Hey! I'm David Peterson, And A Few Years Ago, I Wrote A Book Called Create Your Own Secret Language.

Hey! I'm David Peterson, and a few years ago, I wrote a book called Create Your Own Secret Language. It's a book that introduces middle grade readers to codes, ciphers, and elementary language creation. The age range is like 10-14, but skews a little bit older, as the work gets pretty complicated pretty quick. I think 12-13 is the best age range.

Anyway, I decided to look at the Amazon page for it a bit ago, and it's rated fairly well (4.5 at the moment), but there are some 1 star reviews, and I'm always curious about those. Usually they're way off, or thought the book was going to be something different (e.g. "This book doesn't teach you a thing about computer coding!"), but every so often there's some truth in there. (Oh, one not 1 star but lower rated review said they gave it to their 2nd grader, but they found it too complicated. I appreciate a review like that, because I am not at all surprised—I think it is too complicated for a 2nd grader—and I think a review like that is much more effective than a simple 10+ age range on the book.) The first 1 star rating I came to, though, was this:

Inappropriate secret messages: This largely uses the theme of a girl's secret crush on another girl for examples of secret messages, and how to make secret codes. This is not just one example in the book. It is pages and pages of the topic. I wish we could keep all sexuality and controversial topics out of children's books. If this is something you are concerned about as a parent I would not purchase this book.

Now calling a completely mild description of a teenage girl who has a crush on another girl controversial is something I take exception to, but I don't want to pile on this person. Instead I wanted to share how this section came to be in the book.

The book is essentially divided into four parts. The first three parts deal with different ciphers or codes that become more complicated, while the last part describes elementary language creation. The first three sections are each built around a message that the reader can decode, but with language creation, the possibilities are too numerous and too complicated, so there isn't an example to decode, or anything. It would've been too difficult.

For what the messages to decode are about, though, I could do, potentially, anything, so at first I thought to tie them into a world of anthropomorphic animals (an ongoing series of battles between cats and mice), with messages that are being intercepted and decoded. My editor rejected that. Then I redid it so that each section had an individual story that had to do with some famous work of literature. My editor rejected that as well. He explained that it needed to be something that was relevant to kids of the target age range. I was kind of at a loss, for a bit, but then I thought of a story of kids sending secret messages about their uncle who eats too many onions. I shared that, my editor loved it, and I was like, all right. I can do this.

The tough part for me in coming up with mini-stories to plan these coded messages around was coming up with a reason for them to be secret. That's the whole point of a code/cipher: A message you want to be sure no one else but the intended recipient can read in case the message is intercepted. With the first one, two kids are poking gentle fun at a family member, so they want to be sure no one else can read what they're writing. For the last one, a boy is confessing to a diary, because he feels bad that he allowed his cat to escape, but no one knows he did it (he does find the cat again). For the other, I was trying to think of plausible message-sending scenarios for a preteen/teen, and I thought of how we used to write notes in, honestly, 4th and 5th grade, but I aged it up a bit, and decided to have a story about a girl writing a note to her friend because she has a crush on another girl, and wants her friend's opinion/help.

Here's where the point of sharing this comes in. As I had originally written it, the girl's note to her friend was not just telling her friend about her crush, it was also a coming out note, and she was concerned what her parents would react poorly.

Anyway, I sent that off with the rest of my draft, and I got a bunch of comments back on the whole draft (as expected), but my editor also commented on that story, in particular. Specifically, he noted that not every LGBTQ+ story has to be a coming out story, the part about potential friction between her and her parents because of it was a little heavy for the book, and, in general, not every coming out story has to be traumatic.

That was all he said, but I immediately recognized the, in hindsight, obvious truth of all three points, and I was completely embarrassed. I changed it immediately, so that the story beats are that it's a crush, she's not sure if it'll be reciprocated, and she's also very busy with school and band and feels like this will be adding even more busy-ness to her daily life as a student/teen. Then I apologized for making such a blunder. My editor was very good about it—after all, that's what drafts and editors are for—and that was a relief, but I'm still embarrassed that I didn't think of it first.

But, of course, this is not my lived experience, not being a member of the LGBTQ+ community. This is the very reason why you have sensitivity readers—to provide a vantage point you're blind to. In this case, I was very fortunate to have an editor who was thinking ahead, and I'm very grateful that he was there to catch it. That editor, by the way, is Justin Krasner.

One reason I wanted to share this, though, is that while it always is a bit of a difficult thing to speak up, because there might be a negative reaction, sometimes there is no pushback at all. Indeed, sometimes the one being called out is grateful, because we all have blindspots due to our own lived experiences. You can't live every life. For that reason, your own experience will end up being valuable to someone at some point in time for no other reason than that you lived it and they didn't. And, by the by, this is also true for the present, because the lives we've lived cause us to see what's going on right before our eyes in different lights.

Anyway, this is a story that wouldn't have come out otherwise, so I wanted to be sure to let everyone know that Justin Krasner ensured that my book was a better book. An editor's job is often silent and thankless, so on Thanksgiving, I wanted to say thank you, Justin. <3

Worldbuilding and Magic Systems: Things to Consider

Have a magic system in mind for your fantasy world? Here's a list of things to consider to help you tie this system into the rest of your worldbuilding, so that it feels more believable and realistic.

Source

What is the source of magic? Is it natural or man-made? Can humans use magic or is it a force of nature that only animals or other races can use?

Does magic originate from inside a person or does it require external items to use? If it comes from items, can the items be made? How long does it take to make the items?

Does the magic cost anything- money, stamina, health, etc.?

Can a person be cut off from being able to use magic? If so, how?

Prevalence

How common is magic in your world? Is it so common that everyone has seen it or is it a subject of myths and rumors?

How long have the people in your world known about magic? Has it always been there or is it a new discovery?

How much does the average person know about magic? How much do experts know? What do people not understand about this magic? Are there any common misconceptions? Myths?

Is magic revered or feared? Or if it's common, is it taken for granted? Are there any taboos surrounding magic?

How many types of magic are there? Are some more common than others?

Are there dedicated schools of thought surrounding the study of magic? Is it taught about in schools? If so, is it taught to children or only at the college (or equivalent) level?

Accessibility

Who can use magic? Who can't? Is it something that only the rich and powerful can use? Why? Or do genetics determine who can use it? Wealth?

Are there any physical limitations that might restrict who can use magic? For instance, maybe old or sickly people can't use magic because it requires a lot of physical effort. Does your society provide accommodations for people who can't use magic? Is a lack of magic ability considered a disability?

Does education level determine capacity for magic?

How easy is it to gain access to magic? How easy is it to learn about magic?

Power/Usefulness

How powerful or useful is magic for different parts of society? Military? Medicine? Entertainment? Art? Childcare? Government? Communication? Business?

How does magic affect the politics of your world? How does it shape the economy? Are there feuds over the use of magic? Do powerful groups in your world have an incentive to limit the use and accessibility of magic? Why?

What happens when people no longer have access to magic? Does this cripple their ability to go through their daily lives? How?

Mix, match, and cross-reference these with other elements of your worldbuilding to form a believable magic system that lives and breaths just as the rest of your world does. For every answer you give to the questions above, consider and build upon the implications of what that might mean for your world. A worldbuilder's best skill is the ability to ask "How will this affect ___?" So make sure you're always considering the ripple effects of each element you add to your world.

Happy worldbuilding y'all!

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48lexr

2 months ago

every time i see someone call kirk and spock the oldest ship, i'm filled with the urge to go "hmm actually the holmes and watson girlies have been here for a hundred years now", and i refrain because i know the natural conclusion of this game is gilgamesh and enkidu

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48lexr

11 months ago

Please Reblog is Your Blog is Safe for Non-Binary People.

If my mutuals can’t rb this then we can’t be mutuals

Introduction to the Heroes of Meiste

I will post later about my writing progress today, too, don't worry. But right now, I thought I'd introduce the concept of Heroes in Meiste, how they relate to religion and politics, and introduce a few of them, along with their Guardians.

Before I get too deep into the weeds, every person's magic is also their soul in Meiste. Without their soul, their body and cognitive function can stay alive, but it's greatly decreased. (Foreshadowing...)

What even is a Hero?

Tl;dr: The most powerful six magic users are Heroes.

A Hero is a human who is a vessel for the rapid generation and usage of magic. Since there are only six magic types, there are only six Heroes-one for each magic type. These six, along with the Seventh Hero, Meiste itself, make up the Seven Heroes. Each Hero also has a Guardian who necessarily protects them.

Several Heroes are already known about: the Hero of Life, the Hero of Language, and the Hero of Earth. The other three remain (mostly) a mystery.

Introducing Three Heroes

Eheste Lozerief - Hero of Earth (or Meistezon)

she/her (Ipol: prijv/pijf)

"Meiste," translated as Earth, encompasses much more than just dirt in Zispoel. It also translates to the "physical" realm, where we as people reside. The (probably) Euclidean space where we type on keyboards and waste hours behind our cell phones.

Eheste Lozerief, known as Dr. Este, can manipulate space. She keeps her black pick-up truck on her keychain when she's not using it, for example. And she can teleport. Her mood is kind-of hit-or-miss when dealing with her, and while she does okay as a follower most of the time, she can only let her own needs get walked-over so much before she explodes.

Her Guardian: Tev, (or the Sensonif)

she/her (Ipol: prijv/pijf)

Sensonif literally means 'monster' in Ipol, by the way, and while her stature may be monstrous (fifty-foot tall lava-monster lady), her demeanor is anything but! She's warm-hearted (pun!) and fun.

She's one of four ancient beings called the Elementals (which aren't very relevant to the story.) She lives in a volcano and takes care of the village at the base of her volcano.

Those two end up dating each other post-canon.

In Iziser - Hero of Cognition (or Emeistezon)

he/him (Ipol: por/piste)

"Emeiste" literally means 'not-real,' so it could be translated as 'unreal,' but that may be a bit reductive. "Emeiste" encompasses everything that isn't real, but still exists. A prime example of this is the entire field of quantum physics and the wave functions that codify it. As a result, Izi can, himself, exist in a quantum superposition at will.

Izi is more assertive than Lozerief, but not quite as crabby as she can be. He and Lozerief bond over their shared nerddom, however, since they're both super interested in magic theory.

His Guardian: Pejemer

she/her

Pejemer is a seven-foot-tall swordswoman with ashen-colored goat-like horns and a sword so thin it can cut through anything. She's been wielding it for 1,100 years. Her species is also not human, like all Guardians. Instead, she's a Tawoo.

Pejemer is much more like Tev: easygoing, lighthearted, and fun. But Pejemer is more relaxed than the energetic Tev.

Hotautebz Az - Hero of Mind (or Ezispoerizon)

they/them (Ipol: pir, pirij)

"Ezisperizon" literally means "not-language," so it pretty much encompasses the subconscious. Hota, then, can control the subconscious. They can speak telepathically, influence a person's feelings, plant thoughts in their mind, or even take control of another person's mind!

They're far too timid to do any of that, though. They're six-foot-four, capable of mass-manipulation, and wouldn't hurt a fly-even if their life depended on it.

Their Guardian: Luwzrij

she/her

Luwzrij is a swamp fairy, a kind of humanoid with wings that's one of the four types of fairies, and Luwzrij is from the swamps of Eastern Zeneste. She's outgoing and charismatic, but rather clumsy (including downright destructive.)

Conclusion

Only Iziser and Lozerief are introduced by the end of Part One, but Hota is introduced very early in Part Two. None of their Guardians are present until halfway through the novel (Part Three.)

Some tips for using a few words to describe voices:

1. Tone Words: Use tone words to convey the emotional quality of a voice. For example, you can describe a voice as "melodic," "soothing," "sharp," "gentle," or "commanding" to give readers a sense of the tone.

2. Pitch and Range: Mention the pitch and range of the voice. Is it "deep," "high-pitched," "raspy," or "full-bodied"? This can provide insight into the character's age, gender, or emotional state.

3. Accent and Diction: Describe the character's accent or diction briefly to give a sense of their background or cultural influences. For instance, "British-accented," "Southern drawl," or "formal."

4. Volume: Mention the volume of the voice, whether it's "whispering," "booming," "murmuring," or "hushed."

5. Quality: Use terms like "velvet," "silken," "gravelly," "honeyed," or "crisp" to convey the texture or quality of the voice.

6. Rate of Speech: Describe how fast or slow the character speaks, using words like "rapid," "slurred," "measured," or "rambling."

7. Mood or Emotion: Indicate the mood or emotion carried by the voice. For example, a "quivering" voice may convey fear or anxiety, while a "warm" voice may express comfort and reassurance.

8. Resonance: Describe the resonance of the voice, such as "echoing," "nasal," "booming," or "tinny."

9. Timbre: Mention the timbre of the voice, using words like "rich," "thin," "clear," or "smoky."

10. Cadence: Highlight the rhythm or cadence of speech with descriptors like "staccato," "lilting," "rhythmic," or "halting."

11. Intonation: Convey the character's intonation by saying their voice is "sarcastic," "apologetic," "confident," or "questioning."

12. Vocal Characteristics: If applicable, mention unique vocal characteristics, like a "lisp," "stutter," "drawl," or "accented 'r'."

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48lexr

2 months ago

Yeah, I for sure meant a little both to encourage reading your works but also I probably misread a little?

Like, I think what I said still mostly applies but in a different way than I meant it, for sure? (Well, maybe not my first sentence; looking back that reads completely unrelated honestly.)

sometimes i feel like a bigshot mass media company when i purposely exclude important details from “the advertising” to help hide spoilers lol

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