anonymous asked:

how do i know when to use -, –, or —? i know the short one is for between words (like twenty-two) but i’m not sure how to know which length to use when writing it into the sentence (i hope i phrased that right??). are there rules? does it matter?

You’re going to be able to find a lot more in depth answer here. But the short of it is:

- : This is a hyphen.

– : This is an en-dash.

— : This is an em-dash.

The hyphen is used to connect words, like you say. Ex: Twenty-two, ex-boyfriend.

The en-dash is used in the context of a span of time. Ex: 1996–2018, February–March.

The em-dash is used when inserting a thought. Ex: He wouldn't—couldn't—go home.

Good question! Hope this helps 😊

anonymous asked:

Hi! I’m currently writing a novel about a modern royal family that is sort of inspired by the UK Royals. But I don’t want them to seem like replicas of them. I also want the fictional royal family to be a powerful one, like the British one. How do I write my royal family so it’s not a replica of the real one and should the setting be in a completely fictional world or should the fictional family just “override” the real British Royals. Thanks!

Guide: Writing About Fictional Royals

Whether you use replace the British royals with fictional ones or create a fictional kingdom really depends on the needs of your story. Here are all the possibilities to consider:

1) Replacing a Real Royal Family with a Fictional One

Let’s say your story would work best set in modern day U.K., but the existing royal family won’t really work with the story you want to tell. You could certainly replace them with a fictional royal family.

Pros: the obvious benefit here is that you can craft a royal family to meet your story’s needs, and you also don’t have to worry about adhering to real life royal family facts.

Cons: you run the risk of confusing the reader.

Other Considerations: even if you go this route, you’ll still need to do research to make sure the family you craft is realistic and believable. You still need to understand how the monarchy works and learn about things like how they behave, customs and traditions, rank and title, and forms of address. You may want to use a real royal family as inspiration for your fictional one, just tweaking things here and there. You might even consider doing an AU version, like maybe in your world, Queen Victoria had an older brother who was king (instead of her becoming queen), and that’s who your royal family descends from.

2) Tweaking an Existing Royal Family to Meet Your Needs

Again, let’s say your story would work best set in modern day U.K., and that you want to write about a royal family, but the existing royal family doesn’t quiet meet your story’s needs. One thing you might consider is whether a slight alteration of the existing royal family would work for your story. Let’s say your story mostly focuses on a princess and the rest of the royals are just background characters. In this case, it might suit your needs to just add a princess to the existing royal family. In the case of the British royals, perhaps you could just give William and Harry a sister?

Pros: one benefit to doing it this way is you don’t have to construct a whole family from scratch. Research is easier because you’re just finding existing information, not crafting it into something entirely new. Plus, there’s less chance of confusing your readers. They can easily come to the conclusion that this is a fictional addition to the royal family.

Cons: you’re under a bit more pressure to get everything right, so this may be a slightly more research intensive route.

Other Considerations: this would definitely work best in a situation where the existing/real members of the royal family don’t take center stage. Also, you need to be careful about including real people in your story without their permission, even if they’re popular figures. It’s better not to portray anyone in a negative light. So, this route comes with a lot of limitations.

3) Creating a Fictional Kingdom in the Real World

We’ll call this the Princess Diaries route, because if you’ve ever read the book or watched the movies, you’ll know that Mia’s kingdom, Genovia, is not a real place. In the book it’s described as being a very small country nestled between France and Italy, though in the films it’s between France and Spain. Either way, it’s not a real place, but it was somewhat inspired by the principality of Monaco, a sovereign city-state/country on the French Riviera. And that’s the great thing about Europe–you can really nestle a tiny little country in wherever you want and it doesn’t seem so weird. 

Pros: the major benefit to this route is you’re not restricted by an existing nation or existing royal family. The country, family, their relationship with other nations, and their place on the world stage–that’s entirely up to you.

Cons: the drawback is that there’s a lot more work since you’re crafting a whole little nation from the ground up. Plus, you still need to make sure your monarchy follows some of the basic rules, customs, traditions, etc. You still want to make sure you know things like rank and title, who does what, forms of address, etc. Plus, you’ll need to research the location where you’re plunking your little nation down. Know the general geography, climate, borders, etc.

Other Considerations: look to small nations of the world (like Monaco) as inspiration. Look at a map of Europe and decide where your country will go. Research accordingly. Consider how the bordering nations might affect the history and culture of your fictional kingdom.

4) Creating a Fictional Kingdom in an AU Earth

Depending on the needs of your story, you might consider whether an alternate universe version of Earth would suit your needs. This might be Earth in the far-future, or it might be Earth if history had gone a bit differently.

Pros: this route can lead to some pretty interesting possibilities, especially if you choose a far-future setting. Plus, it allows you lots of leg room to do what you want while avoiding the creation of an entirely new world.

Cons: this can be a planning-intensive route since it requires a lot of world building and thought about how this world came to be.

Other Considerations: think about how important historical events could have unfolded differently. What might your country or our world look like as a result? Or how might that affect what the future is like? What could happen now that might create that future?

5) Creating a Fictional Kingdom in a Fictional World

This is the route that gives you the most freedom. You can do literally anything you want, though it’s still a good idea to research monarchies so that you have a good understanding of how they should work. A duke should still out rank an earl no matter when or where your story takes place.

Pros: freedom to craft a family, nation, and world that works perfectly with your story and plot elements. Lots of fun and very fulfilling!

Cons: the most work-intensive route. Lots of research and world building required.

Other Considerations: even in a fictional world, you can look to real places as inspiration. Leigh Bardugo used Russia and the Dutch Republic as a basis of inspiration for places in her Grishaverse. And as I mentioned earlier, the small country of Monaco was used as partial inspiration for the fictional nation of Genovia in The Princess Diaries by Meg Cabot.


Whatever route you choose, just consider the needs of your story and for you as a writer!

Full offense but your writing style is for you and nobody else. Use the words you want to use; play with language, experiment, use said, use adverbs, use “unrealistic” writing patterns, slap words you don’t even know are words on the page. Language is a sandbox and you, as the author, are at liberty to shape it however you wish. Build castles. Build a hovel. Build a mountain on a mountain or make a tiny cottage on a hill. Whatever it is you want to do. Write.

I think the best piece of character design advice I ever received was actually from a band leadership camp I attended in june of 2017. 

the speaker there gave lots of advice for leaders—obviously, it was a leadership camp—but his saying about personality flaws struck me as useful for writers too. 

he said to us all “your curses are your blessings and your blessings are your curses” and went on to explain how because he was such a great speaker, it made him a terrible listener. he could give speeches for hours on end and inspire thousands of people, but as soon as someone wanted to talk to him one on one or vent to him, he struggled with it. 

he had us write down our greatest weakness and relate it to our biggest strength (mine being that I am far too emotional, but I’m gentle with others because I can understand their emotions), and the whole time people are sharing theirs, my mind was running wild with all my characters and their flaws.

previously, I had added flaws as an after thought, as in “this character seems too perfect. how can I make them not-like-that?” but that’s not how people or personalities work. for every human alive, their flaws and their strengths are directly related to each other. you can’t have one without the other.

is your character strong-willed? that can easily turn into stubbornness. is your character compassionate? maybe they give too many chances. are they loyal? then they’ll destroy the world for the people they love.

it works the other way around too: maybe your villain only hates the protagonist’s people because they love their own and just have a twisted sense of how to protect them. maybe your antagonist is arrogant, but they’ll be confident in everything they do.

tl;dr “your curses are your blessings, and your blessings are your curses” there is no such thing as a character flaw, just a strength that has been stretched too far.

anonymous asked:

Tips on how to write a novel that is/includes controversial themes, but in your head as a writer know that you want your novel to not encourage this theme, but you want to make sure that your readers see that as well....

Separating Yourself as the Writer from a Controversial Theme

One of the important things we do as writers is explore aspects of the human condition, and that sometimes means exploring controversial themes and ideas. If you want to do that while separating your personal stance from anything put forth in the book, it’s essential that you do three things:

1) Craft and deliver a clear message with your personal stance.

When exploring controversial subjects, it’s usually necessary to portray characters with the controversial attitude or doing the controversial thing, but if that’s all there is–people thinking or doing this controversial thing, but if there’s no clear message there and nothing happens to deliver that message, all you’re doing is writing a book that appears to support whatever the controversial subject is. If you want to explore whale hunting, but all you do is portray whaling and whalers in a positive light, people will read your book and assume you’re pro-whaling. So that’s why you first have to figure out what it is you want to say about the controversial subject–what’s your message? Do you want to say that whaling is flat out bad? Do you want to say that it’s a fundamental part of some indigenous cultures but needs to be better regulated? You have to figure out what your message is going to be, then you need to figure out what can happen in the story to illustrate that point. In other words, if your message is not pro-whaling, you have to make sure you’re illustrating the bad things about whaling, too. Show the consequences of people having the controversial attitude or doing the controversial thing. Show how the negative impact it has on people, animals, the environment, etc. When a character says or does the controversial thing, make sure another character is there to call them out on it. Whatever you have to do to balance the scales, show both sides, and illustrate why the thing is bad or unfavorable.

2) Consider the implications of this story and you being the one to write it.

As writers, there’s theoretically no limit to the topics we can explore, and some writers believe we should be able to write about anything, no matter how terrible, how controversial, how unqualified we are to write about the topic, or the negative impact the end product has on those most affected by the controversial subject. Personally, I’m in the group of writers who believe we can do better and that as writers, we have a great responsibility to not exploit topics (which usually translates to actual people) for our own enjoyment or benefit. There are also topics not all of us are qualified to write about. If you want to write about a character who happens to be blind, that’s obviously fine, but unless you are blind or have experienced blindness for an extended period, you’re probably not the best person to write a story that’s an exploration of the blind experience. Likewise, you can write about a character who happens to have kids, but unless you’ve had kids yourself, it doesn’t make a ton of sense for you to write a story that explores the darker aspects of motherhood. It’s not that you can’t… I mean, of course you can, you can theoretically write anything you want–but should you? “Can” and “should” are two very different things.

3) Do your research, even if you think you’re an expert.

Whatever topic you want to explore, whether or not you’re writing from experience, it’s still super important to do your research. Even if you are blind, your experience as a blind person may not be the same as another person’s experience. Consider the way your topic affects different people in different places. If you want to explore the topic of blindness as someone who has experienced it, consider how things like your gender, orientation, race, and socioeconomic background might affect your experience. Find out how differences in those areas might affect a person’s experience and consider working that into your exploration. And, ultimately, make sure that your research supports the message you want to covey and the points you’re using to convey it. :)

Symbolism

I thought I might not be the only writer out there who likes to put symbolism in their stories so I found some things and what they represent!!

Animals

  • Alligator - stealth, survival
  • Ant - diligence, industry, community, remarkable strength, hard working, success, patience
  • Antelope - action
  • Armadillo - boundaries, self protection
  • Badger - aggressiveness, passion and drive
  • Bat - rebirth, longevity, joy, good luck
  • Bear - gentle strength, dreaming, introspection, power, protection
  • Beaver - builder, accomplishing goals
  • Bee - divine messenger, love, service, gathering, community
  • Bird - enlightenment, perspective, swiftness, vision, prophetic knowledge
  • Boar - nature-based wealth, prosperity, success, protection, courage
  • Buffalo - prayer, abundance, survival needs met, good fortune, healing
  • Bulls’ horns - a good symbol in meditation for motivation
  • Butterfly - rebirth, the soul, transformation, the three phases of life
  • Cat - feminine energy, mystical power, used to keep the wearer safe in travel, wholeness
  • Chameleons - ever-changing future, inconsistency
  • Cheetah - speed, focus
  • Cougar - power, swiftness, balance
  • Cows - red cows are a symbol of hope, inspiring symbol for nurturing efforts
  • Coyote - trickster
  • Crane - longevity. A pair of cranes symbolizes “Long Marriage”
  • Cricket - good luck charm, singing, Spring, fertility
  • Crow - sacred law, gateway to supernatural, shape shifting, illusion
  • Deer - graceful gentleness, sensitivity, compassion, kindness
  • Dog - companionship, health, service, loyalty, protection, future prosperity
  • Dolphin - manna, joy, childlike play, helpfulness, breath of life, harmony, intelligence, self connection
  • Donkey - fertility, easy childbirth, efficiency, health, well-being, and luck
  • Dove - peace, innocence, fidelity, love, gentleness, kindnes
  • Dragonfly - good fortune, magic, vision, dreams, luck, and ancient knowledge, illusion
  • Dragon - wisdom due to long lives and potent magic, royalty, Emperor, eternity, courage, strength, rain, Spring
  • Eagle - courage, spirit, bravery, strength
  • Elephant - commitment, strength, astuteness
  • Elk - stamina, pride, power, majesty
  • Fish - miracles, providence, sea/water magic, good luck and prosperity, foresight, fortune, salmon in particular, are associated with knowledge
  • Fox - camouflage, adaptability, integration, tricksters, shape shifters, and possessors of great magic
  • Frog - healing, cleansing, messages, health, honesty, fluidity, purification
  • Gazelle - awareness
  • Giraffe - grounded vision
  • Goat - tenacity, diligence, can help to achieve goals, endure criticism, and stay safe. Goat’s fur or foot - an anti-evil talisman.
  • Goose - safe return, love of home
  • Grasshopper - nobility, prosperity
  • Hawk - nessenger, strength, foresight, truth
  • Hippopotamus - emotional depths
  • Horses - power, stamina, speed, transportation and communication - A black horse with a white marking on its forehead is lucky
  • Hummingbird - joy, pure love, celebration of life
  • Ladybug - delight, trust
  • Lamb - filial piety (dutiful respect or regard for parents).
  • Lion (baby) cubs - inspire mercy and gentleness.
  • Lion (grown) - inspire strength, courage
  • Lions - pride, nobility, cunning, courage, just laws, fairness, the sun, images can protect sacred ground.
  • Lizard - dreaming, foresight, ancient secrets
  • Lynx - secrets
  • Monkey - benevolence, drives away evil
  • Moose - self-esteem, assertiveness
  • Mountain Lion - wisdom, leadership
  • Mouse - frugality, rebirth, scrutiny
  • Opossum - strategy, diversion
  • Otter - medicine (woman), balanced feminine energy
  • Owl - deception, wisdom, clairvoyance, magic
  • Ox - evil spirits that disturb lakes, rivers, and seas
  • Peacock - wholeness, dignity, beauty, recognition, self assurance, pride
  • Pig - rebirth and rejuvenation
  • Porcupine - innocence
  • Rabbit - fear, fertility, moon magic, speed, swiftness, longevity, courage, strength
  • Raccoon - dexterity, disguise
  • Raven - magic
  • Robin - growth, renewal
  • Rooster - courageous, warlike disposition, warmth and life of the Universe
  • Scorpion - the “fire within” that often needs careful tending
  • Seal - inner voice
  • Sheep - sacrifice
  • Snake - cunning, evil, supernatural power
  • Spider - destiny, fate, weaving
  • Squirrel - gathering
  • Swan - grace
  • Tiger - courage, bravery, fierceness, strength, being in the now
  • Turtle - mother earth
  • Weasel - stealth
  • Whale - record keeper
  • Wolf - teacher, A Guide to the Sacred
  • Zebra - Individuality

PLANTS

  • Aloe- Healing, protection, affection
  • Amaryllis- Pride
  • Anemone- Forsaken
  • Angelica- Inspiration
  • Apple blossom- Preference
  • Arborvitae- Unchanging friendship
  • Aster- Symbol of Love, Daintiness
  • Basil- Good wishes
  • Bay- Glory
  • Begonia- Beware
  • Bittersweet- Truth
  • Black-eyed Susan- Justice
  • Bluebell- Humility, kindness
  • Candytuft- Indifference
  • Red carnation- My Heart Aches, admiration
  • - White carnation- Innocence, pure love, women’s good luck gift
  • - Pink carnation- I’ll never forget you
  • - Yellow carnation- Disdain, disappointment, rejection
  • Chamomile- Patience
  • Chives- Usefulness
  • Chrysanthemum- Cheerfulness
  • Clover, white- Think of me
  • Coreopsis- Always cheerful
  • Coriander- Hidden worth
  • Crocus- spring, Youthful gladness
  • Cumin- Fidelity
  • Cyclamen- Resignation and good-bye
  • Daffodil- Regard
  • Daisy- Innocence, hope
  • Dill- Powerful against evil
  • Edelweiss- Courage, devotion
  • Fennel- Flattery
  • Fern- Sincerity
  • Forget-me-not- True love memories
  • Gardenia- Secret love
  • Geranium- oak-leavedTrue friendship
  • Gladiolus- Remembrance
  • Goldenrod- Encouragement, good fortune
  • Heliotrope- Eternal love
  • Holly- Hope
  • Hollyhock- Ambition
  • Honeysuckle- Bonds of love
  • Horehound- Health
  • Hyacinth- Games and sport, playfulness, rashness
  • – Blue Hyacinth- Constancy of love
  • – Purple Hyacinth- Sorrow, forgiveness, regret
  • – Yellow Hyacinth- Jealousy
  • – White Hyacinth- Loveliness, prayers for someone
  • Hydrangea- Gratitude for being understood; frigidity and heartlessness
  • Hyssop- Sacrifice, cleanliness
  • Iris- A message
  • Ivy- Friendship, continuity
  • Jasmine- white- Sweet love
  • Lady’s-mantle- Comforting
  • Lavender- Devotion, virtue
  • Lemon balm- Sympathy
  • Lilac- Joy of youth
  • Lily, calla- Beauty
  • Lily, day- Chinese emblem for mother
  • Lily-of-the-valley- Sweetness, purity
  • Lotus Flower- Purity, enlightenment, self-regeneration, and rebirth
  • Magnolia- Love of nature
  • Marjoram- Joy and happiness
  • Mint- Virtue
  • Morning glory- Affection
  • Myrtle- Good luck and love in a marriage
  • Nasturtium- Patriotism
  • Oak- Strength
  • Oregano- Substance
  • Pansy- Thoughts
  • Parsley- Festivity
  • Peony- Bashful, happy life
  • Pine- Humility
  • Poppy, red- Consolation
  • Rhododendron- Danger, flee
  • Rose, red- Love, I love you.
  • Rose, dark crimson- Mourning
  • Rose, pink- Happiness
  • Rose, white- Purity, heavenly, I’m worthy of you
  • Rose, yellow- Jealousy, decrease of love
  • Rosemary- Remembrance
  • Rue- Grace, clear vision
  • Sage- Wisdom, immortality
  • Salvia, blue- I think of you
  • Salvia, red- Forever mine
  • Savory Spice-  interest
  • Sorrel- Affection
  • Southernwood- Constancy, jest
  • Sunflower- Adoration
  • Sweet pea- Pleasures
  • Sweet William- Gallantry
  • Sweet woodruff- Humility
  • Tansy- Hostile thoughts
  • Tarragon- Lasting interest
  • Thyme- Courage, strength
  • Tulip, red- Passion, declaration of love
  • Tulip, yellow- Sunshine in your smile
  • Valerian- Readiness
  • Violet- Loyalty, devotion, faithfulness, modesty
  • Wallflower- Faithfulness in adversity
  • Willow- Sadness
  • Yarrow- Everlasting love
  • Zinnia- Thoughts of absent friends

Color

  • Red: Excitement, energy, passion, love, desire, speed, strength, power, heat, aggression, danger, fire, blood, war, violence, all things intense and passionate, sincerity, happiness (Only in Japan)
  • Pink: love and romance, caring, tenderness, acceptance and calm.
  • Beige and ivory: symbolize unification. 
  • Ivory: symbolizes quiet and pleasantness. 
  • Beige: calm and simplicity.
  • Yellow: signifies joy, happiness, betrayal, optimism, idealism, imagination, hope, sunshine, summer, gold, philosophy, dishonesty, cowardice, jealousy, covetousness, deceit, illness, hazard and friendship.
  • Dark Blue: Symbolizes integrity, knowledge, power, and seriousness.
  • Blue: Peace, tranquility, cold, calm, stability, harmony, unity, trust, truth, confidence, conservatism, security, cleanliness, order, loyalty, sky, water, technology, depression, appetite suppressant.
  • Turquoise: calm. 
  • Teal: sophistication. 
  • Aquamarine: symbolizes water. 
  • Lighter turquoise: a feminine appeal.
  • Purple: Royalty, nobility, spirituality, ceremony, mysterious, transformation, wisdom, enlightenment, cruelty, honor, arrogance, mourning, temperance.
  • Lavender: femininity, grace and elegance.
  • Orange: Energy, balance, enthusiasm, warmth, vibrant, expansive, flamboyant, demanding of attention.
  • Green: Nature, environment, healthy, good luck, renewal, youth, spring, generosity, fertility, jealousy, service, inexperience, envy, misfortune, vigor.
  • Brown: Earth, stability, hearth, home, outdoors, reliability, comfort, endurance, simplicity, and comfort.
  • Gray: Security, reliability, intelligence, staid, modesty, dignity, maturity, solid, conservative, practical, old age, sadness, boring. Silver symbolizes calm.
  • White: Reverence, purity, birth, simplicity, cleanliness, peace, humility, precision, innocence, youth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical.
  • Black: Power, sexuality, sophistication, formality, elegance, wealth, mystery, fear, evil, unhappiness, depth, style, sadness, remorse, anger, anonymity, underground, good technical color, mourning, death (Western cultures), austerity, detachment.
Writing Deaf Characters | Speech is Speech

Before I get going, I’m 75% deaf, as some of you know, semi-reliant on hearing aids and lip reading. My first languages were Makaton sign and then BSL. I now use spoken English. This is part one of two. People are People covers characterization and toxic tropes.

There are a lot of issues I find with how deaf people are represented in books, when represented at all. I would love to see more deaf and hard of hearing characters in the books I read- without having to read books specifically about deaf/HoH people- but when I find them, they’re grossly undercharacterized or stereotyped. Authors write them in a way that sets signing language characters apart from speaking characters as if they are inferior, and this makes my blood boil.

Some technicalties

I’ll keep this brief.

  • You may have heard that “deaf” is a slur and you should use “hearing impaired”. Don’t. I’ve never met a deaf or hard of hearing person who believed that. Use deaf for people who are deaf, and Hard of Hearing (HoH) for people who lack hearing. These can be interchangeable depending on the person. This is why sensitivity readers are a useful part of the beta process.
  • Sign language is incredibly varied. It developes in the same way as spoken language. Fun fact: in BSL there are at least half a dozen ways to say bullshit, my favourite of which is laying your arms across one another with one hand making a bull’s head sign and the other hand going flat, like a cowpat. It’s beautifully crude, and the face makes the exclamation mark. Wonderful.
  • There are different sign languages. Knowing more than one would make a character multi or bi-lingual, even if they are non-speaking.
  • Makaton is basic sign language used by children, and it mirrors the very simple language used by toddlers.
  • Yes, we swear and talk shit about people around us in sign language sometimes, and no, it isn’t disrespectful to have signing characters do this. Just remember that we also say nice things, and random things, and talk about fandoms and TV shows and what we’re having for dinner, too.
  • Each signed language is different from another. ASL and BSL? Nothing alike. Just google the two different signs for horse.

Remember that sign language is a language, equal to the spoken word

Therefore, treat it as such. Use quotation speech marks and dialogue tags. You only need to explicitly state that this character uses signed language once, and then let your modifiers and description do the rest.  It isn’t a form of “sub-speech" or “making hand actions”- sign language is a language all on its own: it has its own grammar rules, syntactical structures, punctuation, patterns, idioms and colloquialisms. For example, “what is your name?” becomes “Your name what?” with the facial expression forming punctuation in the same way that spoken English uses alterations of prosodic tone (inflections). There is even pidgin sign; a language phenomenon usually associated with spoken language.

In the same way that you would describe a spoken-English character’s tone of voice, you would describe a signed-English speaker’s facial expressions and the way that they sign- keeping in mind that these things are our language’s equivalent of verbal inflection.

So please, none of that use of “special speech marks” or italicised speech for sign. If your viewpoint character doesn’t understand signed speech, then you take the same approach that would be used for any other language they don’t understand, like French or Thai. E.g “He said something in rapid sign language, face wrinkling in obvious disgust.” is a good way of conveying this. The proof that you’ve done this well is in whether or not you can switch “sign language” for French or something else, and it would read the same.

Don’t be afraid to describe how things are said, either. Sign language is such a beautiful and expressive way of talking, and to see a writer do it justice would be truly fabulous. Putting this into practise:

“Oh, I love maths!” She said, fingers sharp and wide with sarcasm. She raised her eyebrows.

“I’m sorry.” He replied and made his face small, but could not keep the grin forming. She was starting to laugh, too.

 For the sake of readibility, I’m putting the rest of the information in part two.


This is part of my weekly advice theme. Each week I look at what you’ve asked me to help with, and write a post or series of posts for it. Next week: settings and character development (including heroes, anti-heroes, villains, and every other kind of character).

Something to repeat to yourself in the shower:

My stories are not for everyone. 

My stories will bore some readers. Some readers will hate them. Some won’t understand, won’t connect the dots, won’t relate to the characters. Some won’t because they can’t, some won’t because they don’t want to, but most won’t simple because my stories just aren’t for them.

My stories aren’t for everyone.

My stories are for me.

And they’re for the readers who will love them. They’re for the reader who have already loved them. For the readers who will see what I see in them and feel the characters and the world the way I do. They’re for the readers who wanted these stories before they even knew they existed. They’re for the readers they’ll make smile, the readers they’ll stick with, and the readers they’ll save.

And just because my stories aren’t for everyone doesn’t make them worth any less to the people they are for. 

Not everyone likes butterflies. Not everyone likes spiders. But the people who love those creatures more than anything else would lose a part of themselves if they didn’t exist. 

So no, my stories are not for everyone. But that doesn’t matter. 

Because they’re for someone, and to that someone, they’re irreplaceable.

small writing exercises

  • make up an origin and meaning of a name
  • write a family history going back centuries
  • pick a character and make them ramble about their favorite thing
  • make up a fable, pretend it’s as famous as the Grimm fairytales. how does this fable affect the world and what would people reference from it? (i love this one because it can be as crazy and silly as you want)
  • make a commercial for something that really shouldn’t be sold at all. try to convince people to buy it.
  • ACRONYMS. but, like, try to have it make sense
  • make a poem about your story/something in your story
  • rewrite a classic but put your own twist on it
  • make up a detailed recipe
  • make a monologue with a plot twist or punchline in the end
  • create a ridiculously detailed timeline for a character
  • childhood memory (real one or make it up!)
  • improv rap lyrics
  • the story behind an inside joke
  • make up a mythical creature
  • pretend to be a commentary youtuber and pick a topic
  • the what if? pick a story and create an alternate ending to it
  • pick one scenario and several characters. how different are the reactions based on their personalities?

Hijab- Fun Facts for those who don’t know how to create/write hijabi characters

From your local ex-hijabi and someone who lived in a country that enforced mandatory hijab.

1. Hijab is not just necessary for a woman. Hijab also includes men, who have to wear modest clothing, cover their arms, and grow a beard.

2. No one wears their hijab when they get inside the privacy of their home. Wearing hijab, especially if you wear it tight or its really hot out, can get uncomfortable so often times I would just whip it off.

3. We don’t wake up and put the hijab on, it’s only to be worn around men who are not close-relatives (husband and son) or children. Some people don’t follow this to a T and that’s ok.

5. Being a hijabi doesn’t mean you understand the dynamics and philosophy of islam. It just means you want to wear the hijab and took that step. Hijabs dont make you Holier Than Thou.

4. Hijab is not only a headscarf, but it’s literally a dresscode. You can’t wear a hijab with short shorts and your whole tit hanging out. You need to cover up to your wrists, ankles and neck area— clothes should be baggy and not tight. Once again, some people don’t follow this to a T, that’s fine.

4.5. Hijabs are suppose to cover the ears, hair, and neck.

6. “Can I draw this character without their hijab in the privacy of their own home?” Yeah it’s fine, no one wears hijab in their house unless they have guests.

7. Hijab means different things for different people. They can mean security, they can be a means of achieving confidence. They can also have absolutely No Reason for wearing the hijab besides that they want to.

8. At the end of the day Hijabis are still human beings, and often times they’re treated like aliens and it’s not okay. They’re a human who is wearing a headscarf for religious reasons. There’s nothing “exotic, ethnic” or “mysterious” about that. It’s like considering anyone who wears a hat to be some weird foreign creature.

There’s a bunch of other things but stop treating the hijab as a personality trait for your muslim characters. Hijab has nothing to do with your personality, at all, ever. I’ve seen timid hijabis. I’ve seen hijabis who were starting fights with authority (I being one myself). I’ve seen hijabis skateboarding, drinking, smoking, because guess what; it doesn’t define who we are.

On Writing Genius | The Archetypes

Genius is often thought of as synonymous with “intelligent” or “smart” or “eidetic memory and know-it-all.” but that isn’t the case. True genius, or at least in terms of traits and characterization, is the ability to use what you have in ways that others won’t. Some geniuses are obviously smart, and some are geniuses in ways so subtle that the character appears deluded.

This is something I can (and have) talked about for hours at various unfortunate people. “Genius characters” is actually an umbrella term that covers a whole range of character Archetypes, from the Sherlock Holmes to the Tortured Mastermind; each one is different, because the genius of a character is inherently subjective. There are a lot of cross-overs from archetype to archetype, and the overlap can be really interesting to use when creating your genius character, but I’ve broken them up as best I can by defining characteristics for simplicity.

Remember to use the archetype as a base and build on from there, to make your genius characters as interesting as possible; they may be geniuses, but they are also human. Flesh them out, lace nuances into their character, make them hate reading or like videogames.

The Ignorant Intellectual

Originally posted by quaketremors

I.e, the Dirk Gently.

The Gently-esque archetype is a perfect place to start, because it really demonstrates the subjective nature of a genius character. Arguably, Dirk isn’t a genius at all— he simply follows where the universe takes him, acting on the whims and impulses it gives him, so how can he be a genius?—but the genius comes in when he joins the dots together. He hasn’t been made smart by the holistic power that the universe gave him, but he has learned to adapt and survive.

This kind of genius is defined by a lack of large quantities of knowledge, but a certain intellectual capacity. These characters are usually thrown into (or willing walk into) situations, completely ignorant, where their true genius shines through their ability to talk fast, think outside the box and learn as they go along. They are also enablers, which is what sets the Ignorant Intellectual apart from the Holmes-type genius; whereas a Holmes would have the answer before anyone else, a Gently would find an answer by helping others see it first. For example, they might make one connection that is really obscure, and that will allow others to suddenly work out the rest. As such, these types are great survivors, often through luck and clever bullshitting, but they’re at their best with others.

The Naturally Intelligent Intuit

Originally posted by hichamkiy

I.e, The Sherlock Holmes

And I mean bookHolmes folks, not BBC Sherlock. The Holmes we see on the BBC TV series is better classified as a Tortured Genius; he has natural intelligence, true, but he’s cold and lacks intuition on the same level as his book counterpart.

The Holmes archtype possesses natural intelligence combined with a depth of warmth and intuition. They may often be arrogant or appear aloof, but only because they are ignorant of the superior speed that their mind can work at, or forgetful of it. The thing here is natural intelligence; anyone can learn to think intelligently, but very few are born with a natural ability to process and store information, and then apply it innovatively. However, this intelligence alone doesn’t make for a genius character: they should also possess very good intuition, which is always backed up by evidence supplied by their intelligent logic.

Holmes was a trailblazer in this area. He practically made the archetype, as a matter of fact, but there are aspects of his character that ought to be kept separate. One of these is his reliance on unhealthy coping mechanisms, and another is his tendency to be erratic or eccentric—both of these are traits that defined him as a person-character, rather than marks of his genius archetype.

The Tortured Genius

Originally posted by coffeestainedandersmythe

I.e, the Victor Frankenstein

Although not inherently evil, these characters are often plain nasty people—but it’s not their fault, obviously! They would say something like “It’s because I’m so smart, nobody understands me, I’m tortured by my own intelligence to the point where I am are alienated from society—!”

No, Victor, sweetie, it’s because you’re an arrogant arsehole. The archtype isn’t quite that simple, but Doctor Frankenstein is a very good example of the fundamental basics.

I like this one for its flexibility. I mentioned that BBC Sherlock is a Tortured Genius and while book Sherlock almost fits the shoe, his saving grace is his humility and warmth. On the other hand, characters like Doctor Frankenstein and BBC Sherlock are arrogant, and either refuse to acknowledge their flaws or, acknowledging them, refuse to better them. Sometimes, a character like this will actively be worse. BBC’s Sherlock is actually a pretty cheap take on the Tortured Genius, but that may also be because he isn’t a very well-substantiated interpretation of the book canon… anyway, I digress. The point here is that these characters are complex to the point where they twist themselves into knots, often shaped by tragedy or trauma.

They see themselves one way, and the world another. A tortured genius could be anything from initially mild-mannered to downright cruel; either way, their internal or first intentions are usually good. They tend to change throughout their story, as their flaws get in the way and they wrestle with the feeling that nobody is ever going to truly understand who they are. The result is a lot of internalised rage or self-hatred, until they explode or start a downwards spiral of unhealthy coping mechanisms. They often have at least three of the following:

  • A fear of failure that pushes them to extremes
  • Hubris (excessive pride)
  • Arrogance, so much so that they think they can do the impossible (solve impossible cases, reverse death, create life etc)
  • Narcissism designed to cover up serious self-esteem issues
  • Put too much pressure on themselves; think they can reach unattainable goals and experience a huge drop of self-worth when they fail.
  • Unhealthy coping mechanisms
  • Either actively shun others or are shunned because they make no effort to include others that they deem less intelligent.
  • Equate worth to intelligence (see above point)

Something to be wary of is the mental health aspect of a tortured genius. It’s true that these characters are usually depressed or considered insane, but the poor mental health is always caused by their actions, rather than their mental health issues causing them to be a tortured genius. Remember, this archetype is never a very nice person which leads to them being miserable; however, if you had a person with Schizophrenia and they were also a genius when their plot began, they would struggle, yes, but it isn’t the same thing. Anyone with a pre-existing mental health condition would.

Don’t use mental health issues to drive a character like this, because they never excuse the sort of behaviour that the archetype calls for and this only strengthens the stereotype of people with mental health issues being dangerous.

The Accidental Pedant

Originally posted by toyboxboy

I.e, the Spencer Reid.

I like to call this one the soft genius. They’re the most genuine, kind-hearted of the lot. Half of the time, they don’t even realise their own genius until it’s pointed out to them, and the other half of the time they’re aware of it but don’t consider this aspect of their personality as anything other than a cool way to store information. Usually, their genius is a byproduct, or in combination with, an eidetic memory, incredibly high IQ, asperger’s (although this one is a dicy area, as it can perpetuate harmful stereotypes) or savaunt syndrome. In other words, it’s a passive sort of genius that comes naturally to them because of something out of their control.

These types of geniuses have oodles of information stored in their brains, and love to share it. It’s just that… not everyone wants to hear it. They spontaneously blurt out facts, but it doesn’t seperate them from others. Unlike the majority of genius archetypes, the Accidental Pedant is still loveable, kind, thoroughly sincere and usually gets classified as a dork. In short: all round goodness stuffed full of knowledge.

Some things to avoid in this archetype are Autistic Spectrum Condition-coding (if your genius is on the autistic spectrum, then they’re on the autistic spectrum. Make it explicit and don’t try to use the fact to negate the value of their intelligence) and infantilization. Too often, the Accidental Pedant is shown to be like a big baby with adult intelligence. In the case of Spencer Reid, you can be mistaken to think that at first as the other members of his team call him “kid”; but as the seasons continue it becomes clear that he is a valued, equal member of the group respected for more than his eidetic memory.

The Trickster

Originally posted by avengers-of-mirkwood

I.e, the Loki (of Norse mythology)

As with Sherlock Holmes, I’m talking about the archetype seen in mythological figures, like Anansi or Loki, rather than modern popular media. (But I couldn’t resist the marvel Loki gif).

As with the Tortured Genius, the Trickster isn’t inherently evil but is still… questionable. They think first and foremost of themselves before others, and have no problem with causing chaos to meet their ends. Their genius is one of wit and wily charm, a smooth tongue and all the cunning of a high-flying conman. In other words, some might kill or endanger others for their own delight (I’m looking right at you, Loki) but others would steal, cheat and lie but never kill. And sometimes pay back those that they have robbed, in due course.

Usually a jack-of-all-trades, with their trickster-ness ranging from harmless pranks to full-scale chaos to simply being very cunning; they walk the line between evil mastermind and trickster, but they have two defining traits that set them apart:

  • Often feel remorse and know the limits that they should stay within. Leaving these limits usually leads to their downfall. More often than not, they have no desire to exceed the limits.
  • Their motivations are skewed, but not truly evil, and usually small. They would endanger their family to get some satisfaction after a petty slight, but wouldn’t harm their family in order to take over the world or exceed their station (mythological Loki being the former and MCU the latter)

The Evil Mastermind

Originally posted by detective-from-221b

i.e, The Moriarty

Immoral, chaotic, cruel; this genius is one who channels all of their creative energy into wrongdoings. Unlike the Trickster, these wrongdoings are pure horrors; they are intended to cause harm and are based on larger ambitions than brief amusement or emotional satsfaction. They are usually intelligent in all forms, and deeply selfish (or they believe that they are helping their family or a loved one, but actually they’re just hurting a lot of people). The ends will always justify the means, and nothing else matters after that.

Some like to have people do their foul play for them, and others like to get their hands dirty themselves. This is the sort of genius who carries themselves with class, style and sophistication; they are fully aware of their own intelligence, but are usually careful to avoid a downwards spiral.



You may want to keep in mind that not every antagonist is an evil mastermind. Macbeth would probably more accurately be described as a tortured genius, as would Theon Greyjoy and Ryzek Noavek.

Each of these genius archetypes can fall into the role of either antagonist or protagonist

; say, an evil mastermind becomes a highly immoral protagonist for personal gain. It would be heckin awesome to see an Accidental Pedant as an antagonist, if the cards were played right.

Making your angst hurt: the power of lighthearted scenes. 

I’m incredibly disappointed with the trend in stories (especially ‘edgy’ YA novels) to bombard the reader with traumatic situations, angry characters, and relationship drama without ever first giving them a reason to root for a better future. As a reader…

  • I might care that the main siblings are fighting if they had first been shown to have at least one happy, healthy conversation. 
  • I might cry and rage with the protagonist if I knew they actually had the capacity to laugh and smile and be happy.
  • I might be hit by heavy and dark situations if there was some notion that it was possible for this world to have light and hope and joy to begin with.

Writers seem to forget that their reader’s eyes adjust to the dark. If you want to give your reader a truly bleak situation in a continually dim setting, you have to put them in pitch blackness. But if you just shine a light first, the sudden change makes the contrast appear substantial.

Show your readers what light means to your character before taking it away. Let the reader bond with the characters in their happy moments before (and in between) tearing them apart. Give readers a future to root for by putting sparks of that future into the past and the present. Make your character’s tears and anger mean something.

Not only will this give your dark and emotional scenes more impact, but it says something that we as humans desperately, desperately need to hear. 

Books with light amidst the darkness tell us that while things are hard and hurt, that we’re still allowed to breathe and hope and live and even laugh within the darkness.

We as humans need to hear this more often, because acting it out is the only way we stop from suffocating long enough to make a difference.

So write angst, and darkness, and gritty, painful stories, full of treacherous morally grey characters if you want to. But don’t forget to turn the light on occasionally.

Support Bryn’s ability to provide writing advice by reading their debut novel, an upbeat fantasy about a bloodthirsty siren fighting to return home while avoiding the lure of a suspiciously friendly and eccentric pirate captain!

Words that describe someone’s voice
  • Adenoidal: adj: if someone’s voice is adenoidal, some of the sound seems to come through the nose
  • Appealing: adj: an appealing look, voice etc. shows that you want to help, approval or agreement
  • Breathy: adj: with loud breathing noises
  • Brittle: adj: if you speak in a brittle voice, you would sound as if you’re about to cry
  • Croaky: adj: if someone’s voice sounds croaky, they speak in a low rough voice that sounds as if they have sore throat
  • Dead: adj: if someone’s eyes are dead, or if their voice is dead, they feel or show no emotions
  • Disembodied: adj: a disembodied voice comes from someone who you cannot see
  • Flat: adj: spoken in a voice that does not go up or down
  • Fruity: adj: a fruity voice or laugh is deep and strong in a pleasant way
  • Grating: adj: a grating voice, laugh, or sound is unpleasant and annoying
  • Gruff: adj: a gruff voice has a rough low sound
  • Guttural: adj: a guttural sound is deep and made at the back of your throat
  • High-pitched: adj: a high pitched voice or sound is very high
  • Honeyed: adj: honeyed words sound nice, but you cannot trust the person who is speaking
  • Hoarse: adj: someone who is hoarse or has a hoarse voice speaks in a low rough voice
  • Husky: adj: a husky voice is deep and sounds hoarse often in an attractive way
  • Low: adj: a low voice or sound is quiet and difficult to hear or deep sounding
  • Matter-of-fact: adj: used about someone’s behavior or voice
  • Monotonous: adj: a monotonous sound or voice is boring and unpleasant because it does not change in loudness or become higher or lower
  • Nasal: adj: someone with a nasal voice sounds as if they are speaking through the nose
  • Orotund: adj: an orotund voice is loud and clear
  • Penetrating: adj: a penetrating voice or sound is so high or loud that it makes you slightly uncomfortable
  • Plummy: adj: this word shows that you dislike people who speak like this
  • Quietly: adv: in a quiet voice
  • Ringing: adj: a ringing sound or voice is very loud and clear
  • Rough: adj: a rough voice is not soft and is unpleasant to listen to
  • Shrill: adj: a shrill noise or voice is very loud, high and unpleasant
  • Smoky: adj: a smoky voice is sexually attractive in a slightly mysterious way
  • Silvery: adj: a silvery voice or sound is clear, light, and pleasant
  • Singsong: adj: if you speak in a singsong voice, you voice rises and falls in a musical way
  • Small: adj: a small voice or a sound is quiet
  • Strangled: adj: a strangled sound is one that someone stops before they finish making it
  • Strident: adj: a strident voice or sound is loud and unpleasant.
  • Taut: adj: used about something such as a voice or expressions that shows someone is nervous or angry
  • Thick: adj: if your voice is thick with an emotion, it sounds less clear than usual because of the emotion
  • Tight: adj: a tight voice or expression shows that you’re annoyed or nervous
  • Thin: adj: a thin voice or sound is high end unpleasant to listen to
  • Tremulous: adj: is it not steady for explained, cause you’re afraid or excited
  • Throaty: adj: a throaty sound is low and seems to come from deep in your throat
  • Wheezy: adj: a wheezy noise sounds as if it’s made by someone who has difficulty breathing
  • Wobbly: adj: if your voice is wobbly, it goes up and down, usually cause you’re frightened, not confident or you’re going to cry
Ways to Get Inspired to Write That Character

1. Create a Mood Board

A mood board is a collage of images, text, colors, or materials. that are used to “to evoke or project a particular style or concept”. Basically, it helps set the “mood” for whatever you are working on. Mood boards are often used by interior decorators and artists but can also be used for writing. I love creating mood boards for each of my characters. It helps me get a a feel for the character I am writing. For example, one of my characters is an elven swordswoman. For her mood board I used images of trees, flowers, decorative swords, and artwork of elves. It really helps when I’m trying to write from her perspective. 

To create a mood board, simply find images or text that remind you of your OC. I use google images or even pinterest to find images. Its easy and fun. 

2. Take Quizzes for Your Characters

Okay, this may seem a little silly but it totally works. Take a quiz from your characters point of view. Select the answers you think your character would select. I personally like doing this with personality quizzes such as the Myers Briggs tests because I can use the results as a foundation for my characters personality. It’s fun, effective, and actually productive.

3. Create Playlists 

I listen to music a lot because it gets my creative juices flowing. So, if I find myself stuck on a particular character, I make a playlist of songs that remind me of that character. I actually like doing this before I start working on a character so I can listen to it while working on them. It sets the mood and gives you better results. Give it a try. 

4. Study Some of Your Favorite Characters

Sit down, take out a notebook, and start taking notes on some of your favorite characters from literature, TV, or movies. What made you attracted to this character? What made you hate this character? What is your favorite thing about this character? Answering these questions will help see why you feel that way towards your favorite or least favorite fictional characters. Use your notes as a guideline on how to make readers either hate or love your OCs. 

5. People Watch

Yeah, this sounds creepy but it is very effective. Go to the park, take a walk, or simply sit at the window and observe the people you see. Take notes on the little things that they do. Do they walk a certain way? Do they stand up straight or do they slouch? What quirks do they have? Do they drum their fingers while sitting? Do they tap their foot while waiting in line? Write down what you observe and you can apply the results to your characters. It will give your original characters a more realistic touch. 

Feel free to add to this list!  

Top 10 Tips for Actually Writing

for the writer who can’t seem to write.

  • Buy a pencil and paper. Get a writing program and a keyboard.
  • Spill all your ideas into a notebook that will never see the light of day. Write down literally every idea you have that even sort of relates to the scene/chapter/book that you want to write until your thoughts converge on a pointed attack.
  • Quality vs. Quantity? No competition. Quantity all the way. The more you write, the better you will know your story. Worry about Quality LATER.
  • Think about where the idea came from. Go there. Set up a cardboard box and live there. This is your home now.
  • What is the coolest, most self-indulgent thing you can think of? That’s what you want to write at this point, until you get some steam.
  • Short-term goals, my friends. And by short-term, I mean a minute from now, ten seconds from now. What are you going to do to write RIGHT NOW? Stop thinking about an hour from now, stop thinking about a day from now.
  • This is not a book. This is not a book. You are not writing a book. You are writing a story. A story is much easier to take bites out of than a book. A book is a big, scary, colossal thing. Stories are fun and carefree.
  • Get yourself a writing friend. A cactus, an old bottle of nail polish, a fish in an appropriately sized tank, etc. Make them hold you accountable.
  • Set crazy low goals. Promise yourself you will write ten words today. Ten words and you will be the Best Writer in the Entire World to Ever Exist. Accomplishing things is a morale booster and will urge you to write more.
  • Just keep writing. I believe in you.
Wolf Myths and Facts

A follow-up to this post was made here.

As I’ve mentioned in previous posts, I have the amazing privilege of working with 37 gray wolves and 1 wolfdog every week. (My best buddy Arrow pictured below.)

Seeing as a lot of people enjoy writing stories with wolves in them, or just love wolves in general, I thought I’d make a nice, big, educational post about these amazing creatures. There’s a lot of myths and misconceptions out there, so let’s get some things straightened out.

Myth: Wolves are mean and vicious animals.

Truth: Wolves are gentle animals, that are instinctively terrified of humans.

Seeing a wolf in the wild is an extremely rare sight. This is because they’ve learned to fear humans since we’ve hunted and killed them for so long. They can smell us from up to five miles away and take off running. They are flighters, not fighters. If you somehow end up in a situation where you are face to face with a wolf, they will do anything they can to scare you off (growling, snarling, etc.) so that they can run away.

Myth: Wolves are a menace and need to be hunted to protect our livestock and ourselves.

Truth: Wolves contribute so much to the environment and rarely bother people or livestock.

As I mentioned above, wolves are naturally scared of humans and will do whatever they can to avoid us. They are not a danger to people. In fact, there are no verified documented cases of healthy wolves attacking people. Most attacks are done by coyotes, coywolves, or wolfdogs.

Wolves prefer leaner meats, that means elk and deer. They don’t like beef. The only times they ever hunt cows are when the alpha has been killed (usually by a trophy hunter), and the pack has not been properly taught how or what to hunt, so they go for the easier kills. Wolves do not hunt for fun. They only hunt for food when they need it. They take down their prey and drag it back to the den. They won’t take a bite and then leave it behind.

I’m sure all of you have heard or seen what wolves have done to Yellowstone. Wolves were absent until a few years ago when they were reintroduced. The environment in Yellowstone drastically improved. Wolves are keystone species. We need them. Please don’t hunt them.

Myth: Wolves have blue eyes.

Truth: Wolves eyes range from amber to dark orange to golden brown.

Pure wolves don’t have blue eyes. However, wolfdogs do (usually husky/wolf mixes). If you see a movie with a “wolf” that has blue eyes, it’s either a wolfdog or CGI.

Myth:

Truth: First, that “female” is a male who is trying to submit.

Second, this is just a display of dominance between males. A female would be more likely to join the fight or put down the lower-ranking male than stand back and protect the other male.

Myth:

Truth: While a great idea for society, this is simply not true for wolves.

Alphas lead the pack. Always. They are the smartest of the pack and the best hunters. There’re also two alphas per pack, one male and one female (and guess what, the females run the show). Betas, usually the biggest ones of the pack follow behind. Lastly, the omegas, the smaller, trouble-makers of the pack, trail in the back.

And the most important truths:

Myth: A wolf would be such an amazing pet!

Truth: Nope, nope, nope.

Like any exotic animal, wolves do not make good pets for a multitude of reasons. First, they are pack animals, meaning they need to be in a pack with other wolves to be happy. Second, you cannot train a wolf. Many have tried, none have been successful. (Note that conditioning, such as creating a Pavlov response is different than training). Third, they will mark their territory EVERYWHERE both outside and inside your house. Wolves mark with pee and poop, so have fun cleaning that up.

Myth: A wolfdog would be such an amazing pet!

Truth: Again, nope, nope, nope.

A lot of people think it would be great to a have pet that was half dog half wolf, and I mean a lot. 200,000 wolfdogs are born every year. 90% of them are put down. Shelters cannot take in wolfdogs. If a wolfdog is surrendered to a shelter it will be put down within 3 days unless a wolfdog sanctuary can come get it. Wolfdog breeders are just as bad as puppy mills. Do not support them.

Technically, wolves and domestic dogs are the same species. Domestic dogs are considered to be a subspecies of the gray wolf. However, they are drastically different both mentally and physically (I’ll probably make a post soon about the differences between wolves and dogs).

Though not impossible, it is very challenging to train a wolfdog. You’re essentially giving an animal multiple personality disorder. You never know if you’re going to get more wolf or more dog. They tend to be more aggressive and dangerous than either animal. Not to mention, they have a myriad of health problems and a shortened lifespan (like any animal hybrid).

Please, if you want a pet, just stick with domestic dogs.


And that’s it for this first wolf information post! I plan on making a few more (random wolf facts, difference between wolves and domestic dogs, subspecies of gray wolves, etc.) I hope you all found this post informative and useful!


Follow my Zoology blog for more! @animalia-knowledge-kingdom

crucial muse development questions.   send a number in my inbox to find out more about my character as a person  ( because often, the most important things about character development have nothing to do with their shoe size or netflix queue ).

  1. what would completely break your character?
  2. what was the best thing in your character’s life?
  3. what was the worst thing in your character’s life?
  4. what seemingly insignificant memories stuck with your character?
  5. does your character work so they can support their hobbies or use their hobbies as a way of filling up the time they aren’t working?
  6. what is your character reluctant to tell people?
  7. how does your character feel about sex?
  8. how many friends does your character have?
  9. how many friends does your character want?
  10. what would your character make a scene in public about?
  11. for what would your character give their life?
  12. what are your character’s major flaws?
  13. what does your character pretend or try to care about?
  14. how does the image your character tries to project differ from the image they actually project?
  15. what is your character afraid of?