Gatortavern - Archosaur's Abode

What’s your fav fic idea, planned or written

In general: someone becoming a spectral. Bonus points if it's from a Near Death Experience since we haven't seen what that looks like in comic yet and not a lot of people have written what it could be! Personally I make it so there's a ghost outside the body but has a tether into the person's heart. If the tether breaks, that's it, the person is dead. The tether will fray slowly on its own and also slowly gain a color. Becoming a spectral through this method depends on how long the person was "dead" for and how much they remember being "dead", although there are outliers for both criteria.

Specifically: I'm not entirely sure! In terms of what makes me happiest when brainstorming ideas for it, I'd say that one of my AUs where Peekaboo and Forge are switched (so that Peekaboo is the one that possesses Johnny in Chapter 4) is always a hoot to think about, since it involves a lot of Peekaboo being very chaotic in a looney toons esque fashion and having a foil in Violet, who's trying to figure out what's up with him and make sense of this odd relationship she now has with both Johnny and Peekaboo. There's also fics I have planned exploring what interactions could happen with Stephen and Isaac, including a few where they kind of sort of become acquaintances. One such fic is in the works now!

Okay non-European tumblr, I’m gonna explain to you why ‘white’ isn’t as simple here as it is in the rest of the world

- Shades of white in Europe range from ‘freshly fallen snow’ to ‘I am frequently mistaken as being from the Middle East’

- White European is a thing. When you fill out a form, under ethnicity, there are several options for white; white British, white European, white other. Because people make that distinction

- There are Europeans who don’t class their ethnicity as their skin colour, but as their nationality. I have family who don’t think of themselves as white, they just think of themselves as Italian and don’t really give much thought to their skin colour

- People here in Britain always question if darker skinned white Europeans are ‘actually white’. I get it a lot myself. My response is always ‘well I’m not anything else, so obviously I must be’

- Despite being white, a lot of Europeans from Italy, Greece, Spain etc, don’t feel white in the traditional sense. We’re not white like white British people. We’re not white like white Americans. We’re our own white. White British is one thing. White Italian is another thing. White Greek is another, etc

- Which is why we have this notion here in Europe of ‘nationality over race’. Being white isn’t as important as where you’re from

- So this really only becomes an issue if you’re an immigrant

- So being white in Europe doesn’t save you from racial discrimination, because sure, you’re technically white, but you’re not white white. Not the right white

- Here in England, Europeans with really blatantly foreign names, such as myself, find it more difficult to get job interviews, because they take one look at our name and don’t bother reading the rest of the CV. A guy I know was actually told by his boss to reduce the pile of CVs he had by ‘chucking away any with a name you can’t fucking pronounce’

- And then even when you do get an interview, half the time you walk into the joint several shades darker than everyone else and feel like you’ve walked into the ‘Swedish supermodel’ clubhouse and you just know you’re not getting hired

This is all basic stuff and it’s very much taken for granted here. Race and ethnicity are not as clear cut, so it can be very confusing for non-Europeans to wrap their heads around. Which is fine. But I implore you to stay in your lane, because when you say things like ‘no white person anywhere in the world ever knows what it’s like to face racial discrimination’, it’s really fucking offensive to all of the European immigrants who are denied jobs, harassed by the police and beaten by racists, because foreign is foreign to these people, and they don’t give a shit if you’re technically white. So when you mean white American, say white American. 

Turnersuchus: First of the Sea Crocs

A big find for crocodile finds was revealed two days ago. Turnersuchus hingleyae (Hingley's and Turner's crocodile) is the oldest known and basalmost thalattosuchian described so far and is of great importance to slowly figuring out where thalattosuchians come from.

But lets start with a brief introduction to thalattosuchians. As the name already suggests, thalattosuchians are primarily known to have been marine animals (tho exceptions are known). thalattosuchians can broadly be split into two groups. The teleosauroids, which look somewhat similar to what one might call a normal crocodile, and the metriorhynchoids, which especially in the derived members could aptly be described as crocodile mermaids. Below an example of each, on the left Macrospondylus by Nikolay Zverkov and on the right a generalized metriorhynchid by Gabriel Ugueto.

Thalattosuchians such as these two groups, which are sister clades and not successive lineages (so they co-occured rather than one having evolved from the other), were incredibly successful during the Jurassic, evolving enormous forms such as Plesiosuchus, Dakosaurus and Machimosaurus. Their wild success held on throughout the Jurassic until they eventually went extinct in the early Cretaceous. But despite how common and whidespread they are, we don't actually have much of a clue where they come from. Thalattosuchians just kinda appear during the Toarcian and are already found across multiple continents with both groups established. To complicate matters, their position among crocodiles is also rather shaky. Three main hypothesis exist. One is that they are a sister group to crocodyliforms (Protosuchians, Notosuchians and Neosuchians), that they are basal mesoeucrocodylians or that they are Neosuchians related to Pholidosaurids (like Sarcosuchus) and Dyrosaurs.

This is where Turnersuchus comes in. Discovered in the  Charmouth Mudstone Formation of Dorset, England, this genus is known from the skeletal material belonging to the back of the head, mandible, parts of the forearms and shoulder girdle as well as neck, body and tail vertebrae all preserved in five blocks and a few isolated pieces of bone. From that we can already see general similarities to derived thalattosuchians and basic traits like narrow jaws and reduced forelimbs (tho not nearly as extreme as in metriorhynchids).

The first significant part about this discovery is its age. Turnersuchus is from the Pliensbachian stage of the Jurassic, so it predates any previously diagnostic thalattosuchians. Secondly is its position. As I said above, thalattosuchians are divided into teleosauroids and metriorhynchoids. But Turnersuchus is neither, with both phylogenetic analysis finding it to fall outside of these groups. Now in fairness this is not rock solid, as there is only a single trait excluding it from the derived groups in either analysis, so future works might shake things up. But as things are right now, it's the oldest named and basalmost member of the entire clade. On a sidenote at least the oldest part is bound to change, as the paper mentions a Moroccon teleosauroid currently in press that is even older.

All of this allows for two things. For one, by comparing Turnersuchus with the basal members of both teleosauroids and metriorhynchoids scientists were able to gather a list of traits that appear to be ancestral to the group. In addition, Turnersuchus also preserves some features that separate it from all other thalattosuchians that are also indicative of being an early member. Just as one example a specific part of the basioccipital thats associated with long skulls is poorly developed, which means that while slender the jaws weren't as long as in some later thalattosuchians. A Bayesian analysis was also conducted in an attempt to nail down when thalattosuchians evolved. Now depending on which phylogeny is used (one with thalattosuchians as non-crocodyliforms and another with them as mesoeucrocodylians) you get different times. The former would place their origin in the Norian stage of the Triassic, the later in the Sinemurian stage of the Jurassic. In light of the Moroccon material alluded to by the paper, it would appear that they likely split from other crocodylomorphs sometime in the late Triassic.

And finally to wrap this up let me share the press release artwork to finally give a face to all this information. Now if you've read my post about fossil crocs of 2022 you might already recognize the artist, as she's been on a real streak with illustrating fossil crocs. If you don't know her, I highly recommend checking out her work. I'm of course talking about Júlia d'Oliveira.

And yes, of course I got the Wikipedia page for it ready. Tho with work getting in the way when it was published I almost feared I'd be unable to get to it first.

Everything You Need To Know About Writing Bruises 

Welcome to the latest instalment in my ongoing series on crafting realistic wounds in fiction. After delving into stab wounds, burns, and gunshot wounds, we're turning our attention to another crucial element in bringing your characters and their stories to life: bruises.

Bruises are possibly the most common miswritten injury in fiction. As tempting as it might be to make the protagonist's skin bruise when the morally grey characters clutches her wrist, scenes like this only serve to ruin immersion and make your readers wonder whether this could realistically happen. 

Unlike the other wound types I've covered in this series, the internet doesn't seem to have a lot of writing advice for bruises. So, here's my comprehensive guide to writing bruises. 

Types of Bruises

Understanding Bruise Formation:

Bruises are a common occurrence in everyday life, from the accidental bump into a table corner to the aftermath of an intense sporting event. But before we dive into the art of crafting realistic bruises in your writing, let's start by understanding how bruises form.

Bruises, also known as contusions, result from the rupture of blood vessels beneath the skin's surface, typically veins and capillaries. When these vessels break, blood leaks into the surrounding tissue. The body's natural response to this injury is to initiate the healing process, causing inflammation and discolouration.

Differentiating Types of Bruises:

Not all bruises are created equal. Understanding the various types of bruises will help you describe them accurately in your writing. Here, we'll explore the common distinctions among bruise types.

Contusions: Contusions are the most typical type of bruises. They often occur due to blunt force or trauma, resulting in pain and discolouration.

Subcutaneous Bruises: These are the most typical bruises resulting from blunt force trauma. Subcutaneous bruises appear as dark, discoloured areas under the skin and can change in colour as they heal, starting with red or purple and transitioning to green, yellow, and eventually fading away.

Hematoma: A hematoma is a more severe type of bruise caused by the collection of blood outside of blood vessels. Hematomas often appear as a raised lump under the skin and can take longer to heal.

Petechiae: Petechiae are tiny, red or purple pinpoint spots that can form when small blood vessels near the skin's surface break. These are often a sign of more severe underlying medical conditions.

Ecchymosis: Ecchymosis is a large bruise that covers a wider area, typically caused by substantial trauma or medical conditions. These bruises tend to be darker and may require more time to heal.

Tattoo Bruises: Sometimes, an object's pattern or texture may leave a distinct mark, resembling a tattoo. These can occur when someone is subjected to direct pressure from an object with an intricate or textured surface.

These distinctions will enable you to convey the type of bruise accurately in your storytelling, reflecting the nature and severity of the injury your character has endured. So, when crafting a scene in which your character sustains a bruise, you can choose the type that best suits your narrative.

Causes of Bruises:

Bruises can occur for various reasons, and knowing these causes will help you craft believable narratives. It's important to note that not every physical interaction results in a bruise, and your characters shouldn't bruise from actions that typically don't lead to bruising. For instance, someone holding another person's arm tightly is unlikely to cause a bruise.

Common Causes of Bruises:

Blunt Force: The most common cause of bruises is blunt force trauma. This can occur from falls, accidents, or impacts, such as bumping into furniture or being struck by an object.

Pinching or Squeezing: Intense pinching or squeezing, especially on delicate skin areas, can lead to bruises. For example, if a character pinches their arm or thigh too hard in frustration, a bruise may develop.

Repetitive Motion: Overusing or repeatedly striking a particular area, like through strenuous exercise or certain work activities, can cause tiny blood vessels to rupture and lead to bruising.

Medical Conditions: Some medical conditions, like blood disorders or certain medications, can make a person more prone to bruising.

Ageing: As skin becomes thinner and more fragile with age, it's more susceptible to bruising even from minor bumps or impacts.

It's crucial to consider the appropriateness of a bruise in your story. Understanding when and how a character can realistically develop a bruise will help maintain the credibility of your narrative.

Characteristics of Bruises:

Accurately depicting bruises in your writing involves considering various characteristics, such as:

Colour Changes: Bruises typically undergo a series of colour changes during the healing process. They usually start with shades of red, purple, or blue due to the initial bleeding under the skin. As the bruise heals, it can turn green, yellow, or brown before fading entirely. These colour shifts can be an essential detail when describing the progression of a character's injuries.

Size and Shape: The size and shape of a bruise depend on the impact's force and the underlying blood vessels' distribution. Bruises can be small, like a fingertip mark, or large, covering a significant portion of the body. Irregularly shaped bruises may indicate multiple impacts or trauma.

Tenderness and Swelling: A fresh bruise is often tender to the touch, and the area around it may be swollen. Describing your characters' reactions to this tenderness and swelling can make the injuries feel more lifelike.

Pain and Discomfort: Bruises can be painful, and the level of pain may vary depending on their size and location. Detailing your character's pain and discomfort can enhance the realism of your narrative.

Itching and Healing: As a bruise heals, it may become itchy. This can be an interesting detail to add, showing the progress of the injury and your character's recovery.

Duration: Mention the duration of a bruise. Some may heal relatively quickly, while others can linger for weeks. Knowing how long a character's bruise lasts can impact their daily life and the story's timeline.

Factors Affecting Bruise Appearance and Healing:

Bruises aren't one-size-fits-all injuries. Their appearance and healing process can vary based on several factors:

Location: Bruises can look different depending on where they occur on the body. For instance, a bruise on a bony area, like the shin, might appear more pronounced compared to a bruise on a fleshier part, like the thigh.

Age and Health: The age and overall health of your character play a significant role. Younger, healthier characters may heal faster and have bruises that change colour and fade more quickly. Conversely, older characters or those with health issues might have bruises that take longer to heal.

The severity of the Injury: The force and severity of the impact determine the size, shape, and colours of the bruise. Consider whether the injury was caused by a minor bump, a hard fall, or a violent struggle.

Character's Skin Tone: The appearance of a bruise can be affected by the character's skin tone. It might be more challenging to spot a bruise on darker skin, and the colours may appear differently.

Treatment and First Aid: The way a character treats a bruise can affect its healing. Mention how characters apply ice, warmth, or topical remedies to their bruises.

Character's Pain Tolerance: Some characters may have a higher pain tolerance and can bear a bruise without much discomfort, while others might find even a small bruise painful.

Clothing and Cover-Up: Characters may conceal bruises with clothing or makeup. This can impact how they are perceived by others.

By understanding these factors, you can tailor your descriptions to create a more authentic portrayal of bruises in your writing.

Healing Process of Bruises:

A key element in writing realistic bruises is depicting their healing process. Here's how to effectively describe it:

Gradual Changes: Highlight the evolving nature of the bruise over time. The progression of colours—red to blue, green, and yellow—is a visual cue that indicates the bruise's age. This chronological shift in colour offers readers insights into the passage of time within your narrative.

Concealment and Exposure: Address the issue of concealing or revealing the bruise. Depending on its location, characters may need to don concealing clothing, apply makeup, or use other means to hide or reveal their injuries. Such choices can significantly impact the character's interactions and relationships.

Medical Care: Mention whether the character seeks medical attention for their bruise. Medical professionals can provide insights into the severity of the injury and the potential complications that might arise during the healing process. Additionally, you can explore any treatments, remedies, or advice offered by healthcare providers.

Impact on the Character: Describe how the presence of a bruise affects the character's daily life, activities, and interactions with others. A prominent facial bruise, for instance, can influence the character's self-esteem, social interactions, or how they are perceived by those around them. Emotions and psychological effects should not be overlooked.

Varied Healing Timelines: Recognize that the healing process can vary from one character to another. Factors such as age, overall health, and the severity of the injury can affect how quickly the bruise fades. This variation can add depth and authenticity to your character's experiences.

Scarring and Discoloration: Note that severe injuries may leave lasting scars or discolouration on the skin. Explore any permanent marks or changes that remain after the bruise has healed.

By incorporating these aspects into your narrative, you can create a nuanced portrayal of the healing process of bruises and its impact on your characters.

I hope this blog on Everything You Need To Know About Writing Bruises will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

Dragons and unicorns have such variety in designs!

“Dragon” is such a vague category of creature with such a ridiculous diversity of bauplans. It doesn’t matter how big it is or how many legs it has or whether it has wings or not: you can call it a dragon if it is kind of snakey, and/or breathes fire (virtually anything that can breathe fire has the potential to qualify as a dragon).

Case in point, look at all these different things that are dragons:

oh look, it's time to reblog more crocodiles.

I can’t stop thinking about crocodiles for some reason so here’s some cool pictures I found of probably the second largest one in captivity, his name is Utan:

isn’t he beautiful

listen to the SOUND when he bites

and that’s not even a real power bite, that’s mostly just heavy bone falling on heavy bone from his jaws and the air rushing out from between them

CompoundChem always puts out really fun infographics. Here’s one about blood

It’s #Halloween tomorrow! Why is blood red and why does it have a metallic smell? This graphic explains! https://ift.tt/31XdIKJ https://ift.tt/3jK2ak4

yooo albino alligators pulling the sleigh is rad as hell!

fun fact: albino alligators need special enclosures to ensure they do not get burned from the sun

others: “so, how ~southern~ are you?”

me: “The entrance of my hometown has a shrimp boat sitting in the main street. At Christmas theres a shrimper Santa and alligators pulling him instead of reindeer.”

others: “what?!”

me:

This skull looks friendly. It'd be a nice evening to sit by a fire with the skull, a cigar perched in the hole in the teeth, as they told me stories of times gone by in that soft, grandparently drawl one has when they've reached a long life and are content with where they are.

The Skull - Memento mori by Jean Morin

i've been writing a book and the feedback i've gotten from family members is that i have been using a lot of description, that the plot is moving along pretty slowly, and "something" needs to happen. do you have any tips or advice on moving plots along quicker in order to keep the reader's attention? thanks so much!!

How to Move a Story Forward

When your character is just milling about in their world describing what they see, what they’re doing, and what’s happening to them, that’s not really a plot. It’s just a random string of events happening to your character, and typically it doesn’t make for very interesting reading. This kind of story moves slowly because nothing’s actually happening. Imagine following an average person through their average day versus following Katniss Everdeen through day three of The Hunger Games. It’s a big difference. And that’s not to say every plot has to be as exciting or dramatic as The Hunger Games, but there does need to be a conflict.

So, the first thing you have to do is sit down and figure out what your story is really about. What is going on in this person’s life that is worth writing about? Is there some sort of inner conflict they’re struggling with? Or is there an external conflict of some kind? Usually there are both with the focus being more on one than the other.

How stories begin…

Most stories start when a character’s life is still normal but just about to change. Katniss was getting ready to go hunting with Gale. Bella was settling in at her new high school after moving in with her dad, and Harry Potter was just living life as the boy in the cupboard.

What happens next…

And then something happens. This is called the “inciting incident” because it “incites” the conflict and brings on the important events of the story. Katniss volunteers as tribute when her sister is drafted into The Hunger Games. Bella meets Edward Cullen and an instant attraction develops between them. Harry Potter receives his letter to Hogwarts.

The character responds and forms a goal…

The character’s normal life has been turned upside down. Now what? For Katniss, the most important thing in the world to her was the safety and well being of her sister and mother, and since she is the one who keeps them safe and fed, her survival of The Hunger Games is vital. That’s her motivation, and her goal is to win the game. Bella becomes obsessed with learning more about Edward and who, or what, he is, and she falls for him and the magic his world brings into her otherwise boring life. Being part of that world is her motivation, staying alive in the process is her goal. Harry finally has a ticket out of his life of being abused and unloved, and he has a chance to connect with the legacy his parents left behind. Leaving his old life behind and embracing this new one is is motivation. Surviving his first year at Hogwarts is his goal.

But goals aren’t supposed to be easy to reach…

If the character can just sail smoothly right up to their goal, mission accomplished, that makes for a pretty boring story. You never hear people say, “WOW! THAT WAS AN INCREDIBLE GAME!” when the score was 20 to nothing. What makes the game exciting is when the teams are neck and neck, one getting ahead for a little while, then the other one being ahead for a little while. It’s the trying, and often failing, to get over obstacles that makes the conflict more interesting. In a lot of ways, that struggle actually is the conflict. What obstacles stand in the way of your character and their goal, and who (or what) put them there? For Katinss, the obstacles were the other tributes and all the frightening things added to the game by the gamemakers. For Bella, it was the nomad vampires who caused trouble at first for fun, and then later for revenge. The obstacles Harry faces are partly due to conflict with other students and teachers, and partly due to the first “shots fired” in what would become the overarching battle against Voldemort.

You win some, you lose some…

And it’s important that you show some wins along with the failures. Sometimes the character tries to overcome an obstacle, fails, tries again and succeeds. Sometimes they fail and have to come up with a work around. Either way, the fails add to the tension and drama while the wins add excitement and interest in what happens next.

The final showdown…

Eventually you get to the big showdown, aka “the climax.” This is when your character faces down the biggest challenge that stands in the way of reaching their goal. This could be an epic battle between your character and the villain. It could be the moment where your character realizes they’re in love with their best friend and they chase them to the airport to admit their undying love for them before they move away. Or it could be surviving one last night of a terrible storm before crawling out of hiding to assess the damage. Whatever it is, the culmination of that moment is achieving or failing to achieve their goal.

The dust settles…

Whatever crazy chain of events was set off by the inciting incident, they’ve come to an end now thanks to the actions of your protagonist and their friends. Or, if they haven’t come to an end, they’ve at least been waylaid for now, or things are at least moving in a better direction. Now your characters can clean up, rebuild, mend wounds, tie up loose threads, and get back to life as normal. Or, in the case of a series, they can re-group and figure out what happens next. And that’s the end.

… But some stories happen on the inside.

Some stories are more about people and their experiences than about any big crazy thing that happens to them. Stories like these are more emotional and are more about dealing with the inner conflict than an outer one. But even in stories like these, you’ll still have a similar structure to what I laid out above. It’s just a lot looser and tied up with an emotional journey rather than the physical one. Which isn’t to say they can’t have a parallel physical journey, but the important stuff is happening on the inside.

Whichever kind of story you’re writing, if you make sure you’re hitting the important points I’ve laid out above, whether they relate to an internal conflict, an external conflict, or a little of both, you can be sure you’re writing a story that is moving forward and will keep your audience engaged. Everything I’ve outlined above is the “something” that needs to happen to make your story interesting.

Good luck! :)