#The other option is someone he's experimenting on who's either a. naive and captivated or b. just totally into it and devoted to the cause

[syringia]

listen one day I'd love to ship Viv with someone but he's so difficult to work with that I have many doubts it'll ever actually happen. that being said the thing I want to see most is a ship where him and the other person involved are both convinced they're manipulating the other person in some sort of villain cat-and-mouse game

or, basically,

[yconic]

"Divorce is a special kind of pain. It's like death without a body, " is what they say when two halves of a whole heart separate.

Tony never understood when he was younger, never extended the notion of two people who gifted each other to eternity in union splitting up beyond 'Just not talking for a bit.'

He looked at it from a small perspective belonging to a small person, as if the people in question were just two good friends who couldn't decide on what game to play, hurt each other, and needed space.

His parents had done it more times than he cared to count. The frigid silences and artificial prompt politeness between the socialite power couple Howard and Maria Stark could last for two days, or two months, depending on how deep the issue picked out that time ran.

Tony sat straight as he watched the clock tick away, dutifully counting the hours that would bring Maria closer to home from whichever elicit travel affair she filled her time with while Howard closes himself into his workshop, stewing in anger and bitterness that leak out from the door he's not permitted to trespass.

He learns to measure the gravity of their squabbles, - If it's a small argument, Maria picks Germany, France, or Spain. She sends a letter stating the duration of her stay. She sends Tony well wishes, with a touch of formality for a mother, and her name is elegantly plastered on the bottom in cursive.

When Howard fucks up, she picked China, Britain, or Italy, and she disappeared from the earth until she emerged at her like. Howard is Howard, - the relationship between him and his son was too cold for Tony to tell how his father was like without the disdain gleaming in his eyes, but the liquor cabinet always needed at least a daily refill after a spectacular drama.

He looks back at those moments and realizes, with a shade of pity coated in something more sour, mellow but active, that divorce was never an option for them, the cycle of co-dependency and maintaining legacy had to be kept no matter how demanding that task was.

He can't bring himself to be angry when he feels so bad for them. All that money, and they couldn't buy a second of peace.

It doesn't take long for him to realize his parents don't love each other.

Tony was young, but he was never a child. He was naive, gullible, innocent, - but he was awake. While he didn't clearly understand what love was, he looked at the unhappy frowns on the miserable faces of the pair and thought: 'If that's how love looks like I want no part in it.'

He doesn't love people for more than one night, - A full week if their company was good enough to distract him from the rich golden color of his whiskey that gradually tastes bitter, and more bitter every time. It's not love, he knows, - He keeps that special for his family. But the kind of feeling he has with strangers, with nobody's with a name, resembles what he knows of love too much for him to change meaning.

He won't know how "love" feels like. He refuses to be the caged bird his mother was, to take form in the monster Howard let himself become.

Then, life gives him Steve.

He nests into Tony's life like a storm with skin, hair kissed by sunshine and eyes filled with an ocean that the brunette longs to sink into. He has a boyish charm to him, an old soul that swoops Tony off his feet. It makes him want to slow down, even if he belongs to the future, to activity, to progress. He wants to sit and listen to the stories Steve has, told in a Brooklyn swird that gives character to every word.

Steve looks at him like Rhodey told him all people should look at him. 'Like they can't see the status, or the money, or the power. Like they just see Tony, and nothing more. Because Tony will always be enough. ' Steve looks at him like he hangs the moon for him.

Tony never stood a chance. He looked at Steve, and thinks: "Oh, shit. He's It for me."

He just knows that this one, this Captain, decorated to the teeth, hiding in awkwardness at this petty mingling, social climbing Gala, lowering himself at the bar because he didn't know anybody, was made for him. And if Steve clings to Tony the whole night, he agrees with the parallel drawing out on his part.

He doesn't leave Tony's side, arm snug and comfortable around his middle like they've known each other for longer than time itself, and Tony loves it more than he has the courage to say.

Steve looks at him when the epilogue of the night strikes, too soon for either of their likings. He's tall, broad-shouldered, strong but has the softest eyes in the world. It hurts Tony to arch his neck to stare, but he doesn't want to miss a thing. "I've... I didn't laugh like that since I was in tour. You made my night, Tony."

"It's nothing, -" Because it really is. Considering the sins to his name, the least he can do to atone some mistakes is make as much people as happy as he can. And Happy is a great look on Steve.

He does learn one thing: When Steve says something, it stays how Steve says it. "No, its everything, Tony. I didn't smile once since coming home, " he croaks, like the confession pains him, and Tony aches alongside him. "Everyone is worried about me, saying that, that I seem upset, or sad, or just, never happy anymore, but how else am I supposed to feel?"

"You can't let others tell you how you feel, " Tony soothes, without thinking, a hand softly brushing against Steve's cheek. A frisson zaps through him at the feeling of the soldier's stubble spiking his skin. Steve leans into his touch like it's the most normal thing in the world. Tony's heart grows. "It's not even in your control, so why should it be in theirs? " He understands how Steve feels. More than the world would care to listen.

"Exactly. So, if it's not too much trouble, " his shyness compliments Tony's smitten. "Would you mind making me smile again?"

Tony is, utterly, indubitably, irrevocably, without a shade of doubt, fucked.

He smiles anyway. "You know, soldier, I think I could pull some strings."

---

Their love is like rain in June. It's mellow and distractingly peaceful, makes their worry and everything that ever went wrong scarce away. They can breathe around each other even when they feel like drowning. For once, Tony feels like it'll be okay.

But Life decides to do what it always does when Tony finds something good. It takes, and it takes, until there's nothing.

Steve tells him about Bucky. About the fallen brother that vanished in the mission that stole everything for Steve. "Only one soldier fell off that train, but two died that day, " God, Tony is so worried when Steve talks like that. "It should've been me. I wanted it to be me."

Tony listens and he pictures Rhodey falling. Steve loved Bucky in ways he couldn't even hope to understand.

It turns out, Death is not something so permanent after all.

It's a lovely night for them when Steve gets that call. He's wrapped around Tony and holds him in his arms as if he'd rather go to war again than let him go and Tony's heart never beat so loud for anyone. He would have never let Steve answer if he knew that phone call was the beginning of their end.

Bucky's alive again, is reborn from snow and war and ashes. Broken, but alive. Held captive by terrorists and is unmade, undid, but still alive. Everything around Steve is lost after that.

Tong gives him space and resources, help, support, he gives everything to Steve like on their wedding day. He gives him his care and gentle hands and soft words and love with a heartbeat. And Steve is just... Too preoccupied looking at Bucky to notice. Tony feels like a selfish bastard for wanting his soldier to look at HIM instead of coddling his friend at every moment notice.

He wants Steve to stop suffocating Bucky when he already looks like he's just inhaling instead of breathing.

He wants his husband back.

That's why he deserves what's coming to him. That's his punishment.

They drift apart slowly, as most terrible pains start.

Steve starts spending more and more time around the mental help facility Bucky asked to be enlisted into after his hasty return that had everyone clutching at their pearls. He wants to do it alone, Tony figures easily, starves for a journey he wants to walk himself, for the kind of autonomy only a man who lost it for too long craves.

His bitterness aside, Tony marvels at how similar they are. Maybe In another life, he and Barnes would've made a handsome pair of kindred souls.

Steve doesn't agree. He looks sickened, struck even, at Tony for having the Gall to suggest maybe Barnes would be more responsive if he talked with someone who had mirroring experiences. "God, Tony, you don't... You're not a soldier. You're just a man. You've been through pain, sure, but not like Bucky. No one went through what he did. I'm honestly speechless you ever thought you could compare."

Steve says that, it's why it hurts so bad. The man who swore he'd walk back into the hellfire of war just to find the people who hurt Tony and tear them apart.

The man who couldn't be moved by anything. No nightmare, no night terror, no panic attack, no argument. Nothing convinced Steve to leave. He stayed through it all.

The man who cried relentlessly when Rhodey walked Tony down the alter because 'He couldn't believe how lucky he was to marry someone so beautiful.'

The man who hasn't written Tony a love letter every morning like he used to do in over a year.

The man who spent more time sleeping in hospital rooms than in their bed.

The man who used to not go even one day without saying "I love you". Tony can't even remember the last time this sentence was spoken between them unless he said it first.

The man who agreed to couple therapy, then acted like it rained the next day.

Tony would will himself to shove this under the rug. To put a blind eye to it, to make it work, to ignore Rhodey's disapproval and Pepper's warm worry, to push away the pain blossoming in his chest, threatening to overspill.

But this man adopted a child with him.

---

"That one" Steve points to a small boy, thin but sturdy-looking even in the hand me downs from the orphanage, short limbs supporting a mess of brown hair that looks impossibly soft. His eyes are big and kind. Tony wants to take him home and feed him. "That one's ours."

His name is Peter, and he got into a fight with older kids when they wanted to stomp on ladybugs. He pushes back, but not unkindly. He's no bully. Instead, he takes the time to teach them why disrespecting and hurting nature is wrong, then takes their hands into his own, playing with the tiny creatures for hours.

Tony falls in love immediately. "Let's bring him home, Cap."

---

He can't do it. Tony can't look into Peter's adoring eyes, wide and brown that feel more like a mirror than anything, and see the fear he had for Howard, or the sadness for Maria. Tony can't handle looking at the love of his life and see another him.

Steve is Peter's role model. His knight in shining armor, his protector, everywhere he goes he sings praise to anyone who cares to listen. About his fearless father, his heroic antics that seem so tall for him. "My daddy's a superhero!" Tony doesn't have the heart to take that away.

And Tony loves Steve too much to see him become Howard.

So when Steve misses their son's 5th birthday party because he had more pressing business in D.C, Tony realizes bitterly, there's no saving this. People labeled him as a mechanic, a futurist, but he feels unworthy of both when he couldn't fix or foresee this.

There's no coming back from this.

Natasha doesn't voice it, but she doesn't need to. She tucks her phone away after a third failed attempt to coax, threaten, and guilt Steve into joining them, with muted movements, and Tony can tell she agrees.

Tony's grin is too wide when he looks down at Peter when he drags him off to paint his face, unaware of his father's turmoil. He laughs. He smiles. He celebrates. He has a nice day with his family.

He pulls Pepper aside and asks her to prepare his lawyers in the same breath.

This is why Tony knew love wasn't made for him.

---

Tony's always been good at hurting himself. The more pain he inflicts on himself, the less it'll hurt when someone else does it. So he unpacks the stash of letters he kept locked away in a seif, because they're prized to him, more than any sleek car or company, and reads them before he burns the bridge.

They feel like warm kisses and goodbyes.

'Left for a grocery jog, ran out of coffee. It's supposed to be cold, so don't you even think about leaving the house without a jacket! I'll know. Take care of yourself, even when I'm not there. '

' I love waking up next to you every morning. I love how you hide from the sun in my chest. I love how grumpy you are when Pepper calls for updates and all you do is cuddle me and whine. I love your messy bed hair and how you fall asleep in the shower.

'I never cared for jewelry before but seeing my ring around your finger never gets old. I still can't believe you said yes, but I'm glad you did. You deserve more, but you settled for someone like me. I can't believe it when you say no one would want you forever, I hate that someone made you think like that, that they let you go, but their biggest mistake is my biggest win. Jokes on them.'

'I can't imagine my life without you. Its all radio silence and broken static. Like an artist with a blank canvas and grey paint. You're the best damn thing that ever happened to me, and the fact that I have you means there really is someone up there looking our for me. I'm never letting you go. I love you, I love you, I love you, '

Tony stains the paper with tears as he listens to the song of heartbreak in his chest.

---

"Nat, " Tony pleads, choosing not to look at the tremor in his hands as he neats the papers he wants to see burn. "There's no need for that, come on. You know I love you, but I'm a big boy. I don't need you to hold my hand for this."

Natasha shrugs. "Indulge me."

"He wouldn't do anything to me."

"I thought there were lots of things he wouldn't do. Like stop loving you, for one, " she doesn't mean to be a jab, but Tony strokes his right arm and lets the hurt wash off. He sometimes forgets how blunt and terrifying Pepper's wife is capable of being. "Being paranoid is worth being safe."

They find Steve in the kitchen, sitting stiff and unfamiliar as if he didn't design the place himself. Tony swallows down the pressure in his throat and forces his eyes to stay dry. He wants to rest his hands on Steve's shoulders and pepper the lines of laughter on his flushed face with kisses.

But they're behind that now.

Steve raises his eyes to look at him. He's tired, run-down, missing the spark Tony marked as one of his favorite traits of the blonde. The life wasted from them, telling Tony that he's surviving, but not living.

Tony looks at him back and his eyes say, 'Me too.'

Steve's mouth twists into an imitation of a smile, tries his luck at mimicking something of the reassurance and ease variety, to hide his emotions with a mask of cracked peace Tony undressed a million times, just as Steve undressed his. He's always been good at reading the man. Or, was.

Steve's eyes fall on the documents Tony's holding with his naked hands, no ring in sight, and Tony watches something die in him.

The room drowns in silence for a while.

Natasha stands as a loyal shadow at his side, silent but sharp, hands folded in front of her crotch like a guard dog waiting to pounce. There's a forced calm into her breathing that puts him even more on edge.

Papers brush smoothly above the marble surface, ear piercing to him. Red hot blazing into white noise. It's the most terrible sound he's ever heard. He prefers his breathless, agonized screams in Afghanistan to this.

Steve recoils away, standing up suddenly and shakily, as if the documents are bombs about to kill him anytime now.

He turns his head, refusing to look at them. Refuses to accept they're real.

"Throw those away, Tony, " he says, voice edged with the kind of suffering that would bring Tony to his knees on other circumstances."Get them the hell away from me and never bring them up again, you hear me? I'm serious.''

Carefully, Natasha chimes in, tone mild and neutral. " Steve. Tony would like to speak with you about something, alright? Let's sit down, and talk like grown-ups, -"

"Where's your ring!?" Steve shouts, tiptoeing at the border of desperate and hysteric. Tony wants back into the cave, wants the water to take him away from all of this. It's hard to kill something that's already dead. "What did you do with it!? Why aren't you wearing it!? You PROMISED me, you promised you'd never take it off you JERK, you lying -"

"And you promised to love me until the day we die, but by the looks of it we both could use a lesson in honesty, " Tony cuts icily, colder than colder. His words are resigned, hollow, at the brim of mechanical. He thinks all the people who say Starks are more machine than men had a point. "I'm the fuck up in this relationship. What's your excuse?"

He thought he'd feel vindication watching Steve taste a fraction of his sorrow, that his destroyed look would make something in Tony retaliate. It does nothing. Tony loves him stronger, fiercer, and there's no win here for anyone.

His mouth tastes like ashes.

He just wants to stop, to sink in his bed and swim in ratty hoodies drenched in cheap but sweet cologne, smudged with paint of all shades, and feel Steve's arms shield him from the world.

He wonders if it'll keep Steve up at night, how it never occurred to him that the danger he wanted to defend Tony from might have his face.

"I'll do better. Tony please," Steve begs him, and Tony wonders if the situation is so low a man with his nature would resort to that. He's shaken by big hands engulfing his own for exactly a moment before Natasha intervenes, pushing the blonde away with a hint of regret. Steve recovers, looks right through her at Tony who wants to wipe his tears away. "I'll do better, I'll- I'll spend less time with Bucky if you want, -"

"Bucky isn't the problem. It's not about HIM, it was never about him, this is US, Steve. We, our marriage, our family, its been here longer than Bucky. I never wanted you to - to erase him from your life, I just wanted my husband. Peter wanted his daddy. Bucky could've been apart of that, but you just, you just pushed us aside,-"

"I won't do that anymore. I, - Do you want me to be at home more often? I can, sweetheart, I can do that no problem. I can be at home, I can make time for dates and-and for activities, I can take Peter to the park and play ball, - Do you remember that? How we used to play until he fell asleep? I don't mind, its no problem, -"

Something in Tony snaps.

"WE'RE NOT YOUR FUCKING CHORES," His voice is more roar than man, ragged, tight, pushed to the last limit. The garden of silent pain, fury, rage, and fear he's been harboring finally blossomed into something that seemed to shake the world. His body shudders. "We're not some,- some pestering tasks that you have to save your precious time to complete! Some fucking pets other people have to force you to care of, or some dirty laundry you decide to wear whenever you feel like washing! We're your damn FAMILY,- " A sob hitches his anger, and by the broken look on Steve's face, it's worse than any rage.

He narrows his eyes in disbelief, as if Steve was some stranger and not someone he gave years of his life to. A laugh is pushed out of his chest, choked, long, and terrible. "I would've ended this sooner if, - God, if I knew how much of a burden we became for you."

"Tony, Tony don't say that, " Steve's face is blotched red, painted in punishing torment. "I love you and Peter more than anything in this life. You're mine, both of you, how can you think I don't love you? I, -"

"Just love Bucky more, " Tony finishes, note flat, accepting, rehearsed. His voice feels as hollow as his chest when Steve flinches. "I'm just... I'm so tired. Steve,I'm tired, and- I can't do it anymore. My son, my baby is not going to be a burden on anybody. I can put up with a lot of shit, but Peter is my limit. I can't and I won't put anyone above him. Not even you."

Horror shines bright and clear on the blue eyes Tony loves so much. He spots Steve's finger tremble at his sides, notices the hesitant movement of his Addams apple.

Natasha was wrong. It's a rare occurrence, but it happened.

Steve never stopped loving him.

It makes signing the papers so much harder.

---

Steve lost Bucky to ice, snow, and time. Tony loses Steve to fire, anger, and distance.

---

Pepper is surprised when she hears Steve ended up signing willingly.

She doesn't want to ruin the calm air that finally settled over the emotion packed atmosphere surrounding the living room, currently stashed with carton boxes filled with Steve's stuff, ready to be delivered tomorrow as Tony wanted, but it's a needed talk.

"What did you say to convince him?" She asks, not demanding an answer but clearly expecting one. "I'd just assume Nat had him in an arm lock until he agreed, but, in all honesty, Steve would probably lose an arm than do what people tell him to. Seriously, I've seen anarchists with more respect for authority than this guy."

Tony laughs, too loving and too fond for this predicament. "I said you'd drag his ass through every courtroom in America and drain him of everything he's worth?"

"Mmm. Try again. I mean, that's a Sunday for me, but he's already heard that talk before." Giggles are shared between the pair on the couch, snuggled under fuzzy blankets with wine glasses that clink slightly. Pepper's face relaxes into something sympathetic, earnest. "Was it something Peter related?"

"No, " he shakes his head. It never crossed his mind once, no matter how hurt he was. It felt too much like what his father would do. " Peter is his son, too. No matter what happens between us. There's no changing that. "

"No one would blame you if it came down to that, you know that, right?"

He hums. Pepper waits.

"I asked him to let me say goodbye to my husband instead of forcing me to stay with Howard."

A sharp intake of breath settles something cold beneath Tony's skin. He closes his eyes, and accepts the wine Pepper pours in his cup, neither commenting on how it spills over the rim.

---

Talking to Peter is the hardest part.

He doesn't understand why suddenly there's only two people there instead of three, why he isn't woken up by two pairs of arms tickling him and kissing his sleepy eyelids every morning, why Tony's laughter isn't echoing through the house as Steve spins and twists him around in the living room dance session they had at least once a week.

Why, apparently, Steve now has a permanent residence in DC and can only see him twice a week as their legal agreement states.

Why he has to live in two different places and split his playtime.

Why Tony bought a new apartment and they had to move away, stretching the distance between them and Steve.

"Is Papa comin' home today?" A hand squeezes Tony's heart painfully tight at the small question. He looks down at his son, smaller than usual and playing with his fingers at his feet. His frail shoulder raise, housing an anxious breath as he awaits an answer.

Tony takes his tiny hand in his own, leaning down to press kisses on the back of his son's palm, apology on his lips. "Yeah, baby. He has to come and pick up his stuff. Maybe you can play a little when he arrives! I'm sure he'll be happy to see you. "

Steve sends Sam to pick up his things and Tony feels guilt bite at him for hissing 'coward' in his mind.

Peter is excited to see his uncle Sam but the disappointment when he hears a truck coming instead of the deep rumble of a motorcycle engine doesn't wash off. He soldiers on, smiles for Sam because as little as he is, he's careful with people and their emotions. His goodness is organic. He takes after Steve like that.

Sam's always been frustratingly talented at deciphering his thoughts, even when his face is emotionless. It's one of the many reasons why Tony thinks him and Rhodey match so well. "He said he's really sorry he couldn't come, but... Okay, his excuse is just sad, because I doubt you'd believe he'd rather attend a Zoomba class than see you and Peter. Truth is, he's scared."

"Of facing me?"

"Of hurting you."

"Yeah, well, he's already got that job done on the to do list, " Tony huffs, petty and aware. He tosses Peter his baseball that lands in the backyard, gently nudging him away from the conversation. They watch the ball of energy squeal in delight as he runs to fetch it, tension momentarily on hold. "Sorry. You don't need my shit. Let's just load this and be done with it."

Sam huffs. "Man, I've been involved with your shit for a while. Appreciate the feeling but it's a bit late for that. Trust me, me and Rhodey have in length discussions about it. I'm neck-deep in white boy drama, but well, sacrifices of the job. Not much you can do."

He's playful, Tony knows this, in the corner of his brain that isn't raided by anxiety, yet fear claws at him, sharp and cruel and unexpected. Coldness spreads inside him like wildfire, almost matching the thoughts racing in his mind. Sam and Rhodey were talking? Were they arguing? Had Tony harmed Rhodey's relationship as if he didn't wreck his own enough?

"Talk?" Tony rasps, pushes the words out of his constricted throat that seems to close more and more, synchronizing with his lungs. Sam's wide, concerned eyes tells him the surface looked as bad as the inside."You... You and Rhodey, you guys- Bad talk? You, you fought about it?"

His mind torments him by showcasing Rhodey yelling in Sam's face and Sam yelling back, both standing their ground like two soldiers on a mission and defending their friends like avenging angels. Rhodey is more brother than friend, he'd take his side, like the devoted friend he always proved himself to be, but he watches with a cut breath as Rhodey locks himself in his room and weeps.

Rhodey sharing his fate is Tony's own horror movie.

"...ony! Tony, deep breaths, come on, " gentle hands guide him away from the void his own psyche trapped him into, speaking in a low voice that plucks him back up little by little. "Come on, in and out. Focus on my voice, that's good. Listen to me, Rhodey and I did not and will not fight about this. We're fine, Tony, promise! We agreed, no side pickers. This isn't war, and we won't get into some life or death fight for your and/or Steve's honor, " he tries for a little grin. ''I mean, I'm not supposed to tell you, but we don't like you guys that much."

Tony laughs, at once, a pathetically small sound, but he's grounded enough to laugh. He basks in the lack of sound around them, like the silence of an after battle, suffocating, but free.

The quiet hangs in the air as they load the truck, too, not oppressing, but welcomed, with a touch of comfort that burns just right. When the last box is secured and road-ready, him and Sam stay just a bit on the porch to stare at the house. Because that's what it is, isn't?

'Is papa comin' home?'

There is no home. Not if Steve's missing.

"Steve said you can keep those, if you want," that sentence made Tony hunch his shoulders, releasing that bitter aftertaste in his mouth again, blending with something sweet, and igniting the warmth that pierced as deep as his very marrow. "Nothing he loves or wants back is in those boxes."

Yes, Tony wants to scream. I want to keep the sketchbooks he has for me. I want to keep the photo albums. I want to keep the paint, the charcoal, the brushes. I want to keep the stuffed animals he won me at the fairs. I want to keep his clothes. I want to keep the dances in the living room. I want to keep his love, attention, care, worry, sadness, anger, grief. I want to keep my husband.

Instead, Tony reaches for his back pocket, and squeezes his ring. It burns in his palm, almost begging him to put it back in it's place, or on his finger, where it fitted like it always belonged. His being feels it, as if connected, and he decides to even the odds in the cowardice department.

Sam holds his breath as Tony hands him the ring, with hesitance, with no indication he wants to. "You sure about this?" It's a careful question, painfully gentle, far softer than Tony deserves.

No. Not by a long shot. "Yeah, " he mutters, almost lost in the air. "It's not mine anymore."

Sam curls his hand around the ring, pockets it, and Tony wrestles with the urge to ask for it back. His eyes are trained to the floor, on his shoes, the fine leather ones Steve bought for him on their anniversary, he realizes.

He watches droplets of water splash and dissolve into the concrete. It's raining, he figures, he should take Peter inside or he'll catch a cold. He looks up to watch the dark clouds, and the senine blue above mocks him.

"It's okay, " Rhodey picked a good one, Tony thinks, as Sam covers his crying form away from Peter's eyes. "It's okay, Tony. Just... Let it out. You earned this."

"I tried, " he sobs in Sam's neck, sobs his demise his failure, his bottled cocktail of emotions that waited to implode. "I tried, Sam, I tried so hard, I swear I did."

"We know you did, Tony. We all know."

---

Peter wants to meet Bucky one day.

"Papa used to talk about him all the time, " He says, oblivious to how vexed Tony is hearing that. He apprehends himself, reproaching that he should be over it already. "He sounds pretty cool! I want to see his Terminator arm!"

"It's a Tin Man or Robocop arm, at best, " He smirks at the pout Peter throws his way, smoothing it out with his thumb. "And he's in a hospital. You and I hate hospitals, remember?"

Peter whines and makes his eyes larger, pitifully glassy and sad, just the way to wrap Tony around his little finger. "Daddyyyy, pleeeease!" He hooks his fingers around his arm, hugging it close to his chest and his lower lip trembles.

He imagines Steve behind him, smothering a laugh in his shoulder, egging Peter on like two conspirational buddies. He melts, pushing the rush of yearning back, and knows it's a battle lost. Peter is too lovable, too determined, too bright eyed.

He's morbidly curious, in a way, to see what was so special about Bucky that it made Steve want to trade that.

---

Bucky and Peter hit it off in a heartbeat.

The facility hosting Bucky is uncomfortably pristine, from door corner to ceiling. Everything is tailored and arranged with ridiculous precision, clinical, professional, boring, and detached, as most medical spaces are. His workshop dances circles around it in the personality field, and he tells Bucky as such.

He laughs at him. "That's an interesting way to say you're a chronic untidy mess."

'Chronic untidy hot mess, " Tony corrects, hating how easily he falls into conversation with him. He tells himself it's merely a distraction from the stomach twisting smell of medicine, stingy and sharp smothering the air. "How offensive. I demand a trial by combat. Peter, make him pay in blood!"

Peter turns to Bucky, unblinking. "Your hair's greasy."

A theatrical gasps spreads in the room from the blue eyed brunette. Tony beams, kissing Peter's cheek. "That's my boy. I'm sure Bucky's bleeding a lot on the inside."

"Yeah. You know, where blood usually is, " Bucky snarks, heatless, propping Peter off from the spot on his leg and putting him on the ground . "Why don't you go ask nurse Joy to give you some magnets for the arm? Your father and I gotta talk adult business."

"Uncle Clint says adult business is just gossip for grown ups. " Peter retorts, smirk on his lips, half raising on the edges of his mouth. He got the smugness from him, that much Tony will admit. Bucky huffs a laugh that mirror Tony's own and waits for Peter to be out of the hearing range to say his next words.

"I owe you an apology."

Tony blinks, hastily, and speaks before he can even register what he's saying. "No, you don't. Drop it." It comes off razor sharp, yet Bucky must be used to worse, because he doesn't falter.

"I ruined your marriage. There's no forgiving that, but I DO regret it and you'll damn well listen to what I have to say."

"Look, I appreciate it. I do. I'm not... Mad at you. You're just in the crossfire of this clusterfuck. There's no forgiving because there's nothing to forgive, " he murmurs under his breath, words quiet, but sincere, he realizes. "My failure is my own to carry. "

"Stark, relationships need more than one person. Stevie ain't exactly blameless in this whole thing, - Far from it, trust me, I let him know. He got the scolding of the damn lifetime, because he threw away a damn good thing. He made a home for himself and then demolished it. You didn't hand him the sledgehammer, he picked it up on his own dumb self."

"You know, your philosophy lesson would impact me better with wizard lingo. Throw in a riddle or a prophecy and I might bite. " Receiving a blank stare to his quip, Tony sighed, eyes downcast.

"Look. I called it off, alright? I lit up the matches, I burned down the bridge, and I watched it turn to ash. But it was meant to happen, one way or another. We were just too different. Guys like me break the world apart. Men like Steve put it back together. He'll move forward. Like he always does."

Bucky's reply is instant. "No, no he won't, " it's said with such conviction, with such a finality, that it has Tony freezing. "He'll never move on. Not from this. I've never seen him like that for anybody, hell, never seen ANYONE like that. You and him? That's a forever kind of deal. You don't need a ring and name change for that to last. You don't have a choice."

Tony swallows, slowly, unsure. "So what? We just keep path crossing like fate has us tied together, in each other 's range but standing on parallel lines, never meant to cross? This isn't a fairytale, Barnes. It's real life. And even if it wasn't, that's still far from fair."

"It is real life. Which means it ain't fair, Stark. "

Tony takes Peter home, cuddles him closely as if he might disappear, and eyes the empty area around the right side of the bed with a lonely glint that burns in the darkness.

---

The first time Tony meets Steve after the divorce, it's for Natasha's birthday party.

Time jumps from slow to fast, alters between stagnation and overwhelming in the first 6 months that pass after the finalization of their parting. Some days are agonizingly slow. As if the world wants him to stomach every second, consume every minute, where Steve is not with him, isn't his anymore, and choke on the pain that tastes just as sharply as the first time.

And in some, time goes by in blink record, not keen on giving Tony the courtesy of healing, of moving on, of according him the patience or kindness in adapting his feelings to his pace, to accommodate to the arrangement it dragged him in.

Concern crawls inside him regardless of how many times he buries it, makes a tangly nest right in his chest, and makes no effort to move. He doesn't blame Steve for not wanting to meet him, to look at him, to give him the chance of staring into the bright, baby blue eyes that hold everything beautiful in the world.

Tony's seen the wonders of the world, all 8 them, and they all pale put next to Steve.

He feels seething, scalding guilt showering him for thinking that. Because Steve is not his to worry over, not his to call wonderful, not his to care for. Not anymore. He repeats that like a mantra against his eardrum when Natasha asks him if it's fine if she invites him to her party, too.

It's the perfect excuse to see how he's doing, but Tony elects to ignore that and remind Natasha grown-ass people don't ask other grown-ass people for permission on what to do. "Do I look like Pepper to you? No? Then why would I order you around?"

A discreet smile reaches Natasha's features, exhibiting confidence but betraying relief. She loves them both, Tony knows, and wants her friends first, not the fallen lovers. "Just wanted to know if I should hide the sharp knives or prepare some spare sheets."

His face heats ferociously, climbing all the way to the tips of his ears, and all the embarrassment in the world is worth listening to Natasha laugh. Something sharp-edged inside of him brittles at the prospect of seeing Steve, thought, and he holds his tongue from saying something of that nature won't happen.

In the company of his solitude and shame, Tony wonders later, is he afraid of seeing Steve again because he fears the blonde is not doing okay, or because he is?

Later on, he sees Steve stand in flash before him, chatting with some faceless figures, hair longer than last time and flattened slightly at the nape, sporting a beard that framed his gorgeous face perfectly. The impeccable balance between scruffy and well-groomed. Tony itched to run his fingers against it.

"It's the divorce beard, " Clint muses, elbow jolting Tony in the side to show the humor. "Give him a few more weeks, and you'll see him shopping from the Hobo shop. All wrinkled shirts and ketchup stained clothes or something. Men are useless without their wives.'' He winks in Tony's way, but Tony is too entranced by Steve to acknowledge it.

His fists are bruised, Tony notes with a wince as he gets drunk on Steve's form with a studious gaze, creamy skin battered and laced in a cluster of dark purple, crimson, and small patches of yellow shaping his knucklebones.

A trail of question rests blistering on his tongue. 'What happened? Who did that? Who were you fighting? Why? Are you okay? Did you win?' But he closes his eyes and bites his tongue, knowing these questions don't belong to him anymore.

He gave up his rights to that.

But then, Tony spots them.

His breath is knocked out of his lungs in a silent punch, eardrums pushing out all the sound attempting to penetrate his ears. His fingers loosen so much they almost drop his water, feeling tingly numb. Tony's eyes, large and surprised, trace the circle of gold curled around Steve's fourth finger, gleaming softly against the artificial light around the dining room.

Steve is still wearing his ring.

But then, his chest burns and booms, heart roars fiercely behind his ribcage as he notices the thin string of black leather circling around Steve's neck, loose as a necklace, hanging low enough for Tony to eye the shape of metal halo looped right in the middle of the material.

Steve was wearing Tony's ring, too.

The realization left him petrified in place, more statue than man, in stunned shock as he bore into his former lover who only then noticed the brown eyes looking at him, transparent astonishment clear as crystal in his features.

It's like a spell breaks.

Tony's limbs move mechanically, on autopilot, running to the nearest room, getting himself away from what his body detects as danger. Urgency is packed on his step, taking him to the bathroom in record time, but Steve's always been the runner, more athletic between them, and his sprinting lands him a spot in the sleat Tony wass about to slam.

He's pinned to a wall effective immediately, feels cold tiles plant clammy kisses on the back of his head and neck. Tony almost hisses at the force of the slam, but before he can make a peep, his lips are stolen in a savage, fierce kiss.

It's pure desperation conveyed in the most unconventional way. Steve pounces on him, lips wild against Tony's own, pouring every emotion he went through in the past few months,- Longing, yearning, craving, hunger, desire, - his being, his love, his soul into that kiss, barely giving Tony the chance to breathe.

"St-Steve, " He gasps, head tilting slightly to the side to escape the ministrations, to gulp air, moving to avoid the chase at reconnection Steve is playing at by trying to capture his lips again. "Wait, wait a minute, -"

"Missed you, " Steve's voice is thick with want, hitching in the small puffs of air that came off raggedy and breathless, words melting over Tony's mouth. Steve's face glows with a blush he wants to kiss with inhuman greed. "I missed you, I missed you,Tony I missed you" Tony's fucked.

[imapplied]

16 Accessible and Affordable Music Marketing Tips

If 15-year-old Conor were around—with curly hair down to his eyes and a sweaty Minor Threat t-shirt on his back—he would argue that marketing isn’t punk rock.

And perhaps he’s right. If there’s a Dead Kennedys deep cut about long-tail keywords, I’ve not yet had the pleasure of hearing it.

But, that perspective is naive. The music industry is immensely competitive, and good marketing is essential for anyone looking to turn their art into a successful career. After all, artists can expect to make only about 70% of a penny per play on Apple Music, and a little more than half that on Spotify. A song with a million streams will earn you well under $10,000. Plus, touring is expensive.

As such, we’ve taken the time to create an accessible music marketing guide to help you reach as many unjustifiably angry 15-year-olds as possible.

Let’s begin!

#1. Keep it old school.

Sure, we may be living in a digital era. Streaming platforms are dominant, and CDs are useful only to anthropologists. But, there will always be music lovers who appreciate all things vintage. Plus, over the past 12 years, annual sales of vinyl records in the U.S. have surged by 15 times!

Go to record stores and advertise your band however you like—posters, stickers, buttons, etc. You can also ask an employee if they’re willing to play your latest music. I was in a record store when I first heard Australian prog outfit King Gizzard and the Lizard Wizard, and I’ve been a huge fan ever since!

#2. Get on social media…

Americans spend roughly 24 hours per week on the Internet. 33% of that online time is dedicated to social media. That comes out to over an hour per day of social media consumption.

So, is social media an important part of your strategy? Is Radiohead’s In Rainbows criminally overlooked because people think it’s edgy to say Kid A is their favorite album?

Twitter is a great platform to promote new music in a casual way. Check out this tweet from Car Seat Headrest, posted the day the band’s most recent album dropped:

Facebook is terrific for organizing and promoting upcoming concerts. Each month, hundreds of millions of consumers use Facebook Events to find stuff to do in their cities and neighborhoods. In fact, Facebook Local, a standalone app, is designed to direct users to nearby Events based on their locations.

And, as of August 2018, Facebook enables you to sell concert tickets directly through the platform. Before, you had to hope that someone who saw your Event would remember to search for tickets on line. No longer do you have to worry about losing that concert-goer.

#3. …and create an awesome cross-platform community.

People often generalize hashtags as spam. But, did you know that your band can use them to bring fans together and create a super fun online community?

The amazing thing about your fans is that they want to spread your music to new listeners. If you create a hashtag for the release of your newest single, EP, or album, you can rest assured that your loyal followers are going to use that hashtag as well. And each time one of your fans shares it with their social media circles, tons of people you’ve yet to reach are getting exposed to your band.

A BROCKHAMPTON fan shares the group’s new single via hashtag.

Hashtags also allow you to find the people who are talking about you online and interact with them. Every music fan fantasizes about getting the chance to have a conversation with their favorite artists. Be the artist who thanks fans for listening and answers their random questions! This does wonders for your public images.

#4. Use contests to get more people to your shows.

Music—particularly live music—is all about community. One of the best parts of seeing your favorite band live is reliving the experience with your friends immediately afterwards.

Your band can tap into the social aspect of concerts by launching a contest! When you create a Facebook Event for your upcoming show in Seattle, let your fans know how it works. Whoever invites the most new people to the Event gets a prize of your (or her) choice—a backstage pass, a free item of merch, and so on.

Running a contest like this is a fun, engaging way to get more people at your shows. Plus, you can do it for as many or as few shows as you want!

#5. Play a free show.

If there’s one thing that beats live music, it’s free live music. Of course, from an opportunity cost perspective, it’s expensive to give up a night that you could be using to make money from a regular concert. However, if you have the flexibility to occasionally play free shows in parks, town commons, and coffee houses, it can be a fantastic way to get your music out there and find new fans.

Plus, in an era when ticket vendors charge exorbitant fees for no apparent reason other than turning a profit, putting your music out for free is a surefire way to brand yourself as a cool, down-to-earth artist.

#6. Play your new stuff on a radio show.

Much like vinyl, great radio is never going to die. Maybe I’m just in denial, but I truly believe that music consumers will always find value in the local (often college) radio stations that play stuff you wouldn’t otherwise hear over the airwaves.

Sunshine Brothers Inc. promoting an appearance on the UMass Amherst radio station.

If there’s an awesome indie station in your hometown, or if you have a show booked in a city with such a station, reach out and try to organize an album release appearance. Ideally, they’ll have a set-up that allows you to play live in the studio. But, if you’re limited to simply spinning a few tracks and providing commentary, that’s perfectly good, too.

Either way, local radio stations offer a way for your band to generate buzz and reach a captive audience that can (most likely) get something out of your music.

#7. Go on tour with other artists.

What better way to get new listeners to hear your awesome music than to play a show for an entirely different fanbase? Opening up for a more popular band—ideally one with a sound similar to yours—guarantees that you’re reaching audiences who want to listen. One amazing set is all it takes to get hundreds, if not thousands, of Spotify users to look up your profile before the headliner comes on stage. If you can get new fans out of every show, your band will be the one looking for openers some day soon.

#8. Play at genre-specific festivals.

When you think of music festivals, the ones that come to mind are the major players: Coachella, Bonnaroo, Lollapalooza, Governor’s Ball, and so on. While it’s no small achievement for a small indie outfit to get on the bill at one (or more) of these festivals, playing them may not generate as much buzz as you would hope. Your band may be superb, but if the majority of attendees are there to get wasted and bop to Travis Scott, they’re probably not going to pay much attention to your dream pop songs.

Alternatively, you can focus your festival energies on the festivals reserved for artists within your genre. For folk artists, there’s the Newport Folk Festival in Rhode Island. For literary types, there’s Mission Creek Festival in Iowa City, IA. For indie artists, there’s MAHA Festival in Omaha, NE.

By opting for more niche festivals, you’re playing your music for audiences that truly want to hear it. You know the attendees are there for more than the food and the booze; they’re there because they love the genre and want to discover more artists within it.

#9. Document your existence.

For whatever reason, we’re a little obsessed with the personal lives of the artists we admire. We hate to break it to you, but your most dedicated fans probably wonder what you eat for breakfast and which Netflix shows you love. A little creepy? Sure. Something you can build on? Absolutely!

You can use a blog as a platform for tons of different stuff. Provide inside looks into your songwriting process. Tell funny stories from the road. Recommend other artists that you love. Publishing content like this makes you a more likable persona and creates opportunities for people who have never heard of you to find your website while poking around Google.

If you’re not a wordsmith, vlogging is another great option. It allows you to give fans the behind-the-scenes content they want and opens the door for finding new listeners through popular video platforms like YouTube and Facebook. California surf-punk band SWMRS does this well with tour diaries:

#10. Incorporate your fans into the process.

Yes, they’re interested in weird stuff like your dietary habits and entertainment preferences. But, the connections your fans feel with your band and with your music go a lot deeper than that. Like we said under tip #3—they want to help you succeed. An email newsletter is an excellent way to incorporate them into certain processes: naming songs, creating album covers, writing liner notes, etc.

Iconic cover art for Joy Division’s Unknown Pleasures.

You have to give them an incentive. Maybe you reward the first 100 people who download your newest single by adding them to the newsletter. Or maybe you want to emphasize your live performances, and the newsletter recipients are the first 100 people to buy tickets to your next hometown show. Whichever way you slice it, this is a great tactic to drive downloads and ticket sales. Building your fans into the album release process is certain to keep them engaged.

#11. Make awesome music videos.

I know, I know. We may as well advise you to make good music while you’re at it. But, hear us out.

Nearly one-third of all Internet users watch videos on YouTube. Over half a billion people watch Facebook videos every day. Between the two platforms, 45% of people watch at least an hour of video content every week. More and more every day, video is the form of content people want the most.

Creating super compelling music videos is a stellar way to grab Internet users’ attention and introduce them to your music. Plus, people love to share videos with followers, friends, and family members.

The best part: you don’t need a huge budget to make a great music video. The music video for the Strokes’ “Someday,” one of the biggest hits off their debut album, is literally just the band and their friends hanging out and smoking a staggering quantity of cigarettes.

(Note: WordStream does not endorse tobacco use. Even though Julian Casablancas makes it look super cool and fun and artistic.)

#12. Reach out to critics and music writers…

As much as people like to poke fun at music critics for being too self-serious, a lot of them exert serious influence over which artists and albums get the time of day. For example, Anthony Fantano publishes tons of album reviews on his YouTube channel, theneedledrop. Earlier this year, he eclipsed 1.5 million subscribers. The visibility an artist gets following one of Fantano’s reviews is immense.

It may not be realistic for your band to get featured on such a popular channel. Regardless, you should email bloggers and magazine writers and ask them to review your latest material. In the same vein as opening for bigger artists, getting reviewed on a reputable website will undoubtedly direct music fans to your streaming profiles. Plus, if the writers are kind enough to link to your website, those blog posts you’ve been writing will inch higher and higher up the Google search results.

#13. …or write your own freelance reviews.

Now, assuming that your efforts to take your band to the next level are rather time-consuming, you probably don’t have the time to hold down a full-time staff writer gig.

But, making the time to write occasional guest reviews for music magazines could give you some great exposure. If there’s an EP or album you feel qualified to review, reach out to the editors at music publications like Pitchfork, The Wire, HipHopDX, and XXL. Put together an author bio and mention that, when you’re not writing reviews, you’re single-handedly keeping the indie rock genre alive.

Directing music publications’ readers to your streaming profiles is the obvious benefit. Plus, working as a freelance writer enables you to develop relationships with the editors who decide what gets reviewed. This boosts your chances of getting your music reviewed and generating serious buzz around new releases.

#14. Feature your music prominently on your website.

Under tip #2, we mentioned that Facebook is now encouraging artists and businesses to sell tickets directly through their Events. This is huge because it makes it a lot easier for consumers to purchase tickets to your shows. Nobody wants to catch wind of an exciting concert and then dig around a bunch of different websites for a ticket. The underlying principle is that you want to make consumers exert minimal effort.

This principle applies to your website design. If you bury your songs under a “Music” tab, you’re forcing the people who visit your site to click at least once to find your material. That sounds like nothing, but it makes a difference. Regardless of which streaming platforms you’re on—Bandcamp, SoundCloud, Spotify—make sure to embed your newest music prominently on your homepage. This way, when someone visits your site, they don’t have to lift a finger in order to hear your music.

#15. Get interviewed.

Generally speaking, people will listen to anything that sounds good. Unfortunately, we, as a society, have a nasty habit of supporting artists who do bad things in their personal lives simply because their songs are catchy.

That being said, music listeners really love artists who make great music and demonstrate some kind of moral compass. Getting interviewed—whether it’s on camera at a festival or in print on a website—is your best chance to show people how awesome and likable you are.

Even if someone has never heard of your band before, one fantastic interview could be all it takes to convince them to give your new single a spin.

And speaking of singles…

#16. Take your time.

Justin Mares and Gabriel Weinberg are two dudes who wrote a book titled Traction: How Any Startup Can Achieve Explosive Customer Growth. Their principal argument is that most startups fail because they dedicate all their time and resources to product development, neglecting to develop their core distribution channels. These companies go to market with a shiny new product and have no mechanisms for building a customer base.

The music industry equivalent is a band that drops an album before anyone has ever heard of them. It’s understandable, of course. The creative energy is high and you’re cranking out the best material of your life—that’s awesome. But, unless you generate a healthy amount of buzz with some killer lead singles (and perhaps an EP), your debut album release is going to be a disappointment.

Take your time and build up a library of stellar songs that could fill three albums. Keep the momentum going while you gradually release songs and let the hype build.

Source

from https://www.imapplied.co.za/seo/16-accessible-and-affordable-music-marketing-tips/