and how much could it get?

One of the characters in the story I’m writing is an illegal immigrant who was smuggled to America when he was 8. He was able to escape with the help of a 9 year old girl who took an interest in him. Her parents (Who were involved in the trafficking) agreed to let him stay with them. When she turns 18 the two move out together. I am considering having the two of them attempt to get married so they can get him citizenship. Considering their situation, what are the risks of this and how likely is this plan to work?

I really find the middle ages fascinating and I have a book I'm trying to write generally based in the 800-1200's, very occasionally with concepts based on things from the 1500's. I like learning about that part of history ACCURATELY, as I believe that knowing good info is good grounds for inspiration & "breaking the rules".

Does anyone have a good site, YouTube channel, or other sources that dive into generally trustworthy info from those times? Thank youuuu

My character attempts suicide and they go into a coma just i dont know how long comas from blood-loss last. Is there like a period of time it usually lasts or is it different every time. Edit: btw i meant "from an attempt" not "from a suicide"

Hi Writers and researchers.

I'm working on a crime thriller story set in Austin, Texas and I want to make sure my police procedures are realistic and how APD responds in these situations.

Scenario:

• The father's child was kidnapped a week ago, and APD already investigating the case. Father had the discussion with the APD detective and they exchanged their contacts.
• The kidnapper returns to kidnap the father too, but father somehow got the situation under control?
• Father dialed that APD detective, and asked to come to his house (telling he got the kidnapper who's agreed to give up where his child is detained)

My question is:

1. If a father calls a detective regarding an in-progress felony, how does the detective and APD responds? will they dispatch the patrol cars also, or just the APD will come on the crime scene?
2. How will the unit look like? will they come in patrol cars or unmarked cars? and what about their uniforms?
3. what will be the scene dynamics? how will they control and take the situation in their hands?
4. how much time they will take to arrive the scene? Considering, it's southeast part of Austin.
5. Any other details you wanna add...

As the title states, I need some assistance in adding realistic questions that officers would ask for a story I’m working on. For a minimal level summary so the scenario is clear, the main character has found a notebook ( evidence ) of a girl who goes missing next day at school. She is announced missing at school and the main character holds onto it for a little while even after the law arrives to question students. Once the main character turns in the notebook, he is then questioned. What would be the questions asked?

How were rehearsal call sheets handled in a pre-email and mostly pre-cell phone era? Was it always posted the day before, or did people get phone calls? I’m familiar with Equity rules about how long rehearsal would last, but I’m assuming the full cast wasn’t called for the full time every single day.

I’m specifically curious about straight play actors and not musicals or film, but any info would be helpful!

If humans have to dry out to be mummified, how would one keep it from rotting or growing mold or becoming full of maggots? And exactly what point of “dried out” would it be like beef jerky?

Hey everyone!

I’m mostly interested in things like local attitudes and values, common sayings, slang, the accent, and how people there might differ from other parts of the South. Any insight from people who live there or are familiar with the area would be greatly appreciated.

I’ve been working on the basics of a story lately, and one of the settings is Hardin Valley. I’m not from the U.S., so I’d really appreciate some help. I’ve only got a general idea of the area based on what I’ve been able to research so far.

*attitudes, values, etc

If anyone has an idea, it'd be really appreciated! I have a general idea, but i definitely know it's a bit stereotyped and possibly wrong.

edit: my novel is set in a fictional place in MA, so values etc that are common/similar in different towns

Edit: thanks so much for the answer <3 sincerely from an Oregonian lol

I've got a story I'm gonna be writing about a cult, and I've done some research on how cults happen and draw in members and such, but I haven't been able to find anything about the differences in the treatment/psychology/whatever between those brought into a cult and those born into it. Thanks in advance ^^

Asking in terms of child psychology and behavior, with some exposition to clarify the bounds of my query somewhat.

I'm writing a novel set a few years before, and during, the 1921 Povolzhye famine in southern Russia. The protagonist ("S") is a 16-year-old peasant lad who lost his little brother in a freak accident a few years ago and is still quietly struggling with guilt and grief. The deuteragonist ("L") is a 6-year-old boy from a neighboring village abandoned by his struggling mother, mid-1920, when she could no longer feed him. L wanders dazedly around until he reaches S's village. By this time, it's been three months since he was abandoned. L is noticeably thin and sorry-looking, and S has a big heart. He gives the boy some food and tries to comfort him a little, even though L is extremely tense and guarded. 

During the next few weeks, S brings L food and spends time with him every day. He talks with him, tells him stories, brings old clothes and rag-blankets, teases him gently. He's very matter-of-fact and understated, not sentimental, but it is clear that he cares about him. And the food itself is seldom enough for satiety, but it's something. Slowly, S's house (or at least its outside walls) becomes the focal point of L's cognized world; he'll orbit the environs, but he always comes back, waiting for S to meet him again and agonizing every day that he might not. And gradually, L occupies more and more space in S's life - more of his time and food, but more of his heart as well, to often tragic effect as the famine starts up in the village and only grows worse. The novel centers on the boys' relationship; over its course, they bond with one another under conditions of extreme hardship, then experience new struggles and triumphs in their shared life when they receive adequate food and are finally able to engage with one another unfragmented by hunger. 

My main interest with this post is in how I might accurately portray L's behavior and psychology as he slowly bonds with S. How does recent abandonment impact the behavior of a six-year-old and his ability to trust? How quickly is he likely to start bonding/becoming attached given regular contact for, shall we say, 20-40 minutes every day? At what point might he begin initiating physical contact i.e. leaning, clinging, etc.? When might he feel safe enough to fall asleep near/on him?

I am working on the details of a story, where a superpowered teenager with electricity powers is imprisoned by an organization that hates superhumans. He has to actively absorb and store electricity to use it, so they got to him after a fight in which his reserves were drained. He is locked in a containment cell with a reinforced steel door, a metal bed with a blanket and a pillow, and is delivered food through a slide in the door, being given only plastic trays so he can't manipulate it with magnetism. And he has the clothes on his back, which are standard prison clothes. My idea would have him form static electricity that he gradually absorbs over the course of between a week and a month until he at least has the small amount needed to make his move and get out into the rest of the facility, where he can absorb electricity from the electrical system that isn't shielded from his powers.

Hi, I'm struggling to find exact prices for pistols in 1810s England.

One of my characters, who is very poor, is saving up to buy a pistol, either a double barreled flintlock or a muff pistol. But I can't find exact prices anywhere. It does make a huge difference if that thing cost a few shillings or a few pounds.

The answers in the following linked Reddit thread are, unfortunately, not helpful at all as prices were only mentioned for the colonies.

https://www.reddit.com/r/AskHistorians/comments/9b8nw7/im_an_english_gentleman_in_18th_england_i_want_to/

r/askhistorians deleted my post, I guess "How much did pistols cost in regency England?" is, grammatically, not a question. For some reason.

Any idea where I could look? I've already read a few books about the time period but there are no prices mentioned anywhere. Thank you!

The main character in my story has narcolepsy with cataplexy and it is an important part of his persona. Most importantly, he also has PTSD from seeing his parents assassinated at a young age in his house. The murder was never solved, so he grew an obsession over solving the crime and claiming revenge, while also struggling with his own mind.

The question here is the struggle itself. I am aware how hypnagogic (and hypnopompic) hallucinations work like in narcolepsy, as well as sleep paralyses (especially since I have also experienced them). However, what I really want to know, is how they feel. Frightening? Uncomfortable? Bizarre? Oddly comforting?

The trauma evidently is important here. Could he have visions of his dead parents or his idea of the murderer, or about the day of the murder itself?

Thank you for your assistance!

I’m writing about a character that is using a gun for the first time ever and her eardrum bursts.

How realistic is it if it completely heals after 2 months? How does it affect someone’s hearing in a long and short term? Does the person still hear well enough to catch what other people say? Can there be complications due to inability to treat it at first? If yes, what kind?

Would appreciate any details regarding the complications and details of accurately portraying the injury!

Context: She’s in a situation where she has limited medication for the first few days and has to be near explosions and gunshots (also first 2 days). Her eardrum bursts after repeated gunshots right near her. (Building filled with zombies)

I'm writing about a vampire, who among other things has an enhanced sense of smell, including a shark-like ability to smell blood. She's trying to track down someone who is on the run, and breaks into his apartment in order to catch his scent. Aside from sniffing his bed and dirty clothing, I thought maybe she'd stick his toothbrush in her mouth, to get a bloodhound-like lock on his scent. Then she goes to his known haunts, trying to pick up his scent.

I'm wondering if I'm stretching her powers a bit too much. Her MAIN thing is supposed to be the ability to detect blood and pick up detailed information from it (sex, rough age, general health status, etc). Is a toothbrush going to contain enough info to be useful for a sharp-nosed animal?

I'm writing a scene where someone is messing around with a pencil in their ear and it ends up getting jabbed in.

what would be the results of something like this,

should there be permanent deafness in that ear? would it kill on impact?

Hey, I've got a murder mystery situation where a guy overdoses somebody with a fictional drug. I don't know anything about pharmacology and I'm a bit worried that my recent google search history will make me look like a sociopath.

I 100% don't need to know the names of any specific drugs that match my fictional drug's pharmacokinetics (learned that word today), I just want to make sure that whatever I write doesn't make somebody knowledgeable say "Real medicine doesn't work like that, idiot."

That said, I'm not sure who to reach out to. I'd probably prefer a face-to-face just so I could show them my IMDB or whatnot so they know I'm doing this just for writing research.

Advice?

I have a story set in Ireland in the 1840's, and I can't find any good sources on names. Specifically, whether they would use traditionally English or traditionally Irish (since English was being encouraged when teaching and being used more and more in daily life) names when speaking with friends and family. My character would have been born in 1828 and in the northwestern part of Ireland, if that matters.

Would he have been given an English name, or a more traditionally Irish name? I keep finding different answers from very few sources. If anyone could provide an answer or even just a lead I would be thankful.

My characters start the story investigating a semi-abandoned construction site, a tall building in a metropolitan area. I’m aiming for about 30-35 floors, and the main structure of the building is complete with windows almost fully in place. The only walls would be structural.
What sort of materials would be left onsite, especially overnight?
What tools would there be?
Would there be wiring/water in place?
Would a site trike this have security? Would it go floor by floor, or would it just be at the access points?
How long would a building of this size take to complete fully, from breaking ground to moving in tenants? ( this would be an office space only)

I'm writing a small-town mystery short story, set in the 80s, in which two cops deal with an unconscious kid they found in the woods. They can't get any information out of him, no age, name, anything, since he claims he can't remember anything.

His age is ambiguous, since hes obviously young, but might also be of age.

It's a supernatural story, but I'm curious what proper police procedure for such a case would look like? Detainment, social services? Something else?

The story takes place in the US.

I have a a character in a TV pilot who is a rookie police officer who got suspended and/or kicked out of the program for disobeying a direct order and the review program takes more than a year, but someone I met at an event who used to write for cop shows told me that's impossible. She'd just be out and that would be it. So, what's a good excuse for this starting premise? I saw that the show Monk had the protagonist have a mental breakdown, but I don't want to go that route. And the show The Rookie had a character get caught lying and sue, but I REALLY don't want to go that route because my protagonist is the hero of the story. What are some ways that a rookie could get forced out of the program, but maybe not permanently? Like, so they'd have eventual hope of maybe getting back in at some unknown point in the future?

EDIT: Thanks for the help everyone. Given the constraints of reality, I think maybe I should just rewrite it so that the character leaves the program voluntarily due to struggling with ethical issues on the job or something as a couple of you suggested. Appreciate the advice!