How To Write A Character

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

kindergarten

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawnshop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

windmill

wishing well

wizard tower

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How I improved my writing style... without actually writing.

Intro : It's just a clickbait title to talk about theory and side techniques - before actually practicing, of course.

LINGUISTIC ISN'T GRAMMAR - AND IT'S BETTER TO KNOW ABOUT BOTH. It's useful for writing impactful dialogue and giving your characters depth. Your characters' language should (ideally) take into account: their social position (rich or poor), the locality (local expressions?) and sometimes their age (different cultural references). And this is best transcribed with linguistic knowledge. In short: linguistics is descriptive, grammar is prescriptive.

The areas of linguistic analysis are syntax (rules governing the structure of sentences),  semantics (meaning),  morphology (structure of words), phonetics (speech sounds and equivalent gestures in sign languages), phonology (the abstract sound system of a particular language, and analogous systems of sign languages), and pragmatics (how the context of use contributes to meaning). (Linguistics, Wikipedia)

Literary theory isn't as boring as it sounds. Learn more about internal criteria of the text (figure of speech, style, aesthetic...) and external criteria of the text (the author's persona and responsability, the role of the reader and what is left to interpretation...). I refer you to the French Wikipedia page, which you can translate directly via your browser in case you need more information. (Make sure you translate the page not switch language, because the content isn't the same).

Listening to Youtube Video about the analysis of film sequences and/or scenario. Remember when I told you to read historical fiction to learn how to describe a castle properly ? Same vibe.

Novel adaptations of movies. = when the movie exists before the book, and not the other way around. e.g : The Shape of Water ; Pan's Labyrinth. In line with tip n°3, it allows us to see how emotions, scenes and descriptions have been translated into writing - and thus to better visualize concepts that may have been abstract.

Read books about authors' writing experiences. e.g : Stephen King, On Writing: A Memoir of the Craft. Everyone's different, but they can provide some insightful tips not only on the act of writing itself, but on the environment conducive to writing, planning… Comparing completely different authors' experience could also be fun (this video of King and Martin is actually one of my fav)

Ah and many thanks for your ❤ and reblogs on my latest post ! UwU

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hi dhaaruni! i want to learn about radical feminism, could you rec some books/texts? thank you <3

YES.

Right-Wing Women, Woman Hating, and Letters From a War Zone by Andrea Dworkin

Are women human?, Only Words, and Toward a Feminist Theory of the State by Catharine A. MacKinnon

The Second Sex by Simone de Beauvoir

The Politics of Reality: Essays in Feminist Theory by Marilyn Frye

Sexual Politics by Kate Millett

Sister Outsider by Audre Lorde

The Feminine Mystique by Betty Friedan

Women, Race, & Class by Angela Davis

Invisible Women: Data Bias in a World Designed for Men by Caroline Criado Pérez

This Bridge Called My Back by Cherríe Moraga and Gloria E. Anzaldúa

The Industrial Vagina: The Political Economy of the Global Sex Trade by Sheila Jeffreys

Against Our Will: Men, Women, and Rape by Susan Brownmiller

We Should All Be Feminists by Chimamanda Ngozi Adichie

Material Girls: Why Reality Matters for Feminism by Kathleen Stock

Of Woman Born: Motherhood as Experience and Institution by Adrienne Rich

The Beauty Myth by Naomi Wolf (it was published in 1990 before Wolf went cuckoo for cocoa puffs)

On Rape and Sex and Destiny: The Politics of Human Fertility by Germaine Greer

Bad Feminist by Roxane Gay (just never look at her Twitter if you haven't already since this book really is very good and her Twitter ensured I'm never reading another book of hers ever)

And thank you for enjoying my newsletter!!

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How to Write a Character Who Feels Like Throwing Up

When fear, dread, or guilt gets sickening—literally—your character is consumed with a gut-clenching feeling that something is very, very wrong. Here's how to write that emotion using more than the classic "bile rose to the back of their throat".

Start with the Stomach

This isn’t just about discomfort. It’s about a complete rebellion happening inside their body.

Their stomach twists like a knot that keeps pulling tighter

A cold sweat beads on their neck, their palms, their spine

Their insides feel sludgy, like everything they’ve eaten is suddenly unwelcome

They double over, not from pain, but because sitting still feels impossible

Add Sensory Overload

Vomiting isn’t just a stomach reaction—it’s the whole body.

Their mouth goes dry, and then too wet

Their jaw tightens, trying to contain it

A sudden heat blooms in their chest and face, overwhelming

The back of their throat burns—not bile, but the threat of it

Breathing becomes a conscious effort: in, out, shallow, sharp

Emotional Triggers

Nausea doesn’t always need a physical cause. Tie it to emotion for more impact:

Fear: The kind that’s silent and wide-eyed. They’re frozen, too sick to speak.

Guilt: Their hands are cold, but their face is flushed. Every memory plays like a film reel behind their eyes.

Shock: Something just snapped inside. Their body registered it before their brain did.

Ground It in Action

Don’t just describe the nausea—show them reacting to it.

They press a fist to their mouth, pretending it’s a cough

Their knees weaken, and they lean on a wall, pretending it’s just fatigue

They excuse themselves quietly, then collapse in a bathroom stall

They swallow, again and again, like that’ll keep everything down

Let the Consequences Linger

Even if they don’t actually throw up, the aftermath sticks.

A sour taste that won’t leave their mouth.

A pulsing headache

A body that feels hollowed out, shaky, untrustworthy

The shame of nearly losing control in front of someone else

Let Them Be Human

A character feeling like vomiting is vulnerable. It's real. It’s raw. It means they’re overwhelmed in a way they can’t hide. And that makes them relatable. You don’t need melodrama—you need truth. Capture that moment where the world spins, and they don’t know if it’s panic or flu or fear, but all they want is to get out of their own body for a second.

Don't just write the bile. Write the breakdown.

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Oliver Baez Bendorf, “Everything All at Once”

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Writing Resources List

I use my blog to share writing resources that I’ve collected over the years. I’ve recently gotten some new followers, so I thought I would make a list of many of these resources for easy reference.  

(However, this is not a complete list of all the resources I’ve posted. For more writing resources, feel free to check out my blog.)

Encouragement for Writers

Writer’s Block & Procrastination

Writing Your Story’s Plot

How to Write a Scene

Choosing a Setting for Your Story

Character Arc & Character Development

Character Traits

How to Write Heroes & Villains

Elemental Magic & Superpowers

Writing Magic Systems

Fantasy Writing & World-Building

Writing Fight Scenes

Swords and Bows

Writing Mermaids

Writing Relationships & Romance

Romance & Relationship Prompts

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I’m a writer, poet, and editor. I share writing resources that I’ve collected over the years and found helpful for my own writing. If you like my blog, follow me for more resources! ♡

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Rage, Grief & Other Quiet Explosions

(Emotional meltdowns that don’t look like meltdowns, but absolutely are)

 The “Smiling Too Much” Grief Your character’s entire world is on fire, and they’re asking if anyone wants more wine. That’s not denial, it’s an effort to hold the damn pieces together. Smile like a glue gun. Watch them crack.

The “Not Crying At the Funeral” Breakdown They don't shed a tear. They organize everything. Perfect speech. Perfect outfit. But a week later, they scream into the laundry basket over a missing sock. That’s the moment. That’s the eulogy.

 The “Silent Dinner Table” Fight No yelling. No slamming doors. Just chewing. Clinking silverware. The kind of silence that tastes like metal. Let the reader feel the air shrink.

 The “Polite but Dead Inside” Apology They say “Sorry” because it’s expected, not because they’re ready. Their voice doesn’t crack. Their eyes don’t meet yours. This isn’t healing. This is a peace treaty with no peace.

The “I Don’t Want to Talk About It” Detour The one where they ask about your day mid-sob. Redirect. Deflect. “Let’s not talk about me.” That’s rage choked by shame. Write it like it’s shoving itself into a smaller box.

 The “Obsessively Productive” Meltdown New projects. New hobbies. Suddenly they’re running marathons, baking sourdough, fixing the garage door. Because if they sit still for one second, they’ll break. Keep the camera on them when they finally sit.

The “Unsent Letters” Grief They write it all down. Every damn emotion. Then burn it. Or delete it. Or hide it in a shoebox under their bed. It’s not for closure. It’s to let the ghosts know they were seen.

The “I’m Fine” That Echoes Delivered too fast. Too sharp. You could bounce a quarter off it. “I’m fine” isn’t fine. It’s the dam cracking. Listen to the echo. Let another character hear the hollowness.

The “Hyper-Logical Rant” Rage They argue with spreadsheets. With perfect bullet points. Cold rage—like ice, not fire. “I’m not mad, I’m just saying…” But that’s a lie. They’re volcanic under that clipboard.

 The “Laughing in the Middle of the Breakdown” Moment That bitter, hysterical laugh. The kind that sounds more like sobbing with teeth. Let it come at the worst time. Let it shock even them. That’s emotion refusing to stay boxed in.

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I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

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How Your Characters Might Flirt Using Food (Because Food = Love)

Because sometimes “I love you” sounds like “did you eat?”

“I saved the last piece for you.” → Literal affection disguised as generosity.

“This isn’t as good as the one you like, but it’s close.” → Translation: I pay attention.

“Try this. No, just—trust me.” → Feeding them is flirting. End of story.

“I remembered you don’t like onions, so I left them out.” → That’s a love letter.

“I burned it. You’re eating it anyway.” → Domestic chaos = love language unlocked.

“You always steal bites, so I got you your own.” → He saw, he adapted. Soulmate.

“You’re not allowed to fall in love with anyone who cooks better than me.” → Petty? Maybe. Adorable? Absolutely.

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physically go to your local library at least once. seriously.

look around. find a random book with a cover that catches your attention. read the description. read the first page. if you like the sounds of it, borrow it and take it home to read. borrow a handful of books even.

if a book loses your interest, drop it. if a book grips onto you, ride that wave.

i've struggled to read recreationally for years despite having read so much as a kid. a lot of us are frozen by the seemingly infinite choices. even when we buy books to take home, we don't read them because which book is worth reading first? we don't have to decide, we have it right here in our bookshelves, we have an eternity of never deciding.

in this past month, i have read five books, most of them i've never heard of when i spotted their cover at the library. most of them, i've ended up loving. the due date of library books maintains the ability to read a book so i can return them to the library and leave the library with more books. an even better incentive than borrowing ebooks, because i actually have to leave the house and not be a hermit.

so if you used to enjoy reading but struggle with it now, ignore the book recs you hear. go to the library, come across a book that piques your interest, and read one page after another until you either lose interest or finish the book.

then it's onto the next one.

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