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1-800-kami · 1 year

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R U MINE? feat. gojo satoru

gojo satoru has got to be the picture definition of a stereotypical college frat boy. he’s cocky, loaded with his daddy’s money, and dangerously handsome. it seems like common sense to stay away from him since you’ll never get more than a one-night stand out of it.

that’s why you choose to turn a blind eye once you’ve come to the horrific realization: you’re in love with him. and you’re just itching to ask…

“are you mine tomorrow? or just mine tonight?”

IMPORTANT: part two is out! read here :)

content: 8k words, afab!reader, angst! fluff! heartbreak! n everything in between! implied smut, rich college frat boy gojo and hellcat driver geto 🤑, emotional rollercoaster, reader has a toxic ex, trust issues (?) gojo is absolutely insufferable, misunderstandings, use of words hoe, slut, etc., mutual pining, some jjk character cameos (wink wink) me writing very unfunny dialogue, no bc wtf is this, cheating implications, emo gojo (the worst warning of them all)

author's note: hello hello! my name is kami, i've been reblogging fics on tumblr for a while now but i've recently figured out how to work this hellsite, so i'm going to start posting fics that i write! thank you to those who enjoyed my nanami drabble <3 kisses 4 u all.

this fic IS split into two parts and there is smut in the second part. so just. prepare yourselves for that ig.

reblog and interact for a kiss ;)

“so… let me get this straight.”

“go ahead.”

shoko takes a deep breath, and you just somehow know that she’s pinching her nose in exasperation right now. “utahime dragged you out to a party in hopes that you would hit it off with somebody. you wander off on your own and later, she sees you and gojo–THE gojo satoru–giving you his number?!”

“uh, yeah. that’s exactly what happened.”

“do you even understand what you’re getting yourself into?! that man bags hoes like they’re pokemon!” you readjust the phone against your ear and sigh at shoko’s comment.

“okay, first of all, never say that again. second, i rejected all of his advances. i didn’t even save his number.” you stare at the crinkled-up note in your hands, which proudly displays his number and a slick call me if you change your mind ;). you wonder if you could sell this paper to his fangirls–you’d surely make a little bit of cash out of it. “i’ve seen gojo around. i know that i shouldn’t mess with him. plus, he was drunk as hell at the party; i doubt he even remembers my name. to him, i’m just some chick that he’s frustrated at because she didn’t want to fuck him the second she saw him.”

“do you… do you share any classes with him?”

“i don’t think i do.. just, don’t worry about it, okay? i’ll throw away his number and we can put all of this behind us. here, i’ll do it right now.” you rip up the paper into a few pieces before tossing it in the garbage can. hopefully, you did it loud enough that shoko heard it through the phone. “i get that you’re worried for me. and i appreciate that, but i can handle myself.”

“just… no more mention of gojo anymore, okay? you’re right, y/n. let’s just put this all behind us.” shoko sighs, and you smile at that. problem solved. you threw away his number, and he’s most likely moved on to the next girl by now, so that was that. now, you just have to forget about satoru gojo.

all to never let yourself get hurt ever again.

it’s hard to forget about gojo.

not because of those dangerous blue eyes of his–getting anyone lost in them if they stare for too long. not because of his stupid silvery white hair, which makes him look like a mop, and sometimes like a paintbrush. not that stupid cocky grin of his, either…

...but because you’ve recently found out that he sits next to you for physics.

the revelation was truly disheartening. you thought you could avoid him for the rest of the year because as far as you knew, you shared no classes with him. however, you completely forgot about the fact that gojo never attends class in the first place, and you don’t even know what classes he’s in… because he’s never there. so finding out that the seat next to you in physics wasn’t just an empty seat, and it was gojo’s assigned one, was truly an experience.

“gojo.” the name alone makes your heart stop, and you drop your pen to look at the man your teacher was addressing. “finally choosing to attend class for once?”

speak of the devil.

there he was, in all his glory–the man you’d never thought you had to deal with ever again. the man who tried to butter you up with his corny sweet talk so that you would go home with him for the night. the man who persisted with talking to you, even though you were barely interested. the man, who, at the end of the night, insisted on writing down his number for you in case you changed your mind about him and gave him a chance.

you wanted to shrink into your seat and never resurface.

“good morning, yaga!” he says rather loudly, with no regard to honorifics at all. a few giggles could be heard across the classroom–though geto suguru’s voice was prominent–satoru’s equally as infamous bestfriend. “and yeah! it’s surprising, isn’t it?”

what’s also surprising is how gojo took a seat next to you. you thought that there was a mistake, that your teacher would scold him for sitting somewhere he isn’t supposed to sit and relocate him elsewhere. however, yaga just grumbles and begins the lesson, leaving you helpless and unable to look at the man next to you.

you swear he’s burning holes at the back of your head.

pleasdon’tremembermeisweartogodpleasedon’trememberme-

“you’re that girl from the party, right?” he whispers, and you’ve never wanted to disappear so badly in your life. you slowly nod your head, turning to look at him, and he pouts. “y/n l/n. you never saved my number. hmph, i was looking forward to a text from you, too.”

“i’m surprised you even remember me, 'cause you were fucking wasted that night.” you twiddle your pencil, averting your gaze from the man. “and i never saved your number cause i threw the paper in the trash. it’s probably at a landfill somewhere, y’know.”

your words catch him off guard, and you laugh at how surprised satoru looks. it seems that’s definitely not an emotion he shows often. despite his initial reaction, satoru swears he could feel butterflies with the way your laugh sounds.

“not a common problem for a womanizer, huh?”

“what did you just call me?!-”

“y/n and gojo, do either of you have something to share with the class?” a dark blush of embarrassment covers your face, and somewhere in the back, you could hear geto snickering. gojo just smirks at yaga, seeming completely uanffected. “then i’d suggest you stay quiet the rest of this lesson. don’t make me separate you two.”

“i’d prefer that, actually…” gojo huffs at your comment, thinking of this as a lost opportunity if the two of you get separated. he does a once over at your appearance. you’re cute, but definitely not the party kind. you’re playing hard to get, and gojo finds it adorable–not a lot of girls go that way with him. however, gojo thinks you’re not just like any girl. there’s something different about you that intrigues him.

“did no one ever tell you that it’s rude to stare?”

“how could i not? you’re so cute.”

“i thought you already learned from the party, gojo. i’m not interested in you.”

the light blush coating your cheeks says otherwise. he smiles cheekily at the way you tried to hide your reaction to his words. you’re an enigma to gojo… and he’s drawn to you like a moth to a flame. he thinks he’s made his decision.

he’s gonna do whatever’s possible to get your number.

when the bell rings 30 minutes later, you shove your notebook into your bag, eager to finally leave the class that you had with that stupid paintbrush. that is, until he stops you with a question. “what class do you have next?”

he’s relentless. “why do you care?”

“i want to walk you to your next class,” he says, and smirks before saying his next words. “it doesn’t really matter if you tell me or not. i’ll just follow you anyways.”

you sigh, absolutely exasperated with him. he’s like a fly who keeps invading your personal space—always coming back no matter how many times you swat it away. he’s right, though. damn him for being stubborn. “i actually have this period free.”

“oh, sweet!” he chirps, walking with you out the door, making sure to greet geto before he leaves the classroom. “let’s go to the courtyard. i’ll buy you a drink from the vending machine-“

“i was gonna do that regardless if you were here or not.” you give him a look, and you can’t help but tug on your sleeves when you see people whisper to each other as you walk the halls with gojo. of course you’ve heard the rumors. the man next to you is the most popular guy on campus. girls glare daggers at you and the guys call his name, although he barely even acknowledges them.

some common things that you’ve heard about gojo around the school are: “i heard he only talks to girls for sex,” “apparently his best friend geto is just as much of a player!” “i mean, who wouldn’t fuck a guy like gojo, though? he’s hot and loaded.” “that’s how he reels you in, though. he gets his hand in your pants and never calls you back again.” you know you should stay away from him, it’s common sense, but it’s hard to stay away from him when he’s the one who glues himself to your side.

“well, now you’ll get a free drink and we’ll get to know each other! isn’t that great?” he smiles and you just grimace at his words.

“i don’t need your money…”

“don’t care! can’t hear you!” he says, and you’ve seriously considered just making a run for it. at least you’ll lose him, and you’d finally be able to find peace for a bit. although, it would cause a scene, and gojo would probably end up finding you again somehow.

“what can i do to get you to leave me alone?”

that piques his interest, even though he looks slightly hurt by your question. he thinks for a bit, and smirks. “i really do want to buy you something from the vending machine.. and i want you to spend your free period with me. i’ll leave you alone for the rest of the day if you do.”

“do you promise? like, actually?”

“mhm! pinky promise!” you feel like you’re talking to a prepubescent boy.

“then sure-“ you’re about to agree, but he cuts you off with one more condition.

“i also want your number.”

you feel like you’ve been cursed by a god, because having the most popular guy on campus be interested in you has got to be the most chaotic thing to ever happen in your life.

“what do you have me saved as?”

the question comes from out of the blue, and you look up from the book you were completely absorbed in. you and satoru were at the school library, on a “study date” as he calls it, although it was more so just gojo inviting himself to wherever place you go, as per usual. this time, you have an exam to study for, and you explicitly told him not to bother you unless absolutely necessary.

you do have to say, though, he’s not annoying as you thought he was. he just nagged you way more the first day he sat next to you in physics so he could get your number. it’s been a few days since then, but still, you’d definitely be more efficient in your studies if you didn’t have him attached to your hip all the time.

“satoru, i told you not to bother me-“

“unless absolutely necessary. yeah, i heard you, and this question needs an absolutely necessary answer! contact names really say a lot about our relationship, y’know.”

“relationship? nobody ever said we were even friends-“

“don’t break my heart like that, babe. plus, you don’t call me gojo anymore! it’s satoru to you now,” his heart warms at that realization, and you scoff, especially at the pet name. “we are friends, unless you’d like to be something more...”

“if you say anything else i’m calling you by your government name. gojo satoru.” he looks especially wounded by that.

“ah! don’t do that, please. it feels like we’re a married couple and you’re really mad at me.” he cries and you can’t help but giggle at his words. you decide to entertain him a little bit, fishing through your pocket to find your phone.

he almost passes out at what he sees on your screen.

“it’s just my number? you didn’t even save my contact?!-“

the shushes from your fellow students and the librarians aren’t even enough to calm gojo’s agony and despair. it also does nothing to stop your laughter, either.

from that day on, gojo’s contact was forcefully changed from his number to “satoru” (he initially added a heart, but you deleted it, much to his disappointment) and one of his many selfies from his stupid instagram account. how the hell can a college student even have thousands of followers?! you think.

gojo just says that nobody can resist his shirtless post-workout selfies. you’re surprised that you didn’t slap him at his words.

you push him away.

everytime gojo buys your favorite drink, (it’s always on him, despite your genuine insistence in saying that you could pay for your drink just fine.) everytime he walks you to all of your classes each day, (he memorized your schedule just so he could do this) everytime he buys you your favorite foods on the rare instances that you let him take you out for lunch, (usually, this requires a lot of begging, and you mostly relent during class when you’re just exasperated and wanted to get some notes down.), and everytime he calls you by those stupid pet names of his, you think back to what the entire student body says about him, and you think back to your phone call with shoko, where she warns you to not associate with him so you don’t get hurt by anyone ever again, and you push him away.

you push him away even when you realize that if he just wanted you for sex, he would’ve stopped chasing after you when you didn’t text him after that night at the party.

and that thought alone scares you.

still, you’re not heartless. satoru’s been asking to take you out for a while, and you finally agreed to go today. he’s especially chipper about your agreement right now, walking with a slight pep in his step as he bit around his ice cream cone.

the park boasts some beautiful scenery today, and little children are out and about. still, you underestimated the weather, and the cold uncomfortably nipped your arms as you internally cursed yourself out for wearing just a shirt. you crossed your arms as a subtle way to shield yourself from the cold.

“don’t play coy with me, y/n. are you cold?” satoru says with a cocky grin, and you huff at his question. surprisingly, he drops the teasing act and unzips his sweater, handing it to you. “here, take it.”

“satoru-“

“i’m not doing this to flirt or whatever you’re thinking right now. you’re shivering, and i’m just concerned for you, so please wear it.” he deadpans, and it’s the first time you’ve seen him be so… upfront? you kind of like it. it’s not him teasing you or him being flirty. it’s just him showing that he genuinely cares for you as a friend. you take the sweater with a nod and put it on, ignoring how your heart is thumping as you take in his signature smell. cedarwood with a little bit of musk. it’s not an overpowering scent, but it still envelopes your senses.

“nevermind. you look so cute with my hoodie on. i feel like we’re in a j-drama right now, y/n!”

you take back everything you just said.

a few minutes later, you two are near the kids playground when you decide to take a break from walking, sitting on a nearby bench with gojo. the chirping of the birds and the wind passing through the trees is quickly overpowered by loud crying. crying from the child right in front of you, in fact.

you’re about to ask him what’s wrong, but satoru beats you to it. he kneels in front of the kid, and coos, “hey, buddy. what’s your name, hm?”

he stops crying for a moment to look at gojo and shakily responds, “gumi-um, megumi fushiguro..”

“megumi, huh.” he clicks his tongue for a moment. “why are you crying, megumi?”

“i-i don’t know where my dad is!” he cries, and satoru looks to you for help. you just shrug, unsure of what to do with the lost kid, until gojo’s face lights up, assumingly with a great idea.

“he’s most likely just around here somewhere. you can wait with us, and we’ll help you find him! say, do you want an ice cream to help you feel better, megumi?” the boy hesitantly nods, and satoru gives him a thumbs up as he takes him to the nearby ice cream stand. you’re watching this entire scene unfold, absolutely enamored with gojo for the first time. you didn’t think he had a natural talent with kids—but the way he’s making megumi laugh while he happily snacks on his ice cream says otherwise. an outsider could look at you three and assume that you’re just a happy family.

you try to ignore how that makes you feel.

and as you wave goodbye to megumi once he eventually is reunited with his father again, (an intimidating man who gave you two an appreciative nod as he walked away with his son.) you realize something as you tug on the sleeves of your-satoru’s sweater.

you’re in love with gojo satoru.

and fuck, that revelation scares you more than anything. the last time you had given your heart to a man, he had crushed it repeatedly until you decided that you would never let yourself be vulnerable like that ever again.

and now, you're in love with your school’s notorious playboy—and it feels like you’re setting yourself up to be heartbroken again. you want disregard those rumors and shoko’s words so badly, but they still eat at the back of your mind even though the real gojo satoru is right in front of you, and he doesn’t match the characteristics of the gojo satoru in those rumors at all.

you also remember that he has one real best friend, geto suguru. you like to think that this is also what geto sees in gojo. the reason why he’s stuck around.

the reason why you want to stick around too.

you’re so busy in your head that you’ve just noticed gojo frantically waving his hand in your face. “earth to y/n? oh, good! i thought you had, like, a shock reaction from seeing megumi’s father. he looked a little scary, no?”

“he looks like if a muscle came to life and started talking.” you whisper, and he laughs in agreement. burying your hands into the pockets of his hoodie, you smile. you don’t want to think about your current revelation with gojo right now. instead, you’ll stick with the present. and right now, you like the present.

you just don’t want to think about what this means for your future.

it’s the weekend, and you’re doing some work at the local cafe, gojo-free for once. only god knows what the man is doing at three pm in the afternoon on a saturday. not like you should be thinking about him right now, though. his presence alone has caused you to be behind on your studies, and you need to make sure you catch up.

you have to admit, you were a little unused to the silence. usually, the silence would be filled with gojo’s endless banter with you, as well as his terrible, corny jokes that are so stupid you can’t help but laugh. his seemingly never-ending presence was annoying at first, but now, you’re starting to yearn for his company.

it further fuels the pit of uncertainty in your stomach, and you hate it.

shaking your head with a sigh, you take another bite of your pastry and continue typing up the report on your laptop. the looming thought of this report’s impact on your grade and the need to pass this class helps you forget about satoru for a while. once again, you get lost in your academics.

the ring of the cafe bell breaks you from your trance. it was a natural impulse of yours to glance at everyone who entered the cafe, but once you did this time, you felt your heart drop down to your knees.

it was your ex.

your ex boyfriend who destroyed the notion of love for you, because he made you feel it for a short time, only to throw it all into a pit of fire and leave you scrambling to find nothing but ashes.

if you had to find the true roots as to why you’re so afraid to pursue a new relationship–you always find your ex in the center of it. and now, he’s right in front of you. you have to face him again when you refuse to shamefully admit that you’ve barely even healed from the emotional scars that he’d left behind.

you feel as if an invisible hand has wrapped itself around your throat, blocking your airways and your ability to speak.

out of all the days satoru wasn’t here with you, it had to be this one.

“y/n? is that you, sweetheart?” you wanted to vomit at the way he said your name. he had no right to say it so sweetly, when all he’s ever left behind is venom.

“i don’t want to talk to you.” you cringe at the way your voice cracks, and you avert your gaze from him.

“please, just hear me out for a minute, baby..” he coos, and you hate the way he talks to you as if you were a child. “i know i fucked up, and i can’t change our past… but i can change our future together. if you take me back, i’ll show you how much i’ve changed-”

you don’t know how many times you’ve heard that stupid line before.

“god, you sound like a broken record with how many times you’ve pulled that bullshit on me.” you spat, loud enough to draw commotion in the cafe. your ex has surprise written all over his face–most likely due to your non-compliance to his words. “what, do you say that shit to all your hoes?”

your ex looks around, shrinking a little when he sees all eyes are on him. “now, now, y/n, no need to be like that-”

“be like that… be like that?! you’re telling me to be civil when you’re the one coming in here wanting me back, spouting some bullshit saying that you’ve changed, when i told you to leave me alone already!” you scream, and you could feel the tears bubble up in your eyes. you look down, so you aren’t able to see how everyone’s staring at you with pity. god, you hate pity. it makes you feel weak and vulnerable. the two emotions you absolutely loathe. “i just want you to leave me alone, god. i hate you, why won’t you just-”

“you fucking bitch-” he makes a move to lunge at you, and you instinctively take a step back, pure fear enveloping your senses.

you never feel the impact, though, as you see your ex being restrained by the cafe worker.

you remember him. the man who took your order earlier. he was an older man with a warm smile on his face, although you noticed how his cheekbones were slightly sunken, and he looked a little overworked. you jokingly quipped earlier that he should get some sleep before thanking him for making your order. he just replied, i get that quite a lot.

the size difference between your ex and the man is enough to discourage him from fighting back. he makes quick work your ex, dragging him out the door while he hysterically screams profanities to you on the way out. you assumed the worker threatened to call the police, because your ex scrambled up from the ground and ran away. you hoped this was the last time you would ever see him again.

“are you okay, ma’am? he didn’t hurt you, did he?”

you didn’t even realize that the worker was back inside the cafe. everyone was gradually returning to their own businesses, with the eerie silence being replaced by casual chatter once more. you also didn’t realize how much your hands were shaking, and you huff out a breath you didn’t know you were holding. “y-yeah, i’m alright, and he didn’t hit me. i just… need a minute,”

you decide that you aren’t gonna get anymore work done like this, so you pack your laptop into your bag and slump onto the seat with a sigh. you bury your face into your hands. “is it a long story?”

“oh, don’t even get me started.”

he laughs at that, and you ease up a little. “i told him i’d call the police if i ever see him around here again.”

“that’s good to hear. though i’d prefer if i never see him in my life ever again.”

he hums at your words, and he turns to look out the window. “it’s getting dark out. do you want me to call you a cab?”

“no need, i’ll call my boyf–my friend. i’ll call my friend. he’ll uh, pick me up.” you’re still so shaken up you barely even register what you said to him. your eyes are frantic as you turn your phone on and look for gojo’s name in your contacts. you don’t know why you want him to pick you up out of everybody. you could ask utahime or shoko right now, but you just wanted nothing more but to see gojo.

the bell rings again, and you flinch at the sound. thankfully, it was just another customer. the worker sighs. “well, these orders aren’t going to be done themselves. just wave me over if there are any other problems, okay?”

you nod absentmindedly, and he turns to leave, but you stop him. “wait, sir, what’s your name?”

“kento nanami.”

“thank you so much, nanami. i appreciate it.”

“i’m just doing my job.”

“your job is restraining crazy exes of college girls and kicking them out?”

“‘it comes with the job description.” he teases, and you laugh lightheartedly. “and your name is?”

“y/n l/n.”

“anytime, miss l/n. again, just please… call me over if anything happens.”

“will do…” you say, pressing the “call” button on gojo’s contact. the anxiety is hitting you again, and you take a shaky inhale. you’re surprised at how he picks up almost instantly. “hey… satoru? yeah, can you come pick me up, please? i know i don’t normally ask you to do something like this but-”

“did something happen?”

“a lot happened, actually… i’ll text you the address. please, just come soon.”

“of course, y/n.” you could already hear him running out the door, hearing the roar of his car engine coming to life. “i’ll be there as soon as possible.”

he gets to the cafe in five.

you wave goodbye to nanami, thanking him once more as you get in the passenger seat of gojo’s car.

it’s not your first time inside here, but you still can’t help but admire how… expensive everything looks. or maybe you’re just looking around because you’re stalling, and you have no idea where to begin with satoru.

however, you notice that he’s not asking you what happened, and he’s not forcing you to explain anything to him. instead, he switches the gear shift out of parking and says, “do you want me to take you home?”

your eyes widen at his words, and you shake your head no profusely. the last thing you want to be is home alone right now, mainly because your ex knows where you live. you know he most likely won’t go that far with you, especially since nanami knocked some sense into him… but the possibilities still scare you. you take a deep breath before saying your next words.

“...can you take me to your house? i-i’m sorry for asking, i just don’t want to be alone right now cause i’m terrified and-”

“y-yeah. i’ll take you to my house.” he says, and you’ve never seen him so nervous in your life. it almost makes you laugh.

“i’ll explain everything later. i just… wanna be somewhere safe first.” somewhere safe. you find his house as a safe place. gojo doesn’t know how to react. his heart is thumping wildly out of his chest, but he makes sure to put your own comfort before his feelings.

“you don’t have to tell me anything if you don’t want to.” he says, maintaining his cool by keeping his eyes on the road, one hand on the wheel and the other on the gear shift.

“but i want to, satoru…” you say. you can’t believe you’re doing this again. you’re crossing so many territories that you were so afraid to cross because of your ex. now, you think you aren’t that afraid anymore. not if you have satoru by your side.

you place one of your cold hands on the gear stick, interlocking it with his. is he… shaking? “thank you for this.”

still. there are so many things you can’t say to him yet. you don’t know when you’ll be able to… or if you’ll ever be able to.

i love you. i love you but i’m too afraid to say it. i just hope that you’ll be able to wait for me.

“god, you’re killin’ me here, y/n.”

that pit of uncertainty in your stomach has grown so large you feel it's about to consume you whole. you don’t think you mind much, though.

the two of you are lounging at his couch after satoru insisted on telling you to make yourself at home. there’s a movie playing, with neither of you paying attention at all, takeout on the coffee table, two glasses and a bottle of wine after gojo didn’t know what drinks to serve, and freaked out by pulling the first expensive drink out from his parents’ alcohol closet. has he never properly invited someone to his home before?

“so in short, you had a crazy ex who saw you at the coffee shop… and he was begging for you to take him back, and when you went off on him he called you a bitch and tried to hit you…” he recalls, a huge grimace on his face. “tch. the cafe worker shouldn’t have let him go like that.”

“i’m sure he learned not to mess with me after getting humiliated in public.. and nanami did more than enough for me.” you retorted, and he gave you a sour look.

“oh, so you know the worker’s name now?” he says, and you could feel the tension build up in the air. oh. so he wants to do this with you? “what, is he your knight in shining armor?”

“he looks like he’s in his late thirties, satoru. i’m not into older guys,” you roll your eyes at his absurd questions and add, “what’s it to you anyway?”

“what’s it to me, y/n?” he repeats your words, and you could feel an argument coming, like you already didn’t have an exhaustive one with your ex. “you know how i feel about you-“

“what the fuck is that supposed to mean?” your voice is getting louder, all to hide your fear behind the implication of his words. you distance yourself from him on the couch.. much like how you distance yourself from letting satoru get too close to how you truly feel. “we’re not even together, satoru. you don’t get to control the guys that i talk to- hell, have you even seen yourself?”

you’re rambling, and all you want to do is shut up, but you can’t bring yourself to. “i’ve heard what our school says about you. y-you’re a playboy, right? and you only ever talk to girls because you wanna fuck them. i’m not stupid, satoru. i’m not different from any of them, right? you only chase after me because i’m playing hard to get and that pisses you off-“

“what… what are you even saying, y/n?” he asks, and it stops your rambling for a moment. you don’t know what you’re saying. you’re pouring out all the reasons why you’ve tried to push him away, the reasons why you were so afraid to give your heart to him. but now that you say them out loud, they sound outright stupid.

“i started coming to class just to talk to you, i memorized your schedule just so i can walk you to class every morning. i buy you all your favorite food and drinks… i had to memorize your favorites too, by the way. and i have shit memory.” he’s screaming at this point, and you’ve never had satoru scream at you. there are unshed tears in his eyes, and it’s all overwhelming to watch this unfold. “and when you called me, i drove as fast as i could to you because you never call like that and i was fuckin’ worried!”

“so let me ask you a question, y/n… would i do all these things for you just because i want you in my bed?! i’d do anything for you, and you know that!” he’s crying. the gojo satoru is crying, and it’s all for a girl. if you told this to someone in your school, they’d call you a shit-faced liar. gojo satoru doesn’t cry for a girl. he makes them cry.

“i’m sorry for being skeptical, satoru! i just can’t help it when there’s so many rumors about you wanting to fuck girls just for the shit of it – and i’m conflicted on whether or not i should believe them because i want you so bad and i’m scared you’ll end up just breaking my heart and i don’t want that to happen again-”

he cuts you off. “you… what?”

you’re confused at why he looks so surprised, but then you backtrack on your words and you gasp. fuck. why did i say that? you cover your mouth and look away from him, refusing to meet his eyes.

those stupid blue eyes that you know you can’t get enough of.

“y/n… can you please say that again? i don’t want to do anything if i didn’t hear you right.” his voice is soft now, and you swear that you’re dreaming. this isn’t real. right? i’m gonna wake up soon. you dig your nails into the palms of your hands, leaving half-moon marks in their wake. it doesn’t work, and you don’t wake up, and you know you have to accept the fact that this is very real and it’s happening.

this is the worst leap of faith you think you’ve ever had to take in your life.

“i want you so fucking bad, satoru. and i’m realizing that you’re not just the stereotypical rich playboy that everyone talks about on campus—you’re a really great guy, and i guess i’m just scared to face that-” you don’t even realize that satoru’s got you cornered on the couch, and you can’t finish your words as he slots his lips against yours. hard. it’s the most passionate kiss you think you’ve ever had in your life, and it’s got your breath taken away in seconds. holy shit.

you quietly moan against his lips as you kiss back, cupping his face with your hands and wiping his tears away. you wish this moment would last forever, but you pull away so you can breathe. you meet gojo’s eyes, and they’re clouded with lust and desire, but you could tell he’s still a little uncertain. “we’ll talk later… just take me to the bedroom already,”

gojo doesn’t need another confirmation from you, and he lifts you up to carry you to his bedroom, practically tripping on his feet the way there.

a few hours later and a noise complaint from the neighbors, it’s safe to say that gojo satoru was the best one you’ve ever had.

“god, i’m never letting you go, baby.”

he’s tracing hearts onto your bare back. it’s littered with bruises and red scratch marks just from a few minutes ago, but you’ve never felt better in your life. you stare at the man who invited himself into your life just from an encounter at a party, and you thank your lucky stars that you agreed to go with utahime that night. “is something wrong? you’re starin’ again.”

“i’m sorry it took me so long to trust you. i’ve just been scared to open up my heart again, especially after him.” you don’t have to name “him” for satoru to understand.

“i’m sorry too. i just got angry about the rumors and i also disregarded the fact that you’re scared to love again after your ex did all of that shit and-” he pauses, and sighs. “sorry. i’m rambling again.”

he pulls you into another kiss, and this time, it’s sweeter, lighter, and full of love. “i’m going to show you what it looks like to really be loved, because it’s definitely not the shitty picture that your ex painted in your head. there’s way more to it than that.”

“i love you, y/n.”

“thank you, toru.” you whisper. maybe, one day, you’ll be able to find the courage to say it back. and it’s okay, because gojo is willing to wait an eternity for you.

he’ll wait an eternity for you to teach you how to love again.

“look at how beautiful you are…” gojo says, appearing out of nowhere as he wraps an arm around your waist. you yelp, staring at your boyfriend through the mirror. he’s wearing a classic black tuxedo, with no doubt it being very expensive. it compliments the glimmering rolex on his wrist, and the thoughts running through your head about him and his outfit sets fire to your stomach.

“look at yourself first, toru… god, we should just stay home,” you tease, turning around to pull him into a deep kiss. it’s a friday, and gojo’s taking you out to attend geto’s party tonight. the two of you are going for several reasons. he wants to introduce you to his bestfriend, since you realized that you’ve never actually formally met geto before. it’ll also be your first formal “couple appearance”, as if gojo being attached to your side all the time doesn’t say enough about the two of you already.

gojo pulls away, which surprises you. you pout at the expression on his face. “as much as i want to, suguru’s been bugging about you all week. i really do think it’s time for you to meet him,”

“hmph. alright.”

“i’m tearing that dress off of you the second we get home, though.”

“satoru!”

“what?! not my fault my girl looks so damn hot all the time!”

this night is going amazing.

when satoru walks with you through the front doors, arm wrapped around your waist and the dress you picked out for tonight glimmering, you feel a little shy. the guys all whistle at the two of you, and the girls whisper amongst each other, but you and gojo don’t care. in his eyes, you’re the only girl he sees. the only girl worth being with here.

“wanna go get drinks?” he asks you, cerulean eyes showing underneath his sunglasses. you nod, walking to the kitchen with him. you’re getting severe deja vu… you can’t believe you met gojo at the last party you were at. and now you’re at another party, with gojo as your date. you scan the crowd for utahime or shoko, wondering what you would say to them if they saw you with the man they specifically told you not to mess with.

it’s alright, though. shoko was wrong about those rumors, and gojo’s proving it to you.

“satoru!” the playful voice greets your boyfriend, and you turn to see geto suguru. you’ve seen him around campus, and he sits somewhere in the back of your chem class. you haven’t really had the opportunity to talk to him, though… and he looks a little intimidating.

“you must be y/n,” he says, offering you a freshly opened smirnoff from the drinks on the countertop. you thank him and grab the drink, taking a swig.

“yup! my lovely girlfriend,” gojo lets go of his arm around your waist to grab a drink.

“you probably don’t know this, but i’ve been his wingman.” he smiles at gojo, who’s pouting, like he’s preparing himself for what suguru is about to say. “he’s batshit crazy for you, its insane.”

“oh? do tell.”

“when the two of you got together, he left me a voicemail at like… four in the morning? anyway, he was screaming about how he was the happiest guy in the world… or something.”

“that’s because i was!” you’re laughing at how unashamed satoru is about this.

“yeah, yeah, whatever.” geto clicks his tongue, pulling out his phone. “and he’s reposted you on insta to like, every drake song-”

“alright, me and y/n are gonna go dance.” he interrupts suguru, and drags you away from his best friend with a yelp. “nice talkin’ to you, suguru!”

“hey, i wanted to know more!-”

“shh, you don’t need to know about all of that.” the two of you are in the living room, in the midst of all the bodies dancing and grinding against each other. he pulls you close to him, and you feel his hot breath against your neck. “you look so beautiful tonight, y/n.”

“same for you, handsome. let’s dance, shall we?” you wrap your arms around him and just sway to the beat. you’ve never been much of a dancer, but everything feels natural as long as gojo’s with you.

suddenly, the music changes, and one dance starts playing. you two look at each other, and you both burst out laughing at the same time. “have you reposted me to this song?”

“duh. it’s a classic.”

“can’t disagree with that.” you say, finding yourself grinding against satoru while wizkid’s part plays in the background. it feels like such a perfect night–you’re pulling satoru into a deep kiss, and he shoves his tongue down your throat while he’s leading you to a nearby couch. you’re seated on his lap, mimicking practically every couple in this party tonight.

suddenly, you pull away, and you whisper, “i need to use the bathroom.”

satoru smirks at your words, thinking that it’s a hint for something else, and you give him a sour face. “want me to join you-”

you hit his chest playfully. “that’s not code for anything, you perv. i actually need to piss.”

he’s pouting at your words, but he lets you off his lap anyway, and holds your drink for the time being. “it’s at the second door in the hall to your right. be quick, please.”

“no duh. i’ve got a cute date to come back to,” you say, walking away and traversing all of the bodies that smell like sweat and alcohol. you’re a little unused to this environment, but it’s alright. you fix up your makeup in the bathroom and freshen up a little, walking back to the living room to find satoru again.

you wish you never did.

you were gone for four minutes. five minutes max. you come back to satoru, and your breath hitches at the sight.

on his lap was a random chick that looked like every other girl at this party. she was practically naked, since her outfit didn’t do much to cover her skin at all.

fuck.

you remember the first time you saw gojo at the last party you went to. the sight wasn’t that different compared to the one now. there were girls all over him, all fighting for his attention. and yet, it seemed that night, his attention was focused solely on you.

what bullshit that was.

your eyes are blurry, and the music is muffled in your ears. white noise fills your senses, and all you want to do right now is run.

so you do.

you run, not caring if gojo saw you at all or not. you run out of the party, eternally grateful that you didn’t pick out heels for tonight and settled for much simpler shoes. you run, despite the fact that you drew geto’s attention. you were already out the door before he could ask what was wrong. you run, just wanting to get away from everyone and everything. you run with no particular destination in mind. you stop running when you almost get run over on a red light, the car honking at you–screaming profanities as it drives by. it breaks you from your trance, and you sit on the curb of the sidewalk, letting all of your tears out on what was supposed to be a perfect night.

of course gojo didn’t think that you were different. you were just like every other girl to him.

stupid. stupid. stupid. you’ve never felt so stupid in your life.

when geto sees you running out the door with unshed tears in your eyes, he immediately panics. what the hell happened?

he goes through every room of the house, trying to find gojo, when he hears a bunch of commotion in the living room. he runs there, pushing past everyone, only to find a total disaster inside.

he sees gojo screaming at a girl dressed like a stripper, who was on the ground with tears in her eyes. satoru looks like he’s about to pop a blood vessel with how pissed he looks. there’s a crowd forming at this point, and geto knows he needs to intervene, so he drags his bestfriend away, who looks so distraught that geto could just wonder what the fuck happened.

they’re outside now, and its significantly a lot more quiet out here compared to all of the chaos inside. all the noise is coming from gojo—who won’t stop crying, and geto has no idea what to do or where to even begin. “fuck!”

“dude, what the fuck happened!?” satoru looks like he’s feeling every emotion at once. he looks pissed, pissed enough to punch a wall, and geto’s a little afraid that gojo might actually do that–or worst-case scenario, punch him. he’s crying, and geto hasn’t seen gojo cry ever since he fell off a swing in pre-k, so what happened must be really fucking serious.

“i don’t KNOW what happened, goddamnit! y/n went to use the bathroom and some slu- some girl came up to me and threw herself on my fucking lap! i was gonna tell her to fuck off but y/n saw before i was able to and now she’s gone and she probably thinks that i’m just some cheater when i’ve worked so hard to get her to trust me and-FUCK!”

he stops, trying to calm down a little, and gojo takes the shakiest breath he thinks he’s ever taken in his life. the red in his vision starts to fade, but he still feels helpless. “i just don’t know what to fucking do, suguru.”

“i just saw y/n run out of my house a few minutes ago.” he says with a grimace, and he’s trying to figure out what to tell his bestfriend. “i’ve never seen you like this over a girl before. holy shit, you really love her, do you?”

geto thinks that gojo’s bloodshot eyes, the brutal names that he called that girl at the party, and the tears he’s shed for you are already an answer.

“this is your last chance to prove it to her, satoru.” geto fumbles through his pockets and hands him the keys to his challenger. gojo snatches them, hearing the car engine rumbling itself to life. the white-haired man thanks his best friend as he steps into the drivers’ side, with geto reassuring him, ‘ill deal with the chaos inside, you go ahead and explain yourself to your girlfriend’.

gojo swears that he’s never driven so fast in his whole life.

part 2 :)

#kami writes #jujutsu kaisen #jjk #gojo satoru #gojo x reader #gojo satoru x reader #gojo satoru x you #gojo satoru angst #gojo satoru fluff #gojo satoru comfort #gojo x reader angst #gojo angst #gojo x you #gojo x y/n #satoru gojo #gojo satoru x y/n

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dravidious · 2 years

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Tumblr is trying to get me to log in for me to be able to send asks now, but if you're seeing this, I found a way to trick it. Also you're still amazing.

You have indeed found a way to trick it! And wow, that completely defeats the purpose of anonymous asks.

#asks #this is why we call it hellsite

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lover-of-mine · 5 months

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Welcome to the use of blue and green with 911 couples is not confined to clothing and how I believe this applies to buddie since season 2, a masterpost. (this does contain an explanation of the use of blue and green in the more obvious way, the clothes, so even if you don't believe the other elements of the scene part, this could still bring some clarity on the way blue and green is important)

Okay, so, after 706 a lot of people said they thought about me with the buddie/bathena blue and green scene, and I LOVE THAT, but a few people also came to ask me to explain more about the blue and green in general and why that is important and I realized my blue and green thoughts are scattered into multiple posts because I did figure out more stuff since I wrote the first one and season 7 is giving me more things to support the 2 main color theory theories I have when it comes to buddie/Buck, so I decided I need to write one long post about it all, including thoughts on 706 specifically.

Okay, so easy pattern to spot first, the blue and green thing is used with a lot of couples throughout the show, core couples, adjacent couples, random people in calls, the blue and green is used in a major piece of clothing in a couple, a shirt, a jacket, a dress, after s6 the use of pants was introduced more explicitly, and that has transferred to s7, but it is something heavily used since s2 (I can't find a conclusive example in s1 and the first obvious example is madney's first scene in 206) (this will have a bunch of tiny images because I'm trying to stay within the image limit, but if you click on them you can zoom in if tumblr doesn't decide to hellsite, I made them high quality enough)

And it is not just about meant-to-be couples, it's literally just a way to exemplify romantic connection. And while it is used a lot with most of the couples we see, the easiest couple to track is madney, since they have a lot of blue and green scenes, tracking back all the way down to their first scene, but bathena also have quite a few scenes. I love the scene at the station in 308 (last column, 3rd row down) because the cutout of kid Bobby makes it so there's a double blue Bobby there.

So the clothes element is very easy to track. It is a very real aspect of the show. And that is interesting when you consider the actual color theory aspect of it, because blue and green are analogous colors, which means they are right next to each other in the color wheel, and that's a color scheme used to create a harmonious look, it's about cohesion, creating visual unity, and it is what this accomplishes, the couples look balanced even if we don't fully register why, they just naturally work well together and that translates even if you don't know color theory.

This is the part we know exists in the show, but the thing is, I don't believe the show only uses that with the clothes, and again, madney is the easiest way to track that.

I noticed this while making a 512 set for the hiatus rewatch since I was focusing on the scenery to pick the shots I wanted because something about that episode is that it is green in nature since it is a Saint Patrick's Day episode. But everything about madney that episode is blue and green even when madney isn't dressed in blue and green. Pretty much everything about it has blue or green elements.

Maddie is wearing blue in the video, Chim is wearing green when he watches it, she's in blue while she's alone (even her hospital gown is blue, and that's not a common thing for the show), he's in green when he's alone, so we are still in the color scheme, there is a lot of green in the background that makes Chim and his vest stand out, we have green walls, that green bench, the blue red sox merch on the walls. But when they meet again, they are in neutral-colored clothing, contrasting with the background, and when Maddie tells Chim she wants to go home, both of them have blue and green shirts that are covered by a jacket, so the blue and green are not a focal point even if it's there, probably because they are not back in a place where they can get back together yet, and they are explicitly in blue and green in 601 when they do get back together.

They also did the whole make the episode blue and green with 706.

The backgrounds are very blue or green or both, a lot of the people are wearing blue or green, Maddie's phone is green, Chim's car is blue, there is a lot of blue and green happening there.

Something else about madney being blue and green is that their house has a lot of blue and green decorations. So, I definitely wanna say that the blue and green are being completed by other elements of the scene.

But I obviously have examples with other couples.

While doing the rewatch sets for 606 I noticed there are a few examples using Henren and other elements of the scene, 606 is also the episode that allowed me to include pants into this madness.

The thing about henren is that they don't have a lot of blue and green scenes, the 2 we had before s7, because s7 did gave us a few more, are in when they decide on fostering and when Eva comes back the last time, but since their color palette is based on patterns a lot, I decided maybe I should expand my definition of what counted, that gives us one of the flashbacks, because Karen's pants are patterned in green and Hen's shirt is patterned in blue, they also have Hen in green pants for one of the dates and there's the blue lighting, there's the scene with Hen in a blue hoodie and the green background. So more elements of the scene were being employed there.

Another couple is Eddie and Shannon. I will be honest, it took me a WHILE to clock they had an explicit blue and green moment in the form of Chris' birth. BUT, looking at them season 2 and the flashbacks in Eddie begins, they have moments where Eddie is blue or green and Shannon has blue and green detailing, her jewelry, her nails, her car, background of a scene. Also when they are fighting about Eddie reenlisting, they keep switching holding blue and green stuff. Shannon has a blue cup, Eddie is holding a green bottle, the rag on Eddie's hand is blue, the oven mitt next to Shannon is green, so even though Shannon is never a fully blue or green character, she always has blue and green accents.

Randon addon, but Thomas and Mitchell, the gay couple from Buck, Actually that is the couple that shows Buck what love is supposed to look like, they have a lot of blue and green details in their montage, the car, the driveway, the transition from a green cake to a blue cake, I just love that.

Now that we have all of this established, let's talk blue and green applied to buddie.

So, using the established, just the top, point of focus of the outfit, buddie has 3 blue and green outfits, technically 4, but we will talk about the hangar later, because I have a lot to say lol, the loft scene in 613, the station scene in 617, the hangar scene in 704, and the dispatch scene, the street scene, and the wedding in 706 (I will also talk more about 706 later)

One thing about buddie in blue and green is that they tend to have similar shades to past scenes with past love interests.

I don't know why they repeated the shooting combo, I guess it's just because Taylor's greens tended to be less earthy than Eddie's usual shades, but, I was scrolling through bucktaylor blue and green scenes to see if I could find a match for the hangar, and I do think that works, but I was fully ready to go full delusional here and say Buck's hoodie in 706 matches Shannon's nails in 207, because they do, BUT, that one seems to be a double kill and I don't have to sound all that crazy, because it seems like it is a bucktaylor combo from 509 too (the lighting on the loft is obviously different from two scenes in natural sunlight, but they are similar enough)

(Wait last minute addition that you don't know it's a last minute addition and can read more about here, but all thought s6, Buck and Eddie have matching blue and green phone cases, and the 706 scene seems to also somewhat match the shade of the phone cases from last season)

And these are the explicit ones, I would say the 706 scene is even more on the nose since bathena are also in blue and green right next to them.

Now, for other elements of the scene tho, we can go back down to the beginning. As in the you can have my back any day scene.

(Yes, I know the blue is because of the sirens, and it will eventually be red, but since red is such a prominent color for Buck, I can't really mind that all that much because I also have a color-theory theory that deals with the idea that Buck is red in scenes about doing the right thing about love and what more right for Buck than Eddie?)

But since I'm trying to stay within the image limit, let's rapid-fire some scenes here. If we ignore the uniform (I am choosing to because they don't have a lot of room with the uniform, it is what it is, and sometimes a scene will happen in the firehouse) Eddie is wearing blue after the tsunami and the will reveal, Buck's wearing blue after Chim goes after Maddie, Buck's wearing blue in the kitchen talk in 511 (and yes he's wearing blue because Taylor is wearing green, but he's still in blue), the shirt Buck has under the red jacket during the breakdown is blue, Buck is wearing something blue(ish) when they talk about the couches, Eddie is wearing blue on the poker date, Buck is wearing green on the cemetery. In the Carla scene, when Eddie shows up, they're not in the kitchen, and the backgrounds behind them are somewhat neutral. But funnily enough, it's only green behind Eddie there. (if you read my eddie fell first essay, you know I will die saying this is the moment that Eddie is done for so, love when an insane thought solidifies another lol), after the tsunami, we have green scrubs dude behind Eddie when Eddie sees Buck, even though most scrubs in the show are blue and everything behind Eddie is white, we have Buck and the blue of the tent, when they turn around, there's the green thingie behind Eddie and Chris, and the scrubs behind Buck are blue. Grocery store, the toilet papers behind Buck are blue and the outside along with the flowers behind Eddie are very green. Shooting, whatever that green thing behind Eddie is, Mehta's uniform, more blue uniforms, and a green medical person. 511 I just think are funny because Buck is wearing blue in the kitchen but everything about Eddie is white, and that's a fun contrast to the Carla scene and 517 is funny the way one side of Chris' room is mostly green and red and the other is yellow and blue and how Buck is on the green side and Eddie is on the blue (including his shirt). And the poker date, Eddie is in blue and the tables and chairs are green.

Considering using the pants, we also have the post-tsunami talk, the will reveal, and the 504 talk where Eddie has green pants on. Sure, the post tsunami talk, Eddie is both blue and green and there are no blue elements on Buck, but the will reveal, Eddie is both blue and green and the wall behind Buck is blue, and the 504 talk, Eddie has green pants and Buck has a blue hoodie on, considering the way the season 6 had the pants being in used with henren in 606 and with the girls from the oil well (both queer couples, I might add), I kinda wanna say that the 504 talk is traditionally blue and green lol

We also have my Roman Empire, aka the cemetery scene.

Because here's the thing, the sky is only blue behind Eddie and Buck is dressed in green. And also considering the way that they were being pretty consistent with Eddie being green and Buck being blue and the general breakup feelings surrounding the cemetery scene, the fact that bucktaylor switched colors mid-relationship, aka, when Buck tells her he kissed someone else, this is very interesting to me, because the colors in that scene feel like something that was accomplished on post-production, so they are like that on purpose.

This is also something that is used in the gym scene in 705, because Buck is wearing a green coat and Eddie completes the blue and green with the towel and the bottle, and considering green is Buck there is something wrong color and Buck is beating himself up for lying to Eddie, the switch in colors when applied to Buck usually means something.

With all this, let's talk blue and green in 706. Bathena is in 2 different blue and green outfits, the Buckley parents are in blue and green, bucktommy and buddie.

The bucktommy blue and green is very interesting because for one I had to swatch the color of Tommy's shirt and also because when talking about the blue and green in general, the shades tend to match, so to have Buck in a very light mint green and Tommy in a very dark, almost black blue is... a choice, especially considering that bucktommy did match during their date in 705, and Buck is in green, Buck in green is never a good sign (meta on that here), and considering Buck switches colors during crisis, I'm curious as to why they already switched the colors for them, since green is Buck's breakup color.

And the buddie of it all, well, they spent the whole episode matching, literally with the costumes for the bachelor party, but they also stay in their blue and green combo for the duration.

And to have buddie matching even in the bachelor party when the dude Buck is dating is there during the madney wedding episode is definitely a choice, even more, when you consider the way that Eddie is the one who is supposed to be the third wheel, in the costume design of it all Tommy was the one who was the odd one out, and considering the general married behavior buddie was exhibiting during the episode, it's a choice.

And since I'm already here, let's talk hangar scene.

For starters, with this scene, we had a blue and green scene for buddie 3 episodes in a row, which is something on its own, BUT, I will say that I watched the clip of this scene before 704 aired and said "oh, buddie just went canon", because here's the thing, for starters they are in blue and green and Tommy is in shades of beige, so the color on their clothes is the focus, but they are not really the focus, and they do match, but we have to consider the way Buck is wearing a maroon hoodie under his blue and Eddie is wearing a black jacket over his green. That clearly meant some sort of development was coming they're just not fully there yet. For me at least. Because the show has Eddie in the army green armor and Buck in the red jacket of love, and to have Eddie in the army green but with something over it, not using it to protect himself is something, and Buck not being in his brighter reds is also something.

To have this was very interesting for me, Eddie most of all because he's wearing black a lot and I have theories but I can't figure out why. But those are all colors used when Eddie is protecting himself and Buck is trying to understand something, so interesting. And then there's the actual dialogue of the scene "wait, you're not thinking about jumping ship?" "uh, no, I'm just, you know, keeping my options fluid." There is literally no more on the nose way to say don't jump ship than to literally have Eddie say don't jump ship. All that paired with the very obvious blue and green, definitely meant a plan was just set in motion for me.

I will link my Buck and the use of green and red again if you feel like reading more color theory theories. And also a theory about the use of blue and yellow this season.

Anyway, I think this is all, if you read this I love you 💜

tagging the ones of you who asked me about this or interacted with the post I asked about this: @dangerpronebuddie @missmagooglie @steadfastsaturnsrings @millymaki @inell @bella-bothered-and-bewildered @sparkedblaze @frihetstyrke @ilostyou @your-catfish-friend @estheticpotaeto @marmarthehatterverse @planetlet263 @mirrorbuck @lolpuppy

#this is SO LONG OH DAMN #i need to sleeeeep #but yeah #heres the long ass blue and green post #911 #911 spoilers #911 meta #buddie #buddie meta #oh final count of screenshots before i narrowed down to this ones was 302 :)

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autistic-ben-tennyson · 7 months

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Is anyone here a former Zionist?

I was a Zionist for a while due to being ignorant. I was raised in an environment that preached “Israel is God’s chosen people”. Sometimes I questioned it as it didn’t seem fair that Palestinians had to suffer in the name of Jesus but people saw any criticism as antisemitism. Even as I drifted leftward, I still held onto Zionism. I had a phase where I felt I had to convert to Judaism because of what many Zionist bloggers preach about atheists which is just a progressive sounding version of Christian beliefs that atheists have no morals and live sad empty lives. Zionists would call any protest antisemitic or claim Israelis were the true indigenous people and that Zionism was a social justice movement. I fell for some of the BS “Israel is the only pro LGBT democracy in the Middle East” but now I know how they really treat trans/queer people and the foothold the fundamentalist orthodox have in the government. Last year I joined a pro Palestine club at my school but we mostly did fundraising events. When I first got on this Hellsite, I followed some Zionist bloggers, but started to question why I did that. Now I am working to unlearn a lot of the BS I was fed. I still have a lot to learn, but I’m disgusted with Zionism and support Palestine and its people.

#ex christian #free palestine #lgbtq+#anti zionism #anti zionism ≠ antisemitism #exvangelical

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glorified-red · 1 year

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I'm seeing all the hate The Sun & The Star is getting on this hellsite and its so obvious that people aren't reading this book for what it is.

It's literally a children's novel written for children. The book is supposed to be easily digestible and stupid and explicitly written because kids books are supposed to be completely laid out.

Rick has always written dorky things in his books but he has also prioritized writing about real world issues and struggles. He's written about trauma, abuse, PTSD, depression, anxiety, etc. For years.

So here he is writing about deep rooted insecurities and self-doubt and learning to accept all those dark parts of yourself as well as others, AND tackling internalized homophobia and queer struggles, and we're upset the book is too focused on the relationship?

The entire point of this book is to teach the audience how to navigate a rocky relationship with compassion and understanding. It's showing that relationships aren't perfect, you can be upset with your partner and your partner can be upset with you but the point is that you talk about it and you try to do better.

Is it such a bad thing for young teens to be learning this?

Is it such a bad thing for them to see that love is effort? And can and will be flawed and that's okay??

This is the first time we've seen this topic discussed by Rick and I've never seen a book tackle this topic because we always see the Hollywood depiction of love---yet that's unrealistic.

This is showing that love can be flawed but still be oh so beautiful. That you can be traumatized and still worthy of love.

And I am so proud of Rick and Mark for not only showing a healthy attempt at a relationship but also showing countless times that those lessons apply to any relationship. They put significant stress on platonic and familial relationships and how that love is also effort, compassion, and understanding.

Yes, it focused on Solangelo a lot.

Yes, it had soooo many flaws that even I cringed and got disappointed at times.

But the fact that we got a book that finally lets two characters talk about their feelings is incredible, and the fact that this new generation gets this book??

If I had a book like this when I was young, showing me how to navigate conflict and that relationships CAN be hard?? My god, the healing that lesson could have done.

Perspective is everything for this book. Hell, perspective was everything in HoO. It showed that how characters are perceived is very different from how they perceive themselves.

Leo was literally always shown as comedic relief and nothing more until we saw how incredibly lonely and sad that kid was from his point of view.

Percy was always said to be intimidating and powerful, but in his perspective, he's a kid who has no clue what he's doing.

So yea, in this book, it may seem like these characters have shifted, but once again, Rick is relying so heavily on perspective.

Nico was edgy and depressed for as long as we knew him, even in BoO when we first got his POV. But now that he's accepted, loved, and healing, why are we getting mad that he's a dork again---how he was before all the trauma? Why are we mad that Nico is growing and healing and becoming himself again because he feels safe enough to do so.

Ofc he's gonna feel different than how he was written a canon year ago.

And this is the first time we've had Wills perspective. He's always been seen as this sunshine happy character but we FINALLY get some acknowledgement that he's deeply terrified. He's shown as a leader and camp counselor but he's got anxiety written in his bones.

He felt like a burden this book because he's a healer. He's absolutely terrified to be a fighter and yet we got to see him become one in his own way. He was out of his element but he was trying.

Because he's so goddamn afraid of losing someone else.

Call Will an asshole all you want, but Nico had been to Tartarus and the Underworld more times than he could count.

Will is literally walking into a place he's never been to before and is the complete opposite of anything he's ever known---for Nico. The comments he makes about plants and lack of sunshine? It wasn't him being a dick, he was him being genuinely confused because hes only ever known earth logic.

If I saw flowers blooming in a pitch black room I'd be a little confused too. He says the Underworld is depressing because it's literally draining his energy.

You yell at Will for not being open-minded yet won't comment on the fact that Nico hardly made an attempt either. Nico could have been more understanding about the fact that Will, a guy who's exploring this place that's slowly killing him, might not like the place at first because he doesn't understand it.

Because Will wanted to understand.

And the second Will finally began to understand the beauty of the Underworld, he was nothing but supportive.

You get mad at Will for making mistakes yet refuse to acknowledge that he learned from them.

The Sun & The Star tackled a hard topic that doesn't get talked about often. It portrayed a queer relationship and it emphasized characters who learned and grew. It's different from other Rick books because that was the point. (And it wasn't just Rick writing it)

This book was about accepting change within yourself and "daring to be different."

And the fact that you can't even accept a book that does the same just shows that the lessons this book taught went straight over your head.

I've never been more disappointed in this fandom. We begged for this book. We begged for queer representation. Yet here we are criticizing every little thing about it as if we aren't lucky to be getting this book in the first place---a book about two side characters.

This book had soooo many flaws but it wasn't a bad book.

Isn't that the point of it all? To love something even though it's flawed? That flaws dont necessarily mean it's broken and bad forever?

It's okay to hate a book.

That doesn't mean it's a bad book.

It just wasn't for you.

There are dozens of other books in this fandom to love and cherish, but don't hate this book just because it's different from what we're used to.

#the sun and the star #tsats spoilers #tsats #pjo stuff #pjo fandom #solangelo #nico di angelo #will solace #pjo

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flanaganfilm · 2 years

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Hello and Howdy Mr. Mike Flanagan! I'm excited to see you here on our humble hellsite. I have so much to say and ask about your netflix shows but for the moment, I want to ask about Doctor Sleep because I enjoyed that movie immensely - it filled me with a pleasant sense of dread, which possibly makes no sense, or a lot of sense.

What was that creative process like? Reconciling book and movie canons, following Kubrick's legacy, working with Ewan and Rebecca and Zahn and everyone else. I'm obsessed with King adaptations and I'm just fascinated with Doctor Sleep.

Alright! Buckle up for yet another long read.

Thank you for your question, and for this opportunity to go back and talk about DOCTOR SLEEP. It's a very special film to me, and a very special time in my life as well.

It all started with a general meeting with Jon Berg at Warner Bros.

The meeting itself started pretty wild - Adrien Brody walked out of the office as I was waiting to go in. Jon introduced us and we chatted for a few minutes, and I was a little out of whack for the rest of the meeting because I had a very potent "wow that was Adrien Brody" buzz going.

We were meant to talk about DC Comics and see if there was anything to do there. I was really hoping to chat about a horror-slanted Clayface movie, and about my favorite superhero: Superman.

Neither conversation went very far. I had just finished GERALD'S GAME, and Jon was a King fan, so he asked about the production. And then he asked if I'd ever read Warners' script for DOCTOR SLEEP.

I had. In fact, I had tried very hard to get a meeting at the studio when the book was first published. Warners owned the rights to DOCTOR SLEEP outright - it was part of their deal going all the way back to THE SHINING - so they immediately began looking into movie options when the book was published. Akiva Goldsman had written a script, and it was one of the first projects I asked about when I signed with WME as a client years before. "That isn't going anywhere," they told me. "I don't think that movie gets made."

They had tried to get me the meeting anyway, but no one at Warners responded. I never got in the room.

But now, here I was. What did I have to lose at this point?

"I did read it," I said. "I'd take a different approach." Jon sat back and smiled. "I love the book, Rose is one of the great villains of all time," he said. I agreed. He probed. "What's wrong with the script?"

"I don't think it follows the book closely enough."

"What would you do?"

"I'd do the book. Streamline it, combine some characters, and you'd have to rethink the True Knot a bit. But otherwise, just do the book. As long as it's a three-hander between Danny, Abra and Rose it'll work. With one big asterisk."

"What's that?"

"I think you have to bring back the hotel. Kubrick's hotel, I mean."

Jon smiled wider. "Yeah, it's a bummer the hotel burned down. King goes out of his way at the start of the book to emphasize that - no Overlook, look no further."

This was my biggest gripe with the book.

I said "When I read the book, all I could see was Kubrick's hotel. I think you do the book as close as you possibly can, until the big fight at the end. Instead of it taking place in an empty field, let it be in the hotel."

Jon: "Do you think King will be upset if you change his ending? You know how feels about THE SHINING, right?"

Me: "What if we gave him THAT ending? What if we let Danny have Jack's ending? Jack sacrificed himself to save his family and destroy the Overlook - why not let Danny do that? Change the ending, sure, but give him the ending Kubrick denied him."

We shook hands, and I called my producing partner Trevor Macy to tell him it was a good general, but nothing was coming out of my DC meeting. By the time I'd made it back to my car, though, Jon had reached out to Stephen King and asked if he'd be interested in me taking a swing at it. Steve, who had enjoyed GERALD'S GAME, said yes.

I was immediately petrified when the call came in that they might want to engage me on a rewrite of DOCTOR SLEEP, with a directorial attachment. I'd have to rewrite the script from scratch, and I kind of felt like they were calling my bluff. But the deal was made and quite suddenly I was adapting DOCTOR SLEEP.

First order of business was to make King aware of what I intended to do. I had just established a tentative relationship with my hero over GERALD'S GAME, and the last thing - the very last thing in the world I ever wanted - was to upset him. We weren't in direct communication, we spoke through agents and emails at this point - but I had to make him aware of the Overlook thing.

I put together a proposal that outlined what I wanted to do - use Kubrick's visual language, and keep the Overlook standing as a setting for the final battle. The initial feedback we got was "no." King really, really didn't like Kubrick's film, and his priority was to adapt DOCTOR SLEEP - not to revisit THE SHINING.

I told him that if he didn't want me to do it, I wouldn't - I'd walk away from the movie before I made something he hated. But as a last ditch effort, I said "imagine the Overlook, decrepit and rotten. And imagine Dan Torrance having walk in to 'wake it up,' the lights coming on above his head as he walks the halls. He finds his way to the Gold Room. To the familiar bar, where an empty glass is waiting for him. And we see a familiar bartender ready to pour for him, saying 'good evening Mister Torrance.' What if that bartender is his father?"

After a bit of a delay, King got back to us. "Do it," he said.

Writing the script was tough. I immediately felt like I had stepped into a very unsafe space. "This is going to piss everybody off," I figured. Kubrick fans would be livid that the movie was being made. King fans might be angry that Kubrick's imagery was being homaged. There was no way to please everyone, so I set about writing the movie I wanted to see most.

It was a slightly nauseous feeling that would stay with me until the movie came out.

I sat down to write with a hardcover copy of DOCTOR SLEEP to my right, and a hardcover copy of THE SHINING to my left. I read both cover to cover, sticking post-its throughout the pages with ideas, or flagging lines of dialogue (or even prose) that I wanted to protect. I managed to put together a basic outline for the movie, which was intimidating and sprawling.

I finally finished the draft and sent it off to Warner Bros. and King at the same time. I was shooting THE HAUNTING OF HILL HOUSE at the time, and thought it would take a long while and a few more iterations before SLEEP would go anywhere, if it ever did.

Warner Bros. shocked us all by coming back with a green light. I've been told that it was one of the fastest green lights in the recent history of the studio, and I believe it.

It happened so fast, in fact, that Steve hadn't read the script yet. I got an email from him on a Friday saying "I read the first half, and I absolutely love it - my son's getting married, so I'll pick it up in a week or so and finish it, but great so far!" I was nauseous... because I knew everything that King was likely to hate was in the second half.

When he finally did finish reading it, about a week later, he reached out and said:

"I think it's really good. In my experience, this is the kind of script studios don't make, because it's TOO good. Hopefully I'm wrong. But no matter how it turns out, thanks for treating me so well. - Steve"

I had the distinct pleasure of being able to write him back and tell him that Warner Bros. had just greenlit the movie. And we were off to the races.

The pressure was enormous. They were spending a lot of money on this movie, and because of the insane box office success of IT: CHAPTER ONE, expectations were very high.

We were given access to Kubrick's blueprints for the Overlook hotel set, which were still held at Warner Bros. While we set about rebuilding the sets, our attention turned to casting.

For Dan, we met with a handful of actors: Dan Stevens, Chris Evans, Matt Smith, and Jeremy Renner all came in to chat about the movie. But Ewan McGregor, who himself was eight years sober (just like Dan), was the obvious choice. "Let's not talk about the Shining yet," he said. "I want to talk about recovery." He was the guy.

For Rose the Hat, we talked with several actresses, including Anne Hathaway, Nicole Kidman, and my dear friend Karen Gillan - but Rebecca Ferguson knocked our socks off on a 90-minute zoom meeting, and the part was hers.

Finding Abra Stone was more difficult - we auditioned more than 900 girls for the part. We'd narrowed it down to a half-dozen very promising and successful young actresses, including Lulu Wilson (who I'd worked with several times before and adore), but Kyliegh Curran's self-tape audition rose to the very top of the pile. Ewan flew to Atlanta to read with our final picks, and when Kyliegh - who lived 15 minutes from our office, was local casting, and had never booked a job before - finished reading, he turned to us and said "I mean it's her, right?" It absolutely was.

When we cast her, we invited her back to the office after school one day to get oriented. The crew was so excited for her that they decorated the production office in her honor.

As the rest of the cast fell in, we started doing our camera tests and getting excited about what we were putting together. My feeling over overwhelming nausea only got stronger.

We started shooting in September of 2018. The shoot was long, but never exhausting. The cast and crew were uniformly pleasant and happy to be there, and after the soul-crushing slog that had been THE HAUNTING OF HILL HOUSE, it was a relief to enjoy working again.

Kate was pregnant with our daughter Theo at the time. She visited as much as she could, but finally couldn't travel any more. Being away from Kate and our son Cody was hard, but I'm so grateful that we got to share some time on set together.

All things considered, this was a smooth shoot. But something happened for me while we were making it that would change the course of my life forever.

See, THE SHINING is about alcoholism. King wrote it while in the throes of his own addiction, and it is a novel about the anxiety he felt about what he could potentially do to his family if left unchecked. It's one of the reasons he was so upset with Kubrick's adaptation - all of that was taken away. This is a profoundly personal story for King.

When he wrote DOCTOR SLEEP, he was decades sober. The story of DOCTOR SLEEP is the story of recovery. This was something that Ewan knew very well, and why he was perfect for the part. He knew what the journey felt like. He wasn't alone - there were a number of cast and crew members on this shoot that were sober. In fact, just about all of the actors who played main characters were sober. I was still drinking at the time, though it had already become obviously problematic in my life, I hadn't taken any meaningful steps to change it.

This photograph was taken on 10/12/2018. This was taken on the day I got sober. I quit cold turkey, in the middle of production. I was clinging to vices at the time. Note not only the cigarette in my hand (I was smoking almost 2 packs a day), but the ash tray that had been rigged to the top of my viewfinder by the camera department. (I don't smoke anymore either, just about four years without cigs as well... and I still miss them.)

I had been writing about addiction for a decade. It was all over my work, going all the way back to ABSENTIA. I didn't realize just how much I was writing about myself, and I still can't believe it took me this long.

I vividly recall writing the scene between Dan and Jack at the bar. My wife pointed out to me after the fact that she could see it then, that something was changing in me when it came to drinking. Something was waking up, and I was processing a desperate need to sober up. That scene represents an internal conversation that is profoundly personal to me. It's still my favorite scene of the movie.

I've been sober now for over 4 years. DOCTOR SLEEP helped me finally make that decision. I finished the shoot sober, and came home to my life with a lot of uncertainty and insecurity. But with the unflinching support of my incredible wife, and some amazing friends, my life started to really blossom. It was pretty immediately evident that this was one of the best decisions I'll ever make.

Meanwhile, though, I had to finish DOCTOR SLEEP.

I LOVED the movie we'd made, but I was still terrified of what King would think of it - not to mention Kubrick's estate.

When we finished the cut, I flew to Bangor to screen the finished film for Steve. It was the first I'd meet him in person, and one of the most insanely exciting and humbling days of my life.

We watched the movie together, and I was acutely aware of each and every little reaction he had throughout.

(With Trevor Macy, my producing partner at Intrepid)

When the show as over, Steve turned to me and said "You did a beautiful job." And ultimately, he added that this film had made him warm up to the Kubrick movie as well.

A week later, we heard from Kubrick's estate that they had also loved the movie.

With King's blessing, and Kubrick's family, I felt that nausea finally subside. I said to Kate, "that's it. That's all that matters. Doesn't matter if the movie crashes and burns - we already won the important battle."

And then, the movie crashed and burned.

A group of us went to see it opening night at Arclight Hollywood (my favorite theater). We were just about the only people there. And I knew immediately that we were going to have a bad weekend.

The movie didn't perform very well. Warner Bros. was disappointed, and ended up scrapping the Dick Hallorann movie we were planning, as well as the Overlook Hotel prequel.

I was pretty crest-fallen. I'd spent years tossing and turning over whether audiences would be divided between the King and Kubrick camps. I'd been petrified that they'd be furious, venomous, run me out on a rail... I'd never considered that they'd be utterly disinterested. Apathy wasn't even on my radar.

Steve called me the Monday after opening weekend with some words of encouragement. "I remember when THE SHINING bombed," he said. "And SHAWSHANK. Give it some time. It'll find its audience. It's a really good movie."

That has turned out to be true. While it didn't set the world on fire theatrically, the movie has over-performed on VOD and streaming. And when Warner Bros. released the Directors Cut (I'm still so grateful that they did that), it popped even more.

So yes, to answer your question - the pressures were enormous. I hope this paints a little picture of what it was like. The biggest gift I got out of it, though, was sobriety.

I reached out to King a year later, on my first sober birthday. I hadn't told him I was sober, but it felt like time to do it. I got to thank him. "I never told you this, but I sobered up while we were shooting DOCTOR SLEEP, and I don't think I would have done it without your words. Living in that story, and marinading in the concepts of recovery and redemption made it possible. I just want to thank you."

He wrote back his congratulations, and then mentioned "as it happens, I'm off to celebrate 30 years myself. It only gets better and better."

And he is absolutely right.

DOCTOR SLEEP was the perfect project for me after the nightmare that was HAUNTING OF HILL HOUSE. I fell in love with making movies again. And I found a new and wonderful gear for my life. It has only made everything better - my marriage, my work, my experience walking around on planet earth. I'm so grateful for it.

When I think of DOCTOR SLEEP, I think of Ewan sitting at the bar and looking at the glass in his hand. "Man takes a drink, drink takes a drink... and then the drink takes the man. Ain't it so, dad."

Ewan understood those words better than I did when I typed them into the script. I understand them much better now.

There isn't a day that goes by that I'm not profoundly grateful for my time at the Overlook. And for myriad of ways my life has been changed because of it.

#doctor sleep #sobriety #behind the scenes #behind the scene photo #ewan mcgregor #stephen king #rebecca ferguson #grateful #warner bros #the shining #featured

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katapotato55 · 1 year

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IMPORTANT PSA TO THOSE NEW TO TUMBLR OR REALLY ANYONE ON THIS SITE IN GENERAL:

IT IS OK TO REBLOG SPAM AND LIKE SOMEONE'S CONTENT ON THEIR BLOG NO ONE HERE IS GOING TO BE WEIRDED OUT, IN FACT IT IS ENCOURAGED THIS IDEA THAT SOCIALIZATION = BAD IS A TOXIC CAPITALISTIC TOOL DESIGNED BY HELLSITES LIKE TWITTER TO LEACH MONEY AND GOODWILL FROM YOUR BODY. I honest to god have no idea why "ratioing" on twitter is bad, like the act of engagement is considered a bad thing as if twitter were trying to encourage your toxic rage. oh wait that is exactly what twitter is doing. Twitter's entire business model is to encourage you to get outraged and to profit off of your rage induced engagement.

TUMBLR. DOES. NOT. HAVE. RATIOS. REBLOGGING IS A GOOD THING HERE. NEVER APOLOGIZE FOR THAT, AND HONESTLY MY MEMORY IS SO CRAP I FORGET Y'ALL RESPOND TO MY STUFF ANYWAYS.

All you need to do is change your profile pic and post something, and congratulations you now have a valid Tumblr citizenship. also to you twitter users: you can't cancel people on tumblr. this is a website full of eccentric weirdos. We are so far away from the mainstream that tumblr struggles to find advertisers for this site. At one point tumblr was very toxic, and the toxic tumblr people would eventually move to twitter during the porn ban. Twitter + the pandemic simply gave the toxic weirdos mainstream power to ruin people's lives. politely fuck off with your toxic crap, no one here is afraid to call you out on your obvious bullshit like on twitter. We don't have anything to hide here and even if we did your impact means NOTHING here. If you try to make tumblr toxic again then you will not be welcomed here by the community. Behave.

#tumblr #tumblr meta #tumblr culture #tumblr stuff #hellsite #the tumblr experience #twitter drama #elon twitter #twitter buyout #twitter refugees #twitterpocalypse #twitter meltdown #twitter #social media #reddit #reddit blackout #reddit refugees #reddit exodus #tumblr migration

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itsawritblr · 3 months

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Fuck "sensitivity readers."

I see that a couple of my Followers and other writers on here are obsessed with writing POC "correctly."

As a full-time professional writer of fiction and nonfiction who's also Hapa, I need to point out:

So you're paranoid that you're gonna write something and POC are going to come after you, calling you "racist" or "insensitive" or that you're "appropriating culture."

The only reply you need to make is in 2 steps:

Say:

Then:

There's is no "right way" to write any group of people or any race or ethnicity. Know why?

I've seen this happen. A Black writer will tell white writers how to write Blacks. Then another Black writer will say, "Wait a minute, I'm not like that, my family's not like that. We're not all Urban BLM hip-hop lovers. I'm Christian, I'm against trans in women's spaces, I have several White friends, and I listen to classic country music."

So who's right? Both.

A "sensitivity reader" or some on this hellsite will tell you HOW to write POC. When all they're telling you is their POV. They can't speak for everyone. (A perfect example.)

If you want to write about a person of a race or ethnicity other than your own, sure, do a little research, as you would with anything. If a sensitivity reader tells you your Jewish character should be celebrating Shabbat, a little research on your own will tell you that not all Jews do (as it happens, I learned this from my Jewish boyfriend, whose family never celebrated Shabbat). So that "sensitivity reader" would have given you misinformation because of her or his POV.

Do not panic that you're gonna be canceled or yelled at for "getting it wrong."

There IS no wrong. Look,

All you need to remember is:

Writer and screenwriter Anthony Horowitz was told not to write Black characters because he's white and Jewish. This stunned him. He was supposed to leave Black characters out of his work? But if he did that he'd be accused of not having Black characters.

He didn't obey. In fact, I'm reading his current novel, and he has a perfectly fine Black character in it.

Read this article:

No, Authors Should Not Be Constrained By Gender Or Race In The Characters They Create. by Lorraine Devon White, Contributor

This was the BBC.com headline:

Spy Author Anthony Horowitz ‘Warned Off’ Creating Black Character:

Author Anthony Horowitz says he was “warned off” including a black character in his new book because it was “inappropriate” for a white writer. The creator of the Alex Rider teenage spy novels says an editor told him it could be considered “patronising” ... Horowitz, who has written 10 novels featuring teenage spy Alex Rider, said there was a “chain of thought” in America that it was “inappropriate” for white writers to try to create black characters, something which he described as “dangerous territory”.

Dangerous territory, indeed.

What are we to make of this? Is an author limited to only writing characters within their race? What about gender? Religion? Age? Ethnicity? Sexual orientation? Where do the boundaries stop?

The old adage, “write what you know,” is a thesis that implies a writer should limit their imagination to the parameters of their own life and experience. But does that maxim still hold true today? Certainly in these times of viral accessibility, contact, research, knowledge, and interaction with people, places, and things far outside our own proximity is as every-day as 24/7 updates from the farthest corners of the globe. Our ability, consequently, to gain perspective sufficient enough to write outside one’s own “house” is not only doable, but, perhaps, universal and insightful, presuming one does it well.

But is it “patronizing”? Are we, as writers, simply not allowed to write outside, say, our culture, regardless of how well we might do it? Has society become so compartmentalized, so hypersensitive, politically correct, and wary of triggering repercussion, resentment, or misinterpretation that reaching beyond our own skin ― literally and figuratively – has become verboten to us as creative artists?

Interesting questions, these; particularly when you consider that men have been writing about women since time immemorial without particular societal concern that they couldn’t possibly know, couldn’t authentically muster, the requisite experiential perspective. It was a given that they could get the job done; accepted without debate. Yet the specificity, the sensitive and unique nature of being female, could be considered as disparate from the male experience as being black is to a white person, but that hasn’t stopped male authors, from Vladimir Nabokov to Wally Lamb, from creating their women of note.

Which is fair. Because the explicit job of an author is to climb inside the experience of LIFE, real or imagined, to tell compelling stories that reflect the incalculable diversity of detail, nuance, thought, and emotion of any variety of people, places, and things. And the creative mind can find and translate authenticity whether writing about Martians, coquettish teens, dogs who play poker, or characters who exactly mirror the author‘s gender or race.

I’ve had my own experience with this interesting conundrum: my last novel, Hysterical Love, was told through the first-person point-of-view of a thirty-three-year-old man, and it goes without saying: I’m not one of those. Yet I felt completely capable of infusing my story with authenticity by relying on my skills of observation, as well as my experiential knowledge as the sister of five men, the mother of a son, the wife of a man; my years on the road with rock bands, and the immersive research of being a close friend to many, many men throughout my life. I’ve been told I pulled it off, even by the men who’ve read it, so my conviction proved out.

But is the divide between cultures, races, wider than that of gender diversity? Does a white writer delegitimize their prose by including black characters? Is the reverse true?

I don’t think so. I think it depends on the writer, the quality of their work; the depth and sensitivity of their depictions. Those are my initial responses. But I also understand the question:

About two years ago I had an article up at HuffPost titled, “No, White People Will Never Understand the Black Experience,” a piece that became a flashpoint for much conversation on the topic of race. It was written in response to events of the time, particularly the egregious injustice of Sandra Bland’s arrest and subsequent (and inexplicable) jailhouse death, and the cacophony that arose amongst, amidst, and between parties on both sides of the racial divide as a result. My own thesis, my perspective on the tangible limitations we each have in perceiving and assessing the realities of life outside ourselves, is made clear by the title alone. But while there’s obviously much more to that debate, here and now we’re discussing the issue as it relates to the job of being an author and I have some specific thoughts on that.

Inspired by the many responses and conversations that ensued after the aforementioned article, as well as others written on the topic of racial conflict, bias, and injustice, I took one of the stories referenced, about an interracial couple’s experiences with police profiling, and developed it into a character-driven novel called A NICE WHITE GIRL, a title that reflects commentary made within some of the conversations I had.

This “sociopolitical love story” is told through the intertwining points-of-view of a black man and white woman dealing not only with pushback to their new and evolving relationship, but the ratcheting impact of police profiling that ultimately leads to a life-altering arrest. It’s a story that’s human, gut-wrenching, and honest, built on the foundation of my own experiences in a long-term interracial relationship earlier in my life, as well as journalistic research and interviews, personal interactions, even friendships with members of the black community. Given a commitment to creating the characters outside my demographic as authentically and sensitively as I possibly could, without watering them down or pandering to political correctness, I believe I served both my story and its cultural demands well. Did I?

Every author relies on, taps into; mines the wealth of thought, opinion, perspective, and acculturation of their own unique life experience. Certainly that’s true. But as artists, as observers and chroniclers of life by way of prose, we go beyond that pool of reference. We reach out, we expand; we explore plot lines and include characters that stretch our imagination, that dig deep into worlds, events and experiences, imagined or real, that can pull us onto less traveled roads that might demand the challenge of research, of specific observation, even outside consultation. We take these extra steps, even for fiction, because we want to infuse our work with inherent realness. Particularly when writing characters outside our culture. That was certainly the demand I faced when embarking upon this latest novel.

But I am a white woman who’s written a book with a black male character, inclusive of his mother, his sister, and various friends. I’ve depicted their family life, their interactions, relationships, thoughts and feelings. Do I not have the creative right to do that? Will I be seen as patronizing, insensitive, off base, and inappropriate? Will this make my book too controversial for representation, for publishing, for sale? Will it garner derision and disdain from members of the black community? Even members of the white community who may resent the harshness with which I depict some of the police?

I don’t know. Maybe. But it was a story I felt passionate about, compelled to write; that took the many debated aspects and elements discussed in my articles and put them into fictional form, with imagined characters who embodied and borrowed from people I knew, from conversations I’d had, from ideas, agendas, politics, and passions that had been conveyed to me by real people expressing essential and sometimes controversial perspectives. I was determined to honor them by candidly, honestly, and without apology, telling the story.

But perhaps, as Anthony Horowitz was told, I’m entering territory that is off-limits, that puts me at odds with those who might frame me as presumptuous and patronizing. “A nice white girl” who’s stepped outside of culturally acceptable boundaries.

I hope not, because I, like Mr. Horowitz, see that as “dangerous territory.”

Just as brilliant male authors have gorgeously written female protagonists; as female novelists have conjured male characters ringing with truth; as writers of one ethnicity have honestly depicted another; as fabulists have invented entire worlds of imagined wonders, authors must be limited by... NOTHING. Not a thing. They must be free to create without fear of cultural naysaying, societal judgment, threat of reprisal, or the discomfort of crossing cultural boundaries.

The only mandate to which they’re obligated is GOOD WRITING. Writing with wit and clarity. Honesty. Authenticity. Sensitivity and depth. Engaging prose, compelling plots, and visceral emotion. And, if need be, if determined helpful, the use of “sensitivity readers” who can ascertain if the writer got the cultural references right.

But just as Idris Elba could certainly make magic as James Bond, as Anthony Horowitz could create an intriguing black spy for his books; as I can write characters both male and of a culture outside my own, so must every author of merit and worth be allowed to view the entire panoply of life as fuel for their imagination. Anything else is antithetical to the mission of art... and stymying art serves no one. Not the writer, not the reader, not the myriad members of our diverse world hungry for stories that reflect their lives. Art is imagining; creating, mirroring, and provoking... all of which can and must be achieved by artists free to explore without the limiting effect of creative and cultural boundaries.

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