𓅨 Sleepy Bitch Syndrome: Chapter Seven

helpful sites for writers

i have a little collection of websites i tend to use for coming up with ideas, naming people or places, keeping clear visuals or logistics, writing basics about places i've never been to, and so on. i tend to do a lot of research, but sometimes you just need quick references, right? so i thought i'd share some of them!

Behind the Name; good for name meanings but also just random name ideas, regardless of meanings.

Fantasy Name Generator; this link goes to the town name generator, which i use most, but there are lots of silly/fun/good inspo generators on there!

Age Calculator; for remembering how old characters are in Y month in Z year. i use this constantly.

Height Comparison; i love this for the height visuals; does character A come up to character B's shoulder? are they a head taller? what does that look like, height-wise? the chart feature is great!

Child Development Guide; what can a (neurotypical, average) 5-year-old do at that age? this is a super handy quickguide for that, with the obviously huge caveat that children develop at different paces and this is not comprehensive or accurate for every child ever. i like it as a starting point, though!

Weather Spark; good for average temperatures and weather checking!

Green's Dictionary of Slang; good for looking up "would x say this?" or "what does this phrase mean in this context?" i love the timeline because it shows when the phrase was historically in use. this is english only, though; i dig a little harder for resources like this in other languages.

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What’s writing, you know? What does writing actually mean?

Tag your villain!

I hate to say this, and like, rain on everyone’s parade, but after scrolling past three posts about it on a writing tag …

If you are looking up synonyms to exchange words out in your story with the purpose of sounding smarter, more sophisticated, or complicated to your reader, you are probably abusing the thesaurus.

Now, if you *want* to do this, I mean, you can write whatever or however you want! But I just want you to know that this is frowned upon if you are trying to write at a professional level.

I have an old article on this somewhere …

If you want to look at the original article…

https://www.septembercfawkes.com/2018/08/how-to-use-thesaurus-properly.html

septembercfawkes.com

How to use the Thesaurus Properly

Some authors say to never use a thesaurus. But guess what? I use one all the time. Why do some authors say that? Because a lot of people in

Let's talk about killing off characters.

Killing off characters is a dramatic device often used to advance the plot, create tension, or evoke emotional responses from readers or viewers. We love doing it. The initial shock, the mourning after. The effects of it on the other characters. It's fun.

Nevertheless, you can still achieve the desired impact on your plot and characters without necessarily resorting to fictional murder.

Here are some alternatives to drive the plot forward:

Character Transformation: Instead of killing off a character, you can have them undergo significant personal growth or change. This could involve overcoming challenges, facing moral dilemmas, or undergoing a shift in beliefs or values. Their transformation can still drive the plot forward and impact other characters. (I especially love it when the transformation is negative—like when a traumatic experience of some sort completely strips a character of their soul. But that's a sentiment for another day.)

Betrayal or Conflict: Introduce betrayal or conflict between characters that challenges relationships and creates tension. This can lead to significant plot developments and character arcs without resorting to death. And it can be cause for quite a lot of angst.

Separation or Estrangement: Have characters physically or emotionally separated from each other, causing tension and driving the plot forward as they strive to reconnect or deal with the consequences of their estrangement.

Sacrifice without Death: Characters can make significant sacrifices that don't necessarily involve their death. This could be sacrificing personal goals, relationships, or values for the greater good or to achieve a specific objective.

Injury or Disability: Instead of killing off a character, you can incapacitate them through injury or disability. This will create challenges for the character and those around them, leading to character development and plot progression as they're forced to adapt to their new circumstances.

Redemption Arcs: Characters who have committed wrongdoings can undergo redemption arcs where they seek forgiveness, make amends, or strive to become better individuals. This can drive the plot forward while also adding depth to the character. Keep in mind that this may not be a suitable alternative to death for some characters—for instance, the protagonist forgiving their abusive parent despite all they were forced to go through may evoke a sense of indignation rather than admiration for their supposed selflessness.

Revelations or Secrets: Introduce revelations or uncover secrets that have significant impacts on characters and their relationships. This can lead to conflict, tension, and plot twists without the need for death.

Forced Alliances or Unexpected Partnerships: Characters can be forced into alliances or partnerships with unlikely allies, leading to interesting dynamics and plot developments as they navigate these new relationships.

Loss of Power or Status: Characters can experience a loss of power, status, or reputation, which can drive the plot forward as they strive to regain what they've lost, seek revenge on those responsible, or adapt to their new circumstances.

Time Constraints or Pressure: Introduce time constraints or pressure situations that force characters to act quickly and make difficult, split-second decisions that may end up being quite regrettable later on. This can raise conflicts of who's to blame, or what should have been done.

I feel like I strayed off a little, but there you have it. Hope this was helpful! ❤

Promises Three: Subtle Dreaming

Dark!Morpheus x (female)reader, fantasy/medieval AU, 18+

Master List

Dream of the Endless had been promised a bride.

Chapter track: Rainbow - The Temple of the King - Algal the Bard

It has been... a rough couple weeks. But I'm back! Hope you enjoy! Your comments and questions mean the world! Special thanks to all you lovely rebloggers! I'm still trying to figure out how to respond without essentially reposting half a dozen times, but I see you, you make my week!

Subtle Dreaming

A knock on the door disturbed her work. It was an hour past midnight, when all but the youngest servants and ardent lovers had retired to their beds with heads full of dreams, a time a wandering mice and cat’s work.

But she wasn’t surprised, even less when she opened the door of her windowless chamber to find a young lady in her nightdress, wrapped in a shawl with wary hope in her eyes and a candle in her hand. Alis Everard. The youngest of a large family, and the only child still unmarried – and a child she was, barely thirteen, and of all the reasons the bard hated the king of Meiren, summoning such young suitors for his Endless guest might be the greatest. Her face hadn’t quite lost childhood’s rounded cheeks, and the seams on her nightgown had recently been let out after a growth spurt.

“I see your father is impatient,” the bard said. Wrapped in her own shawl over her own nightgown, she felt more than ever the noble’s equal. After such a long life, she understood better than most how little rank protected one from life and how much a peasant’s child was like a queen’s. She was the girl’s elder by far, but she’d been young once, and what youth didn’t go sneaking down corridors in the dark during their first trip to court?

“He bid me seek your counsel. May I come in?”

Stepping back, she ushered the girl into her sparse little room. “Of course.”

Once the girl was through, she moved to close the door, but a slippered foot darted through the gap to block it. “Not so quicky!”

The foot neatly kicked the door back open as the bard released it, and a young woman – who was, at least, properly a woman – swept by in a dressing gown of satin and a riot of chestnut curls. “I enjoy midnight jaunts, but not being spied on one.”

The bard did her very best not to smile, but failed entirely. She knew this late guest as well. Eilwyn Alder. The third generation in her family the bard had befriended, and she sat next to little Alis on the bed with the casual grace of someone entitled to it.

“My grandmother sent me for your thoughts, though I’m sure she’ll collect them for herself tomorrow. But I am a dutiful granddaughter, so here I am.” She blinked doe eyes as the door finally fell shut, poised and perfect coquettish grace. “So, what news? Or will I lose my beauty sleep for nothing?”

Pulling out a stool from beneath her tiny desk, the bard said, “I haven’t spent an hour in his presence, and I’ve had a long ride, so forgive me if I haven’t yet taken the full measure of the king’s guest and his schemes.”

Alis wriggled on the bed, twisting her hands up in her shawl. Her eyes bounced between shadows, looking for threats like the Dream Lord’s nightmares might crawl out of the walls to exact vengeance for some imagined slight. Not that they couldn’t, but the bard assumed Lord Morpheus had better things to do with his time than torment one overwrought teenager who didn’t want to marry him.

“What if he eats his bride on the wedding night? Like the Lindworm?”

Eilwyn scoffed, and the bard donned a gentle smile, even if she couldn’t keep the laugher from her voice.

“He’s Endless, not a dragon.”

“What does that mean?”

“Means you’d be better off with a dragon.”

The child curled into the corner of the bed, sinking into the blankets with her shawl swallowing the lower half of her face. Looking for comfort where her companions’ mirth had failed. The bard reached over to pat her knee, taking the opportunity to change the subject. “Honestly dragons aren’t so bad. One of my patrons is a dragon, you know. I was attending my yearly visit to his lair when your great, worried, noble parents called for me.”

A whisper of a promised story lured Alis’s eyes away from visions of doom. She glanced at Eilwyn, like she’d confirm the tale. The older girl gladly took up the role of expert.

“Everyone knows that,” she sniffed.

“Is it…” Alis mulled over the idea, confusing herself with her own bevy of questions. “Is it a… nice dragon?”

“These days he is. But he wasn’t always.”

The hook snared Alis’s attention, and her posture softened, though she didn’t leave the corner of the little bed. In fact, she made herself more comfortable, settling like a kitten, and a stab of rage that anyone thought this little girl ought to be considered as a wife seared through the gathering strands of the bard’s story.

She took a blanket and settled it over the child as she began to speak, shielding her from a king’s machinations, a world too big for little hands, and prying eyes.

.O.O.O.

Dream of the Endless retired to the chambers the King set aside for his use, though he had little use for them at all. He would not sleep. He had no intention of entertaining in the parlor, or writing missives at the richly appointed desk. There was no book on the shelves he did not already possess, and he left the food prepared for him to grow cold and stale on the table.

He did sip the wine, and in the darkest hours he found his amusement in wandered the sleeping minds of the castle. Boredom drove him. Cruelty, even. Vengeance called for the king to atone for his wounded pride, and the decade since the human’s error only gave Dream time to image new and wondrous torments. He wanted to watch the king’s schemes crumble in the dread nightmares prowling the would-be suitors’ dreams. He enjoyed the seeds of hate planted in parents’ hearts, the doubt in subjects who’d been nothing but loyal until this gathering.

The king’s story would be a horror, a kind of tragedy that left wounds in his lands and subjects the turn of generations would not heal. These seven days would be the fuse, a prologue to terror and loss. A lesson none would soon forget, lest they bring such punishment on their own loves.

He drifted, savoring the fears he would shape to his own ends. Until words snared his attention. A half-heard tale of a dragon spinning through recent memories of a soft touch and a smile in the face of inescapable dread.

He found a young mind loosely tethered to the Dreaming, caught in the tides running between the conscious and subconscious, where words and images of the Waking cast strange reflections in the fading thoughts before sleep. She led him to a plain, simple room deep in the castle. A place for high-ranking members of staff, perhaps. Utilitarian and uninspiring. Not a place this noble child belonged. But she was not alone, and as she dozed, Dream borrowed her senses.

Voices. One he recognized. The bard the king so detested. He knew her as he knew all dreamers, and he sensed his sister’s touch upon her.

She spoke of him.

“He’s the Prince of Stories. A bride market is beneath him. This is how political unions for picky lords looking for pretty faces are arranged, not how one of the most powerful creatures to ever live seeks a partner,” the bard said.

She was not wrong, of course. The story weaver spied the loose strings in the tale, the ragged ends that did not match, though she had yet to understand the pattern he wove.

“Whatever he wants, it isn’t love or a warm body in his bed. There’s something else. I just have to figure out if that something is a danger to any of you.”

So, loyalty did grow in the king’s court. Just not to the monarch. Dream felt the peace the bard’s presence brought the dreamer half-snared in her sleep. A quiet, sure thing. The confidence children had in oak trees their parents and grandparents climbed when they were young.

The other voice in the room did not speak as a child. This one was old enough for caution, and it worried for the old oak as well as those who sheltered beneath.

“To us, I should think.”

Did the bard not fear him? Had she stood outside as the storyteller for so long she’d forgotten she could be part of them as well?

“Whatever happens, dear, I’ll survive it.” Her only worry was for those she perceived as in her care. The children of children she’d watched grow. A touch carried through the dreamer’s skin and into their subconscious, a kind voice leading her back to the Waking. “It isn’t time to sleep yet. You must return to your room…”

The fragile link collapsed, and the bridge between the servants’ quarters and the noble guest room dissolved.

Lord Morpheus, Dream of the Endless, sat in his darkened chambers in the court of a damned king, and thought as he sipped from his wine that he would enjoy seeing the bard at work. He must amuse himself for seven days, after all, until the time of the agreement ran out, and she was a surprising creature.

The most surprising he’d seen in some time.

Horses: Since There Seems To Be A Knowledge Gap

I'm going to go ahead and preface this with: I comment pretty regularly on clips and photos featuring horses and horseback riding, often answering questions or providing explanations for how or why certain things are done. I was a stable hand and barrel racer growing up, and during my 11 year tenure on tumblr, Professional Horse Commentary is a very niche, yet very necessary, subject that needs filling. Here are some of the literary and creative gaps I've noticed in well meaning (and very good!) creators trying to portray horses and riding realistically that... well, most of you don't seem to even be aware of, because you wouldn't know unless you worked with horses directly!

Some Of The Most Common Horse + Riding Mistakes I See:

-Anybody can ride any horse if you hold on tight enough/have ridden once before.

Nope. No, no, no, no, aaaaaaaand, no. Horseback riding has, historically, been treated as a life skill taught from surprisingly young ages. It wasn't unusual in the pre-vehicular eras to start teaching children as young as 4 to begin to ride, because horses don't come with airbags, and every horse is different. For most adults, it can take months or years of regular lessons to learn to ride well in the saddle, and that's just riding; not working or practicing a sport.

Furthermore, horses often reject riders they don't know. Unless a horse has been trained like a teaching horse, which is taught to tolerate riders of all skill and experience levels, it will take extreme issue with having some random person try to climb on their back. Royalty, nobility, and the knighted classes are commonly associated with the "having a favorite special horse" trope, because it's true! Just like you can have a particularly special bond with a pet or service animal that verges on parental, the same can apply with horses. Happy horses love their owners/riders, and will straight-up do their best to murder anyone that tries to ride them without permission.

-Horses are stupid/have no personality.

There isn't a more dangerous assumption to make than assuming a horse is stupid. Every horse has a unique personality, with traits that can be consistent between breeds (again, like cat and dog breeds often have distinct behavior traits associated with them), but those traits manifest differently from animal to animal.

My mother had an Arabian horse, Zipper, that hated being kicked as a signal to gallop. One day, her mom and stepdad had a particularly unpleasant visitor; an older gentleman that insisted on riding Zipper, but refused to listen to my mother's warnings never to kick him. "Kicking" constitutes hitting the horse's side(s) with your heels, whether you have spurs on or not. Most horses only need a gentle squeeze to know what you want them to do.

Anyway, Zipper made eye-contact with my mom, asking for permission. He understood what she meant when she nodded at him. He proceeded to give this asshole of a rider road rash on the side of the paddock fence and sent him to the emergency room. He wouldn't have done it if he didn't have the permission from the rider he respected, and was intelligent enough to ask, "mind if I teach this guy a lesson?" with his eyes, and understand, "Go for it, buddy," from my mom in return.

-Riding bareback is possible to do if you hold onto the horse's mane really tight.

Riding a horse bareback (with no saddle, stirrups, or traditional harness around the horse's head) is unbelievably difficult to learn, particularly have testicles and value keeping them. Even professional riders and equestrians find ourselves relying on tack (the stuff you put on a horse to ride it) to stay stable on our horses, even if we've been riding that particular horse for years and have a very positive, trusting relationship.

Horses sweat like people do. The more they run, the more their hair saturates with sweat and makes staying seated on them slippery. Hell, an overworked horse can sweat so heavily that the saddle slips off its back. It's also essential to brush and bathe a horse before it's ridden in order to keep it healthier, so their hair is often quite slick from either being very clean or very damp. In order to ride like that, you have to develop the ability to synchronize your entire body's rhythm's with the rhythm of the horse's body beneath you, and quite literally move as one. Without stirrups, most people can't do it, and some people can never master bareback riding no matter how many years they spend trying to learn.

-You can be distracted and make casual conversation while a horse is standing untethered in the middle of a barn or field.

At every barn I've ever worked at, it's been standard practice with every single horse, regardless of age or temperament, to secure their heads while they're being tacked up or tacked down. The secures for doing this are simple ropes with clips that are designed to attach to the horse's halter (the headwear for a horse that isn't being ridden; they have no bit that goes in the horse's mouth, and no reins for a rider to hold) on metal O rings on either side of the horse's head. This is not distressing to the horse, because we give them plenty of slack to turn their heads and look around comfortably.

The problem with trying to tack up an unrestrained horse while chatting with fellow stable hands or riders is that horses know when you're distracted! And they often try to get away with stuff when they know you're not looking! In a barn, a horse often knows where the food is stored, and will often try to tiptoe off to sneak into the feed room.

Horses that get into the feed room are often at a high risk of dying. While extremely intelligent, they don't have the ability to throw up, and they don't have the ability to tell that their stomach is full and should stop eating. Allowing a horse into a feed/grain room WILL allow it to eat itself to death.

Other common woes stable hands and riders deal with when trying to handle a horse with an unrestrained head is getting bitten! Horses express affection between members of their own herd, and those they consider friends and family, through nibbling and surprisingly rough biting. It's not called "horseplay" for nothing, because during my years working with horses out in the pasture, it wasn't uncommon at all for me to find individuals with bloody bite marks on their withers (that high part on the middle of the back of their shoulders most people instinctively reach for when they try to get up), and on their backsides. I've been love-bitten by horses before, and while flattering, they hurt like hell on fleshy human skin.

So, for the safety of the horse, and everybody else, always make a show of somehow controlling the animal's head when hands-on and on the ground with them.

-Big Horse = War Horse

Startlingly, the opposite is usually the case! Draft and carriage horses, like Percherons and Friesians, were never meant to be used in warfare. Draft horses are usually bred to be extremely even-tempered, hard to spook, and trustworthy around small children and animals. Historically, they're the tractors of the farm if you could afford to upgrade from oxen, and were never built to be fast or agile in a battlefield situation.

More importantly, just because a horse is imposing and huge doesn't make it a good candidate for carrying heavy weights. A real thing that I had to be part of enforcing when I worked at a teaching ranch was a weight limit. Yeah, it felt shitty to tell people they couldn't ride because we didn't have any horses strong enough to carry them due to their weight, but it's a matter of the animal's safety. A big/tall/chonky horse is more likely to be built to pull heavy loads, but not carry them flat on their spines. Horses' muscular power is predominantly in their ability to run and pull things, and too heavy a rider can literally break a horse's spine and force us to euthanize it.

Some of the best war horses out there are from the "hot blood" family. Hot blooded horses are often from dry, hot, arid climates, are very small and slight (such as Arabian horses), and are notoriously fickle and flighty. They're also a lot more likely to paw/bite/kick when spooked, and have even sometimes been historically trained to fight alongside their rider if their rider is dismounted in combat; kicking and rearing to keep other soldiers at a distance.

-Any horse can be ridden if it likes you enough.

Just like it can take a lifetime to learn to ride easily, it can take a lifetime of training for a horse to comfortably take to being ridden or taking part in a job, like pulling a carriage. Much like service animals, horses are typically trained from extremely young ages to be reared into the job that's given to them, and an adult horse with no experience carrying a rider is going to be just as scared as a rider who's never actually ridden a horse.

Just as well, the process of tacking up a horse isn't always the most comfortable experience for the horse. To keep the saddle centered on the horse's back when moving at rough or fast paces, it's essential to tighten the belly strap (cinch) of the saddle as tightly as possible around the horse's belly. For the horse, it's like wearing a tight corset, chafes, and even leaves indents in their skin afterward that they love having rinsed with water and scratched. Some horses will learn to inflate their bellies while you're tightening the cinch so you can't get it as tight as it needs to be, and then exhale when they think you're done tightening it.

When you're working with a horse wearing a bridle, especially one with a bit, it can be a shocking sensory experience to a horse that's never used a bit before. While they lack a set of teeth naturally, so the bit doesn't actually hurt them, imagine having a metal rod shoved in your mouth horizontally! Unless you understand why it's important for the person you care about not dying, you'd be pretty pissed about having to keep it in there!

-Horseback riding isn't exercise.

If you're not using every muscle in your body to ride with, you're not doing it right.

Riding requires every ounce of muscle control you have in your entire body - although this doesn't mean it wasn't realistic for people with fat bodies to stay their weight while also being avid riders; it doesn't mean the muscles aren't there. To stay on the horse, you need to learn how it feels when it moves at different gaits (walk, trot, canter, gallop), how to instruct it to switch leads (dominant legs; essential for precise turning and ease of communication between you and the horse), and not falling off. While good riders look like they're barely moving at all, that's only because they're good riders. They know how to move so seamlessly with the horse, feeling their movements like their own, that they can compensate with their legs and waists to not bounce out of the saddle altogether or slide off to one side. I guarantee if you ride a horse longer than 30 minutes for the first time, your legs alone will barely work and feel like rubber.

-Horses aren't affectionate.

Horses are extraordinarily affectionate toward the right people. As prey animals, they're usually wary of people they don't know, or have only recently met. They also - again, like service animals - have a "work mode" and a "casual mode" depending upon what they're doing at the time. Horses will give kisses like puppies, wiggle their upper lips on your hair/arms to groom you, lean into neck-hugs, and even cuddle in their pasture or stall if it's time to nap and you join them by leaning against their sides. If they see you coming up from afar and are excited to see you, they'll whinny and squeal while galloping to meet you at the gate. They'll deliberately swat you with their tails to tease you, and will often follow you around the pasture if they're allowed to regardless of what you're up to.

-Riding crops are cruel.

Only cruel people use riding crops to hurt their horses. Spurs? I personally object to, because any horse that knows you well doesn't need something sharp jabbing them in the side for emphasis when you're trying to tell them where you want them to go. Crops? Are genuinely harmless tools used for signalling a horse.

I mean, think about it. Why would crops be inherently cruel instruments if you need to trust a horse not to be afraid of you and throw you off when you're riding it?

Crops are best used just to lightly tap on the left or right flank of the horse, and aren't universally used with all forms of riding. You'll mainly see crops used with English riding, and they're just tools for communicating with the horse without needing to speak.

-There's only one way to ride a horse.

Not. At. All. At most teaching ranches, you'll get two options: Western, or English, because they tend to be the most popular for shows and also the most common to find equipment for. English riding uses a thinner, smaller saddle, narrower stirrups, and much thinner bridles. I, personally, didn't like English style riding because I never felt very stable in such a thin saddle with such small stirrups, and didn't start learning until my mid teens. English style riding tends to focus more on your posture and deportment in the saddle, and your ability to show off your stability and apparent immovability on the horse. It was generally just a bit too stiff and formal for me.

Western style riding utilizes heavier bridles, bigger saddles (with the iconic horn on the front), and broader stirrups. Like its name may suggest, Western riding is more about figuring out how to be steady in the saddle while going fast and being mobile with your upper body. Western style riding is generally the style preferred for working-type shows, such as horseback archery, gunning, barrel racing, and even rodeo riding.

-Wealthy horse owners have no relationship with their horses.

This is loosely untrue, but I've seen cases where it is. Basically, horses need to feel like they're working for someone that matters to them in order to behave well with a rider and not get impatient or bored. While it's common for people to board horses at off-property ranches (boarding ranches) for cost and space purposes, it's been historically the truth that having help is usually necessary with horses at some point. What matters is who spends the most time with the animal treating it like a living being, rather than a mode of transport or a tool. There's no harm in stable hands handling the daily upkeep; hay bales and water buckets are heavy, and we're there to profit off the labor you don't want or have the time to do. You get up early to go to work; we get up early to look after your horses. Good owners/boarders visit often and spend as much of their spare time as they can with spending quality work and playtime with their horses. Otherwise, the horses look to the stable hands for emotional support and care.

So, maybe you're writing a knight that doesn't really care much for looking after his horse, but his squire is really dedicated to keeping up with it? There's a better chance of the horse having a more affectionate relationship with the squire thanks to the time the squire spends on looking after it, while the horse is more likely to tolerate the knight that owns it as being a source of discipline if it misbehaves. That doesn't mean the knight is its favorite person. When it comes to horses, their love must be earned, and you can only earn it by spending time with them hands-on.

-Horses can graze anywhere without concern.

This is a mistake that results in a lot of premature deaths! A big part of the cost of owning a horse - even before you buy one - is having the property that will be its pasture assessed for poisonous plants, and having those plants removed from being within the animal's reach. This is an essential part of farm upkeep every year, because horses really can't tell what's toxic and what isn't. One of the reasons it's essential to secure a horse when you aren't riding it is to ensure it only has a very limited range to graze on, and it's your responsibility as the owner/rider to know how to identify dangerous plants and keep your horses away from them.

There's probably more. AMA in my askbox if you have any questions, but that's all for now. Happy writing.