They Know How To Deal With Each Other Better

I feel like jason would be the one to recommend books to damian

And not any classical/non-fiction stuff, as the kid had already read that kind of stuff, but his favorites from when he himself was a kid

the outsiders; that one got jason a knife thrown at him from a red-eyed 12 year old… who then proceeded to sit down and talk with jason for hours about the book, and a few nights later they watch the movie

jason was going to be gone for a month, an outlaws thing, and decided to give the kid a series to start going through, percy jackson. by the time jason comes back, the kid just shoves a notebook in his hands. damian had written detailed notes, when there was misinformation, and of course; why he loved certain parts. they spend a few hours discussing again. over the next week the watch the movies. ‘what was that abomination?! if i hadn’t read the books it would be… okay i suppose.., but it’s not book accurate’ and then the TV show, ‘tt, better than the movies’

the giver; jason read this one WITH damian, remembering that he loved the book, but not much else of it. they would sit for some time before and after patrol reading together to unwind, which lead to finishing the book quickly, and then watching the movie. ‘why is there a film for everything?’ ‘fine we’ll turn it off-’ ‘that’s not what i said! don’t!!’

jason felt his heart swell when he came to his room and found the first three books to the series of unfortunate events. which has been on his list but he’s been a bit busy with yk, being dead and the trauma after yada yada yada, jason’s trying not to dwell on that part too much

he was just really happy with having time to just read and enjoy himself again, especially with his little brother

Steve, who has been adopted by every adult he’s ever met: I can’t meet your uncle, Eddie

Eddie: ???

Eddie: It’s not like Wayne is going to hate you

Steve: It’s worse.

Steve: He’s going to love me so much.

Hey bestie, the ship is cute, but maybe it's time to give our eyes a rest and close ao3, okay? Your friends are starting to worry.

love being a multishipper because its like yk what hell yeah! more love for everyone, guys!

the gays? yup

the sapphics? 100%

my precious few straight couples? love y'all

and plus, so much more media is revealed to me when i can look for multiple ships

writing cheats

i know i’ve probably written about these all individually but i’m putting them together in one post. these are writing tricks that are extremely cheap and dirty; when you use them it feels like cheating and honestly by posting them i’m probably exposing all the easy moves in my own work, but more than a writer i am a teacher, so here you go, some writing cheats that have never steered me wrong.

quick character creation

what’s really annoying is when you have two characters sitting at a restaurant or something and the server has to come by. to what degree do you describe the server so that it’s clear they’re just a background character but that they’re not just a faceless form, so that the world has texture without taking up too much space on the page? rule of three, babeyyy: two normal things and a weird one.

she had pale skin and blue eyes but her hair was dyed black like a 2010 emo kid.

he was tall and broad, and he wore a sweatshirt with an embroidered teddy bear on it.

the woman stood there comparing the prices of toilet paper. she had a short angled bob and carried a keychain the length of a trout.

why does it work? it gives the reader something to hang onto, a brief observation that shows the world exists around your narrator. it also works when introducing main characters, but there’s so much action going on that you can’t take time to write a rich long paragraph about them. all you need is a little hook.

quick setting creation

i used to TOIL over descriptive paragraphs. for years i was like, description is my weakness, i must become better at developing imagery. i believed this because a famous writer once projected a paragraph i had written onto a screen and asked my cohort, “count how many images are crafted in this paragraph.” there were none. none! my friends were sitting there like, “we are TRYING” but they couldn’t find any.

i would say that after years of studying imagery development at the sentence level, i am, perhaps, competent at it, but what was more helpful was for me to shrug and tell myself, “i’m just not a writer who does that.”

anyway. my cheat is thus: 

there’s not much you can assume about your audience. the audience is not a homogenous whole. but your ideal audience is something you can guess at, and that means you can play around with their existing knowledge and expectations. 

if you say your characters are in a tacky shit-on-the-walls restaurant, if your ideal reader is an american who went to restaurants during the maximalist era of franchise design, they will conjure their nearest memory of one of those places. and for those readers who aren’t familiar with it, they’ll use other context clues to conjure that space. the point is, you don’t have to list every single stupid license plate nailed to the wall. you can leave it as one detail of one sentence and let your reader extrapolate from there.

if i say the dentist’s office looked like a gutted 90s taco bell, maybe no ideal audience would have ever seen a place like that, but a lot of people can mentally conjure a dentist’s office and a 90s taco bell and overlay them together to create a weird and fun image.

you can go even simpler than that: a bathroom the size of an airplane lavatory. a tiny studio apartment with a hotplate instead of a stove. a mansion with a winding stairwell. the point is that you want to define the size of the space and its general vibes.

in some ways detailed description can be overrated, because your reader conjures images even in absence of them on the page. and for those readers who can’t mentally conjure images, it doesn’t matter anyway; they take you at your word. the trick is to figure out what details are unexpected, relevant to understanding the story and its characters, and those are the things that you add in.

one other note: after working with hundreds of writers on drafting, for *most* of us it’s difficult to develop images and establish setting in a first draft. it’s nearly always something to be saved for a second or later draft. i think it’s because while we’re writing we tend to put character and action first.

nail the landing

there’s a joke i heard once from a writer i really admire: “you know it’s literary fiction if the story ends with a character looking at a body of water.”

and god it’s so painfully sad and true how easy it is to nail the landing of a given story by ending on a totally irrelevant piece of imagery. the final beat of a story followed by your character looking up at the sky and seeing a flock of birds in the shape of a V flying past. or maybe they’re sitting in their car and they count the rings of a nearby church bell. or maybe they watch an elderly couple walk down the sidewalk hand-in-hand. i don’t know!! when in doubt shove an observation, an image, whatever, something neutral at the end and it’ll sound profound. 

(this cheat is the only one that can really bite you in the ass because if the image is too irrelevant you risk tonal incongruity. for use only in the most desperate of times.)

sentence fragments

when writers ask me how to punch up their writing or start developing their own style, my go-to advice is to give up the idea of a complete sentence. fuck noun-verb-object. if you have a series of character actions, knock off the sentence subjects like in script action. if the clause at the end of your sentence is particularly meaningful, don’t separate it with a comma but a period and make it its own thing. if your character is going through something particularly stressful or heinous, that bitch is not thinking in complete thoughts so you don’t have to convey them that way. make punctuation bend to your will!!

rhetorical moves

this one opened a lot of doors for me stylistically. remember that famous writer who called me out on my lack of imagery? i always thought his prose was beautiful, that he’s one of the best living prose writers, etc. once i learned more about rhetoric though, i realized he just employed it a lot. 

usually when we talk about beautiful sentences it means a sentence that uses rhetorical devices. the greeks were like, you know what, when we give speeches there are certain ways to phrase things that make the audience go nuts. let’s identify what those things are and give them names so we can use them intentionally and convince people of our opinions.

i love shakespeare, i really do, but one of the big reasons he’s still a household name today and his plays are still performed is because every sentence of every goddamn play utilizes a rhetorical device. the audience is hard-wired to vibrate at the sound and cadence of his writing, like finding the spot on a dog that makes their foot thump. for five hundred years, william shakespeare has been scritching that spot for us.

i have no idea why, cognitively, rhetorical devices are so effective. i’m no rhetorician. all i know is that well-deployed anaphora makes a reader want to throw their panties on stage. my intro to rhetorical devices was the wonderful book the elements of eloquence by mark forsyth, a surprisingly fun read! hopefully that will open some doors for you the way it did for me. 

the downside to this is that once you know rhetorical devices, it’s like learning how the sausage is made. on one hand, as a writer, you’ll have a lot stronger grasp of style, but as a reader good prose loses some of its magic.  

pacing it out

many writers, myself included, rely on the tried and true “he bit the inside of his cheek” or other some such random action to help pace out dialogue. one time my thesis advisor sat me down and said “you’ve got to take all of those out.”

“all of them?” i said.

“all of them,” she said.

i thought, but that will weaken the text! it didn’t. once i cut what i came to call cheek-biter sentences i never went back. and now when i edit for other people i’m like, look i know where you’re coming from but just cut all these out and see how the scene stands. if it doesn’t feel right you can put some back in. a lot of times when you’re drafting you put those in the way some people say “um.” they’re just sentences you jot while you’re thinking of what the other character says, so from a writing perspective it seems like you’re pacing, but readers don’t read it that way. they just want to get to the next line of dialogue.

but sometimes you really do need to pace out a scene and i think there are other ways to do that that don’t rely on banal physical movements, such as:

interiority: a sentence or paragraph of relevant cognition, bonus points if you weave in background context. good interiority defines the voice of your writing.

observations: i know i just said description is overrated but idk sometimes you just need a character to note the back and forth clacking of one of those desk ball toy things.

character texture: maybe your character notes something about the person they’re talking to. a wilted pocket square. a mole that looks like it needs looked at by a dermatologist. a scar on their forehead. some detail that deepens or complicates our understanding of a character.

narratorial consciousness and access

this one is less a cheat and more a problematic opinion i have that doesn’t win me any popularity in writing circles.

i believe that if you’re writing in first person or close third or any narration which is dedicated to the mind of one character, you are only ever obligated to convey the experience of that character’s consciousness. and nothing else.

by that i mean, if your point of view character is unobservant? then they’re not going to even notice the flight attendant is missing one of their canine teeth. if your pov character is focused and obsessive, they’re going to think lavish, detailed paragraphs about that which they’re obsessed with and have no acknowledgement of the rest of the world. if your pov character has no understanding of time, does your story even need to be linear?

defining the scope of a narrator’s cognition early on can give you parameters in which to work. even if you don’t consciously do this, you still do it. if you write in third person limited present tense without really thinking about it, that’s your scope. i’m just pointing out you can choose to do it differently. you get to define your narrator. 

whenever we talk about narration we also talk about information access and the order of information being revealed/conveyed. writing must always be in order; even if you’re writing multiple concurring things, it still has to be rendered on the page in order one after the next, because the human mind can’t read two sentences over top of one another. 

if we’re restricted to the mind of a character, that means we’re also restricted by their knowledge and experiences, and this can be used to your benefit. i don’t want to take too much space for this but i do talk more about the relationship between narration and reality here.

in short, you the writer get to choose 

what the reader knows,

in what order they know it, and

its relationship to the presumed real events of the story, which develops the (un)reliability of your narrator

okay going to cut this off now before i go on more rants about narrative scope. i hope you found this helpful and go on to put some of these nasty lifehacks in your own writing!!

Robin, anytime they can’t get into something: I found a key.

Robin: *holding a big rock*

Steve, supportive best friend: No worries, guys! Robin found a key.

Hopper, whose car is locked: No she did not!

Tim: Batman needs a Robin!

Dick: okay, then be Robin.

Tim: I-you can’t-

Tim, a scrawny 13 year old rich kid who looks two years younger than he is: be so fucking for real.

Robin is freaking out about how she hasn’t had her first kiss yet and Steve’s like, “Hey, I’ll help you.”

She raised an eyebrow at him and he rolls his eyes, “Not with me, obviously. I will find you someone.”

This leads to a whole month where they’ll go to a party/bar/club and Steve will bring over a random man and just leave him there.

Robin is just ?????????

She feels like she’s reading this wrong because to her, it seems like Steve is implying that she should make out with these objectively good looking guy and - and - finally she explodes, “Do you know what a lesbian is?”

“Yeah?”

“Okay, then why do you keep bringing guys over to me??!!”

Steve gives her a baffled look, says like it’s obvious, “So you can have your first kiss.”

“Why?” She asks through the insanity. “Would. I. Want. To. Do. That?????! I’m. A. Lesbian.”

“…oh, Robs,” Steve says like he gets it but proves that he really doesn’t when he adds, “A first kiss feels like it’s really important but it’s not. So you just do it with anyone to get it over with.”

“I’m a lesbian.”

“So?? My first kiss was with Tommy,” Steve shrugs. “Why would you want your first kiss to be with someone you like? The first kiss is always bad.”

Robin just stares at that revelation and then looks at the clock. It’s getting late but they can be tired for work tomorrow. This is a conversation she needs to have now.”

a nosy socialite at an event, leaning down: “Oh Richard, it must be so hard for you in that house, what with Bruce’s…proclivities for nighttime guests.”

Dick Grayson, fully aware at age 13 that Bruce Wayne is a Loser™ whose only “nighttime guest” is Clark Kent, who comes over to “review cases” with Bruce before/after patrol while both of them awkwardly ignore any and all tension between them: “Something like that.”

do you guys think considering the relatively small age gap between Damian and Tim (depending on the author) that they would have been in school together? because coming from a youngest sibling who went to school with older siblings, that would be really interesting to look into.

i’m imagining Tim getting pulled out of class because Damian’s thrown a tantrum and refuses to listen to any of the teachers and they need his brother to convince him to calm down, and it actually working because Tim is the only person Damian is familiar with and so will ever listen to. Damian having no interest in making friends with civilians so he ends up sat on the end of Tim’s lunch table while Tim eats with his friends. Tim getting bullies in Damian’s class to back off, and Damian scuffing his foot on the tiles of the school halls as he waits for Tim to get out of detention so they can walk home together like usual.

considering how strained their relationship was when Damian first arrived in Gotham, putting him in an environment five days a week where suddenly Tim is his only true familiar ally and he has no choice but to accept being on friendlier terms would be really fucking interesting. suddenly Tim is his protector, and although he refuses to let that effect their home dynamic, he does have to accept that at school at least, he needs Tim to be his older brother.