#writing devices

[hearsayhorizons]

Martha Wells is really brilliant in how her choices in world and characters serve her writing and vice versa.

You know how media often features "inevitable" romances that come off as forced and artificial because there just wasn't time for development of that relationship, but it's "expected"? (as least, expected by big companies that seem to function more on inertia than anything else...)

We know time is relative for constructs and bots (Murderbot processes things faster than us, and ART is such a magnitude more). They have literally spent more time together than they've spent together.

ART isn't fiercely protective and interested in MB's friendship and opinions "just" because--and MB isn't just heartless-broken and losing it when it thinks ART is lost forever "just" because--they're each other's first friends in anything close to the same arena, with a similar capability for understanding and empathy.

They've hung out effectively months or years, spending time together in the way that MB prefers (prefers to spend its time, the togetherness is new and weird), that it's never ever been able to share with anybody and probably won't again--at least, not in the same way.

So that's one thing, that Wells/MB tells us "different types of sapient experience time differently," outright and lets us extrapolate that further than just "more media."

Another show/tell bit I love is that the use of narrator and specifically its drones eases some of the discomfort I have with "how does x KNOW that so-and-so is upset (etc) and why that is?" From what I recall, MB is good about saying "seemed [emotion]" anyway, but even if it slips up and assumes things (and is sometimes proven wrong)...

It can be a feature of weak writing, with a semi-omniscient narrator who is just Frank the Human and not some empath...

Or you can make your protagonist a construct created and used by a faceless, "nameless" company and leashed to at-best-inattentive and at-worst actively malicious clients whose whim OR careless command could see it liquidated in its own armor.

Who watched faces through its interlinked drones not to prepare--not really--but to brace, probably even before the hack--and then after the hack who knows, it doesn't really have a survival instinct, just "protect," and "win," but... MB watched and listened closely before the media, and after the media, well, it has a basis for comparison.

People seem mad, or sad, or desperate, and I LOVE the drones because I have read narrators a dozen times who knew what face someone was copping despite actively looking in the other direction and you know with Murderbot that looking away isn't just possible, but nearly the rule.

The clarity with which MB exists as an unclear being in a bunch of artificial and psychological divisions makes the Murderbot Diaries such a soothing read for me. I love it.

[cussundria-nerd-kneal]

Okay, but I also love the idea of demons singling a person out? Like, its a 'duh, of course they would!' Moment, but I've never thought about the narrative implications or posibilities of having that be a PLOT device??

It's super juicy! A Despair demon targetting Rook (or even the Inquisitor) because they truly do not hold hope for what they are doing and are despairing at the potential fall out? A Rage demon coming after someone resentful of their situation and can't control their temper? Envy demons singling out a party member who has been struggling with the group lately?

What a great concept!

today i’m thinking about how the despair demons tend to single rook out and how the first time this is recognized is after the treviso/minrathous decision

like, listen. i know it’s probably just a game mechanic thing. but it’s interesting to me that every despair demon in the game does this—single rook out. and how you encounter a lot more despair demons the worse the situation gets. and every single time, without fail, rook is their primary target.

like. the potential juiciness of it all. rook who carries regrets and despair hidden behind a smile that no one can see behind until the regret prison. rook who has to keep up a brave face as the leader so that the team doesn’t collapse because someone has to make a decision.

the narrative juiciness of regret…despair…someone sedate me

[physalian]

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as “the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.

[imastoryteller]

20 Plot Twist Ideas That Will Shock Your Audience

One of the most effective tools in a storyteller's arsenal is the plot twist. A well-executed plot twist can leave your audience reeling, questioning everything they thought they knew about your story. It can turn a good story into a great one, leaving a lasting impact on your readers or viewers. In this post, we'll explore 20 plot twist ideas that will shock your audience and elevate your storytelling game to new heights.

1. The Unlikely Hero:

Turn the tables by revealing an unexpected character as the true hero. This can be someone seemingly insignificant or even an antagonist who redeems themselves at a crucial moment.

2. The Double Agent:

Introduce a character who initially appears loyal to the protagonist but is secretly working against them, only to later reveal their true intentions.

3. The Long-Lost Sibling:

Uncover a secret sibling, separated from the main character in their early years, and use their sudden appearance to shift the narrative.

4. Time Travel Paradox:

Play with time travel to create a paradox that forces the characters to confront alternate timelines or unforeseen consequences of their actions.

5. The Mastermind:

The story's villain is revealed to be a puppet in a larger scheme, controlled by a mastermind who has been operating behind the scenes.

6. The Supernatural Twist:

Introduce a supernatural element, like ghosts or mythical creatures, that the characters and audience believed were mere myths.

7. The Doppelgänger:

A character's doppelgänger appears, causing confusion and chaos as they try to determine who is the real one.

8. The Reversal of Roles:

Switch the roles of the protagonist and antagonist halfway through the story, making the audience question their allegiances.

9. The Untouchable Hero:

Create a seemingly invincible hero who unexpectedly meets their match, forcing them to reevaluate their abilities and tactics.

10. The Forgotten Past:

Unearth a character's forgotten or repressed memories, leading to a shocking revelation about their true identity or past actions.

11. The Betrayal Within:

One of the protagonist's closest allies betrays them, throwing their entire mission into disarray.

12. The Hidden Identity:

A character is not who they claim to be, and their true identity is revealed, impacting the story's direction.

13. The Inception Twist:

Blur the lines between reality and illusion, leaving the audience guessing what's real and what's a dream or illusion.

14. The Time Loop:

Trap your characters in a time loop where they're forced to relive the same events repeatedly until they can break free.

15. The Shapeshifter:

Introduce a character with the ability to change their appearance, creating doubt and suspicion within the group.

16. The Truth About the Mentor:

The mentor figure, who initially seems wise and benevolent, is unveiled as the story's true antagonist.

17. The Lost Artifact:

The much sought-after artifact or treasure turns out to be a fake, and the real item is something entirely unexpected.

18. The Pseudo-Death:

Fake a character's death to shock the audience and later reveal they were alive all along.

19. The Prophecy Reversed:

Subvert the traditional hero's journey by defying a prophesized destiny and taking the story in a different direction.

20. The Unreliable Narrator:

Reveal that the narrator has been lying or misrepresenting events, casting doubt on the entire story's accuracy.

Conclusion:

These 20 plot twist ideas are just the beginning, and by incorporating them into your narratives, you can leave your audience stunned, shocked, and eager for more. Remember that the key to a successful plot twist lies in its execution, so take your time and craft a twist that seamlessly integrates into your story, making it an unforgettable experience for your readers or viewers.

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[lordtardigrade]

I love the idea of John hearing that you want a divorce and just deciding you're clearly not in your right mind and can't be trusted to make decisions for yourself anymore.

When you try to leave him, it’s during a big argument…. A big argument. Things were getting heated, the argument reaching its peak and turning into a screaming match that ended up with the police being called.

He’d seen a chance, and he’d taken it.

He could almost convince himself that what he’d done had been out of genuine concern for you… He knew better, but he couldn’t admit it, not when he’d then proceeded to do far worse with even less justification.

Oh, how you’d glared when he told the officer that he was worried about you- that your behavior was “irrational”.

And it was… at least in his mind. He just didn’t mention specifics, lest the good officers definition of irrationality differ from his own.

Just like how when he’d told the officer about your self harm and suicidal thoughts, he didn’t mention how long ago that had been, nor did he mention the treatment you’d received since then.

And that’s really all it took. From the moment the officer gave John that sympathetic glance, he’d known he’d won. When the man takes John to the side, quietly asking him if he thought you needed to be brought to a facility, John turned, giving you an apologetic look as you glared at him, fists clenched in anger as you silently fumed.

“Yes… I think that would be for the best.” He says softly, faking guilt and internal conflict over the decision.

Seeing the betrayal and confusion in your eyes had almost made him regret it.

Almost.

But he knew this was for the best. You weren’t in your right mind- how else could you say you wanted to leave him?

And the more he repeated those words, the more he came to believe them.

Of course, the involuntary hold would only last 72 hours, and John knew you’d be livid once you got out. He had to make sure he was ready for you to come home. All it had really given him was time.

The emergency conservatorship is surprisingly easy to acquire. Your admittance to the mental hospital combined with you not being able to appear in court and defend yourself made it a relatively easy win.

Getting a proper conservatorship set up would be a bit more difficult of a process, but John had already contacted Nikolai and asked him for assistance with finding a doctor willing to… fudge the truth a bit for the papers. The man’s contacts would also come in hand when it came to getting his hands on some of the medications he’d be keeping on hand until you settled down a bit… just for when you got yourself a bit too worked up.

It’s a rough couple months, because christ- you’re beyond livid with him. Once you finally wear yourself out with all your crying and screaming, John’s left with a sobbing wife who looks up at him with her eyes heart broken from betrayal.

It breaks his heart when you look at him like that, but he has to remind himself, this is all for your sake. You’ll understand that one day.

John takes to his new task of caring for his wife with a steady but firm hand, allowing you to pout and mope for a few weeks as you adjust to what is- admittedly- a big change. It’s only when you turn that anger towards him or bring up wanting to leave that he has to correct you.

When he hands you a cup of water and a little blue pill, you know he’s not asking.

The Midazolam usually does the trick, but occasionally John has to be a bit harsher in his corrections.

He has faith you’ll come around. He doesn’t even hold your behavior against you, his poor wife is dealing with a lot, and if stepping up to take care of you is what he needs to do to keep you with him safe, then that’s what he’ll do.

And when you do finally accept your new life? He couldn’t be happier. He’s so glad you were finally able to move past what he’d done- what had to be done to protect you.

[metalandmagi]

You will never convince me that these three things wouldn't be better as animated series.

[aealzx]

(This one is pretty long info dumping. Warning: mention of mild gore)

_______________________

Prologue

Previous Next

_______________________

With the state of the one named Danny, the safehouse Barbara directed the group to was one that was a little more well stocked than the others. It was only because of Jazz that they were able to reach it, being the one to accept all of them being blindfolded after Jason had suggested they could hold each other’s hands the whole time and let the rest of his team put the blindfolds on. It made walking a little awkward with Jazz firmly hanging onto her unconscious brother’s hand, but it was an annoyance Jason was willing to accept for the comfort it gave them. It was only when they were in a room without windows that they took the blindfolds off, and pulled chairs over for the kids to sit on.

“Don’t touch me,” Sam hissed when Cass took her arm to start cleaning a cut she had, snatching her limb back and glaring.

“If it gets infected and you get sick then you’ll have one more of your team in need of care. That seems detrimental to your state of affairs,” Damian commented after catching sight of Cass’ sad expression.

“Robin,” Tim hissed, not wanting to stress this group of teenagers out more than they already were.

“He’s not wrong,” Jason interjected, keeping a hold of Danny not only because there was only one table open that he’d directed Stephanie to set Danielle on, but also because he knew the others would behave better with their seriously injured friend in obvious custody. “You guys should take care of yourselves too, otherwise no one will be left to look out for him.”

It was effective. Sam flinched before lowering her head and hunching her shoulders like a scolded puppy, then offered her arm back to Cass.

“Dude,” Tucker protested weakly, but didn’t say anything else and aso looked to Tim to accept his own check up. He had to wait for Tim to stop facepalming first though, a heaved sign from him before he decided not to further comment on his two brothers’ unnecessarily blunt comments.

“Are you feeling a little better sweetie? Sorry we roughed you up so much, but you were quite the fighter and it was hard to deal with you,” Stephanie decided to also ignore her brothers, resting Danielle on the table while Dick was clearing the other.

At first Danielle was about to be snarky about whose fault it was that she wasn’t feeling okay, but Stephanie’s expert inclusion about her fighting ability effectively changed her thought process. “Heheeh. And don’t you forget it,” Danielle chimed with a proud giggle. “I’m feeling much better now. Thanks for carrying me all the way.”

“No problem! Thanks for listening to your sister and not fighting us again,” Stephanie returned. “Jazz said you’re different from the others. Do you need anything? It doesn’t look like you’re injured anymore.”

“I heal fast, so I’m okay. But do you have any food? We haven’t really gotten much lately,” Danielle asked shamelessly. She didn’t need any bandaids or antiseptic like the others, but fights had still taken a lot of energy on top of being short supply of food for the past few months. If they were willing to finally give her a good meal then she was going to take advantage of it.

“Sure thing,” Stephanie giggled, appreciating the honesty. “I’ll be right back,” she bid, leaving Danielle on the table and heading to another room where they kept food supplies.

Letting Stephanie pass by them, Jason shifted towards the remaining table where Dick was finishing clearing the surface of spare parts and supplies. “Get two blankets, he’s cold as ice,” Jason directed Dick, the concern in his voice being the only hit to his hidden expression.

“...Still breathing?” Dick asked after obediently pulling a thick blanket from a nearby cupboard and spreading it on the table first. They were both keeping their voices on the quieter side, letting Stephanie and Tim take care of keeping the other three occupied. Jazz was the only one staying near them, having not let go of Danny’s hand just yet.

“Yeah, it’s weak though,” Jason confirmed, carefully setting Danny down and helping Dick spread the second blanket over him. “How long has he been like this?”

That question was directed to Jazz, who pursed her lips both in reluctance to answer and to fight back more tears. “Since we got here. He collapsed and hasn’t woken up since,” she admitted, almost a whisper.

“What?” Dick smothered his outburst so the others didn’t notice, but couldn’t keep it quiet completely. “He’s been comatose for months without life support?”

Jazz flinched and shrank back slightly at the outburst, but Jason rested a hand on her shoulder to keep her from fleeing. They needed her to talk if they wanted to be able to help them. “He’s not a regular human, remember?” he reminded Dick, speaking up to try and help Jazz feel a little less interrogated.

Jazz didn’t offer any further information, just pulled her gaze back to look up at Dick, lip wavering despite her trying to keep a defiant expression. She wasn’t looking for pity, but she wasn’t good enough at pretending to be a tough girl that Dick didn’t notice her distress. “Sorry. I didn’t mean to... I know you were doing your best,” he apologized, pulling back a little as well.

“Dr. Thompkins has reached you guys. Penny-one opted to call her after hearing Danny's initial condition,” Barbara’s report came over all of their comms, able to keep tabs on everyone through secure video feeds of the inside and outside of the safehouse. And as each of her team members got DNA samples from their captive rescuees she was also starting an identity analysis for each of them in the background.

“Robin?”

That was all Dick had to say, calling to the youngest who was leaning against the frame of the only door. Damian simply raised his hand in a brief acknowledging wave before he left to let Leslie inside. As he left Stephanie returned a moment after, a plate of warmed up frozen burritos in her hands and a bag of bottled water over her shoulder. The bag caught Jason’s eye, and he moved over momentarily to grab one of the bottles and bring it to Jazz.

“Our medical contact has arrived. We’ll have her look at your brother first. Just make sure you stay hydrated,” he commented, handing her the bottle and letting her open it so she could see it was still sealed and therefore wasn’t contaminated. If that was even a concern that crossed her mind. It was starting to quickly seem like these kids weren’t criminals at all, and many of them were starting to have a hard time treating them as such.

“...Thanks,” Jazz responded, taking a moment to be willing to let go of Danny to open the bottle. It was much needed, and she ended up drinking half of it before lowering it again.

Jason watched her for a moment, noting how tense she was and her reluctance to speak with them. He couldn’t blame her for being secretive, having no idea what had driven them to where they had been. But he couldn’t help notice it was strange they were all still distrusting of the group they were with. Didn’t they know Batman’s group of birds were a trustworthy lot? Were they still hiding something illegal? Or maybe… they simply didn’t recognize them. Where were these kids from? “Before the Doctor gets here, I just want to strongly recommend that you don’t keep anything from her, alright? I know it’s scary to reveal things about your brother to a stranger, but the more she knows the better she can help. Got it?”

Jazz looked up at him at the half request half demand, eyes trying to see him beyond the mask as she considered his words. She hadn’t thought about that yet, being so used to keeping everything about what Danny was a secret from everyone. But what Jason said made sense, and she wasn’t going to risk Danny not getting better just to stay paranoid. Two months was a long time for them to have tried to figure things out for themselves, only to have every attempt fail. But if there was one thing they’d all learned in the past months, it seemed ghosts were practically nonexistent in Gotham. So perhaps there was much less risk than back home. “...Okay,” Jazz agreed, giving a small nod.

“This way Doctor. The young meta is over there,” Damian was quick to return, refraining from entering the room for a moment in favor of allowing Leslie to get by, but still gesturing his open palm towards the group of four to the right side of the room from the entrance.

“Thank you, Robin,” Leslie responded, stepping into the room and heading over to them. She didn’t sound too happy to be there. But considering the circumstances it was hard to be joyful about it. She did end up pausing when she laid eyes on Danny though, momentarily taken aback. “If I didn’t know any better I’d be questioning your ability to tell when someone was still alive,” she commented, looking at Dick and Jason for a moment before setting her medical case on the edge of the table with a small sigh. “Let’s take a look. What kind of injury is under the wrappings, dear?”

Her voice had softened, being able to recognize each of the kids who were there from the rundown Barbara had given her on the way there. As she gathered her tools Jazz watched her, hesitantly nudging herself to respond honestly. “...Burns,” she said quietly, willing herself to move as she saw Leslie pull out some scissors to cut the bandages with. “From here to here,” Jazz added, rising from the stool to gesture the entirety of Danny’s left side of his torso, and onto his shoulder somewhat.

“Thank you, dear,” Leslie hummed, slipping the scissors under the bandages on the opposite side to make sure she didn’t aggravate any of the injuries. It only took a moment to cut through the stolen wrappings, and then she was very gingerly peeling them away.

Jazz still felt nauseous whenever she saw the blaster inflicted burns marring a good portion of her little brother’s body, and was glad she was already sitting. Leslie didn’t seem too phased though, simply humming once the wounds were revealed even as Dick and Jason made tense noises. “Hmm. Those are definitely third degree,” Leslie commented, slowly cutting away the rest of the bandages around Danny’s shoulder. But then she noticed something unusual that caused her to look closer. The tissue that wasn’t destroyed appeared irritated, as if exposed to an allergen or poison. “What caused them?” she asked, looking closely.

“...A shot from a Blood blossom blaster,” Jazz almost whispered, clenching her hand as the memory of her brother screaming when the red tinted blast had caught him in the side made her feel even more sick. She wasn’t sure if that was worse than seeing him stand up afterwards with a gaping hole in his side dripping green blood. At least in his ghost form there hadn’t been much to see in terms of insides. But after having expended all his energy to take out the GIW’s machines he hadn’t had any left to heal, and the injuries had carried over his human half.

“Wait, you said third degree?” Sam suddenly spoke up, the whole room having stopped conversations when Leslie had come in. “You can’t see his ribs anymore?” she continued, standing up and intending to check for herself before Cass stepped in her way.

“Don’t interfere. You’ll get in the way,” Cass directed, holding her hands out to block Sam’s path and ignoring the glare directed at her.

Tucker made a gagging noise at the question, covering his mouth for a moment. “Dude, could you not remind me of that?”

So Sam wasn’t just being dramatic? Dick and his team ended up looking at Jazz when they heard her draw a breath of realization, turning from Sam back to check for herself. “Oh-... Oh thank goodness. You’re right,” she breathed, sagging to her knees and letting out a sob of relief. “We were right. He is still healing.”

It was a strange thing to hear, but for the first time since they’d caught them Sam actually gained a small smile. Danielle also ended up giving a short giggle too, kicking her legs once. “Told you,” she commented.

It was admittedly a very confusing conversation, but Dick had to just remind himself once again that Danny wasn’t completely human. Following Cass’ lead, Dick gently helped pull Jazz back to the stool she’d been on. “Let’s keep out of the Doctor’s way,” he suggested. 

“Can you guys explain a little more though?” Tim spoke up now, trying to piece together everything that had been hinted at. Apparently Danny had actually had fourth degree burns, but they had healed despite him not having proper medical care other than clean dressings, and having been asleep for months. “I’m having a difficult time understanding how he’s not…. in worse condition,” he added, catching himself from being too blunt like his siblings had been before.

“You mean how he’s not dead?” This time it was Danielle that was strangely blunt with a calmness that made the others think she didn’t fully understand what she was saying. “That’s easy. He and I are both halfas. It’s harder to kill someone who’s already half dead.”

Tim’s brow twitched, and Jason didn’t miss the few glances taken at him. He doubted they were the same as him, considering he unfortunately couldn’t phase through solid objects or fly like they had seen Danielle do many times already.

“Halfas?” Stephanie repeated, pulling her gaze from Jason and looking back to Danielle.

“It’s short for half human half ghost,” Sam answered, as though it was an obvious connection to make.

“Yup. See,” Danielle confirmed, pushing off the table midmorph and floating in the air instead of landing on the floor as her now stark white hair wisped gently in a soft wind unfelt by anyone else. It didn’t look like much of a change other than she had different hair and eye colors now. But it definitely felt different. That eerie skin crawling sensation that people usually associated with ghosts that almost never actually existed.

‘...Huh, I guess it’s kind of like Captain Marvel, but with their ghost half as the other side,’ Tim thought after a moment of consideration after watching Danielle. “And being halfas give you guys accelerated healing, but… Danny’s is… hindered?” he asked next, clarifying that they were on the same page.

The nod from Danielle turned into a grimace, and she floated back to sit on the table once more. “Something like that. We have to have enough energy for it to work, and he used up a lot. This place kinda sucks too. There’s no natural portals to the Ghost Zone, and no ecto hot spots that we can gather energy from either.”

“The closest supplement we could find that we thought would work was the Lazarus water. But after getting a hold of some we decided we shouldn’t risk using it,” Jazz added, feeling the despair starting to sink into her shoulders again.

“Yeah, that stuff is freaky bad. I only took a little bit and it was horrible,” Danielle agreed, shuddering and wrapping her arms around her knees.

The others weren’t sure how to answer that fully, most of them being lost in thought about the unfamiliar data they’d been given. Eventually Jason shifted with a short comment. “We’re not too fond of the stuff either,” he huffed, then switched his gaze back to Leslie.  “Have you finished looking him over?”

While they had been discussing half ghosts Leslie had continued her exam and treatment of Danny, having cleansed the obvious injuries, rebandaged them with Dick’s help, and added a simple saline IV, oxygen mask, and heart monitor. When Jason addressed her she was making notes about her results. “Mm. Aside from the burns it looks like he’s been exposed to an allergen or toxin as well,” she began, turning to face them.

“That’s the blood blossoms. They’re poison to ghosts,” Jazz supplied quickly, then looked apologetic for interrupting.

Leslie didn’t seem to mind though, just nodding and continuing her report. “There’s also the expected signs of malnutrition. If the human half still needs regular human nutrients then Vitamin IV therapy would be of benefit. The strange part is it looks like all of his bodily functions are significantly slowed, similar to that of cryogenic stasis. That could explain why he’s still alive after so long.”

“That also explains why he feels like an ice cube,” Jason noted, “Could you tell what’s causing it?”

“It seems to be self generated. I imagine this ‘meta’ potentially has ice related abilities,” Leslie answered. None of the teens said anything, but their tight lipped reactions and expressions of sudden understanding were enough to confirm Leslie’s guess.

“Do you have the details of the Vitamin IV needed? We can get that brought here,” Dick requested, moving closer to Leslie to look over her shoulder at the notes she’d taken. Leslie just shifted the tablet slightly, letting Dick get a good look since it seemed he was trying to formulate the next steps of action.

“Alright, it looks like everyone is stable for now. We’ll keep two people here at a time to keep an eye on everyone, and make sure people get fed and taken care of. Unfortunately none of you are allowed near any of our technology still, so we can see about bringing you some books or something to keep from being bored,” Dick started to plan out, giving a sympathetic shake of his head when Sam and Tucker groaned about not being let near technology. Jazz felt like it was fair enough, she wouldn't trust them either and at least they were going to make sure they had food and water. Plus they seemed to be pretty serious about taking care of Danny. Even after learning about the unique difficulties in his condition they hadn’t abandoned them yet. “The rest of us will work on getting the rest of what Danny needs, that we know of so far. Something to neutralize the blood blossom residue, IV vitamins, and ectoplasm. Does anyone else have any unique needs?”

At that point Sam raised her hand, letting Dick gesture to her before speaking up. “Vegetarian,” she said simply.

“Not a problem. I’ll make sure everyone in charge of food knows.” Dick nodded, noticing how Damian very subtly gained a smile about that. “Do any of you have a picture, or description of the blood blossom plants? It doesn’t sound like anything I’m familiar with.”

“The only ones we’ve seen look like rosebuds, red with black leaves and stems,” Sam spoke again, seeming to be more favorable to them now. The same care for Danny that was winning Jazz over was winning the rest of the team as well.

“Got it,” Dick nodded, gaining a pleased smile when Leslie also passed over a sample of the blood blossom affected tissue that she had taken from Danny before covering the wounds again. A tiny sample encased in glass, but it should be more than enough for them to figure out how to neutralize the remainder of the toxin without hurting the lad further. “Orphan, Spoiler, are you okay with taking the first shift?”

“Sure thing,” Stephanie agreed, giving a thumbs up along with Cass.

“I’ll stick around too for now,” Jason added, for no other reason that he felt like he should stay there for a while. At least until they knew for sure who these Phantom kids were.

Dick seemed surprised, but didn’t argue. “Fine. Keep in touch, we’ll let you know as soon as we find anything,” he nodded, motioning for those who weren’t staying to head out. He knew Leslie would stay to double check their work on the other kids, so it ended up being just him, Tim, and Damian filtering out the door.

_______________

I actually had this one all typed out before I even started the prologue one. So I just had to draw something today to get it all up.

Drawing this I looked up canon heights for the first time and found out that Danny is a tiny lil nugget, and that's adorable X'D

I also complained to Na about "having to draw Jason's stupid helmet instead of his pretty face" and she gave me the suggestion of having his face on the side.

_________________

Tag list: @galaxy-sharks-and-bottled-ships, @starscreamlover, @nerdynonnativenarnian, @dragongoblet, @zeestarfishalien, @bellathecatastrophe, @cj-ghostemoji-destielpie, @asexual-insomniac, @wolfeyedwitch, @tkiesai

[gothamite-rambler]

Jim: You know Bruce—

Batman: I am in my costume right now; call me by my hero name and stop smoking.

Batman swiped away the cigarette and tossed it on the ground.

Jim (pulling out another cigarette): Batman, you’ve had five Robins. I have no idea why the girl was the shortest; I liked her. But I'm curious, which one of them is your favorite?

Batman: I should be angry at that question, but none of them are here. Okay, I have a list and I rank them by skill set.

Jim: Explain.

Batman: The smartest Robin would be Red Robin. The best fighter? That’s the second Robin.

Jim: Really? I thought you would say the first one.

Batman: No, no. Nightwing became a good fighter eventually, mostly when he started his own hero stuff. He’s better at manipulation and flexibility.

Nightwing (on the comms): I freaking called it!

Batman groaned, slapping a hand over his eyes. Jim chuckled.

Jim: Your earpiece thing was accidentally on?

Batman: Mm-hm.

Red Hood (on the comms): I was your best fighter? Aww, I told you that my fighting style was necessary. I'm going to give you an actually good gift for Christmas this year.

Red Robin: I'm the smart one; I'll take it.

Robin: I didn’t get mentioned at all!

Jim: They’re arguing over each other?

Batman: Yep. Can I call it a night and just get coffee with you?

Jim (shrugging): Yeah, sure.

[deception-united]

Let's talk about killing off characters.

Killing off characters is a dramatic device often used to advance the plot, create tension, or evoke emotional responses from readers or viewers. We love doing it. The initial shock, the mourning after. The effects of it on the other characters. It's fun.

Nevertheless, you can still achieve the desired impact on your plot and characters without necessarily resorting to fictional murder.

Here are some alternatives to drive the plot forward:

Character transformation: Instead of killing off a character, you can have them undergo significant personal growth or change. This could involve overcoming challenges, facing moral dilemmas, or undergoing a shift in beliefs or values. Their transformation can still drive the plot forward and impact other characters. (I especially love it when the transformation is negative—like when a traumatic experience of some sort completely strips a character of their soul. But that's a sentiment for another day.)

Betrayal or conflict: Introduce betrayal or conflict between characters that challenges relationships and creates tension. This can lead to significant plot developments and character arcs without resorting to death. And it can be cause for quite a lot of angst.

Separation or estrangement: Have characters physically or emotionally separated from each other, causing tension and driving the plot forward as they strive to reconnect or deal with the consequences of their estrangement.

Sacrifice without death: Characters can make significant sacrifices that don't necessarily involve their death. This could be sacrificing personal goals, relationships, or values for the greater good or to achieve a specific objective.

Injury or disability: Instead of killing off a character, you can incapacitate them through injury or disability. This will create challenges for the character and those around them, leading to character development and plot progression as they're forced to adapt to their new circumstances.

Redemption arcs: Characters who have committed wrongdoings can undergo redemption arcs where they seek forgiveness, make amends, or strive to become better individuals. This can drive the plot forward while also adding depth to the character. Keep in mind that this may not be a suitable alternative to death for some characters—for instance, the protagonist forgiving their abusive parent despite all they were forced to go through may evoke a sense of indignation rather than admiration for their supposed selflessness.

Revelations or secrets: Introduce revelations or uncover secrets that have significant impacts on characters and their relationships. This can lead to conflict, tension, and plot twists without the need for death.

Forced alliances or unexpected partnerships: Characters can be forced into alliances or partnerships with unlikely allies, leading to interesting dynamics and plot developments as they navigate these new relationships.

Loss of power or status: Characters can experience a loss of power, status, or reputation, which can drive the plot forward as they strive to regain what they've lost, seek revenge on those responsible, or adapt to their new circumstances.

Time constraints or pressure: Introduce time constraints or pressure situations that force characters to act quickly and make difficult, split-second decisions that may end up being quite regrettable later on. This can raise conflicts of who's to blame, or what should have been done.

I feel like I strayed off a little, but there you have it. Hope this was helpful! ❤

Previous | Next

[breadandblankets]

"Bruce Thomas Wayne!" the roar of a cycle cuts off abruptly and the yell rings through the cavern of the batcave.

Batman, suited up for the night, freezes stock still where he was reviewing some notes.

He turns, slowly, to greet his mentee.

"Hello Duke," he says as the Signal stalks forward.

"Fucking tell me when you put something new in my kit." Duke looks angry, an uncommon sight all things considered, especially pointed at Bruce. It happens, every now and then of course, they're all human.

Bruce wracks his brain for what of the changes to Duke's kit he could be referring to and coming up blank. No matter.

"I did," he states.

"Nuh uh," Duke shakes his head. "We ain't doing this,"

"I don't know what 'this' is."

"Yes you do, you do it to all of us," Duke crosses his arms over his chest with a very pointed look. It's the look Duke usually gives him when Duke thinks Bruce is a moron. "Now admit you were wrong."

"I-"

"Ah! Head like a steel trap fucker," Duke says, tapping his temple. "I know my rights."

Bruce sighs, while he's pretty sure he did tell Duke, there was still every possibility he didn't. And knowing Duke, the kid was probably right. The intensity of this conversation however, speaks of a story, and probably an incident.

"What's the damage?"

"Wayne Tech data center #2"

"Oh," that will be a fun report to read. "Good."

"Yeah, good, now only you get to pay for your dumbassery."

Bruce nods in agreement.

"Noted."

"Scared the shit outta me man," Duke tosses his hands in the air. "Tell me! Next time!"

Ah, there's the real issue. Bruce nods again, making a mental note to send all of the recent changes to Duke after this conversation.

"Will do."

Duke gives him another look, and sighs a little under his breath.

"Finish the sentence," Duke says. "I'm not your mama."

"No," Bruce replies, with a hit of amusement. "I imagine not."

"Funny, now..." Duke waves his hand in Bruce's general direction, as if to prompt him to say his lines over.

"I'm sorry Duke."

"Good," Duke claps his hands together and smiles widely at him. "Have a nice night!"

Duke's a good kid, will be an even better man. Even when they're yelling at each other, Bruce can never be any less than immensely proud of him.

He can't wait to see who he will become.

"You too," he says. Then, because he remembers that Duke's probably hungry after patrol: "There's leftover enchiladas in the fridge."

"Fuck yeah!" Duke punches a hand in the air.

There's a lull in sound in the cave for a moment before Bruce hears talking from a little bit away.

"Oh hey Jason," that's Duke still, probably putting away his gear in his batcave locker.

"What the fuck did you do?" Jason replies in a furtive whisper-yell, still more than audible to Bruce.

"Going to have to give me more than that."

"B just apologized, B never apologizes." Ouch, Bruce thinks. He's not that bad is he?

Is he?

"Who are you?" Jason continues.

"Skill issue," and Bruce can hear the smirk in Duke's voice.

"No, wait, get back here!"

[disgracefulthings]

Dumb fucking SVSSS AU where due to some plot device, Shen Qingqiu and Shang Qinghua become pregnant... with each other's child

And then they have to try to explain the situation to their husbands and the sect

[mythalism]

having thoughts about the veil and people's bad faith interpretations about the desire to see it brought down as some sort of misled leftist bloodthirst for violent revolution instead of fulfillment of the fundamental role of trickster gods in mythology and storytelling and how there seems to be, in both fans and the developers, a misunderstanding or perhaps just a disagreement of how solas was supposed to function within the narrative as a force of nature vs. as a person. my adderall just kicked in

[physalian]

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

[forgotten-daydreamer]

I don't understand why people who hate WFA have to be annoying about it every single week. Like, okay, you don't like it, it's absolutely fair, to each their own, but stop fucking hateposting already

[novlr]

[budd-ie]

I like to imagine Xie Lian checking in on heaven every once in a while for business or something and now that heaven barely has a central government and people are more relaxed without any one scary force up their asses all the time he sometimes comes back to some pretty weird stuff. After all, every god is a nosy drama queen and everything has the potential for a competition. Imagine if one day some smaller martial gods got bored and started an arm wrestling contest and whoever won started bragging about it which caused some other martial gods to want a piece of the action. Because every martial god is overly competitive by nature, this eventually gets weirdly out of hand and now the top martial gods are having the most legendary arm wrestling tournament in history. Xie Lian walks in in the middle of it, bewildered; “Oh, no thank you, I couldn’t possibly, I should be quick, San lang is waiting for me—“ he answers but a simple “come on, your highness!” and a recap of the latest events is all it takes to convince a top martial god to give it a shot.

Across the room, Feng Xin just obliterated another round and is on a crazy hot streak. His spirits are high and he’s ready for his next victim as he looks across the table, and the opponent in his view is none other than Xie Lian.

A cold sweat runs down his back.

Of course it ends with Xie Lian vs Pei Ming, the grandest showdown they’ve seen in a great while, and Xie Lian going home that night to that San Lang of his with another weird heavenly trophy to put in the display case they had to make for all these weird prizes he keeps bringing home from work. Who knew gods really are more idle than ghost kings!