Please stop reblogging that post.

Tired of the typical habitats shown in Warriors? Want something new and interesting for your OCs that you can worldbuild in like no tomorrow? Well have I got a list for you! 

- A copse of trees in a field

- Abandoned farm meadow

- Seaside

- An island with a lighthouse

- Rabbit warren/underground tunnels

- Tundra

- Tropical rainforest

- An urban city

- A cemetary

- An old, abandoned house

- Forest full of poisonous and parasitc plants

- Cavern system within a mountain

- Redwood forest

- Valley

- Prairie

- Taiga forest

- A ghost town

- Swamp

- Lava field

- Sandy desert

- A peaceful basin

- In trees constantly, never going to the ground

- An abandoned shipyard

- An abandoned mine

- Canyon

- Rocky forest, full of ridges and boulders

- Crater from an ancient meteor

- Cave full of crystals

- Railyard

- Garden (like a massive garden)

- Chernobyl

- A literal dump

senshi stock

croquis cafe

line-of-action.com

quickposes.com

posemaniacs

clip studio paint models

pexels.com

sketchdaily

eggazyoutatsu atarichan drawer

designdoll

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Yesstyle.com

this is a pretty broad question and im guessing/hoping you meant “how do you color in black and white in your comics” so have a few random tips about values and paneling and stuff i guess

Avoiding Racism for Writers - Coffee, Honey and other Color Don’ts

Author Alex K Thorne (@mermaidandthedrunks) answers the question, “Why can’t I say that? It’s not offensive to compare someone to delicious chocolate!” and discusses how to avoid unintentional racism and harmful stereotypes in your writing:

[Read full article here]

No decent, thoughtful human being wants to be accused of racism. Most decent, thoughtful human beings are guilty of racism.

Of course, it’s usually unconscious, and it’s often hard to keep track of evolving language and social movements, of phrases in the vernacular that were perfectly acceptable ten years ago but are now taboo (and vice-versa).

As writers, albeit pros or fanfic writers, or everyone in between, we use our words as tools, as toys, and sometimes, as weapons. It’s our responsibility to listen to new conversations, to keep abreast of the ever-changing socio-political climate, and above all, to think before we ink.

There are some wonderfully evocative ways to describe people of color without being unintentionally racist or having to sacrifice your creative integrity.When writing about a character of colour (ESPECIALLY if you’re a white author), visit sites such as:

@writingwithcolor   

@weareallmixedup

@thisisnotafrica

I made a thing! I was thinking about this for a few days - because I realized that when I was young, I was also frustrated about being given the same advice over and over - without really knowing what it meant!!

Here’s 5 techniques which I have done before which have helped me grow as an artist, which are good for 5-minute warmups or just straight up challenges for your sketchbook! 

Obviously, these are not the ONLY techniques - they’re just the ones I find most fun! And maybe they’re not the most ‘correct’ ones out there, but it’s better than another comic about practicing more, right? 

Does your character have siblings or family members in their age group? Which one are they closest with?

What is/was your character’s relationship with their mother like?

What is/was your character’s relationship with their father like?

Has your character ever witnessed something that fundamentally changed them? If so, does anyone else know?

On an average day, what can be found in your character’s pockets?

Does your character have recurring themes in their dreams?

Does your character have recurring themes in their nightmares?

Has your character ever fired a gun? If so, what was their first target?

Is your character’s current socioeconomic status different than it was when they were growing up?

Does your character feel more comfortable with more clothing, or with less clothing?

In what situation was your character the most afraid they’ve ever been?

In what situation was your character the most calm they’ve ever been?

Is your character bothered by the sight of blood? If so, in what way?

Does your character remember names or faces easier?

Is your character preoccupied with money or material possession? Why or why not?

Which does your character idealize most: happiness or success?

What was your character’s favorite toy as a child?

Is your character more likely to admire wisdom, or ambition in others?

What is your character’s biggest relationship flaw? Has this flaw destroyed relationships for them before?

In what ways does your character compare themselves to others? Do they do this for the sake of self-validation, or self-criticism?

If something tragic or negative happens to your character, do they believe they may have caused or deserved it, or are they quick to blame others?

What does your character like in other people?

What does your character dislike in other people?

How quick is your character to trust someone else?

How quick is your character to suspect someone else? Does this change if they are close with that person?

How does your character behave around children?

How does your character normally deal with confrontation?

How quick or slow is your character to resort to physical violence in a confrontation?

What did your character dream of being or doing as a child? Did that dream come true?

What does your character find repulsive or disgusting?

Describe a scenario in which your character feels most comfortable.

Describe a scenario in which your character feels most uncomfortable.

In the face of criticism, is your character defensive, self-deprecating, or willing to improve?

Is your character more likely to keep trying a solution/method that didn’t work the first time, or immediately move on to a different solution/method?

How does your character behave around people they like?

How does your character behave around people they dislike?

Is your character more concerned with defending their honor, or protecting their status?

Is your character more likely to remove a problem/threat, or remove themselves from a problem/threat?

Has your character ever been bitten by an animal? How were they affected (or unaffected)?

How does your character treat people in service jobs?

Does your character feel that they deserve to have what they want, whether it be material or abstract, or do they feel they must earn it first?

Has your character ever had a parental figure who was not related to them?

Has your character ever had a dependent figure who was not related to them?

How easy or difficult is it for your character to say “I love you?” Can they say it without meaning it?

How to start a novel, set up your plot and characters, and get onto the heart of the story!

This is a combination of the anon questions “do you have any advice for newbie writers on pacing, especially in the first act?” and “I never know how to start my story is there any tips that you can give me,” along with @breannascribbles‘s “do you have any advice on writing beginnings because I really struggle with it?”

I’m writing this under the assumption everyone’s seen these three articles already, so be sure to take a look at them:

A Killer First Chapter

Establishing the Status Quo

How does pacing work?

Other things you should be aware of…

The inciting event(s.)

The inciting event should happen within the first 5% of the story. If you have multiple inciting events due to more than one POV character, a highly complex plot, or a “pre-inciting event” (i.e. something that catches the reader’s attention full force and shows them where the primary inciting event will likely occur so they can anticipate it,) then the events may stretch out farther than this. In general though, if you have more than 5k words before the character dives into their journey and the reader glimpses the plot as a whole, then something probably needs to be cut out or rearranged.

The set up. 

Some books require a lot of set up in order for the character’s development or the plot’s beginning to make sense and hit home, while other books can have the set up built in after the plot starts rolling. Write out a list of what needs to be set up for your story and determine whether the reader needs to know each piece either prior to the inciting event, prior to the second act, or at some other point before the climax. All set up should be delayed until it’s needed, except in cases where it’s easy to work it into an already important scene.

If you don’t need it, take it out. 

If that scene, that conversation, that action sequence doesn’t either develop the plot or relay something new and important about the characters in the long run, then it doesn’t belong in the first act. First acts, like first chapters, are there to show the reader what the book will be about and catch their interest so thoroughly that they can’t look away. That scene you’re attached to but isn’t really necessary to the story probably won’t be interesting to a still critical reader who’s only just learning about your story and doesn’t yet have the attachment to it that you do.

Something. Must. Happen. 

While there’s many things you want to hold off on in the first act because they’ll hit harsher after some tension is built up, this in no way means that nothing interesting or important should be going on! Don’t leave your characters to a series of mild unemotional successes and quiet conversations simply because it’s still the beginning of the story. Hit them where it hurts, make them taste the failure that will soon all but destroy them, give them choices they don’t want to make. A novel length story can be a very long journey — don’t give it a slow, monotonous start by treating your characters too tenderly in the beginning.

Play with different starting points. 

Think about the way the story would change if you started it at different points, with different characters, or in different locations. What does that do to the overall tension of the first act? How many scenes and chapters would you need with different starting points? Try plotting out “tension vs time” graphs. From there, which starting points give you the most consistent cycles of rising and falling tension with more rising than falling? (Remember to include both action-created tension and emotional tension in your graphs!)

Remember, this deeper look at your pacing through the first act can be done either during the outlining phase or after the first draft has already been written. For the first draft it’s always best to write your novel in whichever way helps you get the words on the page. 

There’s a lot more information in the linked articles, so check those out!

‘The Ghetto Tarot’ - Haitian artist group, Atis Rezistans, re-creates the classic tarot deck into scenes, people and locations from their native Haiti.