#like... i feel like it is important to the story that not every character is lgbt

[randum-famdoms]

Something I have seen people complain about is when the story “stops” for a character to mentally think about their feelings regarding something.

I think that’s bullshit.

Like, okay. Think about it. How fast is your train of thought? Faster than your reading speed, right? Do your thoughts all happen in neat little sentences, or as more of a nebulous and/or choppy half-formed thing that *you* understand, but would sound like nonsense on a page?

Also, the character probably isn’t actually taking as long to think these things as you are reading it. “Character A feels xyz about this” isn’t taking ten seconds to actually happen, feelings coexist with action!

Now, there is a time and place for introspection. It is my personal philosophy to have the amount of introspection reflect the pacing of a scene. Fast battle scenes will be far more action-heavy and introspection-light compared to, say, a calm breakfast.

I think it balances the annoyance over pages of introspection completely breaking the flow of an intense section of the story (at least, from the perspective of the reader), while still maintaining some of that wonderful interiority (which is actually a new word for me, and I adore it).

I’m the first to admit that I am far from an experienced or professional author. I don’t have a professional editor, and my only education is via Highschool and middle school classes (and while I was always in the advanced classes, a few even college level, they were still restricted by being part of the American education system). I definitely can think of times where my grasp on the interiority slipped. Especially when it comes to describing things that wouldn’t necessarily be noticed by the pov character, simply because I as the author do know about it and think it’s funny or important.

I’d imagine a good rule of thumb regarding this would be to treat it like dialogue. People always say to read your dialogue out loud to notice any problems. Well, just act out the scene as though you are the pov character. Not necessarily irl, but in your head. (And maybe even irl if you can manage it, it can’t hurt!) What way are you facing? Would you be able to see that annoying dog? Would you focus on the person you are talking to’s face, or their hands? Is this activity one that you would space out during, or does it require laser focus?

Basically, all the things you would not think about if you imagine the scene like a movie as you are writing.

Picturing the scene as a movie can be helpful, particularly for things like imagery. But it does have its shortcomings, as op said.

It can work thematically for some stories, but when it comes to most writing that is not third person omniscient, it’s definitely something that can cause the reader to feel… distant, I guess. Less immersed.

It’s also something that, sadly, many writers will have to teach themselves and seek out to learn, because, as OP said, it’s becoming harder to find in modern works. This is doubly so do people who mainly read non-published works. I will sing the praises of fanfiction until the day that I die, and maybe even after, but the fact of the matter is that 99% of fanfiction authors are self taught. They may not know how to incorporate interiority. They may not even have ever read a work that had it.

I know a lot of people say that you should read the “classics”, and you may be thinking that could help here, but I for one am a fierce defender of not putting up requirements to be considered a writer, and that includes required reading. Yes it can help you learn skills, but so can more modern works. I learned a lot from reading Percy Jackson, and other lesser known books, and none of them are considered classics on par with The Great Gatsby or Shakespeare.

Instead, I propose this: if you want to get a better grasp on writing with interiority, try actually consciously focusing on your day to day life for a little while every day. Focus on your train of thought, on the things you focus on, on the things you see.

If you want to read something, great! Ask for recommendations, go to your local library and flip through books until you find one you think you will both enjoy and which has a good grasp of the concept.

First and foremost, however, in any writing, is to remember how we as humans actually live and interact with the world, and you’ve got a primary source of research at all times: yourself. Exclusively using other texts as sources will only ever end in a very broken game of telephone.

A lot of fiction these days reads as if—as I saw Peter Raleigh put it the other day, and as I’ve discussed it before—the author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in “real time” without summary. First-person POV stories describe things the character can’t see, but a distant camera could. There’s an overemphasis on characters’ outfits and facial expressions, including my personal pet peeve: the “reaction shot round-up” in which we get a description of every character’s reaction to something as if a camera was cutting between sitcom actors.

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

fascinated by this article, "Turning Off the TV in Your Mind," about the influences of visual narratives on writing prose narratives. i def notice the two things i excerpted above in fanfic, which i guess makes even more sense as most of the fic i read is for tv and film. i will also be thinking about its discussion of time in prose - i think that's something i often struggle with and i will try to be more conscious of the differences between screen and page next time i'm writing.

[olderthannetfic]

Hi OTNF and everyone,

I am finding that it's harder and harder and harder to get into anything - book, show, movie... most things seem, you know, to just not be doing it for me, be it fanfic or original stuff.

In part, I think, it's a general restlessness and that it's become harder to give anything enough time to get into the stories, the characters, the settings, the narrative voices... I guess you can call it attention deficit on my part, just a need for stories to deliver those sweet, sweet hits quickly, but they're not.

I'm not currently ficcing but I did for years (might again in the future, who knows), and it's made reading, specifically, harder. It's like I've become more aware of what goes on behind the scene, I guess? I feel like I can see the writer giving up on a sentence, skipping a scene because fuck this, trying hard to not repeat a word although it's the only one that fits, etc.

Or maybe it's just the *everything* around us in the world that is weighing on me too much? I could say it's adult life, but then again I have more free time than most (and boy do I need hours of doing nothing to survive the other hours), and no family/partner (all that would put even more pressure on me): what is wrong, to make everything so UGHHH?

I feel like I'm stuck in a rut with a brain moaning feed me, feeeed me, and whatever I try to give it, it spits everything out. (Yes, I've tried hobbies, and nothing sticks there either. I've never really found rewards or satisfaction there, so...)

Decades ago as a kid, I was a voracious reader, although studying literature took the pleasure of it away from me. It took time and discovering fanfic that brought me back to reading, but at the time the internet was starting to be a thing, too, and it can't have helped the attention thing. AFAIK I'm not ADHD but then again, I couldn't get a proper diagnosis (the therapists I saw were either dismissive or just about The Talking, which was pointless for me).

I just wonder how it all disappeared, you know? Sometimes I find something that catches my attention for a while - a book (but I read quite quickly when motivated), a fandom... but it's been a while now, and it's just so frustrating! When is it going to come back? Will it ever? *gulp*

I know that books were escapism when I was a child, and then fandom was escapism, but at the moment I find myself grabbing at air and my empty hands are mocking me. Give me my escapism baaaaack!

So, uh. Anyone here with me?

--

Yes.

I felt like that during part of lockdown. Anhedonia is common in those kinds of circumstances.

Getting your mojo back is certainly possible, but you may need to go see a professional about depression and have some chemical assistance (yes, even if you don't feel sad per se), or you may need to change your lifestyle to one that doesn't have the thing causing you to need eleventy billion hours of downtime.

Aside from serious interventions like that, you can consider a social media detox. Remove every source of doomscrolling and time wasting of that type. When the attention span is zero and nothing brings joy, the tiny and useless hits from finishing a game of solitaire or seeing one more instagram post become very attractive. This is a trap. It will suck what little energy and joy you have and make your muscles flabby for the work of getting into an in-depth book/hobby/experience.

I know the feeling of being able to see how the sausage is made, but... well... first, being in a better mental state will make that matter less, and second, reading prose that is more competent will make that less of an issue. A lot of mainstream tradpub genre fiction is not, in my opinion, very well written these days. Obviously, people are still enjoying it, and that's fine, but if you're noticing writers fumbling around, it might be time to check out some literary fiction or some other category known more for prose quality than anything else.

It's also important to have some structure and some things to look forward to. Even if you feel tired, overwhelmed, and busy, sometimes, the answer is to do more... But it must be things that are distinct and significant and that get you off of the couch, like going to one museum every weekend.

I saw some advice once about this kind of thing that phrased it as "One big adventure; one small adventure."

Every week, you should have those two things to look forward to that matter. Check out a new coffee shop. That could be the small one. Go to an event: a gallery opening, a concert, whatever.

Physical exercise and doing some things that aren't as verbal and conscious thought-involving is important too. Painting is a better hobby for zoning out than writing is. Taking long walks in nature is good for most people.

--

The kind of intense, obsessive love I had for reading as a child and that I sometimes have for fandom requires a lot of attention and some time. It's escapist, but that masks how much work it actually was. It didn't feel like work only because we were in training.

If you've filled your brain and your day up with a thousand petty annoyances or minor and useless attempts to feel something, you won't have the capacity for those deeper things.

Because you are already at a point that's equivalent to a bad sprained ankle, trying to get back to running right now won't work. You have to stay off of the ankle for a bit, then build your strength and stamina back up.

[jennamoran]

If a strategist from Glitch were to try and go about killing a god (maybe they’ve backslided, maybe the god is just really annoying or trying to kill their friends), how would they go about doing it. What would be the best way to use Eide, Flore, Lore, or Wyrd?

-

Jenna, my readers are always asking me, how do you kill a god? But there is no one size fits all answer to killing gods.

You have to look within yourself.

You have to find the unique way of killing gods that expresses you.

-

Glitch is a game where you tell stories, and an important feature of stories about killing gods is that they are not all the same.

Some are long. Some short.

Some put their protagonists through heck. Some let them just glide through.

Stories can have very different ideas about what it takes, and what it means, to kill a god.

Gods, too, can differ.

-

If you're frustrated, looking at Glitch, trying to find the thing you're supposed to do to accomplish task X, you're misunderstanding the intended flow of play:

To kill a god, decide how you want to kill a god.

Then, express it in the form of actions.

Optionally, discover that you're misaligned with the group zeitgeist on how god-killing stories work, and adjust.

Then, the god dies, or doesn't.

If you're having trouble figuring out how you want to kill a god, then you might need to stick it on a back burner. Over time, you'll have a better understanding not just of the game options the traits provide but of how your character uses them, and some things your character might want to try will gain more dramatic weight in the group zeitgeist.

-

Decide you want to kill a god by shoving it out of your way into the street. Declare that as an everyday Ability action.

Decide you want to kill a god in a complicated flower rite. Declare that as a quest or planning miracle.

Chain it down in a place of sorrow with a Greater Invocation. Erase it with a handwave and your Wyrd. Give in to the wicked voice of your god-killing knife, that whispers to you always, and draw the curtain on the scene, and expect that when the next scene starts it will be dead.

Declare that gods aren't real, and let it poof away.

In every last case, perhaps the group goes, "Yeah, that's a satisfying answer!" Perhaps they don't. If they don't, then your action still "works," in that it happens unless in direct conflict with a stronger action, but it likely doesn't kill the god.

-

A secret is that this is not just how Glitch works.

In almost every RPG, the way you make something happen is get the group on board with that thing happening. All rules can do is help that happen.

If the rules of Glitch could make that happen then you wouldn't even have to read them, you wouldn't even have to know you were playing Glitch, you could think you were playing D&D and accidentally play Glitch instead and the rules would sort that out for you.

They can't.

-

When it comes to killing gods, the game of Glitch bestows a certain implicit authority on higher-level miracles, particularly epic miracles; miracles that take time to play out; miracles that imply in their description that they're on the right power level for killing gods.

Strategy and Greater Strategy are good ones when they apply, because you can get the players on board during the planning process, spend a while playing it out gathering narrative momentum, and then have it feel well-grounded when it works.

If you have a Talent for killing gods, then that probably works well, but also tends to reframe the game as one where you're killing a bunch of gods and more story time gets spent on the ones where there's a twist that makes it difficult. Think of the Traveller in Black; as competent as the traveller is, they still spend most of their time "in play" dealing with entities that are difficult even for them.

Greater Invocation is well-built for attacking gods.

Destruction and Greater Destruction can be good, though honestly they kind of push the GM to make a complex conflict out of it, which in turn means it's actually the Wailing Rite that would serve you best.

Flore is all kind of of one piece, but you'd definitely want to start with a Greater Glorification on a god-killing weapon.

-

If you decide in play to do something that the GM and group think you can probably do, but which they also think should feel difficult and earned, then you probably have to spend some time on either a quest or a spotlight-driven exploration of what's going on with that thing before coming up with a plan people think is cool, executing the plan, and then having the plan mostly work but devolve into some kind of chaotic complex conflict at the end to finish up the final details.

If you decide in play to kill a god ... well, probably the GM and group will believe you can, but also think it should feel difficult and earned. That's kind of what the book implies, at least.

-

In the old days---I once wrote this.

In the old days, they didn't know very much about the world. But they made maps anyway. If they had to map something they couldn't, they just drew whatever they felt like and wrote, "Here there be dragons."

We still don't know very much about the world; and there are things to map of it besides its surface.

How do you write a book?

How do you kill a god?

Can broken things be remade? Can destinies change? Is it worth the risk of hope?

Important questions, but one can only shrug, you see:

Here, there be dragons.

-

As for Glitch, I mean, like ... the game only has two rules, and they're not even a dozen words between them; some things had to be left as exercises for the reader, and the dreamer, and their group.

[airybcby]

Hello! I just read your “but my luck couldn't get any worse” and I’m obsessed with the crossover idea!

I would like to suggest Nagi with 🍓🍫

And if you cant get to it that’s totally okay ! I will be reading all the other ones anyways 🩵🥰

hi hi!!

a nagi seishiro chocolate covered strawberry :)

જ⁀♡⊹｡° hang up, give up

♡ a/n — for my more than a married couple event !

♡ content — nagi seishiro x gn! reader, gn! reader, i leaned very heavy into nagi being lazy, pls know ik there's more to his character but this made the story flow better, unrequited love, reo mentioned a lot, reo has slight feelings for reader, reader kinda likes reo, mentions of nagi being unhelpful

♡ synopsis — nagi seishiro wasn't known for being the most productive person, but even your feelings for him can't stop you from wondering what life would be like if you were paired with someone else

You didn’t expect much when your name showed up next to Nagi Seishiro’s on the list of marriage simulation pairs.

If anything, it felt like a cruel joke.

Nagi wasn’t someone who made an effort in relationships—platonic or otherwise. You’d known that for years. And yet, despite everything, you’d fallen for him. Slowly. Hopelessly.

He’d always been so unattainable, a puzzle you could never solve.

So when the simulation started, you tried to convince yourself it didn’t mean anything. It was just a program. A grade.

But being in close quarters with him every day made it harder to pretend.

Nagi wasn’t exactly the ideal partner.

He spent most of his time sprawled on the couch, scrolling through his phone or playing video games.

“You don’t have to do anything for this to work,” he said once, when you suggested setting up a schedule for chores. “We can just...exist. Isn’t that easier?”

You bit your tongue, unwilling to start an argument.

It was so typically Nagi—avoiding effort at all costs. And yet, you couldn’t stop the small flicker of hope in your chest.

Maybe this was your chance to finally break through his walls.

One afternoon, Reo stopped by to check in.

He’d been your friend for as long as you could remember, always lingering on the periphery of your relationship with Nagi.

“Still alive?” he teased, leaning against the doorframe with a smirk.

“Barely,” you muttered, glancing over your shoulder at Nagi, who was curled up on the couch, half-asleep.

Reo laughed, his gaze softening as he looked at you. “You deserve a medal for putting up with him, you know that?”

You forced a smile, unsure how to respond.

Because lately, you’d started noticing the way Reo looked at you—the way he always seemed to be there when you needed someone.

And it terrified you.

The turning point came during one of the simulation’s mandatory couple tasks: a mock date night.

You’d spent the entire afternoon trying to get Nagi to engage, but he’d shrugged off every suggestion you made.

“Can’t we just skip it?” he mumbled, burying his face in a pillow.

“No, we can’t,” you snapped, frustration boiling over. “This is important, Nagi. Can’t you at least try?”

He sighed, sitting up slowly. “Fine. Whatever you want.”

But his indifference stung more than you cared to admit.

Reo was the one who noticed your mood the next day.

“You okay?” he asked, catching you in the hallway after class.

“Yeah,” you said quickly, avoiding his gaze. “Just tired.”

But Reo didn’t buy it.

“Hey,” he said softly, stepping closer. “You don’t have to stress out about him. If you ever help to get him to start doing things, I’m here.”

For a moment, you felt a pang of something warm and unfamiliar—comfort, maybe.

And it scared you. Because no matter how kind Reo was, your heart still belonged to Nagi.

As the weeks went on, your feelings for Nagi only grew more complicated.

There were moments when he seemed almost...present. Like when he helped you carry groceries up to the apartment without being asked, or when he casually draped a blanket over your shoulders during a movie night.

But those moments were fleeting, drowned out by his usual apathy.

And through it all, Reo remained a constant presence in your life, always there to pick up the pieces when Nagi let you down.

On the final night of the simulation, you found yourself alone with Nagi in the living room, the silence stretching between you like an unspoken truth.

“You’ve been quiet lately,” he said, his voice soft.

You hesitated, unsure of how to respond.

“I’m just...tired,” you admitted finally. “This whole thing—it’s been a lot.”

Nagi frowned, his expression unreadable. “I didn’t mean to make it harder for you.”

For a moment, you thought he might say more. That he might finally acknowledge the connection you’d been chasing all this time.

But instead, he stood up, yawning. “I’m going to bed. Night.”

And just like that, the moment was gone.

When the simulation ended, you packed up your things and said goodbye to Nagi without looking back.

Reo was waiting for you outside, his expression a mix of concern and something else you couldn’t quite place.

“You could have asked for help with him. I know he's kinda hard to deal with. ” he said again, his voice steady.

And for the first time, you considered the possibility that maybe, just maybe, Reo could be what you needed.

But as you walked away, your heart still ached for Nagi—for the boy who would never love you the way you wanted him to.

And you weren’t sure if you’d ever be able to let him go.

i wrote this very late in the night and idk if i like it

i hope you liked it!

likes, comments, and reblogs are appreciated!

[literaryvein-reblogs]

Hi! Do you have any advice for switching pov in the middle of a scene without it feeling just...wrong?

Like, yeah, this scene will be in character A's point of view but in one particular moment of the scene B's perspective is also important. How could I do that swiftly, without confusing the readers?

Thanks xx

Hi, here's an excerpt from this post and another reference linked below:

Tips for Writing From Multiple Points of View

Switching between characters’ perspectives can be a great tool in novel writing, but it can also confuse your reader. Here are some tips from various writers:

Clearly define perspective shifts. Each time you change perspectives, make it abundantly clear to your reader. If your reader is busy trying to figure out which character’s head they’re in, they won’t be paying as much attention to what’s going on in the story. All that head-hopping can make your reader feel frustrated. You can make this clear to the reader by giving each character a distinct voice, repeating a character’s name, or having one character narrate from the present tense and another from the past tense. Another strategy is to give your perspective changes a regular pattern, so your reader can anticipate those shifts.

Give each character a unique perspective and voice. Each character should have something unique to contribute to the story that only they can share. You don’t necessarily have to change the point of view, but you should give your characters individualized personalities and opinions. If your characters all have the same voice, your reader will get confused about who is speaking. Plus, characters won’t seem as real or believable.

Beat sheets and outlines for multiple POVs. Use outlining tools if it works for you. Some writers find them helpful to keep track of the multiple characters, and even timelines.

Pay attention to point of view and tense. In nonlinear storytelling, it often makes sense to inhabit different perspectives by changing point of view and tense. Maybe the bulk of your story is written in the present tense from the first-person POV of your main character, while flashbacks are written in the past tense and in third-person. Or, you may want to include multiple points of view from different characters existing in different time periods. All of that is possible, but make sure you’re keeping track of point of view and tense changes to avoid confusing your reader. Avoid changing POV or tense in the middle of a scene, and consider making a chapter break every time you change point of view.

Additional Reference ⚜ More: Notes & References ⚜ Writing Resources PDFs

Choose which of these tips would work best for your story. Hope this helps!

[creatingblackcharacters]

I'm a non-Black artist who's slowly developing a character-centered slice of life type story set in an alternate solarpunk timeline/future. One of my characters is Black and develops genetically predisposed type 1 diabetes, entirely irregardless of their diet & activity, and one of the main plots of the story is how they and their friends accommodate the character and prepare for a stem cell transplant to treat their diabetes. An important thing to note is that this setting's society is very radical: anti-bigotry, free healthcare, free basic groceries, free housing, accessible walkability, etc. So the character just has to deal with a year of immunosuppressants and frequent care while their friends stay on video calls with them every day so they don't feel lonely, after which life is right back on track.

The problem is that I had no idea there was such a significant statistic of Black Americans affected by diabetes until just recently. So I fear I could be perpetrating a stereotype if I follow through with this character concept in spite of the specific setting this story takes place in. Would it still be okay to write about their diabetes as long as I go as carefully and informatively as I can? Or would it be safer to scrap the concept altogether?

Oh yeah, diabetes is a big one, particularly type 2! Specially in middle aged to older Black folks, along with stuff like heart disease and high blood pressure (whole conversation to be had about the types of illnesses we tend to have and why- nothing is free of context!!!)

Anyway, yes you'll be fine. People have diabetes. And you said this is a world where they have access to treatment, so why wouldn't they get it lol.

[bluejaysandblackbats]

Keepsafes

Fandom: Batman, DC Comics

Summary: AU where Martha and Bruce survive, and they adopt the batkids.

Chapters: 14/?

Characters: Bruce Wayne, Thomas Wayne, Martha Wayne, Alfred Pennyworth, Harvey Dent, Dick Grayson, Cassandra Cain, David Cain, Talia al Ghul, Damian Wayne, Jason Todd, Tim Drake

Relationships: Thomas Wayne/Martha Wayne/Alfred Pennyworth, BruHarvey, BruTalia

Additional Tags: Canon Divergent AU, Hurt/Comfort, Bruce Wayne is Not Batman, Angst, Alfred Pennyworth Knows All, Bruce Wayne Only Has One Child, Bruce Wayne is Not An Only Child, Bi Bruce Wayne

Chapter Fourteen: Bed

Bruce did his homework while Harvey worked on a class project with another boy from their school. He lay back on his bed, glancing up from his book at Harvey when he thought Harvey was distracted. “So, Harvey, you live here with Bruce all the time?” the other boy questioned. 

“Yeah… It’s closer to the school and the Juvenile Committee, too. I’ve got that after school most of the time,” Harvey answered. Alfred brought in a tray, carrying everyone’s dinner, and Bruce hopped out of bed to help him. 

“Thanks, Alfred. Are you about to eat?” Bruce asked. Alfred nodded. “Have a nice meal, Alfred.” 

“Thank you, Master Bruce. You as well,” Alfred smiled. Bruce ate his pasta quietly while Harvey and his partner kept working on their history project. Bruce didn’t want to butt in or be unnecessarily pushy, so he didn’t say a word. Besides, Bruce was halfway through his junior year work, and it wouldn’t have been fair to interject when it came to their homework. Harvey was a straight ‘A’ student involved in every extracurricular activity he could fit into his schedule before JCC. Harvey loved school, and he was driven to be the best at everything he did. Harvey was the definition of a go-getter. 

The other boy looked around the room and scratched his head. “There’s only one bed in here,” the boy noted. 

“Harvey’s room is down the hall. We always do homework in my room,” Bruce answered before taking a large bite of pasta. 

“Does your butler cook on a schedule?” the boy questioned. 

Bruce squinted at the boy. “Alfred cooks whatever he feels like cooking,” Bruce sternly answered. Harvey looked up at Bruce, and he widened his eyes. “He’s very important to us… More than a butler.” Bruce softened as he said it. He’d started getting used to seeing Alfred as a third parent, but he’d nearly forgotten that no one outside of his home knew that. 

**

After the other boy left, Harvey and Bruce cleaned up, and Bruce sat on the edge of his bed. “Goodnight, Harvey,” Bruce whispered. His voice was unemotional despite the tightness in his throat at the idea of Harvey not wanting to share a bedroom anymore. He knew they were too old, and it seemed weird to other people, but Harvey was his best friend and no one should’ve been allowed to change what that meant to either of them. 

The fact that Harvey probably would’ve slept in his room if that boy hadn’t mentioned the beds sent Bruce into a childlike rage. It took everything in him not to throw a tantrum about it. Still, he wasn’t sure he’d be able to sleep in his room alone. He’d been bunking with his parents on and off because worrying about Harvey kept him up most nights. After Harvey went to bed, Bruce knocked on his parents’ bedroom door. “Master Bruce?” Alfred whispered. 

It wasn’t unusual for Alfred to answer his parents’ bedroom door. They’d all sort of moved into the main bedroom. “You wanna watch some TV?” Bruce asked. Alfred nodded. One of his parents would usually sit and watch TV until Bruce fell asleep. Alfred was the best company in Bruce’s opinion. He’d tell Bruce stories and work on little things. Sometimes he’d tell Bruce about his little personal projects. 

Alfred turned on Men Behaving Badly because Law & Order came on immediately after. “Alfred, I love you,” Bruce whispered as he curled up and closed his eyes.

“I love you too, Master Bruce. This brings back memories of you as an infant,” Alfred smiled. 

“It does?” Bruce asked. 

Alfred pulled Bruce’s blanket up over Bruce’s shoulder. “This was my time with you when you were small. We would watch late-night movies on CBS… You’ve always liked to have company with you while you slept. We worried you would never sleep on your own. And when you were about three or four, you said something interesting to me. ‘Mummy and Daddy don’t sleep alone.’ I couldn’t argue with it,” Alfred smiled as he went on and on about how sweet Bruce was as a baby. 

“Alfred, when did you realize you loved Dad?” Bruce whispered, interrupting Alfred without meaning to. 

“When I saw the way that he spoke to people in professional capacities. He never chastised people for mistakes. In fact, he was so gentle when I started to work for him, that I feared that he had no fight in him at all. I imagine you’re more like Martha than Thomas in that respect,” Alfred whispered.

“Hm?” Bruce asked, half asleep. 

“I know you didn’t go to summer camp… And I know you’ve been going to the gym after school to meet with Ted Grant for boxing lessons,” Alfred smiled. Bruce tensed up, but Alfred patted his back. “I understand that it comforts you… All I ask is that you be careful, and you should call me if you ever run into any trouble.” Bruce relaxed and nodded. 

“Always, Alfred,” Bruce reassured him. 

“And Master Bruce, sometimes people need to know how you feel about them. How else will you know if they’re able to return your affections?” Alfred asked. 

“Every time I open my mouth to say what I want to say, I push—. I’m dismissive without trying to be. I try to convince myself that I’m alright with being on my own, but I think you’re right about me. I’ve always liked to have company. I guess that will never change… No matter how badly I try to make it so,” Bruce whispered. 

“You’ll be alright in time. I know you will,” Alfred whispered, “Now off to bed. I know you don’t like to watch this show.”

“I like to listen, though,” Bruce joked. 

Alfred smiled down at him. “Oh hush,” Alfred replied. 

**

Harvey woke up in a cold sweat, nauseous and shaking as he exited his room and stumbled out into the hallway. He walked straight into Bruce’s room and climbed into his bed. Bruce woke up and draped the blanket over Harvey as he trembled from the cold and shock of his nightmare. Bruce moved close enough to see Harvey’s face in the dark. “Harvey?” Bruce whispered as he tried to lock eyes with Harvey.

“I feel like I might throw up,” Harvey whispered. 

“Okay. You can throw up. I never liked these sheets anyway,” Bruce whispered. Harvey hyperventilated as he tried to explain his gruesome dream to Bruce. The memory of his dream seemed to disappear in thin air before he tried to speak. “Come up here. Lay on my chest for a little bit.” 

“Bruce, I shouldn’t—.”

“Harvey, you can’t breathe, and you’re shaking. Come up here,” Bruce interrupted. Harvey obeyed and pressed his ear against Bruce’s chest to listen to his heart. Bruce hesitated before rustling a gentle hand through Harvey’s hair. He started humming the tune to Blue Velvet .

“You never told me you could sing,” Harvey whispered. 

“I’m not singing. I’m humming… And if you tell anyone any different I won’t speak to you for a week,” Bruce replied. 

“What’s it like getting trained by a famous boxer? Do you feel like Rocky?” Harvey asked. 

“Nuh-uh. I feel like a ninety-pound weakling every time I spar with him… But that doesn’t bother me. It’s the way the little girl tells me what I’m doing wrong in the ring. She’s a cute kid. Don’t get me wrong, but it kills me when she does that,” Bruce replied. 

Harvey smiled. “How old is she?” Harvey whispered.

“She’s five or six maybe. But it’s just—. Dinah’s a little pain in the neck. I wouldn’t wish her on my worst enemy,” Bruce joked. 

“Aww, give her a break. She probably wants to be your friend or something. I bet she’s a cutie pie,” Harvey whispered. 

“That’s the problem. She’s too cute. I don’t have the heart to tell her to buzz off… And I think she’s the daughter of Mr. Grant’s friend,” Bruce replied. Harvey yawned. 

“I should go back to—.”

“Can’t you stay this one time?” Bruce asked. Harvey made a soft noise as he moved his head from Bruce’s chest as he lay beside Bruce. “I wish you’d tell me why things have to change.” 

“Bruce, I told you—.”

“You told me what someone else told you. You didn’t tell me why you wanted to stop,” Bruce mumbled as he turned away from Harvey.

[scrumpledorph]

Two points of preface. One, I like to talk in absolutes; 'never do this' 'always let this happen' etc. That's just a shorthand so I don't need to append a bunch of caveats to every sentence I write; in truth, there will be times where breaking the established rules will elevate your work. You kind of just need to get a sense for it, and I'm afraid I can't help you with that because it's also largely a matter of personal taste. Two, I'm not a professional, just a hobbyist with a couple friends who I solicit feedback from.

Likely the single biggest piece of advice I can give is: don't cut the tension. Marvel and its derivatives (henceforth referred to as capeshit for brevity) establish tense scenes, but they don't use them for tension - they use them as a punchline by having a character say or do something wacky right as things are getting good. Don't do that.

If you're establishing tension between two characters; an argument, a fistfight, what have you; play it out. Or, if you want that tension to linger; have an interruption that doesn't cut it, but denies them the ability to resolve it. Something more important than whatever they were fighting over comes up, and now they have to work together. This dovetails well into another piece of advice.

Have consequences for scenes. Capeshit more or less alternates between SNL bits and action scenes to make sure the audience doesn't get bored. Not much really matters. When two people shout at each other, have it mean something. Have an argument rise to blistering invective; make them want to genuinely hurt each other's feelings, and leave them raw after - towards each other and onlookers who try to make them feel better. Have a fist fight establish a power dynamic between two characters, have people lose or gain respect for the people involved based on whether they feel the attacker was justified or the loser is weak, things like that. A single interpersonal confrontation can loom over the story for chapters (scenes, episodes, etc.) if you do it right.

Treat your characters with sincerity. This is addressing lamp shading, and it's very closely linked to the first point. When capeshit has a character take themselves seriously, often the villain, other characters mock them in drawn out comedic sequences. While this can be done with intent - to show a lack of respect, goad someone into making mistakes, etc. the problem is the writers don't use it with intent: they always do this, because they're working with borrowed properties made to appeal to thirteen year old boys between twenty and seventy years ago, and think these characters are beneath them.

You should love your characters. You don't need to like them, maybe you think they're a weaselly piece of shit or an irredeemable monster, but you should be excited to flesh them out. You have to want the audience to feel things about them to elevate them above cardboard cutouts. This is a specific subset of the next point, but I felt it was a significant enough occurrence to warrant giving it its own paragraph.

Play it straight. Don't have your characters constantly questioning things if the only reason they're doing it is to signal to the audience that something is absurd. When confronted with the impossible, it becomes the possible, and the mind bends to accommodate it. No 'they fly now', no 'well that just happened'. Things are self evidently possible by virtue of them happening, and that's just how it is. If presented with enough confidence and follow through, the audience will accept it.

For an enduring example, JoJo's Bizarre Adventure constantly follows absurd leaps of logic, but Hirohiko Araki does it with such gusto and panache the reader simply can't question it in the moment, and even when they can later - they usually agree that it worked anyway.

As a closing piece, and I really believe this is arguably the progenitor of the entire problem: assume your audience likes your work. All of the things above are compromises made for a hypothetical reader, watcher, etc. who doesn't like your work, to make it more palatable to them. Cut that person out of your mind. You are creating art for yourself, and if they're lucky - a few close friends. Make your characters hyper competent and don't worry about the person saying it's unrealistic. Give your characters designs you think are cool without thinking about the Reddit dipshit who'll call it a donut steel. Let your characters give uninterrupted monologues at dramatic moments without imagining cinemasins dinging it because the other characters don't attack them while they're doing it.

To paraphrase a piece of advice from Mark Rosewater, the head designer of Magic: The Gathering; if everybody likes your work but nobody loves it, you will fail. It is better to alienate ninety people and make ten lifelong fans than it is to get one hundred fair weather fans. Capeshit ran out of steam the second the original set of characters were retired, because they were working off goodwill established back when they gave half a goddamn.

As I said at the start; every one of these points has caveats and exceptions that are too numerous to list. If I held you by the hand and told you exactly how to make every decision in your work, I can't imagine it would be very fun for either of us. But I hope I've established enough of a scaffolding for you to start building off of.

Few things I respect less than an artist or writer who lacks creative conviction. If your work is visibly self-conscious, how can you expect the reader to possibly engage with it with earnest? If even you don't believe in the work, how can the reader? Likewise I think that having artistic convictions is a boon that can guide a weak premise into a strong execution.

[heymacy]

IAN GALLAGHER + his journey with bipolar disorder

╰┈➤ “At times, being bipolar can be an all-consuming challenge, requiring a lot of stamina and even more courage, so if you’re living with this illness and functioning at all, it’s something to be proud of, not ashamed of." - Carrie Fisher

[twinstxrs]

thinking about kageyama’s “it’s the setter’s job to break the wall in front of the spiker” in reference to how kenma sponsoring hinata while he’s in brazil and onwards is effectively doing that on a financial level. once a setter always a setter.

[liauditore]

new suicide squad anime got me thinking about the genderbend batman au i made when i was 16 again.

extra (nsfw??? body horror + shirtless doodle lol) art under the cut + drabble.

A mysterious actress appears in Gotham!

Production for the long-anticipated remake of the 1930s classic horror film, "The Clay", is saved in part thanks to the audition of one woman with no credits to her name, just a face and demeanor identical of the late leading actress of the original film.

However, the cast and crew have bigger worries than their limited budget and endless demands from their producers -- everyone involved seems to be disappearing one by one!

While the average gothammite worries that the cult classic's "cursed" reputation might be a little more than an urban legend, The Batman refuses to entertain such unfounded silliness and aims to get to the bottom of this crime against cinema!

presenting BATMAN '63 - THE RISE OF CLAYFACE coming not actually ever lmao

(her hair is brown now because I like the idea of her appearance never being fully consistent lol. shapeshifters gotta do their thing)

[priceofreedom]

funny how everyone seemed to adore Zack until he started having more screentime...

[bayetea]

seeing non-black people critique rick's portrayal of black characters is interesting sometimes. only like 30% of the critiques I see make any sense to me to be honest

[suffarustuffaru]

i need to share my very horrible idea to combine the reinhard/julius/otto/subaru boy drama into one julius-centric fic

ok so a little while ago ive made all kinds of ottojuli and reinjuli posts and while i havent finished all my major julisuba posts Yet i am quite fond of julisuba also and i think itd be incredibly funny if you just dumped all of these ships into one story. just go ALL IN on that boy drama!!!! go big or go home amirite!!!! the worlds WORST love trapezoid youve ever seen!!!!

this post is just me rambling fic ideas bc i sadly dont have time for Every Fic Idea and also i just. i just think itd be funny putting multiple ships with the same person in them into one fic. on a serious level its like mimicking real life relationships where sometimes people come and go and you have different dynamics with each person!! on another level i just think this is also very funny so!! here we go. under the cut:

anyway so my idea for this is that you know, julius of course meets reinhard when hes ten and reinhard is eight and then it alters julius's brain chemistry. at first he's in complete awe of reinhard. and then over time the shame starts setting in. that julius isnt as strong as reinhard. and the jealousy sets in a bit too, so julius's got this chip in his shoulder trying to carry his family's legacy and trying to carry the weight of knighthood to be as perfect as possible. to be as close to reinhard as he can. they meet again in their teens and julius shows reinhard the ropes of like basic knight stuff bc reinhard just joined the knights. and of course reinjuli become friends but julius has spent his whole life quietly watching reinhard from afar and now julius still has that distance with reinhard even as theyre supposedly friends now. reinhard is a God, you know? his powers and his leash from the kingdom and his family keep him distant and the two of them are ignoring that. classic homoerotic "do i want him or want to be him" friendship where both of you are too scared to get any closer for various reasons with a Twist (reinhard's very real monster complex that keeps getting validated bc Everyone Around Him thinks hes a monster).

anyway but then julius remembers that you know, shit between reinhard and him wont work out for many reasons, like reinhards family deciding to torment julius at various points in his life (heinkel, whos julius's boss, and reid, who went from julius's childhood idol to. you know.), and also reinhard needs to have kids because hes the sword saint, and also homophobia exists in rezero. and also even if those werent all obstacles julius still has his Complexes connected to reinhard and they got that distance between them so. no go. (repression gets in the way of relationships :((( )

also quick side note is that ex 4 happens and julius reinhard ferris go to vollachia and julius interrupts a meeting with vincent vollachia himself to go "I UNDERSTOOD THAT LITERARY REFERENCE YOU JUST MADE. THATS A REALLY GOOD REFERENCE I LIKED IT A LOT" bc hes a massive nerd and ig this is slightly-more-of-a-disaster-gay julius au so julius is like ............................. vincent was kinda cool for that.

AND THEN SUBARU CRASHES INTO JULIUS'S LIFE and julius is like seeing this guy who's also got a chip in his shoulder and then he insults the knights and says the knights are all depending on their dads (nepotism) and julius is like .......the chip in my shoulder was bad enough and also youre kinda like me fr. and you are clearly a fucking misguided kid so now i have to save your ass. i cant NOT save your ass. and reinhards like "julius and subaru nooo you dont have to do this :((((" and julius cant admit atm that hes also doing this to save subarus life so julius is just like "he disrespected the knights >:(((("

but yes we all know what happened there. julius saves subarus life. julius has to slice subarus throat in that one failed loop. they become friends across several timelines. they also homoerotically share souls, you know, typical bromance things, rivals to lovers except subarus the one going YOURE MY RIVAL and julius is like he is SUCH an upstart. hes really grown on me like a fungus but thats the appeal. and julius i think sees subaru as like a kindred spirit (or at least thats how i interpret julisuba) except subaru is like way more freer than julius is. same desire to prove yourself but subarus not restraining himself constantly like julius. its sometimes to the point of recklessness and general stupidity and what have you, but his boldness and bravery and determination and heart really is admirable.........................

yeah so anyway julius falls for ANOTHER guy again, you know how it is sometimes. the heart wants what it wants and julius is cursed to always have the worst meetings with his closest friends. and of course julius gets heartbroken bc wtf i have to kill my new friend :((( noo!!!! but in the finished loop its like. oh subaru...... hes really improved himself. hes grown so much already. hes kind of. inspirational really. idk how he does it. except subarus you know got that Mystery to him the same way reinhard does (theyre traumatized and Cant Take About It Normally so they just randomly lore drop what they can) and also subarus SUPER into emilia. and julius is like .................... well. subarus taken. haha. and reinhards. taken. fuck me. fuck. and like somethings going on with subaru and rem and emilia right. fuck. and subarus got his whole toxic masculinity / gender crisis..... and he doesnt know hes Bisexual yet...... man. what a loss for julius amirite haha.

and also subarus busy after arc 3........... and julius has no idea whats happening there but that seems Real serious :(( and julius's got other things to attend to so he hopes subaru reaches out to him eventually..... or that they cross paths again since subarus in the emilia camp and julius is in ana camp (and of course reinhard is in felt camp and like that was a whole debacle bc wtf. reinhard, u do know thatd be a big deal to our mutual friend felix?). so. julius pines from afar ONCE AGAIN HAHA.

(also of course subarus still attracted to reinhard here. its um. well julisuba can bond now over pining over reinhard but thats for later also!!)

anyway of course during arc 3 julius briefly runs into some gray haired merchant twink thats being dragged around by subaru bc ana camp rescued this guy from a cave somewhere??? and this new guy and subaru made a deal or whatever so he was just helping out in the background of the fight against sloth??

and whaddya know................ julius goes to drink at a bar bc you know he probably tastes wine for fun in his free time (hes definitely Fond of wine anyway iirc) and now hes Sad over the Ones That Got Away so. bar it is. and gray haired merchant twink is there!! no way. they start talking a bit casually while drinking you know and julius's taste is Unfortunately either the graceful ones (anastasia, because julius has great taste in women) or the cringe fail ones (all the twinks - except for felix - that julius keeps having the wildest first meetings with, because julius has slightly shit taste in men) so julius is like huh this otto guys kinda funny lol. endearing in a weird way!! and -

oops they both end up being a little. they make a little bit of a move on each other. bc they were drinking and got a Bit tipsy. ottos Also not over the one that got away (subaru) (again) and hey. the finest knight truly is. Fine. objectively fine. totally. so you know. things get a little out of hand, maybe they do a bit of cringe fail flirting hidden underneath five million layers of repression and the Horrors of Being Known but ultimately they both embarrass themselves somehow (read: how far they went with each other while under the influence is up to you) and agree to Never Speak of This Again bc oopsies they were both technically each other's first time being Straightforwardly Not Straight with another man. oops. anyway julius has to go back to his camp and otto fucking bolts but he bolts right into subaru and gets his ass dragged into sanctuary drama.

julius is totally not a little bit envious about that.................... about otto getting to accompany subaru to sanctuary... but dont worry julius!! youll get to make up for it later!! bc eventually arc 5 stuff happens. and julius is Glad to see reinhard and subaru again. even with all the Baggage. and subaru is of course Weird about julius but eventually subaru reassures julius after they both confide in each other about the astrea drama (theyre honorary astreas via being dragged into the astrea family mess). and subarus reassuring to julius in a whole new way okay. subaru, whos unrestrained and incapable of being on the down low about anything, and julius, whos always holding himself back with a gazillion layers of repression, starts learning to let go a bit...

but also juliotto meet again. its terribly awkward and they both agreed to never speak of their awkward encounters again. subaru is going ??? and reinhard is clueless. otto then also goes to save reinhard and felt from heinkel trying to take felt hostage, which was also terribly awkward but reinhard and felt are grateful about it (but lbr if reinhard and otto knew each other deeper reinhard would maybe be a little. Apprehensive. around otto while otto would be sympathetic with reinhard bc hes like male emilia). but then while otto manages not to get erased by gluttony....... julius gets erased. of course. which you know results in being forgotten by reinhard in julius's THIRD first meeting ever with reinhard. and subarus the only one who remembers him of course.

then arc 6 happens :,))))) and julius of course has to confront his ideas of knighthood, his identity, his self esteem, and who he is outside of His Name. and also julius gets his ass beat by reid. his childhood idol. who reinhard KNEW was a shitty person but never ever told julius (whether this is because reinhard wanted to spare julius's hero worship or because reinhard never got the chance to tell julius is hard to say lajdsf). but julius does get to triumphantly win in the end!! grow as a person!!! learn to undo a bit of that repression and not hold himself to impossible standards all the time!! hes growing still!!! hes finally solidified his friendships with people like subaru and emilia!! hes remaking his relationship with anastasia!! hes asserted himself, hes planning on going to meet reinhard again one day and duel him!! things are looking up even if its still bittersweet that he doesnt have his name back yet!! does this mean?? perhaps?? a HAPPY ENDING?? julius can have the two men (reinhard and subaru) he admires the most in his life?????? as friends???? or as boyfriends?????? slowburn mutual pining????????????????????????????????????????

and then comes. arc 8 otto. that piece of shit.

julius is very much someone who has to grapple with the weight of the expectations that people throw at him. and also reinhard is someone who May envy julius a bit, but there's also you know, joshua and subaru with the Explicit Envy and (past) resentment because theyre placing heavy expectations on julius!! theyre pointing blame at julius!! julius is trying to find himself outside of stuff like that, especially after arc 6, but he's still got stuff to work on you know? he still has duties to fulfill!! loyalty that he has to act on bc hes gotta help subaru and co in arc 8!! and then in comes otto.

otto is also someone with expectation placed on him, but its Different. ottos mostly a nobody and when hes Not a nobody, his reputation tends to be Derogatory. hes a menace. hes a bad luck charm. hes grappling with the fact that he has to keep being left behind - post-arc 5 bc he was injured, but also repeatedly during arcs 7 and 8 because hes too physically weak to be on the same playing field as emilia or garfiel or subaru on the battlefield. he feels Useless after placing his identity on the expectation that hes Dependable and Useful.

julius is a bit more on even ground with otto now that julius is. also mostly a nobody bc his name is still gone. and also julius had to deal with having that part of his identity crushed. julius tried to be useful over and over in arc 6 only to get his ass repeatedly curb stomped by reid in the beginning. he was a nobody. he wasnt dependable anymore. and also otto is that one guy he had a Passing Fling with over having The Ones Who Got Away and julius was still vaguely hopeful about maybe being pals at least but ottos brushed him off a bit since arc 5. theyre like each others secrets you know? and now otto doesnt know that shit - julius is the only one who Knows - and otto also hates julius's fucking guts now. over SUBARU. and julius has been through this whole rodeo clown circus with arc 3 subaru so this is an absolutely terrible ride through memory lane.

and this is julius's THIRD twink that hates him for terribly unfair reasons. julius is very tired and a bit heartbroken in this au trying to pretend it doesnt bother him. on one level it doesnt. bc ottos pathetic and clearly Overcompensating for Something. on another level it kinda does bc julius had a Thing going with otto. and otto is the complete opposite of julius. like hes different from the other guys julius has liked.

julisuba is about complimentary opposites - they appear Extremely Different at first glance but theyre very similar. theyre people who try to look and act bigger than they are, people who keep reaching to be The Best, to be Perfect, because theyre overcompensating. theyre worried their entire identity is only built off of trying to be bigger than the shadow that other people in their lives (like their families) cast. but they cant reach perfection. and julius is like subaru but if subaru tried to really make himself "refined" - if he tried to stop putting his heart on his sleeve all the time. reinsuba are very similar too. theyre very refined knights who try to keep themselves in check at all times while the weight of the world is on their shoulders. they cant have a hair out of place. except julius is like the "smaller" version of reinhard. julius is less powerful. its like comparing a human and a "god" - reinhard, whos untouchable. but its a double edged sword, because julius gets to be a normal person, because half the expectation placed on him is also purely from himself, while reinhard isnt. reinhard isnt Free. hes on a leash by the kingdom and his family. julius even gets his kind of "celebrity" status stolen from him via the loss of his name. hes truly kind of Normal now - julius is like if reinhard didnt have his crazy abilities and had a little more of a chance to be free.

otto? yeah otto is. very very far from all of that. hes so obviously imperfect that most of his reputation, when its brought up, is just him being known as a mess who's caused various forms of chaos everywhere he goes. either that or hes just. There. Invisible. very very average. and otto is someone who wants a nice comfortable life, someone who wants to fit in - julius and subaru arent Exactly like that, and while reinhard also wants to be normal, ottos the one who has more of an opportunity. but he doesnt. because otto Dooms Himself by being recklessly cutthroat. otto is like if subaru was just. More of an asshole, so ottojuli would just be a rather Extreme Challenge for julius to have to deal with HAH. and normally otto is someone who repays how people treat him - a very "you treat me like this, i'll treat you the same way in turn" kind of deal, except ottos developed a vendetta against julius and its basically like if subaru never let go of his arc 3 julius vendetta.

yes so anyway. etc etc stuff probably happens but i ran out of ideas lajdlfjasdf i just think combining ALL the boy drama and recontextualizing + adding to canon would be. batshit crazy. and terribly entertaining. im so sorry julius but i want to see you crack a bit under the pressure. reinjuli as a ship is like tragic gay yearning that never goes anywhere past being friends with quiet homoerotic tension, then julisuba is. you know. extreme rivals to lovers, starts out Rough but then ends up being super super sweet and theyre Trying their best underneath the self esteem issues. and then ottojuli is. toxic yaoi at its finest (pun intended). you get Every flavor of mlm possible!!

ok so you may be asking "ok what would you even name this fic then" and to that i say that this would be called To All the Boys I've Loved Before.

anyway i really wanna write this idea someday ill inform you guys (if youre reading this and are Interested) if it ever happens :< so. in conclusion this is just julius the entire time throughout all of these events:

[midniteowlet]

I love your mind. So. So. Much.

Virginia Woolf loathed the oppression of women during her lifetime. While some parts of society have changed to afford women more opportunities, I don’t doubt that if she were alive today, she’d be sitting at her desk writing about the many inequities and injustices of modern society. This is why we leave our world for fiction, or as Woolf says to Vita in the movie Vita and Virginia, “I wrote them down, scored them into my heart, and in Orlando I set you free.” Fiction is freedom from our purgatory. It’s why we consume it. We’re desperate for a happy world. The problem is that Mafin’s story is meant to portray the real world and those discussions are as important as happily ever afters.

In the real world, “happiness” exists but can never be found in society as a whole. Even the most mundane of issues conspire against us. We must sacrifice or compromise. For example, I would love to spend an eternity with you in my arms, but we must eat eventually and if we are to eat then we must work. Similarly, Marta and Fina must give their other relationships time and effort, familial or friendly, lest they wither. Life isn’t happily ever after with one person. It’s intermittent moments of happiness when we reconnect with people we love while fulfilling obligations.

I think Marta and Fina’s relationship parallels the real world. Bad things happen to them because that is what life is. I have bad days. You do too. We ache for each other. We celebrate each other. The point of a relationship is to spend a lifetime trying to set “Orlando” free. To set each other free. To be the enduring light of a trillion stars in the vast darkness of space for someone else. Love isn’t only happy moments. It’s watching someone fall to pieces when their father dies. It’s being irate when they’re a victim of SA. It’s contradictions of character that surprise you and make you smile. It’s a hug when you most need to be held. We store our happiness in each other for safekeeping and return when the world allows it.

Ergo, Marta and Fina are already living their version of happily ever after because this is what happily ever after is like in a world filled with intolerance. I think, if we asked them, they would say that these brief moments of happiness are enough because that is exactly how I feel about you. I take any and every moment with you and treasure it. I give thanks to the cosmos because the world is so much easier to live in knowing you’re in it. I think we expect too much from fiction by asking it to solve the world’s problems when it’s goal is to get viewers to empathize with the struggle for balance we all feel. I think it’s wonderful that this show proves that two women can continue to be each other’s rock when bad things happen - which is much more than most period films seem to think women are capable of.

And this is one of the countless reasons I love chatting about Mafin with @midniteowlet: she's my very own toma a Tierra and grounds me, so I can approach things more rationally.

Upon concluding our debate of the current turn of events on the show, Mafin on the whole and their narrative? I've come to look at things as follows. The show very much reflects society as it is: a sad state of affairs where good people hurt and unsavory characters often prevail. The fact that we want everything good and wholesome to triumph at every turn? Idealistic, not realistic. Not to mention lofty expectations actually prevent one from truly appreciating the show, with all its ups and downs and winding roads. And personally, I'd like to keep enjoying it, without getting dragged down the utopian rabbit-hole.

For the most part, the representation we get is actually well crafted: Mafin feels organic, tried and true, and the chemistry between them is undeniable and thrilling. More so? Their story doesn't feel forced and thus, can be promoted to any viewership without it coming across as preachy and condescending, or having an agenda. If anything, Mafin is by far the best developed, healthiest relationship on the show. I, for one, much prefer the portrayal of good communication, heartfelt romance and overcoming obstacles together than a deluge of r-rated scenes. And honestly? We are being offered a damn good story here, even as it fails to satisfy everyone's hopes and demands (which in all honesty, it never could - at the end of the day, someone will always be disappointed)

I'm also reminded of Marta B. mentioning in a recent interview that the show is not aimed exclusively at the sapphic community. As such, it will not depict or cater to its particular needs. It's part of a larger ensemble and needs to appeal to a broad audience. And, when all is said and done, it actually manages to accomplish more with this kind of storytelling: one that's simpler, one that doesn't try to be pedantic. Ergo, they will not linger and preach to the audience. What they will do instead is allow the characters, their circumstances and actions, to speak for themselves. And they will trust they're doing a good enough job to let people draw their own conclusions. So far, I think they've achieved that: there’s heterosexual people watching the novela who love Mafin and think they’re the best couple on the show, there’s elderly people learning to be more open-minded, everyone loves Damian's character development, everyone hates Santiago and acknowledges he is a despicable lowlife etc. The show is moving the pieces along the board quite deftly and it makes for an interesting, if not always gratifying, game.

As for today's episode? There's no doubt that Marta and Fina only have eyes for each other. They're an established couple who will face anything thrown their way as they always have, as one. No mustachioed men will ever change that. Marta and Fina's narrative will never be whether they desperately adore each other. That they do couldn’t be more obvious. Their story? Ever has it been, and will continue to be, about their fight to attain freedom: freedom to live their love in a society that forbids it.

Therefore, I've reached the point where I'm not worried at all about either Santiago or Pelayo. Based on Pelayo's reaction upon learning Marta is a lesbian? I doubt he'll help Santiago in his attempt to sink Marta's ships. To me he comes across as a calculated businessman, but not a heartless one. He stands to profit more from a partnership with the de la Reina family than throwing Marta to the wolves. He also didn't bat an eye at Santiago's reveal, wasn't surprised or outraged. Which, I'll go out on a limb and say, is telling. He's either gay himself or simply plans on advancing his business / political career by securing a partner that won't demand his attention or affection. The first scenario ensures he remains socially upstanding while the second allows him to live as he pleases. To a man like Pelayo? It's a jackpot either way. Hopefully, the benefits outweigh the costs for Marta as well, should the plot move in that direction. And given all the signs? It's already halfway there.

That being said. It remains to be seen what happens to Santiago. I assume, and hope, his little ploy at denouncing Marta to the Civil Guard will cost him, dearly or otherwise. His own thirst for vengeance pushed him to make the wrong move which is, in my opinion, seeking out Pelayo. And while there's plenty of outraged cries that Marta & Fina don't need another man to save them? Let's not forget it's 1958. The likelihood of neither of them attracting a suitor, fake or otherwise unwelcome, is as doubtful as improbable. The fact they managed to successfully evade them so far? Quite the feat.

As for what awaits? Marta won't go to jail, I think, since that card has already been played. Or who knows? We might be surprised. The fear they need to instill in her requires new heights, in order for Marta to reluctantly accept another cage. Mind you, she's still trapped: as much freedom as she currently wields, Marta remains a woman whose very social status entraps her, singling her out as prime real estate. She's the proverbial golden goose, especially as dictated by the mores of society back then. Marta and Fina's shared dream of freedom remains, for now, a dream. One they've almost had at their fingertips, which makes their current circumstances all the more painful. I will say: it stings that Fina won't be the first to read Marta's journal. Undoubtedly, at some point, she will. After all, that journal is a mirror of Marta's very heart. It lays out her deepest fears, her innermost longings. It chronicles the fiercest battles Marta has had to wage with herself, her losses and triumphs, her meditations and hymns, the anguish and the deliverance of her love for Fina. To have it fall into the wrong hands? A violation of the utmost personal, a desecration of what is deemed sacred and untouchable. The diary symbolizes Marta having a safe space to call her own, one where she was allowed to embrace her true self, one that initiated her journey to freedom, her quest to rid herself of her shackles. Santiago has no honorable bone in his body and his hatred towards women, and Marta in particular, drives him to invade and vandalize her privacy, this blessed sanctuary she got to call her own. Let's see if Pelayo rises to the occasion and proves himself as a noble character. You can never have too many allies. Do I still take issue with how certain things are handled, with the inconsistencies and shoddy character work? Definitely. But I’m also able to simply sit back and enjoy. Let's see where all this goeth, shall we? Hello pain, let's go again.

[bitimdrake]

i wanna say controversial opinion, except i'm not sure if it counts if it's only controversial among the teeny tiniest subgroup of people, BUT

I gotta confess here that I fully reject any argument saying that Alfred was actually the one to make Damian Robin, because Alfred literally cannot make anyone Robin.

Alfred gave Damian a Robin suit to go save the others--very similar to how he did the same for Tim back in LPoD--but he simply does not and never has had the power to actually make someone Robin. If Bruce in LPoD or Dick in Reborn had refused, Tim/Damian would not be Robin and that would be that. Alfred has zero say here. Alfred can encourage a kid and also make things harder on Batman, but he can't decide Robin. Attributing this decision to him is silly. He does not have that power.

(I mean, really, we can debate about who, morally, should be able to pick Robin (it's Dick! No, it's the previous Robin! No, it's--), but practically speaking, being reluctantly honest with ourselves, the only person who has ever been able to actually pick Robin is Batman. But that's a bummer to contemplate.)