Posts Tagged 'reference'

Wound Care



Lately I have been trying to catch up on reading, and the thing that has bugged me most consistently is wound care and how characters treat their charges’ exposed injuries. 

I just got out of a semester of modalities, including wound care, and I would like to share a few main points with you.  Assuming that your character is otherwise healthy and has no vascular deficiencies:

  1. Dry wounds are bad.  The body carries all of its signals and ions and nutrients through fluid media.  Dry wounds prevent the migration of nutrition and new cells to a wound bed.  Scabs, accordingly, fall into the category of very bad as they slow the healing process overall and also prevent range of motion.  (Additionally when scabs are removed before they “fall off” they can take healthy new cells with them).  You don’t want to let a wound dry out, but rather you want to give it a dressing that donates moisture to the bed, cover it very well, and then let the wound do its thing.
  2. Rolling off of the above point, wounds do not need to be left to “air out”.  The human body is right around 98.6F/37C and exposing it to ambient temperatures also slows healing, plus, will contribute to the wound drying out.  Leave it covered.  You only need to check on it or change bandages regularly if there are signs of infection or if the wound is giving off lots of exudate.  Unless there is infection, the bandages likely do not need to be changed every day.
  3. Gauze is very, very bad.  Everyone I have been reading lately talks about gauze.  Gauze x.x GAUZE X.X!!!  Gauze is a cheap ass plant product that soaks up every bit of moisture it comes into contact with.  It also has the habit of binding to soft tissues so that when it is removed it debrides everything it has bound to, good and bad tissue alike, and it can actually set back healing instead of encouraging it.  Because it has been processed and will not dissolve in the body, it also creates a higher risk of infection around the wound.  It has no compressive properties and cannot be used as a proper compression bandage (neither do Ace bandages, but that’s for another post). 

So, please use this information accordingly. Especially if you are writing something modern. 

This company specializes in medical technology and has good information on a lot of products for wound care and bandages, including anti-microbial, moisture-donating dressings, etc.

Please treat your characters well, give your story a boost, and make yourself look like a sightly more educated author by not doing these things.

Reblogging because this is still not widely known.

Adding a link to the ConvaTec website (I have no conflict of interests) because they have a lot of basic information about different dressing and bandage types.


Writing Worksheet – Mini Quest (PDF) 

E. A. Deverell

Fan fic writing resources pt.2


The first part can be found here~

• Face shapes, body shapes, hair types

More ways to describe characters of color

Write better OCs

Character generators (motives, appearance, archetypes, etc)

Positive and Negative character traits

Developing character traits and personality

“Show, don’t tell”

How to revise, edit, and proofread your writing

Character perceptions

Precise verbs

Name generators (includes Dragon Age and Mass Effect!)

Master post for Thedas travel times

Food of Thedas

Currency in Thedas



I read a lot of writing in my line of work and while that’s amazing, I see the same flaws again and again. Below is a list of 7 common writing mistakes in fiction and how you can fix them. This list is by no means complete. In fact there’s a great list over at The Editor’s Blog that covers even more mistakes.

1. Bad dialogue

Sometimes writers can forget that they’re writing a conversation and thus not write a conversation. The dialogue can be boring, stilted and unnatural, and I’d rather listen to the territorial call of an Australian Raven than read one more word of it.

There are many things that contribute to bad dialogue, but here are the three that really get on my nerves:

  • Not using contractions–I’ve seen work that is modern and still doesn’t use contractions. Consider this:
    “You are going to be late.” Unless the speaker is trying to sound like an irritated mother and is leaving an emphatic silence between each word to sound threatening, use contractions. It sounds really drawn out and like the speaker is pointing their nose in the air. We generally don’t speak like this in real life, so neither should your characters.
  • Using complete sentences–Not only is it natural for your characters to chop their sentences, this can also contribute to their voice. Does your character say “I don’t know.” or “Dunno.” Would he/she say “I missed the train and had to find a lift home.” or “Missed the train. Had to find a ride.” In casual speech, we often only use the words necessary to convey our message, even if it doesn’t form a complete sentence. You shouldn’t apply this to every line of dialogue, but consider it if your dialogue sounds stale.
  • Using characters as a conduit for research and plot information–Sometimes writers like to show off their research (looking at you Jurassic Park), backstory, world building and plot by having their characters talk way too much. If your character says “Once this valley was home to an ancient race of elves, who looked after the land and treated it with respect. One day, the secret magic spring dried up and then the goblins came. Without their magic spring, the elves couldn’t fight back, and they were killed by the goblins. The goblins didn’t respect the land and now it’s uninhabitable.” he should probably shut up. It sounds less like a person talking than it does an audio tour. The information he’s shared could be given in a much more interesting way.

How you can fix it:

  • Listen to and watch the way real people talk to each other. Do they speak in full sentences with full words? Do they speak with grammatical correctness? Do they speak differently in different situations? How do hand gestures, body language and facial expressions help them communicate?
  • Read your dialogue out loud as if you’re practising lines for a movie. Does it sound natural? Does it flow?
  • Test every piece of information your characters give out. Does it all need to be said? Would your character say all of it at once? Do they need to say it all in so many words?

2. Passages of uninterrupted speech or thought

Sometimes you might want to avoid telling the reader about something and have a character tell another character instead. Sometimes you might want to avoid telling the reader how a character feels about something by having them think about it excessively instead. If this goes on for longer than a couple of paragraphs (or less), you risk allowing your reader to drift out of the scene.

The only thing anchoring your reader in the scene is your characters and what they’re doing. If the characters are talking or thinking for a long time without interacting with anyone or anything else, they might as well be floating in space, which can make the reader feel like they’re floating in space. That’s not to say that they’ve forgotten where the scene is taking place or who else is involved, just that it can feel that way if this is how the character acts.

How you can fix it:

  • If your characters have a lot to say, try to include the other characters as well. Have them ask questions or make comments so it feels like a scene and not a soliloquy.
  • If your character is around others when he/she is deep in thought, try to include the other characters in some way. If the POV character is thinking about something that the other characters can see, why not give voice to one of the other characters in between thought paragraphs?
  • If the character is alone when he/she is deep in thought, is there a way they can interact with their environment? Unless they’re standing in front of a wall, they should be able to see, smell, feel or hear something.
  • If your character is absolutely, completely lost in thought, is there a way you can bring some sort of image into it? For example, on page 216 of The Hunger Games by Suzanne Collins, Katniss is thinking about how to treat a burn she receives. Almost the entire page is a paragraph describing a memory; however, there is still action in this memory and, therefore, there is something for the reader to imagine.

3. Not knowing when to/not to use said

Some people will tell you to use descriptive speech tags and others will tell you there’s nothing wrong with said. Both are true, but when do you follow the former and when do you follow the latter? And when do you use no speech tags at all?

Using anything but said and using nothing but said both get exhausting and boring very fast.

How you can fix it:

Below is a rough guide to what kind of speech tag to use. Please bear in mind that it is only a guide and will not and should not apply to every situation.

Said is unobtrusive–a way of letting the reader know who’s talking without making a song and dance about it.
Specific verbs (e.g. whispered, shouted, mumbled) give the reader information about how the words are being said.
Adverbial tags can also give extra information about how something is being said, but more often than not they can be replaced with a stronger verb (e.g. she said loudly can be replaced with she shouted). Writers can also fall into the trap of telling where it’s better to show when using adverbial tags, which can make the writing bland. Sometimes telling is better, but with speech tags, it’s usually better to absorb the reader in the conversation. If you’ve used an adverbial tag, go back and have a look at it. Is there a better way you could get the message across?

What you need to pay attention to when determining what speech tags to use is the context of the speech. If the reader is already aware of the manner in which a character is talking, it won’t be necessary to remind them every time the character speaks. If there are only two characters in the conversation, it won’t be necessary to finish each quote with he said/she said. Going back to #2, you can also do away with speech tags entirely and use action to demonstrate how a character is feeling, while also grounding the reader in the scene.

The key to avoiding repetition and blandness is to find a balance between using the unobtrusive said, using something more specific, and mixing it up with a bit of action, which means you might not even need a tag at all.

4. Too much description/overwriting

Sometimes it’s better to tell and not show. Some details just aren’t important enough to warrant a lengthy description. If you want your reader to know that it’s raining, you can write something better than “It was raining”, but there’s no need to go overboard and write a poem about how the puddles on the asphalt looked like a great abyss.

Think of description like camera focus. The more you describe something, the more focus you put on it. If you put enough focus on something, you eliminate everything else. What’s this? A close-up. What does a close-up in a movie tell you? That object of the close-up is significant.

Be wary: when you write thirty words describing the way the moonlight is reflecting off the inky black lake, you might not be just setting the scene. You might also be giving the lake undue emphasis, and it’s probably going to irritate your reader when they realise there’s nothing significant about the lake at all, you were just showing off your imagery skills.

How you can fix it:

Keep it real. What would the character notice, what would they think about it and is it worth the attention? And try not to focus on sight. Your characters have more than one way to perceive their environment, and incorporating their other senses can help build a 3D setting for your reader rather than just painting them a picture. Give the reader enough to imagine the scene, and no more.

5. Not knowing when to/not to use adverbs

There’s a lot of writing advice out there that will tell you to cut all adverbs. The result is that many writers now think adverbs exist only to eat their children and wouldn’t dare to ever use one.

There is truth to the advice, but to say “The road to hell is paved with adverbs”? Really, Stephen King? And his dandelion analogy assumes there’s no editing process.

Adverbs aren’t evil, but there is such a thing as using them ineffectively. Which of the below are more descriptive?

She ran quickly or She sprinted

“It’s a long way down,” he said nervously or “It’s a long way down,” he said

He was shamefully prone to anxiety or He was prone to anxiety

She sprinted not only gets to the point faster, it also creates a more powerful image for the reader.
“It’s a long way down,” he said gives no indication of how the speaker is speaking or feeling; however, “It’s a long way down,” he said nervously is telling, not showing. Rather than using an adverb here, the writer could describe the speaker’s body language.
He was shamefully prone to anxiety tells you how the character feels about being prone to anxiety and there is no stronger word to replace “shamefully prone”.

How you can fix it:

Ask yourself:

  • How would the meaning of the sentence change if the adverb was removed?
  • Can the adverb and verb be replaced by a single verb?
  • Does the action really need clarification?
  • Does the adverb add something to the sentence that can’t be described in another way?

6. No conflict in the beginning

The first few chapters of a lot of stories I’ve read involve the main character plodding along in their daily life. This is a good thing as the reader needs to get a feel for your character before the big plot things happen, but that doesn’t mean the first few chapters should be without conflict. I don’t want to read about a character waking up, looking at themselves in the mirror, getting dressed, getting coffee, going to work, getting home, going on a date etc. for three chapters. It’s boring and I don’t care about any of it.

The confusion might be caused by common story structure theories that say the main conflict enters the story at the first plot point, or 25% into the story. But this doesn’t mean there should be zero conflict at the beginning! At the beginning of Harry Potter and the Philosopher’s Stone Harry was told ‘no funny business’ or he’d be grounded. Not long after that, there was some vanishing glass and an escaped boa constrictor. After this happened there was a mysterious letter addressed to Harry, and he spent an entire chapter trying to get hold of it as the weirdness escalated. There’s conflict and a goal right off the bat, and the story hasn’t even really started yet. In The Hunger Games Katniss faces the Reaping. In The Hobbit Bilbo finds himself hosting a dinner party for dwarfs and being asked to go and fight a dragon.

How you can fix it:

  • Take a look at all the books you’ve read. Most of them (if not all) start with some sort of problem or goal. Study up on this to help you realise what makes a good beginning.
  • Don’t fill your first few chapters with characterisation and nothing else. Build your character in the context of a problem or goal.
  • Keep in mind that you find your characters more interesting than your reader does. What you like about your character might not be enough to keep the reader’s interest.
  • What’s going on in your character’s life? How is this going to influence what happens when the conflict or story goal takes the stage?
  • What would happen if you cut your beginning out of the story? Would the plot still make sense? Maybe it’s better to start the story at a later point.

7. Lack of story structure

When you write a first draft, whether you’ve planned it or not, there are going to be structural flaws. Maybe halfway through you thought of a way to solidify a character’s motivation. Maybe at the climax you thought of a way to strengthen your conflict. Maybe somewhere in the middle you had no idea where you were going with this and slugged your way through some boring scenes. It’s all good; this is how stories come together.

What should happen next is that you revise your draft with story structure in mind. There’ll be a lot of “I should add a scene here about this” and “what was I thinking when I wrote that?” and after a few goes, you’ll have a story.

Writers don’t always do this though (which, by the way, makes my job take longer and cost more). They’ll go through and fix all of the obvious problems, but what remains is a manuscript that still lacks a solid structure. It’s messy to read, it’s confusing, it’s clearly not thought out, and it feels like the writer is giving me the finger. I’ll regret paying for the book, stop reading it and leave a negative review on Goodreads. Is that worth not giving your book a good edit?

How you can fix it:

  • Read a lot. Make sure you have a decent grasp on different story structures. Make sure you understand the way stories progress, the way they’re paced and what keeps the reader engaged.
  • Re-outline. Or if you pantsed your way through the first draft, make an outline. Write a checklist for what each scene should accomplish and what each chapter should accomplish. Make a timeline of how the events progress and how the tension increases. Don’t base this on what you’ve written, base it on what you’ve figured out about your plot.
  • Edit ruthlessly. If a scene doesn’t measure up to your new plan, cut it. If it’s in the wrong place, move it.

How do you make a story more exciting and addictive?


Hmm, it’s hard to narrow this down to a comprehensive list, but it is worth knowing that these two qualities in a story come from the editing, and might not be present – or even very obvious – in a first draft. So make sure you have something to work with before you start worrying too much about it.

Otherwise, here are some tips to help with your question: how to make a story more exciting and addictive!


The key to pacing is all in the reveal of what you want the reader to see, know, and feel in that precise moment.

If you feel like your story is ‘boring’, consider how you are pacing the action. Do you spend ages in the beginning, building up to the inciting incident? Do you interrupt action scenes to slow down and describe setting or character detail too frequently?

It’s all about balance – make sure you keep things moving at a good rhythm.

Get the Reader to Relate

The reason some books do better than others is because they adhere to a trend, or explore issues that currently affect their contemporary readers. Think about what kind of books are out right now in their respective genres, or even just think about your favourite books, and what it is about them that you love so much.

Readers love being able to relate to characters and themes in the literature they pick up. Consider the kind of themes and messages that are in your story, and whether or not they may connect with your intended audience.

Write Clearly

Show, don’t tell, but also give the reader what they want – don’t hide it under flowery prose and long, waffling descriptions. Whilst we often don’t give readers enough credit when it comes to their ability to follow a story and its subtext, you don’t want to make them work too hard to find enjoyment in your work. Reading is often a relaxing, fun use of time, not an arduous treasure hunt. The more accessible your story is to the everyday reader, the more likely they will be gripped by its contents.

Create Compelling Characters

It’s hard in this day and age to write a completely original character free of literary tropes, but that doesn’t mean you should rely too heavily on the archetypes that have become ingrained in modern media.

Writing a relatable, interesting, and diverse cast will inspire the reader to stick with your book like nothing else.

Create an Immersive Reading Experience

Good description, well-thought-out world building, and a decent plot are the main ingredients for this. Try to write a story that has the reader feeling as though they could be in it themselves. Some of the best books around feature worlds that allow the reader to imagine where they might fit into it. Greats such as Harry Potter, The Hunger Games, and Lord of the Rings, all have environments with depth, and the potential for the reader to imagine something more for it.

Reading best sellers is a great way to understand what kind of book appeals to more than just one type of reader too. Even if you are writing in a more everyday setting (see books like Me Before You), you can still create this experience with my last item on this list:

Evoke Emotion

Books that grip the reader tend to instill emotion into them, whether that is amusement/laughter, or bittersweet sadness. Any book that appeals to a reader’s emotions immerses them into the story, provoking empathy and a real investment into the story that pays off for the writer.

And that’s about all I can think of for now, Anon. I hope this helps…!

Writing Tip June 22nd


9 Simple and Powerful Ways to Write Body Language

Dialogue is a great tool to establish relationships between your characters and deepen emotional connection to your readers. But if you rely on dialogue alone to show how your characters interact, you’re missing a big opportunity. In real life, nonverbal cues—body language—account for more than 90% of our communication. Including body language in your writing gives your characters more depth and provides a relatable, interactive experience for your readers.

That’s easy enough to see in real-world interactions or on the stage or screen, but how can you write it into your story?

How to use body language effectively in your writing

There are so many components to body language, and many writers only ever use a few. To create believable and engaging characters, it’s important to look at all the ways to communicate body language in your writing.

1. Gestures

Most of my clients don’t know this because we primarily work over email and telephone, but I talk with my hands. Big time. Some of your characters probably do too. Sure, not everyone uses finger guns (even though they should). But virtually everyone shakes hands, points, or waves.

One word of caution: be aware that your book will likely be read around the world, and some gestures have different cultural connotations. One common example is the two-fingered V. Other than being super popular now in selfies, it has also meant victory, peace, or an insult. If you use it, make it clear how it’s being used.

2. Facial expression

Again, some of us have very expressive faces, and others are harder to read. But facial expressions are an important part of body language because they are pretty much universal. Even people who curb their reactions still have tiny involuntary changes called microexpressions. Our brains pick up on these and decipher them, even when we aren’t aware that they’re happening. How cool is that?!

3. Tone of voice and cadence

I’m sure you’ve heard the expression, “It’s not what you say; it’s how you say it.” For example, my kids know I’m close to losing my patience when I slow my speech and lower the pitch of my voice. That’s their cue to get in line or risk Mom’s wrath. Your characters’ speech will sound different to each other, depending on what emotion they are feeling. How does your protagonist sound when she’s excited? Guilty? Apathetic?

4. Touch

Some gestures relate to touch, but I included it as a separate category because it’s all about how the characters interact. Touch conveys so much in just a fleeting moment. Think about all the emotions expressed by physical contact—running a hand through a child’s hair, laying a head on a friend’s shoulder, punching someone in the face!

5. Posture

Posture is how we hold our bodies while we stand and sit, but it’s more than just being able to balance a book on your head. The way a character carries himself as he goes about his life says a lot about him. Does he stand tall or slouch? Does he sit back with his legs crossed or lean forward? How does your character hold his head, shoulders, arms, and legs—and what does that tell your readers about him?

6. Proxemics (personal space)

This aspect of body language makes me think of that old Seinfeld episode about the close talker, a man who doesn’t understand the idea of personal space. Most people respect that people want 18 inches or so between themselves and others. To be inside that space usually means either intimacy (if wanted) or threat (if unwanted). Again, there are cultural differences here, so be aware of that when you write.

7. Physical appearance

Our cleanliness, hairstyles, clothes, accessories, and other decisions about personal appearance tell others plenty about us. In fact, our first impressions of people often come from these choices. Show more about your characters by showing these aspects of them as well. Maybe she only likes to wear skirts or always wears a cross necklace. Maybe she has giant, unruly curly hair. Maybe she was just born that way, and it doesn’t mean anything about her, OK???

8. Actions

Sometimes a character’s actions are a kind of body language. How and when he acts in certain ways can be meaningful (it isn’t always). Running instead of walking, slamming doors, taking a drink to fill a loaded silence, jumping in a car and driving away…these are all actions that carry emotion.

9. Physical sensations

Especially effective when writing in deep POV, these are the involuntary responses a character’s body will have to a certain stimulus. It might mean prickling skin, sweating, blushing, fast pulse, dry mouth…you get the idea. These are physiological responses we all share, so it engages readers’ senses and memories. It’s easy, though, to end up with a bunch of sweaty people with goosebumps who are practically having heart attacks. So be careful not to overdo it or go into clichés or purple prose.

A few other tips

Use it to strengthen dialogue

Body language reinforces the emotional connotation of the words, breaks up large amounts of dialogue, and provides a better alternative to dialogue tags.

Make the connection

Make sure you’re clearly connecting the chain of emotions, thoughts, motivations, actions, and reactions. Don’t hit your reader over the head with it, but don’t leave it ambiguous either.

Use multiple kinds of body language

Don’t rely on one nonverbal cue to communicate everything. Write them in little groupings and sprinkle them throughout the story.

Sometimes it’s about what they don’t do

Some characters are carefully blank, schooling their expressions and controlling their actions. What a person doesn’t do can say as much about them as what they do.


Make sure you include intentional actions as well as unconscious reactions to go even deeper.

Body language habits = personality quirks

Use your characters favorite body language as a personality quirk. Be careful not to repeat it too much, though, or you may bore your readers.

-Jeni Chappelle


Here’s the canon height line-up for DA2, for anyone who is wondering. 

When I actually manged to catch Fenris standing up straight, he was taller than Aveline. 

The redhead man is my male Hawke. I don’t play default!male Hawke, but I tested this with a couple of custom male Hawkes, and they all fell in third place. The female Hawke is the default female Hawke. 

I did have to load three different games to get all of these, since Sebastian, Bethany, and Carver can never be at Fenris’ house (where I took these caps) at the same time. That does show with the men in particular, as some of the zooms are slightly different. However, I lined the characters up wherever I wasn’t sure. 

I also couldn’t get Tallis in it at all. If with the computer skills wants to put her in there and see where she’d fall (I’d guess right below Merrill), be my guest. 

So, the Kirkwall crew from tallest to shortest is: Carver, Anders, m!Hawke, Sebastian, Fenris, Aveline, Isabela, f!Hawke, Bethany, Merrill, Varric. 


Things That I Found Whilst Going Through the DAO Epilogue Wiki That We Should Remember


The City Elves

  • No matter what, a Bann is elected to rule the Alienage and the City-born elves gain more rights, freedoms and their own personal militia.
  • However some years later human resistance culminates in a mob outside the landsmeet that stones the Elvhen Bann to death.
  • The Crown has to crack down on the resulting Elvhen/Human riot and tensions continue.
  • The exception to this, however, is if Soris becomes Bann. He marries a human woman and the entire Alienage is so outraged that he runs away to Orlais.

The Dalish Elves

  • If they participated in the Battle of Denerim, they earn newfound respect and are genuinely welcomed into Fereldan Lands.
  • If Lanaya is the new Keeper then she is well respected amongst both the Dalish and the Fereldan Court. All Dalish clans turn to her to resolve disputes between them and Fereldan Humans.
  • They are gifted the land around Ostagar and in time many Dalish Clans moved to the area. However, they were still wary of human neighbours, and peace only remains if Lanaya is the Keeper.
  • If the Werewolves are freed of the curse they remain together, name eachother family and take on the surname ‘wolf’. Eventually they become the most successful animal trainers in Thedas and every year they light a candle for the Lady of the Forest.

The Circle

  • One way or another, the Ferelden Circle is eventually granted autonomy. However that happens faster if a Mage Hero dies or asks for it as a boon.
  • If neither of these occur and Dagna is sent to the Circle then she inspires mages from all over Thedas to establish a new Circle of Magi in Orzammar itself. Orzammar is entirely willing to harbour apostates and this sparks talk of the Divine making a new Exalted March
  • As well as this, if the Circle is not granted autonomy, Greagoir steps down once the tower is rebuilt. He retires to become a brother of the Chantry, eventually dying from an illness after refusing treatment. Cullen then becomes the Knight Commander and apparently ruled the Circle with fear.
  • If, however, the Circle is given autonomy then Cullen eventually suffers a psychotic episode where he kills three apprentices before being restrained by fellow Templars. He escapes from prison later.

The Dwarves

  • Gorim tells an Aeducan warden that he wishes to take up position as their Second again, if they will have him.
  • Bhelen as King increases trade with the Surfacers, loosens Caste restrictions and the Casteless were permitted to take arms against the Darkspawn in exchange for new freedoms. This actually pushes the Darkspawn line back and old Thaigs are reclaimed.
  • If Branka lives he initially allows her subjects to create golems, willing or not. However when she eventually refuses to produce them only for him, he assaults her Fortress and lays seige for some years until he gives up and withdraws.
  • However his excessive amount of enemies in court force him to dissolve the assembly entirely and place himself as a lone Ruler. A Tyrant, some might say.
  • Harrowmont, on the other hand, passes a law excluding Casteless from the commons. This sparks a rebellion and the slums are essentially turned to rubble. The Assembly remained behind Harrowmont, however.
  • If Branka lives then Harrowmont initially provides her with willing volunteers in order for the Golems to crush Bhelen’s rebellion. Eventually however, he refuses to continue using Dwarven souls for the practice. But the Deep Roads needed Golems, so raids were conducted on the surface to kidnap humans and elves for the golems. This sparked a small war between Orzammar and Ferelden which quickly lead to Orzammar’s doors being sealed shut.
  • Later on Harrowmont’s health begins to fail, either by poison or frailty. When he dies, the Assembly descends into infighting.
  • If Branka dies then the Smiths eventually find the Anvil of the Void and try to create a Golem. They succeed, using a spirit of the Fade, however the Golem goes mad and kills a number of Shapers. The technology is labeled as extremely dangerous.

Queen Anora and the Crown

  • If Loghain dies killing the Archdemon, Anora asks the Warden if they can tell her anything about his death.
  • She also erects a statue of him glaring down at the Orlesian Embassy to symbolise his redemption and in the end people remember him as the hero he was, not the villian he became.
  • If Loghain is killed at the Landsmeet, she still erects the statue, but she is one of only a few to visit it. Still, she does this every year, placing flowers at his feet.
  • As Queen she ushers in a new age of prosperity with swathes of trade agreements and a rebuilt capital. The Army is restored completely, laws were passed to encourage freeholders to produce larger harvests and she builds a University.
  • If she is married to Alistair, Loghain lives and the Warden becomes a Chancellor, then she is the only one whom will speak to the Warden. They argue a great deal, but she usually wins. Still the Warden is very popular in Ferelden and holds a lot of influence. 
  • If the Warden marries Anora then with their combined prowess, they usher in a new Golden Age for Ferelden, not seen since King Calenhad first united the barbarian tribes.
  • If she remains Sole Ruler then she contines to rebuff advice of marriage, even ignoring the suitors whom visit her Court. She claims, ‘all of them fall short of the bar she measures them against; that of her father.’
  • The Chantry refuses to accommodate Ferelden’s ruler if they grant the Circle autonomy. 


  • If Loghain and the Warden live then Anora manuveores him into leading Grey Warden recruitment efforts.
  • If the Warden dies then he performs this task diligently for some years until the taint wears too hard on him and he travels to Orzammar for his Calling.
  • If Marjolaine is dead and Leliana is hardened, she is asked to head up an investigation into the darkspawn. The ruler wishes to know how far they go in the Deep Roads and where the broodmothers can be found.
  • Wynne can accept a position at court to advise the Throne and help improve the lot of Mages in Ferelden.
  • If the Warden is dead then Oghren accepts a position as a General in the Ferelden Army. He sobers, gets clean, marries Felsi and cries when his first child is born. He names them after the Warden.
  • If the Warden is dead then Zevran tries to avoid the Crows but eventually takes the fight to them. After four masters disappear, the crows choose Zevran as their leader.
  • If Alistair is exiled and leaves the Wardens, he leaves on a rivaini ship. An attempted coup to overthrow Anora a year later borrows Alistair’s name but he does not appear to be involved.


  • If Connor is killed and Isolde lives then she bares Eamon a second child, a daughter. However, she dies in labour. The girl is named Rowan, after Eamon’s sister, and when she exhibits magic she is sent to the circle.
  • If Kaitlyn is given a small fortune for the Sword at redcliffe, then she takes Bevin and goes to Denerim. She opens a Foundry with the money and becomes very wealthy. Eventually she meets Teagan again, by chance, and they marry a little later.


so as an aspiring classicist (slash medievalist) i like roman history A Lot, and i read about it A Lot, and over time i’ve come up with A Lot of reliable resources for studying it. 


ancient sources:

  • the history of rome (livy) – covers from rome’s (obscure, semimythological) early history all the way up to the reign of augustus. long, dull, but relatively worth it.
  • lives of the twelve caesars (suetonius) – deals with the lives of julius caesar through to emperor domitian. fair warning: people don’t call suetonius an ancient gossip columnist for nothing, so take him with a grain of salt.
  • annals (tacitus) – reign of tiberius to reign of nero, everyone loves this one.
  • de bello gallico (julius caesar) – caesar’s own record of his campaign in gaul, aka roman war propaganda. short but important part of roman history.


i’ve read most of these and been recommended the rest, but they reflect my own interest in specific subjects. you can find a more comprehensive list here.


Blogger Gatherings!

Click the button for reports from the 2010 Spring Blogger Gathering, hosted by Linett of Nimrodel!

Berethron of Brandywine hosted the 2010 Summer Blogmoot.

The Winter Blogmoot was held on December 4, 9 p.m. EST at the home of Telwen of Silverlode.

Next up: The Spring Blogmoot of 2011 shall return to Nimrodel with Tuiliel (Whart, aka user-1027520) hosting! Linett is looking forward to another local moot!



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