#i really want to write a macbeth au where he lives or maybe the witches bring him back idk | Explore Tumblr Posts and Blogs

morwensteelsheen · 3 years

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Do you have any advice for someone who wants to write Éowyn x Faramir fanfic in a way that remains authentic to who they are/how Tolkien envisioned them? Of all the fics I’ve read on this pairing, yours just stands out to me as being most in character, whether you’re writing them in Middle Earth or a modern!au. I agree with you about Faramir being gentle but NOT a crybaby and Éowyn not a loose cannon and actually somewhat frosty! Any advice you have would be appreciated. Cheers!

bro... 🥺❤️ that is so kind of you, thank you so much!!!! Like holy moly I am going to be riding high on that compliment all week hahaha, i’m giddy thinking about it.

i’ve been fretting about how to answer this question because i think i still struggle quite a bit with their characterisations. also i’m terrible at framing advice, so i’m going to try and answer this by giving my interpretations of certain things and how that effects how i write about them, and hopefully that will be helpful? also i’m so sorry, this is literally 6,000 words, this totally got away from me.

To start quite generally, i think it’s super helpful to realise that almost all of the characters in LOTR are devoid of any significant internal life because the book is structured as a retelling of historical events to frodo, which are later written down and then “translated” by tolkien. unless a character is explicitly telling frodo/someone else what they’re thinking, we don’t really know what’s going on in there (except éowyn and i’ll come back to this later). But the other reason we don’t really get a sense of most characters’ internal lives is because they function as, essentially, heroic/fantastical archetypes and responses to other elements of literature. People tend to shy away from this because of this weird postmodern backlash against tropes, but it’s, i feel, extremely important to remember that these characters aren’t in the books because they’re fully-fleshed out human beings, they’re there because tolkien needed characters to fulfil certain narrative roles. this is not a value judgement, but acknowledging that’s what’s going on here is helpful for us as we try to figure out what these characters would be doing when canon doesn’t explicitly tell us what they’d be doing (or what they’d be doing in an au/a rewrite/whatever).

All this to say: all of these characters are born out of a specific literary and historical context, and i think in the first instance its suuuuuuuupa helpful to go back and figure out what that context is, because it helps you to build out a character profile in your head that feels true to character even when you’re operating in the great canon unknown.

Okay so for some general thoughts on each of the kiddos:

Éowyn

I’ll start with éowyn because i think i’ve spent the most time thinking about her lately and i feel like i’m finally starting to get in her head a little better. I’m not super confident in my take yet, but it’s getting there, i feel.

éowyn’s metatextual character history is really fascinating and really important for understanding who she is. éowyn is, essentially, a direct response to the character of lady macbeth and what tolkien saw as a massive disservice to her character at the end of the play. I had a much better pull quote from tolkien talking specifically about that, but i can’t seem to find it right now so you’ll have to use this really brief overview instead — sorry! I will update this if i come across the quote again.

understanding that foundation in lady macbeth, we can start to ask certain questions about éowyn vis a vis lady macbeth. What are the things that we know — in text — make lady macbeth and éowyn similar? Quite a lot, actually. They’re both ‘fully realised’ women (and i’ll come back to this in a sec), they’re both not naive about the mechanics of power — lady macbeth is a conniver, éowyn is left in control of a whole ass kingdom while the menfolk are away etc —, they’re both hindered by their gender (this is obvious for éowyn, but i HELLA recommend reading lady macbeth’s come you spirits/unsex me here speech and thinking about the relationship between womanhood and violence, especially in light of éowyn’s experience of battlefield violence and later decision to give it up to go be a hippie in ithilien), and they both have to deal with men being frustrating. I love and will defend théoden quite explicitly, but it’s important to realise that he did, in essence, fuck éowyn over entirely and abdiate on his familial responsibilities to her, before you even get to his abdication of duty to the crown etc.

The other big — very big, i feel — similarity between éowyn and lady macbeth is that they are both tremendously emotionally distant and restrained. But éowyn, unlike lady macbeth, is capable of camouflaging her emotional distance when necessary. Here, from ROTK, is a passage of crucial important to understanding éowyn:

‘Alas! For she was pitted against a foe beyond the strength of her mind or body. And those who will take a weapon to such an enemy must be sterner than steel, if the very shock shall not destroy them. It was an evil doom that set her in his path. For she is a fair maiden, fairest lady of a house of queens. And yet I know not how I should speak of her. When I first looked on her and perceived her unhappiness, it seemed to me that I saw a white flower standing straight and proud, shapely as a lily, and yet knew that it was hard, as if wrought by elf-wrights out of steel. Or was it, maybe, a frost that had turned its sap to ice, and so it stood, bitter-sweet, still fair to see, but stricken, soon to fall and die? Her malady begins far back before this day, does it not, Éomer?’

‘I marvel that you should ask me, lord,’ he answered. ‘For I hold you blameless in this matter, as in all else; yet I knew not that Éowyn, my sister, was touched by any frost, until she first looked on you. Care and dread she had, and shared with me, in the days of Wormtongue and the king’s bewitchment; and she tended the king in growing fear. But that did not bring her to this pass!’

‘My friend,’ said Gandalf, ‘you had horses, and deeds of arms, and the free fields; but she, born in the body of a maid, had a spirit and courage at least the match of yours. Yet she was doomed to wait upon an old man, whom she loved as a father, and watch him falling into a mean dishonoured dotage; and her part seemed to her more ignoble than that of the staff he leaned on.

‘Think you that Wormtongue had poison only for Théoden’s ears? Dotard! What is the house of Eorl but a thatched barn where brigands drink in the reek, and their brats roll on the floor among their dogs? Have you not heard those words before? Saruman spoke them, the teacher of Wormtongue. Though I do not doubt that Wormtongue at home wrapped their meaning in terms more cunning. My lord, if your sister’s love for you, and her will still bent to her duty, had not restrained her lips; you might have heard even such things as these escape them. But who knows what she spoke to the darkness, alone, in the bitter watches of the night, when all her life seemed shrinking, and the walls of her bower closing in about her, a hutch to trammel some wild thing in?’

Emphasis my own.

there’s a whole hell of a lot going on here, but i’m going to try and boil it down to a couple main things:

1. gandalf and aragorn immediately see misery in éowyn, but they are both very good at reading people. faramir (later, in the steward and the king) also senses the misery, but he is explicitly talented at reading people, and even he takes a while to fully understand what’s going on in her head

2. Éomer, who éowyn feels obligation and duty to (both as her brother, but also her superior in rank) has no idea that éowyn is suicidal. he knows she’s not happy, but he thinks it’s not until aragorn shows up that she finally becomes despondent and is amazed to hear that that’s not the case, to which gandalf responds, essentially: you weren’t meant to know, she was working with a will of steel to hide her emotions from you because she wanted to protect you from it. So éowyn is well versed at controlling her emotions when she needs to, and is not prone to showing them where she doesn’t want to.

3. Gandalf describes éowyn first as wrought from steel (which, short of an incredibly hot fire, is not easy to break), and then amends it to say that she is made of ice. Ice, compared to steel, is far easier to melt. Maybe inadvertently on tolkien’s behalf, i think this speaks to the nature of éowyn and faramir’s relationship — first she is melted by fire (battle, the witch-king, etc) and the she is warmed by the sun (faramir! Minas anor! The winter has passed, etc).

4. Earlier i said the characters in lotr don’t really have a huge internal life, except for éowyn. This is where that comes in: éowyn, we are supposed to understand, has a really intense internal life, because her mind is really all she has. We are meant to understand that she’s got a lot going on internally, but there is a very specific reason we’re not privy to it. That’s important to think about.

what this does is widen the gulf between what éowyn’s thinking and feeling, and what she’s actually saying and doing. If you’re writing (as i tend to prefer) in a way that deals with her inner life quite intensely, building that gap up is much easier to do. She’s going to have a lot of thoughts, and almost all of them are going to be hindered by either other people’s expectations of her, or her own expectations of herself. And that’s going to cause problems for her — maybe not always throwing-herself-at-death level problems, but certainly problems.

so there’s that. Then i think there’s a lot to be said for widening the net on éowyn inspirations. I’ve looked to joan of arc (which i kind of hinted at here) quite a bit. I feel like the joan of arc comparison is easy to understand so i wont waste too much time on it, though i will say i’d actually recommend reading catholic interpretations of joan of arc, not later protestant Girlboss interpretations because i think those miss the point of joan of arc entirely.

I was going to try to comment more on the gender element but i feel like i’m not on great footing with that yet so i will leave that to the side for now.

Faramir

tbh i was kind of dreading getting to this because i still find it exceptionally hard to get into his head, so wish me luck lol

I’m going to be a total bore and recommend you check out this article. Bear in mind that that was written by a dude at the citadel so it’s going to stray into the realm of Military Brain at points, but i think it’s a worthwhile read anyways.

ah christ, faramir. okay. cowabunga.

faramir, more so than aragorn, is the platonic ideal of a romantic hero. Both in the genre sense (as in, romance novels) and in the sense of the artistic movement of romanticism, i know i’ve said exactly this before but it’s worth reiterating. I’ll start with the romantic influence and then go onto the romance.

So the romantic movement is a really important intellectual, cultural and political movement, and you will have to forgive me because i am only loosely a modernist and more a contemporary historian, and not at all an expert in literature or art history, so this is going to be, like, a 101 level understanding of what was going on.

The romantic movement is kicked off as a reaction to both the emphasis on rationality and quantifiability promoted during the enlightenment, and the bourgeois economic revolutions (this is the french revolution, mostly, but the later revolutions across the european continent in 1848 and the kickstarting of the industrial revolution in england). Romanticism was, essentially, a return to intense emotionality, reverence for nature, and appreciation of that which is, ultimately indefinable. Not necessary for writing a fanfic, but reading about the idea of the sublime is kind of a fun rabbit hole to go down if you’ve got time to spare.

A lot of present day writers will talk about the romantic movement as a break with the past, which is, i guess, kind of true, but is also not really true. The romantic movement — as much as the enlightenment — took its inspiration and logical from classic art and thought. But it interpreted the classics differently to the enlightenment. Whereas the enlightenment era thinkers were fascinated by the rationality and mathematical precision of the greeks and romans, the romantics were more interested in their emotional liberty, and the epic (in the truest sense of the word) shows of emotion and experiences of human life.

but what does this mean for faramir? A lot!

The first time we’re introduced to faramir (if not in name) is in fotr, when boromir talks about the destruction of the bridge at osgiliath, when he describes an epic story of war and heroism, wherein only four total people survive swimming from the bridge: two unnamed others, boromir, and faramir. right from the off we know that, if nothing else, he’s not a limp-wristed little lordling, he has the fortitude to survive what few others can.

Then, barely half a breath later, we get a description of faramir’s premonition, the fact that it came to him repeatedly, and that he immediately volunteered to go blues clues his way through it. We get the sense that he’s a guy who doesn’t back down from a challenge. And then faramir goes away for a while, until two towers, when we meet him again in the brilliance that is ithilien. And here i’m going to go back to our friend from the citadel for some interesting character insight:

the rangers under the command of Faramir are armed with long bows, giving them the capability to wage war over distances greater than most of their foes. This is the same type of warfare deemed cowardly and dishonorable by the chivalric knights, but is far more effective and less perilous than the face-to-face [...] This tactic also reveals Faramir to be a conscientious leader, minimizing the risk to his subordinates while maximizing their effectiveness in battle. Faramir was considerate of the risk he put his men to and sacrificed the idea of glorious face-to-face combat in favor of a weapon system that would be less desirable in the eyes of men such as Boromir, but also much more efficient. [...] Using camouflage and stealth, the warriors un d er Faramir's command set themselves apart from all other military units besides the elves in The Lord of the Rings and ultimately align themselves more closely with the soldiers of modern warfare than with the ancient heroes prevalent in the work of Tolkien.

Okay enough of the military history because it’s soul-crushingly boring, but the gist is that faramir is, (whatever else he is) a very unique figure. Taking this as a value neutral statement, we get the sense, before we even hear him own to it himself, that he’s a man apart from the rest. I think it’s important also to think about the extent to which he is situated as a part of nature when we first meet him, even if we later know that he is from this big, awful stone city, we are meant to immediately associate him with nature. And not nature in a primitive sense, i’d argue, but nature in the romantic sense, where it speaks to the beauty of creation etc etc etc

Then there’s the bright sword speech, which im not going to say anything on because cleverer people than me have dealt with it much more efficiently, but i would say that the takeaway from that, besides that he loves peace yada yada yada, is that he likes talking about peace. He has opinions on the war, perhaps even a controversial opinion, and by god, he wants people to know it. So thinking about what that level of immediate and almost impolitic honesty says about him is worth thinking about as you try to write him.

Later, we get to see faramir in the white city, and what we see is that he’s kind of a drama queen! I say this lovingly, but it does correspond to him going off on one immediately about how the war sucks ass and how he’s above it and how all the other people of middle earth are shit, including his own, and how much better life was In Númenor (which is, essentially, the crux of a lot of romantic poetry. And my headcanon of faramir’s connection to romantic poetry is here).

The other thing we learn in the white city is that faramir is very aware of himself as a person, and is actively altering whatever his base inclinations are to fit his desired personality. Here’s what i said in a comment on swaddledog’s excellent hearts and minds:

When Denethor hits him with the "ever your desire is to appear lordly and generous as a king of old, gracious, gentle," he's not saying it because he thinks that sort of behaviour comes naturally to Faramir but because he knows he has to work really, really hard at it. I think inherent in that desire is also the failure — he tries, but sometimes he comes up short (often, even — that kiss on the wall wasn't exactly gracious and gentle!), and it's because he sometimes comes up short that Denethor knows it doesn't come naturally to him. And you get that perfectly, just so, so perfectly.

That gap between what faramir thinks he is and whats to be versus what he actually is is very important for understanding him. Though, as i say, i really struggle with writing faramir, so it’s definitely not an easy thing to work into a fanfic.

I realise i’m probably not articulating this as well as i should, but that’s because dealing with faramir is a tremendous arseache for me, lol. I think basically my advice here is to familiarise yourself with a lot of these romantic figures and try to bear them in mind as you write. pierre bezukhov from war & peace actually fits quite closely to what i imagine young (as in, pre-ring war) faramir is like, with some necessary alterations for canon, and the fact that faramir seems like he’d be slightly more responsible than pierre. And certainly far, far, FAR more confident.

So that’s the romantic, and then there’s the romance. I saw a post a few months ago that identified faramir as, essentially, a love letter to women. And he totally is: he’s this fucking baller guerrilla warrior who quotes poetry and reads widely and falls in love deeply and sweeps a woman off her feet because he finds her beautiful and incredible and worthwhile even when she’s at her absolute worst. emotional intimacy is real, hallelujah! And so i think any time you’re writing faramir you’re going to have to keep that in mind, because he is this sort of breathless romantic. He’s a character that exists (inadvertently because tolkien couldn’t predict the future) to act, outwardly, as an antidote to the All Men Are Shit mindset. How much you actually keep him on that pedestal is up to you. I like to nuance his character with a bit more chaos, let him be a bit of a shameless flirt in his younger years, let him be so high and mighty in his romantic behaviour that he doesn’t realise that sometime éowyn just wants to fucking chill, that sort of thing.

There are lots of other character moments that stick out to me that i dont want to say a huge amount about, but will instead link to this incredible meta about faramir’s númenóreaness, with the disclaimer that dealing with that sort of capability in any serious way scares the shit out of me, so i have mostly just Pretended I Can’t Read every time i think about it, except for a super brief reference at the end of this fic.

Okay onto the meat of this (oh my god, i’m so sorry for how long this is)

Faramir + Éowyn = true love

Before i start, i just want to point out that in terms of seeing their relationship, we only really get it in the steward and the king, which is significant for a lot of reasons. For one because tolkien got a huge amount of shit for how quickly they fell in love (people accused it of being war-bride stuff, which typically was not a great arrangement for those involved) — tolkien himself said ‘shut the fuck up dude’ to that, and this is probably because tolkien married his wife, edith, right before he went off to war. I’ll come back to that in a sec because it’s important.

The other reason it’s important is because the steward and the king features some of the most consistent lofty and high-fantasy prose of the entire series. Tolkien does this magical thing where he weaves high brow purple prose in with deeply casual, familiar (for the early 20th century) vernacular, and to great effect. And he does this for a reason, he wants to create the sense of this deeply developed, fantastical world that extends well outside the bounds of what we are allowed to see in text while also allowing us the rhetorical space to relate to the characters we see. It is, then, significant that there is almost none of the “low-brow” vernacular speech in the steward and the king. It means tolkien’s got all thrusters on full, so to speak, in terms of the romance. He wants to evoke arthurian romances, courtly/chivalric love, the sort of fated-by-the-stars love that nobody would think to deny because of the time constraints because it seems so abundantly obvious that this love is Meant To Be.

But that’s just what he’s doing tonally. In terms of content, he’s weaving a more complex picture.

We’ll start with the obvious. Emotionally, both éowyn and faramir are at their worst. Sort of. éowyn’s worst might have been when she did her suicide run on the pelennor in terms of self-destructiveness, but i think her real low point is actually when she wakes up in the HoH, basically immobilized, prevented from dying, and now aware she’s going to have to do the One Thing she refused to do, which is watch everybody she loves go off to die, and then sit about and wait for her own death. faramir, meanwhile, went off to a hopeless battle (expecting to die) after mouthing off at his father, then wakes up to find out he’s not only alive, but the only surviving member of his family (for some reason! because don’t forget gandalf is very clear that he shouldn’t find out about denethor’s death until Later), is now the fucking steward of gondor, and also this mythical king is Back. also he too has to sit around and wait for death. So emotionally neither of them are doing too great.

Their first impressions of one another are very important.

faramir, of éowyn: “and he turned and saw the Lady Éowyn of Rohan; and he was moved with pity, for he saw that she was hurt, and his clear sight perceived her sorrow and unrest.”; “He looked at her, and being a man whom pity deeply stirred, it seemed to him that her loveliness amid her grief would pierce his heart.”

So he knows who she is, and he can see that she’s physically hurt, but also can see she’s feeling all kinds of fucked up. And the first emotion he feels is pity. He’s assessing her in terms of pain and sorrow, and all of these sorts of emotions éowyn seems desperate to divorce herself from. And he offers her pity. That’s significant.

éowyn, of faramir: “she looked at him and saw the grave tenderness in his eyes, and yet knew, for she was bred among men of war, that here was one whom no Rider of the Mark would outmatch in battle.”

She doesn’t know who he is, not really, but she does immediately think he could kick ass. And that’s her first and only real assessment of him. That’s also significant.

And éowyn is miserable, and she’s so miserable she’s actually willing to openly talk about if (if only to a limited extent) and faramir does what is, I think, one of the most incredible things in the entire book. He functionally disarms her, lets her down gently, and places them on equal footing with a single joke:

‘What would you have me do, lady?’ said Faramir. ‘I also am a prisoner of the healers.’

There’s merit in interpreting this straight, but I actually think it's quite funny to relate the safety and security of a hospital in wartime to a prison, to a cage. And I think tolkien’s aware of this, and not really intending us to read it straight. What this does is soften éowyn up enough that she asks for what she wants, but also seems to make her more interested in dealing with him, even if she reacts badly to his compliment of her.

And then they fall in love, and whatever. The chapter’s there, there’s a million fanfics out there about it, whatever.

But faramir’s proposal is Big, and deserves thought for what it says about their relationship. People like to bitch about it because they take it to mean that éowyn has had to change all this stuff about herself, give up her desire to be a firebrand or whatever to go off and be a lovely prince’s wife in this noble hippie commune over those hills yonder. I think that’s totally wrong.

I think what’s going on in faramir’s proposal and éowyn’s response is a really fascinating illumination of the accord they’ve reached with one another through their (admittedly brief) courtship. Here’s why:

First, faramir tries to approach the conversation with a bit of subterfuge. Not in the weird negative way, just in that he’s not hitting it head on at the start. He obviously still doesn’t understand what’s going on inside her head fully, so tries to ask around the question (‘why aren’t you at the cormallen?’) instead of asking the question he’s obviously interested in. éowyn has no time for this, and tells him to nut up or shut up. And he does!

But then there’s this line:

But I do not offer you my pity. For you are a lady high and valiant and have yourself won renown that shall not be forgotten.

Two things going on here: one, faramir’s rescinding his initial emotional reaction. He felt pity for her, but has now come to know her well enough that he realises she doesn’t need pity, and isn’t dumb enough to try and force it on her. But the second thing, almost more important, is that he assesses her in the terms that she prefers, which is that she has won herself renown and has shown her valour. These are not the things Faramir values, we know this, that’s the whole point of the bright sword speech. But they are the things éowyn values, and he loves her, and is willing to acknowledge what her desired self image is. That’s a huge concession she’s won off him, that’s big.

And then éowyn responds:

I will be a shieldmaiden no longer, nor vie with the great Riders, nor take joy only in the songs of slaying. I will be a healer, and love all things that grow and are not barren.

here’s my potentially controversial take. I don’t think she’s giving up on her desire to be a fighter of some sort, but she’s giving up on some specific traditions, which is that of the mythical (but, let’s be clear, functionally nonexistent, save for éowyn) shieldmaidens, and of the riders of the Mark, who, as we have been told throughout the books, are given to valorising warfare and martial acts above all. This is supported by her saying “nor take joy only in the songs of slaying.” she’s not saying she won't take any joy in it, or that she won’t still praise it when it earns her admiration, but that’s not going to be her only raison d’etre anymore. Her life is going to move beyond the realm of death and killing and battlefield survival to growth and life and the future. That’s also a concession on her behalf.

And then there’s this hella romantic kiss on the walls, which is fucking brazen behaviour, but is also i think representative more of the unique situation than setting a trend for them. It is, i think, the positive equivalent of éowyn’s slaying of the witch king in terms of its uniqueness. In the same way that she’s not going to keep going around throwing herself headlong into fights she’s not meant to win, she’s also not going to be publicly playing tonsil hockey. This is the big moment, and then it’s back to the reserve from there.

Really, their entire relationship is, to me, about a series of negotiations. One culture and another, wives and husbands, old and new, war and peace, life and death, etc. they are similar in a lot of ways — both are intensely headstrong — but they’re similar primarily in character, not necessarily in belief, and so much of what they’re going to have to do as a pair is work to find their harmonious accord, if that makes sense. Sometimes they’ll do it peaceably, sometimes they’ll have blow up fights, but their entire relationship is going to be predicated on negotiating the space between, if that makes sense?

Okay i said i’d say some stuff on the relationship of tolkien and his wife edith to faramir and éowyn. Tolkien was adamant that they were beren and lúthien (that’s on their tombstones), and i’m full willing to grant him that. But i think it’s complicated by the fact that faramir is, in some senses, tolkien’s self-insert. Obviously authors can have stand-ins for their opinions without the character having to be them exactly (and i think there’s more merit certainly to saying that tolkien’s 100% self-insert is tom bombadil) but i think there’s something worth exploring to the connections between beren and lúthien and faramir and éowyn. I know the morality issue makes B+L more closely comparable to arwen and aragorn, but, as I argue for here, the mortality issue (or lifespan issue) isn’t totally alien to faramir and éowyn.

As i write them, there are some core themes i’m pretty consistently thinking about, so i’ll just list em here in case that’s any help to you.

Family

This would be: life after orphanhood, life as the last of a family, what your obligation to your family is, how you go on and have your own family after having had a less than ideal childhood, etc.

Duty

Here’s what I said about their differing approaches to duty in a now-abandoned draft chapter from willow cabin:

Faramir has said, not in as many words, that she should not begrudge him for following orders. This, she knows, is a crucial difference between them. They each hold duty above all other charges, but their interpretation of what exactly that means is different. It comes from the differences in power they wield: he has ever been empowered to change the course of decisions before they are made, while she is forced to react to them after. To him, then, it would be unreasonable to disobey direct orders, given that a failure to change them in advance is a reflection upon his skills, not the legitimacy of the command. She, however, has rarely had control over how and when orders are given, and so sees no inherent legitimacy to them, and thus no reason not to disobey orders that are unjustly given.

Time

As I alluded to above, éowyn is going to live a significantly shorter life than Faramir, and she is no doubt very aware of this. But this also means that they’re going to experience time differently, and that will have an impact on their behaviour. What might seem like foot-dragging to éowyn seems like impatience to faramir, etc

Healing

We never actually see faramir’s reaction to finding out denethor tried to burn him alive. That’s a lot. We have no idea if he knows when he proposes to éowyn. When does he find out? What does that do to his mood? Etc. but also, éowyn says she’ll become a healer — what does that really mean? Is she going to be nurse/doctor éowyn from now on? Will she broaden the definition of healing (for my part, i say yes, which is what i’ve been trying to do in willow cabin, though a little less successfully than i’d hoped)

Gender

This is a slightly less popular theme in the bookverse fics, but i think as part of éowyn and faramir’s relationship of negotiation, they’re going to have to deal with éowyn not feeling one hundo thrilled about being a woman. And i think that raises some interesting questions about what faramir’s response to that will be. men/manhood is often treated as the historical default — so what happens when someone like, say, éowyn, starts challenging the notion of gender and gender roles around faramir? How does he react? What does that do to his own self-image? Etc.

Okay. yes. That’s all i can think of right now. I am so, so sorry this is so long, i just totally brain dumped there. If you have any questions at all though please please do hit me up and i’m super happy to read whatever you’re writing (literally gagging for farawyn content rn lmao), if you’re comfortable sharing etc.

#oh my god this is ridiculously long i am SO sorry #asks #faramir #Éowyn

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ladybugsfanfics · 4 years

Text

A Thousand Years | Loki

Pairing: Loki x witch!reader | Soulmate AU

Style: One Shot

WC: 1,228

Warnings: idk there are any

Summary: Requested by anonymous: Soulmate AU where Asgardians and Witches get 21 years old they can comunicate with their soulmate through writing on the skin, though witches are extint. Loki is frustrated bcs when he wrote the first time he didnt got a reply, and he thinks his soulmate died before he was born, but actually shes havent been born yet. So one day while he's in his cell on earth, an writing apears on his arm and he finds out that his soulmate is a midgardian witch, and shes in danget bcs hunters are after her...

MANY, MANY MANY YEARS AGO

Hello

The black word, written in ink, won’t disappear. It’s been stuck on Loki’s arm for the past two days and he keeps looking down at it, keeps trying to will it to leave his arm and move to…

He keeps asking Thor for help. His older brother’s writing had vanished as he wrote the words. He’d gotten a reply only moments later, and not long after, had Loki constantly seen Thor and Sif walking around, hand in hand.

Loki shakes his head and shoves his arm under running warm water. He scrubs at the word, watching each letter lose its color and place little by little. Something within him hopes that his scrubbing isn’t what erases the word, but rather that his soulmate is younger than him; it’s first now they turned twenty-one.

But that hope doesn’t last long when he doesn’t get an answer through the day, or the next, or the next, or for another few centuries.

It doesn’t help him to know that there’s every bit of reason to his soulmate already being dead. That they probably have been for countless years already.

Every tiny bit of him hopes that’s not true.

PRESENT DAY

There is little do stuck inside a cell. Or, there is little to do when he doesn’t bother getting out. He has a few books here and there, a ball and a Rubik's cube. He’s always been good at keeping himself occupied.

Loki had been surprised at the cell choice at first, wondering why they would put him in one where he had no problem doing magic and could easily break out if he wanted to. Turns out, he had overheard, they are trying to test him.

He doesn’t bother playing along, only tries to catch up on things he hasn’t been able to before. Shakespeare is a highly underrated pastime read, or maybe overrated―he isn’t entirely too sure what mortals think of the author, only that he’s well known.

Today, Loki’s starting Macbeth. He’s reaching over to pick up the book when he notices the black ink on his skin. He pulls his arm back to him, pushing his sleeve up his elbow to read the words staring back at him.

help, please, i don’t know if this will work but please i need help

His breath hitches. Loki has a soulmate, a soulmate that only now is alive. He wonders when they were born, but he leaves the wondering for later. He needs a pen, only, he doesn’t have a pen―he isn’t allowed one as he can kill someone with it. As if he can’t kill someone with books.

Having no other choice, Loki decides to use the knowledge he’s been sitting in for the past few months. He slips out of the cell, leaving a projection of himself still lying on the bed, and finds the nearest office.

what can i help with?

Unlike the first time he tried this, the words vanish right away. It leaves a tingling feeling, to see them vanish along with the writing he’s replying to. Moments later, more black letters show up

I’m stuck running from these guys, can’t say who they are now but can you get to me?

Of course, that won’t be a problem. Where are you?

Norway, a town called Moss, there are no airports, though…

No problem

Loki doesn’t think through what he’s doing. In a moment, the office he stepped into falls away and he’s standing surrounded by trees. A little river runs along behind him, he can hear the water rushing against stone. Like a quiet harmony that fills his ears and makes music together with the wind brushing against the leaves on the trees.

“Are you…?”

The voice comes from someone behind him. Loki turns around to find a woman. She’s hiding slightly behind a tree, but the hiding place doesn’t seem like a good one. She eyes him warily, eyes squinting at him.

Loki nods. “I am the one you talked to.”

“Oh, God, you have no idea how happy that makes me. I really need help.” She walks out from where she stood and the closer she walks to him, the better Loki can see her beauty.

You radiate. Shimmering eyes; bright, relieved smile; an expression so full of live Loki has never seen anything quite like it. Your clothes aren’t familiar to him, but he does notice they are ripped, dirty with mud, and green from plants. And in the moments intake of the details that make up your beauty, he notices the small bags under your eyes, the slight strain to your smile, your tense shoulders, and how you seem to favor one leg over the other.

“What can I help with?” he asks.

“First of all, I’m Y/N.” You hold out your hand for him and he takes it.

He says his name, but he can’t hear himself, too caught up in the warmth your touch brings. Loki isn’t sure whether that’s a fever on your part or a reaction to meeting his soulmate―Thor never mentioned it.

“Second,” you say and let go of his hand, “I’m being hunted by some guys I don’t know what are called. They aren’t killing me per say, but I’m pretty sure they’re not far from going there.”

Loki frowns. “Why are they hunting you?”

“Oh, yeah. I’m a witch. One of the last ones alive and according to my family, pretty sought after.” The reply is casual, as if you’re used to telling strangers. Maybe that’s what caught you up in this mess in the first place.

But Loki doesn’t care. He only nods, happy to have finally met you and happy to help. “Why don’t we make this very easy and get out of here?”

Now it’s your turn to frown. “Get out of here? How? They’d know if I hopped on a plane and they’d know where I went anyways.”

“Let’s go a way they won’t be able to track.”

You shrug. “I guess I have to trust you, then.”

“We are soulmates, it shouldn’t be so hard.”

That has an amused smile creep onto your face, hiding away some of your exhaustion. Loki opens his arms, whispering words of trust as you let him hug you. He fills with warmth at your touch and smiles as the woods fall away and changes to outside his cell. If anything, the med bay of the Avengers tower can heal your foot and maybe, just maybe, this will allow them to let him out of his cell without being sneaky.

“If this works,” you say and look up at him, “then I owe you big time.”

“I know how you can repay me, don’t worry.” He smiles down at you, letting the few little swirling butterflies flutter in peace. You both know you’re soulmates, but he’s not about to cross any lines.

Loki vows to get to know you, and if you decide you do owe him, he knows what to ask. He’s waited a few centuries, he can wait a few years more. If that’s one or a thousand, he doesn’t care.

He’s died everyday waiting for you. Finally, time has brought your heart to him. He’s loved you for a thousand years, and he’ll love you for a thousand more.

permanent tags: @devilbat @adefectivedetective @gamillian @he-is-chaotic-she-is-psychotic @heartislubbingdubbing @wiczer @chillcan @geeksareunique

loki tags: @iamverity @satanskatze @timetravelingsociopathicwalker

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