How To Reference Romantic Attraction Between Your Characters:

How To Reference Romantic Attraction Between Your Characters:

Person A’s inability to make eye-contact for long periods of time while Person B is constantly looking into A’s eyes. (extra points if Person A looks away and blushes)

Interest Copying (When interested in another person, humans tend to copy that person’s movements, stature, etc)

Cute nervous ticks while around one another (Dont just use blushing and stuttering! Other ticks exist! Shuffling, fiddling their thumbs, scratching the back of their neck, bouncing their leg, nervous laughter, picking at their palm, biting the inside of their cheek, etc!)

Remembering little details about one another (How person A never eats the beans on their plate, or person B’s favorite color, the color of their eyes, where their birthmark is, are they a morning or night person? Bonus points if they figure this information out by observation, not by being told!)

Constantly smiling or laughing around their love interest

Confessing their love (but only in Spanish)

I spent so much time on these doodles… They were waaaay too much fun. I haven’t drawn in like an… “anime” style in ages haha 

Crossover because I love LWA unconditionally now. Bonnie the reluctant to believe in magic witch meets the carefree misplaced vampire who just needed something to do. 

In these pics it’s just Marceline being sassy, then bonnie being sassy because Marcy can’t fly without being fully covered. Grants her some protection and the sass begins again. 

Patreon(r18) // Twitter // Commissions // Tip Jar

generic writing tips

diversity is not just race!!! It’s also background, religion/lack of, sexuality, gender identity, personality, and difference unique character traits and flaws

If you create a character of a background/sexuality/religion etc. that is different from yours, do research and ask people who can relate instead of guessing

Leave no character undeveloped. If you read books with ships/characters you didn’t like, they probably weren’t characterized very well

Not all of your characters talk or move the same way. If your main character talks exactly like the old grandmother they met on the street, then one of them will sound very strange in context

Everyone mentions a characters’ flaws, but also pay attention to their behaviors that are slightly weird rather than bad. Maybe they talk to their plants when they water them, apologize when they bump into furniture, or speak in weird accents when they think they’re alone

Humor is not universal! Older characters might not understand the humor of younger counterparts, and vice versa

Women do not describe their body shape or chest area to themselves when they look in mirrors, and men whose characters do that frequently are single or divorced

The ‘bad boy’ stereotype is harmful and those characters almost always display extremely toxic traits, so it might be better to write a different type of guy

Avoid the ‘white suburban mom’ style of naming characters: long and convoluted spelling does not make a unique name, ashleighay. Try, again, doing research to find the best name for each character

The first thing people notice about another person is usually not their eye color, unless their eyes are somehow out of the ordinary

Over-description should be used for very memorable and important scenes, but not the entire story. That will just give the reader a headache

(This is an ask but got to be pretty long so I’m sending it as a submit instead. Also, feel free to pass me on to another writing blog if you think they’d be better answering this) How do you solve the problem of fantasy stories only ever being about the Big People? It’s always about kings or princes, or sometimes mythological heroes and knights. This also reflects in the scopes of these stories, it’s always a kingdom/continent/world threatening war or Dark Lord or succession crisis, or about gods and demigods, with worldbuilding and lore often being equally grand, spanning entire kingdoms or continents, dealing with the origin of magic or an entire culture/world’s mythology(as worldbuilding often has one true world-spanning magic system/mythology that’s designed around the story they are telling).

There’s obvious reasons for these things being common, as kings and political leaders had the most power in pre-industrial society, and as most of these stories involve conflict, protagonists would need to have fighting skills and weaponry, which usually requires them to have wealth to afford their gear(the iconic suit of plate armor was for nobility only after all). This also applies to magic and knowing any of their world’s history and lore, as only those who could afford education would be able to be educated in history/sciences/the arts, which the average peasant wouldn’t have been able to do. There’s always the option to have protagonists that are merchants/guild members and artisans, as that would give them an opportunity to get access to those things along with even excuses to travel, but even then only about 10% of medieval society was made up of merchants and craftsmen, with 90% of pre-industrial society working in agriculture.

I am aware that medieval peasants did have a lot of free time, only working for half of the day and having a large number of holidays, saints’ days, and rest days often having 1/3-½ of the year off, especially following the Black Plague, but how do you solve the issue of low class mobility and no access to things that would be needed for most fantasy stories for most of the population in pre-industrial societies, or just writing fantasy adventure stories with conflicts low in scale enough that most of the population could experience them? Even in The Hobbit, which has a farmer protagonist going on a fantastical adventure has Bilbo fighting to retake a kingdom for a dwarf king in the end.

First of all, I’m so sorry this is so late.

Now, for your question: How do you solve the issue of low class mobility in a fantasy story?

For one, your story doesn’t need to be global stakes. It doesn’t have to be about war or great magic or anything. Granted, it is a hallmark of the fantasy genre. So, my advice there would be to study and read so you understand the fantasy genre very well. Then, you know what rules to bend, break and otherwise just make your own.

Secondly, low class mobility can be bypassed a number of ways depending on your specific story, specific story world and how that society ultimately functions. For example, in The Hobbit, it essentially boils down to Bilbo having a special skill needed and wanting to go on an adventure.

But if you wanted an artisan, for example, to go on an adventure, that’s very  doable.

Also, a big one: Make the stakes very personal.

Example: Artisan goes on a journey after their mother goes missing and they must find them.

That’s high stakes for the character. It’s very personal, but the global stakes is quite low in terms of the world. But this is a perfectly doable story as your character goes through and experiences their world, as the plot progresses, in this artisan just trying to find their mother.

And, remember, people in pre-industrial times absolutely traveled. Merchants and traders, especially.These people can be your protagonists or people who support your protagonist’s journey and the plot.

Also, farm characters leaving their homestead to go on an adventure is very common. It’s basically a classic. A cliche’ even. Star Wars follows that to a T. It just really requires something in the characters life to have changed so much they need to leave.

A good rule: Your character is only going to put forth the minimum amount of effort to achieve their goal. They are going to take the next logical step.

Not to say your character will/should be lazy, but your character isn’t going to go to the town over to the get a lamp if theirs broke. If they can just go to their local market and purchase one, they’ll do that first.

Here’s a checklist for you:

1. Determine the goal of your character. What do they want. Write it in a sentence. One sentence. Only one. Make it clear and concise.

2. Determine your character’s place in society.

3. Brainstorm a list of reasons your character might decide/be forced to leave.

4. Explore those options, especially your favorites or the strongest ones. Imagine how your character would react if forced into those situations. If forced into the worst situations.

This does require you to know your character at least a little bit, but still! Explore!

It also will seriously help if you can determine what kills your character has.

Even a farmer has skills. Even the poorest in society attain skills that help them in lfie. We’re people, we all do. Consider how their skills can help them. Are they a farm hand and they’re very strong and physically healthy? Are they a merchant and good with  money?

Maybe they’re a beggar. This could mean they’re good at observing people and are street smart.

Think of their skills.

I really hope all of this helped! Again, I’m so sorry this was late!

A concept: mermaids in wheelchairs

I want you all to know that an Arab Muslim from Tunis proposed the Theory of Evolution near 600 years before Charles Darwin even took his first breath. Don’t let them erase you.