Small Fantasy Worldbuilding Elements You Might Want To Think About:

sometimes you need dialogue tags and don't want to use the same four

the look of love (for writers)

"it's all in the eyes i was once told"

catching the stare of someone across a crowded room

subtle furrowing of eyebrows beyond a blank facade

coldness easing into warmth

a fond mothering gaze

corner of the lip nudged upward

forced glower/glare as they break underneath

batting their lashes, playful

a boisterous laugh

intrigue piercing the stoic

proud smugness at the other's success

lingering glances

a childish joy bursting through

pupils dilate

eyelids shut in a look of peace, calm and trust

look of longing/betrayal

"there was once a time when they were mine"

terseness

features fold into a scowl

an urgent flinching back

coldness returns (as though the warmth had never come)

lips part then purse

invasion of shock

slow stare at the floor

the ripple effect of a swallow

frustrated breath/sigh

bitter laugh in reminiscence

dread tearing through the seams of their composure

look of hatred

"darkness"

mean smirk- teeth bared grimace- scowl

dismissive gaze

gaze of contempt/impatience

threat lowering the voice

sardonic goading grins verging on manic

rolling one's eyes

flicker of irritation in the eyes

stares stubbornly ahead despite distraction

gritted teeth, clenched jaw

fierce biting remarks

even measured complexions betraying no thought

strangling oneself back from violence

utter apathy

murderous silence hanging in the stare

snobbish laughter

smiling at another's downfall

Ways I Show a Character is Emotionally Burned Out (Before They Even Realize It Themselves)

I love writing characters who think they’re fine but are actually walking emotional house fires with bad coping mechanisms.

They stop doing the things they used to love and don’t even notice. Their guitar gathers dust. Their favorite podcast becomes background noise. Their hobbies feel like homework now.

They pick the path of least resistance every time, even when it hurts them. No, they don’t want to go to that thing. No, they don’t want to talk to that person. But whatever’s easier. That’s the motto now.

They’re tired but can’t sleep. Or they sleep but wake up more tired. Classic burnout move: lying in bed with their brain racing like a toddler on espresso.

They give other people emotional advice they refuse to take themselves. “You have to set boundaries!” they say—while ignoring 8 texts from someone they should’ve cut off three emotional breakdowns ago.

They cry at something stupidly small. Like spilling soup. Or a dog in a commercial. Or losing their pen. The soup is never just soup.

They say “I’m just tired” like it’s a personality trait now. And not like… emotionally drained to the bone but afraid to admit it out loud.

They ghost people they love, not out of malice, but because even replying feels like too much. Social battery? Absolutely obliterated. Texting back feels like filing taxes.

They stop reacting to big things. Catastrophes get a blank stare. Disasters feel like “just another Tuesday.” The well of feeling is running dry.

They avoid being alone with their own thoughts. Constant noise. TV always on. Music blasting. Because silence = reckoning, and reckoning is terrifying.

They start hoping something will force them to stop. An accident. A missed deadline. Someone else finally telling them, “You need a break.” Because asking for help? Unthinkable.

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

NEED HELP WRITING? (a masterlist)

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

"Said" is Beautiful by @blue-eyed-author

It is incredibly important to train yourself to have your first instinct be to look something up.

Don't know how to do something? Look it up.

See a piece of news mentioned on social media? Look it up.

Not sure if something is making it to the broader public consciousness, either because you don't see it much or you see people saying nobody is talking about it? Look it up.

Don't know what a word means? Look it up.

It will make you a better reader and a better writer, but it will also just make you more equipped to cope with the world.

So often, I see people talking about something as though it is the first time anyone has ever acknowledged it, when I've been reading reports about it on the news for months or years. Or I see someone totally misinterpreting an argument because they clearly don't know what a word means--or, on the other hand, making an argument that doesn't make sense because they aren't using words the right way.

Look things up! Check the news (the real news, not random people on social media)! Do your research! You (and the world) will be better for it.

The symbolism of flowers

Flowers have a long history of symbolism that you can incorporate into your writing to give subtext.

Symbolism varies between cultures and customs, and these particular examples come from Victorian Era Britain. You'll find examples of this symbolism in many well-known novels of the era!

Amaryllis: Pride

Black-eyed Susan: Justice

Bluebell: Humility

Calla Lily: Beauty

Pink Camellia: Longing

Carnations: Female love

Yellow Carnation: Rejection

Clematis: Mental beauty

Columbine: Foolishness

Cyclamen: Resignation

Daffodil: Unrivalled love

Daisy: Innocence, loyalty

Forget-me-not: True love

Gardenia: Secret love

Geranium: Folly, stupidity

Gladiolus: Integrity, strength

Hibiscus: Delicate beauty

Honeysuckle: Bonds of love

Blue Hyacinth: Constancy

Hydrangea: Frigid, heartless

Iris: Faith, trust, wisdom

White Jasmine: Amiability

Lavender: Distrust

Lilac: Joy of youth

White Lily: Purity

Orange Lily: Hatred

Tiger Lily: Wealth, pride

Lily-of-the-valley: Sweetness, humility

Lotus: Enlightenment, rebirth

Magnolia: Nobility

Marigold: Grief, jealousy

Morning Glory: Affection

Nasturtium: Patriotism, conquest

Pansy: Thoughtfulness

Peony: Bashfulness, shame

Poppy: Consolation

Red Rose: Love

Yellow Rose: Jealously, infidelity

Snapdragon: Deception, grace

Sunflower: Adoration

Sweet Willian: Gallantry

Red Tulip: Passion

Violet: Watchfulness, modesty

Yarrow: Everlasting love

Zinnia: Absent, affection

you don’t realize how bad it is until you start noticing that impatience has become common currency. watching a full 2-hour movie from the comfort of your couch is torture - even a 25-minute series episode is too much. you can’t stand still while waiting for the bus without reaching out for your phone and opening something - any app, even to check the weather for the millionth time that day.

even conversations are suddenly taking too long, and when you look around, you start hearing all these absurd stories of how people are skipping paragraphs while ‘reading’ books because they think descriptions are boring or just ‘need to’ finish faster to reach their reading goals.

Tips From a Beta Reading Writer #2

How to Write Dialogue That Doesn’t Sound Like a Script

Okay, so here's the thing. After years of trying to get dialogue right, I think I've finally cracked the code.

Read it aloud.

Yeah, you heard me. Just read your characters' lines out loud. You’ll be shocked at how quickly you can tell if something sounds natural or like you’re writing for a robot. If you’ve never said that line in your life, and if you’ve never heard someone say it in real life, it’s probably time for a change.

This simple trick has literally transformed my writing for the better. Dialogue that used to feel stiff and scripted now flows like a conversation between friends. Just try it. Your characters will thank you, and so will your readers.

Also, if you catch yourself saying “What?” after reading a line, that’s your cue. It’s gotta go.