#‘they’re what’s wrong with society’

[rabbits-of-negative-euphoria]

if I’m honest, I have never seen so much blatant actual antisemitism in my life as I have in the past 2 weeks. overwhelmingly on the left, but on the right too. I didn’t know it was this bad.

[jasontoddenthusiastt]

I think fans want Jason to be a good person or be becoming one. To have a character that is well meaning and compassionate but decided murder is ok and to stand against main heroes who’s beliefs and actions go against the people he cares about and wants in his life. It’s confusing for people. People want their fav characters to be happy. But Jason can’t have his family’s support and follow his moral code. He’s cares about people and Gotham, and he’s an asshole who kills. It’s messy. It’s not black and white. I don’t even think Jason cares about being a good person or in the right anymore. I think he cares about what will save the most people instead.

Oh my goodness gracious I’ve been bamboozled

Batman’s definition of Good is not synonymous with absolute good/right no matter how much dc insists it is. Torture, battery/assault, surveillance, those are all condemnable actions too. I won’t get into the exhausting and frankly dumb debate of comic book morality wrt killing because I’ve already reblogged plenty of posts from other people who explained my thoughts on the matter far better than I ever have the patience to sit down and articulate. I also just think the notion that there’s something to be done about fictional characters who kill nazis and senseless murderers is stupid. Jason’s point is that the “main” heroes’ sanitized definition of right has its unaddressed holes and flaws which ultimately result in more preventable fatalities, and that he’ll work to correct those missing spots.

He doesn’t not care about doing what’s right. What he doesn’t care about (at least during his Winick characterization) is whether Batman thinks he’s right or wrong, because he sees the flaws in Batman’s methodology (and since he has a mind of his own). Batman’s methods alone cannot address Arkham’s revolving door and the rogues that come and go through those doors who have no intention (or capability from the doylist pov) of ever changing or undergoing redemption. Jason knows that he’s minimizing the number of preventable deaths by killing his targets, typically Characters Who Simply Do Fucked Up Shit Just Because, Why The Fuck Not?

Secondly, Jason is compassionate … to a fault. That was his fatal flaw. If he wasn’t so hell-bent on saving his potential birth mother he just met from that bomb despite everything she did to him prior, he could have protected himself instead, however slim his odds of survival were. What about his relationship with his other parents? He was a caregiver during his early childhood years for Catherine, until her death. Even mature adults who are financially stable find being a caregiver to a dying parent to be extremely burdensome on their bodies and minds, but he never complained about it or resented Catherine for being unable to care for him. Despite how none of his parents have really been what he needed them to be, he doesn’t blame them for their failings, and even continues to think highly of them (Bruce included).

And post-death? Enter Lost Days. Despite being dead set on plotting his revenge on Bruce, he constantly sidelines this in order to save other victims who are helpless like he once was. His own anger, trauma, and mission don’t remain his priority. (Sound familiar? Something something my own trauma above my son’s, mission above all else, etc.). Why would he waste precious time and risk his own life to do this if he wasn’t empathetic towards these victims or didn’t care about doing the right thing. He is simultaneously horribly traumatized and full of rage, and also incapable of ignoring what’s happening to victims around him (even as he claims that it’s indeed not his priority). And in that same vein, the entire premise of his rebirth outlaws run was that he doesn’t care if the public views him as a villain, an outlaw, so long as he can protect Gotham. And anyway where is this portrayal of him not caring about being in the right anymore. Almost every modern Jason story is about him grappling with where he stands with Bruce/Batman. During the early 2000s was probably the last time he did not care (hello, tentatodd??).

Jason has very evidently been portrayed as a kind and compassionate character. He is also simultaneously a calculated killer who doesn’t hesitate to kill when he deems necessary, and does so without remorse. It’s called being a Complex Character With An Edge™ that as you said, people so often claim to love. However when he fulfills that latter part, that seems to upset people because “killing bad”, and they then try to shave off and round out all his edges and claim he shouldn’t be that angry. In that case I guess you should just stick to liking traditional one-dimensional characters instead of claiming to like Jason but then encouraging his character assassination attempt by dc. Lol.

Lastly, who said anything about the batfam making Jason happy? Just because he’s written nowadays to want acceptance from Bruce (a shoddy attempt at forcing a non-existent nuclear batfamily), doesn’t mean that it’s a sound decision or that it does his character justice. I certainly don’t empathize with the idea that Jason needs the family’s approval or acceptance to be happy. (And anyway he has enough outlets for angst and pain aside from the batfam hello explore his other sources of trauma and do more deep dives into how he thinks when he’s alone). I don’t want them to magically make up and become one big happy family. This is not disney Lol. Besides, there are plenty of stories from dc that have that type of “wholesome” (hate that word utilization) characterization for Jason (Li’l Gotham, Tiny Titans, wfa, and even new stuff like the brave and the bold mini) and that is sufficient imo. Jason fans who are invested in the character deserve accurate, nuanced characterization and well-written stories, whether they be from his robin days (e.g., Batman: The Cult) or as red hood.

[swordmaid]

i want to start on the drizzt books for the drow content but so much of the drow infos I found from like the old handbook reeks of so much misogyny to me that i just want to stick to my own headcanons LMFAO

[getosugurusbangs]

i think one of my hotter jjk hot takes is that i don’t think kenjaku is gender-fluid

[prisonpodcast]

some ccs are just straight up nuts there’s no other explanation

[navysealt4t]

can we please talk more about queer anger. im so fucking sick of being so angry and having no where to put it. im allowed to be fucking angry with the people and society that failed me

[friendlyfatbee]

I’ve come to realize that as an adult, I can dramatically flaunt around my dorm and wave my labcoat-like cardigan around like a mad scientist, and no one can stop me. What are they gonna do, tell me to grow up?

[starbuck]

I don’t believe in categoric “love languages” but, along those lines, providing is so important for me in my relationships, romantic and otherwise. I love you, so I provide for you, and maybe you’ll do the same for me. I want to be in a constant cycle of giving and receiving with my loved ones. I want to feel safe and appreciated and make others feel the same way. I want to anticipate their needs. I want them to openly express their desires to me without shame. If you want it, it’s yours. I love you.

[aprildiamond9]

continuing to watch the mysterious benedict society tv show with a deepening sense of dread as I realize it's never going to redeem itself and none of the best scenes from the best book are going to make it to the screen

[gxyhxrror]

Orpheus and Eurydice is so…like how does one not feel like Orpheus w everything they love…like ok if I keep going n know ur there maybe it’ll be fine, except if I actually look back at u & try to be *with* you…it’ll be lost

[checkontherep]

please tell me why a boy i’m talking to calling me pretty has sent me spiraling

[b1adie]

COULD VERITAS RATIO BE A WORM?

see the updated theory HERE

the answer 😏 may surprise you

ok listen to me. a long time ago aha made a worm really smart and tried to get it into the genius society. but even though that worm was smart as hell, nous did not give a fuck about it.

you know who else is smart as hell but nous doesnt give a fuck about?

heh. yeah. thats right. despite many people (including himself) feeling like nous should have recognized him a loooong time ago, that computer just doesn’t care.

now, we are left to wonder… why does nous refuse to acknowledge this man..?

i think it’s quite obvious.

my theory is that aha made a SECOND worm really smart. and Then they made the worm into a sexy guy.

and now they’re outside nous’s window, giggling, as everyone in the universe ponders why veritas ratio is not permitted into the genius society.

“what’s wrong, nous? he’s a genius, isn’t he? let him in,” aha goads.

nous is glitching in frustration. “it’s the worm again. i know it’s the worm again.”

[luveline]

(𝐢𝐭’𝐬 𝐧𝐨𝐭 𝐥𝐢𝐤𝐞) 𝐡𝐞’𝐬 𝐦𝐲 𝐛𝐨𝐲𝐟𝐫𝐢𝐞𝐧𝐝 | 𝐬𝐭𝐞𝐯𝐞 𝐡𝐚𝐫𝐫𝐢𝐧𝐠𝐭𝐨𝐧

Steve hears you wrong, thinks he’s your boyfriend, and begins to act accordingly. You try your best to go along with it until you can’t anymore. 3k, fem. requested here ♡ 

cw shy(ish)!reader, misunderstandings, steve being a huge sweetheart, fluff, hurt/comfort, bonus fluff scene 

˚ʚ♡ɞ˚

The arcade is loud and brisk this evening, doors thrown open to allow for the constant ebb and flow of younglings, the machine music turned up to account for so many voices. You’re lost in a sea of rainbow flashing lights and the ticklish smell of sugar. Without Steve’s hand behind your shoulder, you’re pretty sure you would’ve gotten lost and trampled half an hour ago. 

A candy necklace pinwheels past your heads like a torpedo, forcing you closer together, your shoulders tight with a flinch. 

“We can leave,” Steve says immediately. He’s weirdly thoughtful. Before he asked you out you had no idea he thought so much about other people, but he’s always thinking about other people. You could argue he thinks a little too much, like you. 

“I wanna see Max.” 

“She has to be here somewhere.” 

That theory proves less and less likely. Steve’s hand falls away from you, tugging through his hair in a marker of stress as you circle the Palace Arcade for the tenth time. “Maybe she quit?” you suggest. 

Steve’s eyebrows pinch together as he gives the arcade another sweep. Max’s rough patch freaked him out, as it freaked you out, because ‘rough patch’ is a kind way to describe it. She could’ve got a whole lot worse; she was suffering, capital S. It’s nice to see her returning to society, but not if she isn’t actually settling in. That’s the whole reason you’re here. 

Steve frowns at you worriedly. 

“Who died?” asks a new voice.

You breathe out a sigh of relief. “Max!” Steve cheers. 

“That’s me,” Max says, looking at you both sceptically. Her ginger hair is pulled into two tight braids either side of her face, her cheeks flushed red. Mascara paints her usually pale lashes a darker brown, and a rosy tinted chapstick shines on her lips. 

“Hey, the uniform looks good on you,” he says affectionately. “You look like a valued member of society.”

“A society in need of better labour laws. I’m pretty sure this is child abuse.” She rolls her eyes. 

“Is it awful?” you ask. 

“It’s fine. Better when your stupid friends aren’t here making themselves sick on candy like they’re nine years old,” she says pointedly to Steve. “Are you going to throw up too? You look–” she grimaces in place of insult. 

“Who’s throwing up?” you ask. 

“Dustin. He’s outside.” 

Steve sighs and gives your shoulder a kind squeeze. “I’ll be right back,” he says, squaring his expression. “Goddamn kids.” 

He sounds like an old man, you think to yourself with a small smile. Disgruntled, he still goes to make sure everyone’s alright. He’s nice, even when that nice is begrudging and tiresome and plain gross sometimes. 

“Why are you smiling at him like that?” Max asks.

You school your impression. “Like what?” 

“Like you like him.” 

You shake your head. “Tell me about work, Max. What’s it like here? Are they giving you your breaks?” 

She drags you over to the counter to sit in the seat waiting behind. She glares at any kid who approaches, but besides that she seems in good spirits. The job isn’t hard, it’s just a job. She’d much rather be at home reading, but wouldn’t everyone? “And I get this sweet uniform,” she says, pointing at the embroidered icon on her shirt pocket. “What’s with you and Steve?” 

“Nothing,” you say, though it’s something. You’re mortified to have been caught having feelings. 

“Looks like something. Are you dating?” 

“I mean, this is a date,” you say, almost whispering as heat floods your face. “But we’re not together.” 

“He was touching you a lot.” 

“Max, he’s really nice. He’s a really nice guy,” you say gently, “and we’re not together, but if he does ask me out eventually, maybe I’ll say yes.” You realise what you’re saying and attempt to backtrack —you do like Steve, but Max doesn’t need to know that. “It’s not like he’s my boyfriend,” you say strangely. 

“Ew,” Max says with a laugh. 

“Not ew,” you correct. You hadn’t meant it in a bad way, it’s— 

“Not ew,” Steve says from behind you, his arm a heavy weight across your shoulder. 

You look wide-eyed up at his face, surprised by his huge beaming smile, an intense loveliness about him as he gives you a half hug. 

“What’s ew about that?” he asks you softly. 

Oh, boy, you think. 

As it turns out, being Steve’s girlfriend is kind of nice, but you aren’t ready.

From that afternoon at the Palace Arcade onward, he treats you like you’re made of gold. And it’s great, he’s so kind, he brings you flowers and takes you out for breakfast, where he pays the tab without any flourishes and talks to you as casually as always. You almost hope he hasn’t got it wrong at all, and that his soft tone a few days ago had been down to a brief overwhelming fondness. You’d get that. You have your moments with him, you’re falling for him, and it’s only a matter of time before you’re desperately in love, you’re sure, but then the waitress asks if you need anything else and he says, “Just a water for my girl,” and you realise you’re not getting off easy. 

Dating is sort of like being good friends; you’d planned to spend the day together anyways. You enjoy his company. It’s clear he’s eager, optioning off the day’s agenda as you return to the car, the bottom of your face hidden in your bouquet. 

“We could go to the movies,” he says, opening the passenger door, his smile seemingly permanent as you climb inside. “No science fiction, I promise.” 

“I kind of like sci-fi.” Petals press fragrant to your top lip.

“Well, we don’t have to go to the Hawk. We could go into the city. I bet they’re playing any movie you wanna see.” He checks that your leg is properly inside the car before he closes the door, jogging around to the driver’s side and practically throwing himself inside. He’s giggling like a kid. “Shit, I’ll see anything you want to.” 

“Steve.” 

“Or we can go do nothing? Until dinner.” 

“Steve,” you say again, thinking you’ll tell him. Nothing good ever comes from dishonesty. 

“What?” he asks. 

His eyes are so brown. Billions of people with brown eyes and you swear you’ve never seen anything like it before, their centres like hot honey, the sweetheart shape to them when he smiles 

You sigh. His smile is contagious, even while your stomach hurts. “Nothing. Let’s go see a movie.” 

“Are you okay?” 

“What?” 

“What do you mean, what? You sounded weird.” 

“I sounded weird?” 

“No!” He winces. “I mean, yeah, you sounded weird for you, like you… I don’t know. Sorry.” 

You feel bad, then. His apology is earnest, his hand resting open on the console for you to take if you could manage the flustering heat of it. 

“I wanna go to the movies,” you say, ‘cos you really do. 

“Alright, good. It’s just, I think my last relationship, I– I didn’t pay enough attention, and I want to do that better this time around. So yeah. Sorry.” 

Oh, Steve, you think. How are you supposed to tell him now? You’re gonna have to pretend to be ready for a relationship with him until you really are, it seems. He doesn’t deserve to have his heart played with twice. 

“Don’t be sorry,” you say gently. “Let’s go watch a movie, okay? I want to go, with you, we’ll watch a shitty daytime flick and then get dinner after. It’ll be fun.” 

You aren’t lying to him about what you want. It’s clear to everybody, Steve and his friends and especially you, that you like him, that you want to be around him and make him laugh. Maybe being his girlfriend won’t even be that different to being his something. 

After all, what’s romantic about seeing a movie? 

“You good?” he asks, half an hour later, your agony prolonged. 

You’re at the back of the movies where the seats have the most leg room, more popcorn and candy than you could ever eat at your feet and a litre cup stuffed into the armrest between you. Steve is tucking his shirt back into his jeans, his head parting the light of the projector and leaving a silhouette in the previews. 

“Steve,” you advise, gesturing for him to lean down out of the way. 

He leans down, further and further, face to face with you with his hands on his hips. A flirtatious teasing makes its way onto his lips. “What?” he asks, amused. 

“You were in the way of the light.” 

“That what it was?”

“Seriously!” you whisper-shout, laughing despite yourself. 

“You’re so cute,” he whispers back. “Want to take your jacket off?” 

Your lips part at his good suggestion. You hold your arm out and start to peel from your jacket, but he takes your sleeve and helps you out of it before folding it and sitting in the seat next to you, your jacket on his thigh. “How’s that, babe?” he asks. 

“It’s good.” 

“Okay, perfect.” He beams at you. He’s always smiling when he’s with you, like you’re the best thing since sliced bread. Like he loves you. “Tell me if you need something, yeah? I know you’re kinda shy.” 

He settles back in his seat with your jacket still in his lap and no indication that he might want to move it. Your knees touch as he relaxes, your knuckles as he puts his arm on the rest between you, a picture of contentedness as the movie begins and the opening credits play. “That’s us,” he says without looking at you. 

Two people walk down the street holding hands as the title of the movie blazes in yellow font with thick red outlines. A Day In Paradise! 

You bite down on a slither of the inside of your lip until it stings. You try to fight it off but the longer you sit there, the more your eyes burn, thinking about Steve and what he deserves and how unfortunate this whole thing is, and yeah, you’re overwhelmed, too. You aren’t ready for so much sweetness all at once. You don’t deserve it, he doesn’t deserve this. 

You force the tears away. The movie goes on and on, the lights low, the chatter of moviegoers and the occasional popcorn crush not nearly loud enough to cover the sound of Steve’s breathing. 

He pushes his hair out of his face. Somebody on screen makes a joke, his hand brushes against yours, and then takes it gently as he laughs. 

You pull your hand away and tip your head down, a frantic tear flicking from your lashes. 

“You okay?” he whispers. 

You try to answer. You whimper instead, a terrible, sorry sound stuck to your throat —you can’t hold it in anymore. It’s too much. 

“I’m sorry,” you mumble tearily, looking up, a tear rolling fast down the bump of your cheek. 

Steve sits still in moderate horror. “Why are you crying?” he whispers.

The thing about Steve that people tend to forget is that, while he takes care of people the best that he can, he’s really young. He doesn’t always know what to do. He stares at you now like you’re a foreign object, hand tucked back into his abdomen. 

A tear drips onto your lip. It tastes salty. “Sorry,” you say. 

“Why?” he asks, dumbfounded.

“I really like you, Steve.” 

He stares at you. “…But?”

“But I–” His frown hurts your heart. “I don’t know if I’m ready for all of this, I never– never had someone like me like this, I don’t know why I’m crying.” You say that last part to yourself rather than him, scrubbing your cheeks with your hands roughly before hiding your face completely. “It’s not you.” 

“I thought…” And of course he did. 

“I know,” you say. “I’m sorry, Steve. I thought it wouldn’t matter but everything’s going so fast.” 

He touches your arm gently. “I’m sorry,” he says. “I thought you wanted this. You– you said I was your boyfriend, to Max? I thought you liked me.” 

“I do like you,” you insist, meeting his eyes. 

“Can I wipe your tears away? They’re everywhere,” he says. You struggle to read his expression, but there’s no resentment or anger there for you. He looks quite serious. 

“Yeah.” 

Steve bends in his seat to wipe your tears off of your face gently. They really are everywhere, on your cheeks, your top lip, your chin, even down the arc of your neck. “I don’t understand,” he says, going back to your cheek for a missed streak, “but you don’t have to be upset. Please. I won’t do anything you don’t want me to do, I promise.” 

“Steve, when I was talking to Max, I said,” —you wince— “that it’s not like you’re my boyfriend. She was asking me about you, and I got all panicky because I like you, but I’m too weird about this stuff, I’m panicking now–”

“Don’t.” His hand lingers on your face, before a sorry flash of dejection passes over him, and he drops your face altogether. 

“I didn’t mean for this to happen. Please believe me.” 

“Of course I believe you.” He grimaces at you, and the heartbreak turns to something more manageable, like he’s brushing himself off. “I’m sorry. For getting the wrong idea.” 

“I like you,” you whisper. Your voice is nearly lost to the rustle of popcorn and drinks. 

“I like you too!” he says loudly. 

A few seats down, somebody turns, an angry whirl of hair and clicky nails. “Can you guys shut up?” 

You and Steve leave your mountain of snacks behind to stand in the theatre hallway, where the winter air is cool on your flushed skin, and the silence is stifling. You lean against a wood feature wall and try to calm down, because he’s the one who should be upset (or maybe he’s not that fussed about you). He stands a half foot away with his arms crossed, looking down at his shoes, though occasionally he glances at you for a split-second and looks away again. 

“You okay?” he asks tightly. 

“I’m sorry.”

He pokes his cheek with his tongue. “So you don’t want to be together?” 

You don’t know. He deserves the truth, even if you barely understand it yourself, and it stings to say. “I do, I like you, but I… I want to take things slowly.” 

He stands there without talking for a while. When he does talk again, he’s laughing, that achy awful sadness he’d worn a far off memory. “You’re this upset because you want us to take things slow?” 

“I didn’t want to hurt your feelings.” 

“You haven’t,” he promises. “That would never hurt my feelings. I knew when I heard it that it was too good to be true.” He scratches the back of his neck. “I guess I gotta earn the title like everybody else does. Is that… cool?” 

You nod vehemently. 

Steve blows a relieved breath of air up his face, his hair ruffling off of his forehead. “I thought I was gonna lose you completely,” he says, smiling. “This is fine. I can work with slow. Slow’s my middle name.”

—♡—

The sun is a blistering heat today. “Can’t believe it’s only spring,” you murmur, eyes covered by the back of your arm. 

A weight sits down on the blanket beside you, the sound of dry grass crushed underfoot. He brings the fresh scent of lemon slices with him, the zest sticking to his hands.

“I think I might melt.” 

“I’d never let that happen,” Steve says, laying down beside you. 

“You can be my parasol.” 

“Your what?” 

“It’s a sun umbrella.” 

“Like this?” he asks, gently laying himself across your front, his face on the slip of your stomach that’s bare, his arms sneaking behind your thighs to hug them as you bring them up. 

You reach down to stroke his hair, taking your fingers through the silky lengths of it, fingernails scratching ever so slightly at his scalp. “Thanks,” you say.

He kisses your naked leg. “You’re welcome, honey.” 

If he’d done that at the beginning of your relationship, you’d have frozen up; not because he would’ve done it differently, not because he wasn't always your handsome sweetheart, but because being comfortable with someone this intimately takes time, and that’s okay. 

“Your face is digging into my hip,” you murmur. 

He shifts back, his ear above your belly button. “Is that better?” 

“That’s perfect.” 

“Are you falling asleep?” he asks softly. 

“No… I’m thinking.” 

“Nothing good ever comes of that.” 

“I have something I want to talk to you about.”

“I love talking to you,” he says. He sounds as though he might fall asleep himself, his tongue heavy in his mouth. 

You stroke his hair away from his face by touch alone. Long, warm minutes pass without conversation. You aren’t scared to tell him how you’re feeling. He’s proved to you over time that he’s someone you’ll always be able to trust, and that whatever you have to say will hold weight. 

“It’s a question.” 

He turns in your hold to face you. You raise your arm, greeted by the image of him sun-kissed and lazing, laid out across you without a care in the world. 

“Don’t tell me then,” he says, rolling his eyes. “Jesus, you’re terrifying.” 

“Would you wanna be my boyfriend?”

He narrows his eyes at you. A myriad of emotions pass between you both, until he’s smiling, and you know he’s sitting up for a kiss seconds before he actually does. He presses his lips to yours carefully. “Baby,” he says as he pulls away, voice as mild as his soft kiss, “I think we’ve passed that point.” 

“I realised I’d never asked you, is all.” 

His hair falls down into his eyes. You tuck it behind his ear. It’s pretty clear now you’re together, even after such a bumpy start. 

“Can I get it in writing this time?” he asks, rubbing the tip of his nose against yours, your eyes fluttering closed in tandem. 

“Give you anything you want if you kiss me,” you murmur. 

His laugh fans over your lips. He cups your cheek, your heart a hummingbird drilling at your ribs as Steve moves in to kiss you properly. Your lips part under the pressure, your head tilting a touch to one side to accommodate him as he searches down for you, melty hot pleasure and nerves that never seem to fade arising as his thumb moves up your cheek, a semi-circle of touch. It promises undulating care whenever you want it. 

You tip your head aside to catch your breath.

“Better late than never,” you joke. 

Steve talks into the soft skin beside your mouth. “You weren’t late, babe. I was early, and I didn’t mind waiting.” 

˚ʚ♡ɞ˚

thank u for reading!! pretty please like/reblog or comment if you enjoyed cos it means so much to me and inspires me to write even more!!! but either way i hope u enjoyed❤️❤️❤️

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[luna-azzurra]

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

[kisshim]

i’m telling you this country is heading in a downward spiral until we’re back in 1935