Month: April 2016

Hank Green: [The bird] is afraid of itself, which is what’s happening. […]
John Green: It’s funny. I’m laughing. I’m laughing like ‘birds are so stupid.’ But, of course, I am also afraid of my self.

baby names generated by a neural network







these baby names a neural network generated are all so good and all the people in the facebook baby names groups should let computers name their children

these range from actually great to hilarious

hello all of my npc names from now til doomsday


gundam character name generator

Thanks to list-creator Andrej Karpathy for giving me more names for space colony residents than I will ever need (but my favorites are after the jump).

Keep reading

oh my god there are infinity of them

(sticking some of my favourites after the jump too)

(kind of want to do a Spoon River Anthology kind of thing with this)

(don’t mind me)







Jaena, Meralin, Gren oh no there are too many

okay but Stephepoa and Chrristen are hilarious


abort mission there are just too many for one post to handle

baby names generated by a neural network



Writing with Color: Description Guide – Words for Skin Tone

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

So let’s get to it.

S T A N D A R D  D E S C R I P T I O N

B a s i c  C o l o r s


Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

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

C o m p l e x  C o l o r s

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.


Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

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

For example: Golden brown, russet browntawny beige

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

“He was tall and slim, his skin a russet, reddish-brown.”

  • Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

M o d i f i e r s 

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

D a r k – D e e p – R i c h – C o o l

W a r m – M e d i u m – T a n

F a i r – L i g h t – P a l e

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

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

U n d e r t o n e s

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.


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

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

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

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

C R E A T I V E  D E S C R I P T I O N

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-proselike, so do what feels right for your writing when and where.

Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

N A T U R AL  S E T T I N G S – S K Y


Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight – Sunrise – Sunset – Afterglow – Dawn- Day- Daybreak, Field – Prairie – Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

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

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

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



Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

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

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

A S S O R T E D  P L A N T S &  N A T U R E


Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

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

“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

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



Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

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

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”



Pictured above: Platinum, Copper, Brass, Gold, Bronze

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

“The dress of fine white silks popped against the deep bronze of her skin.”

G E M S T O N E S – M I N E R A LS


Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

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

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 


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

G E N E R A L  T I P S

  • Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

  • Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.
  • Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.
  • Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

  • PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 
  • Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.
  • Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

Writing & Description Guides

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

It is possible I have reblogged this before, but it’s just so darned useful.


Book update #2: I have a (very rough) draft!

Here’s a celebratory screencap! I thought of printing off the pages and taking a photo of them all stacked up for the sake of ~aesthetic, but 248 pages is an awful lot of paper just for a photo, especially since I’m at a stage where the next step is more typing, not writing stuff in red ink in the margins. So you’re getting a screencap and some thoughts about writing instead.

(Previously: Book update #1: I’m writing a book about internet language!)

To put this achievement into context, my target wordcount is 80k words, which is a typical length for a book in the pop science genre (and in fact, pretty typical for fiction as well). For example, that’s halfway between the lengths of the first and second Harry Potter books. So 100k words is exciting because it means I definitely have at least enough to say about internet language to fill a book! I mean, I thought I did, that’s why I signed a contract to write it, and Penguin thought I did, or they wouldn’t have offered it to me. But it’s nice to know for sure.

However, these are not final words — I still have a lot of work to do on them. The way I’m going about drafting is that I first created a document with all the chapter divisions that were in my book proposal, and then I started throwing in rough thoughts and freewriting and snippets from various blog posts and my research document in under their appropriate chapters, making further subheadings as I went along. This let me see how much material there was in each chapter, so I ended up splitting one chapter in half, recombining a couple others, and changing the ordering several times. I had a daily wordcount goal, NaNoWriMo-style, to keep myself focussed on getting ideas down on the page, and so I wouldn’t get distracted about things like precise wording or capitalization and punctuation.

The next step, what I’m working on now, is to do the part where I take all these assorted thoughts and sort them out into real paragraphs that follow each other in a logical sequence — in the process hopefully cutting at least 20k words. After that, I can start showing the draft to my editor and various beta readers, since at the moment there’s no point in someone telling me “um this is not how you paragraph.” It also doesn’t make sense to use wordcount as a target anymore, so I’ve switched to keeping track of pomodoros and sections instead.

Content-wise, I can’t say much yet, but a big overarching issue that I’ve been working on is how to write a book about the internet that won’t be out of date before it’s even published. One way I’m addressing this is by making the chapters about the themes and the problems we’re trying to solve in internet language, rather than the particular ways that we’re currently solving them.

For example, I’ve talked a lot about emoji, so several people have (very reasonably) asked if there’s going to be an emoji chapter. But just like emoji are currently displacing emoticons, emoji themselves might get replaced by some newer thing in a few years. So instead of an emoji chapter, I have an emotions chapter. Of course it’s going to include emoji, but it’s going to put them in a broader context of other ways that we convey emotion online. Emoji might just be a trend, but emotions have been around for all of recorded history and presumably earlier — I feel like they’re a pretty safe bet.

Here’s a distinctly uninformative ~sneak peek~ of some things that will definitely not be in the next draft:

“idk” 32 times
“lol” 122 times
“wtf” 25 times

“so maybe i’m just swapping the order of chapters 9 and 10? idk [cut for spoilery discussion] hm k i buy that for now, done, moved. k battery officially dead”

(Some of the idk/lol/wtf instances are examples and will stay in, but since one of the ways I deal with writer’s block is by codeswitching into internet slang, well…there are definitely more of these than necessary at the moment. 10/10 would recommend codeswitching as a writer’s block strategy though.)

The writing advice I’ve found most useful as I’ve been working on this is from a quote that I saw on tumblr but of course I can’t find it now (it might have been by Neil Gaiman?). Anyway, it goes something like: “How do you write a book? Well, I don’t sit down each day and think ‘I need to write a book.’ I think ‘I need to finish chapter three’ or ‘I need to figure out what’s going on in this section.’ And when I add all those tasks up together, I’ve written a book.” If anyone can find the original version of this quote, do let me know! In the meantime, perhaps this paraphrased version will be helpful to someone.

I’ve also made a book update email list, so you can put your email here for very occasional book updates if you want to make sure that you don’t miss it on social media. (The signup link is embedded on the All Things Linguistic facebook page, but that was just the easiest way to host a MailChimp signup form if I didn’t want to inflict annoying popups on you all — it’s not actually a facebook thing.) Also, I won’t spam you or do other nefarious things with your email, it’s just for a couple book updates.

While we’re at it, the regular kinds of updates, as usual, can be had as daily blog posts via rss, tumblr, twitter, facebook, or google+; as monthly summaries via wordpress/email; and as mostly but not entirely linguistic thoughts at unpredictable intervals on my personal twitter (I made a great garden path joke there yesterday, so you should definitely check that out).


Good continued booking!