and normalized that whatever reach this post will have will change very little. I have been signaled "we don't care what you think about how we portray people like you" my entire life, I'm frankly more surprised when people do actually claim to care. You can, practically speaking, do whatever because the FD community is fully ignored by everyone and even if I'm disappointed or annoyed, I'm just one man and I know (from experience) that most people won't have my back on this topic. It's too ingrained in our culture at this point to challenge it, I suppose. I mean, there have been multiple media campaigns telling writers to treat us as people, and they had practically zero impact on the writing community. But, even with my absurdly pessimistic view on this subject, I still decided to write all this. Sure, there are no signs of the industry changing and the writing community doesn't seem to care much, but I still naively hope that maybe the right person will read this and at some point in the future I will be watching or reading about a character that looks like me and actually have a good time, and even more naively that maybe people will gain some amount of awareness of the damage that has been and still is happening to people with FD through media, so that the next time they see that the villain has facial scars for no reason they will think "damn, this sucks" the same way I do. And very, very naively, I hope that people who read this will start seeing us as people. Not villains, not plot devices, not monsters.

Sad part over (?), now the fun (?) part. AKA the tropes! Yay.

"Dramatic Reveal of The Deformity".

Use of the word "deformity" very much on purpose here. This is arguably the most common trope when it comes to FD, and it's always awful. At the very best it links FD with trauma and talks in a Very Sad Voice about how having a FD is the worst thing imaginable, I guess ("X did this to me... now I'm Deformed For Life..." type of scene) and at worst it does the classic revealing that the main villain actually was a burn survivor under his mask, because of course he was. In media, people with FD are evil. If they're not, then it's because someone very evil did it to them (the most evil thing of all - causing someone to have a facial difference. the horror!). It can't be a thing unrelated to someone's morality, there's gotta be evil somewhere around it. There is literally nothing good about this trope. Showing FD as something to hide? Check. Dramatizing FD? Check. Placing the way someone's face looks as the worst thing possible? Check. General treating FD as some kind of circus attraction to stare at with your mouth open? Check.

"Wearing a Mask*."

I made a whole post about this one actually, that's how much it annoys me. Putting your character with FD in a mask is so overdone, lazy, and boring I'm not even offended as much as I thought I would. It's like - really? Again? For the millionth time, the character with FD is forced to hide their disability? Is the author scared? What is the point of giving your character a visible difference if all you're doing is hiding it? And yes, I know that your character chose to do that for reasons that you as a writer somehow can't control. It's always so strange how it's the character that's in control and the writer is in the passenger seat when it comes to annoying tropes.

Since I originally made this post I've come to discover that this is way more common than my pessimistic ass thought back then. Here's a whole tag for this trope.

*"mask" here refers to anything that covers the character's facial difference (e.g. eye covering, surgical mask, whatever. It's about hiding it and not a technical definition of "what is a mask").

"Good Guy has the Tiniest Scar You Can Imagine, but Don't Worry! The Villain is Deformed As Hell."

A genre on its own. In the rare instance that a positive character has a facial difference, they have a curiously limited choice - you can have:

the thinnest, definitely-very-realistic straight line going through the eye (the eye is always either perfectly okay or milky for reasons the author couldn't tell you),

the same exact line but going horizontally across the nose,

and if you're feeling spicy you can put it around the mouth,

regardless of location, just make sure it doesn't look like an actual scar (certainly not a keloid or hypertrophic one) and is instead a straight line done with a red or white crayon. Interestingly, villains have unlocked more options which stem from scars, craniofacial conditions, burn marks, cleft lips, ptosis, colobomas, anisocoria, tumors, facial paralysis, to pretty much everything that's not infantilized, like Down Syndrome. These are always either realistic or extremely bloody. I sound like a broken record by now, but no, your morality has nothing to do with your physical appearance and being evil doesn't make a visible disability get more visible. Shocker. And don't get me started on...

"The Villain turned Evil Because They Have Scars."

Nice. Disabled people are evil because they're disabled, truly a timeless classic for able-bodied writers whose worst fear in life is being disabled. In case that needs to be said, having a facial difference doesn't turn you evil, doesn't make you become a serial killer, doesn't make you violent, doesn't turn you into an assassin with a tragic backstory seeking revenge for ruining their life. If anything, having a FD makes it more likely for other people to be violent towards you. Speaking from experience.

"The Villain Just Has Scars."

An impressive attempt at cutting out the middleman of "clumsily and definitely not ableist-icly explaining why getting a scar made them evil" and not even bothering with a tragic backstory or anything. They are evil, so of course they have a facial difference. What were you thinking?

"Facial Difference is a Plot Point."

As anyone who's read A Book will tell you, the only way to get a facial difference is to be in a very dramatic fight or an extremely tragic accident who will become a plot point and thus the facial difference is now Heavily Emotionally Charged and a symbol of The Event/The Tragedy. If you look at media, congenital FD isn't a thing, illness-related FD doesn't exist and boring domestic accident or a fall causing FD has never been seen. It has to be dramatic and tragic or else there's no point in them having it. A true "why are they [minority]" moment, if you will. You can't just be, you have to be plot relevant.

"Character gets a FD but then Gets Magically Cured Because They're Good."

Truly one of the tropes that make me want to rip my hair out. Curing your character with FD sucks just as much as curing a disabled or neurodivergent character. Who is this even for? That's not how real life works. This is some actual Bible shit, that's how old this trope is. The only thing you're doing here is making people think that those who do have FD just aren't "good enough". Every time I see it, I wonder what the author would think of the congenital disorder I have. According to this kind of in-universe rules, was I born evil and just never got good, or..?

"Character with FD has Self-Esteem Issues and Hates Their Face."

I admittedly mocked all the previous tropes because they're absurd, ridiculous, offensive, boring, all of the above, and have zero basis in reality. This one however... ouch, right in my own tragic backstory. This is unfortunately a very real experience that a lot of people with FD go through. I even have a hunch there wouldn't be as many if the general public didn't think of us as monsters, but I digress. Yes, a lot of us have or had self-esteem problems, and a lot of us wished that we wouldn't have to go through all the BS we were put through because of it. Thankfully for you, you don't have to write about it! Seriously. You don't need to. As one million people have said before me, "maybe don't write about things you haven't experienced" and I agree here. I have yet to see an able-bodied author get anything about this right. Instead of the deeply personal, complex experience that involves both you, everything around you and the very perception of what others think of you that this is, somehow writers keep giving the tired "character crying and sobbing because they're 'ugly' now", because the author thinks we're ugly. Or maybe they're sad because all the other characters with facial differences are evil, and they didn't have the time to prepare their evil monologue for when they inevitably become evil in the sequel? Who knows.

"The Author Doesn't Know."

The author not knowing what their character actually has going on medically is common to a ridiculous extent - this applies to all kinds of disabled characters as well. You don't need to name-drop the Latin term for whatever your character has, but you need know what it is behind the scenes. You need to know the symptoms. You need to know the onset and the treatment or lack of it. Please do your medical research.

Things I Want to See More of in Characters with Facial Differences

[Large Text: Things I Want to See More of in Characters with Facial Differences]

The thing you might have noticed is that I want Facial Differences and People with Facial Differences to be presented as normal. Not killers, not SCP anomaly whatever, not monsters, not evil mercenaries who have "revenge" as their only life goal. I'm aware that the term is tired, but I absolutely want Facial Differences normalized as much as possible.

I want to see more characters with facial differences...

who have friends that don't bully or make fun of them because of their appearance.

who have support from their family.

who know other people with facial differences - even if they're just background characters, or mentioned in passing. Marginalized people tend to gravitate towards each other, people with FD aren't some magical exception to this.

who are queer.

who aren't only skinny white cis dudes in general.

who are disabled in other ways. A lot of us are Blind, Deaf, both, unable to speak, intellectually disabled, having issues with mobility, and a million other comorbidities.

who are fantastical in some way - preferably not the "secretly a monster" way. But a mermaid with CdLS or an elf with neurofibromatosis? That's cool.

who are allowed to be cute or fashionable.

who have jobs that aren't "stereotypical bad evil guy jobs". Give me a retail worker with a cleft lip or a chef with Down Syndrome.

who are reoccurring characters that just happen to have a FD.

who are those stock/generic characters that aren't typically associated with FD. Hero's mom has septicemia scars? Cool. The popular cheerleader at school has alopecia? Awesome. The bartender of the place the heroes secretly meet up at has Möbius Syndrome? Goes hard. The kid that the MC used to hang out with before they moved somewhere else has Crouzon Syndrome? Great.

who have their FD be visible.

who aren't ashamed of their FD.

who are feeling very neutral about their face.

who are proud of how they look.

who got their FD in a very boring way or were just born with it.

who have facial differences other than small scars.

who's angst is fully unrelated to their FD. I love me an angsty teen character. Even more if they are angsty about their crush, or basically anything that's not their disability.

who have a significant other who doesn't do the whole "I love you despite your looks" thing. It just sucks. Sorry. I would hate if someone said this to me.

who are children and aren't implied to be "cursed" or "demonic".

in genres that aren't just horror or thriller. RomCom or slice of life, anyone?

who aren't evil.

who aren't criminals.

who aren't vigilantes/morally gray.

who aren't social outcasts.

I want to see stories with multiple characters with facial differences. I have nerve damage and facial asymmetry, and I am friends or mutuals with people with Williams Syndrome, Bell's palsy, Down Syndrome, neurofibromatosis, facial atrophy, ptosis... and a lot of other things. Your character would have (or, would probably want) some connection to their community. We aren't rare.

And, I want stories with the spectrum of facial differences shown. Of course, you can't represent the actual whole spectrum, but you can still aim for at least a few. Don't give every single character with FD the same scar-through-eye + eyepatch. It's not unrealistic to have a range in your writing. Here is a list of facial differences you might want to check out for inspiration. Don't be scared to give them something rare - no matter how uncommon, people still have it. My specific condition is allegedly extremely rare - I still want representation.

Closing Remarks

[Large Text: Closing Remarks]

Facial difference and the media is a topic that plagued me for the past two decades and won't stop ever, I think. It's a very unique relationship of a group of people who just aren't allowed to get into the industry and an industry that clearly hates them, loves to use their image, and defines how people see them all at once. There's this overrepresentation that is consistently awful and damaging to an absurd degree. Most people know more villains with FD than actual people. Certainly doesn't feel great to be one of the aforementioned actual peoples. But I hope that this will change - the negative portrayals that are plaguing the FD community will slowly fade out and a newer wave of portrayals will come in, hopefully this time realizing that we are real people and care about us a bit more.

The thing with facial difference is that it's pretty much impossible to make a specific guide of what it's like and what to do in context of writing because it's an incredible vast category that includes conditions that are very different from each other. That's why this post was more focused on "why you should care in the first place" (sorry for the clickbait) rather than being a straightforward guide that would still be very lacking even if 20 different people were collaborating on it. I really, really encourage everyone who got through this rather long post to do their research on what they plan to write about, be conscious of their own biases, don't pull inspiration from movies because they're all hellholes full of tropes and just sit down for a minute, think of the real-world people with facial differences, and read what we have to say. I know that drawing a guy with a line across his eye is more fun than realizing you're low-key scared of or uncomfortable around the real-world equivalent, but sometimes you have to get over yourself and try to be a better person. Caring about the people you write about is, dare I say, essential. That will certainly make your writing of us better :-) (smiley face with a nose)

If you have any specific questions, feel free to send an ask

Mod Sasza

#mod sasza #face difference #writing advice #writing ref #writeblr #writing disabled characters #long post #writing reference #writing resources #writing guide #writing resource #writing tips #writing help #burn survivor representation

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