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Loredana Groza as Donna Sheridan performing Money Money Money in Mamma Mia! (December 28th, 2024) — Sala Palatului, Bucharest, Romania

(I’m gonna start posting my Mamma Mia! videos here on Tumblr slowly. there aren’t so many and their quality isn’t that good, but I thought it wouldn’t hurt to share!)

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I Want You More Than Anything In The World

Status: scrapped/unfinished

TW: mild sexual content , nudity , Tease, non-graphic smut (?), this literally stops beforehand I have to idea how to tag it

Pair(s): Erikstine except Christine is vampire and this is very out of context

Note: happy new year everyone!!! until I actually find both the motivation AND inspiration to write (for I believe I have left those in the year that has just passed) I decided to take out another half-baked cookie from my little basket of horrors and goodies. pray for me to actually get back to writing and enjoy this little threat xx

"I want you. I want you more than I want the finest blood in the world. I want to be one with you, to know that, tonight, you will be mine. That you’ll give yourself to me and I’ll do the same. No masks, no armor and no barriers. Corpse to corpse, dead flesh to dead flesh. Let us be no longer ashamed of our natures, if only for a night. Let us be monsters in love. Let me feel your touch on my cold, unalive, skin, let me take you to a dance like no other. Let me create a different sound that you have never heard of. Let me help you make a different kind of music.” Christine pleaded and with her right hand removed the hard black mask from his face that had left red marks on his sunken cheeks and ugly nose from the countless hours he had worn it that day. But nothing mattered then, except to strip themselves off the skins they lived in and face each other as they were: two creatures who wanted nothing but love. Who craved nothing but to be wanted.

Erik gently unlaced her corset and tossed it aside, then she raised her arms to help him get rid of her white chemise, leaving her chest exposed. Her skin was a beautiful shade of cinnamon yet faded and not as bright and luminous as it had been when she was still alive. Here and there her shoulders were sprinkled with small dark dots which matched the ones on her nose and cheeks. Her breasts were nowhere symmetrical and slightly unbalanced, her nipples a grayish shade of raspberry wine, and stretch marks were marking their flesh. He blushed, the palest shade of poppy red coloring his cadaveric face. Christine smiled sweetly in the corner of her mouth and slid off her drawers and stockings in a second, leaving her completely nude, exposed before his eyes. Her body was round, apple shaped with round hips, covered in stretch marks as well and a few chatten hairs here and there. With all the imperfections and flaws common to human bodies, she was a goddess. His goddess. He would never see her otherwise, and he would always remember this moment when his cursed eyes met the glance of the Lord’s most glorious statue. Erik noticed how she kept his gaze from meeting his own, causing him to raise one of his dark eyebrows and look her in the eyes.

“Nervous? Before your Erik?” he asked, slightly concerned, placing a hand on her waist and pulling her a little closer to him. Then lifted his face enough to bury his nose between her breasts and kiss her there.

“No one ever looked at me like I am. . .” Christine didn’t finish her sentence, couldn’t, for the words refused to come. Instead she buried her hands in his raven’s land, caressing his scalp.

“A wonder? A statue sculpted out of the finest alabaster? That’s what you are, my beautiful, beautiful Christine. Every inch of your body is a work of art.”

Christine kissed his forehead furrowed by Port Wine stains, caressing each mark with her plum coloured lips, then his lashless eyelids — first came the cold, ice blue eye, then the mesmerizing left cognac one which she would sip like a fine drink if she could. She even placed a kiss on the hideous, barely existent flesh of his nose and in the very end on his thin, paper-like lips. She took his bottom lip between her teeth and bit it softly with her vampire canines. A droplet of blood fell on her tongue and she swallowed it pleased, smiling to herself as he slid his tongue in her mouth and tangled it with hers. She made herself busy by unbuttoning his vest and shirt, and to her surprise he didn’t show any signs of protests and let the clothes fall without any remorse. She studied his pale, bony chest and ran a hand on his scar covered torso. Alas, she could feel his ribs! And there were so many wounds, so many stitches! She recognised a knife gash that went along his clavicle which didn’t heal right. Cigar burns which would never fade on his belly. When she ran her fingers across his spine she shivered at the touch of multiple whip marks across his back. Oh, her poor Maestro! Her poor Erik! How her heart burned right now with a lust for revenge! How she wished that every single criminal, every demon who had laid a hand on him to still breathe, only for her to cut their hearts out with her bare hands! She didn’t realize her inner fires had started showing and darkening her sight until Erik cupped her cheeks with his hands, bringing her back in the room with him.

“Mon cher, do not let the memory of my monsters consume you. Let those phantoms die tonight. We’ll face them tomorrow, when daylight will bring them back to life.” he whispered in her ear, pressing a soft kiss on her jawline as her violinist hands stroked his raven’s land. He continued leaving butterflies on her skin and was slowly going down her neckline and then under her left breast, where her heart had once beaten and was now resting lifeless yet full of love in her ribcage. Then he took the small flesh of her nipple in his mouth and gently began to suck on it, circling the areolae of her breast with his tongue. Christine responded with a sweet murmur, pushing his head delicately to encourage him in his action. He bit her playfully, leaving halfmoon marks all over the flesh of her breast, going up once again to mark her neck with the tattoos of his mouth. Between soft gasps, she slid in his lap, tangling her beautiful legs around his waist as if claiming something that was rightfully hers and no one else’s to share with. And he was. He was hers and only hers. He was and would be whatever his Angel of Music would want him to be. Lover, Servant, Maestro. He would do whatever it took to please his Goddess.

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KERIK KERIK KERIK AND THE MIRROR SCENE GODS FUCK OH MY GOODNESS

and more separate versions because this drawing had so many layers

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Throwback thursday to when I was like 12 and I was putting out new writing DAILY...... Like entire Chapters of my then-current wips just, over an afternoon. What the fuck was I on

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7 POC Architectural Inspirations for Your Fantasy World

Fed up with (most) authors sticking to the Renaissance ‘white’ castles so here’s some inspiration (and a gentle nudge to branch out because I can’t stand them anymore): 

1. Mahals (India)

Ornate domes, intricate carvings, and symmetrical layouts. Mehals take decades to be made and are intricately brought to life with beautiful detailings, take the Shish Mahal's mirror work, Jharokhas, the Pietra Dura Mughal inlays, and classic Jaali work that female characters sneek peeks through to watch the throne room from afar. 

2. Qilā (Fortresses of the Mughal Empire)

If you want something more in tune with a war-based story Qilas are a good option. They’re brought to life with massive stone walls, gateways with pointed arches, and courtyards for strategic defense. Qilas are intended for protection but many hold a rustic mix of Persian and Indian architecture which provides that aesthetic charm writers like. 

3. Shiro (Japanese Castles)

Shiros are Japanese castles with many buildings within their walls, such as the Goten (palace). I used a Shiro for my book and it is so convenient if you have a larger cast, like a court system/multiple families. If you want to know all the structures, names, what they look like, etc. just google ‘Nawabari’ (the Japanese term for a Shiro’s layout). 

4. Kasbahs (North Africa)

Kasbahs are native to Morocco and perfect if you need something minimalistic yet pretty. Their structures are very similar to that of a Qila since they both have a pragmatic, angular build. However, Kasbahs are more earthy with thick clay walls, small windows and subtle yet pretty detailing. 

5. Qasr (Middle Eastern Palaces)

Qasrs are Arab palaces that feature ancient Bedouin architecture. However, there is no ‘one size fits all’ Qasr because this word is used to describe both palaces and forts. You can have a ‘qasr’ that is a palace with sprawling courtyards, marble arches, and curvy turrets, or a ‘qasr’ that is a Bedouin fort with structured cylindrical towers. PS: castle = Qusur. 

6. Baray Temples (Cambodia)

Barays, like those at Angkor Wat, symbolise spirituality. Like many Asian temples, they are typically surrounded by water and reservoirs. The complexes feature intricate stone carvings, steep steps, and a flat triangular top (Google if you cant visualise it please). Unlike most structures on this list, they are typically made using Laterite or Earth/clay. 

7. Mudbrick Mosques (West Africa)

While South Asia uses intricate craftsmanship for their detailing, Mudbrick Mosques have smoothly carved pillars, tapering walls and flat domes that are strategic yet beautiful. The beige tones blend seamlessly into the dessert with wooden beams protruding from its walls to make it stand out. I would recommend looking at the Great Mosque of Djenné; truly a masterpiece. 

I've mainly covered types I've either seen irl or used in my writing please don't come at me if I haven't included something from your culture, you can comment it.

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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10 Non-Lethal Injuries to Add Pain to Your Writing

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[lapsusophobia]

The Taste of the World: Writing Food as Storytelling

Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.

When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.

Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.

Why Food is Fundamental to Worldbuilding

Culture and Identity

Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.

Think About:

What ingredients are unique to this region, and how did they come to rely on them?

How is food served—shared communally or divided by status?

Are there specific rituals tied to preparing or consuming meals?

These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.

Food as Survival

Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.

Consider:

What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?

How do people preserve food in harsh climates or through difficult seasons?

What compromises are made when survival is at stake?

Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.

Food as Memory

Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.

Ask Yourself:

What does this food remind your characters of?

How does this memory shape their present choices?

What foods do they miss, and why can’t they have them anymore?

The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.

Integrating Food Into Your Narrative

The Subtle Art of Symbolism

Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.

Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.

It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.

Building Tension Through Meals

Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.

Think About:

Who prepares the food, and what does that say about their role or status?

What’s the mood at the table? Is the act of eating itself a kind of performance?

Are there unspoken rules about who eats first, how much they take, or what they avoid?

Food as tension is about the surrounding interaction, not the food itself.

Grounding the World in Small Details

Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.

Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.

Applying Food to Character Development

What Food Says About Relationships

Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.

Consider:

Do your characters share food equally, or does one person dominate the meal?

Is a meal an act of kindness, a manipulation, or an obligation?

How does the way they eat reflect their personality?

Preferences, Habits, and Rituals

The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.

Ask Yourself:

Does your character have a ritual or habit when it comes to food?

How do they react to unfamiliar dishes?

What’s their relationship with food—joy, necessity, or something else?

The Absence of Food

Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.

The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.

Final Thoughts: Food as a Storytelling Tool

Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.

When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.

TAGLIST - dm or reply to be added 🫶🏾

@slenders1ckn3ss @lucistarsfire @fond-illusion @p00lverinecentral

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i sit down to write and suddenly i am the most distracted human alive. the chair is uncomfortable. my coffee is too hot. my playlist isn't quite the vibe. i need to research what victorian houses smelled like in 1872 for exactly 45 minutes even though my story takes place in space. and yet the moment i'm trying to fall asleep? every single sentence i've ever needed just lines up perfectly in my brain like some kind of creative parade i'll never get back.

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How to Write Vivid Descriptions WITHOUT Overloading

Are you the type of person who describes a setting by using an intimidatingly huge paragraph that just rambles on and on and on because you're told to be specific but don't quite know how to do it correctly? If you've been struggling to detail settings, you've come to the right place! I'll reveal how to effectively describe a setting without having to use one big chunk of text and shoving it at your reader!

~ LINK IDEAS TOGETHER

As writers, we hear "show, don't tell" quite often, and the same applies when writing settings. But for some people this tip does little to help because, well, it's a bit of a vague concept.

With that being said, "linking ideas together" is a great way to describe the setting without having to explain the location! What do I mean?

Let's say there's a green field and I'm trying to depict it. This method is to find another subject that could connect with the setting to further describe it. What else is green? What reminds the character of the field? What's something similar?

Ex: The field in front of him reminded him of a photo he once saw long ago as a boy. His parents were standing in a lush, grassy area void of people, hugging each other tightly and smiling brightly at the camera under the clear blue sky.

In that example, I linked the field to a picture the character found, and by using his memories, I was able to paint a rough image of the location while setting the tone!

Ex: She'd been there before. She was there when the building still stood tall. When the streets were filled with people bustling about and the air smelled like cigarettes. Now, there is no tall building, but instead a pile of debris. She hasn't seen anyone in thirty minutes, and any smell of cigarettes would've surely been washed away by the rain.

This time, I connected the present location with the past one. But instead of showing the similarities, I contrasted them to emphasize the changes and abandoned state of the area!

~ LITERARY DEVICES

The most common literary devices I see regarding setting are similes, metaphors, and personifications!

It's similar my previous tip, where you connect two ideas together, but more general. The similes and metaphors don't have to be based on a specific experience of the character, but instead something more universal so everyone can connect with it!

Personification, on the other hand, can be used to substitute verbs.

Examples:

The stars shone like glittering jewels.

The road carved into the mountain.

The flowers waltzed along the music of the wind.

These devices allow you to describe something quickly and elegantly!

~ USE ACTIONS

Arguably, the most common tip provided when describing a setting is to use the five senses: sight, smell, touch, hearing, and taste. If you're like me, though, and have NO clue on how that's supposed to help, let me break it down!

Instead of thinking about the senses directly, use ACTIONS that correlate with the senses.

Instead of saying "the wood felt tough", say "he touched the wood, marveling at the toughness of the material".

Instead of saying "the air smelled like candies", say "she sniffed the air, inhaling the aroma of candies".

Instead of saying "the city was bright", say "they stare at the city, admiring how the lights illuminate the buildings and roads.

Do you see how your description suddenly blends in with the text now that there's an action and separate subject involved? You're still effectively describing the scene, but you're not pushing it at your reader. This also makes it far easier to build onto the depiction of the moment because you're not limited to adjectives!

By utilizing these three concepts, you can build an evocative description of the setting that won't overwhelm nor bore the readers!

Happy writing~

3hks :D

[lapsusophobia]

um yes hello!! I’m gonna take this opportunity to give a massive shot-out to my friend @angel-with-paper-wings ‘s fic Live As You’ve Never Lived Before which is basically a hurt-comfort Erikstine fic with a drop of angst and a rewrite of the Musical with both Kay and Leroux eastereggs. it’s supper comforting (ON BOTH SIDES!! AND CHRISTINE HAS A BACKSTORY AND FIGHTS FOR HERSELF!!) and I loved every chapter of it — ALSO IT HAS A SEQUEL!!! WHICH IS EVEN MORE CUTE AND TOOTH ROTTING FLUFF AND THEY GET MARRIED AND THERE IS A CAT and I love everything Angie writes in general so yeah, after you finish LAYNLB, check it its amazing sequel, An Eternity of Bliss.

Why do people always write fics about Christine and Erik marrying, yet never have him take her last name. LET HIM HAVE A NAME YOU COWARDS! LET CHRISTINE HAVE A FAMILY AGAIN!

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at least we were together

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They say you should make art for yourself, but the folks writing long-form fic on AO3 where the last reader comment was thirty-five chapters ago and they're still updating every week like clockwork are putting that into practice in ways I can only dream of.

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shaming and making fun of people for still engaging in fandom activities once they reach a certain age is so embarrassing because why are you giving yourself an expiration date of time you have fun? why are you not-so-indirectly saying you will stop having fun once you reach a certain age? or do you really believe you have to stop engaging in fandom activities and having fun once you turn (x)? do you not think you will, what, live that long and turn that age too? do you think fun will suddenly stop for you and life will all of a sudden lose its meaning once you reach a certain age? how sad to be giving yourself an hourglass and just waiting for your time of having fun to run out.

adults can and should engage in fandom activities if it's what makes them happy.

adults can and should continue doing whatever they like doing as teenagers if it's what makes them happy.

age is just... part of life. it's a part of me and it's a part of you. shaming people for something you will have to go through (unless you don't think you will live that long) is such a loser behavior. indirectly saying you will stop having fun once you reach a certain age isn't the flex you think it is. it doesn't make you look "cool and edgy", it makes you look miserable.

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reblog if you’ve read fanfictions that are more professional, better written than some actual novels. I’m trying to see something

[lapsusophobia]

I Want You More Than Anything In The World

Status: scrapped/unfinished

TW: mild sexual content , nudity , Tease, non-graphic smut (?), this literally stops beforehand I have to idea how to tag it

Pair(s): Erikstine except Christine is vampire and this is very out of context

Note: happy new year everyone!!! until I actually find both the motivation AND inspiration to write (for I believe I have left those in the year that has just passed) I decided to take out another half-baked cookie from my little basket of horrors and goodies. pray for me to actually get back to writing and enjoy this little threat xx

"I want you. I want you more than I want the finest blood in the world. I want to be one with you, to know that, tonight, you will be mine. That you’ll give yourself to me and I’ll do the same. No masks, no armor and no barriers. Corpse to corpse, dead flesh to dead flesh. Let us be no longer ashamed of our natures, if only for a night. Let us be monsters in love. Let me feel your touch on my cold, unalive, skin, let me take you to a dance like no other. Let me create a different sound that you have never heard of. Let me help you make a different kind of music.” Christine pleaded and with her right hand removed the hard black mask from his face that had left red marks on his sunken cheeks and ugly nose from the countless hours he had worn it that day. But nothing mattered then, except to strip themselves off the skins they lived in and face each other as they were: two creatures who wanted nothing but love. Who craved nothing but to be wanted.

Erik gently unlaced her corset and tossed it aside, then she raised her arms to help him get rid of her white chemise, leaving her chest exposed. Her skin was a beautiful shade of cinnamon yet faded and not as bright and luminous as it had been when she was still alive. Here and there her shoulders were sprinkled with small dark dots which matched the ones on her nose and cheeks. Her breasts were nowhere symmetrical and slightly unbalanced, her nipples a grayish shade of raspberry wine, and stretch marks were marking their flesh. He blushed, the palest shade of poppy red coloring his cadaveric face. Christine smiled sweetly in the corner of her mouth and slid off her drawers and stockings in a second, leaving her completely nude, exposed before his eyes. Her body was round, apple shaped with round hips, covered in stretch marks as well and a few chatten hairs here and there. With all the imperfections and flaws common to human bodies, she was a goddess. His goddess. He would never see her otherwise, and he would always remember this moment when his cursed eyes met the glance of the Lord’s most glorious statue. Erik noticed how she kept his gaze from meeting his own, causing him to raise one of his dark eyebrows and look her in the eyes.

“Nervous? Before your Erik?” he asked, slightly concerned, placing a hand on her waist and pulling her a little closer to him. Then lifted his face enough to bury his nose between her breasts and kiss her there.

“No one ever looked at me like I am. . .” Christine didn’t finish her sentence, couldn’t, for the words refused to come. Instead she buried her hands in his raven’s land, caressing his scalp.

“A wonder? A statue sculpted out of the finest alabaster? That’s what you are, my beautiful, beautiful Christine. Every inch of your body is a work of art.”

Christine kissed his forehead furrowed by Port Wine stains, caressing each mark with her plum coloured lips, then his lashless eyelids — first came the cold, ice blue eye, then the mesmerizing left cognac one which she would sip like a fine drink if she could. She even placed a kiss on the hideous, barely existent flesh of his nose and in the very end on his thin, paper-like lips. She took his bottom lip between her teeth and bit it softly with her vampire canines. A droplet of blood fell on her tongue and she swallowed it pleased, smiling to herself as he slid his tongue in her mouth and tangled it with hers. She made herself busy by unbuttoning his vest and shirt, and to her surprise he didn’t show any signs of protests and let the clothes fall without any remorse. She studied his pale, bony chest and ran a hand on his scar covered torso. Alas, she could feel his ribs! And there were so many wounds, so many stitches! She recognised a knife gash that went along his clavicle which didn’t heal right. Cigar burns which would never fade on his belly. When she ran her fingers across his spine she shivered at the touch of multiple whip marks across his back. Oh, her poor Maestro! Her poor Erik! How her heart burned right now with a lust for revenge! How she wished that every single criminal, every demon who had laid a hand on him to still breathe, only for her to cut their hearts out with her bare hands! She didn’t realize her inner fires had started showing and darkening her sight until Erik cupped her cheeks with his hands, bringing her back in the room with him.

“Mon cher, do not let the memory of my monsters consume you. Let those phantoms die tonight. We’ll face them tomorrow, when daylight will bring them back to life.” he whispered in her ear, pressing a soft kiss on her jawline as her violinist hands stroked his raven’s land. He continued leaving butterflies on her skin and was slowly going down her neckline and then under her left breast, where her heart had once beaten and was now resting lifeless yet full of love in her ribcage. Then he took the small flesh of her nipple in his mouth and gently began to suck on it, circling the areolae of her breast with his tongue. Christine responded with a sweet murmur, pushing his head delicately to encourage him in his action. He bit her playfully, leaving halfmoon marks all over the flesh of her breast, going up once again to mark her neck with the tattoos of his mouth. Between soft gasps, she slid in his lap, tangling her beautiful legs around his waist as if claiming something that was rightfully hers and no one else’s to share with. And he was. He was hers and only hers. He was and would be whatever his Angel of Music would want him to be. Lover, Servant, Maestro. He would do whatever it took to please his Goddess.

[lapsusophobia]

"undoing this character's death would take away his sacrifice and character arc" girl I don't give a shit. I'm bringing him back through the power of ao3 fix-it fics and there's nothing you can do to stop me x