Writing Prompts

As some of you (who read my reviews) already might have noticed, I am bilingual myself. Sadly, multilingual people do not get represented well a lot in media, so yeah… some advice for writing them. It will certainly not capture every aspect of being bilingual, but it might give you a first idea.

There are different ways to be multilingual.

People who grew up with more than one native language will almost certainly speak all of them fluently. Most of them have two (their parents’ language and their country’s language, or the language of one parent and of the other) but I also know a family where the children grew up with four native languages (the mother speaks Portuguese, the father Italian, they talk to each other in English, and live in Germany, where the children grew up)

Some people speak two or more languages, but cannot write all of them - especially when the alphabets are not the same, for example English and Russian or Arabic. This affects mostly children of immigrants.

Some people can read and write a language quite well, but are not good at speaking or listening comprehension. Those people often learned the language at school with a bad teacher or by themselves with books and apps.

Some people, again mostly children and grandchildren of immigrants, can read and understand a language, but don’t speak it. Mostly, the parents decided to not teach the child the language, and they learned it themselves by listening to their parents talk to relatives.

Confidence can play a big role in this. I understand the dialect of my grandparents without a problem, but I would never try to speak it. I can’t even imagine forming those words with my mouth, and it would sound terrible.

People who learnt a language at school can reach completely different levels of that language. I started learning English at age 6 and am completely fluent by now. Other people in my class barely understand more than easy conversations in English.

Most people will do their very best to hide their accents.

If the person is not a native speaker, but fluent in a language, their accent will be a mix of whatever they can find at the moment. Media is a big influence in that.

Since I watch more British than American TV, my accent sounds a bit british, too. When I watched “Call the Midwife”, I often even unconciously copy the accent of Laura Main. I don’t know why her, but my brain just liked it, I guess.

Also, we will use words, phrases and sentence structures from so many different sources.

People who learnt English through the internet (aka most of the younger generation) will have problems to not use swear words when actually being in Great Britain or America. They just do not have the weight for us, since on the internet they get used all the time.

I have never in my whole live heard a multilingual person switch languages mid-sentence on accident.

We will do it on purpose, though, if the other part of the conversation understands both languages.

Also, we will maybe say the word in another language if we forget the meaning.

Multilingual people that are not natives in the language they usually use in their day-to-day life (immigrants, for example) will often count and calculate in their native language. For example at a restaurant where they calculate the price in their head, they will probably do it in their native language.

Conversations with multiple multilingual people can be very different.

If one person only understands one language, they will probably try to include that person by speaking the language they share. I can say from experience, though, that if eight native Germans that have varying levels of English language skills will sit together with one introverted Turkish person with medium English language skills, they will go back to German quite often. It’s not nice, but sadly natural.

In general, people will try to speak in their native language if possible. You can take two people that share a native language and also both speak English and let them walk around in London - they will probably speak their native language, no matter how well they speak English.

Multilingual people that share multiple languages will switch on purpose when they feel like they can express their thoughts better in the other language.

Many languages have taken words from English.

Especially young people take a lot of English filler words and phrases (or insults) and put them into their native language. “Help, mein Deutschlehrer überfordert uns mit Hausaufgaben, like, what the fuck, glaubt der wir haben nichts besseres zu tun?” Is a sentence you would absolutely hear from a German student.

Many young people that don’t live in Great Britain or America will not use these words and phrases around their parents. First of all, our parents often do not speak English as well as we do, but more importantly, our parents do not like us using English instead of ur native language.

Many professions nowadays have an English name, I don’t know why. What used to be a Hausmeister is now a Facility Manager. The longer the English phrase for your profession, the more likely you will not be taken serious by older people.

Once you have more than one native language, you learn new languages more easily, for some reason. I know a girl that speaks 7 languages, at age 20, 5 of them fluently.

“You speak English quite well” or phrases like that said by a native speaker can be the best compliment ever, or more uncomfortable than nice.

When you are translating for your family and hear that sentence, it is super nice.

When you are only speaking English, that sentence indicates that your accent is still heavy. You do not pass as a native speaker.

When you are a native speaker, that sentence is just weird.

You can indentify the people that learnt a language through reading by giving them words that are pronounced untypically.

For years I thought “precious” (a word that is heavily used on the internet, especially in fan communities, but not that much in school) was pronounces pree-ci-ous. I was shocked when I heard it for the first time.

There are situations where even quite fluent non-native speakers will not be able to understand or talk in their second language.

The first few minutes after standing up (although that can change when the person is really fluent)

When they are in great pain

When they are in great fear

When they are under great stress

Sometimes even when they did not use that language in the last few days

Translating in realtime is terribly hard and will fuck your head. When I was on holiday with my parents, I often had to read the information signs in museums or at sights for them and translate. It’s easier when you first read the text and then summarise it in another language, but trying to translate it sentence by sentence is painful and you will question your abilities in both languages.

This gets just more horrible when under pressure. While we were in England, a visibly stressed young woman came to us and asked us if we had 5 pounds, she had lost some money she needed to take the train back home. I repeated her sentence to my father. In English.

Also sorry to the poor worker at McDonalds who I talked English to while speaking German to my English exchange student.

People abroad will absolutely become friends with every person that they hear speaking their language. While being in London, we overheard a man talking to his son in German about taking a photo, and I immediately asked (in German) if I should take a photo of both of them together. We talked for fifteen minutes after that, even though we had never met before.

On that note, in tourist citys the people that try to sell things to tourists usually speak a lot of languages enough to say things like “Oh, I speak a bit of [language], too, but not well. Didn’t pay enough attention in school. You look like nice people.” Makes it so easy to sell things.

Idioms are literally hell. Best example has been in the news currently, with Greta Thunberg literally translating a Swedish idiom in a tweet not realising that “putting someone against a wall” means something totally different in English. 

Idioms will be hell for you as a writer, too, though, as long as you do not fluently speak both of the languages or at least one of them is fictional, because it’s quite easy to mess up if you use idioms that jus aren’t normally used by people speaking that language.

Bilingual puns are amazing, but sadly rare.

Back when I was doing my MA program, I typed up a guide to writing query letters. It’s the post from this blog that I’m most proud of: a thorough step-by-step guide that combines days and weeks of research, and dozens of sources, into a neatly packaged 1,800-word post.

And I have to admit, I didn’t write it for tumblr. I needed to write a query letter myself for a publishing class, and my post was little more than compiled homework notes, saved as a Tumblr post for posterity. 

I’ve actually had pieces of this in my drafts for years, but now I actually have to write a synopsis and I’m piling up the research, so I thought it was finally time for the sister to my query post to be published here.

But first…

What is a synopsis?

A synopsis is a 1-2 page summary of the events that transpire in a book, either proposed or already written. It’s used to give people who haven’t read your book a quick overview, so they know the story that’s being told in the book without having to read it.

When is a synopsis necessary?

Some literary agents request synopses along with query letters. More often, they’re used slightly later on in a writer’s career, when they have an agent or an editor and they need to submit a proposal for a new idea or project. A synopsis can also be used later on, in situations that don’t involve the author. For instance, when an editor pitches the book to the marketing and publicity team, who may not have time to read every book they’re working on. Unlike a query letter, the book doesn’t necessarily have to be written when you’re submitting its synopsis.

Basic Style

The job of a synopsis is to lay out the story with little fuss and no frills. They let the person you’re pitching know what they’re going to find in that giant stack of pages on their desk or in that obscenely long Word document (or else in the Word doc they’ll eventually receive).  

Most professional synopses follow these rules:

They’re told in third person

They’re told in present tense

Characters’ names are CAPSLOCKED at first mention.

They are double spaced.

They tend to avoid descriptions longer than this sentence.

They focus on the central conflict and the protagonist’s emotional journey

They spoil the ending

They should be 500 words or less. (That is 1 page single-spaced, 2 pages double-spaced.)

HOW TO WRITE YOUR SYNOPSIS

The plot

Writing your synopsis, you have one goal: to tell a 50,000-100,000 word story in 500 words. It can be a little difficult to do this right. A great way to do this is to identify the key turning points in your protagonist’s story.

Do you remember those little plot roller coasters you’d make in elementary school? They’d usually be pointy witch’s-hat shaped things labeled with the terms: “beginning, rising action, climax, falling action, and resolution.” 

Those turning points are the events you should be including in your synopsis.This is the structure you want to emphasize to your reader. You want to make abundantly clear that your story works like a story, that the events of your book have a beginning, a middle, and an end, that there’s an intriguing beginning, an exciting climax, a satisfying conclusion. You don’t want to just list out the events of your novel, but highlight the function of those events. X moment is important because it’s the inciting incident, the moment that takes the protagonist from their normal life and throws them into the story.

There are tons of great story roadmaps out there, that go into more specific story elements. The Hero’s Journey is the most famous example of a detailed, and mostly universal, story structure. There’s also the three-act structure that’s famous among screenwriters.

Find a structure that fits your story the best and use that to identify the events of your story that need to make it into your synopsis. I’ll link to different sources at the bottom of this post that will give you variations of story structure.

If you can correlate key scenes in your novel to the descriptions of these plot points, you’ll find an easy roadmap to navigating the many events of outlining your novel.

Your protagonist’s journey

Your protagonist is the heart of your story, and should be the heart of the synopsis, too. The protagonist’s emotional journey may not string all of these plot points together, but it’s going to be what makes them matter to the reader. The human element of your story has to be represented in your synopsis.  

There’s no room for long descriptions, so you’ll have to be smart about finding a few terms that not only tell your reader who the character is, but what their story will be. For instance, if your story is about someone trying to get their critically-panned paintings in the Museum of Modern Art by breaking into the museum and installing the pieces themselves, you may want to introduce them with a sentence that begins like so: “When IGNATIUS, an ambitious and untalented struggling artist, discovers his work is rejected from yet another gallery…”

In addition to these descriptive terms, you should spell out what your protagonist wants (or wants desperately to avoid) and their stake in the events of the story. 

Along the way, tell us how these key aspects of their persons change due to the events of the story, or else how they influence the events of the story. Tell us about how after raving reviews for his DIY MoMA exhibit came in, Iggy realized that though he still liked painting, his talents actually lay in performance art. Untalented to talented, struggling to successful, all because his ambition pushed him to try new and daring things.

Tips:

As in query letters, you only name the most important characters and locations outright. If you’re writing a synopsis for Harry Potter, you’ll want to use Harry’s name in the query, but most other people and places can be referred to by their function in the novel. Ex: Aunt Petunia and Uncle Vernon can be “his cruel relatives.” Hermione and Ron can be “his friends.” Even Hogwarts can be a “school for people with magical abilities.” This makes it easier for a reader to understand what’s going on in your story. Too many names in such a small amount of space can be overwhelming.

All telling, no showing. This is one piece of writing where you’ll want to tell, instead of show. You need to get to your point as quickly, as clearly, and concisely as possible; this isn’t the place for creative storytelling.

Oftentimes, synopses are given along with other materials, such as pitch letters and sample pages. While a synopsis should be captivating in-so-far that it’s well told, and it should maybe be a little stylish, being captivating and stylish aren’t its main goals. Additional materials like sample pages and pitches have more room for creative flourishes and can do a better job of selling the story, while the synopsis focuses on telling it.

Your synopsis should show that you know how to tell a story. While a synopsis doesn’t sell a story like a query, it should still illustrate the fact that you have an interesting, unique and well-structured plot. When finished, your reader should be able to think to themselves “that’s a good story. I want to read that.”

Your first draft will be too long. Your first draft of a synopsis will always be at least a page or two longer than it should be. Identify the sentences and paragraphs where you explain why a thing happens and ax them. Identify sentences where you repeat yourself and ax them. Identify descriptors that aren’t vital to understanding of the story and ax them. Once you make your first painful cuts and see that the story still makes sense without those things, you’ll start to get a better understanding of what can and cannot be taken out of your synopsis.

Bibliography:

6 Steps for Writing a Book Synopsis

How to Write a 1 Page Synopsis

The Hero’s Journey

Learn How to Write a Synopsis Like a Pro

How to Write a Novel Synopsis

The Secrets of Story Structure

Three Awesome Plot Structures for Building Bestsellers

7 Ways Write Plot Outline

Synopsis for “Bill and Ted’s Excellent Adventure”

How to Plan Your Novel Using a 3 Act Structure - ex. “The Hunger Games”

Before I get going, I’m 75% deaf, as some of you know, semi-reliant on hearing aids and lip reading. My first languages were Makaton sign and then BSL. I now use spoken English. This is part one of two. People are People covers characterization and toxic tropes.

There are a lot of issues I find with how deaf people are represented in books, when represented at all. I would love to see more deaf and hard of hearing characters in the books I read- without having to read books specifically about deaf/HoH people- but when I find them, they’re grossly undercharacterized or stereotyped. Authors write them in a way that sets signing language characters apart from speaking characters as if they are inferior, and this makes my blood boil.

Some technicalties

I’ll keep this brief.

You may have heard that “deaf” is a slur and you should use “hearing impaired”. Don’t. I’ve never met a deaf or hard of hearing person who believed that. Use deaf for people who are deaf, and Hard of Hearing (HoH) for people who lack hearing. These can be interchangeable depending on the person. This is why sensitivity readers are a useful part of the beta process.

Sign language is incredibly varied. It developes in the same way as spoken language. Fun fact: in BSL there are at least half a dozen ways to say bullshit, my favourite of which is laying your arms across one another with one hand making a bull’s head sign and the other hand going flat, like a cowpat. It’s beautifully crude, and the face makes the exclamation mark. Wonderful.

There are different sign languages. Knowing more than one would make a character multi or bi-lingual, even if they are non-speaking.

Makaton is basic sign language used by children, and it mirrors the very simple language used by toddlers.

Yes, we swear and talk shit about people around us in sign language sometimes, and no, it isn’t disrespectful to have signing characters do this. Just remember that we also say nice things, and random things, and talk about fandoms and TV shows and what we’re having for dinner, too.

Each signed language is different from another. ASL and BSL? Nothing alike. Just google the two different signs for horse.

Remember that sign language is a language, equal to the spoken word

Therefore, treat it as such. Use quotation speech marks and dialogue tags. You only need to explicitly state that this character uses signed language once, and then let your modifiers and description do the rest.  It isn’t a form of “sub-speech" or “making hand actions”- sign language is a language all on its own: it has its own grammar rules, syntactical structures, punctuation, patterns, idioms and colloquialisms. For example, “what is your name?” becomes “Your name what?” with the facial expression forming punctuation in the same way that spoken English uses alterations of prosodic tone (inflections). There is even pidgin sign; a language phenomenon usually associated with spoken language.

In the same way that you would describe a spoken-English character’s tone of voice, you would describe a signed-English speaker’s facial expressions and the way that they sign- keeping in mind that these things are our language’s equivalent of verbal inflection.

So please, none of that use of “special speech marks” or italicised speech for sign. If your viewpoint character doesn’t understand signed speech, then you take the same approach that would be used for any other language they don’t understand, like French or Thai. E.g “He said something in rapid sign language, face wrinkling in obvious disgust.” is a good way of conveying this. The proof that you’ve done this well is in whether or not you can switch “sign language” for French or something else, and it would read the same.

Don’t be afraid to describe how things are said, either. Sign language is such a beautiful and expressive way of talking, and to see a writer do it justice would be truly fabulous. Putting this into practise:

“Oh, I love maths!” She said, fingers sharp and wide with sarcasm. She raised her eyebrows.

“I’m sorry.” He replied and made his face small, but could not keep the grin forming. She was starting to laugh, too.

 For the sake of readibility, I’m putting the rest of the information in part two.

@lourek asked:

Okay so it’s me again. I have a problem, cuz I really don’t know my characters?? And I’d like to get to know them. I know this might sound stupid, but do you have a masterpost about best ways to get to know your own characters or would you be willing to make one? I’ve noticed that all those “answer these questions” things are pretty useful. Thank you, I still worship you, good bye

Not a stupid question at all!  This is one of the most challenging and important parts of becoming a writer.  Getting to know someone takes time and effort, and characters are no exception. 

So without further ado, here are my go-to techniques for getting to know a character:

1.  Ask yourself these basic questions:

How old are they mentally/spiritually?  Do they have an old soul, or are they a perpetual kid at heart?  Does their personality not coincide with their physical age? 

What do they care about most in the world?  What would they die for?

What are their interests?  What books, movies, and shows do they read/watch religiously?  What do they geek out over?

What’s the most embarrassing thing that ever happened to them?  Have they told anyone?  If so, who?

On that note, what is one secret they’ve never told anyone?

What was their childhood like?  Was it happy?  Tragic?  Why or why not?

How many relationships do they have?  How have they affected them?

What is their greatest fear?  

What was the best thing that ever happened to them?

What was the worst thing that ever happened to them?

If you had to describe the character in one word, what is the first that comes to mind?

2.  Once that’s done, get nosy.

Empty their pockets, backpack, or purse.  Make a list of everything inside.  What do they always take with them?  Why?

Describe their bedroom.  Is it neat, or messy?  Is it minimalist?  Cluttered?  Are they neat, or messy by nature?  Is there any artwork on the wall, any posters?  Are there lots of books?  A TV?  Stuffed animals?  Be as detailed as you want to be, and think about why your character has these things and what they say about them.  

If they have one, describe their car.  What kind of car do they drive?  How does it correlate with their personality, their career?  Do they keep any photos of loved ones?  Are there lots of fast food containers?

We’ve already touched on this briefly, but think about their books.  Write down at least ten titles on their shelf.  Think about what genres they like, what authors, and why they might enjoy them. 

What kind of movie genres do they like?  What kind of TV shows?  Why do they enjoy them?  Do they have any guilty pleasures that they’d rather anyone not know about?  

Take a look inside their closet.  What kind of clothes do they wear?  What’s their style?  Can they afford the clothes they’d actually like to wear?  Are they preppy?  Is their closet organized, or is it a hot mess?

3.  Get to know the family.

What are their parents like?  Do they have a good relationship?  Are they friends?  Do they just plain suck?  If so, why?

If they don’t have a good relationship with their parents, are there any parental figures that their close with?  What are they like?  

Do they have any siblings?  Are they close?  Are they protective of them, or vice versa?

What is their nationality?  Do they have strong ties to their heritage, or could they care less?

What about their extended family?  Do they have any weird relatives?  (In my opinion, every character should have at least one weird relative.  They are a lot of fun to write.)  

4.   Fill in the details.

Brainstorm random questions about your characters, their likes, dislikes, et cetera.  Here are examples:

What is their favorite food?  

Their favorite beverage?  

Their favorite movie?  

Their favorite book?

Their favorite TV show?

What is their dream job?

Do they keep a journal?

Do they have good handwriting, or is it illegible from excessive note-taking?  

What’s their favorite color?  

What’’s their favorite kind of weather?  Do they like sunny days, or rainy ones?

Can they draw?  Are they artistic in general?

What kind of romantic/sexual partner do they like (if they’re interested in that sort of thing at all)?  Do they have a ‘type?’    

What would their ideal date be (even just with friends)?  Do they like generic dinner and movie-type stuff, or do they favor museums and plays? 

What would their ideal afternoon look like?

Do they prefer TV or books?

Are they introverted or extroverted?  Do they hate social gatherings, or thrive on them?  Do they relish in alone time?

Coffee or tea?

Cats or dogs? 

Do they eat breakfast?  If so, what?

What’s their opinion on pineapple pizza? 

5.  Fill out some character sheets.

Simple character sheets are a great way to fill in the gaps and get to know your character.  Though there are quite a few floating around on my favorite blogs, but here are a few examples:

There’s a “lazy person’s” character sheet here.

There’s a “how to create a memorable character” sheet here.

And there’s a “no effort” character sheet here.

Of course, the only way to truly get to know your character is to write about them.  You never know how they’ll develop until you get going, and once you do, they’ll never cease to surprise you.  Characters truly do gain lives of their own, so don’t give up and keep writing. 

As I promised last week when I talked about using cliches in your writing, today, I’m talking about using adverbs and adjective in your writing. When it comes to breaking the rules for adverbs and adjectives, you’ve got at least five great reasons to do it. 1) The verb or noun you need doesn’t exist in your language. 2) To control pacing. 3) To communicate interesting or unusual situations. 4) To create a specific tone or character voice. 5) The adverb or adjective is going double duty.

What’s the Rule?

The Rule:

Don’t use adverbs because it weakens your writing. Use adjectives rarely for the same reason.

Why it’s a Rule

Take a look at these sentences:

She laughed happily.

The yellow sun was beating down on us.

Jasper pulled hard on door knob.

“Get your butt to your room right now!” Cynthia said, angrily.

I quickly put on my beautiful, silky pointe shoes and with my thin, spindly, little fingers tie the ribbons around my bony ankle, so they fit constrictingly. I walk awkwardly to the dark, dim wings of the huge stage. I think about one fun evening at a local theater where I lovingly watched a ballerina dance gracefully across the stage and into the soft air. Happy and thrilled, everyone there smiled with joyful eyes.

In each example, the writing can be made stronger by eliminating adverbs and adjectives.

In the first one, we can completely cut out the word “happily.” Why? Because whenever people laugh, we assume they are laughing happily. It’s redundant.

In example two, we run into the same situation, but with an adjective. We don’t need the word “yellow.” Unless you are on another planet with a blue star or special atmospheric conditions, the sun is always yellow.

Example three. We have the adverb “hard” modifying “pulled.” But the writing would be stronger if you replaced both words with the word “yanked,” which means “pulled hard.” Do you hear that extra level of intensity that “yanked” has and “pulled hard” doesn’t?

Look at example four. What’s wrong with it? Well, we could replace “said angrily,” with a verb that communicates both of those words. What about saying “Cynthia yelled”? That sounds better. But wait. Look at the dialogue. “Get your butt to your room right now!” That already sounds like a line that would be delivered via yelling. So we can just say, “Cynthia said.” See? The dialogue implies she’s angry.

Finally, example five. Do you see how many adverbs and adjective there are in that thing? I call this “stacked modifiers.” Usually it happens when the writer is trying to describe something really poetically or just really well. It can turn into purple prose real fast. It sounds weak. Take out most of those adverbs and adjective by showing them to your audience. Use some nice strong verbs. Some of the modifiers, like “pink” and “silky” can be eliminated just because all pointe shoes are pink and silky.

Here are our revamped versions.

She laughed.

The sun was beating down on us.

Jasper yanked the door knob.

“Get your butt to your room right now!” Cynthia said.

I jam my feet inside my pointe shoes. The ribbons snake up my ankles. And I waddle to the wings. One time at a theater I watched a ballerina glide across the stage and leap into the air. The pointe shoes curved in crescents, molding to her feet like leather. We all soared with her, the audience, the usher, the technician in the control box, our faces split with grins.

If I wanted to take the time, I could make the fifth revamp better, so it communicated everything the old version did, but do you see how I used strong verbs and showed some of the modifiers?

In fairness, it’s okay to use adverbs and adjectives in your creative writing occasionally. Maybe you can sprinkle a few here or there. But there are better ways to break the “no adverbs, few adjectives” rule. Here are five ways that merit using them, and, that can actually take your writing to the next level.

When and How to Break the Rule

1) The verb you need doesn’t exist. Or the noun itself, by default, doesn’t imply what you mean.

Remember how I said you could get rid of adverbs by finding a verb that implies the same thing? I hope so, because that was only a few paragraphs ago. Sure, we can replace “pulled hard” with “yanked,” but our language lacks in other areas. I’ve run into this problem several times in writing, and unfortunately, right now, I can’t remember exactly what I was looking for to give a good example. But it happens. I’ll use a poor example, but just go with it. Is there a word that means “To fish sneakily”? Nope. So if knowing that your character’s fishing is being done sneakily is important to your story or the image you are creating, then go ahead and use it.

a guide to austrialia by sweetcandirps

a guide to australia by robbiehelps

a guide to australia (sydney) by plythenepam-rph

how & why you should set your rp in australia by roleplaid

australian money by aussierph

australian school system by cassieofrph

australian slang by maguirewrites

ENGLAND

a guide to university in england by sarahhelps

british slang by inspirant

english school system guide by kylierpc

english slang - regions/countries by thewritershelpers

london education & schools by rpthemehelper

london holidays by rpthemehelper 

london sports by rpthemehelper 

writing british characters by roleplaybookstore

writing england: collection of resources for writers by wsswatson

FRANCE

masterlist of france guides by evansyhelps

french slang terms by marihelps

tips on paris by thatfrenchhelper

INDIA

harmful stereotypes by writingwithcolor

writing indian characters by writingwithcolor

a masterlist by milkovichhelps

JAPAN

a masterlist by benedicthelps

japanese education by peachxs

NEW ZEALAND

what you should know by colettehelps

new zealand as an rp location by leepacehelps

PARAGUAY

a complete guide by secondbreakfastofrp

traditions & holidays by secondbreakfastofrp

PHILIPPINES

the philippines as a roleplay location by dullhypotheses

a culture guide by snlguyshelp philippines

a name guide by snlguyshelp

SINGAPORE

singapore by northhelps

TAIWAN

taiwan by rpchew

MISC

writing well rounded and diverse south asian characters by spikehelps 

how to write a foreigner by the-writers-world

settings in north america by royalrph

masterlist of underused cities & towns by callierps

small town living in the united states by notmykingdom

small towns & rural settings by clevergirlhelps

a guide to southern characters by startraveller

how to portray southern characters by henley-rph

small/southern towns by katiematlinrps

CANADA

guide to toronto by emaginarium

all you need to know about quebec by pllrph

canadian location masterlist by roleplayneeds

USA

california by madsofrps

california (los angeles) by larinarph

california (orange county) by onceupona-roleplay

california (san francisco & the bay area) by coletteofrp

california (silver lake) by prattwrites

florida (st. augustine) by reynoldsrpc

georgia (atlanta) by irantrpc

new york by uniquesrph

new york by klariza-helps

new york by valofrps

new york (manhattan) by leyshrps

pennsylvania (pittsburgh) by thatssometal-rph

texas (houston) by psychictwinsrph

RELIGION*

why your character’s religion (or lack of) is important by petitelionwrites

top 5 cliches about catholics by catholicliving

christianity by ollierps

buddhism by ollierps

hinduism by olivedarph

hinduism by thewritingcafe

hinduism by greenoliverph

judaism by jojohelps 

judaism (holidays & observance) by melissarph

judaism (things to remember) by jojohelps

judaism (traditions, prayer & services) by melissarph

judaism (different denominations) by melissarph

jewish stereotypes by melissarph

writing jewish characters, and what to avoid by writingwithcolor

mormonism by emmy-helps

pacific rim faiths by greenoliverph

satanism by thetrolliestcritic

taoism by benedicthelps

vodou by olliehelps

vodou by greenoliverph

witchcraft & wicca by carolinedhavrnas

wicca by wormtailwrites