Und drunder nur ei Satz

I’ve read two in which Zoro loses the crew in a great tragedy, so he goes back in time to save them, and the greatest source of tension in the story is the way he tries to hide all the future knowledge he maintains from the others, while still trying to rewrite history. It’s so good and thrilling. But. Yet. However.

I’m reminded of the scene in Sabaody in which Rayleigh offers to tell the crew about the One Piece, and Luffy furiously rejects him. Says he doesn’t want a boring adventure where he knows the ending. And though I don’t Zoro saying anything in that scene, I think him would agree. So in this Time Travel AU, Zoro goes back in time, he does so with the idea that this second try isn’t for him. He wants to help, but if he gets on that boat, he won’t be able to keep himself from giving Luffy all the answers in hopes of saving his life, and that would ruin his Captain’s dream.

So let’s imagine Luffy. At seventeen years old, he sets out on a journey through the Grandline to become the King of the Pirates. He has his navigator, his sniper, his cook, his doctor- all his friends by his side. And things are challenging sometimes, but always fun. And he gets lucky.

He gets lucky a lot.

Sanjj tells him it’s a guardian angel, but Luffy’s not so sure. There’s something at the back of his mind, an itch behind his ear. He start to notice signs of a certain presence everywhere he goes, a mysterious someone who seems to always want to beat him to the punch, but also seems to never finish the job.

Like back in Orange Town, when he met Nami and fought the Buggy guy, the Clown complained about his knife thrower being put out of commission by a bounty hunter right before the fight. Or in Syrup Village, when Captain Kuroo called for reinforcements two of his officers were a no-show, their crewmates reporting that it was as if the Nyaban Brothers had disappeared into the night. When Luffy met Sanji at the Baratie, he’d felt a tension build within him as he listened to all the rumors of the Greatest Swordsman in the World having been seen nearby. But then, the tension is cut abruptly when Don Kreig walks through the door instead, announcing that he’d escaped the Warlord when some suicidal swordsman intercepted his chase.

In Whiskey Peak, Nami tells him about how she saw a cloaked figure take down 100 hundred bounty hunters without making a sound, as if trying to not disturb the Strawhat’s sleep. Luffy thinks he might’ve seen such a figure from afar when taking a leak, but he can’t be sure. In Alabasta, Ace keeps throwing looks over his shoulder as if searching for someone, but always telling Luffy there’s nothing to worry. Vivi is shocked to discover someone took down Baroque Work’s Number 1 in a duel a night before their arrival at Alubarna. When Robin joins them at the end of it, she seems shocked to find the crew only has five members, instead of six. But she doesn’t seem keen on elaborating why just yet.

The only place that they haven’t been followed to by this Mystery Guy (as Luffy has taken to calling him) is Skypeia. Almost like he couldn’t figure out how to get up there.

And still, the whole time Luffy’s there he can’t stop thinking about him. Looking left and right for as if between the clouds and the trees he’ll catch a glimpse of Mystery Guy’s face. Nami says it’s ludicrous to think that all these instances can be chalked up to same guy. Usopp tells tall tales of how they’re being stalked by a man who fell madly love with the Great Sniper’s good looks, or sometimes he tells tales of how they’re being followed by the ancient God of Fortune, or sometimes it’s any other grandiose tale he’ll accept before he accepts that it’s just a guy, just a Mystery Guy, who is real and Luffy knows it.

He knows, and he’s a little obsessed with it. And it’s not always great. He loses sleep, wondering who are you and do you know me and do i know you and stop getting in my way and why don’t you do it more and do you want to join my crew and i need you to watch me and i need you on my crew.

It doesn't matter any more if Sanji sees him, and even though Kuma has never seen nor heard of Zoro, the deal is accepted. After all, who would so fiercely claim a stranger as their captain and offer to die in his place if they weren't on Luffy's crew?

Sanji knows but doesn't know the swordsman and part of him hopes he was hallucinating when he wakes up. He doesn't even know what name to scream when he finds him, and can only ask, dumbstruck, what happened.

"Nothing happened." Not on Thriller Bark, not on Enies Lobby, Water 7, Alabasta, Drum Island, Whiskey Peak, not even all the way back at the Baratie...

? ? ?: teenage rebellion

Rather than fight Mob (because that would just be highly unlikely), Saitama would be much more likely to try and fight Reigen. Over some sort of cheap supermarket deal.

Reigen got to it first and his smugness about it is irritating Saitama so much, Saitama is ready to throw hands, which he then does.

But Reigen “I move my hands faster than the speed of light” Arataka just,,, keeps dodging Saitama’s punches while Saitama grows more irritated (like with the mosquito).

And all the while Mob and Genos are just standing there concerned about their Shishou and Sensei almost destroying the whole block over some sort of coupon for a buy-2-get-1-free instant ramen pack.

And in the end, Saitama and Reigen develop this rivalry over their coupons because they both go shopping at the same cheap supermarkets.

drawing sokka & katara with a polar owlcat to try to cure the artblock

Notes: This one took me a while to record… I think my narration is good? Also, Surprise I’m A Multishipper!!

Summary: Todoroki considered, then sighed. “Do you think we’ll ever be able to do this on our own?”

“Do what, express anger normally in a healthy-ass manner or some shit that’s not either super repressed or extremely violent?” Bakugou glowered at him, arms crossed.

“Yes.”

“No.”

—

In which Bakugou becomes Todoroki’s anger translator and vice versa

All because I couldn't resist putting them all together and adding their AP-PA light freighter and M0-M0 droid.

Part 3 of my atla/sw crossover series.

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“ 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!