My super advanced mapmaking technique – a handful of dice makes the map nice
interesting method
My question is do the die affect topography any or just set the borders?
I imagine it’s up to the person making the map. But maybe the more dice in a single spot, the more mountainous or forested the area. Maybe choose a few dice to be deemed cities, and some dice for ruins.
Maybe let the dice choose, like a nat 20 would be the world capital, and 10’s would be mountains or something like that.
1-5: Plains and fields
6-8: Forests
9-11: Mountains
12-14: Tundras and snow covered lands
15-17: Farms and towns
18-19: Larger cities
20: Capitals and castles
what would happing if all the dice landed on a 20?
then you have a very busy continent
not all of those are d20s though, so you’d have to come up with another method for the other ones
After being a college writing tutor for over a year, I thought I would share my advice with all you awesome people on tumblr. This is how I write essays, but if you’ve got more tips, feel free to add them below.
Happy writing. You can do it!
Just a note that when writing in science (doesn’t apply to other fields), I have always been taught that direct quotations should be avoided. Summarizing and paraphrasing (with a citation to the source of course) is highly recommended though!
I wish more people got this because some ‘low-empathy’ people are the most compassionate and sympathetic in the universe, and I hate it when that’s taken to mean ‘unfeeling and probably hostile’ when nothing could be further from the truth
Or, as my dad put it,
Sympathy: I know how you feel Empathy: I feel how you feel Compassion: is there anything I can do to help?
Maybe none of these peeked your interest. Maybe you’ve been wanting to create an o.c, but never really knew how to start, or you just enjoy making O.C’s.
Hell, maybe you have a Gemsona/Transformers/Southpark character that you want to create, but don’t have the energy to draw!
This part of this list is specifically for OCs and Oc building. It can also apply to developing RP characters~
I added a couple of links-((In the appearance, details, and the whole of item names section!)), and the Gemsona area-((above)), as well as the couple of Transformers and Southpark character builder links below..Basically everything I made bold, because I am complete fandom trash…
What are the differences between stereotypes, tropes, and archetypes? What are they? How do writers use them? Let’s take a look at some vocabulary and how we define these terms to make sense of them for ourselves.
Stereotype(n): A widely held but fixed and oversimplified image or idea of a particular type of person or thing.
To elaborate on this, stereotypes can be seen as sets of characteristics or behaviors that are commonly associated with one another, thus making it easier to intuit some of them if one or more is known. Stereotypes, though, are not literary. They refer to beliefs held about groups in reality, not types of characters. The literary cousin of the stereotype is the trope.
Trope(n): devices and conventions that a writer can reasonably rely on as being present in the audience members’ minds and expectations.
If tropes seem a little too much like to stereotypes for comfort, that’s because, technically speaking, they are stereotypes. “A Trope is a stereotype that writers find useful in communicating with readers.” (x) However, because the word stereotype has become so stigmatized in society, we prefer to think of tropes as specific to storytelling.
You use tropes in your writing. It is nearly impossible to escape them. And that is okay.
Tropes are things that pop up repeatedly in media as cultural norms in storytelling—types of characters, settings, plot lines, etc.. Stuff like a Manic Pixie Dream Girl who exists to usher a male character to his higher level of emotional awareness or personal growth, or a case of Mistaken Identity where Hilarity Ensues. Tropes are culturally-based, which is what sets them apart from archetypes.
Archetype(n): a very typical example of a certain person or thing; types that fit fundamental human motifs.
An archetype is a kind of character that pops up in stories all over the place. A trope is a character that puts that archetype in a cultural context.
For instance, let’s say you have a character who is a Geek. The role of a Geek in literature is a trope, because it is common in a certain culture (i.e. Western, though depictions of the Geek will vary within Western Civilization as well). Broadly and therefore in terms of an archetype, the Geek is the Scholar, a person who is constantly in search of knowledge. Various stereotypes about the Geek (like poor social skills) might then be inferred by characters or readers based on their understanding of the society in which they live.
It’s important to mention that none of these things are necessarily clichés.
Cliché(n):
A trite or overused expression or idea; often a vivid depiction of an abstraction that relies upon analogy or exaggeration for effect, often drawn from everyday experience.
A person or character whose behavior is predictable or superficial.
For more about clichés, mosey over to this post. Essentially, clichés are boring and overdone by definition, but tropes and archetypes can be useful. Yes, this is a subjective distinction.
So here’s the breakdown:
Stereotypes: Not literary. We avoid using this term to talk about classifying characters, settings, plot points, etc..
Archetypes: The broad, all-encompassing norms of the stories humanity tells. The same archetypes can be found in all or nearly all cultures.
Tropes: Culturally-specific norms in storytelling. Tropes are cultural classifications of archetypes. There can be many tropes found under the umbrella of one archetype. Literary devices are not tropes (i.e. narrators, foreshadowing, flashbacks, etc.).
Clichés: Overused and hackneyed phrases, characters, settings, plot points, etc.. Archetypes do not become clichéd. Tropes can become clichés if they are used too often and readers get bored of them. Clichés are defined by a loss of the meaning or as a distraction from the story.
Let’s focus on tropes and archetypes now as these terms are often used as a sort of shorthand when writing. Once you have firmly introduced a character as one type of archetype and/or a trope within that archetype, you do not have to elaborate on the character as much before moving on in the storyline.
While this can be useful and can help keep a section moving, it can also be very lazy, can help to perpetuate unhealthy stereotypes that carry over into the real world, and can make for one-dimensional characters. All of this forces the readers to focus on the way the story is being told instead of the story itself. Not good.
Here are some questions to keep in mind when using trope and archetypes in writing:
Is this derogatory? Does this demean or belittle? Is it harmful to the reader? For instance, the Dumb Blonde trope from American culture can assume that all blondes are easily-fooled, flighty, and even promiscuous. In the real world, the Dumb Blonde trope certainly translates into a derogatory stereotype, so is it something you want to use in your writing or can you manipulate the trope to create something unexpected?
Is this really necessary? Do you actually need to use a trope or archetype as a base for your character to keep the flow moving or the characters easy to remember, or are you using it so you don’t have to bother to give your character, well, character? Laziness is no excuse for poor writing. Using a trope can flatten a character very quickly if that’s all that they have going for them. There’s even a term for a character whose personality is limited to a single trope; they’re called stock characters.
Is this actually the one I want? Perhaps the empty headed and hot cheerleader trope is not the one you want. Maybe the secretly hot booksmart nerd is a better fit for your story. Maybe not. Really think about what base characteristics you give your characters, because they an come in handy farther down the storyline. Browsing tropes is fun, but at the end of the day, try combining character traits to create something that is unique for you is what makes a character worth writing.
Am I using this to bash someone? While almost all tropes can be harmful in one way or another, how you present them can have a big effect on whether or not you are actually using a trope or are pulling away from your story to offer the reader a stereotype instead. Being nasty because of someone else’s perceived shortcomings won’t help your story, and, if that’s not enough reason, it can be harmful to you because people will call you on it. Depth is key.
How can I use this in a way that is helpful? By making your characters more personalized and three-dimensional, you humanize them and give the reader a better chance of empathizing with them. In Creative Writing Tip: Avoiding Stereotypes, Matthew Arnold Stern says:
The antidote to stereotypes is to create well-rounded characters with clear and human motivation. Even a character who appears briefly in a story can benefit from depth and complexity. Such characters add realism and depth that draws us further into the story.
Choose a base trope or archetype for a character, and then elaborate on it in a way that breaks expectations or defies convention. A shy, sweet, nerdy girl who is not afraid to loudly tell someone to stop when she is uncomfortable and is happy with who she is could be a much more interesting character then the throw away filler character of a compliant, scared bookworm. A big, popular jock who is not afraid to stand up against bullying and treats his parents and teachers with respect has more hidden depth than the usual sneering bullies that populate literary sports fields.
All in all, archetypes and tropes can be a handy writing tool when used sparingly, but we have to remember that the stereotypes we perpetuate in our writing resonate with people in real life.
Speaking in terms of subject matter and not story construction, stereotypes have their place in literature, so long as the writer and the reader are completely aware of the fact that they are being used. Perhaps you are using a stereotype so you can later break it in an interesting way as a plot device, or you are driving it home as a stereotype that you feel is justified. For instance, there is the stereotype that drug dealers are dangerous and violent. The fact that anyone who is actively complicit in illegal activities is potentially dangerous is true, and it probably is best to avoid and not trust someone whose livelihood revolves around convincing you to break the law.
“Stereotypes have the potential to show a member of a particular group how to behave or how others believe they do. The latter may be apparent in the way they are treated by society at large, while the former encourages them to remain within the confines of that definition.”
So think before you write, and be considerate of the effect your writing may have on others, as well as the effect that devices like tropes can have on your writing.
41 Emotions as Expressed through Body Language unique This list, while exhausting, is soooo not exhaustive; it barely scratches the surface. And each entry could easily become cliché (if it isn’t already). But, it should be enough to get you started. Want more? Start watching people (not in a creepy way), and take notes of what they seem to do when expressing different emotions. Your repertoire of expression will double in no time. PS—do not use these for actual, real-life body language reading; you will fail. These are strictly novelistic.
Awed -Slack -jawed, raised eyebrows, staring -Frozen, slack body language (Self? What self? There is only Zuul.) -Take a step back and put a hand to his heart
Amused -Smiling and throwing back her head laughing -Slapping her thighs, stamping her feet, clapping her hands -Shaking her head (That’s so wrong!)
Angry/Aggressive -Sharp movements, like shaking a fist, pointing, slashing, or slamming a fist on a table -Flushed face, patchy red blotches -Tension in neck—chords standing out, veins throbbing—and jutting or tucked chin -Arms akimbo, or clenching fists -Entering someone else’s space and forcing them out -Poofing up with a wide stance (I am big! Very big!), arms wide (Bring it!) -Lowered eyebrows, squinting eyes -Teeth bared, jaw clenched, snarling
Annoyed -Pressing lips together into a thin line -Narrowing eyes sometimes with slight head tilt (Why do you still exist?) -Rolling eyes, often paired with a long-suffering sigh
Anxious -Fidgeting, such as tearing grass into little pieces, playing with a ring, or chewing on a pencil -Biting lower lip, swallowing unnecessarily -Quickened breathing or holding breath -Darting eyes -Pallor, sweating, clammy palms -Unusually high-pitched, “nervous” laughter -Hunched shoulders -Pacing
Attentive -Slow head nodding with a furrowed brow -Leaning forward, toward the speaker, and sitting up -Taking notes -Looking over the top of her glasses
Bored -Resting his head on his palm, peeking out between the fingers, maybe even slipping so his head “accidentally” hits the table -Tapping toes, twirling pencil, doodling, and otherwise fidgeting -Staring out a window, or at anything remotely more interesting (Which is everything …)
Confident -Arms clasped behind body -Head lifted, chest out, standing tall -Walking briskly and making firm, precise movements
Confused -Tilting head with narrowed eyes -A furrowed brow -Shrugging
Contempt/Superiority -Lifted chin (The better to look down the nose.) -Pursed lips, sneering, slight frown -Circling a shoulder, stretching her neck, turning away—anything to indicate she doesn’t see the person as a threat or worthy of her attention -Grabbing her lapels, or tucking her thumbs in her waistcoat (See this clothing? It is much nicer than yours.) -Dismissive hand-waving
Cynical/Sarcastic/Bitter -Twisted lips or a half-smile -Sneering, sometimes with shaking the head and other defensive body language -Pressed lips with a slight frown -Eye rolling
Defensive -Crossed arms, legs, crossed anything, really (Well, maybe not fingers … or eyes …) -Arms out, palms forward (Stop!) -Placing anything (sword, shield, book, backpack) in front of her body
Disgusted -Crinkling his nose -Curling his lip and/or showing the tip of his tongue briefly -Flinching back and interposing a shoulder or turning away -Covering his nose, gagging, and squinting his eyes shut—hard—for a moment. (It assaults all the senses.)
Displeased -A plastered-on fake smile (You suck; but I can’t tell you that. So here: a fake smile! Enjoy.) -Pouting or frowning (I’ll cry if you don’t give me what I want—don’t test me, I will!) -Crossed arms and other defensive/frustrated body language (I will not let that terrible idea influence me!)
Distressed -Wide eyes and shallow, rapid breathing -Beating the walls, or huddling into a corner -Clasping hands over his head protectively -Rocking himself -Handwringing -Running his hands through his hair
Earnest/Passionate -Leaning forward, nodding, wide eyes with strong eye contact and raised eyebrows -Hand on heart, or presented palms-up, or otherwise visible -A double-handed handshake (I really want to make sure you understand me!)
Embarrassment -Blushing -Stammering -Covering her face with her hands or bowing her head (I’m so embarrassed, I can’t look!) -Difficulty maintaining eye contact, looking down and away
Excited/Anticipation -Rubbing hands together (I can’t wait to get my hands on it!) -Licking lips (It’s so close I can taste it!) -A vigorous, pumping handshake (I can’t wait to get started!) -Jumping up and down (Look at me being literal here! I am jumping for joy.) -A wide and easy grin
Flirty -Eye play, like winking, looking up through the lashes, over the shoulder glances, and eye catching -Preening, like hair flipping or smooth, clothing straightening, spine straightening, etc. -Striking a cowboy pose, with his thumbs gripping his belt tight
Frustrated -Shaking his head (You are so wrong!) -Massaging temples (My brain—it hurts.) -Clasping his wrist in his opposite hand, behind his back (Bad arm! No biscuit.) -Running his hands through his hair (All this frustration is making my hair mussy. I can feel it.) -Grabbing onto something like armrests, or white-knuckled interdigitation (Restrain yourself!)
Happy -Smiling and laughing -Eyes and nose crinkling -Swinging her arms, spinning loosely, dancing, jumping
Impatience -Quick head nodding (Get on with it!) -Toe/finger tapping (Hear this? These are seconds. Wasted. Listening to you.) -Sighing, checking the clock/sundial/freckles (Time. It is moving so slowly.)
Jealous -Tight lips, or a sour expression -Narrow eyes locked on the perpetrator, to the point of a stare down -Crossed arms, and additional frustrated, angry, possessive, or bitter body language
Lying -Scratching their nose, ear, neck, miscellaneous part of face -Sudden change in behavior or demeanor, including shifty eye contact, lots of long blinking, shrugging -Ill-timed smiles or laughter (This is how I normally smile, right? Right???) -Additional anxiety body language -Shaking head no while saying “yes” (I can’t believe I just lied.) -Licking lips, covering mouth, touching mouth, etc.
Overwhelmed -Both palms to forehead, fingers splayed (This gives me a headache.) -Covering eyes with one hand (If I can’t see the world, it can’t see me …) -Eyes wide and staring into space, hands gripping the table in front of her (… Woah.)
Playful/Friendly -Winking -Waggling eyebrows -Tiny shoves or nudge
Pleasure -Head tilted back, lips parted slightly, eyes wide or closed -Slow, languorous movements, stretching (such as arching her neck or back) -Slight flush, quickened breath and pulse
Possessive -Handshake with arm clasp -Putting hands on or around someone’s shoulders, neck, waist, back, or even just the wall near them -Standing in someone’s personal space, body positioned toward that person -Any one-sided act of intimacy, like running a knuckle down someone’s cheek -Staring down any who get too close
Proud/Dominant -Chin up, chest out, shoulders back -A painfully hard handshake that not only squishes the bones, but also forces his hand on top -Leaning back with his hands behind his head, and his feet up -Strong, unblinking, focused eye contact
Reluctance/Resistance -Arms crossed, sometimes with fists (Not happening.) -Dragging feet (But I don’t wanna!) -Pinching nose (You want me to do what now?) -Clamping hands over ears (La la la la!)
Sad/Upset -Droopy body (and anything held, like a sword), bowed in shoulders, wrapping arms around self -Slow movements with hesitation -Bottom lip jutting out and/or quivering -Crying, sobbing, body shaking, sniffling, wet eyes
Secretive -A tight-lipped smile (My lips are zipped.) -Hiding her hands in her pockets (What has it got in its nasty little pocket?) -Looking away
Scared -Hunched shoulders, shrinking back from others (Don’t hurt me!) -Wide eyes and lifted eyebrows (The better to see them coming.) -Shaking, trembling, or freezing -Rocking from side to side, sometimes holding self (It’ll all be okay, self, it’ll all be okay.)
Shame -Slumped shoulders (Don’t look at me.) -Trouble meeting your gaze, looking down and away -Burying her face in her hands or bowing her head (I can’t face the world right now.)
Shocked -Hands covering her mouth, or mouth hanging open, sometimes with a gasp (If I had words, I would be saying them.) -Freezing and staring with wide eyes and eyebrows raised (Diverting all resources toward staring.) -Smacking a palm into his forehead (Clearly, my head isn’t working right, or I wouldn’t have seen that)
Shy -Avoids eye contact, or has only fleeting eye contact (Eye contact means you might speak to me.) -Keeps a fair distance from everyone, and will back away if someone steps closer (Space invaders!) -Folded arms, head down, and other defensive body language (If I make myself small, they can’t see me.)
Smug -Slight, close-lipped smile (occasionally one-sided) and sometimes one raised eyebrow (I know something you don’t know.) -Chin slightly tucked, Mona Lisa smile, raised eyebrows (I know better.) -Finger steepling (I am so smaaaht.)
Suspicious/Skeptical/Disbelief -Narrowed eyes, sometimes with a sidelong glance or raised eyebrow (Perhaps if I look at it out of the corner of my eye, I will catch it unawares.) -Rubbing his eyes (I can’t believe what I’m metaphorically or literally seeing!) -Shaking his head (I—I don’t believe it.) -Blowing out cheeks (Well , I don’t know …)
Tired -Rubbing his eyes, eyes staring into space, raised eyebrows (Raising my eyebrows helps keep my eyes open.) -Yawning and/or stretching (I am tired—see? Tired! Too tired to care!) -Almost nodding off and jerking awake (Cannot. Stay. Awa—snnnnurzzzz.) -Gritting teeth to stay awake (Cannot—yawn—dang it!)
Thoughtfulness/Thinking -Steepling fingers (I will think better if I center myself and focus.) -Pinching nose, sometimes with closed eyes (Focus, focus—I just need to focus.) -Tugging on an ear (This will help me remember!) -Stroking a real or imaginary beard (People with beards look smart.) -Furrowed brow, narrowed eyes, sometimes tilted head and pressing lips together (I can’t see it—I will try harder!) -Resting his chin on his hand (Thinking makes my head heavy.)
Triumphant -Hands clenched and held above head while grimacing (She is invincible!) -Head tilted back with a yell (She is fierce!) -Arm pumping in the air, jumping (Woohoo!)
(ﾉ´ヮ´)ﾉ✧ 