RP Resources, Kupo!

So, you’re writing a thing, and you need to name a character. And, as we all know, naming a character is a giant pain in the ass. I offer this list of shit I use pretty regularly, for this purpose.

Behind the Name (The etymologies are weird as fuck, in a few places, but it’s great if you’ve got a name and need to find other names that are from or derived from the same culture/language)

Behind the Surname (BTN for family names)

Academy of Saint Gabriel Medieval Names Archive (This is the go-to for medieval names in Europe and the Near East. Hardcore scholarship and a distinct lack of fucking around.)

Kate Monk’s Onomastikon (The original internet name resource.)

The Soldier in Later Medieval England (Actual names from English military rolls around the Battle of Agincourt)

England’s Immigrants (Non-native residents of England, 1330-1550)

Celtic Personal Names of Roman Britain

Mapping the Medieval Countryside - People (People appearing in English inquisitions post mortem, 1418-1447)

Wiktionary’s Index of Biblical Names

Ancient Names Galleria (The weird shit is here. If you need Akkadian or Phoenecian names, those are totally covered.)

Trismegistos People (Names extracted from the Trismegistos Texts – mostly names from Graeco-Roman Egypt.)

Wikipedia Category: Surnames of African Origin (which is helpfully divided into sections by language)

Wikipedia Category: Amharic Language Names (I believe this list is primarily, if not entirely, given names.)

 YorubaName (“an online intervention to preserve and document all Yorùbá names in a multimedia format.”)

Writing Adolescent Fiction: Character names: Kenyan, Tanzanian and Ugandan (a list of given names and surnames with notes on how full names are constructed in each culture listed)

So You Want to Name a Sino (a fairly detailed guide on how to name a Chinese character without sounding like too much of a moron)

Most Popular Baby Names for Girls Since 1960 (most popular American girls’ names, by state, from 1960-2012, as a gif)

Popular Baby Names (the US Social Security database of naming trends in the US, with search options for date, gender, location, and trend)

A Guide to Names and Naming Practises (a UK government guide to common names and structure of names from around the world, split first by continent and then by culture. PDF.)

Curiosities of Puritan Nomenclature (an entire book on trends in English naming and name structure and the Puritan influence, from 1880. PDF.)

"My name is [low guttural sound] but I don't want to hear you butcher it. So you may call me She Who Arises With The Cold Mountain Sun."

"...Is that what your name really means? All that in just one word?"

"Yes. If you stress the wrong syllable it comes out as 'She Who Coldly Wakes Up The Mountain Sun', or 'The Cold Woman Who Wakes The Mountain Sun', and you will not call me that."

"Oh, huh. Could we just call you Mountain Sun, for short?"

(a worldbuilding roast. with love.)

So. You’re building a fantasy world, and you’ve just invented: → Three types of ceremonial jewelry → A spice that tastes like cinnamon if it were bitter and cursed → A holiday where everyone wears gold and screams at dawn

Cute. But that’s not culture. That’s aesthetics.

And if your worldbuilding is all outfits, dances, and spice blends with vaguely mystical names, your story’s probably going to feel like a cosplay convention held inside a Pinterest board.

Here’s how to fix that—aka: how to build a real, functioning culture that shapes your story, not just its vibes.

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🔗 Culture Is Built on Power, Not Just Style

Ask yourself: → Who’s in charge, and why? → Who has land? Who doesn’t? → What’s considered taboo, sacred, or punishable by death?

Culture is shaped by who gets to make the rules and who gets crushed by them. That’s where things like religion, family structure, class divisions, gender roles, and social expectations actually come from.

Start there. Not at the embroidery.

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2.🪓 Culture Comes From Conflict

Did this society evolve peacefully? Was it colonized? Did it colonize? Was it rebuilt after a war? Is it still in one?

→ What was destroyed and mythologized? → What do the survivors still whisper about? → What do children get taught in school that’s… suspiciously sanitized?

No culture is neutral. Every tradition has a history, and that history should taste like blood, loss, or propaganda.

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3.🧠 Belief Systems > Customs Lists

Sure, rituals and holidays are cool. But what do people believe about: → Death? → Love? → Time? → The natural world? → Justice?

Example: A society that believes time is cyclical vs. one that sees time as linear will approach everything—from prison sentences to grief—completely differently.

You don’t need to invent 80 gods. You need to know what those gods mean to the people who pray to them.

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4.🫀 Culture Controls Behavior (Quietly)

Culture shows up in: → What people apologize for → What insults cut deepest → What people are embarrassed about → What’s praised publicly vs. what’s hidden privately

For instance: → A culture obsessed with stoicism won’t say “I love you.” They’ll say “Have you eaten?” → A culture built on legacy might prioritize ancestor veneration, archival writing, name inheritance.

This stuff? Way more immersive than giving everyone matching earrings.

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5. 🏠 Culture = Daily Life, Not Just Festivals

Sure, your MC might attend a funeral where people paint their faces blue. But what about: → Breakfast routines? → How people greet each other on the street? → Who cooks, and who eats first? → What’s considered “clean” or “proper”? → How is parenting handled? Divorce?

Culture is what happens between plot points. It should shape your character’s assumptions, language, fears, and habits—whether or not a festival is going on.

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6. 💬 Let Your Characters Disagree With Their Own Culture

A culture isn’t a monolith.

Even in deeply traditional societies, people: → Rebel → Question → Break rules → Misinterpret laws → Mock sacred things → Act hypocritically → Weaponize or resist what’s expected

Let your characters wrestle with the culture around them. That’s where realism (and tension) lives.

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7.🧼 Beware the “Pretty = Good” Trap

Worldbuilding gets boring fast when: → The protagonist’s homeland is beautiful and pure → The enemy’s culture is dark and “barbaric” → Every detail just reinforces who the reader should like

You can—and should—challenge the aesthetic hierarchy. → Let ugly things be beloved. → Let beautiful things be corrupt. → Let your MC romanticize their culture and then get disillusioned by it later.

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📍 TL;DR (but like, spicy): → Culture is not food and jewelry. → Culture is power, fear, memory, contradiction. → Stop inventing spices until you know who starved last winter. → Let your world feel lived in, not curated.

The best cultural worldbuilding doesn’t look like a list. It feels like a system. A pressure. A presence your characters can’t escape—even if they try.

Now go. Build something real. (You can add spices later.)

—rin t. // writing advice for worldbuilders with rage and range // thewriteadviceforwriters

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

🕯️ download the pack & write something cursed:

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May I present to you, nationalclothing.org?

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

When in reality, if you go 'What year is this?!?' people will just say '2024. Crazy huh.' and you go 'Wtf where has my youth gone.'

"Hey, what month is it?"

Stumbling into a diner and asking "What town is this" isn't weird, the workers will think you're on a road trip

If you ask them "Where's the nearest Nano Deck?" they'll assume it's a shop they've never heard of and say "Sorry, I don't know where any of those are"

Going into a store and telling a cashier "I need pods for my comm device" will just get you a "Never heard of those, maybe try Radio Shack?"

I've had this little idea in my head for a while now, so I decided to sit down and plot it out.

Disclaimer: This isn't meant to be some sort of One-Worksheet-Fits-All situation. This is meant to be a visual representation of some type of story planning you could be doing in order to develop a plot!

Lay down groundwork! (Backstory integral to the beginning of your story.) Build hinges. (Events that hinge on other events and fall down like dominoes) Suspend structures. (Withhold just enough information to make the reader curious, and keep them guessing.)

- hijabis get really excited over pretty scarves - they also like to collect pins and brooches - we get asked a lot of questions and it can be annoying or it can be amusing, just depends on our mood and personality and how the question is phrased - common questions include: - “not even water?” (referring to fasting) - hijabis hear a lot of “do you sleep in that?” (we don’t) and “where is your hair?” (in a bun or a braid, usually) - “is it mooze-slim or mozzlem?” (the answer is neither, it’s muslim, with a soft s and accent on the first syllable) - “ee-slam or iz-lamb?” (it’s iss-laam, accent on the first syllable) - “hee-job?” (heh-jahb, accent on the second syllable)

- “kor-an?” (no. quran. say it like koor-annn, accent on the second syllable) - people tend to mess up our names really badly and you just get a sigh and a resigned nod or an awkward smile, maybe a nickname instead - long hair is easy to hide, short hair is harder to wrap up - hijab isn’t just covering hair, it’s also showing as little skin as possible with the exception of face, hands, and feet, and not wearing tight/sheer clothing - that applies to men too, people just don’t like to mention it ( i wonder why) - henna/mehendi isn’t just for special occasions, you’ll see people wearing it for fun - henna/mehendi isn’t just for muslims, either, it’s not a religious thing - henna/mehendi is not just for women, men also wear it, especially on their weddings - there are big mehendi parties in the couple of nights before eid where people (usually just women and kids) gather and do each other’s mehendi, usually just hands and feet - five daily prayers - most muslim kids can stutter through a couple verses of quran in the original arabic text by the age of seven or eight, it does not matter where they live or where they’re from or what language they speak natively - muslim families tend to have multiple copies of the quran - there are no “versions” of the quran, there has only ever been one. all muslims follow the exact same book - muslims have no concept of taking God’s name in vain, we call on God at every little inconvenience - don’t use islamic phrases if you don’t know what they mean or how to use them. we use them often, inside and outside of religious settings. in islam, it is encouraged to mention God often and we say these things very casually, but we take them very seriously - Allahu Akbar means “God is Greatest” (often said when something shocks or surprises us, or if we’re scared or daunted, or when something amazing happens, whether it be good or bad; it’s like saying “oh my god”) - Subhan Allah means “Glory be to God” (i say subhan Allah at the sky, at babies, at trees, whatever strikes me as pleasant, especially if it’s in nature) - Bismillah means “in the name of God” and it’s just something you say before you start something like eating or doing your homework - In Shaa Allah means “if God wills” (example: you’ll be famous, in shaa Allah) (it’s a reminder that the future is in God’s hands, so be humble and be hopeful)

i. the monster's body is a cultural body

ii. the monster always escapes

iii. the monster is the harbinger of category crisis

iv. the monster dwells at the gates of difference

v. the monster polices the borders of the possible

vi. fear of the monster is really a kind of desire

these are all direct quotes from jeffrey jerome cohen's "monster culture (seven theses)" (full pdf linked) i highly encourage you to read it yourself!

that said, while i think cohen's writing is evocative, it can be a little dense, so while i'm here, here's my capsule summary (you can also hear me talk about this in the first episode of my podcast) (listen to @ghostswerepeopletoo)

i. the monster's body is a cultural body - The monster is a work of fiction to be analyzed through tools of literary and sociological theory.

ii. the monster always escapes - As long as the cultural fear from which the monster stems persists, the monster will reappear in retellings, reimaginings, and sequels.

iii. the monster is the harbinger of category crisis - Monsters defy binaries and challenge easy comprehension or categorization.

iv. the monster dwells at the gates of difference - The monster represents the Other.

v. the monster polices the borders of the possible - Tales of the monster exist to discourage unacceptable or taboo behaviors.

vi. fear of the monster is really a kind of desire - Subjects can vicariously participate in the disruption of the social order through the monster.

Focus on the things that indicate wealth and prosperity in your fantasy culture.

What materials would your bride have access to and what would make the most sense for her to wear?

What colors are not only beautiful and culturally significant, but also require expensive or rare dyes?

What imagery could be used in patterns that are relevant to the culture (animals, plants, family crests, etc)?

What skills could be displayed in the making of the gown (beadwork, embroidery, fabric painting, etc)?

What interesting and unique materials can you add that are relevant to the culture (fur, leather, bones, plants, shells, etc)?

Would your culture be more focused on the amount of material, things like trains and heavy lairs, or on the quality and detail?

What will happen to the gown after the wedding (worn for other events, turned into household materials, turned into other clothing, etc) and are there details to it that make any other functions easier?

What other things make the bride stand out (veils, headdresses, jewelry, makeup, body paint, hairstyles, outerwear, etc)?

“Ivan, you idiot! What are you doing here?”

The line is dialogue said by a character with dementia to his nephew who’s looking after him.

a lot of people tend to draw wheelchairs like this, which is okay... but these kinds of chairs are mostly used for temporary use (the kind you borrow at the airport, mall, hospital, etc). people who use their chairs very often or daily (ambulatory and fulltime wheelchair users) will have a chair that is fit to their body measurements, their chair is one of a kind for their body.

a lot of manual chairs look like this to allow easy movement and are lightweight so the user can independently take it apart and put it together. most have low backs and no armrests or handles. they're called active chairs.

other manual chairs may have handles (this one also has power assist wheels to make it easier to self-propel)

now we're onto power wheelchairs, like manual chairs there are different kinds for different needs. some have higher backs and headrests (for those with back issues, low muscle tone, upper body paralysis, etc).

(this is the type of chair i use)

other power chairs like this one have no headrest and are generally smaller.

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