#Sai's Writing Tips

[purpledemonlilyposting]

Okay it's time for me to go a bit crouching retard hidden genius here, take off the clown nose and put my thinking cap on. Cause unlike many, many people who reference Nineteen Eighty-Four I've actually read it. Several times. And not as a school mandate.

What does "He loved Big Brother" tell you about media literacy?

Like what even is that point, Lorch? What does just knowing the final sentence of the book tell you about someone's media literacy? What do YOU even think that line means? Cause I'd love to hear it and I doubt you've ever actually read the fucking book.

There are many take-aways you can have from Nineteen Eighty-Four regarding the control of the populace through deception, fear, propaganda, regulation, indoctrination of the young, the dumbing down of language, and sheer hypocrisy. I'd be more interested in someone's take on passages like this to gauge their media literacy:

'It's a beautiful thing, the destruction of words. Of course the great wastage is in the verbs and adjectives, but there are hundreds of nouns that can be got rid of as well. It isn't only the synonyms; there are also the antonyms. After all, what justification is there for a word which is simply the opposite of some other word? A word contains its opposite in itself. Take "good", for instance. If you have a word like "good", what need is there for a word like "bad"? "Ungood" will do just as well -- better, because it's an exact opposite, which the other is not. Or again, if you want a stronger version of "good", what sense is there in having a whole string of vague useless words like "excellent" and "splendid" and all the rest of them? "Plusgood" covers the meaning, or "doubleplusgood" if you want something stronger still. Of course we use those forms already. but in the final version of Newspeak there'll be nothing else. In the end the whole notion of goodness and badness will be covered by only six words -- in reality, only one word. Don't you see the beauty of that, Winston? It was B.B.'s idea originally, of course,' he added as an afterthought. A sort of vapid eagerness flitted across Winston's face at the mention of Big Brother. Nevertheless Syme immediately detected a certain lack of enthusiasm. 'You haven't a real appreciation of Newspeak, Winston,' he said almost sadly. 'Even when you write it you're still thinking in Oldspeak. I've read some of those pieces that you write in The Times occasionally. They're good enough, but they're translations. In your heart you'd prefer to stick to Oldspeak, with all its vagueness and its useless shades of meaning. You don't grasp the beauty of the destruction of words. Do you know that Newspeak is the only language in the world whose vocabulary gets smaller every year?' Winston did know that, of course. He smiled, sympathetically he hoped, not trusting himself to speak. Syme bit off another fragment of the dark-coloured bread, chewed it briefly, and went on: 'Don't you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it. Every concept that can ever be needed, will be expressed by exactly one word, with its meaning rigidly defined and all its subsidiary meanings rubbed out and forgotten. Already, in the Eleventh Edition, we're not far from that point. But the process will still be continuing long after you and I are dead. Every year fewer and fewer words, and the range of consciousness always a little smaller. Even now, of course, there's no reason or excuse for committing thoughtcrime. It's merely a question of self-discipline, reality-control. But in the end there won't be any need even for that. The Revolution will be complete when the language is perfect. Newspeak is Ingsoc and Ingsoc is Newspeak,' he added with a sort of mystical satisfaction. 'Has it ever occurred to you, Winston, that by the year 2050, at the very latest, not a single human being will be alive who could understand such a conversation as we are having now?'

The speech had been proceeding for perhaps twenty minutes when a messenger hurried on to the platform and a scrap of paper was slipped into the speaker's hand. He unrolled and read it without pausing in his speech. Nothing altered in his voice or manner, or in the content of what he was saying, but suddenly the names were different. Without words said, a wave of understanding rippled through the crowd. Oceania was at war with Eastasia! The next moment there was a tremendous commotion. The banners and posters with which the square was decorated were all wrong! Quite half of them had the wrong faces on them. It was sabotage! The agents of Goldstein had been at work! There was a riotous interlude while posters were ripped from the walls, banners torn to shreds and trampled underfoot. The Spies performed prodigies of activity in clambering over the rooftops and cutting the streamers that fluttered from the chimneys. But within two or three minutes it was all over. The orator, still gripping the neck of the microphone, his shoulders hunched forward, his free hand clawing at the air, had gone straight on with his speech. One minute more, and the feral roars of rage were again bursting from the crowd. The Hate continued exactly as before, except that the target had been changed. The thing that impressed Winston in looking back was that the speaker had switched from one line to the other actually in midsentence, not only without a pause, but without even breaking the syntax. But at the moment he had other things to preoccupy him. It was during the moment of disorder while the posters were being torn down that a man whose face he did not see had tapped him on the shoulder and said, 'Excuse me, I think you've dropped your brief-case.' He took the brief-case abstractedly, without speaking. He knew that it would be days before he had an opportunity to look inside it. The instant that the demonstration was over he went straight to the Ministry of Truth, though the time was now nearly twenty-three hours. The entire staff of the Ministry had done likewise. The orders already issuing from the telescreen, recalling them to their posts, were hardly necessary. Oceania was at war with Eastasia: Oceania had always been at war with Eastasia. A large part of the political literature of five years was now completely obsolete. Reports and records of all kinds, newspapers, books, pamphlets, films, sound-tracks, photographs -- all had to be rectified at lightning speed. Although no directive was ever issued, it was known that the chiefs of the Department intended that within one week no reference to the war with Eurasia, or the alliance with Eastasia, should remain in existence anywhere. The work was overwhelming, all the more so because the processes that it involved could not be called by their true names.

Also please read Nineteen Eighty-Four everyone. It's a very good book, it's not very long, and it's still scarily relevant to today.

[frownyalfred]

I attended a few more events since my last gala post, so here are some things you can say/do at fancy events to cause chaos or piss people off (but in a subtle way):

say “so nice to see you again!” loudly to someone who has clearly forgotten your name

ignore someone about to shake your hand by moving your drink over to your right hand (bonus points if you’re carrying a purse/etc in the other hand)

say “so nice to see you again!” to someone you’ve never met, just to make them sweat and try to figure out where they know you from

if someone makes a joke about forgetting your name or where they know you from, lean in, smile, and say “I truly thought I made more of an impression than that.” then enjoy the laughter of all onlookers (rich people love this joke)

if people are wearing name tags, purposefully call them the wrong name or use the wrong pronunciation. play it off as bad eyesight if caught

alternatively, play off the wrong pronunciation as trying to pronounce it the “original” way (oh you don’t pronounce it the old German way? do you speak German?) (ideal if it absolutely cannot be pronounced that way, even in German) (even more bonus points if it’s not German, etc)

ask couples with an obvious age difference if they’re enjoying going on a father-daughter date (apologize profusely when they correct you and play dumb)

if someone asks you where so and so is and why they couldn’t make it, tell them “I think (name) is a little under the weather tonight.” and then raise your eyebrows knowingly. let them come to their own conclusion as to what you’re implying

ask single men what they do for work and no matter the answer, reply with “oh wow, I didn’t expect that” in a neutral tone

allude to a cool, exclusive after party happening later but give no firm details (doesn’t need to exist, people just need to speculate about it)

if asked to have your photo taken, reply with “oh I’m not allowed to be in photos until things settle down.” don’t tell people what those things are.

tell someone you like their dress/suit/etc and then, once they’ve accepted the compliment, ask them (wide eyed) what the dress code was again for the event

grab a random old man’s shoulder on the way out (bonus points if he’s mid conversation) and say “we’ll be in touch” and nod knowingly as you exit

[choccy-milky]

seb's 2 modes around clora 🥰👿

[luxaofhesperides]

Ghostlights where Phantom saves Duke or the Signal, and a week later (at a Wayne gala or some other place) Duke recognizes the light/aura coming from Danny

Putting off gala prep was perhaps not the best plan. Duke spent the past month insisting that everything is fine and he has it under control. Duke is also a lying liar who lies, and now he’s frantically trying to pick up his suit in time to get it dry cleaned and altered as necessary. 

Alfred would be disappointed in him, but in Duke’s defense, he had to go out of town on a mission to bust a growing drug cartel, and then spent half a week visiting a shelter for metas on the run (unofficial and hidden away) to help everyone find new homes and learn to control their powers. These things take time!

Unfortunately, gala prep also takes time, and since it’s a charity gala for funding the education of every Gothamite student, it’s not one he can slip out of. The entire family is being strong-armed into attending and not making a scene until the donation period in the first half is over. 

Duke knows he’s not the only one who’s scrambling to get ready for a gala that’s taking place in three days, but they’re not helping him, so it feels like he’s the only one messing up. 

“Sorry!” he calls behind him as he sprints through a group of people. 

He could have asked someone to drive him, but he knows they’re all busy and doesn’t want his own poor time management to cause problems for anyone else. Even though he’s sure Bruce is looking for an excuse to get out of a mandatory Wayne Enterprises board meeting that both Lucius and Tim dragged him to.

RIP Bruce. He will be missed.

The Diamond District is full of people walking the streets, sprinting between parked cars and waiting for their rides. They’re all dressed nicely, making him feel out of place. It’s a feeling that’s never left him since he joined the Waynes but it’s particularly bad when he’s left to navigate these spaces alone. Rich people and socialites are a different kind of human, one that Duke doesn’t care to understand; there’s greed in all of them, turning them heartless, and they can give as much as they want to charity but it won’t change the fact that all they do is a performance to make people like them, rather than a desire to do anything good. 

The sooner this is over, the better. He keeps going, hoping that he can still make it to his appointment with the tailor. Alfred recommended the store, then set up the appointment, so all Duke has to do is trust their judgment as they get him fitted. He’s still got twenty minutes until the scheduled time, but some unspoken rule makes it so he has to show up fifteen minutes early for better service or risk being turned away and told to reschedule. 

Duke slows to a walk when he catches sight of the store, the trying to catch his breath and look more composed before he reaches the door. He takes a moment to straighten his clothes a bit, then opens the door and steps in.

The bell jingles pleasantly above his head. The store is empty of any other customers, and the employee at the front counter looks up with a plastered on smile. 

“I’ll be with you in a moment!” she says, then looks down at her phone and types something out before placing it under the counter. A tablet comes out instead and she swipes through a few screens, then sets it down and look at Duke again. “How can I help you, sir?”

“I have an appointment? For a suit fitting. Under the name Thomas.”

She taps on the screen for a minute, then nods and gives him another customer service smile. “Alright, I’ll go ahead and grab the tailor. They’ll be out with your suit soon. Please, feel free to take a seat or browse some of our suits. We just recently got a new collection in from Italy.”

“Sure, thanks. I’ll just… be here, I guess.”

The employee takes her tablet and disappears through a door, leaving him alone in the store. He doesn’t want to sit down, not while his heart is still trying to settle from his sprint through half of Diamond District, so Duke wanders around the neat stacks of dress shirts and vests, pants and belts and shoes lined up neatly against the walls. 

He takes a moment to shoot Alfred a text that he’s at the tailor for his fitting appointment. Steph’s sent him a long string of videos online, and he’s just about to go through them when the bell rings again. 

Duke glances up and watches a guy walk into the store. He looks around, makes eye contact with Duke, then quickly looks down, taking a seat by the door.

Probably another upper class citizen uncomfortable with the fact that someone in jeans and a hoodie is shopping for suits. Shaking his head lightly, Duke wanders deeper into the store to get some distance between them so they could ignore each other more easily. It’s only until the tailor comes out, and then he can go to a fitting room and be done with this whole thing, so Duke resigns himself to suffering through the tense silence. 

How long is he even supposed to wait? He can only look at clothes in one of three colors before he gets bored. 

He goes to another rack, trying to see if he can notice anything different about these shirts. 

And then he hears a shoe scuff against the floor behind him. He tenses up, but before he can turn around, a belt is wound around his throat, pulling him back and choking him. 

Duke drops his weight, tucking his chin and gets a hand against the inside of the belt to try to push it away. His back hits someone’s chest and he’s trapped, focused on trying not to be choked to death while also keeping his vigilante abilities and meta powers secret. 

More footsteps come from behind, and a soaked cloth is pressed against his nose and mouth.

Chloroform, he realizes, familiar with the smell from Bruce’s training. But training isn’t enough to keep him from being knocked out, and he quickly slips away from the waking world, falling to the ground. 

Just before he passes out completely, he hears the employee who greeted him say, “I’m not sure how much Wayne would be willing to pay for him, but let’s start high and negotiate lower. New kid can’t possibly be worth that much…”

Duke wakes up groggily, memories of what happened quickly snapping into place. He’s too out of it still to get up, but he’s awake enough to be offended. Sure he’s the new kid, and barely even a Wayne, but he’s still worth a lot!

Kidnappers these days. So rude.

He doesn’t hear anyone around him, and it feels like he’s lying on a cold concrete floor. Basement, maybe? Warehouse? Storage unit tucked away somewhere? There’s nothing much to see when Duke is able to open his eyes, squinting bareilly at his surroundings. His arms are tied behind him, wrists bound, but they left his legs alone. 

If he could just hit the panic button on his bracelet…

Duke wiggles around, fighting through the lingering effects of Chloroform, and manages to sit up. If he strains his hearing, he thinks he can hear voices outside of the empty room he’s been left in. There’s a window high up, too high for a normal person to reach without help, but if he can use the shadows to travel through it, then he may be able to escape on his own. 

First things first: he needs to free his hands before anyone comes in to check on him.

They used zip ties on him, which is inconvenient. He’s learned how to get out of them, but it’s difficult enough without being drugged and having to do it behind his back. 

He’s feeling the zip ties bite into his wrists just as there’s a crash from outside the room. His kidnappers yell, alarmed, and are quickly silenced. That’s rarely ever a good sign. Duke renews his efforts to escape, ignore the pain in pushing against his binds like this. 

The door opens. Duke hears the small click of a lock disengaging and freezes. Then he gets to his feet, still unsteady, and prepares to ram his head into anyone who comes near him like some sort of deranged battering ram, or a drunk raging bull. 

Duke is ready for the worst: a gang hoping to steal away a Wayne hostage, a Rogue, Gnomon popping in to cause trouble for the sole purpose of getting on Duke’s nerve. 

He’s not expecting another teenage boy, who is literally glowing, to poke his head in and zero in on Duke. He blinks, then smiles; it’s friendly and sincere, nothing like the employee who helped kidnap him. 

“Hey!” he says, coming into the room properly. He’s floating a good foot off the ground, eyes a bright neon green, with white hair that sways as if he’s underwater. “Are you okay? I saw them drag you out of the back of the store and followed them, but I got a bit lost. Sorry for taking so long to get here.”

“...It’s fine?” Duke offers, trying to wrap his head around what’s happening. “I wasn’t expecting a rescue so soon, anyways. Think you can help me out here?”

“Yeah, of course!” he flies closer, then drops down to the ground behind Duke. He hums lightly under his breath, and then Duke feels a cold touch on his wrist and the zip ties are suddenly gone. 

Duke blinks, then brings his arms in front of him. He moves around a bit to make sure he’s not hallucination, and sure enough, he’s free and unbound because a random meta teenager vanished the zip ties into the ether, or something. 

“Thanks, man. Any idea where we are?”

“Not a clue. I got lost coming here, and I was following them. I don’t think you should trust any directions I give.”

“Fair enough,” Duke laughs. “I’m Duke, by the way.”

“Phantom.”

“Well, thanks for the save, Phantom. Can I treat you to something?”

“Like, coffee?”

“Sure. Or brunch, or ice cream. Whatever you want, really.”

Phantom considers it for a moment, then shakes his head. “Sorry, I would love to but going out in public looking like this,” he gestures to himself, “Is not a great idea. Thanks for the offer though. You got a ride?”

Duke pats his pockets, then sighs. “My phone’s gone. I still have my wallet, though.”

“I fly you to someplace you can call someone, if you’d like.”

“You sure? I could probably just walk out of here and call a taxi.”

“I don’t think walking around by yourself after being kidnapped is a great idea,” Phantom says, doubtfully. “Seriously, let me fly you.”

He should just hit the panic button and wait for someone to show up to get him. He shouldn’t go to some unknown location with a meta he literally just met. 

But, you know what? No one else can say they got kidnapped twice in one day, so Duke nods and says, “Sure, sweep me off my feet, Phantom. You gotta commit to this rescue.”

Phantom laughs. And then he does sweep Duke off his feet into a princess carry with a cheeky grin and flies them out the building, which turns out to be an abandoned apartment building slated for demolition. 

“Keep this up and you’ll be replacing Superman in no time,” Duke jokes.

“I think I could manage it,” Phantom replies thoughtfully. “I mean, I’m already prettier than him, don’t you think?”

“Oh, definitely. The glow really brings out your eyes.”

Phantom gets him a few blocks away when Duke recognizes where they are, and quickly directs him into Crime Alley. They land on top of one of Jason’s safe houses, and while he’s sure there’s enough security to take out a SWAT Team, that’s absolutely not going to stop him from breaking in to use one of Jason’s burner phones and eat his leftovers. 

He’s set down on his feet gently, and as soon as Phantom sees that he’s fine, able to walk and everything, he floats back up, just out of reach.

“Be careful, okay?” he says, getting ready to leave.

“I’ll do my best. Hey, are you gonna be in Gotham for a while, or…?”

Phantom gives him a tired smile. “Nah. I’m just passing through. As long as my luck doesn’t get even worse, then I should be out of here in a few days.”

“Shame,” Duke says, giving Phantom a very visible once over. He’s pretty tall, and Duke can see some muscle on him, and the tight black outfit really adds to his look. The glow that comes out of his chest makes him look ethereal and Duke is beyond glad that he got such a charming rescuer.

Phantom doesn’t blush like a normal person. He glows brighter instead, curling into himself a bit as he looks away, unable to stop the smile from growing on his face. 

“I guess,” he shrugs. “Are you really going to be alright from here?”

“Yeah, man, I have a friend who lives here. I’ll just bother him until he agrees to give me a ride.”

“Alright.” Phantom drifts away, glancing behind him before turning back to Duke. “I’ll get going then. Take care, Duke!”

Duke waves and watches as Phantom begins to fly away. Then Phantom… disappears? Or rather, his body does but Duke can see an orb of light making its way across Gotham, almost like a star fallen from the sky.

He stays on the roof until the light is long gone. When he’s finally ready to go in and steal from Jason, the sun has completely set. 

And he still doesn’t have his suit.

Duke sighs, and mentally prepares himself to other day of stressing out about the gala.

Three days of stress and last minute scrambling leave Duke in the Gotham Museum of Modern Art with Steph, Tim, Cass, and Damian. They’re hiding in the photography gallery to avoid other guests, taking a break from being polite and letting thinly veiled, passive aggressive insults slide over them.

.

.

.

“How much longer must we suffer this before we can go?” Damian grumbles, looking like he’s do anything to get his hands on a blade. Which, considering how many people tried to either pinch his cheeks are say some racist remark about him and his mother, is totally fair. Duke would just punch them, but sometimes a little drama helped get the message across. 

“At least two more hours,” Tim says, not bothering to look up from his phone. From what few glimpses of the screen Duke caught, he’s leading a Titans missions through text and clever hacking. Though it may be more accurate to call is a Young Justice mission since there’s no way any of this was authorized by a Justice League member. 

Also Anita, suited up as Empress, is there. If they aren’t on the news for property destruction and absolutely batshit wild shenanigans, Duke will have to check on Tim to make sure he’s not a pod person sent to infiltrate the family. 

“Think we can sneak out without anyone noticing?” Steph asks, looking at the emergency exit longingly.

Cass shakes her head and points to the door leading to the ballroom. When they look over, Dick makes very deliberate eye contact with them and give them a smile that looks stretched across his face.

Tim winces and pushes Duke. “Oh, something went down. Go take over for him and let Dick rest in here for a bit.”

“Man, why does it have to be me?” he grumbles even as he stands. Dick lets out a heavy breath and gives Duke a grateful smile, patting on the shoulder before shoving him out the door. 

As soon as he’s back into the main hallway, the music and chatter swell, no longer muffled by the thick walls of the photography wing. A few people come and go from the ballroom, no doubt looking for the restroom. 

Or more private places for… other things. Things they definitely shouldn’t be doing in an art museum.

He really can’t wait for this night to be over.

Duke joins the rest of the guests, fake smile on his face, and quickly makes his way to the snack table. He might as well make the most of his time stuck out here. Maybe he could even cause another relationship scandal by implying that Bruce is sleeping with one of partners when in hearing distance of a couple. Maybe even both of them. 

Bruce would go with it. It’s hilarious and he also needs something to make these events bearable.

Sadly, he doesn’t see any good targets as he scans the ballroom. A few people are dancing, while others are talking in small circles, closed off from outsiders. There’s an entire table of old ladies with glasses of wine in front of them; Duke considers hanging around them, since they confess to a lot of crimes after a few glasses. It’s fascinating. 

Also, he does kind of miss hanging out with the one old lady who’s declared herself his high society grandmother and told him stories of how she used to go to bars to find racist people or Klan members during the Jim Crow era, seduce them, then poison them and get their addresses so a few gangs she was friends with would fuck them up.

Granny Kaliasto is the coolest person ever. 

Just as he’s about to finish his last mini rolled crepe, Duke catches sight of one of the few teenagers still in the ballroom. The others, mostly stuck up rich kids no one actually likes, have already left to take over some other part of the museum to gossip until their parents decide it’s time to go home. These two are clearly not part of that crew, what with the girl being very goth and in a poofy, ripped dress, and the boy having already taken his jacket off to keep over his forearm, the top button of his shirt popped open.

They might be cool. He’s hoping they’re cool because he desperately needs some company to keep from dying of boredom while the gala continues on.

Duke walks over to them, going around the side of the ballroom, until he’s close enough to hear them talking.

The boy has his back to Duke, but the girl sees him. She immediately scowls and slaps the boys shoulder, eyes locked on Duke.

“Got another comment about my dress?” she says, voice sharp and acidic.

“Another?” Duke repeats. “I was just bored and wanted to talk to people who were my age. Sorry?”

The boy smacks the girl’s arm, then turns to face Duke. “Sorry about her! Sam is just naturally rude and aggressive. Tonight’s been a bit rough, with this crowd.”

Duke goes to say something, but the words stick in his throat when he sees the boy’s eyes shift from deep blue to an electric green. When he focuses, he can see a faint glow in his chest, the same glow he saw in Phantom.

“Dude? You alright?”

Sam looks him over judgmentally. “I guess it’s nice that I’m not being ogled for once, but don’t do that shit to Danny either.”

“Wait, that’s not what I was doing!” Duke hurries to say, snapped out of his shock. “I just… you look a lot like someone I met recently.”

“Yeah?”

“Yeah. What was your name? I’m Duke, by the way.”

He holds out a hand, and the boy shakes it with a small smile. “Danny. I don’t think we’ve met. I mean, I’m only here because Sam wouldn’t come to this gala without me, so her parents flew me in.”

“You from out of town?”

“Sam and I are from Illinois. Her parents are traveling around the east coast right now, and they decided to spend a week in Gotham to talk business.”

“I’d ask how it is, but outsiders tend to really hate Gotham, so…”

Sam barks out a sharp laugh. “Oh please, we can handle Gotham. Our town might not be as big and well known as Gotham, but we got our own shit to deal with there.”

“I do get shot at a lot back home,” Danny adds thoughtfully. “And that’s without the ghosts.”

“Woah, what?”

“Up for a bit of a story?” Danny asks, impish grin on his face. By his side, Sam brings a hand up to cover a manic smile, shoulders already shaking with laughter. 

This is already better than the grandma gang. Duke leans against the wall, getting settled in, and says, “Always, man. Hit me with it.”

The next hour an a half passes quickly with Sam and Danny dramatically narrating some of the things that have happened in their town. Duke listens, absolutely enraptured, and doesn’t even notice the Waynes file into the ballroom again. 

Unfortunately, they bring with them the attention of most of the ballroom, including Bruce and Sam’s parents. 

She cuts the current story about Box Ghost short with a heavy sigh. “Hold up, I need to greet the Waynes properly while my parents are watching.” She steps in front of Duke and Danny, holding out a hand with a pained smile.

Tim takes it first, giving a solid shake, and introductions start. 

Free from the rules of high society, if only for the moment, Duke leans closer to Danny and whispers to him, “Phantom. Wanna get out of here?”

Danny flinches and turns to him looking panicked. “How did you know?”

“I kinda got magic eyes. I see a lot of things normal humans can’t. Don’t worry about it. I still owe you, so you wanna get out of here?”

He watches as Danny glances around the ballroom, then back to him, clearly weighing out his options. Then he nods and says, “Know where to get a good milkshake around here?”

“Sure do.”

“I guess you’re the one rescuing me this time.”

“Not a rescue,” Duke corrects, and casually picks Danny up over his shoulder into a fireman’s carry, “A kidnapping.”

Danny laughs and waves Sam and all the others goodbye as Duke marches out of the ballroom.

“Don’t bother me for the next two hours!” he calls to the Waynes, “I’m going on a date!”

There are shocked gasps and murmurs all through the crowd. But as he spins around to wave at his shocked and easily amused family, he also catches sight of Granny Kaliasto raising her half full wine glass towards him.

She really is the coolest.

He’s definitely telling her all about this at the next event they attend together. It’ll be nice to have a few stories of his own to share.

[she-who-fights-and-writes]

Contrary to the 10,000 posts going around about “words you should use instead of said!!!”, I see more fics that suffer from people not using “said” enough than people using “said” too much lmao

[cy-cyborg]

Disability Tropes: The Miracle Cure

The miracle cure is a trope with a pretty negative reputation in disability circles, especially online. It describes a scenario in which, a disabled character, through either magic, advanced technology, divine intervention or some combination of the three, has their disability cured throughout the course of the story. Sometimes this is literally, as in the disability is completely and entirely cured with no strings attached. Other times, it looks like giving an amputee character a prosthetic so advanced that it's basically the same as "the real thing" and that they never take off or have any issue with, or giving the character with a spinal injury an implant that bypasses the physical spine's break, or connects to an exoskeleton that allows them to walk again. Sometimes, it can even look like giving a character some kind of magic item or power that negates the effects of the disability, like what I talked about in my post about "the super-crip" trope. Either way though, the effect is the same: The disability is functionally cured and is no longer an "issue" the author or character has to worry about.

But why would this be a bad thing? In a world with magic or super-advanced tech, if you can cure a character's disability, why wouldn't you?

[ID: a screenshot of Roy mustang from Full metal alchemist Brotherhood, a white man with short black hair in a hospital gown. In the corner of the screen is the hand of another person holding a small red gemstone. /End ID]

Well there's a few reasons. First, lets talk about the purely writing related ones. If you've been around the writing or even media critique communities for a bit, you've likely heard people voicing their frustrations with tropes like "The fake-out death" where a character is either implied to have died, but comes back later, or is explicitly shown to be dead and then resurrected. Often when this happens in media, it leaves the audience feeling cheated and like a character's actions and choices don't really matter if even the worst mistakes and consequences can be undone. In the case of the latter situation, where they die and are brought back, it can make the stakes of the whole story feel a lot lower, since even something like death is shown to be reversible, so the audience doesn't really have to worry about anything bad happening to their favourite character, and once you've used this trope one time, people will constantly wonder why you wouldn't use it every time it comes up.

The same is true for "fixing" a character's disability. It sets a precedent that even things as big and life-changing as disability aren't permanent in this setting. We don't have to worry about anything major happening to the characters, there's no risks associated with their actions if it can all be undone, and it will lower the stakes of the story for your audience. Personally, I also feel like it's often used as a cop-out. Like writers wanted to include a major injury the leads to something big like disability for shock value, but weren't sure how to actually deal with it afterwards, so they just made it go away. Even in cases where the character start the story with a disability and are cured, this can still cause issues with your story's stakes, because again, once we've seen you do it once, we know its possible, so we won't feel the need to worry about anything being permanent.

Ok, so that's the purely writing related reasons, but what if that situation doesn't apply to the story you're writing? What if they're "fixed" right at the end, or the way they're cured is really rare, so it can't be used multiple times?

I'm glad you asked, because no, this is far from the only reason to avoid the trope! In my opinion, the more important reason to avoid it is because of how the a lot of the disabled community feels about the miracle cure trope, and the ideas about disability it can perpetuate if you're not very, very careful.

You might have noticed that throughout this post, I've put words like "cured" and "fixed" in quotes, and that's because not every disabled person wants a cure or feels like their ideal to strive for is able-bodied and neurotypical. For many of us, we have come to see our disabilities as part of us, as part of our identities and our sense of self, the same way I, as a queer person might see my queerness as a part of my identity. This is an especially common view among people who were born with their disability or who had them from a young age, since this is all they've ever really known, or who's disability impacts the way they think, perceive and process the world around them, how they communicate with people or in communities who have a long history of forced conformity and erasure such as the autism and deaf communities. Many disabilities have such massive impacts on our lives that we literally wouldn't be who we are today if they were taken away. So often though, when non-disabled people write disabled characters, they assume we'd all take a "cure" in a heart-beat. They assumed we all desire to be just like them again, and this simply isn't the case. Some people absolutely would, and there's nothing wrong with that, but it's not as universal as media representation makes it out to be.

Another reason it's so heavily disliked is because this trope is often used in conjunction with other ableist and harmful tropes or it's used in ways that perpetuate misinformation about living with a disability and it can have ableist implications, even if that's not what the author necessarily intended.

If the miracle cure is used right at the end of the story for example, as a way to give characters a happy ending it can imply that the only way for a disabled character to be happy in the long run, is for them to be "fixed", especially if they were miserable all the way up until that point. If it's used earlier in the story as a way to get said character back into the action, it can also be read as the author thinking that disabled people can't be of use to the plot, and so the only way to keep them around is to "fix" them.

Of course, there's also the fact that some authors and writers will also play up how bad being disabled is in order to show why a cure is justified, playing into the "sad disabled person" trope in the process, which is pretty much what it says on the tin. Don't get me wrong, this isn't to say that being disabled is all easy-breezy, there are never any hard days and you should never show your character struggling, not at all, the "sad disabled person" trope has it's place (even if I personally am not a fan on it), but when both the "sad disabled person" trope and the miracle cure trope are used together, it's not a great look.

This is especially bad when the very thing that cures the disability, or perhaps the quest the heroes need to go on to get it, is shown to be harmful to others or the disabled person themselves. Portraying living with a disability as something so bad that it justifies hurting others, putting others at risk, loosing yourself or killing yourself in order to achieve this cure perpetuates the already harmful idea that disability is a fate worse than death, and anything is justified to avoid it.

I've also noticed the reasons the authors and writers give for wanting to cure their characters are very frequently based on stereotypes, a lack of research in to the actual limits of a person's disability and a lack of understanding. One story I recall reading years ago made sure to tell you how miserable it's main character, a former cyclist, was because he'd been in a car accident where he'd lost his arm, and now couldn't ride bikes anymore, seemingly unaware of the fact arm amputees can, in fact, ride bikes. There are several whole sports centred around it, and even entire companies dedicated to making prosthetic hands specifically for riding bikes. but no, the only way for this to resolve and for him to be happy was to give him his arm back as a magical Christmas miracle! It would be one thing if the story had acknowledged that he'd tried cycling again but just had difficulties with it, or something was stopping him from being able to do it like not being able to wear the required prosthetic or something, but it really did seem as though the author was entirely unaware it was even possible, which is an issue when it's the whole point of your story existing. This happens a lot more often than you'd think, and it's very clear when an author hasn't even bothered to google search if their character would be able to do something before deciding the only solution is to take the disability away.

There's also the frustration that comes from being part of an underrepresented minority, finally seeing a character like you on screen or in a book, only for that representation to be taken away. Disabled people make up roughly 16% of the population (though many estimate these numbers are actually much higher), but only about 2.8% of American TV shows and 4.1% of Australian TV shows feature explicitly disabled characters. In 2019, around 2.3% of films featured disabled characters in a speaking roll, and while it's slowly getting better as time goes on, progress on that front is very slow, which is why its so frustrating when we do see characters like ourselves and so much of their stories focus on wishing to be, trying to become or actually being "cured".

An finally, there's the fact this is just a really common trope. Even if we ignore the issues it can cause with your story's tone and stakes, the harm it can do to the community when not handled with care, the negative perceptions it can perpetuate and everything else. It's just a plain-old overdone trope. It shows up so often that I, and a lot of disabled people, are just getting tired of seeing it. Despite everything I've said, there are valid reasons for people to not want to be disabled, and just like how I made sure to emphasise that not everyone wants a cure, it's important to recognise that not everyone would refuse it either. So long as it's not done in a way that implies it's universal, in theory, depicting someone who would want and accept a cure is totally fine. The issue is though that this trope is so common and so overdone that it's starting to feel like it's all we ever see, especially in genres like sci-fi and fantasy (and also Christmas movies for some reason).

[ID: A Gif of a white man in a top hat nodding his head with the caption "Merry Christmas" down the bottom. /end ID]

Personally, because it's so common, I find even the few examples of the trope used well frustrating, and I honestly feel that it's at the point where it should be avoided entirely where possible.

Ok but Cy, you mentioned there are ways to use this trope well, what are they?

So, like I said, I'm of the opinion that this trope is better off not being in your work at all, but if, for whatever reason, you can't avoid it, or it's use is really that important to the story you want to tell, there are less harmful ways to implement it.

Don't have your only disabled character take the cure

If you really must cure your disabled character's disability, don't make them the only disabled person in the story. Show us another character who, when offered the same cure, chooses not to take it. This at least helps push back a little against the assumption of "of course everyone would want this" that these kinds of stories often imply and doesn't contribute (as much) to disability erasure in the media.

Don't make it a total cure

In real life, there are cures for some disabilities, but they rarely leave no trace. For example, an amputee's limb can sometimes be reattached if it was severed and they received medical treatment fast enough, but it usually results in at least a little nerve damage and difficulties with muscle strength, blood flow or co-ordination in that limb. Often times, these "cures" will fix one issue, but create another. You might not be an amputee anymore, but you're still disabled, just in a different way. You can reflect this in your fictional cures to avoid it feeling like you just wanted to avoid doing the work to write good disabled representation.

Do something interesting with it

I got a comment on my old tumblr or possibly Tik Tok account ages ago talking about their planned use for the miracle cure trope, where their character accepts the cure at the cost of the things that made her life enjoyable post-disability. Prior to accepting the cure, she had found other ways to be independent to some extent and her community and friends helped her bridge the gaps, but they were all taken from her when she was "cured" forcing her into isolation. Kind of like a "be careful what you wish for" sort of thing. The story was meant to be a critique on how society ignores alternative ways of getting the same result and how conforming to other people's ideas of "normal" isn't always what you need to bring you happiness. This was a genuinely interesting way to use the trope I think, and it's a perfect example of taking this trope and twisting it to make an interesting point. If you must use a trope like this, at least use it to say something other than "disability makes me sad so I don't want to think about it too much". Alternatively, on a less serious note, I'm also not entirely opposed to the miracle cure being used for comedy if it fits the tone. The Orville has some issues with it's use of the Miracle Cure trope, but I'd be lying if I said Isaac amputating Gordan's leg as a prank, knowing it could be reversed in a few hours did get a chuckle out of me.

If your villain's motivation is finding a cure for themselves, don't use it as justification for hurting people

Disabled villains need a post all their own honestly, but when a villain's motivation for doing all the terrible things they do is so they don't have to be disabled anymore, it's especially frustrating. Doubly so if the writer's are implying that they're justified in their actions, or at least that their actions are understandable because "who would want to live like that?" Honestly, as a general rule of thumb, avoid making your villains disabled if you aren't disabled yourself (especially if they're your only disabled character), but if they are disabled, don't use the disability as a justification for them hurting people while finding a cure.

So are there any examples currently out there to look at where the trope is used, if not well, at least tolerably?

Yeah, I'd say so, but they're few and far between. Two examples come to mind for me though.

The Dragon Prince:

[ID: A Gif of Ava the Wolf from the Dragon Prince, a light brown, fluffy wolf who is missing her front right leg. /End ID]

The Dragon Prince on Netflix uses the miracle cure twice, but I still really enjoyed the show (at least I did, up until my Netflix subscription ran out, so I've only seen up to season 4). The first time the trope is used in the series, it's actually a fake-out. Two of the main characters, while looking for someone to help them heal the dragon egg they're carrying, encounter a young girl named Ellis and her pet wolf Ava. The two explain their egg is not looking good and they need to find someone to help it, but no one they've found had the knowledge or ability to do anything to help. Ellis says she knows a healer who can help them, and tells them that this healer even restored Ava's amputated leg when she was a pup. When we actually reach this "miracle healer" however, she is revealed to be simply an illusionist. She explains that Ava is still missing her leg, she simply made it look as though she had restored it because Ellis's parents were planning to throw the puppy out, believing it would not survive with its disability and would only be a drain on supplies. This was not actually true and Ava adapted to her amputation very well, she simply needed more time, and hiding her disability and making her appear abled gave her the time she needed to fully recover and adjust. When they return to the healer with the main characters, she removes the illusion and explains why she did it, emphasising that the real problem was never with Ava, but with how people made assumptions about her.

While I do feel it was drawn out a bit too long, I do appreciate the use of the trope as the set up to an overall positive twist. Disability does come with down-sides, it's part of the deal and it would have been nice to see a bit more of that, but for disabilities like amputation in particular, the worst of our problems often come from a lack of adequate support and people's pre-conceived ideas about us, and it was nice to see this reflected, even if it is a little overly simplified.

The second time this trope comes up in the series is when one of the antagonists, Soren, is injured during a fight with a dragon, becoming paralysed from the neck down. His sister, Claudia is absolutely beside herself, believing it was her fault this even happened in the first place, but Soren actually takes his new disability very, very well, explaining that he understands there are things he can't do now, but that there's a lot of things he can still try, that his previous job as a soldier just didn't allow time for. It's possible this reaction was him being in denial but it came across to me as genuine acceptance. He is adamant that he doesn't want a cure right from the beginning because he knows that a cure would come at a cost that he doesn't want his sister to pay, and that he is content and happy with this new direction his life will be going in. Claudia, however, is not content. It had been shown that she was already using dark magic, but this event is what starts her down the path of using it in earnest, disregarding the harm it will cause to those around her. She ignores Soren's wishes, kills several animals in order to fuel the healing spell that will "fix" him, and Soren is pretty clearly shown to be horrified by her actions. What I like about this use of the miracle cure trope is that it touches on something I've seen happen a lot to disabled people in real-life, but that rarely shows up in media - the fact that just because we accept ourselves, our disabilities and our new limits, doesn't mean our friends and family will, unfortunately. In my own life, my mum and dad were always accepting of my disability when I was younger, but as I got older and my support needs changed, my body took longer to heal and I stopped being able to do a lot of things I could when I was little, they had a very hard time coming to terms with it and accepting it. I'm not alone in this either, a lot of disabled people end up cutting contact with friends and family members who refuse to accept the reality of our situations and insist "if we just try harder maybe we won't be so disabled" or "Maybe you will get better if you just do [xyz]". Unfortunately however, some disable people's wishes are ignored completely, like Soren's were. You see this a lot in autistic children who's parents are so desperate to find a cure that they hurt their kids through toxic and dangerous "treatments" or by putting them through abusive therapies that do more harm than good. Claudia has good intentions, but her complete disregard for Soren's decision still harm them both in the long run, leading to the deterioration of their relationship and causing her to spiral down a very dark path.

Full Metal Alchemist: Brotherhood

[ID: A Gif of Ed from full metal alchemist, a white boy with blond hair, staring angrily at a jar of milk on the table. His brother Al, a sentiant suit of armour, is in the background looking directly at the camera. The caption, spoken by Ed, says "So we meet again you little bastard" /end ID.]

The show does begin with Ed and Al looking for a way to cure their disabilities (which they gave themselves when trying to resurrect their mother as children went horribly wrong). However, when the boys discover that the object needed to do that - a philosopher's stone, can only by made through absolutely abhorrent and despicable means, and using one, likewise, comes at the cost of potentially hundreds or thousands of people's souls, they immediately stop, and shift their focus on finding the stones that had already been made so it can't fall into the wrong hands, and preventing the creation of new ones. The core theme of the show is that everything has a cost, and sometimes the cost is simply too great.

However, right at the end of the show, several characters are healed in a variety of ways. Ed gives up his ability to do alchemy to get his brother's body back, as well as his arm so he can save his friends in the final battle, but neither of the boys come away from this completely "healed". Al's body has not been used since he was a child, and so it is shown he has experienced severe muscular atrophy that will take a long time and a lot of work to recover from, acknowledging that he has a pretty tough road ahead of him. When we see him in the epilogue, he is still on crutches despite this being several months after getting his body back. Likewise Ed is not fully healed, and is still missing one of his legs even if he got his arm back.

The more... interesting use of the trope, however, is in the form of Colonel Mustang who was blinded in the final season. Mustang is shown to take to his blindness pretty well given the circumstances, finding a variety of ways to continue doing his job and reaching his goals. When other characters offer to let him use the philosopher's stone to heal himself however, he takes it, acknowledging that this is a horrible thing to do and that Ed and Al would be extremely disappointed in him if they ever found out. He uses it both to cure his own disability, and to cure another character who was injured earlier in the show. While I'll admit, I did not like this ending, I can at least appreciate that the show made sure to emphasis that a) Mustang was doing fine without the cure, and b) that this was not morally justified. The show spent a very long time drilling into the viewer how morally reprehensible using the stone was, and it didn't try to make an exception for Mustang - you weren't supposed to like that he did that.

When I talk about these tropes, I do try to give them a fair chance and discuss the ways it can potentially work, but I really do want to reiterate that this particular trope really is best avoided. There are ways to make it work, but they will still leave a bad taste in many of your viewer's or reader's mouths and you have to be exceptionally careful with your wording and framing, not just in the scenes where this trope is used, but in the lead up. If you really must use it, I highly recommend getting a few disability sensitivity readers and/or consultants (yes, even if you are disabled yourself) to help you avoid some of the often overlooked pitfalls.

[5mary5]

I have this little headcanon cause i was reading the comic of obey me and we as mc have been given the neutral name zephyr in the very early chapters since we are a sheep and all and they want to make it inclusive since the name itself is gender neutral but I was thinking that let's say one day the curse is solved and sheep!mc gets their body back but the characters continue calling mc zephyr, what if one day someone (probably a side or secondary character) brings up the fact that "hey you know what? Your face doesn't really scream zephyr" and mc is like "yeah that's because that is not my actual given name, my actual name is ________" and the characters are like "😱😱😱" I mean they did know that this wasn't their real name since they gave it to them cause they can't just call them human and all but it's still shocking to hear it coming out of their own mouth, they would also probably coo when mc tells them their birth name because it means they learn more about their favorite person, well I mean they would coo at everything mc does regardless so-

[tsunael]

wolcred week |  1. 'the first.'

They all knew it was coming. Either their brightest star would claim the last of the Light, or the Light would claim her.

What were they to do but careen to their inevitable deaths? He had sacrificed one lamb for another, and now a third was to be laid upon the butcher's block. How many must die so that another might live?

He would not forget the sight of the woman before him, holding her outstretched hands aloft as the curtain of Light parted one last time to reveal the night sky in all her glory. Menphina smiled down in a smirk of a crescent for their efforts, and just as she had appeared, was the curtain drawn once again.

He didn’t need an aetherometer to see that Tsuna was suffused– the aether was thick, cloying enough to be seen. The ewer of her body failed to contain it, finally splitting at the seams for a means of escape.

Their ascian friend dealt the final blow. The Exarch, in his well-meaning duplicity, left for dead. And then Tsuna slumped to the ground, just as lifeless.

He ought to be angry– furious– for Urianger’s joint deception, for his own empty hands, or for the cards Sister Fate had dealt them time and time again, but the queer feeling roiling within him was not one of anger, but of fear. He stood there, powerless, shaking to his core whilst the twins rushed to Tsuna’s aid alongside Ryne.

Even Minfilia could not wholly extinguish the Light– she could only freeze it in time– and as Ryne sank to her knees beside the supine woman in hopes of doing the same, he could only watch in abject horror.

“Give her room,” he barked, though the twins were undeserving of his ire as he approached. They still took a collective step back.

Brilliant white blood readily trickled from Tsuna’s nose, and by way of her laboured breathing it was evident that she was being torn apart by a force of which a layman could not hope to see. Something within Tsuna was stirring, whether it was brought about by her own will, or by Ryne’s suppression, he couldn’t know.

It began first in her hands as they twitched and grasped for purchase, then her spine as it coiled. Her eyes snapped open, hungry and searching, as she lunged for the Oracle’s throat in hopes of supping upon the wellspring.

Thancred fell to his knees, wrestling the woman onto her back as an inhuman screech tore from her throat. “Don't stop!”  he cried out, harsh with concerted effort. There was an unnatural strength burgeoning within her tiny frame that even as a man grown he struggled to contend with, and if Ryne did not finish the ritual, it would swallow them whole.

Ryne was shaken, but nothing if not determined. The power flowed through her once more, and Tsuna’s struggles came to a head. She thrashed upon the ground against his weight, spitting blood, and gnashing teeth. She would bite her tongue if it kept up-- he could barely hold her steady long enough for Ryne to work in her magicks. 

“In our lifetime, please!” 

"I'm trying!" "Ryne made a frustrated growl of effort as a bead of sweat rolled down her cheek. The very aether about them seemed to compress, tangible enough that even he could feel it become leaden as it coalesced.

Tsuna cried out one last time, waning to a whine as she pushed wildly against his arms, seizing. Her legs writhed as if a sudden, great pain knifed through her. And then all was silent. 

Ryne immediately flagged, catching herself on the marble. Her power had all but been exhausted whilst he held the aftermath limp in his arms. Y’shtola and Urianger had begun to crowd about, to inquire, to plan, to move, but all he could do was hold the small woman in his arms, and pray to the Twelve, unseen, that the Light did not break through once again whilst their last bastion was too weak to hold.

“Ryne,” he called, softly, intently. Apology was writ together in his tone. “Are you all right?”

She nodded, though he knew she waned, looking close to tears from it all.

He swallowed thickly, realising he shared in the sentiment. 

Adjusting Tsuna’s body in his arms, he felt just how cold she had grown. They needed a chirurgeon's assistance, and to get off this Godsforsaken rock, but more than that they needed a miracle. His hands would not stop trembling.

“Ryne, you know that I would not deign to ask a favour of you.” He breathed for a long moment, hanging his head low in penance. “Gods–” He swore. “You have to help her. I– We can’t lose her to this.”

Ryne stared back at him, having caught her breath, eyes wide, and glassy. She was searching him for something he couldn't know.

She opened her mouth, before aborting the question. Finally, she pursed her lips, looking uneasy in a way that only managed to make him feel worse. 

“I’ll do what I can,” she whispered, and he had no choice but to believe.

[thepedanticbohemian]

[littlestormofmess]

hello ! i know it's been more than a week since wad but i wanted to do a little something for: @danrifics (who started all this !!), @dnphobe @manchesterau @phan-tasia @less-amazing @phulge @hmfakeaccount and @oriharakaoru who bought tickets for 150 people (!!!!) to watch the show + the afterparty !!

as it was probably the case for everyone else that entered the giveaway, it wouldve been hard to buy a ticket myself, living on the other side of the world where the economy is very much fucked up kdhdk so thank you guys so much for this opportunity !! its also the first time i get to see one of these guys' live shows, well, live; and it was very exciting to get to experience it alongside so many people, i had lots of fun !!

anyways, all of you guys are more than welcome to request doodles in my asks/dms, if you so wish😌 could be dnp, could be anything ! (mostly) if not, *pushes this little guy toward you* there ya go. have a lovely day !! 🧡

[tlbodine]

OK, look, I guess I have to say this...

The killer's identity in a mystery/thriller/horror needs to mean something.

I think a lot of folks read a couple Agatha Christies and came away with all the wrong lessons. So let me clear this up for you: the mark of a good murder mystery is not that the killer is completely impossible to guess.

The response you are looking for from a reader is "ohhh, of COURSE! now it all makes sense!"

You are NOT looking for "wait, what? who the fuck is this guy?"

Introducing a walk-on role on page 5 and then patting yourself on the back for "foreshadowing" it when he's revealed as the killer is stupid, actually. Not only is that not really playing fair with your reader, it also fails to say anything interesting.

Look: The cozy mysteries where the victim is an asshole and everybody in town could plausibly be the killer because everyone has motive? That entire construct is saying something. It's a form that follows function.

The reason why "everyone in the slasher thought the killer was the weird guy who's in love with the final girl, but actually it was the rich/popular guy" is such a common construct is it is taking an expectation we have in society about who is trustworthy and inverting it.

If your killer is the weird creepy old dude, that delivers a message about your world-view.

If your killer is the rich handsome prep, or the scorned lover, or the trans person, or the quiet religious one, or WHATEVER, that is sending a message whether you intend it to or not. So you'd damned well better pay attention to the message you're sending and be willing to own it, or else change gears and put a different killer in the hot seat.

And, yeah, you absolutely can have the take-away message of your piece be "there is no meaning to this, the killer is not significant in any way" but if that's what you're going for, you have to commit to it and build it up through the narrative, not just tack it on at the end for a surprise shock value twist.

[purpledemonlilyposting]

Lorch is talking about writing again...

[Lily's Post]

Where do I even start here?

Okay first lets define what subtext is. Subtext is when a detail or meaning is conveyed indirectly through tone, dialog, character actions etc.

I talked about gay icon Gus Fring in relation to Lorch's thoughts on villains recently. Him being gay is entirely subtext. Even his final scene in Better Call Saul that practically hits people over the head who didn't pick up on him being gay is still subtext.

Gus is not the kind of man to come out and say "I'm gay", you won't see him at a Pride parade, you won't see him decking Los Pollos Hermanos in rainbow flags during June. That's just not in character for him. And yet both shows still, through subtext, communicated to us that Max was not just his friend and business partner but his lover.

(even the name of their restaurant Los Pollos Hermanos is a clue. It was not unusual for old school gays to just claim to be siblings in order to explain away why they live together)

And Gus' final scene in BCS shows him very much mooning over the sommelier he seemingly often chats with at his favorite bar. But we can also see him decide at the last moment to not get involved as his cold, dangerous drug and revenge filled lifestyle won't allow for love to spring anew. None of this needs to be stated aloud.

Okay with that out of the way lets dissect Lorch's nonsense:

So as usual Lorch's opinions on writing all absolutely come down to her not getting it and being bitter that other people do.

Whenever she talks about writing or fandom it becomes clear that the one thing Lorch absolutely can't stand is not being the smartest person in the room. But she has never been the smartest person in the room. So instead she has to decide that things other people understand that she doesn't are just worthless and overused and need to be done away with.

Subtext, worldbuilding, metaphor, lore, they're all just stupid things people use to SEEM smart, because LORCH doesn't understand them and so they must not matter.

Notice she doesn't give a single example of these things. She just starts with the assumption that people only use subtext because they think they have to or are trying to "look smart" and not because, you know, most audience members don't want to read or watch something that's basically the cliff notes of a story like you do, Lily. Subtext can aid in immersion and believability, especially when it comes to dialog.

You don't understand how to make an analogy either I see.

How the fuck is Lorch putting serialization in the same category as subtext and metaphor. Serialization is a method of story delivery, Lorch. It goes all the way back to dime novels and penny dreadfuls.

Something could be completely absent of subtext and metaphor and still be serialized. The fuck are you even talking about?

People don't "understand your point", Lorch, because you don't know what you're talking about and every single one of your opinions just comes back to your inability to understand narrative and your annoyance that other people do. But instead of expanding your understanding you try to control how people engage with and discuss narrative. You haven't deconstructed shit you just rage like a child at writing techniques that have been refined over centuries.

[pharawee]

Oh wow. Spirit Reborn (the original teaser has since been deleted) aka Khemjira Must Survive completely changed production companies and has been revived as Khemjira the Series by Mandee starring Namping Napatsakorn as Khemjira and Keng Harit as Parun.

I've just recently read the novel it's based on and it's an incredibly detailed horror novel steeped in Isan and (Thai) Buddhist folklore with very little BL stuff happening until the bonus chapters - presumably because it's not right for someone like Parun (a very respected practitioner of Buddhist "white magic") to consider or even get distracted by thoughts of that nature.

The original production received a lot of criticism for not sticking to the novel but I guess Mandee gets the Domundi bonus. Then again, Domundi isn't exactly known for... not being spicy. And here they can't even leave the spiciness to the side couple because they're Parun's students and have to adhere to the precepts too. Unless they rewrite the whole story - which would be a pity because it's so very clearly Buddhist and I really liked that about it.

[ahb-writes]

"I am, for the most part, a gentle spirit. I do not pick or accept fights unless they involve books or family."

"Lady Rozemyne" (Ascendance of a Bookworm #16 (4.4) by Miya Kazuki)

[oh-theatre]

Writing dialogue:

Writing scene descriptions:

[magicpiano]

I often see people making posts looking for beta readers and getting no responses, and I think I think a big reason for that is just not providing enough information. So here is some advice of things you should mention in your post:

The rating (and maybe why it has that rating)

Any relevant content warnings

The main pairings, relationships, or characters

The (estimated) length! Committing to betaing a 5k work is very different from committing to a 20k one

If you have a deadline you need to work posted by (like if the story is for an event or a holiday, ect.)

What type of help you are looking for. Do you just want a spelling/grammar check, or are you looking for someone to brainstorm with and point out plot holes?

Maybe just a small summary of what the work is about. It doesn't need to be the fleshed out thing you put in ao3, but a short "coffee shop AU" or "season 2 ending fix it" goes a long way in letting a potential beta know what they are signing up for.

I understand the desire to keep your wips a secret till they are posted, but if you can't find a beta, this is probably why. Many times someone would be willing to beta, but doesn't want to offer because they don't know the above and would feel weird backing out after agreeing, so they just don't say anything.

Finally, remember the person on the other side of the screen is a human being. You are not owed help, they are doing you a favor so be polite.

(Please feel free to add more advice!)