Mt. Baker, Washington, USA by Nathanael Billings

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Stranger Things
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@rychillacases
Mt. Baker, Washington, USA by Nathanael Billings

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i think it is unrealistic for fans to expect sequels to be published a year after the first one and also want the book at its highest quality. it's okay to expect a few years in between and i think it weird how much pressure authors face to publish their next book immediately. that's a lot of stress on authors and i think it often leads to books being put out before they are ready.
If you truly enjoy books, you should be used to a slower consumption experience.
Apply this to time between installments.
Accept that if you get into a good series with multiple books to go, you are going to be following it for a decade or more.
A bad book published on schedule is on time once, but bad forever.
A good book published on a delay is late once, and then good forever.
Ultimately, you're getting a book either way. The question is, would you like something satisfactory that you can look back on fondly for the rest of your life, or do you want something that the author rushed out over the course of a bunch of sleepless nights that reflects the quality of those working conditions?
Good work takes time. If you're really pressed about authors not handing you a novel each year, go write fanfic - and find out for yourself how hard it is to produce a novel's worth of good, solid, well-paced, well-plotted story regularly.
A bad book published
on schedule is on time once,
but bad forever.
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
I think in the same way there's a 90/10 rule with horror and comedy (horror works best when it's 90% horror and 10% comedy and vice versa) there's a 90/10 rule for some relationships in fiction that's like. Wholesome and fucked up. A good friendship is at its most compelling when it's also 10% a bit fucked up. Fucked up relationship is at its most compelling when there's at least 10% of something actually sweet and substantive within. Do you get me
a writing competition i was going to participate in again this year has announced that they now allow AI generated content to be submitted
their reasoning being that "we couldn't ban it even if we wanted to, every writer already uses it anyway"
"Every writer"?
come on
Reblog if you're a writer who doesn't use AI.
AI generated content can go take a long walk off a short pier.
Sometimes it’s hard to read fanfic when you’re studying herbalism.. when they have the character preparing a tincture to use that same DAY!!?
Baby those dried herbs need to sit in that jar with high proof alcohol for at LEAST a month!
That’s why before the use of calendars ppl use to prepare their tinctures either on the new moon or full moon. A a full moon cycle is usually 28 days or so. And they would give the moon names so it’s easier to remember when/what month said tincture was bottled.
This is also why herbal medicine is prepare in small batches. You have to take your time preparing your bottles. Making sure everything is clean so you don’t end up with mold. Diluting your grain alcohol. Heckkk knowing when to pick your herbs for max potency! Drying your herbs! That takes a lot of time too!
I didn’t mean to rant lol
No, this explains literally everything to me, thank you.

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Religion in fantasy worlds: Everyone believes the exact same things about Green Nature Goddess and has official rituals for her that are the same everywhere
Religion irl: Technically it’s heresy for me to worship this skeleton but my spiritual advisor said that it’s legit so I’m gonna keep giving it offerings of yogurt
Writing Update - June 2026
It's been a month since my last update, and an eventful one, writing-wise.
Book 3 is currently titled What One Does For Hate. I was trying to avoid an 'x of y' title, as I'd used these for the previous two books in the series. I've finished plotting it out, twice. It does use the idea of someone committing a mass poisoning in order to cover up some specific poisonings. But after finishing the first outline, I realised that some aspects of the plan and the person behind it inadvertently sent a message I didn't want to send. So I reworked it to avoid that. I now have an outline I'm happy with.
The rework of the plot also allowed me to develop another character who will go on to become a series regular.
(Art by Rait Visual Works. Image shows an elf with blue-grey skin, yellow eyes, pointed ears and short honey-blonde hair. She is wearing glasses, a tunic and skirt, with a pair of boots.)
This is Saybelryn Bamsay, known to her friends as 'Saybel'. She's a wetland elf from the neighbouring Jaleshi Republic. In the original plan, she was the former head steward for the killer. She had a couple of smaller scenes, mostly near the end when the killer used Saybel's trust in her to evade the town guard.
Now, Saybel is a merchant who was hired by the merchants' guild to help ease trade with the elves. She has a much more active role in the plot. This case will shake her trust in her fellow merchants.
In the next book, she brings the client-of-the-week to Yaetherim, as they're one of her friends and she knows Yaetherim can help. Over the course of this case, she helps the investigation. At the end, Yaetherim realises he needs someone to do the paperwork for his office, and that Saybel is looking for a job away from the merchants guild. So he hires her as his office manager.
As far as writing goes, I've already got the opening scenes of chapter 1 written. I had been considering this mass poisoning idea for a while, and I'd actually already written the opening scenes of the first chapter. These were going to be the same regardless of how the plot worked out. But this was done a few months ago, so I've gone through them, tweaking them slightly to support the romance subplot between Yaetherim and Naeliya. Once I've finished going over these, I'll continue from where I left off.
So, that's where I am now. Thanks for reading.
Say it with me:
I am a writer. Not a content-producing machine. I am a writer. Not a content-producing machine. I am a writer. Not a content-producing machine.
It’s okay if I don’t have time to write. It’s okay if a chapter is delayed. It’s okay if my words come out messy. It’s okay if I need to take a break. It’s okay if I don’t update every week, every month, or even every year.
My value as a writer is not measured by how fast I post. My worth is not defined by kudos, bookmarks, or comments.
I am allowed to be slow. I am allowed to rest. I am allowed to write for joy, not for an algorithm.
I am a writer. Not a content-producing machine.
And if anyone thinks otherwise, they can wait.
How to Write Better Characters: Roles, Motivation & Actually Making People Care
Let’s be real: your story can have the coolest magic system, the twistiness of the plot, or the hottest vampire/detective/alien—
but if your characters are flat?
Nobody’s sticking around.
So let’s break down how to give your characters real presence in your story by understanding their role, their motivation, and how to make them hit harder on the page.
1. What’s Their Role in the Story?
Every character needs a *reason to exist*. Think of them like parts in a machine. What do they *do* in your narrative?
Here are a few basic types:
- Protagonist: The one we’re rooting for. They drive the plot forward.
- Antagonist: The one in their way. Doesn’t have to be evil—just opposed.
- Foil: Someone who reflects the main character’s traits by contrast.
- Mentor: Offers wisdom, often with a tragic backstory or dramatic exit.
- Love Interest: Romantic tension? Check. But make sure they’re *more* than just eye candy.
- Wildcard: Unpredictable chaos gremlin. Every story needs one.
TIP: If you can remove a character without changing the plot? You probably should.
2. What Do They Want? (AKA Motivation)
This is the *core* of your character. Motivation makes everything feel real. Ask yourself:
- What does this character want more than anything?
- Why do they want it?
- What are they willing to do (or give up) to get it?
Bonus points if their motivation is in conflict with someone else’s. That’s where the juicy drama lives.
Ex: “She wants to save her sister. He wants to save the world. One bomb. One choice.” Now we’re COOKING.
3. How Do You Show It?
Motivation isn’t just monologues and dramatic speeches. It’s in:
- What they *notice* first in a room.
- Who they *trust* (or don’t).
- The mistakes they keep repeating.
- The lies they tell *themselves*.
A character who’s obsessed with control might organize their bag mid-crisis.
A character desperate to be loved might make themselves useful to everyone… even villains.
4. Let Them Be Messy
Perfect characters are boring.
Give them contradictions. Regrets. Bad coping mechanisms. Let them be *wrong*. Let them grow.
Characters who never fail or change = characters nobody relates to.
Let your soft boys punch someone. Let your bad girls cry. Let your villains have a point.
5. Ask Yourself the Hard Stuff
- What would break this character?
- What line won’t they cross?
- Who are they when no one’s watching?
If you can answer these? You *know* your character.
6. Level Up: Relationships Matter
Characters don’t exist in a vacuum. Use dynamics to reveal depth:
- A character might be brave in a fight but terrified of disappointing their mentor.
- A flirty rogue might go speechless around the person they actually care about.
- A villain’s cruelty might soften around their childhood friend.
People are different with different people. Show it.
TL;DR:
Great characters = clear role + deep motivation + real emotion.
Make them want things. Make them struggle. Make them human (even if they’re a dragon princess from space).
Want help building a specific character? Drop their name + vibe in my ask box. Let’s break them open together.
that some people respond to any well-foreshadowed reveal with “ugh that plot twist was so predictable” proves bad faith criticism has rotted their brains to the point they think it’s bad writing if they can correctly identify information the writers were intentionally giving them
Sometimes the point of the reveal is not to shock you. Sometimes the point is anticipation of the reveal. You know it’s coming, just not when, how, or what the consequences will be. And sometimes that can be so much more interesting than not seeing it coming at all.

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that some people respond to any well-foreshadowed reveal with “ugh that plot twist was so predictable” proves bad faith criticism has rotted their brains to the point they think it’s bad writing if they can correctly identify information the writers were intentionally giving them
Sometimes the point of the reveal is not to shock you. Sometimes the point is anticipation of the reveal. You know it’s coming, just not when, how, or what the consequences will be. And sometimes that can be so much more interesting than not seeing it coming at all.
There's a thing in Classics studies where you'll read surviving descriptions of Ancient Greek automata which attribute all manner of near-lifelike behaviour to them – then you look at the reconstructed plans for the automaton in question, and it's a device with roughly the sophistication of a wind-up mouse.
The broad consensus seems to be that the authors of such descriptions are exaggerating for clout. For my part, I look at all the people in the year 2026 who've managed to genuinely convince themselves that LLMs are not only sapient, but smarter than they are, and I think: hmm.
#QueerPrompts 11/June/26: Is your MC more likely to accidentally hurt someone or on purpose? Yaetherim would never hurt someone deliberately. Having been on the receiving end of it, he wouldn't want anyone else to go through what he experienced.
Daniel Fowler

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Alpine Lakes
Fantasy Guide to the Servant Dynamic
I often get asks about the relationship between servants and those they serve and how the relationship develops over time or what's appropriate between servant and employer at any given time. Many period dramas do get this right but a lot don't and send mixed signals to the audience about the true nature of the relationship between servant and employer.
There's a Strict Hierarchy
This is one inescapable concept that often gets forgotten in a lot of modern media. The relationship between servant and employer is a hierarchal one, the employer and servant are not on the same level socially.
Servants will always address their employer by their title or by sir/ma'am - at least in public and if there is any deviation of the rule, it's in private and only at the invitation of the employer themselves. Employers in turn would use the appropriate title for the servant in question (I outline these here). This done very well in Downton Abbey, especially when Tom marries into the family and they struggle with calling him 'Tom' rather than Branson.
A servant would never greet their employer informally or answer back. This is inaccurately portrayed in the exchange between Mrs Russell and Turner in The Gilded Age.
Servants would also not address their employer directly without being addressed first. This is very single meeting.
Servants would not walk in step with their employer or sit in their presence. They would walk two or three steps behind at all times and only sit when invited. They would not touch their employer without leave either. This is done well in Queen Charlotte, with Brimsley.
A servant would have to obey orders from another member of their employer's family or their guest but only within reason. This is shown in The Gilded Age the lady's maid Adelheid is borrowed by Mrs Russell from her daughter for a time when she fires her own maid.
Above and Beyond
Some employers might expect more from their servants that aren't exactly in the job description. It was understood in service that sometimes you would be asked to tackle things not in one's paygrade. In Queen Charlotte, Lady Danbury's maid Coral helps her lady lie about the death of Lord Danbury to allow her time to gather herself and appear more upset. For example:
A lady's maid might act as messenger between a pair of lovers.
A footman might lie to the mistress about the whereabouts of his master (with the master's approval of course)
A butler might procure some less than legal party favours for a bash his lord and lady are throwing.
A guardsman might aid their charge in escaping the house/palace for a night of fun.
No matter what, a servant is expected to go above and beyond without complaint. The response to "jump" should nearly always be "how high". However, if there is a strange or harmful request, a servant had recourse to ask a higher ranking servant or employer whether or not they should agree to the request.
That being said, servants are people at the end of the day and might have scruples. Often, servants were far more conservative than their employers but more often that not, they would swallow their morals to do the job that is needed. This is accurately portrayed in Downton Abbey when Mrs Bird complains about Mrs Crawley asking her to wait on Ethel, a former prostitute, leading to Mrs Crawley to dismiss her.
Bonding
Because some servants work closely with an employer, relationships often evolve between employer and servant. There must be a certain level of trust between servant and employer or else the house would fall apart. Bonds do form but these bonds don't interrupt the hierarchy or the professional relationship - at least in public. For example:
A lady's maid or a valet might act as confidant to their mistress/master, keeping their secrets. This is seen in Downton Abbey where Anna and Bates act as confidants with Lady Mary and Lord Grantham respectively.
A kitchen maid may slip the children of the house an odd treat in defiance of their parents or governess.
The staff might chip in for a gift for a beloved employer on an anniversary or special occasion.
The same is said for employers, who would also show favour by gift giving or promotion.
A loyal servant might be left some money on the death of their master/mistress.
A retiring lady's maid might be granted a gift from her mistress.
Employers might listen to the advice of their servants or servants may approach employers in times of difficulty. An employer might see a servant's child educated well or might pay a doctors bill, but these are kindnesses. Because there is a certain level of proximity, certain familiarities can grow but it is unlikely that either will consider it 'friendship' exactly.
Boundaries
However, there are boundaries between servant and employer. Even in cases of familiarity and good will, a servant and employer would not meddle in each other's affairs. For example:
A servant might dislike an employer's guest but would not refuse to serve or wait on them. This is depicted inaccurately in Downton Abbey's Christmas special, where the butler Stowel refuses to serve former chauffeur Tom Branson.
An employer in some eras could not deny a servant the right to get married.
A servant may be expected to be available at any given time and come running at the sound of the bell. But if a servant is on a day off or ill, an employer can't punish them for not being available when knowing beforehand they wouldn't be.
A good servant knows when they are needed and when to disappear. They should not linger if it is clear they shouldn't be here.
A servant might see their employer engaging in harmful or immoral behaviours but would not have the right to criticise or inform anybody.
A servant might be tasked with dealing with their employer in a state of undress (but this never crossed gender, a valet or a butler would handle a naked male employer and only a female servant would deal with a lady's intimates) and while seeing them in this state, would not look or make a big deal over it.
The professional boundary should not be breached on either side of the divide. A servant wouldn't approach an employer with personal issues nor would an employer welcome the servant's unauthorised counsel.
The Downsides
This is an uneven system most times and the employer does wield a lot of power. Servants are in this dynamic because they need to survive and provide a life for themselves so often they stick out bad situations rather than risk not being able to find a job again. Servants in some eras could be physically or verbally abused without recourse. Some servants often faced harassment and sexual assault from other staff, guests and/or employers. Servants desperate to keep their positions would often keep quiet about their circumstances in order to retain their place. This is accurately portrayed in Outlander: Blood of my Blood, with Mrs Porter and Julia, along with many other possible unnamed women and girls.