#writing guide

[cripplecharacters]

Where to Start Your Research When Writing a Disabled Character

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

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

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

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

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

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

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

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

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

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

Here are some ideas for a character using crutches.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I hope that this post is helpful!

Mod Sasza

[inky-duchess]

Fantasy Guide to Creating Your Own Language

When writer's set out to world-build, language has a huge role in creating new cultures and lending a sense of realism to your efforts. A world and people just feel more real when language is involved. As the old Irish proverb says "tír gan teanga, tír gan anam”. A country without a language, is a country without a soul. So how can we create one?

Do Your Homework

First things off, you should start by studying languages. Nobody is asking you to get fluent but it's important to understand the basic mechanics of language. You will start to see certain tricks to language, how verbs are conjugated and how gender effects certain words. It will be easier to make up your own when you know these tricks. For example, in Irish one doesn't scold but "gives out to" - "a thabhairt amach". In German, numbers are arranged differently to the English with the smallest digit arranged before the tens for example 21 - Einsundzwanzig. By immersing yourself in an array of different languages (I recommend finding ones close to how you want your language to sound), you can gain the tools necessary for creating a believable language.

Keep it Simple

Nobody expects you to pull a Tolkien or channel the powers of David J. Peterson (hail bisa vala). You're not writing a dictionary of your con-lang. You will probably use only a handful of words in your story. Don't over complicate things. A reader will not be fluent in your con-lang and if they have to continually search for the meaning of words they will likely loose patience.

Start Small

When you're learning a language, you always start with the basics. You do the exact same when writing one. Start with introductions, the names of simple objects, simple verbs (to be, to do, to have for example) and most importantly your pronouns (you will use these more than any other word, which is why I always start with them). Simple everyday phrases should always be taken care of first. Build your foundation and work your way up, this is a marathon not a race.

Music to the Ears

If your creating a new language, you're more than likely doing it phonetically. Sound is important to language and especially a con-lang because you want to trick your reader into thinking of a real language when reading the words on the page. I suggest sitting down and actually speak your words aloud, get the feel of them on the tongue to work out the spelling. Spellings shouldn't be too complicated, as I said before the readers aren't fluent and you want to make it easier for them to try it out themselves.

Also when you're creating the con-lang, it's important to figure out how it sounds to an unsuspecting ear. If a character is walking down a street and hears a conversation in a strange language, they will likely describe to the reader what it sounds like. It might be guttural or soft, it might be bursque or flowery. It's always interesting to compare how different languages flow in the ear.

Writing in Your Language

Now that you've written your language and created some words, you will want to incoperate them into your story. The way most writers do this is by italicising them. As a reader, I generally prefer authors not to go too overboard with their con-lang. Swathes of con-lang words might intrigue a reader but it can leave them confused as well. It is better to feed con-lang to your readers bit by bit. In most published works writer's tend to use words here and there but there are few whole sentences. For example in A Game Of Thrones by George RR Martin, has actually only a handful of short sentences in Dothraki despite the language being prevalent throughout the book. Daenerys Targaryen pronounces that "Khalakka dothrae mr’anha!"/"A prince rides inside me!" and it's one of the only sentence we actually see in actual Dothraki.

There's also nothing stopping you from just saying a language has been spoken. If you're not comfortable writing out the words, then don't make yourself. A simple dialogue tag can do the trick just fine.

Know your Words

I do recommend keeping an actual record of your words. Make a dictionary if you want or a simple list of words you need. This is one of the most entertaining aspects of world building, have fun with it, go mad if you like. Also here's a short list of questions you can ask yourself about language in general which might help your juices flow.

[fernshawart]

How to write a cane user character

(Written by a cane user)

A few months ago, I wrote a small guide on good disabled characters and why they were good that gathered quite the attention, and I thought that doing another more specific guide this time would be interesting for writers or just people that are curious ! This guide will include general informations, some things to do, some things to avoid and some ideas that might revolve cane users's lives.

Things to know about cane users

Cane users are pretty diverse, and putting us in little boxes usually isn't the best idea if you want to make a character that has substance and isn't just "the disabled one". Here some infos about cane users that might be helpful knowledge !

Canes don't have ages. Most cane users in media are portrayed to be old, but truly, anyone can have the need to wield a cane ! I've been using mine ever since I was 17.

Can users can have a large variety of problems for their canes. Some canes are used to avoid pain from effort. Some canes are used for balance purposes. Some canes are to make walking less exhausting (works the same as walking sticks !) And sometimes, it's multiple problems at once.

Not everyone needs their cane 24/7. Some always need it, some can make small efforts without it but overall often need it, and some people, like me, can spend quite a lot of time without it. I almost never use my cane in my house, and mostly take it outside !

People with canes can run. We're not necessarily slow, I'm even faster than a lot of my friends.

Not using a cane can come with consequences, but not always. Some people might be able to walk without a cane but then suffer horrible consequences, but for others, canes are just a commodity for specific occasions.

Canes don't have to be looked down upon. Look at some characters with canes that look cool as hell ! Arsène Lupin, Roguefort Cookie, Brook ... Their canes serve their style !

We can be pretty healthy. Some people can have canes just because they were born with a bent leg and that's it. Our cane doesn't define our health status.

Canes aren't a curse. Think of them as something positive. It's a tool to make our lives better. You don't see someone sitting on a chair and think "awh, it's sad that they need a chair". It's more something like "hey it's cool that this chair is here so they can sit down"

Things to do

Make them use their cane. And when I mean use, I mean that canes are just funky long sticks usually made out of metal. Have fun with it ! Let them use it as a weapon ! Trust me, one hit in the knees with a cane and you're DOWN. Use it to reach stuff that's too high for everyone ! Have fun. Be creative.

Let them decorate their cane. It's an extension of their body ! You usually put on clothes that you like, don't you ? It's the same for a cane. If they like cutesy stuff, let them paint in it pastel colors ! If they like a more flashy style, add some stickers on it ! If they're a fancy person, give them a beautiful crafted cane with jewels on it !

You can make them a little shy or uneasy about their cane. Some people don't feel worthy of confident enough to wield one. It's not rare to see people think they're "not disabled enough to do so"

But on the other hand, you can do the complete opposite !! Make them proud of that cane ! Make them act like they're feeling pretty and more confident with it ! One thing i like to think about with my own cane is that I look like a cool gentleman. That boosted my confidence immensely.

Things to avoid

Don't make it their whole world. And by that, I do not mean that their cane shouldn't be a defining trait of their personality. Think of Toph from ATLA. She is blind, and you usually can't think of her character without describing her as blind. However, that isn't her entire personality trait. Make cane users have a goal in life, friends who enjoy them for who they are and not just pity them, have fun ... Don't just make them the disabled one.

Don't try to make the character's life just a plain disaster unless it's the focus of your story and you really know what you're talking about. Having a character who's always in pain, who feels bad about relying on their cane and/or who's angry at the entire world for being disabled is a REALLY tricky subject to use if you don't want them to be either a mass of unhappiness and angst for no good reason or some inspirational porn of the character who inside is deeply tortured but outside keeps up a facade because they shouldn't cry to avoid making others uneasy.

Do not, and I repeat, do NOT try to heal them, especially in a magical way. Bad idea. A lot of disabled people's goal isn't to be healed. It's to live a normal life. Making it so the ultimate goal for them is to be healed makes it as if they were worthless as long as they were disabled. Making their situation better physically or mentally is one thing. Curing them completely is really bad. "But some disabled folks want to be cured !" True, true. But if you are able bodied, I'm not sure if you can have the right mind to understand all of the complex details about this situation that leads to someone's life choices and the end result may look like you think the only thing that can make disabled people happy is being freed from their condition. I think it's best to just avoid it altogether. If you need a more nuanced idea, try to give them a solution that still has a few downs ! For exemple, a prosthetic that feels like a real arm, acts like a real arm and basically replaces it perfectly is a full cure. But a prosthetic that takes time to adjust to, needs repairs sometimes and doesn't look 100% like an arm can be a better narrative choice

Smaller thing, but don't make the handle uneasy to wield if you draw the character design. You can decorate most of the cane, but if you have chunky spiky decorations on the place you're supposed to clench your hand over, you're gonna hurt yourself. I've seen quite a lot of jewel handles or sculpted metal handles and usually their not good. If it's detailed metal, your hand will end up cramped in little parts and it can hurt. If it's a jewel, it's so easy for it to slip out of your hand it's unpractical.

List of tropes/ideas of scenes/details about canes to help you write new situations !

If you walk with a cane during winter, you can't put your hand in your jacket to get warm and there's a high chance your hand will get freezing. So after a long walk, you get an excuse for another character to hold their hand and warm them up.

If the handle is metallic, you get the opposite problem during summer. You can burn yourself so easy ! Easy accident if you want someone to help and get closer to the disabled person without it necessarily involving their disability.

Canes are SUPER useful when you're walking upon heights. They make things really easy, just like hiking poles on mountains ! I live on volcanoes and whenever we clim on a harsh slope, I'm always the first to get up there. Good moment for your character to get a boost of confidence if they get all the way up somewhere before their friends !

The first time using your cane feels magical. If you have chronic pains, it makes you feel like your pain disapear. If you can't walk right, it feels like everything is suddenly alright. The moment where a character chooses to wield a cane can be huge for character development. It's a moment of fear because of the impact a cane has on their appearance, but also a moment of confidence and relief.

Canes fall. All the time. And after a while, it becomes fucking comical. Trust me, putting a cane against the wall, seeing it fall and doing it three times again in a row while it doesn't want to stay up makes you embarrassed but also makes you want to laugh because of how stupid it looks.

When you get a cane, you stop being invisible. When you walk outside, generally speaking, people don't look at you. They don't care about you. But when you get a cane, people start to stare at you for no other reasons that you have a cane. Half of them are just curious, especially if you're young. The other half has a very specific look. The "oh, you poor thing" look. Which is, trust me, particularly awful to get, especially when you're just existing and doing nothing special. How does your character react to this ? How do they feel about it ?

I believe that is all I had in mind. I may add some more details in the future if I get other ideas, but this should already be a good start. I would be thrilled to answer questions if you have some, either in my askbox or through DMs.

I will tag this post with characters holding canes that aren't necessarily considered cane users but that some people may be interested in writing as such. Feel free to tell me if you'd like to see tags being added !

Edit : I'm highly encouraging everyone to look at the tag section under this post where a lot of other can users are sharing their experiences !!

[eiraeths]

ear’s guide to writing stab wounds

disclaimer!!!: this isn’t to be used as actual medical advice there isn’t enough information at hand to properly treat someone, this is just for writing.

hemostatic (blood clotting) control is the number one priority. minor bleeding can be controlled with direct pressure to the wound. moderate bleeding may require a compression bandage as well as direct pressure. severe penetrating wounds or a nicked artery means wound packing will be necessary as well as direct pressure.

types of stab wounds:

- blunt stab wound means whatever object caused the trauma wasn’t sharp or wasn’t moving fast enough so the skin tears.

- penetrating stab wounds go deep into the skin and into the muscle.

- superficial stab wounds don’t go too far under the skin and look worse than they actually are.

steps to treatment:

1. if the object is still inside the person’s body do not remove it unless it’s to the groin, neck, or axillae (armpit) and the bleeding is hard to control.

2. remove person’s clothes to check for any other wounds and keep the area clear.

3. keep an eye on blood pressure and airway.

4. the wound type and location changes how the rest of treatment will follow.

location:

head: direct pressure is mainstay. head wounds also bleed more than any other part of the body. has the highest mortality rate.

face: severe wounds to the face means the patient has to be seated forward to keep blood out of the airway.

neck: direct pressure is mainstay. if the airway can be secured and is absolutely necessary, wound packing can be applied.

arms: depending on the severity, any of the three treatments can be used.

legs: depending on the severity, any of the three treatments can be used.

abdomen: damage to organs is highly likely. direct pressure should be applied first while surveying if the object was long enough to damage an organ. if so, wound packing may be necessary.

chest: if the wound is deep enough it can cause open pneumothorax (‘sucking’ chest wound) a seal needs to be placed over the wound to keep air from getting inside. if this isn’t done in time the affected lung will collapse.

back: can typically be treated with only direct pressure. wound packing is rarely necessary.

neck, chest, abdomen, and pelvis wounds should never be packed unless absolutely necessary.

treatment types:

direct pressure: key to any wound. can be done with whatever is available even if that means the medic needs to use their own body weight.

tourniquets: applied to the limbs. typically not applied for more than thirty minutes. in some cases, they can be left on for hours, keeping the phrase “life over limb” in mind. complications with tourniquets like nerve damage or ischemia (no blood circulation) are rare. don’t apply over a joint and apply above the wound.

wound packing: done with standard gauze and or hemostatic dressing

wound packing steps:

1. control the bleeding with pressure. use anything available even if it means t shirts or a knee.

2. place a gloved finger inside the wound too apply initial pressure. this will hurt like a bitch. also gives you an idea of what direction the blood is coming from so gauze can be used more accurately.

3. begin packing the wound with gauze. keep pressure on the wound with finger while wrapping gauze around another finger and pushing it in the wound.

4. keep packing the wound until no more gauze can fit in, and then keep direct pressure on for at least three minutes.

5. after the three minutes, use something like a bandage wrap to keep the gauze secure inside the wound.

6. splinting the area to keep it immobilized may be vital to keep the hemorrhage from restarting

7. if bleeding continues medic has to decide if they need to take out gauze and reapply with new gauze or apply more direct pressure. this is usually done by how long it takes to get to further treatment. the longer the wait the more of an incentive it becomes to repack the wound. if it’s just down the road then apply pressure.

most likely complications:

hypoxia, shock, and hypothermia are complications that need to be watched for and treated immediately if they occur.

hypoxia:

occurs when a region of the body doesn’t have enough oxygen in the tissue. can lead to organ damage, brain and heart damage being the most dangerous.

symptoms include: tachycardia (rapid heart rate), difficulty breathing, confusion, shortness of breath, anxiety, headache, and restlessness.

severe symptoms include: bradycardia (slow heart rate), extreme restlessness, and cyanosis (blue or purple tint to skin).

treatment: oxygen

shock:

life threatening condition where the body doesn’t have enough blood volume to circulate through itself. if it goes on for long enough, organ damage and death may occur.

symptoms: rapid, slow, or absent pulse, heart palpitations, rapid shallow breathing, lightheadedness, cold clammy skin, dilated pupils, chest pain, nausea, unfocused eyes, confusion, anxiety, and loss of consciousness.

treatment: if they’re not breathing, cpr is required. if they are breathing, lay on back and raise feet a foot off the ground to keep blood in the vital organs.

blood transfusion and fluids once in a hospital setting.

hypothermia: occurs when the body is losing heat quicker than it can produce. the more blood that’s lost the more likely hypothermia is to occur.

symptoms: differ based on severity

hypothermia:

in mild hypothermia: shivering, exhaustion, clumsiness, sleepiness, weak pulse, tachycardia (rapid heart rate), tachypnea (rapid breathing), pale skin, confusion, and trouble speaking.

in moderate hypothermia: bradycardia (slow heart rate), bradypnea (slow breathing), slurred speech, decline in mental function, shivering slows down, hallucinations, cyanosis (blue or purple tint to skin), muscle stiffness, dilated pupils, irregular heart rate, hypotension (decreased blood pressure), and loss of consciousness.

in severe hypothermia: shivering stops, hypotension (low blood pressure), absence of reflexes, compete muscle stiffness, fluid builds up in lungs, loss of voluntary motion, cardiac arrest (heart stops beating), coma, and death.

treatment: covering with a blanket, hat, and jacket, adding external heat like a hot pack, and if severe and in a hospital setting, warm fluids via iv, warm oxygen, and or a machine to warm the blood in the body.

if you have any questions feel free to ask! i plan on making a guide to gunshot wounds and a more in depth guide to hypothermia later.

[ask-the-prose]

Do Your Research

This phrase is regularly thrown around writeblr and for good reason. It's important to research what you are writing about to know what to include, what can be fudged, and how to depict whatever you're writing. I see "do your research" most thrown around by well-meaning and highly traditionally educated writers. It's solid advice, after all!

But how do you research?

For those writers who don't already have the research skills necessary to write something comfortably already downloaded into your brain, I put this guide together for you.

Where do I even start?

It's a daunting task, research. But the best place to start is with the most basic, stupidest question you can think of. I'm going to talk about something that I already know a lot about: fighting.

When researching fight scenes, a great way to start is to look up what different weapons are. There are tons out there! So ask the stupid questions. What is a sword? What is a gun? How heavy are they?

Google and Wikipedia can help you a lot with these basic-level questions. They aren't great sources for academic articles, but remember, this is fiction. It doesn't need to be perfect, and it doesn't need to be 100% accurate if you don't want it to be. But knowing what is true to life will help you write well. Just like knowing the rules of writing will help you break them.

You may find in your basic research sweep that you have a lot more specific questions. Write them all down. It doesn't matter if they seem obvious. Write them down because they will be useful later.

How To Use Wikipedia Correctly

Wikipedia is a testament to cooperative human knowledge. It's also easy to edit by anonymous users, which means there is a lot of room for inaccuracies and misleading information. Wikipedia is usually pretty good about flagging when a source is needed or when misleading language is obvious, but Wikipedia itself isn't always the most accurate or in-depth source.

Wikipedia is, however, an excellent collection of sources. When I'm researching a subject that I know nothing about, say Norse mythology, a good starting point is the Wikipedia page for Odin. You'll get a little background on Odin's name and Germanic roots, a little backstory on some of the stories, where they appear, and how they are told.

When you read one of the sentences, and it sparks a new question, write the question down, and then click on the superscript number. This will take you directly to the linked source for the stated fact. Click through to that source. Now you have the source where the claim was made. This source may not be a primary source, but a secondary source can still lead you to new discoveries and details that will help you.

By "source-hopping," you can find your way across the internet to different pieces of information more reliably. This information may repeat itself, but you will also find new sources and new avenues of information that can be just as useful.

You mean I don't need a library?

Use your library. Libraries in many parts of the US are free to join, and they have a wealth of information that can be easily downloaded online or accessed via hardcopy books.

You don't, however, need to read every source in the library for any given topic, and you certainly don't need to read the whole book. Academic books are different from fiction. Often their chapters are divided by topic and concept and not by chronological events like a history textbook.

For example, one of my favorite academic books about legislative policy and how policy is passed in the US, by John Kingdon, discusses multiple concepts. These concepts build off one another, but ultimately if you want to know about one specific concept, you can skip to that chapter. This is common in sociological academic books as well.

Going off of my Norse Mythology example in the last section, a book detailing the Norse deities and the stories connected to them will include chapters on each member of the major pantheon. But if I only care about Odin, I can focus on just the chapters about Odin.

Academic Articles and How To Read Them

I know you all know how to read. But learning how to read academic articles and books is a skill unto itself. It's one I didn't quite fully grasp until grad school. Learn to skim. When looking at articles published in journals that include original research, they tend to follow a set structure, and the order in which you read them is not obvious. At all.

Start with the abstract. This is a summary of the paper that will include, in about half a page to a page, the research question, hypothesis, methods/analysis, and conclusions. This abstract will help you determine if the answer to your question is even in this article. Are they asking the right question?

Next, read the research question and hypothesis. The hypothesis will include details about the theory and why the researcher thinks what they think. The literature review will go into much more depth about theories, what other people have done and said, and how that ties into the research of the present article. You don't need to read that just yet.

Skim the methods and analysis section. Look at every data table and graph included and try to find patterns yourself. You don't need to read every word of this section, especially if you don't understand a lot of the words and jargon used. Some key points to consider are: qualitative vs. quantitative data, sample size, confounding factors, and results.

(Some definitions for those of you who are unfamiliar with these terms. Qualitative data is data that cannot be quantified into a number. These are usually stories and anecdotes. Quantitative data is data that can be transferred into a numerical representation. You can't graph qualitative data (directly), but you can graph quantitative data. Sample size is the number of people or things counted (n when used in academic articles). Your sample size can indicate how generalizable your conclusions are. So pay attention. Did the author interview 300 subjects? Or 30? There will be a difference. A confounding factor is a factor that may affect the working theory. An example of a theory would be "increasing LGBTQ resources in a neighborhood would decrease LGBTQ hate crimes in that area." A confounding factor would be "increased reporting of hate crimes in the area." The theory, including the confounding factor, would look like "increasing LGBTQ resources in a neighborhood would increase the reporting of hate crimes in the area, which increases the number of hate crimes measured in that area." The confounding factor changes the outcome because it is a factor not considered in the original theory. When looking at research, see if you can think of anything that may change the theory based on how that factor interacts with the broader concept. Finally, the results are different from the conclusions. The results tell you what the methods spit out. Analysis tells you what the results say, and conclusions tell you what generalizations can be made based on the analysis.)

Next, read the conclusion section. This section will tell you what general conclusions can be made from the information found in the paper. This will tell you what the author found in their research.

Finally, once you've done all that, go back to the literature review section. You don't have to read it necessarily, but reading it will give you an idea of what is in each sourced paper. Take note of the authors and papers sourced in the literature review and repeat the process on those papers. You will get a wide variety of expert opinions on whatever concept or niche you're researching.

Starting to notice a pattern?

My research methods may not necessarily work for everybody, but they are pretty standard practice. You may notice that throughout this guide, I've told you to "source-hop" or follow the sources cited in whatever source you find first. This is incredibly important. You need to know who people are citing when they make claims.

This guide focused on secondary sources for most of the guide. Primary sources are slightly different. Primary sources require understanding the person who created the source, who they were, and their motivations. You also may need to do a little digging into what certain words or phrases meant at the time it was written based on what you are researching. The Prose Edda, for example, is a telling of the Norse mythology stories written by an Icelandic historian in the 13th century. If you do not speak the language spoken in Iceland in 1232, you probably won't be able to read anything close to the original document. In fact, the document was lost for about 300 years. Now there are translations, and those translations are as close to the primary source you can get on Norse Mythology. But even then, you are reading through several veils of translation. Take these things into account when analyzing primary documents.

Research Takes Practice

You won't get everything you need to know immediately. And researching subjects you have no background knowledge of can be daunting, confusing, and frustrating. It takes practice. I learned how to research through higher formal education. But you don't need a degree to write, so why should you need a degree to collect information? I genuinely hope this guide helps others peel away some of the confusion and frustration so they can collect knowledge as voraciously as I do.

– Indy

[youneedsomeprompts]

How to write: ethnicity & skin colour

requested by: anonymous request: How exactly can I describe a characters ethnicity/skin color casually, without it sounding like a specific scene that just exists to describe the skin color? I hope this makes sense lmao… I just want to write a scene where I casually mention someone’s ethnicity or skin color

description of appearance: No matter if skin colour or hairstyle or clothes, a text is more dynamic if you don't dedicate an entire scene/paragraph to it but rather sprinkle the necessary information in here and there. However, there can be instances where it's conducive to the plot to put that entire paragraph (e.g. introducing a new important character with backstory). Otherwise, I'd say try to keep it short and put it where it serves the plot.

ways to incorporate...

... a description of appearance:

when a character makes their first entrance (describe everyone's colouring - POCs' and white characters')

the impression their complexion makes together with their clothes: "the bright yellow of their shirt complemented their dark skin"

the way their colouring interacts with lighting: "the grey weather took away the rosy hue of their fair skin"

when appearances create a contrast: "I immediately noticed them because they were the only other black person"

... ethnicity:

let the characters mention it where it makes sense

regarding the narrator you've chosen for your story, it can also be blended into an inner monologue

include parts of their culture: traditions, terms, family, etc. (this also allows to bring up their ethnicity repeatedly over the story and not only at the beginning)

show their struggles: are they affected by social struggles? then show it!

words to use to describe skin colour:

... basic colour descriptions:

brown

black

beige

white

pink

... more specific colours (try sticking to familiar/common words that can be easily visualised):

amber

bronze

copper

gold

ochre

terracotta

sepia

sienna

porcelain

tan

... prefixes or modifiers (can be easily combined with basic colours):

dark

rich

warm

deep

fair

faint

light

cool

pale

... undertones (pre-dominant colours underneath the skin - often warm or cool, sometimes also neutral and olive):

yellow

orange

coral

golden

silver

rose

pink

red

blue

... avoid food analogies as it's often received as offending, fetishising, and/or objectifying.

That's all I can provide as of now but I'm sure you guys have aspects to contribute. I'm very interested to hear your thoughts, so please feel free to add to this post whatever you like to/can share <3

And for more information, maybe also check out @writingwithcolor for more specialised posts on the topic <3

[prodigal-explorer]

how to write children's personalities

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

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

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

archetype one: the cute little baby

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

do's:

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

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

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

don't's:

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

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

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

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

archetype two: the shy kid

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

do's:

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

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

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

don't's:

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

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

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

archetype three: the happy-go-lucky kid

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

do's:

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

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

don't's:

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

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

---

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

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

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

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

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

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

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

---

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

[moonlitinks]

ways you can further develop your main character

give them a misbelief

no characters have a personality when the plot starts. all of them have backstories, a past, and a mindset that they grew up with!

basically, a misbelief is the wrong mindset that they grew up with, and is also a belief that will be restructured by the end of your novel.

this not only shows character growth and development as their mind is "restructured" or they learn their life lesson, but also drives the internal plot of your story, which differs from the external (or action) plot that most people seem to read.

+ this gives readers a deeper insight to your character!

give them a goal

every character has a goal, or something they want in their lives. having them strive for it would essentially drive your plot, and may also help you dig deeper into your character's motivations!

this goal doesn't always need to be achieved, or may be impossible to (for example, someone wanting to meet a loved one who turns out to be dead; they may have not reached their goal, but it took them on a journey)

this goal should also be concrete if possible! vague ones like "they want to be happy," isn't very helpful. what do they think will make them happy?

(side note: wanting everything to be the way that it is can also be a goal, cause they're striving to make things go back to the way they were!)

more notes / explanations here! most of these notes in this post are taken from story genius by lisa cron, and i thought they might help. please take all this information with a grain of salt, and maybe use it in a way that'll work best for you! <3

buy me a kofi | insta | main

[the-ellia-west]

How to make your Readers Feel Emotions for Dummies

(AWWWWW :]]]] Edition)

So... Do you have any cute animals or children in your story?

No?

Then I can't help you go away

Kidding, kidding, you can make AWW moments in your story no matter who or what your characters are.

First

You have to have at least semi-Likable characters (Pets, adorable animals, or children make this wayyyyyy easier)

Likable characters make your readers want the characters to be happy! You can't really get AWWWW moments if you want the characters to suffer

Most AWWW moments come from Shipping or cute baby moments

Second

Decide what Type

whether you want it to be an AWWWW Romance moment, or an AWWWWW Baby moment

There's also #3 I forgot to mention: AWWWWW comfort/sentimental moment

Third

Decide which character the AWWW moment will happen between

Couple, Father/child, mother/child, friends, siblings, doesn't matter - Well... it obviously matters Which AWWW moment you're going for but... yeah

Fourth

What's Gonna happen?

For romance it's usually cute fluff moments - Want examples? Too bad, look it up on Pinterest! No, no, Joking. Here's a list:

Small cheek/hand kisses

A small, 'I love you so much.'

Wearing other's clothes

Forehead touch

Cuddling

Holding BOTH of each other's hands

FACE TOUCHES - Cheek/jawbone is best

Leaning into touch

Careful dancing

For parental figure and Child it's usually a comforting trust moment, a protecting the child moment, or a 'make me proud' moments

I fucking love these and I'm gonna go on a rant Addict, Tired, bitter mentors are so fucking great. There's so much you can do with them Mostly there's 'make me proud moments' The first 'I approve' moment There's 'you've made me proud' moments There's also 'Fine, you're my kid' moments And comforting trust moments hit so much harder when the mentor rarely shows affection.

It's just so... :D

For Friends, You should do with comforting moments, or a 'you don't know how much I care about you moments

Fifth

Soft Phrasing = soft emotions

Use long, calm sentences. No exclamation points or question marks unless it's dialogue. Keep everything smooth and fluid.

Tears are a powerful tool so use them sparingly

Use short words, and use cuter, softer words, metaphors, and adjectives.

Sixth

Have a visible result

Smiles, cute thoughts, cute dialogue, different feelings or actions towards other characters

Stuff like that

AWWWWW moments can be very powerful to characters as they can for real people, they can change so much with little words.

They can be turning points, displays of affection to the audience, turning points of affection, showcases of change, strengthening of relationships, a final goodbye, they can be so much in just so little.

Good Evening and Good Luck with your Writing My loveable Writing friends! you can do this! <3

[willtheweaver]

A writer’s guide to forests: traveling through the woods

Getting from point A to point B is something that both people in real life and the characters of your story will have to figure out. Whether as a means to get to a plot point, or as a part of the plot itself, travel presents opportunities for the writer.

Hack ‘n slash- Where paths are nonexistent, your characters will literally have to blaze a trail (the ‘blaze’ in this case has nothing to do with fire. Instead it is a trail marker made by carving a mark into a tree. The mark resembles the white patch seen on the forehead of mammals, most often horses.) Being the pioneer is slow going, especially if the undergrowth is thick and requires clearing. Cut bamboo can go through the foot, poison oak and poison ivy can give a nasty rash, and biting insects can make life miserable. And then there is the matter of marking the trail. A character on the run will not want to advertise their location and will do their best to keep their trail hidden. But for others, they will want to mark the trail. Stone cairns, arrows, blaze marks in trees, and even sticks and knotted grass can point out the path to other travelers. This can be helpful to others, but it can also present a danger. Thieves and outlaws can create false trails that lead travelers into a trap or ambush.

Game trails- Animals have their habits. They like to take the same path between places. Over time these develop into trails that crisscross the forest floor. For a character on the run, or those who needs to make haste, these are a tempting choice to follow. But be careful. Some animals are able to traverse terrain too difficult for humans (narrow ledges, near vertical faces, and the gaps underneath fallen trees are not fun places to be). And your characters may encounter more than deer or rabbits. Predator species hang out around game trails as they can be fruitful hunting grounds.

Existing paths and roads- Roads can range from simple dirt paths to paved highways. These will be the most direct routes between the principle settlements in your story. Prosperous areas will have well maintained roads with travelers and patrols using them frequently. Characters may also encounter watchtowers, farms, and inns along the way. Poorer regions, those affected by war, or more remote regions will have less well maintained roads, fewer travelers, and few to no amenities between towns. And if your characters can use the roads, expect hostile armies, outlaws, and highwaymen to use them as well. And where the roads go may be limited to the most populated regions, forcing your characters to leave the path if they want to get to isolated villages, caves, temples, or even a wizard’s tower.

Use the water- Of course, you can have your characters forgo land transportation and use the rivers, lakes, and seas. Rafts, ferry boats, and ocean going ships are all viable options. It should be noted that these are not perfect solutions. Rapids and waterfalls will force characters back onto land until they find gentler waters. Storms can delay or sink vessels, and cold winters will freeze water over. Of course, a frozen river or lake is just an excuse to get out the ice skates. Droughts will dry up streams and small lakes, and recent rains can turn placid waters into unsurvivable whitewater.

Up in the trees- Hate to burst your bubble here, but swinging from vines is something that only exists in fiction. If you try to do this in real life, it will not work out well…provided you can even find sufficient vines or fig roots. Of course, in your story, you are free to do what you want. Nothing is going to stop you…well except maybe for your readers and the critics who will pan you for using what may be considered an overused and unoriginal trope. Other options include bridges, cable cars, or even zip lines.

Taking flight- Of course, the forest will not pose an obstacle if your characters can simply fly. This can be achieved by characters that possess wings of some sort. They could have a winged mount, or they could hitch a ride on a vehicle like a helicopter or ultralight plane.

Underground- If in doubt, take a cue from moles and dwarves. Tunnels can serve the same function as roads, with all the benefits and drawbacks included. Of course your characters will also have to be aware that cave-ins are a real and present danger. These can be natural, or deliberate sabotage. And your characters best hope all the recent tunneling hasn’t awaken any ancient evils from long ago…

[cripplecharacters]

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), conditions affecting how the face moves (e.g. facial paralysis, ptosis, cranial nerve diseases), 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, cancers, and a lot more.

Despite popular opinion (popular ignorance would be more accurate because no one knows about it in the first place but opinion sounds better-) 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 (maybe 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!) 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, most 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 etc. Has the potential to make you sound like a medical report or a legislature sometimes. lol.

"A disfigured [person]" - starting to steer into the "uhh" territory. Describing a whole person as disfigured is, to me, just plain 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/[name of the specific condition]" - 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, I think 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.

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 lets your readers know what you mean. You don't always have to throw around euphemisms to describe someone not having a nose.

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 (me) 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 lol...

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 usually 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 ?? 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 uh, 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 (think a "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.

Found yourself already waist-deep into this trope? Take a look at this post I made.

*"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."

Ah, how 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 like 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.

"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."

I'm not sure if a trope can be the lack of something like this, but 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. 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 an 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 as hell.

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 (and maybe make up very silly, obviously not real ways of how it happened when annoying people ask them. Think "oh, I was fighting a shark").

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 kinda 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.

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 whole spectrum of facial differences shown. Of course you can't represent the 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 combo. 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 almost 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 almost 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

[she-who-fights-and-writes]

Do you have any advice for writing your first draft?

I’ve just finished an outline for a fic of mine, and like all my projects I abandoned them at the first draft because I lose interest in the story.

So, how can I stay interested long enough to complete my draft and move on to actually finishing the story?

HOW TO WRITE A FIRST DRAFT

A first draft is the hardest draft you will ever write; it’s creating something from nothing, without the benefit of using a previous draft as a base. Obstacles such as writer’s block and motivation may oppose you at every turn, and it can be easy to get sidetracked and frustrated when you have ideas for the “middle” of the story but somehow can’t get to it. 

Just know that everyone is different and writes in a way that works for them, so don’t feel pressured if these tips don’t work for you or don't fit your style of writing!

1. Start With a Good Outline

Since you don’t have a previous draft as a foundation for your writing, your outline will take the place of this! Refer to my posts below:

How to Outline

Plotting for Pansters and Pantsing for Plotters

You can also refer to my FAQ, which includes a variety of resources on getting started. This includes posts on how to get into writing fiction, how to write consistently, and how to combat writer's block!

2. Know that You Don’t Have to Write in Chronological Order

Write what inspires you! If you have no idea what your first scene is going to be but have very specific ideas about a coffee shop interaction during the middle of the book,  write the coffee shop scene instead of staring at your blank word doc for an hour and giving up!

Writing is better than not writing, even if it’s not the part of your story that you “need” to get done. In fact, it can be easier (and more cohesive!) to write all of the major scenes you’re excited about first and connect them together, than to write out everything in the order from start to finish.

3. Give Yourself Permission to Write Incomprehensible Garbage

This goes hand-in-hand with the tips I highlight in my post about overcoming writer’s block. When it comes to a first draft, DONE IS BETTER THAN PERFECT, and QUANTITY OVER QUALITY. It is totally okay if your first draft is covered in placeholders for scenes and conversations that you don’t feel like writing.

For example, rather than getting stuck on writing about your characters on the car ride to the carnival, just write and highlight in red “THEY DRIVE TO THE CARNIVAL” and come back to it later. That way, you can have fun actually writing the carnival scene instead of struggling to write the stuff leading up to it. Momentum is the key to getting your first draft done, not producing writing that “sounds good.”

If you’re just going to go back and edit it later, why bother getting stuck on that now? This leads me into my next point:

4. STOP EDITING!!!

When it comes to a first draft, opening up the doc and editing the things you already wrote for the 712123979843th time is not progress; now you just have one REALLY good scene and no rest of the story. Save the editing for later; you’re more likely to lose steam and feel stuck if you keep getting caught on the same things over and over again. 

I am calling myself out on this one, as I am INCREDIBLY guilty of using editing and rewriting as an excuse to not write new material, but unfortunately it has to be said. Having it in your mind that you’re making progress when in reality you’re using editing as an avoidant technique will not help you in the long run (as much as I wish it would). 

This can sometimes be helped by writing each chapter (or scene that’s getting you stuck) in a new document so that you have no choice but to focus on what you’re currently writing; sometimes the temptations of editing are too great to resist when you have all of your writing in one place!

5. Set Specific Goals and Document Your Progress

Setting goals helps you break up the huge task of “writing a book” into more manageable chunks. 

For example, heading into a writing session with the goal “finish this chapter” or “finish this scene” or “write this dialogue” can make it easier to overcome writer’s block; you are solely dedicating your focus on doing this specific task, and are less likely to get distracted. It’s better than barging head-first into it with no direction, and may also have the added bonus of keeping your writing cohesive.

Documenting your progress can help hold you accountable for reaching the goals that you set. If you like to perform under pressure, maybe you can document your progress online or with a friend; that way, you feel a bit of a pushback from outside sources to get things done! Keeping consistent will also help in maintaining a steady flow of inspiration—you’re always thinking ahead!

However, you should remember that life happens, so don’t beat yourself up if you’re struggling to reach your goals or deadlines! Nobody is a writing machine!

Hope this helps, and happy writing!

[inky-duchess]

Etiquette of the Edwardian Era and La Belle Époque: Courting

This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.

I get asked a lot about courting, what's acceptable or what's off limits and how one may woo a prospective spouse. So let's explore how to win the hand and heart.

Meeting (not so cute?)

Firstly, it is really difficult to have a meet cute in the Edwardian era. Women and men are kept separate for most of the day, only really getting to meet at designated events: A dinner, a ball, a social event. Meeting in the park is a cute idea but a gentleman can't just approach a lady (or another gentleman) without being introduced by a third party, either a senior party or a mutual friend. However, an introduction at a ball is sort of like Cinderella's get up, it ceases to matter when the ball is over. Your gentleman must not approach a lady after that ball, he must be reintroduced. Once an introduction has been made, he can speak with her.

An Interest

When an introduction has gone satisfactory, a gentleman must make the first move by calling to her parents'/guardian's home and making a formal request to begin courting. Her parents/guardians must consent, usually leading to a short brief interview of the gentleman's family, his connections, his wealth (though in not so vulgar terms, they may inquire where he lives which is an indicator). The woman's opinion did matter, she could give her reasons for accepting or turning down the offer. When the interest is approved, the gentleman can start offering invitations.

Three's Company

Of course, just because the parents agree, doesn't mean the couple gets to be alone. The young lady will be accompanied by a chaperone either a lady's maid, a governess, her mother or another female relative. While the couple is together, the chaperone will always be a few steps behind or have them in sight. She's there to ensure that nothing more than a conversation happens. This is not only for her young lady's reputation but also to save the man from any claims of impropriety. The chaperone also serves as a sort of spy, gauging whether this relationship is worth pursuing.

Activities & Tokens

A gentleman may invite a lady out to lots of different activities. He can invite her for a promenade at a local park or gardens, out the theatre, visit her at home, invite her to galleries, to balls or to be his companion at sporting events such as the races, tennis matches or boat races. When visiting in the house, the gentleman would be expected to speak with all the family, be polite and courteous. This is how the family guages his suitably. The gentleman must provide transportation and funds for any excursion. Gifts are to be refined as well. Expensive gifts are considered vulgar and will likely be turned down. Small gifts such as flowers, books, cakes are acceptable. Gifts aren't as important as the time spent together.

Rules of Engagement

There are certain unspoken rules surrounding courtship that every gentlemen must follow for a successful courtship:

A gentleman should always pay attention to his lady, and not exclude her or cast her off for others

A gentleman never smokes in front of his lady nor forget to remove his hat.

A gentleman must always offer to refresh his lady on an excursion

A gentleman must defend his lady from any offense be it an insult or a scene unfit for her eyes or within an argument. Throwing in an apology for any offense can add a cherry on top.

However if she's the one giving offense, without any reason, the gentleman must seek to create peace, apologising on her behalf.

When walking, a lady will be placed in the inside of the pavement.

A gentleman should never spend above his means to impress his lady. Staying within his means is not only smart but a show of restraint and a glimpse of what life ought to be if they marry.

A gentleman should always offer his assistance when a lady is exiting a carriage or going up a flight of steps or carrying anything heavy.

If a man accompanies a woman to a ball, he's expected to dance with her on her first and last dances of the evening.

A gentleman must always make his intentions known and not string a lady along with no intention of marriage. He must never joke about his intentions or lead her on.

Marriage

Courtship usually promises marriage which is why a gentleman or lady should not enter into courtship unless they would consider marriage. Courtship may last a few months or a few weeks and while it is going on, both sides should consider whether marriage would be a viable option of either of them. Parents/guardians would be consulted, the gentleman must make his intentions known to her father or nearest male relative before approaching the lady and popping the question. A courtship that doesn't end in marriage is seen as a failure and may damage the reputation of both parties, leading people to wonder what happened and who is to blame. For example is a perfectly eligible gentleman will not marry a perfectly eligible lady or she turns down his offer, people will usually leap to the conclusion that there is something lacking.

LGBTQIA+ Courting

Gay people have always been here. They have courted and they have loved. Whilst it was illegal in this time in many parts of the world, love did prevail. (fun fact: lesbianism wasn't illegal because nobody wanted to explain what it was to Queen Victoria). The good thing to know is that courting whilst gay was likely easier in this period. Whilst there were restrictions and rules for straight couples and chaperones haunted their every step, none of this would happen if two people of the same gender stepped out together. Two gentleman going to the opera together or dining at a restaurant or attending a ball together (dancing in public was unlikely) or two ladies promenading in the park or attending a concert would not be examined like a courting couple. They would have more freedom to move around but of course, with legal impediments PDA was kept a minium. Whilst they wouldn't be allowed to marry legally, there was little stopping couples from moving in together. Nobody would say much about two spinsters sharing a home or two bachelors crashing together

[nardo-headcanons]

Writing Scientist Characters

this post is mainly an excuse to post a certain list of lab supplies I've made for a friend and infodump about lab work. but feel free to use this as a little resource when writing characters who are scientists and/or lab nerds. who knows, maybe it'll be of use.

General thoughts

Many people think it's a stereotype that scientist or nerd characters talk using complex technical jargon. While that is true to an extent, there actually is some kind of lab jargon. It varies across different labs and fields, but one thing they have in common is that it seeks to simplify, not the other way around.

gelelectrophoresis becomes elpho

microbiology becomes mibi

deioninized water becomes aqua dist

biochemistry becomes BC

sodium hydroxide becomes NaOH

They will probably not call a glass of water "silicon dioxide and h2o".

...and more. feel free to get creative. If you're writing in any other language than English, you can throw in one or two anglicisms as well. Also, most scientists will never gatekeep their work, and in an opposite fashion, will not shut up about it unless you make them. And no, most chemists do not know the entire periodic table by heart, only the most relevant elements. (main groups and a few commonly used metals of the subgroups) When it comes to characters doing the lab work, keep in mind that there are a lot more people involved than the scientist themself. Most scientists are more occupied with paperwork and data analysis, it is the laboratory technicians and assistants that do most of the practical work. They often have more lab experience than the scientists themselves.

Things you can have your lab nerd character do instead of making random chemicals explode

writing a lab report (and losing their mind over excel)

degreasing the glass bevel stoppers

removing the permanent marker from beakers (labeling is important)

complaining about the lack of funding of [their field] research

cleaning glassware

preparing specimen for examination

googling the most basic equations for their report

checking if the glassware and utensil collections are complete

steal single use plastic pipettes from their lab

pirating expensive textbooks

A list of laboratory supplies and utensils you can have them work with

Laboratory general (chem + bio)

Erlenmayer flasks, beakers, precision scales (3 digits), glass rods, metal spoons/spatulas, screw on glass flasks (autoclave compatible) test tubes, stopcock grease, dispensers with sanitizer and hand cream, gas burners, heating plates, eppendorf pipettes, pipette tips, Peleus pipetting aids, squirting bottles, liquid and powder funnels, incubator/drying chamber, round watch glasses, magnet stirring plates.

Microbiology Autoclave, petri dishes, agar plates, innoculation loops (reusable and metal), clean bench, microscope slides, microscope, drigalski-spatula, test tubes with clamping lids

Histology

Paraffin bath, water bath, scalpels, scissors, razor blades, microtomes (rotating microtome, slide microtome and freezing microtome), histocinette, tweezers (various kinds), ocular

Biochemistry

Sequencing robots, eppendorf tubes, gelelectrophoresis chambers, centrifuge

Analytical Chemistry

Photometer, kuvettes, burettes, mass spectro meters, UV bank (for chromatogrophies), pyknometers, melting point meter, porcelain mortars, pH paper, analytical scales (4 or more digits)

Prep Chemistry

Tripod/standing material, miniature lifting platforms, spiral condenser, colon condenser, round bottom flask (three necked and y- necked), filtration material, Separating funnel

Electrical engineering

Electric generators, Soldering iron, Clamp connectors, plugin connectors, ohm’s resistors, plug in lamps, condensers, transistors, PCBs, amperemeters, voltmeters, multimeters

Mechanics

Tripod/standing material, metal hooks, metal rods, mechanical stop watches, marbles, metal springs, Newton meters, laser motion detectors

Optics

Prisma (various kinds), various glass lenses (concave, convex, biconcave, biconvex), laser pointers, optical bench, mechanical iris diaphragm, looking glasses, monochrome lamps, lamp filters

Most used chemicals

Deionized water, ethanol, NaOH, HCl, H3PO4, NaCl (+ physiological NaCl solution 0.9)

Useful websites for writing science stuff

DNA sequence generator (simple): http://www.faculty.ucr.edu/~mmaduro/random.htm

DNA, RNA and protein sequence generator: https://molbiotools.com/randomsequencegenerator.php Annealing temperature calculator: https://tmcalculator.neb.com/#!/main

Medicine name generator: https://www.fantasynamegenerators.com/medicine-names.php Anything chemistry related: https://www.wolframalpha.com/input?i=chemistry

Commonly used software:

MS Excel

Yenka

CASSY Lab

LabView

SpectraLab

LIMS

LaTex

Slack

Scientist friends, feel free to add onto this.

Have fun writing!

[girlwithherheadinthestars]

"Don't worry! I can handle it. Geez, you're acting like you haven't even met me I'm so responsible."

"...have you met you?"

[ask-the-prose]

Conducting a War

So, your story takes place during a war. Maybe your characters are experiencing war or maybe they're waging war against other characters or groups. Likely, you are not a general or expert in warfare. How do you write a story that is set during a war?

Who's fighting who?

The first, most obvious, step is to know who is fighting whom and why. Wars are between groups of people. They can be a small clan, a massive nation, or even an entire planet or galaxy. Two characters fighting it out are not considered "at war" because they are representing themselves and settling an individual dispute, even if it is a high-stakes dispute.

Why are the parties in your story fighting? There are a lot of different reasons why two groups of people would go to war against each other, but most wars are over resources at their center. Disputes over land and borders, over who gets what crops and for what price, and even religious wars are usually about the resources available and scarcity. So when you're talking about war, you need to know what either side wants. Just like a character, your war parties need to have desires and stakes.

"Resources" can mean just about anything that society needs. Food, fresh water, opportunities for trade, minerals, metals, building materials, and wealth are all examples of resources your war parties can fight over.

What does it take to wage war?

Wars require resources too. It's not just about getting resources but spending resources as well. When nations go to war in the real world, there are opportunities for people to make exorbitant amounts of money and wealth by taking advantage of a wartime economy.

The parties waging war need people to fight their battles. They need to pay those people, arm them, feed and clothe them, and transport them to where they need to be. Where does the government or person in charge get the food, armor, weapons, and transportation? Where do they allocate those scarce resources? Oftentimes in war, those in charge must make sacrifices. Is there a portion of land that the person in charge gives up to protect another portion with their limited resources?

There are unlimited stories hidden in these questions, and a large base of world-building will help to answer these questions in depth. There are many opportunities for tension and rising stakes for your war parties in the event that the opposing side makes acquiring war resources difficult or impossible.

Types of Armies

Your armies tell you a lot about the resources available to your characters and how you can build your story and plot line around the war. So I'll discuss the differences between four types of armies that exist in the real world and throughout history. These are examples; you can change or twist these examples however best suits your story.

The first is a professional army. These guys are paid and trained by the state; being in the army is their entire job. The army can fill a number of different roles other than fighting, but their purpose is to provide martial protection to the people of their nation and carry out martial orders from the government or sovereign entity in charge. Important aspects of a professional army to consider: these soldiers are paid for their work, they are trained by professionals, and oftentimes they follow a hierarchy or chain of command. Most governments provide medical care to their professional armies, but this isn't required. The soldiers can be conscripted or voluntary.

Next up is a mercenary army. This army is also paid for their services, but they are not trained by the state, and they ultimately take their orders from the organization, not the government. The government commissions the mercenary army for their services. The government does not provide most of the resources required to maintain an army. They pay for the army but don't necessarily feed, arm, or clothe them.

A fyrd is a historical term that refers specifically to the Anglo-Saxon armies raised by different Lords and Thegns to protect their lands and shires. These armies consisted of civilians and able-bodied free men from the local settlements and farms gathered by the ealdorman. They were conscripted into the service, and they lacked formal martial training. Also, importantly, their provisions and weapons were provided by the soldiers themselves. Meaning you will see fewer long swords and forged weapons for the purposes of fighting and more axes and improvised weaponry. The purposes of the improvised weaponry are primarily as other tools, such as axes for chopping wood and knives for butchery. Any horses or mules brought along for work or fighting are the property of the lords or farm owners who provided them.

A militia is very similar to a fyrd; this army consists of civilians who are paid or conscripted into service by the government but are not professional soldiers. These militias may sometimes have training from professional soldiers among their ranks, but mostly they are civilians training themselves. The soldiers provide their provisions, weaponry, and armor, meaning that the wealth has to come from the soldiers and their professional jobs and not from their martial services. The militia is a more modern term, but it is marginally different in that most militias we think of today are voluntary and not conscripted.

Battle Strategy

This is where a little research may help you. Battles behave differently depending on different factors. What technology and weaponry is available to your war parties? Are we talking about bladed weapons or guns or lasers? Is your army a professional or mercenary army, or is it more like a fyrd or militia?

When setting up a battle in your story, focus on the differences between the two armies and how that may affect their strategy toward fighting or engaging the enemy. If your fyrd faces a professional army, they may encounter some problems regarding weaponry and armor. Your fyrd will struggle to match a professional army in defending against well-made weapons and professional training. How do they work to compensate for those weaknesses?

When looking at two equally armed and trained armies, a general or battle strategist will look to the terrain to plan a battle. Generally, controlling the high ground helps in battles. If one army has a heavy cavalry presence, your opposing army may want anti-cavalry measures in place. Do they have the space to do so? Urban areas will lend themselves well to guerilla-style and urban warfare tactics. Jungles and forests will look different to hills and plains, and deserts bring unique problems to a battle that a mountainous terrain might not.

What is the battle for? Battles have a purpose; otherwise, there would be no value to the loss of troops. What is worth the risk of losing lives? Does the battle have stakes? Some stakes that might be worth conducting a battle over include taking control of a river pass, allowing naval trade and travel, cutting off control of a trade route to the enemy, or invading an important town or city to process and refine necessary materials.

Ending the War

The war will eventually end if your characters are lucky. But what ends a war? Wars usually end with agreements between the two opposing parties following surrender or extension of peaceful negotiations. Negotiating what each party needs or wants is an art in and of itself. Each party must come to the agreement that waging war further is more expensive and less rewarding than ending violent opposition with concessions made by either side.

Conclusion

Wars and battles are like characters; they have needs, desires, and stakes. Writing your characters in a war or battle will hinge on the needs and stakes of the greater war and story. Important questions to ask are: what are we fighting for? Who are we fighting? And what happens if we don't fight?

–Indy