#tragedy of binding

[finelythreadedsky]

i've been reading a lot about fundamental differences between homer and tragedy and one interesting thing is the preoccupation of tragedy with the conflicts of women's loyalties to their natal and marital families, which manifests in so many tragedies putting women in situations where they are forced to choose sides in conflicts between their husbands/fathers/brothers/sons (eg medea chooses her husband over her father and brother, antigone chooses her brother over her future husband and potential children, procne chooses her sister and father over her husband and son, creusa remains dedicated to her father and his lineage instead of her husband and his). women are supposed to forge chains between men by their marriages and tragedies are so often interested in what happens to those connecting links when things go sour.

and that's just totally absent in homer, there's never any tension between icarius and odysseus or between eetion and the house of priam or between autolycus and laertes or between tyndareus and either paris or menelaus and agamemnon. most of the time either father-in-law or son-in-law is totally absent from the narrative. there's nothing that would put a woman in the position of mediating between the family she was born into and the family she married into.

but you know who in homer does experience this tension between loyalty to natal and marital families? hector. in iliad 6 andromache begs him to adopt a more defensive strategy because she and their son will be totally lost if he dies, and hector speaks of having to fight for his father's glory and his own. andromache and astyanax will suffer if hector dies well and bravely fighting for a lost cause, but priam will benefit. hector even acknowledges that after troy's fall it will be andromache who suffers most, not priam or hecuba-- for them the memory of hector's glory will be a consolation, while for her it will only be more pain. hector is torn between his father and his wife, the family he was born into and the family he has created through marriage.

[gojoest]

[lemedstudent2021]

her name is like a melody

sweetest songbird ever i love her<3

[ghostieblotts]

Okay so it is late but as promised, a post with more about the saf mlp au I'm working on which as of today has already split into two aus. Why am I like this.

So, first things first - clarifying the two aus. The first, which this post is about, is more in line with saf canon - it follows pretty much the same events, the characters go through similar/equivalent experiences, and it stays about as tonally dark (if not potentially going darker) as the original - the difference is that they are also all magical horses/ponies as inspired by My Little Pony: Friendship Is Magic. The second, which I only really started thinking about today so I'm not 100% sure what I'm doing with it, is basically taking concepts for the characters in the first au and putting them in the world and genre expectations of the original tv show - in other words, what if things didn't suck for these cartoon horses. (It's mostly a fun little self-indulgent thing to think about.)

This is probably going to be a long post about a few details relating mainly to the first au. I'm going to put in a cut. Most of what I have been thinking about so far deals with just trying to work out what's going on with Curt and Owen.

The first thing I decided about this au and kind of the one thing I am the most certain about is this: Owen is a unicorn and his horn breaks in the fall. This is the clearest thing to me in this au - I think it works well for many reasons but also, it just instinctively feels right to me.

The broken horn isn't the only physical impact of the fall - Owen also ends up with major scarring and probably a host of other issues but I think the loss of his horn is probably the most impactful thing for him. I think that a unicorn's horn would be a key part of identity and self-image for many (potentially culturally but also just because of how important it is functionally - that's how unicorns control their magic!) so I think that having a broken horn in this au works quite well with that aspect of the fall.

From a practical standpoint, it has a huge impact on Owen's magic. While I don't think Owen was exactly a magician - magic was probably more of a matter of dexterity for him before he got some offensive magic training for his job - like many unicorns, magic would be a key part of how he went about his everyday life. By the time we reach the events of most of SAF, he has spent three years training to try and recover. He has regained some magical function, but his magic is difficult to control. It is erratic - it manifests in sparks and bolts like electricity - and it is also far more prone to being affected by Owen's emotions than before. (Which could be interesting to play with for some scenes, though I haven't fully explored that yet.)

As for Owen's cutie mark - I did toy briefly with the idea of him being a blank flank, which I think could work quite well/interestingly if you lean more towards the view of "cutie mark = destiny/identity". However, I tend to lean more towards "cutie mark = special talent", so for me that means that Owen's mark is a tragedy mask. His special talent is performance, and all that means - acting, deception. It is perhaps most accurately described as pretending, though I don't think he would ever call it that himself - at least not outside of his own head. Getting his mark was not a happy memory and it is not one he is willing to talk about. (I'm tentatively contemplating having it so that Owen earned his mark in some situation related to having to hide something so that he could stay safe and/or avoid being outed, since that would be a pretty strong reason not to tell anyone.) He's explained it with various stories relating to theatre and movies, most likely. Even mi6 - who, strictly speaking, should have been given the full true story - were given a story closer to the truth, but ultimately just another use of Owen's talent. If he has ever told a full or true version of his mark's origin, Curt is the only one Owen has ever told the true story to.

I'm marking time by what we see in the show, and I don't think we would see Owen's mark until the end. I think coverups (makeup? Something like a sticker??) for cutie marks would be standard practice in espionage in this universe - Curt would probably have an assortment of different fake marks over the course of the show, and Owen would have at least two (a1p1 disguise and DMA). I think the staircase scene would probably be the first time we see Owen's mark, and possibly the first time we see Curt's if not around Doing This or maybe Torture Tango. However, as the DMA (or I guess the DSA? Deadliest Stallion Alive? The neutrality of Deadliest Pony Alive/DPA might work well too but I'm not sure if it fits), Owen actually only wears one. As part of the scarring he has, one of his marks was burnt beyond recognition in the fall.

I don't actually know what Curt's cutie mark would be yet. I'm thinking it could potentially be something to do with being the "sharpest of shooters", though (which would be a neat bit of close-ish foreshadowing if we first see it in the staircase scene). However, if there's an option that's more inherently tied to spying, I might take that instead. What I do know, though, is that he took ages to earn it. I'm imagining that Curt as a kid/teenager would have been desperately trying to find his talent, throwing himself at a bunch of different things, getting really frustrated with people dismissing him or talking down to him because he didn't have his mark. He'd develop a real desperation to prove himself, and when he finally did get his mark, he clung to it.

One last big thing: working out what kind of pony Curt is. This is the elephant in the room, for me. I have two options that I like, each with their own benefits and issues.

On the one hand, he could be a unicorn, which I think would work well to emphasise how closely matched he and Owen are before the fall (and then, with Owen's broken horn, this could add an interesting layer to One Step Ahead). This also means that guns might be able to be replaced by beams of magic and I don't have to invent a gun in mlp. (Though they might be more reliable for Owen than his own magic.) The other big benefit of Curt being a unicorn is that it would mean he is flightless - since either Curt or Owen being able to fly in a1p1 has the potential to cause major problems for the plot.

Having said that, you may be surprised that my other preferred option for Curt is that he's a pegasus. This requires some significant logistical wrangling to work within the plot, but also presents some opportunities I really like. The way I'm thinking it might be possible to make this work: having it be standard practice for pegasus spies to bind and conceal their wings. (If anyone has another idea though feel free to tell me!)

Why would they do that, though? I think a possible reason to do this is as simple as the following: wings are both easier to conceal and easier to break than a horn. While both are how pegasi and unicorns respectively control their magic (I am on team everyone has magic and it just manifests differently), I think wings might be more vulnerable in this way. In an occupation where you're expecting your agents to potentially get captured and tortured by your enemies, which body part do you think they're going to go for first? So I think it might be seen as the safest bet to try to delay an agent's wings being discovered for as long as possible. In this case, they would use specially designed bindings that also incorporate padding to make the shape look natural. And while having wings could be incredibly useful in an emergency situation, I can imagine that making sure that binder stays on might in practice be prioritised over potential emergency safety.

So while it requires logistical faffing (and might require some more to make it feel believable enough), I really like the idea of Curt being a pegasus because of the extra layers of guilt it adds to the fall. As @lycan-exe pointed out when I told them about it, it means that Curt did not save Owen even though technically he could have done. But his wings were bound and hidden under clothing, which Curt wouldn't have had enough time to remedy - which would also only make him feel more responsible - if only he was faster, if only he had set the timer for four minutes like they agreed...

So! TL;DR:

Owen is a unicorn with a broken horn

Owen's cutie mark is a tragedy mask and his special talent is pretending

Curt got his cutie mark particularly late, though I'm not certain what it is

Coverups for cutie marks are standard in espionage

Curt could be a unicorn or a pegasus (and despite the necessary faffing I'm leaning towards the latter.

Other things that I am not sure where else to include:

I'm imagining Owen having yellow/golden eyes

Curt is probably blue.

Mama Mega could be a pegasus but I keep imagining her as an earth pony.

And as a final note - something I also talked about in this post:

We've established that many pegasus spies go to notable lengths to conceal the fact that they have wings, because in the event that they are captured, this is dangerous information for your enemies to know. Unfortunately for Curt, he ends up in the unenviable position of being captured - and his torturer is very aware of the fact that he has wings. Whether or not he takes it, the opportunity is there for Owen to do some serious, possibly permanent damage.

[daveyfvckingjacobs]

the innate sexual tension between you and your crush after you’re almost killed by a hedge maze

[gh0st-c0mpany]

I hate being a tragedy enjoyer because I'm either ugly sobbing or enthusiastically cheering like this

[proudfreakmetarusonikku]

sometimes I think about how in the end isaac found peace. the whole game is a symbolic journey through him defeating his inner demons- all the final bosses are directly confronting one of isaac’s own issues and why he killed himself. frommom symbolising his simultaneous fear and guilt from his abuse, to blue baby symbolising him confronting his own suicidal depression and either the fact he’s dying or is already dead, to dogma being the aspects of christianity that were tainted to hurt him and his mother while the beast has Isaac himself representing the good and healing parts of faith and how it can be a genuine positive if you don’t fall into the dogma people will use it to push on you. and when he’s able to confront his own traumas and win, when he’s able to find the good in things while throwing out the bad, when he’s able to accept his own death… he finds peace. not through death, but through self reflection and self kindness. by realising he doesn’t deserve to suffer, he’s able to, somehow, rest well with his father, telling stories. and the game continues- of course it does, because your inner demons don’t stay dead forever. but there is peace at the end, even after everything. and then i just feel like crying a bit.

[aro-as-in-straight-as-a]

Senator i just want to ask you what the fuck is wrong with you

i can’t stop thinking about adriana smith. when roe was overturned i knew things were going to get hellish but turns out 50 years of scientific innovation means an entire new branch of soul crushing horror stories are now possible. we can’t possibly keep pretending we’ve advanced gender and racial equality when we’re using a dead black woman’s body as an incubator for a fetus. a society that does that is a failed society. fuck man im trying to hold on to some measure of hope here but its so hard.

[jays-therapist]

I'm kind of on my Will Turner shit after rewatching the trilogy again with a friend, and I'm a little insane about the ending of AWE and how it plays with his overarching want throughout the series, which seems to be this persistent desire to love and be loved.

Like, I think almost all of his motivations and actions can be traced back to that want. In CotBP, he wants to save Elizabeth because he loves her, and it's because he loves her that he places her freedom above everything else. And like not to sound cringe, but I think you could argue that he'd grown to love Jack by the end as well, and that's one of the reasons he saves him from the gallows. In DMC, he wants to save his father because he loves him despite everything, and he wants to save Jack from the locker because he loves Elizabeth, and if Elizabeth loves Jack then damn, okay, let's go get him. It's his love for his father and his love for Elizabeth that primarily drives him through AWE.

But, what I'm obsessed about is how like, Will commits himself to people who do love him back---or at least approach something close to love in some cases, though it's more like tolerance or pity or an absence of annoyance---they just don't love him enough. Bill loved him, just not enough to stay. And perhaps Mr Brown loved him enough to teach him blacksmithing and give him a roof over his head, but he didn't love him enough to remain sober or share the workload. And I genuinely believe that Jack loves him, but he values his own hide more (or rather, he presents himself that way, which does have consequences on his and Will's relationship).

It's kind of a cycle for Will. While he gives love, he does not expect love in return, and often he doesn't get it. And like, to Will, love is loyalty. That's how he expresses it (and how he perceives it!! but we'll put a pin in that). Even when he would probably do better to break off a relationship, he sticks with it, which like, yeah!! Of course Will "no cause is lost if there is still but one fool left to fight for it" Turner is used to committing himself to situations and relationships that seem hopeless. That's all he does!

And that's why the ending of AWE is so insanely flnsvvfnlvnlf to me because he and Elizabeth break that cycle! He gives his actual physical beating heart to her in the most literal display of love and trust possible, and she accepts it and promises to keep it safe, promises loyalty to THE loyalty guy. Like, there it is, there is the thing he wanted all along! Not only is his heart accepted, it is kept safe in a chest like a treasure, to be cherished. And it makes the ending so bittersweet, you know? Because I do think Elizabeth and Will both get thematically satisfying conclusions (Elizabeth essay when), but at the price of each other. Elizabeth gets what she wants, but she also doesnt. Will gets what he wants, but he also doesn't. And yet, they remain deeply committed to one another, determined to make the best out of a seemingly hopeless situation. Their story, unlike those that precede them, will not be a tragedy.

[cassandralexxx]

❌❌❌

wooooo 🎉

lowkey kinda old news since it’s several months old but apparently that scum no longer has the rights to their name! Get fucked your name doesn’t belong to you anymore and you can’t gain any notoriety nor compensation for your actions.

I never want to hear about him again and with this case it looks like I won’t have to!

[annabelle--cane]

I think one of the fundamental horror elements of jon and martin's relationship (that is super underutilized in fanworks imo) is that when they say "where you go, I go," they really mean it. by the time they're striding across that hellscape, and tbh even earlier than that, there is no duplicity or slight or monstrous act either of them could do that the other wouldn't forgive so they could stay together. personal insults, lashing out, working with the enemy, attacking strangers, direct violence, deliberately endangering each other, murder, encouraging murder, total and complete betrayals of trust, they've done it all and reconciled afterwards. sometimes they talk it out and resolve it in a reasonable way, and sometimes they're just like "hmm. fucked up!" or ("hmm. kinda cute when he does it <3") and never mention it again.

it's not just about letting anything slide with each other, either, it's bigger than that. martin will make the decision on a personal level that he could never live with surviving off of innocent people's suffering, but if doing that on a cosmic scale is the way to keep jon with him then he will sacrifice all his principles and do it. jon is hell bent on quarantining the fears by literally murdering the planet as quickly and efficiently as possible, but the second this means martin potentially dying in front of him he changes his mind. when jon says that their love for each other is "the real core of it," he's not just declaring affection after a fight, he is stating the cause for the incomprehensible tragedy that they're about to enact. it's less "the love was there, it didn't change anything" and more "the love was there, it doomed us all." it isn't even a question, they will wrap their soulmate-red binding string around the necks of everyone in the entire cosmos before they sever it.

[usagimen]

            Shibuya might just be the only time that a Kobayashi remained close to the Zen’ins. Considering their feud, it would start to show the gradual change in trajectory that comes with Sayuri, who has no idea this is foreshadowing into her future. The intent for her was to always become the equalizer in the clan, which is an irony, for middlemen the Kobayashi’s bicker amongst each other horrifically. At the current state, they are not pleased with their Matriarch who understands the controversy surrounding her. Hatsuko’s choice to pick Sayuri as her shadow was never on the basis she raised her as a daughter but more politically aligned; she was prepping her to grab the position. This is something Sayuri has fiercely defied even in her youth, she actively stated it’s not in her interest to become clan heiress, even if it’s her birthright. By the time the Perfect Preparation Arc begins, the elders believe she is equipped for it due to her survival && fortitude in Shibuya.

Sayuri’s decision to uphold the status is not of self serving but of genuine belief she is capable of lifting this miserable curse that plagues her kin. It is her benevolence that comes with malice for all that was taken from her, truthfully, her family did not wish for her suffering. They do love her immensely as the binding factor for the Kobayashi’s is that each soul within their sanctum is precious, they will do anything to protect each other, they also at this point revere her as a deity that dwells among them. There is great pride she has managed to ascend higher than any of them, it is the atonement they seek for taking so many lives throughout history && demolishing each other to remain secretive in order to assure their own survival. She is no longer referred to as the God Hand but the Matriarch of the Kobayashi Clan within her title && presentation. They strip away her bindings, braid her long white hair && await a new order.

[sunderwight]

SV fic where Shen Yuan rationally decides to be gay. For rational, strategic reasons. He has to do it.

Reason 1: every woman in the world has pretty much been reserved for the protagonist. trying to get with anyone would seal his fate as a rival, on top of a villain! he's basically either got to spend the rest of his life a bachelor or find another option.

Reason 2: obviously as a straight man Shen Yuan would prefer the bachelor option, but that's just leaving him wide open to attacks! Shen Qingqiu already did a poor job of cementing any alliances, having no family to speak of and pissing off the majority of his sect siblings. frankly he's left Shen Yuan in a bind that only some kind of concrete financial and social alliance could solve!

Reason 3: no man wants to die a virgin, right?

Reason 4: increasingly progressive standards in fiction have actually made it gauche to kill off openly gay characters. while a stallion novel might still go in that direction, it's not like he could make his fate much worse, so it's worth a shot, right?

anyway this all leads to Shen Yuan carefully reconstructing the image of Shen Qingqiu into the token complicated gay character. obviously he's not going to put the moves on any of his disciples (he doesn't want to fall into those gay stereotypes!), but to cement the image of himself as a gay man he's going to need to put the moves on someone.

it's a shame that the OG was so well-established in his enmity towards the sect leader. Yue Qingyuan seems like he might have at least entertained such interest, although he's also more of a brotherly type and probably not gay, so perhaps it's for the best in the long run.

luckily, another option falls right into Shen Qingqiu's lap (almost literally!) when he saves Liu Qingge from a qi deviation.

Liu Qingge is actually the perfect target for an unrequited crush. it recontextualizes some of his and the original's enmity, Liu Qingge was dead in the original story so it's not likely to mess up anything worse than him just being alive does, Liu Qingge is beautiful enough that it's believable anyone would be secretly in love with him, and a war god is almost certainly straight, which gives Shen Qingqiu time to adjust to the idea of living as a gay man for the rest of his (hopefully long) life. y'know, before he finds an actual gay to partner with!

the only downside is that coming on to Liu Qingge might discourage him from protecting Shen Qingqiu and repaying his debt in the long run. luckily, that doesn't seem to be the case! despite his face frequently turning red (from anger?) and him sometimes literally fleeing at Shen Qingqiu's awkward attempts at flirting, Liu Qingge never misses an appointment to cleanse his meridians, and seems to take his safety and well-being very seriously.

what an honorable man!

shame that Luo Binghe doesn't seem to like him, though. Shen Qingqiu's not sure what to make of all that. that's your future brother-in-law, Binghe! at least make an attempt to win him over! oh well. at least he's not ruining a relationship between in-laws that otherwise could have been good, as he makes extra sure to subtly bemoan, in front of Luo Binghe, the tragedy of his deep unrequited love for Liu Qingge. for like the third time that week.

[literaryvein-reblogs]

Writing Notes: The Shape of Story

by Christina Wodtke 

Start with Conflicted Characters

The character needs a goal, a motivation and a conflict.

The goal can be alien to your audience,

but the motivation must be shared by them, and

the conflict creates struggles that increase engagement.

Paint a Picture

Details transport you into the story.

The world disappears and you have a story play in your head.

Even though there are no literal pictures.

But be careful—Too many details and the story gets bogged down.

Make the Protagonist Suffer

“Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them - in order that the reader may see what they are made of.” (Kurt Vonnegut, How to Write a Great Story)

And when it can’t get any worse, make it worse before it gets better

The two key moments that create the peak of excitement in a story is the darkness before the dawn, and the dawn. 

The climax is the moment when the protagonist is either rescued or rescues themself.

In older tales, we saw a lot of Deux ex Machina (the hand of god) rescuing the hero. A hero could be rescued by luck, a partner, another hero…but modern audiences strongly prefer stories where the protagonist helps themself.

Resolution is Boring, Keep it Short

Interest grows with every additional conflict, but once the hero figures out the solution, our fascination collapses.

Don’t natter on while the audience’s mind is drifting.

Also Consider:

You need a good inciting incident to move your protagonist to action.

A setting is more than a place, it’s a situation and a moment in time. A vivid place has details.

Modern audiences prefer “return home changed” to “return home the same.”

EXAMPLES: ARCHETYPAL PLOTS ALONG THE ARC

Boy Meets Girl

Internal conflict is always satisfactory (e.g., she believes love interferes with his career, he believes love interferes with his beer.)

The crises usually revolves around betrayal — lying, cheating — and the climax shows it was a misunderstanding or we get atonement.

The struggle is always about them being separated.

The resolution is about binding them more tightly together than ever.

The Quest

You seek things, and find yourself.

Return home changed and don’t pass go.

Common elements include companions, a mentor, great losses and extreme character arcs.

The Underdog

Even though they do not have a shot in hell, the underdog wants something. They want it so bad.

Common elements include an enemy who blocks their path, and a coach who helps them forward.

In this case, they do not return home changed but rather move into a new life that fits their changed self.

Coming of Age

Naive person has the world teaches them a hard lesson, and they become a better person for it.

Struggle revolve around life sucking and then sucking more.

The hero grows and becomes better because of it, and via new understandings becomes competent.

In some tragedies, the world breaks them.

They can return home changed, but more often they move to a new life they have earned.

More Examples. Justice & Pursuit:

Weaving Multiple Plots:

Weaving multiple plots together to make subplots can further increase tension.

Multiple plots woven together makes the whole story not only unique but very compelling.

Writing Notes & References ⚜ Writing Resources PDFs

[internetdaddy98]

The Ties That Bind Us - Chapter 1

Next

[Series Masterlist]

Dr. Michael "Robby" Robinavitch x f!DocReader

Synopsis: Reader meets Dr.Robby during his panic attack.

Word Count: 906

Content Warning: Age gap; reader in her 30’s;mass shooting; death; blood; gunshot injuries; angst; grief; medical procedures; I don't know have any medical knowledge 🥹; PTSD; panic attack;if I've missed any warnings, please let me know.

A/N: I have been thinking about Dr.Robby for the past 15 weeks and needed to let it all out

First time putting my crazy thoughts on tumblr! Eeeek

You had started your shift earlier than usual that evening. Dr. Abbott had called you, letting you know it was going to be all hands on deck with the Pittfest shooting.

Despite being new to the hospital, you appreciated that Dr. Abbot had called, and so you rushed to get ready and headed out to make it to the Emergency Department as soon as humanly possible, battling chaos and traffic due to hell breaking loose. When you got there, Dr. Shen had quickly briefed you as you looked on to all the trauma victims coming through without an indication of it slowing down anytime soon.That is how you spent your first two hours, drilling IO’s and making sure the rest of the patients weren’t bleeding out while working with the limited resources the hospital had available.

You’d only been there a month. Wanting to pursue emergency medicine, you had accepted a fellowship position at Pittsburgh Trauma Medical Hospital in Emergency critical care, packed up your life in New York and made the move to Pittsburgh.Although you were new, everyone was welcoming and eager to help amid the chaos that night shift could be. You hadn’t had the chance to meet everyone yet, so as you glanced around the Emergency Department, you were met by the faces of doctors, nurses and admin staff who weren’t known to you.While the victims did not stop coming, you found yourself moving on instinct in the Yellow zone. Assessing, treating, and trying to do your best to learn when there was a particularly bad patient. Time moved by in a blur, but your mind was painfully aware of every patient that you had treated, all the blood, all the pain, all the tragedy.

—————————————————————————

“I’ll go get you a blanket,” You smiled reassuringly to your patient as you made your way to the Pedes room.

You had heard Dana and Abbott and a few others had been looking for Dr. Robby, whom you hadn’t met yet but knew sooner or later would meet tonight.Ellis walked towards you as she headed to the yellow zone. She looked tired but so did you all at this point. 

“Hey, if you're heading back to Red, can you try and find Dr. Robby? Abbott’s looking for him,” she said, not slowing her pace.

“I don’t know what he looks like,” You called after her, puzzled.

“Tall, moody, and sad eyes,” she threw over her shoulder without turning. Leaving you with more questions.

——————————————————————————-

You gave the security guard a small smile when you walked into Pedes, sighing at the room and what it had become - you hadn’t noticed yet that aside from the deceased patients, there was someone on the floor in tears.You stood there for a second, frozen and unsure of what to do. Slowly, you chose to close the curtain behind you, giving him a small amount of privacy, making sure the view into the outside hall was blocked. 

You moved slowly to avoid startling the man in front of you, he sat against the wall with arms wrapped around his knees, gripping a necklace and reciting a prayer that sounded familiar to your ears.The Shema. You'd heard it during morning services in your teenage years and well into adulthood.You crouched down slowly and knelt in front of him, you didn’t make any moves to touch him, and began softly praying along.His breath caught in his throat, but his sobs and prayers continued. He lifted his gaze as you met his red rimmed eyes with a sympathetic smile, his face scrunched with confusion, you could tell he had been crying for a while.You found yourself at a loss on what to say - you hadn’t met him before, so you weren't sure how to help. she noticed his badge then, poking through the bloodied scrub. “Michael Robinavitch, MD”

Dr. Robby.Realisation hits you then that you had found him in what some would say his most vulnerable state.“I don’t know much of what you’re going through right now at this moment,” you began quietly. “But I do know that today has been brutal, and I know that I’m probably the last face you would want to see since you don’t know me and I don’t know you. But know that all I see is that you have done your best tonight, and although it feels like a losing battle, you’re still here. So if you need this time to process, then that’s okay - we all deserve a moment of peace”You slowly stood offering him your hand. He took it, and you helped steady him as he stood. You locked eyes again, and you smiled as you turned to head to the shelf and grab a blanket. You turned around with a blanket in hand, “I’ll see you out there,” offering one last warm smile as you disappeared behind the curtains. Once you closed the door, you let out a long exhale and made your way back to your patient.

After apologising to your patient for taking so long, you noticed Ellis was looking at you with a worried look.“You good, Williams?” she asked 

“Yeah, I’m okay - just tired, that’s all”, you said quietly, brushing it off.

“Did you end up finding Dr. Robby?” Your movements stopped for a split second before you forced a small apologetic smile and shook your head.“I couldn’t find him. Sorry” 

—————-

Apologies in advance

[sentient-stove]

annabeth refusing to take the sky to help her stepbrother who’s already suffered through 48 hours of mindless agony but not hesitating in the slightest when percy frees artemis. immediately sprinting over and kneeling next to him to share the weight of the world because he’s her best friend and she’d do anything for him

matching grey streaks in their hair, the same amount of torn ligaments in each shoulder once they’re free and atlas is imprisoned again. and then you pan to a leo with bruise blackened fingers and tremors with none of his original hair color remaining, only the bone brittle white. what then, how are either of you supposed to go home. (and you can’t, that’s the thing. home isn’t safe you have to go and train and actually immerse yourself in a world you never wanted to be part of)

grinding my teeth together everytime I think of a new au what do you mean I can’t write siblings annabeth and leo where leo’s foster mother married fredrick chase and annabeth assumes she’s being replaced even though leo just wants a sister ahhhhhhh