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by Ranya Najeeb "Without translation, we would be living in provinces bordering on silence. - George Steiner Translation is a crucial pillar of world literature, serving as a bridge that allows readers to experience stories, ideas, and cultures beyond their native languages. Through the art of translation, the richness of diverse literary traditions becomes accessible, enriching our global understanding and fostering cross-cultural connections. This article explores the intricate role of translation in literature; tracing its historical evolution, examining the myriad challenges translators face, and explaining its profound impact on global cultural exchange. By delving into these aspects, we gain a deeper appreciation of how translation shapes our literary landscape and advances the dialogue between cultures. The practice of translating literary works spans across millennia, reflecting humanity's enduring quest to share knowledge and stories across cultural divides. Ancient translations like the Rosetta Stone and the Septuagint (the Greek rendition of the Hebrew Bible) underscore the early imperative of making texts accessible across diverse linguistic communities. Pivotal translation milestones like these have significantly influenced societies. For instance, the translation of classical Greek and Roman texts during the Renaissance profoundly shaped Western intellectual and cultural development. Similarly, translating the Bible into vernacular languages democratised access to religious texts, catalysing movements such as the Protestant Reformation. These historical examples underscore the transformative role of translation in spreading ideas and fostering cultural exchange. As a connoisseur of literature, it is continually intriguing by how these translations not only preserve but also enhance our appreciation of human thought and creativity across temporal and geographical boundaries. Translating literary works today is a nuanced endeavour that requires both technical precision and artistic sensitivity. Beyond linguistic accuracy, translators navigate cultural nuances, idiomatic expressions, and distinctive stylistic elements, striking a delicate balance between faithfulness to the original text and ensuring readability. This demands meticulous attention to detail and a profound understanding of involved cultures, preserving the essence of the author's voice while offering profound insights into diverse perspectives and traditions. Advancements in translation technology, leveraging neural networks, as well as AI, have revolutionised the field, enhancing accessibility but often faltering with nuances like language and cultural context where human translators excel. As technology evolves, the challenge lies in harmonising automated efficiency with human variation, with translators refining machine drafts to capture tone, cultural references, and emotional subtleties. This blend of technological speed and human insight democratises global literary access, while sparking ongoing debates on technology's role in maintaining linguistic and cultural authenticity. Looking ahead, the future of translation promises further innovation and adaptation to meet the demands of an increasingly globalised world. As technology continues to advance, hybrid approaches combining machine translation with human expertise are poised to become more prevalent. This integration can enhance accuracy and preserve the integrity of literary works while expanding their accessibility to new audiences. Moreover, the evolving digital landscape offers unprecedented opportunities for collaboration among translators, scholars, and readers worldwide, fostering a deeper appreciation for diverse voices and narratives. Embracing these advancements while upholding a commitment to linguistic and cultural authenticity will be vital as we navigate the dynamic intersection of technology and literature in the years to come. Translation serves as a powerful catalyst for cultural exchange, enabling the global spread of ideas and nurturing mutual understanding among people from diverse backgrounds. By making literature accessible across languages, translation allows readers to deeply engage with narratives, philosophies, and viewpoints that might otherwise remain out of reach. This enriches our understanding of the interconnected world, encouraging exploration of unfamiliar landscapes, historical contexts, and societal norms. Essentially, translation acts as a vital bridge, transcending linguistic boundaries to unite humanity through the universal language of storytelling. From ancient epics to contemporary masterpieces, translators weave together diverse narratives, enhancing our collective understanding. Beyond mere linguistic conversion, translation embodies profound cultural empathy and enrichment, inviting exploration of the richness of human expression and fostering empathy, appreciation, and a deep sense of global unity. In our increasingly interconnected world, translation's transformative power continues to inspire and connect readers, forging enduring bonds of shared human experience across continents and generations. "Translation is the art of bridging worlds, revealing the beauty of diversity and the unity of human experience."   - Rabindranath Tagore Works Cited Language Network. Brief History of Translation: Everything You Need to Know. Available at https://www.languagenetworkusa.com/resources/blog/brief-history-of-translation-everything-you-need-to-know [Accessed on 4 July 2024] Dave, M. (2018). An Overview of History of Translation in the Western World. Redalyc. Available at https://www.redalyc.org/pdf/7038/703876871002.pdf [Accessed on 4 July 2024]

by Prisha We’ve all wished that we could have a book published. However, the pathway from having a manuscript to a published end product is filled with various finance aspects. So let’s dumb it down and make it easier to understand. 1) Pre-Publication Expenses Before your book hits the shelves, there are a few costs to consider: Manuscript development Editing and Proofreading: Professional editing is necessary to prepare your manuscript for publication. Content, copy-editing, or even just proofreading may cost between $500–$5,000 for book-length works, depending on complexity. (Or you may get a friend to do it, or even do it yourself — then it’s free ) Beta readers: Beta reading is when an average reader ( test reader ) of an unreleased work of writing, typically literature, who gives feedback to the author from this/her point of view  , but some writers go for professional beta readers. For unpaid beta readers, try online writing communities like Reddit’s r/BetaReaders, Writing.com , or Critique Circle. Social media platforms like Twitter can also connect you with beta readers through hashtags like #amwriting and # writingcommunity . For paid beta readers, consider services like Reedsy, where you can find professional beta readers, or Fiverr for affordable options. With this, an approximate of $50–$200 would be expected by them. Book Design Cover Design: An innovative and engaging cover draws more readers in. Professional services, especially for design purposes regarding a cover, can range from between $300 and $1,500.  We have an inhouse graphic designer MG , our Head of Marketing & Social Media who designs book covers both premade (still exclusive just to the client) and custom ones, too. Her services range between 40 to 200 USD and you can find more about her on her website . A good cover helps sell your book, while a bad cover can discourage purchases even if people have heard positive things about it. People do judge a book by its cover, so use this to your advantage by ensuring your book has an attractive and professional cover.This doesn't mean you cannot design your own cover, if you think you have the skills and means, then you're free to try!! Interior Layout: A professionally designed interior for print and ebook within $200 to $1,200. ISBN and Barcodes ISBN (International Standard Book Number): Each version of your publication will need its ISBN. ISBNs can be purchased individually for $125 each or bought in blocks of ten for $295. Barcodes: If you are publishing a physical book, then you need a barcode. It can be ordered for $25. Routes Publication and Its Costs Traditional Publishing Literary Agents' Queries: Submitting a manuscript to literary agents might take several months to finalise the deal. To find potential literary agents, one can start by researching databases like the Association of Authors' Representatives (AAR), and resources such as the "Writers' & Artists' Yearbook" and QueryTracker. Focus on agents who represent your genre and follow their submission guidelines. Personalise your query letter to show familiarity with their work. If all agents reject you, revise your manuscript or query based on feedback and keep submitting, or consider self-publishing. If an agent offers representation, review the contract carefully and ensure the agent fits your career goals. A few examples are Kanishka Gupta from Writer's Side and Anuj Bahri from Red Ink Literary Agency. Although nowadays, most of them take submissions on a site or their email so it’s free.  Advance Payments: Publishers can, if they choose, offer an advance against royalties. This advance might run from a few thousand dollars to even six figures for prominent authors. Book deals involve advances and royalties. Publishers use profit and loss statements to calculate advance amounts. Agents typically receive a 15% commission on advances and royalties. The 80/20 rule dictates that 80% of profits come from 20% of titles. One can often retain the right to submit their next book to the same publisher first. Negotiating multiple offers can lead to higher advance amounts. Authors receive free copies of their published books. Understanding financial components is crucial for aspiring authors. Retaining submission rights for future projects offers continuity and stability. Self-Publishing Printing Costs: Both print-on-demand services and subscription print services will print your work. Print on demand usually runs from $3 to $6 a book, while subscription print models may reduce the cost substantially for a single unit but generally cost quite a bit upfront. Distribution Fees: Amazon KDP, Ingramsparks are just a few that I listed; they take a cut off of your sales. For instance, Ingramsparks can amount to around $49 for the set-up fee plus spending on every book printed. Marketing and Promotion: The self-publisher shoulders all expenses in marketing the book. It is composed of social media ads, book trailers, blog tours, and spires up to at least $1,000 or more (a free way would be utilising various social media platforms to market your book) 2) Post-Publication Costs Marketing and Promotion   Book Launch Events: Organising a book launch event creates an element of hype but can further cost you money in renting the venue, refreshments, and promotional materials, running anywhere from $500 to $2,000.  Book Tours: Book tours are promotional events where an author travels to various locations to promote their book through readings, signings, and interactions with fans and media.  In traditional publishing, the publisher often covers the costs associated with book tours, including travel, accommodation, and marketing materials. However, in the case of self-publishing, the author usually bears these expenses. Despite the costs, book tours can be highly effective in building an author's platform, increasing visibility, and driving book sales. Virtual book tours have also become popular, especially post-pandemic, allowing authors to reach a wider audience without the need for extensive travel, thus drastically reducing costs.  Advertising: Paid ads on platforms such as Facebook, Amazon, or Goodreads can be anywhere in the range of $100 to a few thousand, depending upon the ad's reach and campaign duration. Author Website Website Development: You can get professional author website development from $500 up to $5,000 and even more with additions for domain registration and hosting costs. This can be done with website makers like WIX, Wordpress, etc. There is also a free course on website development on Coursera. Royalties and Earnings Traditional Publishing: The author will generally earn between 5-15% on the retail price of their published book. This can also vary depending upon specific contracts, like the one with agents who typically takes a commission of 15% on domestic book sales and 20% on foreign sales and other subsidiary rights, such as film and television adaptations. This commission structure compensates the agent for their work in securing publishing deals and managing the author's career., along with hardback, paperback, or eBook. Self-Publishing:   Includes KDP, which pays from 35% to 70% in royalties, depending on the price of the book and the model of distribution. One can even publish on websites that offer free publishing such as Wattpad, Inkitt etc. Income Management Financial Planning: An author has to be financially prudent on the income side as well as disciplined in budgeting and saving for future project undertakings and lean periods between book sales. If you're working on a budget I suggest trying to do some of the things like, managing your social media page, book designing, beta-reading, and website-developing on your own to save costs. Choosing the mode of publishing is also vital in your journey, so pick the one that seems the best to your interests. And that’s the basics that you need to know about publishing your own book. Works Cited:  "Association of Authors' Representatives (AAR)." AAR Online, https://aaronline.org . Writers' & Artists' Yearbook . Writers & Artists, https://www.writersandartists.co.uk . "The Art of Book Publishing." YouTube, 26 Apr. 2021, https://www.youtube.com/watch?v=EaXtfwGFAhM . "Marketing for Books." YouTube, 14 May 2021, https://www.youtube.com/watch?v=aY0xXgkE-CU . "How Much Does It Cost to Self-Publish a Book?" Reedsy, https://www.reedsy.com . "Print on Demand vs. Offset Printing: What Are the Differences?" Kindlepreneur, https://www.kindlepreneur.com . "IngramSpark vs KDP Print: Which Self-Publishing Platform is Best?" Kindlepreneur, https://www.kindlepreneur.com . Follow the author Prisha on her instagram here!

by Jason Wu In many romance stories, there will come a time when a breakup will happen between characters. Sometimes it will happen to the main character, sometimes it won't. Whatever the case is, that breakup serves to be an important part of the story. But with a concept so complicated, how does a writer effectively write about a breakup, especially from the point of view of the one whose heart was broken? There are a lot of moving parts to this idea of a breakup, but there are 3 main ideas to it. The initial wave of emotions along with the desperate fight to save the relationship, the period of time with elevated emotions where nothing feels right, and finally, the start of the actual healing process. This will not summarize all types of breakups, but it would help to provide some sort of an idea on what one is like. For those who haven’t experienced what it is like to be the one who was heartbroken, this will be extremely helpful. When a breakup happens, one’s mind stops working. Stunned and shocked are just part of the wave of emotions that hit you hard. Once the explanation of why the other person wants to  breakup, you will want to do anything to fix it, even if that means going back in time. But, none of that’s ever going to happen, because when it's done, it’s over. You should write  your character feeling lots of regret for all the things they have done wrong, and even regret a few things that weren’t even the character’s fault. Next up, waterfalls of tears. The character is going to cry, and cry a lot. They just lost someone that meant everything and forever. The heartbroken will shut down. That’s going to happen for a few days.  Next is the healing process, and this stage can last anywhere from weeks to months, depending on the person and how much that relationship meant to them. It can vary from type to type as well. That being said, if the relationship was toxic for them, with enough discussions with family and friends or getting advice from trusted individuals, they may be able to recover much quicker. But, say it was a good relationship and that there was no toxicity in it, it’s sadly going to take a long time to recover because getting over that person is going to be even harder. There will be lots of venting to friends and even more of figuring things out and how to pick oneself up from the ground to keep moving. This stage is hard and it’s a challenge for the heartbroken. This is that moment where a character decides that enough is enough and he or she is going to do something about how sad or depressed they are feeling. Again, let me reiterate that this stage can go in any direction and these examples that I have listed are just a few of the many possibilities. The healing stage will be accompanied by a glow up stage or a self improvement stage, wherein the character decides to fix themselves about all the things that were a flaw in that relationship. This can be a good thing but sometimes can lead to the development of negative traits. For example, they could learn how to control the types of comments they make or it could end up with the person becoming less and less open and more closed off in terms of their thoughts. Maybe the one who was on the bad end of the stick will be afraid to love again. Many things can happen, it’s all dependent on the writer’s mind. Writing subjects like breakups is certainly tough, it’s a rather complicated thing that you’ll learn more things about as time goes on, and maybe even have to go through one, but you’ll learn more about them and in turn know how to write them better. There’s no better way to get better at writing them than doing practice prompts on your own. It can help make sure that you are timing each point of the breakup correctly, and seeing if you wrote the breakup down so perfectly that it drives the plot forward better than ever.

by Ranya Najeeb "Madness, provided it comes as the gift of heaven, is the channel by which we receive the greatest blessings." — Plato In the rich tapestry of classic literature, few themes resonate as deeply, or evoke as much intrigue as the interplay between madness and sanity. Across the pages of Shakespearean tragedies, Gothic mysteries, and modernist explorations, many authors have woven intricate tales of characters whose minds teeter on the brink of reason and chaos. These literary figures, haunted by their inner turmoil or besieged by external pressures, serve as compelling mirrors reflecting the complexities of human nature. They invite us into a labyrinth where perception blurs with reality, offering profound insights into the frailty and resilience of the human psyche. As we navigate their stories, we embark on a journey through their individual struggles that defines our shared humanity. A quintessential example of this theme is Shakespeare's tragic hero Hamlet, haunted by the ghost of his father who reveals he was murdered by Hamlet's uncle, Claudius. This revelation, coupled with Claudius's usurpation of the throne and marriage to Hamlet's mother, Gertrude, drives Hamlet to seek vengeance. His feigned madness blurs the boundaries between reality and illusion, while his erratic behaviour and poignant soliloquies lay bare a mind grappling with existential anguish and moral dilemmas. Reflectively, Hamlet's internal turmoil prompts contemplation on the complexities of vengeance and moral responsibility, highlighting how profound emotional turmoil can impact decisions and perceptions of reality. In "Hamlet", Shakespeare skillfully explores the fragile balance of sanity amidst overwhelming emotional turmoil, portraying a character whose inner struggles resonate deeply with the human experience and the enduring quest for justice and truth.  Similarly, in Charlotte Bronte's "Jane Eyre", Bertha Mason epitomises a profound aspect of madness, confined to the attic of Thornfield Hall as a symbol of deep societal repression and the tragic consequences of unchecked desires. Her unpredictable actions and haunting presence starkly remind us of the isolation and neglect endured by those deemed socially unacceptable, resonating with themes of confinement and the exploration of the "other" in Victorian society. Personally, Bertha's character prompts reflection on the complexities of mental health and societal judgement, challenging us to consider how society marginalises individuals who deviate from accepted norms. This narrative underscores the central theme of madness and sanity in literature, offering a powerful critique of Victorian society's treatment of those excluded and urges readers to examine the impact of societal judgement on mental well-being and the resilience of the human spirit. Moving into Russian literature, Fyodor Dostoevsky's "Crime and Punishment" introduces Raskolnikov, a tormented intellectual whose rationalisations drive him to commit murder. Raskolnikov's descent into paranoia and guilt-induced delusions reflects Dostoevsky's exploration of moral responsibility and the psychological toll of crime, probing the boundaries of sanity and its consequences. Contemplatively, Raskolnikov's character prompts introspection into the complexities of moral justification and the psychological weight of guilt. Dostoevsky's novel skillfully navigates the fine line between rationality and madness, offering a profound examination of human morality and the enduring struggle to reconcile ethical dilemmas. These characters, along with countless others in classic literature, beckon readers into a labyrinth where the boundaries between perception and reality blur, offering profound reflections on the human condition. They challenge us to reconsider our notions of madness and sanity, inviting deep introspection into the delicate yet resilient nature of the human mind. "Madness is a regenerating, liberating force: in its wings, we find the possibility of our salvation." — Friedrich Nietzsche   As we traverse their narratives, we unravel not only the complexities of their individual psyches but also the universal truths that define our shared humanity—a journey through the shattered minds of literature's most compelling characters. Despite the diverse origins of their madness, each character ultimately converges on a common outcome, offering profound insights into the human condition.

by Carina “Who are you? What is our purpose on this planet? Why do we do what we do? How do we define ourselves? What shapes our personalities? What drives our actions? What influences our relationships? What defines our lives?  ​ What does it mean to be human?” In issue viii: the human experience, we want to know what being human means to you. We want to hear about how you perceive life’s mysteries, beauty, and pain. How has the human experience affected you? So, in this article I will be providing quotes to inspire your writing for this theme. “Be silly. Be fun. Be different. Be crazy. Be you, because life is too short to be anything but happy.” - Unknown “A good life is a collection of happy memories.” - Denis Waitley “Life is beautiful, enjoy every moment of it.” - Patti Hansen “May the flowers remind us why the rain was so necessary.” - Xan Oku “We cannot become what we want by remaining what we are.” - Max Depree “Life isn’t about waiting for the storm to pass, it’s about learning how to dance in the rain.” - Unknown “Never regret anything that made you smile.” - Mark Twain “I know that one day, when you’re finally in the place you’ve dreamt of, you will look back at this period of your life and feel so grateful that you didn’t give up.” - @wetheurban on Instagram “You can’t go back and change the beginning, but you can start where you are and change the ending.” - C.S. Lewis “Make happiness a priority and be gentle with yourself in the process.” - Bronnie Ware “Staying positive doesn’t mean you have to be happy all the time. It means that even on hard days you know there are better days to come.” - Unknown “If you can’t change it, change the way you think about it.” - Maya Angelou “To live is the rarest thing in the world. Most people just exist.” - Oscar Wilde “We all have two lives. The second one starts when we realize we only have one.” - Tom Hiddleston “Enjoy life. There’s plenty of time to be dead.” - Hans Christian Andersen “Give every day the chance to become the most beautiful day of your life.” - Mark Twain “What we think, we become.” - Buddha “Life is a journey, not a destination.” - Ralph Waldo Emerson “Tears are words the heart can’t say.” - Unknown “One small crack does not mean that you are broken, it means that you were put to the test and you didn’t fall apart.” - Linda Poindexter “Have a heart that never hardens, and a temper that never tires, and a touch that never hurts.” - Charles Dickens “You can’t do anything about the length of your life. But you can do something about its width and depth.” - Evan Esar “How you love yourself is how you teach others to love you.” - Rupi Kaur “Kindness begins with the understanding that we all struggle.” - Charles Glassman “The space in which we live should be for the person we are becoming now- not for the person we were in the past.” - Marie Kondo “To live a creative life, we must lose our fear of being wrong.” - Joseph Chilton Pearce “Find ecstasy in life; the mere sense of living is joy enough.” - Emily Dickinson “Growing up is losing some illusions, in order to acquire others.” - Virginia Woolf “Beneath life’s beautiful facade, unseen scars tell a story of untold struggles, unfinished tasks, and hidden tears, making it a more complex and captivating tale.” - Litsa Ruby “When we are no longer able to change a situation, we are challenged to change ourselves.” - Viktor E. Frankl “In the end, only three things matter: how much you loved, how gently you lived, and how gracefully you let go of things not meant for you.” - Buddha “You are alive. Feel the air fill your lungs and the sun kiss your cheek. These things are enough and enough is everything.” - JH Hard “The sole meaning of life is to serve humanity.” - Leo Tolstoy “Love is a striking example of how little reality means to us.” - Marcel Proust “Life is the art of drawing without an eraser.” - John W. Gardner “There is some kind of a sweet innocence in being human- in not having to be just happy or just sad- in the nature of being able to be both broken and whole, at the same time.”  - C. Joybell C. “The privilege of a lifetime is being who you are.” - Joseph Campbell “The idea is not to live forever but to create something that will.” - Andy Warhol “We don’t see things as they are, we see them as we are.” - Anaïs Nin “Be courageous enough to create a life that suits your personality. You can’t use the same formula as everyone else.” - Ash Alves “We are like chameleons, we take our hue and the color of our moral character, from those who are around us.” - John Locke Whether you use these quotes for your submissions for issue viii: the human experience, or anything else, I hope they provided some inspiration for you. For information, check out the issue viii  page on our website. Follow @rewritethestarsreview  for more!

by Milica Filipovic Most writers can be categorized as either a plotter or a pantser when it comes to organization. A plotter is someone that prefers to have the information for their story neat and ready before they begin the actual writing process, and a pantser is someone who prefers to dive right in with only their creative mind as a backbone. Writers that find themselves as a mix of these two definitions are called 'plantsers', a category under which I consider myself to be. In all of these cases, there needs to be a level of planning. Whether it be simply writing down ideas so you can incorporate them into your work in progress or creating a distinct timeline of events, you need to find the way that works best for you. Here are a few of my best suggestions regarding the development of your story ideas into fully-fledged pieces. One of my favorite ways to keep my writing on track is by using a notebook. It’s been proven that writing things down by hand helps to absorb and retain the information written. You can include whatever you’d like in this notebook, any details that will be useful along your journey. I personally prefer to keep my character profiles, deadlines, and spontaneous ideas on paper, while having my outline for chapters and major events available in my online documents. This ensures that the extra details are stored in a safe place but that I also have quick and easy access to more vital information that I’d need whenever and wherever I choose to write. Additionally, I like to have visuals at hand for when my mind can’t conjure up images. A great resource for free, yet aesthetically pleasing pictures is Pinterest. There’s an endless collection of photographs on every topic imaginable, for free! You can even create boards (folders) for different topics. This site is a very efficient place to find references for locations, people, objects, etc. The only downside is that it can be time-consuming and a distraction from actually writing. Picrew, an online platform where you can create drawings of your characters by editing premade templates, is another fun website to explore for this purpose. These options are digital but feel free to use your own artistic skills to capture your book’s visuals. I unfortunately don't have these talents, so another great resource for visuals, although slightly more expensive, would be contacting digital artists to capture a scene or character from your story. Commissioning pieces ensures that they match up the image you have in your head to the fullest extent and, in the process, support a hardworking artist. There are also many programs that can be used to help in your writing process. From free sites to paid softwares, each one has its own perks and downfalls. I mainly use Google Docs to write my stories as it's a free resource that is backed up on all my devices. You can edit the margins and formatting with minimal difficulty. Further along the writing process, I use the paid software Scrivener, an outliner and word processor made specifically for authors, to format my work for publishing and experiment with designs. It’s important that you find what works best for you. Some other softwares I recommend are Microsoft Word – which functions similarly to Google Docs with the majority of the same tools; and Reedsy, a website where you can write and store your work safely. Reedsy also has extensive resources on writing and publishing in general. Even though I cannot confirm that these platforms can simultaneously connect across devices, nor that they offer the same practicality, both are great alternatives with unique features. Upon discovering which platform worked best for me, I began to work on organizing the logistics of my story. As I stated previously, I prefer to do my outlining over Google Docs and place my ideas in chronological order to serve as a guide when I’m writing. My list of potential scenes are jotted down in my writing notebook or Notes app on my phone. I then take these snippets and sort them into major and minor events in my story. With this, I can create a rough outline of my timeline. Finally, I gather all this information and place it in an online document, organizing them by Act > Event > Scene > Description. The information you want to include in this document can be more vague or detailed based on your preferences. This is my favorite way to outline because it’s not time consuming, but still serves its purpose. Finding the right organizational strategy is crucial for any writer, whether you're a plotter or a pantser. The key lies in striking a balance between planning and creativity, ensuring that you have enough structure to guide your story while leaving room for spontaneity. Remember, the best method is the one that works for you, so don’t hesitate to experiment with different techniques and tools until you find your ideal workflow. Happy writing!

by Skye Davis A staple component of fantasy world-building is the creation of magical creatures and their cultures. Authors like J.R.R. Tolkien made fantastical racial groups like elves, dwarves, and orcs irremovable pillars in the genre. We receive an almost unspoken standard: elves are clean, intelligent, and powerful; orcs and goblins are dirty, thoughtless, and dangerous. Through this, the readers receive their “good” and “evil” characters—those that protect and those that destroy. The former are human; the latter, sub-human. While these novels’ readers and authors might not consciously recognize and acknowledge the presence of these distinctions, which are difficult to apply to reality because of the comforting distance from it that the fantasy genre provides, they heavily mimic real-world racial prejudices. The effect remains: there are superior and inferior races whose irrefutable, wholly unalterable qualities assist in the degradation of people, both real and fantastical. Stereotypes take the diversity of groups of people and combine them all into one, denying and simplifying the differences of each individual. An element of this oversimplification is a psychological bias known as essentialism—a cognitive framework that allows propagators to categorize members of a specific group into distinct boxes, assuming they all share fundamental qualities (Mandalaywala, 2020). Fantasy novels are fraught with these oversimplifications. It is much simpler to code large groups with widely applicable and easy-to-understand characteristics. Even simpler is to write that these characteristics are a result of their genetic makeup—a form of categorization known as genetic determinism. With genetic determinism, a character’s behavior is a part of their genetic makeup (Gericke et al., 2017). Tolkien’s racial distinctions now permeate the fantasy genre as his work has become the model. These descriptions of appearance and behavior have now become tropes. The antagonists of Tolkien’s novels bear a resemblance to racist caricatures. A frequently discussed passage is his description of the soldiers of Harad: “...black men like half-trolls with white eyes and red tongues” (Tolkien, 1955). It is not explicitly stated that their similarity to trolls is predicated on their “blackness”; this color and their bestial nature could be separate characteristics. Yet, the combination of these characteristics, and the fact that these soldiers were written to be antagonists, is intended to strike aversion in the reader, and perpetuates the harmful racial stereotype of dark-skinned people being violent and frightening. In a letter written to Forrest J. Ackerman, Tolkien describes the orcs in his novel as “squat, broad, flat-nosed, sallow-skinned, with wide mouths and slant eyes: in fact degraded and repulsive versions of the (to Europeans) least lovely Mongol-types” (Tolkien & Carpenter, 1958). He depicts this race as sub-human with his descriptors, seemingly monolithically applicable to the species. A frequent criticism of this more critical reading is its anachronism. Current readers have a different understanding and sensitivity towards race than writers like Tolkien, who lived in Britain in the 20th century. The question then becomes, was Tolkien racist or expressing the evidence of institutionalized racism that was commonplace during his time? This blog post does not seek to reconcile with this. The argument at hand is that Tolkien’s work, having become the birthplace of most fantastical literature, has implications for modern derivatives. A modern example of this insensitivity lies in an excerpt from the novel A Deadly Education by Naomi Novik. As a short world-building detail, Novik included a line that described “dreadlocks” as “not a great idea thanks to lockleeches… [that] [poke] an ovipositor into any big clumps of hair, [lay] an egg inside, and [creep] away” (Novik, 2020). Lockleeches, Mana-sucking creatures, prefer dirty, notably long, hair, so the specific mention of locs acts as a continuation of a racist claim of their uncleanliness. People with locs have to see themselves reflected in this magical system that deems their hair dirty by nature. The author sought to establish a simple world-building element, but its implications have real-world effects on its readers. Through descriptors like these, an attempt at diverse world-building becomes a mirror for racist rhetoric. Naomi Novik announced on her website that this passage will be removed from future editions, but this incident serves as an example of why white authors should be mindful of the presence of unconscious or unnoticed racial prejudices that might seep into their writing. This is a much smaller detail with fewer implications across the fantasy world than Tolkien’s racial distinctions, but it is a questionable element nonetheless. The onus is on the author to be critical of any caricatures they might summon in their work. This discussion of race in fantasy world-building is certainly predicated on modern understandings and attitudes towards race, so the purpose is not to make accusations against the author or to degrade the work. It is possible to enjoy and appreciate a piece insensitive to issues that a modern reader might recoil from. Works like Lord of the Rings reveal the prejudices of their day. This post’s intention is not to make a judgment on that score. Regardless of authorial intent, these characteristics bear the same trappings as prejudicial perceptions of real-world people. These prejudices, cemented further by these fantasy novels, have become the building blocks of world-building. Elves—tall, lithe, and lily-white, are a powerful and graceful race. Ogres, however, are associated with destruction. Newer authors might not think twice about these characterizations or their impact on readers, because they may seem to be natural descriptors confirmed by a long line of fantasy novels. Current-day authors can scrub their work of past insensitivities with an open-minded awareness of these tropes and a desire to expand their creativity beyond the racial prejudice that other fantasy authors have displayed in their genre-defining work in the past.

by Tatum Bunker When creating an epic story encompassing a plethora of new worlds and intricate cultures, one may become interested in creating entirely new languages, to be used by the characters residing in these very fictional worlds. These languages are called Conlang. Conlang, short for ‘Constructed Languages’, is a made-up language and focuses on the making of fictional languages. This article is to list the bare bones of a language and how you can use that to your own advantage for those interested in creating their own fictional languages. While there are so many features to a language, this article covers the Phonetic inventory, grammar rules, Semantics, the writing system, cultural considerations, and resources you can use to help you with your Conlang journey. Hopefully, this will encourage you to further explore your creativity and help enhance your world-building skills! One of the basic requirements of creating any language is Phonetics, which are the sounds and pronunciation of different words and letters. Phonemes are an element of Phonetics which differentiate specific sounds from one another. For example, when saying ‘cat’, you pronounce the ‘c’, ‘a’, and ‘t’. But if you were to switch out the ‘c’ for a ‘h’, you would read  this word as ‘hat’. Phonemes are actually the smallest sounds in a language that can change the meaning and sound of a word. To better explain it, think of them like the individual colors in a box of crayons — each one is different. When mixed together, one can create lots of different and beautiful pictures, just like you mix phonemes to make words! Developing a Phonetic inventory will be very useful as well; the inventory is the organization system of your Phonemes! How your letters are shaped and how they are pronounced will be stored in the Phonetic inventory based on how you want your language to sound. Let’s look at the English Phonetic inventory, which has approximately 44 sounds! These sounds come from the 26 letters in the English alphabet. As speakers of any language know, different combinations of letters will create differently pronounced words. This is why the letter ‘c’ in the words ‘cat’ and ‘chilly’ are pronounced differently. Phonetics is a highly important layer of creating a language, as it’s the foundation of how communication flows. Developing a solid understanding of your chosen Phonemes and the Phonemes of the languages you speak can make the creation of your Conlang much simpler! Once you’ve figured out your Phonetic Inventory, you should start on the grammar rules. Morphology is the study of forms of words, which means there’s a focus on the roots, prefixes, and suffixes (or Morphemes). A lot of words in the English language are rooted in Greek and Latin. Of course, there are so many words that have various origins that it’s impossible to narrow down an official root language. To show an example of Morphemes being used in a typical English word, let’s use the word ‘conversation’. The word comes from the Latin phrase ‘conversari’. The root words are ‘con’ meaning ‘with’ or ‘together’ and ‘versari’ meaning ‘to turn’. The suffix ‘-ation’ means ‘creation’ as well! Derivation, however, can be adding ‘un’ to ‘happy’ making the word ‘unhappy’. Happy and unhappy mean two different things, thus creating a new word. Sentence structure is also extremely important in Conlang, just as it is in any other language. In most sentences, there is a subject (S), a verb (V), and an object (O). You must decide what you want your language to follow: SVO, SOV, or VSO. English mostly uses SVO (Bird eats seeds) while languages like Spanish uses both SVO and SOV in some cases. To provide more examples, Swedish generally uses SVO, Japanese uses SOV, Taiwanese uses SVO, and Hindi is SOV. There are various other combinations of sentence structures you can use as well, but those three are the most common. Onto semantics! Semantics is the study of meaning in a language. Different words could mean the same thing, but with slight variations. For example, a pail and a bucket are very similar. They are both durable containers that can be used in a variety of industries. However, a pail typically has a lid and is used as a shipping container whereas a bucket is hardly used with a lid. Because of the subtle differences between these two words, creating a comprehensive lexicon for your fictional language is highly important. The words that you create should have clear meanings and usage. Being unable to formulate a proper sentence could have you sounding like: ‘Today we gathered shoes when we photosynthesized at a store.’ Instead, the sentence could correctly be phrased as: ‘Today we purchased shoes when we met up at the store’. Writing systems are also crucial. There are three main types of writing systems, which are alphabetic, logographic, and syllabic. Alphabetic systems use letters (English, French, Spanish) and can be classified into three sub-types. Each letter can either follow vowels, consonants, or consonant-vowel pairs. Logographic systems use characters that represent words (Chinese, Egyptian hieroglyphics, early Cuneiform), and syllabic systems use symbols called syllabograms to represent syllables (Japanese, Cherokee, Ancient Greek). More modern languages will use alphabetic, but if you are writing in an ancient language, you may want to try your hand at syllabic or logographic writing systems! Another big thing to focus on in your Conlang is the cultural and contextual considerations. Will the rich speak with a larger vocabulary? Will the youth speak in slang? Will those who live in the North have a different dialect than those in the East? Or maybe there’s a polite way to say hello and a rude way to say goodbye. You will be able to use derivation and inflection in order to change some words around. Keep in mind that as the years go by, languages change. You may not hear any older folk actively using modern slang nor do you hear the younger kids saying what their grandparents might have said either. What was a normal word then could be a terrible name to call someone now. Hopefully, this overview of Conlang and the general basics of a language were helpful to your journey of language creation. If you are looking for more advice, fret not! There are various platforms where you can find materials for constructing your Conlang, and also find other Conlangusists. Reddit has various SubReddits  where people creating their own languages offer tips, ask for advice and clarification, and share their ideas! Ones I have found myself reading through often are r/conlangs and r/FantasyWorldBuilding. If you are looking for a translator to use, I would highly recommend using LingoJam. Once published, people can use the translator just as one would use Google Translate. Conlang.org is also a great resource to use; it has all sorts of materials that explain the basics of Conlang, contact information of Conlanguists, and so much more! If you want a more step-by-step approach to Conlang as well, Conlang University is a project hosted by talented Conlanguists with free lessons. Hopefully, this overview of Conlang and the general basics of a language were helpful and inspiring. By understanding the basics of a language, you can develop a deeper layer of creativity for your fictional worlds. With the resources provided and the extra research you can do, you can be ready to begin your conlang journey! Resources: Wikibooks: https://en.wikibooks.org/wiki/Conlang Writing Systems: https://opentextbc.ca/psyclanguage/chapter/writing-systems/. Follow Tatum @tatum_tot24601 and at her literary magazine @thelettershomecollection

By Jason Wu The fantasy genre is one of the most popular genres in the literary world. With many categories and subcategories, it can seem daunting to choose tropes. As a writer myself, I often found difficulty in choosing the perfect trope(s) for my story. A trope is essentially a recurring theme or plot device that can be seen throughout literature. Tropes became popular thanks to William Shakespeare indulging in its use in his many plays. One of the most popular examples being the trope of “star-crossed lovers” in Romeo and Juliet. Tropes are used now to help readers find stories with similar elements that they already like, sort of like categorizing books based on story elements. This is why knowing what tropes to use is important, it helps identify an audience for the writer. While some may assume tropes would just be chosen from the stereotypical list with items such as ‘Damsel in Distress’ or ‘The Chosen One’, these tips give insight to tropes that are much more specific. A lot of fantasy books follow the ‘Good vs. Evil’ theme but it doesn’t have to be the case, as sometimes the “Evil vs. Evil” trope is used. For example, The Sith Order in the Star Wars films operated under the Rule of Two: There were to be only two Sith in the Galaxy, a master and an apprentice. If the apprentice wanted to become the master, all he had to do was kill his master and take the title for himself. The Rule of Two was specifically designed to prevent this trope on a massive scale, as in-fighting was as big a threat to the Sith as the Jedi were. A step away from the normality of the ‘Good vs. Evil’ trope would be beneficial to making a story more interesting and compel more viewers to read on. I’m not saying ‘don’t use the dominating tropes of the genre’, but rather make changes within its constraints, so that one could create a story that is uniquely theirs. For example, in my own work, Empery X Couple: Tryst Heartstrings, the main character Clyde is “The Chosen One”, but not everything in the story happens in a way that is always beneficial to him. He experiences many setbacks in war and loses friends in the battles. While in the grand scheme of the storyline, he does eventually win the war, it is not without loss throughout. The process of choosing tropes should be not solely based on a single trope, but rather a selection of several tropes. For example, in Harry Potter, there is the ‘Good versus Evil’ trope as well as ‘The Chosen One’.  A writer should utilize a set of tropes to focus on. A story shouldn’t bring only one trope into the light, but rather multiple tropes. How a writer uses a combination of tropes is what makes a story unique. Tropes exist for writers to mix and match to fit  their story. Many tropes have sub categories too, for example, the ‘Good versus Evil’ trope also has ‘Evil vs. Evil’, and ’The Chosen One’ has ’The Unlucky One’. There are a lot of trope options out there, and it can be confusing. Figuring out which ones you want to use takes a lot of time and research. But then again, it’s all part of the brainstorming process. In conclusion, in order to master the fantasy trope, you will need to do a lot of research, play around, and just figure out what tropes will work with the kind of story that you want to create.

The life of an author is often believed to be one of inspiration and creativity, with words flowing effortlessly from mind to page. However, the reality for most writers is that their craft is shaped by their own daily routines. Each author has a different routine. Many authors start their days early, leveraging the quiet morning hours to focus on their craft. For instance, Haruki Murakami is known for his regimented schedule, waking up at 4 a.m. and writing for five to six hours straight. This early start allows him to enter a state of deep focus, free from the distractions of the day. Maya Angelou too wrote in the mornings, renting a small, sparsely furnished hotel room where she could concentrate fully on her work. These morning routines are crucial for some authors as it helps them set a productive tone for the rest of the day. The uninterrupted time allows authors to deep-dive into their creative process, often resulting in a more prolific output. This practice underscores the importance of consistency and discipline in the writing life. Others focused on balancing focus and flexibility. Authors like Graham Greene aimed to write 500 words daily, whether he felt inspired or not. This consistent output helps writers avoid the pitfalls of perfectionism and writer’s block, ensuring steady progress on their projects. Murakami, for instance, incorporates running and swimming into his daily schedule, believing that physical endurance is necessary for the mental endurance required in writing. Similarly, Henry David Thoreau took long walks in nature, which he found essential for his creativity and philosophical reflections. William Wordsworth had long walks in the Lake District. These walks inspired much of his poetry, which he wrote in focused sessions during the afternoon. Exercise and physical activity not only promote health but also provide a mental break, allowing ideas to percolate subconsciously. It helps authors to live a balanced life, physically and mentally. The impact of social interaction plays a drastic role on the author. Some authors prefer discussing ideas with authors, others their solitude. J.K. Rowling preferred brainstorming and writing the Harry Potter series in cafes, surrounded by the hustle bustle of daily life. The presence of others provided a sense of connection and inspiration without direct engagement. Other authors, like Marcel Proust, embraced complete solitude, isolating themselves to immerse themselves deeply in their work. Some authors have evening or night routines rather than morning ones. They often use this time to unwind, reflect on their day’s work, and prepare for the next. Many authors read extensively in the evenings, which serves both as relaxation and a source of inspiration. For instance, Stephen King reads every night before bed, which he believes is crucial for honing his craft. Franz Kafka, worked as an insurance officer by day and wrote at night. Kafka's job left him little time to write during the day, so he often wrote late into the night, sometimes until the early morning hours. His night-time writing sessions contributed to the surreal quality of his works, such as "The Metamorphosis" and "The Trial," reflecting the disjointed nature of his own life and sleep patterns. Marcel Proust, who wrote his monumental work, "In Search of Lost Time," mainly at night. He often slept during the day and wrote at night in a soundproof, cork-lined room to minimise disturbances. As authors have been known to defy the normal, there are several authors who have had a completely erratic schedule. Sylvia Plath struggled with severe depression and possible bipolar disorder influenced her erratic writing schedule and intense bursts of creative periods. Her mental health issues are vividly depicted in her works. Hunter S. Thompson known for his "Gonzo" journalism style, his substance abuse resulted in a highly erratic lifestyle. His writing process was unconventional, often fueled by drugs and alcohol, leading to an unpredictable and chaotic personal life. Charles Bukowski's drinking habits were central to his persona and his writing. His alcoholism led to an unpredictable lifestyle and capricious writing schedule, often reflected in the raw, unfiltered nature of his work. While every author has a routine that is uniquely theirs, glimpses of their routines can be seen in their works, yet the common aspect in all of their daily processes is discipline and careful balance of the various other aspects in their life. In the same breath, it doesn't matter when you write, it's important that you stay true to your thoughts and ideas and try to convey those to the reader. Citations: The Daily Routines of 12 Famous Writers, written by James Clear The daily writing routines of Joan Didion, Kurt Vonnegut, Haruki Murakami and other famous writers,  written by Chris Harrigan Follow the author Prisha on Instagram @prishaaa_m

by Carina C The misrepresentation of mental illness in the media dates back many years. It has been negatively romanticized in recent years. The media has often been guilty of portraying a mental illness as desirable, or falsely representing the effects mental health has on  people. This is severely harmful to people with mental illnesses and to those who are absorbing misinformation presented by the media, especially  for teenagers and young adults. A great example of mental illness being romanticized, especially through social media, is the 2003 film Thirteen. This film is about a thirteen-year-old girl named Tracy who gets involved in sex, substance abuse, crime, and develops mental health struggles. Over the past few years, people on social media have made these experiences seem aesthetic and desirable; people will idolize the main character, try to act and dress like her, or even imitate things she does. This is detrimental because it makes mental illness and dangerous behaviors seem cool and trendy, without showing the long-term effects of such actions, or how harmful and difficult to go through with life they are. It also invalidates those who are diagnosed with mental illnesses, and spreads misinformation about them. Another example of a mental illness being romanticized is the book All The Bright Places by Jennifer Niven. (Before you continue reading, please know there will be spoilers throughout the rest of this section! Also, in the scope of discussion for this article, I would be including the book only.) This book is about two teenagers, Finch and Violet, who bond over their grief and mental health struggles. Finch especially struggles with mental illness and commits suicide in the end. Some people, myself included, believe mental illness was misrepresented and romanticized in this story. Despite mental health struggles being such an important part of the plot, they usually end up being glorified or quickly lead to another part of the story. At times it seems like mental illness is only used to help the plot progress. For example, Finch’s death seems glossed over, despite suicide being the reason Finch and Violet met. Instead, the adventure Finch sends Violet on before his death is portrayed as more important and shown more than his actual death. Showing the cool, mysterious, and fun adventure more than the main character’s suicide, even after mental illness is such a huge theme in the story, feels wrong. This book also misrepresents mental illness, failing to show what it can really be like at times and making it seem mysterious and whimsical Unfortunately, the romanticization of mental illness typically affects teenagers and young adults the most. Many films and books that romanticize mental illness, define teenagers and young adults as their target demographics – as readers, or as central characters in such stories. This causes many people in this age group to not understand what mental health struggles can really be like, and makes mental illness seem trendy, cool, or even fun. Additionally, social media romanticizing mental illness also affects this group. When social media makes mental illness seem cool and trendy, it often affects how people view it. All in all, mental illness is still being heavily misrepresented through romanticization in the media. Both creators and social media users are at fault, even if it’s unintentional. So, I hope after reading this you can avoid contributing to the romanticization of mental illness and making bad decisions due to it. References Gesick, Greta. “Do We Romanticize Mental Illness?” RedHawks Online, 30 May 2023, redhawksonline.com/2023/05/30/do-we-romanticize-mental-illness/. Accessed Apr. 2024. Townsend, Alex. “Review: All the Bright Places by Jennifer Niven.” Disability in Kidlit, 16 Jan. 2015, http://disabilityinkidlit.com/2015/01/16/alex-townsend-reviews-all-the-bright-places/#comments. Accessed Apr. 2024. Niven, Jennifer. All the Bright Places. New York, Ny, Random House Children’s Books, 6 Jan. 2015. Hardwicke, Catherine. Thirteen. Fox Searchlight Pictures, 2003.

by Tatum Bunker BookTok is an online community based on TikTok that recommends, advertises, and discusses books. Many authors have successfully promoted their works and readers have found new book recommendations through BookTok. There are various ‘sides’ of this side of social media, but the overall community has unfortunately developed a reputation for books that showcase deranged and unhealthy relations. Books of fiction aren’t real, that’s a fact. People write their wildest dreams, ideas that can take years to perfect. That being said, the popular and highly recommended books that circulate often objectify characters and set extremely unrealistic expectations of relationships. These can severely impact readers’ perceptions of healthy relationships, especially readers who haven’t been in a relationship yet. With the prevalence of these objectifying and unrealistic portrayals in popular books, a cycle of harmful stereotypes and ideals is created. Sam Bode, a young writer from The Dispatch agrees and writes that “Because TikTok is such a massive platform, untrustworthy, self-published authors are able to promote their stories to a much larger audience than they could before. Their unfiltered stories often strike the interest of young, naive teens who don’t know any better,” (Sam Bode). Readers, especially those who lack real-life experiences and are potentially impressionable, may believe that these unhealthy narratives are normal. It's crucial to recognize the power of literature because it can heavily affect societal norms and to advocate for more diverse and healthy ways to represent situations that actually reflect normal relationships. By prioritizing stories that show respectful, consensual, and realistic interactions, we can include media representation of more positive and inclusive portrayals in literature. This will not only benefit individual readers' well-being but could also contribute to a mindset of  healthier attitudes and behaviors. Within these pages, you may read various toxic tropes and narratives that glamorize abusive behaviors and harmful stereotypes. Colleen Hoover is a great example of an author who romanticizes abuse. Lots of her writings are known for their plotlines that focus on toxic relationships and sexual themes, which are predominantly aimed at teenagers. This not only normalizes unhealthy behaviors but also reinforces damaging stereotypes about love and relationships. Consequently, the widespread consumption of such literature can have detrimental effects on the emotional and psychological well-being of young readers who can foster unrealistic expectations and normalizing toxic patterns of behavior. Olivia Pastrick, the managing editor of The Reflector, expressed her opinions on the topic by stating that “Young adults and other impressionable readers often lack the maturity to fully grasp what is and is not acceptable in real relationships, and BookTok makes it that much harder with the romanticization of toxic and harmful situations (again, think back to the mafia boss plus a vulnerable female victim love story trope),”. These young readers should not be reading Haunting Adeline, but instead Harry Potter or Percy Jackson. Reading adult topics affects how these minors see the world and the relationships they make with others. They may fall in love with horrible, toxic characters with the same characteristics as a man who should be placed in prison. But these concepts can not only affect the younger readers, but all readers as well. You see, when reading a book with heavy topics, a reader may feel distressed. These pages can damage a reader’s mental health and could even cause them to actively seek similar situations as found in the books. Therefore, it's important for both readers and creators to recognize the potential consequences of promoting and consuming content that romanticizes or normalizes harmful dynamics. When you understand the importance of accountability and promoting diverse, inclusive, and responsibly crafted literature, we can strive to create a healthier and more empathetic literary landscape for all readers. BookTok can be a wonderful place to promote various reading materials, but it can also destroy one’s view of relationships and social dynamics. “The romance novels BookTok promotes are convincing teens that controlling and isolating behavior means that your partner loves you an incredible amount and wants to protect you. In reality, it is a common method abusers use to emotionally guilt their partner into staying with them,” (Sam Bode). It introduces harmful tropes and concepts to easily influenced readers which can heavily affect their lives. The glamorization of problematic dynamics can encourage unhealthy ideals which could even lead to distorted perceptions of reality. As a result, it's imperative to use critical thinking when reading newer books and to promote responsible consumption of these reading materials to try to prevent the negative impact of BookTok. If you find yourself flipping through the pages of BookTok materials, try setting them aside and turning to Good Reads instead. Olivia Pastrick: ‘BookTok’ Thrives on Marketability Rather than Artistic Integrity Sam Bode: Booktok promotes toxic and misleading dynamics Follow Tatum @tatum_tot24601 and at her literary magazine @thelettershomecollection