#The character might not be real but the people behind them are!!

[intothestacks]

@randybr3001

"Curating books in public libraries is not banning books"

My buddy, my pal. What... what do you think librarians do, exactly?

Just buy every book indiscriminately? Who's got the budget for that?

Curating collections and deciding what to buy is a huge part of our job description, my dude. And we buy based on the library's collection policies and the needs and interests of our community.

We have several classes that we are required to take on how to curate a collection in order to acquire a librarianship degree. We are educated professionals who know what we're doing.

You shouldn't get to decide what other grown people are allowed to read.

Just because YOU don't like a certain book doesn't mean no one else in your community will like it either. If a book has inappropriate material for children it won't be in the children's section, it'll be in the adult or YA section. Where it belongs.

"There's no reason for K-12 children to see explicit material in their library"

a) It's not up to you to decide what books someone else's kid can read.

Different parents have different rules about what's acceptable. For example, I have a few Grade 1s who are allowed to read Goosebumps, some Grade 3s who play Five Nights at Freddy's, Grade 4s who read Stephen King, and my mom explained to me where babies come from when I was 5 or 6 but banned me from reading Goosebumps when I was 7.

Meanwhile, a Grade 5 student of mine isn't allowed to read books with queer characters, romance books, or scary books of any kind because their parents think it's inappropriate. So you know what that Grade 5's parents did? They talked to their kid about not getting those books and asked me to let the student know if I know a book they're taking out has what their parents consider inappropriate.

Boom. Beautiful. Perfect. Problem solved. No book banning necessary.

b) No one's putting sexually explicit books in libraries/sections for young children.

No one's making picture books for kiddos with people 69ing each other or something, for Heaven's sake. And if they were, children's librarians wouldn't be buying them.

What people say is "sexually explicit material" when it comes to picture book sections are typically just books that have queer characters in them. Because simply existing as a queer person is supposedly sexual in nature. For example, a book that's often challenged is And Tango Makes Three, which is a sweet real life story about Central Park Zoo's gay penguins raising a rejected egg as their own. There is no mention of sex in any way, shape, or form. There isn't even mention of the word "gay". They just say that two boy penguins were in love and wanted to raise a chick like all other penguin couples do:

That's it.

They might put stuff on puberty in the nonfiction section for kids and teens, but once again, it's up to parents to talk to their kids about what they consider appropriate and to monitor what books kids bring home.

c) Studies show that kids must be taught at a young age how to recognize inappropriate behaviour by adults and what to do if they come across it in order to stay safe.

A kid who knows absolutely nothing on the topic isn't safe, they're vulnerable.

Books that deal with serious topics like sexual abuse are critical to teach kiddos how to stay safe. In one recent case, for example, a little girl recognized that what her dad had been doing to her was wrong and needed to stop by reading a book where a girl was molested by an adult. "That's what happens to me," she told her mom. And now the bastard's behind bars.

Of course, how you talk about it will be slightly different depending on whether you're talking to a Grade 1, a Grade 3, a Grade 6, or an older kiddo, but that's what library sections are for.

If you don't think your kid should read these books then don't let them read it. It's really that simple.

d) You really think high schoolers don't already know about sex?

High schoolers? Really?!

Many high schoolers are already having sex, so I'd rather they learn how to do it safely and consensually than to bungle it up and get hurt.

As a children's librarian, people who harass fans of Harry Potter indiscriminately really worry me.

Here's why.

1. The majority of Harry Potter fans are children.

I've had people call me disgusting and scum and an embarrassment to my disabled community. I've been suicide baited and have received death threats. All of this can be heavy enough stuff for an adult to deal with.

And then I think of how most of my 700+ elementary-aged students are huge Harry Potter fans. Because, you know, Harry Potter is a children's series. And they also have access to the internet and social media like TikTok and YouTube.

Now imagine the stuff that's been said to me being said to a kid. Because Harry Potter's main audience are KIDS.

2. This black-and-white mentality isn't healthy.

Very few things in life are cut-and-dry good vs bad. And if you employ this kind of thinking in one area of your life, odds are you'll apply it to other areas too(more on that in a moment).

And people who go out of their way to harass people who like Harry Potter don't seem to particularly care about any context beyond "If you like Harry Potter in any way whatsoever you're scum".

It hasn't mattered when I've pointed out that I absolutely and unequivocally think Rowling's TERF views are awful and scummy and wrong. It hasn't mattered that I try my best to consume the content only in ways that won't monetarily support her, (which kids typically can't do, btw). It hasn't mattered that it's literally in my job description to keep up with children's media to procure content for my patrons as well as to be able to hold conversations with them.

3. Saying "You're not allowed to read this without being harassed" is no different from saying a book should be banned.

This is ironic, seeing as the people doing the harassing are also often up in arms about queerphobic and racist book bans (as they should be) while demanding book bans of their own.

Because in their all-or-nothing way of thinking, book bans are only bad when the "bad" people do it.

No. Book bans are always bad, no exceptions.

Book bans aren't bad because they're banning the "good" books, they're bad because banning access to different ideas is always bad. Because every book has a lesson to teach us (perhaps not the lesson intended by the author, but a lesson nonetheless).

[elephantshoetoo]

Hey there! Loved the recent YT video of yours. Um, Let's dive straight to the question.

First, I am a massive Byler believer. (all for the right reasons, I believe) But recently I keep seeing posts on "why Byler isn't happening" and the reason people usually drop is "the story is set on 80s, it was a difficult time to be gay"--- And I'm like, 1. well, it's mainly a fictional show. there isn't upside down or at least we have yet to find that to be true . so writers can do what they like. 2. just because 80s was a difficult time to express openly to others that they were gay doesn't mean people didn't fall in love and decided to love and live with each other for the rest of their lives. 3. am I really watching the same show with the rest of the world? am i overanalyzing it? or am I really gonna be kicked on the stomach when Season 5 releases (which I hope releases soon, every day of wait is killing me) What's your take on this? Hopefully you'd answer. I rarely open Tumbler but I will come back for your answer. Lots of Love, A Fellow ST Fan

Ooh, thank you for your question - this is my first real ask. I'm so excited 😊

Take heart, dear Byler shipper. This is a show for the underdogs, a show about fighting against forced conformity and righting the wrongs of the past.

I grew up in the 80's, and yes, gay people existed, though many of them were closeted out of fear or denial. I had gay friends and dated several gay guys, so I do understand why people might think it would be unrealistic for Byler to happen, but yeah, it's a sci-fi show, not a documentary. It's not about realism or showing how it was. It's about showing how it should be (in the end), so I don't think the time period is going to stop them.

In fact, I think the time period is significant. I think the monsters and the Upside Down are all symbolic of the horrors of growing up as a gay person in a place and time that was hostile towards them.

But also...

The first Pride celebration in Indiana happened in Indianapolis in 1987.

1987.

Why does that date sound familiar...? Oh, yes. That's when most of ST 5 takes place - the year of their first Pride celebration. Hmm... Coincidence?

And Byler can happen without them coming out to the whole town. They could keep it amongst their friends and family, the way Robin has only told Steve so far. Nobody doubts Rovickie happening, even though they are also gay in the 80's (making those arguments against Byler completely invalid). Vickie has far less queer coding than Mike Wheeler and is also in a straight relationship, but everyone sees it coming after only a few flirty scenes, because nobody knows or cares about Vickie's boyfriend or had any preconceived ideas about her character that they now have to adjust. People don't like adjusting their preconceived ideas. It makes them uncomfortable. It makes them question the safety of their familiar little world and forces them to expand their minds. Growth is never easy.

But... if they don't already see the queer coding behind Mike and all the hints that Byler is on the horizon... adjusting their preconceived ideas would actually explain Mike's whole character arc, the "journey" he's been on and the weird behavior that makes no sense through any other lens. That airport "hug"? Pretending to ignore Will all day while furtively glancing at him and noticing every little thing he does? Classic crush behaviour. It's so obvious unless you're straight-up in denial. They've used so many of the traditional romantic tropes (love triangle, boy-next-door, "just friends" to lovers, Cyrano De Bergerac, etc...), yet people refuse to see it because Byler isn't a traditional couple.

So, yeah... It's a story. It can do whatever it wants. If it's a good story - which I believe it is - it will pick up all these breadcrumbs it's laid down and follow them to a satisfying conclusion. Otherwise, what would have been the point? Why have Will believe he's never going to fall in love? Why have him fall in love with Mike specifically, and leave a whole bunch of hints that Mike returns his feelings, making the audience root for them, if that's not where they're planning to take this? It would make no sense at all and be sloppy storytelling, imo.

Thank you so much for your question, and for watching our YouTube video! I hope this cures you of any Byler doubt.

Love,

Byler Mom

💙💛💚

[duchessonfire]

Savior Carl!AU re-read Part 1 Chapter 4

Follow-up of my re-read of Part 1 Chapter 3. If you're not interested and don't want to have your dashboard spammed, you can block the tags Duchess reads and Savior Carl AU reread.

Commentary for Part 1, Ch 4 below the cut (spoilers for part 1 ahead):

I've been delaying writing this one, not just because life is hectic, but also because I have so much I could say about this final chapter, I'm not even sure where to start.

First of all, Carl's training with the rifle outside the Sanctuary. I'm really really happy I thought of that because it allowed me to show a lot through this simple activity. It might sound silly, but I always struggle finding Carl things to do around Sanctuary. Let's be real, I have no idea what people do in the apocalypse aside from the usual scavenging for supplies, growing food, fixing broken things and going through weapon training. It's especially hard to think of things at Sanctuary because most of the supplies they get is brought in to them from the communities Negan has subdued. When you're writing a long fic, the challenge is always to find new things for the characters to do, especially in a setting like the apocalypse. The Savior Carl AU is very much a huit-clos, a narrative taking place in a defined and limited space. Carl isn't allowed to go outside in part 1, so the whole story is limited to the space of Sanctuary.

This is both a strength and a potential weakness for the story. Because Carl is the focus of the story and because he stays inside the factory, things will get boring very quickly if his role doesn't change, if the parts of Sanctuary he explores are always the same. This is why the shooting practice in the parking lot was so useful to me: it gave Carl something new to do aside from the guard duty he had done until now and it allowed him to start interacting with the cast of background characters that make up the Saviors and workers of Sanctuary. Same goes for Carl's new job as Negan's assistant.

Now that I'm re-reading this last chapter, I do regret not paying more attention to the fact that Carl entered Negan's room for the first time in this chapter. It's not something I highlighted in any way and I am a bit sad about that. However, I am still very happy with the scene where Carl is looking at the bookcase in Negan's room:

His finger trails over the spine of a book decorated with a bird’s silhouette. “Good choice,” Negan says approvingly, suddenly right behind him, and Carl snaps his hand back. They’re alone in the room now, Simon gone and Negan’s leather jacket draped over the bed, leaving him just in a white t-shirt as he stands behind Carl. It’s truly messed up that all it took was two weeks for Carl to lower his guard around Negan completely, to the point where he can get distracted and snuck up on without any real effort. He remembers Shane telling him about something like that once, how the best way to lull someone into a false sense of safety is to give them a routine, a pattern to repeat day after day at the exact same time, until they lower their defenses, their brains already anticipating the next step in the schedule. He saw first-hand how true that was when Rosita managed to kill her way inside Sanctuary just by memorizing everyone’s guard rotations, armed with nothing but a knife and a gun with one bullet. He wonders suddenly if that’s why Negan gave him a schedule of his own, practicing every morning and then meeting him every day at noon. Was that part of the plan? Giving Carl a false sense of safety, making him lower his guard around him? But Negan just looks relaxed, perfectly at ease with his hands tucked in the pockets of his dark jeans, Lucille forgotten against the coffee table. He smells like soap and spicy aftershave, and his hair is still a bit wet from the shower he took after visiting Sherry upstairs.

This scene is so important to me. If you've been following my end-of-the-year wrapped up posts on Tumblr, maybe you'll have seen that the reason part 1 is tagged Carl & Negan and pre-Carl/Negan is because back when I was writing this story in 2021, I had seen a lot of awful people on Tumblr harassing Cegan shippers and so I was very afraid of writing a fic that was full-on Carl/Negan. Instead, I wrote part 1 as a story that would eventually become shippy, but not yet.

This scene, however, the bookcase scene, is one of the shippiest of part 1. I really wanted to show the new intimacy between Carl and Negan. Carl isn't just in Negan's bedroom, in Negan's private space, but he's comfortable there. So comfortable, in fact, that he doesn't even notice Negan walking up behind him. This is such a huge leap compared to where their relationship was before, the cat-and-mouse schoolyard bullying of the previous chapters. There is no animosity from Carl anymore, no cruelty from Negan. A symbolism that comes back over and over again in the Savior!Carl AU and which I've taken directly from the series is that Negan's leather jacket is an armor and a work uniform all at once. When he wears the leather, he's Negan the Savior, leader of Sanctuary. When he doesn't, he's more ostensibly Negan the man, less guarded and gentler to others. You can see that at several points in the series (he removes his jacket when he's with Carl and Judith in Alexandria but puts it back on when he's playing pool with Spencer, he doesn't have a jacket when he kills Davey to protect Sasha in the cell but he has it back on when he comes to check on her and sees that she put down Davey's corpse).

Carl and Negan have both lowered their guards around each other, and the personal space they keep around each other is similarly reduced:

“You can borrow it if you want. Nothing like a classic.” “It is?” Carl can’t help but ask, frowning back toward the drawing of the bird on the book’s edge. The design makes it look like a children book to him. Negan stares back at him in disbelief. “You don’t know To Kill a Mockingbird?” Carl shrugs, embarrassed at Negan’s tone.   “Seriously? You’ve never heard your parents talking about the book? Or the movie? None of your teachers?” “I was thirteen when I stopped going to school,” Carl says defensively. Negan blinks before sighing dramatically. “Well, at least you’ve never had to sit through a high school analysis of Gatsby. You dodged a serious bullet on that one, kid.” He stretches his arm past Carl’s head, and for a second Carl is trapped, enclosed between the bookcase, the wall, and Negan’s naked arm around him, every single one of the tattoos dotting his skin on display without the armor of his jacket. He takes the book out and hands it to Carl.

That single moment at the end is really the shippiest part 1 gets. Carl is already so aware of Negan's body (his tattoos, his smell, how close they are) while at the same time being in full denial that this awareness comes from sexual attraction. The more time these two spend around each other, the harder it becomes for them to stay apart, for Negan especially. If you look over part 1 (and parts 2 and 3 as a matter of fact), you'll notice Negan is the one always seeking Carl out while Carl has a tendency to find places away from everyone else to brood. This is how the sandwich scene happened in the previous chapter and this how another one of my favorite scenes happens: ✨the rooftop scene.✨

I'm not even going to attempt quoting it here because I'll just end up copy/pasting the whole thing. I love everything about this scene and it still stays with him as one of the most visual moments of part 1, right up there with the moment Carl was shot in the eye and he hallucinates the candy cane Christmas decoration while Negan carries him to the infirmary. Like the eye, the scene of the rooftop is a really pivotal one, and it shifts the entire dynamics of the fic. It's also one of the times in the Savior!Carl AU where I go off-script from canon and fill in the blanks of Negan's past.

“My first time was when I was nineteen,” Negan finally says, breaking the heavy silence left by his confession. Carl finally looks at him, surprised. Negan’s eyes are fixed on the horizon, obviously lost in memory. “I was in college. I had just gotten a scholarship to play football. I played everything back then, football, basketball, baseball, fucking ping-pong, you name it. As long as I was allowed to throw a goddamn ball I was happy. But I got a full ride to Ohio State and it was one of the best moments of my life. I was finally away from my asshole father and doing what I liked. It was the first friendly game of the season, and we were playing against some rich fuckers from a liberal arts college not far. Of course, it was college, so we’d all met at some frat party the night before and the trash talk had gotten out of hand before the game even began. Everyone was playing rough, and I mean it as in, it was a fucking bloodbath. So many players got injured that even my freshman ass got called on the field to play. We’re all riled up, the ref keeps threatening to cancel the match, some fucking cheerleader is crying in the background because her boyfriend lost two front teeth, it’s basically hell and I’m loving every second of it. And then… I tackle this guy and we both fall hard. I actually heard his vertebrae snapping when we both hit the ground. They stopped the game for good after that. I got taken to the hospital, because my fucking collarbone was shattered, but the other kid? Paralyzed from the neck down. And that was only if he was lucky enough to wake up from the coma the docs had to put him under.” Carl can’t help but be fascinated by this story, by this whole new side of Negan, without an ounce of sadistic delight for once, eyes still staring ahead, his face basked in the orange light of the evening. “He died the night before I left the hospital. I could hear his mother crying herself to death down the hall. It was messed up, for them, for me, for everyone involved. I mean, this wasn’t like how things are now. Back then, you were supposed to die at seventy of prostate cancer, or at fifty in a car accident, not playing fucking college football at twenty. After that, I couldn’t play because of the metal plate they put in me. Still have it,” he says, rubbing absentmindedly at the lapel of his leather jacket, right underneath his red scarf. “I lost my scholarship. So I went back to Virginia, got a degree from community college and went to teach P.E. in high school.”

Don't mind me going back on my word and quoting you this whole part. It's always a gamble when you're writing a fic for a on-going series because you never know if the headcanons you're adding will be disproved later. For example, when I was writing part 1, the 'Here's Negan' episode hadn't come out yet (it aired less than a month after I posted chapter 4 and finished the fic) so I had no way of knowing whether the past I gave Negan would have to be retconned later on. I'm glad to say that it holds up so far, Negan's reluctance to killing walkers in the flashback episode (which he says is because he's afraid to grow used to it) could very well stem from the traumatic event I gave Negan in the Savior!Carl AU. However, something that I was a bit disappointed about when Dead City season 1 aired last year, was Negan sharing a memory of his dad being a salesman and promising to take him on a trip to NYC as a child. This is in complete contradiction with the past I made up for Negan in the Savior!AU, where Negan's own relationship with his father is contentious to say the least. I haven't shared anything about that yet, but it will appear if I ever post a Negan's pov fic of the Savior!AU.

This post is running very long already so I'll wrap it up with one song: You're My Sunshine. Obviously this song is a very powerful moment in the Cegan canon so it felt very right to use it for the end of part 4 because it is both an echo to the Sing Me a Song episode and a reminder of Carl and Lori's relationship while, at the same time, the lyrics are very much reminiscent of Carl and Shane's relationship:

I'll always love you and make you happy, If you will only say the same. But if you leave me and love another, You'll regret it all some day. You told me once, dear, you really loved me And no one else could come between. But now you've left me and love another. You have shattered all of my dreams.

I wasn't sure at first I wanted to integrate a song in part 1 because song fic are a sort of commonplace in fandoms and I didn't think it would fit the vibe of my fic. However, when I paid close attention to the lyrics, I realized how apt they were for this moment of the story, for Carl and Shane's relationship to be severed for good, after Shane has chosen to escape with Sherry and baby Lori and left Carl behind. I also really loved the idea of such a romantic song being superimposed on what is arguably one of the most dramatic and disturbing moment in the whole of part 1.

Several people have pointed out in the comments that Shane has all but served Carl on a silver platter for Negan. The manipulation, the secrecy, the violence, all of those elements that Shane used to control Carl, those are the same elements that Negan uses in his relationship with Carl, making Carl go from the arms of one abuser to another. The difference being, of course, that Carl and Negan have a romance a true bond aside from Negan's mindfuck, while any real relationship Carl and Shane might have had died long ago.

Conclusion; tldr: This final chapter of part 1 is a gradual build-up of all the tensions that have been boiling so far. The more Carl separates from Shane, the closer he becomes to Negan, until the eventual killing of Shane by Carl became inevitable. The Savior!Carl AU is a dark romance but it is a romance, and to me what makes this story is great is how the dark and angsty aspects of Cegan are conterbalanced by true moments of bonding and kindness between the two characters. Some people in the comments have very rightfully called part 1 a corruption story or a 'start-of-darkness' plot. That is indeed what is happening, with Carl gradually falling more and more into the possessive clutches of Negan. Those clutches, however, also stem from a true care and affection from Negan to want to provide for Carl and to adopt him as his own.

PS: in chapter 4, Carl remembers Rick's favorite book being In Cold Blood by Truman Capote while Lori's favorite book was The Scarlet Letter by Nathanial Hawthorne. Those are little Easter Eggs I thought people who have read those books might appreciate when compared to Rick and Lori's actual storylines in canon (senseless violence in a small town being investigated and the lack of motive haunting the narrative versus a sexual affair that dooms its female protagonist and destroys her reputation and has lasting consequences in her community).

You can find the commentary for part 2 chapter 1 here.

[sonchiildren]

Just to put this out there for the evening, it is ONE thing to try to fluster, agitate, or mess with a muse but it's ANOTHER when it clear that you are making the person behind the character uncomfortable. If someone tells you to stop than fucking stop. There are genuine people behind these blogs and just because we are playing a character doesn't mean you get to harass us.

[six-of-cringe]

never thought i'd say it. not happy about gay sex

[the--days]

so it's like this.

you're young and you're scared and you're trapped in the feywild (happens to the best of us) with the love of your life. You're a half-elf and she's a fullblooded elf but you don't think about it very much because you're barely surviving day to day. And you get offered a deal to get yourself home again, and you take it. And the price of your freedom is that you leave her still trapped there, alone.

And then five years pass. And you age a century in that time, and you grow, and you change, and you find her again, and you're still in love, and you meet people, and you lose people, and you love them too, and you learn, and you start wanting a future again, and caring again, taking care of yourself, taking care of other people--

and after all of that, at the end of things, you find out the man responsible for all of the misery in your short, sad life has cast a spell which gives him complete control and ownership of you- mind, body, and soul (again. this happens to the best of us). And you are given the choice to stay under his thrall, and live a thousand years-- or to age and die, like humans do, and to be free of him.

And the love of your life is there, and you're married now, and she's still a full blooded elf, and you're still a half-elf, and you think about what that means a lot more than you used to.

And still, after everything you've learned-- you choose your freedom. You choose leaving her behind.

[imastoryteller]

Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

[luna-azzurra]

How To Write A Chase Scene

Before anyone takes off running, the reader needs to know why this matters. The chase can’t just be about two people running, it’s gotta have a reason. Is your hero sprinting for their life because the villain has a knife? Or maybe they’re chasing someone who just stole something valuable, and if they don’t catch them, it’s game over for everyone. Whatever the reason, make it clear early on. The higher the stakes, the more the reader will care about how this chase plays out. They’ll feel that surge of panic, knowing what’s on the line.

Sure, a chase scene is fast, people are running, dodging, maybe even falling. But not every second needs to be at full speed. If it’s too frantic from start to finish, the reader might get numb to the action. Instead, throw in some rhythm. Use quick, sharp sentences when things get intense, like someone stumbling or almost getting caught. But then slow it down for a second. Maybe they hit a dead end or pause to look around. Those brief moments of slow-down add suspense because they feel like the calm before the storm kicks up again.

Don’t let the setting just be a backdrop. The world around them should become a part of the chase. Maybe they’re tearing through a marketplace, dodging carts and knocking over tables, or sprinting down alleyways with trash cans crashing behind them. If they’re running through the woods, you’ve got low-hanging branches, roots, slippery mud, and the constant threat of tripping. Describing the environment makes the scene more vivid, but it also adds layers of tension. It’s not just two people running in a straight line, it’s two people trying to navigate through chaos.

Running isn’t easy, especially when you’re running for your life. This isn’t some smooth, graceful sprint where they look cool the whole time. Your character’s lungs should be burning, their legs aching, maybe their side starts to cramp. They’re gasping for air, barely holding it together. These details will remind the reader that this chase is taking a real toll. And the harder it gets for your character to keep going, the more the tension ramps up because the reader will wonder if they’ll actually make it.

Don’t make it too easy. The villain should almost catch your hero or the hero should almost grab the villain. But something happens last second to change the outcome. Maybe the villain’s fingers brush the hero’s coat as they sprint around a corner, but they manage to slip out of reach just in time. Or maybe your hero almost gets close enough to tackle the villain, but slips on some gravel, losing precious seconds.

And Don’t let the chase end in a way that feels too predictable. Whether your character gets away or is caught, it should be because of something clever. Maybe they spot a hiding place that’s almost impossible to notice, or they use their surroundings to mislead their pursuer. Or, the person chasing them pulls a fast one, Laying a trap, cutting off their escape route, or sending the hero down the wrong path. You want the end to feel earned, like it took quick thinking and ingenuity, not just dumb luck or fate.

[cheriecoke]

nanami kento, who hates dating, and didn’t do much of it in his early twenties. but now, he’s almost thirty, watching all the people he works with settle down, have kids, and he thinks he wants that. so he might as well try.

so satoru sets him up on a few dates — friends of friends, he calls them. and at the end of every one of the dinners, kento goes home empty, exhausted, because he knows what they want is not the same.

still; he thinks maybe he’s being a little self-destructive, maybe too picky, maybe he just got so used to being alone. with satoru’s insistence, he gives all the women another call, invites them over to his apartment.

the first time was a disaster… kento had barely set the dinner on the table before his cat had hissed at her, scratched her down the arm in a thin gash. and though it did draw blood, it was hardly enough to warrant that reaction.

he didn’t even try to stop her as she picked up her bag and left, huffing like she’d been morally offend. kento, though, could only smile to himself in amusement.

because maybe kento was a poor judge of character, a man who was secretly hoping nothing would pan out — but his cat could certainly tell the good from the bad.

it became a little game to him, after that. seeing if anyone could win his pet over, and if they could, perhaps they were the one. his darling animal was a fickle thing anyway. a bit too defensive, quick to bite anything threatening after years on the streets.

naturally, no one came back twice.

he was close to giving up, accepting his solitude because he was tired of empty conversations over dinner. but then, he ventured out over the weekend to a new coffee shop, during hours he normally didn’t spend out of his home, and met you.

though you only talked for a moment, kento felt like maybe he’d known you in a past life. a part of him thought maybe it was strange, the way he kept coming back to talk to you, catching you at the end of your shift to see if you wanted to grab a coffee sometime.

by the second date, kento started to think you could turn out to be his best friend.

by the third date, kento wondered if soulmates were real.

on the fourth date, almost two months later, an appropriate time to get to know someone when you were as reserved as kento, he invited you over for dinner. it was, perhaps, the final confirmation he needed to let himself be with you.

he let you through the door, smiling softly as you told him about the book you were reading, and hung his coat on the rack. a moment later, you stopped, distracted, hands covering your mouth in a gasp.

“kento! she’s the cutest cat i’ve ever seen, you didn’t even show me pictures!” you exclaim, and, a few feet away, crouched down. “look at her pretty eyes…”

“careful,” kento said, “she’s not very—“

but the cat approached your outstretched hand, sniffed once, before letting you scratch her under her chin, purring loud enough for kento to hear across the room.

“shes such a sweetheart, you told me she was mean!” you smiled, making a cooing noise as you threaded your fingers through her fur. “kento’s a liar, isn’t he… you’re so precious.”

a few moments later, she snapped her jaw at you in a biting motion, and you only laughed, withdrawing your hand. “alright, i get it, i won’t bother you anymore.”

though she still brushed against your legs, just as she did kento’s, and seemed to communicate some sort of message to him.

“do you want any help cooking?” you ask, tucking your hair behind your ears. “i’m a disaster in the kitchen, but—“

“sure,” kento said, his chest tightening as he blinked back at you, only in his apartment for minutes and already looking as at home there. he wondered if it was possible to fall in love so quickly. “but only if you want to.”

[solxamber]

Idia cater and octanivelle (seperate) with a reader s/o who gets cuteness aggression towards their boyfriend, dragging him to privacy if they arent already in it so they can smother to boy with kisses and then just leaving them be like they just did the most normal thing, leaving the characters to react in their own ways perhaps please?

Cuteness Agression with: Idia, Cater, Octatrio

a/n: i loved the ask omg i was giggling the entire time i was writing it. sorry for the really long wait and i hope you like it

Part 2: Malleus, Rook, Lilia, Jamil, Riddle, Leona

Idia Shroud

Idia had never considered himself cute. If anything, he was the exact opposite of what someone might find remotely attractive—awkward, perpetually hunched over, and most likely to combust if too many people looked at him at once. But then, there was you.

You, with your sunshine-like enthusiasm and boundless energy, who had the audacity to look at him—his mess of blue flames, oversized hoodie, and permanently slouched posture—and declare him the cutest thing you’d ever seen.

At first, he thought it was a joke. Surely, you couldn’t be serious. But as time passed, it became glaringly obvious: you were dead serious.

It started on a quiet afternoon. You’d found Idia tucked away in his room as usual, gaming with a focus so intense he didn’t even notice you entering. His lips were pressed into a slight pout, his brows furrowed, and his hair glowed faintly with concentration.

And that was it. Something in your brain snapped.

You didn’t even say anything, just marched over, grabbed his wrist, and pulled him out of his chair.

“H-Hey! What are you—?!” Idia stammered, flailing as you dragged him out of the room and down the hall. “I’m in the middle of a raid! I can’t just leave! My party’s gonna—”

You shoved open the door to an empty lounge, ignoring his protests, and pushed him onto the couch. Before he could even process what was happening, you pounced.

“You’re so cute, I can’t stand it!” you half-yelled, squishing his cheeks in your hands and pressing a flurry of kisses all over his face.

Idia froze. His brain blue-screened. “Wh-What—?!”

“Nope, no talking,” you said, absolutely drunk on how adorable he looked when he was flustered. You kissed him again, your hands cradling his face like he was some precious, fragile thing. “You’re so cute, it’s criminal! I’m putting you under arrest.”

“Th-That’s not—! Y-You can’t just—!” Idia’s protests were muffled by your relentless affection. His flames sparked and flickered wildly, betraying just how utterly overwhelmed he was.

After several long moments, you finally relented, leaning back to admire your work. Idia’s face was a brilliant shade of red, his hair practically sparking like fireworks. He looked dazed, his wide golden eyes staring at you like you’d just dropped from the sky.

“See? Absolutely adorable,” you said smugly, crossing your arms like you’d just won some grand debate.

Idia sputtered, burying his face in his hands. “Y-You can’t just ambush me like that! W-What if someone saw?!”

You grinned, leaning forward to gently pull his hands away from his face. “No one saw, and even if they did, so what? You’re my boyfriend, and I reserve the right to smother you in kisses whenever I feel like it.”

Idia groaned, though there was no real heat behind it. “You’re gonna give me a heart attack one day, I swear...”

“Worth it,” you teased, poking his cheek playfully.

From that day on, Idia learned to recognize the look.

Whenever your eyes lit up with that dangerous mix of adoration and mischief, he knew what was coming.

“Wait, wait, wait—” he’d say, hands raised as if to fend you off. “Let’s talk about this! Let’s be rational—!”

But it was always too late.

No matter where you were—whether in the library, the cafeteria, or even in the middle of a gaming session—you’d drag him off to a secluded spot, showering him with affection until he was a stuttering, blushing mess.

And the worst part? He couldn’t even be mad about it.

Because, deep down, a part of him liked it.

Liked how unapologetically you loved him. Liked how your touch, your laughter, your relentless affection made him feel like maybe—just maybe—he was worth all the trouble.

Even if it left him blushing for hours afterward.

Cater Diamond

Cater Diamond loved attention. Loved being in the spotlight, basking in the glow of likes, comments, and shares. What he didn’t anticipate was being the target of your unique brand of attention—a combination of relentless affection and an overwhelming urge to smother him every time you deemed him too cute to function.

Which, as it turned out, was all the time.

It started with something simple: Cater had been showing you his latest MagiCam post. He was talking animatedly about angles, filters, and hashtags, and his grin was so radiant, his enthusiasm so infectious, that your brain short-circuited.

“Cute,” you muttered under your breath. But then you looked at him again—the sparkle in his green eyes, the playful way he stuck out his tongue as he scrolled through his phone—and it hit you like a freight train.

“You’re so cute, I can’t handle it!” you practically yelled, grabbing him by the wrist and pulling him out of the classroom before he could protest.

Cater stumbled after you, his phone clattering to the floor. “Whoa, whoa! What’s the rush? Did I—?”

You didn’t let him finish. The moment you found an empty hallway, you spun around, cupped his cheeks, and peppered his face with kisses. “Why are you so cute all the time? It’s illegal. Illegal, Cater.”

His cheeks flushed pink as he let out a surprised laugh. “Uh… I didn’t know being adorable was a crime? Should I call the guards?”

“Yes,” you huffed dramatically. “Call them. Tell them I’m guilty of having too much cuteness aggression, and you’re the victim.”

Cater blinked, momentarily stunned into silence, and then broke into a grin so wide it could’ve lit up the entire school. “Wow, you’re like my personal hype squad! This is the best day ever.”

From that day forward, Cater learned to recognize the warning signs.

Whenever you got that look—the one where your eyes sparkled and your hands fidgeted like you were holding yourself back—he knew he was in for it.

“Let’s chill for a second,” he’d say, holding up his hands in mock surrender. “We’re in public! Don’t you wanna save this for, I dunno, somewhere private?”

You’d smile sweetly. Too sweetly. “Nope.”

And before he could escape, you’d grab him and whisk him away to some hidden corner of the school.

“Seriously, what did I even do this time?” Cater would ask, though his laughter betrayed any attempt at indignation.

“You exist, Cater,” you’d reply, like it was the most obvious thing in the world. “And you’re cute, and I can’t stand it, so hold still.”

Cue more kisses, and more of Cater melting into a giggling mess under your relentless affection.

One afternoon, you found him lounging on the couch in the Heartslabyul lounge, scrolling through his MagiCam feed. He’d tossed on one of his oversized sweaters, and his hair was slightly mussed like he’d just rolled out of bed.

It was too much. Your self-control snapped like a twig.

“Okay, that’s it,” you said, marching over.

Cater looked up just in time to see you barreling toward him. “Oh no, not again—! Babe, wait! Let me post first—!”

You tackled him onto the couch, smothering him in kisses as he laughed and squirmed beneath you. “You’re insane!”

“And you’re adorable!” you shot back, holding his face like it was the most precious thing in the world. “It’s a problem.”

Cater gave up resisting, his arms wrapping around your waist as he laughed breathlessly. “Well, I guess there are worse problems to have than being attacked by my cute, affectionate partner”

You kissed the tip of his nose, grinning down at him. “That’s right. You should feel honored.”

“Totally,” Cater said with a wink, though the flush in his cheeks and the soft look in his eyes betrayed how much he really meant it.

Cater might have been used to playing roles, putting on masks to charm the world, but with you, there were no masks. No filters. Just him, basking in your unfiltered love, and loving every second of it. Even if it meant being smothered in kisses every time you found him too cute to handle.

Which, to your credit, was all the time.

Azul Ashengrotto

Azul Ashengrotto prided himself on being composed, professional, and, above all, respectable. He was a businessman, a contract wizard, a man of strategy. What he absolutely wasn't prepared for was how you, his beloved, had a penchant for completely derailing his carefully curated image with something as ridiculous as cuteness aggression.

And by the Sea Witch, you were relentless.

It started one evening in the Mostro Lounge. Azul had been reviewing paperwork behind the bar, his brow furrowed in concentration, glasses perched delicately on his nose. His pen moved with precise efficiency, the soft scratch of ink on parchment the only sound as he reviewed the latest inventory reports.

You were supposed to be helping, but instead, you found yourself distracted. Watching the way his fingers tapped lightly on the countertop, how his silver hair gleamed under the soft lounge lighting, and the faint pout of his lips as he puzzled over a tricky calculation… it was too much. The man was criminally adorable.

“Azul,” you said suddenly, voice tinged with barely suppressed glee.

He hummed, not looking up. “Yes, my dear?”

You didn’t reply, instead marching over to him with a determined look.

Azul glanced up just in time to see you close the distance between you, a dangerous gleam in your eyes. “W-Wait, what are you—?”

Before he could finish his sentence, you grabbed his wrist, tugging him out of his chair with surprising strength.

“Hey!” he yelped, stumbling after you. “I’m working! The reports—!”

“Can wait,” you interrupted firmly, dragging him into one of the private booths.

“Honestly, what has gotten into—”

His protests were cut off as you shoved him onto the cushioned seat and cupped his face in your hands, your eyes sparkling with adoration.

“You’re so cute,” you said, and the way your voice wavered with sheer affection sent Azul’s heart racing.

“I—what?” he sputtered, his composure crumbling.

“You’re so cute,” you repeated, practically vibrating with energy. “I can’t stand it. I have to kiss you. Right now.”

Azul’s face turned a brilliant shade of red, his glasses slipping slightly down his nose. “T-That’s hardly appropriate—!”

You didn’t let him finish, pressing a soft kiss to his forehead, then his cheeks, then his lips.

Azul went completely still, his brain scrambling to process what was happening. His carefully constructed persona, the one he worked so hard to maintain, was nowhere to be found. Instead, he was just a blushing, flustered mess, completely at your mercy.

When you finally pulled back, his wide-eyed expression made you giggle. “There. Much better,” you said, sitting back with a satisfied smile.

Azul blinked at you, utterly speechless. He adjusted his glasses with trembling fingers, trying—and failing—to regain some semblance of dignity. “Y-You can’t just… do that!”

“Sure I can,” you replied, unrepentant. “You’re my boyfriend. It’s in the job description.”

Azul opened his mouth to argue but faltered when he saw the way you were smiling at him—like he was the most precious thing in the world. His heart stuttered, and he looked away, flustered beyond belief.

“You’re insufferable,” he muttered, though there was no real heat behind his words.

“And you love it,” you teased, leaning in to steal another kiss.

From that moment on, Azul realized he had to be on high alert.

You had a habit of striking at the most unexpected times. Whether he was mid-negotiation, organizing the lounge staff, or simply trying to enjoy a quiet cup of tea, you always found a way to pull him aside and smother him with affection.

“We’re in public,” he’d hiss, his face bright red as you kissed his knuckles in the middle of the lounge. “What will the customers think?”

“They’ll think I’m the luckiest person in the world,” you replied with a grin, completely unfazed.

“You’re impossible,” Azul groaned, burying his face in his hands.

But despite his protests, there was a small, secret part of him that loved it. Loved the way you looked at him with stars in your eyes. Loved the way you laughed when he got flustered. Loved the way you made him feel like he was more than just a businessman, more than just the awkward, insecure octo-mer he used to be.

He would never admit it aloud, of course—his pride wouldn’t allow it. But the next time you grabbed his hand and dragged him away with that mischievous glint in your eye, Azul didn’t resist nearly as much as he claimed he would.

Because, really, who was he to deny you?

Jade Leech

Jade Leech was many things—elegant, composed, a touch unnerving when the moment called for it—but "cute" wasn’t exactly the first adjective that came to mind for most. For you, however, the sight of him was downright devastating.

The poised way he carried himself, the sly curve of his lips when he smiled, the faint glint of mischief in his mismatched eyes—it was all so unbearably adorable that it practically short-circuited your brain.

And it wasn’t like you could keep it to yourself. No, you had to act on it. Every time.

The first time it happened, you were sitting in the Mostro Lounge, watching Jade work. He moved with his usual grace, balancing trays, speaking softly to patrons, and wearing that infuriatingly charming smile that made your heart race.

“Are you alright?” His smooth voice cut through your daze. He was standing right in front of you now, head tilted ever so slightly, curiosity evident on his face.

You blinked, realizing you’d been staring. “Uh… yeah! Just… appreciating you.”

Jade’s smile widened. “How flattering. And what, pray tell, have I done to earn such attention?”

Oh, no. He was being cute and smug about it. That did it. You couldn’t take it anymore.

Grabbing his wrist, you tugged him behind the lounge counter, away from the prying eyes of the customers. “Jade, I can’t—I need to—just stay still!”

He raised an eyebrow, clearly amused but also intrigued. “Stay still for what, exactly?”

You didn’t answer, too busy cupping his face and pressing kisses all over it. His forehead, his cheeks, his nose—every inch of him was a target.

“Oh...” His voice trailed off, his usual composed demeanor slipping as he blinked down at you, utterly flabbergasted. “What… are you doing?”

“Kissing you, obviously,” you mumbled between smooches, as if it were the most natural thing in the world.

Jade chuckled softly, the sound vibrating against your lips as you kissed his jawline. “I see that. But why the sudden… enthusiasm?”

“Because you’re too cute,” you declared, pulling back just enough to look him in the eye. “And if I don’t do this, I’ll explode. It’s science.”

Jade’s smile shifted into something softer, warmer. For a moment, he didn’t say anything, simply studying your flushed, determined face. Then, with a low hum of approval, he gently wrapped an arm around your waist, pulling you closer.

“Well, far be it from me to stand in the way of scientific necessity,” he teased, leaning in to steal a kiss of his own.

From that point on, your "cuteness attacks" became a regular occurrence.

Whether he was reorganizing the terrarium in the Mostro Lounge, brewing potions in the lab, or simply enjoying a quiet moment with tea, you always found a way to interrupt him with your overwhelming affection.

“Dear,” he said one evening, as you practically tackled him onto the couch in the lounge’s VIP room. “You know I had work to finish, yes?”

“Uh-huh,” you replied, pinning him beneath you as you kissed his nose.

“And you’re aware this is highly disruptive?”

“Yup,” you said, grinning as you kissed the corner of his lips.

Jade sighed, but the way his arms came up to wrap around you betrayed his true feelings. “You are incorrigible,” he murmured, his voice fond.

“Thank you,” you replied cheerfully, planting one final kiss on his forehead before letting him sit up.

But Jade wasn’t one to let you have all the fun.

One afternoon, after dragging him away from his duties yet again to smother him with kisses, you found yourself suddenly spun around and pinned gently against the wall.

“Now, now,” he said, his voice low and teasing as he leaned in close. “It seems only fair that I get a turn, wouldn’t you agree?”

Your breath hitched as his mismatched eyes glinted with amusement, and before you could respond, he leaned in to press a kiss to your temple. Then your cheek. Then your jaw.

“J-Jade!” you stammered, your face heating up.

“Yes, my dear?” he replied, entirely too smug as he trailed his lips to the corner of your mouth.

“This—this isn’t how it’s supposed to go!”

He chuckled, finally pulling back to look at you. “Oh? And how is it supposed to go?”

You pouted, crossing your arms. “I’m supposed to be the one attacking you with affection, not the other way around!”

Jade smiled, a rare, genuine expression that made your heart skip a beat. “I suppose turnabout is fair play, wouldn’t you say?”

And as he leaned in to kiss you again, you decided that, yeah, maybe it was.

Floyd Leech

Being in a relationship with Floyd Leech meant two things: chaos and spontaneity. But what Floyd didn’t expect was the level of cuteness aggression you’d unleash on him daily.

It started innocently enough. Floyd would flash you one of his sharp-toothed grins, or he’d laugh that unhinged laugh of his, and you’d feel your entire brain short-circuit.

His mismatched eyes, the way his hair fell over his face, the effortless energy he carried—it all combined into something so painfully adorable that you couldn’t handle it.

And you didn’t.

The first incident occurred in the Mostro Lounge during a busy shift. Floyd was juggling three trays like a circus act, laughing at a poor customer’s flustered expression. You were seated at the counter, watching him, and suddenly, it hit you.

“Shrimpyyy! What’re ya staring at?” Floyd called, his grin only widening as he caught you watching him.

Bad move. That grin. That grin was your undoing.

You slammed a tip down on the counter and marched straight up to him. “Floyd. Put the trays down.”

“Huh? But—”

“Put them down,” you said, grabbing his wrist and dragging him behind the counter before he could even think to protest.

“Oi, Shrimpy, what’s the deal?!”

“You. Are. Too. Cute!” you hissed, before cupping his face and attacking him with kisses.

“Wha—hey!” Floyd’s laughter echoed through the empty kitchen as you smothered his cheeks, nose, and forehead with kisses. “You’re so weird! I love it!”

By the time you were done, Floyd’s face was flushed (a rare sight), and his laughter had turned soft, almost shy.

“Shrimpy,” he said, his voice quieter than usual. “You’re lucky I like ya so much. Otherwise, I’d squeeze ya for embarrassin’ me like this.”

You grinned, pulling him in for one last peck on the lips. “You love it.”

“…Yeah, I do,” he admitted, the grin returning full force.

This became a regular thing. Anytime Floyd did something that struck you as particularly adorable—whether it was his lazy, stretched-out posture during naps, the way his lips pouted when he was annoyed, or even the way he lit up like a kid when he got his favorite snacks—you’d pounce.

“Shrimpy, you’re at it again!” he’d laugh, squirming in your arms as you peppered kisses all over his face. “What’s the big idea, huh?”

“You’re too cute. I can’t stand it,” you’d reply every time, as if that explained everything.

And for Floyd, it kind of did.

One particularly memorable incident happened during a basketball game. Floyd was on fire, scoring point after point while practically dancing across the court. His energy was infectious, and you couldn’t help but cheer louder than anyone else in the stands.

When the game ended and his team won, Floyd looked up at you, his grin wide, sweat dripping down his face, and he yelled, “Did ya see that, Shrimpy?! I’m the MVP!”

That was it. That was the moment. You didn’t even wait for him to come to you. You climbed down from the bleachers, sprinted across the court, and tackled him in a hug.

“Shrimpy! What’re ya—”

“You’re so cute when you’re excited!” you exclaimed, kissing his sweaty cheek.

The entire gym went silent as everyone stared, but Floyd? Floyd cackled so loudly that it echoed off the walls.

“Ha! You’re unbelievable, Shrimpy,” he said, hugging you back tightly. “But I like that about ya. Keep it comin’!”

It wasn’t just in public, either. Even in quiet moments, Floyd basked in your affection.

One night, as the two of you lounged on the couch in your dorm, Floyd rested his head on your lap, dozing lightly. His peaceful expression, the way his lashes rested against his cheek, the soft rise and fall of his chest—it was too much.

“Floyd,” you whispered, nudging him gently.

He opened one eye, looking up at you. “Hmm? What’s up, Shrimpy?”

“You’re adorable,” you said simply, leaning down to kiss his forehead.

He chuckled, shifting to wrap his arms around your waist. “Man, you’re obsessed with me, huh?”

“Yep. Totally obsessed.”

“Good,” he said, pulling you down so you were lying on top of him. “’Cause I’m obsessed with ya too.”

Floyd might have been unpredictable and chaotic, but there was one constant in his life: you, and the relentless affection you showered him with.

And if anyone dared to comment on it, Floyd would just grin, throw an arm around you, and say, “What? Shrimpy can’t help themselves. I’m irresistible, duh!”

Masterlist

[cupcakeslushie]

I’ve been debating on saying something because I have a lot of thoughts about this, but I just want to say a quick (maybe not so quick) thought…

“Comfort Character” is not a declaration of ownership. Just because you relate to a character deeply, and see yourself in them, does not mean you get to go around policing the stories that get told regarding them, or the how they’re depicted in said stories.

I wanna be clear. Im not saying you can’t pose genuine questions and have perfectly reasonable discussions about the intricacies of hard topics. In fact, fiction can even help make those discussions easier to digest by lowering the stakes, because there are not any actual stakes when none of it is real.

Unfortunately, I’ve been seeing the entire opposite. People taking stories that may make them “uncomfy”, and declaring that they’ve now decided they are taking it personally, to near obsessive levels. You are not the only one allowed to play with these characters. It is a huge sandbox, and these toys are mass produced enough for everyone to have their own doll to do with whatever they’d like.

I get you might see yourself in a character, but that doesn’t give you the right to go around sending death threats just because someone wrote, or drew your current blorbo in an unfavorable light. Prioritizing some cluster of lines and colors over the mental health and safety of actual real human beings, is worse than whatever fictional, moral “atrocity” that you think you’re championing against. You only end up sounding just like the people calling for book banning in schools.

You are not the character. You are not being hurt. The character is not even being hurt, because they do not in fact, exist to actually experience any of the pain creators are putting them through. And most importantly, you have no claim on how other people entertain themselves with said character. Because that is what these characters are. Entertainment. They can be used in good or bad stories. If you don’t like how a creator is using them. Move on. Don’t send death threats or attacks.

Block and filter your tags.

I have triggers, but that is my issue to control and maintain. It is appreciated when steps are taken by creators to help me avoid the things that trigger me, but I don’t wish death and pain on anyone who doesn’t view the world through the same lens as myself, and might not have considered my own personal feelings on the matter. My feelings of unease or anxiety from coming into contact with my own triggers, might be valid, but initiating an attack on a creator, because I took a personal offense to their story, is not. I do not outright assume that something was created with me and my tastes in mind.

Also, this is not aimed at any one person. This is a rampant issue that I have seen first hand, going back all the way to more than a year ago. I’ve seen it happen in multiple fandoms, but as I spend most of my time in the Rise fandom, that’s where I see the worst of it. I’ve received attacks, I know other creators have received attacks, and if this keeps up, creators will just stop wanting to share anything at all.

I also need to emphasize, I’m not mad. This is not a lashing out. This is just a frustrating and hurtful trend to constantly witness, when creators are putting their own heart, time, and energy into creating intriguing and complex works of all kinds in order to broaden the beauty of this fandom, and they’re getting anonymous messages to kill themselves.

Please think about the real life person behind the art and stories you are consuming, instead of prioritizing the fictional comfort of made up characters inside the story, that will in actuality, never have any opinions on what’s being done to them. Because they do not exist.

[hylemorph]

Anna and Friedrich in Nosferatu (2024)

In a previous post I mentioned how important I think Friedrich is in the story as a representation of the patriarchal ideal, and how it/he crumbles when confronted by everything that has been suppressed in Ellen (manifested in the unavoidable, terrifying form of Orlok). I also think he is a mirror to Orlok in some ways: he says twice how he just cannot resist Anna, he subtly frames his desire for her as an unwilling "affliction." He also defiles Anna's body and his sacred marriage vows by engaging in necrophilia, because his appetite for her is so consuming - he can't resist her even when she's not even there anymore. Ellen's necrophilic act with Orlok represents her unification with the parts of herself that are suppressed/rejected by the men in her life, good and bad. It's dark and fucked up but metaphorically transformative, and consent is absolutely central. Friedrich's necrophilic act involves no consent, no Anna, and it lacks any metaphorical power. He didn't accomplish anything, he just succumbed to his own horror and amplified it.

Friedrich's unhealthy approach to his relationship with Anna consumes them both, and I think this theme is especially evident in the way Anna's pregnancy is discussed. Friedrich tells Thomas that they are expecting but doesn't want it mentioned in front of Anna or Ellen, probably because it wasn't supposed to be public yet. In victorian times people would rarely confirm a pregnancy before the woman was "showing" both because it was considered a private matter and because miscarriage was way more common. But Friedrich tells Thomas early anyways, because he is excited and proud, which is understandable but also selfish in this context. Furthermore, Anna says that "little Friedrich" is "very hungry, just like his father" and later on after Orlok has fed on her, she passes it off as feeling drained by the baby. Even though she seems happy and loves her family, she associates pregnancy with being drained.

This alienated way of understanding parenthood is also evident in the way Friedrich and Anna treat their girls (Louise and Clara I think?) They obviously both adore the girls, but they ignore their terror and assume the monster they see in their room is totally unrelated to all the other scary shit going on, because they're just silly little kids imagining things, right? One girl literally says "I can hear him breathing under my neck!" and they beg Anna not to leave them alone at night, but they are just hushed and told that they're totally safe. It's exactly the kind of dismissal Ellen has been getting her whole life, and so it's not surprising that the girls are haunted by Orlok before anyone else. It's not enough to adore little girls, they will never be safe until they are heard and believed.

Anna as a character apart from her role as wife and mother is a bit harder to parse out, but I think she is also a mirror for Ellen. Ellen's spiritual power is the catalyst for everything that happens, and von Franz says that "in heathen times you might have been a Priestess of Isis." Anna's spiritual inclination is less obvious, but it's there: she seriously listens to Ellen and believes that she is perceiving something real, she just assumes it must be God. Later when she lets Ellen stay with her for the night, she says "God is with us Lenny, I know it." On some level Anna is also in touch with that supernatural, suppressed feminine truth, and she seems to see through the patriarchal facade that Friedrich represents to some degree. But ultimately Anna wants to convince herself and Ellen that the night terrors were just caused by Thomas' absence, and that Ellen just needed her husband back and all would be well. When Thomas does return and Ellen has her faculties again, Anna is very eager to put it all behind them; 'no more talk of demons please, let's just focus on Christmas and being a happy family'. Anna's downfall is that she puts all her faith in the Christian patriarchal narrative even when she can clearly see that there's more going on. Her faith in the Christian God contrasts Ellen's "heathen" spirituality - both women have an innate spiritual sense, but one is more willing to make it fit into the values of their society. Ultimately Anna was consumed by the horror of their alienated position in society just like Ellen was, she just died with less agency.

[slayingfiction]

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

[totalswag]

can you do something with singer!reader having a christmas special like sabrina and when she talks about her boyfriend it’s drew that comes out dressed as santa and everyone realizes immediately.

oh my santa drew ⎯ DREW STARKEY

authors note if you havent watched the nonsense christmas on Netflix you should hehe. thank you for the request lovie! its a great request since christmas is right around the corner. writing this was so much fun and adding my own little bits in there. there's a couple lines from the actual skit too.

taglist ⤕ if you would like to be notified every time i post you will type in your username then be all set to go.

summary drew coming in as a surprised guest on a nonsense christmas.

warning(s) none just funny humor and drew dressed as santa

A Nonsense Christmas. 

This thought occurred to me one day at the beginning of this year. Christmas is your favorite time to celebrate, it was ideal. You've had incredible artists join you to perform songs and special guests for comedy skits—Tyla, Kali Uchis, Chappell Roan, and so many other talented guests.

It's been an absolute blast filming everything. The whole vibe of this small series is unbelievably funny and gets you in the holiday spirit.

Drew, your boyfriend, dresses up as Santa Claus in this skit. You wanted him to participate in this experience with you. He insisted on being Santa after you told him the final idea. No one knows about it except for the people working on set. Fans and the audience will be surprised.

The past few weeks Drew’s been walking around the house acting like Santa and going into character with his lines—No joke.

It starts off with you sitting on the single chair in front of your two friends, Alice and Max, talking about your boyfriend they haven't met. The living room set is decked Christmas out with a tree decorated behind you along with everything magical. 

"I can't wait to finally meet your man, Debbie, you haven't been hanging out with us since getting into a relationship," Alice asks, giggling at the end of her sentence. 

You quickly chuckle sarcastically, and Max joins in.

"No, I understand. Because we are doing long distance, it's been difficult to mix friend groups," you explain, making a combing hand motion. "You get what I'm saying?" you ask, leaning in slightly, squinting your eyes.

"Girl, I completely understand," Max shrugs his shoulders, offering you a nice nod of understatement, “I promise we will love him” he smiles.

Your face softens, "Aw, thank you both. I promise you, he will not disappoint," you wink playfully. 

Just wait till they see who walks through that door.

Your voice appears promising to them at that point. 

Your phone rings out of nowhere, and you pick it up; a mysterious boyfriend is ready to make his official entrance. "Oh, speak of the devil, he's walking up now," you shriek with delight as you get up from your seat and dance over to the front door—your famous tippy toe dance

Drew walks through the door dressed head-to-toe in a Santa Claus outfit, strode in with a jolly demeanor. His red suit, black boots, and fluffy white beard were undeniably festive.

Max and Alice exchanged puzzled looks, their jaws almost touching the floor. "Uh, is this…?" Alice inquired, her eyes wide in shock.

Debbie please be so for real...

"Is that Santa in front of me, or am I seeing things?" Before taking a close look, Max emphasizes the word "that." He squints his eyes and then turns to face Alice. "Yep, that's definitely Santa," he adds swiftly after reaching his conclusion.

Alice's jaw instantly closes as she tries to contain her composure and confusion over your boyfriend's sudden appearance as Santa.

"Guys, everyone, this is my boyfriend, Nick!" you cheer as you let Nick pass in front of you. introducing him to friends with a broad smile on your face. 

Max's mouth falls open, too stunned to speak. As she raises her eyebrows in amusement, Alice is attempting to piece together how this might have happened.

“I’ve heard nothing but great things about you two, It’s great to meet you” Drew says in character, pointing at Alice and Max. He smiles underneath the white bread.

Drew puts his left arm around your shoulder as you sit on his lap, putting your hands on your knees and grinning. You subconsciously find the Santa impression impressive.

With a gesture between Alice and himself, Max says, "Aw, same, um, as us..." pausing for a quick moment looking around, "Would you like anything to drink or snack on by any chance?" Curious, Max asks

Nick looks at Max and says, "Oh, um, maybe a warm glass of milk with." He sits down right away. "And a huge chocolate chip cookie topped with shards of sprinkles?" Nick added, highlighting the final phrase. 

"Yuck," Alice responds hastily.

You quickly drop your smile, looking at her. What did she say about my man?

Max frowns slowly and says, "Uh oh, I think we are out of shards." He then slowly turns, side-eyeing Alice—still attempting to take everything in.

When Nick sees that his clothing is covered in soot, he excuses himself to go upstairs to the restroom, leaving the three of you below until he returns.

As he reaches the steps, you watch him closely until Alice says, "Hey, this is actually insane but, um, that's Santa Claus, right?" She points up the stairs while posing mocking questions.

You look shocked in a moment. You respond, "Oh my god," while gazing at her as though she were crazy. You inquire informally, "What kind of messed up thing is that to say?"

The two of them ask you whether you are serious about the relationship or if it's a trick.

Max interrupts, "Debbie, girl, it's not messed up. Think about it, big white scruffy beard?" He was making bread motions with his hands.

You roll your eyes, scoffing, “well he decided to do no shave November, for your information.”

“And he has the classic big belly?” Alice tries putting her point clear.

Dramatically gasping at her comment, “And there it is, the body shaming begins,” throwing your hands in the air, Alice and Max make eye contact with each other wondering if your delusions will come to an end—Max quietly scoffs. 

"What kind of Mean Girls situation is this? You say, "Can't believe this," in an attempt to come seem as offended by their critical remarks. 

Alice mumbles to herself, "Okay, relax," as she scratches the back of her head looking around the room. 

You begin detailing his character and making it quite clear that he is Santa without actually stating so. When Nick came down the stairs, your two friends decided to stop commenting.

Max and Alice thank him for giving them gifts, and Nick flicks his fingers when he realizes he left something in the car and will be right back. "So, how does he make enough money to buy us all these presents?" Max glances in your direction.

You keep telling them that he described his exact job, but you were too preoccupied to pay attention and found it dull at the time. "If I'm not mistaken, toy manufacturer," you shrug your shoulders.

“Uh, Deb, you won’t be happy from what I’m gonna say,” Alice leans in, “that’s what Santa does,” she explains speaking in a high-pitched voice.

"Like I said before, he's not Santa Claus, his job doesn't even pay, and I don't—" You were interrupted by the sound of footsteps on the rooftop.

Is this girl okay? Max thinks to himself.

"Is your boyfriend on the roof?" Alice asks you a suspicious inquiry.

You laugh uneasily, "He's probably fixing something up there, right? He would have noticed something," you explain, "my partner can actually make something," smiling sarcastically, "like a guy," you swiftly shift your head over at Max, making a remark about what his boyfriend does for a living.

We weren't expecting to hear those words from you.

"Besides, if he was Santa," you pause, "then why is he so good in bed?" You cross your arms together, lean back against the chair, and give them a peculiar look.

The two chuckle in their chairs. "Oh, well, I didn't read that in the text," Alice replies drastically as though your remark had upset her.

A little while later, Nick shows up at the house with two gift boxes for your two friends. Your face lights up when you see him giving your two pals thoughtful gifts. Your words, "How thoughtful of you, my love!"

They had no idea how to find their gifts in front of them when they opened them and saw what they had long yearned for. You wonder how Nick knew they desired those gifts as you point to them. 

Everyone on stage and in the crowd bursts out laughing when Owen, who portrays Max, unintentionally fires the soft nerf bullet, striking Megan, Alice's character, on the side of her face. It was more humorous—Megan was fine, too.

Max and Alice, becoming all sensual in the moment, said they wrote letters to Santa Claus and just wished for them. You sigh softly and stare down at your feet. "Well, if he's really Santa, he would know that the only thing I asked for as a little girl was singing a duet with Shania Twain," you pout.

Is she coming out?

Is it my turn yet?

Suddenly, Shaian Twain enters the home door dressed as Mrs. Claus and asks to see her husband. After figuring everything out, you exclaim, "You are married?!" As you rise from your chair, your voice is full of shock and sadness.

Nick and Shain Twain explain their relationship and being open in sharing. Everyone in the living room is in a state of shock, except for Alice and Max. You quickly point to Nick, “He’s not Santa!” you raise your voice—voice cracking a little.

The audience laughs as they clap once the skit ends.

You giggle as you follow Drew after everyone has left the stage. "You did such a good job doing the Santa impression baby," you say, giving him a playful sideways nudge. 

He replies nonchalantly, as like he didn't need to practice, "Oh you know, gotta show them who the real boss is but it comes naturally."

You laugh, "Dork."

You decide to snap a quick photo of Drew before he can do anything else while he's staring at you from the couch in the dressing room with his bogus beard still on. You suddenly say, "Say cheese, Santa!" and take him by surprise.

You take a close look at the image on your screen, thinking, "Perfect for our Christmas card this year."

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[riririnnnn]

More random things in Blue Lock I find endearing:

-> Telepathy

There is something really sweet about knowing someone so well that you don't even need to verbally speak to them. The above panel is just so heartwarming—I really want what they have.

-> Mothers

I'm so happy that Mothers in this Manga actually look like Women who are Mothers to a High School-er and don't just look like High School-ers themselves.

You might say, "Oh, but it's only a few lines on their faces that make them look old!"

...

And that's point—it's easy af to make characters who actually look like Mothers and yet there are so many Mangas out there who fail to do this.

If you know, you know.

-> Hi-five!

Just look at them. Just look. Just. Look. At. Them.

Do I need to say something else?

It's the main reason why I don't want Neru to get out of NEL—I want more of these cuties to interact!!

-> Frenemies in U-20

The above interactions are so wholesome, you know. Like, it's very hard to explain, but the above scenes are just so heartwarming to me.

Rin was trying to cheer up Isagi in his own cold ways!

While considering how Isagi was so adamant on crushing Rin at the start, it's just so precious to see him being the first one to go congratulate Rin for his goal with a freaking HUG! And it just wasn't a normal hug, it was a DIVE-IN!

Boys please resolve your issues.

-> Two Duos

The way Reo looks at Nagi with concern and the way Yukimiya's arm is stretched out to give Isagi some kind of support—everything about this is pure wholesome.

Nagi-Reo was expected, but Yukimiya-Isagi was something unexpected.

Also the way Nagi is just: (O x O)

LOL.

-> Meanwhile this idiot (affectionate)

I hate this Bastard (I love him). He is such a menace. I'll smack him (I'll smooch his forehead). I'll whoop his ass if I get a chance (For real).

Did he just fly down from somewhere though?

Hey there, Chigiri.

-> Ubers PT - 2

You know, if you think over it, then Ubers have the most random ass characters together—

A tyrannical King

A 15 years old weeb

A glam can-be vogue model

A womaniser

A wannabe womaniser

And Lorenzo

and yet they are the team that feels the most family-like.

I adore them so much.

-> Unfaithful gentleman

When the Blue Lock-ers Vs U-20 was happening in the Bowling area, he was the first (and only) one who went to the registration counter—this behaviour just screams, "CAPTAIN!"

But on a second thought, I think his ahh just wanted an excuse to talk with the ladies behind the counter.

I just know he is such a smooth talker that you'll melt like a butter in a hot pan.

Someone get his ass!

-> Trust

It's one of those things that only a handful of people can understand and that is Kaiser trusting Ness to cut his hair.

Further, the way Kaiser opened up about himself feels bittersweet when you think about his backstory.

I hope those theories that revolved around Ness leaving Kaiser for Isagi never comes true.

.

.

.

Part: 1, 2, 4.

[writers-potion]

Writing Morally Gray Characters

Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?

Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.

Deceiving Appearances

As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.

By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.

Morally Gray vs. Villains

Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.

I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.

Recognition

Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.

Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.

Remorse

They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.

The point here is, she won't regret until she has already caused the wreckage.

Redemption

Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.

For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.

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