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@writingreferences110
Looking up how to write screenplays, found the BBC openly gives you guides.
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Presenting your work appropriately suggests a professional approach and an understanding of the medium and format for which you are writing

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If you're writing anything involving cons, scams, heists, or morally questionable characters who are very good at lying, here are some free resources I've been using for research. Saving you the "why is this in my search history" anxiety.
1. The FBI's Famous Cases & Criminals archive (fbi.gov/history/famous-cases) has detailed breakdowns of real fraud cases, Ponzi schemes, and confidence operations. The language they use is clinical and precise, which is perfect for getting the procedural details right.
2. The FTC Consumer Sentinel Network publishes annual reports on the most common fraud tactics in the US. Great for understanding how modern scams actually work and what makes people fall for them.
3. The Smithsonian's American Art Museum has a free digital collection of forgery case studies. If your character forges documents or art, this is gold.
4. Court Listener (courtlistener.com) is a free legal database where you can read actual court transcripts from fraud trials. Want to know how a real con artist talks under oath? This is where you find out.
5. The Internet Archive's collection of old newspaper crime sections. Search for "confidence man" or "swindle" in papers from the 1920s through 1960s and you'll find incredible real stories that would feel too dramatic for fiction.
Bonus: The Psychology of Fraud section on the Association for Psychological Science website has accessible articles about why people trust, how deception works cognitively, and what makes someone a convincing liar. Essential reading if you want your con artist characters to feel psychologically real.
Reblog to save for later. Your WIP will thank you.
1) any stretching is better than no stretching
2) any vegetable is better than no vegetable
3) statistically you will never be the worst person at anything, there is always someone in the world who is worse at stuff than you are
The Tube Post has been updated for 2026! Endless thanks to @andstuffsketches for the amazing art (!!!), @rowenabean for checking this over for me (all remaining mistakes are my own), @kelpforestdwellers for extra tips, and @appleyblam for an editing pass. Thank you all!
If you would like to download the zine for your own use, you can find it for free on itch.io.
writing tip: searching "[place of origin]ish names" will get you a lot of stuff and nonsense made up by baby bloggers.
searching "[place] census [year]" will get you lists of real names of real people who lived in that place.
I feel like I'm constantly shilling for them but BehindTheName.com, the only baby name site that doesn't feel like it's run by mommy bloggers, includes census-based graphs for dozens of countries/regions (though not all of them go back very far yet)
And you can expand them to see rank, number of babies, and percentage of babies and add a second name to compare. (in 1973 four percent of babies were named Jennifer! 1 in 25!!!)
Also this. Cursed.
@homoqueerjewhobbit what name did you search for your example, and what's going on with Moldova?
Those are the graphs for Samuel. They only have 1 year's data for Moldova right now, so that's why it's a straight line. Similarly, they only have 2 years for Mexico right now. The US goes back to 1880. I'm not sure how much of that is publicly available/translated records and how much of it is that it's like 1 or 2 guys maintaining a website of 27000 names and a finite amount of time to format and upload.
Here's the list of all of the countries/regions they have popularity statistics for if you want to nerd out on it!
You can't advertise BehindTheName for writers without mentioning the advanced search! You can search names based on cultural origin and usage, gender (including unisex), meaning, and even things like meter and number of syllables, or famous namesakes (you can also see a list of famous namesakes on every name's page, along with meaning, history, related names, alternate spellings in different languages, the above popularity graphs, and more).
I wouldn't even call BehindTheName a baby name site. They have a surname sister site and a random name generator with tons of variables to set that is very clearly intended to be used for fictional characters (iirc it can even generate a cause of death? I haven't looked at it in many years so it might have changed but these things predate generative AI so unless it's been forcefully enshittified it shouldn't be slop). Like, you can use it for baby names, but the website isn't explicitly intended for that purpose. This website caters to us.
I've been using behindthename.com since at LEAST college, which was around 15 years ago. It came in handy in my creative writing minor! :) It's a solid resource.
It also comes in handy for stuff like finding out when Ashley became a girl's name (which was more recently than you'd think)!

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Okay, we got a new one, boys.
Close enough welcome back Chekov's gun.
Prev you canât bury this in your own tags
ID: A screenshot of tags left on the tumblr post. They read "#it's actually kind of a reverse Chekhov's Gun #Chekhov's Gun says "If there is setup there must be payoff" #Asimov's Tail says "if there is payoff there must be setup" #and I think the tail is also important #a tail is not something you'd expect to see on a character unless explicitly pointed out #someone stepping on the tail not only reveals its existence but also tells us things about it #eg it's floor length sensitive and the character either can't or won't keep it out of the way of foot traffic #the upshot seems to be "acclimatise your audience to things they don't understand before you use them" #you don't need to explain how a gun on the mantelpiece works in the same way you need to explain how your protagonist's tail does" End ID.
One small thing I think people intuit without realizing is that part of the "He would not say that" is that, beyond the big-picture concerns (where you really mean, "he would not be expressing that sentiment" or "he would not be saying that to that person's face" or "he would not be saying that thing out loud"), there's the close-up concern of vocabulary used.
Sometimes where writing, particularly dialogue, can feel funky is the problem of voice, of that just doesn't sound like him, which can come down to individual words used. What's really interesting is this sense can ping even for characters you don't know at all, NPCs and background characters, not just the big main canon favorites that everyone knows intimately.
For example, I was writing a fic recently where I had typed out a character saying
"He was lucky he wasn't more seriously hurt."
And immediately had to backtrack because the word lucky felt wrong. I knew exactly what needed to go there instead without really thinking about it, but let's break it down a minute first.
Okay, so imagine you're me and lucky feels off, so what do you do? You turn to the thesaurus. This is what you get:
[alt text added to image; should pull through]
These aren't... wrong. (Well, some of them are.) Most of them are synonyms of lucky in various contexts, but they're not one-to-one by any means. So first you have to know that, in this spoken context of describing a person who avoided a potential negative outcome, only some of these will work, because it needs to be an adjective that has to address a moment of good luck (as opposed to a pattern or a lifetime) and avoiding that potential negative outcome by chance. Most of the time, you can sort these out by saying them out loud in your chosen sentence.
"He was lucky he wasn't more seriously hurt"
â Original sentence, construction works.
"He was serendipitous he wasn't more seriously hurt"?
đŤ No. That doesn't make sense at all.
"He was blessed he wasn't more seriously hurt."
â Yeah, that works, in a vacuum, too.
Of the above, in the sentence of dialogue I created, the following work:
Blessed
Fortunate
Lucky
Only three. (If I changed the sentence structure to "It was ___ he wasn't more seriously hurt," I could try out a few more, maybe, like fortuitous and providential, but I'm not going to.)
Even with only three options, especially in dialogue, you have to be able to parse out what kind of person would use which. That was why lucky pinged as off to me, even though it works perfectly well in this context in a vacuum.
In my scenario, the person speaking was a highly educated, upper socioeconomic middle-aged man of authority for whom American English is a first language speaking to another man with whom he has only a professional relationship, a reason to worry about his standing within the state of said relationship, and a vested interest in maintaining a healthy level of respect and trust.
That is not a man who is going to say lucky.
I knew immediately and instinctively that he would say
"He was fortunate that he wasn't more seriously hurt."
He wouldn't say blessed unless I wanted to imply something about his religious and/or spiritual background and beliefs, which I did not. Lucky has a more common feel to it, a little more casual, and just wouldn't be the word of use for this kind of character in this situation. Reaching for the three-syllable word instead of the two, the one that echoes with a tiny bit more pomp.
You'll notice, too, that a that appeared as well, because a man like the character I described would be more particular about the formalities of grammar, even in cases where his meaning is clear without them.
A different character, someone of a lower socioeconomic status and/or in a much more casual situation might even say
"He got lucky he wasn't more seriously hurt."
Do you see how those four ways of saying the exact same thing sound and feel different?
"He was lucky he wasn't more seriously hurt."
"He was fortunate that he wasn't more seriously hurt."
"He was blessed he wasn't more seriously hurt."
"He got lucky he wasn't more seriously hurt."
The exact same sentiment, just tweaked to match the speaker.
The more you start to notice vibes like this, the more nuanced and "right" feeling your writing will be. And the more you notice and start to pick apart these choices while writing, the better you'll be at it, because you'll be able to articulate the whys and why-nots and can figure out where you went wrong (and how to go right instead.)
"Readers have SHORT attention spans! The average reader takes just TWO sentences to decide whether to put a book down! You have to HOOK them in the FIRST sentence! GRAB them by throat and don't let them BREATHEâ"
... have... have we considered that perhaps the average reader just, like, knows what they like in a book? I mean... first sentences are famous for establishing things like *checks notes*... genre, tone, POV, pacing, character, voice, uhhh... writing style...
The average reader is putting your book down because they discovered it's in first person (or not in first person). The average reader put your book down because they wanted a cozy read, or they're sick of cozy reads, or romance, or grimdark, or assassin princesses, or vampires, or or or. The average reader put your book down because they just didn't like your writing styleâno, not because it was boring... they just, get this, didn't like it.
The average critical reader put your book down because it had six grammatical mistakes in the first two sentences.
The average reader will read quite a ways if the premise intrigues them, they like the genre, the writing style doesn't get on their nerves, and the characters pop off the page. In fact, they'll probably read the whole book, so long as it delivers on its plot promises and doesn't drag in the middle section.
The average reader will, however, stop reading after just two sentences if it's clear by the second sentence that the only thing they'll like about this book is the opening line.
Idk, I just think like, painting a demographic of people who, you know, pick up full length books to read for fun, as having short attention spans doesn't make too much sense. At least not as much sense as the alternative: words tell people things; namely, the contents of this book.
In general, though, I think we jump to blame short attention spans too often when there is a far more logical explanation. "It takes 0.06 seconds for viewers to scroll past a post." Yes, that is typically how long it takes me to discern whether this post is about something I'm interested in. There's a trillion posts out there, probably a billion books, of course we've gotten fast at sorting through content. That's not an attention span issue. That's just efficiency.
So my beta reader for the Big Fics is an astrophysicist, right. Who is currently also writing a hard sci-fi novel about the exploration of Phobos (more power to them, I cannot with the physics required for that, best I can do is soft sci-fi/fantasy and that reminds me I should finish that story).
Anyway I was bitching about how hard it is to come up with feasible planets in Star Wars because sometimes you need a new planet from scratch and sometimes you need to know more about a planet than the 'has jungles, is probably a moon technically' than Wookieepedia will give you, and they're like 'oh yeah I can do something about that'.
So they've written (in Matlab but they swear it will run as a .exe as well and I may be conscripted to embed it as a web tool at some point) a star system generator.
You input what you know about the planet (ecosystem, population, sun colour, does it have liquid water, does it have a moon or moons, is it a moon or moons, temperature averages, atmosphere, you get me) and it will give you the... everything else about the star system, in obedience to real-universe physics. And if you input nothing you get a randomly generated star system.
And Iâm like oh I know people who will be into this with a vengeance, and they're not on Tumblr, so this is me seeing who exactly would be keen on, and I cannot stress this enough, a real-physics comprehensive star system generator.
It's still in the debugging phase (last error fixed: every planet wants to have a population of exactly 5000 regardless of other factors, turned out to be a missing equals sign somewhere), but I'm psyched for this and trying to gauge interest for how high a priority 'make this an accessible web tool' needs to be.
@bucketofdeltav says the URL is here: http://tumblr.com/star-system-generator
Follow @star-system-generator and get more of the good stuff by joining Tumblr today. Dive in!
basically I think that if your protagonist doesnât want to fuck someone so bad it makes them look stupid, then there probably isnât enough energy in your story. âFuck someoneâ isnât literal btwâthey can want to uncover the secrets of their parentâs death, they can want to prove their worth, they can want a donut from one particular bakeryâit can be anything so long as they want it so bad that theyâll make decisions that make any sane person go âare you a moron??â, with little to no forethought, or even tons of forethought and this is still the option they chose. Because they want to fuck that thing so bad.
wait isnât that just giving your characters a motivation???
Youâd be surprised at how many people fail to give their characters motivation, and so write a story thatâs less good than it could be.
Itâs surprisingly easy to come up with an incredibly cool plot and characters without giving the characters enough motivation to make it actually compelling enough to read or even write. If you have a cool af idea that you somehow just canât bring yourself to write, ask yourself what the main character wants, and how is that driving their decisions?
They need to want it so bad that it makes them look stupid. They need to impulse-buy a half-broken spaceship by mortgaging radioactive land, because theyâre just that desperate to prove themselves more than a discarded scrap of a far greater history. They need to want their home and their people safe so much that theyâll risk their own soul to march across hundreds of miles of unknown and terrible danger to throw a cursed ring into a volcano. They need to love someone so much, and need them to know it, that theyâll blurt it out in the middle of a press conference or royal ball, or surrounded by enemies with a garrote at their throat or about to be frozen in carbonite or in the middle of a storm-tossed sea battle between pirates, British Navy, and the undeadâor, they need to love someone so much that theyâll swear fealty to an evil emperor and kill a bunch of friends and children for the power to save them. They need to be so balls-to-the-wall insane in at least one regard that the plot isnât just happening to them, they are in some way causing the plot.
Also keep in mind! When it comes to character development, âWANTâ is NOT the same as âNEEDâ! Sometimes a character knows whatâs good for them, what will truly often make them happy, but more often they donât. They want the acclaim and adoration of the crowds, but really they need the recognition, acceptance or love of one particular personâand maybe that person is their own self. They want to avenge the loss of their loved one, but really they need to accept the loss and move on. A refusal to accept what they need is usually going to get in the way of what they wantâand sometimes they figure it out just in time to go forward and climactically achieve their goal, or maybe they double down on their character flaws in a classic display of Greek tragedy!

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FACIAL MICRO EXPRESSIONS FOR WRITERS <3
writing advice for characters with a missing eye: dear God does losing an eyes function fuck up your neck. Ever since mine crapped out I've been slowly and unconsciously shifting towards holding my head at an angle to put the good eye closer to the center. and human necks. are not meant to accommodate that sorta thing.
other things I'm bitching about but which could still be useful as writing advice for 1 eyed characters:
2. they're going to favor their sighted side, obviously, but it doesn't always manifest in the way you think. when I walk down a hall I walk much closer to the wall on my sighted side than on my blind side. which is the opposite of how it might seem logical to do that bc it means the world at large is on your bad side, but the reason is I can't fucking See the wall if it's right next to me in the blind side and I end up knocking into it.
3. door frames and poles are my enemy. If your character is smart this will not be a problem but for me it is. I am King of walking into shit I could absolutely see but couldn't tell how far away from me it was. on this note, their blind side hand is getting bashed into every jutting out thing in a 5 mile radius.
4. having 0 depth perception is less of a big deal than you'd think it is. Especially with driving. I've become a Much safer and more wary driver because I can't tell how far the other cars are from me. however I fucking suck at parking now. because I can't tell how far the lines are from me either.
5. you know how people who lose limbs get phantom pains? that happens with eyes too but like. phantom sights. for me it's like. a lot of bugs. like every so often my brain will just put something suddenly skittering beside me there. hate that.
6. it is completely possible to "get stuck" somewhere because your ability to tell how wide a space is is just Gone. shopping isles especially where bumping something or Someone is matter of embarrassment or potentially breaking something. it can be legitimately paralyzing and also irritate everyone around you because they can tell there is Plenty of space for you to get your cart through even if you can't.
7. if the eye is still in their skull it can still be the normal kind of painful. Glares off of shiny surfaces causing weird sharp pains you can't figure out the cause of are genuinely one of gods greatest tests of my patience.
I too am missing my eye and have advice. But first:
OP I've been missing my eye for 18 years and because of you I'm just now noticing that my neck does in fact list left. Now I will live with that knowledge forever.
1) depth perception issues are more severe if you lose the eye on the same side as your dominant hand. I lost my left eye and am right handed, and only have problems with close-up things. Like pouring water or threading a needle. Sometimes putting the pump in for gas. Walking down stairs is a huge problem I have (walking up is fine), but unlike OP I don't have issues with doorways. Depth perception is different for everyone
2) I've completely lost my eye and need to wear eye patches, no fake eye here. People like me do still rub their "eyes." We also usually say "eyes" and "contacts." Except for comedic effect
3) the people that are in your life with regularity just... forget you have only one eye. Even if, like me, you wear obvious eye patches. This means they get confused when people asked what happened. They'll walk on your blind side and get snippy when you run into them. When my sister learned how to cross her eyes she ask me if I could do it, and it took so much coaching for her understand why my answer was no, and that I would not be "just trying." So don't write everyone around them constantly noticing. Most people don't
My vampires CAN walk into the sunlight but doing so would reveal what they would look like if they aged normally
Younger vampires donât have much to worry about but older vamps have reason to avoid sunlight as they age. They are still immortal, but their aged, sunlit selves are significantly weaker than their non-sunlit forms. Vamps over 100 years old run the risk of crumpling over, fully immobile, but still conscious
This is such a perfect concept
Stresses me out so bad when authors who obviously don't drink write characters drinking. Omfg girl he is like 27 shots deep.
Not to hijack a shitpost but I was inspired, so I wrote up a big huge long guide to writing drinking and drunkenness for the writer who doesnât drink. Credentials: I get drunk a hell of a fuck of a lot of the time. Disclaimer that all of what I say is anecdotal and not scientific, to not take medical advice from this, and a lot of the cultural aspects of drinking are going to be USAcentric, since thatâs where im from. Itâs long as hell so im putting it under the cut.
A. Types of alcoholic beverages and what drinking them is like
0. What does alcohol taste like?
You know that chemical smell that hat sometimes has a taste in your mouth that you get while smelling dry erase markers, nail polish remover, or hand sanitizer? Thatâs what pure alcohol tastes like! Pretty much all alcoholic beverages taste like they smell, so if youâre willing to be a freak, sniff a friend who drinkâs drink for help on describing flavor.
I should state that every individual brand of beer, wine, and liquor has brands that are prestigious and brands that are hot garbage. If youâre having trouble figuring out which is which, try asking around at your drinker friends, or go to the liquor store and check out what brands are cheaper and what brands are more expensive. Generally, things are layed out least to most expensive, with âbottom shelfâ brands being absolute garbage and âtop shelfâ brands being luxury items.
â . Beer
Beer, as well as other can offerings such as ciders or white claws, are about 5% abv (alcohol by volume). This translates to very little alcohol in it overall, which is why the serving size is a whole ass can/pint glass/glass youâd use for a nonalcoholic beverage. This also makes for easier drinking, because the alcohol isnât as prominent so you canât taste it as much. Beer is the primary drink of masculine men or otherwise masc people drinking for reasons other than getting drunk, and of plenty of people drinking to get drunk as well. It is high in calories and quite filling, hence the pop culture connotation of the âbeer bellyâ (though any amount of binge drinking will cause weight gain if the drinker is still having three meals a day on top of it all; beer is just the most calories per serving out of everything else.) Lager and ale are two seperate kinds of beer. Iâm not a beer guy so I donât know the difference between them. Beer tastes first and foremost fizzy, and second has a very subtle sweetness to it, and third off Tastes Like Beer. You know how beer tastes, right? Youâve at least smelled a beer in your life? Your friendâs drunk dad probably smelled like beer. It tastes like that.
â Ą. Wine
Wine is stronger than beer, averaging out at about 12.5% abv. This is why wine is served in wine glasses, which serve considerably less than beer glasses of all kinds. There are four main types of wine: red wine, white wine, rosĂŠ, and mead. Red wine is the most common wine; some unusual properties of it are that it is usually âdryâ (although it is a liquid, it dries out your mouth! Itâs really freaky) and it also has a deeply bitter compound (tannins) that only a fraction of the population can taste, much like cilantro. That fraction of the population generally hates red wine. White wine is a lot like red wine but usually no dryness and no tannins. Champagne is a white wine. Iâve never had rosĂŠ wine, but my understanding is itâs between red and white. Mead is fermented from things other than grapes, usually honey. It is incredibly sweet, to the point it usually drowns out the alcohol, and is too much for some people. Wine is usually the go to drink of feminine women and other femme by nature people drinking for reasons other than getting drunk, although plenty of people also drink it to get drunk as well. Mead is a common fantasy drink. Red wine conveys sophistication in pop culture. There is a whole culture of wine tasting and wine snobbery that I know very little about.
â ˘. Cocktails
There are many cocktails out there. It is generally very hard to calculate amounts of abv for these beverages because itâs a mix of multiple liquors with multiple nonalcoholic drinks usually. Cocktails are generally seen as feminine, although there are exceptions (im pretty sure ordering most whiskey based cocktails are seen as masc in the eyes of cishet society but I might be wrong). Common cocktails include the margarita (tequila, triple sec, and lime juice), the martini (gin, vermouth, and an olive for garnish), popular hangover remedy the Bloody Mary (vodka, tomato juice, a bunch of other bullshit for garnish but usually at least a celery stalk), and simple mixed drinks such as the screwdriver (vodka and orange juice) and âŚrum and coke (rum and coca-cola). I donât have as much about cocktails since I very rarely drink them but you can get super fancy and sophosticated with them and bartenders love making them.
â Ł. Straight liquor
First off, YOU USUALLY CANNOT CHUG LIQUOR!!âźď¸ itâs usually anything between 20% and 50% abv, with the average at 40%, and thatâs a LOT of alcohol. So it burns and is hard to chug properly! Second off, though there are some liquors that come in slightly bigger glasses that you sip and savor, such as the whiskey tumbler or the sake glass, the standard delivery method for straight liquor is a shot glass, roughly 1.5 ounces or one swallow of drink. You throw back a shot like you take pills. The five main liquors you find at liquor stores in the United States are vodka, gin, whiskey, rum, and tequila. There are stronger liquors, such as absinthe and Everclear (which can get all the way up to, say, 80-90% abv), but those are not sold everywhere. Vodka doesnât taste like anything, just pure alcohol, although it is often found in flavored varieties that taste like artificial flavors. Gin tastes like you crossed alcohol with a pine tree air freshener. Iâve never had rum or tequila straight and the last time I had whiskey straight was a billion years ago so I canât speak to those. Tequila sometimes adversely affects people in ways normal liquor doesnât, ie makes them sadder or gives them more energy or something. Iâve heard old wives tales that this is because tequila has caffeine in it, but Iâve also heard old wives tales that thatâs bullshit. Who is to say??â liqueur is liquor that is very weak by liquor standards (about 20% abv), but is very rarely drunk straight and is usually a cocktail or recipe ingredient. The difference between liquor and beer/wine is that beer and wine are fermented, while liquor is distilled. Also important to note is that liquor is often measured in âproofsâ, which is the abv x 2. For instance, a 30% abv liquor will be 60 proof, a 40% abv liquor will be 80 proof, etc. 100 proof liquor, or 50% abv, is very strong and the highest proof youâre guaranteed to find at any bum fuck liquor store whatever.
B. Stages of drunkenness
Initial disclaimer that this is all super unscientific and vibes based. Theres some data on this with official numbers but I have not consulted them for this this.
â . Buzzed
This is basically when you can feel youâre not 100% sober but youâre also not intoxicated by any definition of the word. You feel a warmth inside of you and a mild pleasant mood, if you donât drink often. If you do drink often it might be less happiness and euphoria and more âgod I needed thisâ. I would not call the feeling âbuzzingâ and would rather describe it as âbeginning to meltâ, but I didnât name slang, now did I?
â Ą. Tipsy
This is about when effects of being drunk start popping up, but if you absolutely have to, you can fake sober. More social daringness, like being a ham at karaoke or telling a crush they love them, but also enough of a cap on their emotions to not get outright annoying and avoid sharing dark secrets (although what counts as a dark secret and what is just a bit embarrassing might be blurred). For people who get flushed faces while drinking, the flush kicks in now. This is considered âhaving a bit too muchâ in polite society, but at bars and clubs and parties is nothing.
â ˘. Drunk
Oh, it is near impossible to fake sober without someone telling somethingâs up. You canât go to the liquor store to buy anything anymore; theyâll deny service for safetyâs sake. Your voice is loud and yelly, your enthusiasm crosses the line into boisterousness, you are certified annoying. Your grasp on âprivate feelingsâ is loosened. Your coordination is worse. Your singing is still hammy, but it might be so hammy itâs bad. If someone hits on you in this state theyâre automatically scum.
â Ł. Wasted
This is about when the cliche physical effects of being drunk set in: slurred speech, not being able to walk in a straight line. Youâre a mess at this point, and everyone can tell as you stagger towards them. No boundaries, a negative sense of shame, and the world is your oyster at a price. It is nearly impossible for you not to have a hangover the next morning if youâre this drunk, unless you are in your early twenties or younger. This is the point where, even at bars and parties, nobody will doubt âhey this person should probs stop nowâ.
â ¤. Blackout drunk
About what it says on the tin. Your memories are now spotty at best, nonexistent at worst. âBrownoutsâ (little patches of memories amidst many minutes of void) are much more common than blackouts. If you have executive dysfunction and itâs something youâd trust a nine year old to do, this is the most ideal time to do chores youâve been putting off. Executive function is an inhibition, and youâve had all your inhibitions lifted!
â Ľ. Deathly You-Might-Die drunk
This is about the limit. You will very acutely feel when youâre here. As a disclaimer being this drunk ends in death maybe 1% of the time; the other 99% you make a post on social media like âif I donât post for a week im deadâ and then pass out. Your speech and texts are incoherent word soup, you may not be able to stand, if you CAN move around its with great struggle and you likely need the support of another person to not wipe out. A bartender will not serve you if youâre brushing up against this drunk, however, at a party or drinking alone youâre in charge of your own destiny.
C. How much it takes someone to get to that point
â . Standard with an estrogen based endocrine system
If you are someone with an estrogen based endocrine system (most cis women, post-E trans women, and pre T trans men), you donât drink often, and youâre hovering around societally average weight, generally the way it goes is one drink will get you buzzed, two will get you tipsy, three will get you drunk, four will get you wasted, five will affect your memory, and six will get you so fucked up that youâre incoherent. Depending on drinking speed, eight or more is life-threatening. If itâs a standard drink, you shouldnât give your character more than thirteen drinks if you want them to not pass out/live to see another day. If you have a character that goes on estrogen HRT, you can make them note how their tolerance has gone down.
â Ą. Standard with a testosterone based endocrine system
Having a testosterone based endocrine system (so most cis men, post-T trans men, and pre E trans women) and hovering around average weight gives you roughly one extra drink of tolerance compared to someone of similar measurements and drinking frequency with an estrogen based endocrine system. That means it takes about two drinks to be noticeably buzzed, three to become tipsy, four to become drunk, five to be wasted, six to start losing memory, and seven to become incoherent. Depending on drinking speed, things start becoming life threatening around drink nine or ten. Upper limit in this case is about fifteen or sixteen drinks before itâs like âoh theyâre gonna dieâ. If you have a character that goes on testosterone HRT, you can make them note how their tolerance has gone up.
â ˘. How weight effects it
People who are lighter have lower alcohol tolerance, people who are heavier have higher. You might have an underweight character reach certain levels of drunk a drink or two early, or have an overweight character reach it a drink or two late.
â Ł. How tolerance effects it
If you get drunk many nights in a row, with only a day or two off, itâs going to be harder to get as drunk than before, as well as lower the amount of sheer joy you get from being drunk. I canât speak for everyone, but as a general rule, this means moving between echelons of drunk with everything else in a vacuum takes two drinks instead of one. This stuff isnât scientific, however, so take with a grain of salt.
â ¤. How time effects it
One drink usually starts to wear off within twenty minutes, and if you only have one drink youâll usually be completely sober within an hour. Because of this, five drinks in three hours is a wildly different story than five drinks in forty-five minutes, and youâll be able to add a drink or two to get drunk over long periods of time, and subtract a drink or two over astoundingly short periods of time (for what itâs worth, most normal drinkers average out to one drink every fifteen to thirty minutes, with the absolute peak sustained only shortly being three drinks in ten minutes, since going faster than that risks nausea and vomiting).
â Ľ. Medication effecting it
If you take certain medications (antidepressants are a common one), your tolerance goes down, sometimes to a dangerous degree because you overestimate how much you can drink. But if you get drunk multiple days in a row this is completely counteracted! (Have I said that this isnât medical advice yet and you shouldnât take it as such yet? Extremely extremely true here. Listen to your doctors in real life, kids).
â ĽI. Natural variances
A character may naturally be a lightweight or be better suited at holding their liquor for natural human body variance reasons, and because of this you can knock a drink or two off what is normal for their range just to make things fun! This is largely random and doesnât adhere to anything.
â §. How a 270 pound testosterone based endocrine system heavy drinker man gets drunk
Ok, so im a bighugelarge man who gets drunk super frequently, so im about the upper limit for characters before things start getting eyebrow raise-y. It usually, if im drinking at a normal pace, and taking into consideration that my drink of choice is 70 proof shots when standard drinks are 80 proof, takes me 3 drinks to get buzzed, 5 to get tipsy, 8 to get drunk, 12 to get wasted, 15 to start losing my memory wholesale, and 17 or 18 to get incoherent. 20 is when things start getting dangerous, and my all time record had me pass out at shot 24. This accounts for maybe 90% of a liter of vodka, for reference.
D. Drinking safety and who might ignore it
â . Water intake
Generally speaking, common advice is you should be drinking at least one glass of water for every glass of beer and wine/shot of liquor, to avoid/lessen hangovers and to keep you from being the most dehydrated person on planet Earth. However, most people partying or drinking for fun donât bother to do this. A wise, well-seasoned drinker might force themselves into it, because anything for a better hangover, but most people are paying the price.
â Ą. Food intake
Drinking on an empty stomach will make you sick. Drinking on a full capacity stomach will also make you sick, especially if you had a caloric drink beforehand, like milk or beer (liquor before beer, youâre in the clearâŚ). However, the emptier your stomach, the more you feel the alcohol, which means health teachers want you drinking on a full stomach so youâre disillusioned, whereas seasoned alcoholics may fast four or five hours before starting to drink for best results/chances at happiness.
â ˘. Drunk driving
This is really hard to do. Most people in my experience have the sense to not do it, but teens and people who are more drunk than they realize may do it. It absolutely kills people, both drivers and others on the road, so glamorizing it is not recommended. But im not your mom.
â Ł. Drunk sex
Hereâs the thing. You should not be making any major life choices while drunk, and because disease and/or pregnancy makes sex a major life choice, drunk people officially cannot consent in real life. However, in fanfic a simple âI wanted this sober so doing it drunk is fineâ flies for the sake of porn. But let it be known: because your senses are dulled when youâre drunk, both drunk mastirbation and drunk sex suck way more than doing it sober
E. Misc things about being drunk
â . Dulled senses
Like mentioned in the previous bullet point, all your senses are dulled. Many people self medicate because it helps pain be more bearable, or because theyâre autistic and are pretty much always going through sensory overload sober. Most notable of this is sense of taste, which is why nasty liquor is easy to choke down while wasted, and why Taco Bell tastes fucking gourmet: your senses are dulled and your expectations/taste in all things are underground.
â Ą. Physical feeling
Your vision may get worse when youâre drunk, or it might stay the same. You may be dizzy when doing pretty much anything. And of course thereâs the issue of coordination and such.
â ˘. Nausea
Getting any amount drunk WILL make you feel sick to your stomach, and no matter how badly you want to get as drunk as possible as fast as possible, you will likely find yourself taking breaks of ten-fifteen minutes at some point for nauseaâs sake. Sometimes, if youâre drunk enough, throwing up is inevitable, and it sucks but you feel better afterwards. Eat some crackers afterwards if you can, and continue onwards.
â Ł. Mental effects
You generally feel so much happier and joyous, and hate yourself far less. your issues seem easier to fix. It doesnât straight up get rid of negative emotions, but it makes them more simple. Complex grief turns to just Sad, frustrations at the world and all its stressors turn to just Angry. Fear and anxiety are nearly always eliminated. The way Iâd liken being drunk and thinking is your brain feels like a pat of butter in a pan slowly melting. There are subsets of people who have depression that just gets worse when they drink, and for those people they should not be drinking ever.
â ¤. Important caveat on drunk typing
If you have autocorrect on, you will not be making a billion typos! The truly wasted may have glaring spelling mistakes, but as a general rule everyone with crazy amounts of typos while drunk is either faking it or milking it because they think itâs funny. In my experience, the much more likely result of typing drunk is a lot of question marks, exclamation points, or emoticons/emojis in a row.
F. Hangovers
â . Emotional effects
If you are hungover, you will hate yourself. You will feel immense shame, and if you did something regrettable drunk and/or are of a culture where drinking is banned or you were trying to be sober, you will also feel guilt. âStupid dumb drunk idiotâ is a common refrain in my mind. âIâll never drink again, this sucks so badâ is another common thought for some, but itâs rarely true. Humans are weak and we forget consequences easily. I canât think of anyone who got sober because of a really bad hangover. Change-your-life rock bottom is usually different than that.
â Ą. Physical effects
Most hangover symptoms come in three categories: common, weird, and gastrointestinal. Common symptoms include headaches and light sensitivity, along with malaise (the ill feeling you get when you have a fever or covid or something). Weird symptoms include vertigo and muscle pain. Gastrointestinal symptoms include diarrhea and vomiting.
III. How long they last
Hangovers usually last until about 11 am or noon if the person drank during the evening/night, unless the person drank significantly more than usual, as when relapsing after being sober for many months or when getting so drunk that their lives were in danger, in which case the hangover can last for up to twenty-four hours. Also, sometimes in a very rare while, you can lose the hangover lottery and not have your hangover go away until 3-4 pm.
IV. Situations in which someone is and is not likely to get hungover
Drinking water can either prevent hangovers or make hangovers less bad. People in their twenties usually are hangover-free if they drink less than they did the previous night, and more prone to them if they drink more than they did the previous night. Propensity towards hangovers increases with age, so an underage drinker may only rarely get a hangover, whereas someone in their fifties may get a really nasty one if they ever have multiple drinks, no matter what.
V. Hangover cures
There are no scientific cures for a hangover. However, some folk remedies include hair of the dog (drinking more to cure it), cold showers, and greasy breakfasts (famous choices are breakfast sandwiches, brunch offerings with lots of eggs and meat, and hot dogs/brats). The first of these does not make me feel better, just takes away the shame, but the second and third ones I swear by. They donât cure it, but damn if they donât feel good.
Ok thatâs it, good luck out there
"adventurers are actually more scared of you than you are of them"
"he's literally just doing what an adventurer is supposed to do"
"do you think they think of us as Giant Adventurers?"
"do you know how many other creatures would be infesting our cave if there were no adventurers?"
"how would you like it if you were bumbling along on your little adventurer day, and some giant dragon thing squished you for the crime of being yourself?"
"y'know, so many dragons are grossed out by them, but i think they're fascinating! Did you know some adventurers form symbiotic relationships with small monsters? Some of them even do a simplified form of spellcraft! Like, with actual magic and everything!"
Aww based on the behaviours in my own household, if there were baby dragons, theyâd be going around
Following the adventurers around at what they believe to be a sneaky distance, narrating them at what they believe to be a discreet volume
Getting closer and closer and cheekier and cheekier, and then, when the adventurer reacts, emitting the most violent scream and vanishing
Dropping/forcing/shooing them into a dollhouse and squealing as they Touch Things
Being extremely torn between squalling for parental assistance and not letting the more impatient parent kill the adventurer, resulting in much crashing about the cave, shushing each other loudly, announcing on repeat, âdonât tell dad about THE ADVENTURER!!!â
Adventurer is briefly, unbeknownst to themselves, named and kept as a pet
Adventurer is requested to pick what music they shall play, and is serenaded against its will by recorder playing from a baby dragon who cannot play the recorder.
One hatchling suddenly takes against it and demands it be killed
One hatchling immediately begins to fight with that one, leaving adventurer to be monitored by a neutral hatchling, possibly a toddler
With utterly unclear motives, toddler dragon pours milk on it
More screaming
Adventurer gets regrettably bruised by all of this very subtle and discreet interest, and the hatchlings, in a panic, in no particular order, chase the limping creature into a corner, scream the place down, fetch the more patient parent, read it a helpful storybook, panic when it moves, and also pour milk on it.
When the more patient parent eventually places a cup over the adventurer, it will be accompanied by the hatchlings springing about screaming continuously in excitement, winding around the parental feet like cats, causing the adventurer to lose the rest of their composure and beg to go home or have a quick death.
Hatchlings accompany adventurer to Settle Into Its New Home, offering it a gigantic gummy multivitamin and ear splitting shrieks, eventually forcing it down a hole.
âWe are Friends of Minibeasts,â the baby dragons tell each other.

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Zoom In, Donât Glaze Over: How to Describe Appearance Without Losing the Plot
Youâve met her before. The girl with âflowing ebony hair,â âemerald eyes,â and âlips like rose petals.â Or him, with âchiseled jawlines,â âstormy gray eyes,â and âshoulders like a Greek statue.â
We donât know them.
Weâve just met their tropes.
Describing physical appearance is one of the trickiest â and most overdone â parts of character writing. Itâs tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone â to feel the charge in the air when they enter a room â we need to stop writing mannequins and start writing people.
So letâs get granular. Hereâs how to write physical appearance in a way thatâs textured, meaningful, and deeply character-driven.
1. Hair: Itâs About Story, Texture, and Care
Hair says a lot â not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?
Good hair description considers:
Texture (fine, coiled, wiry, limp, soft)
Context (windblown, sweat-damp, scorched by bleach)
Emotion (does she twist it when nervous? Is he ashamed of losing it?)
Flat: âHer long brown hair framed her face.â
Better: âHer ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.â
You donât need to romanticise it. You need to make it feel real.
2. Eyes: Less Color, More Connection
We get it: her eyes are violet. Cool. But that doesnât tell us much.
Instead of focusing solely on eye color, think about:
What the eyes do (do they dart, linger, harden?)
What others feel under them (seen, judged, safe?)
The surrounding features (dark circles, crowâs feet, smudged mascara)
Flat: âHis piercing blue eyes locked on hers.â
Better: âHis gaze was the kind that looked through you â like it had already weighed your worth and moved on.â
Youâre not describing a passport photo. Youâre describing what it feels like to be seen by them.
3. Facial Features: Use Contrast and Texture
Faces are not symmetrical ovals with random features. Theyâre full of tension, softness, age, emotion, and life.
Things to look for:
Asymmetry and character (a crooked nose, a scar)
Expression patterns (smiling without the eyes, habitual frowns)
Evidence of lifestyle (laugh lines, sun spots, stress acne)
Flat: âShe had a delicate face.â
Better: âThere was something unfinished about her face â as if her cheekbones hadnât quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.â
Let the face be a map of experience.
4. Bodies: Movement > Measurement
Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes â or how do the clothes wear them?
Ask:
What do others notice first? (a presence, a posture, a sound?)
How does their body express emotion? (do they go rigid, fold inwards, puff up?)
Flat: âHe was tall and muscular.â
Better: âHe had the kind of height that made ceilings nervous â but he moved like he was trying not to take up too much space.â
Describing someoneâs body isnât about cataloguing. Itâs about showing how they exist in the world.
5. Let Emotion Tint the Lens
Whoâs doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape whatâs noticed and how itâs described.
In love: The chipped tooth becomes charming.
In rivalry: The smirk becomes smug.
In mourning: The face becomes blurred with memory.
Same person. Different lens. Different description.
6. Specificity is Your Superpower
Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.
Examples:
âHe had a habit of adjusting his collar when he lied â always clockwise, always twice.â
âHer nail polish was always chipped, but never accidentally.â
Make the reader feel like theyâre the only one close enough to notice.
Describing appearance isnât just about what your character looks like. Itâs about what their appearance says â about how they move through the world, how others see them, and how they see themselves.
Zoom in on the details that matter. Skip the clichĂŠs. Let each description carry weight, story, and emotion. Because youâre not building paper dolls. Youâre building people.