#niche answers for a niche audience

[hattiestgal]

SHAKES YOU how do you draw taurs. i need help i genuinley cant wrap my head around the anatomy of it. optionally i need help with fat taurs but any kind of taur is okay

Ooh, I love these sorta questions!!!

So there are two main things folks usually struggle with when it comes to drawing taurs as a whole. 1, they struggle with quadrupedal anatomy and 2. connecting the humanoid upper body to the quadrupedal lower body. Obviously there's no shame in either of these things, drawing four legged animals, especially if you're more used to the anatomical structure of something more humanoid is quite tough! And finding the sweet spot where humanoid and quadruped meet to make a taur is a bit of a struggle for folks who're still figuring it out.

So! The first thing you wanna do really is just familiarize yourself with quadrupedal anatomy. Look at the skeleton of the creature you're trying to taur and see how things like their limbs bend differently or how they're just differently naturally posed as compared to someone who walks upright.

This is a very simplified skeleton of a cat, but you can pretty immediately see how differently everything bends. And I'm not saying it's something you have to perfectly master to know how to draw a taur (especially when you get to drawing fat taurs), but i highly recommend becoming familiar with how a quadrupedal body is structured, the silhouette of most animals is quite misleading! And absolutely use reference!

Heck, our first go at drawing taur Riley was super heavily referenced (I'll even share the ref image if anyone is interested!), and this still came out real jank. Practice makes perfect!

As for connecting the upper body to the lower body, this is a little more subjective and up to you, but I'll lay out some general guidelines.

Generally speaking, you wanna put the humanoid torso where the base of the neck is, the front of the torso kinda merging with the rest of the taur body just after the tummy, basically just before the crotch starts.

As for the back, you're gonna want to shoot for just shy of where the butt starts, waist having curved back outwards. It gets a little awkward if you go higher or lower than that. And obviously, you wanna make sure the torso is firmly planted in the center of where the neck should be, ehehe.

That's pretty much the basics though! As always, i recommend looking at how your favorite taur artists draw the creatures and studying off of that! Familiarize yourself with quadrupedal anatomy, and use reference!! You will absolutely get it down with time. I will absolutely cover fat taurs if there's interest in it, and ofc, lemme know if there's anything I missed or need to go over! I hope this helps!

[sovonight]

I have noticed that it’s been quite a while since you last made art for Gravity Falls. Naturally, you have all the freedom to do and make art of whatever you want: I am not complaining about this, and I still love your style and your art. I do have a question though: how do you feel about Gravity Falls (and Ford) as of now? Do you still like it, or have you simply “moved on”?

at the present moment, i've moved on. ~10 years ago i also moved on from baldur's gate, until last year when my enthusiasm returned (albeit greatly transformed from the 10 years i'd lived since then), so "moved on" isn't necessarily a forever thing

[simplydnp]

one one hand they're kind of bad at a bunch of games. on the other... they're good at platformers and teamwork (it takes two :')) so they did just as good as i expected 🫡

see my counter argument here is bread and fred

exact same idea, executed in a different way (spinning vs bouldering, 2d vs 3d, cute vs hell). and dnp were terrible at it. to the point of like, actual frustration. some of it was played up but there were nerves hit during that video.

but yes, they did well with it takes two. so i didn't think they would catastrophically fail, but i've seen enough youtubers play this game and have varying rates of success to say that i expected them to struggle more.

now, this assumption was made before i saw that phil was using a controller, because, of his own admission, he is not good at wasd-ing. since that was no longer a huge negative for their prospects, the odds certainly changed in their favour. i believe i said this in the tags of my reblog about their success.

i'm glad you had faith in them, anon. i'm an optimist, but i'm also a realist, so given what i was presented, i made my prediction.

[wackypomo2003]

getting older is coming to terms that 99% of the films that i love and have left a huge impact on me to the point its apart of my core inspirations to this very day would only have 3.5 average on letterboxd

[a-ikuoliver]

you should use jjk tags if you want that maki fic to get more attention. like jjk x reader or jjk smut etc. not just maki x reader. your fic deserves to be out there more since it is sponsored for a good cause so use the popular tags

hiii ml!!!

i typically only rlly use the character tags bc i feel like people after specifically maki works will search for maki as opposed to the fandom as a whole tag so i get nervous (? idk if that's the right word for it) using the fandom tags bc i don't really think it would necessarily change the audience its reaching

secondly, if i change the tags now it won't rlly affect the attention it receives bc its already been 6ish days since i posted it and whenever ive edited tags previously for organisation etc it hasn't done anything for traction/interaction on the fic

thirdly, wlw content i've noticed for me never does the best anyway which isn't an issue at all bc i enjoy writing it nonetheless i've just noticed there isn't quite as big of an audience for it! <3

[clairedaring]

Okay, I dare not reblog your response to the essay post because the length of it is already too much, so Imma continue/reply through this new ask instead! ---------------

First: Thank you! I'm delighted that you enjoyed my rambling essay so much! And if it's good, it's only because you asked the right questions and gave me this opportunity to yap! An answer is only as good as its question allows it to be, after all!

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Assuming that the paper receipt Win found in the last episode implied his missing? dead? dad was also caught up in some money laundering shady business at the temple, I think Win will play some kind of double agent character in S2 where he’s forced into both running shady temple business all the while reporting back to the RDJ-looking cop.

YES! I think Win's gonna find himself in a teeth-clench cooperation with Cop RDJ (and the feelings might be mutual until maybe the two of them reach an understanding as S2 progresses)!

That cop seriously has more things going on with him beyond what we glimpsed. He has very personal goals he wants to achieve—whatever means necessary. Could he actually be a personal friend of Win's father? Or someone who used to work with him? Is Win's father the common thread between Win and Cop RDJ?

I'm very interested in his side of the story, man!

----

To be honest, they’ve ended Monk Dol’s arc so well, I really don’t want to sacrifice his character’s integrity and beliefs for the sake of the narrative but I also badly need him onscreen again as the only character with a moral compass in this series full of peope without it ಥ_ಥ

Sadhu, you nailed my struggle! I know I shouldn't be attached, but bro, I am. Too late!!! Y'all made him too charismatic and earnest in his practice and conduct, and now you created one of the best religious-affiliated characters I've ever met in my personal list of fiction.

Imagine if Monk Dol was a real person I know!!! Yo, I'll do anything to be his kalyāṇa-mitta ("noble/virtuous friend;" Buddhist friendship characterized by camaraderie in helping each other improve while practicing The Noble Eightfold Path. It includes chastising each other for unskillful conduct, etc).

I like to point out that Monk Dol was also written to be afflicted with the Three Poisons (klesa) through his attachment to Dear, so he's actually flawed despite being the best boy person in the series. He showed delusion (moha) such as thinking Dear could ever be with him and that he should disrobe to be with her. He showed attachment (rāga), most obvious in his dream of Dear and that scene in the bathroom. The only klesa he exhibited the least, even when he had grown attached to Dear, was aversion or hatred (dosa), but it was still present—in his quiet resentment and growing regret over becoming a monk at too tender an age. He was growing averse to his life as a monk.

So I think, one of the many functions Monk Dol provided in สาธุ was also about a Buddhist's valorization of growth from mistakes. Instead of characterizing his lapse with Dear as a sort of fall in morality or failure in his religious duty, the emphasis was placed on how Monk Dol overcame his delusion. In Buddhist ethics, moral progress is extolled—more so than moral duty and moral adherence. It's all about effort, striving, and using your mistakes to learn; Monk Dol's character arc exemplifies that. One of the Buddha's lauded disciples was Aṅgulimāla, a serial killer, after all.

Okay LOOK I REALLY LIKE THIS GUY, OKAY

------

Whatever happens in S2, I hope S2 gives me lots of Monk Dol internal struggles, nothing I love more than a tortured gentle, kind soul (@ สาธุ scriptwriters, please don’t use my beloved Monk Dol as a sacrificial martyr though, HE’S SUFFERED ENOUGH) getting a bittersweet, hopeful-ish open ending.

OH SHIT. I... I'm also a sucker for tortured gentle, kind soul!!! Ahhhhhhh!

--------

I LOVE the scene you chose to make your new gif.

Because this Dhamma talk was probably the hardest-to-understand of all. I'll tell you why...

In this one, Monk Dol was explaining upādāna ("clinging; attachment"). However, he wasn't talking about the usual stuff about attachment like "don't be attached to money" "don't be attached to beauty" or "don't be attached to fame."

He's talking about attachment to things Buddhists think are good. Meditation. Making merits. Offering alms to monks. The rituals. He's saying that one should not even be attached to these good things. "It's easy to be attached to things that feel pleasant. But we should not be attached to them, too."

It's very counterintuitive. Buddhists are taught that all of these stuff are good and moral, so why not be attached to them?

Because if you're so stuck in doing them, it will also start to become a burden to your mind, and then it turns into suffering. But there's also more to it!

The Buddha had an analogy for this (I forgot in which sutta/sutra, though. Bruh yapped way too much and had a shit ton of sutta in the Pali Canon). Paraphrasing from my memory here:

The Dhamma is a boat. When you want to cross the river and reach the other side, you use the Dhamma (and related tools). But once you reach it and are now on land, do you still hold onto the boat? No. You discard it, having no longer need it on land. To cling to anything when it's no longer required causes dukkha.

This is what Monk Dol was also saying in that talk. Samadhi ("wisdom") during meditation is nice and pleasant, but true samadhi is knowing when to be detached from the pleasantry of meditation so that the "bliss" of it doesn't distract you from your real goal (of Enlightenment).

And this, I need to stress, was the Dhamma talk Monk Dol was giving in his first appearance. I was absolutely floored and impressed, man, because this isn't something someone with a more pop culture understanding of Buddhism can come up with. Again, fucking props to the scriptwriters and their advisors; they really know their shit!

----

Okay yea I am done rambling ahahhaha. Please, if you cook more The Believers gif set I will EAT THEM SO GOOD. I wish more people are into this shit, goddamn. And I can't wait for Season 2!!!

(You have no idea how happy I am to find a fellow appreciator like you!)

Thank you Lyn for once again blessing me with even more insights into the brilliant writing and details in the characterisation of Monk Dol (i don't deserve this. cries happy tears ಥᴗಥ. months and months of waiting and lurking in the สาธุ tag for fellow สาธุ appreciators has finally come into fruition. i truly have no regrets spending hours screencapping สาธุ. always said they were purely self-indulgent but i must admit i always secretly hope people would come across them and gave the series a chance).

I didn't think I could love Monk Dol more but you have truly proven that Monk Dol is truly in fact best flawed boi monk. In a series with such a sensitive topic, I understand that careless writing could have easily made him a terrible character or cause great controversial or mixed reactions but I do think the writing for Monk Dol was just sophisticated enough and it feels like there's much care in the crafting of his character (my beloved Dol).

Kudos to Pup who plays Monk Dol as well, because I would have never guessed that he isn't a professional actor but the frontman of a rock band (funnily enough i've been listening to Potato (his band) forever but i didn't register that they're the same person until I started watching interviews and they start asking Pup about how does it feel to transform from a rock singer to a monk).

i shall end this ask with a gif encapsulating my exact reaction of Monk Dol's first Dhamma talk/sermon

[cypric-rat-hyperfixation]

As my following grows and as I meet more and more people who have rats, had rats, know someone who has/had rats, and love rats...

increasingly I wonder if/when a day will come... a day that I'll express rat enjoyment to someone and they'll enthusiastically ask me if I've heard of This Funnie Little Rodent Blog they like, figuring I may already know it or will enjoy it if not...

and it's.. my blog... and then I have to come out as popular Rat Tumblr blogger that they follow and now know IRL.......

[wishing-stones]

Hello, I found your Ao3 around a week ago and read through everything you wrote because I ABSOLUTELY ADORE THEM. It's ok if you don't reply to this. I just want to show you how much I love your work. I can't stop thinking about it and checking your Ao3 every once in a while. I want to say that your work gives me joy and energy to press on. Keep up the amazing work, and take a break if you ever need to! <3 (Also sorry for any grammar mistakes I'm not a native English speaker AAAAAA-)

Thank you so much Anon! This actually made my day ;3; And is giving me some of the energy I need to pick up where I was writing! (having a teeny bit of writer's block, but that's largely around energy levels, which have been terrible since Friday lol)

[h20milk]

What’s your inspiration for keeping your blog up?

adhd

[hexonthepeach]

I wondered if we can have what’s left? Or if you’ll tell us what would have happened/where it was supposed to go? I loved your work & im sure lots of us get your decision and also feel bummed out too

I am just as bummed as you are, for sure, so I completely understand. I have been thinking the past few days how to salvage what I have in a way that doesn't require anyone read the original or the unpublished parts, primarily because I did have what I thought was a tidy conclusion feeding into a part two that saw y/n get revenge on those who wronged her and her kind and free at last to pursue her original goal . . . only to be brought back by some very angry and internally conflicted but otherwise adoring alphas. Which would lead to the thing I had been aiming for this whole time by establishing interpersonal relationships and worldbuilding: that good angsty tension and smut.

Part two aka unnamed work in progress was already planned out as it's own thing, so removing a reliance on agtbtb while adding homages to the characterizations that re-explain some of the original context or even just continuing it and letting characters find out stuff naturally might be an option. It's too much to wrap my head around right now and I'm not sure how enthusiastic people would be about it, or if they would accept what wouldn't be a straight sequel as I would feel personally like I had to strip down some of the narrative to make it easier to digest.

As a little treat in these trying times if you would like a broad overview/spoilers of what was planned I am happy to write that up, but if people would rather have it as its own part two framing narrative I would like to keep those details preserved.

[sidhedust]

More on that form/poll:

This game idea will be far, far off. I'm still not in a good headspace to create+I'd like to draw/program for other games to get a feel for gamedev, so it'll be years before anything comes to fruition...but I might as well get feedback while I DO have eyes on me LOL.

I'm thinking about doing another poll where there will be basic sketches of townsfolk+bachelor/ettes for better reference, since this current form is a lot to read. That way people can judge a book by its cover and link backstories to a face early on.

[asha-mage]

A SVSSS fic I want to write one day is Airplane and Shen Yuan being ejected from the System and sent back to the mundane world, but with the difference that Shen Yuan's 'edits' to the story have been retroactively applied to PiDW and as a result it's gone from 'top story in a hyper specific web culture niche' to 'international sensation with a Netflix adaption in the works'.

Keyly, PiDW is still told largely from the PoV of Luo Binghe- so neither he nor the audience is at all aware that it's now Isekai story. Instead it's billed as this heady romantic drama about prejudice, the passage of time, and redemption- where a big part of the appeal is trying to piece together the otherwise enigmatic Shen Qingqiu's motives.

Was he harsh on Binghe initially because of he sensed/knew about Binghe's demon heritage (as it's now possible to find hints that he may have in fact known all along)? Or because he saw Binghe's potential and wanted to do the tough-love training thing? Or was it because he was trying to chase Binghe away from Cultivation because he knew it would lead Binghe to misery one day? Did he throw Binghe into the Abyss because he was genuinely shocked and disgusted by the Demon reveal? Or because he knew Binghe would be killed if he stayed and he was trying to 'protect' him? Or was it because he genuinely wanted Binghe to fulfill his demon Emperor destiny and thought a clean break would do it? The fandom has no idea but lovvvvvves arguing about it.

This all leads to things coming full circle, as Cucumber, sounding like an absolute insane person, is left to rant online about how the obvious answer is that Shen Qingqiu was Isekai'd earlier in the story and replaced by a completely different person- a theory which is mocked to the point of memery, and leads to Cucumber being dunked on endlessly, no matter how much evidence he brings up or how many essays he writes.

[cherryheairt]

Pearls

Cregan Stark x named!fem!reader no desc (gif just for vibes)

18+!

my first smut writing and it was an intrusive thought that hasn't left my mind all week I need to get it out NEOW. I don't know my audience for this but please let it not be too niche idk 😭

Lately, Cregan had been absent from their marital chambers until the darkest parts of the night. Work had been keeping him apart from his Lady wife for far too long in her eyes. One night was almost unbearable, let alone weeks of it. Sometimes, he fell asleep in his study after pouring over scrolls and plans for hours.

It was hard to sleep without her husband, she found. After their marriage less than a year ago, they had shared the same bed every night after. Their relationship was most likely the healthiest in all of Westeros. Always in sync and filling what the other lacked. Whereas Vanya was compassionate and kind, Cregan was stern and unyielding. Together, they led the North as any Stark Lord and Lady should: In harmony.

Vanya had taken care of her tasks well, managing what Cregan could not in his time of occupation. Winter was upon them, cold and unrelenting. Vanya's first as Lady Stark, and one she intended to run smoothly to set a precedent for her live's rule.

However, even though she kept herself busy til late evening, she found her needs growing by the day. Usually, her and Cregan found themselves enjoying many rounds of pleasure before they tucked in for the night. Now, since he'd been busy, they hadn't even kissed in weeks. Simple glances at him or the feel of his arm's warmth draping over her in the early hours of the morning made her almost feral with want for her husband.

But he was always gone when she awoke. She was left to get ready for her own day of duties completely alone, longing for her husband's company. An emptiness struck her heart—one that she was determined to fill.

She got to work after her day was through. Knowing Cregan wouldn't join her til long after she was finished, she enjoyed the secretive project in the privacy of the chambers.

Pearls.

Lace.

Thread.

The only three things she dained to need for her little excursion. She worked quickly and nimbly, a nervous fluttering feeling drifting in her belly and staying there until she had finished. Quickly, she put the garment on. Satisfied by the mirror's view, Vanya giddily got dressed into her sheer white night shift.

She settled into bed, only being able to fall into a light sleep in her excitement.

It was not too long before she heard the quiet creeking of the door open and close, Cregan always making a point to enter and exit their chambers considerately. With a heavy sigh, she heard him drop his clothes and boots to the floor.

Weight dropped onto his side of the bed, and a familiar arm draped itself around her waist. Cregan sighed once more into the back of her neck, breathing in the comforting scent of his wife.

Vanya reached up gingerly, lacing her fingers with his. "Husband," she whispered, gauging his mood.

"Wife," he muttered back, thumbing absentmindedly at the space below her belly button.

"How was your day? You've been kept busy, far from the warmth of our hearth." She brought his hand up to kiss gently, starting to wake herself fully.

Cregan hummed guiltily, nodding into her smooth skin. "Tiring. I promise, once Winter starts to come to a close, I will make up every minute I spent leaving my dear wife waiting." The words were muttered slowly into the shell of her ear.

Vanya only huffed a laugh, shaking her head though he couldn't see her face. "There is time now, isn't there?" She asked coyly.

When she recieved no answer, "Cregan?"

None again, but the soft breaths coming from his nose. Turning to face him, she was met with closed eyes and a content slight smile gracing her husband's handsome features. She lay her head back on her pillow, sighing in accepted defeat. Brushing a piece of hair back behind his ear, she kissed his forehead, "goodnight, my husband."

The next day was the same as the last ones. She woke up alone again, only this time Vanya was much more determined to stoke the fire she knew Cregan had. Keeping the garment on underneath her day dress, a light powder blue number with tapered sleeves, she made her way about the Great Keep conducting her business.

Her mind was heavy with thoughts of Cregan, hunched over his desk and stressfully raking his hands through his dusty brown threads. Vanya finished her duties early, freshening up in their chambers before she returned outside of them. Hurriedly, she changed into a light blue shift, similar in color to the one she had worn out. She dabbled some sandalwood perfume oil on her neck and wrists, fixing her hair quickly before making her way towards Cregan's solar. The windows she passed by showed the fresh night sky and the dotted stars along it, the perfect time for any stray servants or maids to be tucking away for their own leisure time before bed.

Vanya took a short breath in before opening his solar door, spotting the exact visage she had imagined the whole day. Dressed in only his grey tunic visible above the pine desk, he had clearly discarded his pelts and leathers for the day, seeing as he had not even left the room once. The hearth was dying, only embers remaining. Clearly, he had wished not to be disturbed by any servants throughout the day.

He was still engrossed in writing a scroll when Vanya approached his desk. A tap on the spot above his elbow had jerked his head up, a shocked look in his eyes as he looked up at his wife. "Vanya, you should be abed already—" he said quickly.

Vanya shook her head, sitting herself on the edge of his table stubbornly. "Couldn't sleep." She lied. "I missed by husband's warmth next to me."

His lips pursed as he glanced between her and his work. "I'm sorry, I will finish as fast as I can. Wait for me?" He offered, though they both knew if she left now, he would only be swallowed up by his duties once more.

Vanya placed a hand on his cheek, running her thumb over the dark undereyes that deepened his tired expression. "I wish to stay with my husband, if it please him."

Cregan's eyes softened, nodding his agreement. He scooted his chair outwards, leaving ample room for Vanya to sit between him and the desk. Instead of sitting across his lap, as she normally would when accompanying him in his seat, she lifted her skirts to her thighs and sat facing him.

He tilted his head slightly, instinctively placing his hands over her hips to adjust her. "Won't this be uncomfortable for you?" He asked, though a faint blush dusted his cheeks and ears at the position.

Vanya shook her head, choosing to sit herself closer and bury her face into his neck. "Go on, don't let me interrupt." She said innocently, earning a glance from her husband before he followed her instructions and started back on his writing.

After a few minutes, she felt enough time had passed to make him inconspicuous of her actions. Slowly, she pressed herself closer to his chest, squishing her breasts again his own thinly clothed skin. She felt him pause and take a deep breath in before continuing, and had to bit her lip to prevent herself from smiling into his tunic.

A few more minutes passed, though she grew more impaitient with every second his hands were not on her. Slowly, she pressed her pelvis into his, revealing the hardened texture of the garment to him.

This time, he paused fully, confused. Setting the quill down, he leaned back. "What is that?" He asked, placing a hand on her hip again.

Vanya only smiled, grabbing his other hand and guiding it ever so slowly down to nethermost regions. "Feel for yourself." She cooed as she led a finger to run over the string.

"What—Pearls?" He asked, brows knitting together curiously.

Vanya nodded at the question.

"Where did you find such a thing?" Cregan asked, though did not recind his hand.

"I made them myself. Don't worry, no loud-mouthed seamstress will know of Lady Stark vying for some promiscuous garments."

"And they are..." He trailed off, swallowing heavily at the indication. Indeed, he shared in his logging and need throughout these weeks apart.

"For you, dear husband." Vanya purred, nipping softly at his bottom lip and pulling away just as fast.

Immediately, he lifted her from his lap and onto the desk, tossing aside his papers to the floor. He lifted her skirts further, bunching them carelessly at her hips as he tugged her legs to wrap around his waist.

Pinching the strand of pearls between his index and thumb, his eyes stayed glued to the glistening white pearls lying between her lower folds. Vanya felt herself throb with need at the lustful glare he held, leaning back on her hands to watch only his face.

Softly, he lifted the string to make it press against her own sensitive pearl. At her slight gasp and squirm, Cregan knelt to his knees faster than he ever had before. Glancing up at his wife's face, he silently asked for permission.

After she nodded, he was quick to move. The pearls, covered in her own essence, were moved slightly to the side as Cregan pressed his face to her core. Vanya threw her head back at the sudden stimulation, Cregan's tongue wildly moving from place to place as if he couldn't find a favorite spot.

Up and down, a solid stripe from her hole to sensitive bud. Circling the pearl with an eager swipe of his tongue, he moved down just as quickly as he began. With desperate, shallow thrusts into her clenching hole, Cregan tried and failed to press himself closer, already having no air to breathe with the space between them being nonexistent. Not that he minded, of course.

With a firm tug at his loose hair, Cregan turned his head with a heaving chest to face his wife. Looking offended at the separation, his fingers clenched at the soft parts of her upper thighs, ready to dig his face back to its spot.

Vanya whined out for him, shaking her head. She closed her thighs over his head, urging him up to meet her lips. She tasted herself on his tongue, enjoying the bittersweet slick with a deep moan. Cregan pressed himself closer, moving her by her waist to seat her on the edge of the table.

"I need you, Cregan, please." She pleaded, hards still carding through his hair to ground herself. She was so empty, only able to be whole again with Cregan's help.

At her plea, Cregan couldn't help but oblige, he unlaced his breeches urgently, allowing Vanya to strip him of his tunic and run her hands over the lean muscle of his chest and back.

He stroked himself a few times, smearing himself at her entrance. They both groaned in unision as his tip hit the string of pearls. They pressed to her swollen bud, making her jerk her hips up closer to meet his own. He slid the string to the side to make room for his length, sinking into the wet heat with a soft groan.

Her head found his shoulder again as she clawed at his shoulders, mewling. He mimicked her action, hands gripping onto her hips as he bit at her neck and collarbone sharply to conceal his moans.

His thrusts were fast and desperate, both wasting no time with soft touches and sweet nothings. That could be done later, after they were both saited and content in their own bed.

She panted heavily, reaching down between them both to rub loose circles around her pearl. He groaned as she tightened, knowing what it meant.

"Where?" He grunted out, kissing at her shoulder as a wordless apology to the angry red bite lying there.

"Inside," she gasped, tightening her legs around his waist to keep him closer.

It was not long before they both reached their peaks. Cregan continued his ministrations, thrusts becoming slower and less powerful as he winded down from his high. He stayed inside her even after they both came down, the warmth too good to pass up in the cold solar. The embers had long disappeared, leaving only the cobble to block out Winterfell's chill.

Vanya couldn't mind, either, enjoying the fullness it brought even in the sensitive state.

"What brought this on?" Cregan asked after a few long moments passed. He soothed over the marks on her hips, sure that bruises would appear in the morrow.

She hummed, kissing the space connecting his ear and jawline affectionately. "Is it too obscure for a wife to want for her husband?"

Cregan raised a brow, "of course not. I have missed you, too." He said, bringing her lips to his to kiss.

She deepened it, dragging him back to her after he pulled away. Tilting her head, she shivered at the brush of his tongue over her own, the texture a familiar delight.

Cregan pulled back after a while, a heavy look in his steel eyes. "I don't think we'll get much sleep tonight if you keep doing that."

She laughed, "I am far from tired, my Lord."

He growled playfully, bringing her from the table and carrying her in his arms. Cregan chuckled at her gasp, starting his journey to their chambers.

"Someone might see us!" She squealed into his neck, hiding her face uselessly.

"Let them. The whole of Westeros will know how my wife is the most beautiful in the Seven Kingdoms." He said, pinching her bottom with a cheeky smirk.

His solar was left open behind them, work long forgotten for the next day. Tonight was for Lord Stark and his Lady Wife.

🗡

Get yourself a munch like Cregan Stark

[san8ny]

STILL GOT IT !

?: While you continue reign over your niche internet kingdom, Ellie finds herself consumed with thoughts of you, you and you! So much so, her fans are staring to notice. Joining your livestream, which she’s been trying to abstain from, you quickly remind her on why you’re so addictive in the first place! / E.W / 18+

!: too lazy to write all warnings but pretty tame when it comes to smut. s

Her heart initially falls to her ass when she sees the plethora of comments underneath her latest video, usual adornment of little heart emojis which now turned into discussions of twitter threads. How had a clipping of her rubbing herself inside a public bathroom stall, the usual shtick before she clocks into a boring 9-5– garner this much negativity? What changed?

“Eh, you don’t seem as passionate after the collab tbhhh”

“lost her touch lmfao”

“does this mean we get another video with you and—

She shuts the laptop closed, unable to further stomach her unsatisfied audience with thoughts running rampant in her mind.

Lost..her touch?

Surely these comments were satirical and just baiting her for another video with you, right? I mean, it’s not like she hasn’t gotten hate comments before, though rare for a small homemade creator like herself, but that was besides the point!

it irked her.

Since when has Ellie ever needed anyone for a platform she grew and built, huh? So what if you had given her the best fucking of her life? Genuinely, what about it? It’s not like she goes to sleep with you on her mind, just to awaken the next morning with her pajama bottoms absolutely drenched because she had the most delicious wet dream about you! That’d be crazy..

She rubs her temples a bit to soothe the pounding of her head, she needed a quick fix to this issue and fast! Opening the device back up, she seeks answers.

⌕ [“How do I get horny again without looking at the hot girl who had sex with me’s page?”]

Holding her breath, she types into the search bar. They do say google holds all the answers.

aaaand..nothing.

God, maybe she was dealing with an original experience? 8 Billion people and all useless.

What if you’ve ruined her to the brink of no-return? She can’t even orgasm anymore on her page without watching you, which makes the climaxes lackluster. She can never go back after you’ve given her a taste of the real thing.

That night, she props her laptop up with you pulled up on the screen. You’re wearing a pretty lingerie set, too pretty of one Ellie thinks. It’s the little fancy-pancy one’s you had in your closet that night you graciously let her stay over. Post-nut delirium, but Ellie could still see you liked lace alot, it being the main choice of material inhabiting your wardrobe.

Hot.

Her eyes scower the screen as donations roll in and as per usual, you thank the viewers with a pristine smile, like you didn’t turn Ellie back into a fuckin’ virgin.

She hasn’t been on one of your streams in a while actually, too caught up with work but now, she really remembers why she use to.

You were a guilty pleasure. Addictive, and Ellie didn’t even have a knack for sweets; you just always managed to pollute her head with the most vile of scenarios she could envision recreating with you and fuck, did she hate herself for it— hated herself for becoming so obsessed with someone who only saw her as a collaborater, a co-worker.

She couldn’t complain however, not with the way you manage to talk everyone through it in your streams in a low shaky voice, and especially, not with the way you capture everyones attention with your movements.

and, like a moth to a flame, Ellie finds herself, unaware, cupping her breasts..kneading the flesh like soft dough through her bleach-stained band tee, relapsing back into a place she thought she wouldn’t want to return to; she can’t help the moans that steadily escape her when you let one of your own out, and God, Ellie might really be the worst person because she hasn’t had this good of a masturbation sesh in forever. It’s been feeling so cold and robotic lately with her trying to appease her few followers, but we know how that turned out.

“Ellie’s in the stream?” You whimper out, reading the explosive chat when you slap the silicone toy messily against your puffy clit, swollen under it’s hood but sitting so pretty like an pearl would on its’s oyster, glistening in both your own liquids. “Hi Els..” Your whiney voice calls her out.

Oh God.

Ellie’s eyes roll back abit when she sees your crinkled eyes, lip pulled in between teeth and your flushed cheeks. She practically punches the ‘Co-Host’ request button with her camera off so only her pathetic pants of your name are heard, “H-hi doll..” She hisses out softly, “You l-look so pretty r’now, ah!..’m sorry haven’t been o-on your—mmh!— streams..”

You giggle at this, and the viewer count doubles in amount. Somehow, the stream becomes what seems like a steamy facetime call between two creators, with the rest of the viewers witnessing and prying in on the salacious moment, “‘s okay..just w-wanna hear your noises, Ellie.” It’s like you knew she couldn’t speak to you without a hand busying itself down there..

The girl groans, dropping her camera inbetween her legs to the echoing sounds of squelching and heaven. Though you couldn’t see her in the dark, 2:30 AM lighting of her bedroom she lounges in, you could feel it. She doesn’t even remember the last time she’d secrete this much arousal without the assistance of lube.

“A-ah, me baby? Gosh, ‘jus wanna watch you f’ a sec. Hear me well?”

You nod, eyebrows furrowing and your eyes growing more heavy when you prop your legs up on the gaming chair, displaying your drenched pelvic area— all so messy and for everyone to see. Mainly the broad on the other end of the stream..

You squeal when you curl your fingers into a specifically spongy spot, lips parting and your head thrown back a bit— you’d long ditched the dildo for something a bit more efficient, something to really capture the moment between you. Strands of hair stick to your forehead when an orgasm arises, and you seem a bit upset for cumming too quickly, not when Ellie has just got here!

Prolonging it a bit, you heave and retreat from your digits, rubbing your thighs imaptiently with your sighs stuttering, all while the other girl slaps at her cunt from what you can hear. Painslut

Ellie looks up back at you when she, herself, feels a tight coil in her stomach beginning to loosen, “B-boutta’ cum, dollface. Cmon..put them back on ‘er. Need my girl to do it with me.”

You nod ever so slightly to her voice, though you cannot see her, the raspiness of her voice takes you to a whole other level, “Ellie..” you cry out when your fingers make contact, it seems to be hitting you harder than usual, hypersensitivity of edging yourself all stream. Is it so wrong her green-eyed gaze trains on you intently while you whine and bitch for her?

The muscles in her abdomen tighten when she particularly notices a dumbed out look on you, saliva seeping past your glossy lips and dribbling to the lacy outfit you had on, rubbing her clit as fast as she can, she eggs you on, “Ah! Ah! J-just there w’you..wanna do it ‘wif you.”

Ellie gasps when your legs twitch uncontrollably, and on-cue, as promised, she meets the point with you— biting her knuckle when she spasms through the waves of orgasmic pleasure.

A few moments go past when Ellie picks her phone camera up to see you’d already went past your donation threshold. She can hear your hiccups, hair all messed up and covering your face— sweet baby..

She quickly ends the live-stream for you, a co-host accessible option you’d enabled incase you couldn’t end it from your own screen.

just to run to her bathroom to clean herself up before heading to your place.

Was she invited? No. Was she likely pushing a boundary? Yes, but, was she going to start a ‘no-aftecare’ streak in her entirety of 23 years? Fuck no.

Whether you liked it or not, she was on her way.

@san8ny: “alr she still got it ig”

[u3pxx]

hi woke up suddenly and am curious (also going back to sleep lol)

if u only like two of these, answer no yes only if all three!!! im curiouse!!!!

when i make like acediscomeshi crossover stuff i feel like it's for a really niche audience LOL i wanna see HOW niche. tho im guessing the results of this will skew yes just bc the first people who'll see this poll are the people who follow me pftt

[literaryvein-reblogs]

Some Worldbuilding Vocabulary

Abeyance:  When the audience temporarily suspends their questions about made-up words or worldbuilding details with the implicit understanding that they will be answered later in the story.

Absorption:  The two-way street wherein the audience is immersed in the created world and is picking up the author’s metaphoric building blocks to recreate the concept in their head.

Acculturation:  When an adult assimilates into another culture.

Additive:  When something has been added to a secondary world, usually in the form of magic or fantasy species.

Affinity:  A kinship pattern wherein the familial bond is based upon marriage.

Aggregate Inconsistencies:  When audiences pick up internal inconsistencies not within the same story but from multiple sources within the shared universe.

Anachronism:  Details that do not conform to their time period or culture.

Analogue Culture: Real-life cultures that the creator emulates in their work and then applies their fantasy conceits to.

Ancestor Worship:  The belief that deceased ancestors still exist, are still a part of the family, and can intervene within the living world on their descendants’ behalf.

Animism:  The belief that all objects, creatures, and places are imbued with a spiritual essence.

Apex Predator:  The predator at the top of a food web that no other creature naturally feeds upon. Two apex predators cannot exist in the same niche.

Apologetics:  In worldbuilding, the attempt to explain inconsistencies in terms of existing canon.

Appropriated Culture:  Using a culture as a whole that the creator is not a member of. Different from an analogue culture in that the analogue is changed by the creator and used respectfully.

Artifacts:  In worldbuilding, the observable ways a culture behaves due to their cultural worldview. This can include politics, economics, religion, education, arts, humanities, and linguistics, along with many other cultural norms.

Ascendant:  In worldbuilding, a world that the magic is increasing in power and influence.

Assimilation:  When an individual rejects their original culture and adopts the cultural norms and beliefs of the dominant culture.

Author Authority:  When an author demonstrates expert-level knowledge in a field to their audience.

Author Worldview:  What Mark J. P. Wolf calls “not only the ideas and ideologies of the world’s inhabitants, but also those which the author is expressing through the world’s structure of events.”

Autocracy:  A government in which supreme power concentrates in the hands of one individual or polity.

Avatar:  The embodiment of a deity in another form, usually humanoid.

B-C

Bible:  In the field of television writing, a series guidebook that usually includes the pitch, character descriptions, a synopsis, as well as worldbuilding details.

Biome:  The vegetation and animals that exists within a region. Terrestrial biomes include: forest (tropical, temperate, or boreal), grassland, desert, and tundra.

Black Box:  In information processing, when a system is viewed in terms of its inputs and outputs without any understanding as to its internal workings.

Bottom-Up:  In design, where the granular, base elements of the system are created first, then grouping them together into larger constructs over and over until a pattern forms. Also known as “pantsing” in writing and worldbuilding because the creator is building by the seat of their pants.

Callback:  From standup comedy where the punchline in a joke used earlier in the set is alluded to again, eliciting another laugh from the reframing of what was already familiar.

Canon:  The core doctrine for the world when conflicting information arises. Usually what the original creator made takes canonical precedence over subsequent additions. 

Capitalism:  The economic system wherein individuals own the means of production.

Chekhov's Gun:  Often understood to mean that something must be introduced previously if it will have significance later in a narrative, but meant by the playwright that nothing should be included in the story that is not completely necessary. 

Climate:  The temperature and rainfall in regions over approximately 30 years. Classified as tropical (high temperature and high precipitation), dry (high temperature and low precipitation), temperate (mid temperature and mid precipitation), continental (in the center of large continents with warm summers and cold winters), and polar (low temperatures and low precipitation).

Commercial Fiction:  The style of fiction that includes all genre fiction, the aim of which is entertainment. Often fast-paced and plot-driven.

Compelling:  One of the four Cs of worldbuilding, which deals with how well the core concept and subsequent details maintain audience interest.

Complete:  One of the four Cs of worldbuilding, which deals with the sense that the world is lived in, has a sense of history, and continues on even when the story ends.

Complexity Creep:  When material gradually grows in complexity over its lifetime, raising the bar of entry for new people experiencing the material for the first time.

Conceits:  Where a story deviates from reality. Usually the focus of the fiction by being what the author intends on exploring in their works.

Conlanguage:  A constructed language created specifically for a story world.

Consanguinity:  A kinship pattern wherein the familial bond is based upon a shared genetic lineage.

Consistent:  One of the four Cs of worldbuilding, which deals with how well the material maintains its own internal logic as established by the fantasy conceits.

Constructed World:  A fictional world that does not exist but was created by someone.

Continuity:  A gestalt term for perception where the mind fills in obvious blanks to make a unified whole.

Convergent Evolution:  When two or more species develop analogous features to deal with their environment.

Co-Residency:  A kinship pattern wherein the familial bond is based upon shared space.

Cosmology:  The study of mapping the universe and our place in it.

Cost:  In worldbuilding, when a character must risk or sacrifice something for magic to take effect.

Creative:  One of the four Cs of worldbuilding, which deals with how and to what extent the constructed world deviates from the real world.

Credibility Threshold:  Where worldbuilding details must only appear plausible to a general audience rather than demonstrating expert-level knowledge.

Cultural Identity:  An individual’s self-concept as distinct from others based upon nationality, ethnicity, social class, generation, and locality.

Cultural Universals:  Traits, patterns, and institutions prevalent throughout humankind.

Customs:  Informal rules of behavior that people take part in without thinking about it.

D-F

Deity:  The most powerful of metaphysical entities, deities often exist in pantheons, have thematic powers based upon their roles, and few weaknesses or limitations.

Descendent:  In terms of magic, the idea that the most powerful magics are from ages past and that magic is on the decline in terms of power and influence.

Despotism:  An economic system wherein an individual or institution controls the laws and resources of an area.

Deus Ex Machina:  A plot device in which an unexpected power, event, or deity intervenes to save a hopeless situation. 

Differentiation:  When one culture forms part of their identity by contrasting themselves with another nearby culture.

Divergent:  When the creator alters something in the development of the world but it remains very similar to the real world in every detail but this fantasy conceit. For instance, a world that resembles our own but made up of anthropomorphic animals instead of humans.

Divine:  The belief that something is of, from, or like a god.

Democracy:  A government in which the people elect a governing body in some fashion.

Early Adoption:  When an inventor or culture creates a technology long before their analogue culture did in the real world.

Easter Egg:  A hidden message, image, or feature that is meant to be hunted for within the material.

Economics:  The study of production, distribution, and consumption of goods and services.

Education:  A form of socialization in which we teach the youth what they need to know to become functioning members of society.

Effective Worldbuilding:  When (a) the immersive state is never disrupted for the audience, or when (b) the immersive state is disrupted with a positive result.

Element X:  N. K. Jemisin’s concept of when fantasy elements diverge from the real world. Similar to fantasy conceits.

Emic:  An account of a cultural idea, concept, behavior, or belief documented as if from within the culture.

Empires:  Multinational states with political hegemony over other ethnicities, cultures, or nations.

Encyclopedic Impulse:  The consumer’s desire to know everything about the world or the author’s desire to expound upon all the worldbuilding details.

Ephemera:  Transitionary materials that are not meant to exist for long term, such as advertisements, diary entries, letters, posters, and the like.

Ethnicity:  A group that identifies with each other based on presumed similarities such as a shared language, ancestry, history, society, or social treatment within an area. Ethnicities are not dependent upon, but are often associated with, certain taxonomic traits or physiological similarities within those groups.

Etic:  When cultural ideas, concepts, behaviors, or beliefs are documented from outside the cultural milieu as a passive observer with an eye for similarities between all cultures

Exsecting:  When the creator removes something that exists in the real world from the created world.

Extrapolation:  In worldbuilding, the belief that any fantasy conceit should be followed to its natural conclusion.

Face Validity:  When worldbuilding detail appears believable upon immediate examination. See Credibility Threshold.

Fan Service:  Material included in a story that serves no narrative purpose other than to please fans.

Fantasy Conceit:  What the creator intends to explore in the world, it is where the constructed world deviates from the real world, usually in the form of geography, biology, physics, metaphysics, technology, or culture.

Fantasy Function:  When analogue cultures are filtered through fantasy conceits to populate the created world with its output details.

Fetishes:  Items imbued with cultural significance and power.

First Principles:  Core belief and value systems within a culture that are often unconscious until confronted.

Flavor Text:  Texts within stories, video games, role-playing games, and action figures that add depth by providing a sense of history but do not alter the game mechanics or story in a substantial way.

Feudalism:  An economic system wherein there is a division between the lords that protect the vassals that work the land in exchange for protection.

Four Cs of Worldbuilding:  See Creative, Complete, Consistent, and Compelling.

G-L

Gender:  A social construct of how cultures differentiate the sexes.

Generalist:  When every individual in a society has the same basic job, which is providing their daily caloric intake. A staple of hunter and gatherers and in contrast to specialists.

Generation:  A social cohort group based around the period in which children grow up, become adults, and bear children of their own. Because of this shared timeframe and significant events in their lives, generations often share a similar worldview within the general culture.

Genre Expectation:  The qualities audiences expect of their genres to be considered successful, i.e. is the thriller thrilling or the romance romantic. For fantasy and science fiction, the genre expectation is worldbuilding.

Goldilocks Zone:  The habitable zone around a star where the temperature is right for water to exist in liquid form. 

Group:  Two or more individuals who share a collective sense of unity via interacting with each other because of shared similar characteristics.

Habitat:  The ecosystem or ecological community creatures exist in.

Handwave:  A writing term for explaining crucial events dismissively with minimal details.

Handwavium:  As opposed to the handwave, when everything else in the imagined world fits logically together with the exception of the fantasy conceit, which the audience must then accept to continue on with the story.

Hard Deduction:  When there is no narrator and no character bringing the worldbuilding details to the audience’s attention, who must then piece together the world rules based upon the provided details alone.

Hard Impart:  When information is imparted to the audience through narrative text, usually through the narrator or the internal thoughts of characters.

Hero Props:  Items that are necessary for a scene to take place, making them integral to the story.

Heroic Theory of Invention:  When inventors and discoverers of scientific developments are treated as solitary geniuses rather than products of good luck or a part of a team.

High-Concept:  A term from the film industry meaning an idea needs lots of background details, usually compiled from the worldbuilding, to be explained for the core concept to be compelling.

Hybrid:  (a) In biology, a living thing bred together from two different species, which is not able to produce its own viable offspring. (b) A method the author can employ to get details across to the audience in which it appears they are using a hard or soft impart, but the audience deduces are not correct, which then casts provided information into doubt and adds new nuance.

Iceberg Theory:  The theory proffered by Hemingway that so long as the author is aware of the underlying ideas, they can cut away anything from the story and it will still make sense. Usually interpreted to mean one only needs to reveal 10% of worldbuilding details or backstory.

Illusion of Completeness:  The sense that the world is complete and that all questions can be answered within it rather than the creator explicitly spelling out all the details.

Immersion:  The altered state in which the audience feels they are physically present in a non-physical world.

Ineffective Worldbuilding:  When worldbuilding details become obvious to the consumer, thus breaking the sense of immersion and reminding them of the real world. This can be caused by internal inconsistencies or from reality incursions.

Info Dump:  A sudden overwhelming quantity of backstory or background information supplied in a short timeframe.

Info Dump Equity:  The idea that an author should not reveal worldbuilding information until the audience craves it, thus being able to deliver an info dump without anyone complaining.

In-Group:  The other people an individual identifies with. While they may not share the exact worldview, they share the same first principles in understanding the world around them.

Innovation:  The drive for change, usually technological, but also socially.

Inside-Out:  How audiences process worldbuilding details, in that they pertain to the immediate understanding of the scene, which are then pieced together into an understanding of the world.

Inspired Worldbuilding:  The top form of worldbuilding, which invites additional audience interaction via their imagination after the story has concluded.

Institutions:  Stable organizations of individuals formed for a shared purpose, usually by performing specific, reoccurring patterns of behavior.

Integration:  When an individual adopts the cultural norms and beliefs of the dominant culture while still retaining their original culture.

Interconnection:  When the threads of worldbuilding are tied together cohesively. Part of Sanderson’s third law of magic systems.

Interquel:  Stories set in an existing world but that do not connect with the original story.

Intraquel:  Stories set in an existing world that fill in gaps in the existing story.

Kinship:  How social relationships organize into groups, roles, and families. Usually consisting of consanguinity, affinity, or co-residency.

Limitations:  Checks put upon magical powers, usually in the form of weaknesses and costs. Sanderson maintains in his second law that limitations are more dramatically important than powers.

Linguistics:  The study of languages.

Literary Fiction:  The style of fiction that aims for awards, considers itself art, focuses on the prose, and is usually slowly paced.

Locality:  The small-scale community in which the individuals in a group grew up, usually comprising of a town, neighborhood, or block, which differentiates them from others in the surrounding area.

M-O

Macroworldbuilding:  The first of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of planet, continents, climate, and ecology.

Magic:  Change wrought through unnatural means.

Magic Point Systems:  Magic systems where the casters have a set amount of energy, usually referred to as mana, to spend on their effects.

Magical Thinking:  The belief people can affect change the world around them through thoughts and behaviors.

Mana:  A frequent generalized term for the finite resource magic users spend on their magical effects.

Marginalization:  When an individual rejects both their original culture and the dominant culture.

Mary Sue/ Marty Sue:  Originally a created character for fanfic who has no flaws and is inserted into interactions with the canonical characters. Now an insult leveled at characters consumers don’t like, usually claiming they are overly capable and without flaws.

Masquerade:  A term taking from the World of Darkness RPG wherein the existence of magic is hidden from the general populous.

Metaphysics:  In worldbuilding, dealing with deities, spirits, cosmology, and the afterlife. In essence, creatures and locations that do not abide by understandings of biology or physics.

Microworldbuilding:  The second of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of species, morphology, raciation, acculturation, power, and role.

Monotheism:  The belief in a single deity only.

Mystery Box:  The theory proffered by JJ Abrams that mystery drives audience interest, which will keep them invested in a story so long as they are promised elucidation later.

Mythopeia:  Constructed mythologies, lores, and histories within created worlds.

Nationality:  How an individual relates to their state. A component of cultural identity.

Nominal Change:  A superficial change in the secondary world that contributes nothing to the worldbuilding.

Norms:  What is considered acceptable group behavior and what people should and should not do in their social surroundings.

Oligarchy:  A government in which power rests in a small group of people like the nobility, wealthy, or religious leaders.

One-Off:  An intentional inconsistency meant to highlight the aberration as separate from the established worldbuilding.

Out-Group:  Those that do not share the same collective worldview, which are often mistrusted or viewed with outright hostility.

Overlaid Worlds:  Constructed worlds with real-world locations but with the addition of fantasy elements.

P-R

Pantheon:  A categorization of collected deities based upon the culture that worships them

Pantsers:  Creators who build or write without a clear outcome in mind. See Bottom-Up.

Pidgin Language:  A grammatically simplified language used for trade that comprises vocabularies drawn from numerous languages.

Planet of Hats:  The trope of treating a species or world as monolithic and with one defining trait.

Planners:  Worldbuilders or writers who have a clear plan once they start creating. See Top-Down.

Politics:  The decision-making process within groups and individuals involving power structures.

Polytheism:  The belief of multiple gods, usually inhabiting a pantheon.

Porcelain Argument:  In worldbuilding, the belief that technology stagnates at the level at which magic or a fantasy conceit is introduced.

Portal Fantasy:  A subgenre in which the characters from the real world travel to a secondary world.

Prequel:  Stories set in an existing world that precede the original story. They do not need to connect to the original story but often do.

Primary Sexual Characteristics:  The sex organs used in reproduction.

Primary World:  The real world in which we all reside and draw our experience from.

Prime Mover:  A conceit that cannot be removed without the story world falling apart.

Profane:  Something that is religiously blasphemous or obscene.

Prologue:  An opening sequence in a narrative that establishes background details to create context, clarification, and miscellaneous information for the audience

Promise of the Premise:  The term coined by Blake Snyder for the point in the story when the setup is complete and it examines its core conceits. An author breaks the promise of the premise when the story is not about the promised core concepts.

Pull Factors:  Factors that draw immigrants to an area.

Purple Prose:  Descriptions that becomes overly ornate and extravagant, to the point they break the sense of immersion by drawing attention to themselves.

Push Factors:  Factors that drive immigrants out of an area.

Race:  (a) In biology, a grouping of populations below the level of subspecies, and is rather imprecise in distinguishing the differences between them. (b) In the fantasy genre, usually understood to mean “species.”

Racial Attributes:  The assumption that any one fantasy race shares not only certain abilities like flight or the capacity to speak with animals, but certain demeanors, temperaments, and biases.

Reality Incursions:  When the outside world interjects itself into the created fantasy experience to remind the consumer that this is indeed a made-up world. They usually occur when the consumer has expert knowledge in a field that is not depicted correctly in the narrative.

Reciprocity:  When people respond to actions with similar actions. This can be positive, as in the exchanging of gifts, or negative, as with punitive eye-for-an-eye punishments for crimes.

Relativism:  The belief there is no real objective universal truth and that we base all understanding upon perception and consideration.

Religion:  The cultural system of behaviors, morals, ethics, and worldview in which humans deal with supernatural, metaphysical, and spiritual conceptions.

Retcon:  Short for “retroactive continuity,” the term comes from comic books when previous canon or facts are ignored or contradicted so as to assimilate new stories or understandings in current storylines.

Reverberations and Repercussions:  The understanding that any change within a world creates many expected and unexpected changes to the whole.

Rituals:  Formal customs often involving gestures, words, and objects performed in a traditional sequence.

Rule of Cool:  The understanding that the audience’s willing suspension of disbelief for a given element is directly proportional to its level of “coolness.”

Rule of Law:  The idea that laws extend to the lawmakers as well as the general populous.

Rule of Three:  In worldbuilding, the concept coined by Randy Ellefson in which an author should alter at least three components of a trope to make it their own.

S

Saturation:  Mark J. P. Wolf’s term for when there are simply too many details for the audience to fully absorb, which he maintains makes the world stronger since it invites the audience to reexperience the material again and again to glean something new each time.

Scarcity:  When people put higher value on rare things and assign lesser value to things in abundance.

Secondary Sexual Characteristics:  The distinguishing traits that distinguish the sexes, such as human males’ facial hair or females’ breasts.

Secondary World:  A created world that does not exist.

Selection:  In biology, the preferential survival and reproduction or elimination of individuals with certain traits. Can be either artificial, natural, positive, or negative.

Separation:  When an individual rejects the dominant culture in favor of preserving their original culture, which often leads to minority enclaves within the dominant culture

Sequel:  Stories set in an existing world that follow the original story. They do not need to connect to the original story but often do.

Set Piece:  An iconic scene that exemplifies the story even though it might not actually be necessary to the story itself.

Shamanism:  The belief that specific individuals have access to and influence over the spiritual realm, usually derived by ritual and entering altered states.

Show Don't Tell:  The understanding that the audience prefers to experience the worldbuilding details and storytelling events in action rather than having them explained.

Smeerp:  Unnecessarily renaming something to make it seem exotic. Derived from James Blish’s sarcastic use of the term when describing rabbits.

Smeerp Hole:  When one seemingly minor change contributes to a whole slew of other changes on the author’s part that add little to the audience experience as a whole.

Social Class:  The hierarchal social stratification of groups, usually manifesting as upper, middle, and lower classes.

Socialism:  The economic system in which the workers or government own and manage the means of production.

Socialization:  The process in which a group passes on the worldviews, norms, and customs to their children.

Soft Deduction:  When a character with knowledge of the worldbuilding takes action based upon specific information to get the worldbuilding rules across to the audience.

Soft Impart:  Information presented to the audience not through narrative text but through a trustworthy side character or source. Can often come about from an overheard conversation or explanation from another character.

Specialization:  The divisions of labor and creation of occupations when the population does not individually have to account for their daily caloric intake. As opposed to generalist.

Species:  A group of living creatures capable of exchanging genetic material and producing viable offspring.

Speculative Fiction:  An umbrella term for fiction that inject elements into the story that do not exist in the real world. Fantasy, science fiction, horror, historical fiction, alternative history, and dystopian and utopian fiction are just a few genres that qualify as speculative fiction.

Spotlighted/Lampshaded:  A potentially troublesome concept or idea that is intentionally brought to the audience’s attention before it becomes problematic to highlight that it is intended as a fantasy conceit rather than an accidental anachronism.

Stasis:  The drive to maintain the current order, be it social, political, or technological.

States:  Organized governments overseeing a specific territory that can interact with other states.

Streamlining:  Part of Sanderson’s third law of magic in which worldbuilding details should be accounted for by already existing fantasy conceits instead of creating whole new conceits.

Suspension of Disbelief:  When an audience makes a choice to suspend their critical faculties to allow for a patently unreal concept to be considered logical for the sake of entertainment.

T-W

Taming:  When an animal has been taught to tolerate human presence. As opposed to domestication.

Technobabble:  When a character spouts a number of details to establish their expert credentials in the field. Technobabble is not meant to be understood by either the audience or the other characters, only to establish the character’s authority on the subject.

Terra De Facto:  The implicit understanding that anything that is not accounted for by a fantasy conceit must therefore abide by the rules of the primary world.

Terrain:  The vertical and horizontal proportions of land masses, which includes how high it is above sea level and at what slope.

Theocracy:  A government where the religious leaders and practices control the laws in addition to the religious norms and rituals.

Toehold Details:  Descriptors that specifically trigger the assumption of an analogue culture and time period, and therefore help the audience to mentally populate the scene.

Top-Down:  In design, when the underlying idea or system is formed on a grand scale, then with all subsequent subsystems being added and refined until everything is mapped out. Also referred to as “planner” or “engineer” when it comes to writing or worldbuilding. 

Totems:  Imbued emblems representing a group of people tied to a specific spirit.

Transmedial:  When a story or world exists in multiple mediums.  

Tropes:  Reoccurring motifs, images, plots, and characterization that exist within a genre.

Unchanged:  When the creator does not use a particular fantasy conceit and leaves their created world the same as the real world in regards to this fantasy conceit. See Terra De Facto.

Unobtanium:  In engineering, the term used for materials or technologies that do not yet exist but will one day solve current problems. Frequently used in science fiction worldbuilding.

Upmarket Fiction:  The style of fiction that aims for creating discussion. It often blends literary and commercial fiction, deals with universal themes, has accessible language, and is character-driven.

Weakness:  Limiting factors that diminish the power or the person using it. Part of Sanderson’s second law of magic.

Worldbuilding Capital:  Time and mental energy sunk into a world, which is why authors frequently reuse the existing world instead of forming a new one for subsequent stories.

Worldbuilding Kudzu:  When too many worldbuilding choke out the pertinent information by sheer volume, thus disrupting immersion.

Worldview:   How a society or individual orients their knowledge and point of view towards the world. This includes philosophy, fundamentals, existential postulates, values and ethics, ideology, and attitude. It encompasses the concept of why the world works the way it does and the “correct” way to act within it.

Worship:  The act of religious devotion towards a deity or ideal.

Source ⚜ More: Word Lists