#but tricky for some parts of this scene

[mangeur-detoiles]

LUCY & KATE | NCIS HAWAI'I 2x19

I love their complicity.

[ontargetmadders]

I keep getting excited to write particular scenes for my wip and even talking out the dialogue in my head. But the problem is all of it is way further down the story and I'm stuck on a bit that's just so annoyingly difficult to write 😅

[cookie-de-baunilha]

just finished writing the introduction to my lord john grey big ass meta and it’s over 1200 words 🫢

and that’s the introduction alone mind you, I can’t even think about how long is going to take me to write all 4 (yes, four) parts of the analysis jeez

but let’s goooo

[writers-potion]

Writing Female Fighters

The Heroine Must. Fight.

Today's female protagonists cannot sit on the side crying and breaking down or whimpering as the battle ensues.

Readers want to see autonomous female fighters who can at least defense themselves with courage and adequate skill.

Not all women are the same, but the heroine should get her butt moving.

Less Muscle, but More Flexibilty

The average woman is shorter than the average man, which makes it more difficult to wield a long sword or slam something down on the opponent's head.

A woman who works out can plausibly be stronger than a male couch potato, but if her male counterpart works out as much as her, the man is going to be much stronger.

On the other hand, the center of gravity in a woman's body is lower than a man's which makes it harder to knock her off her feet.

She is also more flexible, which gives her advantage in grappling fights, making use of complex landscapes, or deflecting blows.

A woman's small size can also be an advantage if her opponent has only ever trained with male opponents. His big hands might not get a good grip on her slender limbs.

In historical fiction, giving your heroine good muscule build can be tricky as exercise was generally considered harmful for women, with some exceptions for horseriding any maybe archery at best.

In such cases, make your heroine an accomplished dancer or an eager horsewoman, or the only girl whose father considered to be son replacement and thus, gave her a boy's education.

Women of lower classes who couldn't afford to be fashionably weak will be plausibly stronger, perhaps even more than an idle gentleman.

More Room for Negotiation, but Prolonged Ruthlessness

In the Suspense part of your fight scene, females are more likely to negotiate and talk more, strategically trying to descalate the situation rather than attacking on a momentary impulse.

Generally, women are less aggressive than men and remain level-headed longer than her male counterparts, opting for non-violent methods first before using force.

Exceptions apply if she is trying to protect her children (or someone who she cares for as a child). Mothers can be tigresses.

A female pre-fight conversation may be: "If you had not done so-and-so and betrayed me with so-and-so, we could have been good friends as I thought we would be." "What do you mean? It was in fact you who brought bad blood between us. I can still hear you laughing with so-and-so, taunting me, purposefully making me look bad -" "But that was so long ago! If you want me to say sorry about something so insignificant, you should have just said so: I'm sorry. There. Satisfied?" "Ha! I can't believe you say that so easily. You still don't get it, do you?" "Who's being petty and unreasonable now?"

A male pre-fight conversation will be shorter: "Who's the coward now?" "You're wrong." "Prove it." "Bastard."

Compared to men, it will take more time for a woman's fight hormones (adrenaline, neurotransmitters and such) to kick in.

She would be slower to engage initially, throwing reluctant punches and thinking, but she'll grow more and more violent and lose all rational thought and compassion, and once she's in full flow, may not stop even when her opponent begs for mercy.

When writing a male-female duo, you can show him going for the first blow while she observes and strategizes first. When he's past his peak and panting, she is flying about left and right. Later when the tension wears off and she becomes wobbly and teary, she can rely on him to have recovered faster and distract other teammates so that they won't see her cry.

Plausible Skills and Backstory

In many cultures and time periods, the general attitude of society towards girls is that they have no place in fist fights or martial arts, unlike how it is encouraged for boys of the same age. So if your heroine has physical prowess that surpasses typical 'fitness' or is hidden, build a backstory of how she's obtained it.

For modern heroines, it can be as simple as signing her up for martial arts classes or yearly membership at the local gym. For historical fiction or girls with strict 'feminine' upbringing, it can be trickier.

It can be related to profession: maybe she was an erotic wrestler, catfighter, or an assasin who thought killing was more honorable than prostitution. They may have dabbles with it for a short time and is now trying to hide their past from their respectable employer or fiance.

It can be family backstory: Perhaps her mother was an accomplished martial artist or she had to fend for younger siblings on the streets from an early age. Maybe she was the only girl in a family of many boys who refused to be the punching bag.

Inexperienced Female Fighters

A woman with no fighting experience or training is likely to resort to one of these on instinct:

Try to talk herself out of the situation, attempting to persuade or negotiate for her life.

Grab something to use as a weapon. This instinct seems to be stronger for women than it is in men.

Use her hands to try and break free, or kick (often wth little success)

Pull hair

Scratch.

In a serious fight, pulling hair and scratching won't be helpful, except when the police come to find her body, they would find the opponent's DNA under her fingernails.

Plausible Weapons and Clothing

All of the above applies to scenes where both parties have no weapons, or has the bare minimum (like one dagger each).

Weapons are equalizers, and if your heroine is pointing a gun at her opponent she will definitely NOT hesitate to be the one to shoot first.

When giving your female character a weapon, choose one she can plausibly use. It would take an unusually brawny woman to wield a great medieval longsword.

For historical fiction, give your heroine something she'll plausibly own. Swords and firearm were a no-go for women, but archery was borderline acceptable.

For clothing starters, you definitely CAN NOT dress her in a tight miniskirt and chainmail bra with long, flowy hair and multiple silver chockers. Unless she's trying to seduce her way into her opponent's bedroom, and he has a chainmail bra fetish.

A practical heroine will have her thighs covered, preferably with leather but at least with fabric, since a lot of blood flows through the thighs and a slash would be critical.

She'll keep her hair tied, tucked under a helmet, braided back, etc. so that it won't impede her vision.

She'll support her breasts with a strong sport bra. In a historical eprioid, she'll either tie her breasts tight with a fabric bandage or support them with some kind of leather corset.

Invent a female version of male fighter clothing of the time you are writing about if it doesn't exist.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[pellucid-constellations]

Trial and Error (5)

Pairing: Azriel x Reader

Summary: Based on the request: "Azriel with single mom reader? I feel like being a single mom in ACOTAR would be tricky as hell… reader comes from autumn court and flees to night court because she got pregnant out of marriage? 😯 the shame"

Word count: 2.5k

Warnings: Illness, angst babyyy <3

a/n: I'm going insane and crazy and every iteration of that. I love writing this fic so much I want it tattooed on my forehead. Thanks, love you all <3

Read part one | part two | part three | part four | (bonus part 5) | part 6

Main Masterlist ♡

~~

You were in and out of sleep for the next few days—much to your displeasure. 

After attempting to down all the herbal remedies Azriel’s healer had left and continuing to care for your daughter without missing a beat, Azriel had made it clear that that would not fly. You told him several times to go home and not burden himself with caring for the two of you, but he was entirely too stubborn to listen to you. 

You even watched as his shadows left and returned with messages for him, sure that his High Lord was calling him home. 

But Azriel still stayed. 

He made food, he served the food, and he fed Melanie, coaxing her delirious eyes open to make sure she took medicine at the right times. You weren’t completely incapacitated, but it didn’t matter; Azriel wouldn’t allow you to lift a finger. 

He answered the door to the apothecary several times, sending away customers after collecting payments and restocking shelves, somehow privy to the knowledge of the store. You weren’t entirely confident that he wasn’t overcharging everyone or putting things in random places.

A few times, when sleep fought for the space in your mind, you felt fingers in your hair, along your face, across your shoulders. Each brush would send you deeper into the void you avoided so adamantly, and you were ignoring the fact that you had never felt safe enough to fall asleep in front of other people until now. 

You caught Azriel holding Melanie on a few occasions.

You would crack an eye open after an unexpected bout of sleep and he’d be rocking her in his arms, bouncing her to sleep as she lay her flushed face on his shoulder. 

Azriel had never told you if he had experience with children. Sure, he mentioned his closeness with Nyx and how much he loved his nephew, but that was… different from this. The ease with which he held Melanie, the instinct he seemed to have towards her—it felt different. Looked different. 

You felt an unexplainable sense of safety as you watched them. 

Melanie would pull back from his shoulder and arrange her fingers on the planes of Azriel’s cheeks and he would smile at her. And you felt safe. 

You found more energy on the third day of the fever. 

You got out of bed and took some semblance of a bath, fumbling around in the bathroom without much coordination. Your head was still fuzzy and an ache still permeated deep within your muscles, but the feeling was lessened. 

It wasn’t until after your bath that you realized you hadn’t checked on Melanie the moment you woke up. 

You hadn’t shot out of bed and raced to her room as you had done almost every morning since she was born. 

You hadn’t feared that she was somehow taken from your home, from your arms—that she was in danger of being ripped from your grasp and sent back to Autumn to live out the same cruel fate you were destined for. 

A small voice in the back of your mind offered a gentle whisper, reminding you that it was because of Azriel that you found that brief moment of peace. 

You pushed it back. 

With a shiver, you made your way down the narrow hallway to your daughter’s bedroom. 

Empty. 

You felt your heart rate tick up in a small bout of panic, but you were calmed by a fluttering in your chest just as quickly. The light pressure led you into the kitchen and then flushed into a warm bloom as the scene in front of you unfolded. 

Melanie was bundled up in a blanket and sat atop the kitchen counter as Azriel whisked the contents of a bowl. She was talking her head off about something that happened at school and Azriel was nodding his head with each exasperated huff she let out. Another glance told you that Melanie had eaten an entire plate of food before you’d entered, a feat in itself as your daughter hardly ate to begin with—let alone when she was sick. 

“Mommy!” Melanie cheered, wrapping her arms around your neck as you entered the quaint kitchen. “I thought you were gonna sleep forever. I wanted to wake you up but Mr. Azriel said you had to sleep to get better so he made me lunch.” 

“Lunch, huh?” you smiled, gathering her into your arms and sliding her off the counter. 

“Uh-huh. You slept through breakfast and lunch. Aren’t you hungry, mommy?” 

“Maybe a little bit.” 

“Well, you should have Mr. Azriel’s pancakes.” Melanie yawned. Her blinks became longer. “They’re so good, mommy. He should live with us and make them all the time.” 

From the stove, you heard Azriel breathe out a laugh. You glanced at him through your lashes as you held Melanie in your arms, the broad expanse of his wings barely contained in the kitchen. The shirt he wore strained against his arms as he shifted a pan on the burner and he didn’t look back as the two of you spoke. 

“I think I need a nap,” Melanie proclaimed, rubbing at her heavy eyes. “I thought I was a big girl at school now and didn’t need to take naps. You told me that, mommy.” 

You tore your gaze from Azriel’s back and offered your daughter a soft smile. “Well, you need rest to get better, too. So it’s okay for you to take naps right now.” 

“I don’t like having hot blood. This is so annoying.” 

You jutted your head back at her statement and made to have her explain, but Melanie shimmied from your arms and scampered off to her room before you could make a sound, her blanket dragging behind her. 

That left you alone with Azriel. 

“Hot blood?” you asked, leaning against the counter and attempting to appear casual in your own home. It was still surreal that he was up here—making pancakes in your kitchen—when just a few days ago, you never would have let him get past the stairs. 

Azriel hummed and flicked the burner off, leaning his back on a nearby counter to face you. “I think she heard what Madja said when she was explaining what was wrong with you both. Mel’s been calling it hot blood. I didn’t—I didn’t think it was my place to correct her.” 

You pressed your lips into a line and rubbed your forearm in some attempt of comfort. “Right.” A long pause. Azriel didn’t press you to speak. You did anyway to fill the dead air. “You really didn’t have to stay for as long as you did. I know this place isn’t what you’re used to and it must have been a handful with Mel—” 

“I wanted to stay,” Azriel interrupted. He stepped forward and placed a hand on your forehead, ignoring the tension you felt weighing on your shoulders. “You’re still warm.” 

“I feel a lot better. Almost completely fine. It would be okay… if you had somewhere to go. If you had to leave, I mean.” 

The hand on your forehead slid down to your chin and tilted your face up. Azriel’s gaze flickered between your eyes—back and forth with a furrowed brow as if trying to parse out a deeper meaning behind your words or solve a puzzle you hadn’t presented. His hand was hot against your chin in a way it wasn’t against your forehead. 

“You should eat,” he settled on. He brushed your still-damp hair back from your face before turning on his heel. “Mel was right. I make great pancakes and you haven’t eaten in a while. Lucky for you she didn’t finish all of them. She was close, but there are a few left.” 

You let him fuss, watched him as he rooted around the cupboards to pull out a plate and a glass, and tried to figure this out now that you were more coherent. 

Azriel had stayed—for almost three days he had stayed at your apartment and cared for you and your daughter as if it was expected. Each time you had woken up he had been there, coaxing water and bone-dry broth into your mouth before helping you see Melanie and then helping you to fall back to sleep. He had held your daughter and made her pancakes and he was still here. 

Could this somehow be nefarious? Some ploy to get close to you just to use you as a bargaining chip and send you back home? Had the High Lord demanded that his Spymaster keep a close eye on you and this was the outcome? 

No. 

No, that couldn’t be the reason Azriel was setting a plate down on the counter beside you. That couldn’t be why he caught your eye with a worried gaze and seemed to pinpoint your inner turmoil almost instantly. 

But why? 

His visits over the past few weeks had been welcomed—confusing at first, but a welcomed break from the mundane, anxiety-fueled life you lived. You had grown comfortable with him and Melanie had begun asking for him when she showed you her art projects or had questions about the walks of life. You had come to expect his presence in your store and found yourself looking forward to the chance to see him outside of Melanie’s school. 

But what could he possibly have to gain from making himself a constant in your life? 

You had asked before, a single question with a simple “Why not?” for a response that you had brushed off. Because it wasn’t too much of a big deal for him to stop by or help you lift the apothecary boxes or let Melanie talk his ear off. 

But this was a big deal. 

It was a big deal when he sat beside you until you fell asleep and it was a big deal that he was still standing here now, inches from you, eyes boring into yours. 

“Why are you doing this, Azriel?” 

Your question seemed to suck all of the air from the room. Azriel winced to such an infinitesimal degree you almost missed it. His fingers twitched as they rested on the counter. The plate of food sat forgotten, its intended distraction wasted. 

“I’ve already said.” 

You shook your head. “‘Why not’ was okay when you were stopping by the apothecary a few times a week and flirting with me for fun. It was okay when you were saving me from nosey teachers and opening doors when my hands were full. It was okay when this—” you jabbed your finger between your chest and his “—didn’t involve you in my apartment holding my daughter until she fell asleep. I need more than why not, Azriel. I need to understand if… if…” 

“What?” he whispered so close the air between you warmed. 

When had he gotten so close?

“I need to know if this isn’t safe. If there’s some other reason for all of this.” 

This time, when Azriel winced, he flinched. His body seemed to stun and his face twisted into a frown etched with such an uncomfortable pain it was difficult to look at. 

He spoke as his head shook. “I’ve told you this isn’t… I want you to feel safe with me. I thought I would have proved that was possible after this.” 

“You have,” you were quick to reply. “I wouldn’t have been able to take care of Mel if you hadn’t been here. But, that’s the thing. I don’t even know how you knew to come here. You walked in asking if I was okay—asking where Melanie was. I know your shadows spy, but why, Azriel? Why take such an interest in me? In us?” 

“Is it not enough to just want to know you?” he asked, his words tight and pained. 

“No. For others, maybe. But not… not after everything I’ve been through. Not when everything I have could be ripped away. I need a reason, Azriel. I can’t let this happen without one. I can’t put Melanie in danger.” 

“I don’t understand,” Azriel pleaded. He got closer, wrenching his head down to find your eyes. “Help me to understand. What danger are you in? I can explain, but I can’t protect you without knowing.” 

You let out an exasperated scoff, tugging at your hair and regretting the action as a headache bloomed. You took a step back until your back met the kitchen wall. 

“You can’t protect me, Azriel. You can’t.” 

“I could if you—” 

“It doesn’t make sense that you want to! You work for the High Lord. You spy for him! Do you have any idea what any of that means in the grand scheme of things? What it could mean if someone found out that the Night Court’s Spymaster was suddenly asking around about someone from Autumn?”

Azriel opened his mouth to respond, confusion marring his features, but you were breathing faster, the fever and the panic combining beneath your skin.

“I have stayed hidden for five years—five. I shouldn’t have sent Melanie to school. I shouldn’t have asked for help from anyone. If… if someone finds me—” 

“No one will find you. Hey—hey.” Azriel invaded your space, your back against the wall and his hands against your face. His eyes softened as they caught yours. “No one is going to find you. You need a reason why I want to be here with you? Why I care about you and Mel?” 

Your jaw quivered under his fingers. You nodded in place of speech, unable to find words that wouldn’t make tears fall down your cheeks. 

Azriel stared back at you with so much torture and conflict in his eyes you almost wanted to take back the request. He took several breaths and seemed unsure of his next words. But he held your face in his hands with such surety, strong fingers unshaken. 

The Shadowsinger brought you forward with the guide of his palms until his lips met your forehead. 

And then he pulled back and said, “You are my mate. I want to keep you safe—to protect you and Melanie—because you are my mate. You are what I’ve been waiting for for hundreds of years and if you want nothing to do with me after this, that’s fine. But if you’ll have me, I will do everything in my power to protect you.”

part 6

[another-lost-mc]

Shower Thoughts: Their bathing habits, with and without you.

Featuring: The Demon Brothers x gn!Reader

NSFW // Content: Domestic fluff and non-explicit smut. Sharing a bath/shower together; sexual and non-sexual touching; mentions of teasing, semi-public sex (showering together in the RAD locker room), penetration (Reader receiving).

A/N: Shaking off the rust. I blame the new Nightmare cards by the way. I wanted to write this for the OCs and figured I should show some of the others some love too. Like always, my fav bias is showing. (Most of Asmo's section is based on things that occur in the bath scene of Desperation.)

LUCIFER

Showering is part of his morning routine - he wants to look and feel his best, his pride won't settle for anything less. (Plus, it helps wake him up for mornings when coffee alone won't do the trick.)

Baths are a rare luxury for him. Ideally, he'll have the house (and your company) all to himself so he can soak in the fragrant bubbles without worrying about what his brothers are getting up to.

(The fact that they're not home and loose in the Devildom is just as worrying, please try to distract him.)

He's not against the idea of shower sex, but it can be cramped and awkward. He would rather tease you with gentle, lingering touches that leave you both a little hot and desperate before leading you to bed where he can enjoy you properly. He's surprisingly unconcerned about getting his bedsheets wet when it means having you naked and willing underneath him as soon as possible.

MAMMON

Mammon usually showers at night. He'd rather have the extra time to sleep in the mornings before class. If he has to work or has a photoshoot, he's definitely showering before bed - he and his bedding are a mess from sticky, gel-caked hair and the eye makeup he didn't remove properly if he doesn't.

He doesn't usually take baths - too boring, too slow - but if you like taking baths...well.

Whether he's in the shower with you or the tub with you, he's open for anything and everything you might want to do. Even an innocent suggestion for a romantic shower or bath together turns dirty quickly when his eyes and hands start to roam across so much exposed, wet skin.

LEVIATHAN

For a self-proclaimed otaku, his showering habits aren't that bad.

Sure, maybe before you came along, he spent less time worrying about his grooming and personal hygiene and more time worrying about his idols' stream schedules and pre-sale ticket dates for the various movies or concerts he wanted to see.

However, you're here now and you're important to him, so whether he wants to admit it or not, that changes things. If he wants you to hang out in his room for hours at a time gaming or binge-watching anime, both him and his room need to be in guest-ready shape.

He showers more often when he's been cooped in his room on the sofa or in his fashionable-but-not-functional gaming chair that makes his back sweat. Even a quick cool-off rinse in the shower is enough to leave him looking and feeling refreshed which is perfect - he hopes he can convince you to cuddle with him in his tub after.

Maybe it's his natural affinity for water, but he enjoys showering or bathing equally. It's tricky when most tubs aren't big enough for him to spread out with his tail out too, but thankfully they're big enough for you to fit in the tub with him which is just as good - better, even!

He's shy with you in the shower or tub. He prefers to stand behind you so he's not tempted to stare at your chest (or lower). No one touches him as gently or with more care as you do. And the way you run your hands along the scales of his tail or his neck...he's going to try and hide his twitching erection from you and hope you don't say anything if you notice it. He can't help how good you make him feel, but he's not always confident enough to return the favour.

If you want him to touch you, you'll probably have to explicitly ask him to - and wouldn't you know it, your hands resting on his while you guide them to move over your body is one of many acts of intimacy he ends up craving from you.

SATAN

He showers in the morning. He's one of the few student council members that wears his uniform properly and I think he wants the rest of him to look and smell good too.

He enjoys a nice bath once in a while. Maybe not as much as Asmo, but they're a semi-regular part of his routine. He can load up the bath tray with a book, even a cup of coffee or snack if he's feeling peckish that night; time passes in a blue as he soaks away some of the stress that burdens him. If you join him for a bath, he'd love to read to you or simply hold you against his chest while music streams from his D.D.D. nearby.

Showers are useful if he's in a rush, or maybe he just wants to rinse off the day's grime (especially if he was at the club or in a fight). Or perhaps he's not in a rush after all, judging by the way he ushers you into the bathroom with him and tugs at your clothing so you can join him under the warm spray.

Whether he simply wants to melt under your fingers as you work suds into his hair and across his body, or if your naked body so close to his is too much temptation to ignore, know that you're probably the only one who gets to see him - all of him - exposed this way.

ASMODEUS

It's no secret that the Avatar of Lust adores his private bathroom, with its high ceiling and numerous cupboards full of fluffy towels and bottles full of the most expensive haircare and body wash and massage oils that Grimm can buy.

His luxurious tub - if you can call it that, considering it's bigger than any hot tub you've ever been in before - is full of fragrant, crystal-clear water that Asmo adds scented oils and skin-softening potions to. No matter how long you bathe together, the water remains clean and warm (there's a handy spell for that).

Asmo loves the intimacy of pampering you and having you do the same for him. It's almost magical, the way he massages you with slow, rhythmic strokes as he washes you with beauty products he personally selects. He considers your preferences above his own so that everything he brings into the bath is scented with your favourite fragrant notes. If you share his bed that night, he can smell you on his pillow and sheets long after you've parted ways.

Naturally, once he's spent his time spoiling you with his tender touches and whispered affection, he's desperate to have your hands on him next.

Bathing doesn't always have to lead to more than soft, teasing touches. He's not against the idea - it wouldn't be the first time his fingers teased between your legs while he nuzzled the back of your neck and nipped at your ear - but this sort of comfort is like divinity to him. It's a sort of worship he offers you that he's offered no one else before, and no matter how much the outside world demands your attention (or his), this is one rare opportunity where you can truly be alone together.

BEELZEBUB

Beel's shower routine is fairly simple. 1. Shower after Fangol practice or games. 2. Shower after eating at a buffet-style restaurant. 3. Shower before bed if nothing else applies.

Of course, Beel learns that there's a certain charm to showering with you too. He used to complain the communal shower he shares with his siblings is a bit too cramped for his liking, and with you it's even worse, but that's simply a convenient excuse to press himself against you while he hardens against your back, or he cages you against the wall while his arms block everything else from view.

(The open showers in the locker room at the Fangol pitch are fun in their own way when post-victory showers with Beel turn frisky from giddy excitement and too much adrenaline to burn.)

Showering is simply a part of his routine, but like most things he does, Beel thinks they're more enjoyable when he can entice you to join him.

BELPHEGOR

Belphie's not necessarily lazy - he just prefers to spend his time and energy doing things that are important to him. It's not his fault if that very short list can be summarized as sleeping and spending time with you.

Sleeping is most comfortable when he's clean from the day's sweat and smells - the last thing he wants to do is ruin the attic's cozy little nest by crawling into bed smelling like anyone else but him and you. That means if he's going to shower before bed, he's dragging you with him if you haven't had one already.

Belphie might not be lazy, but that doesn't mean he won't use every trick in the book to convince you to touch him and pamper him as much as possible. He whines that he's too sleepy to fiddle with all the buttons of his RAD blazer, and he smirks like a satisfied cat while you huff at his ridiculousness and help undress him anyway.

(He knows you indulge him because you like it too - did you think he wouldn't notice the way your eyes roam his bare chest or the way your fingers twitch excitedly when you reach for his belt?)

Shower or bath sex is a bit messy and not as relaxing as he would like - the tiles are hard and cool against your back, it's hard to prep you properly in the tub as water sloshes against the sides and spills over the floor. It's inconvenient and not the sexiest experience in his opinion.

However. The shower is an excellent place to tease you with an innocent pout on his lips and a wicked gleam in his eyes. Lips trail lazily along whatever bare, wet skin they can reach while greedy fingers prepare you for something bigger once you're finally in bed together, moving together lazily in the sheets and putting off cleaning the mess until morning.

(And even if Belphie gets a little carried away in the shower as he stretches you with his fingers or his mouth, or possibly his cock if he's that riled up, the clean-up has never been easier.)

Read more: Obey Me! Masterlist

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[originalwinnerfanfish]

Well, I did it

Megatron - I love his tfp design. Probably one of the best iteration of Megs. He is huge, heavy armoured, his face covered with scars… He doesn’t looks like an ordinary military leader who is only capable of giving orders, but like real warrior who can destroy any enemy with his bare hands.

So, in the WOF version, he definitely shares some features with Princess Burn, not only because of his might, but also because of his horns shape and dirty-dark scales (that absorbed blood of his enemies)

Starscream - Boy, I hate him so much 🤣… but in the good way, trust me! In my opinion, when the show's creators make you feel such strong negative emotions towards a villain, it means they've done a great job. Also, I think that his animation in the show was absolutely incredible, because even though he's a 3D model, he still manages to move like a 2D character, which is amazing!

I feel that in my design he still looks more like a skywing, than an icewing (which is kinda logical)

Soundwave - This one was tricky. I couldn't figure out what his mask would look like, so I just made his face a really dark color. I think Soundwave has both gifts of the nightwings, and he’s equally great at telepathy and a future vision. So he doesn't really need equipment to predict enemy movements, which makes him an ideal communicator in the WOF setting. His Laserbeak is part of the armor enchanted by Shockwave, and it might also allow him to open portals (but I'm not sure with this one)

Shockwave - My favourite evil genius. He would definitely have animus magic and mind reading. I think Shockwave is the only one who has advanced the study of magic so far, precisely because he combined it with scientific knowledge and created safer methods of using it, that don't damage the mind. It's like if a Mastermind got animus magic in books.

I also like to think that he didn't heal the damaged part of his face just so that his enemies would fear him more)

Dreadwing - This man deserved better! It's really a shame that he was removed from the show so quickly due to financial problems. It would be great if his arc got a proper conclusion in season 3.

Considering that I didn't want to make him a hybrid, it was difficult to choose a suitable color palette. So let’s just say, that I tried my best😅

I don’t think that he would have any nightwing powers, but honestly it doesn’t even matter - this guy can make a bombs, what else does he need to be cool

Arachnid - Did anyone even doubt that she would be a hivewing? Damn, she even got her own “Othermind” virus. Her design was the easiest to work with - just a little poisonous ass (suspiciously similar to Maleficent).

Just like Starscream, I hate her, but in a good way. She's one of the creepiest characters in the entire series, who’s acting like a fucking heartless monster, especially with Arcee, but even so, there's always was something mesmerizing about her. I just really like strong female villains

Knockout - Wery bright and charismatic guy, definitely one of my fav cons!

I tried to draw him as handsome as possible. Worked a lot on the face shape and coloring, and as for me it turned out pretty nice (finally).

Most decepticons think Knockout is as stupid and lazy as all the other rainwings. And it's not like he completely disagrees with that. Of course he’s not stupid and lazy, but if it’s means less dirty work on the battlefield, well, he’ll continue act like a tipical rainwing

(I also believe that Megatron keeps him as an “art”)

Breakdown - Fun fact: "Operation Breakdown" was the very first thing I saw in this series. And it was an interesting experience for 8 year old me. Maybe that's why I'm so scared of eye gouging scenes in movies now…

I think that he didn't have any siblings initially due to his parents nature, and even after meeting Bulkhead, he felt uncomfortable among the other mudwings. And this is why he later chose the side of the decepticons. And maaaaybe because of one cute rainwing influence)

P.s.

I think that, being mostly nightwings and icewings, the decepticons are much more concerned about purity of their blood and rarely accept half-breeds into their ranks.

During the war, there were many animus dragons among decepticons, which is why they have so many artifacts that allowed teleportation and communication at a distance. But, honestly, I still can't imagine what Nemesis would look like in this AU

[theastrophysicistnextdoor]

The Ineffable Detective Agency presents: Decoding 1941 Hell – The Hidden Morse Messages

The Good Omens team never fails to surprise us: In the Hell scenes set in 1941, there are subtle beeps in the background that many might have missed: morse code messages! 

We took the time to decode these messages from about 5 minutes of the show – some parts are easy to identify, some parts are really hard due to overlying sounds or noises. 

We used the 5.1 audio and selected only the channel with the morse signals. Check out an easy snippet – which line is it? :)

Then, we applied high- and low-pass filters to emphasize the code’s pitch around 1360 Hz. Some of us have pretty sharp ears, some of us worked with the frequency spectra to mark short and long signals as well as pauses in between. 

Here is what we have heard or seen, together with some facts and thoughts on the lines. Let us know what you think!

S2E4 06:19 to 08:23 “Have a miserable eternity”

Here are the pieces we have successfully decoded: 

HAVE A DREADFUL ETERNITY

We are wondering why this is different to the text via loudspeaker as well as Furfur’s “have a miserable eternity”...

TOMMY’S A LEGEND

Do we know a Tommy?

1) There's the Welsh magician/comedian Tommy Cooper (his magical act specialized in magic tricks that appeared to fail), who was the inspiration for the red fez in the magic shop. Cooper died live on television suffering a heart attack. :(

2) There's also the lead character Tommy in Brigadoon, the plot of which feels seriously GO-coded. There is a magic village hidden outside time that only appears in Scotland once every 100 years and is connected to the rest of the world with a bridge, outsiders who find "clues about the village and its people that make no sense", and a plot about unlikely lovers who are separated (because one "can't just leave everything in the real world behind"), and an ending that reunites the lovers against all odds because of the strength of their love ("I told ye, if you love someone deeply enough, anything is possible ... even miracles.")

PAUL’S OUR MIXING HERO

Could that be the Re-Recording Mixer PAUL McFADDEN?

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABAN

The phrase "Abandon all hope, ye who enter here" is a quote from Dante’s Inferno, Prelude to Hell, Canto III, Vestibule of Hell: Dante passes through the gate of Hell, which bears an inscription ending with the phrase "Lasciate ogne speranza, voi ch'intrate". So, the minisode is THE place where we get quotes from the two most famous literary accounts of Hell – with Furfur's quotation of Paradise Lost in the dressing room at the Windmill Theater: "In dubious battle on the Plains of Heaven". 

S2E4 09:16 to 10:09 “Processing the Nazis”

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION

S2E4 11:07 - 13:12: “The offer to return as Zombies”

These two minutes are very tricky: while in the first half it is ok-ish to identify the signals in the spectrum, the second half is overlaid by so much noise… – yes, we are calling the dialogues and sounds in hell noise now :D – that we chose a different approach. 

It looked as if the sequence starts from the beginning, so we compared both parts, and now we are quite sure that it is the same pattern. 

DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LO …

So those are the sections we are pretty certain we have correct. However, there is one section we are still unsure on - maybe you can help?

Back to S2E4 06:19 to 08:23

We have been fighting hard with the first six seconds, before “HAVE A DREADFUL ETERNITY” and we think it is:

SHE’S IN MA PHONE

Who are we talking about now?

Do you have any other ideas of what this could be? If it is “She’s in ma phone”, what does that mean? Or is the S just noise and it starts with an H? Or even with a B – BE’S IN MA PHONE?

So, what are your thoughts on all of these messages? Why go to the effort of putting morse code here? Is it a fun easter egg, or something more? And why say “dreadful eternity” in morse when the quote used in the show is “miserable eternity”? We have so many questions!

Spoiler: There is more code hidden throughout the series.  Let us know what you see or hear!

-... .    -.- .. -. -..    - ---    . .- -.-. ….    --- - …. . .-. 

An amazing joint effort with @noneorother, @kimberleyjean, @thebluestgreen, and @embracing-the-ineffable at the @ineffable-detective-agency (with the incredible @maufungi, @somehow-a-human, @lookingatacupoftea, @komorezuki, @havemyheartaziraphale, and @dunkthebiscuit)

See more of our posts, plus a collection of Clues and metas from all over the fandom, here.

[herejusttosufferalong]

Now that L has painted a big arrow on the timeline at June 2021, I’m curious about what you think S2 filming was like between the two of them?

L was still with J, they had found out they were going to be leading season 3, they had less screen time and more downtime than S3, and they posted THAT selfie. Thoughts?

Let me just give y'all my thoughts:

I think there was always feelings between the two of them and S2 filming really started to cultivate the blurred lines for them.

They knew early on in S2 production they would be leading S3 and they have both been very vocal about the prep they started to lead S3.

I think they both recognized pretty quickly they had feelings for each other but never discussed it and the used S3 filming and their characters to act on their feelings.

I personally don't think they ever crossed a line physically outside of their characters, pre or post break up with J.

I think a conversation was had between the two of them, sometime between the wrap party and her going to his play. I'm leaning closer to the wrap party.

I do think N was the one to shut things down for multiple reasons like L just getting out of a 4 yr relationship, them being in the BTON bubble and blurring lines, and then her truly thinking that maybe they had gotten whatever it was out of their system during filming.

I also don't think L was honest when they had their conversation. I know a lot of people within the fandom think his confession sort of "scared" N off with him dropping the love bomb. I feel the opposite. I think he downplayed things out of rejection.

Which is why we see him do a 180 last summer, he is running.

I think after she went to his play there was limited contact between them, partly because she had been seeing someone else, until Dec '23 when they met back up for reshoots.

During reshoots they fell right back into the blurred lines because nothing was actually resolved from their previous talk. They may have had another conversation with an understanding regarding the upcoming tour.

Which I believe is part of the reason we get the tension after the NYE kiss and during the early Jan interviews.

I don't believe N was seeing anyone Dec '23/Jan '24 but I do think it may have been rekindled in Feb/Mar done by early April.

We can tell from all of the press junkets and livestream events Feb-Apr that there is something there between L and N, I don't think it was lost on them either.

Australia def solidified things for them exhibiting their feelings outside of their characters and being forced to really examine it. Another conversation was had.

Then we have the InStyle stunt followed by a bunch of articles claiming L to be single.

A week later they are in Italy.

There is tension. Why? I think it is truly due to their lack of clear and honest communication up to that point. Another conversation is had, with their bodies, and all is well for the rest of the Italy stop.

I don't believe L had any intention of taking A to the NY premiere but I also don't think she flew there and surprised him. I don't think he was happy she was there but I also don't believe he yelled at her or got into an argument with her at the after party.

Reasons why I don't believe she was ever invited to NY:

She had bought her own ticket to get into the premiere/after party.

Her seat at the Knicks game seemed to be a last minute get.

And the Chaos dinner.

I'm def in the minority with this one but I don't think L would have accepted the invite if A was planned to go to NY. I could be wrong but the dinner already seemed completely outside of L's scene of ppl to network with. He was going for N and N alone, you can't change my mind.

Then we get Brazil. This is tricky because I don't believe L had ended things with A like some ppl do but I do believe they were just casual.

I am def in the minority here as well, I don't believe L took A to SF during the break between Brazil and Toronto. I think the pic A shared was an old one. Could be wrong tho. I think he was elsewhere and not with her and that was the reasoning behind the liking spree and getting some family/friends to follow her. All so she didn't act out, go figure it would be her mom who caused the drama...

Cut to Toronto. There is perceived tension between L and N but I think the fandom got this one wrong. They both seemed to have been ill in Toronto so I think that and jet lag started to catch up with them. All was fine in the end.

Not much to say about Dublin or Galway. I think lines were drawn by someone as things got a little too real.

And now here we are.

Let's discuss...

[majikkulu]

♱ 𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 𝖙𝖍𝖊 𝖍𝖔𝖚𝖘𝖊𝖘 by majikkulu ♱

━━ ❝ masterlist ❞

these are my personal observations and may not resonate with everyone. please take them with a grain of salt, as i'm not a professional astrologer! :))

(i don’t know much about greek gods and goddesses, but i joined a top model contest where i have to dress up as a greek deity. it landed on hecate, and since she represents witchcraft and spirituality, i felt inspired to do an asteroid hecate lmaoooo. i hope yall will like my interpretation ;pp.)

asteroid hekate (100) is a greek goddess who rules over witchcraft, crossroads, and the night. she represents the deep, hidden parts of life, like the mysteries of life and death, and changes that happen in the dark or behind the scenes. think of her as a super-powered flashlight that helps you find your way when you’re lost in a dark forest. hekate helps you tap into your inner wisdom and guides you through tough times or big decisions.

where hekate is in your chart it points to areas where you might face crossroads, big changes, and hidden truths. it’s like having a special ability to understand things that aren't obvious right away. hekate also helps with personal transformation, helping you move from one part of your life to another.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 1𝖘𝖙 - they have a really cool, mysterious vibe that makes people curious about them. their intuition is super strong, and they might even have psychic abilities. this gives them a natural wisdom that others find fascinating, especially if they’re into spiritual stuff. while they might be drawn to spiritual practices, fully embracing them could be challenging. they’re very sensitive to their surroundings and trust their instincts. their journey involves listening to their inner voice and following their gut. people feel there’s more to them than meets the eye, and their powerful presence can be very magnetic. however, they might struggle with knowing exactly who they are and what path to take.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 2𝖓𝖉 - they’ve got a knack for making smart choices with their money and possessions through their intuition. their financial situation might go through a lot of ups and downs, but these changes help them figure out what’s truly important to them. they might find themselves deciding what to keep and exploring new ways to earn money. they probably value items with special meaning. over time, their priorities might shift, and they’ll rethink what’s worth holding onto. they might be drawn to earning money through spiritual work like astrology or tarot. even though their finances can be a bit unpredictable, they should remember that their true worth comes from their spiritual and intuitive gifts, not just material things.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 3𝖗𝖉 - they speak in a way that’s intense and full of insight, often using metaphors and talking about deep topics like psychology or mystical themes. they might have a natural understanding of what others are thinking and feeling. advising their siblings or close relatives might come easily to them. however, they might find it tricky to clearly express their own thoughts and feelings, which can sometimes lead to misunderstandings.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 4𝖙𝖍 - they might go through major changes related to their family and home, like moving or shifts in family dynamics. their home could feel like a special, mysterious place that they protect strongly. they might discover deep truths about their family or even uncover secrets. they could be someone others rely on for emotional support, which can be a lot of pressure. they might have inherited spiritual abilities from their family, and these could be a big part of who they are. handling strong emotions and family conflicts might require them to take a step back for some introspection and healing. it’s important for them to set boundaries to take care of themselves while still being there for their loved ones.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 5𝖙𝖍 - they’re drawn to exploring spiritual themes through their creativity. creative activities help them express their deep, hidden truths. when they date, they look for strong emotional or spiritual connections and are often attracted to people who share their mystical interests. their intuition makes these connections intense and transformative, helping them understand themselves better. they use creative outlets to connect with their inner self and explore spiritual practices that make them happy. they’re also great with kids, understanding them intuitively and guiding them with wisdom. they might face creative blocks, but these challenges often lead to new insights or breakthroughs.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 6𝖙𝖍 - they might be drawn to careers with a spiritual theme, like healing or counseling. their job situation could change a lot, and they’ll likely know intuitively if something is wrong with their health, which might lead them to holistic practices like energy healing or meditation. emotional or spiritual issues might show up as physical symptoms. their daily routine might include spiritual practices like meditation, and they might naturally organize what feels right to them. helping others could be fulfilling, especially when it comes to understanding their personal and emotional struggles. however, this placement might also lead to stress or dissatisfaction, causing them to overthink their path or daily tasks.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 7𝖙𝖍 - they form deep, transformative relationships and attract partners who are intense and spiritual. these partners might push them to explore new sides of themselves and their relationship dynamics. they have an intuitive understanding of their partner’s needs and desires. they might be drawn to mysterious partners who reveal hidden parts of themselves or their relationship. some connections could feel significant or even karmic. this placement can also bring challenges related to control and emotional conflicts, similar to having pluto in the 7th house.

𝖍𝖊𝖐𝖆𝖙���� 𝖎𝖓 8𝖙𝖍 - for them, intimacy can be intense and revealing, bringing up psychological and spiritual truths about themselves and their partners. they might be interested in exploring hidden or taboo aspects of sex. their intuition is strong when it comes to shared finances. they might face fears and psychological issues that lead to personal growth. they could be interested in mystical practices like astrology or tarot. working through past traumas and unresolved issues can bring healing and a sense of renewal. however, they might encounter issues with control or power in their intimate relationships or financial dealings. despite these challenges, they could do really well in business.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 9𝖙𝖍 - they might experience changes in their beliefs and how they view life's purpose, often leading them to a more spiritual perspective. they could be drawn to esoteric or occult philosophies and approach learning with their intuition. traveling might bring transformative experiences and new insights. they might be attracted to places with spiritual or mystical significance, prompting deeper reflection. exploring the universe and its mysteries could fascinate them. their deep knowledge and intuitive understanding can make them a great teacher.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 10𝖙𝖍 - their career and goals might go through changes, and they could be drawn to roles that involve mystical practices. the public might see them as someone who brings a unique, transformative energy with innovative ideas. their strong intuition can help them make decisions that lead to success. in their work, they might take on a mentoring role. this placement can bring intense or challenging experiences, and they might explore hidden aspects of society.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 11𝖙𝖍 - they might experience deep and transformative friendships and interactions. they often attract friends who are intense or spiritual, bringing significant changes into their life. they might be drawn to groups with mystical or esoteric interests. their long-term goals might involve spiritual themes, and they have an intuitive sense of their dreams and aspirations. they could experience intense dynamics within their social circle, like power struggles. they might take on a leadership role in their group, providing guidance and support. their aspirations have a spiritual purpose, leading to a fulfilling journey.

𝖍𝖊𝖐𝖆𝖙𝖊 𝖎𝖓 12𝖙𝖍 - they might go through inner changes and transformations, exploring hidden parts of themselves. this can lead to self-discovery and healing. spending time alone can offer them growth and spiritual insight. they might be pushed to confront and address shadow aspects of themselves, which can be intense but also healing. they may need to work through self-sabotaging tendencies. their path involves deep inner work and exploring hidden realms, so trusting their inner guidance and intuition is key. this placement can bring healing, inner peace, and insights from unknown sources.

[sillyandquiteawkward]

sillys (not so) lil info dump about how to be a human being. smiles

htbahb is an album from glass animals, of which notably, all the songs align with different people's lives, perspectives, and feelings, also of which are shown on the (various) album covers. so the easiest way to go thru the story is song by song. but i will show you the album art so you can get a gist of things before we go into details.

these are just some of the various album covers for htbahb, theres a bunch of them, but we dont need to see all of them to see the different lives of our characters.

1, Life Itself

this is our main character for life itself. you can call him a bit of a nerd if youd like. apparently his name is chuck rogers. they dont all have names.

hes an inventor, loves ray guns and strange technology, but as noted in his song, feels like he was raised with expectations hell never be able to achieve. his father as a child said he would be a superstar, but nowadays, he cant get a job and he lives with his mom. hes struggling with finding himself and his place in society and hes doing drugs and feeling like hes absolute rock bottom with everyone being against him. he feels alone and attacked and retreats back into his car or grandmothers basement and keeps folding back into himself.

in the music video for life itself, hes only seen in a few scenes, leading the charge against [popular st] with a smoke bomb as [mamas gun] watches knowingly from the sidelines as perhaps the real leader behind the assault. they seems to be accomplices with each other, as they ride in the car together and seem to be specifically looking for [youth].

2. Youth

now the main character for youth is tricky, it seems like we have two characters for youth, the small child, and assumedly, his mother the waitress. i think i like the interpretation that the mother is the main character for this song, and the child represents the album as a whole. alternatively i also like the idea that the child is youth, and his mother represents [premade sandwiches]. but for the most part, they are just both the characters for youth.

youth is a mother talking about her child, and to her child, almost in a detached sort of way as if they arent able to see each other. a mother speaking her hopes and dreams to her child. somehow these two have been separated when the child was young, perhaps through giving up to adoption, or hinted in the music video, abduction. she wishes best for the child, urges them to feel their mother at their side, and notes that theyve got her eyes. she lists off her wishes for them to be happy and have friends, and be silly. this perhaps is for the best, that they can be happy even without her. i particularly like in this song, the wordplay makes it sound like the singer is counting one, two, three, four, five, when they are singing other words like boy, to, free, funny, and fly respectively.

in the music video for youth, the child is seen almost haunting the mother as she works as a waiter, appearing in several locations playing and running around as she remains dutiful to her job. they briefly sit looking at each other in the same hotel room he had been taken to in life itself's music video.

3. Season 2 Episode 3

this is the main character for season 2 ep 3 and i think one of the cool changes between album covers, as we see a fully done up girl all put together with her make up on, and in the other, someone a bit more silly with her makeup removed. this might be the way she sees herself vs how other people see her.

the song is the lament of a boyfriend to his girlfriend, who seems to be glued to the couch, watching shows, getting high, not changing her clothes, and eating day old leftover food and most notably, mayonnaise straight from the jar. at the beginning of the song, the two of them are high together, however he soon sobers and realizes she refuses to get sober along with him. he tries to convince her that their relationship wont work if she keeps being like this and doesnt try, but she wants him back the way he was (high as well) and views him as a nag. she still makes him happy, but sometimes she makes him sad to see how she lives. even after an acceptance from the boyfriend that she wont change and will never be vertical and golden like he wants and that the relationship will never work out, the song ends hinting that hes picked up getting high with her again due to her calling him a killjoy and wearing him down.

in the music video we watch the girl splay out on the sofa, surrounded by her mess watching tv and doing nothing. halfway into the video, we are brought into the game she plays, as she battles [life itself] [cane shuga] and [the other side of paradise], all of which are men who could possibly be the boyfriend figure.

4. Pork Soda

this is our main character for everyones favorite pork soda. hes an older man, who for the most part seems pretty happy. wonder if hes harboring some long lost feelings or something.

the song opens with a street performance unintelligible to a normal listener, its like passing by a conversation, you are only able to hear bits and pieces of the spoken words. once the song starts you hear a story about this guy's girl who used to be fun and adventurous and would take him along with her. in the same breathe hes begging to go back to the days they were happy together. it seems like they fell out of love, or are in a struggling relationship bereft of communication or the passion it once had. shes only happy when theyre having sex together, and just looking at each other causes him heartache. the song talks about pineapples in my head, and being brain dead, as well as other references to diminishing mental facilities, that perhaps in their age, theyd forgotten about each other.

the music video gives us probably the most clear story line, as we see the wife prepare a meal before sending it through a dumbwaiter into the basement for the husband. there he sits alone, watching tv. up above the wife plays with their dog, imagining the dog is the younger version of her husband. all of her time is dedicated to the dog, and all of his time is dedicated to the tv. they have forgotten they love each other and live in the same house, but live in separate worlds. only after the dog destroys his tv and the husband destroys the floor above him and under her feet, do they finally get back together as he catches her as she falls, surprised and exhilarated for the first time in forever. and things seem to be better as they finally occupy the same room together again.

5. Mama's Gun

This is the main character for mamas gun. shes a victim of the perception of her mental illness. i think this is my fav song of the album.

during the song, the woman initially admits that she took her gun and made her husband go to neverland. however she also says she loved him a lot and he was perfect. through bits and pieces of the lyrics you can come to the conclusion that she has some sort of psychosis, or perhaps schizophrenia in particular as she notes many different voices and figures talking to her. the song references dr swango, a doctor who killed his patients, however he insists to her that him and all the other voices in her head are too from neverland, and that she was a murderer just like him. is she really guilty of murder? what really happened? the flute played during various instrumental parts of the song is a sample from the carpenter's mr. guder, a song about a man who does what hes supposed to in society and his job and gets nothing from it. karen carpenter herself was a victim of her own mental illness and they say that theres a specific purpose for the sample chosen. once the lyrics pick back up, the voices again pipe up and tell her she was a murderer, even the voice who had never spoken says so, so he must be telling the truth right? during the final bit of the song, it seems like her husbands voice joins into her collection of voices, as he bears a cheshire smile and asks her to lay with him once again, and that hes waiting for her. in the end, its unclear what happened with her and her husband, as she goes back and forth saying she was violent, she was doing nothing. this song was inspired by a story they heard of a woman going into a drug induced black out for a month and reappearing in another state with no memory, and the lingering fear that shes done something terrible wrong, and never being able to have the closure of knowing what happened.

theres no music video for this song, but we see her appear in life itself. she and [life itself] drive to the hotel where [poplar st] is holding [youth] captive and attempt to break into the room hes in.

6. Cane Shuga

this is our main character for cane shuga. hes exactly how he seems, a rich white guy who is, of course, using that cane shuga all day everyday.

cane shuga presents a dialogue from two parties, two people in a relationship. the singer promises he wont do coke anymore, that he wont be a john doe in the hospital. the chorus however is the high he rides on, where he thinks hes hot shit, hes 007 james bond, hes as powerful as kim jong, with a popped collar as he looks into the glare of the mirror and hypes himself up after using in the bathroom at work. hes untouchable. the second chorus is his partner, giving up on him, their love has burned up, just like his drugs. theres a humorous line of putting their foot down saying ive had quite enough, but corrects themself and sarcastically says or lack there of, that they arent being given anything anymore by him. regardless, their verses and conversation is short. the chorus of his high is the main focus of the song, and repeat over and over as the days continue.

[cane shuga] appears in season 2 ep 3's music video as [season 2 episode 3]'s potential lover. their stories do seem to entangle, they both are drug users dealing with partners who want to stop using. some people say that he is her partner, that he stops using for her, but falls back into the habit. however this doesnt exactly line up with her song, as she doesnt want him to stop. i think its part of that unreliable narrator theme weve seen in previous songs. people have different experiences with each other and get different messages due to the issue of communication. im not exactly on board with these two being together, but i do understand where people are coming from with this take.

7. [Premade Sandwiches]

this is a spoken word interlude, sped up and pitched down. there doesnt seem to be a character paired with this song, and on cd this song is simply a bonus track hidden behind cane shuga. on first listening its very difficult to catch what is being said, but over and over the speaker is talking about standing in line for various things. this song discusses mindless over consumption of drugs, of buzz words, of natural foods for your dog, watches, new clothes made to look old, the junk drawer filled with phones you dont use, with pens that dont work, with random shit you never needed just piling up. people stand in line and they dont even know why.

8. The Other Side Of Paradise

this is our main character for the other side. hes gonna be a basketball player and make it big babyeee.

so its a bit unclear and vague in the lyrics, but it seems our narrator and the basketball player used to be close friends. he even seems to be in love with the basketball player, calling him my love. but the basketball player leaves their home in new orleans to go chase his dreams out west and make it big, leaving our narrator's side. he told the narrator not to worry but after phone calls, it seems like basketball boy got a girlfriend. hes gloating to the narrator, hes got a girlfriend now, hes got a gold camaro, hes made it big, meanwhile our narrator is at the payphone hearing all this and his world turns in slow motion. no longer is the basketball player his baby blue anymore. hes moved on, hell never have another chance to love his friend. hes so angry and hurt, but he balls up his fist almost in a fight or flight reaction, and settles for the ghost of his love. hed always hoped for a paradise where they could be together but it seems like fate had other plans. he laments the basketball player for ditching them, saying here in new orleans people dont leave and ditch their lady (him). he wants to be loved and pampered by him, not her. heres where the vagueness comes back, the narrator seems to be so distraught that he rather kills himself, or finds that his body looks wrong, perhaps that hes not a girl that couldve been loved by the basketball player.

he only ever appears in the music video for season 2 ep 3 as one of the bosses [season 2 episode 3] defeats, claiming ball is life. there is a music video that was recently released for this song, however it does not depict the basketball player.

9. Take a Slice

this is our main character for take a slice, hes a bit of a slut but he makes it work :) the spoken intro to this song is the real recording the band took while talking to a male fortune teller, so the sausage candle is rather real or a lie from the fortune teller.

take a slice regales the story of a young man who finds pleasures in the sultry sexual aspects of life. hes sucking on cigarettes in a way freud would roll in his grave, hes painted his nails dark, has piercings, hes asking for another slice of cherry pie, cherries being a symbol for all things sex and lust. hes smitten with the idea of being a prize to be sought after, and after trying sex work for the first time, realizes this is the job for him. hes going to fuck his way through college, and sleep during class dreaming of you. wink. hes rolling in the dough, hes got a gold car, hes maybe dabbling in drugs too, and hes filthy and he loves it.

10. Poplar St

ms moore is the main character of poplar st, and shes a cougar, and not the good kind.

a young boy lives a typical suburban life. hes got bandaids on his knees and hes climbing trees. but one day, he sees mrs moore and mr keats have sex. immediately this drags him out of his childhood, hes such a man now that he knows what sex is. this is the first step of her grasp around him. as he gets a bit older, his mother calls her prosti-tits and looks down upon her. but the boy looks up to ms moore, despite his mothers words. mrs moore sees his desperation and pulls him into her clutches. theres a very specific voice crack when her teeth sink in deep and the note hes singing falls flat. this bit of pain expressed is highly contrasted with the chorus coming back in, the boy once again considers himself a real man, a true romantic, this is what all men dream of, isnt it? but there are dead flowers in the sand, hinting that these roses arent just romantic. the next bridge plays and interesting word switch up. it starts out with her begging him for more as she sits in her underwear, and then switches to him begging her for more in his underwear. theyve both wasted their days, but when it comes to his youth and her age, the only one wasting their childhood is him. the song concludes with mrs moore calling him up collect (so he has to pay for the phone call, not her) one day and breaking up with him. and then it all gets pulled out from under him and hes just a boy again. this tells the sad tale of how men and boys' sexual assault and grooming often is pushed to the side because they think this is how things are supposed to go, that they are supposed to have sex and to be used and abused from a woman is supposed to be an achievement. but really all it is, is abuse that leaves him feeling terrible.

11. Agnes

this is agnes :) i think it was mentioned at some point that he takes pictures of people when they arent looking, so to me, i like to think hes the one capturing everyone pictured in this album. bear witness to other humans.

the song starts out where the singer is appearing to try and comfort agnes. how did it get this bad, agnes used to just take pills and smoke a little, somethings changed perhaps. the singer notes agnes is just going through the motions every day, numb, and nervous, but hes swelling with emotion all the same. here the singer laments he wants to hold agnes like hes mine. theres a longing sadness in the lyrics. the next verse confirms the worst, while agnes was perhaps a genius when it came to the romantic, he was a deeply depressed and lonely person. he started to rely on the drugs and the alcohol he used to use recreationally, just to live a normal life. and he ultimately commited suicide. the singer wonders where the agnes he used to know went. however the singer reconsiders, and accepts that agnes did his best, life must feel so unbearably long when its soaked in sadness, living a false life filled with depression. so it goes, the singer thinks, but cant help but to feel lost. the only thing he can think of is agnes, perhaps considering all the art agnes made, all the photos he took of other people, perhaps just thinking about his friend in any aspect. grief is funny like that. on the vinyl record, this song's last seconds repeat over and over until you stop the machine from playing, like a lingering memory you cant stop thinking about.

the agnes music video is much different than the others, as it focuses on the singer, dave bayley as he sits in a centrifuge and attempts to sing the song. this causes a very physical reaction and he struggles to even lift his hand, by the end of it hes sweating profusely and unable to catch his breath, but he persists and continues singing. he mentions this was a mere fraction of what someone going through depression could feel like. during the music video as well, he appears to be looking across from a mannequin, perhaps the stand in for himself once hes put himself in agnes' shoes.

thanks for reading if you did i love being insane. all of these are my personal thoughts on the album, and might not exactly match up with your interpretation, but i have tried to keep to what we believe is what glass animals had in mind for the album and these characters.

[umnitsa]

Still a dirty old man

Summary: Joel is on his seventies, but he still has needs. Well, we all have needs.

A/N: Ok, so. Look, I'm gonna be honest: life kicked my ass, I just got into college (again eeee), god knows how this is gonna go, but here, I heard you all: I wanted more and there is more. I can't help myself, I want this man in dirty, horrible ways. Thanks @romanarose, for the pair of eyes and as always, thanks for everyone who asked for more and cheered me with this. Really, I can't thank you enough.

(I must admit that I don't know if I'll ever continue this, specially with the way life is going now. Although part of me wants to get to three thousand sex scenes, I need to be honest: not even I know if this will continue. Don't wanna give y'all false promises.)

Pairing: No outbreak old man!Joel x Reader

CW: Joel being bold, me trying dirty talk and failing miserably, a handjob, very much predator/prey dynamics

No beta, we die like lonely writers xD

Joel behaved as if nothing happened, and so did you.

Things were somewhat tense though. Not for Joel, no. The man just smirked everytime he saw you then lowered his head and chuckled, as if he knew something you didn’t know.

You had to admit it bothered you.

Cocky bastard.

You moved into the kitchen, needing some water. You could hear the faint sounds of tv in the living room, so Joel was sitting down on his recliner, watching some late night sports.

You wondered if Joel would want a snack before sleep, as you filled your cup distractedly. You took a drink, considering the options in the fridge, when a loud cheering sound comes from the living room. You startled, the glass shatters on the floor with a loud noise and your yelp.

“What happened?” Joel yelled from the living room, concern clear in his voice.

“I just dropped a glass, Joel! You don’t need to worry, I’m gonna clean it.” You said, getting on your knees carefully. You placed your hands on the floor and lowered your face to see better. Glass was tricky to see.

You checked the floor, picking the pieces of glass and piling them together; you thought of getting a bag, or some paper to wrap them on after making sure all the glass was retrieved.

“Mmmm…” you heard, and you turned your head back. Joel was at the kitchen door, looking down intensely at your ass. “Such a heavenly view… Makes me wanna get on my knees… Worship your asshole and your pretty pussy with my tongue.” Joel licked his lips and you blushed.

“Joel!” You said, sternly.

“What?” He asked, no shame whatsoever.

“Come on.” You complained, picking the rest of the shattered glass as quickly as you could. As you move angrily you felt a sharp sting of pain. “Fuck!”

Joel quickly wobbled by your side and watched your bleeding finger.

“Here, honey… Leave it. We can clean it later.” He offered you his broad hand, suddenly overflowing with gentleness. “Lemme see your hand.”

You stood up, mesmerized by his eyes, and show you his hand. He held it between his calloused, big, bony ones and slowly leaned to suckle on the tip of your finger.

You were so mesmerized by his deep brown eyes focused on yours, glinting with mischief, that you only realize what he is doing with the first gentle swipe of his tongue against your skin. He gently swirled his tongue around your fingertip, suckling softly; he was showing you what he can do with your clit.

He smirked when you moaned, still holding your wrist with one hand, the other moving down out of your sight.

Joel sighed deeply, in relief, and you realized he opened his pants and took his cock out. He massaged the shaft slowly and you could only watch, dumbrounded, your mouth half open.

“He always wakes up for you, honey.” Joel chuckled. “I thought we were retired, but there he is. Since you came into the house my pants got way too tight. I keep thinking of making you my three-hole-wonder, honey.” He licked his lips and smirked. “Maybe you should give him a little kiss, at least to calm him down.”

The old man looked down, pouting and doe eyed, then back to your face. You found it hard to resist him, when he looked at you like that.

“We can’t do this, Joel.” You swallowed your saliva, considering his cock. It was long, and thick, from tip to base, the head an angry purple that made you want to suck on it. You considered the pain and the stretch he would give you, and the more you thought, the more you wanted to just give in. “I’m supposed to care for your needs.” You said, distractedly.

Your mouth watered and you licked your lips.

“We are both adults.” His eyebrows raised, and he cocked his head. “This is clearly a need. And only you can care for this one.” He smirked again, proudly. His hand kept moving, in this slow, hypnotizing pace.

“So you don’t do this to the day nurse?” You scoffed.

“She’s not my type.” Joel shrugged, a playful expression in his eyes. “Way too young and way too thin.” After a moment of silence, Joel steps forward and holds your hand. He watched your reactions carefully, sliding his calloused thumb over the back of your hand.

You didn’t move.

Joel raised your hand to his face and spit on your palm. You jumped, startled; another chuckle came from him, filling the space between you. Gently, he wrapped your hand around his cock. His big, bony fingers engulfed yours, guiding you into his rhythm.

His cock felt a bit soft at first, but it still got bigger and harder in your hand.

“Mmmmm… Haven’t felt this good in decades.” He muttered, his voice low, eyes closed.

“We shouldn’t be doing this.” You whispered, more a reminder to yourself than a refusal.

“Not standing in the kitchen, we shouldn’t.” Joel growled. “But you didn’t give me much choice… You keep running, bunny. I’d rather taste you, but I take what I can get.”

“I… I…” You lost your words as you look into his eyes. He watched you intensely, his eyes locked into yours. You felt like he was drinking every single one of your reactions, a hawk-eyed creature looming over you, ready to devour you whole.

“Give in, honey.” His voice was gentle, soft, in contrast with the hunger in his expression. “It will make our nights much more fun.”

You whined, leaning forward, your eyes closed. You felt Joel’s lips against yours, one big hand cupping the back of your head, pulling you closer. He growled into the kiss. Your whole body tensed; you squeeze him, the meaning of what you’re doing suddenly very real.

Joel’s fingers clenched, tugging on your hair tightly. Your head moved back; you gasped as Joel’s slips slid down your jaw, towards your ear.

“Wanna run, bunny?” He whispered, his voice suddenly soft. “Don’t run. Just wanna ruin you a little bit.”

His hand squeezed yours; you followed his move, squeezing his cock. Joel moaned, cock twitching in your hand. He moaned loudly, hips thrusting forward. Grunting, he came; some of it transferring to your hand, some splashing against your thigh.

Joel stepped back, releasing you, a smug satisfied smile on his lips.

“See? Just a little bit.” He chuckled, pulling himself into his pants.

“Joel, we shouldn’t…”

“Honey, if you didn’t want me to keep trying, you would have told me. Or Sarah.” Joel huffed, interrupting you impatiently. “She would have killed me by now.”

“How do you know… You could lie to her and she would believe you.”

“I raised her right. And hell if she doesn’t know exactly the kind of man I am.” Joel chuckled, looking at you with a warm, appreciative smile. He shrugged. “You keep saying we shouldn’t, we can’t… You just don’t say we won’t.”

You bristled, puffing your chest and placing your hands on your hips, glaring at him. Your mouth half open, a thousand million tiny things you could say bubble in your throat.

“Go on. Just say: Joel, I won’t play this game with you. Stop right now.” Joel stood in front of you, watching your expression carefully.

The silence extended between you both.

You considered saying it, but you knew it would not be true. Deep inside you wanted him to hunt and ruin you. His smile broadened slowly, as the silent seconds went by. You blushed, lowering your head. You shook it gently.

“That’s what I thought.” He stepped closer to you, even his voice smug. “It’s ok, honey.” Joel caressed your hair, burying his fingers into the strands. He pulled your hair, making you look at him. “Nothing wrong with wanting this.”

Joel kissed you, hungry, impatient, devouring.

Then he left, informing you he would have an early night with a wink.

[writingwithfolklore]

3 Most Common Notes I Give While Editing

              I’ve gotten to edit a whole lot of your guys’ work (thank you for trusting me and engaging on our discord, by the way!) and have noticed a few pieces of advice that I give more often than others. So here’s the most common notes I give while editing pieces!

1. Subtext is key!

Subtext in dialogue can be really tricky, and I’m still finding parts in my own work that could benefit from it. Essentially, your character’s goal when in dialogue with someone else isn’t to be understood, but to protect themselves. Rarely do people ever say what they really mean, because saying what you really mean is vulnerable and scary. The extent someone would put up defenses against another person depends on the situation, their relationship with the person, and context of their conversation, but there are few times when you're really, truly vulnerable.

Of course, the big exception being neurodivergent characters and if your character is just the type to really speak exactly what they mean. You can decide if a certain character of yours is more or less guarded than others, and whether any of them aim first and foremost to be understood over their own wellbeing, safety, or comfort.

Read more about subtext here:

2. Show don’t tell

Classic and true! While telling is totally fine in certain circumstances, I tend to leave notes around wanting to experience something with a character, and wanting to see exposition in action rather than be told it. Consider when you need to share information about your world or characters how you can show it in conflict and action, and when your character is experiencing something—what it feels like to experience that.

Check out my Symptoms vs Affliction post for help here:

3. The beginning is critical

I always pay special attention to the hook and opening scene because how your story opens is critical to encouraging people to read it and get invested from the top.

Your hook (the first line) tends to introduce what’s wrong with your character’s life—why it isn’t perfect. That’s because their arc is the plot—how they grow is the story we’re here to read, so why things aren’t perfect for them begins the story with why we should care and what kind of journey we’re getting ourselves into.

Then, that beginning scene should contain some sort of conflict for your character to face. How they face said conflict is an effective way to show off who they are, what the norms of their world are, and leads into the inciting incident. It’s a lot more interesting to read than a page of exposition, right?

Read more about your beginning here:

Want me to look at your piece? Read the guidelines here!

[deadghosy]

SLYTHERIN BOYS WITH A CHAOS MAGIC USER

Request: Hiii I really love the way you write and I'm in love with you profile's theme !<3. Can I please request a Slytherin boys x reader (platonic or romantic), where reader has the Chaos Magic powers (like Wanda in Marvel) ? I apologize if my English isn't correct, it's not my native language.

A/N: I love Wanda!! Also thank you <3! This can be both seen as platonic or romantic.

Ft. The riddles, Lorenzo Berkshire, & Theodore Nott

Tom Riddle

Terrible duo, an evil man and a chaos user.

Chaos will rain down as you walked with red eyes while using your powers. And Tom is just smiling that evil grin. Proud to have you by his side. Y’know that scene when Wanda was like “what mouth?” Yeah..Tom found that hot and weirdly disturbing in the back of his head

But in all honesty, he finds you endearing. He loves how you reek of powerful. You are his most prized weapon and closet thing he will deem his future counter part.

Absolutely loves when you twist people’s mind and force them do things they can’t control themselves.

The amount of energy you carry also helps him in missions.

He’s very lucky indeed.

Mattheo Riddle

As much as I believe he might not be like his brother, this riddle brother will absolutely do some slight evil shit.

Make you twist people’s minds and what they are thinking.might make you erase someone’s existence if that person makes him mad..to the point he wants to kill them.

But when you read his mind about how hot you seem when scaring someone. You immediately tease him that you can hear his thoughts.

So now mattheo blocked you from his head. Whoops! 🤷🏾 got blocked as if you’re some kind of ex is crazy. But honestly you kept teasing him about his thoughts.

Honestly you two are a chaotic duo when angered.

A deadly duo indeed.

Theodore Nott

“Can you trick someone that they’re in the bathroom?”

Immediately makes you trick a random student to humiliate.

Honestly he’s a slight a little bully, that’s the Slytherin in him. But he does love a little laugh.

But it’s hard to do little pranks when your eyes glow red, so he just makes you look like you’re hugging him so you don’t get caught.

When you read his mind, he’s just spamming in his native language so you don’t understand it. But he knows you could probably alter it.

“Stop reading my mind cara mia.” “No.”

You are terribly amazing…

Lorenzo Berkshire

Is slightly..nah he’s absolutely scared of you

The way you can just turn someone into mush or just erase them makes him scared to get on your bad side

So when you were actually nice to him. He liked it. Though he was still cautious.

But he loves how you comfort him at times.

You sometimes make butterflies appear, tricking his mind into happiness if he is sad.

He enjoys it but sometimes it doesn’t help that he knows it’s fake.

When you read his mind, he finds it awkward and weird knowing you can just read it without no hesitation

He knows he can count on you when battles get tricky. He knows he can count on you to protect him.

But who’s gonna protect against you when you snap on day?