#My method for drawing novel characters is to read their description + personality and make a few drafts from there.

[poorly-drawn-mdzs]

"What do you mean their name isn't Beef?"

(for @moondal514)

[jccatstudios]

SoC Comic Adaptation and General FAQ

General

Who are you?

Hi, I'm Claire (she/they)! I'm currently studying to become a professional comic creator. I love drawing fashion, expressive characters, and anti-hero action.

Where else can I find your work?

You can find all my work on my website! I'm also on Instagram, Twitter, and Tumblr. You can find my fan art under the handle jccatstudios, and my original art under jcscottart (only on Instagram and Twitter).

How can I support your work?

Besides supporting my work through your lovely comments and reblogs, you can help monetarily support me on Ko-Fi. Your support helps fund my college education.

Six of Crows: A Comic Adaptation

Why are you doing this?

Ever since I read the duology, I always thought it would make a great graphic novel series. When my professor encouraged me to start a webcomic, I took the opportunity to make the comic I imagined into reality. I want to see the whole series illustrated through comics one day. If I got the chance to make the official adaptation, that would be one of my biggest dream projects. I'm also using this project as an opportunity to improve my skills before I graduate.

Will you post it on (insert webcomic platform)?

Probably not. Most online comic platforms are meant for scroll format, and I'm making a traditional format comic. Plus, I post on so many sites already, so I think adding another would take too much time out of actually creating the comic.

Will you draw the whole book/series?

I wish I could! Since I'm not doing this full-time or professionally, that's quite unlikely. It would take years to complete it full-time, who knows how long as a hobby. I'd love to add a six-volume SoC graphic novel series to my shelf, but that of course can't be done without some serious backing. I'm currently working on adapting Chapter 3.

Where's Chapter 1: Joost?

I never drew it! I started with Chapter 2: Inej because I wanted to draw the main characters first. The first chapter of the comic is the second chapter of the book. I name the comic chapters after the book chapters just to make it clear which part of the book they correspond to.

Can I repost your art, use your art for layouts/edits, etc?

Yes, you may with visible credit. If you use it for your profile layout, put my handle in your bio. If you're reposting it or using my art for edits/collages, put my handle in the description. As long as it's for personal use, you can use my art. Do not sell copies of my art, use it in merch, or use it for any sort of monetary gain. Do not use my art for prompting or generating images.

Can I use your character designs and headcanons in fanart, fanfic, etc?

Absolutely! Please tag me if you do. I don't need credit since I didn't create any of these characters, but I definitely want to see what you create. :D

How do you make the comic?

The comic is made with mostly traditional methods with some digital editing. I pencil and ink all of the pages on bristol board. I mainly use the G-pen nib for characters and technical pens for the backgrounds. Once I scan the pages, I do light adjustments to the line art and correct any mistakes. The gray tones come from a single sheet of ink wash adjusted to be lighter or darker. The bubbles and lettering are all digital.

If anything else comes up, I'll add it here! Feel free to send me an ask if you have a question that isn't on this post.

[mediaevalmusereads]

Cinnamon and Gunpowder. By Eli Brown. Picador, 2013.

Rating: 4/5 stars

Genre: historical fiction

Part of a Series? No

Summary:  The year is 1819, and the renowned chef Owen Wedgwood has been kidnapped by the ruthless pirate Mad Hannah Mabbot. He will be spared, she tells him, as long as he puts exquisite food in front of her every Sunday without fail. To appease the red-haired captain, Wedgwood gets cracking with the meager supplies on board. His first triumph at sea is actual bread, made from a sourdough starter that he leavens in a tin under his shirt throughout a roaring battle, as men are cutlassed all around him. Soon he’s making tea-smoked eel and brewing pineapple-banana cider. But Mabbot—who exerts a curious draw on the chef—is under siege. Hunted by a deadly privateer and plagued by a saboteur hidden on her ship, she pushes her crew past exhaustion in her search for the notorious Brass Fox. As Wedgwood begins to sense a method to Mabbot’s madness, he must rely on the bizarre crewmembers he once feared: Mr. Apples, the fearsome giant who loves to knit; Feng and Bai, martial arts masters sworn to defend their captain; and Joshua, the deaf cabin boy who becomes the son Wedgwood never had.

***Full review below.***

Content Warnings: violence, blood, Orientalism, slavery, references to child prostitution, incest, and bestiality

Overview: I don't remember how I came across this book, but I was in the mood for some swashbuckling, so I gave it a go. Overall, I was surprised by how much I liked this book; in my opinion, Brown does a phenomenal job of mimicking the literary style of the 18th/19th century, and that made the book all the more immersive. The style/voice does mean that there are things I didn't like, mainly the use of outdated, Orientalist terms and other not-so-great attitudes towards Black and queer people, but it felt less like the author was trying to be "historically accurate" and more using these things in order to ultimately critique them, so I'm not coming down as hard with my criticism. Brown clearly has a talent for writing historical fiction, so this book gets 4 stars from me.

Writing: The thing I liked most about this book was that it successfully imitated the prose style and structure of 18th/19th century novels. Chapters are given little subtitles that give you a brief summary of the following pages, and the syntax feels archaic in a way that I found incredibly immersive. Of course, Brown is also careful to move the narrative along, and all descriptions felt evocative without bogging down the pace. As a lover of old lit, I enjoyed every moment of my reading experience, and I'd definitely recommend this book if you like stories written in an "old timey" voice.

However, because of the style, Brown did use some terms to describe East Asians, Africans, and queer people that don't sit comfortably with modern readers. I don't think Brown does this to be "edgy" or "historically accurate"; this book is told from the first person perspective of a character who makes a lot of assumptions about the people around him, and over time, his assumptions are challenged and changed. For example, the narrator assumes that Opium addiction is an indictment against the Chinese moral character, but he over the course of the novel, he is shown how the opium trade is a product of colonialism, imperialism, racism, etc. I thus got the impression that Brown was taking what could be "conventional" 19th century views on race and sexuality and showing the realities of history. Your individual sensitivity my vary, however, so I encourage you to make this call for yourself.

Plot: The plot of this book follows Owen Wedgwood, a chef who is taken prisoner aboard a pirate ship after his employer is brutally murdered. Wedgwood's captor is Mad Hannah Mabbot, and she makes Owen a deal - if he cooks a magnificent meal for her on Sundays with no repeated dishes, Owen will get to live another week. Left with little alternative, Owen takes up the challenge all while accompanying Mabbot on her relentless pursuit of someone called the Brass Fox and avoiding the clutches of her pursuers.

What I liked most about this plot was the focus on destroying a powerful imperialist corporation. Though much of the story is about Owen adjusting to pirate life, a lot of it was also about Mabbot trying to right the wrongs of her past. That past, it turns out, is tied up with the Pendleton Company - a sort of fictional analog to the historical East India Company. I liked that Mabbot was constantly pushing herself to do right while also balancing the desires of the crew, and I liked that the horrors of imperialism were conveyed without lingering on scenes of human suffering.

I do think, however, that Brown could have done more with the connection between Owen and Mabbot. While I really liked the witty replies Mabbot gave and their eventual comradery, their romance felt forced and I think Brown should have spent more time describing Owen's inner thoughts. I also think the end was a little rushed, and it didn’t feel as satisfying as it could have, but I’m also picky.

Characters: Owen Wedgwood, our narrator, is at once sympathetic and unlikeable. His distress at being captured and enthusiasm for cooking are both strong emotional situations that make him compelling as a character, but his attitudes towards non-white, non-straight, and disabled characters feels like it carries an air of superiority. To give Brown credit, Owen does have his views and assumptions challenged, so he does experience some character growth, so I can't complain too much. I also wasn't the biggest fan of the fact that a lot of Owen's thoughts are preoccupied by his dead wife, but if we have to have a dead woman in his past, I'm at least glad Brown tried to make it a constant part of Owen's character (rather than empty manpain). Lastly, I think Owen's character arc could have bent more strongly in the direction of learning to see the world as it is, not just through his colonialist lens, but he does come around somewhat, so I can't complain too much.

Mabbot, our fearless lady pirate, is incredibly likeable. She is not only confident and ruthless, but she has strong moral values that involve punishing capitalist overlords for exploiting the working poor of India and China. I loved that she was constantly pushing back against Owen's views of the world, and I loved her enthusiasm for the philosophical aspects to Owen's cooking. I also found her connection with the Brass Fox to be quite touching, and I wanted her to succeed more than anything.

Supporting characters were a mixed bag. Mr. Apples (the first mate) and Joshua (the deaf cabin boy) felt fully-realized and played interesting roles in the plot. Non-white characters, however, seemed to be on the margins, existing but never really speaking. Bai and Feng, for example, could have been great for representation, but they speak so little that it's hard to see them as full characters.

TL;DR: Cinnamon and Gunpowder is a well-crafted swashbuckling adventure complete with anti-colonialist undertones and a lady captain that is sure to charm readers’ hearts. While I do think Brown could have done more to make his romance and ending feel earned, and I do wish he’d dialed back some of the 19th century Orientalism, this is a strong novel and a fun pirate adventure that kept me entertained from the first page to the last.

[riddlecrux]

Light seen through the windows: an analysis of windows as a literary tool in Elriel relationship

I would love to preface this meta with my favorite disclaimer that everything that I will be discussing is based on what I have gathered from SJM writing. The quotes used in this post will serve as a starting point for further analysis. Additionally, I will be using things such as symbolism, metaphors, and literary device methods to build up my reasoning and beliefs. On another note, this, as usual, is strictly pro-Elriel meta. If they are not your cup of tea and you wish to comment, please be civil and bring arguments supported by the text.

So many of us like to gaze and stare through the windows daily. Looking at the world behind the glass often is considered a form of tranquility that we feel. Windows are essentially doors that lead us to whatever lies behind them - the last border between being in one place and then in another. It isn't then surprising that windows serve as symbols and metaphors in literature. From the start, whenever I read a passage about windows in ACOWAR I was reminded of Wuthering Heights by Emily Bronte. You may ask why?

Emily Bronte used windows as symbolism in her work. They are very important for her characters and their personal arcs. They are symbols of barriers, misfortunes that characters face. Windows there are metaphors of various obstacles estranging Bronte's characters from achieving their hopes - realizing that the dreams they had will be not fulfilled. As I don't want to get spoilery with Wuthering Heights, I'm going to draw conclusions in a very neat manner. Bronte used windows as a connection to nightmares that one of the main characters was suffering from - it ties to the fact that in his nightmares he sees the person he had loved, haunting him. Because of the relationship with a said woman, the imagery of windows in this particular scene symbolizes death, an obstacle that stands between both of them. Throughout the book, we also get glimpses of how windows might be used as a metaphor for social classes and the contrast between them, and how Heathcliff and Catherine have to go about it. Along with the windows, doors are also used as a symbol of trapping someone in one place, obstructing them from achieving their dream or preventing them from reaching out to their loved one. Not to mention that during a very particular scene with Catherine, she wants the windows open - a symbolism of her wanting to feel free, to connect with something she knows, she longs for. This leads to the conclusion that windows in Bronte's novel are symbols of life and death, they are the in-between - a symbolic barrier.

On the other hand, windows in literature signalize something called "art of watching", and usually it is connected to a female protagonist that observes life, events through the window. Not to mention, the most famous association to windows such as "windows to the soul" - which, of course, is more metaphorical. It allows us, the audience, to connect with the character's inner feelings, struggles, as we are presented with the emotional aspect of said person. They are the bridge between the inside and outside. Windows are also a source of light, which we humans crave. Looking through the window one can absorb the light, which can resonate as a symbol of growth and change. Metaphorically we see the light from the window when we feel a need to light up the darkness inside us. They expose us, our inner feelings, and struggles.

When I read ACOWAR I have noticed that SJM decided to use windows, quite clearly, in the indication of two particular characters. Azriel and Elain. For the first time, when we met Elain again in the third book the window is a big issue.

"The suite was filled with sunlight. Every curtain shoved back as far as it could go, to let in as much sun as possible."

We have a clear description of the sunlit room, curtains shoved to further underline the need for light.

"And seated in a small chair before the sunniest of the windows, her back to us, was Elain."

In the brightest place in the room sits Elain, in front of the window. She is exposed to the sun, to sunlight and is absorbing that light - which is highlighted during this scene (which makes it important to note).

"Her skin was so pale it looked like fresh snow in the harsh light. I realized then that the color of death, of sorrow, was white."

The sunlight exposes Elain, its harsh light makes her pale, almost translucent. Even Feyre realizes the graveness of this picture comparing this white hue to death. As you can see the chain of events in this scene played like that: sunlit room -> curtain swept away -> Elain sitting in front of the window -> sudden comparison to death.

"She had been always so full of light. Perhaps that was why she now kept all the curtains open. To fill the void that existed where all of that light had once been. And now nothing remained."

Feyre deducts that the need for light on Elain's part is a desperate call to brighten the darkness inside her - which perfectly aligns with the metaphorical usage of windows. Elain basks in light in a helpless cry for help. The very dark void that appeared within her after being Made eats her away. It sucks her immortal life away - the one which she yet didn't get used to. On the other hand, we as readers are presented with the fact that Elain is trapped. In this Fae life, in this room, in this situation in which she grieves for her past and many what-ifs.

Nothing. Not even a flicker of emotion. “Everyone keeps saying that.” Her thumb brushed the ring on her finger. “But it doesn’t fix anything, does it?”

Sitting in front of the window - a sunny one to be precise, which symbolizes life, growth, and change, Elain is presented in a contrast to her surroundings. To show that visible barrier that her person has to overcome. She realizes that her dreams are meant to be unfulfilled, that they are unreachable.

"My stiff, limping steps, at least, had eased into a smoother gait by the time I found Elain in the family library. Still staring at the window, but she was out of her room."

The next time we see Elain she is out of her room - her "cage", but even though she left the boundaries of her entrapment she still chooses to linger around the windows. As Feyre notices, Elain gazes through the window - we are obstructed from Elain's POV and it's hard to imagine what she could be thinking about. Yet the symbolic manner of using the window as some sort of mirror, a passage that happens throughout the series, allows me to think that the metaphorical usage of windows, in this case, isn't a far-fetched idea.

"Elain didn’t turn. She was wearing a pale pink gown that did little to complement her sallow skin, her brown-gold hair hanging in loose, heavy ringlets down her thin back."

SJM uses this sentence to highlight that it isn't just a quick glance out of the window - in fact, it is constant staring through it. It is important for us as readers to note that this thing, window gazing, is an occupation that lasts for long periods of time. It isn't something trivial, it is something that showcases the importance of said windows in Elain's journey.

“What are you looking at?” I asked Elain, keeping my voice soft. Casual. Her face was wan, her lips bloodless. But they moved—barely—as she said, “I can see so very far now. All the way to the sea.”

Feyre decides to ask Elain who is still gazing through the window. Her answer is very ominous and holds a great deal of importance, but also underlines the fact that she is drawn to the window. Not to mention that what she is seeing is the sea - another vastly discussed symbol. In this situation, I believe that the interpretation can lay in a more psychological aspect of the matter rather than a literary one. In the works of very well-known psychiatrist Carl Jung the sea "symbolizes the personal and the collective unconscious in dream interpretation". So from his notes there comes this annotation that caught my attention, "The sea is a favourite place for the birth of visions."

Elain is a seer who constantly gazes through a window which symbolizes the in-between, life and death. These two are connected to one another and SJM used many things to further develop Elain's character as a powerful figure.

"Elain only turned toward the sunny windows again, the light dancing in her hair."

After the whole conversation Elain doesn't move from her spot, quite the contrary she returns to her previous activity. Gazing through the window. Once again we are reminded about the sun and light - which signalizes that Elain tries to undergo through the process of rebirth, but also tries to break free from the unhappiness that came with lost dreams.

"Something in my chest cracked as Nesta’s eyes also went to the windows before Elain. To check, as I did, for whether they could be easily opened."

Here we have an instance of both sisters realizing that Elain spending so much time in front of windows can be dangerous, as in her attempting to jump from them. Once again, the symbolism of death.

"More steps—no doubt closer to where Elain stood at the window."

Elain is still beside the window when Lucien tries to talk to her. Even alone she seeks the place next to the window to stare.

"But sunlight on gold caught his eye—and Elain slowly turned from her vigil at the window."

Elain is still by the window, for the whole scene she is there not moving an inch from it. Furthermore, the word "vigil" is also an interesting choice. There are different meanings of it, but I find these ones very telling and suitable for this instance: a period of sleeplessness; insomnia, a watch kept, or the period of this and a devotional watching, or keeping awake, during the customary hours of sleep. We can speculate about what happened to Elain while she was in the Cauldron, what made her so withdrawn from life and so desperate for the light. I want to believe that we as readers will get our answers in the next book since Elain being a seer with unknown powers makes her a perfect target for Koschei with which she has already had connections.

She looked away—toward the windows. “I can hear your heart,” she said quietly.

Again, during the whole conversation, she doesn't move away from her spot next to the window. Windows for her, start to become a symbolism of change and rebirth - the things she probably wished while being confined to her room.

Elain only stared out the window, unaware—or uncaring.

We have another mention about staring - which further highlights how important windows are as a literary tool for Elain's character. She seeks light, she wants to overcome this barrier that was thrown at her the moment she was Made. She, perhaps, watched through the window to observe the life which was stripped away from her and turned her into this immortal being. Or, maybe she just desperately wanted to brighten up the darkness that gathered inside her because of that whole situation. Another important thing to note is that this scene is a first moment alone with Lucien - her mate, which should have been very painful for her. The conversation also held a lot of weight, yet she valiantly stood by the window as if somewhere behind it she could find an answer.

“So it can’t be a perfect system of matching. What if”—I jerked my chin toward the window, to my sister and the shadowsinger in the garden —“that is what she needs? Is there no free will? What if Lucien wishes the union but she doesn’t?”

Here we have an instance of "art of watching" in which Feyre observes Azriel and Elain through the window. By watching them she comes to the conclusion that both of them are better suited and actually can comfort each other in comfortable silence. The window here is used as a barrier to showcase parallels of two couples: happily mated Feysand and unhappily in love with other people Elriel.

"But I looked to Azriel, currently leaning against the wall beside the floor-to-ceiling window, shadows fluttering around him."

And here we are start with Azriel and windows (also in ACOWAR). He is another character that has an extraordinary connection to windows. He is often mentioned next to them and somehow parallels Elain's behavior - staring through windows, being near them.

"I blinked, realizing I’d been lost in the bond, but found Azriel still by the window, (...)."

As we can see Azriel lingers next to the window without moving away from it - as the scene progresses we know that the conversation lasts a good ounce of time, yet Azriel stands in his place by the window.

"Azriel didn’t so much as turn from his vigil at the window, though I could have sworn his wings tucked in a bit tighter."

The same wording, the same imagery. Both used for Elain and Azriel. Both of them keeping vigils at the windows, staring through them as if they could find an answer through them.

"The main room of the guardhouse was stuffy and cramped, more so with all of us in there, and though I offered Elain a seat by the sealed window, she remained standing—at the front of our company. Staring at the shut iron door."

This scene is when Elain is about to confront her lover - Greysen. It is underlined that she rejected her usual spot, which is by the window, and preferred to face the door. She was trapped, she knew that a very important discussion will take a place here. She chose to look at the door rather than at the window, which in this matter could symbolize hope for a change - she stared at the door which metaphorically means transition or imprisonment.

"(...) close to Elain’s side as she and my sister silently kept against the wall by the intact bay of windows."

Another instance of Elain and her being content with being next to the windows.

"I’d seen Elain staring out the window earlier—watching Graysen leave with his men without so much as a look back at her."

"Art of Watching", but also the window's symbolism of dreams that were unfulfilled. At that moment, we can assume, that Elain realized that her dreams concerning human life and her future with Greysen would only be unattainable dreams/hopes.

“What now?” Elain mused, at last answering my question from moments ago as her attention drifted to the windows facing the sunny street. That smile grew, bright enough that it lit up even Azriel’s shadows across the room. “I would like to build a garden,” she declared. “After all of this … I think the world needs more gardens.

At the end of ACOWAR, we have this powerful moment, in which Elain gazing out of the window sees sunny streets = life. A chance of rebirth, which also beautifully overlaps with the fact that she proposed building a garden! The in-between that she balanced on while gazing through the window for so many times turned from death and misfortunes into life and hopes of the future.

ACOFAS

"Elain politely refused, taking up a spot in one of the wooden chairs set in the bay of windows. Also typical."

From Rhysand's point of view, we can deduct that even they are aware of the fact that Elain and windows are something notable. It is a place where she feels comfortable and probably spends a lot of time.

"Beyond the windows, darkness had indeed fallen. The longest night of the year. I found Elain studying it, beautiful in her amethyst-colored gown. I made to move toward her, but someone beat me to it."

In previous quotes, we could gather information about how Elain craved the light and how desperate she was to lighten up her person. Here, we can see that she also started to embrace the darkness. She is again by the window, observing the darkness as if no one else was around her. And of course, the one person who goes towards her at that moment is Azriel, a personification of darkness in the books.

Azriel strode to the lone window at the end of the room and peered into the garden below. “I’ve never stayed in this room.” His midnight voice filled the space.

Azriel went straight to the window. And not an ordinary one, but the one through which you can see the garden. Life and light. I know many were theorizing if what kept Azriel so occupied by the window was Elain, but I would love to put some of my thoughts in this discourse. Yes, I do think that what caught his attention, or who caught his attention was Elain. However, Elain at that moment represents life and light - the things that are associated with windows. And if you spin it around you have Azriel=darkness, death staring at Elain=light, life. The in-between, the very initial symbolism of window in literature. Not to mention that in this scene we have Azriel watching the light and next we have Elain observing darkness.

“No,” Azriel said, not turning from the window.

Azriel remained at the window. “Will Nesta stay here if she comes?

“I’d still be surprised if they remember once the storm clears,” Azriel said, turning from the garden window at last.

We have a whole scene in which it is so heavily implied that Azriel was constantly staring through the window, not even bothering to move away from it. We also have another highlighted thing which is the fact that it was a garden window.

There was a tiny box left on the table by the window—a box that Mor lifted, squinted at the name tag, and said, “Az, this one’s for you.”

A small thing, yet a very sweet one. The fact that even his present was placed close to the window, which starts to become an Elriel thing.

ACOSF

"She’d barely slept for fear of Elain walking off this veranda, or leaning too far out of one of the countless windows, or simply throwing herself down those ten thousand stairs."

We have a reminder that during her stay at House of Wind, Elain was a symbol of death. She carried it on her while being associated with windows that were used as a source of light that helped her heal.

"Elain stood at the wall of windows, clad in a lilac gown whose close-fitting bodice showed how well her sister had filled out since those initial days in the Night Court."

Even when she visits Nesta, she takes the place by the windows. It is something that is strictly connected to her. As if the windows were part of her now.

Elain’s smile was as bright as the setting sun beyond the windows. “I thought I’d drop by to see how you were doing.”

Light, sun, life = Elain.

“You’ve got good coloring, I mean,” Elain clarified, striding from the windows to cross the room. She stopped a few feet away. As if holding herself back from the embrace she might have given.

SJM still used the passages to underline the passage of time that Elain spent standing next to the window. It is a place in which she feels good and perhaps safe.

"They’d sat in them, before this fire, so many times that it was an unspoken rule that Azriel’s was the one on the left, closer to the window, and Cassian’s the one to the right, closer to the door."

We also get the information that Azriel always was the closest to the window - which is an odd thing to add without a deeper meaning. As if to further build up that connection between him and Elain - that both of them are aware of the fact that they are also the symbolism of the allegory of windows. I believe that SJM really researched that light and darkness trope, with which she built and she is still building up Elriel. The windows are just another tiny nugget that further envelopes both of them as one. Because while Elain transformed from death to life, she still welcomed darkness and embraced it - and Azriel opened to the life and light, seeking it. As I said, windows are a literary tool, which perhaps wasn't the main idea in the SJM text, but the amount of parallels between both of them and even the same wording applied to different scenes tells me that it's yet another connection between them.

[ramurice]

!Spoilers for Flowers from 1970!

I had to do a reading assignment and it could be any book, any kind of book, and genre, etc, etc. I chose Flowers from 1970, you know, that one dreamnotfound story. So if you don't want to read it, but are curious about it here is officially Copy+Paste from my assignment, so read if you want to, I don't care. Major Spoilers to the book, and even if you get all the way through this, I still suggest it.

Introduction/General Book Information

Title: Flowers from 1970

Author: Astronomika on Wattpad

What genre/type of book is it? (Fantasy, humour, science fiction, mystery, biography, non-fiction, etc.)

Flowers from 1970 was a novel made as a gift for two people, Georgenotfound and Dreamwastaken. Though they never had the kind of relationship implied in this novel it is very close to what was shown in streams with their persona's and the two said people don't mind receiving this type of content from fans, simply because they find it funny. It is definitely a fiction novel as one of the most significant objects is an old telephone that connects George and Dream a fifty-year time difference, Dream comes from 1970, while George is from 2020

Main Character

What is the main character’s name?

The main character’s name is George Davidson, a 24-year-old video game coder.

Describe this character (Physical and personality traits):

George Davidson a 24-year-old boy lived in an old house in Florida, as we go along in the story he describes himself as around 5’5(Inference compared to what he says about Clay), he has a long face that is evened out with a sharp jawline, a medium-sized nose, lips full enough that they don’t disappear when he smiles, his hair is a dark brown that is normally cut short but is a little longer at the moment. I did not use the real person for this description, these are pretty close to actual quotes in the book when Clay asks what he looks like. For a Personality he is described as a kind person, due to his job he doesn’t get out much, nor make friends often, When Clay doesn’t call him for a week he starts going out more because he thought that that's what Clay would have wanted him to do.

How can you relate to or identify with the main character?

George in this book has a lot of things that I can somewhat relate to, for George he didn’t have a hard time making friends, rather he doesn’t get out much to meet people. Most of the people he ends up meeting talk to him first. Dream was actually one of his first friendships.

Another Character

Who is another character?

Another character who happens to be another main character is Clay, or Also known as Dream for most of the story(no last name is given).

Describe this character (Physical and personality traits):

Dream is a 21-year-old living in 1970, he works as a baseball coach and lived in the same house as George. George Describes Dream as around 6’0 from a photo sent to him in a time capsule and a green handprint Dream presses into the wall in one of their conversations, The handprint is described as being bigger than Georges by a fair bit so that prompted George into guessing he was tall. Dream has shaggy dirty-blonde hair that sticks out at odd angles, he also has a cat named Patches, though she isn’t described. As stated by both Sapnap and George Dream is cocky and full of himself most of the time, he wants to be nothing like his father who was an abusive alcoholic, though he does get drunk once in the book to deal with his problems to see if his dad's methods actually worked.

Setting

(Where does the story take place? When is the story happening?)

Describe the time and place of the story:

Flowers from 1970 takes place in both 1970 and 2020, the phone connects Dream and George. The house that the story takes place in is located in Florida.

Comments about the setting:

(EX: setting makes story exciting, the setting has an important effect on the main character, the setting is/is not exciting or new, setting increased my knowledge of something):

A quote from the book is a perfect description of the place; “Now you know that once upon a time, in the same room, of the same house, fifty years apart, Clay and George Davidson had loved each other.” The book takes place in the same house at two different times, Dream being the past owner, while George being the future owner. They find out how to communicate with each other by that telephone, and Dream could send George things from the past by affecting small things, like burying a time capsule in the corner of the yard then telling George where it is over the phone, George can unbury it since it’s from the past, the things will be old and musty since it was fifty years since it was buried but it was an efficient way to send things.

Theme

(What did the author want you to experience, feel, or understand through reading this book? A theme can be about specific people and particular situations or about life in general.)

What is or are the topic(s) of the story?

(EX: courage? working hard? doing the right thing? greed? family? The importance of friends? jealousy? love? caring? happiness? sadness?)

The importance of moving on from things. When Dream died He told George that he made sure he couldn’t contact past Dream again, he wanted George to move on from him because no matter how much they loved each other it would never work, Dream cant have his heart in 2020 when it belonged in 1970.

Plot

(The Action/Summary of What Happened in the Story)

Summary of the story:

(In order, list 4 - 6 events that happened in the story. Keep them in order):

Dream tries to call his friend Sapnap about the assassination of the governor of Florida. He ends up contacting George by accident. George tells Dream that he has the wrong number and that the assassination happened 50 years ago and that the next day his right-hand man, Tubbo, was almost killed. They end the call leaving George thinking the guy who called him is an uneducated lunatic.

Dream calls the next day knowing that it's not his friends demanding that George tell him who he knew that Tubbo was almost murdered. George re-explained to him that it happened 50 years prior and everyone knew about it because they learned it in school. Dream finally asked the date, it was June 28, 2020, Dream told George it was June 28, 1970. This is how their friendship started to kick off.

During the second cell phone conversation they realized that the house They were in at the current time was the same one as each other and on the third call Dream wanted to test something to see if he could change current moments, he dipped his hand in line green paint and pressed it against the wall, it showed up on Georges side but it was worn and chipped as the time wore it down, George pressed his hand against it and Dream caught him in the act as a joke.

Dream sent George a time capsule by burying it in the corner of the yard George found (He encounters Wilbur the first time looking at him oddly while writing something in his notepad) it and opened it on Dreams next call, the capsule contained a container of lime green paint(the same Dream used), Pow-Chew(Dream’s favourite Gum), Music cassette, baseball cards, Quartz(Dream sent it to him because it’s his favourite thing and he wanted to give it to his favourite person, finding that it would be wrong to tell that to someone who didn’t even exist yet he told George that he didn’t he’d need it when he was older), and A polaroid of Dream.

George used the line green paint and pressed his own handprint into the wall next to Dream’s.

(THIS IS IMPORTANT!)Dream sent George a packet of Cornelius flower seeds(Georges favourite flowers, since Dream asked), he had gotten jealous of a couple while on the phone with George because unlike them The long-distance relationship between him and George the distance could never be closed.

George plants the flowers after going to the same flower shop that Dream happened to go to, to buy the flowers, he gets help from his neighbour Wilbur(after Wilbur jots down something in a notepad his neighbour helps)and makes a new friend in the process.

Dream asks George what he looks like, since they cant send things from Georges side they draw on the wall, George describes himself and Dream draws if something is wrong George with tell him and Dream will correct it.

(THIS IS IMPORTANT!)Dream forgot to call, Wilbur came over for some company of George with some cider and they had a family meal.

Dream doesn’t call for a week after he realizes he’s in love with George it’s been at least three months since they first started talking, during that week Wilbur’s family has a family emergency doing with the father that came back from London (BEFORE ANY BIG THINGS HAPPEN!) George watches Wilburs son, Tommy.

The night that George is out eating dinner with Wilbur’s family, Dream calls, he plans to tell George how he feels. George needs to take Wilbur’s family to the hospital, The father is getting worse, he seized up.

They get to the hospital. Wilbur's dad wants to see George. “He called you today, you know.” He tells George, he was confused, and it turns out that It was Dream. “You love him don’t you?” George responds with yes. “I just can’t have my heart in 2020, when it belongs in 1970.”

“Take care of those flowers, Wrong Number.” That was the last wish to George before Dream died.

Wilbur visits the next day, he shows Dream’s Journal to George, on the last page there were dates written down, the dates were every time something happened, George unburied time capsule, I forgot to call, etc with every date. In the middle of their visit Dream calls, He confesses, George confesses, they love each other, in the moment of tears, Wilbur Wrestles the phone out of George's hands and cuts the wire. That was what Dream wanted Wilbur to do, he wanted George to move past him.

What did you like about the book? Why? Be specific.

I enjoyed everything about this book, the writing style was amazing, the characters were amazing. George’s description of himself to Dream was honestly believable, something someone would say.

What didn’t you like about the book? Why? Be specific.

The ending was probably the one thing I really disliked, I liked it but it was sad, I was a mess after I read that ending, both George and Dream knew that in Georges time Dream would be in his seventies but why did he have to die?

Was the story believable or was it confusing and/or hard to believe? Explain Why?/How?

Flowers from 1970 is a very believable story, though it was fiction everything was explained as if you were in the story, you could picture everything, you could picture Tommy and his mixed cereals, you could Picture George on his bed waiting for Dream to call him, you could picture Dream smirk as he harassed George for holding handing with the handprint on the wall.

Explain what you thought of the ending …(good, bad, exciting, confusing, frustrating, etc)…and why.

Ending amazing, but so sad, the quote that made my tears fall even more was when Wilbur cut the phone cord; “I saw my friend die twice, both versions of him.” This is from George.

Overall Rating (0 to 10 stars):

10/10 stars

Would you recommend this book to others? Why?

I would recommend it to anyone, even people who aren’t big fans of the Youtubers this book was made for, it has a plot that is followed all the way through, it really goes for readers emotions, and from what I’ve seen everybody who has read this book has shed some tears. I think it would do good if it ever got published to paperback.

Extra quote!: “Right Person, Wrong Time.”

[thetypedwriter]

Firekeeper’s Daughter Book Review

Disclaimer: Please keep in mind that all of my in-depth reviews contain spoilers. 

Firekeeper’s Daughter Book Review by Angeline Boulley 

Well, this book review came quicker than I thought it would (which after weeks since my last published review for an actual novel that may sound absurd, but I promise it isn’t). 

There’s a lot of great things about this book and a lot of really important representation, but I also found it to be an incredible slog to trudge through. 

Firekeeper's Daughter by Angeline Boulley is the story of a girl by the name of Daunis Fontaine who finds herself stuck between two worlds: her Fontaine side, also known as her zhaaganaash or white side, and her Native side, or known as her Anishinaabe side, or even more specifically, Ojibwe side. 

The debut novel from Boulley mainly describes Daunis’ struggle between these two worlds, the important people in them, and the war within herself to follow her heart, her gut, and her mind. 

In the background of this identity struggle, or perhaps largely influenced by it, Daunis finds herself inexplicably tangled up in a secret federal investigation into a specific type of meth being produced in Michigan’s Upper Peninsula that affects people not only in her community, but other Native communities as well. 

Suddenly finding herself becoming a spy, Daunis starts to learn and keep secrets, those in regards to the investigation as well as those regarding her feelings for fellow investigator-Jamie Johnson-an undercover narcotics cop posing as the cute new highschooler in town. 

As Daunis deals with her own internal struggles, her community, her relationships, and her burgeoning romance, her past, future, and present all collide and come to a head in this new novel. 

Now. Reading this summary, you might be thinking: this book sounds awesome! Love? Undercover cops? Drugs? Mystery? It has everything. 

And you’d be right. 

When I first read the jacket cover for this novel I knew it was a book I was inevitably going to read. Everything from the gorgeous cover art, to the intriguing summary, to the representation of Native Americans, I was completely drawn in. 

Too bad I didn’t like it very much. 

I will start off by saying that I think this book is incredible in its realistic depiction of the Ojibwe experience and I know how important it is to increase representation of all kinds of people and backgrounds in literature, especially YA literature. 

Boulley did an absolutely stunning job of relaying the nitty-gritty of the Ojibwe community-the elders, the geography, the food, the stigma, the finances, the politics, the reputation, the racism, the prejudice, the community, the love, the healing, and so much more. 

I always am in awe when authors utilize the golden rule of write what you know. Per the back jacket of the novel, Boulley herself states that she is an enrolled member of the Sault Ste. Marie Tribe of Chippewa Indians and an active storyteller of the Ojibwe community. 

This is beyond incredible. Having an accurate and active portrayal of people writing and drawing from their own experiences are powerful and significant. I could taste, feel, and see how clear and how real Boulley made the novel. 

I questioned a lot of things during this read, but the Ojibwe community in Michigan’s Upper Peninsula was not one of them. From vocabulary to the extreme details depicting Sugar Island to the care and craft when talking about specific ceremonies like funerals, Boulley did an outstanding job of bringing in what she knows from her own experience and that of her community in order to breathe life into these pages. 

This was by far the best part of the novel for me. 

On the back jacket, Boulley also states that she was a former Director of the Office of Indian Education at the U.S. Department of Education. While I did not know this until a few minutes ago when I sat down to write this review, I am in no way surprised. 

The book was extremely intelligent. I could viscerally tell that Boulley knows her stuff and does her research. Everything from biology and chemistry processes and vocabulary, to mushroom identification, to legal matters like having an underage informant, politics regarding becoming a member of the Ojibwe Tribe, and due process of the law regarding FBI cases was very clear cut, very detailed, and obviously very accurate. 

I appreciated how much time and effort was put into this, even if I did find a lot of it bone dry and dull, I still could appreciate the time, effort, and knowledge to make sure that everything in the novel was precise and correct. 

That being said, it also made the book come across almost like an informational pamphlet at times, or like I was reading non-fiction. I understand being accurate, and I applaud her for that, but I don’t need or want five pages of in-book description of how one of these processes work. Just give me the bare-bones outline and I will go from there and look it up more if I so desire. 

This brings me to my first critique of this book and a large reason it was so tedious to get through: it was mind-numbingly long. 

Now. I just read a 2,000 page fanfiction not that long ago. That is long, you could argue, and you would be right. But, none of All of the Young Dudes was a bore to get through (sad, sure, but not boring), whereas whole sections of Firekeeper’s Daughter were too dragged out and too explicitly explained that I inevitably got bored and nodded off. 

The pace was too slow and too bogged down with unimportant details, like Daunis’ daily visits to the elders or her overthinking every single thing, or her making lists of all the things she doesn’t know (these are long lists). 

She often spends whole pages grieving about her Uncle David as well as her best friend Lily, and while understandable and realistic in real life, it was not fun nor productive to read about over and over and over again. 

Take for example, the very beginning of the book. It takes over 100 pages for Daunis to realize the new-boy-next-door isn’t who he says he is and that he’s actually an undercover cop here to investigate a new strain of meth and asks for her help. 

Over 100 pages of set up. 

It was so goddamn boring. 

It got better once she became involved with the investigation, but then so did the whining, the overthinking, and the reflecting. The first 100 pages could have been condensed to 20. No joke, I would have gotten the same exposition out of that I did. 

In addition, despite things taking so long or not serving a purpose, I was often confused about what was happening, which is an overall unpleasant experience. Boulley simultaneously describes everything and yet nothing at the same time.

 The reason for this discrepancy is because she often used native language to describe feelings, events, people, etc and while some of the words I learned over time, often the words left me confused or bewildered. 

I appreciate the use of native language, but it also left me with big gaps while reading or made me struggle to put pieces together as they were happening. 

The pace of the novel overall was incredibly bad. Things either took 12 years or two minutes. The actual plot to show up? 12 Years. Daunis and Jamie to fall in love classic YA style? Two minutes. Daunis to find Uncle David’s notebook? 12 years. The final confrontation of the bad guys? Two minutes. 

With any event, it either felt sluggish or way too quick and mashing these two together in one novel was disorienting and frustrating, not to mention it made me not want to read. 

Additionally, while I generally thought the plot was very interesting, who doesn’t like undercover cop stories? I thought all of the characters were very forgettable or downright shells. 

Daunis was...a textbook female character in my eyes. The way she spouted off knowledge like the periodic table to fall asleep or reciting the scientific method wasn’t cool or new, it was irritating.

To me she wasn’t real. 

She was someone’s idea of a female character who seemed cool, but wasn’t. Nothing about Daunis made me think of her as a great character. If anything, she just seemed like an empty vessel I was reading the book through, like the book was happening to me instead (cough cough Mary Sue). 

Some of you may be upset with this statement, and that’s fine, but other than her love of science, her knowledge of geography, and her ties to the community, nothing about Daunis was a real person. 

She hardly had friends, I don’t recall learning anything she liked or disliked (other than Jamie, hockey, and running) , and she was entirely surmised of the people who had left her and the identity struggle she had been born with. I don’t mean to undermine people who struggle with their identity, I know that’s important, but there is more to people than just that. 

None of the other characters are frankly worth mentioning. 

You might ask, what about Jamie? The shadowy, scarred love interest?

*Shrugs*

He’s fine. Genuinely that’s all I can say about him. We don’t even learn his real name as Jamie Johnson is a fake. All I know is that he’s got curly hair, a scar, and doesn’t know who he is. It’s hard to like a character when the character themselves have no idea of who they are. 

The other characters either die or are in the background to progress the plot along. 

To be fair, it’s a good plot. It’s intriguing, it’s mysterious, and I learned more than I ever thought I would about meth and mushrooms, but it doesn’t make up for the dead-end characters or the pacing issues. 

I didn’t hate it, but I also didn’t like it. I guess I can say that I feel indifferent about this book, although the representation of Native Americans bumps it up slightly for me from being dead average. 

The storytelling isn’t spectacular, even if the idea is promising, but if you have been searching for representation like this in YA I can see how this book would be much more impactful and important and I’m happy to have it as a part of the YA collective. 

Recommendation: At the end of the day, this novel is a true smorgasbord. I love the representation, the draws from Boulley’s real life, and the intelligence, but I didn’t see any of the characters as real people, the pacing issues made it hard to gain and keep interest going, and the dialogue often came across to me as someone's warped version of what teenager’s sound like. 

Score: 6/10

[alienheartattack]

Hii! I am also a rivamika shipper and omG I love all of your fanfictions! They are so well written and I smile whenever i read one of them. From ur fics, Im guessing rivamika is ur OTP? But- I have been so inspired by ur fics that I want to write my own Rivamika fanfictions, but my writing is nowhere near as good as urs. Do you have any tips on how I can improve?

Thank you so much for your message! It makes me so happy to know that other people enjoy my fics. There's really nothing better when you're reading a story and the feels hit and you've just got this big grin on your face, so that's the feeling I try to go for when I write.

I would say strictly based on the sheer volume of fic I've written, Rivamika is definitely my OTP. I've had other OTPs in the past but I'd never published much fanfiction for them because I tended to join fandoms well past their peak, but there's a definite theme in all of my shipping adventures: a talented but difficult man and the equally talented woman who sees through his bullshit. (I was really into House/Cuddy from House MD back before the show made them canon and then sunk the ship into the Mariana fucking Trench in like 8 episodes. Everyone, please count your blessings that Rivamika isn't canon.)

As for improving your writing... I'm going to try not to write a novel about this because I have Many Feelings About Writing. First off I would caution you not to compare yourself to other writers, but rather look at them as sources of inspiration and emulation. (Mainly I just feel weird when younger fic writers compare themselves to me, since I have an extensive background in writing and editing, I've read a ton, I studied writing in college, and during my last fandom hiatus I got into live comedy and wrote multiple sketch and variety shows as well as a whole-ass play. One of the reasons why I'm as good as I am is because I've been doing this for so long.)

The very unsexy but true answer is that good writing is born from discipline and developing your own practice. Every creative writing teacher I've had has said something along the lines of, "I cannot teach you how to write. I can give you tools and the opportunity to workshop your writing, but you have to figure out the writing process that works best for you." Some people are more productive in the morning or at night; you might write longhand, on your phone, or on a computer; you might start writing with only inspiration to guide you or you might outline extensively before you start. You have to figure out which of these methods work best for you and figure out how to schedule time to write. (Personally, I write mostly at night, I outline extensively, and I take notes on my phone whenever inspiration strikes me because I know I'm going to lose the idea unless I write it down immediately. It's taken years of trial and error to get to this point. My process is still pretty haphazard but it's what works for me.)

To write well, you have to write a whole lot of shit first. It's just a fact; my first drafts are absolute trash and I hate them a lot of the time, but I try not to get discouraged because it's just a skeleton of the final product. You're probably not going to like what you write at first, but all that means is that your skill level doesn't match your taste level yet. If you let that piece of writing sit for a while and come back to it after you've done more reading and more writing days or weeks later, you'll be able to better identify what you don't like and be able to fix it. Ideally you want to do some kind of writing every day or close to it, whether that's writing down an idea in your notes app, scribbling in a notebook on your lunch break, dedicating yourself to a practice of morning pages, or something similar. Even spacing out and thinking about your story can be productive, but only if you write down what you come up with.

Aside from discipline, being a well-rounded writer boils down to developing several core skills:

Reading: You want to read everything you can get your hands on — and I mean everything. The goal is to train yourself to identify writing that you like and to be able to explain why you like it, then employ those devices and concepts in your own writing. Even if you're only planning on writing fiction, there's still amazing writing to be found in nonfiction. (Food writing and travel writing in particular tend to be very evocative in their descriptions.) I also take inspiration from poetry for its impactful use of language. The more you read, the more ideas and stories and references you'll be aware of, and you'll be able to pull inspiration from a wider breadth of resources. If you're still in school, learning critical reading in your literature classes applies here: being able to identify themes, character traits, tropes, rhetorical and literary devices, etc. will help you develop your own preferences and taste.

Researching: I use a dictionary and thesaurus whenever I write. I have a whole folder on my computer of writing resources I've compiled over the years. I google things all the time, even really dumb stuff or basic facts just so I'm certain that I got it right. I think the old adage of "write what you know" doesn't mean that you can only write based on your life experience; rather, you can teach yourself about all kinds of subjects and write about them with a degree of certainty without having directly experienced them yourself. For example, when I write fanfiction with a Rivamika baby, I figure out what I need the kid to do (walk, say cute things, etc.) and then research infant development to see how old the child needs to be in order for these things to be realistic. I once got some feedback on Inexorable that Hana was written like a real child, which made me feel amazing because at the time I was literally never around babies. However, I was able to draw on my limited past experiences with other people's kids and my own research to portray a young toddler somewhat accurately.

Editing: It is a massively helpful skill to be able to read your own writing and approach it with a distant, critical eye. I worked on my high school and college newspapers and learned how to edit other people's writing that way. (Beta reading is a good way to practice this skill.) Being edited at the paper also taught me to stop being possessive over my own writing, even when I thought it was brilliant. Writing is about conveying ideas to another person, usually a total stranger, which means clarity is ultimately more important than adding artistic flourishes. I've also recently started using the Grammarly plugin for basic grammar stuff that I tend to forget. This also ties in with reading; the more you read, the more you'll be able to identify and replicate more effective writing, and the easier time you'll have identifying deficiencies in your own writing.

I've written enough already (I wasn't kidding about the novel) so I'll close with one last tip that is universally helpful: read your writing out loud. Most of the time, you can figure out what you want to say simply by verbalizing it or you'll realize, "Oh, no one talks like this, I would have said X in this situation" and that'll help you write more clearly and realistically.

I love talking about writing (obviously), so feel free to inbox me if you have more questions!

[the-everqueen]

why i disliked “the traitor baru cormorant”

so...recently i read Seth Dickinson’s The Traitor Baru Cormorant. i bought it thinking, Cool, an insightful fantasy series for me to get into while i wait to hear whether i passed my qualifying exams! i have some time before the semester starts! 

and then i absolutely hated it and spent every minute cataloguing what i thought Dickinson got wrong.

...uh, if you want to get the tl;dr of the liveblog i gave the gf, here’s the top three reasons i disliked this book:

1) not a fan of the “strong female character” trope

yes, Baru doesn’t sling around a sword or shoot arrows better than Anyone In The Whole World. but Dickinson IMMEDIATELY tells us (not shows, tells) that she’s good at math, she’s clever at picking apart strategic scenarios, she’s a savant. (tbh, i don’t love how he shows this, either, with the standard child-prodigy-who-catches-the-attention-of-a-powerful-adult trope.) in Dickinson’s crafted world, her math skills aren’t entirely unusual: women (for...some reason?) are stereotyped as being good at calculations, despite also being aligned with hysteria and too many emotions. this bothers me more than it’s probably supposed to, because the sexism in this novel doesn’t really seem to follow an internal logic. i guess it’s so we can have a woman as the protagonist? also...hoo boy...her “savant” characterization bothers me because...she’s heavily coded as South East Asian (...maaaybe Philippines or Native Hawaii, but as i’ll get to later, Dickinson doesn’t make a huge distinction). uh...model minority stereotypes anyone? yes, within the text, plenty of people associated with the Empire comment that it’s impressive someone of her background got into a position of power so young. at the same time, i’m sure that sounds familiar to so many Asian-identified people! the constant tightrope of being expected to perform to a certain (white, Western) standard while also being Othered. mostly this bothers me because Baru is also characterized as...a sellout for the Empire. sure, her stated goal is to undo the Empire from within, but [MAJOR SPOILERS] in the end it appears that her actual goal was to attain enough power that the Empire would let her be a benevolent dictator over her home island? and it’s only after a major PERSONAL betrayal that she revises this plan? [END SPOILERS] Baru also assimilates without much pain or sacrifice. she hardly ever thinks about her parents or her childhood home. she willingly strips herself of cultural signifiers and adapts to Empire norms (apart from being a closeted lesbian, which...yeah, i’ll get to that, too). and it’s not that Dickinson doesn’t TRY to make her a nuanced character, but...to me, it feels so painfully obvious that this is not his experience. it feels almost...voyeuristic. 

...much like his descriptions of wlw desire!

2) we get it, you read Foucault

the categories of sexual deviance are based entirely on a Western Victorian-era medical discourse around non-heterosexual forms of desire, but Dickinson ignores the network of sociocultural, religious, and historical contexts that contributed to that specific kind of discourse. he uses the terms “tribadism” and “sodomy” but those ideas CANNOT EXIST outside a Euro-American Christian context. yes, a huge part of the 19th century involved the pathologization of sexual and romantic desire (or lack thereof). but that in turn goes back to a history of medicine that relied on the “scientific method” as a means of studying and dissecting the human body--and that method in itself is a product of Enlightenment thinking. Theorist Sylvia Wynter (whomst everyone should read, imho) discusses how the Enlightenment attempted to make the Human (represented by a cisgender, heteronormative, white man) an agent of the State economy. every categorization of so-called deviance goes back to white supremacist attempts to define themselves as ‘human’ against a nonwhite, non-Christian Other. and IN TURN that was ultimately founded on anti-Black, anti-Indigenous racism. at this point it’s a meme in academic circles to mention Foucault, because so many scholars don’t go any further in engaging with his ideas or acknowledge their limits. but SERIOUSLY. Dickinson crafts the Masquerade as this psuedo-scientific empire that’s furthering erasure of native cultures, but...where did these ideas come from? who created them? what was the justification that gave them power? [MINOR SPOILER] blaming the Empire’s ideology on a handful of people behind the Mask who crafted this entire system makes me...uncomfortable, to say the least. part of what gives imperialism its power is that a lot of ordinary people buy in to its ideas, because it aligns with dominant belief systems or gives them some sense of advantage. 

also speaking of cultural erasure...

3) culture is more than set dressing

again, to reiterate: Baru does NOT think back to her childhood home for longer than a couple passing sentences at various points in the narrative. but even though the early chapters literally take place on her home island, i don’t get a sense of...lived experience. this is true of ALL of the fantasy analogues Dickinson has created in his Empire. i felt uncomfortably aware of the real world counterparts that Dickinson was drawing inspiration from. at the same time...there are basically no details to really breathe life into these various fantasy cultures. i HATE the trope of “fantasy Asia” or “fantasy Africa” or “fantasy Middle East” that’s rampant among white male sff writers. Dickinson does not get points from me for basically just expanding that to “fantasy South East Asia,” “fantasy Mongolia,” “fantasy South America,” and... “fantasy Africa,” plus some European cultures crammed in there. he’s VERY OBVIOUSLY drawing on those languages for names, but otherwise there’s no real sense of their religious practices, the nuances of their cultures, the differences between those cultures (besides physiological, which...oh god). part of that is probably supposed to be justified by “well, the Empire just erased it!!!” but that’s not an excuse imho. 

also...in making the Empire the ultimate signifier of the evils of imperialism...Dickinson kind of leans into the “noble savage” stereotype. Baru’s home island is portrayed as this idyllic environment where no one is shamed for who they love and gender doesn’t determine destiny and there are no major conflicts. (there is a minor nod to some infighting, but this is mostly a “weakness” that the Masquerade uses as an excuse to obliterate a whole tribe.) Dickinson justifies young Baru’s immediate assimilation as her attempt to figure out the Masquerade’s power from within, but given that the Masquerade presumably killed one of her dads and her mom maybe advocates a guerilla resistance...it’s weird that Baru basically abandons her family without a second thought. yeah, i get that she’s a kid when the Masquerade takes over the island, but...that’s still a hugely traumatic experience! the layers of trauma and conditioning and violence that go into this level of colonization are almost entirely externalized. 

(later it’s implied that Baru might qualify as a psychopath, and tbh that feels like an excuse for why we haven’t gotten any sense of her inner world, not to mention kind of offensive.) 

this isn’t exhaustive but...

it’s not that i don’t think white people shouldn’t ever address POC experiences in their books. just...if your entire trilogy is going to revolve around IMPERIALISM IS BAD, ACTUALLY, maybe you should contribute to the discourse that Black, Brown, and Indigenous authors have already done. reading this book made me so, so angry. i did not feel represented! i felt like i was being talked down to, both on a critical theory level AND on a craft level. there are SO MANY books by actual BIPOC and minority authors that have done this better. N.K. Jemisin’s Broken Earth Trilogy and her current Cities series. Nnedi Okorafor’s Binti trilogy. Leigh Bardugo’s Ninth House remains one of the more powerful novels i’ve read on how The System Is Out To Destroy You, That Is The Point. (Bardugo is non-practicing Spanish and Moroccan Jewish on one side of her family, and her character Alex is mixed and comes from a Jewish background!) 

...

there’s not really a point to this. i get a lot of people have raved about this book. good for them. if that’s you, no judgment. i’m not trying to argue IF YOU LIKED THIS YOU ARE PROBLEMATIC. i’m just kind of enraged that a white dude wrote about a Brown lesbian under a colonial empire and that THIS Brown lesbian under a colonial empire couldn’t even get behind the representation. also kind of annoyed that it’s the Empire of Masks and Dickinson either hasn’t read Fanon or didn’t see fit to slip in a Fanon reference, which like. missed opportunity. 

[a-long-walk-in-the-forest]

Degrees of Taurus and Naruto characters (namely Sasuke, Itachi and Naruto)

I’ve recently started reading about the meaning and significants of each degree in the birth chart and have decided to utilize my new found knowledge for the purpose of drawing a more accurate chart for Naruto characters. 

In this part I’ve focused on the third decan of taurus. I’ve mentioned before that I’m certain Naruto has something in Taurus and Itachi apparently has more than one planet in taurus. We’ve also established that Sasuke has his moon in taurus. 

I’ve got these descriptions from the first document that pops up in google when you search taurus degrees meaning.

I’ve only guessed two of Itachi’s taurus degrees, the other probably isn’t in the third decan. Also I have 2 guesses for Sasuke and I’m not sure which one is more accurate. 

If you happen to have the same placement as the one I guessed for Itachi (28-29 degrees taurus) don’t take this to heart.

20-21: maybe Itachi

related to poison

 It indicates a silent, watchful disposition, inclined to caution, method, and thrift, but liable to assaults from unexpected sources, which will overthrow many carefully designed plans. It is a degree of ANTICIPATION.

A frugal, cautious, watchful, silent and close character bearing the hallmark of individuality, a deep mind, a pitiless logic, a precise and methodic intelligence, more suited for analysis than synthesis. The native will rely but on himself, yet destiny will baffle him with gleeful spite and take a cruel delight in hitting him just where rational logic would rule out failure or even danger. The collapse of his most accurately prearranged plans will tell on the native’s temper, whose guardedness may drift into suspiciousness, and misanthropy into wickedness.

 Strategic, self-directed but perhaps egotistical Aries-Scorpio degree - certainly never content to sit, always having a plan, project or alternative waiting in the wings. Can build great accomplishments and find success if temper and lusts are kept under control, and if it can avoid “yes men” and opportunists. Desired to be admired. Sexual attractions often include great sacrifices. Infighter or revolutionary - anarchistic and opinionated. Must develop Libran traits.

A very resourceful sportsman. One whose judgment can be relied upon in estimating values.

Witnessing dispassionately the flow of time. Standing outside of all linear progression and knowing what is likely to happen here. Supremely disengaged from surface affairs, even lightly dismissive of all secondary considerations, but tuned right in to the thread of prophecy and inner vision. Granted a certain grace to follow the inner track. And serving a larger function as part shaman, part seer, and part commonsensical advisor. Salty wit, earthy and pithy, no nonsense. You know where the bones are buried. Penetrating insight. A throwback to simpler worlds. One who warns of dangers ahead, and is not amused by factions and fragments and phantoms of common assumption.

 Highly intelligent. Quick, analytical, objective mind. Clear thinking. Strives to understand the larger context, philosophical view, and underlying assumptions of any idea or concept. Interested in economics 

 Silent, methodical, and clear-sighted character. Sly enemies abound and conceal their real nature while waiting for the moment when they can successfully grab what does not belong to them, be it money or an already married person. Fortunately enough, one displays vigilance and providence, and therefore one is able to avoid the most dangerous traps. If in the natal chart, Saturn is powerful, prudence and concentration capacities are strengthened. With Mars, energy is increased, and with a Venus, kindness is enhanced. In some cases, this degree indicates gifts for occultism or, at least, above-average perceptiveness.

22-23: Sasuke (I personally think this is more likely than the other one)

can lead and inspire but can fail

It signifies one who will suffer misfortune in the height of his career and whose fall will be dangerous in proportion to the height he has attained. The native will be too apt to depend on his own powers and will essay feats which will be beyond his natural powers. Ambition will lead him into dangerous positions, and at a weak moment he will fall. Let this be taken as equally affecting his physical, moral, and social welfare. It is a degree of COLLAPSE.

A great spiritual force, a generous, passionate character whose mind, compared to a large heart, may appear limited. Faith in one’s power is excessive, hence a tendency to overreach oneself by a display of arrogance, weakness, light-headedness and foolhardiness which may head the native for a dangerous fall. This may be taken in the literal sense of bodily falls, as well as in the metaphorical one (financial, social, moral, or spiritual).

Imaginative, irascible: a symbol of individual freedom in motion - Sagittarian wanderings brought down to earth long enough to establish turf and be noticed. Master of human and animal nature. Desire for self-expression and talent to do so. Humorous, optimistic, spiritual, passionate character, which might lead to light mindedness and dangerous risks at times. May make bad choice of partners, but generally fortunate in career.

Great strength of will and if character is also indicated by other testimonies in the chart, one capable of great works. Cruelty in undeveloped types.

 Nothing to say, everything to do. The self cannot be articulated because it is far too busily pressed out into emergency mobilization twenty-four hours a day. No personal life, no personal world, no personal self. Just fantastic availability to the call, the collective vigil, entered upon willingly and selflessly. The demands and rigors of this position and stance are punishing and extreme. You are so hard-pressed, so rabidly attentive that nothing else exists. The assignment is clear, brutally so. Be on the spot at every level, maintain order, keep everything going and stay tuned to everything unusual and strange. Follow it out, keep it in your sights and make absolutely sure that you stay sober, integrity sworn and minutely diligent to hold the center and uphold the law with a steadfastness that is beyond belief, and simply true.

first half :   A deep sense of his own individuality and nobility. Devoted to family. Searches for a mature, objective, broad understanding of life.

second half:  A deep sense of his own individuality and nobility. Vital and energetic, perhaps a reforming or revolutionary spirit. Innovative.

This degree describes a reversal of fortune at the pinnacle of the career. The fall is commensurate with the social status and indicates a risk of dishonour and all kinds of losses. One relies too blindly on one's own strength and undertakes projects without having carefully assessed its assets and weaknesses. The danger of fall also applies to physical accidents, as well as moral and social matters.

23-24: Sasuke

A man, yet one greater than a man! His mission is a world mission, but present conditions will scarcely admit of such a development.  

It signifies one who will take his course through useless tracks, and by too much trust in others will suffer depletion. Yea, though all has life long he may minister to the wants of others, yet, in his advancing years, he will be abandoned to the mercy of wayfaring and deceitful men. This illustrates virtue misapplied. It as a degree of DECLINE.  

 Assuming as we did that no degree of the zodiac can convey any meaning if not looked at in the light of the horoscope as a whole, this rule does not fit any degree so thoroughly as this fifty-fourth degree which has something mysterious, or transcendent, in itself. Should the rest of the pattern be of a spiritual nature, an intense but hidden inner life would be the result. If the other features concur into a majestic picture, the native may have been assigned a mission reaching beyond his country and his age. “At the limit,” to borrow a mathematical expression; that is, in such a cosmically vast and sublime horoscope as can be drawn in the heavens only once in mankind’s history, this degree becomes one among many other components from which, written in star characters; the announcement of the Redemptor’s birth was given.

Daring Leo degree may have a mission from God, or a self-appointed one - or some karmic feeling it must follow. Guilt or ecclesiastical upbringing may create humility or piety, appearing naive, but faithful and a Samaritan - and not likely to do much to insure its own protection or growth. Self- conscious, nervous, superstitious, but goodhearted and blissful-usually. Dedicated and warm, but must not be over-loving ruthless or over-protective. 

One who serves and is inclined to be servile. A patient worker who should free himself from the thralldom of others and develop his latent ability.

 Thematic worlds coming round again just as before, just like always. The highest and the best, maintained and sustained beautifully, impeccably, superlatively. Knowing inside that what counts, what is essential, is to abide, to be. You are a vast world unto yourself, an extraordinary network of intersecting dynamics. But the witness consciousness is blissfully sitting back in a restful perch, letting everything go by. And in the very center of this dispassion and wakeful scrutinizing, one indwells a Buddha realization attained by hard work in many lives and now being your innermost identity in an identity less way.

Very particular and precise. May be easily irritated when things are not just right. Creative intelligence, capable of original ideas and novel projects.

Generous, helpful, and gullible character. Misplaced confidence results in sufferings and disappointments. One generously shares everything one possesses with less fortunate people. However, on must spare enough resources for oneself, otherwise, one is in danger of falling into the dire poverty which one has helped other people out of. In such a case, no one will come up to lend a helping hand. This degree indicates ingratitude and unrewarded qualities. There may also be eye problems.

24-25: Naruto

This denotes a very mysterious character. Whilst living among men, a stranger to men. He has a life of his own, a world of his own, he is content to live and die unknown (never showing his true self).

It indicates a powerful and haughty nature; one who is disposed to justify himself by force of arms rather than by intrinsic merit. Such a person will make many his servants but few his friends and in the end his state will be a pitiable as that of a dying lion. It is a degree of PRIDE.

The subject’s inner world will stay closed and unknown to all. Yet this is no cowardly nature, rather an arrogant one; the native is innerly proud, haughty, overbearing, but not vain. As he is spiritually isolated among his fellow beings, he will have justice done to himself, if necessary, by having recourse to arms. As he is misunderstood, he will endeavor to have his own way even by resorting to violence; as long as his strength does not fail him, he will see subdued servants around himself, never friends.

Stately Leo and serious-natured Capricorn furnish this degree with cold spirituality, pride, perhaps haughtiness. Arrogant, but with a firm desire to achieve goals and dominate its sphere, hopefully with justice and mercy. Helped by earthly features and mannerisms. Bound by family ties and genealogy; may take up arms of face violence, or may be mean and cruel. Religious dogma- dictatorial. Should be aware of the practical welfare of all people.

 One with great mental strength but whose power and ability will be acknowledged only by few. Too advanced for popular acceptance.

The inward image and the outward reflection are worlds apart. Building up inside to a state of being that carries immense challenges. You see your own personal nature as an objective universal force to be reckoned with, and persist in seeing egocentrically. Preferring massively your own company, contained within yourself, imaginatively self-enchanted. Yet also capable of radical turnabouts and rebirths. Awakenings false and true, great and small. Knowing yourself to be somebody special. Self-consciousness enshrined. A dead-end or a path, oblivious or realizing the way of things, getting out of the way or being squarely in the way. Self-importance and its overcoming.

Good sense of balance, tact, sophistication, and harmony in his work and life generally. Progressive, enterprising, active. A good worker in any business or organization. 

Assertive, combative, and haughty character endowed with leadership abilities. One prefers forceful means to dialogue and arouses much hatred. One makes the difference between one's few genuine friends and all the numerous flatterers. This degree indicates a risk of violent death or suicide, especially if in the natal chart, it is in conjunction with the Ascendant, the Sun or the Moon, or the ruler of the 8th House. In conjunction with the Part of Fortune, there may be seizure or confiscation of assets."

28-29: Itachi

associated with eye problems

It signifies a tyrant, who takes delight in power apart from its uses, and whose opinions are bigoted and selfish. To rule, without regard to qualifications, is the passing ambition of one born under this degree. Death, which frees the slave, will bind the hands of a tyrant in irons forged from his own heart. It is a degree of DESPOTISM. 

Commercial, Venusian, fashion and possession flaunting degree due to Libra here better for females - causes grief for males. Gifted with beauty, believed more than it should - can pick and choose partners and mate who are subjects and followers. Always “right” in its own world, and therefore an unconscious danger to others, apt to take them down paths best left for the foolish, Danger of addictions, Magnetic and proud; good organizer and able administrator.

Too many divergent interest brings a life of confusion. The development of the will is necessary and will bring success in property ownership and development.

Tyrannical, selfish, and fanatic character. There is a strong propensity for debauchery and sexual perversions. One imposes one's narrow-minded ideas to members of the family, friends, and employees, which arouses much hatred. Sooner or later, slaves are freed, and the despot is overthrown. If in the natal chart, the Moon is waxing and in conjunction with this degree, the constellation of the Pleiades promises high social status, fame, and honours, but it also warns against accidents affecting the face, impaired sight, or violent death.

Crystallized imagination. The inside of the inside remembered and evoked whimsically. There is no form, no pattern, no binding reality. Dreaming the world into being from a greatly bemused stance-- other. Twinkling observer-witness consciousness. Off on tangents that call, a life, a cycle, a realm set aside for inventive play without boundaries. You feel exultant in the freedom. Swept away beautifully. Answerable to nobody and nothing except the muse.

 Intelligent, original, energetic, self-reliant. Honest and straightforward, sometimes tactless and blunt. 

[ellie-mnop]

Hi everyone! I just finished the 100 Days Of Languages challenge and I wanted to do something new afterwards, so I came up with a challenge of my own! I’m calling this the Checkerboard Challenge because it’s an 8x8 grid. Along the top there are eight language-related skills, and on the side there are eight modes of learning, so each box contains a way to study a particular skill using a particular mode. I wanted to do that because exposing yourself to the same information in different contexts is so helpful for learning and I wanted to apply that to how I study Portuguese. The result is a list of 64 different ways to study languages, 71 if you include the alternate options listed below, each one versatile enough to be repeated as often as you want using different topics or resources and hopefully interesting and useful for your learning.

Ways To Use This Challenge

Complete all of the challenges on the table, in whatever order you want.

Choose a particular skill you’d like to work on. Complete all of the challenges in that column.

Choose a particular method of learning that works well for you. Complete all of the challenges in that row.

Use dice or a random number generator to pick a challenge to do every day, and see how long it takes you to get bingo or connect four or something.

Choose whichever of the challenges sound useful to you and incorporate them into your regular studying routine.

There’s no obligation to post anything you make; even when I say to record yourself doing something, that can just be for your own future reference. (It’s recommended for the collaborative tasks that focus on creating resources that would be useful to other learners or interacting on social media, but even then you can just write the posts/comments and not post them if you prefer) However, I would love to see anything you do want to share, or any updates on your progress, so you can post anything like that with the tag “checkerboard challenge” which is also where I will be posting the tasks I complete.

The tasks are listed below, with more detail than what would fit in the boxes.

Reading

(Visual) Read a comic book, comic strip, or webcomic in your target language. Depending on your skill level and  the amount of time you have, you can choose anything from a single strip of a  newspaper comic to a full-length graphic novel

(Auditory) Read along with a chapter of an audiobook, or another piece of writing with accompanying audio. Some language learning websites have articles with recordings of native speakers  reading them. If you want, or if you can’t find anything else, you could even  use a song and its lyrics.

(Hands-On) Option 1: Play a video game in your target language. This can be a computer or console game, or an app on your phone or even a  little browser game. Check the language options on games you already have to  see if your target language is available, or if not, many free games have lots of language options. / Option 2: Read and follow a recipe or another  set  of instructions, such as an art/craft tutorial, the rules to a board or card game, a DIY project or a magic trick.

(Logical) Solve ��riddles or logic puzzles in your target language. (Alternate:  Read a short mystery story such as a minute mystery (or something longer if  you prefer) and see if you can solve it before the characters do.)

(Collaborative) Talk by text chat with someone else learning your target language, or a native speaker learning your language.

(Read/Write) Read an article or a chapter of a book  (or the whole thing) in your target language. It can be about any topic, and can be a children’s or adult’s book depending on your skill level and preference.

(Personal) Find and read a translation of a piece of writing that’s important to you, such as your favorite book as a kid that you feel nostalgic for, or a poem  that resonates with you.

(Creative) Read story in your target language and illustrate what happens. The quality of the drawing isn’t important unless you want it to be; the important thing is to help you process what you’re reading.

Writing

(Visual) Choose a photo, either at random from a generator or by choice on a website like Unsplash, and describe it in as much detail as  you can. Your description can focus just on describing visible details in the image, or you can make up contexts for and stories around the things you see, whichever you prefer. (Alternate: Do this with a physical object nearby instead of a photo.)

(Auditory) Try writing simple poems, focusing on the auditory features of what you’re writing such as rhyme and rhythm. You can use a rhyme dictionary to expand your vocabulary in an interesting  way while you’re working on this. It’s not necessary to worry too much about  the artistic quality of the poems unless you want to.

(Hands-On) Write instructions for how to do something you know how to do, such as recipe, a life skill, a game  or sport, an art of craft project, or even your method of language learning.

(Logical) Create a persuasive piece of writing that logically argues a point. It doesn’t have to be about a serious or controversial topic. For example, you can defend your prediction for the next season of your favorite show, or what would happen if some fantasy or sci-fi concept were real (maybe a good  way to practice the conditional tense if you’re studying a language that has one), or why your best friend is awesome.

(Collaborative) Use  a language learning social media app like HelloTalk. Comment on posts and  make your own.

(Read/Write) Write a summary of something you’ve read in your target language. You can either read in your native language and summarize in your target language, or do both parts in your target language.

(Personal) Write a journal entry in your target language, talking about how your day or week has been or what you are thinking and feeling. (Alternate: Write about one of your memories.)

(Creative) Write a small story in your target language. It can be about whatever you want, and it doesn’t have to be very long or detailed. You can (option 1) write it as prose, which could be better to practice description and narration or to focus on a particular verb tense, or in (option 2) a script style which could be better to practice conversational language.

Listening

(Visual) Watch a video with narration that describes it, such as a nature documentary, an instructional  video such as a cooking video, or a video reviewing something.

(Auditory) Find an online stream of a radio station. Pay attention to both the music and what the announcers say.

(Hands-On) Watch a video demonstrating a craft project, recipe or other task and follow the instructions.

(Logical) Watch or listen to a mystery story and try to solve it before the characters do. This can be a whole movie or novel-length audiobook if you want, but it doesn’t have to be; even an  episode of something like Scooby Doo should work.

(Collaborative) Exchange audio with someone else learning your target language, or a native speaker learning your language.

(Read/Write) Watch a video or listen to a piece of audio and take notes on what you learn.

(Personal) Watch a dub of a piece of media you are familiar with, such as your favorite childhood movie.

(Creative) Option 1: Listen to a story or other piece of audio and  illustrate it. / Option 2: Listen to a song and make up a new verse.

Speaking

(Visual) Make a video of yourself showing something and talking about it, for  example a tour of your home or neighborhood, a review of something, or a video about your pet.

(Auditory) Listen to a piece of audio and try to repeat what you hear. You don’t have to pause  after every word and repeat it, it’s probably better to go at least sentence  by sentence or with parts even longer so you can keep things in context.

(Hands-On) Explain to someone, or record yourself explaining, how to do something, possibly while demonstrating.

(Logical) Record  yourself explaining, and possibly demonstrating, how something works, such as a science concept.

(Collaborative) Record yourself explaining a concept you’re learning, like a grammar topic or how to use a particular word.

(Read/Write) Read out loud and record yourself.

(Personal) Make a recording of yourself talking about something that’s important to you  or a memory or anecdote you have. (Alternate: Make a vlog entry (even if you don’t have a vlog to put it on) talking about your day.)

(Creative) Record yourself telling a story, or tell one in person to someone.

Vocabulary (Most of these, with the exception of the first two, can be done with any vocabulary list you want.)

(Visual) Choose a page from a visual dictionary to study. One way you can do this is by studying the words and then covering  the labels with sticky notes or whiting them out on a copy and trying to fill in the blanks.

(Auditory) Choose  a song in your target language, and look up and study any unfamiliar words in it.

(Hands-On) Option 1: Use your vocabulary list as a scavenger hunt list. This works well if you have a lot of nouns and adjectives on the list. For everyday household items, you can look for the literal items on the list, while if they’re more obscure you can look for pictures or other representations of them. / Option 2: Act out the words on your list. This works well for verbs and adverbs, as well as more abstract  nouns or adjectives like emotions. You can record video of yourself doing this and later look back at the video to try to guess the words.

(Logical) Option 1: Make a crossword puzzle using your vocab list. If you write the words and clues, there are tools online that will build the puzzle itself for you, or you can do that by hand on graph paper if you prefer. You can either wait a while and then solve your own puzzle to see how much you remember, or give it to another language learner to solve an ask them to make one for you to solve. / Option 2: Look into the etymological history of the words to find out why they mean what they mean and whether they have any connections to words in your own language.

(Collaborative) Create a vocab list post around a theme, including words you are studying as well as any related words you already know. Include any resources that you think  would be useful to someone using the list, such as sample sentences, pictures, or whatever else you want.

(Read/Write) Try to write a small story or other piece of writing using as many of your vocab words as you can.

(Personal) Write  a sentence about what you think of each thing on your vocabulary list.

(Creative) Try to write an interesting sentence using each word on your vocabulary list. (Alternate: Illustrate each word on your vocabulary list. You can do this on index cards if you want, to make illustrated flash cards.)

Grammar

(Visual) Create a color or shape coded system to classify a concept like verb tenses or noun gender. For example, you can read  through a piece of text and highlight all of the verbs using a different color for each tense, or you can make flash cards with your vocabulary words and mark them with different symbols depending on the gender.

(Auditory) Grammar is a common topic for educational songs. Find a one intended for kids who speak your target language.

(Hands-On) Using words on sticky notes or index cards, build sentences that demonstrate grammatical concepts. If you have access to some of those little word magnets in your target language, those would probably work great for this, but if not (and I know I don’t) you can write various words, affixes, etc. on index cards or sticky notes, or use your existing flashcards if you have them.

(Logical) Create a table, chart, or diagram of a grammatical concept you’re studying.

(Collaborative) Write a post explaining a grammar topic you are learning.

(Read/Write) Read through a text, to find (and maybe highlight, circle, etc.) examples of a grammatical concept, then write more examples.

(Personal) Write about a part of your life that corresponds to the grammar topic you are studying. For example, for the future  tense, you can write about your plans or hopes.

(Creative) Write a small story relying on the grammatical concept you’re studying.

Pronunciation

(Visual) Look up diagrams of how to pronounce sounds you struggle with. These can be found as images or in an animated form in YouTube videos, and usually show what your tongue, teeth, etc. are supposed to be doing when you pronounce the sound.

(Auditory) Find a recording of a native speaker, record yourself saying the same thing, and listen for differences.

(Hands-On) Try to pronounce some tongue twisters or other pronunciation-based challenges.

(Logical) Try  learning the linguistic names of sounds you work with, and look into how they  compare to other sounds. Wikipedia has articles about the different sounds that can exist in languages and tables showing how they are used in various languages.

(Collaborative) Record yourself reading something that contains sounds you struggle with and post it for feedback, possibly on an app like HelloTalk.

(Read/Write) Look  at the written IPA pronunciations (these can be found on Wiktionary) of words you learn and look up what the symbols mean.

(Personal) Sing along to songs you like in the language, especially (for the personal category) nostalgic ones or ones meaningful to you.

(Creative) Write a tongue twister using words that are difficult for you to pronounce and practice saying it.

Cultural Context

(Visual) Explore a museum website in your target language. The museum should be located somewhere where your target language is spoken, but it up to you whether you want to look at an art museum, a science or history museum, or something else. Look at the exhibits and read the descriptions.

(Auditory) Create a playlist with traditional, classic and modern songs in various genres that either were invented in or popular in a place where your target language is spoken. Ideally using resources in your  target language, learn about the songs and genres.

(Hands-On) Using  resources in your target language, learn how to do or make something from a culture that speaks it. For example, you can look up a recipe, a tutorial for a dance style, the rules to a game, or how to make an art or craft project. (Make sure the thing you pick is being openly shared by  members of the culture it came from.)

(Logical) In your target language, learn about a scientist / inventor / etc. from somewhere the language is  spoken. Learn about their work, with explanations of what they invented or discovered, and if you want, find out other information about their life too.

(Collaborative) Comment  on or otherwise interact with the blog/YouTube channel/etc. of a native speaker,  after you read or watch it, of course. (You don’t need to receive a reply to check off this box, because that part is not under your control.)

(Read/Write) Try reading a significant work of (children’s or adult) literature in your target language.

(Personal) Learn about something relevant to your job/hobby from where your target language is spoken, using resources in the language.

(Creative) Read  about artistic or literary themes,  movements or eras where the language is spoken, and  create something (it can be something  simple) using those concepts.

[Image: The title “Language Learning Checkerboard Challenge” above a purple 8x8 table. The information contained in the table is repeated above.]

[qm-vox]

Let The World Never Falter - Playing Paladins in D&D

(Pictured: Anastasia Luxan, Knight of the Tainted Cup, one of only two people in her friend group that are not evil-aligned. Her wife Aisling is not the other good-aligned person. Characters are from my novel Mourners: Scum of Shatterdown; art credit goes to J.D)

Paladins are one of Dungeons and Dragons’ most striking, and most controversial, character classes. Few character classes and character concepts capture the imagination as quickly or start arguments of such ferocity. I’ve been in this game awhile - I remember when D&D 3e was released - and paladins have been one of my most loved and most hated parts of D&D and its legacy systems that entire time. So here I am again, about to write a long-ass article offerin’ my perspective on paladins through the ages (hopefully highlighting the strongest parts of each vision of them), talk about their pitfalls and problematic elements, and offer some advice on bringing your own paladin to life.

While this article draws on my long experience with D&D and will be citing specific sources, it would not be possible without the help of some other people in my life. I mention Afroakuma a lot in the context of D&D, and our friendship has once again been invaluable here. @a-world-unmasked , also one of my oldest friends, has long been a source of ethical discussion and debate, especially about thorny questions of justice & mercy, amends, redemption, and punishment, and provided information on D&D 4e’s paladins and paladin-like classes. SSG Jacob Karpel, United States Army, brought a Jewish perspective on paladins and their themes into my life and has borne questions of faith, dogma, and tradition with remarkable enthusiasm and patience. @swiftactionrecovery provided further perspective on D&D 4e, and her current paladin (”paladin”; it’s complicated), Aurora, is a great example of a non-traditional take that is at the same time very on-brand. Emerald has long provided the service of beating my ass when I start getting stupid about my own values and beliefs, and @ahr42p‘s fascination with fantasy ethics has informed a lot of my own thoughts on the same. None of this would be possible without you folks.

This article’s title is drawn from Maverick Hunter Quest, written by Cain Labs & Hunter Command. It appears as the motto of the 10th Urban Unit; dedicated soldiers whose specialty was preserving lives, preventing collateral damage, and steering disasters away from the innocent.

None of my articles are quite complete without Content Warnings; the following will contain mentions and descriptions of violence (including state-sanctioned violence such as executions), mentions of high crimes such as slavery and forced conversion, discussion of religion in both fictional and non-fictional contexts, and discussion of fascism and fascist ideology. It is also the end result of more than 20 years of both passionate love for paladins and equally passionate hatred of the same. If you’re wondering what some of that has to do with paladins...well, you’re in for a ride.

So, without further ado, let’s get into...

The Order Of The Kitchen Table - Paladins Through D&D’s History

I hope you like walls of text because I am about to fuck you up with some.

D&D and Pathfinder have a long history with paladins, and they’ve changed a lot through the ages. The following is an overview of the different editions of paladins, what each introduced, and their strengths & weaknesses as a vision of paladinhood. Though the advice in this article is weighted towards 3.PF and 5e, it should in theory be applicable to any of these editions; I should also note that while Pathfinder 2e has its own version of paladins, I am not familiar enough with its vision of paladins to be able to speak on it in good faith. Let’s start with the oldest first, shall we?

AD&D 1e & 2e: Rise A Knight - 1e and 2e were fucking wild. The original incarnation of the paladin showed up as a sub-class of the cavalier, a warrior-group class which had an aura of courage, rode a horse, and had other ‘knightly’ abilities. Paladins had to be a cut above and beyond cavaliers, but unless they also violated the code of the cavaliers in addition to the paladin code, they would become cavaliers when they Fell rather than fighters, which was a bit of a better spot to be in. These paladins were very specifically part of the military arm of a feudal state, with all that entails, and had restrictions on what they could wear and what weapons they could use that were rooted in their social status. In point of fact, in 1e? Paladins couldn’t use missile weapons at all; bows, crossbows, and their kin were for “peasants”. These paladins had to tithe 10% of all income to a ‘worthy’ institution (usually a Lawful Good church of some kind, but other examples include hospitals, charitable initiatives, orphanages, and monasteries), had sharp limits on how many magical items they could own & of what kind, and were beholden to a strict code of conduct rooted in medieval feudalism & romantic ideals of chivalry. While the very original paladin had many of the iconic powers associated with them today (laying on hands, curing disease, an affinity for holy swords), it was not until AD&D 1e proper that paladins developed the ability to cast spells for themselves.

AD&D 2e’s vision of paladins was similar in many ways; they had the same powers, similar ability score requirements, and were similarly rare and elite. They had wealth limits, had to tithe from their income, could only own certain numbers and kinds of magical items, and had to be of Lawful Good alignment. Where things get interestingly different here is who becomes a paladin, and why. In both editions, only humans could be paladins, but where 1e required paladins to be drawn from or else become nobility (because they were derived from cavalier, which was all about status), 2e opened up many origins for paladins. The majority of these can be found in The Complete Paladin’s Handbook, just under 130 pages of nothing but paladins. Reading that book is a fucking trip; it was published in 1994, and while I am not gonna pretend that it’s woke or unproblematic, it has some stunningly modern takes. Do you expect to open up an old D&D supplement about paladins and find it defending poly relationships as valid? NEITHER DID I.

It’s important to note that in both of these editions, paladins lacked magical avenues of attack entirely; Smite Evil was a later invention, and paladin spells, in addition to coming online late in their career (9th level), were sharply restricted to a specific list that included no offensive magic whatsoever. Therefore, any paladin origin had to explain from whence one’s martial skills came, since you are in many ways a warrior more than anything else. There’s some expected ones; religious patronage, which ignores social status but requires an organized church that’s permitted to raise men under arms. Government sponsorship, generally conducted in urban areas where you can actually retain recruiters. Inherited title, if you wanna run a paladin that really hates Mom for forcing them into this. Mentors, for running paladins that are just straight-up shonen protagonists, and my personal favorite, DIVINE INTERVENTION, where one day your god starts talking to you but instead of filling your soul with martial skill she makes you sew training weights into your clothes and miraculously makes a bear live in your house so you can learn courage. It’s fucking amazing.

From those origins, anyone who manages to swear their oath and become invested with the power is essentially part of the nobility from then on; paladinhood marks them as an exemplar of noble ideals, which even in a non-romanticized culture sorta grabs the bluebloods by the short hairs. It’s a bit hard to argue divine right if you try to throw the embodiment of your supposed ideals out of your house. Since these paladins were often, though not necessarily, members of militant organizations they were generally expected to have superiors to whom they answer, a chain of command of which they are part, and to eventually construct a stronghold of some kind and put its services at the disposal of that organization in addition to utilizing it to serve the needy and defend the weak. 2e was a lawless and strange time in D&D, in which building such a stronghold and hiring followers was a class feature of warrior-group classes, and one of the paladin’s key benefits was the opportunity, but not the promise, to acquire some manner of holy sword, which which she gained powerful protections against evil that let her stand toe-to-toe with powerful spellcasters.

Tying all of this together was an in-depth exploration of the most complex and probably the most nuanced code published for paladins in any edition. Though the default was a rigid and inflexible code which defined acceptable behavior, associations, and even employees for the paladin, The Complete Paladin’s Handbook introduced an alternate method of handling code violations that ranked infractions by their severity & intent, and assigned penalties accordingly. Was it perfect? No. Not even a little. The Code was, is, and probably forever will be the most trash part of paladin. But it was a damn sight better than basically any incarnation before it, and most of them after. This code was broken down into (in order of importance), Strictures, Edicts, and Virtues. Strictures are the things a paladin must do and have simply to be a paladin; they must be Lawful Good, they must tithe to a worthy institution, they must abide by their wealth limits, and they must not associate (here meaning ‘serve, be friends with, or knowingly hire’) with evil people. Edicts are the commands of those to whom the paladin is sworn to obey; often this will be a church, a government, or both, but a paladin might instead or also swear to obey edicts given by their family, their mentor, their secular philosophy, or even their wider culture. Military commands and orders are edicts, but so are daily practices such as keeping a kosher diet, maintaining a family burial ground, or obeying a system of formal etiquette. A paladin freely chooses the source of her edicts, but once she’s sworn to obey she cannot selectively turn down a given edict unless it would conflict with one of her Strictures (for instance, if her king orders her to beat a helpless prisoner) or with a ‘higher’ source of Edicts (in general, a paladins religion or philosophy takes precedence over her liege or mentor, who in turn takes precedence over family or culture).

Virtues are where we get real interesting. Lemme quote The Complete Paladin’s Handbook, page 32:

Virtues are traits exemplifying the highest standards of morality, decency, and duty. They comprise the paladin’s personal code. Although not specifically detailed in the PH definition of a paladin, a paladin’s virtues are implied by his strictures as well as his outlook, role, and personality. Just as a paladin must obey his strictures, he must also remain true to his virtues.

Though most paladins adhere to all of the virtues described below, exceptions are possible. For instance, a paladin from a primitive society may be so unfamiliar with civilized etiquette that including courtesy as part of his ethos would be unreasonable. All adjustments must be cleared by the DM at the outset of a paladin’s career.

No system was attached to virtue ‘violations’, because they weren’t oaths to keep as such. Rather, virtues represented commitments to a paladin’s ideals and worldviews; they were the behaviors and values which someone serious about being a paladin would live by because that’s the kind of person they are. They were very Christian and very European in nature, tied up in Catholic ideas of knighthood from which paladins as a class were originally drawn, but there’s definitely a point to be made here. If you don’t walk your talk, can you call yourself a paragon? We’re gonna get into this specific topic more later in the article, when I start discussing other the virtues extolled by other kinds of warriors, but the ones listed and expanded on in this book are as follows:

Fealty - A paladin swears loyalty and service to, at minimum, a faith or philosophy that is lawful good in nature. This forms the foundation of her convictions and informs the kind of good she tries to do in the world. A paladin remains conscious of the fact that she is seen as an embodiment of those ideals, takes joy in her service, and pays respect to those to whom she has sworn her troth. Notably, this is not classic feudal fealty; a paladin swears service to institutions, not people, with some exceptions (generally in the form of paladins who swear fealty to their mentors).

Courtesy - Paladins strive to show respect by following social customs, being polite and well-mannered, and treating even enemies with dignity. A paladin responds to insults with grace, considers the feelings of others, and does not stoop to insults or slander. Remember the Kingsmen gentleman rules? That. This is just that.

Honesty - A paladin speaks the truth as she knows it. She is free to withhold information (especially from enemies), and may state that she would prefer not to answer when asked questions - or that she is ordered, enjoined, or otherwise required not to answer, if that is the truth - but does not intentionally mislead or deceive others. If you ask your paladin friend a question and they say they would rather not answer, think real hard about how bad you want their opinion.

Valor - Paladins display courage in battle. Given a choice between many enemies, a paladin chooses the most dangerous. If someone has to take a risk to defend the innocent, cover a retreat, or ensure the success of the mission, the paladin volunteers for that risk. A paladin only retreats from battle to fulfill a higher part of her ethos.

Honor - A paladin conducts herself with integrity even when no one is watching or when it is of no benefit to herself. She shows mercy, refuses to inflict undue suffering even on such wretched beings as demons, does not cheat or cut corners, and does not compromise her principles. The description of the virtue of honor contains the rawest line in the entire book: “It is an admirable act to comfort a dying friend, but an act of honor to comfort a dying enemy.”

The above are the ‘universal’ virtues a paladin is meant to embody. The book briefly touches on the idea that a paladin might also choose to uphold other virtues and work them into her Code of Ennoblement, the ceremony by which she is invested with the power of a paladin...or isn’t. The sample ‘bonus’ virtues provided are humility, chastity, celibacy, and my absolute favorite, industry, in which you swear to have no chill at all, ever, until the day you finally die, and instead spend all of your waking moments in some effort of self-improvement or work such as reading, building houses for the needy, repairing tools & equipment, and otherwise being completely incompetent in the art of self-care. It’s great, I absolutely love it.

Together, this code and the paladin’s abilities present a vision of classical knighthood, something like, oh...

https://www.youtube.com/watch?v=35GUTY_Gr14

That. A defender and paragon of medieval virtues, who lives to help others.

“Alright Vox, surely you’re reaching the end of AD&D 2e now?” you ask. “We’ve been through the mechanics, we’ve been through the vision of paladins as members of feudal states who are figuratively and legally ennobled by righteousness, we’ve even gone into more detail about the code than was strictly necessary. 3e time right?” AFRAID NOT, MY WILD RIDE DOES NOT END. AD&D 2e didn’t have feats, didn’t really have spell selection in this context, and while it had a sort of skill system (the Proficiency system, greatly utilized and suggested by The Complete Paladin’s Handbook) that was hardly a way to make one paladin feel mechanically distinct from others. So how did players do that? Ability score rolls and loot drops?

Nope! We had Kits.

Kits modify a class or multiclass combo (not relevant to this article, but as a f’rinstance, the original Bladesinger was an elf-only Fighter/Mage kit found in The Complete Book of Elves); they give it additional features and additional restrictions. They could, but did not always, have ability score requirements above and beyond the typical ones for their class, and they might also have backstory or roleplaying requirements. A kit might who your character is in the society of the game world, the abilities they brought to the adventuring party, or both. Like Pathfinder’s Archetypes, some kits would strip abilities from the standard class, but not all of them did so.

So what did paladin kits do? In short, they changed the kind of knight you were. An Errant, for instance, is kept on a long leash by their liege and does not often have to fulfill edicts - but in exchange, she’s on her own and cannot expect funding from the state. Ghosthunters, who specialize in the destruction of the undead, gain the power to dispel evil, immunity to paralysis, turn undead just as well as a cleric does, and get access to a holy sword a minimum of 2 levels earlier - but they can’t lay hands, cure disease, cast priest spells, or enjoy immunity to disease. Inquisitors (I know) are paladins who see magic as a good and benevolent force, which is corrupted - profaned, even - by the practice of evil magic; they’re similar to ghosthunters in a lot of ways, but also represent an organized philosophy. The Complete Paladin’s Handbook has 22 pages of kits for standard paladin alone, which you can mix and match to create your own unique take on the concept, plus information on “demi-paladins” - non-human fighter/clerics who slowly gain paladin powers in addition to their own. This was back in the day when certain races just could not be good at certain classes due to level restrictions or being unable to take those classes in the first place, but here was the first glimmer of D&D confronting some of its own bullshit; before this book, the implication was that no non-human race was moral enough to be a paladin.

There’s so much more in this book but I’m not gonna get into all of it or this article’s just gonna be a review of one supplement; if you can get your hands on a PDF or even a hard copy, I highly suggest it as a read. It’s not that I endorse its vision for paladins as being the best or as being objectively correct, because I don’t; the potential of paladins is much broader than this narrow vision of Christian feudalism. It’s that no other book, before or after, has paid such loving attention to who paladins are in the game world, including thought given to details like their mortality rate (paladins that manage to survive to 40 are forcibly retired in the hopes that they can teach the youngbloods to do the same), the economics of knighthood, meta-commentary about how the class’s aesthetic and presentation is built to enhance themes about the game and the setting, and even a chapter on weaving faith into your game world and thinking about your paladin’s relationship to her own. The great strength of AD&D 2e’s paladins is that they, more than any others, have this loving care devoted to them that makes them feel like a real part of the worlds in which they live, and their great weakness is a vision that is more narrow than it wanted to be. You can see the author grasping for something broader, something more inclusive, only for it to slip between his fingers.

D&D 3.5: Up From The Gutter - Ah, D&D 3.5, the demon that will not die. This game spawned a million spin-offs and heartbreakers, love for it contributed to the rise of Pathfinder, and it remains incredibly popular and played. It’s also garbage, but c’est la vie, c’est la morte. Its vision of paladin is not as detailed as AD&D 2e’s was, and its main innovations were mechanical in nature. However, 3.5 did offer some in-depth explorations on what it means to be Good-aligned that previous editions did not, and given the context that’s about to be important to talk about.

3.5′s vision of paladin mechanics was remarkably similar to 2e’s, with the most notable change being race selection (anyone can now be a paladin as long as they’re Lawful Good) and the addition of Smite Evil, which can be used a certain number of times per day to gain more accuracy and damage when attacking evil-aligned creatures. Paladins are still warriors, they still cure disease, lay on hands, detect evil, and own a horse; in other words, they barely changed. Unfortunately, the game changed, and this left paladins high and dry. I’m not gonna mince words: for most of 3.5′s run, paladins lagged so far behind in terms of combat prowess, skill selection, and general utility that they were essentially unplayable, including and in some ways especially against classic foes such as demons and dragons.

I’m not gonna get into why, because that is a separate and much angrier article that will spark a lot of controversy due to people who run their ignorant mouths like they know what the fuck they’re talking about, not that I’m bitter. The relevant part of this is that over 3.5′s run, paladin did in fact slowly improve. The Serenity feat, published in Dragon 306, (and much more easily available to you in Dragon Compendium) helped clean up the dizzying amount of attributes upon which they were dependent. Battle Blessing (Champions of Valor) made it easier to incorporate their native spellcasting into their play (though nothing ever quite solved their sharply limited spell slots), and Sword of the Arcane Order (Champions of Valor again) both opened up an alternate vision of paladins as a different kind of magical knight & offered broader utility in paladin’s spell list. The Prestige Paladin in Unearthed Arcana converted paladin from a base class to a prestige class, which let you build it off of more mechanically viable classes - further enhancing your ability to customize your paladin, especially since as a PrC you could stop taking Prestige Paladin at any time you felt you were sufficiently knightly. Access to these and other options eventually made paladin, if not good, at least viable, able to be played in most campaigns and pre-made adventures without undue worry or getting chumped out of basic encounters.

In all of their forms, these paladins still had a code. Observe:

Code of Conduct

A paladin must be of lawful good alignment and loses all class abilities if she ever willingly commits an evil act.

Additionally, a paladin’s code requires that she respect legitimate authority, act with honor (not lying, not cheating, not using poison, and so forth), help those in need (provided they do not use the help for evil or chaotic ends), and punish those who harm or threaten innocents.

Associates

While she may adventure with characters of any good or neutral alignment, a paladin will never knowingly associate with evil characters, nor will she continue an association with someone who consistently offends her moral code. A paladin may accept only henchmen, followers, or cohorts who are lawful good.

Ex-Paladins

A paladin who ceases to be lawful good, who willfully commits an evil act, or who grossly violates the code of conduct loses all paladin spells and abilities (including the service of the paladin’s mount, but not weapon, armor, and shield proficiencies). She may not progress any farther in levels as a paladin. She regains her abilities and advancement potential if she atones for her violations (see the atonement spell description), as appropriate.

Like a member of any other class, a paladin may be a multiclass character, but multiclass paladins face a special restriction. A paladin who gains a level in any class other than paladin may never again raise her paladin level, though she retains all her paladin abilities.

You know all the horror stories you’ve read of DMs maliciously making paladins Fall, or miscommunications in groups leading to alignment arguments? The ones about youth-pastor paladin characters sucking all the fun out of a party? Meet the culprit. 3.5 did not have The Complete Paladin’s Handbook’s discussion on same-paging with your group to prevent these problems, and this vague code wording paired with immediate and extreme consequences didn’t do it any favors. That’s not to say that this code is unworkable, exactly, but trying to sit down and agree with 4-6 other adults on what ‘gross violations’ actually means is essentially the world’s shittiest round of Apples to Apples and your reward for it is resenting the character you just built.

And that’s the paladin part, which means we have to get into the “being good-aligned” part. Lemme tell you about Book of Exalted Deeds, a historically significant garbage fire of a book that is somehow both the best supplement released about Good and the worst supplement released about Good at the same time.

For those of you with the fortune to have never played 3.5, its books are like that a lot.

So, bad parts first: all the mechanics. Just all of them. The prestige classes? Bad. The feats? Generally bad. The redemption rules revolving around Diplomacy? Sloppy. Magic items? Bad. Spells? Look up an online discussion about sanctify the wicked and then get back to me on that one; they’re bad too. Ravages and afflictions (good-aligned poisons and diseases) were a bad idea that were also a case of stunning hypocrisy from a book whose stance was that dealing ability score damage is ‘needless cruelty’. Even the write-ups for the planar NPCs kinda make them into these basic bitch pushovers, which, you guessed it, is bad. There’s a lot to say against this book and you can find someone saying it in most open web forums if you want to take a journey into the godawful design of the liminal space between 3.0 and 3.5.

But the good stuff was real good. D&D had/has long been stalked by ‘ethical dilemmas’ such as the so-called Goblin Baby Problem, where players would ask if it’s good to let goblin children live since they would only grow up to become goblin adults. Book of Exalted Deeds was the first D&D publication to make a hard stance against racial genocide (hell of a sentence, I know), and it doubled down on The Complete Paladin Handbook’s implied stance that all forms of romance and sexuality are valid as long as they’re between consenting adults that respect one another. BoED strove to define Good not just as the avoidance of evil (”The utter avoidance of evil is, at best, neutral.”) but as actively striving to respect life, practice altruism, and make the world a better and more just place. While its take on ideas like forgiveness, redemption, and justice were not necessarily perfect, it went out of its way to try to offer nuanced takes on those ideas and to note emphatically that practices such as slavery and racism do not become good just because certain historical cultures thought they were at the time.

The other notable thing that Book of Exalted Deeds did for the idea of a Good alignment was firmly state on the record that NG and CG are just as valid and Good as LG is. The existence of paladins and their alignment-locked nature had long implied that Lawful Good was the “best” Good, or the “most” Good, but Book of Exalted Deeds didn’t just introduce material for characters that were paragons of other Good alignments, it provided examples of such characters in action. D&D is still somewhat stalked by that “Law is Good and Good is Lawful” problem, but BoED and other books in its niche (notably including Heroes of Horror - I know, it doesn’t sound like it but trust me - and Champions of Valor) helped push back against that problem and open the floor to other heroes.

I wouldn’t be wholly done talking about 3.5 paladins without mentioning Unearthed Arcana, which introduced the paladin of freedom (CG), paladin of tyranny (LE), and paladin of slaughter (CE). Their hearts were in the right place here, but all three of them were...better ideas than executions, as it were, without much to talk about for them. Still, they make good examples of 3.5′s great strength in paladins: breadth of concept. Ideas that were previously impossible as paladins became commonplace, including paladin-like characters who were not members of the class and which I would absolutely consider paladins myself. It didn’t stick the landing on the mechanics, but that’s just 3.5 for you; if you weren’t a dedicated spellcaster, chances are you were gonna have some manner of bad time. This idea of paladins from all walks of life, from all levels of society and all peoples, has become a cherished part of the popular conception of paladins and it absolutely should be brought forward to other editions.

Which, honestly? It was.

Pathfinder 1e: Two Steps Forward, One Step Back - Pathfinder 1e’s baseline paladin release was essentially 3.5′s in many ways. The key mechanical differences were a revamped Smite Evil (which finally made it effective against its intended targets), the aura line of abilities that begin adding additional effects beyond Aura of Courage at 8th level and up, and Mercies - riders for the paladin’s Lay on Hands ability that cause it to also cure status effects, which in turn greatly enhances the paladin’s utility as a support class. Pathfinder also cleaned up some of 3.5′s attribute problems by orienting all of paladin’s magical abilities to Charisma instead of splitting between Wisdom and Charisma. Another small but significant note is the alteration from ‘gross’ violations of the code to any violation of the code. “Gee Vox, that doesn’t sound like it would really help code problems,” you say, to which I reply: it absolutely fucking did not.

Once we leave core, we get quite a few quality-of-life improvements. Though Pathfinder 1e lacks Battle Blessing, it replicates some of its effects by having many swift-action spells in-house for paladin, notably including the Litany line. Pathfinder’s archetype system for class customization offers options for the paladin that further customize its concept, though on the balance it’s harder to mix and match archs than it was to do so with kits. Archetypes always trade something, so in taking an arch you will lose some part of the base paladin kit and gain something which replaces it.

Narratively, things get more specific outside of core as well. Paizo’s one-and-only setting, Golarion, is one in which paladins must swear fealty to a specific god they serve above all others, and their power is derived directly from that god, who can grant or withhold it as they see fit. These gods (generally LN, LG, or NG in alignment, though certain specific CG deities sponsor paladins who must still be LG themselves) offer their own codes of conduct, which their paladins must follow. A paladin may be obligated to oppose ‘heresy’ as vigorously as chaos or evil, which is an awkward fucking feel, and paladins in Golarion’s setting can be found working for organizations such as the Hellknights, or in the armed forces of nations that practice slavery and forced conversion. That’s not to imply that they’re not also depicted in unambiguously good contexts, but when it comes to establishing paladins (or, well...anyone...) as good-aligned people Paizo has a bad habit of dropping the ball.

Like 3.5, the great strength of the Pathfinder 1e paladin is customization, and in this case a more solid mechanical base in comparison to the rest of the game. Pathfinder similarly flounders in that its vision of paladins is narrow and not fully realized in the game world.

Discussion of Pathfinder 1e’s paladin wouldn’t be complete without mentioning the Anti-Paladin, the only “alternate class” to see mechanical support beyond its initial publication. Baseline anti-paladins must be chaotic evil and have abilities that are the inverse of the baseline paladin; similarly, anti-paladin has archetypes available that change it to different kinds and methods of evil. It has its fans, and in terms of playability it’s as good, if not a little better, than paladin, but on the whole I tend to break on the side of thinking that Good and Evil are not mirror images of one another, and thus an anti-paladin is inappropriate as an idea. At least, one done in this way, as an explicit reaction to a supposed paragon of virtue, as things are about to get real interesting in...

D&D 4e: The Knight Unshackled - D&D 4e built off of the foundations laid down by the Book of Exalted Deeds and Unearthed Arcana by completely removing all alignment restrictions from both paladin and its counterpart class, blackguard. This section will also need to talk about cousin classes to paladin; specifically, the Avenger and the Invoker. Let’s start from the top, shall we?

Paladins in 4e are predicament dommes defenders; they use their abilities to place Marks on enemies, who then suffer damage if they choose to engage someone other than the paladin (all defenders in 4e force choices of a similar nature, though the penalty for failing to make the ‘right’ choice is not necessarily damage). In 4e, paladins are not granted their power by gods, nor are they empowered by their faith in righteousness alone; in point of fact, 4e paladins have no restrictions on their alignment whatsoever and are the first paladins to be open in this way. Instead, a paladin in D&D 4e is invested with power in rites kept secret by individual churches. Once invested, that’s it, no take-backs; the paladin remains a paladin even if they forsake that church entirely. The other classes I’m gonna talk about - avenger, blackguard, and invoker - are similarly invested, with invoker being the exception in how they get invested, but not in their no-takebacks status.

So, what powers a paladin after that investiture? Virtue; specifically, caring about others in some way. An LG paladin empowered by their belief in justice might be a classic knight in shining armor, defending her allies in righteousness’s name, but an LE paladin empowered by the same virtue might easily turn totalitarian, determined to establish justice no matter who has to suffer and die. In this model, evil-aligned paladins are those who care too much about something, to the point where they trample and harm others to see it fulfilled.

Paladin’s inverse, blackguard, is a striker class focused on direct damage. They gain their power through vice, inward-facing desires such as greed, selfishness, lust, or five pounds of nachos in one meal (don’t @ me). Blackguards are also not restricted by alignment. A classically selfish blackguard, out for their own power and safety, might be an amoral mercenary who kills because they can’t be bothered not to, but a good-aligned blackguard who’s selfish is, well, Tiffany Aching: protecting the world because it’s her world and how dare you fucking touch it.

Avengers have more in common with barbarians than paladins, but are notable here for their commonalities with paladin as a divine warrior concept, and also for having bones in with the later Oath of Vengeance concept in D&D 5e. Avengers are invested to smite the enemies of their church; they tap into their power by swearing an oath against specific enemies, and then dissociate until those enemies in particular are dead at their feet. Are you really into Alexander Anderson from Hellsing? Do you want to explore the terrible consequences of power, consequences that might not have been clear when you signed up to become an avenger? This could be for you.

Lastly we have invokers, the odd duck out. They are ranged controllers who fight with pure divine power. Invokers are created directly by gods, but unlike the previous three have no associations with churches; instead, their job is to look out for threats to all of existence and make sure that they don’t happen. Even evil-aligned gods create and tend to respect invokers, because you can’t conquer the world and rule it as its Dread Master if there’s no world left to rule. Because invokers are invested by gods directly, they tend to have a lot in common with the divine intervention paladin origin mentioned waaaaay up there in the 2e section; you’re minding your own business when one day God goes “TIME TO LEARN HOW TO SAVE THE WORLD” and that’s just your life now.

D&D 4e’s paladins and paladin-like classes fully realize the breadth of concepts and characters that paladins could fulfill; they offer intriguing possibilities for roleplaying, engaging character and plot hooks, and mechanically distinct interpretations of divine power. In unshackling paladins from alignment, 4e opens them up to questions of heroism, conviction, and belief that were in many ways previously closed, especially because paladins in other editions were often made to Fall for asking those questions. Their big weakness is, well, being in 4e. It’s not that D&D 4e is a bad game - in many ways it’s the most honest edition of D&D, and certainly the most tightly-designed - but rather that 4e’s context is highly specific. It can be hard to find players or DMs familiar with it, might be frustrating to gain access to its books, and once you do adapting its material requires significant narrative changes if you remove it from the context of the Points of Light setting.

D&D 5e: This I Vow - D&D 5e’s paladin is, in many ways, a combination of and refinement upon previous elements. Like 4e’s, it is not restricted by alignment (though the three Oaths in core do suggest particular alignments). Like 3.5′s paladin, it combines magical power with martial skill, though 5e’s paladin is both more overtly magical and gains access to better spells, faster, than its predecessor. Though the paladin gains some warrior-type abilities (notably including their choice of Fighting Style and the Extra Attack feature), the majority of their abilities are supernatural in nature, including Lay On Hands (in the form of a pool of hit points that can also be expended to remove poisons and diseases), immunity to disease, an array of defensive and utility spells (as well as the Smite line for bursts of damage), a Divine Smite that trades spells for damage directly, and native auras that protect the paladin’s allies as well as herself. Their defining feature, however, is the Oath they select at third level, which defines what sort of paladin they are.

Your selection of Sacred Oath nets your paladin 2 utility abilities at 3rd level, an additional aura at 7th, a strong upgrade of some kind at 15th, and a capstone at 20th that neither you nor any other living being will ever see because 5e campaigns barely get to 14th, God forbid 20th. Each Oath also provides a set of tenets that you are meant to live up to, but unlike previous incarnations of a Code of Conduct 5e’s relationship to these tenets is more...human. The following passage is from the Player’s Handbook, page 83 (”Creating A Paladin”):

As guardians against the forces of wickedness, paladins are rarely of any evil alignment. Most of them walk the paths of charity and justice. Consider how your alignment colors the way you pursue your holy quest and the manner in which you conduct yourself before gods and mortals. Your oath and alignment might be in harmony, or your oath might represent standards of behavior you have not yet attained.

Emphasis mine.

The baseline assumption for 5e’s paladins are believers in righteousness, whose faith in virtue empowers them to protect the weak, but more than any other edition, 5e recognizes that paladins are still people, who have flaws, strengths, and ambitions. Its Background system helps flesh out your character both mechanically and narratively, and material presented both in the Player’s Handbook and Xanathar’s Guide to Everything encourage you to think about the things that drive and oppose your paladin. Importantly, though the books say that evil paladins are rare, no actual alignment restriction on paladins exist, which opens up some interesting possibilities in terms of character creation. We’ll get more into that down the article a bit, when I talk about same-paging and refluffing.

Because Oaths come with both mechanics and an ethos, there is a strong incentive to create new Oaths for 5e if you want to embody a new ethos, but this may not always be strictly necessary. Additionally, the Player’s Handbook implies that paladins who flagrantly fail or abandon their oaths might become Oathbreakers (Dungeon Master’s Guide, page 97, under “Villain Options”), but this too may not be the correct move, especially in cases where a paladin abandons one set of high ideals for a different, but no lower, form of belief. We’ll get into that later too.

5e’s paladins are in the best mechanical position they’ve ever been in; they’re one of the strongest classes in the game line, easy to build and play, and difficult to fuck up. They have strong thematics with their abilities and especially their Oaths, and the way 5e encourages you to make your characters helps you realize them as people in the game world. The great weakness of this vision of paladins is customization; 5e lacks player options in many senses, and quite a few of those options are gated behind rules that may not be in use (such as Feats). It can be difficult, in many cases, to make two paladins of the same Oath feel different when the dice hit the table.

And at long last, we have finished the establishing-context section of this article, and can move on to the actual fucking article. I did warn you, way up top, that you were in for a ride.

Raise Thy Sword - Paladins At Your Table

The following section is meant to help you in making and fleshing out a paladin concept to play or even to use as an NPC. Most of the advice will be edition-agnostic; advice that isn’t will be marked as such. Also covered herein will be the related topics of same-paging, refluffing, and the common pitfalls that paladins have fallen into over the years (and how to avoid them).

Same-Paging - In Which We Communicate Like Adults

Same-paging is the practice of talking to your group in a way that helps set mutual expectations, and it’s something every RPG group should strive to do regardless of the system they’re playing in. You’ve probably done this to an extent before, as part of being pitched a game (”We’re going to do a dungeon crawl through the deadly halls of Undermountain”), during character creation, and the like. In the specific case of paladins, you want to talk to your group and DM about topics like alignment & alignment restrictions, your code of conduct or oath, and whether or not the group wants to handle things like ethical dilemmas and moral quandaries. Though paladins are famous for those last two, they’re certainly not a requirement; you can just as easily play a paladin in a campaign like Expedition to Undermountain or Princes of the Apocalypse where there is a very clear bad guy who needs to be stopped with enormous applications of violence and guile. However your group wants to play it is fine, but you want to be sure everyone’s on board for it and that you’re ready to rock. If your group signs on for a kick-in-the-door dungeon crawl and then the DM decides to make you pass a series of ethics tests, that DM is an asshole; likewise, if you agree that you want to explore the morals at the heart of your paladin’s ethos and then you just don’t do that, you’re causing the problem.

Who Is Your Deity, And What Does She Do? - Making Your Paladin

Once you and your group have communicated your expectations to each other (and, again, same-paging is something all groups should be doing regularly, not just ones in which you want to play a paladin), it’s finally time to start sketching out your concept! There’s many ways to start this, and while I personally tend to start at the roleplaying end (with ideas about who they are as a person and the themes I want to explore with them), starting with mechanical ideas, with questions, or even with specific dramatic scenes in mind, are also viable. That is to say, “I’m interested in how Aura of the Guardian (Xanathar’s Guide to Everything, page 39) can help me play a damage mitigation tank,” is just as valid as, “Kass, my character, was lifted from a life of crime by a paladin who reformed her neighborhood and campaigned against a corrupt system, and she’s striving to become a paladin in his image.” That said, if there’s one thing D&D and its related communities are good at it’s mechanical guides, so I’m not gonna try and write one here. We’d be here all day; instead, the following questions are things to consider for fleshing out your paladin’s backstory, personality, and goals.

Why did you become a paladin? The origins of your paladin will probably color how they think of their virtues, as well as how they think of evil. A beaten-down girl from the slums understands that kicking the shit out of muggers doesn’t give the downtrodden food, medicine, or roofs that don’t leak, while the third son of a noble family is in a position to understand the damage done by corrupt leaders and faithless lords. In addition to your background and home life, think about what motivated your character to become a paladin specifically. Were they mentored by an older paladin who saw potential in them? Recruited by the militant arm of a church? Did they grow up with stories of paladins and yearn to become the sort of person those stories were written about, or were they, perhaps, seemingly called to paladinhood without much conscious understanding of what it was?

Where did you learn to fight? Paladins are warriors, and even a paladin that Falls (for those campaigns that use Falling as a concept) remains a warrior. 5e paladins, the most overtly magical of all the available options, still spend a lot of time randomizing the atoms of evil with sharpened metal, and that’s a skill you only get through training and dedication. Who taught your paladin to fight? What’s their relationship with that teacher or organization, and how did it shape their ideas about violence? We all catch things off of our teachers, and your paladin’s instructor in combat will, for better or worse, be as big an influence on their life and ideals as their faith and family are. Don’t be afraid to get wild here; AD&D 2e had full-blown godly training montages where the voice of a god ran you through drills, and paladins join warlocks and sorcerers for being fertile ground for some of the weirdest shit. Did you fight daily duels against a stained glass knight only you could see? Did you find a scimitar in the gutter and pick it up to defend your friends from gangs? Were you bankrolled by an old man who later turned out to be a lich, whose motives you still don’t understand? Live your best Big Ham life if that’s the life you wanna live, this is the class for it.

How do you imagine good and evil? What does your paladin’s vision of a Good world look like? What is the face of wickedness that comes to mind when they’re asked to think of Evil? A knight from a kingdom plagued by portals to the Abyss is going to think of both of these things very differently from a gutter rat whose ascension came with a prosthetic hand to replace the one she lost to gangrene, to say nothing of differences in ideals when one factors in Law and Chaos. Your paladin doesn’t have to be perfect, or even, honestly, correct. Your classic ‘noble, but kind of a dick’ paladin (such as Corran d’Arcy in the novelization of Pool of Radiance: Ruins of Myth Drannor, who we’re gonna talk about more later because he’s a weirdly great example of an adventuring paladin) thinks of evil as evildoers, who must be Brought To Justice, which while not entirely wrong is lacking in important nuance. He may conflate manners with virtue, or allow his prejudices to color who he does and doesn’t think of as ‘good’, but that doesn’t change his fundamental desire to Do Good - a desire that could be the catalyst for personal growth. A flawed understanding of virtue and wickedness could be a great character arc for your paladin, especially if it dovetails with the themes of the campaign.

What do you enjoy? Paladins are still people (shocking, I know) and people tend to have hobbies, preferences, and goals. Xanathar’s Guide to Everything has some nice material to quickly flesh out some of those aspects of your paladin (a personal goal, a vice that tempts them, a nemesis that dogs their footsteps), and I highly encourage you to think about such things as well. Does your paladin crave glory, wealth, or revenge? What sort of things do they turn to when they want comfort, or to have a good time? Do they still practice a trade from their youth, such as painting or blacksmithing? The archetype of a knight looking for their true love (or at least a series of whirlwind romances that always seem to end in someone’s bedroom) is a staple, of course. These things don’t necessarily need to be sinister temptations that lead you away from justice; they can just be nice things you like, or comforts that sustain you in your long fight against evil.

How do you relate to your faith? Many settings (notably including Forgotten Realms & Points of Light in D&D, and Golarion in Pathfinder) explicitly link paladins to churches and patron deities, and even in ones where this explicit link does not exist you see paladins who fight in the name of their faiths, serve in the militant arm of their churches, and otherwise seek to live their lives in accordance with their religion. D&D’s history is also full of paladins whose relationship to their faith is more distant, more questioning, or even outright rebellious. In Eberron, for instance, a paladin might dedicate herself to the Kraken - an evil god embodying sea monsters and catastrophes - with her understanding of that faith being preventing monster attacks and protecting the innocent from hurricanes and tidal waves. A paladin might be retained by the Church of St. Cuthbert as a barometer for their own morality, trusted to leash his peers when their retribution grows out of hand & play the devil’s advocate against them, or a knight might simply try to live their lives in accordance with the ideals of beauty, joy, and wonder espoused by Sune Firehair, without being for or against the actual church. What or whom does your paladin believe in, and why? Remember as well that not all, or even most, faiths are particularly similar to Christianity, and as a result your paladin’s relationship to that faith might just be business as usual. A Jewish paladin arguing with God is Judaism working as intended; similarly, a paladin dedicated to the Aesir doesn’t get to act surprised when they come home one day and Freya is chilling in their bathtub with a glass of wine and a ‘small request’.

You Wouldn’t Download A Class Feature - Refluffing & You(r Paladin)

So: you’ve come up with your concept, you’ve asked yourself all the relevant questions, but damn, some things just seem to not be fitting. What do you do? It may be the case that refluffing - changing the flavor of a mechanical option to better fit your campaign or setting - may be the right move for you. Refluffing gets a lot of pushback from a certain school of tabletop gaming that believes the flavor of an option is part of its mechanical balance. These people are wrong and I encourage you not to associate with them, in particular because the first party publishers often refluff material for similar reasons. For instance, the setting of Eberron has ‘anything published in D&D has a home here’ as one of its meta-tenets, and in the process of giving many of those things a home it changed their identity. Those hordes of angry ancestor-worshiping elves? That’s refluffing elves. In 3.5 you can see explicit discussion of refluffing in Oriental Adventures, which...well...it’s a book that exists, let’s leave it at that. Oerth having an entire alternate Material Plane where all the mirror of opposition copies come from? Refluffing.

So, when do you refluff? An obvious example is when your group is comfortable with an option being on the table, but is not playing in the setting that option comes from (for instance, the Sword of the Arcane Order feat from Champions of Valor when you are not playing in the Forgotten Realms). Refluffing is also great for when the narrative you’re building for a character implies or requires certain mechanics, but the flavor of those mechanics does not fit that narrative. In the ancient past I briefly GMed a game where one of the PCs was a ‘barbarian’ - a mean-streets kid looking to make a better life for himself, whose Rage was just the fight-or-flight kicking in from living in the garbage parts of Waterdeep. The important things to keep in mind when you choose to refluff an option is to stay on the same page as the rest of your group, and also to not replace the original fluff with nothing; mechanics do help define flavor (they’re the tools with which you interact with the game world), but you still need some reason that your paladin casts wizard spells, or has the abilities of the Oath of Vengeance when the original version of that Oath doesn’t exist in this setting. A very common school of refluffing is changing the origins of one’s power; rather than pure faith, for instance, a paladin’s powers might come from her innate spiritual energy, or from the favor of kami rather than gods.

Refluffing is also great for playing paladins that don’t have levels in the class named paladin. This option is especially relevant in the context of 3.5 and Pathfinder, when it may be more suitable to the needs of the campaign for you to be playing a more powerful or versatile class. In this context, clerics especially make very competent ‘paladins’, as do wizards (you wouldn’t think so, but I’ve seen that campaign played), inquisitors, crusaders, and even druids depending on how your concept is. You don’t need Fall mechanics to follow a code, after all.

For What The World Could Be - Defining Your Paladin’s Ethos

More than almost any other aspect of the class, possessing and following an ethos has defined paladins through the ages. For many years, this was a very specific ethos based on European ideas of chivalry and Christian virtue, and there’s something to be said for it when done well (certainly the Arab warriors from whom Europeans acquired the code of chivalry were lauded for their honor and virtuous conduct, so at a bare minimum one set of folks following these ideals in the real world absolutely nailed it). This is not, however, the only set of high ideals to which a paladin might cleave or aspire, and many fine homebrewers, players, and dungeon masters out there have chosen to craft their own, or to represent their own beliefs in the game world. Many cultures throughout history and all over the world have retained elite warriors held to high standards of conduct, and those traditions are rife for representation as paladins.

I fully intend to provide some specific examples of ethea (evidently this is the plural of ‘ethos’, no I didn’t know that before I started writing this, yes it looks wrong to me too) beyond the ongoing D&D default, but before I do you may want to consider how your paladin relates to those high ideals. After all, these are virtues that your character holds dear, but not everyone does so in the same way. Does she believe that everyone would be better off if they tried to live up to her standards, or does she believe that only certain people should (or must) do so? Does she consider her virtues an impossible ideal, something to strive for rather than fulfill, or does she not harbor such doubts? Is your paladin an idealist, who believes in the power of Good in itself, or is she more cynical?

The answers to these questions don’t necessarily make your paladin less Good as a person. A warrior who believes that there’s always a selfish bastard reason to do the right thing, who sees Evil as suboptimal, could still be a paladin if they work to bring Good into the world. An idealist who still needs to learn about the real consequences of barging into complex problems in a morally complicated world is equally valid, to say nothing of just...playing a genuine in-the-bones Hero, here to Do The Right Thing. Each speaks to a different kind of virtue, and a different life that has led them to these choices, and each deserves their day in the sun. You might have a lot of fun playing someone whose view of what Good is, and why, is different from yours!

Some specific examples of ethea (god that looks so wrong) follow. For the sake of convenience I’m gonna skip anything that’s actually showed up in a paladin entry before, or I’m gonna be here until I die. I am also very much not a member of just about any of the cultures and/or religions I’m about to talk about, and while I have sought the advice and review of those who are, I’m not about to claim that I’m an expert. Any errors in what’s presented are mine, and not those of my friends & readers; I welcome correction and discussion.

Irish Celtic: Blood & Troth  - The ancient Celts were not a people shy about death, and excellence - skill, improvement, and genuine growth - in all of your crafts was one of their high virtues. In addition to excellence, a Celtic warrior was expected to be honest (to never tell a direct lie, and to keep all promises given), hospitable (to be a gracious host & and honorable guests, and defend the sanctity of the home), to be charitable with their skills and their worldly possessions (to give to the needy, defend the weak, and fight for the helpless), to display loyalty to their family, clan, and gods, and to be courageous. That last virtue is an interesting one, because it dovetails with excellence; it’s less about acting in spite of fear, and more about enjoying fearful situations and the call of battle. A paragon of Celtic warfare should love her job, perhaps even revel in it; she relishes combat and the mayhem of the killing fields. Paladins following these virtues are likely to be Chaotic in nature, skewing towards Chaotic Neutral as D&D thinks of these things, and prone to contemplation on concepts of obligation, truth, and the nature of political violence. The crows know that there is always a final answer to injustice.

Irish Celtic paladins are likely to look towards Fionn Mac Cumhaill as a role model; as warriors with magical powers of protection, defense, and healing, they would be valued as keepers of lore, wisdom, and art, more warrior-poet than berserker. If your paladin is part of a wider culture from which she derived this ethos, she was probably expected to both learn knowledge and pass it on to others, and to restrain more eager warriors in favor of cunning plans and clever tactics. Imagine the look on your party members’ faces when they meet your family and realize you’re the sane one; that’s the exact emotion you wanna look to create if you really want to bring this out in the classic vein.

Jewish: We Shall Serve The Lord  - Judaism places a lot of emphasis on the sanctity of life, restorative justice, and doing the good you can do here, and now, with what’s in front of you. Though there is no tradition of elite Jewish warriors in the vein of knights or samurai, Jewish citizens tend to serve under arms slightly more often (about 5% more often) than their countrymen, and defending the innocent & helpless is certainly one way to do good now. A Jewish paladin would be expected to uphold the sanctity of life (preservation of life is the highest calling; a Jew may do anything except deny God in order to preserve life), to practice the principle of Tikkun Olam (’repairing the world’, working actively to make the world around them a more just, peaceful, and pleasant one), to show compassion and generosity to others, to uphold and defend hospitality, to know the Torah and the Law, and, where necessary, to practice intelligent and purposed dissent and skepticism. In the context of D&D, such a character is not likely to be particularly scholarly (paladins haven’t needed a decent Intelligence score at any point in the class’s evolution), but they’re probably conversant in the techniques of reading and research, critical thinking, argument, and debate, if only through exposure. Jewish paladins are most likely to be Good, leaning Lawful, as D&D thinks of these things.

The Jewish ethos describes a set of minimum standards for a righteous person, the Noahide Laws, and greatly encourages you not to associate with any person or culture that can’t meet that standard. They’re honestly not hard to meet either; you basically have to not be a dick about God (don’t try to stop folks from worshiping, don’t spend your time mocking and blaspheming their faith), know that lying and murdering are wrong, don’t be a sexual predator, don’t eat animals that are still alive, and bother to establish a system of laws for self-rule. Though Judaism lacks an elite warrior tradition, you might look to people like Joshua, Judah Maccabee, or Solomon as inspirations for a Jewish paladin character; warriors known for their wisdom, determination, and and in many cases, self-sacrifice. Solomon is also notable as an example of someone who swore the Nazarite Oath, a promise to God to fulfill a mission or task, and to not rest until one has done so. Nazarites are held to higher standards than their peers, notably including the expectation that the object of their oath becomes their only goal until they get it done or die.

As stated before, I am not Jewish and while this information was provided to me by Jewish friends, it is far from complete. @oath-of-lovingkindness might be by to expand on it, if they’re comfortable doing so.

Kemetic Pagan: The Power Of Truth - It’s difficult to talk about how the ancient Kemetic faiths were practiced; there was a lot of strife between the various cults of the gods, sometimes backed by pharaohs who were willing to revise history to get their way about thing, and then the English got a hold of the records. The English getting a hold of your culture’s history rarely ends well for just about anyone. The modern practice of Kemetic worship places great emphasis on service and identity as a member of the community, the promotion and preservation of knowledge, learning, and education, opposing is/fet (’chaos’, here also very much including the breakdown of social bonds and the systems which sustain life), and truth. A Kemetic paladin would be expected to oppose chaos by sustaining or creating such systems (funding schools, founding a neighborhood watch, finding or creating jobs for the poor), defend the defenseless, further her own education and knowledge & teach the ignorant, to be honest and forthright in word and deed, and value strength and justice. They are likely to be Lawful, skewing towards Good, as D&D thinks of these things. For a society to be just, it must first be a society; preservation of the order (both natural and artificial) which sustains human lives comes first.

Kemetic paladins are unlikely to be priests or even to be formally part of a religious heirarchy, again because they have traditionally had issues being scholarly people; instead, they uphold ma’at (what is true, what is just, what is necessary; ma’at is the principle that establishes a community, that relates one person to all other people and defines obligations between them, and opposes chaos) by fulfilling roles that assist their community. Such a paladin might look to one of their patron gods as an example of both the behavior they wish to emulate and their role in the community. A defender and guardian who supports the rural folk might look to Sobek, whose great strength guards the Nile; a would-be hero who craves power and the glory that power might buy her could instead look to Set, who guards the sun-barge and tests the established order so that it can grow strong. This is an ancient faith with quite a few gods, and I haven’t even gone deep enough to say I’ve scratched the surface; if they’re comfortable doing so, @merytu-mrytw may be by to expand on this topic for those interested in learning more.

Samurai: Reaching For Heaven  - You knew we were gonna go here eventually. As famous as knights, and perhaps even more known for their strict code of honor, the samurai were the elite warriors of feudal Japan and members of its ruling class. A samurai was expected to be a warrior, to cultivate an appreciation for high arts such as calligraphy, poetry, and sculpture, to be a scholar or patron of scholars, and to otherwise serve their lord and establish justice in that lord’s name. Today the samurai ethos is often called Bushido (”the way of the warrior”), but that name and conception of their code of conduct is actually a relatively recent invention, dating back only as far as the 20th century. It has its bones in with a 12th century dramatization of a war between two proud clans, and the ideals embodied by the warriors of those clans. Notably, these ideals were considered unattainable; something to strive for, and in striving grow as a person, but not a realistic expectation for a living human in a physical body. I’m gonna go ahead and quote the breakdown of this code that was given to me, because I feel the long form is going to be helpful here. These were the things to strive for, if one wished to call oneself a samurai:

Your duty calls on you to die if necessary. Your honor is more than your life; to live in shame is worse than death. You are expected to be righteous - to have integrity, sincerity, and honesty. To display heroic courage - to be intelligently aware of risks, but to face them boldly, not rashly or foolishly. To be benevolent and compassionate - for you have strength of arms that others cannot fathom. To show respect, even to your enemy. Cruelty, mockery, showboating, boasting, these are against the samurai code. Your strength and stature come through how you stand in adversity, unyielding. To understand that there is no such thing as a promise, or "giving your word" - you do not speak unless you mean what you say. Meaningless words are for shameful people. To safeguard your own honor, for you are its judge - and you will know what will cause you to live in shame, which as noted above, is worse than death. To show loyalty and be dutiful - if you give your service to another, it is theirs to command, and if you set someone's life above yours, you cannot keep honor if you live and they die. To demonstrate self-control - excesses and wants are openings to great shame. Moral character lies in the desire being sublimated toward the better self and higher standing among men.

As the politics and culture of Japan evolved through the years, so too did attitudes towards, and understanding of, this code of conduct, but most dramatic and romantic depictions of the samurai ethos root back to something a lot like this. A paladin dedicated to this ethos is likely to be Lawful Neutral, bending towards Good, as D&D thinks of these things; it emphasizes the virtues of loyalty, duty, and the obligations of both lord and vassal to one another. It is particularly appropriate for characters who see high ideals of virtue as being an unattainable goal to strive for anyway, or for character-driven campaigns looking for high drama that comes from tensions between personal desires and societal expectations (you can see it used for this to wonderful effect in the Legend of Five Rings RPG, most recently published by Fantasy Flight Games).

There are of course many other potential sources for a paladin’s ethos; check out D&D 5e’s homebrew materials and the DM’s guild for just a few. If I didn’t include something here, I promise you that it’s because I’m either ignorant or not confident of my ability to speak on it even in this limited context, not because I was trying to deliberately leave anything out. As I said above, any errors here are mine, and I welcome corrections. I’m also eager to hear about other ethea and how they might be adapted for paladins, so if you’ve got some thoughts there, please, slap ‘em on! I’m quite literally begging to read your paladin takes!

That said, remember that these are real beliefs, that real people follow. If you’re looking to explore an ethos from a culture that is not your own, you should do so with respect and especially with consideration for others that might be affected. It’s one thing to realize 12 sessions into a campaign at your own house that you’ve been accidentally blaspheming someone’s religion; it’s quite another thing to realize that if you’ve been playing in a public place such as a library or a gaming store. Ask folks from the culture or faith in question about it if you can at all do so, and just...if you wouldn’t want someone to be depicting you in a particular way? Don’t depict them that way.

The Trolley Problem And Other Forms Of Psychological Torture - Paladins, Falling, & Alignment

All editions of paladins except 4e have some kind of rule for Falling; losing one’s paladin status and powers, generally because of violations of your code of conduct or a failure to maintain your alignment. 5e sorta-kinda has those rules in a “well if the DM says so” way, which is, in some ways, a worse situation to be in since it leaves the matter unclear. In particular, many editions of paladins require that you have and maintain a Lawful Good alignment, and completely strip you of all powers if you ever change alignment for any reason. If the above sections of this article didn’t make it clear already, I tend to break towards 4e’s school of thought and support unshackling paladins from both alignment and Falling mechanics for general play; they certainly haven’t been powerful enough in the meta to mechanically justify additional restrictions.

This isn’t to say that you can’t use Falling or the threat of Falling for interesting stories and excellent character moments, just that I personally feel that it’s not as necessary as some schools of thought seem to think it is. If you want to incorporate this idea into your campaign, make sure you bring that up when you’re same-paging with your group; it’s definitely one of those topics everyone wants to have a clear understanding about. From there, it’s on the DM to not be a dick about things. Using paladins to explore ethical dilemmas can be very rewarding, but putting one in an ‘impossible’ scenario is rarely any fun. For some great examples of using ethical dilemmas as a form of character growth and to explore the concept of morality, check out The Good Place if you haven’t already. Remember: it’s a game. The goal is to have fun, yeah?

Genocide Is Not An Ethical Dilemma - Common Paladin Pitfalls

This is the part of the article where I get very angry about things.

As I alluded to before, there have been some common pitfalls when it comes to paladins both in the history of their formal writing and in the way the fanbase has chosen to play and relate to them. This section is going to discuss those and what you can do about them, so without further ado:

Fascism  - Paladins have some unfortunate bones in with fascist ideology, particularly the Third Reich’s obsession with ‘will’, as well as the fascist preoccupation with the Crusades, the Crusades themselves, and with being members of social classes which are often oppressive in nature. You really do not have to go far to find some jackoff posting DEUS VULT memes about their paladin, and that’s a problem, first because fascists are bad, and second because that definitely misses the fucking point by a country mile. All editions of D&D and its legacy systems have struggled with this, but a shout-out goes to D&D 5e for publishing the Oath of Conquest, because we definitely needed to respond to this problem by creating an option that gives you heavier, more ornate jackboots to put on people’s necks.

So, what do you do about this? Well, for one thing if you find a fascist at your gaming table you throw them the fuck out into the street, and beyond that mainly you just...try not to play a fuckin’ fascist character. This isn’t really a problem you can solve at the table level, since it’s buried into the writing; all you can do is be aware of it, and not play into it. It shouldn’t be terribly difficult to not make a paladin who’s into kicking poor people and undermining the rights of sapient beings, yeah? Paladins tend to fall into these sorts of problems when they’re depicted as supporting strongmen, or as being the Special And Exalted People to whom the rules do not apply - basically the same situations that give superheroes as a genre their ongoing fascism problem. Keep a weather eye out.

Genocide - The two-for-one combo! Paladins have had a genocide problem as far back as AD&D 2e, where several had racial or religious genocide in their backstories. Sometimes those paladins Fell as a result, sure, but a disturbing amount of them didn’t. We also have such gems as, “A local paladin has started a crusade against half-breeds” (a plot hook published in Draconomicon for 3.5), that greentext story about the paladin and dwarf ‘bros’ who spend their free time murdering orc children, and everything that’s ever been written about how drow are characterized and treated by others. Now, in fairness to paladins, Dungeons & Dragons itself has problems with the themes of race and with its depiction of the morality of genocide, and paladins could be merely caught up in that. On a basic level, solving this issue is easy; don’t endorse genocide, don’t make edgy racist concepts to see if you can ‘still be good’. Even if that wasn’t already tired and worn, someone else already took that concept and went pro with it.

For more information about fantasy’s troubles with race and racial coding, I highly suggest this article & its sequel, as well as Lindsay Ellis’s Bright video.

Youth Pastor Syndrome - This one’s not as dire a problem as the other two; there’s a tendency to play paladins in a way that sucks the fun out of the rest of the group, either because you’re being a judgemental asshole in-character (and possibly out of it), or because they’re constantly having to tiptoe around you to get things done or do what they want in the campaign. In theory, same-paging should help solve this problem before it starts, and it honestly mainly stems from the various ‘association’ clauses in paladin codes through their history. An uptight paladin isn’t necessarily a bad concept, but make sure it’s the right concept for your group before you just go there. Your desire to run a particular character is not an excuse to shit on everyone else’s fun.

Sir Dumbass the Just - So this topic isn’t so much a ‘pitfall’ as something that doesn’t get talked about a lot. There has not been a single incarnation of paladin that is rewarded for investing in Intelligence; instead, they tend to crave Strength or  Dexterity, Constitution, and Wisdom and/or Charisma (depending on edition and build). Once your main three are solved, Wisdom is the next-most important ability score for an adventuring paladin, because it directly relates to detecting threats, seeing through illusions, and resisting mind control, which leaves Intelligence in the dust next to whichever one of Strength or Dexterity you didn’t pick. This means, more often than not, that paladins are going to struggle in scholarly pursuits, be bad at Knowledge-type skills, and otherwise be uneducated in many ways, which most assuredly influences both their internal culture and the sorts of people who become successful paladins. Give the matter some consideration when you’re making your own.

Lady Natasha Pointe-Claire of the Dust March - Paladins as NPCS

Related to what was discussed just above, not all paladins are necessarily adventurers. Though the image of the paladin as a knight-errant, wandering the world in order to defeat foul plots and punch demons in the asshole, is both valid and probably very relevant to paladin player characters, there are other roles that a paladin might fulfill in your campaign setting. Such paladins are still members of a warrior class, and will thus have things in common with player character paladins, but their different roles will encourage investment in other kinds of abilities and skills which might not lead to a successful adventuring paladin, but will lead to a pretty good life in the other job. The following examples are by no means exhaustive, but they should provide a good place for a DM to start if they wanna incorporate paladin NPCs into their games in roles other than fellow (or rival) adventurers. Mentor - Probably the most straightforward; this paladin was a successful adventuring paladin who ended up retiring due to age, injuries, or just to enjoy time with their loved ones/family/children rather than getting mauled to death by undead birds. Take a normal paladin build, ratchet them up into Middle Age or Old Age, call it a day. Such paladins are likely to be a lot calmer and more pragmatic than the younger set, with a combination of painful experience and perspective guiding the advice they give on how to fight evil and how to dodge the fireballs that evil be throwing.

Knight-Hospitaller - Hospitallers are healers, caretakers, and guardians of the sick, injured, and infirm. Such a paladin might help maintain a home for those who have been traumatized (abuse victims, soldiers, people laboring beneath magical curses), be employed at or run a hospital, or maintain a temple dedicated to a god of healing and medicine. Hospitallers tend to choose options that enhance their Lay on Hands ability, memorize more healing spells than attack or defense ones, and value Wisdom and Intelligence more highly than their peers, often at the expense of their Strength or Dexterity (or even their Constitution; paladins, being immune to disease, can afford to be surprisingly frail of body in this role).

Fortress Knight - These paladins have a lot in common with adventuring paladins, but are for one reason or another posted in one spot from which they do not leave. They might be the guardians of a frontier village, soldiers watching over a sinister portal, the personal bodyguards to a powerful noble, or any other role in which they take on a defensive, reactionary stance rather than actively seeking out new and exciting forms of evil. Fortress knights need a higher Wisdom and to invest in Perception-type skills, and will tend to focus on utility-type spells with a strong subtheme of attack; they need to be able to rouse the alarm, dispel magic on their allies, and keep an enemy pinned down.

Example Paladin - Corran D’Arcy

I promise you, your long journey through my article is almost over. I wanna talk about a specific paladin to kinda tie things together, as an example of some of these principles and ideas in motion and because Corran d’Arcy is just weirdly legit when he has absolutely no fucking reason to be. Corran appears in the novelization for Pool of Radiance: Ruins of Myth Drannor, written by Carrie Bebris. The book is based on the videogame of the same name, which in turn was made to celebrate the release of D&D 3.0. “Should I play this game?” you ask, to which I reply: absolutely fucking not, the game was a rough ride when it came out and it has not aged remotely well. 3.0 was rapidly updated to 3.5 because of deep and wide mechanical flaws that made the play experience almost physically painful, and converting it to a CRPG did not help that experience at all.

The book though? Excellent. Legitimately one of the best D&D novels. Spoilers for it follow, but I’d still suggest reading it if you get the chance.

The novel is told from the perspective of Kestrel, a petty thief trying to raise enough money to quit her life of crime and, ideally, die in bed of old age rather than of blood loss in some gutter. A series of poor and alcohol-related decisions leads her to volunteer to guard an evil pool of soul-stealing water, which is where she meets Corran d’Arcy, a paladin of Tyr and the third son of a noble family. The two get on like water and oil; to Kestrel, Corran is a pompous, classist piece of shit who judges her without knowing her, and to Corran, Kestrel is the exact kind of criminal and evildoer he so often fights in his day job. When another team opens a portal to beg for help while they’re being slaughtered, Corran quite literally throws Kestrel through it when she’s trying not to go, nearly killing them both.

This puts their professional relationship off to a bit of a distant start, as you might imagine.

Corran’s prejudice, as well as Kestrel’s more-justified-but-still-unhelpful resentment, hinder the party as they attempt to survive in Myth Drannor and defeat the Cult of the Dragon’s schemes there. Corran’s life of privilege has left him unfamiliar with Kestrel’s skills, and he consistently misuses those skills or forgets to ask for her opinion and expertise - to the detriment of the group. This painful oversight aside, however, Corran proves surprisingly practical; he works with the party’s wizard to create effective combat tactics, utilizes invisibility for surprise attacks against powerful foes, and coordinates well in the heat of battle; after all, the Cult of the Dragon is not taking requests for formal duels, and the fate of the world is at stake. Corran is polite even to his enemies, and openly negotiates with the minions and allies of the Cult in order to avoid combat - notably including drow houses that have made their homes in Myth Drannor. Through the course of the novel, he and Kestrel go from being openly antagonistic towards one another to developing a newfound respect, starting when Kestrel calls Corran out for endangering the party by refusing to retreat. Corran, in turn, forces Kestrel to confront the fact that she has been unhappy living her life with no purpose other than to die another day, a revelation that shakes her to her core.

Things come to a head when one of Corran’s decisions gets a man killed. Kestrel calls him out on it, accusing him - correctly - of hurting those he’s trying to protect by misusing her skills and ignoring the advice of his companions. Seeing his genuine anguish over these events softens Kestrel’s rage towards the paladin, enough that they essentially start their relationship over from the top with genuine change from both of them. A scene late in the book where Kestrel helps Corran find the confidence to attempt divine magic (a gift given only to ‘truly worthy’ paladins) cements what has finally become a trusting friendship.

Corran d’Arcy is an excellent example of a classic paladin archetype with life and humanity breathed into it. He has prejudices and insecurities; he feels pressured to live up to a long legacy of knighthood that intimidates him. At the same time, the virtues he lives up to reward him over and over again, from his bold valor (which sees to the defeat of many evildoers) to his courtesy and honor in social situations (which wins him unlikely allies in a ruined city overrun by wickedness). Though he starts out as a dick, Corran is not malicious, and it’s his genuine desire to do good by others that motivates the change in his behavior; when he learns that he is hurting his friends, he knows that he must change.

That’s the end of the article proper! I hope you found it informative and, more than anything, helpful in creating paladins for your game and campaign setting. I absolutely welcome questions, comments, critique, additions, and the like; my Ask box is open, and the Reblog button is right there.

That said, if you’re interested, Mister Vox’s Wild Ride is not yet over. I got bit by the homebrew bug halfway through this damnable thing, so here’s a paladin oath based on a family from my first completed interactive story, Dungeon Life Quest. Constructive critique of this material is also very welcome!

Oath of the la Croix (D&D 5e Sacred Oath)

(River la Croix, journeyman necromancer and demonologist, ex-mercenary. Character is from Dungeon Life Quest, art provided by Domochevsky.)

The la Croix family have been necromancers for longer than they’ve been the la Croix; they laid down much of the foundations of modern necromancy, and have, through the ages, been tyrants, villains, refugees and, these days, heroes. To be a la Croix is not a matter of blood, but of commitment to the family’s ideals; one must be willing to help those in need, to serve the community, be a level head in times of trouble, to show respect for death and the dead, and to make hard choices with a calm heart.

Though most la Croix are necromancers, alchemists, healers, or summoners of various kinds, every now and again a paladin-like warrior emerges from the ranks of the family, often by adoption. Whether or not such cousins are ‘real’ paladins is a subject of languid internal debate in the family - no la Croix has ever fallen to the point where she lost her powers, but a few have managed to go mad enough with that power to end up hunted down by the rest of the family. The question doesn’t really need answering, but it’s fun to argue about after three cups of wine.

Tenets of the la Croix The high standards expected of la Croix paladins are also expected of anyone who chooses to bear the family name. You can give up the name at any time, but most la Croix children - by adoption or by blood - try to wear it with pride.

Life is for the Living, Death is for the Dead. No one chooses to be born, and very few people choose to die. Respect these truths. Take life when you must, but not cruelly, and never for personal gain. Remember that you, too, are alive, and deserve the chance to enjoy that life as all people do.

Your Name is ‘Somebody’. If there is a call for help, you are the one to answer; when you hear ‘somebody do something’, ‘somebody help me’, you are Somebody, child of Anyone. If you can’t help directly, do everything you can anyway. None of us deserve to be alone.

Serve, Not Rule. A la Croix’s place in her community is service to that community. We are not nobles, tyrants, or generals; we dwell among the common people to protect and shelter them, and to remind ourselves of all the ways in which we are alike. Our power makes us different, not better.

They, Too, Are Victims of Life. You do not know the struggles others go through, just as they do not know yours. All are condemned to live and to die, and deserve your compassion even when you are moved to strike them down for the greater good. Bury your enemies and give them their last rites as if they were your own family.

Oath Spells You gain oath spells at the paladin levels listed.

3rd - bane, false life 5th - darkness, gentle repose 9th - bestow curse, fear 13th - phantasmal killer, shadow of Moil* 17th - danse macabre*, planar binding

*appears in Xanathar’s Guide to Everything

Channel Divinity When you take this oath at 3rd level, you gain the following Channel Divinity options.

Ancestral Protection - You can use your Channel Divinity to call upon your la Croix ancestors for protection. As an action, you suffer damage equal to your paladin level; this damage cannot be prevented or reduced in any way. Then, you and all allies within 30 feet of you gain a bonus to armor class equal to your Charisma modifier for 1 minute.

Balefire Blast - You can use your Channel Divinity to scourge an enemy with death-in-flame. Make a spell attack against a creature within 30 feet. If you hit, that creature suffers necrotic damage equal to your paladin level, plus fire damage equal to your paladin level. If it dies within 1 minute of being hit, it counts as dying of old age in addition to its actual cause of death (usually meaning that it is much more difficult to bring back from the dead).

Necromancer’s Aura Beginning at 7th level, you radiate constant necromantic wards that protect you and your allies. You and allies within 10 feet of you have resistance to necrotic damage and radiant damage, and you make saving throws against effects which would kill you outright with advantage.

At 18th level, the range of this aura increases to 30 feet.

Friend of Death Starting at 15th level, you regain 1 spell slot of 3rd level or lower whenever a creature within 30 feet of you is reduced to 0 or less hit points. You can regain a number of spell slots this way equal to your Charisma modifier; once you reach this limit, you must finish a long rest to use this ability again.

Aphrael’s Chosen At 20th level, you gain the ability to enter a state of heightened necromantic power, in which you can channel far more sorcery than usual. As an action, you suffer damage equal to your paladin level, then begin channeling raw death magic for 1 minute. While in this state, you gain the following benefits:

- You are immune to all effects which would kill you outright - Whenever you cast a paladin spell, you can make a weapon attack as part of casting that spell. You are not required to make this attack. - Creatures make their saving throws against your spells with disadvantage.

Once you use this feature, you can’t use it again until you finish a long rest.

[obeymematches]

Hi, can I get a matchup? Thank you in advanced and I hope you're doing well despite the current state of the world ❤

(Edit: almost an hour later and I've finally finished writing this. Let's just say this did not turn out the way I expected AT ALL and I'm so sorry in advanced. But at least I got a new story idea)

Introduction (Innocence): At first, I'm extremely shy, timid, and quiet. I have a hard time opening my mouth and starting conversations. It doesn't always bother me since I like keeping to myself because it keeps me motivated and stay focused on my goals. However, if someone approaches me, I try to be as polite, passive, and friendly as possible. The only way to move out of this stage is to constantly interact with me until I feel comfortable.

Chapter 1 (Reality): Now that I'm comfortable, the snark and attitude starts to come through. At first, it will be a few light-hearted teasing that surprise people. Slowly, the jabs grow harsher and my voice grows louder. The dynamic of the conversation changes as I begin to dominate. My voice rises as my hands do all the talking. Sarcasm and eye rolls are regular parts of conversation. A thick cloud of chaos and self-deprecation arises, leading to a storm of endless rangs about my dramatic woes. In the midst of this confusion, you can't help but wonder: what happened to that soft-spoken girl?

Chapter 2 (Chaos): It has become my personal mission to make your life as miserable as possible. My sinister laughter rings through the air, bringing headaches to those around me. Despite all their attempts, no one stop me writing monologues that parody your towards your crush or stealing your phone until you give me your chips. My ego has devoured my self-deprecation; my word is law. My beauty, my hardwork, my intelligence-- me. You absolutely hate it, but you can't leave. The quick-wit, the variety of humor, and the soft crinkle around my eyes when I smile. The smart-assery is almost endearing. You can't help but wonder, what is she doing to do next? It's a game of cat and mouse, but I am always victorious.

Chapter 3 (Darkness): Beneath the madness, lies a small girl fighting against the shackles against her feet. She will not accept any help, she must escape on her own. Doubt constantly lingers in her mind, a consequence of previous endeavors that failed due to pride. She does not care for those who jeer at her as she struggles, holding her head high. There's only one thing in her mind: she will do anything to escape. It will be methodical, calculating, and nothing less than perfection. And when she does, she vows to do everything in her power to take her rightful spot on the throne.

Chapter 4 (Light): And so she escapes and sets on her path to become queen. Along her path, she befriends villagers who aid her quest. Although she becomes the voice of harsh reason, they heed her wisdom. Her companions know that despite her sharp tongue, she is simply looking out for them. Although she dislikes any form of affection, the cracks of her stone heart shine through her actions. It is here that she finds balance. Innocence, reality, chaos, darkness, and light meld into one.

Conclusion: Unfortunately, the journey is not over. However, the journey itself can teach one a lot about themselves. Thus far, the little girl has learned for her love of novels, often with her head in clouds to escape reality. She's also taken a liking to storytelling, finding solace in writing and storytelling to express the emotions she cannot communicate otherwise. She likes to bathe in her vanity by indugling in fashion and makeup, spending hours to create the perfect look. Despite this newfound sense of self, only time will tell whether she can succeed in her quest.

Adding a summary below because as a fellow matchup writer, I can see how this description would drive you insane. I'm so sorry for the story lol

Summary: At first I'm super shy, but I'm actually a sarcastic smartass that has a large ego and annoys everyone. My only redeemable quality is that I'm funny. Deep down, I'm ambitious, stubborn, and paranoid. With friends I'm the unaffectionate voice of reason that shows love through actions. My hobbies are makeup, reading, writing, and public speaking (aka storytelling).

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Hello! 💎

Thank you for sending in a request, I hope you like the result ! I’m doing fine, everybody at home is still healthy! 🙏

So I really enjoy how you elaborated on your layered and complex personality, because when I do matches I take people’s negative traits into consideration and they boy’s as well. Let’s face it, nobody’s perfect, and I like how the characters have their own flaws. I always look at how everybody could develop. (although it is not complete redemption cuz i’m not sure if that is possible for demons. like in paradise lost that is impossible but at this point it is not known how far obey me will go with that 🤷 but anyway regardless of canon i like to think that the MC has a positive effect on each character because i prefer healthy relationships) 

So I think your shy first impression would actually draw all of them in. I mean like yeah, they all have their prefered types, but they are also very curious demons (not exactly genuine but curious nevertheless) and would compete to figure out your actual personality. (I mean..Belphie probably not that much but deep down he is interested too)

I think by the time you’d show your deeper layers and vica versa you’d have a strong bond with Mammon (he is supposed to be with you a lot so really; it is hard to avoid opening up to him first but it is up to your imagination how far that goes), Satan would appreciate your shared hobbies and intellect, but it is up to you how much you trust him. Asmo obviously because of makeup, you have a shared interest and he can show you some tricks regarding that. I think both Satan and Asmo could influence your writing also. (Satan knows some lit Devildom stories that the human world lacks, and Asmo probably knows so much gossip nobody is prepared for)     

Now obviously, Asmo is not the ideal partner because he would definitely prefer someone affectionate. 

I’m deciding between Lucifer and Satan..but I am unsure what kinf of improvement you and Lucifer would result in, despite the connection that might form between you two. (I mean I don’t think it is a good idea to pair a kind of arrogant character with a deep-down paranoid person.)

But I think you and Satan could work out. 

I already mentioned the hobbies/shared interests and source of inspiration, but there is more than that to it!

He definitely needs some guidance in his life and no way he would ever let Lucifer play that role. 

It’s not that he is not independent, but he should  reconcile with his birth as much as he can  -  you being a dominant voice of reason under the surface is something he can respect.

Yeah he can be pretty dominant and that might result in arguments from time to time, but you are somebody he needs so he will do his best to apologize if he snaps for some reason. 

You both are witty and sarcastic and I think you would kind of point out the other’s flaws like that. No offense taken on either side.

So his aggressive tendencies the others warned you about might cause paranoia in you but I don’t think he would actually be violent towards the MC so if you bring it up to him in a conversation he would reassure you that you really shouldn’t worry about that. (and then he beats up whoever made you think that, behind your back) 

You see, on the surface he is also calm and collected but on a deeper layer he is also insecure and oh boy he has so much flaws that should be fixed.

Again, you being rational, wise, voice of reason proves to be much needed. 

As I elaborated before, in his case I don’t think there is space for complete redemption but he would go a long way with your aid!

He also adores your ambitions and your goals in life. 

He would read all the work you decide to share with him! He would disappear into the night reading your story and the next time you see him he has a copy of your story in his hand; little notes everywhere, underlined parts, several bookmarks, tons of insanely detailed questions, sharing his interpretations... you better be ready because it will be a long conversation. 

This way he also learns so much about you and the way you express your feelings! He would fall sooo hard, especially when he supposes you like him because of some line on page 73′s third paragraph  

He wouldn’t be sure though. (Again, he can be kind of insecure.)

Not until one of you actually makes a move. I think when that time comes, he would absolutely make a reference to one of your stories one way or another. Even if you don’t write romance. He’s smart, he will find a way.

 I think he would also help you “stay on Earth” considering your fears and tendency of stubborn and prideful behaviour. 

You would never have to ask him for help, as he will be the one suggesting it all the time. He is good at observing people, he will know if/when you need help. He refuses to be rejected by a human so really you have no chance here. 

He also has his own sense of humour so time spent together would involve joking around sometimes. I mean despite his facade, he can be a little brat sometimes. 

Like a cat he likes his independence so really he is not going to force any affection that you would not welcome. Maybe sometimes he enjoys it, but definitely not early in a relationship. 

He would love to participate in your storytelling activities. Not one occassion he would miss. 

[script-a-world]

What are your five rules to new authors about world building? I struggle with this, as a minimalist author. And I would love suggestions on how to build a world in as few words as possible, while the description is still efficient and powerful.

Constablewrites:

Teach us about the world through the characters interacting with it. If your characters never interact with it, is it really relevant to your story?

Culture and society all ultimately derives from people--what they know about the world around them, how they survive in their particular environment, how they ensure the survival of future generations, and so on.

Conflict and tension come from limitations. Infinite and/or ill-defined power kills a reader’s emotional investment.

Don’t answer a question we haven’t asked. Context first, then explanation only if necessary.

Your reader will comprehend your world based on what they know of ours.

Personally, I think minimalism can be a good thing! New authors tend to err on the side of waaaaaay too much world building and explanation thereof. The best way to figure out the balance is to read closely. If you’re reading something that makes you feel really present in the scene, pay close attention to how they do that: the details the author chooses, the things they merely suggest or infer, the senses being evoked, and so on. And remember that contemporary literature has to world build just as much as genre stuff does; I’ve spent just as much time on a ranch as I have on Mars, so while I might be bringing more knowledge/assumptions to the table I’m still relying on the writer to make the world come alive.

Brainstormed:

Do you enjoy what you’re making? If not, let the idea lie fallow to be recycled, and ask yourself what would make you enjoy the worldbuilding again. Even if what you’re doing will never show up in your story, it’s still worldbuilding and therefore great. Just prioritize plot-relevant details, and make sure to have fun.

How different would the plot and/or characters be if this detail was changed? This question allows you to figure out the really vital parts of your world and its natural consequences in your story. The details that don’t affect much of your plot/characters are still good, as they add depth, but okay to parse down for a more minimalist perspective.

How far am I willing to ask my readers to suspend their disbelief? Can be asked of specific parts of your world, like magic systems or physics or geographical oddities, or of your setting in general.

Is this self evident? That is, does this part of your worldbuilding become foundational to the plot and/or setting in such a way that the reader understands and extrapolates without ever requiring the dreaded infodump? Not every detail has to be self evident, and in fact I don’t think every detail should be. There’s plenty of things about the real world that I would love to absorb infodumps about, but the way the sun in the sky affects my day to day life requires no context.

Breadth vs. depth, which is more a function of your plot and cast than setting. If your plot follows your characters wandering through a great deal of varying places/cultures/times/etc or a very diverse cast of different races/beliefs/jobs/etc, you’ll need a lot of distinct and interconnected settings with just enough detail to function and stick out as unique in the reader’s mind. Buckling down on a single world/culture/nation/etc to flesh out its complexities and variants will get far deeper into the why’s and how’s of your plot and/or characters, just be careful not to turn it into an encyclopedia instead of a story. (of course, you could do like me and create a lot of breadth and then murder yourself by trying to achieve depth with all of it)

Saphira:

Worldbuilding itself, and setting up the world, comes before the writing in my book. I find that chronic descriptors fall into two categories:

Those who know their world so well that they want to tell EVERYTHING. These I affectionately call the Gushers.

Those who are discovering their world as they write. The world is a mystery to them until the written word tells the writer where they are. These I affectionately call the Explorers.

I suspect you are concerned about being the former. In my gut, however, I suspect you may be the latter. Now there are different rules for each method.

FOR GUSHERS: Use Constablewrite's rules. Those rules underline what's important.

Worried you're still overboard? Count your paragraphs. How many has it been since something happened?

FOR EXPLORERS: Write as normal. Then go over it and look for the things Brainstorm mentions! Highlight them, or copy the stuff on another document.

When you get to rewriting your work, look at your notes and see what you feel is important! You've already explored, so now you can filter.

Worldbuilding in the scale that we know it is relatively new to novel-writing. (Thanks to Sci-Fi and Fantasy authors in the 1950's? Ish? Research it. Cool stuff.) That being said we're already getting really good at it. We've seen the wild phenomenon of cultural diving that Lord of the Rings, Star Trek and Harry Potter have had, and we want to give our readers the same experience!

Though I will note, what draws a reader into the world is the intrigue of the questions they can ask! If we can give our readers just enough information about the world to ask the coolest, deepest questions? We have succeeded.

Tex: I'm not a big fan of generalized advice, especially in regards to "new"... anything. I'm not aware of either your flaws or your strengths, though your use of "minimalist author" intrigues me - what do you consider minimalism? Is it descriptions, is it settings, is it dialogue? Is it something else?

I don't know whether this minimalism is the result of developing your writing voice or the result of underdevelopment in various writing skills, so I hesitate to give any concrete answers. In that respect, I would like to recommend @scriptstructure for the finer points of writing descriptions.

The others look to have covered about everything on this topic, but I would like to reiterate the idea that worldbuilding for the purpose of exposition is heavily dependent upon the plot. Whatever the focus of the plot is, and to some degree that of the characters, is the focus of your worldbuilding.

What's important to your story? Can you remove an element and still make sense? Those are consistently my two biggest guides when worldbuilding because everything outside the immediate needs of the plot are usually extraneous.

Feral: I don’t have rules so much as questions to provide some guidance for new writers getting into worldbuilding.

What quirk of character or plot stands out as being from a society different from my own, and what society would produce this? For a sense of verisimilitude in fantasy and sci-fi, it’s important that the characters not be reproductions of who you would expect to meet in the author’s own society especially when that society does not reflect the author’s own. Dragons, a post-singularity Earth, and a hundred other things that cast the story in a specific genre would create very distinct pressures that would lend themselves to different worldviews, economies, traditions, etc.

Would a particular feature of the world make my character or the plot more interesting? Would it create more problems than it would solve? I always advise against creating a feature of the world that solves your characters’ problems. Features of the world should either a) provide a lovely flavor or b) create obstacles for your characters to overcome or c) both. New writers, particularly those who don’t want too much superfluous flavor might look at Premise Brainstorming, or “In a World Where…” brainstorming to create world ideas that tie directly to the character and/or plot.

Am I avoiding describing something because it is not in my style or doesn’t fit the narrator’s voice? Or am I avoiding describing something because I can’t picture it in my mind or lack the confidence to execute it? This is me all the time. 2 decades of writing, and my first couple drafts are always a little lean on world details because I’m still wrapping my mind around what things really look like and how to take the image in my brain and translate it to the page. It’s ok to take your time getting the world rendered out; that’s what multiple drafts are for.

How have writers I admire and whose writing style matches what I want for myself handled the question of worldbuilding? If you’re not familiar with The City and the City by China Mieville, I strongly recommend checking it out. When I think of so-called minimalist world building, that is what I think of.

Do I know enough about my world to know what is important and what is not important to include? I recommend the Iceberg Principle for newer writers/builders: 90% of the world isn’t gonna make it into the story. So, that 10% better be enough and relevant.

[bookupastorm]

Novel Prep Tag!

Thanks to the outstanding, Julia (@ahowlinwolf), for tagging me! I’ve put it under a read more because I tend to ramble. A Lot. 

Tagging (ignore if you want to):  @aelenko @sikkinn @a-writers-lifestyle @lesbianwriteblr

Rules: answer the questions and then tag as many writers as there are questions answered (or as many as you can) to spread the positivity! Even if these questions are not explicitly brought up in the novel, they are still good to keep in mind when writing.

FIRST LOOK

1. Describe your novel in 1-2 sentences (elevator pitch).

A prince finds himself thrust in the middle of a war he knows nothing about and must choose between his family or his humanity.

2. How long do you plan for your novel to be? (Is it a novella, single book, book series, etc.)

At the moment, I can only see the book as a standalone. But, that could all change in the future. I’m a very “go with the flow” kind of person so I haven’t even figured out the ending for the novel yet or have a fully completed outline. I could see it going into a series, but I’d have to adjust the timeline for this book.

3. What is your novel’s aesthetic?

Oh gods, the fated question. I’m not the best at describing aesthetics, but I guess I would say it has a magical castle vibe. And it’s cozy, but also like feeling a sense of loss for something you never had. I’m not sure if that describes it well, but that’s what you get. 

4. What other stories inspire your novel?

I’m really bad at understanding what inspires me, but I think I would say that Crier’s War has inspired a bit of the novel? Honestly, I’m more inspired by music than other authors. I don’t really have much time to read.

5. Share 3+ images that give a feel for your novel.

Subtly plugs my Pinterest.

MAIN CHARACTER

6. Who is your protagonist?

Eleric Tilele, the young (and only) prince of Valengard.

7. Who is their closest ally?

Despite their rocky friendship in the beginning of the novel, Maiela is his biggest ally. They become somewhat of a Geralt and Jaskier style duo. 

8. Who is their enemy? 

This is somewhat a spoiler, but also not. His father is his enemy. I won’t go into the details of why, or how this develops, but...it’s good.

9. What do they want more than anything?

To find his place in the world. 

10. Why can’t they have it?

The crown weighs him down. Because of it, he has been sheltered his whole life and has never seen much beyond the walls of Valengard. 

11. What do they wrongly believe about themselves?

That he isn’t good enough. Throughout his whole life, his father has been clear to drill into him that he is not good enough and as such that believe has infected him like a poison. It’s why he sacrificed his happiness for the crown, because he believed it would make his father proud. 

12. Draw your protagonist! (Or share a description)

Eleric has a mess of curly dark brown hair that falls just above his eyebrows and his eyes are the color of amber, a welcome contrast when compared to his umber brown skin. He’s 5′6″ and rather toned. He typically wears various shades of blues and rather formal clothing with silver and black acting as accents.

PLOT POINTS

13. What is the internal conflict?

The answer to this is kind of a spoiler, but family plays a big part into the conflict. And of course, self worth is a big part. There are a few moments where Eleric seriously struggles with feeling like he deserves whatever bad thing is happening.

14. What is the external conflict?

Power. Greed. Corruption. Also love and healing. There’s a lot that will be covered in the book, either in small moments, or in the grand scheme. 

15. What is the worst thing that could happen to your protagonist?

Well...the worst thing that could happen to him does happen and...it changes everything. 

16. What secret will be revealed that changes the course of the story?

You know that worst thing that could happen? Yeah, it’s big. Life altering. I won’t give it away, but...blood magic is involved somehow.

  17. Do you know how it ends?

Nope! I’ve got a vague idea about some things. But mostly I just don’t care enough to worry about that yet. I’m here for a long time, but also a fun time. 

BITS AND BOBS

18. What is the theme?

Friendship, love, family? Self worth? I’m not really sure. I think like any art, it’s subjective. If someone reads it and finds the theme to be one thing, who am I to say it isn’t? Unless they think the theme is something bigoted then...yeah no thank you.

19. What is a recurring symbol?

I would say choice is a big part of the story. There is a scene (after the big thing is revealed) and it involves a huge choice that Eleric can’t turn back from. 

20. Where is the story set? (Share a description!)

The story is set on the continent of Vlerus. Home to many communities, Valengard reigns over most of the land. They’re considered the capital of Vlerus. Another notable place is Vrigon; a kingdom known for its large market filled with merchants from all over. If you ever were in need of coin fast, Vrigon was the place to go. Life, for the most part, is peaceful. Although there have been rumors of a rebellion looming on the horizon. 

21. Do you have any images or scenes in your mind already?

Oh yes! I have one where Eleric and Laith have a heart to heart and there’s one in particular where Eleric and Maiela connect for the first time that I’m really excited to write.

22. What excited you about this story?  

The characters and the way they interact with one another. Specifically the relationship between Eleric and Laith. It’s complex and messy, like most first loves, but its so beautiful the way they interact with one another despite their past. Also, Maiela and Eleric’s friendship. I haven’t actually written any scenes with the two, because I haven’t gotten to Maiela’s introduction yet, but the banter is going to be comical. Laith will likely get the sharp end of said banter because Maiela and Laith kind of don’t like one another. 

23. Tell us about your usual writing method!

I’ll be honest, I just go at it. I’m a very unmotivated person so if I don’t do it then I never will. 

[hoarderofwords]

Day #2: My WIP

NOVEL PREP TAG

Thank you for the tag, @thewalkingnerdx​! I’m doing this for Day #2 of @owl-writes​ Writeblr Life Week, but since I’m still in the process of outlining The Hollow Prince, some of the questions may or may not be answerable. We’ll see how it goes!

FIRST LOOK

1. Describe your novel in 1-2 sentences (elevator pitch).

A young conman with a terrible secret is forced to confront his past when his victims start turning up dead.

2. How long do you plan for your novel to be? (Is it a novella, single book, book series, etc?)

I’m not sure yet. I’ve been toying with the idea of making it part of a trilogy, but it depends on how the story pans out.

3. What is your novel’s aesthetic?

Paris during the Reign of Terror, gilded aristocracy gone slightly to seed, crumbling statues, vacant ballrooms, sepia ink on faded parchment, gilt chairs and broken cornices, long skirts and glittering masks, a red ribbon around the throat, library bookshelves full of dusty books that whisper with secret magic. 

4. What other stories inspired your novel?

Captive Prince series by C. S. Pacat. Nightrunner series by Lynn Flewelling. Captain Corelli’s Mandolin by Louis de Bernières

5. Share 3+ images that give a feel for your novel.

MAIN CHARACTER(S)

6. Who is your protagonist?

He prefers to be known as Gill, but that’s not his real name.

7. Who is their closest ally?

Lynette. She’s like an elder sister to him, and she keeps him out of trouble. Well, she tries. Well, at least she makes sure he doesn’t die when he inevitably gets into trouble, usually by charging right on in after him.

8. Who is their enemy?

The person who keeps killing the people Gill has conned. 

9. What do they want more than anything?

Gill will tell you that what he wants is to be left alone to do as he pleases, but what he really wants is to make his parents proud by being the person they always told him he would be.

10. Why can’t they have it?

His parents are dead. Plus, he doesn’t believe he’s capable of being that person anymore. 

11. What do they wrongly believe about themselves?

He is convinced that he is not the sort of person that his parents would approve of, because he’s a liar and a cheat and has had to do ugly things in order to survive. For this reason, he avoids responsibility and refuses to take things seriously, and tends to be very cynical and dismissive of “heroism” as a general rule.  

PLOT POINTS

12. Draw your protagonist! (or share a description)

In lieu of either of these, since that would take time I don’t currently have, pls accept this gif of Louis XIV (George Blagden) instead. 

13. What is the internal conflict?

For Gill, it’s the struggle between self-interest and the greater good, between cynicism and hope, and between the image of himself as he is and the person he could be, if he stopped trying to force himself to be something he’s not.

For Lynette, it’s about remaking herself, learning to redefine what is important to her outside of the ideas of duty and obligation. In a way, her journey is a mirror of Gill’s: where he has to learn to take responsibility, she has to learn to give some of it up.

For Cassian (Gill’s love interest, still not entirely sold on the name), the conflict is between what he has been taught and what he has learned through experience, the struggle to listen to and trust his own instincts and his own path even when it runs contrary to what he’s “supposed” to do. 

14. What is the external conflict?

Someone keeps killing people Gill has conned, and Gill’s the only one who can stop them. 

15. What is the worst thing that could happen to your protagonist?

Failure. As in, he fails to stop the killer, the people he loves die, and it’s all his fault. 

16. What secrets will be revealed that will change the course of the story?

I can’t tell you that, because spoilers! 

17. Do you know how it ends?

Not yet. 

18. What is the theme?

Self-determination. Basically, it’s a “coming-of-age” novel for New Adults, about dealing with the transition into Adulthood proper and the disillusionment that can come with it, and having to adjust your view of yourself and your purpose when the world turns out to be different than you expected. 

19. What is a recurring symbol?

Haven’t got that far in my planning yet!

20. Where is the story set? (share a description!)

Again, still working on this part of my world-building.  

21. Do you have any images or scenes in your mind already?

Yep! I already know that books, words, and libraries are going to be important, and I have written some scenes from the characters’ backstories to flesh out their motivations and personalities. 

22. Tell us about your usual writing method!

Well, I don’t really have one “usual” method, but right now I’m trying out the Story Genius approach by Lisa Cron. I tend to be a bit of a landscape gardener when it comes to outlining; I need to have enough worked out that I know what I’m doing, but if I get overly detailed in my planning, I get bored with an idea and wander off. I’m really excited about this approach because it’s the first outlining method I’ve found that fits with how I usually work, so it’s given me a bit more structure to follow while also allowing me to keep much of my own style. It’s also very character-focused, which I like, because that’s where my stories tend to come from. 

23. What excited you about this story?

Originally, it was an idea I picked up on the NaNo forums and wrote as a joke, but I really like the idea of turning it into a serious story exploring the ramifications of certain fantasy cliches (and also I just really wanted to write a cool LGBT+ fantasy novel, you know? *g*). 

Since I don’t really know enough people to tag for this, consider yourself tagged if it looks like something you’d like to try! And please tag me when you’re done so I can have a read of your answers :)

[dandequill]

novel prep tag: blackbird

i was tagged for this by @magicalwriting! thank you so much!

in this tag, there are a lot of questions going in-depth about the wip in question (i’m choosing blackbird) and because of the detail i must warn that it’s rather long! also, because i’m still rather new here, i don’t really know many people to tag, so I’m just going to pick a few at random from my followers:

@three-seas-writes @the-moving-finger-writes @rewrit @anika-writes @spirit-of-helimire

and so we begin!

first look

describe your novel in 1-2 sentences (elevator pitch)

maria quintana (vain, moody, and a loser) and ingrid piuma (owner of one outfit, carefree, and also a loser) clash paths when on the run from a stuck-up aunt and stuck-up sister, respectively. they hit it off and have a lot in common, or so it seems; maria is yet to learn of the complex web of holy curses, familial trauma, and quest to halt an impending magical catastrophe which sets ingrid apart from her.

how long do you plan for your novel to be?

i don’t have much in the way of a length-goal for the novel in particular, but more generally i think the story could work well as a duology, with one story focused on maria and the other on ingrid.

what’s your novel’s aesthetic?

ooo, that’s a fun one. i have a pinterest board which does a decent job of encapsulating it, but think along the lines of gritty detective drama meets urban fantasy meets sweet sapphic romance.

what other stories inspired your novel?

the very earliest, basic idea of kids hunting a sleeping magical figure came from the raven cycle, but the story has spiralled drastically beyond that since then so the link has become very, very tenuous. other influences include fairy tales such as fitcher’s bird (+ a variety of other ‘rescued by the sister’ types).

share 3+ images that give a feel for the novel

as mentioned prior, there is a pinterest board with more images, but here are a few favourites i have selected:

main characters

who is your protagonist?

i consider maria and ingrid to be joint-protagonists, so here is a brief run down of both-

maria quintana:

- naive + sheltered; not much experience with the world beyond her hometown, so being forced to spend her summer in a big city in a foreign country isn’t exactly her idea of a good time

- daughter of two artists who rebelled against their families to be together; they want her to be better, she wants to be the same, and her cold-hearted aunt wants to warp her into something else entirely

- tall hipster lesbian gf

ingrid merlero piuma:

- laid-back + ‘eccentric’; changed entirely by the death of her mother a year before the events of the novel to become more aloof and self-focused, motivated by spite for her father

- middle of three sisters, all of whom have an agenda against their tyrannical father and rebel in different ways; she uses laziness as a weapon to diminish his control over her

- short punk bisexual gf

who is their closest ally?

maria and ingrid act as each other’s allies, plus a small gaggle of strange boys maria ends up living across the hall from (matei, evan, sal + dajuan) and ingrid’s sisters, sirena (elder) and jordana (younger)

who is their main enemy?

maria’s personal enemy is her aunt arabella, who drags her away to a highly academic summer school in a distant city in the hopes to mould maria in her own image (what maria actually gains from this trip is a quirky girlfriend and intimate experience with the darker strains of magic); ingrid’s primary enemy is her father, whom she suspects of being involved in dubious criminal activity as well as more generally being a control-obsessed patriarch; the sleeping sorcerer at the heart of said dubious criminal activity is the eventual enemy for both.

what do they want more than anything?

maria wishes to follow her own heart and desires unhindered, living a romanticised version of life in which she avoids all pitfalls and suffering; ingrid wishes to move into her own place and not have to worry about generational curses any more.

why can’t they have it?

maria, as one might guess, is more entrenched in fantasy than reality, and has yet to understand that reality is more complex than what she desires and therefore she can never live entirely free of hurt; ingrid’s father is into some dodgy stuff and she and her sisters feel an obligation to stop him from hurting anyone else before they get on with their own lives

what do they wrongly believe about themselves?

maria believes she is infallible and untouchable, beyond the touch of the harsh realities of life which affect everyone around her; ingrid feels obliged to act as a saviour and impede every one of her father’s schemes, as well as having a myriad of self-esteem and confidence issues stemming from the trauma of her father’s emotional abuse and manipulation

draw your protagonist! (or share a description)

whoops i may do digital art but i am yet to draw either of these babes-

maria: lanky lady (5”11), hispanic-coded (story set in a fantasy world, not real world), the fluffiest hair imaginable on a human being, eyes that she considers dull and pebble-y but which ingrid cornily compares to the pristine cuorren sea, freckles everywhere, makes and patchily mends her own clothes to imitate her parents’ messy artfulness

ingrid: short queen (5”4-5), hispanic-coded with a slightly darker complexion than maria, shoulder-length black hair (often twisted back into the smallest ponytail on the face of the earth), lighter green eyes, also peppered with freckles, wears the same plain jeans and shirt everywhere, every day, much to the chagrin of maria

plot points

what is the internal conflict?

maria must come to terms with the harsh realities of life and the flawed way in which she sees the world; ingrid must overcome family-related trauma and not project her pain onto maria

what is the external conflict?

maria’s family conflict with her aunt; ingrid’s struggle against her father; the eventual conflict with the (no longer) sleeping sorcerer

what is the worst thing that could happen to your protagonist?

maria could have her romanticised illusions of life shattered suddenly and horrifically as opposed to broken down gradually (ie a sudden tragedy befalling herself, ingrid, her parents); ingrid could be forever trapped by something or someone even after she escapes her father, cursed to never have her own personal freedom

what secret will be revealed that changes the course of the story?

i haven’t settled on the specifics yet, but it will be ingrid revealing one of her many personal secrets to maria in a way that completely changes maria’s view of her and, subsequently, their relationship; this could be the death of ingrid’s mother, the abuse from her father, her father’s madness and obsession with the sleeping sorcerer, or another, slightly smaller secret

do you know how it ends?

i have revised a few potential endings, but am yet to pick on the specifics; so far it is still a vague idea

what is the theme?

found family, fantasy vs reality, personal freedom vs duty to community, different types of love and relationship, death and mortality

what is a recurring symbol?

imagery of birds may be stereotypical, but it’s my favourite, and features heavily in a novel called ‘blackbird’ (this... should not be surprising) - different birds are associated with different characters and relationships, and are used to signal/foreshadow events attached to their respective characters. blackbirds themselves are attached to ingrid.

where is the story set? (share a description!)

the name of the city where it’s set is cuorren, which i once described to a friend as ‘seaside rome with a gang problem’ - here are a few images i assembled on the pinterest board which have inspired the setting:

do you have any images or scenes in your mind already?

i know the opening scenes more or less off by heart; i also have maria + ingrid’s first kiss, the first time maria visits ingrid’s troubled house, and a few other cutesy scenes of them together (i... should probably write more off this story beyond romantic escapades...)

what excites you about this story?

the themes are very important to me personally and i love that i get to express them through the medium of sapphic romance and dark fantasy, two of my greatest joys in life!

tell us about your usual writing method!

it doesn’t exist

uhhh... i have a planning document on the go and the first few scenes set out, but honestly every time i try to write beyond them, i panic and feel like i don’t know what i’m doing and go back to the plan. so i guess that makes me a planner over a pantser. which, believe me, has not always been true!

if you have made it this far into the post, thank you so much for reading! i hope this has been a good insight into my favourite of my three projects.

- m.b.