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msfcatlover · 8 hours

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I have been thinking so much about Jean-Paul Valley in my Reverse!Robins AU. Specifically, how he’d react to Steph’s return.

Because, listen: here is a man who had his autonomy stripped from him. Had his identity stripped from him. By the cult his father secretly raised him to serve, while letting Jean-Paul think he was having a normal childhood (and he did. That is one of the things I like about JPV as a character; in the original “Azrael: Fallen Angel” & “Knightfall” stories, he had a perfectly normal childhood… aside from the hypnotic brainwashing implanted while he slept.) This guy who was tricked into murdering several people, when he never, ever wanted that.

He gets saved by the Bats. And they help him. They really, genuinely help him, and sure, Duke & Damian are still teenagers (JPV’s like… 20-22 at this point in my mind,) but they’re also his anchors to reality. Damian, who also was raised to be a weapon by someone he should’ve been able to trust. Damian, who has experience with cults & rebuilding your identity after losing everything. Damian, who’s basically JPV’s “Brainwashed Cult Assassins Anonymous” sponsor. Duke, who also had a normal childhood. Duke, who knows Gotham like only a kid who was raised in its heart can. Duke, who agrees that this whole situation is certifiably fucked, but never hesitates to help Jean-Paul potentially recover a lost memory or find a new one, because it’s not just about who Jean-Paul was before the cult of St Dumas got their hands on him, it’s about remembering that he’s a living human being right now.

They take him in. They save him. They help him save himself. Bruce offers to pay for him to go back to college, for fuck’s sake!

They gave him his life back.

Jean-Paul can never, ever repay them. They tell him they don’t need it, but he wants to and he can’t. He feels so selfish to take & take without giving back, but how do you pay someone back for all that?

So his couch is always open to them, whenever they want. He’ll be their ally, their friend, their confessor, their confidant, their homework editor if need be. And when newer batkids join, well, Jean-Paul would’ve done his best anyway, but the fact he’s entrusted with Duke & Damian’s apprentices is just. It’s something else. And it’s hardly a hardship—the kids are a delight. Obnoxious, sure, and messy, and pushy, and constantly interrupting, and sometimes they break his stuff, and always they eat all his food, but Jean-Paul has more civilian friends now, and they tell him that’s just what kids are like.

What matters is that he loves them. He loves them because Duke & Damian love them, and then he loves them for being them.

And then. Stephanie. Dies. (Because Jean-Paul is broken, he’s a sinner, he can never make up for what he’s done, what he is, and he can never have nice things. Because Steph was sunshine & rage & stubbornness, because she joked that “We blondes have to stick together!” Because no one was there for her when it mattered most. This has to be punishment, right? He got too close, and Steph paid the price.) (His therapist says he’s being irrational again, but it doesn’t feel irrational. They say they need to adjust his medications. Jean-Paul knows better than to trust himself, but he can trust in Bruce to make sure the therapist is safe, so Jean-Paul doesn’t fight it. He’s not happy, but he doesn’t fight it. Because if he starts hallucinating again, he knows it won’t just be his father hovering over him, demanding to know why Azrael refused to avenge them. So yeah, sure, adjust the meds if you think it’s needed—he doesn’t miss Steph that badly. Yet.)

And then. Steph. Comes. Back.

She’s not dead. She’s not dead, but she’s different, she’s so very, very different. Damian says she fights like she spent time with the LoA, that same cult that raised Damian which he’s told Jean-Paul so much about over the years. Training like that takes time, but it’s been 6yrs, and she’s back, risen & gifted back to them! And she’s killing, but Jean-Paul’s killed before, and he’s been kidnapped by a cult before, and he thinks he knows how this goes. Death Mask isn’t Azrael, but he thinks it’s close enough.

And. And. And. He can save her. Because he knows what to do now, after nearly a decade in recovery. He can make up for his sins, he can bring her home again, and maybe, finally, he’ll have finally managed to pay them all back! He can give Steph her self back to make up for—(“You didn’t kill Stephanie,” his therapist reminds him, “you never laid a finger on her. Remember? You didn’t hurt her. It’s not your fault.” But it feels like it is, it feels like it, he can’t shake the idea that he did)—and he can give the Bats their sister back to make up for all that they’ve given him over all this time! A life for a life, and yes! This feels right!

He cooks up scenarios, imagines Steph reaching out in a moment of lucidity, or showing up injured on his doorstep guided by muscle memory, or running into her on the street or in a cafe and the look of alarm & recognition in her eyes as she—like he did, still does occasionally—knows that she knows him but can’t remember. He imagines the conversations they could have, all the different variations, and knows that it will take time, but patience is a virtue and Jean-Paul’s gotten rather good at it. He can be her anchor.

He just needs to figure out how to start.

(And meanwhile, Steph’s on the other side of Gotham like, “Why are my ears burning, and why do I feel like I’m staring down a tsunami-level wave of second-hand embarrassment right now?”)

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msfcatlover · 14 hours

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Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

#writing

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msfcatlover · 1 day

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circling back around to the issue of writers being expected to do all their own goddamn marketing via social media these days, because it completely nixes the possibility of writers being weird shut ins, off-putting eccentrics, or misanthropes. 80% of the literary canon was written by weird shut ins, off-putting eccentrics, and misanthropes. if you weed out everyone who’s the wrong kind of insane to maintain a twitter presence, who on earth is left

#writing #art #my life

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msfcatlover · 2 days

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Preindustrial travel, and long explanations on why different distances are like that

I saw a post on my main blog about how hiking groups need to keep pace with their slowest member, but many hikers mistakenly think that the point of hiking is "get from Point A to Point B as fast as possible" instead of "spending time outdoors in nature with friends," and then they complain that a new/less-experienced/sick/disabled hiker is spoiling their time-frame by constantly needing breaks, or huffing and puffing to catch up.

I run into a related question of "how long does it take to travel from Point A to Point B on horseback?" a lot, as a fantasy writer who wants to be SEMI-realistic; in the Western world at least, our post-industrial minds have largely forgotten what it's like to travel, both on our own feet and in groups.

People ask the new writer, "well, who in your cast is traveling? Is getting to Point B an emergency or not? What time of year is it?", and the newbies often get confused as to why they need so much information for "travel times." Maybe new writers see lists of "preindustrial travel times" like a primitive version of Google Maps, where all you need to do is plug in Point A and Point B.

But see, Google Maps DOES account for traveling delays, like different routes, constructions, accidents, and weather; you as the person will also need to figure in whether you're driving a car versus taking a bus/train, and so you'll need to figure out parking time or waiting time for the bus/train to actually GET THERE.

The difference between us and preindustrial travelers is that 1) we can outsource the calculations now, 2) we often travel for FUN instead of necessity.

The general rule of thumb for preindustrial times is that a healthy and prime-aged adult on foot, or a rider/horse pair of fit and prime-aged adults, can usually make 20-30 miles per day, in fair weather and on good terrain.

Why is this so specific? Because not everyone in preindustrial times was fit, not everyone was healthy, not everyone was between the ages of 20-35ish, and not everyone had nice clear skies and good terrain to travel on.

If you are too far below 18 years old or too far past 40, at best you will need either a slower pace or more frequent breaks to cover the same distance, and at worst you'll cut the travel distance in half to 10 or so miles. Too much walking is VERY BAD on too-young/old knees, and teenagers or very short adults may just have short legs even if they're fine with 8-10 hours of actual walking. Young children may get sick of walking and pitch a fit because THEY'RE TIREDDDDDDDDDD, and then you might need to stay put while they cry it out, or an adult may sigh and haul them over their shoulder (and therefore be weighed down by about 50lbs of Angry Child).

Heavy forests, wetlands and rocky hills/mountains are also going to be a much shorter "distance." For forests or wetlands, you have to account for a lot of villagers going "who's gonna cut down acres of trees for one road? NOT ME," or "who's gonna drain acres of swamp for one road? NOT ME." Mountainous regions have their traveling time eaten by going UP, or finding a safer path that goes AROUND.

If you are traveling in winter or during a rainstorm (and this inherently means you HAVE NO CHOICE, because nobody in preindustrial times would travel in bad weather if they could help it), you run the high risk of losing your way and then dying of exposure or slipping and breaking your neck, just a few miles out of the town/village.

And now for the upper range of "traveling on horseback!"

Fully mounted groups can usually make 30-40 miles per day between Point A and Point B, but I find there are two unspoken requirements: "Point B must have enough food for all those people and horses," and "the mounted party DOESN'T need to keep pace with foot soldiers, camp followers, or supply wagons."

This means your mounted party would be traveling to 1) a rendezvous point like an ally's camp or a noble's castle, or 2) a town/city with plenty of inns. Maybe they're not literally going 30-40 miles in one trip, but they're scouting the area for 15-20 miles and then returning to their main group. Perhaps they'd be going to an allied village, but even a relatively small group of 10-20 warhorses will need 10-20 pounds of grain EACH and 20-30 pounds of hay EACH. 100-400 pounds of grain and 200-600 pounds of hay for the horses alone means that you need to stash supplies at the village beforehand, or the village needs to be a very large/prosperous one to have a guaranteed large surplus of food.

A dead sprint of 50-60 miles per day is possible for a preindustrial mounted pair, IF YOU REALLY, REALLY HAVE TO. Moreover, that is for ONE day. Many articles agree that 40 miles per day is already a hard ride, so 50-60 miles is REALLY pushing the envelope on horse and rider limits.

NOTE: While modern-day endurance rides routinely go for 50-100 miles in one day, remember that a preindustrial rider will not have the medical/logistical support that a modern endurance rider and their horse does.

If you say "they went fifty miles in a day" in most preindustrial times, the horse and rider's bodies will get wrecked. Either the person, their horse, or both, risk dying of exhaustion or getting disabled from the strain.

Whether you and your horse are fit enough to handle it and "only" have several days of defenselessness from severe pain/fatigue (and thus rely on family/friends to help you out), or you die as a heroic sacrifice, or you aren't QUITE fit enough and become disabled, or you get flat-out saved by magic or another rider who volunteers to go the other half, going past 40 miles in a day is a "Gondor Calls For Aid" level of emergency.

As a writer, I feel this kind of feat should be placed VERY carefully in a story: Either at the beginning to kick the plot off, at the climax to turn the tide, or at the end.

Preindustrial people were people--some treated their horses as tools/vehicles, and didn't care if they were killed or disabled by pushing them to their limits, but others very much cared for their horses. They needed to keep them in working condition for about 15-20 years, and they would not dream of doing this without a VERY good reason.

#Writing #ref

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msfcatlover · 2 days

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Here's a potentially fun one:

#Footnotes & parenthetical tangents #my beloved #//#writing #my life #(can you tell I was raised on Pratchett novels?)

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msfcatlover · 2 days

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Forever torn between:

Short, clipped sentences appropriately convey the feeling of things happening very quickly.

Long sentences, which could be broken up but are allowed to bleed into eachother, can give the impression of information coming in such rapid succession that you barely have time to breathe—the actual end of the sentence, especially with a clearly indicated break, can feel like a gasp of relief. It's over.

(I naturally lean towards the latter, honestly. I can never tell which will work best for any given scene.)

#Maybe I read things outloud TOO often...#//#writing #my writing #writer #writer problems #writing problems #writeblr #writblr #my life #mine

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msfcatlover · 2 days

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Me, holding the entire 3rd chapter of my WIP in my hands, crying: I have all the pieces, why won’t they fit together?

#My life #writing #my writing #writing problems #writer problems #reverse!robins #//#Have Mercy 3rd chap has been kicking my ass for MONTHS #FIT DAMN YOU

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msfcatlover · 2 days

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writing is the most insane hobby it's like,

is it easy? no

is it fast? also no

but is it fun? well,

#writing #my life

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msfcatlover · 2 days

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The way fantasy writers talk about a thousand years as this uneventful amount of time is really funny to me because like—in less than 1000 years we went from the Norman Invasion of England to Skibidi Toilet.

#I am endlessly somewhere between anger & laughter at how many stories just. Do not grasp how long TIME is.#There is so much time. So much of it. You have no idea how long a thousand years is. You have no idea how long TEN thousand years is!#On the other hand #Trying to estimate appropriate time lengths based on generations and realizing #‘’Shit. I don’t think 5000yrs is enough for this to have passed into legend.’’#was one of the most frustrating worldbuilding experiences of my life #WHAT HAPPENS WHEN YOU HAVE MULTIPLE CULTURES WITH COMPLETELY DIFFERENT LIFESPANS?! WHAT DOES THAT /DO/ TO HISTORY?!?!?#//#tv tropes #writing #my life

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msfcatlover · 2 days

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#And then you go ''Oh shit. Guess I learned something about myself'' like... 2-8months later.#//#writing

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msfcatlover · 2 days

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my dad–also a writer–came to visit, and i mentioned that the best thing to come out of the layoff is that i’m writing again. he asked what i was writing about, and i said what i always do: “oh, just fanfic,” which is code for “let’s not look at this too deeply because i’m basically just making action figures kiss in text form” and “this awkward follow-up question is exactly why i don’t call myself a writer in public.”

he said, “you have to stop doing that.”

“i know, i know,” because it’s even more embarrassing to be embarrassed about writing fanfic, considering how many posts i’ve reblogged in its defense.

but i misunderstood his original question: “fanfic is just the genre. i asked what you’re writing about.”

i did the conversational equivalent of a spinning wheel cursor for at least a minute. i started peeling back the setting and the characters, the fic challenge and the specific episode the story jumps off from, and it was one of those slow-dawning light bulb moments. “i’m writing about loneliness, and who we are in the absence of purpose.”

as, i imagine, are a lot of people right now, who probably also don’t realize they’re writing an existential diary in the guise of getting television characters to fuck.

“that’s what you’re writing. the rest is just how you get there, and how you get it out into the world. was richard iii really about richard the third? would shakespeare have gotten as many people to see it if it wasn’t a story they knew?”

so, my friends: what are you writing about?

#The desperate desire for love & connection and how we are transformed by our experiences whether we like it or not #As always #//#writing

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msfcatlover · 2 days

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#my life #writing

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msfcatlover · 2 days

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weirdest part about being an artist (and, to an extent, a writer too) is feeling like. shameful that you aren't creating massive pieces of art. how dare i not line and color and shade every drawing. how dare i only draw two poses. how dare i only write 1k words. how dare i not write an entire book. how dare i

#my life #writing

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msfcatlover · 2 days

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