#guides for fantasy writing

[inky-duchess]

Fantasy Guide to Political Structures

A Horse! A Horse! My X for a Horse!

Let's be honest, fantasy authors love their kingdoms and empires. You can throw a rock in a bookshop or a library in the fantasy section and you will 99.99999% hit a fantasy book that will be set in or mention either of those structures. But what are they really? What's the difference between them all? Are there any more examples of structures that would suit your WIP better? Are you using the right terms? Let's have a closer look.

Duchy

A Duchy is a small territory ruled by a Duke/Duchess. While Duchies can be found in kingdoms, some duchies were sovereign states in their own right. Duchies are usually small by land mass but some duchies such as Burgundy were extremely powerful and influential. Independent Duchies were usually apart of a kingdom but grew so powerful that they eventually broke away to become a sovereign state in their own right. An example would be modern day Luxembourg, historic Milan and Burgundy.

Principality

A principality is territory ruled by a Prince/Princess. A principality is typically smaller than a kingdom and in some instances, can be apart of a larger kingdom or be a sovereign state. Principalities have a history of having broken away from a larger kingdom or eventually becoming apart of a kingdom. A principality within a kingdom is ruled by a Prince/Princess, usually an heir of the monarch and can be used to train them up to assume the throne in the future. Examples include Monaco, Liechtenstein and Andorra.

Kingdom

A sovereign state/country that is ruled by ruling King or a Queen. A kingdom is much larger and more powerful than a principality. Kingdoms can be feudal, meaning they are ruled in a strict hierarchy or an autocracy where the monarch rules alone with minimal input from the government or constitutional where the monarch is more of a figurehead and the government has a good chunk of control. Examples include England, Thailand and modern day Spain.

Commonwealth

A Commonwealth isn't a popular choice in fantasy but it is an interesting structure. A Commonwealth in its most basic form is a collection of states that are linked by either a shared culture or history. A Commonwealth can be a politically power or an economic power, with every state allowed to participate as much as they like. Not one state leads the others, it is all one group of equals. A Commonwealth can be a good idea for a group of nations that are more powerful together with them keeping their own independence.

Federation

A Federation is a political structure that is made up of united states or countries that are under a single government but each state is still independent and rules itself. Each state can have different laws, different cultures and economies but they all answer to the single government. Examples include the United States of America.

Republic

A Republic is a territory that is ruled by leaders and heads of state that have been elected on merit and by choice of the people. Republics are not just countries but can also be much smaller areas such as cities. Republics are democratic in nature, with the people having a say in who leads them in accordance to a constitution. There are many kinds of Republic: presidential, parliamentary, federal, theocratic, unitary. Examples of Republics include the Republic of Ireland and the city of Florence.

Protectorate

A Protectorate is a country/region/territory that is independent but relies on a larger, more powerful state for protection either in a military or diplomatic sense. A Protectorate was often used by Empires in order to maintain control over an area without annexing it. There are many reasons a larger state and the protectorate would agree to this, mainly the protectorate is much smaller meaning it is far more vulnerable to attack or it has very little power when compared to other states. A Protectorate allows the territory some power to rule itself but the larger state may feel the need or desire to interfere in the dealings of the territory. Examples of protectorates include the client kingdoms of the Roman Empire like Egypt before its annexation and Puerto Rico.

Empire

An Empire is a collection of nations that are united under one sovereign head of state or government. An Empire is formed by one nation steadily taking control of other nations, either through straight invasion and colonization or acquiring them through marriage and other less violent ways. An Empire is powerful mainly because it can drum up more resources, more influence and more military power. An Empire might impose the traditions, beliefs and culture of its principal nation - the nation that started it all - onto its colonies for better control and feeling of uniformity. Empires never last, that is something to always remember. Empires will eventually fragment due to the vast size and sometimes revolt among the conquered states. Examples of empires include the Roman Empire, the Byzantine Empire, the Ottoman Empire.

[darkandstormydolls]

PSA to all historical fiction/fantasy writers:

A SEAMSTRESS, in a historical sense, is someone whose job is sewing. Just sewing. The main skill involved here is going to be putting the needle into an out of the fabric. They’re usually considered unskilled workers, because everyone can sew, right? (Note: yes, just about everyone could sew historically. And I mean everyone.) They’re usually going to be making either clothes that aren’t fitted (like shirts or shifts or petticoats) or things more along the lines of linens (bedsheets, handkerchiefs, napkins, ect.). Now, a decent number of people would make these things at home, especially in more rural areas, since they don’t take a ton of practice, but they’re also often available ready-made so it’s not an uncommon job. Nowadays it just means someone whose job is to sew things in general, but this was not the case historically. Calling a dressmaker a seamstress would be like asking a portrait painter to paint your house

A DRESSMAKER (or mantua maker before the early 1800s) makes clothing though the skill of draping (which is when you don’t use as many patterns and more drape the fabric over the person’s body to fit it and pin from there (although they did start using more patterns in the early 19th century). They’re usually going to work exclusively for women, since menswear is rarely made through this method (could be different in a fantasy world though). Sometimes you also see them called “gown makers”, especially if they were men (like tailors advertising that that could do both. Mantua-maker was a very feminized term, like seamstress. You wouldn’t really call a man that historically). This is a pretty new trade; it only really sprung up in the later 1600s, when the mantua dress came into fashion (hence the name).

TAILORS make clothing by using the method of patterning: they take measurements and use those measurements to draw out a 2D pattern that is then sewed up into the 3D item of clothing (unlike the dressmakers, who drape the item as a 3D piece of clothing originally). They usually did menswear, but also plenty of pieces of womenswear, especially things made similarly to menswear: riding habits, overcoats, the like. Before the dressmaking trade split off (for very interesting reason I suggest looking into. Basically new fashion required new methods that tailors thought were beneath them), tailors made everyone’s clothes. And also it was not uncommon for them to alter clothes (dressmakers did this too). Staymakers are a sort of subsect of tailors that made corsets or stays (which are made with tailoring methods but most of the time in urban areas a staymaker could find enough work so just do stays, although most tailors could and would make them).

Tailors and dressmakers are both skilled workers. Those aren’t skills that most people could do at home. Fitted things like dresses and jackets and things would probably be made professionally and for the wearer even by the working class (with some exceptions of course). Making all clothes at home didn’t really become a thing until the mid Victorian era.

And then of course there are other trades that involve the skill of sewing, such as millinery (not just hats, historically they did all kinds of women’s accessories), trimming for hatmaking (putting on the hat and and binding and things), glovemaking (self explanatory) and such.

TLDR: seamstress, dressmaker, and tailor are three very different jobs with different skills and levels of prestige. Don’t use them interchangeably and for the love of all that is holy please don’t call someone a seamstress when they’re a dressmaker

[olis-inkwell-symposium]

Developing Backstory: Bringing Characters to Life

1. Where It All Started: The Character’s Origin

Place of Birth: Where did your character first see the world? Think about the impact of this place—was it a busy city where they had to fight for attention or a quiet village where everyone knew everyone’s business? This location doesn’t just say where they’re from; it shapes how they see the world.

Family and Upbringing: What was their family like? Were their parents loving or distant? Maybe they were raised by someone other than their parents—a mentor, an older sibling, or even alone. Family (or the lack of it) is usually one of the most significant factors in shaping who someone becomes.

Society’s Expectations: What was expected of them when they were young? Possibly, they were born into wealth, with all the pressure to continue the family legacy, or maybe they were raised to be invisible in a world where survival mattered. How does this influence who they are now? Do they accept or reject those expectations?

2. Childhood Events That Left a Mark

First Taste of Conflict: Think about the first time the character realized the world wasn’t a perfect place. Maybe they witnessed violence or faced betrayal. What was that moment, and how did it stick with them? This moment usually lays the foundation for the character’s emotional landscape—fear, hope, ambition, or distrust all come from these early life lessons.

Childhood Dreams: When they were young, what did they want to be? Every child has dreams—did they want to be a knight, a scholar, or even just someone who could travel the world? Did they have to give up these dreams? How does that lost dream shape them now?

Formative Relationships: Who was their first best friend, mentor, or enemy? Childhood friendships and relationships often create deep bonds or wounds that last into adulthood. Did they have a mentor who taught them everything, only to betray them? Did they lose a childhood friend that still haunts them?

3. The Teen Years: Where They Start to Become Who They Are

Trials and Tribulations: What’s the biggest challenge they faced as they grew up? Was it losing a loved one, failing at something important, or maybe being forced into a role they didn’t want? These teenage years are where the emotional armor starts forming—how did the difficulties they faced shape them into the person they are now?

Education or Training: How did they learn what they know? Were they formally trained by an institution, learning everything by the book, or did they learn through experience, like a street-smart survivalist? What impact does their education or lack of it have on how they interact with others?

Teenage Bonds: Did they have a first love or a first major falling out with someone close to them? These experiences often create emotional scars or connections that they carry with them into adulthood. How does that past friendship or romance influence their behavior now?

4. Key Life Events: The Big Moments That Define Them

Trauma or Loss: Was there a moment that changed everything? Think about a significant loss—maybe a loved one, their home, or a sense of identity. How does this event affect their worldview? Do they build walls around themselves or dive into relationships with reckless abandon because they fear losing more?

Victory or Failure: Did they experience a moment of triumph or devastating defeat? Success and failure leave their marks. Were they celebrated as a hero once, leading them to overconfidence, or did they fail when everyone was counting on them, leading to crippling self-doubt?

Betrayal: Was there a betrayal that shaped their adult relationships? Whether it is a friend, family member, or lover, betrayal often changes how we trust others. Do they close themselves off, constantly expecting betrayal, or try to rebuild trust, afraid of being left alone again.

5. Where They Stand Now: The Present Moment

What Drives Them Today: What’s the one thing pushing them forward now? Is it revenge, the need to restore their family’s honor, or maybe even just survival? Whatever it is, this motivation should tie directly back to their experiences.

Emotional Baggage: What unresolved emotional wounds are they carrying? Everyone has scars from their past—some are visible, others not so much. How do these emotional wounds affect how they treat others, how they react to conflict, and how they move through the world.

Current Relationships: Who’s still in their life from their past, and how do they feel about it? Did they reconnect with someone they thought they’d lost, or are they haunted by unresolved issues with people from their past? Do they have any ongoing tensions or regrets tied to these people?

6. Tying Themes to Their Backstory

Cultural or Mythological Influence: How does their personal story tie into the larger world’s mythology or culture? Do they carry a family legacy, a curse, or a prophecy that hangs over them? How does this influence their interactions with others and their perception of themselves?

Recurring Symbols: Are there objects, dreams, or people that keep showing up in their life, symbolizing their journey? Perhaps a recurring nightmare haunts them, or they carry an object from their past that’s both a source of comfort and pain

7. Character Arc: The Journey from Past to Present

How Does Their Past Shape Their Growth?: Every character has emotional baggage that needs resolving. How does their backstory drive their arc? Do they need to forgive themselves, let go of the past, or accept who they’ve become to move forward?

Unanswered Questions from the Past: Are there any mysteries in their backstory they need to solve? Maybe they’re unaware of their true parentage, or maybe there’s a forgotten event from their childhood that will resurface and change everything.

[thewriteadviceforwriters]

Hii,

I am writing a story with a female lead. She is going to go through a self discovery arc in which she explores her sexuality. I want to jump back and forth in timeline to when she’s a teenager and doesn’t realize she is queer (and in love with her best friend) but i am having a hard time figuring out how to show she is queer without telling (bc it’s from her pov). Any advice or thoughts?

Showing Queer Identity: Tips for Writing Self-Discovery Arcs

Hey there, fellow writer! 💖✨

First off, I want to say how awesome it is that you're tackling such an important and nuanced topic in your story. Self-discovery arcs, especially those involving sexuality, can be incredibly powerful and relatable for so many readers. It's fantastic that you're putting thought into how to present this journey authentically!

Now, let me dive into the meat of your question: how to show your character's queerness without explicitly telling, especially when she doesn't yet realize it herself. This is a challenge many writers face, and I'm excited to share some thoughts and techniques that might help you navigate this delicate balance.

Showing vs. Telling in Sexuality Representation

The age-old writing advice of "show, don't tell" becomes particularly crucial when dealing with a character's sexuality, especially in a coming-of-age or self-discovery narrative. It's about creating a tapestry of moments, feelings, and interactions that hint at the character's true nature without spelling it out for the reader (or the character herself).

(I have an entire post on Prose Tips with Show, Don't Tell. And another one where Telling Is Better Used Instead of Showing)

Here are some ways you can subtly show your character's queerness:

Physical Reactions: Pay attention to how your character's body responds to her best friend or other girls. Does her heart race? Do her palms get sweaty? Does she blush or feel a flutter in her stomach? These physical reactions can be powerful indicators of attraction, even if the character doesn't recognize them as such.

Lingering Gazes: Describe how your character looks at her best friend or other girls. Does she notice small details about them? Does her gaze linger on lips, hands, or other features? This can be a subtle way to show attraction.

Comparisons and Contrasts: Have your character compare her feelings for her best friend to her feelings for boys. She might notice that she feels more comfortable, excited, or "herself" around her friend than with male love interests.

Dreams and Daydreams: Use your character's subconscious to hint at her true feelings. She might have dreams about her best friend that leave her feeling confused or flustered upon waking.

Jealousy: Show your character feeling inexplicably upset when her best friend spends time with others, especially potential romantic interests.

Admiration vs. Attraction: Your character might think she's just admiring other girls' appearances or personalities, not realizing it's actually attraction.

Discomfort with Heteronormative Expectations: Show her feeling uncomfortable or out of place in typical heterosexual dating scenarios or discussions about boys.

Intense Emotional Connections: Highlight the depth of her emotional bond with her best friend, showing how it goes beyond typical friendship.

Personal Thoughts and Advice

As someone who's written queer characters and explored sexuality in my own work, I can't stress enough how important it is to approach this topic with sensitivity and authenticity. It's not just about representing sexuality; it's about capturing the complex emotions, confusion, and eventual self-realization that come with discovering one's identity.

One technique I've found particularly effective is to focus on the emotional journey rather than the physical aspects of sexuality. Especially for a young character who hasn't yet realized she's queer, the emphasis should be on her feelings, her confusions, and her gradual understanding of herself.

Remember, sexuality is a spectrum, and coming out to oneself is often a process, not a sudden realization. Your character might go through phases of denial, curiosity, experimentation, and finally acceptance. Each of these stages provides rich opportunities for character development and storytelling.

Unique Tips for Showing Sexuality in Writing

Use Metaphors and Symbolism: Incorporate imagery that subtly reflects your character's emerging sexuality. For example, use blooming flowers or changing seasons to mirror her personal growth.

Contrast with Heterosexual Experiences: If your character dates boys, show how these experiences feel different (and perhaps less fulfilling) compared to her interactions with girls.

Pop Culture References: Have your character relate strongly to queer characters in movies or books without fully understanding why.

Physical Proximity: Describe how your character seeks out physical closeness with her best friend - sitting close together, finding excuses to touch, etc.

Internal Monologue: Use your character's thoughts to show her confusion. She might question why she feels so strongly about her friend or why she's not interested in boys like her other friends are.

Microexpressions: Describe tiny facial expressions or body language cues that betray your character's true feelings, even if she's not aware of them.

Avoidance Behavior: Show your character avoiding situations that might force her to confront her sexuality, like setting up her friend with boys or talking about crushes.

Mirror Scenes: Create parallel scenes in different timelines to show how your character's understanding of herself has evolved.

Navigating the Timeline Jumps

Your idea of jumping back and forth in the timeline is brilliant for this kind of story. It allows you to contrast your character's oblivious teenage self with her more self-aware adult version. Here are some tips for making the most of this structure:

Echoes and Parallels: Create situations in the past that echo or parallel events in the present, highlighting how your character's understanding has changed.

Dramatic Irony: Use the reader's knowledge of the character's future to create tension and poignancy in the past scenes.

Evolving Language: Show how the language your character uses to describe her feelings changes over time, reflecting her growing self-awareness.

Physical Changes: Use descriptions of physical changes (hairstyles, fashion choices, etc.) to quickly orientate the reader in different time periods.

Pivotal Moments: Identify key moments in your character's journey and use these as anchors for your timeline jumps.

The Importance of Authenticity

When writing about sexuality, especially from a perspective different from your own, research and sensitivity are crucial. Consider reaching out to LGBTQ+ organizations or individuals who are willing to share their experiences. Reading coming out stories and queer literature can also provide valuable insights.

Remember, every person's journey with their sexuality is unique. While there are common experiences, avoid falling into stereotypes or oversimplification. Your character's story should feel genuine and personal.

Balancing Subtlety and Clarity

One of the biggest challenges in showing rather than telling sexuality is finding the right balance between subtlety and clarity. You want to drop enough hints for the reader to pick up on, but not so many that it becomes obvious to everyone except your character.

A good rule of thumb is to make the signs clear enough that a queer reader or someone familiar with the coming out experience would pick up on them, but subtle enough that someone without that perspective might miss them – much like how your character is missing them herself.

The Power of Supporting Characters

Don't forget the role that supporting characters can play in showing your main character's sexuality. Friends, family members, or even strangers might notice things about your character that she doesn't see in herself. Their reactions, comments, or questions can be powerful tools for indicating to the reader what's going on, even if the main character remains oblivious.

Addressing Internalized Homophobia

Depending on your character's background and the setting of your story, you might want to explore themes of internalized homophobia. This can manifest as your character actively pushing away thoughts or feelings that don't align with heteronormative expectations. Showing this internal struggle can add depth to your character's journey and make her eventual self-discovery even more powerful.

The Journey of Self-Discovery

Remember that realizing one's sexuality is often a gradual process. Your character might have moments of almost-realization followed by retreat into denial. These back-and-forth moments can create tension and keep the reader engaged in your character's journey.

As your character grows and changes, you can show her becoming more comfortable with herself in subtle ways – perhaps she becomes more confident, more authentic in her interactions, or more willing to stand up for herself and others.

——————————————————————————————————

Writing about sexuality, especially from the perspective of a character who hasn't yet realized their own identity, is a delicate but rewarding challenge.

Remember, the key is to weave these elements naturally into your narrative. Don't force it – let your character's experiences and emotions guide the story. Trust your readers to pick up on the subtle cues you're laying down.

I hope these ideas and tips help you in crafting your story. Remember, every writer's approach is different, and what works for one story might not work for another. Trust your instincts, stay true to your character, and don't be afraid to revise and refine as you go.

Writing about sexuality and self-discovery is not just about representation – it's about creating stories that can help readers understand themselves and others better. Your story has the potential to be a light for someone struggling with their own identity, or a window for others to understand experiences different from their own.

As you write, keep in mind the impact your words might have. Approach the topic with sensitivity, respect, and an open heart. Your character's journey of self-discovery is a beautiful and important story to tell.

Final Thoughts and Encouragement

Writing about sexuality, especially in a coming-of-age context, can be challenging but incredibly rewarding. Here are some final thoughts to keep in mind as you work on your story:

Authenticity is Key: Stay true to your character's voice and experiences. Even if you're writing from a perspective different from your own, strive for authenticity in emotions and reactions.

Embrace Complexity: Sexuality is complex and often fluid. Don't be afraid to show the messy, confusing aspects of your character's journey.

Avoid Stereotypes: While some common experiences exist in the queer community, try to avoid relying on stereotypes. Make your character unique and three-dimensional.

Consider Intersectionality: Your character's sexuality doesn't exist in a vacuum. Consider how it intersects with other aspects of her identity, such as race, class, or religion.

Show Growth: As your character becomes more aware of her sexuality, show how this knowledge impacts other areas of her life and relationships.

Be Patient: Writing about such personal topics can be emotionally demanding. Be patient with yourself and take breaks when needed.

Seek Feedback: If possible, get feedback from sensitivity readers or members of the LGBTQ+ community to ensure your portrayal is respectful and accurate.

Remember, your story has the power to touch lives, open minds, and maybe even help someone on their own journey of self-discovery. It's a beautiful responsibility, and I'm excited for you to embark on this writing adventure!

Keep writing, keep exploring, and most importantly, keep being true to your characters and your story. You've got this! 💖🌈✨

If you have any more questions or need further advice as you write, don't hesitate to reach out.

Happy writing!📝🎉- Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[tahbhie]

The 3-Scene Rule to Instantly Level Up Your Plot

Plotting your story but feel like it’s dragging its feet? Don’t sweat it! The 3-Scene Rule is here to save the day—and cut down those long hours of painful brainstorming. Think of these scenes as the ultimate power trio:

1. The Catalyst:

Boom! This is the moment where everything changes. Your characters' boring old lives? Gone. Welcome chaos, adventure, or a problem too juicy to ignore. Let this scene kick off your story with a bang. Ease your readers in with a compelling premise rooted in the main character's life. While keeping some secrets to unfold later, make every breadcrumb just as intriguing as the big reveal to come. Nail this, and your readers will be hooked.

2. The Turning Point:

Uh-oh, didn’t see that coming! That’s the exact goal here. This is where things get spicy—big choices, shocking revelations, or a shift that turns everything upside down. In every turning point, something must change. Whether it’s for better or worse is up to you. Just make sure the tension’s through the roof and the stakes even higher.

3. The Climax:

This is it—the grand finale, the fireworks, the big “OMG!” moment. It’s time to bring out all the juicy drama you’ve been saving. Tie up loose ends, connect every dot, and deliver the answers your readers have been dying for. Make it unforgettable with action, emotion, and twists that pack a punch.

There you have it! These three scenes will supercharge your plot, keeping readers glued to every page. So, what’s stopping you? Go on—start plotting, and own that story!

💜💜💜

Ready to make your story a masterpiece? Say hello to The Ultimate Plot Progression Printable Planner—your best mate for nailing those Catalyst, Turning Point, and Climax moments like a pro!

Packed with tools, tips, and tricks, it’s the cheat code you’ve been waiting for to keep your plot tighter than ever. Oh, and as a little bonus treat, grab your FREE exclusive prompt gift (featuring 40 different prompt ideas to create compelling plot scenes) when you snag the planner. Don’t wait—your next brilliant story is just a click away!

[kooki914]

I have been thinking about Ralsei a lot lately and I wonder if Ralsei is some sort of deconstruction of a Satellite Love Interest? He has a lot of traits that a traditional JRPG would give a female love interest: He's a healer, the most outwardly kind and compassionate member of the team and is very much concerned with the main hero's happiness. It would tie into his themes of identity because, outside of the prophecy, his life seems pretty vacant.

I agree with this! It's been one of my main forms of interpreting Ralsei's character since chapter 1, and it mostly revolves around the juxtaposition between his innocent-ish interactions with Kris, versus the ways he talks to Susie, Lancer, and about purpose.

On the one hand, when alone with Kris, he literally puts himself on a silver platter for them, allowing any kind of behavior and being personally invested in complimenting Kris for doing things he finds heroic. The setup seems to be that, all this time spent waiting for the prophecy, he's idealized Kris specifically because of the role they play in the story and on the team.

On the other hand, when talking about the purpose of darkners to Lancer, he never so much as glances at the possibility of personhood, instead emphasising servitude as the only desirable trait they could have in presence of lightners. This significantly sours the interactions he previously had with Kris, and while it's obvious he prefers them over Susie (at least in chapter 1) it puts into question WHAT it is that he prefers. Is he kind to them because he's a kind person? Or, is he kind because he sees Kris acting out their role obediently, and therefore acts out his role perfectly in return? A sort of premeditated dance of adoration that's facilitated by the lack of true free will in them both.

I love this kid he's so messed up.

[find-your-wings]

Guide to Olmia magazine- Moon Phases, Higum and Hium, Minkin, and Dolfolk!

These have been a ton of work but it's been fun to compile years of worldbuilding into some fun-to-look-at lore pages! Figured lore dumps might be easier to digest in magazine-like articles that cut a lot of the fat!

Most people probably won't read these so if you do, thank you lmao you're a real mvp

if you don't, hope you at least enjoy the doodles that go with them!

None of the concepts in these pages are set in stone! Many things may or may not change in the final version of FYW, and some things aren't super important. There's tons more pages I need to make, but I'm just posting these for now.~

[astral-field-guide]

Welcome to the Ecliptic Ring, where the Astrals reside (Fan-made astral world building)

The map you see above is an hour-long sketch of the Ecliptic Ring. Where most astrals reside. Each astral has their own floating island domain that acts as a sort of "state." These domains have varying geology, foliage, and civilizations, built around their astral leader.

Central city is where The Great Courthouse is located. I don't think I need to explain what it's for. Central city's population is a mish-mash of many different alien and astral species. It is extremely crowded for a city, due to the fact that one does not have to worship or prove loyalty to a court astral to live there. This can sometimes cause chaos or rebellious actions towards the astral rules, with the main example being "The Underbelly." A black market type place located within the abandoned mines under Central City.

Some observant eyes might have noticed how bare the map actually is. I have not explored every nook and cranny yet, not on foot, and neither in my mind. I invite you as we explore the Ecliptic Ring together, figuring out its mysteries and culture.

(If anything is too blurry or unclear to see, please tell me! I could make the font bigger or get better pictures!)

[mtjester]

FREE Fantasy Creative Writing Planning Guide

Do you want to write a fantasy story but don't know how to start? Have you already started a fantasy story but hit a snag in the plot?

Well, have I got a PDF for you! Take a look--it's free! ✨WOW✨

(Opens to Kofi--resource is pay what you want).

Okay, marketing aside, I've been sitting on this for a while now. I used to teach a high school class on fantasy literature, and I miss creating stuff for it. I have all these resources and knowledge, and I'm not doing ANYTHING with it. So, I figured I'd put some resources together and make them available to the vast audience of the Internet.

This is the first of the resources I'll be making. It's a 39 page PDF with fillable worksheets and examples, and I threw in a separate black-and-white document for easy printing. It guides users through some basic planning principles that can help any writer, from beginner to expert, get their plot together.

I hope to make more in the future covering character, plot, the Hero's Journey, rhetoric, and maybe even editing and feedback. It takes a while to make these, and some of the future documents may cost money because I'm ✨lacking funds✨ but I do hope to continue with them. I'll also make some resources for constructed languages eventually if that's anyone's cup of tea.

So far, feedback for this resource has been good! Share widely with anyone you know who may be sitting on a fantasy story that needs to see the light of day. Please comment with feedback (I'd love to hear about what you'd like to see in the future or how I can improve documents like these), and leave a tip if you'd like!

[inky-duchess]

Fantasy Guide to Early 20th Century Trains

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

Typical layout

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

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

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

Luggage Cars: Where large luggage would be stored.

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

Separation

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

Train and Station Staff

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

On the Train:

Drivers: These were the people who drove the train.

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

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

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

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

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

The Station:

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

Porters: Handled the luggage.

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

Parts of the train

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

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

Cars: The segments of the train.

Couplers: This is what connects the train cars together.

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

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

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

Freight Cars: Used for transporting goods.

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

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

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

[tdp-official]

An adventurer's guide to the pollution from the mutated biomes.

The pollution is the toxic byproduct that the AAM

(Advanced Accelerated Mycobacteria) releases after successfully eating and processing dangerous contaminants in the soil, air and water following the mass extinction event. The pollution is directly proportional to the AAM's presence, the more contaminants, the harder the AAM works, the higher the density of the pollution. While the pollution is dangerous and can be lethal in high doses, it is a much more beneficial way of dispersing the contaminants as the pollution quickly dissipates when released. Instead of lingering for hundreds or even thousands of years, the pollution disappears when the AAM dies or has no harmful contaminants to consume.

Due to how the AAM is engineered as a modified version of a tuberculosis bacteria, the pollution's effects are similar to the effects of the tuberculosis disease.

Victims of pollution poisoning may not experience all symptoms, but will exhibit at least 2. Symptom severity and the quantity largely depend on the overall health of the victim. You may also experience symptoms from previous levels along with symptoms of the current level. Exposure symptoms are more or less the same for all life forms with tissue lungs.Though, size does matter, as larger animals can withstand more and smaller animals less. *It is also important to understand that since the pollution impacts not just the air, but also water and soil. Drinking polluted water, growing crops. or even raising food animals in soil that has a pollution presence can cause adverse health effects. People who live in close proximity to the mutated biomes often have to worry about these symptoms and effects.*

[random-remzy]

*sobs in writers block*

I have 3 unifinished fanfics

a plan for a fanmade sequel to a book

and plans for 2 different novels.

But i have not gotten to any of them, because i know that i'm an idiot and am going to spend SO much time researching to get it accurate. and i know once i finish the research. everything will come together.

but the research man-

the research-

its so long and tiring :,)

[ink-drenched-cat]

"The Guiding Star" AU

Sky cotl - as I have written

World Building =

Temples

They are always located at the highest point in the land, or are otherwise the tallest structure, as it is believed that it brings them closer to the sky and thus to the Megabird. Usually they can serve multiple purposes such as a home for the Elders but also as a final resting place and ascension chamber for passing spirits.

Rite of Passage

A ritual for rebirth or coming of age ceremony. In sky it is usually used in two ways. First it is usually celebrated on specific birthdays when the person reaches a new state of life, also called the masking ceremony as they gain a new mask each time. This custom is done at the ages of: 10, 20, 40, 60 and in death.

The second way is, as previously stated in death, as they are adorned in robes, a special masks and gifts from family members, before they are burned. That’s done in the belief that fire sets the spirit free and cleanses it from all accumulated darkness.

Megabird/ Chet

The deity of light and soul. Each string of light that makes up it's body, is connected to a world by their tear (the prince/king) and let's the cycle of birth and death happen. Without it, the cycle would halt and —as seen in sky— the spirits would be stranded on their world, neither truly dead nor alive. To restart this cycle, until the old tear fades and a new one can be send down, their feathers (the skykids) do the job manually by collecting the souls and bringing them to the connection point.

The Light

The soul, life and core that can be found in everything. Dark beings hold no such light and thus have to leech it off of others and gnaw on passing souls to stay alive.

The Flame

The power and will of every being. It manifests as personality, creativity or even cosmetics.

Obsidian

A stone made from pure darkness and a direct by product of the light that flooded the land. Thus it does not react to the flame — like dark stone does — but rather the light itself. The King had bestowed the Elders with shards of this stone, that granted them special abilities such as immortality. However, these shards became their downfall when the heart / light crystal exploded.

They reacted and absorbed the accumulated darkness that had Overwhelmed the heart from within and thus instantly destroyed the physical forms of the elders. However, as they could not be killed, their souls landed in limbo and were since unable to reconnect with their flame and thus their will and duty.

Darkstone

A natural stone / crystal that grows in dark places such as caves and mines or where light creatures have died . The stone reacts to flame and absorbs it, turning its raw power into controlled energy. Due to this, it can give other objects that do not have light, the ability to fly or other interesting uses. Dark stones thus come in two types, the conduct that is made from naturally grown crystal or the batterie/ spells that are made from crushed light creatures/ their bones and lightblood or other natural materials such as wood.

The Elders

Immortal Demigods that watch over their own constellations and posses both dragon flames and obsidian shards. The Constellations give them the ability to return to the world with their memories intact. The Dragon flames grant them power over the elements and powerful magic. The Obsidian shards grant them immortality.

Edens crystal

The crystallised power and heart of the King. It absorbs the darkness of the passed on souls, even those that had not been burned at the burial and leads them straight to the megabird.

Time

A timeloop created by the elders power whose eternal sleep has caused the day to stop at their favourite time. Said power is a by product of the obsidians power to "freeze time". However only the daytime/ weather is affected, everything else keeps on aging and changing. Areas beyond the elders domain continue changing as usual.

The dragons

The four Elemental dragons exist in every world for the same purpose. To await the tear chosen by the megabird and test if they are strong enough to uphold the connection and are worthy of their flames. Such events however happen very rarely and while the dragons slumber and dream of the future, their guardian tends to their cave and trials, and records the whispered prophecies until the day they wake again.

The Krill

Creatures born after the second Cataclysm. They are a mix of bones, sludge and the bodies of the dead. Some say that there are more than one kind. Some even older that rose from the depths of the ocean, though none have ever lived to prove their existence.

Constellations

Like the nations of our world, the spirits have sworn themselves to different Constellations and follow their path on their travels diligently. If the spirit guide fades or dies, their constellation disperses and leaves the affiliated spirits to wander until they reach or form a new one. Just like the saying of the Northern star, they too follow the sheperds staff to find the mysterious Kingdom in the clouds and explore it's secrets.

Whisperers

These are special spirits that have in their life time been very closely affiliated with light creatures and have tended to their Sanctuaries their whole life. Due to this, they not only have adapted some mannerisms and features of their creatures, but also retained their voice even after death.

Flight/ transportation

An ability given through light. Spirits could also use their inner light to fly freely though it was best to wear a cape while doing so, as to not loose control so easily when airborne. After the introduction of the darkstone and the usage of flying boats, it was generally seen as crude when spirits flied themselves as only champions or travellers did so. Other transportation methods also involved tamed light creatures.

Nature

After the connection happened and light flooded the land, it transformed nature and turned clouds almost solid. That way they keep the islands afloat by their natural light. Plants were also changed as seen in woods and forests. The trees stopped growing leaves and instead created thin white leaf like objects that stuck to one another if they were close enough and would form, after enough time, new clouds. If the trees were apart far enough, the clouds would rip themselves off of the branches and fly away; if not, they would stick to other trees and create pocket clouds in which those forests were hidden. The trees also had a unique ability, as they could absorb the filth from the earth, push it through the cloud leaves and let it down again in the form of rain. If there was too much death however, they would not be able to cleanse it fully and let rain fall that drained the light of all creatures.

The old world

Barely anything is known about the world before the first Cataclysm, but some say that there are still a few places that preserved until this day.

The sea

Broad and vast, it encompasses almost all of the Planets surface and hides old ruins and secrets underneath.

The Leviathan

Hypothesised to be a form of ancient Krill, that got corrupted after much of the sludge and filth from the darkstone production was dropped into the ocean and sunk into the depths. Researchers had discovered it hibernating after setting up a mining facility nearby and studied the life cycles of light creatures and their uses while still alive, such as the ability to make water breathable.

The Bells

Like a beacon, the ringing of the bells would draw the spirits near and guide them to the holy mountain. This was done everything a funeral was held though it was also used for communication.

Spirits

Their bodies had long since turned to stone and rot and their spirit trapped within the oily confines of plants, blind to the world and unmoving. Their eyes could only see light filled things and their calls functioned like echolocation. To free a spirit and reawaken them through flame, they had to first relieve their most important memory, before burning the body like it was intended to cleanse it from the rot.

To help a spirit further, one could go out and find their treasured items and bring them back to their grave until they are ready to pass on in peace.

The oily sludge

Industrial left over sludge that has been dumped into the outskirts of the city and sea without a care. Sludge within the city is a result of mass deaths and lack of purging.

The oily plants

Maybe like rot and mold, they grow upon corrupted biological matter and constantly resurface where the darkness hasn't been purged. The flames appear as a result of the industrial sludge and oil clinging to it.

Colored lights

Pure light is always golden, but if one breaks it apart, it reveals a multitude of colors and uses, hence the creation of magic spells. Some spirits have managed to break their light into fractions and use the power accordingly, or create new light and flames from the world around them by mixing it with alchemy.

Light generator

An old colloseum for sport festivals and more. It's special structures continously rotate to keep the wind going and give the contestants an easier time in the air.

Gates/ portals

Special doorways that lead to the Realms on by one. No one knows where they came from, only that they've always been here ever since the children arrived.

Winged light

Feathers of the mega bird that did not manage to form a hybrid body and thus remain as drops of power rooted in place. Can be collected only by fellow feather (sky kids)

Memory lanterns

Lanterns into which the memories of the deceased have been carved into. If lit up, they throw the memories like a projection onto the wall, much like those paper lanterns.

-> will probably add more in the future

[heepthecheep]

A brief word on creating fictional infections

***This is a tool for writing and not intended as a diagnostic guide. If you have questions regarding your own health, please contact a physician or other medical professional (and not a random lab tech on Tumblr)

A basic rundown of infections and the immune system

-infections are caused by a foreign organism: bacteria, fungi, viruses, parasites like helminth worms and flukes and prions

-These infectious agents require a revisor, that being a place where the organism goes through its life cycle. Often, it does this while actively infecting the host, but not always.

-infections are spread through bodily fluid and waste (Blood, pus/exudate, urine, seminal fluids, etc). Typically, the infectious material has to come in contact with broken/open skin, mucus membranes or be brought into the body via ingestion. Some infections are known to travel between mother and child during gestation; others can enter the body unintentionally during blood transfusions or organ transplants

-infectious agents can contaminate the environment. For example, water can become contaminated from feces, someone can leave their germs behind on a doorknob (in which case, the doorknob is considered a fomite), a sick person creates airborne aerosols when they sneeze, etc

-infectious agents may also be found in nature

-some infections are spread by a vector, which is pretty much any living thing that can spread said infection. For example, mosquitos are known to transmit West Nile virus and Malaria, raccoons can carry rabies

-infants, children, the elderly, the immunosuppressed, pregnant women and the chronically ill are more susceptible to infection

-symptoms are not going to be present immediately after contact with a sick person. The amount of time it takes for symptoms to occur varies based on the infection

-the immune system essentially works by identifying the self and the non-self. When a non-self thing is detected, the immune system mounts a response (what that will look like varies)

-Most vaccines introduce a either a dead, weakened or otherwise altered form of a bacteria or virus to the immune system. The immune system learns what this new foreign thing is, and will produce a defense against it (these are called antibodies). When the immune system encounters this bacteria/virus again, it already knows how to make the specific antibodies needed to fight the invader, and thus fights off the infection

-vaccines don't work instantaneously.

-shots that are given as a treatment (ie. Rabies, Tetanus) almost always have to be given before symptoms start

-the immune system can become impaired from certain conditions, drugs and illnesses. It can also suffer if the bone marrow is failing to produce white blood cells in the needed quantities

-antibiotics treat bacterial infections, antivirals are for viral infections, I'm sure you can figure out what antifungals and antiparasitic drugs do

-other drugs focus on the management of symptoms of a disease. For example, DayQuil isn't curing your cold, it's making the symptoms more manageable

What to consider when writing

-do your own research! Please! It will help you so much!

-you should have an idea of what is causing an infection, even if your characters never do. This will help you create a more believable and consistent plot point

-consider who the infection will affect and why. For example, if a bacteria comes from sheep, farmers and Shepards, and their families and workers are more likely to be at risk than someone who works in a factory or something. Looking at real epidemiological cases can help you figure this out

-symptoms are important, but not everyone will exhibit every symptom. what an infection will look like will vary by person based on a lot of different factors. A good real life example of this is polio: ~75% of infections are symptomless, sometimes it causes mild, flu-like symptoms and sometimes it causes severe paralysis.

- consider your setting's level of scientific understanding, and how much access they have to sanitation, medicine and healthcare.

-while quack medicine has always been a thing, not all historical treatments are quackery. Research why people used certain practices and whether or not they worked before writing anything historical off as fake. For example, plague doctor outfits are rudimentary PPE

- Understand that people in the past weren't stupid, but rather for most of history the microscopic causes of infections haven't been understood at all. People have also been despite, and willing to try things that would seem crazy to us.

-infections often have a common/'folk' name, a medical name and a scientific name. (Ie. Leprosy/Hansen's Disease/Mycobacterium leprae). Most people are going to call a disease by it's common/folk name, but this can differ by place/language

-Modern diagnoses are going to be identified and/or confirmed with some sort of testing, even if it's just to rule out the presence of another organisms. (ie. Sore throat? The Dr should take a swab for Strep, COVID and sometimes mono, and sees what comes back, rather than instantly prescribing antibiotics)**

-the largest pandemics in history have been massively debilitating to the countries they affected, and have often brought about large political, cultural and social changes. Basically, your world shouldn't be able to brush off something like the black death in Europe, or smallpox in the Americas.

-some infections can have lingering effects in those who got them, especially if they didn't receive medical care.

-not a hard and fast rule by any means, but typically the milder an infection, the more people are able to spread it to others. A person can have a cold and still go to work and interact with others, rather than being bedbound or in the hospital.

-some people will be resistant to certain infections even if they never received a vaccine. Either because they've had the illness before, their immune system has become sensitized to something similar, or they have some inherent trait that makes them resistant (ie. Some populations of Africans have a resistance to malaria, due to the presence of sickle cells. Not an immunity, a resistance)

*prions aren't organisms, they're infectious proteins. But that's way too complicated to get into here. Viruses are also technically not organisms, but my point still stands

**There are some infections that lack commercial available methods of detection, or the testing is so cost and/or time intensive that they can't be beneficial to the patient. Generally, there will be some sort of system in place to deduce what is ailing a patient in these cases. (Symptoms + response to different types of treatment + personal history is often used).

[lagnya]

Hello! I've been writing a slow-burn HDG fic about a young inexperienced Affini and a hyper-sexual egg of a pilot. There's currently 14 chapters out right now and here's a link if you're interested! I upload a new chapter every Saturday, and act 1 just concluded so now's a perfect time to start reading.

[fictionwriterthingss]

So you want to write a deaf/HoH character

Photo © Durgesh Kumar, all rights reserved

Admittedly, this isn’t something I’ve done myself. I’ve never written a deaf or hard of hearing character, but I’ve had people ask in a Discord server I’m in “hey, does anyone have any resources on how to write a character that is deaf or hard of hearing?” and I took the chance to find some resources for them – ones that turned out to be pretty valuable, and that I want to share here. 

I love when people include disabilities in their writing, whether visible or invisible. To me, it makes the characters feel more alive and adds another layer of depth to who they are as a person, even though they’re… not real. Adding that aspect to characters gives something for a group of readers to relate to, and can help them feel seen where they might not be seen otherwise. 

It can be difficult to write about a disability that you yourself have never experienced, and with the fact that you haven’t experienced said disability is something that can lead to stigmas and stereotypes that aren’t necessarily accurate, especially if you’ve only viewed what outside media has shown you, or what you’ve observed in public settings. Research is so important for topics like this, especially to find resources from people who do experience it on a daily basis, whether it’s something that has developed over time, or something that they were born with.

Without further ado, the resources I’ve discovered.

https://www.tfrohock.com/blog/2016/9/12/writing-deaf-characters - this blog by T. Frohock is very to the point. She begins by saying she doesn’t normally write “how-to’s”, but this one is an exception, and works to provide her own experiences, open about the fact she uses a cochlear implant to hear those around her – or not hear, if she chooses to “turn you off” in her “about” on her blog. She gives a short overview of types of hearing loss, and communication, and also recommends reaching out to an audiologist to learn more about the types of hearing loss. She also gives two links to .org websites if you’re looking for sources. She’s also written two companion pieces to this initial post. The first one is for hearing authors, and the second is about sensitivity readers. I’ve linked both of these in this section, so check them out as well if you’d like a more in-depth look at T. Frohock’s advice.

https://www.sfwa.org/2021/03/23/how-to-write-deaf-or-hard-of-hearing-characters/ - this post by Melanie Ashford on the sfwa website gives a good guide on how to approach deaf/hoh characters. Melanie herself is a hard of hearing author, so her advice is profound and solid, as she is a primary source on how to approach writing these characters. She makes a point in her introduction to say she’s been using hearing aids for 4 years (at the time of posting the article in 2021) and reminds the reader that everyone experiences hearing loss differently, and has different feelings about auditory assistance devices, such as the cochlear implants and how many people in the Deaf community believe them to be controversial and unwanted. She references the social stigma surrounding the Deaf community, and also reminds the reader that deaf characters should be just as well rounded as hearing ones. Though her article isn’t in depth, it’s a great guideline to follow.

https://www.tumblr.com/concerningwolves/168567651639/writing-deaf-characters-speech-is-speech - tumblr user concerningwolves posted this in 2017, and with more than 19,000 likes and nearly 14,000 reblogs, it’s a valuable resource for those who want to write HoH characters. Though a tad aggressive, concerningwolves makes it a point to be, well, to the point and separates their post into two separate posts. I’ve yet to find the second one, and honestly, digging through 7 years of blog posts to find the second one is a little overwhelming, but even this one post is a goldmine of do’s and don’t’s for this particular community.

https://deafaq.tumblr.com/post/190549529559/comprehensive-guide-to-writing-deaf-characters - deafaq on tumblr has a comprehensive guide to writing deaf/HoH characters. This blog in itself is not meant to be for writing help, but they had gotten enough questions about it to make this post back in 2020. Compared to concerningwolves’s tumblr post, this one has less than 2,000 likes but is still full of good and valuable information for the reader.