Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.
Babbling begins at about 6 months and is considered the earliest stage of language acquisition
By 1 year babbles are composed only of the phonemes used in the language(s) they hear
Deaf babies babble with their hands like hearing babies babble using sounds
After the age of one, children figure out that sounds are related to meanings and start to produce their first words
Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning
Example: "Up" is used to indicate something in the sky or to mean “pick me up”
Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”
When learning words, children often overextend a word’s meaning
Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)
They may also underextend a word’s meaning
Example: Using the word dog to refer only to the family pet, as if dog were a proper noun
The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts
At about two years of age, children start to put words together to form two-word utterances
The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:
Example: "mommy sock" = subject + object or possessive
NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development
The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection
Examples: "He play little tune" or "Andrew want that"
Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development
By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:
Examples: "He was stuck and I got him out" / "It’s too early for us to eat"
After 3;6 children can produce wh-questions, and relative pronouns
Sometime after 4;0 children have acquired most of the adult syntactic competence
Deixis: Children often have problems with the shifting reference of pronouns
Children may refer to themselves as "you"
Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about
In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences
Examples: "I ride train?" / "I not like this book"
As children acquire auxiliaries in questions and negative sentences, they generally use them correctly
Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage
When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules
Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation
Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"
Children cannot imitate adults fully while acquiring grammar
Example:
Adult: "Where can I put them?" Child: "Where I can put them?"
Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it
NOTE: Children May Resist Correction
Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.
Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy
But while analogy may work in some situations, certainly not in all situations:
– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.
Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age
Children’s birth order may affect their speech.
Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.
They favor different words than their siblings.
Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.”
The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.
Children may adopt vocabulary quite differently depending on their mother’s level of education.
In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).
The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.”
One area of remarkable consistency across language groups is the degree to which the language of children is gendered.
The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”
Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”
Tips for Writing Children's Dialogue (compiled from various sources cited below):
Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.
Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.
Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.
Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence.
Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.
Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.
Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.
Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.
Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).
Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.
Sources and other related articles: 1 2 3 4 5 6 7 8 9 10
Writing Notes: On Children Writing Notes: Childhood Bilingualism
(5th, and 7th onee!! omfg 12th one PLSPLS somebody write and tag mee!)
hesitant kisses, but when they part one whispers "do it again. please."
hands caressing your neck or tracing your jaw as they kiss you nuts
their lips on yours, hot, feverish, partly sucking, teasing with their tongue (OMG-)
heated kisses - their hands on your bare skin, yours in their soft hair, lips nibbling, biting, moaning into yours, while heavily breathing after.
"love, don't hide your face, don't.." hands gently removing yours from your flushed face. "you make me fluster." you say, but they kiss you through those words and mumble against your lips, "you fluster me more, sweetheart."
kisses trailing down your chin, leaving love bites on your neck, chest, and all the shyness in between > < feeling their hot, sloppy wet kisses all over ur body, everywhere and beneath your stomach, and above it. :')
"i don't know how to kiss but let me kiss you, and I'll do it just right." (on my damn knees ffr)
moving to gasp for air, but the other still leans in, eyes closed, lips parted, absolutely wanting more!!! a string of saliva connecting each other's lips!!
hugs after kisses, that lasts several heartbeats long, as they nuzzle their face in your crook. kissing there as well, shyly smiling into it. (fyi im single since birth and haven't experienced ANY OF THESE BEFORE.)
"kiss me again, but- mphh"
cupping your lover's cheek. staring into their eyes with a grin before the kiss, their hands curling around your neck, anticipating it.
"lay down, love and let me do you how you deserve it."
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)
BLACK atramentous, charcoal, coal, crow, darksomeness, denigration, duskiness, ebony, funereal, jet, inkiness, melanism, melanotic, midnight, niello, obsidian, pitch, raven, sable, singe, sloe, smirch, smoke, sombrous, soot, swarthiness, swartness, tar
BLUE aquamarine, azure, berylline, cerulean, cerulescent, cyan, cyanosis, cyanotic, electric blue, ice-blue, indigo, lividity, midnight, navy, Oxford blue, pavonian, pavonine, peacock blue, robin's egg blue, royal blue, sapphire, turquoise, ultramarine
BROWN adust, auburn, beige, biscuit, braise, bay, bronze, brune, brunette, buff, burnt umber, burnt sienna, caramel, castaneous, chestnut, chocolate, cinnamon, cocoa, coffee, drab, dun, embrown, fawn, grege, hazel, henna, infuscation, khaki, mushroom, ochre, paper bag, pumpernickel, raw sienna, raw umber, roan, rubiginous, rufous, russet, rust, scorch, seal, sepia, sorrel, suntan, sunburn, tan, taupe, toast, umber, walnut
GRAY ashiness, canescence, cinereous, cineritious, dullness, ecru, fuscous, glaucescence, greige, grisaille, gunmetal, hoar, iron, lead, mousiness, oyster, pewter, slatiness, smokiness, steel, taupe
GREEN aerugo, aestival, avocado, beryl, chartreuse, chloremia, chlorophyll, chlorosis, chlorotic, emerald, foliaged, glaucescence, grass, greensickness, ivy, jade, loden green, holly, olivaceous, olive, patina, patinate, pea-green, smaragdine, springlike, verdancy, verdantness, verdigris, verdure, vernal, virescence, viridescence, viridity
ORANGE apricot, cantaloupe, carotene, carroty, ochreous, ochroid, pumpkin, saffron, tangerine, terracotta, Titian
PINK carnation, coral, coralline, flesh-pink, incarnadine, peach, primrose, roseate, rosy, salmon
PURPLE amethystine, aubergine, bruise, empurple, fuchsia, lavender, lilac, lividity, magenta, mauve, mulberry, orchid, pansy, plum, puce, purpure, purpureous, raisin, violaceous, violet
RED beet, blowzy, cardinal, carmine, carnation, carnelian, cerise, cherry, copper, crimson, damask, encrimson, erubescence, erythema, erythematous, erythrism, erythroderma, ferruginous, fire, floridity, floridness, flushing, gules, hectic, henna, incarnadine, infrared, laky, lateritious, lobster, lurid, magenta, mantling, maroon, miniate, port, puce, raddle, rose, rosiness, rouge, rubefaction, rubicundity, rubor, rubricity, ruby, ruddiness, rufescence, rufosity, russet, rust, sanguine, scarlet, stammel, vermeil, vermilion, vinaceous
YELLOW aureateness, auric, aurify, banana, begild, bilious, biliousness, cadmium, canary, chartreuse, citreous, citrine, citron, engild, fallowness, flavescent, flaxen, fulvous, gildedness, gilt, goldenness, honey, icteric, icterus, jaundice, lemon, lutescent, luteous, luteolous, mustard, ochroid, old gold, primrose yellow, saffron, sallowness, sandy, straw, sulfur, topaz, xanthism, xanthochroism, xanthoderma
WHITE achromatic, alabaster, albescent, albinic, besnow, blanch, bleach, bone, calcimine, chalk, cream, cretaceous, eggshell, etiolate, ghastly, ivory, lactescent, lily, lime, milk, pearl, sheet, swan, sheep, fleece, flour, foam, marmoreal, niveous, paper, pearl, phantom, silver, snow, driven snow, tallow, teeth, wax, wool
VARIEGATION (diversity of colors) spectrum, rainbow, iris, chameleon, leopard, jaguar, cheetah, ocelot, zebra, barber pole, candy cane, Dalmatian, firedog, peacock, butterfly, mother-of-pearl, nacre, tortoise shell, opal, kaleidoscope, stained glass, serpentine, calico cat, marble, mackerel sky, confetti, crazy quilt, patchwork quilt, shot silk, moire, watered silk, marbled paper, Joseph's coat, harlequin, tapestry; bar code, checkerboard
variegation, multicolor; parti-color; medley or mixture of colors, spectrum, rainbow of colors, riot of color; polychrome, polychromatism; dichromatism, trichromatism; dichroism, trichroism
iridescence, iridization, irisation, opalescence, nacreousness, pearliness, chatoyancy, play of colors or light; light show; moire pattern, tabby; burelé or burelage
spottiness, maculation, freckliness, speckliness, mottledness, mottlement, dappleness, dappledness, stippledness, spottedness, dottedness; fleck, speck, speckle; freckle; spot, dot, polka dot, macula, macule, blotch, splotch, patch, splash; mottle, dapple; brindle; stipple, stippling, pointillism, pointillage
check, checker, checks, checking, checkerboard, chessboard; plaid, tartan; checker-work, variegated pattern, harlequin, colors in patches, crazy-work, patchwork; parquet, parquetry, marquetry, mosaic, tesserae, tessellation; crazy-paving; hound's tooth; inlay, damascene
stripe, striping, candy-stripe, pinstripe; barber pole; streak, streaking; striation, striature, stria; striola, striga; crack, craze, crackle, reticulation; bar, band, belt, list
mottled, motley; pied, piebald, skewbald, pinto; dappled, dapple; calico; marbled; clouded; salt-and-pepper
Source: The Concise Roget's International Thesaurus, Revised & Updated (6th Edition) More: Writing Notes & References ⚜ Writing Resources PDFs
mental heal ˊ^ˋ
I don't suppose you've heard of Darkhold. It's been many years since folk whispered the name of the place in fear. After all, the Zhentarim, the organization that gave Darkhold its evil reputation, are by all accounts no longer the cadre of thieves, assassins, and evil wizards they once were. And strangely enough, according to my source among the Zhentarim, that change in character can be traced right back to Darkhold. As it was told to me, it came about like this…
Zhentil Keep was burning. The Citadel of the Ravens lay in ruins. The leadership of the Zhentarim died, were captured by the Shadovar of returned Netheril, or were in flight. The vaunted Black Network was shredded. Cells of Zhentarim agents were cut loose, and without connections or direction, they dissolved or were crushed by rivals. The Zhentarim was no more.
Or so it seemed. There was one stronghold of the Zhents that had not fallen and whose leader never wavered in his dedication to the organization. Darkhold stands deep in the mountains of the Western Heartlands, and there the remnants of the Zhentarim quietly gathered. There they swore allegiance anew to the leader who promised to reforge the organization into something stronger than before.
The man to whom this new Zhentarim owed fealty was a dark knight known only as the Pereghost. The Pereghost had long led the armed forces of the Zhentarim at Darkhold, and his vision for the revival of the organization was along military lines. After a time of recruitment and training, the Zhentarim emerged from Darkhold not as conquerors or as bullying capitalists but as mercenaries willing to serve others instead of forcing them to serve.
In the years that followed, the transformation served the Zhentarim well. They earned a reputation for sterling service, and their ranks swelled. Those who knew of Darkhold thought of it as the headquarters of this new version of the Zhentarim.
Membership in the Zhentarim is difficult to assess, but my source told me they might have greater numbers now than before their organization's fall. New leadership for this larger group has led to a shift in focus. While still a source of capable mercenaries, the Zhentarim have diversified into mercantile pursuits. Zhent guards now ride alongside caravans of their own. And whereas a military organization served it well in the chaotic period after its fall, my source frequently described the Zhentarim as a "family" and leaders as "my good friend."
My source also spoke in awed tones of the Pereghost, as though that figure were still alive and a leader of Darkhold. The Pereghost is never seen without his full armour and a face-covering helm. If it isn't an elf behind the mask, then I suspect a series of humans might have masqueraded as the Pereghost during the past century.
I was curious about my source's tale, and so when I had cause to be in the region, I made my way toward Darkhold. An enormous mountain peak called the Gray Watcher of the Morning looms behind Darkhold to the east, casting a great shadow over the keep from sunrise until nearly midday. Darkhold sits in a cleft in the side of the Gray Watcher, the highest point of permanent occupation in a relatively fiat and defensible valley called Darkhold Vale.
Darkhold Vale contains a small settlement of the same name, consisting mostly of shepherds who tend their flocks in the high meadows of the Sunset Mountains, and a few farmers who coax fine crops from the soils that cling to the vale's fields. The settlement's main source of prosperity is the black stone quarry at the south-eastern edge of the vale; the heavy carts groaning with slabs of stone for sale and the large, muscled workhorses that pull them are common sights here. The common folk of Darkhold Vale tend to be surly and suspicious of outsiders, though they are careful to avoid offense.
This settlement of about a hundred or so is utterly under the dominion of Darkhold and has seen some benefit from the situation: the vale folk see a great deal more traffic and trade than the little hamlet would ever expect otherwise. Until recently, all the caravans bound for Darkhold could seek sanctuary only in the shadow of the keep itself. Now the people of the vale have recently built both an inn, called the Wyvern's Rest, and a separate tavern, called the Rookery.
Some of the locals send to market bales of the thick, rich wool they shear from their sheep. Others make a living hawking the dandelion wine that Darkhold Vale has always produced, but only recently begun to sell abroad. The vale has a small militia, technically under the command of the Pereghost, but which answers to a local captain named Sulvarn.
To those who've come into conflict with the Zhentarim, living in a place so firmly in their power seems unthinkable, but the reality is that life is sedate here. Certainly, the soldiers in the castle aren't to be trifled with, but they hardly ever engage in the acts of petty cruelty that one expects from warriors serving a local lord. Those who misunderstand the Zhentarim often do so because they imagine them to be cackling villains in the vein of the Zhents of yore. In reality, they are pragmatic, willing to do whatever necessary to achieve their ends. But they have no need to terrorize the folk of Darkhold Vale, for one simple reason: they already control them.
In years past, these folk lived in fear and suspicion, with a hearty helping of racial prejudice; my first visit to Darkhold nearly a century ago was occasion for me to hear some of the vilest epithets attached to my kind that I've ever heard-even worse than those that fall from the foul lips of ore raiders in the North. The attitudes of the vale folk have changed over the years, however, no doubt due in part to the orders of the Pereghost when he reengaged the Zhentarim with the wider world.
When l first beheld the great black walls of Darkhold, I thought all the legends about it must be true. On my second visit, I thought I'd try to confirm my suspicions.
According to legend, Darkhold's story began more then a millennium ago, when it was known as the Keep of the Far Hills. It was built as a summer capitol for the so-called "giant empires." Situated in the Far Hills, the castle was in a position to dominate trade routes north out of the Iriaebor Valley. It could also dominate river trade down the Yellow Snake Gorge.
The role of the so-called Giant Emperors is still a matter of conjecture and discussion today. However, there are some, scattered among the giant tribes of the North, who claim to be heirs to the ancient thrones. Whatever the truth of the empires might be, the castle itself was definitely built for giants. Its size and construction support no other explanation.
Legend has it that Darkhold was lost to the giants due to internal strife-a pair of brothers quarrelling over their inheritance. Through poison, magic, and mercenaries, the brothers thinned the castle's population until only the brothers themselves were left. The two fought and mortally wounded each other, and each dragged himself off to die alone. The brothers' spirits are still said to stalk the castle, each still seeking his brother's destruction.
The keep was then occupied by a succession of owners, including a dragon of some repute, but it was not until a lich claimed it that the castle came to be known as Darkhold. The lich was called Varalla, and supposedly she conjured all manner of evil creatures to serve her, sending them out to dominate the lands beyond and establish an empire of evil. Varalla ruled Darkhold until the infamous leaders of the old Zhentarim- Manshoon and Fzoul- heard tales of her wealth in magic and gold. Lured by the promise of such rich rewards, the pair defeated her and claimed the castle for themselves.
Upon my arrival at the great gates to the fortress, I found that I was expected, as I must have been watched since entering Darkhold Vale-perhaps even before then. After a short wait, I was met by a seneschal, a forthright woman with a strong handshake, who warmly referred to the person who secretly supplied me with the history of the Zhentarim. I found myself taken aback by this because I had thought my source and I had spoken in confidence. As you no doubt have noticed, I've avoided mentioning the name, gender, or physical description of my source, for I swore an oath of secrecy. Besides my initial shock, my exchange with the seneschal was pleasant, and I was given a tour of some of the mighty castle.
When I asked about the legends of Darkhold's creation and occupation, she told much the same story as I have told, adding a few characters from its history that I hadn't heard of before. When asked about castle hauntings, the seneschal only smiled in reply. Although it seemed a genuine smile, I could wring no truth from it.
Of the castle's defences, I can say little. My tour was limited. But I did note that, while some things on the giants' scale have been modified to suit humans (such as stairs and most doors), other things remain titanic. For instance, I have no idea how they managed to open the gates for my entrance without the use of magic.
I didn't see the Pereghost during my visit, so I can't confirm anything about the man. But the seneschal and everyone else with whom I conversed spoke of the Pereghost in awed tones. Whatever the truth of this saviour of the Zhentarim, he is apparently too busy to entertain curious visitors. While at Darkhold, I heard the name of another leader of some importance, Manxam, but my queries about this figure were redirected to other topics, and I didn't feel comfortable pressing the seneschal on the matter.
Of the rest of Darkhold I can relate only a little more. The Zhentarim maintain two war units within Darkhold: the Storm Watch, a cadre of veteran Zhentarim soldiers who act as heavy infantry, and the Gray Feathers, archers primarily responsible for the defence of the fortress.
These aren't the only forces Darkhold can bring to bear, however. The years when a contingent of giants lived in Darkhold are long gone, but in their place is an aerie of wyverns, bred and trained to defend Darkhold and to obey the Pereghost. Their trainer is a ranger named Grigarr, whose body is pocked with myriad scars from wyvern stings. The man is a greedy wretch who claims he is now immune to the wyverns' venom, after having been stung so many times. He loves telling stories in the Rookery about how he got his many stings, and thinks himself an entertaining storyteller because people listen and applaud. The truth is that the locals are terrified of him, so they humour him while he is in his cups.
source: Sword Coast Adventurer’s Guide pg. 77-79
to try to include in your poem/story (pt. 3/3)
Pelete Bite - a fabric created by the Kalabari Ijo peoples of the Niger Delta region by cutting threads out of imported cloth to create motifs
Pelisse - a woman’s long coat with long sleeves and a front opening, used throughout the 19th century; can also refer to men’s military jackets and women’s sleeved mantles
Peplos - a draped, outer garment made of a single piece of cloth that was worn by women in ancient Greece; loose-fitting and held up with pins at the shoulder, its top edge was folded over to create a flap and it was often worn belted
Pillow/Bobbin Lace - textile lace made by braiding and twisting thread on a pillow
Pinafore - a decorative, apron-like garment pinned to the front of dresses for both function and style
Poke Bonnet - a nineteenth-century women’s hat that featured a large brim which extended beyond the wearer’s face
Polonaise - a style of dress popular in the 1770s-80s, with a bodice cut all in one and often with the skirts looped up; it also came back into fashion during the 1870s
Pomander - a small metal ball filled with perfumed items worn in the 16th & 17th centuries to create a pleasant aroma
Poulaine - a shoe or boot with an extremely elongated, pointed toe, worn in the 14th and 15th centuries
Raffia Cloth - a type of textile woven from palm leaves and used for garments, bags and mats
Rebato - a large standing lace collar supported by wire, worn by both men and women in the late 16th and early 17th century
Robe à L’anglaise - the 18th-century robe à l’anglaise consisted of a fitted bodice cut in one piece with an overskirt that was often parted in front to reveal the petticoat
Robe à la Française - an elite 18th-century gown consisting of a decorative stomacher, petticoat, and two wide box pleats falling from shoulders to the floor
Robe en Chemise - a dress fashionable in the 1780s, constructed out of muslin with a straight cut gathered with a sash or drawstring
Robe Volante - a dress originating in 18th-century France which was pleated at the shoulder and hung loose down, worn over hoops
Roses / Rosettes - a decorative rose element usually found on shoes in the 17th century as fashion statement
Ruff - decorative removable pleated collar popular during the mid to late 16th and 17th century
Schenti - an ancient Egyptian wrap skirt worn by men
Shirtwaist - also known as waist; a woman’s blouse that resembles a man’s shirt
Skeleton Suit - late 18th & early 19th-century play wear for boys that consists of two pieces–a fitted jacket and trousers–that button together
Slashing - a decorative technique of cutting slits in the outer layer of a garment or accessory in order to expose the fabric underneath
Spanish Cape - an outer wrap often cut in a three-quarter circle originating from Spain
Spanish Farthingale - a skirt made with a series of hoops that widened toward the feet to create a triangular or conical silhouette, created in the late 15th century
Spencer Jacket - a short waist- or bust-length jacket worn in the late 18th and early 19th centuries
Stomacher - a decorated triangular-shaped panel that fills in the front opening of a women’s gown or bodice during the late 15th century to the late 18th century
Tablion - a rectangular panel, often ornamented with embroidery or jewels, attached to the front of a cloak; worn as a sign of status by Byzantine emperors and other important officials
Toga - the large draped garment of white, undyed cloth worn by Roman men as a sign of citizenship
Toga Picta - a type of toga worn by an elite few in Ancient Rome and the Byzantine Empire that was richly embroidered, patterned and dyed solid purple
Tricorne Hat - a 3-cornered hat with a standing brim, which was popular in 18th century
Tupu - a long pin used to secure a garment worn across the shoulders. It was typically worn by Andean women in South America
Vest/Waistcoat - a close-fitting inner garment, usually worn between jacket and shirt
Wampum - are shell beads strung together by American Indians to create images and patterns on accessories such as headbands and belts that can also be used as currency for trading
Wellington Boot - a popular and practical knee- or calf-length boot worn in the 19th century
If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!
More: Fashion History More: Word Lists
By picking the right words, you can make anyone go from a ditzy sidekick to a dark, dangerous villain
—Slang
Setting specific slang, internet slang, or weird slang that they make up on their own can show more laid back characters, or you can make them culturally aware of their surroundings and the type of people who are local to the area.
—Voice pitch
This isn’t too important, but it is something to consider. Does the bad-boy love interest have a husky, seductive voice 24/7? Or do they sound like a text-to-speech robot? Regardless, you can show character by either making them irresistible to most, or they can be painfully aware that their voice doesn’t match and they have to go an extra mile to get people to move past it.
—Eye contact
Looking someone dead in the eyes can mean mature, intellectual types, or the creepiest person you’ve ever met depending on what they’re saying and what the rest of their body is doing. Are they firmly holding on to important documents, speaking clearly and sternly, or do they get way too close, breathing heavily and speaking in a raspy, dry voice as their eyes bulge out of their sockets?
—Posture when talking
Someone slouched over a chair and staring at the floor while mumbling to whoever’s nearby isn’t going to be as feared as someone who stands tall and proud, as if their own shadow was to command an army as they grip their weapon that looks small compared to their massive, demanding presence.
—Emphasis on certain words or phrases
Italics and reusing specific words signals to the audience that this is important. Maybe it foreshadows something down the line, or can come off as self-aware to something the character says constantly.
—Stuttering
I’m just going to end this by saying please don’t do the “b-b-b-b-b-b-but” thing. Instead, if you’re trying to make the character seem shy or embarrassed of something, have them quietly mumble, tripping over words and sentences and accidentally repeating things. I don’t want to draw too much attention to it because it’s something a lot of people say but it’s important to me. Someone who stutters constantly because despite speaking English my whole life, I for some reason can’t speak it well.
If your plot feels flat, STUDY it! Your story might be lacking...
Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?
Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?
Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?
Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?
Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?
More medieval dyes for y'all!
my original batch can be found HERE! i got all kinds of angsty and protective vibes took over, but if u think of any more that you’d like to see on the list, shoot me a DM so i can add it!
“ get behind me… ”
“ stay here. ”
“ don’t worry. everything’s going to be alright… ”
“ you shoot anyone who comes through that door who isn’t me. ”
“ when you love something, you protect it. ”
“ i’ll keep you safe. ”
“ do everything that i say, and we might both live to tell the tale of this night. ”
“ when i say run, i need you to do as i say and don’t even think about me. ”
“ get down! ”
“ close your eyes, you don’t need to see this. ”
“ why wouldn’t i save you? ”
“ it’s alright. they won’t be hurting you again… ”
“ of course i came for you… it would take far much more than that to stop me. ”
“ listen to me… i need to go back out there. but i promise you, i’ll be right back. okay? all i want you to do is stay hidden, and i’ll be back before you know it. ”
“ there’s nothing in this world nor any other, that would stop me from protecting you. ”
“ get out of here! now! ”
“ i knew you’d feel guilty; you do understand that i’d take a thousand wounds if it meant keeping you safe, don’t you? ”
“ i swear to you. as long as i’m by your side, you’ll never be harmed. ”
“ it’s my job to keep you safe, yes, but you could work with me a little to make it easier. ”
“ protecting you isn’t my duty. it’s my privilege. ”
“ who did this to you? where are they? ”
“ listen to me. i don’t think i’ll be able to buy you much time. and once i go out there, the clock starts. so the second you hear us fighting, i want you to run. as fast and as far as you can. ”
“ are you alright? “
“ can you move? “
“ why is it so difficult for you to believe that you deserve to be protected? “
“ you’re a good person. good people deserve to be safe. “
“ i’m going to protect you, now. because that’s what we do for the ones we love. we keep them safe. “
“ stay close. whatever you do, do not leave my side. “
“ i’ll do whatever it takes to keep you safe. no matter the cost. “
“ i’m on my way. ”
“ it’s alright… it’s okay… i’m here now. i’ve got you. ”
“ it’s all over now. don’t panic. it’s not my blood. ”
“ i don’t know how long i’ll be able to protect you for, but i guarantee you, i’ll only stop with my final breath. ”
forget's resource bank, writing stuff. i have no order back at main so this had to be created. you probably know me as @forget-me-maybe sometimes i reblog things that should be on main here and pls just ignore that.
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