Original writing, OCs, Fanfic and Aus

Tl:dr: design a cane based on comfortability and the disability of the character

First things first, you need to know why you’re character needs a cane. Do they have chronic pain? Unhealed injury? Muscle or joint issues? Do they have poor blood circulation which makes them dizzy? Do they need the cane all the time or does their disability fluctuate? Do they use a wheelchair or a walker sometimes?

There’s a lot you should know about a characters ability/disability in order to find what type of mobility aid they should be using.

There are a bunch of different kinds of canes/crutches. The 4 on the left are crutches. The difference between canes and crutches are, crutches are meant to keep weight off your legs as much as possible, and generally you use a crutch on each arm. Canes are used for stability and you usually only use one. Folding canes are great for people who only use their cane sometimes

Great! You’ve picked either a cane or crutches for your character. I’m done right? WRONG. Cane handles.

This is probably the most important part of canes because if you have the wrong handle your wrist will die.

I gently kiss all the canes on the left, they are all very good for grip and wrist, although the middle left is designed for left or right hand so you cannot switch hands with it.

The ones on the right are also pretty good, they wouldn’t be my first choice but they are still great. The top one is also very good as it has a wristband so you can’t drop it as easily. (Trust me when I say I DROP MY CANE SO MUCH)

Sigh. The middle cane handles… the bottom one I have never actually seen but it looks like it would kill my wrist. The top one is uncomfortable for long period uses, but it is good for if you’re a shepherd. And the pimp cane… the knob cane… it’s awful. Just no. It’s hard to grip, it is unstable it’s bad it’s awful I throw it into a fire. Please don’t give your character, they don’t deserve that pain

Now you know the basic ergonomic things, there are different shafts for canes and crutches

You can really get creative with this type of thing, just as long as it looks stable enough.

Here are some good examples of pretty canes that are ergonomic and good to use! (featuring victor arcane who i adore)

Add some cute details to the cane if you want! You can add stickers, colours, grip support. And while I love the concept of cane swords those are very unstable, if you want a cane weapon you can make it lead weighted, put knives in it. A poison vile in the shaft. Be creative.

Just some of these components are important to consider with a disabled character. There’s a lot more to consider with wheelchairs and walkers which I don’t have the experience with.

nana i feel like this was not intended for me bc you’ve seen the frothing insanity that takes hold of me 😳but, yes. and i’m not alone.

Inevitably when you’re creating your panel compositions, you will stumble across a combination of “big panel next to several small panels.” These can just go anywhere, right? It doesn’t matter if the smaller panels go to the left or right of the big panel, correct?

INCORRECT, IT DO MATTER. STEPH SHOW YOU WHY.

In the West, comics are read left to right, top to bottom. So when two small panels are put to the left of a large panel, your reader has no idea whether they’re supposed to read small panel, small panel, then the large panel, or to read small panel, large panel, then go backward to read the small panel that’s left.

But when the smaller panels are to the right of the large panel, then there’s only one flow the reader’s eye can follow. (I mean. Technically your reader can do whatever the fuck they want, but via western rules of reading, the easiest/most instinctual way is to the right, then down.)

See! Happy flow! Easy flow! 

Are there exceptions? Of course there goddamn are, you can do whatever the fuck you want with comics. But this is the deal: you have to make the correct reading flow really really fucking obvious to your reader. The easiest way? Number the panels. 

(Look… I’m never going to tell you to NOT do something. My whole motto is do whatever the fuck you want in art. No rules. Fuck it. But numbering panels typically looks like you took the easiest way out of your problem, and there’s like a billion cooler and more interesting ways to make your readers’ eyes follow a particular path. Do whatever you want, but there are things that will make it harder for readers to follow, and anything that makes things harder for readers is usually a turn off.)

There are many cleverer ways to make your readers read in a particular direction. Comic bubbles and tails are almost always the easiest way to, as they will take precedence over like, everything. No matter how much you orient the background to point to the right, if the speech bubble veers left, your readers’ eyes will go left, first.

Notice what happens when I put the speech bubble in different places.

See? Your eyes went to different panels first depending on where the speech bubble was put, didn’t they? 

There’s tons of examples in comics of artists leading your eye without speech bubbles, you’ll usually find at least one example in any graphic novel or comic book issue if you look closely. 

Putting smaller panels to the left tho can also be used on purpose to create uncertain or confusing flows of time, such as things happening at the same time or at unknown times. You can use this to purposefully confuse readers when time is messy.

If you are not confident in your ability to guide the reader’s eye tho, maybe stick with the previous method of putting smaller panels to the right of large panels for now. When you get better at flow, try getting a little risqué with flow!

But there was a side anecdote in there that stayed with me for more general purposes.

The author was describing a cryptography class that they had taken back in college where the professor was demonstrating the process of “reversibility”, which is a principle that most codes depend on. Specifically, it should be easy to encode, and very hard to decode without the key–it is hard to reverse the process.

So he had an example code that he used for his class to demonstrate this, a variation on the Book Code, where the encoded text would be a series of phone numbers.

The key to the code was that phone books are sorted alphabetically, so you could encode the text easily–picking phone numbers from the appropriate alphabetical sections to use ahead of time would be easy. But since phone books were sorted alphabetically, not numerically, it would be nearly impossible to reverse the code without exhaustively searching the phone book for each string of numbers and seeing what name it was tied to.

Nowadays, defeating this would be child’s play, given computerized databases, but back in the 80s and 90s, this would have been a good code… at least, until one of the students raised their hand and asked, “Why not just call the phone numbers and ask who lives there?”

The professor apparently was dumbfounded.

He had never considered that question. As a result, his cipher, which seemed to be nearly unbreakable to him, had such an obvious flaw, because he was the sort of person who could never coldcall someone to ask that sort of thing!

In the crypto book, the author went on to use this story as an example of why security systems should not be tested by the designer (because of course the security system is ready for everything they thought of, by definition), but for me, as a writer, it stuck with me for a different reason.

To make the fighting scenes in my low fantasy novel more realistic, I went to see a trainer for historical sword-fighting last week, both to barrage her with questions and to develop realistic choreographies for the fight scenes in the novel. Since I figured some of what she told me might be useful for you too, I put together a small list for you. Big thanks to Gladiatores Munich and Jeanne for making time! (Here are some more pictures if you’re interested.)

Caveat: I’m by no means a sword-fighting expert myself, so take these nuggets with a grain of salt – I might have misremembered or misinterpreted some of the things Jeanne told me. If I did, feel free to tell me.

1.) Weapon choices need to make sense

Let’s start with a truism: always ensure your character’s weapons make sense for a.) their profession, b.) their cultural background and c.) the environment they’re going to fight in. A farmer probably couldn’t afford a sword and might use a knife or threshing flail instead, and someone who doesn’t want to be noticed probably wouldn’t be milling about sporting a glaive or another large weapon. Also, soldiers native to a country with wide open plains would be more likely to carry long-range melee weapons such as spears or large swords, than those from a country consisting of mostly jungle or dense forests. The same applies to situations: if your character is going to be fighting in close quarters (even just a normal house), he’d get little value out of a spear or even a longsword, as there’d be no space to swing it effectively.

2.) Boldness often beats skill

In real swordfights, recklessness was often more important than technique. The fighter less afraid of getting injured would often push harder, allowing them to overpower even opponents with better technique.

3.) Even a skilled fighter rarely stands a chance when outnumbered

While a skilled (or lucky) fighter might win a two-versus-one, it’d be extremely unlikely for even a single master swordsman to win against superior numbers, even just three and if they’re below his skill level. The only way to plausibly pull this off would be to split the opponents up, perhaps by luring them into a confined space where you could take them on one by one. The moment you’re surrounded, you’re probably done for – because, unlike in Hollywood, they wouldn’t take turns attacking but come at you all at once.

4.) Dual-wielding was a thing

… at least in some cultures. I often heard people say that people using a weapon in each hand is an invention of fiction. And while my instructor confirmed that she knew of no European schools doing this—if they did, it’s not well-documented—she said it was a thing in other cultures. Example of this include the dual wakizashi in Japan or tomahawk and knife in North America. However, one of the biggest problems with the depiction of dual wielding in novels/movies/games are the “windmill”-type attacks where the fighter swings their weapons independently, hitting in succession rather than simultaneously. Normally you’d always try hitting with both weapons at once, as you’d otherwise lose your advantage.

5.) Longswords were amazing

Longswords might seem boring in comparison to other weapons, but they were incredibly effective, especially in combat situations outside the battlefield. The crossguard allowed for effective blocking of almost any kind of attack (well, maybe not an overhead strike of a Mordaxt, but still), the pommel was also used as a powerful “blunt” weapon of its own that could crack skulls. Though they were somewhat less effective against armored opponents, the long, two-handed hilt allowed for precise thrusts at uncovered body parts that made up for it.

6.)  “Zweihänder” were only used for very specific combat situations

Zweihänder—massive two-handed swords—were only used for specific purposes and usually not in one-on-one combat as is often seen in movies or games. One of these purposes was using their reach to break up enemy formations. In fact, one type of two-handed sword even owed its name to that purpose: Gassenhauer (German, Gasse = alley, Hauer = striker)—the fighters literally used it to strike “alleys” into an enemy formation with wide, powerful swings.

7.) It’s all about distance

While I was subconsciously aware of this, it might be helpful to remember that distance was an incredibly important element in fights. The moment your opponent got past your weapons ideal range, it was common to either switch to a different weapon or just drop your weapon and resort to punching/choking. A good example of this are spears or polearms—very powerful as long as you maintain a certain range between you and your opponent, but the moment they get too close, your weapon is practically useless. That’s also why combatants almost always brought a second weapon into battle to fall back one.

8.) Real fights rarely lasted over a minute

Another truism, but still useful to remember: real fights didn’t last long. Usually, they were over within less than a minute, sometimes only seconds – the moment your opponent landed a hit (or your weapon broke or you were disarmed), you were done for. This is especially true for combatants wearing no or only light armor.

9.) Stop the pirouettes

Unfortunately, the spinning around and pirouetting that makes many fight scenes so enjoyable to watch (or read) is completely asinine. Unless it’s a showfight, fighters would never expose their backs to their opponent or even turn their weapon away from them.

10.)  It still looks amazing

If your concern is that making your fight scenes realistic will make them less aesthetic, don’t worry. Apart from the fact that the blocks, swings and thrusts still look impressive when executed correctly, I personally felt that my fights get a lot more gripping and visceral if I respect the rules. To a certain extent, unrealistic and flashy combat is plot armor. If your characters can spin and somersault to their heart’s content and no one ever shoves a spear into their backs as they would have in real life, who survives and who doesn’t noticeably becomes arbitrary. If, on the other hand, even one slip-up can result in a combatant’s death, the stakes become palpable.

That’s about it! I hope this post is as helpful to some of you as the lessons were to me. Again, if anything I wrote here is bollocks, it’s probably my fault and not Jeanne’s.  I’ll try to post more stuff like this in the future.

Cheers,

How to Write A Drunk Character (For People Who Can't/Prefer Not To Drink)

Drinking is a social activity that a lot of people love to partake in, and although drinking is often associated with rambunctious behavior now a days, "sharing a drink" with your friends is one of the oldest forms of companionship in history.

Having your characters get drunk together can not only be a spot of humor in an otherwise serious story, but also can be a way to build relationships and bond; after all, when they're drunk there is an element of trust they need to have in the people around them, in order to make sure they'll look out for them/won't do anything bad while they're in an incapacitated state.

However, if you haven't experienced it yourself--for whatever reason--it may be difficult to write how a character acts when they've had a bit too much to drink.

Here are some general tips on how to write a drunk character.

1. How much does it take?

One thing that is a dead giveaway that an author has never drank or gotten drunk is when a character starts to feel the effects of alcohol after one sip. For most people, that doesn't happen.

How fast a character gets drunk depends on a few factors:

Size (height, weight)

If they're used to drinking a lot

The type of drink being consumed

How fast they drink in a short period

If they've eaten recently

A character who is 6'5" and 250lbs who drinks like a horse every night is going to get drunk a lot slower than a 4'11" character who's 100lbs soaking wet and has never touched an alcoholic beverage before.

If someone gets drunk easily, they're called a "lightweight," however, someone can shed their lightweight status with practice (i.e. drinking regularly). The faster they drink, the drunker they'll get, and if they're on an empty stomach, it'll hit them a lot harder.

You also have to be aware of the kind of drink they’re consuming, and the alcohol percentage of each one; the higher the percentage, the faster it’ll get them drunk. Here are some percentages of Alcohol By Volume according to Sunrise House Treatment Center.

Vodka | ABV: 40-95%

Tequila | ABV: 50-51%

Gin | ABV: 36-50%

Rum | ABV: 36-50%

Whiskey | ABV: 36-50%

Fortified Wine | ABV: 16-24%

Unfortified Wine | ABV: 14-16%

Liqueurs | ABV: 15%

Malt Beverage | ABV: 15%

Beer | ABV: 4-8%

As you can see, liquors (which are grain-based alcohols), are some of the heaviest hitters here. They're usually taken as shots (vodka, whiskey, and tequila especially), which is also a reason why they're the main perpetrators of drunkenness; not only are they strong, but they're also taken quickly.

If your character isn't a fan of shots, they can cut their drink with something else to create a mixer, such as lemonade, seltzer, or even water.

Note: The only TRUE way for your character to sober up is with time. Cold showers and other remedies may help the side effects, but the levels in their blood will not wane until it fully goes through their system.

2. How Does It Feel?

There are a few stages to drunkenness that fluctuate throughout the night as your character is drinking.

Stage 1: Sober

Your character has had nothing or only a little to drink. They are still sharp, alert, and acting normally.

Stage 2: Tipsy

Tipsy characters are still alert and can hold conversation, basically sober people but a bit "looser." They may have had a glass of wine/a shot or two and are now starting to feel the effects of the alcohol in their system.

Tipsy is the tip of the iceberg, and here are some characteristics of being tipsy that many people exhibit while they're drinking:

More talkative, conversation comes easier

Cognitive thought processes are slowed

Shorter attention span/easier to space out

Decision-making skills are less refined (more likely to take risks, "voice of reason" is quieter)

Short-term memory is poorer

Walking may come with a some difficulty, as there's a slight head rush and bodily orientation is a little thrown off (kind of like the full-body version of "you're now blinking manually"), but there isn't usually a high risk of falling or stumbling.

Overall, a tipsy person could hold their all in a public setting, albeit with some struggle.

Stage 3: Drunk

Once your characters have teetered off the ledge of "tipsy" and into "drunk," there come some changes to their demeanor. For some, their entire personality changes when they're drunk (which will be discussed later).

On top of this, many people exhibit bodily changes such as:

Drowsiness

Loss of coordination/balance issues

Blurry/tunneled/unfocused vision

Struggle to make proper judgements

Attention deficit, struggling to focus

Struggle to remember things, and not just short-term

Mood swings; many drunk folks are easily excited or saddened, and can be set off at the smallest things.

Needing to pee (A first pee of the night is called "breaking the seal," as once your character breaks the seal, they will have to consistently pee after that)

Stumbling, unable to walk in a straight line.

Drunk characters can still act independently but should be accompanied by friends to make sure they don't do anything stupid. Drunkenness is sometimes described as puppeteering your body from the outside. Things slip and slide through your thoughts, unable to grab a hold and process one, and this can be exacerbated by flashing lights and loud music.

You still think, sure, but it's not cohesive or comprehensive. Your characters' thoughts will be more stimuli-driven than reason/contemplation-driven. This is why a drunk character cannot be trusted to make concrete decisions.

Stage 4: Blackout

If a character is blackout drunk, that means they've really surpassed their limit. Most of the time, blackout drunk people cannot function on their own, and must need assistance from their sober friends or their less-drunk companions.

The reason blackout drunk is called that is primarily because a character will not remember what happened the next day. In the moment they are thinking and talking (albeit in a limited scope), but when they finally sober up they will have no recollection of what they did or said.

Some symptoms of being blackout drunk include:

Confusion. A character may not know where they are or who they're with.

Exhaustion, at a high risk of passing out.

Needing assistance to stand or walk, or walking with severe staggering.

Horrible short and long-term memory

Slurred speech (although you may want to avoid writing out people slurring their words and instead use "s/he slurred" or some other indicator to make sure it's legible)

Vomiting

A blackout drunk character may put themselves in risky situations without knowing it, which is why they should be under supervision to make sure that nothing bad happens.

Stage 5: Hangover

Some people are blessed with no hangovers, but unfortunately the older your characters are, the more likely they are to get them. A hangover can really ruin your character's day-after, especially if they blacked out, although some pain relievers from over the counter should be able to help them out slightly.

Possible symptoms of a hangover from Mayoclinic.org:

Fatigue and weakness

Excessive thirst and dry mouth

Headaches and muscle aches

Nausea, vomiting or stomach pain

Poor or decreased sleep

Increased sensitivity to light and sound

Dizziness or a sense of the room spinning

Shakiness

Decreased ability to concentrate

Mood disturbances, such as depression, anxiety and irritability

Rapid heartbeat

Good luck to your character, because depending on how much they drank, it's gonna be a rough one.

3. How Do They Act?

Many people drink during parties in part to change their personality, especially if they tend to be shy while they're sober. While drunk, your character may have more fun than they would if they hadn't had anything, or may consider "lame" things exciting and interesting.

According to the University of Missouri's study of 374 undergraduates, there are four types of drunk personalities:

1. The Mary Poppins

These people are friendly when sober and remain friendly when they get drunk, perhaps getting even more affectionate and lovey. They won't really stir up any trouble and are usually quite amicable, albeit they have lowered inhibitions and decision-making skills.

2. The Hemingway

These people don't change too much when they're drunk. Their levels of intellect and self-discipline shift less than they do for others. Although they may feel the same effects, they may not outwardly show it as much as others do.

3. The Nutty Professor

These people are introverted when sober and extroverted when drunk. Shy, quiet people transform into the kings and queens of the dance floor or the most sociable partygoers you've ever met. They lose all inhibitions and tend to be loud and outgoing in a way that they most definitely weren't when they were sober.

4. The Mr. Hyde

These drunks are more commonly known as "angry drunks." While they're drunk, these people show significant decreases in agreeableness, intellect, and carefulness when they're under the influence. They're typically less responsible, less intellectual, and more hostile when drunk than when they're sober, and are the most likely to stir up trouble.

1. Writer’s Market 2019 is a great place to start– it gives you a list of magazines and journals that you can send your work to depending on the genre as well as lists a shit ton of literary agents that specify what genres they represent, how you can get in contact with them and how they accept query letters. this is a book that updates every year and tbh i only bought it this year so i dont know how critical it is to have an updated version  

2. do your research. mostly on literary agents because if you listed on your site that you like to represent fluffy YA novels and some asshole sends you a 80k manuscript about like…gritty viking culture, you will be severely pissed off. always go in finding someone who you know will actually like your work because they’re the ones who will try to advocate for you in getting published.

3. learn how to write a query letter. there are slightly varying formulas to how you can write an effective query letter. you’re also going to want to get feedback on your query letter because its the first thing the literary agent will read and based on how well you do it, it could be the difference between them rejecting you outright and giving your manuscript a quick read

4. unfortunately, you’re gonna want to get a twitter. Twitter is where a lot of literary agents are nowadays, and they host things like twitter pitch parties, where you pitch your manuscript in a few sentences and hashtag it with #Pitmad #Pitdark, some version of pit. a lot of literary agents and publishers will ALSO post their manuscript wishlists, which is just the kind of books they’d like to represent/publish, and they hashtag this with #MSWL (it is NOT for writers to use, only for agents/publishers)

I’ve read all kinds of posts both from writers and readers lamenting about comments on fic. Authors are upset when they don’t get any, readers don’t know what kinds of comments to leave, etc. And it finally clicked in my brain why I think a lot of people don’t bother writing comments. 

And this is what it boils down to:

Writers do not want praise.  We just want to talk about our story. 

I can’t speak for everyone obviously - but I think the majority of writers don’t care so much for the “omg you’re a brilliant writer!!” comments as much as we just want to hear your thoughts on the story. Even if it’s just your thoughts as you’re reading of “oooh x happened! I can’t believe y said this! What’s going to happen now that z has happened?!” We literally just want to talk about what we’ve written like you would with a friend about a tv show. We’re not out here demanding praise like some entitled narcissist. 

While praising our writing skills or writing style is appreciated, it doesn’t need to be said on every fic and every chapter that you read. If you regularly comment on someone’s work that’s telling enough that you like our technique. Readers shouldn’t feel pressured to have to praise a writer’s abilities every time they want to comment. 

In the grand scheme of things, talking about the fic/chapter is actually more helpful to us writers instead of spewing praise. It’s the same with artwork. As nice as it is that people tell me “wow your art is so pretty!” it’s a LOT more useful to me to get comments like “I love their expressions!” or “the lighting on this is gorgeous!” because then I know WHAT people are liking about it. If no one ever comments on my backgrounds, I now know what to improve. If most people comment on liking the expressions, I now know the strong points of my art and can use it to my advantage to make even better art in the future. 

The same goes for fic. If multiple people tell me they liked a certain part of the story I now know that things similar to that are a hit. It’s feedback I can use to improve the story and give my readers more of what they want. Without that I have no idea what they like about the fic.

Talking with a writer about their story also gives them inspiration!! Nothing gets us more in the mood to work on a fic than to have people wanting to talk about it. A lot of times just talking about one of my fics with someone will give me that push to continue working on it. Getting a comment that just says “great chapter” or “you’re a great writer” doesn’t do much to motivate us to continue that particular fic. But if you talk about the story and the characters it gives us motivation to continue working on it, may even give us ideas for future chapters. I would hope that those of you with “comment anxiety” find this approach so much easier than trying to praise the writer every time you read.

So that fic the author hasn’t updated in forever that you’re dying to read? Talk to them about the fic and the elements of the story! It will make the writer want to talk to you about it and will get their mind thinking about it, hopefully inspiring them to continue where they left off. Fics that are left in silence are more likely to be abandoned or even deleted because nothing feels worse than putting your heart into a story to have no one say anything about it.