Bluslvrlion - Boo

Metropolis, on average, is likely to have much higher than average rent than Gotham. Reporters, non tv ones esp., don’t get paid that much these days with the gradual decline of print media. Probably lower than average for someone aiming to keep a low profile.

My point is, that rent in metropolis sucks ass and Clark just starting at the daily planet and running off to be superman all the time, is just. having an awful fucking time, because to be superman he can’t have roommates. He probably ends up doing some part time jobs with odd hours to keep his secret.

And most people also don’t know that superman HAS a secret identity in the early days and think he just. full time lives at the north pole.

So when the jla starts, no one KNOWS he has secret identity and Clark isn’t particularly keen on exposing it so he just. keeps coming up with bullshit ass excuses why he is randomly offline sometimes.

FLASH : Hey supes, why weren’t you at the meeting yesterday-

GREEN LANTERN : Got a hot date?

CLARK : I was, uh. Preparing for my hibernation.

 AQUAMAN : Your fucking WHAT

MARTIAN MANHUNTER, FULLY AWARE THAT CLARK IS MAKING BULLSHIT UP : Many species do such things-

FLASH : Alien species??

WONDER WOMAN, ASLO AWARE THAT HE’S LYING : Flash, Kal is also an alien, no matter how similar to humans he may look.

WONDER WOMAN : Kal, If there is anything we can do to assist-

CLARK : No, No, No it’s, it’s fine, it’s not a big deal-

BATMAN, AWARE OF HIS SECRET IDENTITY : It IS a big deal, superman. If one of our strongest is to be out of commission for an extended period of time-

CLARK : Oh, I won’t- We, we do it in shifts.

WONDER WOMAN : Is that so, Kal?

CLARK : Yeah, h. haha. 

Smash cut to a few years later-

KARA : YOU TOLD THEM WE DO WHAT

CLARK : I PANICKED OK?

Diana and Bruce never let him live this down btw.

I see a lot of new writers struggling with pacing dialogue so here's some tips. First off, unlearn your distaste for "said." If you need to quickly remind readers who is speaking without distracting them, put "said."

Second, if the dialogue is meant to be happening rapidly, cut tags out for several lines. Example:

"Give me the map."

"What map?"

"Don't play dumb with me. Hand it over."

"Not until you give me the keys."

"What keys?"

See how quickly this moves? Every beat is another piece of dialogue, feeding the exchange back and forth. We can slow this down by adding tags that carry some description. This makes the reader spend longer on the passage. Example:

"Give me the map," she demanded, holding out her hand.

"What map?" he asked, face a picture of perfect innocence.

"Don't play dumb with me," she said.

See how much slower this exchange feels now? We didn't add any new information and yet the beats have totally changed. Think of description as something that adds time. To demonstrate, consider this example:

"Don't play dumb with me. Hand it over."

He didn't answer right away. "Not until you give me the keys," he said finally.

How do we make the reader pause in a more natural and effective way? By adding description and tags. Example:

"Don't play dumb with me," she spat, voice dripping venom. "Hand it over."

He stared at her outstretched hand, palm empty. Somewhere in the distance, a coyote howled.

"Not until you give me the keys," he said with a sigh.

See? Without using a single time indicator, we showed a pause, by slowing down the reader and filling those beats with description. Remember that people visualize at the same speed they read. If you need to slow them down, make them read more words. For faster, more intense exchanges, skip all but necessary clarifying tags, as in the very first example.

Lastly, consider the rhythm of your passage. See this example:

"Give me the map," she spat, hand outstretched.

"What map?" he asked, shrugging.

"Don't play dumb with me," she said, narrowing her eyes.

This is repetitive. Avoid using the same pattern of tags and description two or more times in a row. You can fix this by reworking your passage to include more or different descriptions, but for a quick fix, try changing the tags into stand alone sentences and/or moving them before the dialogue. To fix the passage above, we might try this:

"Give me the map," she spat, hand outstretched.

He shrugged. "What map?"

"Don't play dumb with me," she said. Her eyes narrowed.

See how much more natural that is? And we changed nothing but the order and punctuation. Removing the repetition helps you avoid pulling the reader out of the story by reminding them that they're reading. A good dialogue passage should be remembered in your reader's minds as a movie scene.

The thing about Enid is, I went into this show expecting her to be on the level of obnoxiously cheery as the campers in Addams Family Values, and the same level of overbearing and bitchy. But in her very first scene, she proves to be more than just a comedic foil by backing off when she sees Wednesday recoiling from her offered hug. She recognizes that Wednesday isn’t comfortable with being hugged by her, and she immediately respects that.

Then she continues to be a likable contrast to Wednesday, making her disgust/disapproval for several of Wednesday’s antics known, but keeping the story about her pet scorpion in confidence, backing off again and again whenever Wednesday doesn’t want to hug her, and amending her statement about wanting Wednesday to cheer her team on by saying she can just glare from the shore instead. And she does tease Wednesday a little about being such a weirdo, but never with any malice.

Each little act of acceptance toward Wednesday’s oddities makes Enid a character that grows on you at the same time she’s growing on Wednesday. Because although she does get Wednesday out of her comfort zone, she also puts in effort to make Wednesday more comfortable in a new and strange setting.

The matching snoods is a really fun example of how she does both simultaneously, because it’s definitely NOT something Wednesday is into, but Enid had the consideration to make Wednesday’s black and not pink like hers. And as much as Wednesday finds the whole idea embarrassing, she can’t openly mock it to Enid’s face because she knows her heart’s in the right place, and she is genuinely a great friend whom she doesn’t want to hurt.

Wednesday is constantly pushed into doing things she doesn’t want to do, kept at a place where she doesn’t want to be, and bombarded with advances she doesn’t want to be bothered with, and Enid is the first person to let her choose what she wants to do. They’re like straight up the story of the girl who turns into a cat and runs away from all her potential suitors except for the one who never tries to catch her, and that’s a big part of what makes the scene where they finally do hug so great; because Enid has become someone who is so important to her that Wednesday hugs her because now she actually wants to.

uh oh! you misunderstood a social cue and said something mildly awkward. you will think about this and cringe everyday for the next 20 years

The urban fantasy show I actually want to see is a hospital drama with a dedicated wing for supernatural illnesses.

Vampirism. Lycanthropy. Cheap spells gone wrong. A woman brought in for her prenatal has to be told her baby is a lindworm. Someone is literally being followed by the anthropomorphic personification of the Black Death.

Someone somewhere out there is having their perception of the world irreparably shattered by the knowledge that magic is real, and at the other side is a team of doctors who have to roll their eyes and pull out Grimm’s Complete Fairy Tales because some high school kid tried to go Carrie with a cheap spellbook and turn all the kids at prom into frogs, and the doctors have to wrangle a couple dozen teenagers into admitting if they have a true love who can break the spell.

one of the reasons i love wednesday/enid so much is how much enid respects wednesday’s boundaries without her having to say much (or more accurately, nothing at all)

we see this they first time they meet, when enid accepts that wednesday isn’t a hugger. she doesn’t push wednesday or try to change this fact (something we see the boys do when they try to make wednesday do something she isn’t interested in/not ready for)

and although enid does try to hug wednesday later in the episode, she does nothing more than hold her arms out and step forward. she repeats her earlier statements and leaves wednesday be

this is also after their balcony talk, where enid shares about her vulnerabilities with not being able to wolf out, and wednesday shares in return. they’ve gone from being at each other throats (hyperbole) to enid wishing wednesday safe travels. enid also recognizes how wednesday sharing, in a attempt to comfort her, is her being vulnerable as well, and without prompting she promises not to tell anyone

during the window shots, we can see how enid keeps her distance from the divide between their sides, and it is wednesday who steps closer to enid, even if it just a small bit

in episode eight, as they are packing wednesday’s things and enid goes to try and hug her one last time, when wednesday retreats, enid takes a step back as well. (wednesday also steps closer when enid moves away)

the final moment that solidifies that when it comes to bridging the distance between them, although enid tries more often, it is wednesday who fully closes that cap. in the hig, wednesday doesn’t just return the hug, she pulls enid back in and gets as close to enid as she can (burying her face in enid’s shoulder, something enid doesn’t really do). enid is assuring herself wednesday is safe. wednesday is seeking comfort. she closes her eyes and moves her hand against enid’s back

there are other small, and some may say insignificant moments (like in episode two when enid jokes that wednesday can just ‘glare uncomfortably’), but one moment that did stick out to me was when enid returns to their room

it’s obvious that enid missed wednesday (and vice versa) but she is willing to put in the boundaries wednesday had previously set. she wants to be closer to wednesday but not to the point where wednesday is uncomfortable, and she’s willing to wait for wednesday to become comfortable on her own timeline

the point im trying to make through all my incessant (and probably incomprehensible, given i just spat this out) ramblings, is that ENID RESPECTS WEDNESDAY’S BOUNDARIES in a way other characters don’t seem to

Everyone else: Wednesday no!

Wednesday: Wednesday yes.

Enid: Wednesday no!

Wednesday: Wednesday no… :I

What are they playing?

Commission for boojangs on twitter

Wednesday: Enid texted me “your adorable” so I texted her back and said “no, YOU’RE adorable.”

Eugene: And?

Wednesday: And now we’re dating. We’ve been on six dates. All I did was point out a typo, but I like her, so I’m not gonna say anything.