• Everything has a cost. Do not assume that, simply because there is no price tag, that things will be freely given. Make yourself aware of what you will owe before agreeing to a bargain, as more often than not, the asking price will exceed your means: a diamond from the crown of Mab, a shingle from the roof of your childhood home now long demolished, your eyes, a kiss.
• If you purchase food; meats, cheeses, plums, bread, and the like, I would advise you to not eat it until you are safely back in your home. Of course, the food of the fae will never taste as rich or wonderful if it is eaten elsewhere, but neither will you be tethered by its thrall.
• Troupes often move through the Market, either stocking up on rations or preparing for a quest. Do not get in their way. Should you see someone you recognize among the ranks of goblin soldiers, or in the company of strange, hollow kings, do not approach them. Not only would it be considered rude, but you are surely not prepared for the outcome should you insert yourself into their narrative. You are here to buy pears, butter, and perhaps a finely tailored pair of pants, so do that. You may start a quest on another day.
• Buying rings at market is...inadvisable. Much can be communicated in a ring; you can never be sure what it is you are buying. Indeed, it could always simply be a ring, finely crafted from wood or stone, a light enchantment placed upon it. But then again, I've heard many tales of elated brides and grooms and their...more than unwitting human betrotheds.
• Your Name would go for quite a bit, if you were in the Market to hawk it. It is a fine name, good and strong, whether it was given to you or one you have chosen for yourself. Each interested party would assure you of how well they would care for it, because of course, care of a name equals care of an individual. But do not forget, if you sell your name, the name you have chosen, you may one day hear it being called, and you will have little choice but to follow, wherever that may lead. But if you need the money...
• There is a well at the centre of the market. It is old and overtaken by moss. You may hear a voice or feel a pull calling you towards it. Your hand may go to your pocket to pull out a coin. Its a well, you have to make a wish, right? Well, I will tell you now, you will receive your wish, and much more for you have paid for it. But be warned, with the well, you cannot recant, you cannot withdraw. Your deal was made and until your dying breath, the well will uphold it.
• Such pretty things line the stalls, jewels, jars of gold dust, gems, pearls, and crowns. You may find yourself all too overwhelmed by the splendour of it all. Perhaps you would like to stay, forever surrounded by the richness of the market. But as the sun begins to set, casting shadows across the pleasant faces of the merchants, you will see another kind of clientele enter through the archway; more frenzied, frightening, crazed. If you are here passed dark, what is it you are selling, they ask, for they wish to be tempted, they wish to buy. What is it you are selling? They will pay any price. What is it you are selling!?
• Stealing is not prohibited by the Market itself, but I would hope you are not fool enough to try. Make no mistake that the fae will take every advantage of you that they can and once you have entered the Market, you are on your own. No is there to defend you, as heroes are not allowed within its boundaries. If you are caught, and you will be, you will be at the mercy of your victim, and I will tell you, each merchant you see before you is worse than the last.
• I should not have to say this, but do not offer yourself as collateral. I understand you all crave adventure but I fear you do not understand what is at stake. You know not to what hoard you will be taken, or to whose service you will be put into. Who you will be made to kill, or what you will be made to kiss. Do not. DO NOT put yourself into that position, for I will not be there to save you.

• This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.
• Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

• Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

• As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

• Comparisons to familiar colors or visuals are also helpful:

• Keep in mind that these modifiers are not exactly colors.
• As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.
• While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.
• Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

• Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.
• As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

1. Here the state of skin also gives insight on character.
2. Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

• Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.
• When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.
• So consider your character and what you see fit to compare them to.
• Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

• Even creative descriptions tend to draw help from your standard words.

• It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 
• You’ll definitely want to avoid purple-prose here.
• Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

• These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.
• At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“ 
• I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

1. I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.
2. I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

• Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.
• Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

• Copper skin, brass-colored skin, golden skin…
• I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.
• These also work well with modifiers.

• These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.
• If you use these, or any more rare description, consider if it actually “fits” the book or scene.
• Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

1. Physical character description can be more than skin tone.
2. Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.
3. Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.
4. How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

• Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.
• Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.
• Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.
• Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).
• PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 
• Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.
• Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

• List of Color Names
• The Color Thesaurus
• Skin Undertone & Color Matching
• Tips and Words on Describing Skin
• Photos: Undertones Described (Modifiers included)
• Online Thesaurus (try colors, such as “red” & “brown”)
• Don’t Call me Pastries: Creative Skin Tones w/ pics I 

• WWC Featured Description Posts
• WWC Guide: Words to Describe Hair
• Writing with Color: Description & Skin Color Tags
• 7 Offensive Mistakes Well-intentioned Writers Make

introduction

writing preferences

current writing projects

• examination deals with the pressure students face on an academic level in today’s society, pushing it to an extreme by making it a question of survival and exploring themes of grief and death.
• extermination revolves around a couple who face pressure as every group deemed ‘unprofitable’ or ‘expendable’ is effectively sentence to death as the world runs low on resources.
• redemption explores question of religion and identity as the main character stands at odds with her sister’s religion, familial obligations and her own survival instinct.

for my main creative writing module, i am producing a sequel to my project mentioned above. a slightly uninspired concept? perhaps. it is what happens after seven cups of coffee and giving into a ‘nothing truly matters anyway, just write the bloody proposal’ mentality. 

anyway, this collection, like the first, is a dystopian collection in which each of the stories take place in the same world. it experiments with the line between poetry and prose, and further explores identity and sexuality as well as repression, particularly repression through language.

following a world war, the world has been left in ruins and as society rebuilds, pillars of humanity crumbles under a new tyrannical rule.

this is the placeholder name of the novel i am currently working on. it is a fantasy novel revolving around the return of a experimental form of magic that was outlawed and subsequently went extinct after a group of the founder’s scholars used it in an attempt to rise to power. 

the main character, a retired botanist named charlie, receives a request from the ministry to make contact with one of the rumoured practitioners and infiltrate their headquarters to determine the severity of the threat and confirm any rumours. during his stay, he meets the highly controversial and slightly unhinged terrance, who greatly complicates every aspect of his assignment.

i am extremely excited, albeit my ability to put my ideas into words is currently big fat struggling - but, on a more positive note, it has rekindled my love for writing and reminded me to write for the joy of it.  

admiration