#research masterpost | Explore Tumblr Posts and Blogs

i-amusemyself · 2 years

Text

Masterpost on Mask Efficacy Reseach in Covid-19

Sick of hearing that masks don’t work? Me too :)))) here’s some research studies showing that they do for next time Karen starts Karening.

(Correct as of August 2022)

A general respiratory viruses review (there are many more but that’s a post for another day):

A review of studies showing mask wearing prevents respiratory virus transmission including SARS, influenza, bird flu and Covid-19.

Wang et al., 2021 doi: 10.1002/mds3.10163

Animal models and masks with Covid-19

This study placed hamsters in separate cages and measured transmission of Covid-19 from an infected hamster to a healthy one. Surgical masks were shown to decrease infection rates.

Chan et al., 2020 doi: 10.1093/cid/ciaa644

Mathematical models/simulations and masks with Covid-19

Mathematical modeling demonstrates mask ability to reduce transmission and mortality. It shows even masks of low efficacy can do this transmission rate is low or decreasing.

Eikenberry et al., 2020 doi: 10.1016/j.idm.2020.04.001

Mathematical modelling shows that higher quality face masks can protect the wearer from Covid-19, but two-way masking is better than one-way masking.

Bagheri et al., 2021 doi: 10.1073/pnas.2110117118

Researchers made a cough aerosol simulator to test how well different masks blocked the aerosol. N95 masks blocked 99%, surgical masks blocked 59%, cloth masks blocked 51% and face shields blocked only 2%.

Lindsly et al., 2021 doi: 10.1080/02786826.2020.1862409

Medical grade respirator masks are able to filter particles the size of Covid-19, while poorer quality masks are still able to filter larger aerosol particles which likely contain the virus.

Robinson et al., 2022 doi: 10.1080/02786826.2022.2042467

A model based on close-contact behaviour on the Subway showed that virus exposure could be reduced by 82% if all passengers wore surgical masks.

Liu et al, 2022 doi: 10.1016/j.jhazmat.2022.129233

Community settings and masks with Covid-19

A study looking back at 124 households in Beijing found that when one family member had Covid-19, risk of secondary infections within the household decreased by 79% if the infected member started masking before symptoms.

Wang et al., 2020 doi: 10.1136/bmjgh-2020-00279

In Hong Kong, in the period studied, masking compliance was 96.6% and Covid-19 incidence was significantly lower per million people than in countries with less mask compliance.

Cheng et al., 2020 doi: 10.1016/j.jinf.2020.04.024

A study of 211 Covid-19 cases and 839 controls in Thailand showed that consistent mask wearing was independently associated with reduced risk of Covid-19 infection.

Doung-ngern et al., 2020 doi: 10.3201/eid2611.203003

Introduction of mask mandates in states across the US was associated with a decline in Covid-19 infection growth rates.

Lyu and Wehby doi: 10.1377/hlthaff.2020.00818

A randomised trial in nearly 350,000 people in Bangladesh found that mask wearing significantly reduced symptomatic Covid-19 infections.

Abaluck et al., 2021

In US counties with masking mandates, daily case incidence declined by 35% in 6 weeks compared to matched counties without masking mandates.

Huang et al., 2022 doi: 10.1377/hlthaff.2021.01072

An outbreak of Covid-19 on the USS Theodore Roosevelt, which carried 382 men, showed that those that wore face coverings were 70% less likely to become infected.

Payne et al., 2020 doi: 10.15585/mmwr.mm6923e4

A study of mask wearing in 20 million people, alongside Covid-19 infection data from 92 regions showed that mask wearing corresponds to a 19% reduction in Covid-19 reproductive number, R.

Leech et al., 2022 doi: 10.1073/pnas.2119266119

Young children wearing masks was associated with a 13% reduction in risk of childcare program closure due to Covid-19, meaning more in-person education.

Murray et al., 2022 doi: 10.1001/jamanetworkopen.2021.41227

Healthcare settings and masks with Covid-19

A hospital in Massachusetts managed to decrease rates of Covid-19 infection amongst 10,000 staff with universal masking, despite increasing rates of infection in the community.

Wang et al., 2020 doi: 10.1001/jama.2020.12897

A North Carolina health provider showed that epidemiological curve of healthcare-aquired Covid-19 infections was flattened in healthcare workers following a universal masking policy. This was despite increasing community incidence.

Seidelman et al., 2020 doi: 0.1017/ice.2020.313

A study of 29 general hospitals in Israel found that hospital-acquired Covid-19 infections among healthcare workers only started to decline following a universal masking mandate for all staff, patients and visitors.

Temkin et al., 2021 doi: 10.1017/ice.2021.207.Epub

A systematic review of 13 studies in healthcare and the community found that probability of Covid-19 infection for mask wearers was 7%, compared with 52% for non-mask wearers.

Alihsan et al., 2022 doi: 10.1101/2022.07.28.22278153

Properly fitted N95 masks alongside high quality air filtration can protect from Covid-19 infection for long periods, even with high viral loads at close range.

Landry et al., 2022 doi: 10.1093/infdis/jiac195

This study shows masks were able to block the exhalation of virus particles by individuals infected by Covid-19 in Brazil.

Mello et al., 2022 doi: 10.1371/journal.pone.0264389

“But masks can harbour bacteria and fungi and give you pneumonia”

This is most likely referring to the study by Park et al., 2022 doi: 10.1038/s41598-022-15409-x

However, if they actually read the paper they would find that:

Most fungi found were on the outside of the mask. Most fungi were opportunistic pathogens (only a danger to immunocompromised), rather than pathogenic.

Most bacteria were non-pathogenic in humans. Of the bacteria that were potentially pathogenic, most were commensal (normally found within the body) or opportunistic (don’t cause harm unless immunocompromised).

The article does not recommend against mask use, only repeated use of the same mask in immunocompromised individuals.

The paper points out that masks reduce transmission of Covid-19.

The paper points out that pathogenic bacteria and fungi are detectable on many materials we use in daily life.

And if you’re really worried about what’s on your mask:

Masks can be sterilized with steam or hot water without compromising their efficacy.

Rahman et al., 2022 doi: 10.3390/polym14071296

“But studies show that masks don’t work”

The most commonly cited evidence of this is a Danish study on the effectiveness of adding a mask mandate.

Bundgaard et al., 2021 doi: 10.7326/M20-6817

This study found that there was no significant difference in infection rates in 4000 Danes, between those recommended masks and those not recommended masks.

However, the study has many limitations which may explain why results differ from the majority of mask studies:

Infection rates reported in the study were not comparable with rates reported in the Danish population at the time.

Fewer people were infected in the masked group, but not to a level of statistical significance. The authors state that results are inconclusive, as opposed to concluding that masks provide no protection.

Only surgical masks were given to participants, which have a limited ability to protect the wearer from airborne viruses vs aerosolised viruses due to their loose fit.

The study only assessed how effectively the masks protected the wearer, not how well it reduced transmission to others.

In the group where masks were recommended, only 46% reported wearing their masks completely as recommended. I.e. more than half of this group did not always wear a mask.

The authors themselves state that the findings should not be used to conclude that mask recommendations in the community would not be effective in controlling Covid-19 spread.

“But masks make it hard to communicate!”

Data is mixed on expression recognition, but some studies show masks have no detrimental effect. Also, context and additional non-verbal cues are often not considered in studies.

A study of children aged 7-13 found that face masks did not impair ability to infer emotions.

Ruba and Pollack, 2020 doi: 10.1371/journal.pone.0243708

Also, clear face masks are available, including clear surgical masks and clear respirators.

“But masks reduce oxygenation”

Wearing a face mask does not cause low O2 nor high CO2 at rest or during activity.

Shein et al., 2021 doi: 10.1371/journal.pone.0247414

Gas exchange is not significantly affected by the use of surgical mask, even in subjects with severe lung impairment.

Samannan et al., 2020 doi: 10.1513/AnnalsATS.202007-812RL

THAT graph that anti-maskers love to show

“Fig. 3. Correlation between Infection Rate and Annual Mask Usage generated from discarded face masks. (USA: United States of America; UK: United Kingdom)”

This graph actually comes from a paper on microplastics from face mask disposal, as opposed to anything epidemiological.

Shukla et al., 2022 doi: 10.1016/j.chemosphere.2022.134805

This graph does not accurately show the Annual Mask Usage (AMU) of each country to an accuracy that could ever be used in a paper with an epidemiological focus.

The authors did not account for variable mask usage in different countries and they use no real world data used on this. Instead, variation in Annual Mask Usage (AMU) is estimated by considering the population of each country in rural vs urban areas, and the presumed acceptance of masks in each area, which is constant for each country (10% in rural areas vs 80% in urban). Basically, this graph shows no accurate data on mask wearing in each country.

The authors also state that there is a correlation between AMU and infection rate. However, the country with the greatest population in the world, China, counters this trend. Equally, the data for India and Brazil, which also have a large proportion of the global population, also contradict this conclusion. This would explain why the authors never attempted to provide statistical tests to prove the correlation that they have supposedly found.

I think that about sums it up, but feel free to add more!

7 notes · View notes

broomsick · 6 months

Text

List of interesting ressources pertaining to norse paganism, scandinavian folklore and history, and nordic religions in general

These are sources I have personally used in the context of my research, and which I've enjoyed and found useful. Please don’t mind if I missed this or that ressource, as for this post, I focused solely on my own preferences when it comes to research. I may add on to this list via reblog if other interesting sources come to my mind after this has been posted. Good luck on your research! And as always, my question box is open if you have any questions pertaining to my experiences and thoughts on paganism.

Mythology

The Viking Spirit: An Introduction to Norse Mythology and Religion

Dictionnary of Northern Mythology

The Prose and Poetic Eddas (online)

Grottasöngr: The Song of Grotti (online)

The Poetic Edda: Stories of the Norse Gods and Heroes

The Wanderer's Hávamál

The Song of Beowulf

Rauðúlfs Þáttr

The Penguin Book of Norse Myths: Gods of the Vikings (Kevin Crossley-Holland's are my favorite retellings)

Myths of the Norsemen From the Eddas and the Sagas (online) A source that's as old as the world, but still very complete and an interesting read.

The Elder Eddas of Saemung Sigfusson

Pocket Hávamál

Myths of the Pagan North: Gods of the Norsemen

Lore of the Vanir: A Brief Overview of the Vanir Gods

Anglo-Saxon and Norse Poems

Gods of the Ancient Northmen

Gods of the Ancient Northmen (online)

Two Icelandic Stories: Hreiðars Þáttr and Orms Þáttr

Two Icelandic Stories: Hreiðars Þáttr and Orms Þáttr (online)

Sagas

Two Sagas of Mythical Heroes: Hervor and Heidrek & Hrólf Kraki and His Champions (compiling the Hervarar saga ok Heiðreks and the Hrólfs saga kraka)

Icelandic Saga Database (website)

The Saga of the Jómsvíkings

The Heimskringla or the Chronicle of the Kings of Norway (online)

Stories and Ballads of the Far Past: Icelandic and Faroese

Heimskringla: History of the Kings of Norway

The Saga of the Volsungs: With the Saga of Ragnar Lothbrok

The Saga of the Volsungs (online) Interesting analysis, but this is another pretty old source.

The Story of the Volsungs (online) Morris and Magnusson translation

The Vinland Sagas

Hákon the Good's Saga (online)

History of religious practices

The Viking Way: Magic and Mind in Late Iron Age Scandinavia

Nordic Religions in the Viking Age

Agricola and Germania Tacitus' account of religion in nordic countries

Myths and Symbols in Pagan Europe: Early Scandinavian and Celtic Religions

Tacitus on Germany (online)

Scandinavia and the Viking Age

Viking Age Iceland

Landnámabók: Book of the Settlement of Iceland (online)

The Age of the Vikings

Gesta Danorum: The Danish History (Books I-IX)

The Sea Wolves: a History of the Vikings

The Viking World

Guta Lag: The Law of the Gotlanders (online)

The Pre-Christian Religions of the North This is a four-volume series I haven't read yet, but that I wish to acquire soon! It's the next research read I have planned.

Old Norse Folklore: Tradition, Innovation, and Performance in Medieval Scandinavia

Children of Ash and Elm: A History of the Vikings

The Penguin Historical Atlas of the Vikings by John Haywood

Landnámabók: Viking Settlers and Their Customs in Iceland

Nordic Tales: Folktales from Norway, Sweden, Finland, Iceland and Denmark For a little literary break from all the serious research! The stories are told in a way that can sometimes get repetitive, but it makes it easier to notice recurring patterns and themes within Scandinavian oral tradition.

Old Norse-Icelandic Literature: A Short Introduction

Saga Form, Oral Prehistory, and the Icelandic Social Context

An Early Meal: A Viking Age Cookbook and Culinary Oddyssey

Runes & Old Norse language

Uppland region runestones and their translations

Viking Language 1: Learn Old Norse, Runes, and Icelandic Sagas and Viking Language 2: The Old Norse Reader

Catalogue of the Manks Crosses with Runic Inscriptions

Old Norse - Old Icelandic: Concise Introduction to the Language of the Sagas

A Companion to Old Norse-Icelandic Literature and Culture

Nordic Runes: Understanding, Casting, and Interpreting the Ancient Viking Oracle

YouTube channels

Ocean Keltoi

Arith Härger

Old Halfdan

Jackson Crawford

Wolf the Red

Sigurboði Grétarsson

Grimfrost

(Reminder! The channel "The Wisdom of Odin", aka Jacob Toddson, is a known supporter of pseudo scientific theories and of the AFA, a folkist and white-supremacist organization, and he's been known to hold cult-like, dangerous rituals, as well as to use his UPG as truth and to ask for his followers to provide money for his building some kind of "real life viking hall", as supposedly asked to him by Óðinn himself. A source to avoid. But more on that here.)

Websites

The Troth

Norse Mythology for Smart People

Voluspa.org

Icelandic Saga Database

Skaldic Project

Life in Norway This is more of a tourist's ressources, but I find they publish loads of fascinating articles pertaining to Norway's history and its traditions.

#ressources #masterpost #heathenry #research #sources #norse paganism #norse gods #spirituality #polytheism #deity work #pagan #paganism #deities #norse polytheism #mythology #eddas #sagas

580 notes · View notes

ahb-writes · 1 year

Text

19 Things That Are Wrong With Your Novel (and How to Fix Them)

The original infographic on which this list is based was bulleted with short descriptions (see "All The Things that Are Wrong…" at Hey Writers and FastCompany). It's nifty quantitative data. However, the original article doesn't explore any solutions. So, I spent some time hunting down a few writing resources to fill in the gaps.

The following list of "problems" represents about half of those from the infographic. I tweaked the problem statements, and I drafted the solution text in a feverish rush. No apologies for repeated sources; I have my favorites. Read on:

Problem #01: The Story Begins Too Late in the Novel

Problem #02: The Scenes Are Void of Meaningful Conflict

Problem #03: The Story Has a By-the-Numbers Execution

Problem #04: The Story Is Too Thin

Problem #05: The Villains Are Cartoonish, Evil-for-the-Sake-of-Evil

Problem #06: The Character Logic Is Muddy

Problem #07: The Female Part Is Underwritten

Problem #08: The Narrative Falls Into a Repetitive Pattern

Problem #09: The Conflict Is Inconsequential, Flash-in-the-Pan

Problem #10: The Protagonist Is a Standard-Issue Hero

Problem #11: The Story Favors Style Over Substance

Problem #12: The Ending Is Completely Anti-Climactic

Problem #13: The Characters Are All Stereotypes

Problem #14: The Novel Suffers From Arbitrary Complexity

Problem #15: The Story Goes Off the Rails in the Third Act

Problem #16: The Novel's Questions Are Left Unanswered

Problem #17: The Story Is a String of Unrelated Vignettes

Problem #18: The Plot Unravels Through Convenience/Contrivance

Problem #19: The Story Is Tonally Confused

-------------------------------------------------------

Problem #01: The Story Begins Too Late in the Novel

Solution: Gain traction early; use simplicity, momentum, and a bit of the unknown to carry readers toward the more complex and the improbable. The first chapter is context for what the whole novel is about. Don't wait to pull in readers, don't hesitate to tell readers which characters are the most important, and don't hesitate to expose readers (and the viewpoint character) to the narrative's central conflict. Be upfront about what kind of story you're telling.

Develop a strong sense of who your protagonist is, articulate the protagonist's needs (which may change), and hint at the limits or barriers the protagonist must acknowledge, or defy, to achieve their current or a future goal.

Writing Resources:

8 Ways to Write a 5-Star Chapter One (Writer's Digest)

10 Ways to Start Your Story (The Writers Society)

How To Start a Story That Grips Your Readers (Jericho Writers)

7 Steps for Writing Your Novel's Opening Chapter (The Novel Smithy)

4 Key Elements of Scene Openings (September C. Fawkes)

How to Find Your Writing Style (sunnydwrites; ahbwrites)

Writing Riveting Inciting Action: 7 Ideas (Now Novel)

In Media Res: 6 Steps to Start Stories From the Middle (Now Novel)

Writing Great Beginnings and Endings (Writing Questions Answered)

Problem #02: The Scenes Are Void of Meaningful Conflict

Solution: Character growth and story arcs don't occur in isolation. Conflict-guided scenes and conflict-guided storytelling, more broadly, open the narrative to moments in which the characters are continuously tested to validate their knowledge, skills, or relationships.

To drive the story forward with measured purpose, focus on building, developing, and testing a character's desires. If necessary, implement story or relational dynamics to economically assess, judge, and curate a character's failure (and the consequences thereof). Conflict needn't be grandiose; writers must be in tune with the different levels, types, and intensities of conflict that drive their story. Conflict should be multifaceted.

Writing Resources:

A Few Words About Conflict (Glimmer Train Press)

Conflict Thesaurus (One Stop for Writers)

6 Secrets to Creating and Sustaining Suspense (Writer's Digest)

Emotions in Writing: How to Make Your Readers Feel (Jericho Writers)

The Primary Principles of Plot: Goal, Antagonist, Conflict, Consequences (September C. Fawkes)

How to Master Conflict in Young Adult Fiction (Writer's Edit)

Failure, Conflict, and Character Arc (Writers in the Storm)

Problem #03: The Story Has a By-the-Numbers Execution

Solution: Structure must be impeccable. Except for when it shouldn't be. Formulas are essential. Except for when they're not. Outlines are absolute. Except for when they aren't.

Successful storytelling strategies should flex and shift and evolve as the needs and demands of the story flex and shift and evolve. If you plan to wield an effective structure to buffet your storytelling execution, then research and document the structure that best compliments your story, your characters, your characters' conflicts, and the themes reflected in those conflicts.

Writing Resources:

7 Point Story Structure Explained in 5 Minutes (September C. Fawkes)

How to Actually Use a Story Structure (September C. Fawkes)

Description: 5 Times When You Should (and 4 Times When You Shouldn't) Rely on Description (ahbwrites)

Basic Checklist for Your Story (The Right Writing)

Gothic Literature: A Guide To All Things Eerie (Jericho Writers)

Suspense Definition — Literature: Tips for Writing Suspense (Jericho Writers)

How to Create a Plot Outline in 8 Easy Steps (How to Write a Book Now)

The Progressive Outline: How I Balance My Plotter and Pantser Tendencies (Michael Bjork Writes; Scrawls and Rambles; ahbwrites)

5 New Ideas for Outlining Stories (1000 Story Ideas; ahbwrites)

Problem #04: The Story Is Too Thin

Solution: Does the story lack balance?

Purposeful narrative structure. Effective characterization. Meaningful conflict (and meaningful consequences). Immersive description. Authentic character dynamics. A good story needs all of this and more. But it's okay to be stronger, or more experienced, in crafting one area of storytelling than in others. It's okay for one's attention to drift during the initial drafting phase.

If you know your strengths, then you can lean on them to bolster your storytelling where it counts. If you know your weaknesses or limitations, then you can avoid what frustrates you and maneuver toward what excites you. But take the time to identify what facet of your craft needs work and be open to exploring your weaknesses with further experience, research, and insight.

Writing Resources:

100 Character Development Questions to Inspire Deeper Arcs (Now Novel)

How to Write a Sequel That Satisfies: Simple Guide (Now Novel)

Best Story Writing Websites in 2022 (Now Novel)

10 Signs Your Plot is Weak (and How to Fix it) (September C. Fawkes)

Defining and Developing Your Author Voice (September C. Fawkes; ahbwrites)

How to Pace a Story (Writing Questions Answered)

Description: 5 Times When You Should (and 4 Times When You Shouldn't) Rely on Description (ahbwrites)

How to Focus on One Story (Alyssa Hollingsworth)

Problem #05: The Villains Are Cartoonish, Evil-for-the-Sake-of-Evil

Solution: Villains require just as much character development as the novel's heroes, protagonists, and perspective characters. Effective villainy incorporates consequential decision making, relatable character motivations, believable perspectives and experiences, and most important, intention. When a writer diversifies these facets of a so-named villain's free will, humanity, personal interests, and relationship with the story's main conflict, one is better-positioned to craft a more diverse and more engaging villain.

Writing Resources:

How Your Character's Failures Can Map A Route To Self-Growth (Writers Helping Writers)

Good Character Flaws: Create Complex Antagonists (Now Novel)

50 Questions to Ask Your Antagonist (Alyssa Hollingsworth)

Antagonist Starts Good, Becomes Drunk With Power (related, master list) (Writing Questions Answered; ahbwrites)

16 Villain Archetypes (Chosen by the Planet; ahbwrites)

How to Give Your Antagonist a Little Humanity (Fiction Writing Tips; ahbwrites)

How to Write the Perfect Villain (Jericho Writers)

How to Build an Antagonist (How to Fight Write)

Negative Trait Thesaurus (Evil) (One Stop for Writers)

Theme and Symbolism Thesaurus (Evil) (One Stop for Writers)

Problem #06: The Character Logic Is Muddy

Solution: Investing in realistic characterization will give a novel the curious details and sense of familiarity readers will readily absorb. Good character logic means providing original characters with the agency to speak, act, and react with authority. (It also doesn't hurt to have a character or two who are really good at faking it.) But it's not enough to simply imply a character's sense of self through dialogue and action. Writers should aim for a level deeper.

Don't write characters, write character arcs. Don't write character flaws, write character flaws that make characters curious, enticing, or attractive. Craft inimitable dialogue, encourage characters to engage their environment, and remember to hold characters responsible for their actions.

Writing Resources:

3 Redemptive Character Types (September C. Fawkes)

6 Ways to Write Truly Terrifying Villains (The Novel Smithy)

What Is Pathos in Literature? A Complete Guide (Jericho Writers)

Character Motivation Thesaurus (One Stop for Writers)

"I don't think you need all the backstory in the world..." (advice from Brennan Lee Mulligan, TTRPG gamemaster)

How to Improve Your Secondary Characters: 6 Fresh Ideas (Em Dash Press)

Some Quick Character Tips (Coffee Bean Writing)

The Importance of The Unlikable Heroine (Claire Legrand; ahbwrites)

Don't Design a Character, Design a Character Arc (avalera; ahbwrites)

How to Write Character Arcs (Helping Writers Become Authors)

Problem #07: The Female Part Is Underwritten

Solution: Frame and establish female characters who are their own and who can hold their own. Obviously, character-building must be done with care, but the emphasis on writing female characters well is not misplaced. Authors in the majority of those published often get away with female characters that are relegated to the role of the conveniently unprotected, the buddy, the substitute wife/girlfriend, the pawn/sacrifice, the hot chick, and/or the stoic action lady who can do anything because that makes her cool.

Write female characters with their own intelligences, experiences, shortcomings, and successes. These characters must come into their own organically, and they must engage the narrative (and readers) in a way that demonstrates their value without siphoning their agency.

Writing Resources:

Make Them Female (Horrible God)

The Importance of The Unlikable Heroine (Claire Legrand; ahbwrites)

100 Character Development Questions to Inspire Deeper Arcs (Now Novel)

We Need to Talk About Cold Women (HuffPost)

Writing a "Strong Female Character" That Isn't Heartless (Writing Questions Answered)

Strength is Relative: Female Characters, Gender Stereotypes, and Writer Authority (ahbwrites)

The Heroines of YA Dystopias Have All These Traits in Common (Refinery29; ahbwrites)

Female Characters to Avoid in Your Writing: An Illustrated Guide (The Caffeine Book Warrior; ahbwrites)

On Mary Sue (How to Fight Write; ahbwrites)

Core Principles of Crafting Protagonists (September C. Fawkes)

4 Ways to Unlock Your Character's Unique Voice (The Novel Smithy)

Problem #08: The Narrative Falls Into a Repetitive Pattern

Solution: Does the story begin at the right point? Are the characters introduced in scenes where they exert the right influence? Are the novel's emotional beats consistent (or meaningful)? What's the tempo like? Is the pacing balanced and purposeful at the sentence level, scene level, and act level? Is the story's use of description unique and dynamic? What's the difference between the author voice, the narrator voice, and the character voice? Be as flexible or inflexible as needed, but above all, be willing to learn.

Writing Resources:

Never Lie Beyond What You're Capable of Selling (How to Fight Write)

How to Craft Your Protagonist's Inner and Outer Journeys (The Novel Smithy)

5 Ways to Keep Reader's Interest When They Know Something the Character Doesn't (Writing Questions Answered)

Variations on Story Structure: A List (September C. Fawkes)

8 Common Pacing Problems (September C. Fawkes)

How Structure Affects Pacing (September C. Fawkes)

Quick Plotting Tip: Write Your Story Backwards (bucketsiler; ahbwrites)

What Is Pacing in Writing? Mastering Pace (Now Novel)

Problem #09: The Conflict Is Inconsequential, Flash-in-the-Pan

Solution: Many authors struggle to contrive meaningful conflict such that it either shapes or speaks critically to the trajectory of the characters it touches. Conflict is not a consequence or a corollary of scheme or impulse; conflict should develop as the story develops and grow as the character dynamics grow.

Explore character through conflict by reinforcing their goals and their perceptions (of reality), as well as the plausibility of maintaining either. Use conflict to reveal blind spots, biases, or fears. Conflict doesn't narrow the possibility of who characters are, or what the story might convey; conflict opens characters (or readers) to new methodologies, new stakes, and possibly new goals, as a result of enduring or overcoming the fracas in question. Conflict adds depth.

Writing Resources:

Conflict Thesaurus (One Stop for Writers)

Need Compelling Conflict? Choose A Variety of Kinds (Writer's Helping Writers)

How to Draw Readers in Through a Character's Choices (Writers Helping Writers)

Exactly How to Create and Control Tone (September C. Fawkes; ahbwrites)

Are Your Conflicts Significant? (September C. Fawkes)

Tension vs. Conflict (Hint: They Aren't the Same Thing) (September C. Fawkes)

How to Write a Dystopian Story: Our Gide (Jericho Writers)

Plot Conflict: Striking True Adversity in Stories (Now Novel)

How to Use Central Conflict and Drama to Drive Your Novel (Now Novel)

Problem #10: The Protagonist Is a Standard-Issue Hero

Solution: There different types of heroes. There are different types of villains. And the multitude of stories in which these various types of characters might interact require differing levels of focus. Not all heroes must have a tale of overcoming adversity. Not all villains need a tragic backstory. Not all comedy stories require a "meek schlub" to come out on top. Not all suspense or thriller tales require a "world-weary detective" fighting for emotional validation or recompense.

Diverse character types help drive diverse stories. Challenge how archetypes and standard-issue definitions traditionally render a "hero" or a "villain" in a story. Important Note: Don't give in by forcing a character to fit an established mold by the story's end.

Writing Resources:

Guide to Writing an Unlikable Protagonist (Words and Such)

How to Craft the Perfect Antihero (Writer's Digest)

How to Write an Anti-Hero Readers Will Adore (The Novel Smithy)

Types of Heroes: Crafting Your Characters (Jericho Writers)

How to Write Supporting Characters in Fiction (Jericho Writers)

10 Ways to Write a Chosen One That Won't Annoy Readers (The Novel Smithy)

Being the Best at Something (One Stop for Writers)

50 Questions to Ask Your Antagonist (Alyssa Hollingsworth)

How to Build an Antagonist (How to Fight Write)

Male Protagonists to Avoid in Your Writing: An Illustrated Guide (The Caffeine Book Warrior)

Problem #11: The Story Favors Style Over Substance

Solution: Writers commonly risk stumbling into the crevasse of convenience, no matter the genre (e.g., action must be cool or flashy, comedy must be glaringly funny, horror must be unremittingly scary). The primary fault lines for these seemingly innocent errors are twofold: inexperience and immaturity. That is to say, the more one reads and the more one writes, the greater one experiences, learns, and empathizes with a greater array of storytelling styles, techniques, and attitudes. Writing a more dynamic and engaging story that leaps beyond the crevasse of style over substance requires an eagerness to learn, a willingness to experiment, and an openness to difference.

Writing Resources:

8 Ways to Write a 5-Star Chapter One (Writer's Digest)

Building a Bold Narrator's Voice: 5 Methods (Now Novel)

How to Avoid Plot Armor (Coffee Bean Writing)

10 Tips for the Middle of Your Story (Coffee Bean Writing; ahbwrites)

Avoiding Plot Armor (How to Fight Write)

How to Absolutely Wreck Your Audience With a Character Death (lunewell)

Writing Description: Make Introspection More Engaging (ahbwrites)

How to Frame Scenes Like a Filmmaker (Kristen Kiefer)

Shakespeare's Genius Is Nonsense (Nautilus)

Problem #12: The Ending Is Completely Anti-Climactic

Solution: Endings can be dramatic. Endings can be a little ambiguous. Endings can be bittersweet. Endings can be simple surprises. Endings can be unique and unresolved. Endings can reverse motives, reverse perspectives, or reverse fortunes. Endings can be complex webs that tie up every single loose end. Whatever the author's preference, endings shouldn't read as if the last 10 pages were cut off.

But knowing how to end a story is not an isolated challenge. To end a story properly and effectively, the author must know how the story begins, how its characters evolve, and how these dynamics transform over the course of narrative's varying points of tension and conflict. Recall, how does the story begin and why? How, specifically, do the characters evolve? And what compels them to do so? Where and how do the story's internal and external conflicts converge? Endings follow a few essential rules: endings require context, endings must be plausible, and endings must connect to the narrative's key elements.

Writing Resources:

Figuring Out Where to End a Story (Writing Questions Answered)

Writing Great Beginnings and Endings (Writing Questions Answered)

Feeling Overwhelmed by Plot Points (Writing Questions Answered)

What Is the Dénouement of a Story? Your Guide (With Tips) (Jericho Writers)

How to End a Story Perfectly (Jericho Writers)

Story Climax Examples: Writing Gripping Build-Ups (Now Novel)

How to End a Novel: Writing Strong Story Endings (Now Novel)

Tension vs. Conflict (Hint: They Aren't the Same Thing) (September C. Fawkes)

Utilizing 3 Types of Death (September C. Fawkes)

10 Signs Your Plot is Weak (and How to Fix it) (September C. Fawkes)

Problem #13: The Characters Are All Stereotypes

Solution: To be more than a collection of tropes, characters must be emotionally differentiated, possess myriad insecurities, battle visible and invisible vulnerabilities, willingly blur their own logic to achieve what they perceive as necessary, and debate their own flaws. Solid characters, well-rounded characters, and well-defined characters give readers a reason to stay engaged.

To craft these characters, authors should be conscientious of what internal rules the story's characters follow, what flaws these characters must overcome, and what trajectory each character arc takes in parallel to the overall narrative arc. Not every character needs to know who they are or how they want to influence the story to stick in readers' minds, but the author should have a good grasp how the character grows (or regresses) relative to how they engage the story's central conflict or theme.

Writing Resources:

10 Traits of a Strong Antagonist (Fiction University)

The No-Effort Character Sheet for Lazy Writers (justsomecynic; ahbwrites)

How to Write Deep P.O.V.: 8 Tips and Examples (Now Novel)

Character Flaws: Creating Lovable Imperfections (Now Novel)

How to Use Character Flaws to Enrich Your Writing (Perpetual Stories)

Character Flaws: When Is Too Far Too Far? (The Character Therapist)

20 Powerful Romance Tropes (and How to Make Them Original) (Jericho Writers)

Does Your Character Have a Secret? (Writers Helping Writers)

Creating Villain Motivations: Writing Real Adversaries (Now Novel)

Some Quick Character Tips (Coffee Bean Writing)

Dynamic vs. Round Characters: Who Needs a Character Arc? (The Novel Smithy)

Problem #14: The Novel Suffers From Arbitrary Complexity

Solution: More spectacle isn't always better. Larger and relentlessly diverse casts aren't necessarily more dynamic or more representative. More gore doesn't exactly make the violence more believable. More tears won't always pull readers into a deeper emotional connection.

Balance in everything, whether in drawing lots for which characters live or die, or assembling the combination of goals and threats the cast must surmount to reach the end.

Sometimes, it helps to weave from the simple toward the complex: If you understand what is essential to the story, and the role of each character in the story, then you can expand outward, deliberately, and unfold more detail from a central theme or narrative device. (If the author does it the other way around, and weaves from the complex toward the simple, then plot holes form, characters lose their purpose, and the story's conclusion feels less and less tethered to the inciting incident that supposedly pulled in readers at the outset.)

Writing Resources:

5 Ways to Make Mundane Scene More Interesting (Writing Questions Answered)

Feeling Overwhelmed by Plot Points (Writing Questions Answered)

What Is Prewriting? Preparing to Write With Purpose (Now Novel)

How to Write the Perfect Plot (in Two Easy Steps) (Helping Writers Become Authors)

Writing Description: Encourage Readers to Infer More Than They Realize (ahbwrites)

Reasons to Kill Your Characters (Coffee Bean Writing)

How to Absolutely Wreck Your Audience With a Character Death (lunewell)

Coming Up With a Plot (From Scratch) (September C. Fawkes)

Problem #15: The Story Goes Off the Rails in the Third Act

Solution: Weaving a compelling third act necessitates a guarded understanding of how to view and interpret a story on the micro and macro levels. That is to say, an attention to detail is essential, but equally valuable is the opportunity to take a step back and view the whole narrative as the sum of its parts. Do individual characters achieve their personal goals? Are relationship arcs incomplete? Is the drama, humor, or sense of mystery that drove the story in the first two acts, present or validated by the third act?

If one thinks of the whole of a story as a tapestry of sorts, then one might also view each chapter, arc, or act as a meaningful shape, pattern, or attribute of that greater tapestry. These attributes cue the readers as to what facet of story (or character) to focus on, depending on the moment. These attributes can also expose consequential divergences from established narrative designs.

How should readers interpret and process, or otherwise organize, these complex stimuli? For example, an author who purposefully generates tonal proximity between characters or events will ensure emotional continuity from scene to scene or from act to act.

Writing Resources:

5 Ways to Surprise Your Reader (Without It Feeling Like a Trick) (Writer's Digest)

Writing Great Beginnings and Endings (Writing Questions Answered)

How to Pace a Story (Writing Questions Answered)

How to Write Exceptional Endings (September C. Fawkes)

What Is Pacing in Writing? Mastering Pace (Now Novel)

What Is Rising Action? Building to an Epic Climax (Now Novel)

What Is the Dénouement of a Story? Your Guide (With Tips) (Jericho Writers)

How to End a Story Perfectly (Jericho Writers)

Problem #16: The Novel's Questions Are Left Unanswered

Solution: Conflicts require consequences, character arcs require a destination, and unresolved or unanswered questions have their own purpose. But having too many unanswered questions can make a novel's ending feel too foggy, if not outright incomplete. In short, loose threads can be frustrating.

Handled appropriately, loose threads may encourage the reader to hum and ponder how each character's life may evolve following the novel's events. Some readers adore the beauty of an imperfect story. However, handled poorly, loose threads speak to a poorly planned and disorganized narrative for which the writer was mistakenly more invested in drafting a kitschy or vulgar hook than a purposeful climax or dénouement.

Writing Resources:

Guide to Writing an Unreliable Narrator (Writing and Such)

Story Threads: Fixing Rips in Our Story (Writers Helping Writers)

Loose Threads Can Unravel a Novel (All Things Writing)

How to Pace a Story (Writing Questions Answered)

Figuring Out Where to End a Story (Writing Questions Answered)

Feeling Overwhelmed by Plot Points (Writing Questions Answered)

What Is the Dénouement of a Story? Your Guide (With Tips) (Jericho Writers)

How to End a Story Perfectly (Jericho Writers)

Suspense Definition Literature: Tips for Writing Suspense (Jericho Writers)

Problem #17: The Story Is a String of Unrelated Vignettes

Solution: For authors who struggle to coordinate or connect a single, cohesive story, it can be tempting to lean into episodic incidents that are individually intriguing but neglect to pull readers into a larger, more satisfying narrative. Resources about structuring scenes and structuring stories are numerous, but for writers who need to connect the muscle and sinew of their story with intent, learning the basics is often the best: Action and reaction compel reader engagement.

How does a character react to a new, tense, or changing situation? How do these actions or reactions introduce the story to readers or help them explore it? And on a micro level, how do word choice, rhythm, and tone reinforce these facets of the story?

What are the characters' goals? What are the stakes? What burdens complicate (or which advantages elevate) these characters' motivations? What conflicts skew these characters' perceptions of the stakes? What does failure look like? What are the consequences or costs? To the environment (social, political, relational)? How do characters respond to these heightened stakes, to the responsibility of these fresh consequences, to the shifting balance of power in the surrounding context?

Writing Resources:

How to Start a Story That Grips Your Readers (Jericho Writers)

Plotting Tip: One Simple Step to Ensure Our Story Works (Jami Gold)

Episodic vs. Epic: Go Bigger With Your Writing (Writers Helping Writers)

Guide: Filling in the Story Between Known Events (Writing Questions Answered)

What Is a Plot Point? Find and Plan Clear Story Events (Now Novel)

The Parts of a Story: Creating a Cohesive Whole (Now Novel)

8 Foreshadowing Laws: How to Foreshadow Right (Now Novel)

Structuring Satisfying Scenes (September C. Fawkes)

The 5 Commandments of Storytelling According to The Story Grid (September C. Fawkes)

Problem #18: The Plot Unravels Through Convenience/Contrivance

Solution: Many writing workshops and advice columns have opined on this for a reason: Coincidences that get characters into trouble are good, coincidences that get characters out of problems are bad. Resolving issues of perceived relevance between scenes, or events, often requires resolving issues of causality. Contrivances do not serve the reader. A believable and engaging rhythm requires everything to be connected.

What realizations or insights emerge after certain events occur? Does context require readers consume certain types of information before others? How can the story be revised to ensure a natural movement between these events, the information they provide, and characters' reactions to this information?

The degree or intensity of relatedness will vary, depending on the author's narrative style and the presumptive demands of the genre or audience. However, nothing should come easy; the characters (and readers) should earn whatever details they acquire to see the story through to the end.

Writing Resources:

7 Novel-Opening Mistakes That Make Literary Agents (And Readers) Groan (Jericho Writers)

8 Common Pacing Problems (September C. Fawkes)

Cause and Effect: Telling Your Story in the Right Order (Writer's Digest)

Crafting an Effective Plot for Children's Books (Writer's Digest)

8 Foreshadowing Laws: How to Foreshadow Right (Now Novel)

Episodic vs. Epic: Go Bigger With Your Writing (Writers Helping Writers)

Figuring Out Where to End a Story (Writing Questions Answered)

Problem #19: The Story Is Tonally Confused

Solution: What is the novel's general attitude, particularly given the story's descriptive specificity, the characters' emotional latitude, and the atmospheric dynamic of the feelings a specific scene is written to elicit? Tone is an interrelated mix of narrative forms and attributes. Identifying, organizing, and manipulating tone means establishing and controlling these attributes. But a word of caution is often warranted: Mixing and matching and glibly contrasting tone doesn't always come across as clever, to the reader, as the writer might imagine. Consistency and relevance are important.

Authors must know the difference between recognizing a scene's tone and sustaining it such that its rhythm lends the appropriate heft. Word choice matters. Character mood matters. Point of view matters. Scene structure matters. And in the end, disruptions matter, too.

Writing Resources:

How Do You Build a Novel's Tone? (Now Novel)

Suspense Writing: Examples and Devices for Tenser Stories (Now Novel)

Feeling Overwhelmed by Plot Points (Writing Questions Answered)

How to Fix Characters Who Are Too Similar (Writing Questions Answered)

Working Comedy and Romance Into Drama (Writing Questions Answered)

Selecting the Right Sentence Structure for the Right Emotion (September C. Fawkes)

Exactly How to Create and Control Tone (September C. Fawkes; ahbwrites)

117 notes · View notes

16woodsequ · 6 months

Text

Sunday Steve Masterpost

Day One: Ball Point Pen

Day Two: Vaccines

Day Three: Yogurt

Day Four: Seat Belt

Day Five: Toothbrushes

Day Six: Toothpaste and Floss

Day Seven: Deodorant

Day Eight: Shampoo and Conditioner

Day Nine: Shaving

Day Ten: Washer and Dryer

Day Eleven: Toilet Paper

Day Twelve: Soap

Day Thirteen: Tenement Building

Day Thirteen point Five: Inside of Tenements

#sunday steve #masterpost #steve rogers #history #steve rogers meta #meta #research #information #20th century history #1900s #american history #historically accurate steve rogers

19 notes · View notes

hiswitchcraft · 1 year

Note

I cannot find much on augury witchcraft or readings! Would you happen to have info or resources on it? I’m super drawn to the idea of using birds in my divinatory practices 🕊️

Have? No. Find? It's what I do!

Augury Bird Divination: History & How to Read Bird Flight Patterns

The Ancient Art of Augury

What are the Symbolic Meanings of Birds for Divination?

Augury Divination

"My Take On Modern Augury"

Orthinomancy: Divinatiom from the Flight and Cries of Birds

Also I found this book and this book. I have not read them. I have not researched them. But hopefully it's what you're looking for!

I know you didn't ask for this bit, but in light of my recent post I have to say this seems like the perfect thing to try working with from scratch or experimenting with! If you wanna use the flight of birds in your divinatory practice, just do it! You don't have to have a step by step guide. You can just start.

I hope this helps!

#one of these days I'm going to make a post about how I find this stuff so you guys can learn to do this too!#y'all need a research skills masterpost #dognamedgrief #witch #witchblr #new witch #baby witch #divination #bird divination #augury divination #orthinomancy #augury witchcraft #augury readings #bird meanings #bird symbolism #witch tips #witchy tips #witchy tip #witch tip

57 notes · View notes

pm13subnautica · 28 days

Text

Howdy

Welcome to my Subnautica side blog. I'm moving my Subnautica AUs and ideas from my main blog to here since most are being reworked and rewritten. And this post will also act as a masterpost too. Once I get stuff updated and all that lol.

So yeah, hi, it's me Puppetmaster [he/they/she] just here on another blog.

My AO3: https://archiveofourown.org/users/Puppetmaster13/works

My AUs:

Subnautical Hermits

Subnautical Hermits: Below Zero

10,000 Meters Under

10,000 Meters Under Alternate Timeline

Mermit Family (Hermitcraft Crossover)

Research Site Delta

Batfam Subnautica AU (Name will be changed)

[More to be Added]

#subnautica #subnautica below zero #hermitcraft #subnautical hermits #10000 meters under #mermit family #research site delta #masterpost #Batfam Subnautica Au #I might put prompts here too

4 notes · View notes

coe-lilium · 2 years

Text

Not-my-cup-of-tea art aside I consider Turas Réalta’s Orleans chapter the definitive version of the game story. It’s good stuff.

Although re-reading it now and noticing the increased (and upgraded) screen time given to Caster Gilles and his motivations I still think that including other ride-or-die-for comrades of Jeanne and thus highlighting that there were other people who loved her just as fiercely as he did and yet chose not become mass murderers over her death would have made for a better story.

Case in point:

You read this and might be tempted to think “damn, dude’s not so wrong here, no surprise he’s as angry as he is”.

Except.

Some of the heavily-documented friends of Jeanne that Type Moon is omitting from their Orleans narrative mounted an armed rescue attempt not once but twice while the historical de Rais was nowhere to be seen in those moments.

Now, the historical de Rais wasn’t part of those attempts because his relationship with Jeanne d’Arc and its intensity is basically a fabrication of later centuries and they were never close but once Type Moon authors decided to go with the “they were super-close friends” this detail was something they could’ve used?

And yet, despite the chapter explicitly being set in 1431... no one of Jeanne’s friends is around but Gilles, again.

Where is the Bastard yelling at Caster that he’s full of shit, that he *did* try? Because he would be there, doing exactly that.

Where is, say, the duke d’Alençon? He’s your best bet to dispel the fantasy of “oh but these friends were as inhumanly saintly as her, that’s why they weren’t hurt” (which they were not, and as if there ever was something as nonsensical as a “inhumanly” saint), the man who later betrayed the country while remaining devoted to Jeanne’s memory, testifying in the process to clear her name and naming one of his children after her?

It’s a... odd choice. People don’t just become mass murderers because their friend was killed. People hunt down those who killed their friend and kick them the fuck out of the country and take their stolen titles away, and lock them up and assist their friend’s remaining family in their grieving and in seeking justice.

There are pages in the chapter where the intended narrative seems to be “Gilles isn’t wrong in his grief-fueled actions but we have to stop him”, which is 1. a complete nonsense and 2. blatantly ignoring that his “not wrong” actions were the torture and mass slaughter of civilians.

He’s sort of... similar to Anakin Skywalker going “I don’t care about my wife real desires, only my feelings count”... but with the narrative sort of approving him instead of condemning.

#fate grand order #long post #it's... it's super odd #there's a page in which the writer made guda say something that made me go: what. pray tell. THE FUCK #the great jeanne masterpost #re: research

20 notes · View notes

anjedah · 1 year

Text

Piles of book and coffee

#studyblr #studyspo #studygram #notes history #study motivation #research #study #arabic langblr #digital planner #masterpost #pilesbook

3 notes · View notes

ahb-writes · 1 year

Text

Random Research Dive: Horse Ears

As often happens in novel writing, occasional discoveries of knowledge gaps result in deep dives into new, intriguing, sometimes odd, but ultimately rewarding wormholes of information. This is one of them.

(1) Wrote a few scenes involving pack horses. (2) Realized I needed to describe horse ears. (3) Several hours later... asking myself why horses are so dang complicated.

Additional Reading:

Writing Horses (article series by Judith Tarr) (Tor.com)

❯❯ Types of Horse Ears

"Cold-blooded" horses (strength, calm endurance, low-energy): fleshy ears with "blunt" tips, or, rounded ones, often covered with hairy fur, placed diagonally towards the horse's head.

"Warm-blooded" horses (high-energy, athletic, agile): lighter, thinner ears, placed vertically, with pointy tips.

Anomalous ear types ("incorrect" but not necessarily indicative of poor health or of diminished physical attributes):

Hare ears: long and narrow

Donkey ears: thick, long, and rather broad

Lop ears: flopping to the sides

Pig ears: flopping to the front

Mouse ears: short and small with rounded tips

"Some horses may be born with congenital defects that cause the ear to be shortened, curled back, or bent. Others may have sustained an injury that changed the conformation of one or both ears or has an ear infection or parasites which cause abnormal ear movement. [..] While the whole meaning of ear positioning comes with context and understanding of tail, mouth, eyes, body, and head positions (in addition to other things), there are some basic positions to know" (Open Sanctuary).

"Pay attention to the ears' "mobility"; if the horse moves his ears too much, it might speak for his temper (hyperactivity, nervousness), a complete lack of thereof might mean that the horse is deaf" (EquiShop).

Sources: Understanding Horse Body Language: Ears (Open Sanctuary); Horse Anatomy: Diagrams of Horse Body Parts (EquiShop)

❯❯ Positioning of Horse Ears

Horses' ears in a neutral position are a good sign. Neutral ears are the central position of the ear. It's held loosely upward, pointing forward, so the openings are outward. In this position, they can scan the surrounding area. If a horse is resting or generally calm, their ears may drop down to the side a bit or may even rest back and to the side a bit. Not droopy, but relaxed.

Ears forward. If a horse is feeling alert and curious, their ears will be up and forward-facing. Generally, when a horse's ears are pricked forward, it conveys that he is alert, paying attention, or interested in what is in front of him. He might be saying: "I am focused on something in front of me." "I am happy to see you." "I am interested and curious." "I am on alert."

One ear cocked back. This is often indicative of a horse that is listening to something in another direction than out front or paying attention to what is being asked of him while maintaining alertness in the direction of travel. He might be saying: "I am listening to my rider." "I am paying attention to something behind me." "There is something that has my interest to the side of me." "I am aware of things in both directions."

Horses prick their ears when startled. Pricked ears could signal the horse is startled, vigilant, alert, or interested. It is not uncommon to see pricked ears during frontal greetings. But if he stays with his ears stiff, he is likely agitated. Approach a horse with its ear pricked cautiously.

Horses with their ears extended are relaxed. A horse may have his ears extended out with the openings facing downward to the ground. When horses extend their ears and let them fall toward the side, it's usually a sign of a relaxed horse, but it could indicate he is tired or lacks interest in the world around him at the moment. Horses that extend their ears are comfortable.

Fully pinned ears are a sign of aggression. A horse pins his ears when he is threatened and or finds it necessary to exhibit anger, aggression, and dominance. He is getting ready for a fight or attack. Pinned ears refer to a horse flattening his ears back against his head, making them almost invisible. From the side, they are not seen. Flattened ears are the most aggressive signal a horse makes with his ears. It is an ancient "ear protection" posture used to protect the ears during a fight or attack. Pinned ears are a threat signal to other horses.

Pinned ears may also mean the horse is in pain. A horse may also move them restlessly back and forth if experiencing discomfort. Their ears may also droop out to the side, sometimes described as airplane ears, when depressed or in prolonged pain.

Ears turned back are an indication of fear. Turned-back ears are typically a posture indicative of a brutal owner. Sometimes when a horse is being ridden, you will notice that his ears are drooped and turned back with the openings toward the rider. This may indicate the horse is afraid of the rider. The lower posture of the ear suggests submission.

Ears turned back (not pinned) means the horse is listening to something from behind. If you are riding and his neck is tense, he may be unsure of what you are asking him to do. He may be deciding how to react to the stimuli and whether to run away or turn around and check out a sound or movement. Your horse might be saying: "How do I react?" "What is that behind me?" "I am unsure what you are asking." "I am confused." "I am nervous."

Flickering ears are a sign of stress. When you notice your horse's ears flickering, it signals stress or a heightened state of anxiety. Flickering ears typically precede stationary pricked ears when the fear turns to panic. Takes steps to calm a horse with flickering ears.

Listening back and forth. The horse is in a heightened state of alertness or anxiety. He may be trying to find the source of an unusual sound or smell or may feel overwhelmed, upset or anxious. He might be trying to say: "I don't know what to make out of that strange sound." "I am worried!" "What is that?" "How should I react?" "Fight or flight?" "How can I get away quickly?" "I may be on the verge of panic."

Droopy ears are a sign your horse is tuning out. He could be exhausted and sleepy, or he may be suffering from pain. Drooping ears are when the ears extend down on either side of the head of the horse. It is a sign that he is trying to switch off the outside world. Droopy ears can also be a sign of inferiority in a herd situation. According to researchers, the distance between the bases of the ears increases during pain incidents (because the ears tended to drop slightly down to each side of the head with a concomitant outward rotation of the ears).

Drugged ears move in an unusual motion. Certain drugs are illegal to use in competitive horse events and can be detected by paying attention to the horse's ears. Their ears will move in an unusual motion. The two most common drugs in use are varieties of stimulants or depressants.

Mobile ears are normal horse behavior. Horses are herd animals; one way they communicate with each other is through their ears. Mobile ears are the norm; horses will continuously shift the direction of their ears, picking up on new sounds.

Sources: Horses Ears: Positions and What They Mean is Revealed! (HorseRacingSense); Lend Me Your Ears: What Does Your Horse's Ear Position Tell You (Horse Illustrated); Understanding Horse Body Language: Ears (Open Sanctuary)

39 notes · View notes

withlovetohestia · 10 months

Text

tag guide posttt

#art #prayer #festivals #hymn #rituals #info #sigils #masterpost #altars #tips #research

0 notes

too-much-tma-stuff · 2 months

Text

Finally Getting Help masterpost

Soon after Danny takes two of the failed clones into his body his parents let Vlad take him to a Gala in Gotham. When the Bats clock that he is pregnant they work to get him away from Vlad, find out how and why this happened to him, and fix it.

Danny is just relieved to finally have some adults on his side, and be able to relax and focus on himself and the babies.

Part 1 - Gala and discovery

Part 2 - confronting Vlad and calling The Guy

part 3 - Research and meeting Zatana

part 4 - Raiding Amity

part 5 - Jazz and Danny reunite

part 6 - Jazz's power point

part 7- Damian and Danny bond and Jason comes back

Part 8- Jason meets Jazz

Part 9- Jason meets Danny (finally)

Part 10- Danny calls his friends

Part 11- First date (part 1)

part 12- first date (part 2)

Part 13- Danny's doctors appointment

Part 14- Jason and Danny go camping

Part 15- Vlad crashes the party

Too many people very kindly asked to be tagged so I've made a master post people can subscribe to! I will reply to this post to inform anyone subscribed about new chapters. Thank you

Please don't reply to this post!

#danny phantom #danny is pregnant au #vlad is a creep #dc x dp #fanfiction #finally getting help au #batman #trans!danny #dc stands for disregard cannon #dead on main #implied sa #bad parents jack and maddie #under age relationships

2K notes · View notes

sistertotheknowitall · 2 months

Text

Don't Take Snacks From Some Guy

Masterpost

Duke knew better than to take food from strangers. Still it was nice of the other man to offer so he kept taking them.

----

Duke watched the kid type away at his laptop. He said kid but the guy was probably a few years older the him. Still, he wasn't supposed to be on the roof of a bank, Gotham National Bank to be specific. He didn't seem to be up to anything nefarious (Duke didn't think you needed to be on the bank to hack it) but he was still on the roof a bank. A closed bank at sunrise on a Sunday.

How did he even get up there? Duke doubted that he took the stairs. Unless he worked for the bank but that didn't answer why he was on the roof.

Making a decision, Duke disappeared and made his way over. He was quiet and cautious as he went to look over the other teens shoulder. He was writing …a paper? From what Duke could read it was a research paper (‘in accordance to what the Daily Planet has stated about the city’s hero’ -).

“Could you not breathe in my ear?”

Duke flinched back and thankfully didn't make a sound. He was pretty sure he still invisible but tired eyes were staring at him - well, in his general direction. (Just to be sure Duke checked, and, yeah, still not visible.) For a moment they just sat still as Duke contemplated revealing himself. (The other could be bluffing but was it really bluffing if he was right?) The guy had known Duke was there and seemed able to at least sense his general position. He seemed annoyed but not violent. It was also clear that he definitely was not committing cyber crime unless the paper was code. (Could it be code?)

Continuing with caution Duke made himself visible and shifted awkwardly, “um, hi, I’m Signal -”

The other boy had turned back to his computer, appearing to read over what he had written. “You were almost pressed against me, dude.”

Duke blushed, a little embarrassed, “right, sorry, I was just trying to see what you were doing.”

“I'm Danny and I was not hacking the bank, I promise.”

“Okay?”

Duke continued to watch Danny as he finished reading and closed the laptop. Standing Danny stretched and started putting the computer away. Duke had winced at the popping of his spine. “So what are you doing up here?”

Shouldering his bag Danny told him, “writing about the sociological impact of superheroes vs vigilantes, or do you not know how to read?”

Duke contemplated still arresting the man. He could still get him for loitering or trespassing or something. “No, I got that - “

“Did you?”

Ignoring the snippy remark Duke continued and asked “why are you writing on top of the bank? How did you even get up here?”

“The public library’s wifi is awful and this bank has a public password.”

Duke blinked, “you're up here at sunrise for the wifi?”

“Yeah.”

"…….."

“So… think you could help me get down?”

----

Once back on solid ground Danny had held out a chocolate bar. Duke stared in confusion before realizing it was an offering, “oh thanks, but -” Danny sighed, grabbed Duke's wrist and forced the candy into his hand. Letting go, Danny had patted the vigilante on the shoulder, muttered his thanks and walked off.

Duke watched him go around the corner before considering the chocolate. While the guy hadn't been anything other than a little snarky and rude, Duke wasn't going to eat something a stranger gave him. Even if you didn't grow up in Gotham, accepting food from strangers was not wise. Duke knew this.

So he had taken the candy bar back to the cave for analysis.

Upon their seconf meeting nearly a week later Danny had been a lot more cheerful and had apologized to Duke for being grumpy. He then handed him a banana and left. Duke continued to run into Danny on roof tops, fire escapes, and once outside the entrance to a cemetery and while he wasn’t always in a talkative mood when they met (sometimes he would just walk by Duke, shoving food into his hands as he passed) he was always sure to give him something. Duke didn't know what to make of this but he was understandably careful. The banana had been tested like the chocolate, so had the fruit snacks, the granola bar, and the apple. All came back clean.

It was a few days after the apple was cleared that the bats had come to the conclusion that Danny was not a threat. So when Duke was handed a donut on a stressful Tuesday, he ate it gratefully. Danny had seemed pleased that Duke continued to take the treats and Steph was always happy to eat what Duke didn’t.

Post 5

#I dont think I write dialogue well #anyway #here's this #batman #batfamily #danny phantom #dcxdp #dc x dp #danny is just some guy #dp x dc #dp crossover #dpxdc #dp x dc crossover #dc

2K notes · View notes

v-hellenicpolytheist · 1 year

Text