regional towns

ISIS is a proud, self-described Sunni terrorist group. Same with Al-Qaeda. Same with the Taliban. All three of these groups have published material readily available to all of us which outlines the best ways to kill – not criticize, imprison or convert – but KILL Shia muslims.We have their published agendas in writing saying so. They have literal websites and magazines and publications claiming as such. All three groups have, at one point or another, claimed that *expunging shias from the muslim population* is Priority #1. All of these groups, at one point or another–and literally as we speak–have destroyed entire shia towns/villages/regions and massacred hundreds of thousands of shias.  They have literal websites and magazines and publications claiming as such. This does not mean all sunnis are prone to terrorism or should be held accountable for these groups in any way, but it does mean sunni muslims who hear propaganda like “ISIS is actually shia!!!!!!! they’re just pretending to be sunni to make us look bad!!!!” have a responsibility to correct members of their community and stop feeding into poisonous, murderous anti-shia talk. 

shia muslims are literally being killed and all that muslims have accomplished is memes about shia/sunni relations and pushing literal propaganda painting shias as deserving of genocide 

Writing Every Day

Anonymous asked: “Do you have any tips for getting into the habit of writing everyday? Every time I try to write something short for the day, I usually go with a vague idea but get stumped or unmotivated after a few sentences.” 

This is a great question. Writing every day is important for staying in practice, but it also can make you feel really rusty after taking a weekend off. Someone told me once that writing everyday should be like going to the gym. To see the full effect, you don’t need to write every single day but 5 days out of 7. And maybe not that long every day, just some time to set aside when you can to get a few hundred words in. 

I found out the other day, that many writers really only write about 200 words a day (and most don’t even write 5 days of the week). I was shocked by this. I often strive to write about 800 to 1000 words a day and I try to do it every day in some capacity - whether it’s just ramblings in this document I keep, scenes that aren’t really for any project, a piece of a short story, or some work on my novel. This is how I keep in practice. I also shoot for 5 days instead of 7. 

Keep reading

The Braves - Chapter 1.

Today is a very special day.

It’s @titaniasfics birthday.

Everybody knows what she did for the fandom, how she helped, beta-ed, encouraged so many of us, how she believed in us, every single day.

So today, please, let’s join into celebrating her.

My dear C, here is for you … the WW2 story I told you about.

@akai-echo just surpassed herself with the banner (it’s so perfect !!!) and @dandelion-sunset did the beta-ing part :)

Un très joyeux anniversaire !!!

With love!


Chapter 1.

“God not only plays dice, he also sometimes throws the dice where they cannot be seen.” Stephen Hawkings.

April 1942, Panem, France.

Rain was falling heavily on the trees, clicking on the roofs, echoing in the streets of the town, soaking the man’s shirt.

But he couldn’t move.

One single move, and the sentinel standing closeby would undoubtedly see him.

He just couldn’t get caught.

There were barely two hundred meters left to reach Peeta’s house, to get to the safety of his home. Two hundred meters, but they were always the longest and most dangerous.

Keep reading


/ san sebastian / by Aubrey Dunnuck

Texas Gothic: North Texas
  • There are flocks of screeching black birds at every intersection, but only in the dusty twilight hours. They sit like malignant blots on the grass, the power lines, the trees. Without warning they fly all at once, a great crying black cyclone that makes you want to cover your ears and pray. They settle again, like they never moved at all, and you wait for it to start again.
  • A school bus passes you, but it’s not time for them to be going to or from school. You look again, but you can’t see anyone inside. The bus turns down a side street you don’t remember being there a moment ago. You blink and the bus and street are both gone. In your rear view mirror you see another empty bus.
  • There is a construction zone. There is always a construction zone. You have never seen anyone working at a construction zone, but they are always there.
  • Every shop in the strip mall is for lease. Half the shops in the next are for lease as well. That building is for lease. You swear there was a restaurant there yesterday, but no more. That building is for lease. You went to that store just last week. That building is for lease. You begin to expect the constant emptiness of the buildings and strips.
  • The wind howls and howls and strange things appear in the street, in your yard. They’re blown away again in moments, but the memory of them stays like a sour taste in the back of your throat. You pray the wind stops, but you also dread it. No one knows what will happen if the wind stops.

Albanian Dialects  


Spoken in most of Albania north of the Shkumbin river, as well as in Kosovo, Montenegro, Serbia, most of the western part of the Republic of Macedonia, and Arbanasi near Zadar in Croatia.

Northern Gheg subdialect

Spoken in most Albanian-speaking regions north of the Mat river. These include Ulqin [Ulcinj], Kraja and Podgorica in Montenegro, the Shkodra region, Lezha, Malësia e Madhe, Dukagjin, Puka, Mirdita, Plava, Malësia e Gjakovës, Luma, Has, Kosovo and Presheva [Preševo].

Western variant: Spoken in regions to the west of a vertical line from the Montenegrin-Albanian border initially down the boundary between the Prefecture of Shkodra and the Prefecture of Kukës, including Theth and Shala in Dukagjin and areas west thereof such as Shkodra, Lezha, Malësia e Madhe and Montenegro.

Eastern variant: Spoken in regions to the east of a vertical line from the Montenegrin-Albanian border initially down the boundary between the Prefecture of Shkodra and the Prefecture of Kukës, including Nikaj-Merturi and Puka, and areas east thereof such as Gashi, Tropoja, Malësia e Gjakovës, Has, Kukës, Kosovo and Presheva.

Southern Gheg subdialect

Spoken in northern central Albania south of the Mat river and north of the Shkumbin river, including Mat, Lura, Peshkopia and most of western Macedonia (Dibra to Skopje and Kumanova), as well as Kruja, Tirana and Elbasan.

Central variant: Spoken in the interior basin of the Mat river, extending eastwards to and beyond the Black Drin river, including Mat, part of Mirdita, Lura, Luma, Peshkopia and western Macedonia (the left bank of the Black Drin around Struga, Dibra, Kërçova [Kičevo], Tetova, Gostivar, Skopje and Kumanova), as well as Kruja and Fushë Kruja.

Southern variant: Spoken in most of the coastal region from the mouth of the Mat or Ishëm rivers to the mouth of the Shkumbin river, including Durrës, Tirana, and Kavaja, as well as inland areas such as the Tirana mountain range, Martanesh and Çermenika, Elbasan and the valley of the Shkumbin river.


Spoken in a ten to twenty kilometre horizontal belt along the Shkumbin river valley, mostly on the left (south) side of the river, including the northern Myzeqe plain, Dumreja, Shpat, Polis and Qukës.


Spoken in most of Albania south of the Shkumbin river and into Greece, as well as in the traditional Albanian diaspora settlements in Italy, Greece, Bulgaria and the Ukraine.

Northern Tosk subdialect

Spoken in most of Albania south of the Shkumbin river, with the exception of southern coastal areas on the left (southwestern) side of the Vjosa river. On the coast, the southern border of this area is just south of the town of Vlora.

Western variant: Spoken in the regions of Myzeqeja, Mallakastra, Berat, Fier, Skrapar, Tepelena on right (eastern) side of Vjosa, Përmet and Vlora, including the area to the north and northeast of the town of Vlora.

Eastern variant: Spoken in the regions of Pogradec, Korça, Kolonja and Devoll, as well as the southwestern part of the Republic of Macedonia (the right bank of the Black Drin around Struga, Ohrid, Prespa and Monastir [Bitola]).

Southern Tosk subdialect

Spoken in coastal regions south of the town of Vlora and extending downinto Greece.

Lab variant: Spoken in the Laberia region, being Kurvelesh and Himara down to the Shalës and Pavlle rivers, including Delvina and Gjirokastra.

Cham variant: Spoken in the Albanian part of the Chameria [Çamëria] region south of Shalës and Pavlle rivers, and in the Greek part of Chameria sporadically down to Preveza.

Arvanitic Tosk subdialect

Spoken traditionally in about 300 villages of central Greece, in particular in Attica, Boeotia, southern Euboia, the northeastern Peloponnese around Corinth, the islands of the Sardonic Gulf, including Salamis, northern Andros, as well as some other parts of the Peloponnese and Phthiotis. This archaic dialect is moribund, though there may still be from 50,000 to 250,000 speakers, mostly older people.

Italo-Albanian Tosk subdialect

This archaic variant of Albanian is spoken by about 90,000 people in southern Italy. Speakers are to be found, usually in remote mountain villages, in the regions of Calabria, Molise, Puglia, Basilicata, Campagnia, Abruzzi and Sicily.


☁ Unova region - the ‘cloud’ region ☁

europolarist  asked:

I am planning a historical novel and this winter I'll be heading to the towns and region where the novel is going to be set. The inspiration comes from Kate Mosse's works, I haven't got much planned yet, but since I'm going to the region anyway, for what might be the last time, I'd like to get started on some of the background work.I was wondering if you had any resources on worldbuilding and interview questions, etc, in this setting. I've created fantasy worlds, but never based stories IRL.

This is a great idea! In my own experience, I’ve found traveling to be incredibly helpful in expanding my settings–even if it means just going to a town over from mine or leaving the house, going camping, etc. If helps you to expand the locations you feel comfortable writing about because seeing them with your own eyes is a much different experience than reading about somewhere in a book and trying to re-create it. 

Here are a few resources I’ve already put together on worldbuilding: here, and here (on making maps). I’m not sure how helpful those will be, but including just in case. More helpful should be these resources: 

My advice is: take pictures. Lots of pictures. Have something you can refer back to. Videos will be even better. Jot down notes not just of what you see but how it makes you feel–the mood in the air, the ideas it gives you. Listen to the same song or the same few songs, something that sets the mood for the location and for your future story. Later, when you listen to this song or songs, you’ll recall how it felt to be in that place and can be re-inspired even miles away. Before you travel, plot out where the museums and historical monuments or locations are. Knowing where they’re located beforehand can help you to stay focused, see what you need to, and not get overwhelmed when you get there and miss out on the good stuff. The more research you do before you get there, the more you can sit back, relax, enjoy and breathe in the place you go to once you’re actually there. If you’re going to be writing about or from the perspective of a real person, research where they lived and where they went–walking in their footsteps will be incredibly helpful when you get there. 

And remember to enjoy your vacation and your stay. Historical fiction is a lot of fact, but it is still fiction: it’s about creativity and story telling, and at some point, that will and should over take the research. 

If this or any other post on this blog has helped you, please consider pre-ordering my book Permanent Jet Lag, and enter the free giveaway to win lots of cool writer supplies!


 Using the previous “San Junipero” map, I decided to expand to the entire Cape Town region, from Camp’s Bay through the City Center and to the rural outskirts and townships. It’s moving along fairly quickly, and I’ll keep you guys updated as it progresses further :)

Also, shoutout to @potato-ballad-sims for helping me with the layout!

Vermont Gothic
  • The green feels strange on your feet as you stroll through the thawed meadow. It’s wispy strands seem to clutch onto your feet as you stroll. What is this strange green substance? Somewhere, deep inside your mind you feel as if you once knew, but it is gone now. Only speculation remains.
  • Driving down route 7, you see a car wreck. All New York and Mass plates. A wide grin begins to find it’s way over you as you speed past. The brightly colored leaves nod in approval.
  • They say the bloodstains found in the fresh snow were only from animals, but you know Timmy did not come home last night. In order for spring to begin, the winter must take it’s payment. Buds begin to sprout on the trees, and the temperature suddenly rises.
  • Spring is in the air and the roads subsequently turn to mud. Dirt roads no longer exist, and we are not sure how much longer the pavement is going to hold up.
  • Walking alone on a trail, you suddenly trip over a root. Before you have the chance to lift yourself up, a voice in the trees whispers your name. You forgot it was maple sugaring season. The trees are hungry.
  • Your shoe sticks in the mud. As you begin to sink deeper and deeper, you are glad. There will be a bountiful harvest this summer.
  • After years of living near the power plant, you begin to forget it even exists. The black and white spots developing on your skin must just be a rash, you say. Soon enough the only thing you can say is “moo”, and you come to realize something.
Small, deprived North of England town Gothic

-The football team block off all the roads isolating you from the outside for months. You do not know how long the game has lasted for, and you have not seen an outsider in years. Even now you can hear eldritch chants from your window. It is 0-0.

-There are no shops anymore, except those decorated with strange hieroglyphic signs reading ‘Poundland’. You go outside. There are seventeen £1 shops and one 99p store on your street alone. Each night they get closer. You fear for your life. You fear for your soul. You fear they will come and take you away, and sell you for one pound. This would not surprise you at all. At this point, nothing can surprise you. “£1 please.”

-There are more pigeons than people. Your family are pigeons. You are a pigeon. You open your mouth to speak but only muffled coos come out. You scream. More pigeons come flying out from your broken beak, until they outnumber mankind altogether.

-It is bin day. It has always been bin day for as long as you can remember. When was it not bin day? It is bin day. It has always been bin day.

-The sky is grey and cloud-infested. You have never seen sunlight in your short, pitiful life. You may die without ever seeing light. Part of you thinks this might be a blessing. You fear what you do not know. You fear everything.

-Every building on your street is boarded up, something akin to a plague house from the 1600s. You hear moans coming from inside and walk quickly away, cursing David Cameron’s NHS cuts that mean you are forced to revert to the Old Ways. Or perhaps the Old Ways never truly went away. You go home and your grandmother who is 192 and lived through the War has a cold. It is time. You reach for the boards and a hammer.

-Wild plastic bags roam the streets, claiming children as their own and carrying them away to strange places. When they come home, they have a sheen to their skin. They are never the same afterwards.

-The Council announce they are cutting lifespan to 60, and then you will be sold off to organ harvesters. This is a just cause. You will make a difference. Your life will have had meaning. 

-You are surrounded by hundreds of identical children in varying uniforms. You do not think you have ever seen these children in school. You do not think schools exist, or do not remember schools existing. There are always children surrounding you, and they are always identical. They do not seem to age. Age is a meaningless concept.

-You get the bus into town, thanking the bus driver when you get off. You always remember to thank the bus driver. It is dangerous not to. You still bear the scars from last time you forgot. At night they throb and keep you awake, reminding you how lucky you were to come away from that alive.

-The football team hover in a strange ephemeral netherworld, a purgatory between promotion and relegation, looping between the two with Ourobourosian paradoxity. 

-The football ground is built on a swamp. It has claimed 17 lives today alone. Brackish water fills your lungs when you set foot inside. Make that 18 then.

-It is Christmas. Your neighbours houses are brightly lit enough to be seen from space. One of them sets up a vast inflatable Santa. You can hear the Santa laughing when you pass by, and remember that Santa is an anagram of Satan. 

-There is a busker in town. Nobody has given him any money. His case is full of disused currencies. He has been playing for a long time.

-A fair occupies the local park 13 months of every year. People who go in are not normally seen again. You think you might direct your relatives there in order to get rid of them.

anonymous asked:

What do charters for guilds consist of? If all the alchemist guild has is wildfire, how to they sustain themselves? What does the Royal charter for the faith or citadel consist of?

Well, much like city charters, guild charters gave guilds legal recognition, rights, privileges, responsibilities, and limits. 

So what kinds of “rights, privileges, responsibilities, and limits” did these charters include? 

  • First, guild charters gave guilds a legal monopoly over a given trade or industry. If you wanted to work in a given industry in a given location, you had to be a member in good standing who had been given permission to work in that town or city. On the other side, employers and merchants who wanted to hire a smith or buy their goods also had to do so with a guild member, lest they be legally liable. 
  • Next, guild charters gave guilds control of training, licensing, and locating of workers in their field. In order to become a member of the guild, you had to go through a guild apprenticeship where you would live with a master craftsman and labor for them for anywhere between seven and fourteen years. Apprentices were not paid save for food and lodging, but their masters were required to train them in the skills and trade secrets of their industry. When you had completed your education, you would be licensed as a journeyman, be given a set of tools that were now your property,  and could now work for wages in your field. Journeymen were usually sent away from their home city for a period of at least three years (although that’s not where the name came from), for reasons that I’ll explain later. When you had completed that process and could afford to pay the application fee, you could apply to become a master craftsman, by submitting a masterpiece (that’s where the name comes from) to the guild masters for their approval - if your work was up to snuff and the guild masters let you in, you’d now be a full member of your field with the right to open your own business, hire journeymen, and train apprentices (indeed, you were required to train apprentices). 
  • Third, guild charters gave guilds wide powers of regulation and self-regulation. In addition to the right to charge membership dues, guilds also had the right to fine members or even expel them for violating the regulations of the guild, and guilds established extensive regulations on prices, wages, working conditions, product quality, even standards of personal behavior. (Guild members could be fined or even expelled for drunkenness, for example, because it threatened the guild’s reputation for quality labor). At the same time, guilds also used their control over their members to essentially bargain collectively with governments, suppliers, merchants and employers, wielding the authority to blackball them from doing any business with guild members to get their way. 

So how did the guilds use these powers? 

First, they used them to control labor supply, labor demand, prices and wages - guilds carefully manipulated the intake of apprentices, the licensing of journeymen, and the qualification of masters, and used their powers to permit working or operating a shop in a given town/city/region, to ensure that there would be enough work/consumer demand for their members at the wages/prices necessary to support the living standards of guild members. If there wasn’t enough work to go around in a given location, journeymen would be refused entry to a given town and sent on their way, and masters would be refused the right to open a shop. 

Second, they used them to control the quality of goods and services - if you sold shoddy goods or did shoddy work, the guild would fine or expel you, and if you tried to work in their industry without going through their training process, you’d be prosecuted. 

And third, they used them to create mini-welfare states - financed by the various dues and fees they charged their members, guilds operated pensions for the elderly, the disabled, widows and orphans, a system of unemployment benefits for journeymen who couldn’t find work, and funeral benefits. 

As for Westeros, the guilds we know about are the Alchemist Guild in King’s Landing, the Guild of Smiths in King’s Landing, and a series of unnamed guilds in Oldtown. The Faith isn’t a chartered institution - it’s a religious institution - but the Citadel might have a charter from King Urrigon Hightower, but we don’t have direct confirmation.

Limousin region. Haute Vienne department. Town of Aubusson. May 10th.
The Saint-Jean manufacturer has existed since the 17th century. Today it is still an important production centre where carpets and tapestries are woven using the age-old art of quality weaving.

Fate of a Guardian Angel

Note: This is still unfinished, and is an original piece of work which I am writing to calm myself down after something horrible which has happened.

As it is about 3500 words, I will post it under a cut.

Keep reading

World Building: Where to Start

For sci-fi or fantasy writers, creating your world could be the hardest part. Building something from nothing is incredibly difficult and, while you don’t want to be conceited, you are being a God. You are reaching into this nothingness and pulling a whole planet, whole civilization, towns and people and cities and governments out of nothing. 

You have to always keep in mind that your world, once created, exists without you. Your world existed before you dropped your characters into it, and your world will exist long after your characters die (unless they somehow end the world).


I have always thought the best place to start would be geography. If you open up a history textbook, for any country, geography is often the first thing that you see. How large is this world? Is it a full planet or just a landmass that you are discussing? Where in space is it? Do you know? It is in this universe? What does the sky look like? Are their islands? Mountains? Rivers? Oceans? Lakes? You need to know the layout of the land.

Start off with a piece of paper, and explore where your want your characters to go. If you look at Harry Potter, there is an entire world built inside of our world, living amongst us. If you look at Lord of the Rings, there is an entire different world out there that we haven’t reached and doesn’t know about us. Pokemon has it’s own region, with little towns and usually some islands. Firefly has earth-like planets in a different universe, but they know of Earth (Earth-that-was). Is your world build on ours? Build away from ours? Built after ours? Can they interact? Have they ever interacted?

Let There Be Life

Once you have a basic layout for landmass, think about the first interaction with our world. So, for example, I created a world called Fallamore, which exists underneath Earth and was built by magical folk during the witch hunts in order to escape prosecution. This is the kind of information that will probably never make the story, but it is cool to know for yourself. How long has history existed for this world? Where do they believe life started? God? Science? Aliens? 

Knowing Every Rock and Tree and Creature

You obviously don’t need to know every tree and rock that exists in the world - but you do need to know what species are around. Are trees like they are on Earth? Brown bark and green leaves? Do they change colors in the fall? Are there even seasons? While you don’t need to make note of every type of flower or tree, it’s good to have an idea of what things might look like. 

Another good idea would be knowing what kind of species exist in your world. Humans? Witches? Vampires? Goblins? Elves? Fairies? Aliens? Something you invented? Do they all live together, or do they have their own communities? Do they get along, or are they racist of each other? 

Vague and Yet Menacing World Government 

You have a lot of options for governments in your world, and are also free to make your own.

You can do a traditional monarchy: king, queen, princess, prince, etc. Is your monarchy going to be a patriarchy, a matriarchy, or equestrianism? (Will the eldest son take over? Eldest daughter? Oldest child? Most prepared / smartest child? The parent chooses? It’s a vote?) 

You can have a President, or Minister. You can have a dictator. You can have a council. You can have a religious leader double as a political leader. All political decisions can be asked to a magic conch shell. 

Also, you can mix and match these. For my upcoming NaNoWriMo novel, I have a world with many different regions. The entire world has one royal family in charge of everything ( a patriarchal monarchy ) that defends the realm and all things in it. However, the monarchy allows the different regions to govern themselves as long as they follow the monarchy’s policies. Several regions have established their own monarchy that bows a knee to the main one. A goblin region has a council that reports to the monarchy. An elf region has a matriarchy. A final region is led by a very wise educator, who has been appointed as leader for his knowledge. 

You also need to decide how important government is - but it is necessary. If you are telling the story of a very young girl who finds a unicorn in a meadow, knowing that she lives under the rule of a beautiful princess in a far away castle is not relevant and doesn’t need to be shared. However, in The Hunger Games the government plays a huge role in the plot of the story. 

Now, there is a lot of other things to think about when creating a world, but this is just a place to start. World Building is a lot of work and takes a lot of time and effort and dedication. 

Best of luck, and happy writing!