Reading Ur Old Writing

How to put “wrote fan-fiction” on your résumé:

Leveraged an inventory of established fictional character and setting elements to generate a disruptive custom-curated narrative entertainment asset.

“I always get pissed off when I accidentally delete one of my characters when the save wasn’t meant for them.”

Fallout Confessions

“I’m going to collect 100 of each chem. Psycho. Jet. Hydra. Turbo. Buffout. Mentats. Alcohol. Med-X. Hotkey them all. And try to do all the chems as fast as possible. What’s the worst that could happen?“

Fallout Confessions

More often than not I’ll crack into a sprawling fantasy series and, while I appreciate the luscious descriptions of furniture, landscapes, and clothing, all I’m focused on is that I don’t actually know how this world works. I only know what it looks like.  

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

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

How is the healthcare funded in your world?

How does healthcare functionally differ between the wealthy and the poor? (i.e. can only the wealthy go to hospitals? do poor families often have to rely on back-alley procedures?)

Where are health centers (i.e. hospitals, small clinics, etc.) organized in your cities?

Does it differ in smaller towns?

How does this affect people’s ability to get healthcare?

Is healthcare magical, and if it is, how does that affect the healthcare system? 

If healing is instantaneous, how does that affect people’s views on injury, illness, and chronic ailments?

If you have both magical and physical healthcare, which one is deemed superior and how does that affect society? 

What illnesses are common in your world? 

How does this affect daily life? 

What do the people in your world think illnesses are? 

Is it a miasma theory? 

Humor theory? 

Demons? 

Do they know about biological viruses and bacteria? 

How does this affect healthcare?

How do people get water? 

Is the water sanitary and if not, how do they sanitize it?

How does agriculture work? 

Is it large corporations or individual farms?

What sort of agricultural technology exists in your world and how does it affect food production?

Are farmers wealthy or poor?

What sort of natural resources does your world/country(ies) have and how are they obtained?

How does this affect the average wealth of the country?

How does this wealth affect the culture? 

What livestock or beasts of burden are most valued? Least valued? Why?

What is considered a luxury good vs. a regular good?

What forms of transportation does your world have?

What classes use what forms of transportation?

How far has the average citizen traveled, given your transportation limitations?

Which cities are the most accessible and which are the least? Why?

How do popular transportation methods change how cities/towns are laid out?

Does your world have public transportation? What is it?

Is there a coming-of-age aspect to travel?

Describe your world’s postal system or whatever equivalent there is. 

Who pays for it? 

How reliable is it? 

Are there emergency methods for transporting information?

How does your world keep time (i.e. watches, sundials, water clock, etc.)?

Does your world have a currency system, barter system, or something else? 

If you have multiple countries, do different currencies have different values across said countries?

How does this affect travel?

Do you have banks in your world and if so, how are they run?

Who owns the banks? Government? Wealthy? How does this affect the economy and/or class system?

How does credit operate in your universe?

Does your world operate more on big corporations or small business? Something in between?

How are workers/labourers treated in your world? 

Are there workers unions and if so, what are common views on unions? 

Describe your tax system. If you don’t have a tax system, explain why and how your world is affected by that. 

Can certain social classes not own property, certain livestock, certain businesses, etc.? Why?

How are business records kept? Are business records kept?

If your world has technology, does your world prioritize developing entertainment tech, communications tech, transportation tech or something else entirely?

What does this say about your world?

How does this affect your economy?

To the closest approximation, what type of government does your world have? 

How are rulers/presidents/nobles put in place? 

How much power does an individual ruler have? 

Is there a veto process? 

If you have multiple countries, do they have different types of rulers?

Describe any large-scale alliances (i.e. countries, factions, etc.) that are present in your world. 

How did they come about and how are they maintained? 

Are they strained or peaceful? 

How does it affect the greater politics of your world?

Describe how wars are fought both internationally and nationally. 

Do methods of war differ between countries/races? 

What about philosophies about war?

If there is a military, what is its hierarchy structure?

How does the military recruit?

Is the military looked upon favourably in your society?

What weapons are used by each country/type of people during warfare, and how does that affect war strategies?

Describe the sentencing system of your world. 

Is your accused innocent until proven guilty, or guilty until proven innocent?

How are lawbreakers punished? 

If you have prisons, describe how they are organized and run, and who owns them. 

Does differing ownership change how the prisons operate?

What are the major ways in which laws between countries vary? 

Do laws between cities vary? If so, how and why?

How does citizenship work in your world? What rights and privileges do citizens have that others do not? 

Can certain classes or races not become citizens?

Are there certain taboo subjects or opinions that artist/authors/musicians are not allowed to depict (i.e. portraying the official religion in a negative light, explicit sexual material, etc.)? What does this say about your society?

How do people get around these censorship laws?

What is the official hierarchy of duty in your world? (i.e. is family the most important, or patriotism? What about clan?)

How many languages are there in your world, and how many languages share a common origin? 

How many people are multilingual? 

Which language is the most common?

How is multilingualism viewed?

How are different languages viewed? (i.e. is one language ugly/barbaric while another is romantic and sensual?)

Feel free to add your own questions in reblogs or in comments!

1 reblog = 1 vote

Some tips on writing Latino OCs/characters

Avoid the stereotype of the sex-siren “fiesty” Latino tropes: This stereotype does more harm than good, as almost all classic TV representation for Latinos is shown as the big hypersexualized character. By boiling down a Latino character to simply their sexual appeal, it denies them of their cultural identification if they do not fit what non-Latinos imagine all of them look like. 

Not all Latinos speak Spanish: In fact, many Latinos do not speak Spanish that often or at all. Many times, non-bilingual/Spanish speaking individuals will write Latino characters “slipping” into speaking Spanish. This, obviously, does not happen in real life. If a Latino says something in Spanish then they meant to say it in Spanish. Here are some realistic reasons why a Latino character could say something in Spanish/Spanglish:

They are speaking to their grandparents or other people who only speak that language

For emphasis. I would sometimes speak to my partner in Spanish because I felt as though I could express myself better and more naturally (also ‘te amo’ feels more impactful than ‘I love you’, but that just may be a personal thing), but this did not occur often. 

They are short phrases that any non-Spanish speaker could pick up on. Hola, gracias, de nada, mucho mejor, qué onda, madre/parde, casa, por qué are all ones I use around my friends sometimes. Again, sometimes.

There are others I am sure, but please be careful when writing a Latino character speaking Spanish. As a Latino living in America, if I am be honest, unless speaking with other Spanish speaking individuals, I do not use the language all too often (just like any other language, weird how that happens). 

Do your research naming Latino characters: Please do not simply look up “Hispanic names” and choose the ones you like off of a list. If all your names look something like “Diego Rodriguez” then you are doing a bad job. Here are some tips: 

69% of South America is Catholic and 19% is Protestant. Using that information, you are bound to have a lot of religious names. All of my siblings are named after biblical figures. Some examples I see a lot are: Rebecca, Isaiah, Claudia, Gabriela, Marcus, Elizabeth etc.

In Latino culture, many times children take both their parents last names so their names would be hyphenated. For example: Father’s last name could be Perez-ABC and Mother’s could be Ramirez-XYZ so the child’s name would be Perez-Ramirez. 

This isn’t a hard and fast rule. If only one of the parents is Latino than most often they will simply do what most of Western culture does and take the father’s last name as the family name.

Represent many aspects of Latino culture: I far too often only see Mexican Latinos, which is great, but also there are many other countries/places to represent (Cuba, Colombia, Puerto Rico, Costa Rica, Peru, Chile, Honduras and more)

Latinos have a variety of hair colors and skin tones and body types, make them: Afro-Latino people exist, write them. White passing Latinos exist, write them (though if you are only ever writing Latinos with pale olive skin and eurocentric features, you’re doing it badly). Latino people with thick curly hair and bold features exist. Talk about it. Latinas are not just your vessel to write about “thicc” or curvy women. Petite Latinos and especially plus sized latinos need representation. Represent them. 

Latinos do not just eat ‘Mexican’ food: Stop associating all your characters with tacos and burritos. 

If you do have Latino characters don’t be afraid to make them queer or disabled or anything else under-represented. 

Avoid stereotypes altogether: The maid, the drug dealer, the sex symbol, the immigrant, we get it. That’s all we see in the media. Look up stereotypes, avoid them. It’s not “making a statement”, it’s racist, stop it. 

If you describe any Latino person as “spicy” or “exotic”………………… :) you know

Make sure the connection to their cultural background makes sense: Some Latinos have a strong connection to their country and culture, some do not. Make sure it makes sense for their family history, background, etc.

This is all I can sort of think of off the top of my head. Latino people, please feel free to add on with anything else (my experiences are a bit limited as a Puerto Rican living in America, so the more perspectives the merrier). White people and non-Latino POC’s can comment questions but please don’t clown (no “I am not latino but also…!)

Please reblog, this is important for non-Latino creators!

A quick history of Vietnamese women’s fashion (part 2: 16th-18th century North Vietnam)

Before we dive in, please note that Hanoi (and by extension North Vietnam) at that time was called Tonkin (東京).

During 16th century, the fashion of North Vietnamese women was similar to that of South Vietnamese women as recorded in Boxer Codex (see Part 1). Below is the relief of the Mạc dynasty’s Dowager Empress Vũ Thị Ngọc Toàn, dated 1562, a National Treasure at Trà Phương pagoda in Hải Phòng province. In the relief, she is wearing an yếm undergarment, with thường skirt and đối khâm coat.

(Image source)

Moving on to the 17th century, in Vietnam Museum of Fine Arts, we can find the statue of Ducchess Nguyen The My dated 1632 depicting noble North Vietnamese women’s fashion. She wore her hair long, with yếm undergarment and đối khâm coat, but in between the layers she also wore a giao lĩnh cross collar robe. Her clothes are richly trimmed with gold decorations.

(Image source)

How about the common North Vietnamese (Tonkin, 東京) woman? The earliest illustration of them I can find is in the Japanese book “Vạn quốc nhân vật đồ thuyết” (Illustrations and explanations about characters from 10,000 countries, 1720). If you are asking yourself if this illustration could instead be about Tokyo (as its Chinese character is also 東京) woman, this could not be the case. In 1720, Tokyo was known as Edo (江戸). It was only in 1868 during the Meiji Restoration that Edo was renamed to Tokyo. Back to the illustration, we can see that during this time North Vietnamese common women wore a giao lĩnh cross collar robe outside, with two layers of thường skirts, with the outer layer shorter than the inner layer.

(Image source)

Illustration of North Vietnamese women in “Hải ngoại chư đảo đồ thuyết” (Illustrations of foreign islands) is also similar. This book is dated to the 18th century too, but I cannot find the exact year.

(Image source)

There is a wide-ranging variety of patterns possible on the giao lĩnh cross collar robe, as can be seen in the below tố nữ đồ (素女圖) also from the 18th century. These women wear their robes loosely so that the top part of yếm undergarment is shown like the statue of Duchess Nguyen The My and their robes is long enough to cover their thường skirts.

(Image source)

The same North Vietnamese women’s fashion style is also recorded in Qing dynasty’s imperial book Hoàng Thanh chức cống đồ (皇清職貢圖) created in mid-18th century, with the noble lady (left) wearing more layers than the common woman (right).

(Image source)

North Vietnamese noble ladies layered multiple giao lĩnh cross collar robe in early 19th century too. Painted in 1804, the below portrait of Lady Minh Nhẫn at the Vietnam Museum of Fine Arts shows that they wore at least 3 layers.

(Image source)

The viên lĩnh round collar robe can also be found in North Vietnamese women’s fashion during this era, as can be seen in the extracts from 18th century paintings “Võ quan vinh quy đồ” and “Văn quan vinh quy đồ” (Celebrated return of the martial/civil mandarin) belonging to the Vietnam Museum of Fine Arts. The robes can either be tucked inside or cover the thường skirt.

(Image source)

By early 19th century, Tonkin (North Vietnam) and Caupchy (South Vietnam) was unified under the rule of Nguyễn dynasty. The new dynasty implemented many changes, including naming the country “Viet Nam” and the former capital city Tonkin (東京) into “Hanoi”. As Nguyễn dynasty emperors are the descendants of the Nguyễn lords who used to rule Caupchy, they continue to enforce the clothings reform started by Lord Nguyễn Phúc Khoát in 1744. The emperors were persistent despite the push back from former Tonkin population. Their numerous decrees about Tonkin clothings reform are recorded in the book “Khâm định Đại Nam hội điển sự lệ” (Collected statutes of the Nguyễn dynasty, 欽定大南會典事例, 1843 – 1914). The women’s reluctance to change was humorously reflected in the following folk rhyme  (apologies that my translation has no rhyme):

“In August, the emperor decreed

Banning bottomless pants, making us so fearful

If all of us stay at home, the market will be empty

But if we go, we must robe our husbands of their pants!

If you have pants, go and sell your produces at the market

If not, go to the village gate and watch out for the inspector.”

Tháng tám có chiếu vua ra

Cấm quần không đáy người ta hãi hùng

Không đi thì chợ không đông

Đi thì phải lột quần chồng sao đang!

Có quần ra quán bán hàng

Không quần ra đứng đầu làng trông quan.

(Source)

Although women in North Vietnam gradual accepted to wear the same áo ngũ thân five-panel robe as their sisters in the South, they had a distinct fashion that call back to their favourite giao lĩnh cross collar robe and đối khâm coat. I will explore more on that in Part 3 of this series.

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I feel like the best lesson my beginning illustration professor taught me was when he had us do a still life sketch in charcoal for a few minutes- then told us all to erase it, switch seats, and sketch over the same drawing we just erased. He said something that left an impression on me, though I'll have to paraphrase cuz its been several years.

"You guys really need to get over the idea that everything you draw is gonna be perfect. When I said erase the sketch, I meant erase it completely; its not your masterpiece. You're in this class to practice. Stop thinking that you have to get it right in one go, or trying over and over to fix a sketch that isn't working for you. You're a godamn artist, you can just make another sketch. You need to start believing that your art isn't just a fluke, and that you're skilled enough to make more at any time."

looks like she needs to let the soup cool down before she gets burned. Oh too late!

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