#I'm sure this was really important to the plot or whatever

[howtodisappearcompletelyand]

20/10 stars little guy

[firebirdsdaughter]

Oh no…

… I thought about the horrible romance plot in The Hobbit and now I'm angy.

[trianglegoddess]

Feral McGee™

It starts with the Joker. 

His goons picked up Tim Drake. Not specifically because it was Tim Drake, he just so happened to be in the Joker’s neighborhood, and we'll, he can't pass up that opportunity now can he? 

Except Tim Drake is watching, along with the rest of Gotham, at the Batcomputer. He’s nursing a broken foot and has been put on monitor duty until he's cleared for field work again. 

The guy looks enough like him, though. Black hair, blue eyes, and bags under his eyes for days. He's also got the same lean sort of build like he does. 

It happens like this. 

The Joker is doing his monologue thing where he explains whatever twisted game he's come up with this time. He takes up the majority of the screen, so nobody can see Not-Tim behind him, not until the big reveal. Then he covers the screen again, getting up close and personal, before stepping back. In those quick few seconds, Not-Tim is no longer sitting there tied to the chair. 

Someone off camera lets the Joker know, and he whirls around, confused as the rest of Gotham. 

And then Not-Tim comes in with the steel chair. 

Or, well, a crowbar, but the reference holds up. 

He takes out one of Joker’s knees before punching him in the face. The Joker drops like a bag of stones, out cold. 

Then he looks towards the camera. 

“Hey there. I'm not really sure where I am, but also if he was after Tim Drake, he got the wrong guy. I'm not him, I'm just some dude. Anyway, I'll just-yep-” he carefully steps over the unconscious Joker, gives the camera a little wave, and then leaves. 

Batman and Nightwing enter shortly after, with the Joker and his goons out cold and tied up. The knots were complicated enough where, in the end, the police resorted to cutting the ties off of them so they could be properly cuffed and taken to Arkham. 

“A constrictor knot,” Batman tells Nightwing as they watch the villain be taken away. “Often used by sailors to temporarily tie things together to keep something in a bag, or to hold something to glue it back together.”

“Huh,” Nightwing says, scratching the back of his head. “Go figure.”

—

The next time it happens, it’s the Riddler. 

He’s laughing, giving his riddles to the Bats and recording himself to all of Gotham while his victim, one of the Wayne brats, hangs over a vat of something. From a distance, he looks like Tim Drake, or maybe a lankier Dick Grayson. And he’s not the only victim, they’re all scattered across the city, but he thought an important figure such as a Wayne should be under the Riddler’s direct supervision while he enacts his schemes. 

While the Riddler cackles and plots and waves his cane around, in the background all of Gotham can see the figure escape. Several Gothamites recognize him as the kid from before, who clocked the Joker. They all watch with bated breath as he sort of wiggles his way out of the ropes holding him up. Once he’s free, he climbs the rope and gets himself down safely. 

Gotham holds their breath as the kid casually walks up to the Riddler, who’s mid-rant. He politely taps him on the shoulder, and as the Riddler is turning around, the kid clocks him just as brutally as he had the Joker. He’s down with one punch. 

They think he’s going to say another sort of awkward goodbye, but instead he pats the Riddler down until he finds a piece of paper tucked into the inside pocket of his jacket. 

“Right,” the kid says, looking at the list. There’s a lot more static overlay now, and several wonder if it’s damage to the cameras. “Uh, the Clocktower, the Docks, and-” he squints at the page for a moment-”Mama Nacaroni’s? What the fuck is that? Anyway, uh. See you later, I guess. Oh! And we’re at the Gotham Arena. Have fun with him, I guess.”

The kid tosses the paper off to the side before the camera cuts to black. 

Just like last time, everyone is out cold and tied up. The Riddler himself is sporting a pretty bad shiner, but well deserved nonetheless. 

“Stop it,” Red Hood tells him. Batman just looks at him, and though Hood can’t see the top half of his face, he can tell that his eyebrow is raised. “You know exactly what I mean, B. Put the adoption papers away.”

“Hn.”

—

After that, it sorta becomes a game. The rogues of Gotham are no longer after a Wayne, or after anybody who holds any kind of social status like usual. They’re all going after this one kid, all determined to be the one to hold him. And each one is televised. 

Mr. Freeze freezes him in a block of ice, but due to the cameras glitching out, nobody can really see how he got free. They do, however, see the kid suplex Mr. Freeze. It should seem impossible, given his lanky figure, but he evidently has more muscle than he’s originally let on. 

Two-Face gets a hold of him, using chains and some power-dampening cuffs just on the off-chance that he’s a meta. They all watch as the kid leans down, pulls a bobby pin out of his hair, and picks the locks on his cuffs. One punch, and Two-Face is down. 

Gothamites are going wild for the kid. They’ve dubbed him Feral McGee™ (an online poll, of course), because every time he goes in for the punch he gets this feral look in his eyes. Also, just the fact that he casually goes up to these rogues and takes them out with all the casualness of doing something incredibly mundane? Incredible. The Gothamites are eating it up. However, despite the video evidence, nobody has been able to properly identify the kid. They know he has black hair and bright eyes, but any time he gets near a camera, it’s like there’s this weird, sort of warped quality the camera takes on. It doesn’t usually calm down until the fight is done-as one sided as they usually are-before he awkwardly skedaddles away.  

He gets kidnapped by the Penguin, Harley Quinn and Poison Ivy (though that was more just a friendly chat than anything), Mad Hatter, and the Riddler again. 

And then the Joker escapes. 

It’s no surprise as to who he’s going to go after. 

Due to one too many careless goons, they manage to find their way to the Joker’s hideout pretty quickly. This time, it’s all Bats on deck, and they all hide away in the rafters as Feral McGee™ is hung over a vat of acid. His whole body is tied up, hardly a single inch of exposed skin to be seen except for the neck up. 

They watch the goons, they watch the Joker, and they watch Feral McGee™. 

The Joker is monologuing, practically begging the bats to come find him before the timer runs out. When it does, the kid gets dumped into the vat of acid. 

Despite these stakes, the kid seems to be only mildly annoyed. 

“Fuck this, I have homework I still need to finish,” they hear him say. 

They all watch, amazed and confused, as the kid starts gnawing through the ropes. Human teeth shouldn’t be able to do that so easily, but one bit after the other, and soon enough the kid’s got himself freed enough to just climb up the rest of the rope. When he’s at the top of the crane holding him up, Batman lets down a rope and pulls the kid up and out of danger. 

“Oh, cool, you’re all here,” the kid says casually, as if meeting the entire Bat Clan is just a normal Tuesday. And then he pulls out a notepad and pen and hands it to Red Hood. 

“Can I get an autograph? You’re dope as fuck, dude.”

Red Hood has to look away and hide his face in his arms for a few moments to not give away their location with his laughter before signing. And then, one by one, the others do as well. They pass along the kid’s notebook with shit-eating grins and barely contained snickers despite the fact that the Joker is still right below them. Even Batman signs it, after his children don’t stop hounding him about it. 

In their distraction, they didn’t see the kid sneak away. He’s far away from them now, nearly right over the Joker. Danny waits, though, until the Joker has turned around as the timer almost runs out. They watch as he snickers at Joker’s flabbergasted look. The Joker comically looks back and forth and under objects the kid obviously isn’t under. However, before he can do or say anything else, the kid drops from the rafters and right on top of the Joker. He crumples to the ground, unconscious. The kid, however, just brushes the dust off of himself. Despite the fall he took, there isn’t a scratch on him. 

When the bats join him, they give his notepad back to him, barely able to contain their laughter at the absurdity of it all. The kid, too, joins in the camaraderie, laughing and joking along with them as Batman secures the Joker. 

“Okay, okay, but I gotta ask, dude,” Red Hood says at one point, looking at the kid. “How do you keep getting kidnapped?”

The kid just shrugs. “I get distracted easily. And I’m sleep deprived, so you know. Social awareness is kind of at an all time low right now.”

“Why are you sleep deprived?” Nightwing asks, barely hidden concern in his voice. 

 “Finals are kinda kicking my ass right now. Especially this dumb English homework I have. You guys wouldn’t happen to know anything about that, would you?”

“Oh, lucky for you,” Red Hood says, wrapping an arm around the kid’s shoulders as he walks them out of the warehouse, “I happen to know a lot about English. So, it is Shakespeare?”

“Yeah, Midsummer Night’s Dream.”

As they walk off, Batman calmly watches, though the rest of the bats can see his jaw twitching. Nightwing comes up behind him, clapping a hand on his shoulder. 

“If you don’t adopt him, I will.”

“Hn.”

[thewriteadviceforwriters]

Creating Compelling Character Arcs: A Guide for Fiction Writers

As writers, one of our most important jobs is to craft characters that feel fully realized and three-dimensional. Great characters aren't just names on a page — they're complex beings with arcs that take them on profound journeys of change and growth. A compelling character arc can make the difference between a forgettable story and one that sticks with readers long after they've turned the final page.

Today, I'm going to walk you through the art of crafting character arcs that are as rich and multi-layered as the people you encounter in real life. Whether you're a first-time novelist or a seasoned storyteller, this guide will give you the tools to create character journeys that are equal parts meaningful and unforgettable.

What Is a Character Arc?

Before we go any further, let's make sure we're all on the same page about what a character arc actually is. In the most basic sense, a character arc refers to the internal journey a character undergoes over the course of a story. It's the path they travel, the obstacles they face, and the ways in which their beliefs, mindsets, and core selves evolve through the events of the narrative.

A character arc isn't just about what happens to a character on the outside. Sure, external conflict and plot developments play a major role — but the real meat of a character arc lies in how those external forces shape the character's internal landscape. Do their ideals get shattered? Is their worldview permanently altered? Do they have to confront harsh truths about themselves in order to grow?

The most resonant character arcs dig deep into these universal human experiences of struggle, self-discovery, and change. They mirror the journeys we all go through in our own lives, making characters feel powerfully relatable even in the most imaginative settings.

The Anatomy of an Effective Character Arc

Now that we understand what character arcs are, how do we actually construct one that feels authentic and impactful? Let's break down the key components:

The Inciting Incident

Every great character arc begins with a spark — something that disrupts the status quo of the character's life and sets them on an unexpected path. This inciting incident can take countless forms, be it the death of a loved one, a sudden loss of power or status, an epic betrayal, or a long-held dream finally becoming attainable.

Whatever shape it takes, the inciting incident needs to really shake the character's foundations and push them in a direction they wouldn't have gone otherwise. It opens up new struggles, questions, and internal conflicts that they'll have to grapple with over the course of the story.

Lies They Believe

Tied closely to the inciting incident are the core lies or limiting beliefs that have been holding your character back. Perhaps they've internalized society's body image expectations and believe they're unlovable. Maybe they grew up in poverty and are convinced that they'll never be able to escape that cyclical struggle.

Whatever these lies are, they'll inform how your character reacts and responds to the inciting incident. Their ingrained perceptions about themselves and the world will directly color their choices and emotional journeys — and the more visceral and specific these lies feel, the more compelling opportunities for growth your character will have.

The Struggle

With the stage set by the inciting incident and their deeply-held lies exposed, your character will then have to navigate a profound inner struggle that stems from this setup. This is where the real meat of the character arc takes place as they encounter obstacles, crises of faith, moral dilemmas, and other pivotal moments that start to reshape their core sense of self.

Importantly, this struggle shouldn't be a straight line from Point A to Point B. Just like in real life, people tend to take a messy, non-linear path when it comes to overcoming their limiting mindsets. They'll make progress, backslide into old habits, gain new awareness, then repeat the cycle. Mirroring this meandering but ever-deepening evolution is what makes a character arc feel authentic and relatable.

Moments of Truth

As your character wrestles with their internal demons and existential questions, you'll want to include potent Moments of Truth that shake them to their core. These are the climactic instances where they're forced to finally confront the lies they believe head-on. It could be a painful conversation that shatters their perception of someone they trusted. Or perhaps they realize the fatal flaw in their own logic after hitting a point of no return.

These Moments of Truth pack a visceral punch that catalyzes profound realizations within your character. They're the litmus tests where your protagonist either rises to the occasion and starts radically changing their mindset — or they fail, downing further into delusion or avoiding the insights they need to undergo a full transformation.

The Resolution

After enduring the long, tangled journey of their character arc, your protagonist will ideally arrive at a resolution that feels deeply cathartic and well-earned. This is where all of their struggle pays off and we see them evolve into a fundamentally different version of themselves, leaving their old limiting beliefs behind.

A successfully crafted resolution in a character arc shouldn't just arrive out of nowhere — it should feel completely organic based on everything they've experienced over the course of their thematic journey. We should be able to look back and see how all of the challenges they surmounted ultimately reshaped their perspective and led them to this new awakening. And while not every character needs to find total fulfillment, for an arc to feel truly complete, there needs to be a definitive sense that their internal struggle has reached a meaningful culmination.

Tips for Crafting Resonant Character Arcs

I know that was a lot of ground to cover, so let's recap a few key pointers to keep in mind as you start mapping out your own character's trajectories:

Get Specific With Backstory

To build a robust character arc, a deep understanding of your protagonist's backstory and psychology is indispensable. What childhood wounds do they carry? What belief systems were instilled in them from a young age? The more thoroughly you flesh out their history and inner workings, the more natural their arc will feel.

Strive For Nuance

One of the biggest pitfalls to avoid with character arcs is resorting to oversimplified clichés or unrealistic "redemption" stories. People are endlessly complex — your character's evolution should reflect that intricate messiness and nuance to feel grounded. Embrace moral grays, contradictions, and partial awakenings that upend expectations.

Make the External Match the Internal

While a character arc hinges on interior experiences, it's also crucial that the external plot events actively play a role in driving this inner journey. The inciting incident, the obstacles they face, the climactic Moments of Truth — all of these exterior occurrences should serve as narrative engines that force your character to continually reckon with themselves.

Dig Into Your Own Experiences

Finally, the best way to instill true authenticity into your character arcs is to draw deeply from the personal transformations you've gone through yourself. We all carry with us the scars, growth, and shattered illusions of our real-life arcs — use that raw honesty as fertile soil to birth characters whose journeys will resonate on a soulful level.

Happy Writing!

[zarameraki]

˖°🦇 ࣪𖤐 𝐭𝐨𝐣𝐢 𝐢𝐬 𝐲𝐨𝐮𝐫 𝐛𝐨𝐝𝐲𝐠𝐮𝐚𝐫𝐝 ˖°🦇ִ ࣪𖤐

: ̗̀➛ tropes: fem! reader 𖥔 mention of suicide 𖥔 minors do not interact 𖥔 unprotected sex 𖥔 bodyguard x senator’s daughter 𖥔 porn with plot 𖥔 banter 𖥔 sarcastic mmc x fmc who’s tired of his bs 𖥔 neck kissing 𖥔 alternate universe 𖥔 praise 𖥔 soft toji 𖥔 biting 𖥔 nipple play 𖥔 toji’s not an ass for the first time 𖥔 close proximity 𖥔 dirty talking 𖥔 bathtub sex 𖥔 small pillow talk 𖥔 nsfw 𖥔 smut

: ̗̀➛ words: 5.9k

: ̗̀➛ notes: this is my first one-shot and of course it had to be about my favourite unhinged man. i promise it’s good, y’all. if you have any requests, don’t hesitate to send them. pls follow, reblog, like, comment—whatever you want! okay love you and enjoy.

You hated being the senator’s daughter—burdened by the title you never chose. Despite the grandeur that surrounded you, you despised the life you were born into. The opulent dinners, the endless social events, and the constant scrutiny from the public were chains that bound your spirit.

If you had any spirit left to spare.

You yearned for a life of your own, away from the suffocating expectations that came with your father's political stature. You resented the polished façade you had to maintain, the carefully crafted image that hid your true self. The constant presence of the media felt like an unrelenting spotlight, casting darkness over your desire for anonymity.

The large ballroom was ablaze with sparkling lights and the murmur of conversations mingled with the soft strains of a live jazz band. You found herself at the center of attention, a reluctant participant in the grand social affair, unwillingly cornered by a persistent suitor your mother had chosen from the roster. Apparently, his family wealth and business ventures were the most fascinating topics he could think of.

You wore a forced smile and desperately sought a way out of the conversation. Your eyes darted across the room, searching for an escape route.

". . . you see, our corporation has been at the forefront of innovation for decades," the suitor boasted, gesturing expansively with his hands. "We practically built this city. My great-grandfather was a visionary, and my father has expanded our influence globally. I'm destined to take it to even greater heights."

“How wonderful,” you muttered. The suffocating aura of the suitor’s self-importance lingered in the air. Just as he reached out to place a possessive hand on your arm, a deep, graveling voice cut through the conversation.

“Careful,” warned Toji. His eyes, sharp and vigilant, locked onto your suitor’s hand, which froze in mid-air. “Take a step back, and we won’t have a problem.”

The suitor, momentarily taken aback, withdrew his hand with an affected chuckle. "Ah, my apologies. I was only admiring your bracelet. It's exquisite, really."

You shot Toji a glare as you replied, "Thank you for your compliment. If you’ll excuse me, I’ll be returning home now. Senatorial matters to attend to, you understand."

His eyes narrowed, and he attempted to regain control of the situation. "But surely, darling, you wouldn't want to miss the grand finale of the evening. There's a surprise performance that my connections secured."

Before you could respond, Toji stepped forward, a stern expression on his face. "The evening is over, Mr. Mahito. She has other obligations to fulfill."

Mr. Mahito, a name you’d forgotten at his ‘hello,’ glared at Toji but wisely chose not to challenge the imposing figure. With a forced smile, he nodded and said, "Of course, I understand. Until next time."

As if.

Toji couldn't help but scoff under his breath, earning a side glance from you. "Does he ever run out of compliments for himself?"

You sighed. "He's harmless, Mr. Zenin. Just trying to impress, that’s all."

"Harmless, maybe, but annoying as fuck."

You eyed Toji with curiosity. "Why the sudden interest in my love life, Mr. Zenin? Jealousy, perhaps?"

He smirked, a rare hint of vulnerability in his eyes. "Jealousy? Princess, I guarantee you, I'm far too professional for such bullshit.”

You shot him a playful glance. "You know, if you were a little less broody and a bit more charming, you might have a chance."

His facade cracked, and a genuine smile played on his lips, that scar stealing your attention again. "Charm has its time and place.” He opened the back door of the limousine and nudged you inside. “I prefer to keep you safe."

Toji was insufferable just as he was tall. Dressed in a compressed black t-shirt that accentuated his broad shoulders and chiseled torso, he exuded an air of quiet intensity. The long, dark tendrils of his hair poked his half-hooded eyes that always carried a mist of amusement. He was a silent guardian who navigated seamlessly between your shadows and the limelight.

You remember the first day your father had introduced your newly assigned bodyguard. All you could do was ogle the devilishly handsome man and pray your father and his security detail didn’t hear you swallow too hard or sit with your legs clenched together.

You appreciated the fact that he was fantastic at his job. At least in the first couple of months. But after you’d started your fourth year at university, Toji practically glued himself to you.

It was like he was your shadow, and you couldn’t escape. You get it, Dad was a senator, and security is essential, but did they have to assign you the clingiest bodyguard on the planet?

You’d gone on a blind date a few weeks back with yet another pretentious finance head, and Toji had himself stationed on the table adjacent to yours. When your date had stepped out to use the bathroom, Toji leaned over the table, and you remember how his biceps had flexed and that infuriating smirk played at his lips.

"Princess," he drawled, using that irritating nickname he's given you. As if being the daughter of a senator automatically made you royalty. "You should smile more. It might help with those lines forming on your forehead."

You hoped he choked on his own smugness.

But then there were those moments when the loneliness crept in, and the isolation became too much to bear. In those moments, his sarcastic banter was a lifeline, a distraction from the weight of your responsibilities. You found yourself craving the very company you claimed to detest.

You caught him smirking as you glanced in the rearview mirror, and for a moment, you forgot about the suffocating expectations, the political games, and the constant surveillance.

It's just you and Toji.

The soft hum of the elevator filled the air as you and Toji stepped into the sleek, mirrored enclosure leading up to your apartment. You looked like you had just stepped out of a battle with a jungle cat. Your eyes, once vibrant, were now shadowed with fatigue, and your normally impeccable hair fell in disarray around your shoulders.

You sighed, the weariness evident. "I can't believe this day. Non-stop meetings, interviews, endless parties, and galas. I feel like I've been running a marathon in heels."

"Well, at least you made it out in one piece, Princess."

You fired him a tired glare. "Don't call me that. You know I hate it."

"Sure thing, Your Highness," he replied, a teasing edge in his voice.

As the elevator smoothly ascended, your legs wobbled, and you swayed slightly. Without thinking, you reached out for support, your hand landing on Toji’s muscular arm. He felt the sudden weight and turned to look at you, eyebrows raised to the roof.

"Whoa there, easy," he said, his voice softer than before.

You blushed an outlandish shade of red. "I'm sorry. I'm just so exhausted. I didn't mean to—"

Toji cut you with a grin, his tone filled with mock concern. "Princess, if you're going to faint, at least do it gracefully. No need to ruin my reputation as the best bodyguard in town."

You rolled your eyes, but a small smile played on your lips. "I'm not going to faint. Just a moment of weakness. That’s possible for even women like me, you know."

He chuckled. "Well, weak moments can be dangerous, especially in this line of work. You never know who might take advantage."

The elevator pinged, announcing their arrival at your floor. You straightened up, a renewed sense of determination in your eyes. "Thanks for the concern, tough guy, but I'll manage." You punched in the key code of your apartment door, the security light flashing green. "You can head home now. I’ll be fine from here."

"Oh, absolutely, Princess. But you know the drill—protocol and all. Can't leave the precious cargo unattended until it's safely delivered to its destination."

Your patience was wearing thin as you turned and brushed chests with the jester in black. “Mr. Zenin, for the hundredth time, I don't need an escort to my front door. I can handle myself."

Toji chuckled, the sound low and teasing. "Sure, sure. But what if a rogue pigeon attacks you on your way in? Or a gust of wind blows too hard, and you lose your balance? It's a treacherous world out there."

“We are indoors. There’s no rogue pigeons or a windstorm.”

Toji wore his stubbornness alongside his pride. “Just doin’ my job.”

You sighed, realizing arguing with him was futile. "Fine, come in if it makes you feel better, but then you're leaving."

"Sure," he said, holding the door open with a flourish as you entered the sterile, monochromatic apartment. From the high ceilings to the marble flooring, it was all your mother’s idea. For God’s sake, it was your apartment. You wanted earthly tones, Persian rugs, and a cat. A European tabby. You have wanted it since the day you were born because being an only child was like living in a house full of ghosts.

Your heels hit the floor with a muted thud, and your shawl cascaded down in a haphazard swirl as you brushed it off your shoulders. You sunk into the plush armrest of the couch, sighing deeply as you closed your eyes, attempting to shake off the fatigue that clung to you like a second skin. You were beginning to regret the three glasses of champagne to tune out tonight’s event.

"So, I’m guessing you’ve got another glamorous night in the political arena tomorrow, huh?" Toji asked.

You opened your eyes, your gaze meeting his, and managed a weak smile. "You have no idea. Sometimes, I feel like I'm caught in a never-ending dance of smiles and handshakes."

He pushed himself off the doorframe and strolled toward you. "Well, lucky for you, I'm a decent dance partner. Just not sure about my smile and handshake skills."

You wanted to tell him he had a nice smile, that the scar really added a touch of mystery to him—a mystery that kept you on your toes. He also had really large hands that you found yourself staring at during meetings or drives.

You ran a hand through your hair, loosening a few strands that framed your face. Toji’s eyes lingered on you, a subtle appreciation in his stare. Without thinking, he stepped in front of you, his fingers gently tucking the stray hair behind your ear.

"You've got a talent for getting yourself into these messes, Princess," he remarked, his voice low and intimate. His touch lingered, brushing against your cheek and then down to your neck. Unintentionally, his fingers traced the soft skin.

Your breath caught, the unexpected contact sending a shiver down your spine. You met his eyes, finding a silver of vulnerability in his usually cheeky behavior. For a moment, the air crackled with an unspoken tension. Toji, realizing the accidental breach of boundaries, withdrew his hand, mumbling, "Got a bit carried away there."

Your tired eyes softened with a mix of surprise and something else you couldn't quite place. "It's okay, Mr. Zenin. Just . . . let's just chalk it up to exhaustion.”

He straightened up. "Yeah, exhaustion. That's exactly it."

Nodding, you stood from your spot and awkwardly patted his shoulder. “You can see yourself out."

He raised a fascinated brow at the gesture, the scar curling up in a half-smile.

As you made your way upstairs to the bedroom, you couldn't shake the feeling of Toji’s calloused fingertips circling from your ear, knuckles softly brushing your cheekbone and down to your neck. The sensation lingered, sending shivers down your spine.

You entered the bathroom, the cool tiles beneath your feet a stark contrast to the warmth building within you, turning on your bathtub’s faucet. The running water drowned out your racing thoughts as you undressed. Your fingers traced the curves of your body, and your eyes, filled with self-doubt, studied your reflection in the bathroom mirror. The image staring back at you was proof of years of dieting imposed by your mother's relentless pursuit of the perfect political image.

You sighed, shoulders slumping, yet the boulders of burden settled upon them refused to fall. As you raised your head, you caught a glimpse of someone in the reflection behind you. “What the f—” A chill ran down your spine as you turned around, heart pounding.

There, in the doorway, stood Toji, his green gaze fixed on your face.

“What the hell are you doing here?" you demanded, wrapping your arms protectively around your breasts, hand covering your lower region.

Toji’s eyes softened, his usual sarcasm substituted by concern. "I heard you talking to yourself. Thought you might need some company."

Your cheeks flushed with embarrassment. "That's not an invitation to barge in!"

“I'm your bodyguard, and part of my job is to make sure you're secure, even if it means guarding you in your own bathroom.”

“I'm perfectly safe in my own bathroom. Besides, you're not my babysitter."

Obviously, he ignored you and took a step closer to the tub, his eyes never leaving yours. He turned off the faucet just as the water was at the perfect level. His hand dipped in the steaming water. “Hot.”

“Oh my god, get out!”

“Get in.”

“What?”

“Get your ass in the tub.”

You rolled your eyes but didn't back down. "I'm not getting into that bathtub with you hovering over me like a hawk."

Toji sighed exasperatedly.

You raised an eyebrow, intrigued by a crack in his patience. "What's so urgent that you can't leave me alone for five minutes?"

He hesitated for a moment before smirking. "I want to wash your hair."

"Wash my hair?" you echoed.

"Yeah. I heard it's the latest trend in personal security."

You shouldn’t have chuckled, but you did anyway. Everything about this situation had blown out of proportion, escalated from zero to a million, and put an interesting mark on your otherwise professional relationship with your bodyguard.

Toji extended his hand, a silent invitation. You were at his beck and call in five seconds, lowering your hands from your bare body, and not once did he check you out. However, the tick in his jaw and the subtle flare of his nostrils easily gave him away. You accepted his hand, feeling the warmth of his palm against yours—his touch was firm yet gentle. You gingerly stepped into the embrace of the steaming water, sinking low until it covered your shoulders.

Toji wet your hair before squeezing a handful of shampoo into his palm, his hands strong yet gentle as he began to work the lather into your hair. His fingers moved in rhythmic circles, massaging your scalp with a skill that spoke of experience. The sensation of his touch, combined with the warm water, created a cocoon of comfort. The tension in your shoulders seemed to melt away, replaced by a strange but welcome calm.

"Seriously, though, why are you doing this?” you asked. “Bodyguards aren't typically known for their hairdressing skills."

Toji flashed a wry grin. "Rumor has it that a well-groomed princess is a happy princess. Plus, it's in the fine print of the bodyguard handbook—section 37, subsection B: 'Haircare Duties.'"

“But I’m not a princess.”

“Not to me,” he murmured.

As the water streamed down your back, you closed your eyes, surrendering to the tranquility of his caretaking. "Mr. Zenin," you whispered, your voice a gentle hum, "this is a side of you I never knew existed."

He chuckled softly, continuing to pour water over your hair. "I wear many hats, Princess. Tonight, I'm just Toji."

Your eyes opened, meeting his gaze. “Toji.”

He paused for a moment, his hands still in your hair. The only sound was the rhythmic patter of lingering water droplets leaving the faucet. You could feel the shift in his demeanor, a subtle tenseness that hadn't been there before. It was as if the temperature in the room had dropped a few degrees.

He cleared his throat, a nervous habit you had never noticed before. “First time you’ve said my name.”

Oh.

In a daring move, Toji let his fingers linger on your neck, his touch feather-light. Your breath hitched in your throat, or maybe it was his hand curling around your trachea that stopped it. He leaned down, his nose brushing against yours. If he kissed you now, you would never look at your bathtub as a source of taking your own life again. If he kissed you now, you would never look at him the same again. If he kissed you now, you’d drown in it. It would be the only time you willingly would without coming back up for air at the last minute.

Your hand reached up and cupped the back of his head as a green sign. Toji leaned down, his lips brushing against yours. The world seemed to hold its breath as he lingered there for a moment. Then, with a slow and deliberate motion, he parted your mouth with his tongue, seeking permission, and you welcomed him wholeheartedly.

But as quick as the kiss happened, the quicker he pulled back.

“Fuck.”

Your heart sunk.

Fuck, indeed.

Confusion and hurt flickered across your face as you struggled to comprehend the sudden twist in your actions. You hadn't considered the consequences, the potential risks that a romantic entanglement could pose to both of you. The weight of your privilege and his responsibility pressed heavily on both of your shoulders. "Toji, I thought . . .”

He suddenly stood, and you reached out with your hand, grazing his arm, frightened that he was going to walk away and leave you wallowing alone in your guilt. "Well, well," he drawled, the corners of his mouth lifting in a sardonic smile. Slowly, he tilted your chin up with a gentle touch. "I never thought I'd see the day when the senator's daughter would be so desperate for her bodyguard's attention."

A flush of embarrassment crept up on your cheeks, and you tried to pull away, but Toji’s grip on your chin remained firm.

“Desperation suits you, Princess," he continued, his tone light but with an undercurrent of something you couldn't quite place. "But remember, we're playing with fire here."

"You're one to talk, Mr. Zenin. Who kissed who first?"

His laughter echoed throughout the bathroom. "Touché, sweetheart. Touché."

You lowered your eyes, hugging your knees to your chest. “Whatever. You can leave now.”

“Leave? Not a fucking chance.” Toji’s boisterous laugh made you jump. He started taking off his shirt and tossing it aside. “It’s your turn to wash my hair.”

“W-What?”

He responded by unbuckling his belt and lowering his trousers, leaving him in his boxer briefs. Your hands covered your eyes when he was completely naked and incredibly erect. “What, you’ve never seen a naked man before, Princess?”

“Once,” you mumbled. You weren’t a virgin, a secret only you knew. It was during the first-year of university when you’d hooked up with one of your mother’s best friend’s son. Both your families had high hopes of an engagement, but you were against the idea. Thank goodness for that. He’d lasted about five minutes into the sex before collapsing on top of you. It was a painful disaster.

“You just signed a man’s death wish,” Toji said, settling into the tub with you. The water sloshed around him, cascading over the edges of the tub and creating small puddles on the marble floor.

“You shouldn’t be doing this,” you whisper breathlessly.

"Taking a bath? Now, now, sweetheart. Don’t be mean." He reclined against the tub's porcelain edge, the water clinging to the contours of his muscular frame. “Why are you so far away? Come here.”

Your body defied your intentions as it glided away from the corner, moving towards him. His left leg extended while the right one bent, with the cap of his knee emerging from the water. Your small hand cradled it, guiding you closer until you were seated just inches away from his erection.

Toji splashed water over your face, causing you to yelp in surprise.

“Toji!”

“Eyes up here, sweetheart.” He tilted his head back, accentuating the chiseled contours of his jaw. His chest resonated with laughter. “You’re so pretty when you blush for me.” His large hand slithered to your nape and tugged you forward, claiming your lips in a feverish, powerful kiss, where his teeth pulled your bottom lip and sucked on it. It frustrated you that, once again, he broke away first, leaving you to whimper. “Turn around. On all fours.”

The questions fizzled out on your tongue. “Are you going to . . .”

“Fuck you?” He arched an eyebrow, the damp strands of his hair swaying in sync with the tilt of his head. “Fuck yes.” His lashes lowered, giving his eyes a dangerously dark glint. “Unless you don’t want me—”

“No!” The words slipped out before you could stop them. “No, I never . . . I want you to.”

“To what?”

Oh, he was really a dick. “I . . . want you to fuck . . me.”

He wet his bottom lip. “How do you want me to fuck you, sweet girl?”

Your chest rose and fell in synchrony with the ebb and flow of the situation. “I don’t know. I’ve only had sex once.”

“Baby, there’s a major difference between having sex and being fucked.”

On cue, your legs instinctively clenched in an attempt to find relief. “Are you clean?”

Toji raked his fingers through his hair and made a spinning gesture with his finger. Your body followed the motion, turning away from him and gripping the tub’s edge. “Wanna know a secret, Princess?”

“Uh, sure.”

The heat emanating from his chest pressed against your back. “I got a check-up the day I was assigned to you.” A sentence that visibly made you shudder. Of course, the insufferable bastard had planned this circumstance ahead. “I knew that sooner or later, I’ll have the senator’s daughter naked and needy underneath me. That I’ll have my cock buried deep within the tight walls of her sweet, sweet pussy, as she milks every last bit of my come. That I’ll watch as it drips out her hole and down her soft thighs.” He extended his arm and delicately lifted the drain plug with his fingers, allowing the water to gracefully swirl away from the bathtub. “I jerked off to the thought almost every night.”

“So, you accepted this job just to get a chance to sleep with me?” Your confidence tanked, and your body prepared itself to leave the tub. “Go to hell—”

Toji wrapped his palm around your hair three times, pulling it taut as he drew you back, pressing you firmly against his chest. “I wasn’t finished talking.”

“Let me go!”

“Know what I do when I escort you to your apartment, Princess?” He wasn’t gentle with cuffing his hands around your neck, immediately silencing you. “I wait like a fucking dog outside until you’re asleep. Then, I walk back in, clean up around your kitchen and living room because you’re too tired to do your chores, and after playing your maid, I tuck you into bed. I watch you sleep, even letting you hold onto my hand, until the moon exchanges for the sun. And I’ve been doing this for the past six fucking months.” He jerks your head to the side, his glare cold and cutting. “So, no, Princess, I didn’t accept this damn job to fuck you. This was just a side perk.”

"Oh," was all you could manage to say. The mystery behind the polished kitchen sink, the mugs and dishes neatly stowed away, the meticulously organized closet, and the unexpected peaceful nights of sleep settling within you finally unraveled. The source of your newfound stability, one that encouraged you to gradually wean off your anti-anxiety medication, was none other than your bodyguard who, unbeknownst to you, had been quietly tending to your well-being in the shadows.

Toji's gruff voice murmured near your ear, interrupting your contemplation. "You're mine, not only in body but in soul, sweet girl. No one—absolutely no-fucking-one—gets to lay a finger on you when I'm around. I won't let you out of my sight, not even for a moment."

You nod, curving your cheek and giving him a simple, soft kiss. “Will you wash me afterward?”

“Every time.”

“Will you sleep alongside me?”

“Every night.”

“And day?”

“Every day.”

“You promise?”

Toji didn’t answer, and you didn’t want to push the fantasy any further given your roles.

You’d made up your mind and rested your head back on his shoulder, a smile naturally splaying at your lips. “Don’t hold back, big guy.”

Toji kissed the side of you neck and nudged you forward so you were gripping the tub’s edge once again. His calloused, rough hand ran down your spine and settled on one-half of your ass. “So soft here.” He delivered a forceful slap, firmly grasping the flesh between his nails, stretching your skin taut, then spanking you again and again and again until your pussy was practically salivating for his fingers. “Fuck, you’re so wet already, baby.” He spat on his fingers and slipped through the slit of your soaking pussy, circling your swollen clit in fast motions. “When’s the last time anyone’s fucked this neglected pussy? Made you spread your legs and rubbed your pretty, puffy clit?” You moaned and broke into choppy gasps, pushing your ass closer to his fingers. “Your private tutor didn’t teach you a lesson on patience?”

“Toji, please.”

“Shh. I know, I know.” He mocked your desperation, gathering your hair in his fist. “Let’s see how many fingers my sweet girl can take.” Toji drove in two digits before you could blink, a maniacal chuckle escaping him as he skillfully moved them in and out, savoring the sounds of your pleasure-filled cries. “Yes, baby. Oh, yes. One more, okay?” His ring finger forced itself in, eliciting a groan from both of you. “Fuck, fuck, fuck.” He rested his thick fingers inside your warmth for a minute, feeling you clench and suck him in.

“Toji— Too much—”

“Not enough, sweet girl.” He began moving, easily hitting the spot that had your toes curling inwards. “You can take it, baby. I know you can take it.” You proved him by grinding back on his palm. “That’s it, sweetheart. Fuck yourself on my fingers. Such a good girl.” The squelching sounds crowded the bathroom, your release seeping out of you without you knowing. You cried out as he relentlessly thrusted his digits, gathering your sticky mess on his fingers and bringing it to your lips. “Taste how sweet you are.”

Your mouth covered his slick, white-coated fingers, tongue wrapping around them and suckling them deep towards the recesses of your throat. The sounds of you gagging made him grunt and sink his fingers ever further before pulling them out abruptly, strings of your saliva and release bridging the space in between.

Toji, with a sly grin, licked his fingers clean, shooting a playful wink at your flushed and flustered demeanor. “Delicious.”

Arm around your waist, Toji easily carried you back and turned you around so you were facing him, straddling his sturdy thighs. A rugged exhale escaped his lips, akin to someone who had endured a grueling day of manual labor. With muscles flexed, he extended his arms on either side, creating a protective barrier around the edge of the tub.

“You’re so beautiful,” he murmured, drinking in your figure.

“Thank you.”

“No, baby. You don’t say “thank you” to me if I compliment you. You say “I know,” and move the fuck on.” He rubbed his hand up and down your thigh, cupping the side of your waist. You jumped when he flicked at your stone-hard nipple. “You’re sensitive there, huh?”

You mumbled, “Everywhere.”

“Speak up, sweetheart.”

“Everywhere,” you said with a volume that made him tip his head back and study you through the hooded slit of his eyes. “What you did, with your fingers, it felt good. Really good.”

“I know,” he replied, winking. “Want me to make you feel fucking fantastic, sweet girl?”

You nod, anticipating his next—

“Sit on it,” he said languidly.

“What?”

“Sit on my cock, Princess.”

He truly had a way with his words.

And you had grown accustomed to them.

Rising on your knees, you stumbled forward and aligned yourself on his ramrod erection, white beads of pre-cum leaking from the pink tip. He gripped the base of it, allowing you to sink down on his long, girthy length.

“Shit,” he breathed out, head lulling back.

“You’re—You’re too big.” The words strained out of you as you sought a comfortable position to move in. “Oh, God. Toji, I don’t think—”

He swallows your following words with his lips, cradling your flushed face in his hands. You instinctively wrapped your arms around his neck. “It’s okay, sweet girl. Get yourself comfortable because, in a minute, I’ll make you forget the word ever existed.”

“Oh, God.”

“Toji, baby. The name’s Toji. Fucking say it.”

“T-Toji . . . ”

He lowered his head and grasped your left breast, fondling it like a stress ball as if his stress levels were beyond the roof. You mewled when he pinched your nipple and stretched it out, heating it between his fingers. His lips latched onto your right breast, cheeks concaving as he sucked hard.

You were a lost cause at that point, watching him nibble the swollen bud between his teeth, giving you that devilish smirk. “Fuck, baby. Your nipple tastes so sweet.” His tongue circled around it, pulling it taught in his mouth. “Maybe I should make you a mother just so I get to taste the milk that’ll leak from them.”

“You’re so dirty,” you whispered, ignoring the sudden film reel of you and Toji and your children gathered around a Christmas tree in an apartment smaller than this, in a life quieter and more private than yours. You needed clinical help.

“I know you’re thinking it.” He released your nipple with a pop and kissed your lips. “Soon, sweetheart.”

Soon?

Toji didn’t allow you to overthink anymore before grappling your ass and raising it high off his cock, until only his tip remained in you. “Hold on tight.”

He pounded you down.

You yelped and stabbed your nails into his shoulders, shouting out, “Fucking hell!” which, obviously, made him burst out laughing, all while ramming you down on his cock, burying himself to the hilt.

“Toji—ah!”

Tears streaked down your cheeks, which he quickly wiped away with his tongue, kissing each eye as if it were your mouth. He thrusted up into you in a staccato rhythm, gripping your nape to keep you steady in place. Your high-pitched whines and empty complaints fueled him to push both of your limits.

“Don’t let this get to your head,” Toji gritted out, a layer of cockiness in his voice, “but I’ve never once fucked anyone in this position.”

Well, that made you feel special, you supposed.

Actually, it made you want to try harder to please him. If you did well tonight, you could try every position in his book. So, you pressed your hands against his pecs and swirled your hips in circles, slowing his thrusts so you could take control. He was fascinated by your body, by your sudden superiority, settling his hands on your waist while you rode him insistently.

“Look at you riding my cock, baby,” Toji muses. “Look at you go. Just like that, come on. I know you can move faster.” He admired the movement of your breasts, the sweat-beads that crystallized on your skin, how your drowsy eyes rolled to the back of your head. You felt his cock twitch uncontrollably within your hot, sticky walls, felt the thick tip of it penetrate the spot that pushed you to the precise of your orgasm.

But your exhaustion caught up to you faster than your climax, causing your body to grow limp and slump against his chest. Toji embraced you, settling one hand on the back of your head and the other on your ass.

“You did well, baby,” he whispered into your hair.

“Don’t lie to me. You didn’t come.”

“Neither did you.”

You nuzzled your nose in the crook of his neck, circling your shaky arm around his strong neck. “I’m close, Toji. I’m almost there. I promise.”

That’s all it took for him to drive back up into you, grunting expletives and praises in your ear—fuck, oh, fuck, ah, fuck, such a good girl, my sweet fucking girl, oh, your pussy is so tight, so pretty, made just for my cock—while holding you flush against his sweaty chest. You kissed his temple and clutched his hair, breathing in the scent of your lavender-honey shampoo and his natural musk. He continuously mumbled, “Come on, baby, come on. Come for me. Come on my cock, sweet girl.”

And you did. With a cry that hitched in your throat, with your nails dragging down his shoulder blades, with his teeth sunk into your neck, with your bodies sweat-struck and panting like wild horses.

Toji drew you back and ran a hand on your cheek, brushing away the damp strands sticking to your cheek. “Good?”

You breathed out through your open mouth, the organ inside your chest hammering to break out. “Fan . . . tastic.”

He smiled warmly, not the arrogant-cocky kind you were used to receiving, and pressed his lips to yours. No tongue, nothing. Just a simple, chaste kiss. “Time to wash up, Princess.”

Switching from the tub to the shower stall, you began to wash Toji’s hair with your lavender-honey shampoo. You anticipated his complaints, but all he did was sit silently on the seat, using a loofa to clean your body. He complimented the curves of your figure, even taking a sneaky nip at your breast, then chuckling at your reaction. Like a gentleman, he dried off your wet body, combed through your wet hair as he blow-dried it, and then it was his turn, but of course, he forced you onto his lap while you did.

“How’d you get this scar?” you asked as you two lay in your bed, naked with your limbs tangled with each other. For the past hour, all you’ve done is trace your finger over his brows, his sharp, pointed nose, and his lips. “You don’t have to tell me—”

“Family. That’s all.”

“Okay,” you whispered, snuggling your face under his jaw and wrapping your arm around his torso as far as you can.

“You’re clingy, aren’t ya’?” he teased, hooking your leg over his hip.

“Was I too out of character for you, Mr. Zenin?”

You felt his smile on your crown accompanied. “You’re not a character, Princess. You’re a real person.” His hug around your sore body tightens as if you’re about to escape any minute. “It’s overwhelming how real you are, Y/N.”

“Did you just call me by name?”

He raised a brow, voice laced with charming sarcasm. “Was I too out of character for you, Y/N?”

Your hand cupped his cheek, stroking the scar by his lip. “You’re perfect, Toji.” You kissed the wound, the middle of his lips, and the tip of his nose for a good measure.

“Stop acting cute and sleep, Princess. You’ve got a tea party in the morning.”

Groaning, you decompress in his hold. “Goodnight, Toji.”

“Night, sweet girl. Dream of me.”

“You, too.”

“Always.”

[13uswntimagines]

Rainbowfish (Leah X Alessia X child!r)

Request: R calls Leah mom for the first time.

Part of the Big Emotions universe- find more here.

Warnings: none. Cute Kid Fic.

Author's note: TBH I'm not entirely sure how I feel about this one, and the ending is a bit short, but I wanted to get it out. Also, I know in the UK it's Mum and not Mom, but that's a plot point I want to explore later Lol. Please enjoy and let me know what you think.

Your bedtime story was very important business in the Russo-Williamson household. 

It was the one part of your routine that never ever changed. The one part that you would refuse to sleep without (aside from a few weeks during the World Cup). 

It was your absolute favorite part of the day, being cuddled into your Mama’s side with Squirt as she read you the book of the night. She did all the little voices and gently scratched your back. it never failed to send you straight to sleep. Most of the time you didn’t even make it through the book. 

Alessia treasured it. 

No matter how busy your days were, she made sure she got to read you your story. In the days with Manchester United, it had been the only time she really got to spend with you regularly. Things were better with Arsenal and since you had moved in with Leah, but your routine had stuck, and Leah respected that it was your special time with your mama.

“‘Thank you! Thank you so much!’ The little blue fish bubbled playfully, as he tucked the shiny scale among his blue ones,” Alessia read, watching as your tiny fingers traced the tiny shimmering scale on the blue fish on the page, made of a different material than the rest. 

It was your favorite part of The Rainbow Fish. 

His scales were different from the pages, so they shimmered in the fairy lights around your room. 

“Is Leah Rainbow Fish?” You asked, running your fingers over the fish. 

Alessia’s eyebrows pulled together, a crinkle forming between them (identical to the one you always got). “What do you mean bug?”

“Is that why people always stop her?” You glanced up at your mama, meeting eyes that were identical to your own. “So she give them a shiny scale,” 

You wondered how she hid them all under her clothes. Maybe that was why people always wanted her and your mama to take their shirts off, to see their shimmery scales. 

Alessia hummed, rubbing her hand through your messy curls. “Leah is kind of like a Rainbowfish, but instead of giving away scales, she reminds people that they’re special too,”

A little crease appeared between your eyebrows as you processed the thought, and you dragged your little finger from the Rainbow fish towards the larger fish on the page. “Is Leah my mommy like Rainbow fish has mommy?”

Alessia eased another curl from in front of your eyes, tucking it behind your ear. “Do you want Leah to be your mommy?”

You nodded. “She does bath time, and plays with me, And never forgets the popcorn for movie night,”

“She does,” Alessia agreed, her lips turning into a fond smile. 

“And she loves us,” You continued, meeting her eyes. 

They shined in the fairy lights of your room, glimmering with an innocence that Alessia would protect until the day she died. 

You mama hummed. “Very very much,”

“Then that means she’s mommy because she does all the mommy things,” You said, with a sense of finality, and understanding that was far beyond what Alessia thought a 2-and-a-half-year-old could understand. 

“Hmm,” She paused, brushing a curl from in front of your eyes. Her and Leah had never fully discussed titles, but she could see that you were right. That the defender had slotted perfectly into the role. That Leah had earned it. “I think Leah would be happy with whatever you decide to call her,”

You nodded like it was a done deal. “Finish story now?”

Alessia swallowed, unable to stop the fond smile from curling across her lips. “Yeah bug, well finish the story,” 

She would let you be the one to tell Leah about the discussion. 

She was sure the defender would appreciate it more coming from you anyway. 

******

“Come on bug, the sharks are this way,” Leah said softly, adjusting the ear defenders that accompanied you on most outings as you stared at the tank of Seahorses. 

These were painted with tiger sharks, sea turtles, seahorses, and jellyfish, a perfect accomplishment to the atmosphere of the aquarium, and the reason Alessia had them made.

It was probably a toss-up between the aquarium and the zoo for your favorite one-on-one activities with Leah. The carefully selected outings that weren't too loud, or overstimulating that Leah could take you on to distract you while Alessia had an obligation you couldn’t accompany her on. 

The seahorse tank was just inside the entrance to the building, small and lit with a variety of colorful LEDs. It never failed to catch your attention, and you could/would stand in front of it for hours if Leah let you, listening to her read off the information plaque several times. 

She would usually let you, but she spotted a school group bustling through the coral-shaped entranceway. She didn’t fancy being shoved aside by a bunch of screaming schoolchildren, and she knew you wouldn’t either. 

You didn’t enjoy crowds unless there was a barrier between you and them. 

You dragged your eyes away from the tank to meet hers, your head tilting as you squeezed Squirt more tightly to you.“Turtle?”

“And the turtles,” Leah agreed, catching your hand. “We can’t go through without seeing Rocky, Bella, and Culver now can we,”

You nodded seriously at the names of your favorite turtles, holding her hand tightly as she guided you past the seahorses and to the next tank. 

It was smaller, filled with 20 little fish milling about, their scales glinting off of the artificial light in the tank. 

“Rainbow fish?” You asked, looking up at Leah for confirmation. 

Leah squinted at the familiar plaque. “It says that these guys are Flame Angelfishes. They come from Hawaii, and they like to hang out on coral reefs,”

You frowned, turning back to the tanks as one of the smaller fish swam by. 

You knew they weren’t called rainbowfishes, but you still asked Leah each time, hoping for a different answer. 

“No rainbow fish?” You pouted, leaning closer to the tank, but not touching it. 

You knew it was important not to bang on the glass so you didn’t scare the fish. They wouldn’t be your friend if you scared them. 

“We can call it a rainbow fish,” Leah said, squatting down next to you. “I don’t think they’ll mind,”

You made a low sound, your fingers creeping their way past your lips. 

“Hey, none of that,” She scolded gently, pulling your fingers from your mouth. “We don’t know where those little fingers have been,”

It was a bad habit her and your mama were fighting hard to break, how everything from your fingers to your shirt collars ended up in your mouth. 

“Does rainbow fish give out his scales?” You asked, looking away from the tank to briefly meet her eyes. 

“Hmm,” Leah hummed at the familiar question, glancing back at the little fish curiously swimming in front of you. “I think they would share their scales if one of their needed friends needed one,”

“Like you give out your scales?” You asked, your eyes never leaving the tank. 

Leah frowned. “What do you mean bug?”

“You’re mama’s Rainbowfish,” You said earnestly, turning away from the fish to meet Leah’s eyes again. 

“I’m your rainbow fish too,” She said with a very soft smile, running her hand through your messy curls. 

You nodded, as though her words confirmed something for you. What, Leah wasn’t entirely sure. 

Several fish swam by, and you watched in wonder as they did circles around each other, and Leah felt herself fall a little more in love with you. 

In the beginning, she hadn’t been entirely sure how things would go when Alessia warned her that you two were a package deal. She always wanted kids, but she didn’t know if she was mother material now. 

Then she met you, and you wrapped your little hand around her finger and she knew you had her hooked. 

Now, she couldn’t imagine her life without you, or Alessia. She treasured getting to see your excitement and wonder at simple things, like fish swimming circles around a tank. 

She would stand here all day if that’s what you wanted. 

You did for a long second before you looked back up at her. “Turtles?”

She smiled down at you. “Yep, let’s go see the turtles,” 

You looked back at the tank, waving to the fish. 

One of the little fish swam across the face of the tank as though he was waving goodbye to you. 

You waved back at him, and Leah refrained from telling you that he probably didn’t understand what bye-bye rainbow fish meant. 

You took Leah’s hand and let her lead you deeper into the aquarium. 

********

Leah could tell you were getting tired as you finally made it all the way through the shark tunnel. Your little legs were dragging, and your fingers kept trying to find their way past your lips with increasing frequency. 

You had skipped your nap, and she knew you had a limited amount of time before you got grumpy, even if you were at one of your favorite places. It was always a balance of letting you experience the things you wanted and keeping you from getting overtired. 

“How about we see the rays and then go get some lunch?” She asked you, wiggling your hand. 

“Otay,” You mumbled, leaning into Leah and letting her pull you through the shark-shaped archway and into one of your favorite parts of the aquarium, the stingray touch tank. 

“Hello miss Y/n!” The peppy blonde worker smiled widely at you as soon as you rounded the corner and sent a wave to Leah. 

The two of you came here often enough that she knew you quite well. 

You sent her a small wave, making sure Squirt didn’t slip from under your arm. “Ello Kara,”

“Do you want to feed the stingrays today?” She asked you, gesturing towards the touch tank that you always visited. “Rocky and Dibs are in a very friendly mood,”

She knew you well enough to know that there were days when you liked to pet the rays and ones when you just wanted to watch. 

You perked up, nodding excitedly, turning to Leah and holding out your stuffed turtle. “Mommy, hold squirt so he no get wet?”

Leah blinked at you, making no move to take the turtle. “Say that again my darling?”

“You hold Squirt so I feed Rocky and Dibs?” You repeated, holding out the blue and green stuffed turtle. 

Leah blinked again and squatted in front of you, bringing her hands up to cup your jaw. 

“No bug, what did you call me?” She asked, her thumbs brushing your cheeks softly. 

“Mommy,” You said, your eyebrows furrowing. “Mama said be ok cause you my Rainbow fish,”

Leah hummed. 

Of course, you had talked it over with Alessia first. She would have been more surprised if you hadn’t. 

“It’s very ok,” She assured you, swallowing away the lump in her throat, and pulling you close so she could kiss your forehead. “I’m your Mummy and your rainbow fish,”

You tolerated her lips against your hairline for a very long second before you pulled away, holding your turtle out for her. “Hold squirt so he no get wet?”

It amazed her how… casual you were about all of this. How you said it as if it just made sense. She swallowed down the swelling in her chest, knowing you wouldn’t react well if she started crying, even if the tears were happy. 

“Sure, bug,” She smiled gently at you, taking the offered toy and holding him close as she released you. “Do you need help washing your hands?”

You shook your little head, turning back towards the blonde Stingray keeper. “No, Kara help me,”

She watched you as you toddled towards the sink, immediately talking to Kara about how the Rays were doing. 

She would watch over you forever. 

She was your Mum and your Rainbow fish.

[literaticat]

Jennifer, I'm hearing from creators that some publishers either are or will require authors to disclose if they used AI in any way to write their book. Even brainstorming. Is there any truth to this?

I use AI to help me plot out my stories (I'm Horrible at plotting, honestly) and to help me battle writers block. Not to generate my stories!

will people look down on me for this? I'm definitely not going to lie, but some part of me wonders why it's their business if I'm not using AI to generate text. I feel so conflicted.

Well, yes and no?

Short answer: Just don't use AI to write your book. You will probably have to sign a contract that says you didn't use AI to write your book, and you shouldn't anyway, for lots of reasons. However, using AI tools is not the same thing as AI writing your book, so relax.

Long answer:

There are two (main) ways AI might come up in a contract. One is in the Warranties clause** (which I'll explain in the footnote below), and the other is in an AI clause -- not all publishers have them (yet?) but generally the AI clause has some wording like, neither the publisher or author can sell or license or give permission for the text to be "Scraped" by AI technology -- additionally, something like either the publisher or author may use AI tools in the course of normal business, but nothing in the text was generated by AI, the editor will be human, not AI, etc.

You'll notice here that both the author AND the publisher are held to the same standard -- that's important. And you'll also notice that it acknowledges that AI is a tool that MAY be used in the normal course of business. Zoom, google/gmail, adobe photoshop/acrobat, microsoft outlook/office-- all programs that publishers and authors use every day, any of which might have AI things woven into them. Autocorrect? Spellcheck? Grammarly? The thing on my tumblr RIGHT NOW that is highlighting words I should have capitalized in the sentence above? That's all AI technology. Obviously you don't have to "disclose" that you use normal tools of doing business.

If that includes "give me a list of girls names popular in the 1970s" or "what are some accidents that could happen at a skating rink" or "give me an example of plot beats in a mystery" -- OK. I still consider that a TOOL.

As long as you, a human, understand that generative AI technology uses other people's words to "create" -- so for fiction, OK if you want to brainstorm names or beats or whatever as above, as long as you are NOT USING IT TO WRITE THE BOOK -- YOU MUST WRITE THE STORY AND THE WORDS IN THE STORY.

And for nonfiction, AI makes up answers to questions that SOUND good but are actually just lies -- so PLEASE don't use AI technology to do actual research -- do your due diligence, make sure that any research you do online in any capacity (including Google) is factual, has primary sources to back it up, etc, etc. It's not actually a useful shortcut if all the info it gives you is straight up bad.

--

** In all publisher contracts there's a clause called Warranties and Indemnities. In that clause, you are warranting (swearing) that you have not plagiarized your book, that you personally created and own the rights to the book so you have the ability to sell/license them, that you have full permission for anyone else's work that you have quoted in the book, that nothing in the book breaches the law, yadda yadda.

IF ALL OF THAT IS THE TRUTH, and somebody sues you for plagiarism or copyright infringement or whatever, and you really didn't do it, the publisher will defend you and you won't have a problem. If, in fact, you lied in the Warranties section, then the publisher will not defend you and will cancel the contract and you'll be liable for whatever happens and can twist in the wind as far as they are concerned.

Some publishers are adding / have added / will add something in the Warranties clause where you also attest that the text is not generated by AI. (This is for several reasons aside from the fact that AI generated stories are crapola -- 1. AFAIK, AI generated text cannot be copyrighted, and 2. AI generated text may be plagiarized, soooo you'd be in danger of being in breach of your warranty even if it DIDN'T specifically call out AI!)

[ladykailitha]

A Gentle Bloom

I don't know where this came from but I think I lost the plot a little bit at the end there. But enjoy.

~

Eddie walks into Family Video and immediately Steve smiles. He can't help but smile back. He comes up to the counter where Steve is filing returns.

"Hey there, big boy," Eddie teases, "did you know you smile every time I come in?"

Steve blushes and ducks his head, shaking. "I didn't."

"Sure do."

Steve chews on the bottom of his lip. "Do you want me to stop?"

"Nah..." Eddie says brightly. "It's a nice change of pace from what the rest of the town does."

Steve smiles even brighter. "Then I'll make sure to smile even more now when I see."

"You do that," Eddie says deeply serious and fond.

Steve busies himself with work while Eddie walks the aisles making commentary to see how long it takes for Steve to laugh. It never takes long, so tries to see how many times he can make him laugh instead.

Total? About seven before he accidentally makes a rude comment with some old bitch right around the corner and has to stop. Steve admonishes him in the moment but after she's gone, tells him he thought it was funny, too.

~

The warm smiles Eddie gets from Steve are enough to power him through even the worst days. It's like drinking a cup of hot chocolate all at once on a cold winter's day.

It's on a warm June day when everyone is over at Steve's for a party when the edge of the knife they've been balancing on finally tips over. Eddie works late so he arrives most of the way into dinner which was hot dogs and hamburgers grilled up on the back porch next to the pool.

There's this old swinging deck love seat nestled in the woods a little bit a way from the house. It's still on the property and Eddie stops there for a smoke before joining the party.

Wayne spots him. Because of course he does. He comes over and sits next to him on the swing.

"You do know that boy is sweet on you, right?" Wayne says jutting his chin at the man of the hour who is happily chatting with El and Lucas about something.

"Whatever you say, old man," Eddie says shaking his head and then taking another drag of his cigarette. It's not that he doesn't believe him. Not really. He's just too tired to think about it right now.

Wayne chuckles. "I'll show you."

"Show me what?" Eddie asks and then shakes his head again.

Wayne gets up and Eddie can hear the exchange.

"Hey, Steve," Wayne greets.

"Hey, you enjoying yourself?" Steve asks brightly.

"Sure am," he says warmly. "Eddie's here."

Instantly Steve perks up and looks around.

"He's just feeling a bit tired and not ready to join the party yet, if you wanted to say hi." He points the direction of the swing. "He's right there."

Steve looks over at him and smiles. "I know how that goes. Take as much food as you want." He pats Wayne on the arm and heads in toward Eddie.

Eddie can't help but smile at the boy as he comes over to sit down.

"Rough day at work?" Steve asks gently, putting his arm over the back of the swing.

Eddie just shakes his head. "Just long." He looks out at all the people having fun. "So what's the deal with the shindig? It seemed pretty important that everybody be here."

Steve blushes and pulls something out his back pocket and hunches over the piece of paper in his hands.

"What's that then?"

Steve straightens and clears his throat. "Would you help with my speech? I wrote some of it down so didn't forget stuff. Robin says it makes me sound like a dork, but because I am, it works. But I'm still not sure."

Eddie softens. "Sure, Stevie. Wha'cha got?"

"Thank you all for coming to--"

Eddie holds up his hand. "I'm gonna stop you there. This isn't a business meeting or telling people you're dying. Unless you are dying?"

Steve shakes his head and digs out a pen from his front pocket. He scratches out the first line. "I've always been the kind guy to rip off a bandaid instead of little by little, so you're wondering why you weren't told first, the only ones I've told are Robin..." he continues and sticks out his tongue as he writes and talks at the same time, "and Eddie because they help me write it..."

Eddie smiles at him. "I like that. Doesn't hurt anyone's feelings."

Steve looks up at him and gives him the biggest smile yet. Eddie melts a little bit more.

"So the truth is that I'm bisexual," Steve continues looking back down at the page and misses Eddie's stunned reaction. "It doesn't mean I have both male and female parts despite what it sounds like."

Eddie barely manages to stifle his giggle but as Steve grins too, he figures it's a deliberate joke and let's it slide.

"It means I like boys and girls," Steve says after a brief pause and a sigh. "It also doesn't mean that it changes my previous relationships in anyway. I'm not half gay and half straight. And while I recently figured it out, I've been this way for awhile. I didn't know that other people didn't have crushes on both actors and actresses. On pop princesses and rock gods."

"Yeah..." Eddie says drawing out the word, "that should have been a pretty clear indication you liking both, pretty boy."

Steve blushes and clears his throat. "And even though I've never kissed a boy or anything like that, doesn't mean it's only thet--throg--the--"

Eddie looks over his shoulder. "Theoretical," he says sounding it out for him. "It means you don't have the practice so it doesn't count. Or at least it does in this context."

Steve nods. "That's basically the end of it anyway. I just say I'm going to be dating guys and girls now and to not freak out when I do."

Eddie scoots closer to Steve on the swing. "Do you want it to be practical?"

"Huh?" he asks, that slightly vacant expression on his face that he gets when he's really confused.

So Eddie cups his face and kisses his lips gently.

"Oh."

"Would you like to have a boyfriend before going in there and reading your lovely little letter to all your friends?" Eddie breathed, still cupping his cheek.

"Yeah," Steve breathes and they kissing again.

~

Steve's nearing the end of the speech and Eddie is so close to giggling that Robin keeps glaring at him and mouthing the words, "I know what you are, Eddie Munson."

It's not helping keeping the giggles in, if he's honest.

"And I had this big paragraph with a lot of big words about how I never kissed a boy but that it didn't mean I didn't know if I really liked boys or not, but I don't need that anymore."

Max raised her hand. "Before you get all giddy about your boyfriend and steamroll over the bisexuality part, can we talk about that for a minute?"

Steve shoves the paper back in his pocket and says, "Shoot."

"You say it's not 50/50 but what does that mean exactly?" she asks.

"Oh, good question," he says proudly and she blushes. "So for me at least, it's mostly girls with some guys. But it can be anything from that one member of the same sex and then the rest is opposite sex and vice versa. And everything in between."

"How did you know you liked boys?" El asks, tilting her head in that way she does.

"The things I was feeling for girls," Steve explains, "the butterflies around certain boys, the blushing, the wanting to be around them all the time, or in the case of actors wanting to meet them not because I thought they were cool but because I wanted them to sweep me off my feet. Does that help?"

"But both?" Mike asks. "I don't understand. You say it feels the same so how did you not know?"

"Ah."

"Because liking your own gender is scary," Robin says from her perch behind Steve. "And so you might think it's something else. Jealousy, envy, or even just think you want to be them. It's same if you only gay, too."

They all look at her wide-eyed. "Oh, I guess this is my coming out party, too. Hi, I'm gay!"

Steve turns around a gives her a high five.

"If it'll help," Eddie says, "We can do a heads up seven up type deal. Only Steve will see, but if you feel attraction to girls, raise your hand, if you feel attraction to boys raise your hand and he figure what to say easier. Erica you don't have to participate if you don't want to."

She makes a face. "Boys are gross, but in a cootie way."

Steve nods.

"I'd feel more comfortable if it wasn't just Steve," Nancy says, arms folded across her chest.

"Robin or Eddie?" Steve asks, "because everyone knows what they are and won't judge."

They vote and it's Eddie, so Robin goes to sit with the rest of them so she take part too.

"Girls," Steve calls out and gets a head count. Five. And the ones he expected on that one.

"Boys," he calls out next. There are four, just not the four he was expecting. The surprise squirms a little as if they can feel Steve's gaze.

And one exception.

"Huh," he says. "That was certainly interesting. There is one who answered both and another that answered neither."

Dustin wrinkles his nose. "How can you not like either boys or girls?"

Joyce actually raised her hand. "I can answer that, I know I wasn't supposed to peek, but I kinda did," she winces bobbing her head back and forth. "Anyway. There are people who no matter who just aren't able to experience attraction that way. They don't what causes it, but they think it might just be like being gay."

"Can they still fall in love?" Will asks shyly. And Steve knows that Will knows who the exception was.

Joyce's expression softens. "Of course they can."

"Liking your own sex," Steve says, "is fine and good. And if you like both, that's fine too. But you get to chose your coming out when and to who. Just like I did. And if you need advice, you come to any of us privately."

Eddie and Steve share a look. They know the three who over the next couple weeks would be coming to Steve for advice. Will. El. Mike.

"So," Steve says clapping his hands together, "if there aren't any other questions. As of..." he looks at his watch, "twenty-seven minutes ago, Eddie and I are dating."

Eddie takes his hand and kisses it as the entire room explodes. Mostly in congratulations but some dismay. Like Mike.

But in the end they are all happy for them. Mike will come around.

He always does.

[huexuri]

!! keep talking ⋆ — k.th

NSFW, MDNI!!!

summary: smut w little plot, taehyun likes ur voice like a bit too much

warnings: fem!reader, switch!reader, switch!tyun, lots of dirty talk, pillow humping, masturbating, video call mutual masturbating

wc: 1.9k

taehyun misses your voice. a lot.

the both of you used to live in the same apartment to accommodate transportation to your designated campuses. until, taehyun had found a more convenient place to stay for a while before he would come back to live with you.

it was supposed to be just a few months, but those few months felt like years to taehyun. he missed the way you would come home and talk to him about things that happened that day, ramble to him about useless things. he never really paid attention to your silly stories; he only ever really enjoyed listening to the tone of your voice, the way the words roll off your tongue like butter. it's like music to his ears, the way your voice sounds like silk to him. he'd listen to you ramble on forever if he could.

especially when you sing your favorite songs over and over again, bustling around in the kitchen for any snacks, taehyun always thought of you as a smart girl with a pretty face and the voice of an angel.

he never expected he'd miss your voice so much.

so much so, he'd simply grow hard listening to your voicemails — feeling as if he's deprived of your voice, he's replaying them over and over again, wishing it was whatever you said whispered in his ear, even better if that voice of yours is put to use, moaning in his ear and calling out his name as you grind down on him; making sure all that rings in his puny head for the rest of his life are your moans.

my god, your voice. it's dizzying to him, hypnotizing even. he doesn't know what it is in your voice that he loves so much. like some type of drug. he loves everything about you as his best friend — but your voice,, it's everything to him.

so, imagine the guilt that washes over him when you ask if you could video call with him and play games. he's going to hear your voice for the first time in forever. shouldn't he be ecstatic?

no, because he knows he's going to fucking bust the moment you start to speak.

“taehyun? why isn't your camera on?” you spoke through the phone, half your face in frame.

“no, nothing. if i turn on my camera it'll be very laggy.” taehyun chuckled, a tinge of fluster behind his words.

“okay then! you should join me now, i'm already in game. i sent you the code earlier.” you said before putting your phone down so your camera faces the ceiling.

“o-okay.”

you guys played for a few rounds before talking again, and taehyun doesn't know how he survived listening to you yap for the entire time the both of you were playing. not in a bad way, but in a way where he's surprised and relieved he didn't make a mess of his shorts.

"anyways, finals are killing me. i feel like i've been living in the library," you complained like you usually would.

"ugh, tell me about it!” taehyun scoffed as he waited for you to continue the conversation.

"organic chem is so hard. it's like a bunch of nonsense i'm looking at.” you continued.

"at least you're not doing what i'm doing. it's like a different language. i keep questioning my life choices every time i open the textbook," taehyun said, his voice slightly shaky, but you thought nothing of it.

you nod at the camera. “uh huh, i get you. these days i think i've been okay though? i hung out with sumin and yeeun at karaoke recently. you know, we sang till our throats were hoarse. and also—”

your words go in one of taehyun's ears and come out the other. no, to him that's not important, not as important as the sound of you talking. all he can think of is how he's filled with guilt as he slips a fist beneath his boxers, grabbing onto his already leaking erection and jerking off… to your voice.

i'm really sorry, the thought rings in his head over and over again as his cock springs out of his boxers the more he pulls his waistband down to his thighs, leaning back against his gaming chair.

the tip of his cock glossy and starting to become a pinkish hue, he pleasures himself, free hand clutching his headphones to listen to your voice clearer, increasing the volume of the call.

he bites his lips as he closes his eyes as he starts to near his high.

“—she literally bumped into me and didn't say anything! she looked at me up and down with a dirty look, like i swear i would've—” you go silent. “taehyun?” you suddenly ask.

taehyun jolts from his seat, letting go of his cock as he readjusts his position.

“y-yeah? what?” he responds, throat dry as his adam's apple bobs up and down.

“are you even listening?” you frown at him through the camera.

“yeah,, uh, of course i am.” taehyun clears his throat.

you sigh. “okay, because you're awfully quiet. anyways, so she hit me—”

fuck, that was close. he thinks. his hand slowly picks up it's pace and he's stroking his cock again, back arching against the backrest of the chair as he throws his head back, mouth slightly agape and huffing.

“i don't even know what's her problem! right, tae??” you ask for his approval.

“r-right, ss—aah, keep talking, ‘m so close,” he whispers, his voice cracking. he doesn't register why you went quiet for an awkward 10 seconds before it finally clicks and he clasps a hand over his mouth.

“taehyun.. are you touching yourself ...?” you realize why his camera is off and why he seemed like he wasn't listening. then, silence. “taehyu—”

“i'm so sorry, y/n!!” taehyun blurts out desperately, with nothing else to say, he goes quiet again. guilt travels all over his body in the form of goosebumps as he thinks of what kind of stupid pervert he is, when all you wanted to do with him was chat.

“fuck, dude. if you just wanted to jerk off to my voice you should've told me.”

“huh? wait what?” taehyun's eyes soften.

“it’s kinda hot.” you mumbled as you shifted your camera down to your chest, touching it and rubbing the plushness. “come on, turn on your camera. don't be shy.” you said in a more demanding tone, testing the waters on what he liked the most.

“fuck, y/n, don't do this to me. your voice is…” taehyun sighed as he turned on his camera, showing his fucked out face, hazy eyes and swollen pink lips, glossy with drool all over them.

“you have a thing for my voice?” you asked as you smiled, positioning your camera slightly far away from your chair so he could see you fully.

“i've loved your voice since the beginning of time, i just… i-i don't know. ever since i moved out i realized i collapsed at the sound of your voice just so much more easily..” taehyun also adjusts his camera perfectly so that the frame cuts at his lower abdomen. you can see his shirt ride up above his pecs and his abs slightly moist with sweat.

“tell me what you want me to say then, this is your chance.” you fondle with your clothed breasts in front of the camera, nipples perking up and visible on the cloth, and taehyun slightly flinches at the sight.

“sssshit, i can't focus when you look and sound like that, stop doing that.” taehyun trembles under his breath as he fists his cock again. you can see his hand moving but you can't see his cock out. for some reason, the excitement turned you on way more.

“it's okay, take your time.” you said gently as your hands traveled under your shirt.

“fuck, need you to moan so badly. just whatever, fucking need you to use that voice of yours. please.” taehyun begged, his voice raspy and out of it.

“really?” you grabbed a pillow nearby and placed it beneath you. wearing nothing but a pair of dolphin shorts, you held on to the chair as you rocked your hips back and forth, arching your back to find the angle, starting slow and throwing your head back.

“p-please watch me, tae. i'd grind on your cock like this if you were—aah, mmfh~” you found your pace, looking at your phone screen with dazed eyes. you see taehyun running his fingers through his disheveled hair, holding on to the headphones as he bites his lips and fists his cock at unimaginable speeds.

“talk,” he breathily orders as his hips jitter in his hands.

“show me you're jerking off first,” you said, and taehyun sits slightly further away from the camera, showing an angle of him fisting himself.

“yeah, stroking that cock because my voice turns you on that bad, huh?” you chuckle as you increase your pace, your cunt rubbing onto the surface of the silk pillowcase. “f-fuuuck, tyunnie. a-aah—feels so goddamn good, just wish you were here so badly—!”

“yeah? i'll fuck your ability to walk out of you if i were there right now, holy shit.” taehyun pants and groans as he spits onto his cockhead. “does it feel good? does my cock rubbing against your cunt feel good?” taehyun fists his shaft to simulate the pillow you're humping.

“yeah, oh fuck, fuckfuck—” your mouth is wide open and your head is thrown back as you ride the pillow at incomprehensible speeds, your pussy throbbing and pulsing against the fabric as your slick begins to stain the cover. “you'd feel even better inside me, mmh~”

“keep talking like that and i'll actually go insane, spewing nothing but filth out of that pretty mouth of yours.” taehyun's hips thrust upwards into his fist as he watches you reach your high.

“isn't that what you wanted, taehyun? got off of my voice because you wanted me to moan and whimper in your ear?” you continued to hump the pillow as you felt yourself go dizzy. “gonna cum, a-aah–!”

“you're gonna make me— holy shit,” taehyun's moans became irregular and gradually louder. eventually after you came back from seeing stars, you could see his load splattered all over his fist and abs.

you stared at the screen blankly, mind barely able to function as the both of you pant heavily.

“i'm coming back tomorrow, i don't care.” taehyun remarks as he puts his pants back on and wipes the stripes of cum off of his abdomen.

“isn't it inconvenie—”

“i don't care about conveniency as long as i get to fuck you immediately after i see you again.” taehyun firmly said with a shit-eating grin plastered all over his fucked out face.

“promise?” you said, smiling at the camera.

“promise.”

later that night, you're shocked to see taehyun standing at your door with a bunch of huge ass bags and a pair of his favorite sneakers.

“you're still holding on to what you said?” you asked him as you let him in with a giggle. “come, i'll help you put these things down first.”

“i don't make promises i can't keep, love. i missed that voice of yours so fucking much, you have no idea… over the phone was clearly not enough.”

you cleared your throat. “i think i do have an idea, after what happened this afternoon..”

[cherrifire]

Hi :D Logic behind the latest batch of cutie marks? if you feel like sharing :)

Hello everypony ^-^ It is cuie mark info dump again ^-^

Before we start, reminder that Grian + Tango do not have cutie marks because they are a hippogriff and a Kirin respectively. Non-pony creatures do not have cutie marks :)

Now that we've got that out of the way, let's get started!

Mumbo's Cutie Mark

I'm the proudest of this one because it'd simple but affective.

Mumbo's cutie mark is a tangled-up red wire which has been cut at the ends to expose the conductors. The wire is also particularly made to create an 'M' shape.

Similar to Impulse's cutie mark, Mumbo's is related to electricity for his investment in redstone. Electricity being the closest thing to it. That said, I gave Mumbo a wire because it is the baseline of all electricity. It connects everything together. From the power source and into whatever little machine or contraption you've built, wires are needed to keep it all powered! So I thought using it as a cutie mark would work really well for Mumbo. Sometimes he can just bring people together just like a wire does for electricity.

(And the little knot in the wire is just a little something to indicate Mumbo may be a bit of a mess)

Additionally, with the wire being in the shape of an 'M' it could stand for Mumbo while also being in the shape of a mustache too :)

Scar's Cutie Mark

Capitalism baby! Scar's cutie mark is of a red top hat next to a bag of bits (the currency in my little pony is called bits and are essentially gold coins).

At heart, Scar is a swindler. He's full of joy and whimsy sure, but he has a real talent for selling little trinkets to anypony who takes a look at his store front. In my head, Scar is essentially the flim and flam of this AU. He's a wandering salespony who shows up from time to time with things to sell from all across Equestria! That's where the little bag can be interpreted as a bag of coins, or a bag full of mystery items he's collected over the years.

Also, the top hat is there to represent Scar's salespony flair.

Joel's Cutie Mark

Joel's cutie mark is of a greek stone pillar and a chisel.

There are a couple of meanings to this one. The first one is pretty obvious, Joel loves to build! He's a fantastic builder with an eye for design. So I chose a greek pillar to represent one of my favourite builds of his, Stratos! But of course, a simple pillar can be used for lots of things and that's where the second meaning comes in. To hold things up! Joel holds himself up to on pretty high pedestal. He's very full of himself and I honestly can't blame him. Joel is great! So of course I had to represent his ego in his cutie mark somehow.

Jimmy's Cutie Mark

Jimmy's cutie mark is of a little canary bird. Another cutie mark with two meanings behind it!

First, is the obvious one. The canary in the coal mine. Misfortune will fall upon the canary to indicate to others that the journey may be too dangerous to continue. A bad luck charm if you will or a bad omen. And that's the surface meaning of his cutie mark that everypony knows it for. Jimmy is the poor clumsy pony in town who always seems to hurt himself before things go wrong.

However, there is a second meaning. Canary birds are also supposed to happiness and harmony. This is the main core of the cutie mark which gets over looked. Despite the bad implications of his cutie mark, it does not stop Jimmy from spreading joy wherever he goes. He's kind and joyous, keeping a positive attitude no matter what.

(I of course have a Ranchers plot point where Tango says this to Jimmy to cheer him up about his cutie mark one day. Tango, who has never had a cutie mark and does not understand their importance, says he doesn't see Jimmy as bad luck, but instead feels joy when Jimmy smiles no matter the situation. But that's a story for another day 🤭)

[snowthedemonfox]

So we got some screenshots for Ep 3, and I'm going to talk about some things I've noticed + some theories

I went off for over an hour in the bunnydoll burrow's VC talking about everything I noticed, but I'm realising writing it all down would be a smarter move, cause I know I'd forget it. If I've missed anything you think is important, let me know! I'll edit this post with new notes.

Let's start with the first screenshot, because that just makes the most sense:

The elephant in the room is the realistic human hand. I don't doubt this is the scene that has some level of blood and gore in it. We can't see what the hand is connected to, but whatever it is, it seems to be taller than Pomni and Kinger. They're both looking up, and the camera angle is facing down towards them both.

We can see 2 heads hanging from the wall behind Kinger, and what we can assume to be a 3rd behind the desk behind the hand.

One of these heads, as many have pointed out, seems to resemble Pomni. The face is entirely white, what I can assume is an eye seems to be the same size as Pomni's, and you can see that familiar looking hair on the side.

Even the other two things we see look like other members of the cast!

The head to the right of Kinger looks like Ragatha. It's got the hair, and even the face looks to be made of actual fabric, like a real doll. It seems whatever these things are, they're meant to look like more 'horror' versions of the characters.

(Side note, but if I had to guess, if Glitch releases a 3rd sticker sheet for episode 3, I wouldn't surprised if we got a new set of icon variations for the main cast. But instead of candy, we get these horror versions instead. I think that'd be cool, and I really hope that's what happens.)

You could even go as far to say the 'human' hand we're seeing is from the horror version of Kinger. Like I said before, the camera is looking down at them. Why would it be looking down? Because whatever's looking at them, is attached to the wall.

Moving onto other details in the room, we can see there's a chair behind Pomni with some kind of light on it. At first, I thought this might have been the tape recorder from the February trailer, but you can see the tape recorder is on a desk, not a chair.

And while there is a desk in the room, whatever is on there doesn't look like a tape recorder. It looks more like a photo, or some kind of radio.

The giant 'M' on the rug. We know the ghost lady's name is Martha Mildenhall, so this probably implies she owns the mansion the gang are exploring. Why would she need their help, though? Maybe whatever force is moving the hand in the screenshot, is some kind of 'evil' ghost, and that's why Pomni and the others are there to help. There's evil ghosts inhabitating the mansion, and Martha needs help to get rid of them. It's simple, it's your basic video game quest, it seems like a normal adventure plot that Caine would come up with.

There seems to be something behind the chair, but I can't make out if it's a door, some curtains, or some kind of closet. The lighting isn't doing me any favours. Either way, I doubt it's important to the episode, probably just background decoration.

As for my other thoughts that aren't as related to the screenshot itself, I do believe that everyone is going to be split up. Obviously Kinger and Pomni are working together, but I'm still not sure if Jax would be hanging with Ragatha & Gangle, or if he'd be off doing his own thing. As for Zooble, I'll get to them later.

And this might just be me looking into things too much, but it almost looks like one of Kinger's eyes is focused entirely on whatever is behind the camera, while the other isn't focused at all. Like he's half paying attention to the 'danger' he and Pomni are in.

But that's really all I have to say about the first screenshot. Let's move onto the main event:

Again, let's get the obvious out of the way: new Zooble design! They've got some new parts, like the arms, unicorn horn, and the blocky yellow and pink thing, but also some old parts, like the bluish-green ring, and their classic black and white antenna. So far, I like this design! I'm happy to see that they've decided to mix things up a bit. Not my favourite design, but still decent. They've got good taste.

Before I talk about Zooble and Caine, I first want to talk about the location they're in. At first, I thought this might've been Zooble's room, but looking closer, it's obviously not. Then I thought it was that little desk area at the end of the dorm hallway.

But nope, the hallway has different plants, picture frames, wallpaper, and no chairs to be seen. The plants we can see look similar to those seen in Caine's resturant realm from Ep 1, so I think I can safely guess that this is a new location, made specifically for him and Zooble to chat.

Speaking of that, I think that's going to be the driving point of Zooble's character development this episode. Something is going to convince them to join the future adventures, and it seems this will be that something. We know thanks to the AMA, that Zooble not going on adventures is important to their character, so having their episode focus on this topic makes sense.

What I can assume happened to lead up to this interaction is this:

Caine announced the adventure, and just like in both Ep 1&2, Zooble immediately expresses that they are not interested, and walks off. Caine can't really do anything about it yet, so he focuses on everyone else. Explains the rest of the adventure to them, and sends them on their way.

He then catches up to Zooble before they reach wherever they planned on going, and teleports them both to this new room. It looks almost like some kind of waiting room, or a room where they're both supposed to talk things out. It's got the comfy chairs, wall art, I wouldn't be surprised if there's a little table between them.

Zooble, obviously, is not impressed. They don't care about Caine's adventures, and want nothing to do with whatever he has planned for them in the meantime. Caine, on the other hand, just wants to figure out why Zooble doesn't want to go on his adventures. He spends so much time figuring them out! Just for the humans! Why won't Zooble participate!?

This very likely evolves into an argument between the two. I like how Caine is clearly angry in this screenshot. It's nice to see him show some more variety when it comes to emotion!! Zooble doesn't care for whatever Caine is saying, and Caine just wants to understand why they don't care.

Something happens, maybe they do talk it out, maybe something else, but by the end of the episode, Zooble decides that maybe going on a few adventures isn't that bad. I think it's way too early to guess what happens in that huge timeskip, but for now, this is the best I've got.

I feel Zooble's arc in this episode might touch on a few topics, like how while they might think staying by themselves all day and doing their own thing is better for them, isolating themselves isn't doing anyone any favours, and that, for lack of a better term, going 'outside' every once in a while can't hurt.

... and that's pretty much all I can think of to say regarding these two screenshots! I'm sure we'll get to learn more as the episode release gets closer, but I'm excited to see how things turn out!! :3

[cassi-pokeblogging-hub]

Saying No

Okay so a conversation in a discord server inspired me to make this.

You guys can say no to things. You do not always have to "Yes And" everything that comes to you.

Like. Usually when we talk about rping, we talk about saying yes and. continuing on the scene, not shutting interaction down. We're pretty lucky with how this rp stuff works where in character denying and saying no CAN work a lot better than in standard improv without fully stopping the scene and kinda shutting it down, but that's not what I'm talking about.

I've seen a lot of people who kinda. Accidentally start god modding or kinda burst their way into plotlines without asking and like. This is public rp! Anyone can join! But there is a certain degree where you gotta stop first and ask or just not say it.

But sometimes people do not think first and just do. Maybe sending a magic anon that solves all of your oc's problems. Maybe they have dimension hopping powers and are like "Don't worry! I've come to your reality and I can help you get away from your problems instantly!", maybe your character really wants a mega stone and you have plans to have a whole thing about them working to get this mega stone and learning to mega evolving their partner and then someone mystery gifts or pelipper mails the item to you immediatly.

You don't have to "Yes, and" that. You can just say "No, you didn't do that". You are allowed to say no when someone crosses your boundaries and is affecting your plot.

Is someone trying to involve you in their plot without asking? "That is not happening in my character's universe" Is someone trying to say they're just there at a crucial event with your character when they never asked? "Your character is not able to be there. Please delete that post".

Yes And only goes so far. There is a time and a place where you will need to say No, and that is just as important to RP as going with the flow! If someone's fucking with your plot, its your job to tell them to stop. People can get involved, sure, but sometimes people try and get way more involved than what you're comfortable and its okay to tell them to back off.

I've also seen people feel that stuff like Muse Mixup Madness or Pelipper Mail are mandatory things they HAVE to do? You don't! You don't need to do anything even if others are! So I guess this is your reminder that you can ignore pelipper mail and magic anons and just asks in general that you dont like! you can turn pelipper mail and magic anons off completely! you can ignore peoples replies to your posts if they fuck with what you have going on. you can tell people they did not do things that would fuck with your characters and story. you can just not do muse mixup madness when it rolls around. you can just not do follower special events. you don't have to participate in anything you dont want, and you dont have to allow people to do whatever even if it makes you uncomfortable.

Other people can do what they want, but you have a right to say no when they try to involve you.

[utilitycaster]

Whenever people are like "well LIAM'S characters never faced any backlash when HE played characters in the spotlight" and "no one will let WOMEN have negative qualities" when Caleb and Vax and Orym have received pretty constant hate for main character/sadboy/scene stealing and when meta writers outright stopped talking about Imogen because a particularly mindless set of hit dogs are still hollering about how she is so good and kind and how dare you call her selfish, it's really like...in the service of trying to make your failure of a point you've just said something that literally anyone with a memory lasting longer than the apocryphal goldfish length can immediately debunk, which in turn absolutely shreds your credibility going forward, if you had it.

More generally there's something very vile here, because on the surface this statement does look like an attempt, if one ignorant of pretty much any fandom conversation, to defend women. The thing is it's come from a place of defending Dorian and Ashton's plan - a man, and a nb person who would not identify as a woman - that requires a particularly great deal of sacrifice from the women of the party. So of course they just switch tactics. Instead of "how dare the fandom not think women are always best" it's "how dare the fandom disrespect a disabled nb person and a person played by an indigenous actor." And I'm sure they'll switch again. Because pretty much every character in this campaign is on some axis of oppression, and there's a few people in this fandom who, instead of considering these things as important details that inform these characters, seem to largely treat their minority statuses as ammunition. Feminism and antiracism and queer advocacy are all just part of a shell game to them - accuse everyone who disagrees with them of being a bigot, say that their opinions are inviolate because they match that of literally any character who isn't a cis het white man, of which Bells Hells has none. Unsurprisingly, it's that social media purity culture that's just the evangelical church with a gay hat: they are always the victim, and everyone who disagrees is the devil, and being a good person always happens to line up with what you already wanted.

There are several posts from the past day or so accusing people of liking Campaign 3 less than the two previous ones which refused to accept that this might be due to the hurry-up-and-receive-an-infodump pacing, the singular focus without much time spent on backstory, the gaps in party composition, and the fact that the plot manages to combine the weakest elements of each campaign - the fetch quest/NPC guidance heavy nature of C1, and the meandering/slow start of C2. No, it must be the awful, sinful fandom unable to handle the lack of a major M/M ship (false; Dorian and Orym aren't canon, but neither were Vax and Gilmore, and the latter was sunk far sooner) and the fact that a female character is at the center of the story (see above re: how hostile the same people making these accusations have been to anyone who actually wants to discuss Imogen in a way that doesn't fit their specifications). Just to repeat this: many fans have outlined a number of purely narrative and structural reasons why C3 isn't working for them. These people have assumed this is all a lie, because assuming otherwise that would require either addressing these critiques, which in turn would require admitting other people can have valid opinions that oppose their own without being horrible bigots - in favor of throwing out whatever random accusations they think might stick. It doesn't matter what's actually being said; they're not actually listening, and for all they might talk about fans of color they sure all seem to be white; for all they talk about misogyny and queerphobia they sure won't hesitate to immediately assume the worst of queer people and women who say things they don't like. And rarely do they address any of the actual ongoing bigotry that does exist in the fandom; it's all random accusations because you agreed with the white woman instead of the brown man or vice versa; or it's the constant dredging of years past discourse that, as the first paragraph indicates, they will then ignore whenever convenient.

These are all pretty transparent signs of a bad faith actor spreading misinformation. To be clear I don't think this is any kind of conspiracy or has any organization to it. I think it's a just handful of deeply self-absorbed people who either refuse or literally cannot comprehend that someone could disagree with them without being a bad person and who will gleefully cry wolf with these accusations of bigotry. But it's been going on for quite some time and it's been a problem this campaign in a way I at least do not recall it in past ones, and it's had an absolutely devastating effect on the fandom conversation. Ironically, by trying to boost Imogen and Campaign 3 by shutting down any criticism of them, they've shut down far more of the conversation, hopefully not irreversibly, and I think it's time to point that out.

[physalian]

“How do I know if my story needs work or if I’m just being hard on myself?”

As I sit here accepting the fact that at 70k words into Eternal Night’s sequel while waiting for my editor for Eternal Night itself, that I have made an error in my plot.

Disclaimer: This is not universal and the writing experience is incredibly diverse. Figuring this out also takes some time and building up your self-confidence as an author so you can learn to separate “this is awful (when it’s not)” and “this is ok (but it can be better)” and “this isn’t working (but it is salvageable).”

—

When I wrote my first novel (unpublished, sadly), years ago, I would receive feedback all over the chapters and physically have to open other windows to block off parts of the screen on my laptop to slow-drip the feedback because I couldn’t handle constructive criticism all at once. I had my betas color-code their commentary so I could see before I read any of it that it wasn’t all negative. It took me thrice as long as it does today to get through a beta’s feedback because I got so nervous and anxious about what they would say.

The main thing I learned was this: They’re usually right, when it’s not just being mean (and even then, it’s rarely flat out mean), and that whatever criticisms they have of my characters and plot choices is not criticism of myself.

It did take time.

But now I can get feedback from betas and even when I hear “I’d DNF this shit right now unless you delete this,” I take a step back, examine if this one little detail is really that important, and fix it. No emotional turmoil and panic attack needed. I can also hear “I didn’t like it” without heartbreak. Can’t please everyone.

The only time I freak out is when I'm told "this won't need massive edits" followed up by, in the manuscript, "I'd DNF this shit right now". Which happened. And did not, in fact, require a massive rewrite to fix.

So.

What might be some issues with your story and why it “isn’t working”.

1. Your protagonist is not active enough in the story

You’ve picked your protagonist, but it’s every other character that has more to do, more to say, more choices to make, and they’re just along for the ride, yet you are now anchored to this character’s story because they’re the protagonist. You can either swap focus characters, or rework your story to give them more agency. Figure out why this character, above any other, is your hero.

2. Your pacing is too slow

Even if you have a “lazy river” style story where the vibes and marinating in the world is more important than a breakneck plot, slow pacing isn’t just “how fast the story moves” it’s “how clearly is the story told,” meaning if you divert the story to a side quest, or spend too long on something that sure is fluffy or romantic or funny, but it adds nothing to the characters because it’s redundant, doesn’t advance the plot, doesn’t give us more about the world that actually matters to the themes, then you may have lost focus of the story and should consider deleting it, or editing important elements into the scenes so they can pull double-duty and serve a more active purpose.

3. You’ve lost the main argument of your narrative

Sometimes even the best of outlines and the clearest plans derail. Characters don’t cooperate and while we see where it goes, we end up getting hung up on how this one really cool scene or argument or one-liner just has to be in the story, without realizing that doing so sacrifices what you set out to accomplish. Personally I think sticking to your outline with biblical determination doesn’t allow for new ideas during the writing process, but if you find yourself down the line of “how did we get here, this isn’t what I wanted” you can always save the scenes in another document to reuse later, in this WIP or another in the future.

4. You’re spending too long on one element

Even if the thing started out really cool, whether it’s a rich fantasy pit stop for your characters or a conversation two characters must have, sometimes scenes and ideas extend long past their prime. You might have characters stuck in one location for 2 or 3 chapters longer than necessary trying to make it perfect or stuff in all these details or make it overcomplicated, when the rest of the story sits impatiently on the sidelines for them to move on. Figure out the most important reasons for this element to exist, take a step back, and whittle away until the fat is cut.

5. You’ve given a side character too much screentime

New characters are fun and exciting! But they can take over the story when they’re not meant to, robbing agency from your core characters to leave them sitting with nothing to do while the new guy handles everything. You might end up having to drag your core characters along behind them, tossing them lines of dialogue and side tasks to do because you ran out of plot to delegate with one character hogging it all (which is the issue I ran into with the above mentioned WIP). Not talking about a new villain or a new love interest, I mean a supporting character who is supposed to support the main characters.

—

As for figuring out the difference between “this is awful and I’m a bad writer” and “this element isn’t working” try pretending the book was written by somebody else and you’re giving them constructive criticism.

If you can come up with a reason for why it’s not working that doesn’t insult the writer, it’s probably the latter. As in, “This element isn’t working… because it’s gone on too long and the conversation has become cyclical and tiring.” Not “this element isn’t working because it’s bad.”

Why is it bad?

“This conversation is awkward because…. There’s not enough movement between characters and the dialogue is really stiff.”

“This fight scene is bad because….I don’t have enough dynamic action, enough juicy verbs, or full use of the stage I’ve set.”

“This romantic scene is bad because…. It’s taking place at the wrong time in the story. I want to keep it, but this character isn’t ready for it yet, and the vibe is all wrong now because they’re out-of-character.”

“This argument is bad because…. It didn’t have proper build-up and the sudden shouting match is not reflective of their characters. They’re too angry, and it got out of hand quickly. Or I’m not conveying the root of their aggression.”

—

There aren’t very many bad ideas, just bad execution. “Only rational people can think they’re crazy. Crazy people think they’re sane,” applies to writing, too.

I just read a fanfic recently where, for every fight scene, I could tell action was not the writer’s strong suit. They leaned really heavily on a crutch of specific injuries for their characters, the same unusual spot getting hit over and over again, and fights that dragged on for too long being unintentionally stagnant. The rest of the fic was great, though, and while the fights weren’t the best, I understood that the author was trying, and I kept reading for the good stuff. One day they will be better.

In my experience beta reading, it’s the cocky authors who send me an unedited manuscript and tell me to be kind (because they can’t take criticism), that they know it’s perfect they just want an outside opinion (they don’t want the truth, they want what will make them feel good), that they know it’s going to make them a lot of money and everyone will love it (they haven’t dedicated proper time and effort into researching marketing, target audiences, or current trends)—these are the truly bad authors. Not just bad at writing, but bad at taking feedback, are bullies when you point out flaws in their story, and cheap, too.

The best story I have received to date was where the author didn’t preempt with a self-deprecating deluge of “it’s probably terrible you know but here it is anyway” or “this is perfect and I’m super confident you’re going to love it”.

It was something like, “This is my first book and I know it has flaws and I’m nervous but I had a lot of fun doing it”.

And yeah, it needed work, but the bones of something great were there. So give yourself some credit, yeah?

[vidavalor]

The Movie

The most important thing is that he's gone.

If you're feeling sad that it's not the full season and would like some reassurance about the rest of the story being movie-length, though?

Based on where the story is now? They can absolutely do this in 90 minutes. Would it have been more fun if it was the whole season? Of course. But they can do this in 90 minutes-- and do it well. I think there's actually less to go in the plot in the present than we might realize. How so?

I'm pretty sure the next part of the story has never really been plotted to be Supreme Archangel Aziraphale. The end game seems to me to be a bit more they all have to overthrow Heaven to save Aziraphale and that's how they save the world. Meaning, that was Satan with the coffee in The Final 15 and Aziraphale's fall is the plot. The kickoff here in the movie would be the same as it would have been if we had a full S3: the audience gets the hinted at 2.06 twist revealed in full right near the start when they see Aziraphale get to Heaven and be thrown to Hell by The Metatron. The other characters then quickly learn what's happened to Aziraphale. They band together to challenge Heaven--that's the whole Powell & Pressburger's 'A Matter of Life and Death' trial & how it fits into things.

Aziraphale won't accept a verdict that's just for him and not Crowley as well and the process of all of this winds up exposing and overthrowing The Metatron and Hell, freeing the demons. (Gabriel gets his suit back and is their lawyer, you just know it lol.) By coming together to save Aziraphale, the characters fix Heaven/Hell, which then saves Earth and permanently stops the threat of Armageddon. The remainder of the time is wrap up where Crowley & Aziraphale work through what's happened and then head to the South Downs.

All of that stuff in the present that I just said can actually be done inside of an hour, tops. Especially because no one has to set up the characters and story like they would if this were a stand-alone film. They can just dive straight in. That still leaves at least a half-hour--if not a bit more, depending-- for flashing us back to whatever we need to see that supports what's happening in the present (The Vavoom, 1941, probably Jane Austen, likely one or two other things we don't know we need to see yet). More than likely? This is a series of scenes like the S1 cold open more than it is a longer, single-era, flashback minisode. I don't think anyone would complain about another cold open-like sequence? 😊

The movie can work. For perspective? Look at the chart below.

We are at the Big Twist that is The Act II Climax & it's really almost fully done already. All that's left in that Big Twist is to just overtly tell it to the audience because The Final 15 already did all hinting the set up work for it.

As you can see, we're really just moments away from everyone regrouping for the big, final push of the story-- the Act III Climax/overthrowing Heaven-- before we're into the South Downs Cottage ending. This is one of the reasons why I think that S1 showed us Monday-Sunday of The Last Week of the World: Round One with Armageddon being stopped on Saturday but S2 revealed we were watching The Last Week of the World: Round Two... but then stopped the season early on Friday morning. S3, imho, has always been going to pick up within hours of where the 2.06 cliffhanger ended and show us the mirrored Saturday & Sunday of this week that we still have out there.

They won't need to set up at the start of the film where characters are years later because the S2 story we were watching was always written for S3 to pick up basically right where the S2 cliffhanger leaves off. S3 was always going to continue directly the story of S2 rather than come at the story from a place of a dead stop of years having gone by. I think the best way to look at the movie might be as if it is really the S2 finale. Think of it as if S2 actually has 8 episodes but we've only seen 6 of them so far and we're still awaiting the last two.

Each season of the show, in and of itself, follows that above Three Act Structure, even if the overall series of Good Omens is also following it for its overall story as well. Think back on the last two episodes of S1, which would then be similar in some structural elements and in pacing to this movie.

The Act III Climax in S1 is Armageddon being stopped in Tadfield. That will be overthrowing Heaven in the movie. The Obstacle that followed in S1 as a result of stopping Armageddon and which led into the wrap-up conclusion was Heaven & Hell coming after Crowley & Aziraphale/the body swap plot. When Crowley and Aziraphale solved those obstacles-- in short time, as this is part of the wrap-up-- we then left them dining at The Ritz on Sunday afternoon. These episodes were a very clear-cut example of what an Act III in Three Act Structure within a season looks like and it is likely-- structurally-- going to be very similar to what the model for the finale movie will be. The pacing will be a lot alike, just with some flashbacks in the mix.

Think about how little time it actually took to stop Armageddon once everyone was in Tadfield-- and that most of the finale was just getting characters who had already been set up earlier in the story to Tadfield for that to happen. That's about how much time it's going to take them to overthrow Heaven in the movie. We've actually already watched most of the set up in the story to get to that place in S2. Then, think about how the Obstacles part in S1 was the body swap plot... but how that same type of obstacle wouldn't exist in the S3 movie. Why?

Because this movie is going to stop Armageddon permanently by overthrowing Heaven & Hell. Unlike in S1, when Crowley and Aziraphale were still being targeted, they're going to be truly free for the first time ever by this same point in the S3 movie. So, what are the Obstacles then? Their own stuff. This is where we would get the scenes of two of them having the chance to fully talk through The Final 15 of S2 and, in the process, understand where everything went wrong and have the South Downs Cottage then be the happy ending.

There's plenty of space for this in the story because this is where it's all leading and the part about overthrowing Heaven and Hell-- that Act III Climax that sets up this ending? Going into the movie after where S2 left off, we're actually only a heartbeat away from it already.

This is all very do-able within 90 minutes, with plenty of room for things like The Vavoom and 1941. It might not be the full season that we hoped for but the story is in a way better place to wrap this up with a movie than most shows in this position would be.

[nostalgebraist]

the light, and the glass

So there's this particular quality I have, as a fiction writer, and I have very little sense of how common or rare it is.

The quality is closely related to that famous Michaelangelo quip, about his sculptures being "already complete within the marble block":

The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.

This is how I feel, too, about my works of fiction. They feel like "real things" that "already exist," in some important sense, before I write them down -- or, indeed, before I even fully know what they contain.

So, for instance, if I haven't yet thought of an ending for a story I'm playing with in my mind, I nonetheless have a vivid sense that this particular story has an ending, and that this ending already is whatever it happens to be. It's only that I haven't managed to "see" it yet.

To clarify the point, consider the contrast between this thing, and two relatively familiar ways of thinking about how fiction gets made:

Conscious, goal-directed craft/artifice. Intending to write a Satisfying Plot in which each character has an Arc, the Story Beats follow logically from one another and are arranged with what is called Good Pacing, the proverbial Cat is Saved, etc., and "solving for" these desiderata in a conscious manner. Or, intending to create something much more outré and unsettling than all that -- but having some specific set of (outre, unsettling) intentions in mind, at the outset, and concocting/arranging the elements of your work in a conscious way guided by these intentions.

Free-wheeling, self-expressive "creativity." Just do whatever, man! Follow your bliss. The canvas is blank and anything is possible. Whatever you feel like putting into that empty space, go ahead and put it there. (The key thing being that, after "putting something there," you'll look and recognize something with origins in you, and your own whims and feelings at a particular moment.)

For me, though, the process of writing, and even of "ideating" (plotting, etc.), feels like a kind of transcription or channeling, as opposed to either of the above.

When I say "channeling," here, I don't mean that I have some actual, mystical belief in a supernatural object revealing itself through me. Not in the woo-woo sense anyway; whatever is really going on here, I am sure it "merely" involves the mechanics of the human mind, as implemented in the physical human brain and body.

But I do mean that it feels a lot like that. Like the story -- and not just the story part of the stories, but the whole thing, the "art object" -- has some real prior existence outside of me, first.

Like I am merely doing my best to "get it right," to be a perfect transmitter for the radio signal. To "do justice" to the "real thing," in the secondary act of writing words onto a page.

To be a courier who transports a valuable object from some originary otherworld into a place which happens to be called "existence" -- and to ensure, as much as possible, that it suffers no disfiguring scrapes during the journey.

----

I should say, though, that there's a lot of the "#1" above in my process too, the conscious-artifice thing.

Except... when I do that kind of thing, the intentions all come from the "real object," and my goal is to fill in whatever I can't see of that object so that everything I can see is preserved.

So: I will come to know, surely and indefeasibly, that the story must have some particular feature. (An event, a little moment, a character feeling a certain way at a certain time, even a specific turn of phrase.) Better to say: I know the story does have this feature. I see it in the marble.

But I can't see everything that's there, already, in the marble. And sometimes these glimpses-from-the-beyond are strange, inconvenient, difficult to "fit" into the current story (or perhaps into any story) in a natural-seeming manner.

And that's my task, when I'm doing the conscious-artifice thing: to take this collection of axiomatically-present glimpses, and build a structure around them into which they can "fit," naturally and even logically, just as if they were ordinary story-building-blocks like their neighbors, being placed here and there for ordinary story-reasons.

----

This has various implications. For one, it determines which kinds of writerly anxieties I suffer from, and which types leave me alone.

Like, I have virtually no self-doubt about my "ideas." About the overall, large-scale goodness-or-badness of the thing I'm creating. At least, not when considered "in principle," in an idealized sense that abstracts away from my actual capabilities as a guy who puts words on pages.

"Was this story, as a whole, a good idea?" is a question I find difficult to ask myself. Even when applied to smaller units, like specific plot points, this kind of question simply goes nowhere when I attempt to think about it. Insofar as my mind can cough up any answer, that answer looks like:

Yes

(after a moment, with mounting bewilderment) Yes, obviously -- how strange even to ask!

(after another moment, and as an afterthought) ...but if it weren't any good, is that really my business? It's not like I came up with it. I was asked to keep it safe and bring it into reality, and I take that duty seriously, but once it has reached its destination I wipe my hands of the matter. Don't shoot the messenger!

It's not, just, that I feel like the "real thing" "already exists." I also feel, always, that the real thing is... really good.

I deeply, thoroughly trust the Muse / Higher Power responsible for originally "making" this stuff. (To speak in relatively woo-woo terms, for ease and clarity.)

The Muse / Higher Power is a seriously skilled artist, much more so than little-old-me; if She makes any errors at all, they are not really mistakes, but "are volitional and are the portals of discovery."

And what's more, there is a sacred, unearthly gleam to the artifacts She makes, perhaps having something to do with that Fairyland, that place-other-than-"existence," in which they are originally made.

It feels like an honor to be designated as a courier for these enchanted things. Perhaps not a deserved honor -- on which more below -- but it's never the nature and value of the transported goods that I doubt.

(There is a definite sense of ritual to the thing that I do, here; a sense of connecting with some other place, definitively apart from our mundane here-and-now, and likewise more important/primary/etc. than the latter. Hence, perhaps, my tendency to not-write for long stretches, and then write in long sustained bursts for many hours at a time, which need a good deal of preliminary building-up-steam before they fully get going; it takes time to pierce, and then fully cross, the veil between worlds. And the various imprints of this stuff on the works themselves are not hard to see, once you're looking for them; they are of course especially transparent in TNC.)

All that being said, I do suffer persistently from a different anxiety.

When Michaelangelo said the thing about the sculpture "already complete within the marble block," he said it as... Michaelangelo.

As a famous, incontrovertibly masterful craftsman. Not a guy likely to suffer from doubts about his ability to put the chisel to the marble block, and reveal precisely that shape which was already there, inside.

But I'm not Michaelangelo. I'm not even sure I'm a good craftsman, much less a great one.

Certainly I've never conceived of myself in this way, even aspirationally. (Well, maybe I did in childhood and adolescence, but that was a very different thing from what I'm talking about now.)

I don't do what a person would do, if they wanted to be a Writer, and strove to be the best one they could. I don't, for the most part, practice my craft. I write because there's a Real Thing that only I can see, and it's not going to make into Existence any other way.

And since I don't write by habit or as practice -- since I only write at times when a Real Thing is in need of some incarnating-work, and I'm the only one around to do it -- I'm not exactly an ideal candidate for the job.

I am like a man who never especially wanted to be a sculptor, never practiced the trade, and was never more-than-ordinarily good with his hands, even... who is then, suddenly, struck with a very literal version of the experience Michaelangelo described.

Who, suddenly and inexplicably, begins to actually see a sculptural masterpiece lurking inside, whenever he looks at a faceless marble block.

What is our protagonist to do? Naturally, he will find a chisel, and begin chipping away. He will feel that these things need to be freed from their prisons, released and revealed to all the world, so that all the world can delight in them as he already does.

But he will be very aware of the unfamiliar way the chisel sits in his hand; of the way that hand trembles, and fails to meet the mark, and sometimes shaves off precious bits of what was really and originally a beautifully formed hand -- so that the hand, in the realized artwork, forever bears some oddity of shape which was not a part of what he saw inside the block, but only a consequence of his own shameful incompetence.

He will feel that his works, such as they are, are an odd mixture of amateurish craft and direct, divine inspiration. Insofar as he is Great, it will be because he has had Greatness thrust upon him, from without. He will feel, sometimes, that his successes have been obtained through a kind of cheating, not won fair-and-square.

And he will feel, always, a particular kind of (justified) impostor syndrome: an awareness that what he is doing, when he sits down before the marble block with the chisel in hand, is a very different sort of thing than what is usually called "sculpting," and what is being practiced by careful, hard-working aspirants just down the road, at the local workshop. The students there call themselves "sculptors," and our protagonist supposes he must call himself a "sculptor" too -- but he knows that behind this coincidence of language, a vast and strange chasm is hidden.

(I worry that this metaphor sounds flattering to me -- I am divinely inspired, they are merely toiling away and following the rules -- when I don't mean it that way at all.

In particular, note that there is nothing in our story to rule out some of the "real" sculptors down the road from also being visionaries who see the finished work in the block. Indeed, I got the metaphor from Michaelangelo, who was precisely this way.

I am only saying that all the conceivable configurations of craft/inspiration are in fact possible: just as it is possible to be skilled but uninspired, it's possible for inspiration to strike someone who lacks the capacity to fully realize its content. And that is how I feel, about my own attempts to create.)

----

When I was getting near the end of Almost Nowhere, and struggling with this kind of feeling, Esther would often reassure me by saying: "you are the light, and you are the glass it shines through."

In other words: you are a transmitter, and you are the source of the transmitted signal. Remember that in actual fact, the "real thing in the marble" came from your own little brain, just as much as the rest of it did. In actual fact, if there is a Muse and a Higher Power, it is really just an additional part of the same creature that holds the chisel, and worries over its trembling hand.

I did, indeed, find this very reassuring. And that's a funny thought, in a way! I imagine that for some people -- and indeed for me, in many other endeavours -- the same sentiment could easily have the opposite effect.

"It's all on you. It's all your responsibility. If any of it is bad, there's no one else to blame. If there is any 'Higher Power' at all, it is only the one inside you at all times, and not able to save you through unexpected intervention, from some true outside."

But I already believed, thoroughly, in the magical potency of the goods I was charged with transporting. If I was (somehow!) their maker, too, then (somehow!) the root of that glimpsed, alien magic was in me.

And so, perhaps, I could trust myself to ferry them into Existence without ruining, without even much dimming, the fairy-gleam from elsewhere that made them what they were.