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2021-06-08 04:31:31
    plates-in-the-fridge

    Here is a free pdf of the players handbook

    Here is a free pdf of xanathars guide to everything

    Here is a free pdf to monsters manual

    Here is a free pdf to tashas cauldron of everything

    Here is a free pdf to dungeon master’s guide

    Here is a free pdf to volo’s guide to monsters

    Here is a free pdf of mordenkainen’s tomb of foes

    For all your dnd purposes

    in-milfs-we-trust

    Here's a site that has literally every official (and most UA) dnd stuff

    including the books and campaigns

    and you can add homebrew

    World-building: Becoming a Jack of all Genres

    It gives me great joy to have people to talk to where I can gush about Kazuma Kamachi’s Toaru Majutsu no Indekkusu (A Certain Magical Index). A wonderful world where science and magic comes into conflict with each other, battling for dominance while balancing smaller narratives in character development and world-building. Kamachi-sempai loves world building and he has blessed us with not one, not two but five ongoing light novels. With three already adapted into anime.

    The series focuses on several main characters, bringing a different kind of genre in the same world. In the main series, we follow Touma Kamijou; a Level 0 Esper and Index; a Sister (the religious kind) from the outside of Academy City. 

    Toaru Kagaku no Akuserarēta (A Certain Scientific Accelerator) follows Academy City’s Number 1 (and Best Boy), Accelerator. One man tanking his way around the underbelly of mad scientists, hit-men, and terrifying gangs while being a babysitter. 

    Or if you like a more Slice of Life, “cute girls doing cute things” story that may involve several fight scenes, check out Toaru Kagaku no Rērugan (A Certain Scientific Railgun). It follows Best Girl, 3-ranked among the Level 5, The Electromaster princess, Officially mentioned Tsundere and The Railgun; Misaka Mikoto with her three best friends, Kuroko Shirai (The teleporting lesbian hentai), Uriharu and Saten.

    So, long intro aside. I figured today would be a good time to point out some of the unique elements that made the To Aru/ A Certain Series so special. From its world-building to a unique display of its magic system and power system while also providing some fair warnings and guide to tackle this unique series, unlike anything I’ve seen before.  

    image

    A World of Several Protagonists   

    What you may have immediately realize is that, The To Aru Series is one big pile of stories centered around the location, Academy City. Jumping around characters in a shared universe making the world itself far more interesting and alive than your usual world.

    Generally speaking, most stories follow one or more characters but there is always one MAIN character that takes up more screen time. Rather than following one character, the To Aru Series follows several main characters while also allowing the side characters a chance to shine and organically coexist until they themselves become their own main characters.

    This method compared to other shows, only occurs in one or two episodes and from then on. You may never see the side character again. While it is widely accepted that To Aru’s main character is Touma, he isn’t truly the main character. He is but a vehicle that’s driving the story forward when you read/watch Index but, if you read/watch Railgun or Accelerator. The main characters change roles. Each series is woven in a different way to separate the characters and the genre. 

    The best among them so far is most indefinitely (and because I’m kinda biased) A Certain Scientific Railgun. I can’t quite put my finger on why Railgun was far more interesting than Index but it could be because it involves four cute girls doing cute things together or maybe its due to the sheer awesomeness of the fights our characters get into or it could be because…I just want to know more about Misaka Mikoto and the Espers.

    The best way I can explain this is using the MCU as an example. The story of Black Panther has nothing to do with the main story of Infinity War but its still a fun story to follow because you are interested to get to know, Black Panther. Characters interact occasionally and sometimes regularly and its just fun to see characters like Index interact with the likes of Accelerator on a rare occasion, because…its fun! This organic method of storytelling focuses less on a “main story” and is more focused in character interactions, their personal developments and a kind of build up to…”something” instead. 

    Aside from that, the centralized location; Academy City is also a character of its own due to the amount of incidents that occur within and around Academy City on a near daily basis. Think of every season/arc as a stand alone story that, in the long run may have significance to something even bigger. That is because Academy City is the home of the Espers. It is where most of our main characters live, its where the secret war of the Magicians and Espers is happening. Its also where Misaka finds out about the numerous amounts of horrific experiments being conducted. Its the underground war-zone for Accelerator and so much more. It doesn’t matter what is happening in Academy City, its the fact that something is brewing and happening in Academy City that peaked our interest. There is a history, there is mystery, there is scientific advancements, there is a secret war and there is…The Espers.

    image

    The Power and Magic System of Index

    God damn I love the Power and Magic System!

    Including the magic side. The easiest way I can explain the Magic System of the sorcerers, magicians, wizards, druids, priests, etc is to believe that all religion and mythology, from the biggest to the smallest…they exist in this world. The Magic world is heavily filled with lore and background on the religion and the mythology it is based on. 

    While the notes on how it works may be very ambiguous, it makes sense since it is “Magic”. There are a lot of Christian, Judaism, Shinto and Buddhist elements used among the Magic users but the occasional mythology based characters appear once in a while. This system in my understanding so far; requires equipment prep, spell casting and the occasional magical item/weapon to make things work. The one good example I can mention is how they use crucifixes and loud prayer to activate its power to hold and burn its opponent and another example is using glyph paper to cast a certain element ability. Invoking the user’s name and magical name and…singing. (not even kidding)

    On the other side of the coin, the Power system is far more interesting and grounded in our understanding of science itself. There are a total of 5 levels among the Espers and level 5 is the strongest of them all. Circle back to Misaka. Her ability is very basic. She can control electricity. However, it is her understanding of electricity that made her ranked 3 among the Level 5. She can build an electrical field, climb on metal objects with electromagnetism, She can manipulate iron sand fast enough to create a buzz saw or…SHE CAN MAKE A FREAKING RAILGUN! 

    Compared to other power systems. The power system of the Espers is heavily researched, illustrated, and explained in detail by understanding the science and physics of the ability itself. The Esper’s level is measured based on how they use their abilities rather than raw power alone. The Best Boy; Accelerator is credited as number 1 because his ability is, Vector manipulation.

    In his prime, Accelerator can manipulate the vector of anything and everything but the way how the writer limits his ability, due to an accident that injured his brain is rather genius. Currently, he uses an on-board computer to help him analyse and calculate the vectors that he needs to manipulate but even then…he surpasses the limit thanks to the knowledge of his abilities alone. Touma’s ability is neither magical or scientific. His ability is to negate any attacks with his right hand and there could be dragons inside. I can go on and on for every other Esper but I think its best to conclude here with a balance of the downsides.

    image

    The Barrier of Entry

    Ok, I’m going to have to level with you. This series is long and its still going! Aside from the main three, there is also the spin-off; Astral Buddy and A Certain Scientific Dark Matter and more to come! The series itself also comes in Light-novel, Manga and also, game form and as much as I am a big fan of it…I can’t say I have consumed them all! I was rather late to it in-fact.

    What I have consumed so far is all of the anime except Railgun T. While it may sound like its a behemoth to tackle. Many among the To Aru fans can simplify it for newbies with the following watch order. (and I’m excluding Railgun T since its incomplete but, it is a sandwich between Index 2 and The Movie)

  • Railgun - Index 1 - Railgun S - Accelerator 1 - Index 2 - Index The Movie - Index 3.  That’s the short version! 
  • You might say that this is a lot like Doctor Who where the timeline is messed up and complex, crisscrossing between seasons and while you are not wrong…this is at the very least. The minimum entry. 

    What makes the series simple enough to get into is, from a build up stand-point, it always begins the same way. Some die hard fans have tried shifting platforms, including the game to pick up the pace and THAT IS ALSO FINE.

    You may have characters you like or characters you don’t like but even then. If you stick to it, IT WILL BE WORTH IT! 

    For such a huge show, To Aru is something that hooks you in with every detail about the characters and the world itself with the new seasons, new arcs finally paying off the build up it has done so far. While it is nowhere close to likes of Fate/ Stay Night or Mongatari…there truly is nothing like it.

    image

    - B -

    lapt0pp

    how to grow the fuck up

    eatingdisorderssuck01

    Imma need this eventually cause they don’t teach you jack squat in school

    sanders-sides-uncorrect-quotes

    Ima schedule to reblog this when I’m 16.

    msdragonnova

    Ima need this eventually

    Creating Suspense

    There are a few components to creating suspense:

    A state of conflict that creates a sense of implicit or explicit uncertainty which cause anticipation whether that be positive or negative is up to you, this anticipation is tied to something emotionally significant whether that be great reward or suffering which is thrown into the air by lack of control and all this happens within a time frame. You don’t want conflict then resolution, you want to let all these feelings simmer for a while and let your characters go mad waiting for the possibility of the outcome. 

    How to write about Grief:

    There is no right or wrong way to experience grief. Just as there is no right or wrong way to write it. Everyone is different, each set of circumstances are different. 

    The point of this post is to show you how different people react in different ways, and give points on how you might write that, depending on your character and story.

    Reactions to Grief

  • Numbness: Your character may go into auto-pilot and be unable to process the events that have unfolded.
  • Anger: This can be aimed at other people, at a Higher Being, or at nothing in particular.
  • Unsteady: Your characters may be unsteady. For example, unable to stop their voice from shaking or they may find it difficult to stand.
  • Focusing on Others: Your character may disregard their own feelings because they are so overwhelmed and instead concentrate on someone else’s well-being. 
  • Seek out routines: Amid upheavals, your character may seek comfort in tasks that are familiar and “safe,” such as working, cleaning, making their bed, making absurd amounts of tea or taking a morning walk.
  • Pretending that Everything Is Okay: Grief is viewed as an emotion that should cease or be concealed once the funeral is over. So people mention the news in an offhand comment, then talk and laugh as if all is right with the world.
  • Denial: Some people deny the reality of death and convince themselves that the news is a joke or can’t be true.
  • Reactions from people surrounding your character:

  • People may avoid your character as they do not know what to say or simply can’t find the right words.
  • Some may even go as far as to cross the street when they notice your character approaching.
  • Even people that the character has known for years may act strange or standoff-ish, simply because they don’t know what to say.
  • On the other side of that, some people may be overly helpful and friendly.
  • It is not uncommon for estranged friends, family or others to suddenly reappear in a person’s life after they have experienced grief. 
  • Either because those people want to offer their support and love  or because they’re being nosy and they want to be kept up to date on the “drama”.
  • Most people will move on from the event fairly quickly if they weren’t emotionally invested. 
  • Some people may even get annoyed at your character for still being upset weeks or months later.
  • When talking about the person they have lost:

    Your character may recall a memory or tell a story about their loved one, these are possible reactions. (I have encountered all of them.)

  • Your character may being to cry or get upset at the thought of the person they have lost. 
  • The person they are talking to may become awkward and avert eye contact when your character brings up the person they have lost. 
  • Others may ask or tell your character to stop talking about the person they have lost. They may roll their eyes, cough awkwardly, or cut off your character mid sentences so that they can change the subject.
  • Some people may ask inappropriate questions about the circumstances in which the character’s loved one passed away. Depending on the personality of your character then may react differently. 
  • Other things to note:

  • Grief is not constrained by time. 
  • One of the main problems with grief in fiction is that a character is typically heartbroken for a couple scenes and then happy again. But grief does not evaporate because the world needs saving. 
  • Allow your character to wrestle with their grief. 
  • Your character may feel guilty. Your character may feel a twinge of guilt when they laugh or have a good time with someone else; when they do something to remind them that they’re alive, and their loved one isn’t. 
  • Grief is a game changer. A previously outgoing character may withdraw and isolate themselves. Some people may take grief and/or bereavement as a sign that life is too short; they may make big decisions in an attempt to make themselves feel better and grow away from their pain.
  • Sometimes grief can help you find your purpose.
  • At first grief can be all consuming. It hurts and you can’t really control it. It may seem unrelenting. Eventually the grief will become easier to deal with, your character may find the days to be better, but that doesn’t mean that when the grief hits it doesn’t hurt any less.
  • For most people, grief never really goes away. “Sometimes you have to accept the fact that certain things will never go back to how they used to be.”
  • It is rare that a person will ever give a long speech about their feelings, a lot of people struggle to even find the words. But that’s okay. Show the reader how your character feels, rather than just telling them.
  • Don’t pause the plot to deal with the aspect of grief. This could overwhelm the readers and drag the pace down. In reality, life doesn’t just stop due to grief, the world keeps spinning and things still need to be done. Use the character’s grief as a backdrop for the story’s events.  
  • Yes, grief affects the character’s day-to-day life, goals, and relationships. But it shouldn’t drive readers away or stagnate the story. Instead, should engage readers and produce empathy that keeps them turning pages.
  • You don’t need to tell your readers that everything will be fine. You don’t need to provide all of the answers.
  • “Skirting grief and treating it lightly is easy. But by realistically portraying it through a variety of responses and its lasting effects on the character’s life, readers will form a connection with your characters.“

    writingquestionsanswered

    i saw your post on naming locations, but the asker asked for things like towns or cities. what advice for naming countries, regions, continents, or planets do you have? thank you!

    Naming Countries, Regions, Continents, or Planets

    The first thing to consider is whether your world is a fantasy world or the real world–and by “real world” I mainly mean sci-fi that’s supposed to take place in our galaxy or universe, because then as far as planets go, you probably want to look at how we’ve named existing planets and use that as a guide. Mythology is a big influencer in the names of planets and moons in our solar system. Also, in that case, consider who is naming the planet. If the planet is being colonized by a federation of Spanish-speaking countries, you might consider Spanish words and names. If the planet is being colonized by a conglomerate of mining corporations, maybe the planet’s name would be a nod to the corporation somehow, like the surname of the parent company’s founder, or perhaps the name of the current CEO’s daughter, or maybe just some kind of rock or mining reference.

    If you’re creating a fantasy world, the best thing you can do is start by creating a rough map of the planet, continents, countries, and regions–at least to the extent of what’s important in your story. If a particular continent or area isn’t ever referenced in your story, no point in bothering with it. Remember to draw in things like mountains, lakes and rivers, deserts, jungles, cold areas and tropical areas, as these will help you imagine who lives in these places. Which is your next task–you need to decide on the racial and cultural groups that inhabit these areas. You might consider using bits of real world cultures as light inspiration for these different groups–again, inspiration rather than taking direct elements–then you can start to figure out what their language sounds like. If you have a group that you imagine as being similar to Tibetan monks but living in something more like the Amazon rain forest, you might try words that sound a little bit like one of the Tibetan languages, but with a bit of Spanish flair. These would be made up words, obviously, but that’s the fun part. You can try looking up words in a particular language, then combining them with parts of words from another language.It all just depends on the requirements of the world you’re creating. Another thing you can try is combining general words. List out some interesting words. I’ll start with moons in our solar system:GanymedeIoEncedalusCallistoEuropaTritonCharonPhobosLapetusTethysOberonNow, consider some new words you can make using elements of these words:Ganymede > TenamedeIo > ZioEncedalus > CrydalusCallisto > CalbrionEuropa > ZenypaAnd so on…One other thing you can try is a random word generators. Just google it and you should find some. Typically you can find ones that allow you to put in several different words, and it finds different ways to combine them. This can be a great way to come up with place names.

    And finally, never underestimate the value of a good baby name web site, especially ones that have lists of unusual names or names in different languages. There’s nothing that says a planet couldn’t be named Erith or Zebulon. 

    Good luck!

    How to: write pain

  • Don’t make paragraphs about it - battles are supposed to be fast-paced
  • Describe:

    - the object used to harm the character

    -where the injury is

    -how long the character had had the injury

    -how deep the cut is (for blades)

    -whether or not the wound triggers other things (dizziness, bleeding)

    There are different kinds of pain

    punch/blunt force trauma:

    -how it feels: aching, a single spike of pain before it fades into an ache, throbbing, numbness

    -effects: swelling, bruising, broken bones, unconsciousness, dizziness, concussion, internal bleeding.

    stab wound/cut

    -how it feels: stinging (shallow wounds), burning

    -effects: bleeding (the blood from arteries is a brighter red, like vermilion, the blood from veins is dark crimson), dizziness from the blood loss, unconsciousness, infection (if left unattended), death

    gunshot

    -how it feels: depends on the caliber bullet, from how far away they were shot and in what place

    -effects: same as stab wounds

    Things that an injured character may have/do

    -heavy, harsh, ragged breathing

    -panting, gasping, crying, grunting, hissing, groaning, whimpering, screaming, shrieking, clenching their teeth

    -ears ringing, unable to speak

    -pressing their hands on the injury to try and stop the bleeding, trembling, eyes rolling up into their head

    -vision blurring, room spinning

    Where to hit in a fight

  • temple and jaw - good for a knockout punch, but are near the skull so it will be dangerous if you miss (it can broke/dislocate your fingers)
  • nose/eyes - messes up the senses and distracts the opponent
  • neck: can mess up breathing, talking and the spinal cord
  • inner elbow: can disable the opponent’s arm
  • solar plexus: hard to hit but very effective
  • liver: causes immediate pain, dizziness and loss of breath
  • kidneys
  • groin
  • outer/inner thighs
  • knees
  • —————–

    But not getting into a fight stops the injury for both the opponents :)

    Conflict is the basis of any story and what it means to have a meaningful sequence of events. Without character or physical conflict, there isn’t anything to base your story on. How would your characters grow or change? How do you know that your audience will keep reading? These questions are answered having conflict in your story that forces your characters to adapt and change. It is also essential as a writer to understand that your characters reactions to the conflict in your story will create your character’s identity and make them a rounded person. So how will your character react to conflict and how will that characterise them?

    Reactions to Conflict

    There are several reactions to conflict that you can use in order to create character, but I am just going to stick to three: submit, use logic and get angry. I have used extremes to illustrate the lengths you can use with these reactions.
    Submit
    Put simply your character lets it go. They let the other person get away with any misdeeds and wrongdoings that your character suffered from. Often this character avoids conflict as much as possible and finds themselves suffering from the hands of others. Your character could grow and react differently as the story goes on to show character growth, but you could also let them fall into despair with all the problems that they could have prevented.
    Use Logic
    Using logic to put forward a reasonable argument characterises your protagonist as careful, objective and rational. I often use this reaction in a character who value objectivity over emotion and investment in the cause. This kind of reaction can cause your character to be a cold logician often lacking emotional investment in the conflict of your story. This can cause a bit of a disconnect between your reader and your character, but with the right conflict, your character will be forced to react differently.
    Get Angry
    This character is brash, impulsive and are based on emotion. Your character, instead of submitting, forced the other person that they are in direct conflict with to submit instead. This can be interesting when your character is faced with another that has the same type of reaction and could create a fresh dynamic. As well as this your character could lack the objectivity of the using logic or the peaceful nature of the submitted character showing a whole new range of emotions.

    Using all Three

    Often your character won’t always stay on one reaction as they will them become a surface level character, pulling any complexity that they could have had. Instead of this your character will instead use all three in different situations; showing what is important to them. For example, your character might submit when in conflict with a loved one, rather wanting peace rather than tension. That shows that family is important to them. They want nothing but to keep their family close to them even it means their suffering. Maybe they Get Angry when someone disrupts that peace, lashing out on those threatening the peace in their family that they have suffered for. See! You get a motivation and a well-rounded character by using this concept.

    Questions to Ask Yourself About Your Character

    -When faced with specific conflict how do they react?
    - How does your story force your character to change their reactions for character growth?
    - What is their preferred reaction to conflict?
    - What are the stages or first reaction and second reaction when they start to get desperate?

    Extra Notes

    I hope this was helpful! Have a lovely Monday (if you can)!

    Worldbuilding Tips: FOOD

    Food! The greatest part of being alive!

    I find that developing a culture’s cuisine can be incredibly helpful for several reasons. For one, you are elaborating on the physical experiences of your world  and culture. Like all sensory descriptions, this can immerse you and your reader. For another, you can learn a lot about a culture by what they eat, including geography, economics, social status, even religious laws. And lastly, because it’s a lot of fun!

    1. Geography: one of the greatest contributors to food culture. If your people dwell in the desert, it’s unlikely they’ll have seaweed salad on the menu. Start researching foods from similar geographical landscapes from our world. For example, following a desert theme, look into food from Saharan tribes, or, depending on the kind of desert, foods from the tribes of the American southwest. Consider farming and agriculture in your particular landscape. What can be grown and raised there?

    2. Trading: does your culture have extensive trade with a nearby culture? Say your desert culture has a lengthy trade route that extends far into the jungles, and they can trade for exotic dried spices they can’t grow at home. 

    3. Social Status: what can your people afford? What is the difference between what a beggar, a middle class merchant, and a noble or royal would eat? Can they afford more imported goods? Can they afford more spices? Are vegetable and grain dishes more common, as in Ancient Rome, among lower classes, and meat more common among upper classes?

    4. Religious and social laws: what foods are off-limits? Why are they off-limits? Is anyone of a particular social or religious class allowed to partake, and laymen are never allowed? 

    5. Drinks!: don’t forget, many cultures’ drinks are as important in regional cuisine as the food itself. What is the treatment for alcohol? Does one have to be a certain age to drink? Is alcohol illegal, or heavily monitored? Are there drinking rituals or games common to this culture? 

    6. Special cuisine: are there some traditional foods eaten only on special occasions? In the West, many have cakes for their weddings, and in the United States, on Thanksgiving, many eat turkey. What festivals, holidays, and other miscellaneous special occasions are there? For example, if there is a public feast day, what can be adequately served to large amounts of people and be prepared beforehand? If there are foods or spices that are especially expensive, do people splurge on these for special occasions? 

    7. Cooking techniques: are there any food preparation methods not seen in other cultures? Are these techniques integral to the culture’s cuisine? For example, say a race of gremlins chooses to cook their food not with fire, but with fumes from acid? What would these techniques do to flavour, texture? Can other cultures stomach food prepare with these techniques?

    8. Dessert: the best part, in my opinion. What are some guilty pleasure foods? Remember, dessert does NOT have to be sweet. Desserts can just be palate-cleansers or small snacks served at the end of the main meal. Are desserts only for the wealthy, or for everyone?

    9. Street food: what are the most common staples in the culture? Is there a tradition of serving these staples in unique ways? Are there restaurants, pubs, inns, etc.? 

    10. Why is Food Important?: food, like any other worldbuilding detail, must be interpreted with its effects on characters and plot. Plot points can be created out of food-related issues. For example:

  • Prohibition: a once widely-loved drink or food has been outlawed. How does the populace respond? Does a black market form? Is the Prohibition a success, or a big mistake?
  • Supremacy: is a food, drink, or spice extremely expensive, and several groups are fighting for control of trade? 
  • Famine: are food or clean water incredibly scarce? How do the people survive?
  • Extinction: a valuable plant or animal, after being overfarmed or overhunted, is going extinct. If this valuable plant or animal is central to the cultural economy, how does the culture respond?
  • Those are just a few questions you can ask yourself while creating food culture for your worlds! Personally, I’ve always enjoyed exploring food culture. I like to try to make my fantasy recipes in the real world too, and through research and experimentation, you might come up with something totally unique. 

    Hope this helps, and hope you have fun! 

    allfrogsarefriends

    i’ve been doing my homework on how to break into a writing career and honestly. there’s a Lot that i didn’t know about thats critical to a writing career in this day and age, and on the one hand, its understandable because we’re experiencing a massive cultural shift, but on the other hand, writers who do not have formal training in school or don’t have the connections to learn more via social osmosis end up extremely out of loop and working at a disadvantage. 

    allfrogsarefriends

    like, i didnt know about twitter pitch parties!! i didnt know about literary agents and publishers tweeting their manuscript wishlist, in hopes that some poor soul out there has written the book they really want to read and publish!! this isnt some shit you learn about in school! you really need to know the ins and outs of the writing community to be successful! 

    allfrogsarefriends

    for anyone interested, here’s what i’ve learned so far in my quest for more writing knowledge:

    1. Writer’s Market 2019 is a great place to start– it gives you a list of magazines and journals that you can send your work to depending on the genre as well as lists a shit ton of literary agents that specify what genres they represent, how you can get in contact with them and how they accept query letters. this is a book that updates every year and tbh i only bought it this year so i dont know how critical it is to have an updated version  

    2. do your research. mostly on literary agents because if you listed on your site that you like to represent fluffy YA novels and some asshole sends you a 80k manuscript about like…gritty viking culture, you will be severely pissed off. always go in finding someone who you know will actually like your work because they’re the ones who will try to advocate for you in getting published.

    3. learn how to write a query letter. there are slightly varying formulas to how you can write an effective query letter. you’re also going to want to get feedback on your query letter because its the first thing the literary agent will read and based on how well you do it, it could be the difference between them rejecting you outright and giving your manuscript a quick read

    4. unfortunately, you’re gonna want to get a twitter. Twitter is where a lot of literary agents are nowadays, and they host things like twitter pitch parties, where you pitch your manuscript in a few sentences and hashtag it with #Pitmad #Pitdark, some version of pit. a lot of literary agents and publishers will ALSO post their manuscript wishlists, which is just the kind of books they’d like to represent/publish, and they hashtag this with #MSWL (it is NOT for writers to use, only for agents/publishers)

    5. connect with other writers, literary agents, publishers at book events. you will absolutely need the connections if you want to get ahead as a writer. thats just kind of the state of the world.

    writingisfancylying

    How do you write creepy stories

    whatsanwritepocalae
  • Over describe things
  • Under describe things
  • Fingers, teeth, and eyes
  • Short sentences in rapid succession build tension
  • Single sentence paragraphs build dread
  • Uncanny valley=things that aren’t normal almost getting it right
  • Third person limited view
  • Limited explanations
  • Rot, mold, damage, age, static, flickering, especially in places it shouldn’t be
  • Limited sights for your mc -blindness, darkness, fog, refuse
  • Real consequences
  • Being alone -the more people there are, the less scary it is
  • Intimate knowledge, but only on one side
  • I don’t know I just write scary things but I don’t know what I’m doing.

    incandescent-creativity

    Rule of Thumb: your reader’s imagination will scare them more than anything you could ever write. You don’t have to offer a perfectly concrete explanation for everything at the end. In fact, doing so may detract from your story.

    scribbleprompts

    (Idk where to ask this so if you cant do you know anyone that can?) Im new to creating ocs and im overwhelmed w all the resources...I have basic appearance down but i feel i dont know my characters at all. I feel picking personality traits/background will be like throwing darts at random and wont come together like theyre an authentic, real person. Any advice? Thx.

    This is a common thing for writers, artists, and character designers, so no worries! You’re completely on the right track! It can take months or even years to flesh out a character! I’ve found the best method of working through this is the use of OC interviews!

    What are those you ask? They’re questionnaires made specifically for your OC’s to answer! It’s one of the quickest and easiest ways to start getting to know your characters. It’s like you’re asking them the question, and they’re answering. It gives you a sense of how they may talk, form their sentences, or even respond to such a question.  

    Ask yourself one simple question when working on character personalities: Why? Why do they like this specific color? Why do they behave this way? Questions like these help the characters flesh out more. You need to ask yourself these questions because your audience will be expecting answers to them.

    A few more ways to develop characters: from experience, I found that roleplaying, making AUs (alternate universes), and writing oneshots about them are the most effective!

    Here are some resources for fleshing out character personalities:

    Antagonist OC Interview

    How to Write Diverse Characters

    OC Interview: Through Another Character’s Eyes

    5 Minute OC Interview

    Foolproof Ways to Flesh Out Your Characters

    8 Other Ways of Fleshing Out Characters

    Character Profile Sheet

    Character Traits

    Archetypes to Avoid in Character Creation

    Strong Female Characters: How to

    Characterization Ask Game

    Five Traps When Creating Characters (and tips on how to improve!)

    Traumatized Character Profile

    So you want to make an OC? (Masterpost)

    30 Uncommon Character Development Questions

    The Importance of Weaknesses in Your Characters

    Qualities of Realistic Characters

    Ultimate Guide to Creating Authentic Villians

    If anyone has any more resources feel free to add to this list! I hope this helps you out! 

    Quick tips for writing romance

  • Consider what your characters like about each other
  • Compliment their personalities. How can character A help with character B’s weaknesses?
  • Create boundaries
  • Make the characters notice each other’s quirks
  • Have your characters get annoyed by some of their quirks
  • Go slow on getting them together
  • Build trust between characters
  • Give them a life outside of their relationship
  • Let your characters be vulnerable in front of each other
  • Have scenes where they’re helping each other
  • What makes your characters want to stay together?
  • If your romance is a sub-plot, how much attention to they give the other character?
  • What does character A notice about character B?
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    More often than not I’ll crack into a sprawling fantasy series and, while I appreciate the luscious descriptions of furniture, landscapes, and clothing, all I’m focused on is that I don’t actually know how this world works. I only know what it looks like.  

    Including some functionality to your universe can add to immersion and give your reader a strong foundation on which to build their mental model of your universe. 

    You certainly don’t need to use all of these questions! In fact, I recommend against that, as all of these certainly won’t make it into your final draft. I personally find that starting my worldbuilding off with 5 to 10 functional questions helps pave the way for glittery and elaborate aesthetic development later on.

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  • How is the healthcare funded in your world?
  • How does healthcare functionally differ between the wealthy and the poor? (i.e. can only the wealthy go to hospitals? do poor families often have to rely on back-alley procedures?)
  • Where are health centers (i.e. hospitals, small clinics, etc.) organized in your cities?
  • Does it differ in smaller towns?
  • How does this affect people’s ability to get healthcare?
  • Is healthcare magical, and if it is, how does that affect the healthcare system? 
  • If healing is instantaneous, how does that affect people’s views on injury, illness, and chronic ailments?
  • If you have both magical and physical healthcare, which one is deemed superior and how does that affect society? 
  • What illnesses are common in your world? 
  • How does this affect daily life? 
  • What do the people in your world think illnesses are? 
  • Is it a miasma theory? 
  • Humor theory? 
  • Demons? 
  • Do they know about biological viruses and bacteria? 
  • How does this affect healthcare?
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  • How do people get water? 
  • Is the water sanitary and if not, how do they sanitize it?
  • How does agriculture work? 
  • Is it large corporations or individual farms?
  • What sort of agricultural technology exists in your world and how does it affect food production?
  • Are farmers wealthy or poor?
  • What sort of natural resources does your world/country(ies) have and how are they obtained?
  • How does this affect the average wealth of the country?
  • How does this wealth affect the culture? 
  • What livestock or beasts of burden are most valued? Least valued? Why?
  • What is considered a luxury good vs. a regular good?
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  • What forms of transportation does your world have?
  • What classes use what forms of transportation?
  • How far has the average citizen traveled, given your transportation limitations?
  • Which cities are the most accessible and which are the least? Why?
  • How do popular transportation methods change how cities/towns are laid out?
  • Does your world have public transportation? What is it?
  • Is there a coming-of-age aspect to travel?
  • Describe your world’s postal system or whatever equivalent there is. 
  • Who pays for it? 
  • How reliable is it? 
  • Are there emergency methods for transporting information?
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  • How does your world keep time (i.e. watches, sundials, water clock, etc.)?
  • Does your world have a currency system, barter system, or something else? 
  • If you have multiple countries, do different currencies have different values across said countries?
  • How does this affect travel?
  • Do you have banks in your world and if so, how are they run?
  • Who owns the banks? Government? Wealthy? How does this affect the economy and/or class system?
  • How does credit operate in your universe?
  • Does your world operate more on big corporations or small business? Something in between?
  • How are workers/labourers treated in your world? 
  • Are there workers unions and if so, what are common views on unions? 
  • Describe your tax system. If you don’t have a tax system, explain why and how your world is affected by that. 
  • Can certain social classes not own property, certain livestock, certain businesses, etc.? Why?
  • How are business records kept? Are business records kept?
  • If your world has technology, does your world prioritize developing entertainment tech, communications tech, transportation tech or something else entirely?
  • What does this say about your world?
  • How does this affect your economy?
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  • To the closest approximation, what type of government does your world have? 
  • How are rulers/presidents/nobles put in place? 
  • How much power does an individual ruler have? 
  • Is there a veto process? 
  • If you have multiple countries, do they have different types of rulers?
  • Describe any large-scale alliances (i.e. countries, factions, etc.) that are present in your world. 
  • How did they come about and how are they maintained? 
  • Are they strained or peaceful? 
  • How does it affect the greater politics of your world?
  • Describe how wars are fought both internationally and nationally. 
  • Do methods of war differ between countries/races? 
  • What about philosophies about war?
  • If there is a military, what is its hierarchy structure?
  • How does the military recruit?
  • Is the military looked upon favourably in your society?
  • What weapons are used by each country/type of people during warfare, and how does that affect war strategies?
  • Describe the sentencing system of your world. 
  • Is your accused innocent until proven guilty, or guilty until proven innocent?
  • How are lawbreakers punished? 
  • If you have prisons, describe how they are organized and run, and who owns them. 
  • Does differing ownership change how the prisons operate?
  • What are the major ways in which laws between countries vary? 
  • Do laws between cities vary? If so, how and why?
  • How does citizenship work in your world? What rights and privileges do citizens have that others do not? 
  • Can certain classes or races not become citizens?
  • Are there certain taboo subjects or opinions that artist/authors/musicians are not allowed to depict (i.e. portraying the official religion in a negative light, explicit sexual material, etc.)? What does this say about your society?
  • How do people get around these censorship laws?
  • What is the official hierarchy of duty in your world? (i.e. is family the most important, or patriotism? What about clan?)
  • How many languages are there in your world, and how many languages share a common origin? 
  • How many people are multilingual? 
  • Which language is the most common?
  • How is multilingualism viewed?
  • How are different languages viewed? (i.e. is one language ugly/barbaric while another is romantic and sensual?)
  • Feel free to add your own questions in reblogs or in comments!