Latest Posts by gatortavern - Page 2

How to write dynamic scenes

Here’s how you can inject some dynamics into your scenes where characters may be idling during their conversations! This is my favourite trick to use when I want to round out a scene.

Sometimes you may have a static scene in your book with characters simply sitting and chatting. So how do you make this more interesting?

The answer is to add in some dynamics!

🤔 What does that mean?

Creating dynamics in a scene means that you add some form of repetitive or changing background element throughout the scene to keep it moving, despite it being in the same spot.

For example, if you have a scene set in a restaurant with two characters having dinner, pick out an element from the setting that could create some kind of dynamic, pressure or conflict to your scene.

✍️ In a restaurant this may be:

An annoying cast of waiters circling around and offering refills

A scorching radiator by the side of the table raising temperature and shortening patience levels

A loud party of people in the background who make it difficult for your characters to understand each other

A partner’s phone buzzing on the table every other minute

A character’s personal tendencies - like fidgeting with the table cloth and eventually unthreading it, or coming close to dropping things until they shatter a glass at a high point of the scene

Think of background elements, or ways to externalise the way your characters are feeling in a particular scene can add so much life to a scene!

It also makes it feel more interesting, dynamic, and immersive, even a scene you’re writing is a simple conversation.

Whenever you find your characters having a conversation while they’re simply walking or sitting, think of whether you can externalise any of their emotions or inject some background element to make the scene more interesting!

Did you hear my first book is coming out August 15th? Pre-order it now through the [link here] or below!

Hi there! I was wondering if you have any advice/opinions on the importance of originality vs. the finer mechanics of a story (plot, character motivations, etc). I've always been insecure about having unoriginal ideas, but the few times I've had an idea that feels genuinely unique, every other important element of the work feels lacking. The characters are passive and unmotivated, the plot is full of holes, etc. Currently, I have an idea which I'm not confident in the originality of, but the character has clear motivations and the plot, while tropey and not the most original, has a clear direction and no immediately obvious holes. So I'm a bit torn up over whether it is better to bend over backwards to try to make the unique ideas work or to go with the one that is less original, but comes easily to me and ticks all the other important boxes. Ultimately, I'm writing it for me, but if I ever did decide to publish, I worry the premise alone wouldn't catch the attention of potential publishers or readers. Any input you might have would be much appreciated!

Here's what I'm going to recommend: Throw out ideas of originality and marketability for now. They're both holding you back from making the real decision you need to make. Sit down and ask yourself some questions:

Which story concept has more appeal (to you)? Does thinking about working on it make you feel excited, or fill you with dread? Wanting to work on the story is the most important factor here. Trying to force something because you think you must do it won't work.

Which story concept is easier for you to write? You already have the answer to that, but I want you to think about why. What about your more conventional story makes it easier to make characters for and plot? Is it because that's where you feel more comfortable at? Is it because that's the kind of story you most like to read?

Which story concept do you see yourself finishing (and editing)? Carrying the story through to the end is the biggest factor here. If writing the story is a slog from beginning to end, you're probably not going to end up with a finished book that you like.

Now obviously, I am leaning toward one way - the story that comes more easily for you. I'm doing that for a couple of reasons, but mainly a finished story with interesting characters and a cohesive plot is going to be a much easier sell than a unique story with no appealing characters and a plot that's confusing. Most readers are sold on good character arcs and fun plots, not the uniqueness of the premise. If uniqueness is all you have, there's little appeal to the reader.

This does not mean you should toss out those unique and appealing story ideas! You want to write them, and they will not go away, but you're not going to suddenly wake up and become the next China Mieville or Jeff VanderMeer overnight. Getting those unique story ideas to work means giving them time to become something you can write while in the meantime still writing and working on stories that you know you can write.

Put those little plot mushrooms in a dark place and let them grow while you continue to develop the skills you need to bring them to life. Review them from time to time, but if they aren't ready and other stories are, don't force them. One day you will find the key you need to pull them together in a way in a story you're ready and excited to write, but in the meantime, give yourself permission to become.

Uniqueness doesn't sell books; good stories do.

How should I go about describing a character who goes through a lot, becoming more disheveled and desperate as the plot goes on?

Desperation is the emotion that drives characters to their limits, leading to their most intense and extreme behaviours.

By showing how characters become more desperate as your plot progresses, you can create characters that are interesting, dynamic, and relatable.

Here are some ways you can show desperation in your characters. As the plot moves forward, these elements can get worse, showing their decline.

How do they behave?

Obsessive and/or compulsive

Repetitive actions like hand wringing, or overuse of stock phrases

Self-destructive and risk-seeking

Enhanced aggression

Avoidant and isolationist

Manipulative

Exploitative

Short-tempered

Impulsive decision-making

Unrelenting pursuit of something

What physical signs do they show?

Heart palpitations and short, rapid breathing

Sweating profusely

Shaking or trembling

Sudden onset of nausea

Feeling weak or dizzy

Muscle tension

Headaches

Insomnia caused by worry and stress

Feelings of fatigue

Stomach pain and cramping

How do they interact?

Begging or pleading with others

Manipulating others to get what they want

Increasing paranoia and questioning other's motives

Pushing away loved ones

Becoming overly clingy

Either an inability to trust or being too quick to trust others

Self-sabotage

Single-focus conversations

What do they look like?

Unkempt hair and poor hygiene

Rumpled, slept-in clothing

Nervous tics, like fidgeting, pacing, or picking at nails

Extreme and unexplained weight loss

A haunted, faraway, or panicked look

Dark-rimmed, bruised eyes from lack of sleep or exhaustion

A constant sheen of sweat and clammy skin

Unusual clothing choices

What body language do they display?

Hunching over, as if trying to protect themselves

Fidgeting or pacing

Avoiding eye contact

Clenching fists or grinding teeth

Sweating or shaking

Staring intently at something

Repeatedly touching hair or face

Darting eyes and biting lips

Meek and under-confident stance

Pleading look

What is their attitude?

Feeling hopelessness

Sad and dejected

Becoming increasingly irrational

A loss of faith in themselves and others

Obsession to the point of resorting to extreme measures

A sense of helplessness

Blaming others

Feeling powerless

A sense of urgency

What are some positive things that can come out of desperation?

Increased motivation to achieve their goals or solve their problems

Resilience and adaptability in the face of adversity

Heightened creativity and resourcefulness

The ability to form deep and meaningful connections with those who share their struggles

Catharsis or character growth through their struggles

What are some negative things that can come out of desperation?

A tendency to become self-destructive or engage in risky behaviour

Difficulty forming and maintaining healthy relationships

Increased isolation or loneliness

Chronic stress and physical health problems

A tendency to make impulsive or irrational decisions

Prone to depression and anxiety

Can you talk more about height and combat? Like for example a taller woman fighting a shorter man? I usually see the opposite (and the woman having all of the disadvantages) but how would it look the other way around? Assuming neither is skinny.

In most circumstances, height is less important than a lower center of gravity. Height can be useful in some situations, such as being able to see over obstructing obstacles. Reach is very useful, though overall height results in a negligible increase to reach.

So, generally speaking, any object with a lower center of gravity will be more stable than one with a higher center of gravity. Obviously, when we're talking about inanimate objects, you can get some weird examples where this isn't the case, but when you're talking about your normal, roughly humanoid object, a lower center of gravity will be more stable than a higher one.

This leads into another general statement that won't be true in every possible case, but is important to be aware of, if someone says that women have, “all of the disadvantages,” in a match-up, they don't know what they're talking about. The low hanging fruit is that women are more resistant to exertion and exhaustion than men, and that will become important in a prolonged fight. As mentioned earlier, they have a lower center of gravity (in most cases), meaning that they'll be more stable than a male foe.

If you've ever watched Judo videos of a five-foot-nothing girl casually tossing a massive guy around, what you're seeing is a practical consequence of that lower center of gravity. This is just a practical application of basic physics. If your center of gravity is below your opponent's it is far easier to leverage them off the ground and deposit them in a tangled pile of limbs at the location of your choosing.

Beyond that, while getting into ground fighting can be very dangerous for the smaller fighter (regardless of their sex), being able to put your foe on the ground before getting dragged down yourself, does open the door to some options for ending the fight, if you have the stomach for it.

A taller woman versus a shorter man will narrow the difference between their respective centers of gravity, and may make it possible for the man to get his center of gravity lower than his foe, but it depends on the relative height difference, and you'd be looking at some pretty extreme differences before this starts to become a realistic possibility.

In the grand scheme of things, the total amount of mass is less important than where that mass is located. This is why ground fighting, that is to say, when both combatants have already fallen over, and are continuing to fight without getting back on their feet, can be very hazardous. At that point, both participants are about as stable as they'll ever be, and sheer volume of mass can be used effectively. When you're standing, not so much. Also, yes, there is a window in the transition to ground fighting where one combatant has gone down, and does have a stability advantage. Some martial arts (again, Judo comes to mind) specifically train to act in this window. You're not going to fall over again, so you may as well take the opportunity to maneuver and drag your foe down, with an eye for making their trip to the ground less pleasant than yours.

Something we've said, many, many, times is that reach is very important, and this is true. So, it would follow that a shorter person would have less reach, which is also true. On average, your arm-span should be roughly equivalent to your height. So, if you're 6ft, you should have a 6ft armspan. If you're 5ft8in, you should have a 5'8” arm span. (There's some slight variation based on gender here, which has more to do with the length of your individual arms. The average arm length for an adult male is ~14.5”, while the average arm length for an adult female is ~13.5”, even though the average height difference is ~5”.) However, in most combat situations, when we're talking about the importance of reach, we're talking about a difference measured in multiple feet. Someone armed with a 4” dagger is going to have a difficult time countering someone armed with a 60” greatsword, for example. However, when you're talking about a difference in a few inches, that's not nearly as decisive. Unless your shorter character is dramatically shorter, they shouldn't have any difficulty reaching their opponent, so while reach is an exceptionally important consideration in armed combat, gender isn't likely to be an important factor when calculating overall reach.

The big thing to understand about height, and this is very true when looking at authors interpreting its importance in writing, is the factor of intimidation. A taller person will generally feel more intimidating up front, and a lot of visual narratives use this as a cue to show that a character is at a disadvantage. Adventure fiction, like Indiana Jones for example, uses this to great effect and so do most martial arts action movies. When someone is talking about the importance of size, that's usually what they're referencing. When you see a massive person walking on screen or popping up in your favorite anime, your brain mentally checks itself and goes, “oh. Oh no.” This, of course, has nothing to do with reality, it's just our brains interpreting danger.

We say this a lot on the blog, but really, you learn to fight with the body you have. Men and women fight the way they're trained to fight, so they don't have intrinsically gendered fighting styles after release into the real world. The concept of gendered fighting styles really comes from anime and other fighting games or as a reaction against socially constructed systems such as 'fight like a girl!'

If you ask Michi, who grew up doing martial arts, what it looks like when a tall woman fights a short guy, her reaction is to shrug and say, “it looks like two people fighting.” There just isn't a discernible difference outside of personal, stylistic preferences.

-Starke

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Prehistoric Planet Croc Ideas

So this was a thing I did on Twitter in anticipation of Prehistoric Planet. Obviously crocs (in this case meaning crocodylomorphs) were a pretty massive part of earth's fauna during the late Cretaceous, and seeing as the first season featured NONE I came to speculate which taxa could hypothetically make an appearance. Now part of the challenge for myself was to come up with a new, interesting contender every day in anticipation of the show's release, each based around the confirmed episides we had and restricted purely to taxa from the Campanian and Maastrichtian. While it took a lot of energy, I did manage to do so. Hell, halfway through they dropped the reveal of Simosuchus, which I had saved for later.

Obviously we didn't get much still, but I'll regardless post my list of candidates and ideas here, perhaps third time's the charme for a lot of these (tho for convenience I'm still ordering them by S2s episode titles). I'll also try to break them apart roughly by biome, starting with islands. PS: I'd love to hear which crocs people would have loved to see themselves. Any on this list or stuff I didn't even mention? Let me know I'm curious.

We got a shit ton of island crocs from the Cretaceous actually, which you can broadly divide into two categories. The crocodiles of the European archipelago as seen in the top row. Featuring the small, possibly shellfish eating Acynodon (art by Adramelech89), the incredibly widespread Allodaposuchus which did have some possibly semi-terrestrial forms (art by Alejandro Blanco, Aina and Agnès Amblás) and Aprosuchus, a tiny terrestrial critter from Hateg (art by @knuppitalism-with-ue). They already give a nice diversity between tiny durophages with blunt snouts, large, more traditional crocs and lanky land species.

The other island category concerns Madagascar, which had a lot of attention in season 2. Discounting Simosuchus, we got Araripesuchus tsangatsangana (art by Scott Hartman) and Mahajangasuchus (art by Mark Hallet). Both are really cool. The former is yet another smaller terrestrial species that may not actually be part of Araripesuchus, while the later is a massive, 4 meter relative of the famous Kaprosuchus that took to the water independently from all other crocs and has been nicknamed "Hippo croc" for its weird skull. Really I'd have loved to seen an episode entirely dedicated to this place.

Next up we had the badlands episode, which oh boy has a lot of contenders from the clade Notosuchia. Brace yourself.

Here again I could split these in two categories. The first is just general badland taxa. There's Ogresuchus for example, from Spain's Tremp Formation (art by Aina and Agnès Amblás). A relatively small sebecid found in a sauropod nesting site. And we all know what PhP does with baby sauropods. Or the long-necked Gobiosuchus (art by @yoofilos) from Mongolia, which may look like its related to the other ones in this category but actually is a far more ancient type of croc.

The far bigger group concerns South America's Notosuchians. ALL OF THESE are from the Bauru Group, with some even from the same single formation. You got Stratiotosuchus (again by Joschua Knüppe), a large terrestrial baurusuchid that filled the nische of mid sized carnivore in an environment shared by sauropods and abelisaurs. There's Pissarrachampsa (by Felipe Alves Elias), another baurusuchid I decided to feature because we have evidence of a nesting site that shows they only had few eggs. A great opportunity to show their tender side. Uberabasuchus (justin_an74), part of the bizzarly proportioned peirosaurids. Adamantinasuchus (by Deverson da Silva), a small, lanky Notosuchian and of course the heavily armored omnivore Armadillosuchus (by the ever talented Júlia d'Oliveira). Hell you could do a full episode just on the foodweb of the Bauru Group (Godoy et al. 2014).

Then there's swamps, which I'll just use to dump all the crocs that don't fit into the other categories.

As you'd expect, freshwater would be ideal for crocs with a more traditional semi-aquatic lifestyle, here represented by three forms. Jiangxisuchus (image by Li et al. 2014) is a paralligatorid, which are tiny crocodilians from the Cretaceous and Paleogene of east Asia. We honestly don't know what they are, some say alligator relatives, others say they are closer to crocs. But its small and cute. Then there's Roxochampsa (artist of the model I couldn't find), which looks suspiciously crocodilian but is actually a relative of Uberabasuchus from the badlands, hell it appeared in the same formation. Still, I reasoned that I'd throw it into this category because I already proposed so much for badlands (none of which came true but hey). And then there's Denazinosuchus (art by Andrey Atuchin). Again it looks deceptively like a modern croc, but is actually the last remnant of the goniopholids, crocodyliforms that were prominent animals in the Jurassic and early Cretaceous. It could have brought both taxonomic diversity nad highlighted croc resilience till the end.

When it came to picking out crocs for Oceans, it got tricky. Obviously season 2 tried to differentiate itself by being set more in the open ocean, not the coast, and true pelagic crocodiles weren't around by the end of the Cretaceous. So I had to settle for coastal animals. There's Sabinosuchus (Schiller II et al. 2016), a cousin to Sarcosuchus and, like Denazinosuchus, one of the last of its lineage. Also its from Mexico which is rarely talked about for its fossils. Rhabdognathus (Ghedoghedo) is a distant cousin, a slender snouted dyrosaur. Unlike pholidosaurs, dyrosaurs actually did really well after the KPG impact and spread around a lot, living way into the Eocene. And finally Chenanisuchus (art by artbyjrc), which like Rhabdognathus was found both before and after the impact that killed the dinosaurs.

And the final two I shall talk about, both of which I thought/hoped would appear in the North America episode. Again, there's certainly overlap, both would have just as much fit into swamps, while many others would have also suited North America. Regardless, here's Brachychampsa (Tom Parker) and Borealosuchus (Chris Masna), both iconic animals from the Hell Creek Formation. One closely allied with alligators and caimans, the other more basal with a head-shape more similar to todays crocodiles.

Now obviously there'd have been a lot more. Part of the challenge to myself was to try and be as diverse as possible, rather than just listing 10 different baurusuchids I went with only two, tried to include as much of the world as possible, etc.... There's also the fact that some really awesome taxa, Titanochampsa, Brachiosuchus and Eurycephalosuchus, all incredibly unique or interesting, were published too late to have been considered for the show. And now, in hinsight, we obviously know that with the exception of Simosuchus none of them made it in. Which is a shame, but maybe next time.

if you know you know

MAJOR NEWS FOR CROCODILE FANS In a newly published paper, Martin et al. describe a new genus of sebecid, Dentaneosuchus from the middle Eocene of France Whats cool about this animal is not just that its part of a group of terrestrial crocodylomorphs, i.e. croc relatives that lived and hunted on land But its also enormous The lower jaw was around 90cm long in the smaller specimen, which puts it in a similar size range as the enormous Barinasuchus from Miocene of South America pictured below (comparisson by Aledgn) this makes it perhaps the biggest land predator of Europe since the extinction of the dinosaurs.

PS: The paper doesn't go into it much, but among the lower estimates is a mere 3-4 meters. While the proportions are unknown, such a low body length seems rather unlikely given that this would mean the head was a whole third of the whole body. 5 to 6 meters seems a lot more reasonable.

Are you Exploring your Concepts to their Fullest?

                There’s nothing worse than getting hooked into a piece of media by a really cool concept—only to be let down through shallow exploration. The entire story I’m distracted from what’s happening by what could have been had they gone more in depth into what they promised.

                The good news is, avoiding this in your own writing is fairly easy as long as you remember to continuously do one thing: ask questions.

                I talk about this a lot, but making room to explore the implications (especially of worldbuilding and events, not just actions) is only going to deepen your narrative and create a more satisfying, well-rounded world. As well, the decisions you make here are going to set the use of your concept apart from the other stories we’ve seen it in.

                If your concept is a character who has lived on a boat their entire life finally hits the shore, think about what it would mean for someone to have never seen land—how would they feel about trees, valleys, mountains, buildings. They would probably be very familiar with stars and constellations, navigation, the dark, swimming, fishing, and danger surrounding the water. They may prefer cramped spaces, sleeping under a low roof, a gentle rocking or white noise.

                If there’s magic in the world but say only some people have it, how does that impact politics, healthcare, parenting? Do people have biases against magic users or non-magic users? Are there laws set to prevent or limit magic use in certain places, or at all?

                You could ask endless amounts of questions about a concept, and you should. If you introduce something big, exciting, and full of consequences—you must also be willing to commit to it, and explore it to its fullest.

                Good luck! If you feel like sharing, tag a concept you’ve come up with and some interesting implications that go with it!

Hello! Do you have any advice/resources on how to write sounds? Speaking and singing in particular but also maybe sounds at different volumes and sounds that could be considered "noise."

Describing Sounds Using Sound Words

Description of sound is all about knowing sound-related vocabulary. Here's a mini-list to get you started, but you can do some research to learn more. Also, be sure to look up these words before using them to make sure they're right for the context.

High Volume - blaring, blasting, booming, bray, din, deafening, ear-piercing, ear-popping, earsplitting, full volume, loud, pealing, roaring, sonorous, thundering, thunderous

Low Volume - buzz, faint, gentle, hushed, low, muffled, murmur, muted, peaceful, quiet, soft, subdued, whisper

Noise - cacophony, clamor, clatter, commotion, discord, disquiet, fracas, hullabaloo, racket, ruckus, uproar Pitch and Tone - atonal, discordant, dulcet, harmonic, harsh, high-frequency, low-frequency, mellow, resonant, sonic, soprano, tenor, timbre

Rhythm - beat, cadence, flow, lilt, lyrical, measured, melodic, metered, monotone, pulsing, staccato, stutter, tempo

Sounds - babble, bang, bark, beep, belch, boom, burble, burp, chirr, chirp, clack, clatter, clang, clank, click, clink, clip-clop, clomp, crackle, crash, creak, ding, echo, groan, gurgle, hiss, hoot, hum, jangle, jingle, kerplunk, howl, melodic, mewl, moan, murmur, patter, pitter-patter, peal, plop, pop, purr, rattle, roar, rumble, rustle, screech, shriek, sizzle, splash, splat, swoosh, squawk, squeak, strum, thud, thrum, thump, wail, whimper, whinny, whine, whir, whistle, whiz, yelp, yowl, zing How to Research Sounds - If you're struggling to describe the sound of a particular thing, like "thunder," go to Google and type in, "how to describe the sound of thunder" and look for inspiration. You can also search for things like "horse sounds" or "what sounds do cars make?"

Also, two previous posts specific to describing the sound of singing and music:

Describing Music How to Describe a Singing Voice

I hope that helps!

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so uh this is an interesting one. i don't normally do these but this would technically mean that this:

would be in Monster Hunter Rise. either that or Deep Rock galactic, i'd need to check Steam to see which one of those i technically played last.

Thinking of this little puffball decked out in Monster Hunting gear ready to capture a monster like Mitsusune or the whirlwind monkey guy (etc.) or carrying a big ol' Gold Chunk/the big green ore stuff/ the big purple ore stuff/ glitchy cube is insanely fun to think about. i don't know if i could ever draw that at the skill level i'm at right now, but it is now taking up space in my head.

The last character you drew/wrote about is now stuck in the last game you played. How screwed are they?

DESCRIBING THE PHYSICAL ATTRIBUTES OF CHARACTERS:

Body

descriptors; ample, athletic, barrel-chested, beefy, blocky, bony, brawny, buff, burly, chubby, chiseled, coltish, curvy, fat, fit, herculean, hulking, lanky, lean, long, long-legged, lush, medium build, muscular, narrow, overweight, plump, pot-bellied, pudgy, round, skeletal, skinny, slender, slim, stocky, strong, stout, strong, taut, toned, wide.

Eyebrows

descriptors; bushy, dark, faint, furry, long, plucked, raised, seductive, shaved, short, sleek, sparse, thin, unruly.

shape; arched, diagonal, peaked, round, s-shaped, straight.

Ears

shape; attached lobe, broad lobe, narrow, pointed, round, square, sticking-out.

Eyes

colour; albino, blue (azure, baby blue, caribbean blue, cobalt, ice blue, light blue, midnight, ocean blue, sky blue, steel blue, storm blue,) brown (amber, dark brown, chestnut, chocolate, ebony, gold, hazel, honey, light brown, mocha, pale gold, sable, sepia, teakwood, topaz, whiskey,) gray (concrete gray, marble, misty gray, raincloud, satin gray, smoky, sterling, sugar gray), green (aquamarine, emerald, evergreen, forest green, jade green, leaf green, olive, moss green, sea green, teal, vale).

descriptors; bedroom, bright, cat-like, dull, glittering, red-rimmed, sharp, small, squinty, sunken, sparkling, teary.

positioning/shape; almond, close-set, cross, deep-set, downturned, heavy-lidded, hooded, monolid, round, slanted, upturned, wide-set.

Face

descriptors; angular, cat-like, hallow, sculpted, sharp, wolfish.

shape; chubby, diamond, heart-shaped, long, narrow, oblong, oval, rectangle, round, square, thin, triangle.

Facial Hair

beard; chin curtain, classic, circle, ducktail, dutch, french fork, garibaldi, goatee, hipster, neckbeard, old dutch, spade, stubble, verdi, winter.

clean-shaven

moustache; anchor, brush, english, fu manchu, handlebar, hooked, horseshoe, imperial, lampshade, mistletoe, pencil, toothbrush, walrus.

sideburns; chin strap, mutton chops.

Hair

colour; blonde (ash blonde, golden blonde, beige, honey, platinum blonde, reddish blonde, strawberry-blonde, sunflower blonde,) brown (amber, butterscotch, caramel, champagne, cool brown, golden brown, chocolate, cinnamon, mahogany,) red (apricot, auburn, copper, ginger, titain-haired,), black (expresso, inky-black, jet black, raven, soft black) grey (charcoal gray, salt-and-pepper, silver, steel gray,), white (bleached, snow-white).

descriptors; bedhead, dull, dry, fine, full, layered, limp, messy, neat, oily, shaggy, shinny, slick, smooth, spiky, tangled, thick, thin, thinning, tousled, wispy, wild, windblown.

length; ankle length, bald, buzzed, collar length, ear length, floor length, hip length, mid-back length, neck length, shaved, shoulder length, waist length.

type; beach waves, bushy, curly, frizzy, natural, permed, puffy, ringlets, spiral, straight, thick, thin, wavy.

Hands; calloused, clammy, delicate, elegant, large, plump, rough, small, smooth, square, sturdy, strong.

Fingernails; acrylic, bitten, chipped, curved, claw-like, dirty, fake, grimy, long, manicured, painted, peeling, pointed, ragged, short, uneven.

Fingers; arthritic, cold, elegant, fat, greasy, knobby, slender, stubby.

Lips/Mouth

colour (lipstick); brown (caramel, coffee, nude, nutmeg,) pink (deep rose, fuchsia, magenta, pale peach, raspberry, rose, ) purple (black cherry, plum, violet, wine,) red (deep red, ruby.)

descriptors; chapped, cracked, dry, full, glossy, lush, narrow, pierced, scabby, small, soft, split, swollen, thin, uneven, wide, wrinkled.

shape; bottom-heavy, bow-turned, cupid’s bow, downturned, oval, pouty, rosebud, sharp, top-heavy.

Nose

descriptors; broad, broken, crooked, dainty, droopy, hooked, long, narrow, pointed, raised, round, short, strong, stubby, thin, turned-up, wide.

shape; button, flared, grecian, hawk, roman.

Skin

descriptors; blemished, bruised, chalky, clear, dewy, dimpled, dirty, dry, flaky, flawless, freckled, glowing, hairy, itchy, lined, oily, pimply, rashy, rough, sagging, satiny, scarred, scratched, smooth, splotchy, spotted, tattooed, uneven, wrinkly.

complexion; black, bronzed, brown, dark, fair, ivory, light, medium, olive, pale, peach, porcelain, rosy, tan, white.

more medical tips to help with writing? more medical tips in general? yummy. please send more

So I’ve noticed a bunch of medical errors in fics I read, so I decided to post this handy guide to some of the most common errors and some background on basic medical things.

ps- they are not medical treatment or first aid advice. I’m not actually a doctor. yet. but I am certified in first aid. this is just so your writing can be more realistic.

Another sketch brought to you by #paleostream!

Brachiosuchus is a large and weird dyrosaurid, a clade of a already weird crocodilomorphs. It had a very long and proportionally large skull, tall neural spines in the shoulder area and most importantly arms that where longer than it's hindlimbs. Yet it appears to have been marine and not terrestrial.

for my male audience

ah yeah i remember reading this! It's an amazing article

no fucking way

You know the Legend of Zelda. But have you considered the Legend of Fuecoco?

1918 Two women sharpening an axe. From My Vintage Dreams, FB.

ok ive actually been wanting to ask this for a while; can getting stabbed in the stomach/abdomen really cause blood to come out of the mouth or is that just a dumb trope for The Drama?

Yes, but also, yes.

There are a lot of injuries that can result in blood in your respiratory system. The most obvious would be puncturing a lung, or bruising a lung (called a pulmonary contusion.) Also, bleeding from the sinuses that gets into the throat can result in coughing up blood (though this one is pretty benign.) As a general rule, you do not want fluid in your lungs at all, and fluid that is prone to coagulating, blocking your lungs' ability to absorb oxygen is a very bad thing.

And it gets worse, for your body to effectively expel a large glob of blood, the way you usually see in films, you would need a lot of blood in your lungs. On their own, even relatively minor pulmonary contusions have a pretty significant mortality rate. What this means is, if you're ever coughing up blood, there's about a 30% chance you're going to die.

Also as a quick aside, particularly violent coughing can result in some minor spotting from broken blood vessels. It's not inherently life threatening, but it is something that should be checked out quickly, because it can be a symptom of something worse. (Such as lung cancer.)

The way these injuries tend to get inflicted is a mixed bag. When someone's been getting beaten (particularly in the upper torso), they've been in an explosion, or a car accident, then it's not that unreasonable for them to be coughing up blood. A pulmonary contusion is a pretty plausible injury in those circumstances. And again, that pulmonary contusion could easily end up being the fatal injury.

When a character has been shot or stabbed in the stomach, then it's less plausible. There's a bit of a distinction here, because if you have serious hemorrhaging from internal injuries and that gets into your stomach, it's quite possible you'd vomit blood. You don't see this very often in film, coughing is far more popular, and in a lot of cases, you'll see characters coughing up blood when they should be vomiting. As with pulmonary contusions, this is not a symptom to screw around with, if someone's vomiting blood, they're at very serious risk of dying, and need immediate medical care.

So, is it just used for drama? Yeah. It is. Stage coughing is pretty easy for an actor, and a little bit of slight of hand with a blood pack can let them get a nice death scene in. It's not about the realism of the injury, and in most cases, aside from coughing up blood, they're not exhibiting any of the other associated symptoms (including the ones that are more common.) When someone's coughing up blood like this, they're also suffocating, because their lung can't absorb oxygen out of the air. As a result, they'll frequently start hyperventilating. Which, you'll never see in one of these scenes. The actor will lay there, deliver their lines, feign pain, and then spit up a red dye pack and relax. Which, that's not how this injury works at all.

So, yes, it is a real injury, but also, yes, this is something that is used for dramatic effect and not out of any interest in realism.

-Starke

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What a croc! 🐊 This Fossil Friday, let’s take a bite out of the weekend with Deinosuchus—a giant crocodilian that lived alongside the dinosaurs some 75 million years ago. Reaching lengths of more than 35 feet (10.7 m) and weighing more than 8,000 lbs (3628.7 kg), Deinosuchus was as long as a school bus and as heavy as an elephant, making it one of the most powerful predators in its ecosystem. In fact, partially healed bite marks found on the bones of a tyrannosaur in North America match this giant croc’s teeth, suggesting Deinosuchus could go toe to toe with even the most formidable of dinosaurs.

This image is a historical reconstruction from 1942 and is not representative of current size estimates.

Photo: Image no. 318634 © AMNH Library #paleontology #fossils #dinosaurs #fossilfriday #amnh #museum https://www.instagram.com/p/CqLMKD5M5cW/?igshid=NGJjMDIxMWI=

10 Ways to Avoid Writing Insecurity

by Sean Platt

Face it. There are few things as intimidating as the blinding white of a blank page.

It makes no difference if it’s an empty sheet lying on our desk, or a blank screen, aiming between our eyes. Defeating “nothing” by subjecting it to “something” with our words is what gives a writer breath.

Whether to pay our bills or please our muse, eventually words must spill. Here are ten tips to help plow past writing insecurity.

1. Appreciate your unique perspective.

No one sees the world exactly like you, and no one can articulate it in quite the same way. The oldest stories are told and then retold, not because they invent new things to say, but because inside a timeless message, each storyteller may weave a million individual moments.

2. Writing is conversation.

The more we speak, the more we understand the fundamentals. Writing is no different. Most of the time, our brains operate on the surface, doing only what must be done. We may adopt the push and pull of conversation to push our voice further. Writing, much like a good discussion, can help us dig a little deeper.

3. Allow your influences to shape your voice, not drown it.

Creativity is borrowed. None of us formed our thoughts in a vacuum, and all of us were subject to a myriad of different models. Inspiration lives inside us, and our subconscious never forgets. We need not copy our heroes, their hand is always there to guide us.

4. Believe.

You can do it! Fear is a set of handcuffs, keeping our fingers from flight. If you don’t believe in yourself, then no one else will either.

5. Ignore the rules.

Rules can be intimidating; intimidation a shortcut to insecurity. You may not know precisely when to use a comma and when to use parentheses, but that decision will never equal the importance of a good idea. We first need broad strokes to lend foundation. We wash our world in red, blue, yellow, and green. Chartreuse and vermillion come later.

6. Write for someone specific.

Nothing will crystallize your voice, like scribbling for a single set of eyes. It doesn’t matter who it is, and it doesn’t have to be the same person twice. Write as though you are speaking to them. Design your jokes to make them smile, your words to feel them near.

7. Write without pause, return later.

Alone with our thoughts, it is easy to think the worst, but we should never allow them to slow us down. When our inner whisper begins to shout, we must lower our nose and keep on going. Once drained, leave. Return later, and you’ll likely be surprised at what you’ve written.

8. Take pride.

Our words are simply a more permanent version of our thought. Be proud of who you are, and know that what you write is a reflection of you.

9. Even Stephen King writes with his door closed.

No one gets it right the first time through. Just start. Even if the world will be watching once you are finished, no one is watching you now. Close the door, breathe the silence, and let what’s inside you come out to play.

10. Dip your toe, then jump… the water’s fine.

The first keystroke is always the hardest, but begetting something from nothing is what separates us from the lower species (well, that and opposable thumbs). Pushing past our fear and into uncertainty, is when we’re most likely to find ourselves.

Sprigatito, Fuecoco, and Quaxly travel into a fantasy realm.

Totodile and Fuecoco help Quaxly.

ahh, i do adore the old days of pokemon where you'd get a ton of odd glitches like this happening.

There's also the glitch in Stadium with at least a few glitch mons where if you look at them they turn into a Rhydon.

pokémon evolution chains we need

The merit of your writing.

So, you’ve read something that has resonated with you. It’s everything you’ve wanted in terms of characters, prose, plot and pace. It’s the best you’ve read in years. You reread your favourite lines. You have to take a break just to absorb every meticulously crafted line. You are in awe of how something so small can seem to take up so much space.

And in a perfect world, it would inspire you to go out and create. To work on that story that is languishing in your save files, to pick up that WIP you abandoned, to make you want to write something different and new and better. 

Instead, it makes you feel inferior. The words are too good. You could never write like that. The characters are too perfect. You don’t have that insight. The story is too captivating. Your ideas are boring, cliche, plain. The insight is remarkable. You can barely string a thought together coherently. 

Why even bother, you think.

Don’t fall into that trap. I have been there so many times. I have abandoned writing for years because of “why even bother”. I have let it destroy my confidence, only to patch it back up in a cheap imitation of what it once was, just to let it invade my thoughts again. I have questioned every thing I’ve written, every choice, every line, because why even bother if someone is so much better. 

YOUR WRITING HAS MERIT. What you don’t realize is that it’s not in terms of better, but different. Different style, different story, different interpretation, different mind.

Someone out there will love the way you describe the night sky in poetry. Someone out there will love the way you describe the look on someone’s face when their heart breaks. Someone out there will love your idea, that strange one that seems impossible or already done, because it’s new and exciting or they love endless amounts of that same story. Someone out there will love your interpretation of that character, whether more gentle or bitter or broken or healed. Someone out there will love the words you write, the grandiose use of adverbs (my guilt) or the minimal scattering of dialogue. Someone out there will love your abundance or lack of something you saw in that story you so loved, the one that rendered you speechless and snuffed out your fire. 

Someone out there will love your words. And you need to share them. 

Speaking as a writer, no one sets out to create something to discourage others. No one wants to dominate their corner and be the only one there. No one wants to be alone in their craft. If they do, they are doing it for the wrong reasons. Speaking as a writer, I would never want you to read my writing and think, why bother. 

I want you to think, why bother waiting?

Your story matters. Your writing matters. It’s beautiful and defined and gorgeous and a work in progress and growing and already there and insightful and mysterious: it all has merit. 

Never stop. Never stop writing and practicing and doing and creating and learning and loving the words you weave.

You may think someone has done it more beautifully or better or too many times or never because who wants to read it? 

They maybe have done all those things, but they lack one thing: they haven’t done it like you have.

show, don't tell:

anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking

frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping

sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps

happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking

boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails

fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands

disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm

tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile

confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions

How to Do World-Building Research

Whether you’re building a fantasy world from complete scratch, or mentally designing the suburban house your very realistic story will take place in, at a certain point in your writing process you’ll need to plan out your story world. Here are a few world-building research methods to get you started:

Ask Questions

Ask anything and everything you can about your world. Each story will require different lines of inquiry. Listen to your story and follow the questions it seems to want you to investigate. What kind of car did your main character’s grandpa drive? How was the president elected? Why is everyone so obsessed with peanuts? The answers might appear in the story you’ve already written, in your imagination, or you may have to delve deeper into your research to find them.

Draw a Map or Create a Model

Is your story world so complicated it’s making your head spin? Get out paper or other materials and make a visual representation of it. This could mean making a floor plan of your main character’s house, or mapping out an entire town, country, or kingdom. Physically creating your world is research in itself, but it can also guide you to new lines of questioning. You might discover that your story world contains a lot of lakes, or elk, or antiques, which in turn pushes you to research craters, or migratory patterns, or the history of antiques, which then leads you back to questions about meteors, or a lineage of hunters, or a family history of con artists, etc.

Outside Research

You may need to read history books, watch documentaries, conduct interviews, research online, or conduct first-hand research to get your questions answered. If your story takes place in Kansas and you’ve never been there, you could plan a trip, watch movies or read books set in Kansas, or talk to people who have lived there. Remember to record sensory details as well as facts. How does the air feel? What colors are prominent?

Take Notes

No matter what research method you use, take lots of notes. These can be straightforward recordings of the facts, or more creative expressions of what you encounter. Maybe something you stumble across will inspire you to write a poem, make a drawing, take a photo, create a mood board, or outline a new character. Keep in mind that your best ideas might come when you’re not actively researching, so keep a notebook or device nearby to record ideas that pop up when you’re not expecting them.

Use Your Own Experiences, Opinions, Ideas, and Imagination

Research doesn’t just mean looking into what other people say, think, or feel about a time, place, or topic. It can also mean exploring your own thoughts and perceptions! Say you’re researching a story that takes place in Oklahoma during the Great Depression. You’ll want to read history books, conduct interviews, watch films and documentaries, read novels set in that time period, research online, and perhaps even travel. But while you’re doing this, also pay attention to how you think and feel about the information you’re gathering. What details stand out to you? Does something you encounter make you mad? Why? What interests you about this time and place—and what bores you to tears?

When to Stop Researching

Some writers absolutely love story building… to the point that they never want to stop researching and actually write or revise their story! If you notice you’re procrastinating by languishing in the research stage, it’s time to get back to your story. As you return to the writing, you’ll probably find that you need go back to story building, then back to the writing, then to story building again. So don’t be too nervous about putting down your research: You can always go back and revise your world if you need to.

Of course, it’s completely acceptable to be obsessed with story building. All writers have their own attachments—elements of story telling that they love above all others. Some people get obsessed with a character, a plot, a setting, a theme… So if you’re a writer who loves your worlds, don’t be afraid to own it. Lots of amazing writers— especially science fiction and fantasy writers—are known for being huge world building geeks. If that’s what excites you, indulge! Just be aware of when you might be using it as a crutch because you’re nervous about composing or revising your story, and challenge yourself to move on—knowing, of course, that you can always come back to it if you need to.

Hope this helps!

ah, don'tcha just love language. one small mixup and the entire context is suddenly way different.

public service announcement

Hello! Sorry for the odd request, but I am wondering if you have any resource list of those unique words to describe complex feelings of the human experience? Eg words like Sonder, Chrysalism, Anemoia, and Ambedo etc. I've been trying to Google around for a comprehensive list but I only find a selective few on sites but nothing extensive. It would be of great help if you have any resources to share! Thank you!

Perhaps you've already seen these then,

40 Words for Emotions You've Felt But Couldn't Explain

15 Obscure Words for Everyday Feelings And Emotions (personal favorite is "crapulence")

26 Emotionally Intelligent Words From Around the World (non-English words for universal feelings)

I would like to point too many flowery words can harm rather than help. However, if you're writing a character or tone that is just begging for some out-there vocabulary, by all means!

Here are some other links to common emotional adjectives.

Karla M Claren - Emotional Vocabulary Page

380 High Emotion Persuasive Words

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