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Moving wb to a separate blog

The Gilded rebellion, Archive 1402-25-0305

The Rich Man's Rebellion

Excerpt from The Modern History of Tarbrind and Her States by Bertrand Coffman, 1402. "…And having been tried and found wanting by Tarkenbrand, son of Ulnar; Ponsious, former king of Tarbrind, was cast down from the high tower of Tarbrind and his body dashed against the rocks and was rent upon them. Such was the body rent that neither footman nor peasant nor dog of the street could bear him away, and the crows of the mountain feasted upon his flesh." Book of Kings, 1398. Author Unknown.

The Rich Man's war, sometimes called the Gilded rebellion, was a product of severe political unrest and upheaval following the deposition of King Ponsious. When Tarkenbrand ascended to the throne, having physically thrown the former king from the tower of the Upper Gatehouse, he wasted no time in destroying the political power of the old money of Tarbrind. He quickly began removing unqualified military and government persons from service. He severed ties with the rich "sponsors" who had been using their wealth to influence legislature for generations. Naturally, this made him wildly unpopular with the wealthy families of the city.

Who is Tarkenbrand? - Tarkenbrand, or Tarken for short, is the son of Ulnar, citizen of Tarbrind, and a fishmonger. He grew up in a poor household, and joined the military as a way to supplement his family's income at the age of 18. During this time, He and his peers became disillusioned with the ruling powers. By the time his 5 year term was over, he had a wide spread of connections both in the military and among laymen.

As they always did in the past, the old blood of the city banded together to find some way to press this new king into a fitting puppet, or remove him. Naturally, they first went to the military, who had seen the upheaval of nearly 40% of leadership positions removed. To their displeasure, they found that the authority in the military had passed to those guided by duty, rather than gold. Another solution was needed. Meanwhile, rumor that many of the former nobles were plotting to overthrow the throne had reached the ears of Tarken, who decided to show them he wasn't going to play their games. He passed the Refutation of 1399, which struck down the leases which many nobles had on land in Upper Tarbrind, and once again forbidding anyone to live in the high city apart from the King's family and his guards. The act also demanded the assets on the reclaimed property be removed in 3 months, or in 12 months, alongside a heft bailout.

The Refutation Act of 1399 - As is the nature of man, and as the years moved on, the upper class citizens sought to set themselves apart from the proximity of common man. The natural answer was the inselberg of High Tarbrind, land which by law could belong only to the King, and the government by extension. To circumvent this, many rich families paid to lease land in Upper Tarbrind, and build manors there. The Refutation of 1399 severed the contracts of these leases, and made it illegal not only to own land, but for a private citizen to lease land. Not only that, but it became illegal to stay in the sector overnight, excluding only members of the King's family, his guests, and royal/city guards.

This act infuriated the now-disgraced nobles. Forced to live among the common people, they ramped up their plans by withdrawing all financial deals and support from the crown. Since Tarken had no family wealth of his own, this would have been the death stroke to his little show, bankrupting the kingdom overnight and forcing him to sign deals to regain support, or to step down entirely. It would have worked if Tarken had not already secured a personal load from the Emperor of Helebrost himself, who was dealing with a similar situation.

The financial gambit drove Tarken into a rage, and escalated the conflict into a full-blown political war. Tarken executed a nearly tenfold increase on tax for those who owned more than 100,000 Grand Tennet, equal to roughly 3000lbs of gold. This effectively targeted only the exceptionally wealthy, and took into account yearly earnings, value of assets, and invested assets. At the same time, the three month due on the 1399 act had come into effect, and Tarken was able to legally liquidate the assets of the manors of Upper Tarbrind for a huge sum of money, allowing him to hold out against the financial siege much longer. He also reduced the wage tax on the common man, and removed the tax on candles and cheese, which had been in effect for nearly three decades. This action won him huge support from the working class, and completely isolated the nobles who were working against him.

Once month before the restriction on private military was put into effect, the nobles attempted one last desperate attempt to gain the upper hand. They hired a group of 37 mercenaries, who infiltrated the upper city and bribed a guard to falsify the gatehouse record, allowing them to stay until midnight, when they stormed the Royal Palace in an attempt to capture or kill Tarken and his family. The coup ended with a bloody ten minute brawl, in which 33 of the 37 mercenaries, and 6 of the 15 Royal Guard on duty were killed. The newly appointed Vice Captain Talia of the Royal Guard singlehandedly killed seven of the assailants inside the chamber of the King, where she stood guard.

After the incident, the driving names behind the attempt on the King's life were revealed, and they were convicted of treason and executed. By law, their possessions became forfeit to the crown, which boosted the royal treasury far beyond what it had been before Tarken took power, and the Gilded rebellion was put to rest.

Writing Notes: Realistic Injuries (pt. 3)

Hostile Environments

It’s not uncommon for your characters to find themselves stranded somewhere with less than ideal conditions.

Cold

There are the obvious risks of hypothermia and frostbite.

The time for these to set in can vary drastically with temperature and windchill.

In both cases, warming should be done slowly or risk blistering of the skin and other complications such as shock.

Like burns, frostbite is classified into degrees of severity:

First degree frostbite – Numbness and whitening of skin.

Second degree – Outer layer of skin frozen, blistering likely when warmed.

Third degree – Skin is white or blue and blotchy. Skin and the tissue beneath it is hard and cold.

Heat

Risk of heat exhaustion or heat stroke.

Heat exhaustion is caused by insufficient water and salt intake. It is easy to develop without realising it.

Heat stroke is more severe and often follows untreated heat exhaustion. It is extremely dangerous and can be fatal.

Symptoms of Heat Exhaustion

Headache

Dizziness, faintness

Confusion and irritability

Thirst

Fast and weak pulse and breathing

Clammy skin and cramps

Additional Symptoms of Heatstroke

Hot, dry, flushed skin

Sweating stops altogether

Nausea

Disorientation up to and including hallucinations

Abnormal blood pressure

Elevated temperature

Unconsciousness

Treatment focuses on lowering the body temperature and rehydrating the person as quickly as possible.

Oxygen Deprivation

Apart from the obvious – lack of oxygen is rather bad for you (6-8 minutes for permanent brain damage) – the reason for the lack can have side effects of its own.

For example smoke, chemical or water inhalation can do physical damage to the lungs making breathing difficult even when the person is removed to a safe place.

Exposure to Vacuum

In short, your major problems would be…

Oxygen deprivation

Exposure to extreme cold

Expansion of gases within the body – meaning that holding your breath would be a Big Mistake, but not one you’d live to regret for very long

In a sudden decompression there would also be the risk of decompression sickness (the bends) and of getting hit by flying debris during the decompression itself.

Assuming you survived the initial decompression you’d have about 10 seconds of consciousness to do something about it and about one and a half minutes to live.

Parts of the body exposed would suffer from swelling, frostbite, and interrupted circulation.

Leaky spaceships

50% atmospheric pressure is enough to have people suffering from hypoxia (oxygen deprivation).

15% and you more or less, may as well be in vacuum.

Source: Leia Fee (with additions by Susannah Shepherd) More: Part 1 ⚜ Part 2 ⚜ Word Lists (Sick) (Pain) ⚜ Drunkenness ⚜ Autopsy

Not quite as cool as pirating, but its a lot easier! Stick it to em!

10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas: 

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors! Instagram Tiktok

"In nature, our sacred creed, Honor the rot that feeds the seed. Praise to life that springs from stone, From death to breath, from flesh to bone.

Glory to roots that delve so deep, To rivers that run on mountains steep. Honor the deep where crawlers roam, Bless the soil, our toil, our life, our home.

Praise the worms that break the clay, Where maggots dance and life decay For corpse lays down, and death takes hold, And in the rot, new life unfolds.

Blessed be the fallen wood, In crumbling mold, the world has stood. In dance of birth, decay, rebirth Praise, O Man, the living earth."

When people say, “nature is my religion” are they talking about flies that feed on shit, maggots in decomposing corpses, lionesses with stained teeth and mouths full of blood? Are they talking about floods and fires and things from which we should always run? Are they talking about carcasses, rot, death?

Or do they just mean “this particular copse of benign trees is my religion”

When people say, “nature is my religion” are they talking about flies that feed on shit, maggots in decomposing corpses, lionesses with stained teeth and mouths full of blood? Are they talking about floods and fires and things from which we should always run? Are they talking about carcasses, rot, death?

Or do they just mean “this particular copse of benign trees is my religion”

You don't need anyone's approval for the stories you write and the art you create. But it's also absolutely valid to want some approval from your audience. Kudos and likes don't determine your creation's worth. But it just feels amazing to receive them.

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

Celethon the Ancient

Note recovered from the Library of Tarbrind, following the disappearance of it's author, John Heldefson, Field Scholar.

A great dragon of the ancient world, Celethon has evaded discovery for many decades. Once a close friend of the Tarbrind King, he went into seclusion after the Great Slaughter. Although the details of his current status remain uncertain, I believe that if Celethon were dead, the consequences would be felt across world. According to historical records, Celethon is approximately 750 years old, one of the most powerful and revered of the True Dragons. He holds a unique position of authority among his kin, serving as the closest thing they have to a leader. Before the Great Slaughter, Celethon was instrumental in founding an elite order known as the Dragon Knights, or Dragoons, under the Tarbrind monarchy. The Dragoons bore Celethon's blessing and symbol, acting as an elite force of warriors and diplomats between dragons and humans, and acted as the hand of Celethon wherever he could not reach himself. They represented the alliance of human and dragon-kind. Nearly all of them perished in the Slaughter, and with Celethon's disappearance, the order collapsed. The survivors reformed as the Firewatch, who to this day carry Celethon's symbol, though they now defend against other threats. Despite his rather pervasive role in history, especially up until 150 years ago, mentions of Celethon, especially physical descriptions are surprisingly sparse, and in some texts, even seemingly censored. I am looking into the matter with the help of the Library of Tarbrind, though I believe there is another who may offer some insight. Either way, Celethon was described as a truly massive dragon, nearly 600 feet in length. His scales were purest black, each one coarse and leaf-shaped, measuring about the length of a grown man's arm. His breath, said to be the hottest fire in all the realms, was used to smelt the impervious metal wolfram, discovered by the Church of the Raven within a fallen star. In personality, Celethon was calm, wise, and deliberate. He was slow to anger, but in battle, he was a force of unparalleled power, capable of rending enemies apart with ease. His might was displayed when he single-handedly slew the dragon Celic the Black, who had razed the city of Oscillia, ripping the rebel dragon in half over the burning city. Hope remains that this titan of the ancient world will one day surface again. Searches have been conducted for decades, although they have become far less frequent due to the lack of results. Personally, I believe he still watches from the shadows, protecting the lands he once called his own.

On Theodreseax

Note recovered from the Library of Tarbrind, following the disappearance of it's author, John Heldefson, Field Scholar.

Theodreseax, by his own admission, is a dragon of many flaws: pretentious, selfish, irredeemably paranoid, and unashamedly rude when the occasion arises. He neither favors nor despises humans, treating them with a mixture of distant disinterest and dismissive superiority. Upon our first meeting, I was bound to a contract with my life as its wager, a fact I remain rather displeased with, though there is little to be done now. I cannot reveal his exact location, as that information is under the same.

Theodreseax is a dragon of considerable size, measuring some 450 feet from snout to tail. His slim frame and elongated, spiny horns make him appear even larger than his already impressive bulk. His scales are a brilliant red, with black spines running down his back, and his underbelly shines a softer, burnt orange. His scales, larger than a man’s hand, shimmer like polished gems. While his original breath weapon was a thick, viscous flame, he has since altered himself, allowing him to produce an astoundingly lethal vapor, a trait he learned to protect the unique nature of his hoard. He admits himself to be 495 years old, born on the final day of Emperor Halifax the Tenth, on the fifth day of Malice.

Theodreseax is not a stereotypical (and almost always incorrect) hoarder of gold or jewels that legend makes out dragons to be. Instead, his lair beneath the ruins of an ancient castle is packed floor-to-ceiling with books, manuscripts, relics, and untold quantities of knowledge. His treasure is information, and he brokers it with those who can meet his price—typically another secret or piece of valuable lore. This vast chamber is his domain, a world unto itself where even the air seems heavy with the weight of the knowledge stored within.

Curiously, He does not dwell in solitude. He is attended by a group of beings he refers to as Dragonians or, as some legends name them, Kobolds. These creatures range in height from 4 to 7 feet, their anatomy bearing similarities to humans but with distinct draconic features, including long, lizard-like tails and elongated, snouted faces lined with sharp, triangular teeth. Their scales are small, about the length of a finger, and they appear to be warm-blooded. Their eyes are piercing and bright, and seem to glow with a light from within after the manner of true dragons. While sentient and clearly understanding my speech, they did not converse with me, leading me to believe that their silence is out of duty rather than incapacity. They are dressed in the style of the old imperial maids, who famously refrained from all speech during their duties. I must admit I find this likeness equal parts disconcerting and hilarious. He claims there are more of their kind farther south, albeit they are few in number. I suppose I should not be surprised to find another sentient race beside human and dragon, though I am filled with wonder at this discovery.

Over the course of several days, He and I conversed extensively, during which I was able to purchase invaluable information concerning another topic of interest. He was particularly impressed with my method of locating the Fathomless Tomb, and he did not consider his debt to me fulfilled with the information i requested of him, and he offered me further information free of charge should I ever return. However, when pressed about Celethon or any matters regarding him, Theodreseax was not evasive, but outright refused any information. He seemed surprised and somewhat impressed when I presented the knowledge I had already gained on Celethon, but refused to offer more than correcting me in my physical description. When I inquired about his own secrecy, he insisted he had no interest in the "petty squabbles of such short-lived creatures." I could hardly argue with his perspective.

Upon departing from his lair, Theodreseax directed me through a peculiar wooden door reinforced with wrought iron bars. The door was surrounded by runes I did not recognize, and though I attempted to commit them to memory, I found them fading from my mind like a forgotten dream. Passing through the door, I was astounded to find myself not in some remote wilderness, but standing in a back alley in Tarbrind, many miles from where I had expected to emerge. Truly, Theodreseax is a keeper of endless secrets.

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How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

Eldritch Miku omgggg

The Helebrost Incident

Statement 11-07-1310. Helebrost Department of Safety.

This statement outlines the approximate times of major events pertaining to the major incident which occurred at the Helebrost Institute of Magics, 7th of Malice, 1310. Long Live The Emperor.

11-07, 1:45 PM Significant Smoke seen rising from west tower, HIM. Call for brigade organization sent to HDS Nature presumed mundane

11-07 1:54 PM Brigade assembles outside HIM, West. Flame seen engulfing the tower's top floor

11-07 2:01 PM Intel from on-site staff indicate fire possibly due to run-away magic, details unclear. Request for Riot Control sent to HDS Request for more manpower sent to HDS and nearby districts.

11-07 2:13 PM Riot Squad arrives and establishes zone of control. Fire Brigade begins work clearing the building

11-07 2:17 PM Brilliant light seen emanating from top of HIM, West Tower. Request for more manpower sent to HDS Roof partially collapses inward. Radius of control is expanded.

11-07 2:28 PM City wide fire brigades assembled, Pumping station is functional. Water is observed to be reduced to steam without contacting the tower

11-07 2:45 PM Explosion is heard as tower partially collapses inwards, Floors from 4th upwards are destroyed and fall into the tower. Blinding light from 2nd floor is visible. Light and falling debris causes injuries in some emergency persons.

11-07 2:48 PM Fire spreads to HIM Helderon Hall Cordon Order given by Lucas Armsten, HDS. Efforts begin to isolate the burning buildings from the rest of campus, assume full loss of afflicted buildings. Light from Tower reported to ignite materials on contact within 50ft of tower. Unconfirmed

11-07 4:11 PM Water deemed ineffective on primary source, switched to damage control by order of Lucas Armsten, HDS Deafening howl reported from HIM, West Tower.

11-07 4:53 PM Explosion felt across the capital at 4:53 PM, Origin is HIM West. Burning debris seen flying hundreds of feet into the air.

11-07 4:59 PM State of Emergency Declared in Helderon South, evacuation order given. Debris seen up to 5 miles away Hundreds of fires reported Dispatch order given to all state and military personnel.

11-08 1:00 AM Coordinated efforts by military and emergency persons complete evacuation of Helderon, South Quarter. Est. 1200 persons missing or dead.

11-08 6:30 AM Fires spread through low income district unimpeded, inner gates blockaded in effort to prevent spread to the upper city. South Quarter completely locked down

11-09 10:00 AM Fires isolated from initial source and Low income/market area under control Lower City Cordoned by Mages' guild in effort to control the wildfire.

11-09 8:45 PM Wind Shift causes fire to break containment, West Avenue Wall evacuated Reports of Fire tornadoes confirmed Eastward Expansion contained, Northward slowing. Nothing left southward to save.

11-10 3:17 AM West Avenue Wall collapsed in 1/4 mile stretch, near fishmarket street. Cordon Efforts proving effective in stopping Northward spread

11-10 4:00 AM West District Emergency Declared to allow for cordoning efforts in highly populated areas

11-10 5:27 AM Moderate rainfall recorded Wind slows significantly

11-11 6:00 AM East and Northward Fronts quickly retreating. Fire has exhausted its fuel in those sectors Westward spread is slowed Diplomats dispatched to Tarbrind seeking humanitarian aid.

11-11 11:21 AM Wind shift blows Southward into open land. control deemed unnecessary. West District Deemed contained

11-11 2:00 PM West district Emergency lifted All fronts rapidly pushed back towards ground zero

11-11 9:47 PM HIM grounds reached by emergency personnel, no survivors found. No remaining corpses found, determined to be incinerated. Stonework of West Tower is reportedly in a molten state.

11-12 6:00 AM South District Lockdown lifted, Salvage operation ordered by HDS Council

11-12 12:00 PM Emperor Tours desolated areas Military on patrol to prevent unrest

END OF REPORT TIMELINE

ADDENDUM

From 11-12 to 11-16, Multiple small fires were reported and controlled. An estimated 3.5 Square miles of city were completely destroyed in the conflagration. Near ground zero, stonework was observed to be melted, with evidence that liquid stone was flowing down the streets.

The initial explosion is estimated to have killed nearly 1300 people, most of whom were emergency response persons. The following blaze killed another 500, as many were trapped by the hundreds of fires sparked by the explosion. Nearly 100,000 people were left without homes.

Aid caravans began arriving 2 weeks later, carrying valuable food and medicine, as well as tools and most importantly, many people seeking work.

The practice of large scale magic was banned within city limits following the catastrophe, and the school of magic was not rebuilt until nearly a decade later, located almost 3 miles from the city walls. A large public square with the largest fountain in the city was erected on the site as a memorial to those who gave their lives to combat the flames. It depicts some 200 life-sized figures of wrought brass in various active poses amidst an enormous reflecting pool. The names of all known lost souls are engraved around the base of the pool. The square is overlooked by the Emperor's Honor guard to this day.

it sucks so bad that 'lightning magic' in every media is just some pathetic little strands of electricity. i wanna see some LIGHTNING. show me a magic setting where lightning magic lights up a room like the sun, and the bolt is only visible as an afterimage burned into your vision. I wanna see someone cast lightning and have the thunder rattling the room and shaking everyone to their core. i want lightning magic to be a split second blast of so much power it leaves everyone's senses reeling. c'mon guys don't you know what real lightning looks like? we can be doing so much better than this.

How to Write Strong Dialogue

(from a writer of ten years)

So you’re back in the writing trenches. You’re staring at your computer, or your phone, or your tablet, or your journal, and trying not to lose your mind. Because what comes after the first quotation mark? Nothing feels good.

Don’t worry, friend. I’m your friendly tumblr writing guide and I’m here to help you climb out of the pit of writing despair.

I’ve created a character specifically for this exercise. His name is Amos Alejandro III, but for now we’ll just call him Amos. He’s a thirty-something construction worker with a cat who hates him, and he’s just found out he has to go on a quest across the world to save his mother’s diner.

1.) Consider the Attitude and Characteristics of Your Character

One of the biggest struggles writers face when writing dialogue is keeping characters’ dialogue “in-character”.

You’re probably thinking, “but Sparrow, I’m the creator! None of the dialogue I write can be out of character because they’re my original characters!”

WRONG. (I’m hitting the very loud ‘incorrect’ buzzer in your head right now).

Yes, you created your characters. But you created them with specific characteristics and attitudes. For example, Amos lives alone, doesn’t enjoy talking too much, and isn’t a very scholarly person. So he’s probably not going to say something like “I suggest that we pursue the path of least resistance for this upcoming quest.” He’d most likely say, “I mean, I think the easiest route is pretty self-explanatory.”

Another example is a six-year-old girl saying, “Hi, Mr. Ice Cream Man, do you have chocolate sundaes?” instead of “Hewwo, Ice Cweam Man— Chocowate Sundaes?”

Please don’t put ‘w’s in the middle of your dialogue unless you have a very good and very specific reason. I will cry.

Yes, the girl is young, but she’s not going to talk like that. Most children know how to ask questions correctly, and the ‘w’ sound, while sometimes found in a young child’s speech, does not need to be written out. Children are human.

So, consider the attitude, characteristics, and age of your character when writing dialogue!

2.) Break Up Dialogue Length

If I’m reading a novel and I see an entire page of dialogue without any breaks, I’m sobbing. You’re not a 17th century author with endless punctuation. You’re in the 21st century and people don’t read in the same way they used to.

Break up your dialogue. Use long sentences. Use one word. Use commas, use paragraph breaks. Show a character throwing a chair out a window in between sentences.

For example:

“So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret receipt card, and bring it back before she goes out of business? She didn’t have any other copies? Do I have to leave my cat behind?”

vs.

Amos ran a hand over his face. “So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret recipe card, and bring it back before she goes out of business?”

He couldn’t believe his luck. That was sarcastic, of course. This was ironically horrible.

“She didn’t have any other copies?” He leaned forward over the table and frowned. “Do I have to leave my cat behind?”

The second version is easier to digest, and I got to add some fun description of thought and action into the scene! Readers get a taste of Amos’ character in the second scene, whereas in the first scene they only got what felt like a million words of dialogue.

3.) Don’t Overuse Dialogue Tags.

DON’T OVERUSE DIALOGUE TAGS. DON’T. DON’T DON’T DON’T.

If you don’t know what a dialogue tag is, it’s a word after a sentence of dialogue that attributes that dialogue to a specific character.

For example:

“Orange juice and chicken ramen are good,” he said.

‘Said’ functions as the dialogue tag in this sentence.

Dialogue tags are good. You don’t want to completely avoid them. (I used to pride myself on how I could write stories without any dialogue tags. Don’t do that.) Readers need to know who’s speaking. But overusing them, or overusing weird or unique tags, should be avoided.

Examples:

“I’m gonna have to close my diner,” Amos’ mother said.

“Why?” Amos growled. “It’s been in the family forever.”

“I’ve lost the secret recipe card, and I can’t keep the diner open without it!” she cried.

“The Bacon Burger Extreme recipe card?” Amos questioned.

“Yes!” Amos’ mother screamed.

“Well, that’s not good,” Amos complained.

vs.

“I’m gonna have to close my diner,” Amos’ mother said, taking her son’s hand and leading him over to one of the old, grease-stained tabletops with the ripped-fabric booths.

Amos simply stared at her as they moved. “Why? It’s been in the family forever.”

“I’ve—” she looked away for a moment, then took in a breath. “I’ve lost the secret recipe card. And I can’t keep the diner open without it.”

“The Bacon Burger Extreme recipe card?”

“Yes!” She still wouldn’t meet his eyes, and her shoulders were shaking. “Yes.”

Amos sat down heavily in the booth. “Well, that’s not good.”

The first scene only gives character names and dialogue tags. There are no actions and no descriptions. The second scene, however, gives these things. It gives the reader descriptions of the diner, the characters’ actions, and attitudes. Overusing dialogue tags gets boring fast, so add interest into your writing!

So! When you’re writing, consider the attitude of your character, vary dialogue length, and don’t overuse dialogue tags.

Now climb out of the pit of writing despair. Pick up your pen or computer. And write some good dialogue!

Best,

Sparrow

words to use instead of ________

"Mad"

aggravated, angry, annoyed, boiling, cross, enraged, exasperated, fuming, furious, heated, incensed, indignant, irate, irritable, livid, offended, outraged, riled, steamed, storming, upset

"Nice"

amiable, charming, cordial, courteous, delightful, favorable, friendly, genial, gentle, gracious, helpful. inviting, kind, lovely, obliging, peaceful, peachy, pleasant, polite, swell, sympathetic, tender, welcoming, well-mannered, winning

"Pretty"

alluring, appealing, attractive, beautiful, charming, cute, delightful, desirable, elegant, eye-catching, fair, fascinating, gorgeous, graceful, intriguing, lovely, pleasing, striking, stunning, sweet

"Said"

alleged, argued, asked, asserted, babbled, bellowed, bragged, commented, complained, cried, declined, demanded, denied, encouraged, expressed, giggled, growled, inquired, moaned, nagged, rebuked, rebutted, replied, rejected, retorted, roared, scolded, shrieked, shrugged, stated, taunted, vowed, warned, whined, whispered, yelled

"Went"

avoid, bolt, bound, depart, exit, escape, flee, fly, hike, hop, jaunt, jolt, journey, leap, leave, lurch, march, mosey, move, pace, parade, pass, progress, retreat, saunter, scoot, skip, split, step, stride, stroll, tour, travel, vanish

more words to use instead other words to use instead another list of words to use instead

I was worldbuilding two bog standard fantasy species, wise old tree dudes and impulsive little rat guys, when I realized it was far funnier if they had each other's personalities.

The rat guys think fast and talk fast, but they're incredibly conservative and like to cover all the angles before they take any action. This comes with being a prey species: their ancestral environment had lots of clever traps and devious hazards, so you get rat councils wisely working the problem.

The tree dudes speak and move slowly, but they will propose and then do the most insane things you can imagine. They can slot together a rocket in an afternoon and will then use it without so much as a test fire first. They test new potions by quaffing them down, sometimes not even waiting for it to cool (though they're tree dudes, so I guess quaffing a potion just means pouring it over their root legs). This comes from the ancestral selection process too: the tree dudes that won were the ones that took big risks, that grew faster, stronger, and tried new things without worrying about consequences. The tree dudes evolved in an era when they had no natural predators and their only competition was each other.

And this is, of course, initially confusing for any human who makes contact with them. If a giant bearded tree nods at you solemnly and tells you to go through a portal, your first thought is not that he's curious about what will happen to spacetime. And if a hyperactive little rat guy tells you with some urgency that you must accompany him into a ruined city, you won't immediately think that this is step 11 of his branching 27 step plan.

When writing emotionally reserved characters:

Show your character's struggles with holding in emotions. Just because your character won't let themself go in public, doesn't mean they don't struggle holding everything in.

Find a motive. Pride and/or consideration for those around them can make emotionally reserved people hold back more than would be considered good for them. There are other reasons too, perhaps the initial cause and the reason now are different, but try to give them a reason.

Show side-effects. Everything you bottled up shows itself in another way, whether it's physical or mental. This can be long- and short-term, depending on the severity of the emotions.

Give them coping mechanisms. Everyone who wishes not to show certain emotions has a trick or two to keep themselves in check. Taking a sip of water, not looking people in the eyes, clenching their fists, breathing just a bit too deeply.

Write subconscious signs that they give off, which close friends or family might pick on. Just because these characters want to keep their emotions to themselves, doesn't mean they don't give off signs. Some manage to keep said signs well hidden from those closest to them, but it's more common for environment to pick up on something at the very least.

excited!

I have this worldbuilding project I’ve wanted to post about but not sure where to really start as I’m not much of a writer.

I already have to world’s lore written down so I might post it tomorrow. I’ll also post art with it.

I’m calling it Magic & Melodrama, but I might change the name later.

So y’all know the classic edge trope of “my blade cannot be sheathed until it has tasted blood”? What if a magic sword that has that requirement, except it’s sort of inverted. A sword that, instead of being inhabited by an evil spirit which once awakened cannot be lulled back to sleep except by blood sacrifice, was inhabited by a benevolent spirit who would not allow the sword to be drawn unless bloodshed were the only possible solution. A sword whose power could never be misused because it would only allow itself to be used in situations where it was justified. What about a Paladin who spends their entire journey fighting with a sheathed sword, incapacitating but never killing or maiming. The party believes that the Paladin has taken an oath of no killing, until they face the big villain. And it is in that moment, and that moment alone, that the sword will allow itself to be drawn.

Idk, this image set my mindwheels a-turning.

But do y’all see the vision?

*turns to hiking buddy*

you are hungry in the woods. are you eating moss or bug first

I am eating the big delectable USDA beef hamburger I brought with me

Because a few have asked

Teaboot's Super Okay Guide To Developing A Brain That Makes Art Work

Or: How to get your eyes to talk directly to your hands without your brain micromanaging you

Or: How to draw better

⚠️ Warning for super fast gifs cause they all gotta be 5 seconds or less or else my phone shits the bed ⚠️

1. Do the following exercises. Don't just think about doing them or figure out a clever way to not do them, just do them. Yes even the boring ones and the ones that look ugly

2. If you have any pride, crush it. Kill it. Crunch it up into itty bitty bits and feed it to the ducks at the park. You have no talent and don't know anything and everything you make is hot garbage. Believe that. Make yourself believe that. That is where you live now. Surrender any indignation or shame you have to the void and embrace rock bottom.

3. Read step 2 again and actually do it this time. My methods will not work if you try to make this process pretty. Don't.

4. No drawing from your imagination on these. Actually draw from real life. If it's boring like eating day old oatmeal in in beige room but your usual art still feels wonky then I'm talking to you specifically. You can't write poetry until you learn words and yes learning words is as dull as horseshit sometimes but do you wanna be Robert Frost or not

5. Pick up some cheap paper and a ballpoint pen. Grab a small object, between the size of your hand and the size of a microwave. Set a timer for fifteen minutes. Put the tip of your pen to the paper and press "start".

Now without looking at your paper, only looking at the object, draw the object in as much detail as you can. Do not break contact between the paper and the pen tip until the timer goes off.

This is a continuous line drawing, and you're doing it in pen because you need to know what rock bottom looks like and rock bottom looks like no eyes no erasers no shading no do-overs.

6. Sit down in a public place. As someone walks by, draw their their body in as much accuracy as you can before they are no longer in view. Once you can't see them anymore, the drawing is done. No adding details. Pick someone else and do it again. No "base sketch". Just them. If it barely looks human you're doing great

7. Get a black pen. Put a small object on a dark, flat surface. Now draw the surface without drawing the object. Don't draw the outline of the object. Don't do a sketch. Just draw the surface that is visible around the object until only a silhouette remains. No time limit just do it.

The ability to draw accurate proportions from sight comes from learning to see what exists between a thing and the absence of a thing and if that hurts to think about then you need to do it more

8. Keep doing these until you are Ready.

9. You will know when you are Ready. It will make sense when you are Ready. You will Understand.

10. Unwind with some goofy shit so you don't forget why you wanna improve to begin with

The fundamentals of Magic

I finally got around to writing a guideline for my magic system. As this was for my own use, i didn't put much effort into formatting or story-writing, but i thought i would share regardless.

General Concept:

Magic exists as an energy found in the "Third Realm," a shadow-like domain composed entirely of magical energy.

The First Realm is the physical world, and the Second Realm is the immaterial realm of the gods. The Third Realm is a non-physical shadow of the physical world composed entirely of magical energy.

All living creatures in the First Realm have a faint connection to the Third Realm, naturally drawing a small amount of magic into the physical world.

The "gods" of the second realm exist by the energy of the third realm, but exist as a sort of undefined halfway point between the first and third realms. Their domains are composed of magic with the illusion of physicality. The existence of the dead in this realm pose major questions on the nature of the soul that I honestly don't feel like trying to explain.

more on this later i think.

See [[Realms]]

Mechanics:

Larger creatures can channel more magic due to their greater connection to the Third Realm.

This is tied to a creature's volume, but has a small effect. Humans and Dragons have far more magic than one might expect from their size.

Dragons are something of a special case that will be expanded on later.

A large and small human will have a negligible difference in access to magic.

A ant will have less access to magic than a deer. etc.

Animals generally have far less accessible magic than sentient races, but special cases have been known to surface.

plants have almost no perceivable magic, this is thought to be a result of not having a soul or blood.

Magic in living beings is more stable and "pure" compared to the chaotic energy found directly in the Third Realm. Magic is "filtered" when it is pulled between realms by a living force, although the mechanism behind this is not understood.

Using magic depends greatly on what medium is used to control it.

Ember magic must be used by channeling magic from the Third Realm into the physical world without drawing it into one's own body, otherwise you risk mana sickness.

Dragon Magic uses dragon bone as either an amplifier or a battery for magic, allowing one to slowly accumulate large stores of magic which can be unleashed without loss.

"natural" magic is magic drawn directly from the user's body. This method must be used as a sort of signal current to activate and use other types of magic. It is the most widespread form, and also the weakest on its own, as humans have a very limited amount of natural magic at any given time. Think of it like blood, when you run low, you make more. You can't lose very much without feeling some serious effects.

When using Ember magic, natural magic is channeled from the user to maintain the connection to the third realm, and to direct the flow of the raw or chaotic third realm magic. This imposes a hard limit on how long an Embermancer can operate.

In draconic casting, raw magic is used to "break the seal" an unleash what is stored, but is otherwise preserved, making this an extremely efficient way to use large amounts of magic.

When casting without a medium, magic may flow from any part of the body, but most commonly the hands. Running low on internal magic will cause exhaustion and may bring similar symptoms to complete bodily exhaustion such as hallucinations, unconsciousness and cardiac arrest. If you run completely out of internal magic, you will die, although most will fall unconscious before this point, similar to how you will pass out and begin to breathe again if you hold your breath too long. If magic is being continually drawn from you, by a formulated spell or Ember channeling, for example, your body will rapidly breakdown to generate the deficit energy drawn from you. This is known as "Burnout".

Special Materials:

Dragon bone is prized for its ability to hold and amplify magic, allowing spellcasters to channel larger spells.

Ember acts as a conduit for magic. It allows magicians to draw vast amounts of energy from the Third Realm with minimal personal expenditure, but with significant risks. When in use, Ember generates a significant amount of heat. Ember takes the form of a black, basalt-like material interspersed with brilliant orange luminous crystals. The crystal formations are the actual Ember, with the black material being similar to a dross.

Ember prisms, cut from higher-grade Ember, are coveted for their increased effectiveness and reduced heat buildup. However, overheated Ember prisms can be extremely dangerous to the user. Despite their name, Prisms are not a specific shape. Ember is often found in pentagonal prism form in small samples, but very large masses can have a wide range of crystal forms. Ember can be cut to any shape. It is traditionally cut to 2-6" rods and used in a similar fashion to a wand. They are often shaped to maximize skin contact to reduce the effects of Ember-burn.

Overheated Prisms can cause serious burns, and have a chance to explode when overheated. Larger masses have the potential to run away while under heavy use, creating a huge spike in heat as the Ember begins drawing magic by it's own power. This almost always leads to the violent destruction of of the prism and the surrounding area. The only way to stop a runaway reaction is to quickly cool the mass below the critical threshold.

Runaway spells are not true spells. The original spell usually falls apart near instantly as the stone switches from a controlled stream of magic into an overflow of raw energy. This uncontrolled flood of energy usually ignites anything nearby within seconds. See [[The Helebrost Incident]].

Risks and Side Effects:

Drawing raw magic from the Third Realm into one's body, rather than expelling it directly into the world can cause "mana sickness," which manifests as nausea, muscle cramps, seizures, coma, spontaneous bleeding, and even death if overexposed. the condition generally lasts about 24 hours, while your body quickly attempts to prevent breakdown from the influx of chaotic magic.

"Burnout" occurs when a magician's body is destroyed by excess "dirty" magic drawn directly from the Third Realm, or is reduced directly into energy while overcasting, leading to violent immolation or explosion.

Ember-Specific Risks:

Prolonged use of Ember can cause mundane heat burns, and "Ember-burn"; a mostly harmless condition where the stone seeps into the user's skin, causing dark scars, patterns, itching, occasional numbness, and other irritating effects. In very extreme cases, Ember will begin to crystalize directly on, in, or even under the user's skin, sometimes causing frostbite-like damage and intense pain.

Magicians using Ember typically channel magic directly through it into the world, avoiding the chaotic energy's harmful effects on their bodies. See "Burnout"

Historical Context -- to be expanded

Horus Tobb discovered Ember magic but died from burnout while demonstrating its use to the Magician's guild in Tarbrind. This tragedy led to a global increase in interest for magical research.

The rediscovery of Magnus Helderon's Divine Theory provided a deeper understanding of the nature and mechanics of magic. See [[Magic and the Second Realm - Ember and Bone]]

The Helebrost Incident - the first recoded runaway of an Ember Prism. A 33" diameter Ember Sphere used for conducting research at the Helebrost University entered a meltdown state after a research team attempted to transmute a mass of pig iron directly into gold. The resulting inferno burned down nearly 3.5 square miles (9 square km) of the the surrounding city in a blaze which lasted nearly a week.

the ants when i vacuum their crumbs

whoever made the decision to make umpires wear cameras... you are a legend

this is genuinely the funniest thing i've ever seen

NEED HELP WRITING? (a masterlist)

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

"Said" is Beautiful by @blue-eyed-author