peachdoxie:

charlesoberonn:

charlesoberonn:

Avatar:Magic is limited to the four elements (and some spirit stuff). Furthermore, everyone except the Avatar is limited to at most just one element.

The magic battles are spectacular displays of creativity where each element is utilized to its full potential in a variety of ways.

Harry Potter: Magic is basically limitless, with there being a spell to do pretty much anything and any wizard can learn it, including an instant-death spell.

Which is why fighters on both sides only ever go for the best and most effective spells (Avada Kedavra for bad guys, Expelliarmus for good guys) and magic battles look like this:

I know what you’re talking about. With the most obvious example being Spiderman vs. Superman.

Spiderman’s powers being basically the same for 60 years now, and writers had to come up with new ways for him to use his abilities.

While Superman (especially in the silver age) is pulling new powers out of his ass at every given opportunity.

But I think unlike Harry Potter where there’s no reason for wizards to use anything except their go-to spell, Superman does use the full array of his powers to deal with different foes.

He doesn’t instantly go for freeze breath or heat vision every single time, even though they’d probably be the most effective powers for most situations.

I recommend reading Brandon Sanderson’s essay on his Second Law of Magic, in which he talks about one of his guiding principles when building magic systems: that the limitations are more interesting than the powers. He actually talks about Superman and how the limitations on his powers are what make him a good character, and talks about the Wheel of Time, which has a similar system to ATLA. It’s a long essay, but well worth the read if you’re at all interested in world building.

Here’s the link to his First LawandThird Law as well. The third law especially touches upon some of the concerns/criticisms brought up about HP and Superman.

tarkur:

Ooooh! Very nice!

redhead-who-writes-stuff:

mischiefiswritten:

Worldbuilding with Psychology

I haven’t mentioned this before, but I’m close to graduating with a psychology degree. As I was organizing things to move back in at university, I came across some notes from my Developmental Psych class. Psychologist Urie Bronfenbrenner presented an ecological systems model of child development, which represents a dynamic model of how people develop psychologically depending on their environment. I realized this may be an interesting reference for writers as we consider worldbuilding.

The individual is at the center. Each level interacts with the others and may affect them in different ways and to different degrees at different times. The individual is at the center of the model and has inherent traits which are the result of genetics. The microsystemis the individual’s most immediate surroundings. These are the places and people they come into close contact with on a daily basis, including the home and peer groups. The way microsystems treat the individual influence them, but the behavior of the individual also influences how the microsystems react to them. The mesosystemis essentially comprised of links between microsystems - between home and school, between home and church, between family and peers. Active involvement between microsystems promotes harmony and a sense of like-mindedness. The exosystemconsists of linkages between systems that do not directly influence the individual, but do so indirectly by influencing a microsystem. For instance, the parents’ workplaces influences the parents’ behavior in the presence of the individual. The macrosystemconsists of more distant influences that still have a significant impact on the individual. These elements often include beliefs, values, and other aspects of culture. For instance, life in a country at war will influence an individual differently than life in a country at peace. The chronosystemsimply incorporates the meaningful passage of time. What is in each system, how much it affects an individual, and how can all shift in time.

What does this have to do with worldbuilding?

One can relate Bronfenbrenner’s model to creating a fictional sense of place however one likes, but I’ve drawn some parallels between each level and a corresponding element in worldbuilding. The model looks something like this.

The Protagonist:

The main character (or characters) lies at the center of your worldbuilding. It is through their eyes, or over their shoulder, that the reader experiences the world in which your story is set. A strong sense of place is vital to telling a satisfying tale, and a great deal of it comes down to your protagonists. Like in the original model, the protagonist has certain inborn traits that are a result of nature, but are also influenced by nurture - the other systems, in this case. The world is reflected in the hearts, minds, and behaviors of the people who live in it, and the people are reflected in the world they populate.

The Supporting Cast:

These are the people the protagonists interacts with most, and it’s a two-way street of influence. Their behavior influences the protagonist, but the protagonist affects them as well. You can present a great deal of information about the world through the interactions between characters. The way your protagonist interacts with parents and siblings can reveal family structure and dynamics, and interactions with friends or coworkers can shine light on social classes, pastimes, or employment. Whatyour characters do, howthey do it, and howthey speak or feel about it will reveal what is normal or not.

The Immediate Surroundings:

Where are all these interactions taking place? The actual physical locales in seen in your story have an impact on the way people behave, but don’t forget the direct effect of setting the scene. One behaves differently at school, as opposed to the mall - how can you use differences like this to portray societal norms and mores in your story? Additionally, the events and values of a world leave physical reminders, which may be as simple as smog over a city unconcerned by or incapable of controlling pollution. Perhaps there is graffiti in the streets leftover from social or political unrest. The remnants of a torn-down shrine or monument may reflect changing values, war, or persecution of certain religions or other groups. Living conditions can portray class differences. Possibilities are endless.

The Social Structure and Culture:

Social structure has ramifications on who can interact with whom and what’s considered appropriate. These rules may be very strict or much more informal. If there are rigorous separations in place according to class, an interaction between members of different status will be shocking to your characters. Speaking out against an elder coworker may have severe consequences, or employees may be under forced retirement deadlines - these differences reveal if old age is revered or looked down upon. What holidays do people celebrate, and how? What manners of speech or behavior are unique to the setting? Social norms will be reflected in the behavior of your characters, but the population is capable of changing those norms.

The Physical Setting: 

The setting at large still has far-reaching influence on your story. The geography itself will determine a number of things about the setting, including the landscape, weather, physical resources available, methods of transportation and more. All of these things trickle down into each of the layers beneath it and leave their fingerprints. If transportation is unfavorable, how does this affect information and cultural exchange? How about the economy? The physical setting is an umbrella of elements which may change everything under it, even in small or indirect ways.

The Genre:

The genre determines, amongst a few other things, how much of each of the above is needed. In essence, genre can be your guide to where you should place your focus in worldbuilding. Fantasy and science fiction often call for a greater emphasis on the physical setting and cultures, while realistic fiction set in real-life places readers are likely to be familiar with is likely to need emphasis on the protagonist and supporting cast. Some genres, such as historical fiction, may need a more evenly balanced blend of each system. The plot structure itself will also have an influence. For instance, in a ‘pursuit’ plot, the ticking clock and pursuit itself are typically considered of more import than the characters, while ‘forbidden love’ plots are all about the people and culture.

Remember, as always, to mold writing advice to your work and not the other way around. The influence of one or more of these systems may be heightened or lessened, depending on the needs of your story, and they may interact differently, perhaps even from chapter to chapter. Thank you for reading, and I hope this can be a useful model for you to use as a springboard in some of your worldbuilding.

This is really good information, thanks so much for sharing.

inscribed-in-asteroids:

AN: Took a while but here’s chapter six! Make sure to reblog and like, or leave comments and kudos on AO3, which is still the best place to read it.

Title: The Ripple Effect

Characters: Hordak and Entrapta, feat. Glimmer, Bow, Aurora and Eon (OCs)

Rating: M (for smut)

                                            Repairing Harm Done

Hordak walks through the center of their new home away from home. Entrapta and he share their enjoyment of space, and going on adventures with her has been some of the greatest years of his life; however, Beast Island has been transformed into a multicultural landscape, where anyone could come here if they wanted, and stay here if they chose. While Odessa has been away with her friends, they opted to expand the lodgings here to accommodate growing numbers. Talon and he weren’t the only ones with children, and even without offspring, his siblings were finding life partners, and to add on top of that, visitors from nearby planets come to Etheria as well and, sometimes, like it so much they wish to remain.

Upon this realization, they made an organization to discuss blueprints, schedules and funding for such a project. The funding was no issue: Glimmer and Bow were more than happy to aid them, and have visited the island several times now to see what else was needed. It wasn’t necessarily money they needed, either, as everything on Beast Island was based on a trade system and very loosely; they have utilized the technology on the island well, and created elaborate new machines for daily living. Glimmer and Bow, simply put, love being involved. They offer their expertise, Bow on his own inventions and Glimmer with her magic, but they were enthusiastic to be present at all.

He notes his brothers above him in the trees, connecting large trunks with man-made bridges, where a community of apartments will be launched high above them. The groves are to be interconnected this way, allowing for more freedom of development and making use of every inch of the island, eventually establishing long pathways that will join all shores of the island. This will be the new dwelling place for many of the citizens on Beast Island, while the area he’s moving through will serve as the marketplace, with recreational centers, hospitals, schools and restaurants lined throughout the ground floor. They have been constructing it for a while, but high demand has allowed for a speedier process to take place. Underground it will be primarily used for laboratories, as he and Odessa have the largest ones. It’s also their excavation site for First Ones tech, which they still continue to find more than twenty years later, the deeper into the earth they go; it’ll also serve as their mausoleum, for when those days come.

Keep reading

Hey everyone, Sunny here with another writing post! Today, we’re talking about creating holidays in your story.

What would I need a holiday for?

In many modern cultures, holidays serve as markers for recognition of historical moments and religious beliefs. (And other things!) Holidays are often viewed, therefore, as a milestone for world-building purposes.

If your characters are well-acquainted with your world’s history, if they go to any festivals or celebrations of any point, or even if you just want to add depth to your world, holidays are awesome development tools. Think of how many you know of in your life right now, and how you celebrate them. There are so many options to choose from!

How do I create a holiday?

Let’s get started!

First thing’s first: decide the purpose of your holiday. Does it serve as a cultural or historical marker, and what does it celebrate? Some options include winning a war, entering a new time (New Year’s), any event of religious importance, or even personal things like birthdays. It’s helpful to first define your culture’s values and traditions. If personal value isn’t of much importance, then a birthday likely wouldn’t be as celebrated as something community-wide.

Next:how do people celebrate it? This is where your character’s personal preferences come into play. While there are general expectations for how holidays are to be celebrated, many people take their own paths for the celebration process. Some people make cake on their birthdays; other throw parties; others do nothing at all. So, how much does this holiday matter to your character? And go from there.

It’s also helpful to take a look at your calendar. Most holidays are spread throughout the year, especially the larger ones that some folks prepare for more. Consider spreading things a bit more evenly throughout your calendar so make sure that nothing is too back-to-back.

And more information?

No!Holidays are super versatile, which makes it tough to give an exact rundown on how to create every single one. 

If you need more information or examples, take a look at today’s celebrations to get some ideas. Your options range from birthdays, to Hanukkah, to the Lunar New Year, to the Olympics - and more. The most important thing as you prepare is to look at holidays worldwide. If your story doesn’t take place in your area of Earth, then your holidays shouldn’t be modeled after just that.

Best of luck, and happy holidays! :)

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This is the sixteenth in a series of posts about important aspects of worldbuilding. You can find a compilation of all these posts under “Worldbuilding Basics” on my blog.

When you’re designing a world, there are bound to be different kinds of people and cultures. People usually wear clothes, and each group of people is going to have their own unique spin on what they traditionally wear. There are a lot of factors that influence this, and it’s important to consider why they wear what they do, and not just what they wear in the first place. Click the read-more, and we’ll begin!

The first thing I think of when I think about what kind of clothes the people in my story will wear is the climate. If your characters are wearing things that wouldn’t make sense in the climate they live in, it’s going to be harder for your reader to suspend belief. Your reader is probably going to be puzzled if your desert-dwelling people wear parkas all the time, unless the desert happens to be a very cold one. Basically, think of what clothes you would have to wear if you walked outside in a particular part of your world. If you would put on a coat, it’s likely that the people who live there would as well.

If your species aren’t human, you should also think about their physiology. If they’re a cold-blooded species and can’t make their own heat, they may well have to wear parkas in a hot desert (at least at night, when the desert gets cold). A cold-blooded species also might not live in an area with cold weather, unless they had extreme protections. The same goes for a species that runs hot, living in an area with hot weather. Warm-blooded animals that live in hot areas generally have cooling mechanisms (sweating, big ears, panting, etc), so you should think about that, too.

Now that you have a general idea of what kind of clothes your people wear, you can expand on this. The type of clothes you just thought of while thinking about the climate are probably their casual or work clothes, or at least the general style of clothes. Here are some other kinds of clothes they might wear, if they’re relevant:

• Fancy/dress clothes
• Outdoor/sport clothes
• Armor
• Military uniforms
• Swimming clothes
• Clothes for dangerous situations/handling toxic materials
• Clothes for particular careers
• Clothes worn by certain genders and not others
• Religious clothing

It’s also interesting to think about the aesthetic of your people’s clothing. What kind of colors do they wear? Pastels, neons, jewel tones? Where do they get the dyes for these colors? Why are these particular colors popular? Do your people wear patterns, solid colors, or both? What do these patterns look like? Are certain colors or patterns religiously significant? What colors do the military wear? Different ranks might have different colors. What are the colors of your particular country? Do people wear jewelry? If so, what kind, and why?

Sometimes the clothes people wear stems from traditions and taboos. Are there stories behind why your people wear what they wear? Who decided that certain groups of people should wear certain things? Do clothes differ by gender? Can certain genders wear things that other genders can’t? What kind of clothing is seen as inappropriate? What body parts should be shown and which should not? What are the consequences if someone wears something inappropriate?

This is just a starting point, but hopefully it’ll help you flesh out your world’s people and make them seem more real. Clothes are a big factor in differentiating between cultures and groups of people, and they;ll stick in your readers’ minds. Best of luck!

wbqotd:

Describe a typical bed and bedding from your setting. 

A nest-like structure composed of soft bedding and a sturdy framework. Usually cup-shaped with a slightly raised rim of padding. Many are often enclosed to create a sort of ‘cave’ with a curtain over the opening for maximum privacy, or just a safe place to retreat to after a long day.

wbqotd:

What are the major points of contention between the different religions or religious sects of your world? 

Well not so much sects as moreso different interpretations of a common religious symbol that has shown up across various ashyran societies on Myra’Dwin.

A circle with curved lines spreading out from the central hub.

Some see it as a symbol of divergence, that all things emanate from a central core, perhaps symbolizing ashyrans spreading out into the the galaxy.

Others, however, see it as a sign of convergence, that all paths will inevitably reach the same point, a nexus. All lives end, all species invariably go extinct at some point.

The more pragmatic simply take it as a simplified drawing of a galaxy.

wbqotd:

Have there ever been any food crazes or fads in your setting?

Ahuurul (sorta a sheep-like animal) meat was once extremely popular for it’s texture and taste, even unseasoned it possessed great flavor. Flaky and slightly crisp when cooked juuuuuust right.

Unfortunately, being tasty isn’t a good survival strategy, and Ahuurul became one of the first livestock.

wbqotd:

Are hats and shoes typically worn indoors in your setting?

Hmm, I’ve never actually put much thought into Ashyran shoes. I’d imagine something like a sandle would be worn, since they have a large median claw used to help grip tree trunks. So perhaps open-toed shoes would make the most sense. They wouldn’t be needed indoors, but it’s not some kinda cultural thing, and would be up to the individual.

wbqotd:

How does your world’s religion(s) affect the plot and characters?

One short story is about an Ashyran neurobiologist as she studies the origin of sapience after her team manages to embue true sapience onto an animal. She basically has an existential crisis apon remembering an old ahyran creation myth. About how her species has once been no smarter than animals, until one day the god Chaluk Nara'an saw potential in her species and granted them sapience (they became the “Dawn Dreamers” in the mythos).

She wonders: if Ashyrans can grant sapience to another species, what does that say about them? Were they too, given sapience? She starts to wonder, could there be at least some grain of truth to the old myths…?

Finished - The King’s Advisor

I was debating with myself for a while if I should write something about them since many of their vital details could be considered spoilers for their story. Then again, I haven’t written anything for them except a couple of scenes where they (ironically) don’t interact at all. The rest of their story is nothing more than a solid concept in my head, which it probably will stay for a very long time. So, in lieu of this, I decided to at least give some info on their basic character and interaction.

Astatine (dark hair)

• he’s the male form/shape/appearance of Asalis (one of my many other OCs), so they’re literally the same character
• his role in their story is akin to a much more mean-spirited/mischievous Rasputin

Pallas (red hair)

• he’s the king (somewhat creator) of mankind (it’s complicated) and the son of the goddess of secrets (Necobis) and the god of fire (Brandas)
• he’s foul tempered and smiles rarely
• he’s started a war against the gods (his parents included) and all other races based on a bunch of nasty misconceptions and misunderstandings
• he thinks of Astatine only as a valuable asset at first but slowly starts to trust him before being backstabbed (at least that’s where the concept’s at right now

More to come later or… never…

detroitlib:

The oracle : compliments of Chase & Sanborn, tea & coffee importers. Advertising pamphlet for W.D. Earnley, advertising Chase & Sanborn coffee. Title from cover. Includes information on palmistry, fortune-telling, horoscopes, superstitions, birthstones and the meaning of dreams. Printed on back: “For sale by W.D. Earnley, 840-842 3rd Ave., Detroit, Mich. Copyright 1897 by the Gray Lith. Co., N.Y.”

Courtesy of the Burton Historical Collection, Detroit Public Library

thehappyfeminist-22:

If you’re having trouble developing a character for one of your stories, here’s an idea that may help you. Create a Pinterest board for that character and pin the following things:

• Things they would like
  
• Food they would eat
  
• Clothes they would wear
  
• Places they like to go
  
• Places they dream of going
  
• Elements of their culture
  
• Elements of their religion (if they have one)
  
• Where they live
  
• Color palettes that fit them
  
• Their aesthetic
  
• Quotes that relate to them

Seeing all of these things together in the same board may help you visualize the character more.

sandydragon1:

• What senses do they rely on the most? Not all animals rely primarily on sight. Also keep in mind that some of their senses might be significantly weaker or stronger than ours and they might even be able to sense things we can’t at all.
  
• How do their beliefs about morality differ from ours? Do they even view things in terms of good and evil?
• How intelligent are they? Are their certain concepts they can’t understand?
• How do they communicate? What is their primary method of communication and how has that shaped their culture?
• How have historical interactions with humans shaped their view of us? Do they view us as helpful? Threats? Just plain weird?
• How anthropomorphic are they? It’s inevitable for all of your characters to act like humans to some extent (readers couldn’t relate to them or understand them well otherwise), but different works can give the same species different human traits (religion, art, complex thinking, etc.).
• What kinds of resources do they need to survive? Consider the food they eat, the kinds of shelter they use, and other basic survival needs.
• How has their environment shaped their behavior and culture?
• How similar are they to real animals?
• What is the species’s role in the food chain? What do they eat? What eats them?

coffeebeanwriting:

Some magic systems become more realistic if there is a consequence brought onto it’s user. Sometimes this can be as simple as balance— if you heal a life, another life must be given. Here are some ideas to get your mind churning on what consequences your magic could cause to its user.

1) Pain. If the magic is brute and aggressive (fire, lightning, mind control in a negative manner) the user feels all of that same pain they exerted onto someone else.

2) Emotional disconnection. The more the user plays with their power, the less emotion they can feel. Eventually, this could lead to complete disconnection from everyone they love and a decay into pure evilness.

3) Headaches. If the user has a mind-related power, giving them headaches could be a simple yet effective consequence. The headaches could make their power unstable, chaotic and truly dangerous. 

4) Years off their life. Every time they use their ability, it slowly takes days, months and years away from their life. If they’re immortal, they risk mortality. 

5) Slip into madness. The power either gets to their head or it has an evil origin thus causing them to become mad and insane overtime.

6) Freedom. The power is actually an entity of its own and while the user thinks they have control over this awesome ability— it’s really controlling them. Over time, it forces them into doing things or hurting people and one day they just become a soulless puppet. (Makes me think of a parasite ) 

7) Increased aging. The speed at which you age is increased, but the user doesn’t realize it until they start seeing grey hairs or wrinkles. 

8) Blood loss. The magic draws upon the users blood and they have to wait for it to restore before using their abilities— if they don’t, or use a large surge of their ability, it can drain them of blood.

9) Memory loss. The wear and tear on the users mind causes them to slowly forget their lives until they have nothing left to remember. Alternatively, maybe the power needs to use these memories as source of energy.

10) Decay. The users body slowly begins to wither. Nails rotting, skin peeling, eyes drooping, knees weak… mama’s spaghetti. 

11) Extreme exhaustion or tiredness. The power keeps them up at night and takes a ton of energy to use. This renders the user constantly exhausted which can lead to death either from exhaustion, or from making fatal mistakes because they’re so tired.

12) Sacrifices. The power requires some sort of sacrifice to the gods or else they take their power back. An animal, a conjuring of different herbs and items, blood… a life. 

13) Addiction. Similar to foods or drugs, magic can become addictive and deadly at high dosages. 

14) Bad luck. The magic brings upon bad luck. The more magic you use, the worse luck you’ll receive.

Some interesting power + consequence combinations (from the top of my head and from literature/movies): 

• The healer who is constantly bleeding internally.
  
  
• The rebelled servant who has finally gained his freedom but becomes slave to the magic itself.
  
  
• A magical ring that brings someone back from the dead. Every time this person comes back from the dead, they lose their compassion and humanity bit by bit. (The Vampire Diaries)
  
  
• A witch brings someone back from the dead and as a consequence, the person begins to see dead people and can interact with them. (The Vampire Diaries)
  
  
• The power induces OCD— after using their power they feel a compulsion to do something. Sometimes it’s as small as drinking a beer and other times it’s as intense as breaking their own bones. (Darker than Black)
  
  
• Magic gained from a celestial source (the moon, a star, etc) causes earth to become painful to the magic users. In extreme cases, they are pulledtowards that celestial body and need to weigh themselves down/tether themselves to something or else they will drift upwards. (The Anubis Gates)

Pt. 2 — Coming Soon! Because it’s really fun to just sit here and brainstorm and research magical consequences! I feel like the possibilities are endless!

Instagram: coffeebeanwriting

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This world building thing has been stuck in my head for months. Buckle up buckaroos!

Okay some background. Years ago I visited my sister and her boyfriend was dressed all fancy in his best suit. When I asked where he was going he simply said a wedding. It took some prodding before it became clear it wasn’t a real wedding but a pretend-wedding between two of his male friends.

Apparently they were so close people always joked they should just get married and they used that as an excuse to have a huge wedding themed party. Everything would be like a real wedding except their respective girlfriends would be taking the place of the parents at the table, and before that one would act as the “best man” while the other walked her boyfriend down the isle.

Before you come at them with your pitchforks, same sex marriage had been legal for years in Denmark so they weren’t mocking anyone. It was just an excuse to have a big memorable party with cake.

Anyway, it got me thinking that this should have been a thing in history. You see, like most other countries marriage was rarely about love but about politics in Scandinavia, but also the Vikings didn’t care about biological linage, only the name.

Children died left and right so any child who made it to adulthood was a blessing. That’s probably why husbands couldn’t care less if their wives had sex with other men. They most likely didn’t love her but any children she had belonged to him. People today call that cucking but the Vikings didn’t see it that way. Instead they saw it as another man losing his chance to have an heir. The husband wasn’t some “sexless loser”. He had plenty of sex with his wife and other women. The other guy would be the loser in this. He wouldn’t gain any power in the family. He would be nothing but a forgotten blip.

Sort of how in Japan it can be very important to keep a business in the family but if the CEO doesn’t have a relative they think is worthy of succeeding them they’ll legally adopt one of their adult employees.

So if you have a society like the Vikings where marriages are political and name is more important than blood it would make sense to have a system where the sex of the brides and grooms means absolutely nothing. They can have as many lovers on the side as they want as long as someone in the marriage is making babies because all the babies will be treated as the offspring of the married couple. So you could have one of those big expensive paintings like the royal families have but with two mothers or two fathers and a shit ton of children without a parent of the opposite sex in sight because the lovers don’t matter.

Depending on wether the married couple love each other or not the painting might even look more like this than a family photo.