#what the appropriate way to write that is

[howtofightwrite]

i feel like, when it comes to people trying to use violence to knock people out - rather than avoiding methods that could cause permanent injury entirely, the previous anon(s) could just go for it while acknowledging the potential consequences in-writing?

so we can say that maybe, a kidnapper knocks another person out via head injury, and the KIDNAPPER doesn't care; but when the person is rescued the rescuers are worried for them because 'what do you mean you were hit in the head?!' and immediately checked for a concussion.

one could also have it so that the person doesn't know what head trauma or other bodily harm can cause and be appropriately horrified if/when they learn - or, if it's a character who uh. doesn't care for their body or health as much, they could hear this and refuse to care. follow what the character would do on that

they don't even need to actually have the person get a permanent injury. there can be a hospital scene or first-aid responder scene where they check the victim's head and go 'you are very. VERY lucky to not have a permanent brain injury from this', and insist on them to keep monitoring for any future symptoms.

there's a lot of other ways to go about knocking someone out, but iirc this will also apply to other methods of forced unconsciousness, like sleeping pills, sleeping gas or chloroform. in real life, it's always going to risk extra consequences because it involves forcing someone's bodily functions to shut down, if temporarily

and that shouldn't stop them from writing anyway, since fiction is often going to stretch the realm of belief a little with improbable situations, y'know? a lot of stories already take liberties with it. but it's both admirable and a good thing when someone wants to be more faithful to reality, regardless, so that's why i'd like to give my own thoughts.

if the person trying to find a non-lethal angle to knocking someone out is really worried, they could just make a disclaimer saying 'unrealistic depictions of violence/recovery' or 'creative liberties taken with the consequences of bodily harm' at the start of the story and go with their previous plans

but it's perfectly fine to just write as is while acknowledging the situation in-story too, is what i feel. or even have the character actually suffer the consequences. that angle is always interesting when explored.

timeskips are also a way to cheat on the recovery period, if you want it to be really realistic. imagine this scenario; a person gets knocked unconscious during a kidnapping. they wake up and manage to escape with a concussion - but they still have the concussion from the initial assault, along with other injuries during the hostage period. they are promptly hospitalised.

timeskip to several months after. the person has recovered! (or mostly recovered, depending).

a new kidnapper enters the scene! but they don't want the victim to actually be hurt, and the waiting period was hell, so they either just get their bouncer to grab them with no chance for reprieve, nab them while asleep, or threaten them via gun to head/consequences for someone else/etc to get in the car. no actual knocking out forcefully, only unconsciousness is falling asleep in the car.

consequences make for an interesting narrative too, is what i'm trying to say; and there's no need to shy away from it, but rather acknowledge that reality as fact.

I normally wouldn't light up an ask like this, but it is doing a lot of mental gymnastics to try to skirt around the central problems with violence.

So, let's start at the top: Acknowledging a problematic behavior as problematic can still result in the author endorsing that behavior, if they present the specific examples of that behavior in a positive light. If you're having characters casually knocking people out, you are endorsing inflicting extremely hazardous, and potentially life-altering injuries onto people, “but, it's okay, because I didn't kill them.”

The problem comes from an author wanting their upbeat, happy-go-lucky protagonist to also be an absolute bad ass, without interrogating the ethical issues inherent to their “heroic activities.” Worse, in many cases, they want their character to be perceived as a good person, regardless of the horrors they inflict on their fellow human beings.

The last time I covered this, I took a passing swipe at Batman, but it remains a relevant factor to consider about a lot of action hero characters. He engages in absolutely disproportionate violence against people who are engaging in criminal activity because socioeconomic factors that are beyond their control.

A lot of fictional violence gets framed in contexts where the nobility of the protagonist is preserved either because, “they don't kill people,” or, they specifically limit their violence to groups that are “socially acceptable,” targets.

In fact, you can even see an example of the latter in the listing above, with the express targeting of, “kidnappers.” Now, I have no love for human traffickers, but seriously consider for a second that this specific, highly-specialized, career path was called out as the group to engage in this behavior. I'm sorry, “why?” What is it about a kidnapper that makes them more likely to be willing to inflict harm on their victim than some other group? But, that's not the point. The point is so that when your protagonist does truly horrible things to those kidnappers, they're still “a good person,” at the end of the day. (There's also a little goofiness about kidnappers in the ask, because they care more about the physical health of their victim than most criminals would. Think about it this way, a mugger wants your wallet, and you're just an incidental obstetrical between you and their target, for a kidnapper, you are the wallet. They want their victim reasonably intact. Whether that is for a later sale, or for a ransom, they don't get paid if their victim is “non-functional.”)

Actually, a really messed up example of this, on this blog, was a few years back, when someone was asking about their “vigilante” characters gunning down drug addicts. Which, yeah, that's pretty fucked up.

When the author botches their, “acceptable targets,” (which is the point of that Batman critique, by the way), the entire illusion can start to break apart. And it can really expose the idea that you're trying to pretend your character is a good person, because their actions target people who the author felt were, “undeserving,” of continuing to breathe.

Falling Down (1993), with Michael Douglas and Robert Duvall is an excellent interrogation of some of these concepts. I don't want to say too much else, because the film is open to interpretations, (some of which are extremely scathing), and I think the film speaks for itself better when no one is telling you how to interpret it. Just be prepared for an uncomfortable viewing.

Back when we were both regularly active, ScriptMedic and I used to have a bit of a back and forth about pharmaceutical means to subdue someone.

Chloroform is a classic example in fiction, and it was popular in crime thrillers from 80-90 years ago, in an era when ready clinical information to laypersons was far more limited. First of all, the rag over the mouth doesn't work. This is a gas used for anesthesia, and you need a lot more than a single vial to keep someone under. Second, you need to keep applying it to keep them under. Again, that rag isn't going to hold enough. Third, if you somehow got enough chloroform onto that rag, it would sedate everyone in the vicinity, because it's an anesthetic gas. (The liquid form is extremely volatile, and will quickly convert to a gas at room temperature. That gas is what is supposed to knock someone out.) Fourth it used to be a common additive in toothpaste, and frequently occurs as an out-gassing from polymers and adhesives. Popular culture hilariously overestimates how potent this stuff is. You need a lot to put someone under, and you need a trained anesthesiologist to keep them under without accidentally killing them. Also, prolonged use results in liver damage and cardiac issues, which is why we no longer use it for anesthesia. If you try to put someone under without an anesthesiologist, and you manage to sedate them... they'll die. Turns out, it also suppresses the respiratory system, and they suffocate.

It's a similar story with most anesthetic gasses, and in fact, chloroform is one of the “sleeping gasses.” Not all of them have the liver or heart issues, but none of them are, “fire and forget.”

ScriptMedic was a fan of Ketamine for knocking out characters. And, to be fair, Ketamine is fantastic for anesthesiologists. Exceeding the necessary dosage just puts the patient out for longer, which may be inconvenient, but it's vastly preferable to, death. The problem is, it's not great for fire and forget tranq adventures. Ketamine does not suppress salivation. Which isn't a big deal on the operating table, as you can pretty easily keep someone from drowning in their own spittle, but if you just inject some poor mook, and leave them on the curb, they're going to drool themselves to death.

Actual tranquilizer guns are a real thing. They're frequently used in animal control. You don't use these on people because TV lied to you. You get darted, and if you decide to keep the dart in your neck as a peculiar fashion statement, you've still got somewhere between fifteen minutes to an hour to finish up whatever you were doing, before someone rudely added a nap to your schedule. Oh, yeah, and if the dose is too high, these anesthetics can kill you. Dosage calculations with these things are educated guesses at best, and it's why sometimes animal control really can't afford to use tranq guns. It's not callousness, it's a calculus between the threat the animal poses to others, and if they have the time to wait and see if the tranqs work.

What you really need to not shy away from, is the idea that if your character engages in violence, there are going to be consequences for that violence. Unlike in real life, as the author, you are responsible for applying those consequences to the participants. This creates a real problem when you have authors who intentionally try to skirt around the parts of the events they find uncomfortable it reduces the impact of that violence.

To drag up that Batman example, the reason it's a slightly peculiar and subversive take is because it's outside the scope of the comics. Batman goes in, beats up muggers, comes out completely unharmed, and it's all okay because we know Batman's a good person, doing this for good reasons, and the muggers are still alive to reform and become better people in society.

Except, if you step away from the idea of a superhero comic, none of that makes any kind of sense.

The story you're trying to tell doesn't need every instance of violence to be followed with an extensive interrogation of the philosophical implications of what your characters did. However, if you're trying to tell a story where violence is a spectacle that happens in a regular rhythm, it's not going to hit in the same way.

I'm pretty sure I've said this many times, but violence has diminishing returns in your story. The more you use violence (particularly non-consequential violence), the less it will matter, and like any other tool you can call upon, the less your audience will respond to it.

There's nothing wrong with putting some violence with your story, but the one thing you do need to do is be honest with yourself about it. You can lie to your readers. (Though, that's something you want to be very careful of.) But, if you lie to yourself it will harm your story. Sometimes that does require doing some serious soul searching about what you're trying to do. Because, what you're trying to do right now is tell me that you want serious violence, without really coming to grips with how that constrains your options about how violence and physical harm work.

Again, there's nothing wrong with popcorn action. But if you want to write breezy fights between superheroes, you really need to admit, to yourself, that's what you're doing. Your story will be better for it.

-Starke

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[brokenwinebox]

Claire And Marcus: Pushing

this is a meta inspired by @vacationship and @thoughtfulchaos773’s posts on molly’s interview about claire’s disarming moment with getting carmy’s phone number and the topic of pushing with the possible connection in the s3 trailer with sydcarmy. i highly recommend reading those before reading this because it’s based on that!!

vacationship’s meta w/ molly’s interview

thoughtfulchaos773’s meta on the topic

↓ long text below

i didn’t write a direct response to vacationship’s post but i wrote a response in my notes because molly’s interview really nagged on my brain after reading it.

here it is:

some of the things molly says is so strange to me. she will always say something in terms of clairecarmy but it could always be applied to sydcarmy. she even mentioned the whole staring being the way to intimacy for carmy. what does sydcarmy truthers say all the time about that ship??? that has to be intentional on the writers part. now, the pushing between sydney and carmy in s3? everything has felt so deliberate. claire is always in opposition to sydney. all the time. it’s making me think if there is a love confession between sydcarmy, it will happen on the phone that carmy will answer in juxtaposition to claire leaving it on a voicemail in s2.

that post and interview is why i made my first meta about sydcarmy in the first place. because it just seemed so strange that everything that was said about clairecarmy could be applied to sydcarmy.

i did respond to thoughtfulchaos773’s post because it legitimately bothered me. (not the post itself, just the possible ideas of what the writers have in mind when they write relationships.)

here’s my response:

in the car with claire and carmy, she said that he owed her in a jokingly manner to get him to that house party. so, i feel strange with the idea that someone has to do the heavy lifting for the other to barely make an effort. that’s why mutual pushing is appealing because it sounds like it goes BOTH ways. if that’s what the writers idea of a healthy relationship is then ig but with claire, it literally felt like she was dragging him. that’s just not really something i’m interested in with sydcarmy tbh.

when i thought back on this again, i had a overall question that’s still bothering me. is it a coincidence with marcus pushing syd, it lead him to constant rejection. where with claire pushing carmy, it lead her to constant (reluctant) acceptance???

with marcus saying he missed her too, it pushed syd to freeze when it felt like the moment was too intimate (not appropriate, perhaps?) on the phone. another moment, marcus asks her what she’s doing later. it pushed her to start stumbling over her words and try her best to slowly steer away from it. knowing it wasn’t working, she hesitatingly asks him if that was him asking her out. even in (S2E1), marcus lingered on syd after she asks him about his mother as if he needed approval from syd to make a move that could have very well just pushed sydney’s response to be silence. silence is still an answer/potential rejection unless that person (syd) says otherwise.

with claire, i already mentioned in my second response that claire talks about him owing her.

claire: “and i feel like you really owe me”

in response to carmy’s lack of a response to go to the house party. i already talked about how silence is some kind of answer. those words could have very well pushed carmy into going regardless if it was a joke or not.

then we also have him on the phone with claire (after she got his number without his consent) asking/pushing him to say (one more time)

carmy: “i want you to have my number.”

which lead to her asking him if he was busy. carmy stumbles, looks at the white board (thinking of the fridge guy and maybe even his plans with sydney.) then with the lines:

claire: “can you just not make this weird?”

that could ultimately push him to agree.

all of these pushing scenes both happen in pivotal moments for syd and carmy’s relationships with marcus and claire. it caused marcus to respond negatively when syd ignored him during friends and family in the s2 finale. it caused claire to respond positively when carmy kissed her in the restaurant.

is it a coincidence carmy and syd both froze/hesitated in response to whatever was said on the phone between claire and marcus? those phone call parallels has a clear connection there.

why does carmy’s response takes a lot of convincing/hearing what claire has to say while sydney’s response takes no time to immediately shut down whatever marcus says/would say?

now, we have the s3 trailer where we get to the mutual pushing that carmy wants.

carmy: “it is a partnership agreement. so that, you can push me and i can push you.”

is this an unconscious move because of the pushing he felt with claire?

would claire respond well with pushing from carmy’s side? carmy was very much in the passenger seat with claire (literally and figuratively). we already know that marcus responded positively because he believes syd knows him well enough for her to push him.

in molly’s interview, she said that claire pushing carmy was in response to her possibly being pushed in another relationship. but that doesn’t necessarily mean it would end in a positive response from her if carmy did the pushing.

how can the pushing work in the romantic relationships of sydmarcus and clairecarmy if it isn’t mutual? it just doesn’t seem like syd or carmy want to reciprocate in them.

syd has no problem pushing marcus to copenhagen but doesn’t seem to enjoy being pushed to respond to marcus in regards of dating him. carmy has no problem being pushed (or he does but doesn’t mention it) to do tasks with claire but doesn’t bother to push for an actual date or anything sentimental with her.

all of this has be connected to sydcarmy somehow, especially since the s3 trailer gave us that mutual pushing line.

i suppose we just have to wait and see what s3 has in store for us!!

once again, thank you to anyone who read this. this is my second meta ever so if it has a lot of mistakes, sorry!!

feel free to respond or disagree with me!

episodes mentioned: (s2e1) (s2e3) (s2e4) (s2e5) (s2e9) (s2e10)

[tizniz]

The negativity is making me not want to read 911 right now. Like I have a few authors that I will still read cause they aren't spreading hate, but other than that, I'm staying away. I've unsubscribed from a couple of people cause they were doing bashing fics, and that wasn't what I wanted. My main ones are you, spots, hoodiebuck, monsterrae, and lozerdiaz for now. If you have any recommendations of authors I could read, I'd appreciate it. I just joined the fandom in August.

Hi anon :)

I can definitely understand where you’re coming from and why you may be pulling back from reading. Totally respect that.

It’s sad though, because it discourages writers (not including myself since you kindly continue to read my stuff) who are not spreading negativity but aren’t getting read because people are pulling back.

This isn’t me telling you what to do though - if you feel like you need to pull back, then definitely do. Your wellbeing is important. Don't let anyone try and tell you otherwise.

I get not wanting to read bashing fics either - I do try and avoid them for the most part, personally. But I will say that if people want to write and post bashing fics, that's totally fine as well, because it's their right (not that I'm saying you are implying people cannot). I myself have posted a Diaz parents bashing fic myself, and will fully support Buckley parent bashing. I just hope those people are tagging appropriately so people like yourself can avoid bashing stories when searching for new stories to read and want to avoid that.

This negativity and toxicity that has been growing lately is one of the sad sides of fandom. Unfortunately, we will never escape it. We learn to shift and adjust who we follow, what we read, and who we support so that we can curate our own happy experience. Not that I think there is a reason for being so negative or toxic. (Honestly, why can people not ship multiple ships??? Jeez.)

But anyways...I'm sorry that you are struggling to find enjoyment in reading. Because as I've said many times before, there is so many wonderful ideas being created for us to enjoy.

The authors you've mentioned are all ones I also read frequently (although there are a few of their stories I haven't read because of the pairing, but that's MY choice to not read and no shame to them - because newsflash to the haters- you do NOT have to read every single story, especially if you don't like it), so well done on your choices.

I'm happy to share some authors that I enjoy reading (I'll format it as Tumblr user // A03 user): @cal-daisies-and-briars // Daisies_and_Briars @letmetellyouaboutmyfeels // letmetellyouaboutmyfeels @princessfbi // princessfbi @eddiebabygirldiaz // Underhung_Aura @theotherbuckley // theotherlucifer @exhuastedpigeon// 42hrb @elvensorceress // elvensorceress @dangerpronebuddie // I_still_dont_understand_13 @daffi-990 // Daffi_990_ao3 @watchyourbuck // tinygiantsam @bigfootsmom // bigfootsmom @devirnis // devirnis @wikiangela // wikiangela These are all people who I actively follow and interact with one some level. I think they are all lovely people on Tumblr and are wonderful authors with amazing ideas. I probably have more I could recommend too, but I did try to stick with more active people. And there are some authors on this list who are leaning heavily towards BuckTommy while others are still going strong with Buddie, so there's a mixture for people's interest in pairings. (I want to mention @hippolotamus & @lemonzestywrites as well -both of whom are working on amazing stuff but have life in the way and are currently unable to be super active with their writing but go read stuff they've posted on their A03 and support them, pelase. And also special special shout out to my lovely @actualalligator because how can I NOT mention Al?) And a few more A03 authors who I'm not certain of their Tumblr are: allisonRW96, justhockey, fleetinghearts, bccalling These are authors who I have been subscribed to since essentially the beginning of my entrance into the fandom and they have never disappointed me with their works.

I'm more than happy to make a post recommending some of the amazing stories I've been indulging in lately too. But this post is plenty long enough as is haha

Thank you for stopping by :)

[blurglesmurfklaine]

hello nobody asked but here are more unsolicited Newsies Uno ReVerse thoughts that I can NOT get out of my head

Crutchie is Jack’s brother, but he never expects him to go out selling with his disability

When Les and Davey meet Crutchie for the first time, Les tells Jack something borderline offensive like “Why didn’t you tell me youse had a little brother with a bum leg? Between my face and his leg, we coulda been making MILLIONS this whole time!”

Davey is appropriately embarrassed and apologizes profusely on his brother’s behalf

Davey is obsessed with Portland, Oregon (it’s his Santa Fe) somewhere he can get away from the heated claustrophobia of the city, lock himself away in a cabin and finally put down on paper the little stories he tells himself to get through the day

Jack volunteers to go to Brooklyn with Davey

Les is the one hauled away to the refuge after Seize The Day

David and Katherine are the ones who hit it off, and Jack is The Pining One (TM)

Post-Rally, the Something To Believe In scene starts off with Kath confronting Davey and i don’t have details but I do have this piece of dialogue:

“If you weren’t a girl, you’d find out exactly why they call me Mouth.” “I think your inability to shut up might have something to do with it.” “No, it’s because when I hear someone talking about something they have no idea about, I aim for the mouth. And I don’t miss.”

And then Kath kisses him and Davey’s like omg??? Do I…..??? Like girls??? (Bc living in a house full of boys there’s no WAY he doesn’t already know he’s gay (umbrella term))

This Affects Post Canon bc I said so. Fun Post Canon Stuff (it’s fun for ME. Probably not for yall. You’ll call it angst or something):

Jack catches a Davey and Katherine kiss when they win the strike and it kind of makes him Unwell

Davey gets a job writing for The World

Jack has a hard time adjusting going back to school, can’t focus, realizes he’s happiest when he’s with the newsies (and Davey)

He brings up to Medda the idea of dropping out to get a job. She agrees because she sees how unhappy he is and school really just isn’t I for him

Kath gets him a job as an artist at The World

This means he has to see Davey and Kath Together Every Day and it makes him even more Unwell (although he loves the art part of it!)

Davey notices this because he is Davey

Because he is Davey and is the smartest man in the room but also the biggest idiot on the planet, he completely misconstrues the reason Jack is Being Weird

So Davey invites Jack to hang out one on one, without Katherine and Jack accepts at first but it gets harder and harder and Davey is more engrained in his life than ever and he just can’t do it

So Jack stops interacting with Davey at work, blows him off outside of it, and generally starts distancing himself and Davey is totally clueless

Finally, he goes to Katherine and complains about it and the conversation goes something like this:

“I thought spending time alone with him, away from you—no offense—would make him feel better. You know, remind him that no matter what’s going on with you and me that he’s still my friend.”

“I think that’s part of the problem, Davey.”

“I mean yeah. Truth be told if he and I weren’t friends I doubt you and I would even be an issue. I think he’d just go for it.”

“…… What?”

“I think he’d ask you on a date outright, instead of feeling guilty about his feelings for you.”

“….. oh my god you fucking idiot.”

Don’t ask me how this is resolved because i have absolutely no idea :)

[sissylittlefeather]

Let's Forget About the Stars: Chapter 2

A/N: Another chapter for Elvis and Dove! I'm really loving writing a happy couple 😂. Those of you who know me know I usually torture my characters for at least a decade before I let them be happy, but not this time! Also, just a quick note about the nickname: that is a real endearment in Mvskoke, but I spelled it phonetically instead of in the right alphabet. Anyway, I hope you guys love them!

Need to catch up? Masterlist HERE.

Warnings: 18+ minors DNI, this gets a little sexy, erection, reference to masturbation, fingering, dry humping, orgasms, ejaculation, also racism and period-appropriate use of the word "Indian"

Word count: ~2.7k

He kisses her again as the sun rises on them. And he's right. This is only the beginning.

******

Elvis and Dove spend the next few weeks in a haze of young love. They have to be careful about where they go and when because his fans seem to always find them, but for the most part they make a way. They spend as much time together as possible and at the end of each night he kisses her in his car outside of the ladies boarding house she has a room in. Every kiss builds in intensity and they struggle to stop themselves from taking it further. His hands roam over her body, squeezing her hips and even venturing to her breasts. She kisses his neck and nibbles his earlobes and they both moan and whimper so much it sounds like they're in pain. And they are every time they have to stop.

Elvis is convinced she's the woman he wants for his first time, but still he wants to wait. He's not sure what exactly he's waiting for, but he knows it's too soon now.

Dove is dying to give herself to him but she lives in constant fear that the second she does he'll lose interest. So instead, she gently pushes his hands away and he moves them to a more acceptable place and tells her goodnight, breathing heavily and dreaming of the day he'll be able to touch her however he wants.

Every time she makes it to her room, she collapses on the bed, her body buzzing and pulsing on the edge of something she can't identify. Elvis is left in the drivers seat with a raging erection, trying to calm himself down before he has to get out of the car. Several times he rushes straight to his bedroom to lay on his bed and pump himself to a release, quietly moaning her name as he makes a mess on his hand. He's running out of self control, but he doesn't want to ruin what he has with Dove. She matters too much.

One night they're finding it particularly difficult to stop. They've said goodnight no less than four times, but they're still glued together, his hand slowly creeping up her thigh under her skirt, his dick so hard it hurts. She whimpers and backs away.

"Elvis, wait." He pulls his hand back and flexes it, groaning. "We have to stop."

His breath is hot against her as he tries to calm down. He kisses her shoulder and exhales deeply.

"I know, Dovey, I'm sorry."

"It's okay. Maybe we just... should?" Her heart skips when she says it. But she's started to wonder how much longer she can make him wait.

"No... no I want to wait until..." For the first time it dawns on him. He knows what he's waiting for. "You need to meet my parents."

"What?" The conversation took a turn she did not expect. In his mind, though, he can't do what he wants to do, ask her what he wants to ask her, until she's met his parents.

"You need to meet Mama and Daddy. Come to dinner tomorrow night."

"O-okay." The prospect is a daunting one for her. She's not sure what they expect of his girlfriends, but she's guessing it's not her. Hopefully, they're not too off-put by her background. "Elvis?"

He kisses her neck gently, trying not to start anything again, but desperate to feel her.

"Yes, Dovey?" She whimpers as he moves down to her collarbone.

"Is it gonna be a problem... that I'm... not white?" He backs up and looks at her sternly.

"No. My mama's people have Cherokee somewhere way back. But if it is, they'll hear from me about it." She nods nervously and he takes her face in his hands. "They'll love you. You have nothing to worry about."

He kisses her deeply and passionately and she presses her body against his. The heat comes back and before they know it they're both breathless and running their hands everywhere again.

"I need to get out of this car."

"Yes you do." He kisses her again.

"I really really do." More kissing.

"Mhmm." She pulls away from him slowly, peeling her body off of his, laughing softly.

"I'll see you tomorrow., Jumbee." She rubs her nose on his. He blinks and laughs.

"What did you call me?"

"Oh! I'm sorry. It's a term of endearment in my language. Like sweetie or honey. It's what my mom calls my dad. I'm sorry, I won't-"

"No, I love it." He nuzzles his nose on hers and then kisses her again.

Reluctantly, she pulls away and slides across the seat to the door, pushing it open to walk up to her front porch. Before she does, though, she leans down to the window.

"Goodnight, Jumbee." He smiles softly.

"G'night, Dovey." She turns and skips up to the front door and he watches. Then he leans his head back against the seat, touching himself gently and whimpering. This is definitely a night that he'll be sneaking into his room for some alone time.

******

The next night, Elvis pulls up to Graceland with Dove on his front seat. Up until now, she hasn't seen where he lives.

"Woah." Her mouth drops and he laughs.

"I forget how impressive it is if you've never seen it."

"This is beautiful. You didn't tell me you lived in a place like this." He can tell the house makes her nervous.

"We didn't always. This is new. Come on."

"Jumbee, I don't know." He turns to her on the front seat and puts his hand on her cheek.

"Dovey, baby, it's gonna be fine. You trust me?" She looks into his eyes and nods. He kisses her softly and then pushes his forehead into hers. "Come on."

He gets out of the car and runs around to the passenger side to let her out. She stands up out of the car and he puts his hand on the small of her back to lead her inside. In the foyer, she smiles awkwardly as he proudly introduces her to his parents.

"Mama, Daddy, this is Dove Morningstar."

"It's nice to meet you both." Gladys and Vernon smile and shake her hand genially. Gladys speaks first.

"Dove. That's an interesting name."

"Oh, it's actually a nickname. My real name is Eleanor, but they've called me Dove since I was a kid."

"Well, it's lovely."

"Thank you, ma'am." Vernon finally speaks up.

"And Morningstar. You're Indian?"

"Yes, sir. Seminole."

"Hmm." He grunts and Dove can't tell if he's disapproves or if he's just quiet. Elvis steps in.

"Dovey is a singer. You should hear her. She sings better than me." He puts his arm around her waist and pulls her close to him. Gladys smiles at the two of them, glad to see her boy so happy.

"I'd love to hear you sometime, honey. Maybe after dinner we can gather 'round the piano." Dove nods, smiling a little more naturally now. "Speaking of dinner, it's ready. Let's go sit."

Gladys turns and they follow her into the dining room. The rest of the evening passes in polite conversation. Elvis excitedly tells the story of how they met, leaving out all the kissing that happened on the rooftop. Dove answers questions about her family and her upbringing and listens attentively to the stories that the Presleys share. Overall, things go very well.

After dinner, they gather around the piano singing together. Gladys is indeed impressed by Dove's voice and her knowledge of gospel songs. Eventually, Dove sits on the bench next to Elvis and puts her hands on the keys. Elvis didn't even know she played, but he watches her in awe as she gently presses the keys, singing a hymn in her Native language. When she finishes, he leans over and kisses her softly, unable to stop himself.

"That was beautiful, Dovey."

"Thanks, Jumbee." She whispers it but they're close enough that Gladys catches her nickname for him.

"That's sweet. What's it mean?" Dove looks up at her but before she can answer, Elvis cuts in.

"It's an endearment in her language. She used it for me and it just kinda stuck." He smiles proudly again and Vernon sighs discontentedly.

"Son, can I talk with you for a moment?"

"Sure, Daddy." He gestures and Elvis follows him into the corner. Dove plays another song on the piano and Gladys sings along. At the end, she stops her.

"Honey, how do you know all these gospel songs?"

"Oh. My daddy is a preacher."

"An Indian preacher?"

"Yes ma'am." Gladys beams. She's proud of her son for finding such a good girl. "Play another one, baby."

Dove goes into another song and the ladies harmonize while the men talk.

"You're not serious about this girl, Elvis." Elvis looks at him in shock.

"I am. Why wouldn't I be?"

"You know you have an image to uphold now."

"Yeah, and? I know the Colonel wants me single, but I can't stay that way forever."

"It's not just that, son. This kind of... interracial relationship... it's not gonna be good."

"Interracial relationship?!"

"She's not white, son."

"And you think that's a problem?"

"I think it just might be more trouble than she's worth." Elvis raises his voice and catches the attention of both women.

"You listen to me, Daddy. I don't care what you or anybody else has to say about it. She is worth it and I am serious about her."

"Now, son, there's no need-"

"No, there is a need! I love her and nothing you say is going to change it!" He stops and looks around the silent room. Dove has stopped playing the piano. She whispers to herself.

"He loves me?" Gladys responds quietly.

"That's what I heard." She puts her hands on Dove's shoulders protectively, glaring at Vernon. Elvis crosses the room and stands her up to face him.

"Yes. I love you, Dovey and I don't care who knows it." A warm smile spreads across her face.

"I love you too, Elvis." He leans down and kisses her a little more passionately than he should in front of his parents.

"Come on, Vernon. Let's get to bed and leave these two young people to each other." Gladys goes to usher him out of the room.

"Goodnight, Mama." Elvis says it without taking his eyes off of Dove.

"You two don't stay up too late."

"Yes ma'am."

"It was lovely to meet you, Dove."

"You too, Mrs. Presley." She knows it's probably rude, but she can't look away from Elvis. Gladys smiles again and walks from the room with Vernon in tow. Once his parents are gone, Elvis pulls Dove into a deep kiss, pressing his body against hers. He whispers against her lips.

"Come up to my room." He turns and takes her hand, leading her up the stairs. Once they get to his room, Dove swallows nervously. "Dovey, it's okay. Tonight's not the night."

She smiles and he pulls her into another kiss. The kiss heats up and he walks her backwards to the bed. He lays down with her, running his hand across her stomach and down to her hip. She throws her leg over him and rolls her hips into his. He pulls back, breathing heavily.

"Okay, slow down."

"I'm sorry."

"No, it's okay, baby. I know it's hard to stop." A lightbulb goes off for him and he smiles. "Honey, what if we... did something... but not... that..."

"Like what?" He smiles slyly.

"Do you trust me?"

"Always, Jumbee." He moves his hand down to her knee, trying to stop himself from trembling. His hand slides slowly up her thigh to her hip under her skirt. Then, he walks his fingers over to her center. She whimpers.

"Elvis, what are you doing?"

"Just let me touch you. I promise we won't go any further." She nods. He fumbles a little but eventually gets his fingers under the edge of her panties, moving them down to the place where she didn't even know she was aching for him.

"Oh..." She moans softly as his finger finds her center and moves around the edges of her entrance. "Tell me if it hurts or doesn't feel good..."

She whimpers again as he carefully slides one finger inside her.

"Oh, God." He looks at her carefully.

"Good?"

"Yes..." He starts to move his finger in and out and she moans. He smiles and then leans in, kissing her neck gently. He's talked to the guys enough to know what to do next. His thumb makes its way carefully to her sensitive bud, making circles. Her back arches and she whimpers.

"Is that good, baby?" She makes a noise somewhere between a moan and a grunt and he smiles again. He seems to be on the right track.

Dove is overwhelmed with the sensation of his hand on her. Something is building inside her and though she doesn't know what it is, she wants it to continue to completion. In efforts to reach whatever the goal is, she grinds into him, inadvertently rubbing against his cock, which is already hard just with what he's doing. He whines and rubs himself against her again. His mouth moves back up to hers and he kisses her deeply, rolling into her a little harder. She feels his hardness against her hip and it turns her on even more as she grabs the front of his shirt and pulls him in close to her.

"Oh, Elvis, don't stop!" He pumps his finger into her harder and harder as he grinds against her over and over. The friction is pushing his foreskin back and forth over his dick and he feels the pressure building.

"Mmm... Dove, baby, it feels so good."

"Yes! Yes!" He moves his thumb faster over her clit, nibbling on her earlobe and rubbing against her hip passionately. The heat between them grows as the intensity of their actions increases. His fingers move deftly against her as his hips do the same. They both feel like they're about to burst with desire and love for each other. And then they do.

"God, yes, baby, fuck!"

"Elvis!" She moans his name loudly as she climaxes hard against his hand, pulsing around his finger just as he ruts against her one last time, shuddering and whimpering, filling his pants with ropes of cum. She rides out the high of her orgasm completely oblivious to the fact that he's doing the exact same thing. He realizes what happened, though and pulls away quickly.

"Wait? Where are you going?"

"I'm sorry. God, I'm so sorry."

"What? Why?" She looks down at his crotch and notices the wet spot on his pants. "What happened?"

"I-I-I I finished..."

"Oh..." She giggles and he rolls his eyes, embarrassed. He tries to move away from her again and she grabs him. "No, it's okay Jumbee. That was really... it's okay..."

He looks up at her shyly.

"You really don't mind?"

"No, baby. I'm glad it was good for you too."

"Yeah?"

"Yes." She leans into him and kisses him deeply. He wraps her in his arms.

"I love you, Dovey. So much."

"I love you too, Jumbee." He nuzzles into the side of her face and kisses her cheek.

"You wanna stay? I can hold you all night." She considers what it would mean for her to stay all night with him. Then she looks into his eyes. He is her future. Why would she ever leave?

"Yes, please." A genuine smile spreads across his face and he jumps out of bed, going to his drawers. He grabs a set of pajamas and brings it over to the bed.

"You take the top and I'll take the bottoms. Then we can snuggle up and sleep all night just you and me." He pushes a stray piece of hair behind her ear and kisses her cheek.

They both change into the set of pajamas and then crawl into bed. He cuddles up behind her and buries his face in her hair.

"I'm so glad I met you."

"Me too, Jumbee. Me too."

They drift off to sleep together, Elvis's mind racing with plans of how and when to ask and visions of her in a white dress walking down the aisle towards him.

******

Until next time!

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

@ccab @elvisfatass @elvisalltheway101 @aliypop @18lkpeters @dkayfixates @tacozebra051 @your-nanas-house @deniseinmn @joshuntildawn13 @lookingforrainbows @60svintage @littlehoneyposts @epthedream69 @louisejoy86 @rjmartin11 @from-memphis-with-love @deltafalax @atleastpleasetelephone @cinnamoroll-things @burnthheparaphilia @jhoneybees @cattcb @everythingelvispresley

[island-in-the-shadows]

Ngl, I'm gonna take alll my DM shipper feels, put them in a box, bury the box, and leave it there for five years like a time capsule so that I can dig them up a few seasons down at the appropriate time. That way, next season, I won't have to remind myself that I cannot hold a show to what I want (this is why we have fanfiction, lol). But at least with this there's hope for the future.

Anyway---I am SO ready for the absolute chaos! I'm ready for Daniel and Louis teaming up even if Louis could explode at any time, I'm ready for Claudia who did NOT deserve ANY of it (😢), I'm ready for Louis standing up, I'm ready for Lestat because I can't even begin to image the insanity of that trial, I'm ready for Santiago to be the worst but also SERVE, I'm ready for Armand to have done all the things that he will never truly manage to atone for, I'm ready for the S1 revisits, I am SO ready for Louis to go all Firestarter on the TdV, I'm ready for the bodice ripper moment between Loumand, and the MUCH needed hug between Loustat (when is that even happening I have so many QUESTIONS), I'm ready for more of Raglan James and what that could mean for next season given his role in the books, I'm ready to see if that prop is the legit published book that Daniel writes or not, etc...

One of the beauties of Interview with the Vampire is that nothing is ever quite as we expect and it's always FANTASTIC! I know we're 3 weeks out from the end of the season but I'm already going to miss the giddy feeling of waiting for an episode every week and seeing it twice on the same day and seeing all the speculation afterwards. Regardless of the fighting or the shipping discourse (regardless of my rankings I am a toxic polycule believer ^_^), it really has been so fun to see everyone on here get excited and have the show trending every week.

Fingers crossed for the S3 confirmation soon after S2 ends!

[whumpinggrounds]

actually, violence and sexual violence and child abuse happen in real life.

saying that people who want to talk or write about it are sick and depraved and wrong is not the equity win that you think it is.

[strangersteddierthings]

Porcelain Steve - Part 7

Part One🦇Part Two🦇Part Three🦇Part Four🦇Part Five🦇Part Six🦇Part Seven🦇Part Eight🦇Part Nine

((TW for this part; period typical slurs and internalized homophobia. Read the tags before clicking readmore if you want the details))

Steve has been a porcelain doll for seven weeks when disaster strikes.

"What is that," Jeff says, because even though the words are in an order which would suggest that it's a question, the tone of voice Jeff uses decidedly is not questioning.

"What is whaaa-AH! Nothing! It's nothing!" Eddie, who was torso deep into his closet throwing things around to find his backup amp cord, turns to look at what Jeff was talking about, and is now launching himself across his room to stand between Jeff and Porcelain Steve. Porcelain Steve, who Eddie had lain on his bed, propped slightly on a pillow, headphones carefully perched on his little head, hooked to a cassette player currently playing the first hour of last week's Top 40 countdown that Eddie had taped for him (all three hours of it, leaving out the chatter of the radio show host. He'd had to use two tapes to get it all).

"Nothing sure looks a lot like a doll in headphones, Munson," Jeff has an amazing poker face but Eddie's certain he can see a bit of judgement underneath the carefully blank expression Jeff is wearing.

"I don't know what you're talking abo- hey! Hey, no, no, don't!" Eddie tries to bodily block Jeff when he moves forward and the two end up wrestling, a match that Eddie almost wins, if not for the hazard that is his messy room. He gets Jeff walked almost to the door before he steps wrong on something, ankle rolling and sending him down sideways. He clutches at Jeff but can't make purchase and Jeff, the bastard, does fuck-all to try and catch him. Instead, Jeff leaps out of arm's length, then lunges onto the bed as Eddie collapses to his floor.

Eddie frantically tries to stand and, in his haste, ends up with his feet tangled in a pile of dirty laundry and that sends him crashing down again, this time forward onto his hands and knees, so he gives up on standing and crawls the few short feet to the bed, finally looking up to see that the damage has been done.

Jeff has picked up Steve, holding him inches from his own face, eyes squinted in suspicion. Eddie is frozen, horrified and afraid, and can't bring himself to do anything as Jeff examines Steve closely, turning him around, poking his torso, flipping him upside down to examine his shoes more thoroughly. It's only when Jeff reached for the shirt, pinching the hem of it between two fingers that Eddie kicks back into action.

He lunges up, one knee on the bed, leaning over to grab Steve and yank him from Jeff's grip. His first instinct is to throw Steve over his shoulder, out of sight out of mind mentality, but as soon as he does, he realizes his mistake and twists, lunging to catch Steve in midair. He does manage to catch Steve, but it sends him bouncing off his dresser and almost back to the floor before he manager to regain his balance, where he proceeds to cradle Steve to his chest, which is heaving from the adrenaline, wrestling match, and subsequent dive after Steve.

Jeff is giving him a concerned look but something else piques his interest; Jeff reaches over and picks up the headphones, holding them up to one ear. His face goes through every emotion a human could possibly experience in less than fifteen seconds as he listens to whatever track was at the forty-ish minute mark on the Top 40 countdown.

Slowly, Jeff lowers the headphones, letting them drop to the bed before he gives Eddie a new, more judgmental, yet infinitely more concerned, look. "Eddie. What. The fuck."

Honestly, he's not sure there's anything he can say in response.

"Why- I don't... are you okay, man?" Jeff sounds both scared for Eddie, and scared of him, at the same time.

"I'm fine," Eddie manages to squeak out.

"Eddie," Jeff says seriously, "this is not fine. This is- this is insane behavior. You know that, right?"

"I've no idea what you mean," Eddie doesn't even know what he's defending himself from but his default response to anything is to defend himself. He grips Steve tightly around the torso with one hand and then moves both his hands to be behind his back so Jeff will stop staring at Steve.

"I mean this fuckin' insane shrine you have dedicated to Steve fucking Harrington. How did you even get a doll that looks like him. Did you- did you make that?"

Fuck. Holy fuck. What can he say to defend himself here? Is there a single way for him to come out of this not sounding deranged? If he agrees, let's Jeff's drawn conclusion be the truth, then that's all but confirmation to Steve about his big fat crush, so when Steve's back to being Steve he'll never look at Eddie again. Jeff might think he needs mental help, but he'll be here for Eddie. If he tries to deny the accusation, then he'll need an explanation. He'll have to tell Jeff something that make him seem less like a creepy stalker, but what? He can't tell the truth, not without letting everyone know he's going to tell Jeff. There's a whole other secret he'd have to let out to even have a chance of Jeff believing him.

Jeff must take his silence for acceptance or guilt, because he's speaking again. "I.... man, this is not healthy. Please tell me you aren't, like, hoarding a lock of his hair or his clothes or something."

Involuntarily, damningly, his eyes dart to the closet, where several of Steve's sweaters hang from when he'd borrowed them and never returned them. And it's not like Steve doesn't have several of Eddie's own articles of clothing, like his battle vest and a few shirts. But Jeff doesn't know they easily, willingly, swap clothes, so his eyes go wide and dart towards the closet, as if he can pick out which pieces belong to Steve on sight.

Actually, he probably can.

"This really isn't what it looks like," Eddie says because he has to say something. Being silent is too incriminating.

"I don't think you're aware of what this looks like," Jeff says, wiggling himself off of Eddie's bed to stand at the foot of it. "Of all the boys in Hawkins.... I knew you liked Steve but this is.... creepy. That doll looks so much like him that I recognized it. Does Steve know you're in love with him, or is this like a way to process your crush without having to-"

"Jeff!" Eddie yells, mortified. He can feel his whole face heat up, knows he must be bright red. Because Jeff just said, out loud and for Steve to hear, the thing that Eddie very much hasn't even said out loud to himself, even if he knows how he feels deep down.

Jeff must know he's overstepped some invisible boundary he wasn't even aware of because his face immediately shows regret. He takes a step forward and Eddie takes a step back.

Immediately, Jeff stops his forward momentum. "Shit, I'm sorry, Eddie. I'm sorry."

When Eddie answers, his voice sounds like he's been eating gravel, "Just, can you go wait in the living room? I'll be right out, and we can talk, or whatever, but can you just..."

A nod, and then Jeff is gone, closing the door behind him.

With shaking hands, Eddie brings Steve back to the front of him. Looks down at him. He's not even aware he's crying until he watches his tears mark Steve's tiny polo. He can't keep holding Steve. Can't keep looking at him. Not when- not when his best friend just outed him in the worst way possible. And Eddie can't even be upset or hurt about it because Jeff didn't know. He's teased Eddie about his crushes before, and in the safety of his own room, there was no reason for Jeff to have to watch what he was saying.

Even knowing that Steve is okay with Robin, loves her anyway, without the ability to confirm that Steve doesn't hate him right now, Eddie's going to freak out. But he can't. Jeff is waiting in the living room, and the band is waiting back at Gareth's. This was just- they were supposed to just grab the amp cable and get back, a fifteen-minute job at most, and now.

Now Eddie is staring down at Steve, willing himself to not have a panic attack.

"I'm sorry, Steve. I'm so sorry. You shouldn't have heard it like that, it s-should have come from me. It should- you-I'm sorry," Eddie gently underhand throws Steve onto the center of the bed. He lands face up and Eddie sinks to the floor because he can't stand anymore, and he can't really breath.

Steve knows Eddie's a fucking faggot now, and that he wants Steve, and there's no way he'll get to keep the friendship they had before this. There's no universe in which Steve isn't creeped out by this information. There has never been an instance where a straight boy found out about his crush on them and didn't abandon him. Not always cruelly, he'll admit. He's had friends that learned and just... slid from his life with no words and no fuss. Eddie just never spoke to them again because they never came back around, but they also never outed him.

That's what will happen with him and Steve. He'll quit inviting Eddie around, or calling when he's bored, and eventually it will get to the point that Eddie only sees him at BBQ's that Joyce drags him to.

Fuck. FUCK!

He's not sure how long he's on the floor but eventually, he finds the will to get back up and resume digging through his closet to find the amp cord. It doesn't take long, he was ridiculously close to finding it earlier, it seems.

Before leaving his room, he picks back up the cassette player and headphones. Silence comes from them, so he pops the tape out before flipping it to the B side and popping it back in. He puts the headphones around Steve's head again and presses play, doing his best to not actually look at Steve. He'll just have another breakdown if he does.

He trudges out of his room, closing the door behind himself before taking the short walk to the living room, where Jeff waiting on the couch, elbows on his knees, fingers steepled under his chin, eyes faraway as he stares towards the wall in front of him.

"Hey," Eddie says, to get his attention.

"Hey," Jeff says, sitting up straight and turning towards Eddie. "I'm sorry. Whatever I did, I'm sorry."

"Why are you apologizing? I'm the fucking psycho here," he sighs, leaning sideways against the kitchen counter, arms folded across his chest, hand clutching at the amp cord just for something to ground him.

"Forget that, whatever I did, or said, or whatever, you were- when you yelled my name. You looked terrified. Of me," Jeff almost whispers the last sentence, and if not for the stark silence in the trailer, Eddie wouldn't have heard.

"Not of you, Jeff," Eddie whispers back, but his voice doesn't stay quiet because 'quiet' isn't a thing Eddie does easily or often. "Of... of myself, and these- of how I feel- I'm a goddamned faggot and now that Ste- when Steve finds out I'll lose him! Like I've lost every fucking person who ever even suspected I was a fuckin' queer!"

Silence stretches between them, enough to make Eddie fidget, dropping his crossed arms to twist the amp cord about anxiously with both his hands.

"Look, man, I don't know what's, like, the appropriate thing to say so I'm just going for the honest thing. You got me. You'll never lose me. And all those other assholes that you think you lost? You're wrong. They lost you. And if Steve Harrington is gonna be another one of those, then you aren't losing him. 'Cause he was never really in your corner to begin with."

If this were anyone else, with the exception of his uncle, he would be able to hold it together better. But it's Jeff. His best friend. Who never believed Eddie committed unspeakable horrors over Spring Break last year. Who didn't question the strange, new friends he suddenly had afterwards; who accepted as the only explanation a softly spoken 'they saved me' and that was enough. Who had said 'ok, cool' in response to Eddie telling him he was gay, years ago now, and continued trying to find out if Eddie had a secret relationship, switching girlfriend for boyfriend like it wasn't a big deal (Eddie did not have a secret relationship; his good mood that week was the result of snooping for his birthday present and finding the guitar hidden under his uncle bed).

It's Jeff. So, Eddie does the most metal, manly thing he can and bursts into tears, blindly reaching for Jeff and pulling him off the couch so he can bear hug him and sob into his shirt.

"There, there, you big baby," Jeff rubs his back soothingly, "let it out. Then pull your sorry ass together, because Gareth and Brian are going to think we died in a car crash on the way here if we take much longer."

"Ah, fuck," Eddie manager to say around the sniffling he's trying to get control of, "you're right."

"You good, though?"

"Uh, I will be."

Jeff nods and steps back. "How about this. We go to practice, and then you can come to my place tonight and we can like, hangout and talk. If that's what you want."

He's already nodding as he says, "yeah. That would be good. I- uh, I have something to do after practice, but yeah, after that I'll come over."

Eddie tosses the amp cable to Jeff after they climb into the van and head off.

Halfway there, Jeff says, "you know Gareth and Brian are in your corner, too. If you ever feel like telling them one day."

"One day," Eddie agrees, "but today has already been... a lot."

Practice goes well, with some ribbing for their tardiness allowed. If Gareth and Brian notice Eddie's been crying recently, they keep it to themselves. Which is good, because Eddie cannot handle one more thing today.

A promise to meet up with Jeff later and Eddie's back home.

Back to where he left Steve, who will be laying in silence on his bed because it's been well over two hours since he and Jeff left, and the tape only held an hours' worth of music on each side. Back to the nightmare of not knowing if Steve hates him now, or if Eddie's, and this is the most likely scenario, being a bit overdramatic.

His uncle is home, so he greets him, asks after his day, gets told dinner is Fend For Yourself Night (which just means leftovers or a TV dinner), and gets asked about Steve. Because of course he does.

"You sure he went on a vacation willingly with those parents of his, and he ain't actually kidnapped and trapped somewhere?"

That's a little bit too true. If only Wayne knew. "Well, no. I'm not sure. All I know is what he said when he left."

Wayne gives him a look. One Eddie is used to seeing, that says 'I know more than you think but I'm waiting for you to tell me' and Eddie's a little afraid of what Wayne thinks he knows. So, instead of prying that box open, Eddie just says he's tired and goes to his room.

Steve is exactly where Eddie left him.

Suddenly, without reason or logic, Eddie is angry. He's so pissed at Steve for being gone for this long. For having transformed in the first place. For not being able to assure him they'll still be friends, regardless of Eddie's stupid crush.

He snatches Steve off the bed, hand clamping around one of Steve's arms and his torso so he can hold him up with one hand. Steve's face, permanently stuck into a blank expression, looks back. Even knowing that Steve sees and hears through this thing, Eddie's so angry at the doll. If Steve hadn't been turned into this stupid thing, if Eddie wasn't so helplessly in love with him, this wouldn't have happened. Eddie could have taken his own time telling Steve, instead of hearing his deepest secret spilled easily from Jeff's lips. Instead of this not knowing what Steve is thinking, or how he feels. Is he recoiling in disgust at the fact Eddie's making him look at his face? Or is Eddie being awarded the same kindness as Robin, a quiet acceptance that won't change their friendship?

Eddie doesn't know that answer and he hates it.

He's so angry with himself because he should know better. He's forcing his own insecurities onto Steve, about acceptance and caring, when nothing Steve's done since they've become friends is prove that he'll always be Eddie's friend and not even the apocalypse could change that.

"I'm going to hang out with Jeff, so you're gonna be alone a bit longer. Or maybe I should drop you off at Robin's when I go," Eddie goes to toss Steve back on the bed when something pinches his palm. It's a startling sharp pain, quick to fade, but it's surprising enough for Eddie to let go.

Eddie watches, horrified, as he falls to the floor. He twists in the air, landing with a dull thump and cracking sound on his left arm before falling onto his back.

"Shit. Shit! Fuck, Steve, I'm so sorry, I didn't mean to," Eddie is crouched, already in the process of reaching for Steve when he freezes.

There is a crack on Steve's left arm, a line that starts above his elbow on the inside of his arm and runs down and across his arm to his hand, where Steve's pinky finger is gone. Looking slightly to the side, Eddie can see the small porcelain piece that Steve is missing laying on the ground next to him. Eddie's own hand is hovering in the air above Steve, shaking.

This can't be- how did- Eddie wracks his brain. Was the crack there already? Did Eddie cause the crack when he bounced off his dresser earlier? When did it happen? Does that fucking matter when it's Eddie who broke a piece off him? If Steve didn't hate him before, he's got to now. Eddie doesn't have time to panic about this, he's got to- El. El can talk to Steve. Find out if he's okay. What if breaking him-

Eddie launches himself up and to his dresser, grabbing at the Walkie up there. He pulls the antenna up, clicks it on and tries not to actually shout as he says, "Code Red! Code fucking Red!" He lets off the talk button, counts to seven in his head, enough time, he reasons, for someone to respond before he repeats the process. "Code Red!! Code Red!"

He repeats this process for three minutes with no response. Where the fuck is everyone!? How is he supposed to- Oh! The phone!

He tears down the hall and to the phone. He must look a right state, because Wayne looks very concerned and is halfway to standing up when Eddie gets to the phone beside him. He yanks the phone up and dials the number for the Byers-Hopper household, holding up a shaking finger to Wayne, a silent plea to give him a moment.

It rings and rings and rings before the answering machine kicks in. Eddie presses down on the disconnect button before dialing the Wheelers' number next.

"Hello?"

"Mike! Code Red! Where the fuck is everyone and why aren't they answering!?"

"What?"

"Code Red! Where's Nancy. Put Nancy on."

"Dude, slow down, what's-"

"I broke St-it. I broke it and someone needs to get El here now. Code Red does not mean ask questions, Mike! It means Code. Fucking. Red."

"Shit, shit, right! I'll get Nancy and we'll get everyone- just- we'll be there soon."

Eddie slams the phone down and has to meet his uncle's eye now.

"Eddie. What is goin' on?"

Eddie inhales a breath and can feel his lower lip quivering. "It's- can we talk about it later? I promise I'm not the one hurt, or in trouble, or- it's not me, ok. I just-"

"Yer shakin' like a leaf boy. What's got you so spooked?"

Eddie just shakes his head and flees back to his room, slamming the door shut between him and his uncle. He can't bring himself to cross the room to Steve. He slides himself down the door to sit on the floor, pulling his knees up to hug.

"I'm so sorry, Steve. I'm sorry."

[boyfridged]

i'm not gonna lie. most of the time the "is this character female coded" as well as "can you write this character as trans" discussions simply get too close to notions of gender essentialism for me to take them seriously.

[lilflowerpot]

Hi! I was wondering what other vld ships you like/ship? If you don’t mind me asking

Though it's been a hot minute since I've really indulged in vld outside of working on LB, I'm one of those multishippers who can be persuaded on mostly anything so long as the narrative is compelling enough (particularly so far as Keith is involved)! My staples tend to be keitor (obviously) & sheith, but I have a fondness for fics that explore keith/kuron, keith/james, keith/regris, keith/allura, keith/matt in an interesting manner, and I've even read a few solid pieces featuring keith/lance, keith/kolivan, and (most surprisingly of all) keith/zarkon.

So far as non-keith-centric ships are concerned, I'm far choosier, but lotura is always a heartbreaker, ezor/zethird is cute but seldom written (bonus points if axca is their fwb third), shiro/ulaz lends itself to a tender sort of angst, and zarkon/honerva is just outright sad.

I can also go for all the above in a non-romantic sense, of course, but my major platonic dynamics are Pidge & mostly everyone, Keith & the entire BoM, and Lotor & the galra girl squad.

Less so than the ships themselves, it's actually the manner in which any given dynamic is written that sees me become particular: the portrayal of the characters, their mannerisms, their interactions with one another, the circumstances in which they've come together, etc etc... but if you have any fics that you would absolutely swear by—whether they feature a ship listed here or not—then by all means send them my way!

[threadsun]

Thoughts on non con fics or just people who are into non con in general?

[littleoddwriter]

Because I keep questioning my own writing a lot; especially in terms of ending a short story... sometimes, it really is easier to just treat what you write like a movie or a TV show you're watching. Especially if it's a short fic that is basically just a single scene. Like... Would there be a scene change now and it'd feel complete? If yes, then it's an appropriate ending. If no, then either you write one more paragraph or let it rest for a bit, come back to it, and see how you feel. Or you find a spot a little earlier because sometimes scenes can drag on for too long and need to be cut shorter in order to be satisfying and make sense.

[prentissluvr]

tw long rant and swearing!

hey!! if you don't like something i wrote! shut the fuck up and move on!! thanks bye!! no hate is tolerated on this blog :)))

i don't care if you don't like the way i characterized someone in my story!! shut up and get a better hobby than hating on something someone has spent hours creating and pouring love into and accusing them of hating one of their favorite characters because you think that the fic they wrote FOR FUN and NOT FOR YOU is bad characterization/makes the character flawed in a way that you don't like because you have a poor understanding of what makes fanfiction fanfiction (and also humans human tbh lol). sure, they're maybe more flawed than in the actual show, but THATS THE FUCKING POINT OF FANFICTION!!! IS THAT ITS NOT A REAL PART OF THE SHOW!!! AND ITS WRITTEN!!! FOR FUNNNNN!!!!! AND NOT FUCKING FOR YOU AND YOUR FUCK ASS OPINIONS SPECIFICALLY!!!!!!!! and if you think it sucks, i don't care!! you are entitled to your opinion!!!! hate it so so so much but get the fuck over yourself if you think that telling me it's horrible and unrealistic and somehow creating a bad wrap FOR MY FAVORITE CHARACTER IN THIS SHOW is somehow a meaningful usage of your time or gonna get me to delete the fic or stop liking it or stop promoting my own hard work !!!! i'm proud of the things i write and nothing will ever change that. i hope you know what a shitty shitty shitty (and embarrassing) thing it is to do to leave a whole paragraph of hate under someone's hard work just because they interpret a fictional fucking character in a way that you don't like. genuinely genuinely get the fuck over yourself and find a better way to spend your time than caring more about fictional characters than real life people.

[thedragonagelesbian]

@hexblooddruid replied to your post “i just think cyrusXdaeran has the potential to be...”:

It’s an honor to have Bryn included and I’m also watching Cyrus and daerun through opera glasses right now

​im so............................................... truly their dynamic is so distinct from any other relationship i've explored with cyrus before; personality-wise daeran is closest to astarion, but absent the overly trusting bite scene & cazador reveal that triggers cyrus' overprotectiveness, plus daeran not just being an asshole but a wealthy asshole, cyrus is so much more willing to. set boundaries. he has less patience with daeran but also sometimes more fun too because he feels comfortable being cheeky & playful & pushing & pulling. there's a real sense of give and take that's so rare for cyrus 'i will give you absolutely anything & everything' hawke to develop with someone so early, and it makes meeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

[yuwuta]

Will still there be Test Dive Part 2???

yes yes i’m just trying to make him… normal…ish…. normal enough? part one was also a partial dialogue study for me, which, through writing part 2, i have realized, doesn’t come so easily to me with yuuta 😭

[dragynkeep]

if you have a rewrite of rwby & claim to be better but repeat the same mistakes as the dudebros in the original writing team, with absolutely the same lack of care for social or ethical consciousness in the worldbuilding of your story  —  vis a vis appropriation, racism, sexism, etc  —  then how much better than them are you actually?

especially when we’ve seen that criticism against these works are taken just as poorly with marginalized people being attacked for voicing concern yet again.