#i'll write them!

[inkskinned]

did you really let them ruin that for you?

when i was younger i worked on a farm for 3 years. during late july and august we would have unfettered access to the strawberry plots. they were all warm and ripe and fresh. i think i ate a pound of dirt back then. i think i picked enough seeds out of my teeth to build a temple. the summer hours are long; i'd come home with the bruising stain of juice running in a seam along my cheeks and fingers and jaw.

why didn't you protect your precious things from other people? you knew this could happen.

i can't eat strawberries from the store anymore, they don't taste right. something about the florescent lights and the chill of them and the way they are absent from the vine. they feel bleached and bland, a wasted party dress. i watch other people eat strawberries and miss enjoying them. none of the store-bought strawberries will have mold or bugs, okay. they will be big and bright red and perfectly shaped. but they are not the ugly and real strawberries of my summer, awarded by the soil and the hot sun up ahead and hours spent crouched, plucking.

i didn't mean to let it get ruined. i wish it hadn't been. i miss having it. but i came back to it afterward and it just wasn't the same as it had been. i know love is never wasted. but it feels like - love did this. it's not that i never loved it, you know? it's that i did.

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[becca-e-barnes]

Ma’am, you are deviously incredible 🔥 We’re begging for an exploration of him saying “I love you” while fucking her like he doesn’t 🥹

My brain keeps picking up the storyline a few splendidly torturous hours in when her body’s completely spent & quivering & she’s a blubbering mess & that’s when he picks her up & takes his sweet time positioning her so she can limply yet eagerly watch their reflection has he finally gives her… exactly what her twitching body’s been craving. 🥵

I'm so glad you all enjoyed the thought of this as much as I did because I've been dying to expand on it 😵‍💫 (Part 1 here)

I like to imagine by that stage, he's absolutely desperate too though. He's got to feel your sweet little pussy clench and flutter around him, contracting so tight every time you cum that he swears it's going to be the end of him.

He's been too hard for too long, buried inside your body and he swears he's never felt you this wet or this hot before. It's been fucking luxurious, forcing you to cum against his fingers, feeling how your body's natural reaction is to coax him to drain his balls into you but that alone isn’t enough. He needs more than that.

He wouldn't admit it to you but he can't take any more. His balls feel like they're fizzing; overfull and beyond ready to flood your waiting, overstimulated body.

He arranges you gently, laying you on your front because he doesn't trust your trembling arms to support you. "That's it, good girl." He coos, hearing you whimper and sob pathetically because he needs to slip out of you to slide a pillow under your hips.

"You've made such a mess." He groans, taking a second to appreciate the delicious, inviting, slick little cunt he's about to indulge in. "You're dripping, sweetheart. God, I just know there's no way I'm going to be able to pull out."

His huge hands are gripping your hips and with one sharp, brutal thrust, he's back inside you and you both sob pathetically at the feeling of your bodies being joined again. This is exactly what you've needed but you don't have the words to tell him that. All you can do is whine and will your body not to cum again so soon.

"I meant. What I said earlier." He punctuates his sentence with soft groans, drawing back until he almost slips out of you before pounding back in.

He leans forward, tilting your chin up, making sure you can see the way he's fucking you in the mirror at the end of the bed.

"I love you. And I don't want you to forget that." He sounds sincere, one hand trailing up from the small of your back to right between your shoulder blades and then back down again. It feels intimate and tender but all that is forgotten by the very next thrust.

"I love you. But for now, you're just a mindless. Little. Drooling. Breedable. Cunt for me." He slows his thrusts down, determined not to cum so soon but it's going to be difficult to last until he gets the first couple of loads out of the way.

"Baby..." You whimper, feeling the tip of his cock nudge against your sweet spot, making you shake from overstimulation.

"I know sweetheart, I know. It's too much. But you're being so good for me. You're so perfect. How have no idea how you feel. So wet and warm and I can feel you fluttering around my cock. It's like you're trying to squeeze every last drop of cum out of me. Is that what you want? Because angel, I'll keep this delicious cunt stuffed full of load after load until I have nothing left to give you."

His thrusts are punishingly fast, thumping against your raised ass, half chasing his orgasm, half holding it back.

"And when I do, I'll remind you just how much I love you. And the baby I'm going to give you tonight."

With that thought, he can't stop himself from cumming, his dick twitching inside you as he shoots thick ropes of his seed right against your cervix. You're so cock-drunk you can only rut yourself millimetres back and forth but that's all you need to send yourself spiralling into another orgasm that leaves you trembling and sobbing.

"Fuck, you want that as much as I do, don't you?" He kisses the back of your neck, breathing you in while letting the euphoric rush subside. He notices he hasn't softened in the slightest despite such an intense orgasm but he knows he needs to be gentle with you for a moment before he can get any rougher.

[irisbaggins]

In rewatching the season, I'm noticing how clever Aabria and Brennan were in crafting Tula's story. How well thought out everything was.

Specifically, the bear. It's been mentioned so many times before, but with the context of the completed season, I cannot help but be in awe at the skilful storytelling at display here. The way in which the Blue is described to appear wrong only in reference to Tula and her heart, the way in which Tula talks about curiosity and and having experienced knowing someone who died because of it. Of how Aabria describes to Izzy how Tula looks when she heals the bear, of how Aabria specifically points out that Tula recognises the commonalities between herself and the bear. These breadcrumbs that mean little in the beginning, that tell everything at the end. It's amazing, stunning, masterful storytelling. I am in awe.

[finalgirlsamwinchester]

bugs. episode of all time. has a 6.8 star IMDB rating when every other s1 episode averages around 8-9. the opening shot of sam lying sluttily on the hood of the impala. sam and dean being mistaken for a gay couple looking to buy property. sam and dean pretending to be a gay couple looking to buy property. "okay honey". dean slapping sam on the ass? the only time in the show i've seen sam and dean use umbrellas (finding out that kripke never wanted them to use umbrellas bc they weren't manly enough??) sam and dean breaking and entering and squatting :") a kid with a bug fixation, ostracised by his dad, who sam has an immediate connection with. winchester family dynamics. bugs as the ghost of settler colonial violence haunting American suburban gentrification. bugs as a metaphor for how fragile the facade of white picket fence suburbia really is. sam and dean aren't able to kill their way out of this week's monster. all they're able to do is save people, temporarily. they don't get to break the curse, and that's the point. it's bigger than either of them. hunting as a cycle of frontier violence perpetuating itself, and for once there are no black-or-white solutions. supernatural will never deal with this theme again! anyways, they put cast and crew in a room with 65000 bees but the damned bees didn't show up properly on camera so they ended up using CGI bees. they look horrible.

[canisalbus]

hello! i've written a short little machete fic, and i wanted to share it with you as thanks for all the incredible art and generous question-answering you've been doing these last few months. i hope that if you give it a look, you enjoy it. <3 keep up all your amazing work! archiveofourown [.] org / works / 50945128

✦ A Voi ✦

[the-scarecrow-of-aus]

Time limits and being late for dinner

Danny, pinned down by gunfire on top of a wounded red hood who caught him in his territory and chased him into a rivals warehouse:

"Hey hood, soo... hypothetically, if I was to remove your helmet how long is the detonation trigger?"

Jason starting to lose conciousness and slur from blood loss:

"Like half a second after it triggers, it'll blow before you can clear my head, why?"

"Cool, that gives me half a second to see why my sister is obsessed with your ugly ass!"

"What? Wait... who's your sis-"

*grabs Jason's head by the helmet and phases it straight off and through his body using the momentum to throw it towards a group of shooters in a single move*

[There's a loud bang and the shooters duck for cover as two go down screaming from the shrapnel]

"-ter... hey! How'd you do that?"

"Ugh, I was right, you remind me of Johnnie. Oh well, c'mon man, well be late. Not something you want to experience when jazz is waiting"

"Jazz... Wait! Are you kidding me, the bookworm Jazz, is your sister?"

Danny braced his arms across hoods chest under the arms like they were floating in water and leaned backwards, red hood and himself suddenly unburdened by gravity slid through the wall covering their backs and disappeared from sight (if not sound as Jason dazedly kept commenting on the cute girl he'd mistaken for babs and if she actually liked him back)

They were late, jazz was definately gonna be mad!

[hetayone]

Just some hermits sitting around

[wavesoutbeingtossed]

Ok but I’m still gagged by the choice of the white dress covered in her spilled ink for the TTPD set.

The way it’s almost certainly meant to reference a wedding gown just like the music video and how that ties into the narrative of TTPD in general.

The way so many of these songs are about how she’s been wronged and how she’s angry.

The striking image of her floating around on stage unleashing her anger in Who’s Afraid of Little Old Me, or her collapsed on the platform in Down Bad begging to be beamed back up to the space ship. Very much giving dying on the altar waiting for the proof (in both meanings). She’s the jilted lover and the runaway bride. She’s the old widow who goes to the stone everyday and she’s the girl heading towards a shotgun wedding if she keeps this up. She's the unhappily married woman whose life is turned upside down by a man beyond her reach, with the chasm between them widening the longer the set goes on. And then!!! she's taken away (held back?) by the nurses at the asylum -- the crazy wife being committed for hysteria!!! (Actually I don't know what order that comes in in the set -- I'm going to have to find better videos.)

She said that the TTPD set is Female Rage: The Musical, and a lot of that is "I'm pissed off you let me give you all that youth for free." She sacrificed her youth to her demons and to people who never had her best interest at heart. She sacrificed her youth to bad actors who wanted to ruin her. She sacrificed her youth to men who traded promises of commitment for their own safety.

So to see that all symbolized in the white gown, saying "I love you, it's ruining my life," is so powerful. By the time we get to "The Smallest Man," she's covered up in the band (or army dress?) uniform, those dreams finally dead and buried, marching to her own memorial service. They all finally kill her, and her dreams of her future.

IT'S A LOT. A LOT A LOT A LOT.

[naffeclipse]

Cold Scales

Naga!Moon x Reader. Sickness.

The first sign of your fever hits you with a pulse of heat. You brushed it aside, believing the sun had been beating on you too long, and the jungle warmth was simmering your blood. Sun leads you to the cave come nightfall. The buzz of mosquitoes fills the air with a menacing hum.

Sun has always been warm to you, even when he told you that you are warmer. His melting yellow and golden jewel tone scales, his cornflower blue eyes, wide and endearing, fit alongside the heavy humidity in the afternoons. The small scarlet markings on his throat and hips are metal-red hot, too. He always kept you warm.

Moon is cool. You’re not sure if that’s due to the cold tones of his scales, gray-blue on his belly and along his arms, and deeper into midnight blue along his back and on top of his hood. He hides in the darkness after sunset. His red eyes, even darker still, only flash once it’s too late for his prey. You’ve seen how fast he strikes—before, when you were acting foolish and trying to escape their aid, and after, when you watched him and Sun hunt a meal.

You slip out of Sun’s embrace. His arms fall away, lethargic from the day you both put your energy into scavenging for berries and nuts and small mammals. A soft hiss leaves his lips. You wait a moment to ensure he doesn’t stir, though his coils unconsciously tense, searching for the little human he was holding.

Sun had mentioned you felt warmer than usual, but you convinced him you were only tired and worn out from the hot day. Still, he frowned when you laid down beside him on the cool cave floor.

The fever pulses deep within you. You feel it burn across your forehead with a ripple of sweat. Staggering out of the cave, what strength you have is quickly sapped by whatever attacks your body. You need less heat. You need to be cold and imagine gulping down icy water to soothe the dryness infecting your throat.

A small trail that’s been trampled by your feet and the width of snake tails leads you through the trees. Even in the dark, under the delirium of a fever, you find the edge of the glinting water reflecting the canopy of thick verdant leaves overhead.

You kneel, almost collapsing forward before you manage to catch yourself with both hands splashing into the pebble-bottom stream. The heavy breaths in your chest heave in and out. You sigh and tell yourself you’re being a baby—one little fever, and you’re struggling to concentrate on the water before you.

In the reflection of the stream, you catch two red eyes glowing above you, leaning out of a tree to survey your feeble attempts to quench your burning thirst. A hood of midnight and diamond yellow stars surround the visage. 

“It’s nothing, Moon,” you whisper to the water. Slowly, you cup your hand and carefully bring it to your lips. The crisp coldness douses your heated lips, filling your mouth with a jolt due to the sharp contrast of cold and fire within you. When you swallow, you shiver.

The softest rustle echoes. A few branches quiver, then, you feel his presence behind you, cool as a tree’s shadow. 

A large, blue-gray hand snakes around your forehead. Knuckles press against your temple, and you sigh in relief at his blissful, fresh touch. 

“Fever,” Moon rasps, carrying the end of the word with a soft hiss of disdain, as if saying it with a curse will make it no longer reality.

“I just need a drink.” You cup your hand in the lazy flow of water again. “I’m fine.”

“Too warm,” he says when you greedily gulp another mouthful. 

Water spills cut down the corners of your mouth. He presses closer to you. His thumb smoothly wipes away the drips falling off of your chin, then he shifts. Your mauve shirt with the sleeves cut off allows his frosty arms to offer a barrier against the next wave of heat crashing against you. He’s never felt so cold before—or have you never felt this feverish before?

“It’ll go away.” 

You try to get to your feet but Moon’s hand on your waistline stops you from rising.

“Come here,” he rasps. “Let me see you, orchid.”

You would have given him a look at the pet name, but you don’t have the strength to muster the effort. He eases you back against his chest. His palms slide and cup your shoulders, his sharp fingertips slipping slightly under the frayed edges of your shirt and resting on the end of your collarbone. Is that a shiver from the elicit touch or sickly chills beginning to take hold?

“You’re flushed,” he hisses softly. A slight slip of his tongue, forked at the end, peeks out of his mouth as he leans closer. You moan unwittingly at his cool, flat cheek pressed against your clammy face.

“It was hot today.”

“You’re sick,” he decides.

This time, you groan out of refusal rather than relief. 

“I’m not sick.” You slowly shift, managing to get to your knees to face him. The fever forces your shoulders down. You bow under the exhaustion taking hold. 

Moon hisses in an amusement yet concerned note. His long tail drapes behind him, cutting across the ground like the connections of a constellation. It’s black in this lowlight, but in the day, when he sleepily shows himself, you’ve caught the iridescent indigo and jeweled blue tones of his beautiful scales. 

“If you keep denying it, I will take drastic actions. Do you want that, orchid?” his tone lowers to a menacing threat, all dark cords and hisses, but you’ve learned to tune your senses to his hands and expression. He looks only at you, a slight frown playing along his wide mouth. His eyes are narrowed, displeased with your condition.

“No,” you shake your head, “You and Sun are so dramatic.”

“Says the stubborn flower,” he touches your cheek. You nearly collapse into his palm. The rasp of his laugh stings your pride as much as it soothes your aching chest. 

“I’m not a flower,” you mutter as you feel his arms lower slightly, coaxing your hands over his shoulders. He rises higher on his tail, lifting your feet off the ground without effort, and you slump over his shoulder, little more than a child being carried to bed. Moon hums a low, hypnotic sound (that you’re sure is part of his allure, his power).

“Of course not,” he gives with amused demean.

You work up a growl at your throat that sounds weak even to your own ears. Moon shushes you with a soft stroke of his claws against your spine. The shudder that follows through your body is both cold and hot, and you hate that he silences you so simply, and that you like how he strikes back against your harshness.

“Easy, easy,” he murmurs as if calming a tiger. You want to snarl at him again but the brief spark is quickly smothered under an internal infernal cooking your core.

No one agitates you and reassures you as much as Moon.

He glides across the ground to his tree—it’s wide and high, thick with strong boughs and leafy but not too leafy. A perfect tree for a naga. Moon tends to lounge up there when he wants to escape the shadows of the cave you usually make your bed in. You wonder how he intends to hold you through the night up in its verdant limbs, but Moon hooks a hand behind your head and lowers you softly to the cool, moist ground at the base of the trunk.

“Moon?” For a piercing moment, you’re afraid. You refuse to let go of his arm as he draws away. Where is he going?

“Hold still,” he gently hisses.

You let go. You wait for him.

Slowly, his coils gather, curving in loops close to you. He draws himself around you, his long body following. The darkness shimmers. He takes you into his arms once more and guides you to his chest where he fully embraces you. The end of his tail drapes across your waist, sealing you within a deliciously cool embrace of the naga’s scales.

“Shush,” he says when you groan, soaking in his invigorating presence. “Sleep, orchid.”

You almost tell him that you can’t, or that you won’t, but the comfortable weight of his body surrounding you, the chill of his arms against your burning skin, and the soft tuck of his chin upon your sweaty head chases away the last of your resistance. You might have pressed back—saying you don’t need his help, but it’s hard to resist the frost-gentle relief of his presence. It’s hard to be stubborn when he feels so good.

“Close your eyes,” he murmurs against your hair. “You’ll feel better soon.”

The sweet caresses of his cool touch across your forehead eases your ache. Against your will, your eyelids flutter. He hums low, a lullaby you can’t name, and it soothes you gently into a dreamless sleep, comforted by a cool cradle of scales and songs.

[bluerose5]

Don't mind me. I'm constantly thinking of an au where Mr. Astarion "You're only the first person who I truly care for" Ancunín actually shows more emotion at durge's death than what we get in-game. I can understand why the limitations, but that doesn't mean I have to accept them at such a crucial point of durge's story. I mean, it doesn't even have to be overly sappy, but I want that Dorian Pavus "I knew you would break my heart, you bloody bastard" type of energy. I want that cold chill of realization to be felt the second Astarion hears durge's heart stop. Give me that moment where he's on his knees, shaking durge's lifeless body, cradling them against him as he rocks them back and forth, shaking his head in denial as each sob grows more intense until it's just a constant scream of "noNoNO!!!" Because the gods never dared to help him before. Of course it would be a god that robs him of his love now.

Give me that point when the Emperor tries to command Astarion to take the Netherstones and leave, only for Astarion to tell it to shut the fuck up because he's not leaving without them.

Give me that broken whisper of, "We were supposed to be free. Together." as he is faced with the fact that they're not coming back.

[cometshift]

predisasters

[kedreeva]

OC Askbox Game

I'm avoiding writing and you probably are too, so let's at least think about our characters while we do it.

You know the drill- send me a number (ONE number, you can come back for more) and I'll answer for an OC of your choice (if you know their name) or my choice (if you don't know their name). Feel free to name some of your OCs in the tags of your reblog, if you want to be asked about them.

How did you choose their name?

Were they created for the story, or was the story created for them?

Do they have a love interest, and was that their choice or yours?

Do they have a best friend? If so, how did they meet? If not, have they ever/why never?

Did they have a pet as a child?

What catalyzed their introduction to the plot?

What attribute of them (some facet of their personality, their history, their look, or whatever etc) would you find most important to somehow preserve if they were transplanted to an AU fanfic?

If your character's financial situation were to suddenly flip (someone poor becoming rich, someone rich becoming poor, etc), how well would they handle it? What would be the first thing they would do?

If your character could have handed their role in the plot to someone else, would they have?

Free Space #1: Which of your OCs would be most likely to survive a zombie apocalypse? Which would die immediately?

Does your character have a pet peeve?

Has your character committed any crimes (per their universe's laws)? If not, which crime would your character most likely commit?

Who is your character's closest (by relation, fondness, or distance) blood relative?

How does your character feel about riding horses (or your world's closest approximation of a horse if it lacks horses)?

Is your character's first instinct fight or flight? Is there something that could force them to do the opposite?

What is your character's favorite leisure activity?

Is your character holding any grudges? Are they likely to stop?

If your character were trapped on a deserted island, what three things would they want to have with them? Which person would they absolutely hate to be trapped there with? Which person would they enjoy being trapped there with?

Does your character having any health issues, whether they're aware of them or not?

Free Space #2: Which of your OCs would you most like to meet in person, if they could become real (or you could visit them) for a day?

Final Question: Ask me your own question about my OC

Remember: play nice! Send an ask to the person you reblogged this from, and try to send a few to folks that reblog from you!

[average-riot]

Piece I did for a fanfic I'm writing called Fire in Cairo <3 It's still not out but I'm jus so proud of this piece so I had to post it cuz gosh...

[yupekosi]

back at it w another dp x dc prompt!! :0

you know the setup; Jack and Maddie go evil mad scientist mode and Danny and Jazz have to run away to Gotham.... except the only adult Jazz can think of that they could go to is their auntie, Harleen Quinzel.

she was the 'cool aunt', their favourite babysitter as kids, and the one who inspired Jazz to become a therapist. more importantly, she knew all about the Fenton's ghost hunting, and that ghosts were even real. Harleen never liked that the kids were being raised on top of a lab filled with dangerous weapons- she argued with her sister, Maddie, all the time about it- and she always told Jazz if their parents ever made them feel unsafe she and Danny could go to her.

but at some point, she just... dropped off the face of the earth. she still sent cards and texts, but she stopped showing up for Thanksgivings and Bat Mitzvahs. this was, of course, after she met the Joker, not that she told Maddie and the kids about that part, just that her work at Arkham was keeping her too busy to visit. even less than sane, she still wanted her family as far away from Mister J as possible.

Jazz knew auntie Harleen lived in Gotham, and she could get her number from their mom's phone. hopefully she still meant what she'd said when Jazz was a kid, and wouldn't mind two traumatised teens showing up on her doorstep.

Harley, of course, is delighted to see her favourite niece and nephew, and Ivy has to physically restrain her from coming after the Fentons with her mallet

[daily-sifloop]

Stargazing? ✨

Day 10: looking for your star