ClaraBrighet

(please take the caveat that my analysis of Jasons character that follows does come from what i've read comic wise but may not apply broadly to all of comics, however, it does hold true to the version of canon i'm writing this au/canon divergence in)

the thing to me is that Jason considers this kind of rough communication to Be communication. to jason this is an argument yeah but one of many he's had and it's also just communication. this is just how people talk- which is maybe a little because of his family of origin and a little because of the culture he was raised in (Steph and Jason both come across as Loud and Rough Edged to, for example, people from Bruce's social strata, whilst to each other they're pretty normal) but it's Very Definitely because of Dick and Bruce, whom were frequently ""communicating"" like this when Jason was young and impressionable.

So this is, while it's definitely an argument, it's not a 'relationship danger' argument to Jason, this is just how people talk and how they communicate. He's also very prone to mirroring, even when he's not actually angry he can come off that way if the other person is, so as Dick escalates so does he. He's not actually an explosive hot anger person in the way that i see fanon writing him- he burns cold and he burns long, and it takes a lot to push him to the point of hot sudden anger and explosions. He's snapping but he's not Angry angry. He's trying to keep himself calm as well, and he feels bad for dick even though Dick gets under his skin so easily- he's gently taking the spilling water, he's trying not to sit aggressively, he's taking his deep breaths. He's feeling a lot more causal than Dick is.

Dick, however, is like. This fucking cunt is ATTACKING ME!!!!!!!!!! AND HES WRONG!!! HES ATTACKING ME AND HES WRONG!!!! his family of origin (who he still places a lot of emotional weight onto when it comes to communication and what relationships should look like, and he knows that his relationship with bruce was and is not healthy no matter how it's changed) never spoke to each other like this. He's genuinely pissed and he's feeling like Jason's backed him into a corner AND jason is saying things that to him, are wrong, because All of them are very black and white people in some ways. which is how we end up with a lot of them feeling like jason is "just crazy" because anyone who disagrees with them has to just be Wrong. Dick's also UMM very drunk in this scene. which is detrimental to his communication abilities.

Bruce isn't in this beyond being the ghost in their relationship that haunts them along with dead baby jason, but when Jason is having an argument (or even what Jason sees as just an impassioned discussion) he feels like it's a Relationship Ending Event (partially because his relationship with Jason is so fraught, partially because he frequently blew up his relationship with dick over small arguments based in his own fear) and tries to be the first to strike the blow that will end the relationship, both to give jason what he thinks Jason wants and because he thinks it will hurt less if he does it himself, like amputating an infected limb instead of duking it out with IV antibiotics. and so Jason gets the impression that Bruce is unreasonable and inflammatory and likes to explode over simple conversations, while Bruce gets the impression that Jason hates him and constantly wants to fight/to rub in bruce's face that he hates him and doesn't want his love or attention, and that trying to fix things causes more harm than heals.

Day 2: Demon

Damian stands inside the chalk ring, eying the demon warily. The air simmers where it touches the demon’s skin.

“A deal, you say?” asks the demon.

“For my Father’s return.”

The demon rests a hand against the chalk’s invisible barrier. “Place your hand against mine, child, and show me your heart.”

Damian knows better, but listens anyway. He expects pain and melting flesh. But the demon’s skin only feels lukewarm.

Suddenly, razor-sharp claws extend suddenly from Damian’s fingernails. Damian reels back, staring in horror at his hands.

Everyone writes about characters "not meeting Character's gaze." Let’s retire it for a minute.

• A smile that doesn’t reach the eyes • Holding eye contact a beat too long • Laughing half a second too late • Over-correcting posture when addressed • Clearing their throat before answering • Adjusting sleeves, cuffs, jewelry repeatedly • A visible swallow before speaking • Exhaling through the nose instead of responding • Looking at the exit mid-conversation • Nodding too quickly

Of Sons on Ao3 :D

i got tired at the end lolol more fic scribbles

I mean that biblically, mentally and physically.

Especially when it comes to Bruce. Like will he seek Bruce out for affection? Absolutely 100%. Will he ask for it? No, because he’s scared of rejection.

Imagine 12 year old Jaybin, seeking out his dad one day and silently just wanting to curl up like a cat on Bruce’s lap. Imagine he’s too scared to ask so he just orbits around Bruce like a planet, always at his side but never closing that distance, looking for ways to seek out affection.

Imagine it happens again but after the Pit. After they’ve reconciled, Jason at 19 had a rough night as Red Hood and is in desperate need of fatherly affection. So he once again seeks Bruce out but never really asking for it, cuz you know he’s scared of rejection, but still finding ways to initiate touch while being silent.

Flying

May Tomorrow Never Come

Nowhere Safer

Jason goes full cat

yes? like a... idk. Like when you put a candle out, but a little sharper, and heavy/brassy, and wet, obviously. listen i barely have a sense of smell, but even I can smell it. surely I'm not the only one, it must be strong if /I/ can smell it. I just don't have enough scents in my experience cache to describe it.

For a long time, they stood on the roof without speaking; Dick, panting with wild eyes; Bruce, a creased brow and a startled hurt. They held each other's gaze, a silent challenge, and neither were willing to break it.

“Are you going to take him from me?” Bruce finally asked. Then, Dick dropped his head and took a long, slow breath through his gritted teeth.

“It wasn't a threat, Bruce,” Dick said, so soft and precise. He knew exactly how far his voice carried, and raised it not one degree above that.

“I…” Bruce didn't pace, didn’t run his hands through his hair or raise his arms. His body language was all in his absences, the things he didn't do. He did, though, lick his lips, and swallow, struggling for the words he wanted. He was precise in those, too, when he had time to be. Sometimes, when he didn't. “It wasn't a defense, Dick. It was a question.”

“You can't just give him up,” Dick snapped, raising his chin to glare. “He’s not a bargaining chip, or a concession, or a thing to give away. He’s a little boy and he’s your son.”

“I'm not trying to,” Bruce said evenly. Dick hated his ability to sound calm when he wasn't. “Let me be very, very clear. I'm just asking: what do you want?”

“I don't know,” Dick muttered, rubbing at his brow.

“I didn't try to keep him from you. I didn't send you away, even if he thinks I did.”

“He thinks what?” Dick’s tone neared a hushed shriek.

“What did you think he would think when you ran off?” Bruce demanded, a bit of a razor edge in his calm. “You didn't say.”

“You hypocritical ass!” Dick hissed. “You don't bother to explain things all the fucking time and now, the one time I--” he stopped himself with visible effort. “No. No, that isn't what this is about. I left because...because I knew I would be in the way. He needs time with you. He wants time with you. Why would you tell him you sent me away? All this time, I've been waiting and it's been kill-- it's been hard. That's just going to make it take longer to…”

He trailed off, his lips pressed together. His hands were trembling with the strain of keeping himself from pacing, shouting.

“I didn't tell him, Dick. He’s so sure of his place with-- of your love for him, that it was the only option that made sense, when he realized it wasn't a mission keeping you away.”

Bruce’s soft tone belied the tension in his posture. Dick studied him, carefully.

“You could have explained,” Dick said, the pointed jab clear and shining. The final word broke off, pronged to dig and stick.

“I didn't think it would improve things between us if I told him the truth. He would have seen it as criticism of you. It was an impossible situation and I chose the one I could mend alone, with an apology,” Bruce said.

“You should have told him the truth,” Dick snarled, crossing his arms. The wind, chilled since they climbed onto the roof from the attic window, picked up and caressed with an icy touch. “I worked so damn hard to get him to just trust me, to trust us. He’s not like Tim, B. He won't just keep letting it go.”

“I should have done a lot of things,” Bruce admitted, turning to look out over the darkening lawn. For the first time since he’d come back, he sounded old. Older than he should have, even-- there was something frail in that admission, something that hinted at shaking hands and walking canes and soft foods and lonely days full of regrets. Bruce took a breath, set his shoulders. “I should have lied to Tim less. There isn't an excuse.”

Dick shivered, and it wasn't the wind that made him cold. He wondered how many lifetimes Bruce had lived away from them-- how much did he remember? He hadn't even gotten to ask.

No, he hadn't asked. He hadn't asked on purpose. He’d left.

“I didn't want to get between you, like this.” Dick uncrossed his arms, and jammed his hands in his pockets. He shrugged a shoulder toward the window, though Bruce wasn't looking. “I wanted him to have the time with you that I did. That he had with me. But I don't think I did it right, and now…”

“What do you want?” Bruce asked. His voice was flat, gentle. It was the way he spoke to people waving guns, holding detonators, on ledges. Something about it said, I have no needs, no wants. The only thing that matters is what you say next.

Dick had learned that voice from him. Dick also knew Bruce would rip his own heart out and give it to Dick, if he asked. Dick opened his mouth to argue, to growl, This isn't about what I want, is the point.

Instead, he started crying.

The sob caught in his throat and then escaped with a quiet whine, and he’d done this enough times the past year to know there would be no hug. The arms he wanted around him were gone, dead and buried, and even imagining it made him feel worse.

Then, Bruce pulled him into a hug. Dick’s forehead tucked against Bruce’s shoulder, in the embrace he’d learned was gone forever and now had to learn again, and his knees buckled. Bruce held him up, on the roof, the slate tiles under Dick’s bare feet.

“I didn't want to share you,” Dick mumbled through sniffs. “I didn't want to leave him. I don't want us to be fighting.”

“I know, chum,” Bruce said softly, into his hair.

“He’s my little boy, Bruce,” Dick said, feeling torn in two. “He wants you. He needs you. But I miss him. I was all he had, and he was why I kept going. I thought it was going to be forever.”

“I know,” Bruce said, his hug tightening.

“I don't know how to fix this. I've been terrified of talking about it, about you thinking I wanted you to leave. I don't want you to be gone again.” Dick’s face was hot, and he lifted his head to feel the cold air against his cheeks. He sank to sit cross legged on the roof, and Bruce lowered himself to sit beside him.

They sat for a long time, watching the moon creep up into the sky.

“What would you have done if John had come back?” Dick asked, after the tightness in his chest and throat started to ease. He very carefully avoided looking at Bruce.

Bruce, leaning back and propped on his arms, sighed.

“I had nightmares about it, after Clark came back. I don't know.”

“Bullshit,” Dick said. “You would have handed me right over.”

“It would have killed me,” Bruce said. “But yes. He was your father.”

“There were times,” Dick said slowly, “that I would be glad they were gone, because of what I had with you. Because of what we had. And then I’d feel like a monster. I don't think I've told anyone that before, other than Donna.”

“What did she say?” Bruce sounded curious, but reserved.

“‘Sometimes, Dick, you’re an idiot,’ or something close to that. She was right, anyway.”

“You’re not an idiot,” Bruce said.

“Sometimes,” Dick said. “And sometimes I was just a confused kid, who had my life broken into two parts. There was a before, that I missed, and an after, that was its own kind of good.”

“It was good, wasn't it?”

“It is good,” Dick said. He tugged, two fingers on Bruce’s sleeve, like he used to when he was little, until Bruce looked at him. He knew he looked pleading and he didn't care. “Damian already has his life broken into before and after, Bruce. I don't want to make him go through that again. How do we...how do I...fix that. I can't be here and give it up, it'll confuse and hurt him. I don't want to take him from you, either.”

“When my parents were gone,” Bruce said, gaze flickering out to the dark lawn and treeline. “Leslie and Alfred had joint custody. They decided I should stay here. When I was fourteen, I went to stay with Leslie for the weekend and tried to sneak out to a party. I told her Alfred had given me permission to go with friends.”

“Mm?” Dick prompted, after the pause stretched on.

“She said, ‘You aren't going to that party, Bruce.’”

Dick’s smile, gentle and sudden, curved one side of his mouth. “Alfred had warned her.”

“We have to be on the same page,” Bruce said, looking at him. The look was piercing, and intense. “If we want him to feel secure, he has to know he’s going to get the same answer from either of us. You can't be his brother and his father at the same time, not like that-- if we disagree, it can't be where he can hear. It won't be easy.”

The relief was making Dick lightheaded. He would have agreed to almost anything, in that moment. “Easy peasy, B. We’ll just have to be you-know-who and you-know-who again.”

“I seem to remember a certain man insisting he’d outgrown that role,” Bruce said, a bit wryly.

“Maybe it fits again, for this,” Dick said. “I didn't ever grow out of being your partner, B. I just...got stupid for a while.”

“You weren't the only one,” Bruce said. He stood, and offered a hand to Dick. “Let's get out of this cold.”

“Is it making your old man joints stiff?” Dick teased, clambering up.

Bruce’s hand, heavy and large, cupped the back of his neck and pulled him forward to press a kiss to Dick’s temple. “You did good with him, Dick.”

He rubbed the tears out of the corners of his eyes with a knuckle and inhaled slowly.

“I don't think you know how much I needed to hear you say that.”

So this is a version of a document from DC's Bat office written by Dennis O'Neil, chief editor from the 90's, and it was required for writers on Batman books at the time to read to get a basic unified understanding of characters, places and expected tone. Something you can definitely tell that people don't have anymore. Mmm.

It was a periodically updated document, and this particular version appears to be from the mid-90's.

So, after saying Tim is the third Robin, after the first one who became Nightwing, and the second who died,

"As for Tim: He is everyone's ideal younger (or older) brother."

The very first thing this document decides to tell writers is that Tim is brother-shaped, which is my absolute favorite part. Tim? Imagine someone who you'd want to be your brother. And you have it. Thank you for your time.

"He is intelligent--he is Robin because he deduced that Bruce was Batman and then made himself useful--but he is not a "brain." He is athletic without being a jock."

He's smart and athletic, but he's not a nerd or a jock exactly.

"He is respected by the macho kids in school, but he chooses to spend most of his time with the nerdier crowd, youngsters who'd rather punch keys than halfbacks."

But he'd rather hang out with the nerds. He's overall popular and he's not bullied, though.

"He is, unlike Bruce, an active and sincere dater; he has a steady girlfriend to whom he is as committed as a 14-year-old can be."

The contrast with Bruce is in reference to things written earlier about Bruce in regard to his civilian dating. It's not a comment on Bruce's feelings never being sincere (like with some of his more famous relationships), but rather that Tim's always are. Fuck-ups are intended to be age-appropriate realism, and he is otherwise intended to be seen as a committed and loyal person.

"And unlike his two predecessors, he does not consider himself a "laughing young daredevil.""

"he does not consider himself" is an interesting turn of phrase here. Commenting more on his view of himself than his action.

"Because he was trained by many of the same masters who trained Bruce himself, he is expert in combat and an excellent gymnast. But he never eagerly enters into confrontations and when he does, he makes the fullest use of the weapons and safeguards built into his costume."

He's extremely skilled, but he'd rather avoid a fight if he can. If he has to get into one, he's not the type to do a prideful holding back thing, he's going to use everything he has, including all his tools and resources.

"He is most useful to Batman in surveillance situations and as a computer hacker; he has a better understanding of computers than anyone in Gotham with the possible exception of Oracle (which see.)"

His non-combat skills have a stronger use as utility for Batman in particular. I'm going to ignore the word "possible" there with the exception of Oracle considering what this very same document says about Barbara and also in general what has been shown from the two of them - definite exception of Oracle, she's better than him. I still think him being the second-best "in Gotham" is a pretty bold claim, especially after it already said he wasn't a "brain". We'll go with that he's intended to be the second best after Babs among the Bat allies, and not necessarily, you know, everyone in the city. Pretty sure we could pull receipts for that.

"Tim is a wealthy version of a latch key kid. He was neglected by both his parents until a couple of years ago when his mother was killed and his father badly disabled by kidnappers."

First of all, everyone who keeps saying "the writers didn't intend to write Tim as neglected, it was just normal for the time period" - here's a document that officially told the writers he was neglected, so you can stop now.

I'd also like to highlight the phrase "wealthy version" which really is part of this. He's not just a latch key kid, he's a "wealthy version". Because most latch key kids in the 90's were in poor-to-middle-class families, who had to work long hours to keep food on the table. Tim's family had money. They chose to not spend much time with him. Let that sink in.

Also note this is not talking about criminal neglect. They did nothing illegal. You could not call child services on them. That's not what this is trying to convey.

"The father, Jack, has partially recovered, but still has only a perfunctory interest in his son."

Jack is sort of trying now, but his interest is minimal or without reflection or thinking about what Tim wants or likes or cares about or wants from him.

"Tim is largely left to his own devices, answering only to a housekeeper, Mrs. Macilvanie, which suits his activities as Robin. The Drake estate adjoins the Wayne property. Tim can access the Batcave from his father's ground through a gimmicked cistern. He also has a vehicle, a modification of Detroit iron he calls "the Redbird," which is stored in an unused shed on the Drake property. (As Tim, he has a valid driver's license because his father is impaired and a state law allows underage drivers in such situations.)"

And then a lot of this is just factual details from the time period. Which really allows me to date this particular document. They did move into that estate after Tim became Robin, just as a point of fact I like to point out. I think "adjoins" is an interesting word to use here. I know it can just mean "next to", but it also feeds into some headcanons I have, also related to the Drake's property being much smaller, but that's a tangent. And yes, he could access the Batcave from the basement, and I could point to a few comics where he does that. And this document would be after Bruce gave him Redbird, but before Jack forced him to sell it, since it's still on the property. Also, they are still living there, which would date it if Redbird's location didn't.

I used to make myself write 4 notebook pages before I posted a fic. Then 1000 words. Now it's 2000 words a chapter. Eventually you just...fill the space.

Describe things. Not just what they look like, but how your characters respond to them. Start with 20 words. Then 100. Then 500. Sometimes I'll be writing a chapter and think "okay, 200 words until they can start kissing". Give your characters body language for every dialogue tag. [," said Rook.] becomes [." Rook said the words with all the finality of a door slamming shut.], and so on.

Then start tying emotions to the descriptions. Suddenly, you're adding character moments all over the place. People will tell you it's "purple prose". Ignore them. You'll get better. They'll tell you it's "wonderfully descriptive".

It's all craft stuff. You learn to mix it up and what your style tends towards. The only way to get better is practice. Write your fanfic and grow.

Hey, so that double update of come home by scribblemetimbers, eh?

“Not your brother,” Timothy says, soft and quiet.

(And if the arm around Damian tightens a little as this is said – well. The bus is too packed and the ride is too rough for anyone, even Damian, to notice.)

The first is this wonderful script that will automatically add key information (that you choose) like author, title, summary, etc to your bookmark notes so you at least know what got deleted.

The second is this incredible bulk downloader for AO3. Input any AO3 page (such as your bookmarks page) and tell it what format you want to download in and it will just.... DOWNLOAD IT ALL!! I run it every few months so that I have all my bookmarks downloaded in my preferred EPUB format. That way I know I always have my favorites downloaded in case they ever get deleted.

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”

I kinda like Talia from the Fandom perspective, but I've never really picked up any comics. What are the bets ones to start with? I know some DC authors like to butcher certain characters, I'm trying to avoid that as a starting place for her.

Well, I'm honestly glad that you're moving into comics for Talia (somewhat glad because Morrison is actually a degenerate)

To start with, I'd go with the older comics, Dennis O'Neil's ones, specifically the Demon Trilogy which includes the following:

Birth of the demon, bride of the demon, and son of the demon.

You should also read Bane of Demon, which is like a prequel.

There is also Death and the Maidens – it is a little bit more on the gruesome side, but it really does highlight Talia's abusive backstory and the coercion and traumatic experience she faced and will help you shape her better as a character.

(Warning: this trade includes elements of rape and torture.) Here we have the introduction to Nyssa Raatko, Talia's vengeful half-sister. This story is painful and masterfully crafted – and could very well explain Talia's shift in personality over the years.

Another nice—not so nice—story about Brutalia can be found in Detective Comics Annual #1.

And also the detective comics themselves, she makes her appearances in:

#411

#526

#750

And the Batman Legacy Comics:

#53-54

#533-534

#700-702

Her initial appearances, or perhaps "Pre-Damian" tales, continue to rely on preconceived notions about East Asians and Arabs. I can say that her characterisation was never flawless, but it was better before Morrison, so look at the older comics.

For the Batman Chronicles:

The Batman Chronicles #8, Batman: The Chalice,

And also Batman Urban Legends – I forgot which comic it was, but all of them are pretty good anyways, so you should definitely read the whole thing.

I'm still sorting through them myself, having barely read any, but once I do, I'll definitely make a list of them all.

But if you do want to read the Morrison ones simply to look at parallels, then you should look at the following:

Batman: The Demon Laughs, Death and the Maidens, Red Hood: The Lost Days, Batman & Robin #0 (Grant Morrison run), Batman and Robin Vol. 2 #11 (2012)

And based off of fan favourites:

I'd check out this website; it gives you a little bit of context and what to expect, and since I haven't gotten around to Talia's comics yet, I think you should really check it out: