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chuluoyi · 2 years ago

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✎ daddy-to-be

- gojo satoru x reader

in which you're worried about how he'd react to you carrying his baby

genre: fluff and comfort, mentions of pregnancy and dizzy spells

note: i feel soooo warm writing this *sigh* thank u anon who asked this!

a part of gojo's love entries

general masterlist

"Gojo-sensei! Must we do this?"

"For real?!"

"Okaka..."

"Yoohoo! Hehehehe~"

You sighed at the sight of your tall paintbrush of a husband. Satoru was supposedly teaching his first years—Maki, Panda and Inumaki—and yet, from where you were standing, it looked more like he was bullying them into following his whims more than anything.

A kind reminder that… this silly man is the father of your unborn child.

He didn't know that you were pregnant yet, because you had discovered it just a few days ago and chosen to keep it a secret for the time being.

In theory, this was normal. You two were married and engaged in a high level of sexual activity—something Satoru made sure of—and therefore, conceiving a child was bound to happen sooner or later.

Admittedly, accepting the fact that you were carrying his baby wasn't as easy as you thought, even knowing that. You hadn't seriously talked about having kids, and sure, your husband might have just taken a young cursed boy Yuta into his care—and way before that, Megumi, but it wasn't the same with your own child. It can't be the same.

And not to mention that you two were jujutsu sorcerers. Where would raising a baby fit in this bloody, cursed world you lived in?

...and above all, as things stand now, does Satoru even want a baby?

You released another sigh as you walked away, but then your vision tipped and you had to grab the wall for support. Right, you hadn't even been feeling well these past few days. You got queasy easily, and you experienced sporadic bouts of vertigo too.

"Sensei?" Yuta's worried voice greeted you, and you forced yourself to remain upright. "Are you okay?"

"Ah, yes, I'm fine," you assured him with a smile.

"Should I get Gojo-sensei? You seem pale..."

"No, no, that's—"

"Ooh~ Wifey!"

You cursed his impeccable timing as the striking white hair of your husband came to view. A mischievous grin adorned his face, a bundle of sunshine and trouble as always, as he wrapped an arm around you.

"Don't you have to teach the second years? My pretty wife, you can't be slacking—"

His smile abruptly fell when you subconsciously leaned on him and he noticed your shallow breaths. Satoru promptly tightened his grip on you.

"Yuta," his tone had taken a sharper turn. "Go to the training grounds and train with the others. Class ends after that."

As Yuta nodded and proceeded on his way, he immediately turned to face you. "What's wrong?" he asked with genuine concern. "Are you not feeling well? Can you walk?"

"I'm fine," you insisted, even though the edges of your vision started to blur.

Satoru pursed his lips, and you could tell even with his blindfold on, he was staring at you hard. "Don't be stubborn. Come on, let's get you home."

In an instant, he teleported you back to your shared home, his arms securely under your knees. You didn't know when the dizziness started to ramp up, but you were sure to fall if he didn't have a secure grip on you.

"How long have you been feeling unwell?" he inquired as he carefully lowered you onto your bed.

Realizing there was no point in hiding it any longer, you squeezed your eyes shut as your head rested on the soft pillow. "...since this morning."

Satoru expressed his dissatisfaction with a grunt. "In that case, you shouldn't have gone to school. From now on, you're on leave."

He fussed over you—removing your shoes, fine-tuning the air conditioner, and ensuring you were snug in bed. "What is causing you to feel this bad? Is it something you ate? We had dinner together, and I feel perfectly fine..."

You raised your gaze to him just as he tore off his blindfold, his eyes locking with yours. The blue of his eyes scrutinizing and assessing you, and suddenly, you felt insecure as he quirked an eyebrow, seemingly suspecting something. “Is there something you aren't telling me?”

This is it. You couldn't keep this from him any longer. This was his child as much as yours, he had to know for you to be able to decide on the next steps.

You exhaled. "I'm… pregnant."

Silence. For the next five seconds, you could've sworn that Satoru held his own breath.

"Pregnant?" he repeated, stunned, widened cerulean marbles blinking several times. "You...?"

You sat up, reaching for your nightstand and retrieving the five pregnancy tests you had stashed in the drawer, handing them to him.

Satoru fixed his gaze onto the two red lines on the sticks, examining them and then shifting his eyes between you and them several times. You didn't dare to look at him, feeling your hands starting to shake and your gut twisting.

But contrary to your dread, before you could blink, he pulled you into his embrace. Your heart melted as he softly murmured, "Dummy, why didn't you tell me sooner?"

"I... I was worried. I didn't think I..."

He nuzzled into your neck, breathing in deeply. "Silly... I'm supposed to be your safe space. You can and absolutely should tell me these kind of things..."

A lingering fear persisted in your gut as you croaked out, "Are you... okay with it?"

Satoru snapped his head so quickly, his brow furrowed. "What do you mean—of course I am! Why wouldn't I be?"

You didn't know why, but his impromptu and steadfast declaration brought tears to your eyes.

"Stupid," he chided, his voice tinged with slight giddiness and overflowing fondness, and doubled with the wide grin on his face, you were starstruck. Holding your hand, he pressed a tender kiss on your knuckles, and then on the wedding band resting on your ring finger.

His sincere, warm eyes spoke volumes as he said, "You are my beautiful, lovely, and amazing wife. And now you're about to make me a daddy. Why wouldn't I be thrilled about that?"

You had given him love that saved him in countless ways, some of which you might not even realize. And now, you were about to gift him another piece of you to love—his own family to cherish. Satoru was convinced he couldn't love you more than he did in this moment.

You cried even harder, wiping your face sloppily as you pouted at him, voice clogged with tears, a mixture of relief and happiness overwhelming you. "Why are you so s-sweet? You're u-usually... such a menace..."

"Hey! That's slander! I'm always nice to you!" he protested with a mock frown, trying to lighten the mood.

Satoru brought you into his arms again, affectionately stroking your hair. His excitement was palpable as he chuckled gleefully at the very idea of becoming a father to a mini-him or you in a not-so-distant future.

With that sentiment in mind, he genuinely meant every word of what he softly uttered in your ear:

"I love you, sweetheart. And mark my words—with everything I have, I won't let anything happen to you or our baby… I swear it."

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mostlysignssomeportents · 11 months ago

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The one weird monopoly trick that gave us Walmart and Amazon and killed Main Street

I'm coming to BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

Walmart didn't just happen. The rise of Walmart – and Amazon, its online successor – was the result of a specific policy choice, the decision by the Reagan administration not to enforce a key antitrust law. Walmart may have been founded by Sam Walton, but its success (and the demise of the American Main Street) are down to Reaganomics.

The law that Reagan neutered? The Robinson-Patman Act, a very boring-sounding law that makes it illegal for powerful companies (like Walmart) to demand preferential pricing from their suppliers (farmers, packaged goods makers, meat producers, etc). The idea here is straightforward. A company like Walmart is a powerful buyer (a "monopsonist" – compare with "monopolist," a powerful seller). That means that they can demand deep discounts from suppliers. Smaller stores – the mom and pop store on your Main Street – don't have the clout to demand those discounts. Worse, because those buyers are weak, the sellers – packaged goods companies, agribusiness cartels, Big Meat – can actually charge them more to make up for the losses they're taking in selling below cost to Walmart.

Reagan ordered his antitrust cops to stop enforcing Robinson-Patman, which was a huge giveaway to big business. Of course, that's not how Reagan framed it: He called Robinson-Patman a declaration of "war on low prices," because it prevented big companies from using their buying power to squeeze huge discounts. Reagan's court sorcerers/economists asserted that if Walmart could get goods at lower prices, they would sell goods at lower prices.

Which was true…up to a point. Because preferential discounting (offering better discounts to bigger customers) creates a structural advantage over smaller businesses, it meant that big box stores would eventually eliminate virtually all of their smaller competitors. That's exactly what happened: downtowns withered, suburban big boxes grew. Spending that would have formerly stayed in the community was whisked away to corporate headquarters. These corporate HQs were inevitably located in "onshore-offshore" tax haven states, meaning they were barely taxed at the state level. That left plenty of money in these big companies' coffers to spend on funny accountants who'd help them avoid federal taxes, too. That's another structural advantage the big box stores had over the mom-and-pops: not only did they get their inventory at below-cost discounts, they didn't have to pay tax on the profits, either.

MBA programs actually teach this as a strategy to pursue: they usually refer to Amazon's "flywheel" where lower prices bring in more customers which allows them to demand even lower prices:

https://www.youtube.com/watch?v=BaSwWYemLek

You might have heard about rural and inner-city "food deserts," where all the independent grocery stores have shuttered, leaving behind nothing but dollar stores? These are the direct product of the decision not to enforce Robinson-Patman. Dollar stores target working class neighborhoods with functional, beloved local grocers. They open multiple dollar stores nearby (nearly all the dollar stores you see are owned by one of two conglomerates, no matter what the sign over the door says). They price goods below cost and pay for high levels of staffing, draining business off the community grocery store until it collapses. Then, all the dollar stores except one close and the remaining store fires most of its staff (working at a dollar store is incredibly dangerous, thanks to low staffing levels that make them easy targets for armed robbers). Then, they jack up prices, selling goods in "cheater" sizes that are smaller than the normal retail packaging, and which are only made available to large dollar store conglomerates:

https://pluralistic.net/2023/03/27/walmarts-jackals/#cheater-sizes

Writing in The American Prospect, Max M Miller and Bryce Tuttle1 – a current and a former staffer for FTC Commissioner Alvaro Bedoya – write about the long shadow cast by Reagan's decision to put Robinson-Patman in mothballs:

https://prospect.org/economy/2024-08-13-stopping-excessive-market-power-monopoly/

They tell the story of Robinson-Patman's origins in 1936, when A&P was using preferential discounts to destroy the independent grocery sector and endanger the American food system. A&P didn't just demand preferential discounts from its suppliers; it also charged them a fortune to be displayed on its shelves, an early version of Amazon's $38b/year payola system:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

They point out that Robinson-Patman didn't really need to be enacted; America already had an antitrust law that banned this conduct: section 2 of the the Clayton Act, which was passed in 1914. But for decades, the US courts refused to interpret the Clayton Act according to its plain meaning, with judges tying themselves in knots to insist that the law couldn't possibly mean what it said. Robinson-Patman was one of a series of antitrust laws that Congress passed in a bid to explain in words so small even federal judges could understand them that the purpose of American antitrust law was to keep corporations weak:

https://pluralistic.net/2023/04/14/aiming-at-dollars/#not-men

Both the Clayton Act and Robinson-Patman reject the argument that it's OK to let monopolies form and come to dominate critical sectors of the American economy based on the theoretical possibility that this will lead to lower prices. They reject this idea first as a legal matter. We don't let giant corporations victimize small businesses and their suppliers just because that might help someone else.

Beyond this, there's the realpolitik of monopoly. Yes, companies could pass lower costs on to customers, but will they? Look at Amazon: the company takes $0.45-$0.51 out of every dollar that its sellers earn, and requires them to offer their lowest price on Amazon. No one has a 45-51% margin, so every seller jacks up their prices on Amazon, but you don't notice it, because Amazon forces them to jack up prices everywhere else:

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

The Robinson-Patman Act did important work, and its absence led to many of the horribles we're living through today. This week on his Peoples & Things podcast, Lee Vinsel talked with Benjamin Waterhouse about his new book, One Day I’ll Work for Myself: The Dream and Delusion That Conquered America:

https://athenaeum.vt.domains/peoplesandthings/2024/08/12/78-benjamin-c-waterhouse-on-one-day-ill-work-for-myself-the-dream-and-delusion-that-conquered-america/

Towards the end of the discussion, Vinsel and Waterhouse turn to Robinson-Patman, its author, Wright Patman, and the politics of small business in America. They point out – correctly – that Wright Patman was something of a creep, a "Dixiecrat" (southern Democrat) who was either an ideological segregationist or someone who didn't mind supporting segregation irrespective of his beliefs.

That's a valid critique of Wright Patman, but it's got little bearing on the substance and history of the law that bears his name, the Robinson-Patman Act. Vinsel and Waterhouse get into that as well, and while they made some good points that I wholeheartedly agreed with, I fiercely disagree with the conclusion they drew from these points.

Vinsel and Waterhouse point out (again, correctly) that small businesses have a long history of supporting reactionary causes and attacking workers' rights – associations of small businesses, small women-owned business, and small minority-owned businesses were all in on opposition to minimum wages and other key labor causes.

But while this is all true, that doesn't make Robinson-Patman a reactionary law, or bad for workers. The point of protecting small businesses from the predatory practices of large firms is to maintain an American economy where business can't trump workers or government. Large companies are literally ungovernable: they have gigantic war-chests they can spend lobbying governments and corrupting the political process, and concentrated sectors find it comparatively easy to come together to decide on a single lobbying position and then make it reality.

As Vinsel and Waterhouse discuss, US big business has traditionally hated small business. They recount a notorious and telling anaecdote about the editor of the Chamber of Commerce magazine asking his boss if he could include coverage of small businesses, given the many small business owners who belonged to the Chamber, only to be told, "Over my dead body." Why did – why does – big business hate small business so much? Because small businesses wreck the game. If they are included in hearings, notices of inquiry, or just given a vote on what the Chamber of Commerce will lobby for with their membership dollars, they will ask for things that break with the big business lobbying consensus.

That's why we should like small business. Not because small business owners are incapable of being petty tyrants, but because whatever else, they will be petty. They won't be able to hire million-dollar-a-month union-busting law-firms, they won't be able to bribe Congress to pass favorable laws, they can't capture their regulators with juicy offers of sweet jobs after their government service ends.

Vinsel and Waterhouse point out that many large firms emerged during the era in which Robinson-Patman was in force, but that misunderstands the purpose of Robinson-Patman: it wasn't designed to prevent any large businesses from emerging. There are some capital-intensive sectors (say, chip fabrication) where the minimum size for doing anything is pretty damned big.

As Miller and Tuttle write:

The goal of RPA was not to create a permanent Jeffersonian agrarian republic of exclusively small businesses. It was to preserve a diverse economy of big and small businesses. Congress recognized that the needs of communities and people—whether in their role as consumers, business owners, or workers—are varied and diverse. A handful of large chains would never be able to meet all those needs in every community, especially if they are granted pricing power.

The fight against monopoly is only secondarily a fight between small businesses and giant ones. It's foundationally a fight about whether corporations should have so much power that they are too big to fail, too big to jail, and too big to care.

Community voting for SXSW is live! If you wanna hear RIDA QADRI and me talk about how GIG WORKERS can DISENSHITTIFY their jobs with INTEROPERABILITY, VOTE FOR THIS ONE!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/08/14/the-price-is-wright/#enforcement-priorities

#pluralistic #Robinson-Patman Act #ftc #alvaro bedoya #monopoly #monopsony #main street #too big to jail #too big to care #impunity #regulatory capture #prices #the american prospect #Max M Miller #Bryce Tuttle #a and p #wright patman

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writers-potion · 1 year ago

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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! 📸

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arminsumi · 1 year ago

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♡ 𝐍𝐨𝐛𝐨𝐝𝐲 𝐥𝐢𝐤𝐞𝐬 𝐚 𝐛𝐮𝐥𝐥𝐲!

🔞 mdni / 18+ content

Pairings : fem reader / bully!Gojo Satoru / bully!Geto Suguru

Synopsis : college boy Satoru bullying you around with his best friend

Warnings : bullying kink, degradation, dacryphilia, dirty talk, bl*wjob, p*ssyjob, semi-public s*x, rough s*x, perv behaviors, namecalling (wh*re, sl*t, b*tch), getting caught, threesome, +++

Bully!Gojo who asks Suguru to trip you down the corridors as you walk past them, so that you can fall right into his arms.

"Oopsie..." Suguru says, grinning like a jackass and sticking his leg out. Your face plants into the muscular chest of that white-haired freak, and then he pulls out one of his awful pick-up lines on you; "Fallin' for me, sweetheart? I knew you would eventually." he blatantly stares straight down at your cleavage. "What!" you give them a repulsed look and pull back. Your reaction elicits giggles from your two bullies, and they check out your ass as you walk away in a fit of anger. "... I'd give her backshots 'till dawn." Satoru says, and Suguru shakes his head at his best friend, "You're insane." he says, but Satoru says, "She looks like she needs to get fucked hard."

Bully!Gojo who grumbles and folds his arms, sat in the principle's office after pulling a water-dumping stunt on you just to see your nipples go hard.

He glares at his spiralbound notebook. Instead of writing an apology letter like the principle instructed him to do within an hour, he ends up writing your name over and over and drawing hearts around it, filling the page with little doodles of you as if he's some obsessed high school boy.

Bully!Gojo who loves the squeaks he elicits out of you when he slams and pins you against the wall.

"I bet you get so wet for me when I do this." he taunts, whispering lowly into your ear. "No I don't!" you lie, glaring up at him. He arches his back and bends his knees to level himself with your face, "Liar." he says, lips grazing your cheek. "F—feel for yourself, freak. You'll see I'm not wet..." you bluff. He arches a brow and dips his fingers between your thighs, making you gasp as he presses against your hole through your panties. He just grins, backs away, cockily lifts his chin, and leaves you standing there embarrassed.

Bully!Gojo who muffles your moans on his big hand while caging you with his body in the cramped closet at a college party.

He grinds his crotch against you, making you aware of the size difference between your bodies as his big, heavy cock divides your tiny pussy lips. "I know you need me, baby." he lowers his voice, cautious about getting caught with you in here, "Just say the word and I'll take you to heaven, I promise." he murmurs almost romantically, but before he can fully cast his spell over you, your classmate Nanami Kento draws back the closet door. "Wow. We're at a party, what's wrong with you two?" he scolds. Satoru chuckles guiltily while you just crumble in embarrassment, "Out, out! Stop fucking in my damn closet...!"

Bully!Gojo who loves it when you try to retaliate by spitting on his uniform. It gives him a brilliant idea for the next time you visit his dorm room for a class project.

"Spit on it. Make it sloppier. Good... now choke on me." he shoves your head down on his cock, big hand firmly holding the back of your hair. He makes you take as much of his meaty cock as your tiny mouth can handle. He groans and cums so hard after just a few shallow thrusts into your mouth. "Hey, don't let it fucking spill out, you whore. I want to see you swallowing every. fucking. drop." and damn, his cum is so thick and so much that you nearly choke on it. But that just makes his ego swell.

Bully!Gojo who stalks you like a cat in school, following you down corridors, cornering you in quiet classrooms, getting up in your face.

He doesn't let you breathe, he always closes the spaces and gaps between you and him. He'll be chewing you out for something, calling you a dumb slut while grazing his lips over yours. Arguments always lead to him growling "Shut up..." before slamming his lips onto yours. And when Satoru kisses you? He starts moaning real quick, something about you just makes him weak. Next thing you know, his fingertips are rising up your thighs and daring under your skirt, and your fingers are exploring under his shirt, feeling over his muscles.

Bully!Gojo who fingers you into ecstasy... in the middle of class.

He'll sit himself next to you, and you'll squirm uncomfortably under the scowls you receive from jealous girls. Thirty minutes into the lecture, you whisper-shout under your breath, "Satoru, you're embarrassing me!" and he murmurs back, "No, baby, you're embarrassing yourself with how fucking wet you are. Just listen to that pussy..." he goes harder, the sounds get louder and you can hardly think with how his fingers rub in and out of you. Satoru makes you orgasm on his fingers right there, grinning like a bastard at the feeling. You bet he taunts you afterwards, "I can't believe how slutty you are... you'd be a slutty girlfriend, huh?"

Bully!Gojo who has Suguru apologizing on his behalf all the time.

"I'm so sorry... I swear Satoru's not usually this much of a menace. He's just got a thing for you, haha..." it hurts his lil' heart to see you getting pushed around... sike. Lots of Gojo's gutsy plans originate from his nasty best friend. Satoru can only come up with the most basic shit; stealing your lunch, tickling your back, pinning you to the wall, bluffing how he'll "ruin your life". But Suguru? He's the one with the good ideas; dumping water on you from the balcony to see your cloths sticking to your body, persuading explicit pics out of you, and smirkingly staring at them with a wide-eyed Satoru... who thanks him.

Bully!Gojo who's got the most foul, nasty dirty talk.

"I'm gonna cum, don't stop!" you squeal in the backseat of his car, feeling him pound into you from the back. "Of course you are..." he humiliates you, pounding you harder and harder into your orgasm, "... tell me you're my little whore." he grunts. "I'm your whore!" you squeal, "Again..." he smiles sadistically, "I'm your whooore!" you reply weakly. He pulls you to his chest and grinds deeper inside, "Yeah that's right. You're just my little cock whore."

Bully!Gojo who gets off to you crying.

Tears streak your cheeks and your body shakes; trying to adjust to his size is impossible. He's always too deep, too thick, stretching you out and fucking up your guts like a pornstar. "Aw, can't take it? What a fucking crybaby." Satoru groans, slapping his hips into you back and forth like an animal. He hears you sniffling and moaning for more, "Keep crying; it's gonna make me cum so hard..."

Bully!Gojo who bets your pussy on a basketball game with Suguru and makes you sit and watch.

"Aw... princess, 'guess it's a draw. You don't mind if we share you, right? After all, sharing is caring. And we all care about each other, don't we?" Satoru smiles. They're sweaty and exhausted, but still have enough stamina in them to pound you. "Come on, show Suguru how sweet your holes feel."

Bully!Gojo and bully!Geto who literally bully their cocks into your pussy one after another, taking turns and telling you how good you feel and how good of a slut you are for them.

"Whose do you like better...?" Suguru asks, but you're too dumbed out, "I dunno! Both!" you squeal. He gives you a dangerous smile, "Aw... well, let's go another round and see." he says, making Satoru laugh, "Oh, I don't think she can handle another round. She's too weak."

Suguru just pushes your legs back, slides too deep inside, and coos, "You're right, Satoru. She takes cock like a bitch... we should train her into the perfect cockslut. Aw, look... she's smiling."

I do not permit the copying/reposting/translation/plagiarism of my works. Do not steal what I've worked hard to create.

This is fictional work.

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thydungeongal · 3 months ago

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Having subjected myself to pre-WotC editions of D&D has robbed me of the ability to appreciate a lot of D&D humor contingent on "wow things were weird in the old days" because people will sometimes just get their references wrong and the anachronism doesn't actually elevate the humor for me. Like, if someone's trying to make a point about how weird old-school D&D was by saying something like "You know how Dwarf and Elf were classes in first edition?" while I do agree that it's funny when Dwarf and Elf are classes (and it also rules) I'm now more concerned about the fact that this statement is not true of any version of D&D that could be reasonably called "first edition." Or when someone makes a reference to THAC0 in the context of the three little brown books edition: THAC0 as a concept didn't even exist back then. Heck, the attack matrixes didn't even account for armor classes lower than 2. I know you're making a joke about how weird the old editions were but this is not the THAC0 edition. In this context you'd be better off talking about how this game relies on Chainmail for its combat system and the more well-known "roll d20 and try to hit a number depending on your character's level and the enemy's Armor Class" was an alternative system should the players not have access to Chainmail.

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softsunnyy · 3 months ago

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both obsessed but with her doming quinn

i'm sorry it took me so long, hon. I hope u like it. I had so much fun writing this !!

🚨when two people are obsessed, period sex, stalking, subby quinn, oral sex, tying his wrists to the headboard, not caring what he wants, cumming inside you, idk what else 🚨

poorly written

you're upset, you get irritated easily. You've been feeling bad all week, being a little explosive, and even getting mad at Quinn. But today? Today reached another level when you got up, went to the bathroom, and realized you'd stained your poor panties.

you'd reached another level of frustration, and it's weird. Normally, your periods and the days before work differently, and while you can have mood swings, nothing comes close to this. It's like you're on edge all the time and don't know how to calm down, your breathing heavy and your shoulders tense every second.

now, anger isn't the only thing you've been feeling. In the moments where you feel a little calmer, you're incredibly needy, your pussy soaking wet in minutes, begging for a certain guy's attention. But Quinn can't help you because he's been too busy, so you can only watch him leave in the mornings, leaving a small kiss on your forehead.

you've followed him, seen him with the team day, noon, and night, as if they couldn't let him go for even a second. As if he'd suddenly forgotten about you.

in a way, this fuels your anger even more, and you want revenge, you wanna do something about it, but just when you had it all planned, your period arrives, punishing you, as if your body knew you were going to commit a sin.

you spend the rest of that day irritated, exploding at everyone, even getting kicked out of one of your classes because you genuinely couldn't control your speech. When you got home, with a unbearable pain and in a bad mood, you decided that touching yourself wasn't a bad idea, so you did it, taking advantage of being alone in your bedroom.

you imagine Quinn, his hands, his mouth, his beard, his eyes, his muscles, his voice. The memory is so vivid that your fingers move faster as they rub your clit, and when you come, you do it thinking of him, wishing he was there with you.

the next day, you try to have a little more faith, because he'd promised you. He told you his day would be more relaxing, that he didn't have to go to practice, and that he'd stay so he could take care of you. But when you wake up, on the second day of your period, feeling like shit and searching for his body and his warmth, the first thing you notice is that he's no longer in bed with you. Your eyes open, full of venom, and you search for him, noticing how silently he puts on that piece of clothing. That damn beanie that only means one thing.

he's leaving again.

he seems to sense your gaze, because he turns to look at you, his eyes filled with guilt, his hands frozen in the beanie. He clears his throat, trying to gather the courage to speak to you, easily seeing how incredibly upset you are.

“hey, uh, sorry, they called me last minute, they need me there…” he said, a little hesitantly, his gaze lowering.

your jaw is clenched, and you hate the thought of him leaving you again. He would have tied you to the bed, forced you to stay, without begging, without even bothering too much. He would have been calm, controlled, perfectly calculated, knowing just what to do to make you stay, so why are you being so peaceful?

you get out of bed before he can react, your body burning. You're almost steaming from your ears, but you still walk calmly until you're in front of him, your hands touching his abdomen over his shirt, feeling his heavy and restless breathing.

“you're leaving me again.” your voice was clear, but calm. There was a distinct darkness and discomfort, but your face held no grimace.

“i know, i'm really sorry…” he started once more, but was interrupted by your hands moving up his chest, to his shoulders, your face getting closer and closer to his.

“you’re leaving me,” you said again, looking into his eyes. Your gaze is mesmerizing, filled with a different kind of venom, as if it were the fruit of sin. Quinn feels suffocated by the way you look at him, and he can’t resist it, putting his hands on your waist, trying to keep you close, like something stronger were uniting you. “Are you sure you wanna leave me alone?”

what’s that supposed to mean? Quinn doesn’t know, and you can see it on his face, as well as feel it in the way his hands squeeze your body.

“i don’t want to, but i have to go…” he tried to answer, but you shook your head, starting to place small kisses from his jaw to his neck.

“you have to go?” you asked, your hot breath hitting his skin. Your kisses are wet, and then you started to bite, feeling him tense under your touch. His hands slide slowly to the top of your ass, but you stop him, one of your hands reaching down to stop him. You pull away to look at him, and he looks betrayed, desperate, needy.

guilt hits really hard, uh?

your eyes lower to his lips, and he unconsciously runs his tongue over them. That drove you to action, joining your mouth to his. His self-control fading, his desires much louder than his conscience, than his reasoning. Soon, practice was forgotten as he reciprocated your kiss, moving his lips in time with yours.

still, you know you haven't won yet, so you let him feel a little dominant, in control. You want him to feel safe. You want him to lose himself in the sensations before you do your thing.

one of your hands removes his beanie, tossing it somewhere across the room, then tangling in his hair, tugging gently, as you let him slip his hands under your shirt, able to touch your bare tits, your hard nipples, eagerly awaiting him. He massages, squeezes, plays with them the way he knows you like. It makes you whimper, and you let him put his tongue in your mouth. Exploring, dominating.

a huge battle is raging inside you. You feel like you're on fire. You're upset at the thought of him almost leaving you alone, almost breaking his promise and abandoning you when you need him, when you need his warmth, his touch to feel better. And you're also horny, with his hands holding your body in that possessive way, knowing what you like. You have him where you want him, and this control over his mind is addictive, too pleasurable.

his kisses begin to trail down your neck, and you feel him bite, suck, leaving his trail all over your skin. Your pussy is soaked at this point, too eager, throbbing. Your aches are forgotten, your clit sensitive, swollen. You need him, so you slowly go back to the bed, and he? he´s too focused on touching you, on making your nipples ache.

you made him fall onto the bed, you on his lap, and from that moment on, he must have known he'd lost all control over you.

you rubbed against him, feeling his bulge harden. He groaned, gripping your waist, making your movements stronger, making you really feel him.

you slowly lift his shirt until he helps you take it off. His exposed chest showed you a huge problem. You haven't had fun in so long that your marks are starting to fade. That finally drove you mad. You couldn't help it. You started leaving bite marks on his chest. It was too much; you wanted to make your point. He lets you do whatever you want, enjoying, feeling his own nipples sensitive from your attention on his chest, and when you notice it, you decide to give them a little attention, licking, sucking, tugging on them like he loves to do with yours, and he shudders, feeling strangely good.

his cock is completely hard, you can feel it, so you stop paying attention to his chest, parting slightly, smiling, appreciating what you'd done to his skin. Then you forced him to lie down, still on his lap. You kissed him, you sweetened him. You let his mind cloud until he couldn't stop you anymore, and then you stood up. He looked at you, incredulous, but you made sure he didn't move, gave you a few seconds, and you began to undress in front of him.

you know he's staring at your tits, like a fool, and then his eyes stop at your shorts, sliding down your legs, showing him your panties, letting him see your whole body, knowing that he loves it. His eyes seem to beg you, asking if it's okay for him to take off his pants, to touch himself.

"go ahead, take off your pants, i'll just get something," you instructed, turning around when you saw him hurrying to remove the rest of his clothes. His eyes were fixed on the way your ass bounced with every step you took to the closet.

he's so lost in you that he doesn't even notice you took something out of his clothes, much less that you hid it in your fist. Your tits were a much more interesting sight for him.

when you reached him, his cock was free, standing proud, big, delicious. Sitting on his lap made both of you moan, your pussy, still covered by your panties, rubbing against him. And it was when his hands were about to touch you that you stopped him, grabbing his wrists and pulling them to the headboard. Before he could even think about it, you tied him up, using his ties, being quick, precise, not letting him fight.

his jaw tightened, his heart began to beat faster. His conscience tried to fight the arousal, but you could feel his dick throbbing, desperate. Your hands were now on his chest, your body moving. You rubbed, tortured him, moved to his rhythm, feeling him getting worse and worse beneath your body.

“what the fuck are you doing?” he tried to ask, sounding irritated, confused.

“you were going to leave me,” you replied, leaning in, your face close to his, your lips almost touching. You could see him swallowing hard, the realization hitting him.

“babe, i have to go soon, you know that.” You laughed in his face, shaking your head, knowing his words were useless, empty. He wasn't going to move from there until you decided to.

“too bad, but you made a promise,” you replied, leaving a peck on his lips before pulling away. You heard him moan again, trying to free himself, which made you feel annoyed.

you quickly removed your panties, your pussy red, glistening, smelling strongly of the combination of your period and your arousal. Your thighs were beginning to stain with your fluids.

“just shut up,” you ordered, watching his eyes widen. “You’re forcing me to shut you up my way,” you said, adjusting yourself, moving on the bed until your knees were on either side of his head. And you were facing away from him, because what you plan to do should be fun for both of you.

“you’re gonna eat me out, you’re gonna shut up and eat my pussy. You’re not gonna leave,” you ordered, to which he remained silent, expectant, balling his hands into fists, wanting to touch you, to speed up the process, and have you sit on his face. “Did i make myself clear, Quinn?”

“...yes,” he replied, his gaze fixed on your pussy, enjoying the smell of you, knowing that he’ll be able to feel you after a long time. When you lowered your body, he didn’t even take a second. His mouth began to eat you, running his tongue between your lips, sucking on your folds, tasting your juices, making his face a shiny, red mess.

you moaned his name, rubbing yourself, gently riding his face, then placed your hands on the bed, leaning down, face to face with his cock.

you placed small kisses on the tip, then licked from tip to base, feeling every vein, every spasm. Feeling his heat.

you used one hand to help you take him into your mouth, reaching your limit, making you gag a little. He groaned at that, moving his tongue faster, deeper.

you bobbed your head up and down, sliding his cock in and out of your mouth, enjoying the weight of it on your tongue, and the taste of his pre-cum. You know the rhythm that fascinates him, how much he loves your sucking, how intense, fast, desperate it is. He loves feeling that you want him, that you need to swallow his cock as much as you need to breathe. And he loves that just sucking his cock makes you feel drunk, stupid.

you wanna let his guard down while enjoying how well he moves, playing with your clit, taking advantage of how swollen and sensitive it is. Enjoying the taste of your blood, how different it feels, like a thicker liquid, accompanied by your juices. He even sticks his tongue inside your hole, preparing you and obsessing over your hot skin.

you both linger, trying to push the other to the limit. And god, it's obscene. You gag, swallowing his cock, letting it touch your throat and take that place, destroying your ability to speak, to whimper without sounding broken. And him? his chin is covered in your blood, like it's a crime scene, combined with his drool, causing fat reddish drops to slide down his chest, like a vampire and his prey.

you feel it so deep, so intense, so desperate that you can't help the knot that forms inside you, longing for him to swallow you, to be a good boy and swallow every drop of your cum, your blood, your juices that are only for him. And he seems to notice your state, because he presses harder on your clit. Faster, harder, until your legs spasm and you come, filling his mouth with you, and making the room smell even more.

he didn't stop, he continued sucking your folds, cleaning you, making your pussy return to its normal color, but a thousand times shinier. And you? you devoured his cock in gratitude, knowing he's trying, being a good boy for you, giving you what you need, making you feel good, even without using his fingers.

you feel him throbbing, spasming, and with one of your hands you massage his balls. You know he's about to cum, you can feel it.

and so you stop.

you fucking stopped.

you stood up, and Quinn looks offended, angry, incredibly desperate. The tip of his cock is red, swollen. You know he's about to explode. You know he wants his cum shooting down your throat, choking you, forcing you to swallow him. God, you know he loves that.

but now you're in charge, and you wanna have some fun. You want him to pay for all the times he left you alone. For staying to help his teammates when they asked him to. For being the best captain when you needed him with every fiber of your body.

you're being unfair, you know it, but you need to have this control, to let him know you can dominate him, take advantage of him, use his body. Demand things from him.

“what the fuck?” he whines, glaring at you. His hands try to free themselves, you see the edge of the bed shake. Now he's really upset about it.

you sit on his lap, this time facing him, resting your hands on his abdomen, sliding your nails down his skin until you reach his pelvis, leaving red lines like the ones that always decorate his back, accompanying the hickeys now scattered all over his chest.

“what? you were cruel to me, making me have to touch myself, thinking of you, your fingers…” you began, aligning the tip of his cock with your hole, “your beard…” you sat down, feeling him slide slowly inside you, making you swallow every inch of his dick. You whimpered, taking a moment to adjust, feeling it so deep.

Quinn is in a daze, feeling the spasm in your walls, and how you suffocate him with how tight you are.

“every day… wishing you were the one who made me cum. But i had to do it all myself.” You sighed, starting to move, rubbing yourself back and forth, listening to him grunt. His wrists red from trying so hard to get free, his chest heaving with his breathing.

you move your hips, back and forth, in circles. God, you're having fun. You moan. Your blood coating his cock. And you're getting faster and faster. You're riding him desperately, but when you start to jump? oh, that man lets out one of the most beautiful moans you've ever heard. It's deep, aching, blinded by pleasure.

you jump, your tits bounce, your thighs burn. You go at your own pace, not letting him interfere.

he's so long, and he feels so big inside you. He expands your walls like it's no problem. As if it were his home. And your body responds, recognizing him, reacting.

he can see a ring of red liquid staining his base, causing it to squirt everywhere, staining more parts of his body, leaving your mark.

sticky, obscene sounds motivate you to move faster and faster, seeking your release.

and once again you feel him throbbing, so you look up at him. His eyes are glassy, his lips bitten. Panting sounds come from his mouth. He's desperate, out of control. He needs to come, so he looks up at you, silently begging.

"beg, Quinn, i wanna hear you," you moaned, barely able to control yourself. He hesitates for a moment, but knows you're in control now, so he obeys.

"´please, i won't leave, i promise i won't leave," he whimpered, his cock incredibly sensitive. "Let me come inside you, i wanna fill you with me, please." You hear him beg a little more, but it's when a single tear runs down his cheek that you decide to give in, still riding him, and untie the knot on his wrists.

with difficulty, Quinn changed position, hovering over you, starting to move inside you so fast you felt like you couldn't breathe, and you knew your pussy was going to hurt like shit in a couple of hours.

he comes before you, but he doesn't stop moving, just hiding in your neck, moaning your name. His thick, white streams of cum mix with your red juices, making your belly swell even more. And when you came? he almost came again from how your walls suffocated him.

he doesn't move from inside you. He doesn't plan on leaving. He wants to stay there forever.

he's learned his lesson.

he can't neglect his sweet girl, but he can't deny that he enjoyed this.

#☀️💞#softsunnyy #quinn hughes #dark quinn #quinn hughes x reader #qh43 #quinn hughes fanfiction #quinn hughes one shot #quinn hughes smut #qhughes #quinn hughes imagine #quinn hughes blurb #quinn hughes x y/n #quinn hughes x you #quinn hughes fic #qh43 x reader #nhl smut #nhl imagine

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bookwyrminspiration · 5 months ago

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the answer is that this class is suuuper loosely structured so even though i'm 90% certain he hasn't taken an exam since level 1 (we're in 4) and he's showed up to like 5 classes max in the past 2 years, who give a shit let him in !!

brother with all the kindness in my heart how the fuck did they let u in this class </3

#quil's unholy underworld #to be clear i like him. i have nothing against him #i'm just simultaneously like. you cannot be getting anything useful out of this u seem so lost Always #and i don't mind taking the brunt of the questions and answering for us #(this is the class w/ three people. so when student 1 is doing something and the teacher asks the two of us about it)#there's just those times where the teacher specifically calls on him. as teachers do (and there's only 3 of us)#and we all just kinda sit there awkwardly #as he scrambles to find basic words and definitions. and messes up basic grammar #which! again! language learning is hard! nothing against him for it!#i'm just like. i think u perhaps are in over ur head #i think maybe you should drop down a level or two and actually. u know. show up to class and finish the levels #because like. u do not give the impression u are keeping up or understanding what's going on #u would do better in a lower level and those of us here. would get through things faster #listen!! i am trying very hard to be nice about this #i don't want to come across like a judgmental dick #languages are hard! i know that VERY well!#this is my fourth i've studied!#so there's absolutely zero malice!#the fact of the matter is he's in over his head and struggling and that sometimes affects the rest of us

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literaryvein-reblogs · 2 months ago

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hello! I love your blog. you helped me so much with writing. if you don't mind can you do writing notes on character study. I wanted for so long to do it but I'm lost. thanks for everything

Writing Notes: Character Study

Character Study - a deep dive into a character’s traits, personality, and development in literature, TV, and film.

GUIDE #1. The model below provides a guide for the analysis of the characters in order to identify the personality of each of them, their attitude and the network of relationships holding together the drama/story. The analysis will focus on:

the character’s physical appearance (description of body and face, clothes and accessories);

story of his/her life (identification of all biographical elements that define the character’s story and situate him or her in relation with the others);

point of view (interpretation of the character’s perspective in relation to the overall vision of world as proposed by the author);

personality (description of the character’s behavior defining his/her personality on stage as it relates to others: tone of the voice, gestures, movements, distance or proximity to other characters);

description of the mask (different ways in which each character places himself/herself in relation to others);

definition of the mask’s motivation and choice through which the character will achieve his/her goals.

GUIDE #2. Identify each character on the 4 basic levels of characterization from information you find in the text. The following is a list of suggestions for each category. This is by no means an all-inclusive list, but meant to be used as a guideline:

A. Physical/Biological. gender, age, size, coloration and general appearance

Age – be as specific as possible

Gender/Sex – not only male/female, but virile, macho, feminine, etc.

Health – from excellent to sickly, including how one’s health may or may not effect his/her appearance.

Particular physical characteristics that makes the character distinctive – big nose, hunchback, large breasts, etc.

Ethnic origin – race, coloring of skin and hair

Physical Stature/Figure – perfect, average, tall/short, thin/fat, malformed, hunched, slouchy, willowy, etc.

Physical Activity - dynamic, active, sedentary, listless, etc.

Face – handsome, good looks, common, homely, etc.

B. Social. economic status, profession or trade, religion, family relationships

Class Situation – aristocracy, upper, upper middle, middle, lower middle, lower, beggar etc.

Economic Situation – rich, independent, salaried, day labor, dependent (just because someone is a member of the aristocracy, doesn’t mean they have money)

Social Situation/Social Role - how is the character related to the other characters in the play? Family? Friends? Co-workers? The boss? The King? Etc. Is there a specific social event taking place, such as a wedding, where in the character has to take on a particular social role, such as father-of-the-bride?

Relationship to the World around him/her – How does the character fit into his/her social situation? Is the character popular? Does he/she have friends? Is he/she a loner? Etc. How does the character interact with the other characters - is the character: a leader, a helper, a follower, submissive, a slave?

Occupation – list the character’s specific job or trade

Group Affiliation – Does the character belong to or identify with a specific group or team? (example – a minority group, a club, a sports team, a political group, etc)

Is there a specific social event taking place, such as a protest rally, where in the character identifies with a particular group, such as feminists?

Political affiliation – Republican, Democrat, etc.

Religious affiliation – Christian, Jewish, Muslim, etc.

C. Psychological/Emotional Reveals habitual responses, desires, motivations, like and dislikes – the inner workings of the mind. Reveals how the characters think (psychological) and what they feel (emotional). This is considered the most essential level of characterization. Keep in mind that a person’s thoughts and feelings can often be determined as a further extension of his/her physical and social characteristics. For example – under social, you can determine a character’s religious affiliation. Under psychological/emotional, you can determine what that person thinks or feels about his/her religion.

Psychological State – what does the character think about his/herself and the world around them? Is the character: open-minded objective, subjective, unselfish, selfish, paranoid?

Emotional State – what does the character feel about his/herself and the world around them? Does the character feel: accepted, rejected, oppressed, etc?

Emotional Depth - are the character’s relationships: life-long, lasting, moderate, passing, momentary?

Emotional Control – no temper, slow temper, even tempered, quick tempered, a loose cannon

Emotional Type – extrovert, ambivert, introvert...

Desires or goals – what does the character want?

Loves – what, or who, does the character value?

Weaknesses – what, if anything, is a potential psychological or emotional weakness, on the part of the character, that can interfere with the character obtaining his/her desire?

Prejudices – what, if anything, does the character feel prejudicial about?

Fixed Attitudes – Similar to a prejudice, but not with the negative connotation. For example, in your social analysis you’ve determined the character is Jewish. Now, determine how that character feels or thinks about Judaism – is the character: a zealot, a liberal, orthodox, conventional, a skeptic?

D. Moral/Ethical Reveals what the characters are willing to do (moral beliefs) to get what they want and what characters actually do (ethical behavior) when faced with making a difficult choice. Determine the characters’ moral beliefs and ethical behavior, and how those relate to the world of the play. Be very careful not to judge them based upon your own morals and ethics. For example, you may believe it is morally wrong for two people to live together unless they are married. However, in the world of this play/literature, no characters may hold this moral belief, and the playwright/writer may not be making a point about this moral belief, and therefore such actions are not to be seen as immoral or unethical within the context of the work.

Moral beliefs – an individual’s or society’s beliefs in what is right and wrong in terms of behavior.

Is the character able to determine right from wrong and to make decisions based upon that knowledge?

Determine the individual character’s morals, based on what his/her conscience suggests is right and wrong, rather than on what the law or society dictates.

Determine the morals of the world of the play in general: the principles of right and wrong judged by the standards of the average person or society at large, and how those principles govern standards of general and/or sexual behavior. Does the character hold beliefs in contradiction to those of their society?

Does the character evolve/change? For example, is there a moral belief the character holds at the beginning of the play that he no longer holds at the end of the play? In other words, does something happen for the character to change his mind and be convinced otherwise?

In the work itself, is there a “moral to the story”? Is the writer using the character as a positive or negative example in relation to this moral?

Ethical behavior – how an individual or society conducts themselves according to their morals.

How does a character’s moral beliefs affect his/her conduct? For example, is a character unable to act due to a moral/ethical dilemma?

How does a character’s goals affect his/her conduct? Is the character’s ethical behavior contrary to his/her moral beliefs? For example, a character believes it is morally wrong to commit murder, but to obtain his goal, his is willing to behave unethically and kill.

Does the character believe that he is acting ethically, yet is the writer holding him up as an example of how one should not behave?

Does the character behave according to or contrary to any of the 4 basic levels, therefore giving a false perception of themselves to the other characters? For example, you may have determined that a character is seriously ill, yet the character behaves as if he were in perfect health. Or a character may masquerade as someone he is not. What morals and/or goals are affecting this behavior?

E. Mental/Intellectual A 5th area you can consider. Reveals how intelligent and creative a character may be.

IQ – brilliant, good mind, average, dull...

Education – scholar, college, self-made, schooled...

Mental type – philosophic, scientific, mechanical, artistic, social, scientific...

Dexterity – dexterous, skilled, handy, clumsy, uncoordinated...

Creativity – genius, talented, original, unoriginal...

Interests, skills, accomplishments

QUESTIONS

Who is the Protagonist? Who is the Antagonist?

Which characters are of Primary Focus?

Which characters are of Secondary Focus?

Which characters qualify as ‘set dressing’?

Are any of the characters Symbols or Metaphors?

Are any of the characters Formalized Conventions?

CHARACTER ANALYSIS. A character analysis is a close examination and evaluation of one character from a work of fiction such as a novel, short story, or play.

The only direct description of most characters in fiction is of their physical appearance and/or their professions.

Their identities and traits are established through their interactions with other characters as well as their opinions, reactions, and moods.

For instance, while introducing Katniss (from The Hunger Games), the author did not bluntly state that she is courageous. Rather, this was demonstrated through several scenes in the book, such as when she volunteered to take her sister’s place at the Reaping.

In a character analysis, the writer’s job is to pick up on such hints and subtle clues in the story to reveal a clear image of the subject character. The writer can also evaluate the character, critiquing their development and the role they played in the plot.

Developing a Character Analysis. In order to write a character analysis, the first task is to choose the subject, if not already determined in the assignment question. It is easier to pick if the writer is already familiar with the text in which the character exists. Recognizing the types of characters also helps during the selection.

Once the subject character has been decided upon, the text ought to be critically read, with special attention being paid to the character.

As mentioned earlier, much of their personality and qualities are hinted at and indicated indirectly through their actions and thoughts, and not openly stated.

Thus, the re-reading should be done with the aim of picking up on these clues.

Oftentimes, the character’s backstory is also not included in the text but can be discerned from their behavior and characteristics. It, too, should be pieced together during the analysis, as it has a bearing on the character’s actions and lets readers better understand their motivations.

A record of the character’s involvement in each element of the plot, how this involvement affected other characters, and the eventual direction and outcome of the story should also be kept. Their own personal changes/growth/development should also be tracked.

Outline of a Character Analysis Essay

Introduction: The text and the character are briefly introduced. The thesis statement informs readers of the thrust and goal of the essay. It includes a claim about or evaluation of the character that will be borne out by the rest of the essay.

Body: The character is delved into in greater detail here. The analysis is laid out where their traits, appearance, backstory, and role are examined in detail. The character’s growth – or lack of it – are highlighted here as well. An outline drawn up during the prewriting process helps in organizing this section in a coherent manner that holds up the claims in the thesis statement.

Conclusion: The essay is concluded with a final assessment of the character that confirms the validity of the thesis.

Sources: 1 2 3 4 5 ⚜ More: References ⚜ Writing Resources PDFs

Hi, thanks for telling me. Glad to hear this! Here are some tips and guides I found for you. There are numerous guidelines available online, so choose which one (or combine elements from such guides) you want to use. You can find more details in the sources linked above. Hope this helps.

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