#Formatting Tools

[shadowgast-recs-weekly]

Reccing Blog Tools

I figured now would be a good time to share what we use to make posting recs each week less of a pain in the hopes that people will copy what we do here.

THE SHORT VERSION: Google form -> Google Sheet -> Mail Merge to a markdown format -> copy and paste to tumblr.

The long version is long mostly because the google suite doesn't have native mail merge, so I wrote my own. Plus some small formatting/fiddly bits.

There's four documents involved:

1) A google form. Here's a copy of what I use. But honestly, this part feels pretty intuitive.

2) A google sheet with all the responses. Here's a clean, commented copy of what we use. I'm storing all of themes and a script to execute the mail merge. This is the one that's got all the bells and whistles in it.

3) A google doc with whatever formatting you want to use. Here's a copy of what I'm using. If you're doing mail merge a different way, you might not need this one.

4) A second google doc that's going to hold the output from the mail merge. It's a blank google doc. Just open up a new one and save it something you'll remember in the future. (used for mail merge, might not be needed if you do it a different way).

Okay, what's this about mail merge?

So the mail merge is used to help save a lot of time with formatting - by taking the responses in the spreadsheet and plopping the information as specified in the formatting document above (3).

I'm usually a word user, so I didn't realize that mail merge isn't really a thing in google docs. There's extensions that you can do to use mail merge, but a lot of them seemed to be assuming one would be using mail merge to send email, so I thought it'd be faster for me to just write my own version. It's in the spreadsheet, under the tab that says 'script'. Feel free to use an extension! It'll work just as well.

Note: You'll have to copy the script into the google sheet (under extensions). The first time you try to run it, google will send you a warning that this is an unverified script - go under advanced options and then read the fine print at the bottom. If it makes you feel any better, here's a youtube video that explains the entire script from start to finish.

So what are the actual steps?

Put this week's theme in both Question 1 of the google form and Themes!F2 in the google sheet.

Send out the form, let people do recs

Go over to the formatting tab on the google sheet. Make any changes needed.

Run the mail merge script.

Open a tumblr post, click on the gear on the top right and make sure the text editor is in markdown.

Paste what's in the second google doc (doc #4 above) into tumblr.

Preview, add graphics, tags, post

Choose the next theme from Themes!C3 and we're back to #1

So go forth! Make your own! Improve on this, and make it work for your own communities!

Special thanks to the reccers on AiFL who submit recs every week, and @professor-rye who does the graphics, as what they do on a weekly basis probably takes more time than running this every week.

[leftluminarytragedy]

 Mugafi: Revolutionizing Screenwriting with Cutting-Edge Software

In the world of screenwriting, creativity and efficiency are paramount. Mugafi, a leading name in screenplay software, is dedicated to empowering writers with tools that streamline the creative process, allowing them to focus on crafting compelling narratives. Whether you're a seasoned screenwriter or an aspiring storyteller, Mugafi offers a robust platform designed to meet your unique needs.

Seamless Writing Experience

Mugafi’s user-friendly interface is designed to provide a seamless writing experience. The intuitive layout allows writers to dive straight into their work without the distraction of complex menus or cumbersome tools. With Mugafi, formatting your screenplay to industry standards is effortless, thanks to its automatic formatting feature. This ensures that your script is always polished and professional, adhering to the stringent guidelines expected by producers and studios.

Collaborative Capabilities

Collaboration is at the heart of the film industry, and Mugafi excels in facilitating teamwork. The software’s real-time collaboration feature allows multiple writers to work on a single script simultaneously. This fosters a dynamic creative environment where ideas can flow freely, and revisions can be made instantaneously. Whether you’re working with a writing partner across the room or across the globe, Mugafi keeps everyone on the same page.

Comprehensive Toolset

Mugafi comes equipped with a comprehensive toolset designed to support every stage of the screenwriting process. From brainstorming and outlining to drafting and revising, Mugafi has you covered. The software includes a powerful story mapping tool that helps you outline your plot, develop characters, and structure your scenes. Additionally, the built-in notes feature allows you to jot down ideas, track changes, and keep your thoughts organized.

Advanced Analytics and Feedback

Understanding how your screenplay resonates with readers is crucial. Mugafi’s advanced analytics provide insights into your script's readability, pacing, and overall structure. The feedback system enables you to receive constructive critiques from peers and mentors, helping you refine your screenplay and elevate your storytelling skills.

Integration and Export Options

Mugafi understands the importance of flexibility and compatibility. The software seamlessly integrates with other writing and production tools, making it easy to export your screenplay in various formats, including PDF, Final Draft, and Word. This ensures that your script is ready for submission or further editing in your preferred software.

Secure and Reliable

Security is a top priority for Mugafi. The platform ensures that your work is protected with robust encryption and secure cloud storage. You can write with peace of mind, knowing that your creative ideas are safe and accessible anytime, anywhere.

Conclusion

Mugafi is more than just screenplay software; it’s a comprehensive solution designed to enhance your creative process and bring your stories to life. With its user-friendly interface, collaborative capabilities, comprehensive toolset, advanced analytics, and secure environment, Mugafi stands out as the ultimate screenwriting companion. Join the community of writers who trust Mugafi and take your screenwriting to the next level. Write your masterpiece with Mugafi today!

READ MORE...AI Story Generator Tool Script Screenplay Writing software Mugafi

[blueskittlesart]

i hope everyone in nintendo’s management department dies and goes to hell no matter what and i’m not kidding

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[sharingknowledgewithmouli]

Efficiently Split Names in Excel: Using Text to Columns, Flash Fill, or Ctrl+E

Efficiently Split Names in Excel: Using Text to Columns, Flash Fill, or Ctrl+E

Do you struggle with splitting names in Excel? Are you tired of manually separating first and last names from a combined cell? Look no further! In this short tutorial video, we’ll teach you how to use two built-in Excel tools – Text to Columns and Flash Fill or Ctrl+E – to quickly and easily split names. We’ll guide you through the process step-by-step and provide helpful tips for handling more…

[10yrratiolover]

giving my thoughts and ideas on Ratio's character stories

I wouldn't call this much of an analysis but we'll see how it goes

Starting out with his first character story, most of it is Professor Rond's recommendation letter.

I'd like to start by sharing my thoughts about Ratio and Rond first before actually getting into dissecting the letter itself.

So, firstly, I'd like to mention that (to my knowledge) we have never heard of or from Ratio's parents. I find that ironic considering what a big shot he is, I doubt that his parents would ever willingly shut up about their son.

Reading that Rond had a 'significant influence on Ratio's upbringing' particularly stands out to me because, at least at the time of the original letter being written, Ratio was in secondary school (Grade 9-12, though some of the wording in the letter lead me to believe he was likely on the lower end of that range).

Now, a high school teacher having a 'significant influence' on someone's upbringing isn't necessarily uncommon, nor are old teachers proud of their past students becoming extremely successful. However these points, alongside the fact that Ratio's parents are nowhere to be seen in canon, lead me to believe that there was some sort of familial relationship between them, especially seeing Rond's reaction to being asked about Ratio as well as how he had kept the original letter.

Moving on to the actual letter.

Grade skipping is a pretty common practice where I'm from, as it allows learning at the appropriate/needed level (ignoring the fact that the school system is in shambles).

However, the way this is phrased is as if Rond were trying to convince him to be able to skip grades. If he were in grade 11 or 12 I feel like it would not have been phrased this way, which is what leads me to believe he was likely younger, possibly fresh out of middle school.

The highlight on creativity is just because it makes me smile honestly, also it ties into one of my earlier posts about how I think Ratio would adore the subject of art.

I would like to return to my point of Rond being a potential parental figure to Ratio, seeing as he seems to know his daily routine well enough to confidently write about it in his letter of recommendation.

On to his second character story, which is mostly online posts in a thread-like format.

It wasn't until his eighth doctoral degree that he was awarded with First Class Honors, also since he is the first person to receive such in two amber eras it means he was likely the only one on stage at that time.

It also states that at the time he was already a prominent figure in society, which doesn't surprise me given the accomplishments listed by Rond in the letter despite him being in high school at the time it was written. However, he would most likely be an adult by the time he finished his eighth doctorate.

No real comment on this I found it funny that they put etc instead of continuing to list fields.

I also just find these funny and wanted to share them, but the disagreement on the last comment shows how much people admire him. I feel like that's a topic that's rather watered down in the fandom, but people genuinely admire Ratio a lot and there's plenty of reason for them to.

full-time university teachers tend to teach about 5 courses per academic year, meaning Ratio has been teaching for about 10 years.

Moving onto the third story, which is a statement from a former assistant of his about his desire to join the genius society.

I find this to be an interesting point, it seems like joining the Genius Society would be an obvious next step for a man with so many accomplishments but it's stated not once, but twice that he has never spoken about the subject (to the public at least).

I am a believer in the theory that Ratio hasn't been allowed into the Genius Society due to his humanity/compassion and his desire to spread knowledge to everyone, and I feel like this specification that he's never spoken about the topic could add to this theory.

This paragraph never fails to break my heart, but I do want to talk about the mention of an anti-planetary weapon. I feel like this Anti-planetary weapon that he spent years perfecting was a final attempt at proving to Nous that he wasn't too compassionate or too humane to receive their gaze. I remember reading about this idea more in detail elsewhere and if I can find the analyzation then I'll link it here.

Also, I feel like deep down he always knew that he wouldn't be accepted into the Genius Society, but this day, as Margaret states, was the day he finally realized it, or, fully swallowed that pill.

I find these comments to be interesting as well since they specify the narrow-mindedness of the society however, there is this comment from the Data Bank;

This comment I admittedly stumbled across when looking for something else, but I feel like it perfectly encapsulates Ratio's entire dilemma with the Genius Society, maybe not to Ratio himself but it certainly applies to everyone who comments on his achievements being worthy of Nous' approval.

I am also quite curious about who exactly wrote the 'Decoding Dr. Ratio' that we have read from in all of his character stories. They seem to have a lot of connections for someone who would typically be seen as just another paparazzi or media interviewer, I'm surprised the people listed in his stories would agree to an interview.

Onto his final story, which is about his personality and methods of sharing knowledge.

I mentioned this comment in my character notes post but I find it extremely charming that Ratio remains the same and refuses to change himself or his personality to satisfy those around him.

It is also commented in his second character story by a previous professor of his that his honesty and straightforwardness were a 'Breath of fresh air' at the University.

I love the implication that either; nobody in the entire room had any questions (unlikely), or that they were simply too scared to ask them.

I also find the comment that 'Whenever someone agrees with me, I feel like I must be wrong.' Perhaps he's gotten used to being the only one thinking the way he is or the possibility that people only agree with him so they sound intelligent themselves and weren't truly listening or understanding.

I find these comments interesting as well, a majority of the fandom mischaracterizes Ratio as mean or rude although he literally explains his viewpoints where anyone can access it (which does honestly prove his point about how knowledge is not for everyone.)

[freylaverse]

I played a game with eleven fools who told me not to break the rules But when have angels ever helped me yet?

[squish--squash]

poem + art of all the life series winners so far! I'm so happy scar finally won!!

[cuties-in-codices]

Where do you find these manuscripts? Is it like a website or do you find it randomly??

hey, thanks for the curiosity! lenghty answer below the cut :)

1)

medieval manuscripts are typically owned by libraries and showcased on the library's websites. so one thing i do is i randomly browse those digitized manuscript collections (like the collections of the bavarian state library or the bodleian libraries, to name just two), which everybody can do for free without any special access. some digital collections provide more useful tools than others (like search functions, filters, annotations on each manuscript). if they don't, the process of wading through numerous non-illustrated manuscripts before i find an illustrated one at all can be quite tedious.

2)

there are databases which help to navigate the vast sea of manuscripts. the one i couldn't live without personally use the most is called KdIH (Katalog der deutschsprachigen illustrierten Handschriften des Mittelalters). it's a project which aims to list all illustrated medieval manuscripts written in german dialects. the KdIH provides descriptions of the contents of each manuscript (with a focus on the illustrations), and if there's a digital reproduction of a manuscript available anywhere, the KdIH usually links to it. the KdIH is an invaluable tool for me because of its focus on illustrated manuscripts, because of the informations it provides for each manuscript, and because of its useful search function (once you've gotten over the initial confusion of how to navigate the website). the downside is that it includes only german manuscripts, which is one of the main reasons for the over-representation of german manuscripts on my blog (sorry about that).

3)

another important database for german manuscripts in general (i.e. not just illustrated ones) is the handschriftencensus, which catalogues information regarding the entirety of german language manuscripts of the middle ages, and also links to the digital reproductions of each manuscript.

4)

then there are simply considerable snowball effects. if you do even just superficial research on any medieval topic at all (say, if you open the wikipedia article on alchemy), you will inevitably stumble upon mentions of specific illustrated manuscripts. the next step is to simply search for a digital copy of the manuscript in question (this part can sometimes be easier said than done, especially when you're coming from wikipedia). one thing to keep in mind is that a manuscript illustration seldom comes alone - so every hint to any illustration at all is a greatly valuable one (if you do what i do lol). there's always gonna be something interesting in any given illustrated manuscript. (sidenote: one very effective 'cheat code' would be to simply go through all manuscripts that other online hobbyist archivers of manuscript illustrations have gone through before - like @discardingimages on tumblr - but some kind of 'professional pride' detains me from doing so. that's just a kind of stubbornness though. like, i want to find my material more or less on my own, not just the images but also the manuscripts, and i apply arbitrary rules to my search as to what exactly that means.)

5)

whatever tool or strategy i use to find specific illustrated manuscripts-- in the end, one unavoidable step is to actually manually skim through the (digitized) manuscript. i usually have at least a quick look at every single illustrated page, and i download or screenshot everything that is interesting to me. this process can take up to an hour per manuscript.

---

in conclusion, i'd say that finding cool illuminated manuscripts is much simpler than i would have thought before i started this blog. there are so many of them out there and they're basically just 'hidden in plain side', it's really astounding. finding the manuscripts doesn't require special skills, just some basic experience with/knowledge of the tools available. the reason i'm able to post interesting images almost daily is just that i spend a lot of time doing all of this, going through manuscripts, curating this blog, etc. i find a lot of comfort in it, i learn a lot along the way, and i immensely enjoy people's engagement with my posts. so that's that :)

[twoseparatecoursesmeet]

Living Room Work Shop, 1950s

[ll-underestimated-ll]

This prompt been doing the rounds on tiktok- only the trauma started before his sire found him so this is just 'before embrace -> modern day'

[wip]

any chance of bringing back small text & horizontal line in posts? i know those are more work to maintain but they're very useful formatting tools

Answer: Hi, @skysometric!

We shall address your question in two parts here.

Good news. Small text is supported! Simply write some text in your draft post, highlight it, and select the “Small” icon from the list (it will look like this: <s>). You can see what this looks like as a draft in the screenshot below.

As for horizontal lines, we hear you here. You are right on both counts –while they are more work to maintain, they are also useful formatting tools. So we can maybe someday, but we can not say much more than that at present.

Thanks for your question, and keep 'em coming, folks!

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[pixiecaps]

i need to rewatch bagis qsmp pov some day cause im not kidding i think shes one of my favorites outta all of them. she comes in at such a bizarre time and the way she gets into the story is fascinating and her dynamics with the other islanders aaaa. she has a great pov. one of the best additions to the qsmp ever

[mymarifae]

that hsr chat site is fun

[beechersnope]

Wild Dream Come True

Christian/Max (Past Christian/Seb), 1645 words

Warnings/Tags: major dubcon, grooming, drunk sex, anal gaping, fisting, loss of virginity, possessiveness, power imbalance, age difference, painful sex

***

Seb was twenty-one years old when he won his first race for Red Bull. Max is eighteen.

That matters, somehow, to Christian. He’d thought he would have more time to take Max under his wing, get him used to the idea of warming his bed, break through the hard shell that Jos had built up around his boy to keep him cut off from the pleasures of the world.

It turns out not to matter. One purposeful touch from Christian—a hand on the inside of Max’s thigh under the table at the team dinner, nice and public so he won’t make a scene—is all it takes to crack him like an egg.

Max is hard almost immediately. But Christian makes him wait. And after, when he has a half-drunk Max alone in his hotel room: Christian makes it worth it.

“Have you ever done this before?” Christian asks as Max lies on the bed, staring up at him blearily as Christian takes his time peeling Max out of his sweaty clothes.

Seb had never known the touch of a man before Christian had taken him that night in Shanghai. He’d been tight, but had acclimated surprisingly quickly to the feeling of a hard cock inside him, giving back just as good as he’d gotten by the end. Christian doesn’t think Max will do the same.

“No,” Max says, shaking his head slowly as a blush creeps down his face, deepening the already bright pink spots on his cheeks. “Never, I’ve—I haven’t. With anyone.”

Those words course through Christian like an electric current. It’s all he can do to keep himself from tearing off the rest of Max’s clothes and fucking into him right then and there. That isn’t what Christian has planned for him—at least not yet.

“Oh, my darling boy,” Christian says as he reaches up to cradle Max’s cheek, soft and gentle.

Max leans into the touch, always so eager for everything. Wins. Approval. Love.

Christian can give him all three.

“Get on your tummy for me?” Christian prompts once he has Max naked and spread out in front of him, his thighs loose and open revealing a half-hard cock already leaking precome, so wet already that Max must have been aching in his jeans for hours. “It’ll be easier that way.”

He doesn’t tell Max what he intends to do. He doesn’t want to give him the opportunity to say no.

With Seb, Christian had made mistakes. He’d sucked Seb off first, fingered him open sweetly, and then made him come again on Christian’s cock while Seb rode him, letting Seb control the pace, the force, the depth. Seb had learnt what he liked from the encounter—and what he didn’t. They never slept together again in all that time that Seb was with Red Bull, even while rumors reached Christian’s ears that Seb was slutting it up with nearly half the grid by the end.

So no, Christian isn’t going to make Max come before he opens him up. He doesn’t even really care if Max comes at all. That isn’t what this is about. Pleasure was never the point.

Max—sweet, obedient, and a virgin—rolls onto his stomach without complaint. He drags his cock against the sheets, leaving it hanging down between his legs instead of tucking it against his stomach. Maybe he thinks that’ll tempt Christian into touching him. Or maybe it’s just that Max doesn’t realize he won’t even be able to hump the bed like that, won’t be able to get the friction he really needs when it matters the most.

Good, Christian thinks to himself before turning around to get the lube.

Christian isn’t stingy about slicking himself up. Not that it matters. Christian could use the whole bottle and Max still wouldn’t be able to sit down the next day. Might not even be able to walk. It’ll make the plane home hell, and his next race might even suffer as a result, but it’ll be worth the temporary loss in points over the long term.

Christian knows when he has a champion in the making. He might have fucked it all up with Sebastian, but this time, he’s not about to let Max slip out of his grasp.

“It’ll hurt,” Christian tells Max. “Did you clean yourself like I asked?” He’d sent Max up to the hotel room first; given him detailed instructions for what he needed to do with the items he’d left in the bathroom.

Max nods against the pillow, leaving a spit-damp mark against the fabric.

“Good boy,” Christian says, smoothing his left hand against the small of Max’s back. He’s slender now, still very much a teenager, but Christian can already tell he’ll grow into his body, put on weight he won’t be able to cut like the others—fit, muscular, but with softness clinging to his chest, his thighs, his hips.

Christian wants that. He wants to insure that even a Max in his prime will still be lying in Christian’s bed with his legs spread. Open, loose-limbed, hard and wanting. Ripe for the taking.

Max allows the first finger inside him with little protest. He barely reacts, the wine dulling his senses, slowing his reflexes. It’s not enough, yet, to hurt.

The second garners a muffled sound of protest. Christian keeps going, fucking into Max slow and steady with two fingers for as long as he can stand it, waiting until Max settles down again before pulling out entirely to press in a third.

“Hurts,” Max finally says, and Christian can see that between his legs, Max isn’t hard anymore.

“It’s all right,” Christian tells him. “You’re doing so well for me. Just relax.”

Christian can tell that Max is trying hard not to cry. He feels prouder than he’s ever been. The way Max is letting him inside despite everything in his body rebelling against it feels even better than the win.

Christian waits until Max is hard again before really starting to fuck Max with his fingers, digging in deep with Max shuddering around him, pulling at the rim of his hole until his body finally gives up, stops fighting back. Then Christian squeezes in his pinky, and Max screams.

“You can take it, darling. I know you can.”

Christian doesn’t pull his fingers out even as Max writhes underneath him, too overwhelmed to really get away from what Christian is doing. Christian is happy he didn’t have to tie Max up for it, glad that he’d been right all along about what his darling boy could handle. He is doing well, better than Seb would have done if their positions were reversed, and maybe that was the real reason that things had never worked out the way Christian had hoped.

Max is perfect. And Max is his.

“Just a little more,” Christian tells Max with a soothing hand running across his back. “You’re almost there.”

Max’s rim stretches wide around the breadth of Christian’s fingers, white where the pressure has temporarily forced the blood out of the capillaries, swollen and red everywhere else. Christian can feel Max trying to force him out, but he fucks him through it, waiting until Max finally stops squirming before resting a hand firmly against the center of Max’s back so he can’t shy away from what he really needs.

“Deep breath, love,” Christian whispers. He waits for Max’s ribs to expand under his hand before pressing down hard, pinning him to the bed as he folds in his thumb and pushes.

The sound that emerges from Max’s mouth as Christian’s hand slides inside him to the wrist isn’t human.

The breath gets sucked out of both of them. Christian’s mouth goes dry as he realizes what he’s accomplished. Max, who has never been touched before this by anyone, has now been irrevocably transformed. The memory of the first time he’s ever been fucked will always be this: Christian’s fist inside him, stretching him open, remaking him anew.

It doesn’t matter now who Max takes to bed in the coming years. It will all be a pale imitation of what Christian did first. Even if this is what Max decides he wants from someone else, it’ll only be because Christian is the one who taught him to want it.

“Can you feel how well you’re taking me?” Christian asks, voice full of wonder.

Max tries to answer, but the garbled noise that comes out doesn’t resemble either English or Dutch.

Christian feels like Icarus as he carefully makes an attempt to press in even deeper. He stops when Max jerks hard against the mattress, almost dry heaving against the pillow. Christian doesn’t want to break him. Not entirely.

This isn’t about ruining Max. This is about reshaping him.

When Christian finally pulls out and sees the gaping void he’s created, it feels like another victory. He presses his fingers along the edges of Max’s hole, treasuring every muted whimper as he strips his own cock fast and hard. He has to make this official, after all.

Christian comes with all the force of a popped bottle of champagne, painting Max’s insides white and watching it drip down inside him, where it belongs.

He climbs in bed after, cradling Max’s tear-stained face against his chest and stroking his soft blonde hair until finally, Max drifts into a blessed unconsciousness, free for now from the ache between his legs that Christian had bestowed upon him like a sacred gift.

Christian waits until Max’s breathing slows, deepens, before reaching down again to press four fingers into Max’s hole. He’s pleased to find it still wide and gaping, the muscles fluttering weakly against the strength of his hand, unable to resist when Christian tugs experimentally, wondering just how long he can keep Max like this.

Perfect. Open. His. Forever.