Prompt # 43

If you don't have money, then you can still reblog. Even 2 dollars still help and it won't take long.

Vetted and confirmed to be real by @gaza-evacuation-funds (here) and @bilal-salah0 (here)

@ahmedpalestine is trying to get his family with little children out to safety, worrying for them everyday due to being surrounded by death and being deported from their home. But it is going slow and tanks are approaching them after harming nearby residents. Their time is limited, yet their campaign didn't get enough reach nor donations.

You can help them here

@anneemay @komsomolka @transmutationisms @forevergulag @mesetacadre @2violent2revolution @pitbolshevik @27moremoons @t4tails @birdmenmanga @lesbianalism @toesuckingoctober @knxfesck

World Building Tips:  Empires and Power Structures

World building is important in any setting. There are places, such as fantasy literature where it can become the difference between a believable world and an unbelievable one. Suspension of disbelief is often a critical part to stories. 

Many fantasy books take place during times of war, or revolution or even a fall of a corrupt empire.  I love reading these sorts of stories, as many people do.  Power structures can be complex.  They can be used to create tension and drama between characters - take for instance the hero versus the corrupt government troupe in fiction such as The Hunger Games, Harry Potter or even more traditional fantasies such as Tigana ( by Guy Gavriel Kay) or The Wheel of Time series (by Robert Jordan).   As a reader it can be compelling to follow these stories.  For writers though, it can seem daunting to go into the details of shaping a believable power structure.  Here are some basic tips for creating one.  

There are four crucial factors to any power structure.  These are as follows:

1. Military - this includes the size of the army, the types of technology used (guns or swords? navy or land army?), the basic structure of the army (is it highly regimented like the Romans? What are the different groups within the army? How are they divided - by technology, skills or social status?). Another important question here is why has the military developed in this way? The Roman military, for example, grew out of competition with other Italian states. The opposition is equally important here - who were/are they within your story? Apply the above questions just as much to them, because empires and other structures are influenced by the world around them. The military can be the reason an empire begins in the first place.  The military should also play a role in sustaining the power structure/empire.  It doesn’t have to be the strongest factor by any means.  It may even become the downfall of the structure in the end.

2. Economy - How is your power structure or empire funded? Does this change over time? Does your empire take part in internal or external trade? Is trade important to the running of the empire? Resources such as crops, fertile land or people are also a part of this and influences the larger actions (such as conquest) your structure takes towards other countries. Trade can be a form of control and influence as well, even outside of the structure’s territory. In terms of story, a lot of decisions that are made involve trade or economic reasons - no one wants to get on the wrong side of someone who controls valuable resources or trade with other entities. The British Empire was based mainly on trade and this insured a global influence even as it declined in actual power.

3. Administration: The system of government and the way it manages itself is important to know. Is it a traditional monarchy or a democracy? How is leadership decided? How is power delegated throughout the larger administration? Hierarchy? One person can’t do or know everything. In terms of empire and conquest this is equally important. Does the empire recruit the local elites from conquered areas to administer to the general public, like the Romans? If your story is set in the outskirts of your empire, this could effect the outcome of the story - local elites might enjoy the power they have gained through an alliance with the larger empire and thus be unwilling to revolt against it. What other ways does your power structure control its territory? Does it use culture, or a set language to spread out into new territory? What kind of empire is your empire? Is it land based (only conquering territories linked by land) or maritime (navy focused with overseas territory)?

4. Culture: How does your power structure interact with its subjects? Even in a small area, different ethnic groups exist, so what unites all of them together? Are they all united, or is there groups of people the power structure leaves out? Have they always been left out deliberately or have these groups formed over time?How does the the government and the people from inside the empire view outsiders and their culture? Does this influence your story or characters? Do negative stereotypes or different language create a barrier between your character and others? In newly conquered areas is the empire’s language, laws and social ideals endorsed to locals or is it forced upon them? Is religion important to how the empire works or interacts? For example, before war do the gods need to show approval for the empire’s commanders? What about clashes of religion with other areas? Where do cultures intersect? Is your empire influenced by an older power or a hard past? What is seen as integral to your structure’s culture - art, literature, music etc? Are allies connected with your structure through culture, a shared distant history?

Most power structures rely on all of these factors - but none are ever equal in importance. Your government will identify one or two of these areas as important and focus on them. This can impact how the structure comes together and eventually falls apart - the greatest strength becomes a weakness, or something is overlooked until it is too late.

This is a long post - so I’m going to leave it here for now. If you guys have any questions, feel free to use the Ask feature to contact me.

♡Febuwhump Day 26: "Help them." + Human Weapon (alt) ♡

@febuwhump

A combo post? Sure.

Content: betrayal, human weapon whumpee, sleeper agent whumpee, blood, left for dead

︵‿︵‿୨♡୧‿︵‿︵

"Why are you all just standing there? Help them!"

Leader's grip is firm as they grab Caretaker's shoulder, stopping them from running to Whumpee's side.

"That's not Whumpee," Leader says.

Whumpee, lying curled up on the floor in front of the team, lets out a pitiful sob. There's a puddle of blood under them and it's growing too fast but no one is doing anything and Caretaker wants to scream.

"What do you mean?" Whumpee tries to sit up but fails as they put weight on their clearly broken wrist. They settle for staring up at Leader, eyes wide and full of tears. "It is me. Please, I need help!"

Laeder's hand is shaking on Caretaker's shoulder.

"This is what Whumper does," Leader says, their voice haunted. "Whumpee doesn't even know it, but there's a monster planted in their mind, and it's already taken over. It's sleeping right now but it'll wake up the second we take them inside and then we're all done for."

"But they're hurt," Caretaker insists. "We have to help them. We don't know that they're going to turn on us."

"Why else would Whumper just give them back to us? I'd rather not wait until one of us is being stabbed in our sleep to find out."

Whumpee is outright crying now, something Caretaker has never seen them do so openly. "I won't! I promise I won't! I'll be good. Please, I just wanna go home. It hurts so bad."

Leader turns away, pulling Caretaker with them. "Trust me," they whisper. "I've been down this road before. It's not worth it. They can't be saved."

"But-"

"Whumpee's dead. That's a ghost."

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Petition to add more disabled magical creatures in fantasy

Like picture a mermaid. When they have to be on land their tail turns to legs, but because their body is used to lower gravity their joints tire easily and are chronically in pain.

Also depending on how deep in the ocean they live, it’s likely they have circulation problems because their body is used to the water pressure holding everything where it needs to be and now their blood is always fucking pooling in their legs and they have to wear compression socks everywhere.

Wheelchair user mermaids. Partially/fully blind mermaids because who needs to see when there’s no light at the bottom of the ocean?

Mermaids with sensory issues who have to wear headphones all the time because sound is so much louder up here on land and they are constantly overstimulated. And also the sun is simply Too Bright™.

Mermaids who have POTS because in the water postural changes make no difference and their bodies don’t know how to stabilize with so much gravity.

I’m really fixated on the mermaids rn but PLEASE feel more than welcome to add more!!!! I wanna hear about disabled dragons

this is it. this is the funniest scooby doo clip

Whenever I see someone refer to "Victorian era-" for places outside the UK I'm tempted to start saying shit like "Han Dynasty era Rome", "Soviet era Australia" etc

Writing Deaf Characters | Speech is Speech

Before I get going, I’m 75% deaf, as some of you know, semi-reliant on hearing aids and lip reading. My first languages were Makaton sign and then BSL. I now use spoken English.

There are a lot of issues I find with how deaf people are represented in books, when represented at all. I would love to see more deaf and hard of hearing characters in the books I read- without having to read books specifically about deaf/HoH people- but when I find them, they’re grossly undercharacterized or stereotyped. Authors write them in a way that sets signing language characters apart from speaking characters as if they are inferior, and this makes my blood boil.

Some technicalties

I’ll keep this brief.

You may have heard that “deaf” is a slur and you should use “hearing impaired”. Don’t. I’ve never met a deaf or hard of hearing person who believed that. Use deaf for people who are deaf, and Hard of Hearing (HoH) for people who lack hearing. These can be interchangeable depending on the person. This is why sensitivity readers are a useful part of the beta process.

Sign language is incredibly varied. It developes in the same way as spoken language. Fun fact: in BSL there are at least half a dozen ways to say bullshit, my favourite of which is laying your arms across one another with one hand making a bull’s head sign and the other hand going flat, like a cowpat. It’s beautifully crude, and the face makes the exclamation mark. Wonderful.

There are different sign languages. Knowing more than one would make a character multi or bi-lingual, even if they are non-speaking.

Makaton is basic sign language used by children, and it mirrors the very simple language used by toddlers.

Yes, we swear and talk shit about people around us in sign language sometimes, and no, it isn’t disrespectful to have signing characters do this. Just remember that we also say nice things, and random things, and talk about fandoms and TV shows and what we’re having for dinner, too.

Each signed language is different from another. ASL and BSL? Nothing alike. Just google the two different signs for horse.

Remember that sign language is a language, equal to the spoken word

Therefore, treat it as such. Use quotation speech marks and dialogue tags. You only need to explicitly state that this character uses signed language once, and then let your modifiers and description do the rest.  It isn’t a form of “sub-speech" or “making hand actions”- sign language is a language all on its own: it has its own grammar rules, syntactical structures, punctuation, patterns, idioms and colloquialisms. For example, “what is your name?” becomes “Your name what?” with the facial expression forming punctuation in the same way that spoken English uses alterations of prosodic tone (inflections). There is even pidgin sign; a language phenomenon usually associated with spoken language.

In the same way that you would describe a spoken-English character’s tone of voice, you would describe a signed-English speaker’s facial expressions and the way that they sign- keeping in mind that these things are our language’s equivalent of verbal inflection.

So please, none of that use of “special speech marks” or italicised speech for sign. If your viewpoint character doesn’t understand signed speech, then you take the same approach that would be used for any other language they don’t understand, like French or Thai. E.g “He said something in rapid sign language, face wrinkling in obvious disgust.” is a good way of conveying this. The proof that you’ve done this well is in whether or not you can switch “sign language” for French or something else, and it would read the same.

Don’t be afraid to describe how things are said, either. Sign language is such a beautiful and expressive way of talking, and to see a writer do it justice would be truly fabulous. Putting this into practise:

“Oh, I love maths!” She said, fingers sharp and wide with sarcasm. She raised her eyebrows.

“I’m sorry.” He replied and made his face small, but could not keep the grin forming. She was starting to laugh, too.

This is part one of two, for the sake of readability and keeping the information simple as I can. Part two- writing the deaf characters themselves- is coming up over the weekend. See you then and best luck with your writing until that point :D

This is part of my weekly advice theme. Each week I look at what you’ve asked me to help with, and write a post or series of posts for it. Next week: settings and character development (including heroes, anti-heroes, villains, and every other kind of character).

at the end of the day they’re just a mother and son grieving the loss of their favorite person in this world while a war they never wanted to start but are willing to end for the sake of their baby rages around them

if i get too close and i’m not how you hoped, forgive my northern attitude, oh i was raised out in the cold.

if the sun don’t rise ‘til the summertime, forgive my northern attitude, oh i was raised on little light.

This is the type of theatrical nonsense Jayce was up to whenever he saw Mel with other people during those 7 years before they got together, singing 2000s rnb in the shower, sitting his hand on the glass. Just astronomically down bad.