#the moral of the story is I have no idea what I am doing or what is going on

[illbegottenfaith]

handwritten - theo nott x reader

yours and theo’s story as told through notes passed in class

a/n - came up with this quick idea to release some pent up creative energy while mulling over lucky pt 3. will prob make this an ongoing series for small ideas I can’t get fully fledged fics out of. easy to write, easy to read, enjoy!

tropes/warnings - fluff, a minor hinting at angst, newstudent!theo, estranged friends to lovers

word count - 1.5k

Monday, 10.07 am, Charms

Hey. You might want to pull your nose out of that disgusting textbook for once.

We’ve been over this. Just because you don’t understand something it doesn’t mean it’s disgusting. It’s very disrespectful.

What is disrespectful is you not paying attention to our year’s hottest new commodity - emphasis on the hot. I must say, he fills out that uniform quite nicely.

I’m sure he does.

C’mon, you’re not even a little bit curious? Just a peek?

Y/N? Hellooooooo? 

Oh my god. I know the guy.

???

What is he doing here? Last I heard he was being homeschooled.

Know him how??

We went to the same primary school. We were…friends.

Riiiight.

Don’t get any ideas. I haven’t seen him since I was ten. And he looked very, very different back then. Had a ratty sort of face. I can still kind of see it, actually.

Oh, Y/N, how could you say such awful things about his beautiful face! Oh dear, that bone structure…

Quiet, you. He’s really…grown. He’s so much taller now.

You know what you should do? You should offer to help him catch up.

On five years of school?

Oh, please, he was homeschooled. He had to have learnt some things. Who is he, anyway?

Theodore Nott.

Now that’s an Old Money name if I ever heard one.

Ivy. Be nice.

So? Is he? Old money, that is.

I…suppose so.

Are you sure you two were friends?

Yes. It’s been a while, that’s all. I just…wow. I can’t believe he’s here. Like, right there. I didn’t know if I’d ever see him again.

What happened?

He moved. I was starting at Hogwarts. We lost touch, it happens.

But now he’s back! Yay! Did you see those sinfully blue eyes of his?

Ivy, you have a boyfriend.

I know. Ivan agrees, by the way.

That he’s hot?

Yes.

He’s sitting on the other side of the room. When did you have time to discuss this??

Just now. Right in front of you. What did you think all that eyebrow-waggling was about?

I thought you were having a stroke. Merlin, the two of you are perfect for each other.

Don’t change the subject. He’s not gay, is he? Your friend? All the hot ones usually are.

I wouldn’t know, now, would I? I haven’t heard anything about him in years. Ivy, leave him alone. Please don’t harass the poor guy, sexually or otherwise. And quit it with the notes. He’ll notice.

How??? Has he got eyes on the back of his very nicely shaped head? He’s busy with Flitwick anyway.

Trust me, he’ll see. Nothing gets past Theodore Nott.

Monday, 2.15 pm, Potions

Well?????

Well, what?

The chat!!! Your chat!!!!!! With Mr. Theodore Nott!!!!!!!!

You have to quit it with the caffeine. You’re far too excitable after lunch.

The chat!!!!!!!!!!!!!!!!

It was fine. It was…nice.

Uh-huh.

He goes by Theo now.

Okay. I’ll pretend I care about that.

It was all very casual, very superficial. It was really just us exchanging pleasantries. Oh, right. He asked me to accompany him to Quidditch tryouts.

You??? But you hate Quidditch.

I know.

Please tell me you didn’t say that.

I didn't. I just said I didn’t know much about it.

And?

He said that didn’t matter. He just wanted me there for moral support.

Then what was with all the turning red halfway through? You looked like you were going to combust.

Was it that obvious?

Ivan had some pumpkin juice ready, just in case.

It was nothing. I just wasn’t expecting it, that’s all. He called me his good luck charm.

!!!!!!!!!!!!!!!!!!!

You’re going to rip a hole through the parchment.

AWWWWW

So?? Did you say yes??

I said I’d think about it.

BOOOOOOOO

Come on, Vee. He’s been flying since before he could walk. He always talked about joining the big leagues, you know. He knows everything there is to know about Quidditch, so of course he’ll make the team. And it’ll have nothing to do with me.

But he doesn’t even have any friends yet :(

That’s because he hasn’t talked to anyone yet.

Y’know, Romilda Vane wanted to know why he was talking to you of all people.

What’s that supposed to mean??

Eh, you know. You can be a little…snippy.

I am NOT snippy.

There it is. The snippiness.

Whatever. It’s all so pointless. Come Thursday evening, he’ll have joined the Quidditch team and he’ll be hanging out with, y’know, those people, and we’ll be ancient history. He’ll make plenty of friends. He just doesn’t know it yet.

Okay. If you say so. Also, at lunch, I finally tried that thing you’re always talking about, “applying myself,” and I found this article on his dad in the library. From 6 years ago.

Don’t you want to know what the article said?

You could have mentioned he was a death eater, you know.

I don’t care about that, by the way. You used to be friends and that’s good enough for me. But, Y/N, he was arrested six years ago. And you haven’t talked to Theo in six years. But there isn’t any kind of connection between those, is there?

Y/N?

Do not make me throw this at you. I know how you feel about paper cuts.

Tuesday, 3.03 pm, Defence Against the Dark Arts

Where’s your friend?

?

You know. Who you’re always passing notes with in class?

You noticed?

Hard not to. It makes you all fidgety and annoyed.

Yeah, well, Ivy’s an annoying person.

I’ll take your word for it. What do you have after this?

Transfiguration.

Wow. That’s one of the harder ones, isn’t it?

Er, depends on who you ask, I think.

Still brilliant as ever, then.

Shut up. I’m not half the swot I was in primary school. 

I never thought you were a swot. You were just…enthusiastic.

That’s sweet of you to say, Theo.

Huh. I thought I’d always be Teddy to you.

We’re not ten anymore, Theo. I can say your name perfectly now.

That’s good. So, have you thought about it?

Thought about what?

The Quidditch tryouts. You’re the only person I know here so you have to say yes.

I don’t know. Some of the girls look pretty interested in getting to know you.

What?

Nothing. I guess I could swing by for a short while.

That’s my girl.

Thursday, 8.37 pm, Common Room

SO?????

He got in. Obviously. Was there ever any doubt?

Did he run up to you? Did he hug you? Did he pick you up and spin you around???

Witch Weekly is a bad influence on you.

Details, please.

He hugged me. Kind of. Nearly tackled me, he was so excited.

you are SO his good luck charm!!!!!!

Friday, 11.17 am, Defence Against the Dark Arts

Witch Weekly?

It’s not mine. I’m holding it for a friend.

Right.

Really, I am. Ivy’s a fiend for these but she has this Charms test coming up that she absolutely cannot fail.

I believe you. ‘Top 6 Magical Contraceptives for the Modern Witch’ doesn’t sound like your kind of reading material.

I’m sorry, I didn’t mean to embarrass you. I was only having a little fun.

I’m not embarrassed. Are you embarrassed?

Erm, no, but you’re very red. Do you need to see the Healer?

I’m fine. It’s just hot. And no one calls Madam Pomfrey ‘the Healer,’ by the way.

Ah. I see.

Is there a point to all this? Did you need to ask something?

Oh, right. What are you up to on Saturday night?

Saturday? Dunno…wanted to take a crack at that Transfiguration essay.

Excellent. I’ll pick you up at 8.

Oh?

It’s nothing. A couple of the guys on the team wanted to celebrate with drinks at Hogsmeade. Everyone’s bringing someone, and I thought it would be nice if you came. Being my good luck charm, and all.

Oh, Theo, you probably don’t know this since you’re new and all, but going down to Hogsmeade is only permissible on certain weekends. And only start a couple of weeks into the term, so not yet.

Did you just -? Oh my god, you did. You laughed at me. You laughed at my note. Out loud. You’re lucky you’re in Slytherin, you know. Snape usually goes absolutely ballistic if anyone interrupts his lesson.

I’m sorry, I forgot what a stickler you were. I just - I didn’t think I’d miss it.

Please, Theo, forget the drinks. I cannot in good conscience stand by and let you break so many rules. You’ve been here less than a week!

Guess you’ll have to keep an eye on me. Make sure I stay out of trouble.

Exactly.

Great. See you Saturday at 8.

[utdrmv-confession-box]

Transcript: Dreamtale story and endings spoilers. I'm 99.99999% sure none of the endings have been published yet but the creator talked about them.

I am in shock. I'm just. Floored. I haven't kept up with apple brothers Dreamtale in forever but yesterday I found out that 1) passive Nightmare is dead for good and Dream can't save him in ANY of Dreamtale's future endings 2) Nim, the twins' own mother, might be or is part of Corrupted Nightmare together with the evil spirit entity that is hunting Dream and the golden apple down (but dream's bro is still dead forever, from what I've seen) and 3) Nim is horrible and petty to the max and not in an entertaining way. She deliberately forced an emotion balance on the Multiverse because she hated mortals. She did not have to do it but she did. So many stories act like the emotion balance is a natural part of the Multiverse and is good for the Multiverse but it's NOT. It's only there because Nim hates everyone. I never liked the emotion balance idea but now I found out the entire Multiverse has to suffer and will die if Dream does because of Nim's pettiness???? Why does no one talk about this? How did I miss this? I. I'm questioning everything I thought I knew about Dreamtale canon. Were these things revealed not long ago? Was Nim not so bad in the preboot?? Did fanon change her character and downplay what she did and it made me forget how horrible she is??? I wouldn't mind if she was treated as morally gray but NO. Where the hockey stick did the "good Guardian and mother Nim" idea come from???? She's up there with XGaster and Handplates Gaster in the AWFUL parent awards.

I'm sorry about the questions but please, if any of this is fanon and not canon or I'm missing important context PLEASE tell me where I'm wrong because I am questioning so much of what I thought I knew about canon Dreamtale as a whole and I''m not going to spend my time looking at an canon I don't like anymore. I can't lie, this makes me hate the balance idea SO MUCH MORE. If it was just Dreamtale, it'd be fine but no, the emotion balance was forced into the Multiverse and changed how it worked to make Dream more special. UGH WHY.

[alpaca-clouds]

I hate the fact that my brain put out a plot idea for a Veilguard longfic. (Obviously centering around Lucanis and Spite.)

Ironically it is based on the kinda conflict within the fandom/meta that results from how "clean" and "heroic" the Crows come across in comparison to past depictions of them. I mean, I said it myself: In Veilguard they feel a lot like Assassin's Creed. Like: "Sure, we are assassins and we kill for a living, but we only kill the really bad people! Pinky swear!" While in older material they were definitely also killing good people and also very much participating in human trafficking (especially of kids that would then get trained to be assassins).

I mean, heck, from Lucanis' stuff in The Wigmaker Job (the short story) we also know that he and Illario were abused by Caterina. He very much rationalized it as "But she only did it so we could survive", but it was still abuse.

However, something we definitely know also from that same short story about Lucanis is, that indeed, he does have somewhat higher moral standards than your average assassin. And we know that he specialized on killing mages.

Now, from what I now understand about the worldbuilding is the following: In most of the cultures outside of Tevinter, mages are not only very much controlled, but also met with a lot of distrust. Making it quite likely that a lot of mages who have a lot of political influence are Tevinter mages, which will probably also mean that most mages he ever got hired to kill were from Tevinter, and he killed probably a percentually higher amount of Venatori than the average Crow. (Correct me, if I am wrong in this regard, DA-nerds. This is how I am starting to understand the world.)

However, if you consider the end of his companion quest... (more under break, because spoilers.)

He becomes First Talon, which means that he will have to deal a lot more with Crow politics and what kind of contracts the Crows at large will take.

Here is the thing: Everyone is the hero of their own story. And given all we know, I have a good feeling of the general narratives that Lucanis lives by. He is the good guy, because he mainly kills the really bad mages, because he protects Treviso, and really, those that end up dead had it coming.

But again, in past stuff we absolutely know that the Crows took down good people, before they were paid for it.

My first reaction to the end of the game was: "Oh, I can make them worse, hehehe."

And I mainly just would like to explore with Lucanis having to deal with the... uhm... business model of a professional groups of assassins being pretty much: "We gonna kill anyone we get paid to kill."

And I generally like the idea of a character having to adjust their personal narratives bit by bit, because it is one of the hardest things for humans to do.

But also... I have a long list of longfics I wanna write - and I would need to do so much research.

[mysticcrownwolf]

I have not watched arcane but I follow enough people that do to have to general idea of what it's about and I am calling it right now the only reason this fandom demonize Vi is because they like Jinx and by extension Silco so all the bullshit ass enabling he did with Jinx for years will be forgotten because Vi punches her for killing everybody she ever loved and then the people in this fandom who don't have even a quarter of a brain cell to rub together will be like well Jinx suffered so much because of Vi because she had suicidal thoughts and see people meanwhile Vi deadass saw everyone she loved die in front of her, then lose her only remaining family to Silco and then spend her whole childhood in prison. Like the people in this fandom can't comprehend morally grey characters or even think that their faves can be complex people who can do bad things if the narrative shifts that way.

Look me in the eye and tell me these people have a single thought in their head while watching the show because the writers said these two seasons are the Jinx and Vi story. That they will probably make more arcane stuff but these seasons are focused on the sisters and so why do I see post like I wish Vi didn't have so much screen time or I wish Vi and Cait story wasn't the main focus here and the show focused more on "insert any background narrative they wanted to see" like bitch go fuck yourself.

Like I have never seen such a large group of people utterly incapable of media literacy it's like they need to be handfed concepts like:-

"A doomed narrative means no happy endings at most you get a bittersweet one"

"Your fave can be a bad person and still be your fave you don't have to justify them as a good or reasonable person (and demonize their equally traumatized sister looking at you weirdly purist Jinx fans) to continue liking them.

"Metaphors and parallels shouldn't be spoken or spelled out for you. You as a viewer are suppose to understand then yourself using your brain"

"Good people can do some bad things this doesn't make then irredeemable and bad people can do some good things this doesn't suddenly makes them fully redeemable"

"If a shows ending is ambiguous it doesn't mean the writers were too pussy to commit to a proper ending it means they purposefully made it ambiguous so their can be more than one interpretation for it"

"Not all good stories needs have good or even satisfying happily ever after usually in a doomed narrative you just survive to live another day"

"Just because someone's trauma manifest in a more visible way doesn't mean another characters didn't suffer at all (still looking at you Vi haters)"

To summarise do I think the people who can't see a nuanced story like arcane without generalizing everything in black and white and then complaining about how it's bad are all brainless idiots with the mental capacity of a third grader with no capacity for media literacy or reflection. Yes. Is it probably a baseless generalization. Probably. Do I care. No,fuck you'll and all your arcane hate post you all tricked me into reading by disguise them as actually analysis.

If I can pick up on the subtle nuances and non linear narrative of arcane by just reading Tumblr posts and watching some clips on YouTube you people have no reason to have this shitty of an opinion when you actually consumed the full media.

[ratatatastic]

do you write fic on ao3?

unfortunately for everyone involved i do!

[genekies]

tag vent

[ehh-is-the-name]

It's past 11 on a school night and I'm fucking crying over robot sentience.

I could never understand what it would feel like to be created with the intent to kill and maim. Maybe, the intent to work and be worked, but not kill and maim.

I will never understand what it's like to be created with the intention of being a product for the masses, either. I think, I hope, I beg, no one does.

I will never ever be able to fully comprehend why hours of people's work, time, and money would be put into formulating my sentience only for me to be seen as disposable. Even if I could be improved, even if I were "defective", there is no reasonable justification for giving me emotions only to dismiss them by pushing me as a product for a year before starting anew.

It's... It's cruel, to the machines. Sentient or not, it's cruel. Though, I guess we are cruel.

[sagittariangirl27]

Pisces new moon tonight. 🌑♓️🦇

[danmeichael]

nothing is apolitical but the mechanisms of a story even when not punished are not necessarily indicative of the author's ideology. to not acknowledge the fallible author is ill-advised, but to assume you know the author is foolish. do you understand.

[unproduciblesmackdown]

as ever like: no two things Need to be juxtaposed, much less like material vs material deathmatch Only One Can Be Good, much less am i thinking i have thee objective word on fuckall b/c who does and it's like perfectly boring & unserious whenever someone just throws out Takes that are just "i think...[xyz] is [adjective]" like okay.

but anyways thinking of how, though differing in execution in a lot of ways ofc, deh & bmc start out in a v similar place & explore a journey to self-acceptance from a despairing starting point....it feels like a lot of the hindrance in deh's exploration of its own Theme there is in like, hey. :) hand on your shoulder. it's okay b/c you'll be able to be more normal. whereas w/bmc it's that it's okay b/c you'll be able to be more abnormal

[stick-by-me]

The gays are taking over <3

[gibbearish]

ok i finished the first chapter and am gonna take a break now but im v excited to keep reading im really liking the way the author looks at things so far

[burningcomputerpersona]

my exam is finally over thank fuck

[shay-creates]

Apparently, my decision to be silly and make fanart of someone's writing (because I genuinely enjoy the story the person is writing and I was struck with inspiration upon reading a particular scene) has benevolent and wildly unforeseen consequences.

I apparently gained a bit of control of the canon because said writer really loved the art and decided what I drew/draw is canon.

2. Writer put said artwork into the document of his story right below the scene, so now it's IN the story where people who read the story will see it (with a link to me)

3. He sent the artwork to all his friends and people he knows because he was so excited

Wholesome interaction and I watched him do all that in real time, good stuff. However...there are two more consequences I was notified of today...nearly a full week after I gave the artwork.

Seeing the artwork caused his friends to become interested in reading and hearing about his story, which means more people are reading what he's writing and giving him critique on the story (which he actively asks for).

Apparently, upon seeing the art, his writer friends got a sudden second wind to pick back up writing they'd abandoned for a few months. Because, I quote, "seeing that someone enjoyed {his} writing enough to take the time to make art of it gave them the motivation that maybe THEY can write something that will inspire someone to also create something." I have accidentally caused a writing frenzy among his writer friends and my silly idea to make art for someone has had a butterfly effect for people who I don't even know.

Uhh...I'm pretty sure there's a moral here but I am tired and have a great deal of emotions about this.

[dykepuffs]

How Do I Make My Fictional Gypsies Not Racist?

(Or, "You can't, sorry, but…")

You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.

(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)

Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”

And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.

Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.

So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.

Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)

It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.

So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.

First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?

If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)

How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?

What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")

If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?

When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?

If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?

Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?

And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?

Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.

[fairiily]

|| why you keep waking up in your cr

i saw a girl make a tiktok about this and i thought it was a really interesting idea so i wanted to share it with you!

i think we can all agree that one of the biggest ideas on shiftblr is that all you need is intention

but i also think a lot of people can agree with me when i say: “if intention is all you need, why do i keep waking up in my cr?”

ill relate it to lucid dreaming.

most people who want to lucid dream use reality checks as a method to do so

you reality check throughout the day so your subconscious remembers while youre dreaming

maybe it doesnt work the first night you go to sleep, but you keep reality checking as part of your routine until your subconscious remembers too.

another girl related it to birth control

she used to have an alarm set everyday for 1pm to take the pill

eventually, she didnt need the alarm anymore, because her subconscious remembered that around that time of day, she needed to take her birth control pill

its the exact same way with shifting

you set intention to shift before you go to sleep, and you wake up in your cr again

“but i set intention! why am i still here?”

you begin to doubt yourself, in your abilities to shift, that maybe intention doesn’t actually work.

but it does.

sometimes it just takes a little longer for your subconscious to remember the intention you set, for the intention to stick.

many people’s shifting success stories happen when they go to sleep like any other night

they don’t intentionally do a method or set the intention of shifting, but they wake up in their dr.

how does that work?

after going to sleep and setting your intention night after night after night, your subconscious starts to do it on its own.

like reality checking during dreams, or setting an alarm to take a pill

your subconscious doesn’t have eyes, it is something that has to be trained, all it knows is what you tell it.

not everything can be mastered on the first try, you just have to keep trying.

moral of the story is:

intention is real. and its important. dont give up on yourself. keep setting intention. keep going to sleep knowing you will wake up in your dr.

one day you will.

i hope this helped or resonated with some of you, because when i heard about this idea, it gave me a lot of hope that im not doing anything wrong, my subconscious is just taking a little while to catch up.

happy shifting!