#We're angry and we're allowed to be angry and we NEED to be angry

[dekulakization]

[baura-bear]

what's pissing me off most about the election is how many people who have similar opinions are absolutely tearing into each other in search of someone to "blame" for the trump win. It doesn't matter what we could've done differently because at the end of the day it's done. blaming each other and turning on each other is only gonna help the white supremacists who want to run this country. so instead we need to focus on creating community so that we have a network of resistance and care built into our lives. tear into trump supporters all you want but if you are anti trump, if you were discontent with both options, if you were/are whatever, focus on people who share the same ideas as you and how you can build each other up and make your community stronger. that is where revolution begins. not yelling about ballots that have already been cast.

[hoziersong]

anyone know some fun activities to do with a 4 year old without leaving the house

[skippingseaglass]

people are my religion and this is fucking blasphemy

[captainjonnitkessler]

The other reason I'm generally annoyed with the "Abolish X" crowd who actually DO mean "abolish X" and not a watered-down version is that ime they very rarely have fully thought out the implications of what they're demanding and then get angry when other people ask about it.

"Family abolition means completely removing legal ties for family units and allowing all children the choice of where they live" okay. So if I see a three-year-old throwing a fit because she doesn't want to leave the park, and I go over and tell her if she comes home with me she can stay as long as she likes and then we'll get McDonald's on the way home, that three-year-old should have the ability to make that decision? The parent or guardian has no legal recourse to stop me from taking her? Cause if the answer's no, that's not abolition, that's reform baby!

"I'm done talking about what we'll do with rapists and murderers after we abolish prisons, it's all anybody ever wants to talk about!" Well yeah man! 98% of people just interpreted your words as "we're going to let murderers roam around killing people at will"! You need to explain very clearly what plans you have that will stop them that aren't incarceration or you're not going to make any headway! And if your answer involves any form of "well of course SOME people can't be allowed total freedom" - that's not abolition, that's reform baby!

I'm not even gonna touch the number of people who think we should abolish the police and replace them with what are essentially roaming squads of vigilantes dispensing "community justice", whatever the fuck that means.

Like these aren't "gotcha" questions, they're legitimate problems you're going to have to contend with. And if you wave away all these questions with "you're just making up ridiculous scenarios" and "we'll think of something to fix that once we destroy the current system", then yeah actually, I DO think you care more about sounding radical than about making any kind of change.

[lastoneout]

Sorry about the rant I'm just SO sick of this "we have to be on all the time never look away if you aren't upset about politics and traumatizing yourself watching people die on Twitter you're wrong and complicit and evil" like I know things are fucked and we need to stay angry but we can do that while also taking a minute to crack open a cold one with the boys or have gay sex or get tipsy at the line dance, we HAVE to have joy to remember why the fuck we're refusing to give up in the first place. Fight like hell for your loved ones and then also go home with them to smoke weed and drink sweet tea and make biscuits covered in honey and butter please, please don't deprive yourself of joy, you're allowed to be happy BEFORE the work is done. You're allowed to be happy.

[goqmir]

u ever notice how trans women arent allowed to be openly frustrated or angry about anything without getting an unreal amount of hatred sent at them. and god forbid someone "in good faith" responds to your venting with a half baked "solution" to your problem that if you dont perform for them youre obviously just so helpless and want to struggle-- because obviously to them transgender women love to play the victim (our struggles cant be real if they dont awknowledge them, and if they do awknowledge them theyre obviously not important or they can be fixed easily). cis people are allowed to be angry all the time. theyre allowed to be joyful too. if a trans woman is happy in her identity if she adores herself if shes feminine and loves pink and loves being trans thats "cringe" and "reddit" and obviously not how youre supposed to act. cis people are in love with their identities all the time and hate us when we are. we cant be the opposite either-- if we're sad instead of angry, they say we need to just pick ourselves up and stop bringing down the mood. if we aren't feminine, then they ask "why did you even transition at all?" if you aren't filled with joy every waking moment (which, again, they would hate you for), they say its because you're trans, and they hate you anyway. a lot of cis people (and a lot of trans people) dont want a trans woman to be angry like cis people are allowed to be, sad like they can be, happy, feminine, or masculine, or anything else-- its a catch 22. they hate you no matter what you do but especially if youre visible about it. so fuck em.

[woso-dreamzzz]

Helper:Christmas

Arsenal Women x Child!Reader

Summary: Christmas with Guppy

"I...I don't understand. What's...What's going on?"

"Just keeping holding it up," Codi whispers to Rosa, who looks like she's about to lower the tinsel that she's holding up.

"I don't get it. What's going on?"

"We're decorating the tree."

"No, I get that. But why are we holding it up in a line?"

On her other side, Leah huffs. "Because Lia's raising a kid who doesn't like mess and gets freaked out by Christmas trees. Ow! Lia!"

Lia's elbow, none too kindly, digs a bit further into Leah's ribs.

"Don't make fun of her!" She snaps, imaginary hackles raised in annoyance at Leah's dismissal before turning to Rosa to explain, much more kindly. "Guppy...She gets a bit overwhelmed about this kind of stuff and these cretins like to go overboard until the tree's a big mess. So, Guppy gets to pick the theme and then we all decorate. Leah's exaggerating."

"I'm just saying! Maybe exposure therapy will be good for her! I love her, Lia, I do. You know that. But you have to admit, this-"

Lia whips her beads at Leah in annoyance.

"Alrigh! Alright! I get it! Sorry!"

Lia's not finished though as she points to practically everyone in line in turn. "None of you are allowed to talk about that kind of stuff while y/n's in the room too, do you understand? She's sensitive and I'm not letting any of you make it worse!"

"I think they get it," Mario intervenes quickly," No one wants to make her feel bad."

Rosa's kind of glad that Mariona did. She's never seen Lia angry before. Annoyed, yes. Overtired, yes. But never angry. Not truly anyway but she's heard how protective Lia gets over you.

You're not really an oddball. You're not overwhelmingly weird either. But something that Rosa's noted is that you're very particular. She's never met a child so particular in her life. You like things done in a certain way.

You get all fidgety and anxious if you're not allowed to do things in the way you want and tend to start things over if it hasn't gone perfectly. You flick the lights on and off twice in whatever room you leave and you always knock on doors twice.

Rosa's seen you on the team bus, getting Lia to buckle and unbuckle your seatbelt twice over just before the bus sets off to whatever away match they need to get to.

You're just...

Different.

It's clear that Lia knows that too and a lot of her energy is put into making sure no one makes you think that you don't fit in.

"Alright!" Kim comes in holding your hand and from what Rosa strains to hear from Mario and Lia's conversation, this is normal too.

Kim helps you pick out the theme.

You both whisper together, Kim clearly going along with your childish wonder and happiness. She crouches down at your side as you look between Rosa and Kyra's tinsel.

Rosa's holding a red one and Kyra's holding a gold one.

Kyra wiggles it enticingly in your face but your features all scrunch up at once as you move away from Kim to take Rosa's hand and then to choose Codi and her matching green tinsel as well.

"Alright," Kim says," And what about baubles?"

"Er..." You look at the rest of the team and all the baubles they hold up to you, suddenly overwhelmed with choices.

You look at Leah's glittery baubles and shake your head.

"Not-Not glitter ones."

Then you catch sight of Lia and Mario, immediately breaking away from Kim to go crashing into them.

"Mummy!" You gasp," You bought the special beads from home!"

Wound around what looks to be an old piece of cardboard, is a long string of silver beads.

"I did," Lia says," Because our tree is too little for them this year. I thought we could use them on the Arsenal tree."

You nod, head bobbing up and down happily before you also take Mario's hand, dragging her into your little group of chosen people without even looking at the bauble in her hands.

"Nah!" Leah complains," This is so unfair! Why can't I be chosen?"

"Because you clearly didn't choose a good bauble this year," Beth teases," Not like me."

"Not Beth's bauble either," You say to Kim.

"Wait...What? Come on, come back!"

Decorating the tree is a team effort because while you may have been the one to make your selection, you're much too small to decorate it all by yourself and Rosa's found herself with you on her shoulders as you strain to put a candy cane onto the tree.

"Careful," Lia warns her," Keep straight or she'll fall."

"Rosa's doing fine," Steph says," And it's not like Guppy is going to start throwing herself around. She's very responsible."

"I am, Mummy!" You say," Very responsible! I helped Mrs Gina find the missing gluestick lid yesterday!"

So, Lia ends up worrying from a distance and insists on being the one to lift you up so you can put the star on the tree before letting you down and leading you from the room without any more preamble.

"What's happening now?" Rosa whispers as it looks like everyone starts sitting down on the floor in a little circle that she has no option but to join.

"Lia's been doing this since Guppy was born," Caitlin explains," We're getting presents now. It was pretty cute the first time, little gifts in baby y/n's hands. It was her handprint the year she was born and then it was like little keychains? She's old enough to give them out by herself now."

The present Rosa gets is kind of soft and squishy and it doesn't rattle or anything when she holds it up to her ear and shakes.

"No opening until Christmas!" You say once everything's been given out and everyone's attention is on you," Because that ruins the surprise! You can only open them on Christmas!"

The little Arsenal teddy bear you got her sits on Rosa's desk for the rest of the season.

[cjlouwho]

“Tommy!” Eddie cheered, lifting his drink toward the sky as he spotted his friend walking toward him. “Whatcha doin' here, Man?”

“Figured I'd stop by and see how you were doing, Bud,” Tommy replied. He gave Eddie a pat on the back as he sat down in the empty seat next to him. “You come here alone?”

“Mhm. Needed ta get out. House's too quiet.”

“How long have you been here?”

“Too long,” the bartender interrupted as he walked by. “Was about to cut him off. I already took his keys.”

Eddie's eyebrows furrowed, looking around the bar counter. “Hey! You took my keys.”

“I got him,” Tommy said, giving the bartender a nod. “I gotta say, at least you're talking better than you're texting. I was worried.”

Eddie's face scrunched up in confusion. “Huh? I never did texted you.”

“Oh, I beg to differ.” Tommy fished his phone out of his jacket pocket and went to his messages. “'Buuuuuuuck, lezz drink, Buddy.' Then five minutes later, 'Bruck, why rn't you at bar? I waiting.' A good two minutes after that you sent me your location with an angry emoji. Then, and this is my personal favorite, 'Loser too busy kissy kissy with Tummy to be a friendship.'”

"Huh. Thought I was textin' Buck.”

“Yeah, I pieced that together.”

“So where's Buck if you're not kissy kissy?” Eddie asked, his final drink sloshing over his fingers as he attempted to bring it to his lips.

Tommy took the drink from Eddie and set it back on the counter. “Evan is watching Jee overnight so Howie and Maddie can have a night away. So, you wanna talk about whatever's bothering you? I mean, I could take a guess, but...”

“Nah. No, no, nope. I wanna,” Eddie pulled at the collar of his shirt. “Lessgo karaoke, Tomboy-”

“We're not calling me that.”

“I wanna sing to the rooftops,” Eddie continued, his words slurring more and more with each sentence. “I wanna. I wanna be, you know, be free, Tommy. I don't have a rea-,” he hiccuped, “reason to get back home.”

“Really? Seems like that's exactly where you need to be right now.”

Eddie's eyes widened, like he'd thought of the best idea in the entire world. “Let's go to Peeping Tom! That's your name!”

“Peeping Tom is a gay bar, Eddie.”

“I don judge.”

“A very kinky, fully nude gay bar,” Tommy clarified.

Eddie squinted, deep in thought. “No karaoke?”

“No karaoke.”

“Well, then were we go? Don't say home!”

“Home.”

“Ugh,” Eddie groaned, allowing Tommy to wrap an arm around his back and help him up. “You're like a no- no fun dad. Wish I'd texted fun dad.”

Tommy gripped onto Eddie tighter as he stumbled while taking a step. He sighed. “Maybe next time.”

*****

When Eddie woke up the next morning it was to a pounding headache and blinding sunlight coming through his window. He was nauseous and his mouth tasted like a mixture of gasoline and mouthwash.

He laid there for a few minutes, trying to figure out what happened that made him feel so unbelievably ill.

After a few failed attempts, he finally rolled out of bed and made his way into the kitchen to fix himself some coffee.

He froze when he walked through the door to see Tommy sitting there, reading the newspaper.

“Good... morning?” Eddie started, confused.

Tommy set the paper down. “Morning. Sleep well?”

“I- I think so, I guess. It's a little blurry.”

Tommy hummed. “Not surprising. Coffee just finished, if you want some. Your couch is not comfortable, by the way.”

“Buck's never complained.”

“Yeah, well, he's easier to please than I am.”

Eddie was too hungover for this. He had so many questions, but for some reason the first one out of his mouth was: “Where'd you put my shoes?”

“In your closet.”

He grabbed himself a cup for some coffee. “My keys?”

“We have to go pick them up at the bar today, along with your car, obviously.”

“You didn't close my curtains last night. Woke up thinking I was being interrogated by Ice T.”

Tommy sighed, leaning back in his seat. “'Thank you so much for getting me home safely, Tommy. Did it hurt your back having to drag me into the house while I belted out Bohemian Rhapsody at the top of my lungs?'” He stood, walking over to Eddie and taking the coffee out of his hand, drinking a big sip. “Thank you for asking, Eddie. I think my back will be okay, but my ears will never recover.”

Eddie rolled his eyes, turning to fix himself another cup. “Thank you for getting me home safely, Tommy. I appreciate it.”

“Mhm. No problem.” Tommy returned to his seat and Eddie joined him at the table. They sat in silence for a couple minutes, taking small sips of their drinks.

Eventually, Tommy set his cup down a little harder than normal, getting Eddie's attention with the clinking sound. “Wanna talk about it?”

“About what? How your coffee tastes like cigarette sludge?”

“I'll take that as a no then.” Tommy checked his watch. “The bar doesn't open until three. Want me to stop by and pick you up then?”

Eddie shook his head. “I can just get an Uber, Man, thanks though.”

“Of course. I'll, uh, let you recover.” Tommy stood and went to leave, checking his pocket for his keys and phone.

As he neared the door, Eddie spoke. “Wait,” he said. Tommy turned back to face him.

“Yeah?”

“Why'd you sleep on my couch?”

“You're my friend,” he answered simply. “You drank a lot. Wanted to make sure you were okay.” He took a step back toward the table. “Are you okay?”

Eddie cradled the mug in his hands, watching the steam rise from the cup. “You don't... How long has it been? Since you talked to your dad?”

Okay, so Tommy wasn't leaving then.

He came to the table and sat down, taking a moment to think about Eddie's question. “About six years, I think.”

“What did he do?” He looked over at Tommy. “To make you stop talking to him, I mean. Unless you don't wanna get into it. In fact, forget it, I shouldn't-”

“Eddie, it's fine,” Tommy assured him. “I don't mind.”

“Okay,” Eddie nodded, sitting up straighter. “So? What happened?”

“It wasn't just one thing,” Tommy explained. “It was a lifetime of things. He's... He's not a good man. I think the catalyst was about a year after I came out. I hadn't been home in awhile, so I decided to drive to his place one weekend. When he answered the door he said, 'What the hell are you doing here?' I told him I was coming to see him and he said, 'What's the damn point in that?' I thought about it for a second and realized that was a good question, so I turned around, got in my car, and left. Never looked back.” Eddie seemed to be contemplating his words, and Tommy could tell where this was going. “It's not the same thing, Eddie,” he said, beating Eddie to it.

“What if he doesn't come back? What I did, Tommy, it wasn't... It was bad.”

“You made a mistake.”

“I cheated on my girlfriend with a doppelganger of his mom, Tommy, and he caught me.”

“Granted, it was a big mistake,” Tommy deadpanned. “But, still a mistake. He'll come around. You gotta give him time.”

“People keep telling me that,” Eddie replied with an eye roll. “That he'll come around. But it's been months of nothing. And it seems like no matter what I do, it's not enough.”

“You're trying.”

Eddie huffed. “I'm not sure getting drunk alone at a bar is trying.”

“I think it shows you care, Eddie. And, yeah, that shouldn't become a habit, but you're allowed to be upset. You're allowed to hurt. You made a mistake, but you're a good dad and Christopher knows that. He will come around.”

“And if he doesn't?” Eddie asked, staring over at Tommy.

“Then you keep trying,” Tommy replied. “You never stop trying. Keep being there, keep sending him letters and getting him on Facetime. Go for a visit. Send him texts. I'm not saying you gotta smother him, but never let him forget that you're there. That's the biggest mistake you could ever make.”

“Yeah,” Eddie took a deep breath. “Yeah, you're right. I just... I gotta keep it up. Let him know I'm here, whenever he's ready.”

“Exactly.”

Eddie looked over at the clock on his stove, 11:32 staring back at him. He had no idea he'd slept so long. “Why don't you call Buck, see if he wants to come over and watch a game? Then you can drive me to my car.”

“Oh, you want me to call Evan? Don't you mean fun dad?” Tommy asked, eying Eddie.

It took him a minute, but the memory came back to him. “I did say that, didn't I?”

“You did,” Tommy confirmed. “Which I'm very offended by, by the way. I'm fun!”

Eddie sighed, his head drooping down. “I know you are.”

“I introduced you to karaoke trivia. I've flown you to Vegas.”

“I remember.”

“I never tried to seriously injure you in the name of love.”

“Which I'm very grateful for.”

“I don't have control issues when I have a clipboard in my hand.”

“Are you just gonna keep listing reasons why you're fun?”

“I once shoved three cupcakes in my mouth at once! Nearly choked to death, but Evan whacked me on the back and everything went down just fine.”

Eddie stood with his mug in hand, pointing toward the living room, “I'm gonna go to the couch. Get more comfortable.”

Tommy followed behind, pulling out his phone to call Buck. “I'll let Evan tell you who bowled a 230 last week. Hint: it was me!”

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

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[gffa]

Probably the biggest problem with The Acolyte is what really bit it in the ass in the finale--its main characters did things because of the plot, not because they were organically built up or made sense. I could mostly overlook it in previous episodes because it felt like there was still more time to reveal the characters' motivations, but now that we're at the end, there's just so little throughline for either of the twins' characterizations. Mae makes the most sense, you get why she was so angry, she always wanted Osha to stay with her, of course she'd drop everything when Osha was alive, but then suddenly she's just completely okay with Qimir erasing her memories of Osha? Of giving up that relationship that drove her the entire time--and Qimir says this was permanent, I doubt Mae had reason to think otherwise--in half a second flat, not just physically separating her from Osha, but erasing her entire relationship with her?? And Osha makes even less sense, we all joke that about how hot Manny Jacinto is and how he ~seduced her to the dark side, but honestly her motivations just seemed utterly gone in the previous episode, she's 100% ready to drop everything she believed in and go with him just because? And up to this point she's barely shown any interest in her connection to Mae, it's all "tell not show" that Osha cared about her, we're told that it was her biggest wound, we're told that she felt that connection, but we don't really see it until suddenly she's running away with Mae because apparently all along she felt that pull towards her? Intellectually, there are reasons given in the show, but I didn't feel any of them, it was more "Osha behaves this way because the plot needs her to behave this way." It's the same reason Sol can't say, "It really looked like your mother was going to kill you when she started Force-dissolving you, so I reacted without realizing what she was doing." because if he's allowed to explain, then the plot falls apart. The plot demands that he half-ass his explanation rather than because that felt natural to Sol's character. Things happen because the characters need to get from point A to point B, so point C can happen, rather than because the characters felt like they would actually do that. And it's worse because these are your main characters, the entire plot of the show is set around them.

[miraculouslbcnreactions]

Wait, I was reading your posts and came across something I've found confusing. How is Adrien asking Ladybug wth she is doing in Volpina a bad thing? From Adrien's perspective, Ladybug's a celebrity tracking down a middle schooler with zero clout and humiliating her for lying about meeting her before. That's, uh yeah? Imagine if that happened irl lmao. Millions of teenage girls would perish at 1D's hands. My middle school would be a horror story. And it's made clear multiple times in the episode that her motivation is jealousy. It's one of the few episodes where the lesson Marinette gets makes sense I think, because she was genuinely spiteful in shitting on this random girl in front of her crush. That's significantly different than Ladybug just asking for a retraction from the Ladyblog. It's also one of the few times when Adrien's celebrity background actually affects how he acts, and it makes sense that Marinette doesn't make the connection between superhero=celebrity=not allowed to scream at middleschoolers in public. If half the kids in her school didn't lie about meeting Ladybug before, my suspension of disbelief is gone.

I've seen this argument before and it makes no sense to me, especially in the context of the lie that Lila actually told and the way the Lila confrontation actually goes down. A lot of people who have this take seem to think that Lila's lie was, "Ladybug saved me," and that Ladybug made a big public confrontation which is not what canon actually gave us. The confrontation was done in a mostly private setting and, while we never see Lila's full Ladyblog interview, this is how Ladybug sums up the interview in Volpina:

Ladybug:(sarcastically) Well hey Lila! How's it going? Long time no see. I saw your interview on the Ladyblog, awesome job. Oh sure! I remember our instant connection when I saved your life and we've been really good friends ever since! Practically BFF's! Uh actually, when did I save your life again, Lila? I don't recall. Oh yes! Of course, now I remember. Never! And we're not friends either! Miss Show-Off here was trying to impress you and everyone around her.

Lila didn't just lie about meeting Ladybug, she lied about having an ongoing, close relationship with Ladybug, two very different things. And Ladybug isn't just a celebrity, she's a superhero who is fighting an active terrorist. If I had to rewrite this confrontation, I'd keep it pretty much the same and just change the "Miss Show-Off" line to something like:

Miss Show-Off here was trying to impress you and everyone around her, putting herself and all of you at major risk! You know that Hawkmoth would do anything to get these, right? (gestures at her earrings) Did you even stop to think about what he'd do if he learned the identity of my supposed best friend? Of course not. You were too busy trying to look cool to stop and think things through like an actual superhero! We keep our identities and relationships secret for a reason!

Is this the kindest, most gentle way to confront someone like Lila? No, but it's very in character for Marinette to be filled with righteous fury when she sees someone using her name for their own personal gain. I really can't blame her for getting incredibly angry at this total stranger presenting herself as a Ladybug authority and using that authority to manipulate Marinette's friends. As I've said before, take away the crush complication and Marinette's actions still make total sense to me.

I'm not a huge proponent of virtue ethics. That's the idea that you need proper motivation for an act to be morally justified. If you do the right thing for the wrong reason, then the act is bad no matter how good the results and vice versa. If you view the world that way, then sure, you could possibly argue that Marinette's actions were wrong just like you can also argue that Gabriel's actions were totally fine, but I don't view the world that way. Switch Marinette's motivation from jealousy and a little righteous fury to pure righteous fury and almost nothing changes. She'd still need to confront Lila, the words would just be a little different.

It's not like this confrontation stops Lila, either. Chameleon gives us this:

Lila: (in flashback) Not only did Ladybug save my life, we've become very close friends. Marinette: She lies with every breath. Nino: Wait. You eavesdropped on Lila and Adrien? That's not cool. Alya: A good reporter always verifies her sources. Can you prove she doesn't actually know Ladybug?

Quick mini rant before I give the next Chameleon quote: this isn't how verifying your sources works, Alya! You should be verifying that Lila does know Ladybug, not the other way around! Right now, Marinette and Lila have equal authority on the topic as far as you know and there is no evidence to support either claim, so you should be looking for proof that Lila isn't lying! Proof isn't a first come, first serve problem even though a lot of people fall into that trap. This is especially true since Lila goes on to make claims like this:

Lila: Of course Ladybug saved my life. She never misses an opportunity to rescue her best friends. Max: Didn't your tinnitus give you vertigo when you went up the Eiffel Tower? Lila: Oh no. Ladybug knows me so well that she brought me an earplug to stick in my right ear.

So Lila keeps right on lying about her relationship with Ladybug, presenting them as close friends, making it even harder for me to get on the "Marinette was in the wrong for privately confronting Lila" train. If anything, Marinette was too tame! She needed to go full scorched earth and have Alya post a public retraction that included a message about the dangers of claiming to be personal friends with someone you don't actually know.

If the show went that route and had Ladybug give an equally furious smack-down and Alya posted it without a second thought, THEN I'd probably be on team "Marinette needed to tone herself down because she went too far" because that isn't a heat-of-the-moment reaction. It's something Marinette would have time to think through. But Volpina didn't go there. Instead, we just get Marinette reacting live to someone using her name to flirt with her crush. Remember, this is the setup to Marinette transforming and jumping in to stop Lila:

Lila: Not only did Ladybug save my life, we've become very close friends because we have something very special in common- it's what I wanted to tell you about. I'm the descendant of a vixen superheroine myself, Volpina. Adrien: Volpina? Marinette: Volpina? Adrien: Wait a minute! I think I read about her in my book. Lila:(stopping him from grabbing the book) Of course she's in your book. She's one of the most important superheroes. More powerful and more celebrated than Ladybug. Between you and me Ladybug doesn't even make the top ten. My grandma gave me this necklace. [Marinette runs off to transform] Adrien: (holding Lila's necklace) Are you telling me this is a Miraculous?! (Ladybug lands in front of them)

This wasn't a planned confrontation. It was Marinette reacting live to some pretty massive lies. If Ladybug had been swinging by and just overhead this, then the scene once again wouldn't change much. That's why blaming Marinette for confronting Lila in the "wrong way" feels so victim blame-y to me. "How dare Ladybug not be perfectly poised at all times and react with grace when someone lies about being her close friend and teammate!" is not a take I'm ever going to agree with. And if you want to use the middle schooler defense? Then it applies to Marinette, too. She and Lila are the same age. Why the different standards just because Marinette has fame that she never asked for or sought out?

I've never been much of a fan of holding celebrities to an "always on" standard where their every interaction needs to be done with poise and grace even if the interaction happens out in the wild and not at a planned even where the celebrity can be mentally prepared for dealing with fans. That's extra true for accidental celebrities like Ladybug. Marinette didn't take up the earrings for fame and they certainly haven't brought her fortune, plus she has no PR training. Expecting her to be a PR master who knows how to handle her accidental fame is, once again, a little too victim blame-y for my tastes. Ladybug is here to save the world, not sign autographs. You can hold her to politician standards when you start paying her for risking her life on the daily.

There's a version of Lila where I would have a different take. A version where the lie really is minor and Marinette really did "overreact", but even there my lesson wouldn't be "Marinette was totally in the wrong" because I genuinely think that sends the wrong message to kids and kids are the show's target audience. Think about what you're actually saying here, "Because Marinette is famous, she needs to accept that people will lie about her and just ignore them even if people believe the lie."

While that isn't exactly a wrong take, it's still really messed up. It's not okay for people to use Marinette's name like that just because she's famous. The reason she needs to learn to let it go is because that's what's best for her mental health, not because her fame makes her lesser than others when it comes to things like personal privacy. The lies are not magically okay just because she's well known.

Remember, Marinette is a fictional character, but the kids watching this show are very real and they're way more likely to be Lilas than Marinettes. And the kids that do relate to Marinette in this episode? They'll be kids who have dealt with the rumor mill spreading lies about them or their friends without the celebrity complication. The show should not be telling either set of kids that Marinette is the one in the wrong here. That is the wrong moral and why I hate this episode so much. I might feel differently if the intended audience was teens and if this plot was allowed to be more complex, but none of that is true. The show is aimed at kids ages 5 to 12 and every episode is supposed to teach its own moral with Volpina's moral being "Marinette was explicitly and totally in the wrong here."

This is the age of internet personalities where there are more easily-accessible celebrities than ever and where many of them do not have the wealth needed to protect themselves from fans nor the PR training to know how to handle extreme fans if there even is PR training for that! That means that it's honestly really important for kids to learn to view these individuals as people who it's wrong to lie about and who deserve the same respect as non-famous people. Treating celebrities as public commodities is how we get things like the Kit Connor scandal where an 18-year-old actor felt forced to publicly come out because the internet wouldn't shut up about his sexuality. Oh, and since you brought up one direction, I'll also note that the band members have publicly stated that online shipping discourse has negatively impacted their relationships. So, yeah, I'm never going to agree that kids should be told that it's okay to lie about celebrities or treat them as fictional characters to play with and that the celebrities are the ones who are wrong if they get upset about that behavior. That shit is toxic.

If we go the "minor" lie route, then my version of this episode would be a very sad one where Marinette learns that people are going to ignore her boundaries and lie about her and there's nothing she can do about it. A lesson in mental health training that will hopefully help kids who are dealing with bullies, but that does not present Marinette as totally in the wrong. It just teaches her when to pick a fight and when to let it go, which is a very important skill to learn even outside of lies about your own person. There will be many times when you hear people say something that you vehemently disagree with and it's important to learn when to pick a fight and when to just let it go, knowing that no good will come from speaking up even if you're 100% in the right. It's a very sad, but also very necessary skill.

I think Adrien has a place in that story. A place where he still tells Ladybug to let it go, but it should NOT have been played the way it was in canon where he acted like Ladybug was totally out of line. He needed to be way more compassionate and understanding of her very justified anger. I've written Adrien giving advice on this topic before and it's always presented as, "people are going to be assholes and you have to learn to ignore them for your own well being," not as, "you are wrong to be upset about strangers telling lies about you. You agreed to deal with this when you decided to be a hero" because what kind of asinine lesson is that?

You could also keep Adrien's canon reaction and have the lesson be him learning that it's okay to have boundaries. That his fame doesn't negate his bodily autonomy and right to be treated with dignity. That people chasing him down, invading his personal space, and otherwise preventing him from living a normal life is wrong. I love it when fanfics take this approach to Adrien's part in the Lila conflict. It's very cathartic to see his friends supporting him and protecting him from Lila.

I really have tried to see Volpina from the "Marinette was totally in the wrong" perspective because I've come across it several times, but I just can't wrap my head around it. If you've got a counter argument, then feel free to try to change my mind because I've given you my full thoughts here, but know that I'm probably not budging on this one. You'd have to make some pretty dramatic changes to canon for me to feel like this take has a point. I think the only way that I'd be on Lila's side is if it was very clear that no one believed Lila and Marinette still had the same reaction that we see in canon as that does feel like going too far. But everyone believed Lila so that's not a solid argument and I'm just never going to agree that people have to be cool with others lying about them just because they're famous. I honestly despise celebrity culture so much and hate that people are basically forced to deal with that bullshit if they want to be successful in certain artistic fields.

[perseidlion]

Streaming in Kaos

Well, it happened. I can't say that I'm surprised that KAOS has been cancelled by Netflix. I am a little surprised at the speed at which it was axed. Only a month after it aired, and it's already gone.

That has me wondering if the decision to cancel was made before the show even aired. We have to remember that marketing is the biggest cost after production. If the Netflix brass looked at the show and either decided (through audience testing, AI stuff or just their own biases) that it wasn't going to be a Stranger Things-level hit, they probably chose at that moment to slash its marketing budget.

That meant there was pretty much no way that KAOS was ever going to hit the metrics Netflix required of it to get a season 2.

What makes me so angry about this (other than the survival of a show relying on peoples' biases or AI) is that it becomes a self-fulfilling prophecy. If you decide before a show is ever going to air that it won't be a success, then it probably won't be. If you rely on metrics and algorithms and AI to analyze art, you will never let something surprise you. You'll never let it grow. You'll never nurture the cult hits of the future or the next franchise.

Netflix desperately needs people behind the scenes that believe in stories and potential over metrics. Nothing except the same old predictable dreck is ever going to be allowed to survive if you don't believe in the stories you're telling.

The networks and streamers have a huge problem on their hands. They need big hits and to build the franchises of the future to sustain their current model (which is horribly broken.) But people have franchise fatigue and aren't showing up for known IPs like they used to. The fact that Marvel content is definitely not a sure thing anymore is a huge canary in the coal mine for franchise fatigue. People aren't just tired of Marvel, they're tired of the existing worlds both on the big screen and the small one. Audiences are hungry for something new.

It is telling that the most successful Marvel properties of the last few years have been the ones that do something different. Marvel is smart to finally pull out The X-Men because that is a breath of fresh air and something people are hungry to see more of.

There's pretty much no one behind the scenes (except for maybe AMC building The Immortal Universe) that is committing to really taking the time to build these new worlds. Marvel built the MCU by playing the long game. That paid dividends for a solid decade even if it's dropping off now. That empire was built not with nostalgia for existing IP (don't forget the MCU was built with B and C tier heroes) but with patience. Marvel itself seems to have forgotten this in recent years.

Aside from that, I think people really want stories that aren't connected to a billion other things. That takes commitment on the part of the audience to follow and to get attached to. People WANT three to five excellent seasons of a show that tells its own story and isn't leaving threads out there for a dozen spinoffs. We're craving tight storytelling.

KAOS could have been that. Dead Boy Detectives could have been that. So could Our Flag Means Death, Lockwood and Co, Shadow and Bone, The Dark Crystal: Age of Resistance, Willow, and a dozen other shows with great potential or were excellent out of the gate.

If you look at past metrics, you only learn what people used to like, not what they want now. People are notoriously bad about articulating what they want, but boy do they know it when they see it. Networks have to go back to having a dozen moderate successes instead of constantly churning through one-season shows that get axed and pissing off the people who did like it in a hamfisted attempt to stumble on the next big thing.

The networks desperately need to go back to believing in their shows. Instead, they keep cutting them off at the knees before they ever get a chance because some algorithm told them the numbers weren't there.

[ugly-anarchist]

If you're perisex and make/use "neoAGABs" I'm gonna politely ask you to shut the hell up

Like, you can make jokes about agab but you can't be doing this bullshit. AGAB terminology was coined by intersex people to talk about our experiences, this is well known, but we coined these terms specifically to get away from the idea that female/male are our actual sexes. Just because I was afab doesn't mean I'm female or that I have a biologically female body or any of that.

We keep saying that agab is an event that happened and has no bearing on how your body looks or your identity but no one listens! Agab is not your sex! Please get that through your heads! And if you like neoAGABs because you hate thinking about your agab then just don't think about your agab! No one has to know that information and, again, it says nothing about your actual sex, gender, body, or anything else!

You can reject agab language without mocking intersex terms and experiences!

And, btw, we shouldn't have to baby you or say this "nicely" for you to listen. We aren't your teachers or parents who need to hold your hand through this "tough moment of learning", we are real people who are being hurt by the shit you're doing and we're allowed to be angry about it!

When someone says "you're hurting me" you don't go "say it nicer and I might stop" you just stop!

[sweetestcaptainhughes]

“Don’t touch me. We’re fighting.”

Quinn pleaseeee 🙏🏻🙏🏻🙏🏻

I'm gonna put a warning on this because I like it so I don't feel like rewriting it. Warning: shitty relationship with father.

Drabble Masterlist

"Don't touch me. We're fighting."

Quinn didn't seem to care that you were pissed. But pissed didn't even describe the soreness in your jaw from clenching it so tight or the fact that your body temperature was elevated or that all you wanted to do was scream. Glancing over as he stood on the other side of the kitchen island, his face was as it always was calm, his thoughts were probably collected while your brain was firing off things to add to the fire if needed, he looked like he was in control of his body while yours was being controlled by the rage inside you. Looking at Quinn only pissed you off more so you just looked away.

After a minute, you decided it was best to walk away and cool off before you said something you'd regret. Quinn on the other hand, wasn't done fighting he wanted you to understand his point of view and he didn't wanna wait till morning. As you made your way down the hall you could hear Quinn's footsteps behind you.

"Wait Y/N, Let me explain." He went to gently touch your arm in hopes that you would stop walking away from him.

He got his wish, you turned around talking through your teeth you grunted. "Don't touch me. We're fighting."

Quinn has never pulled away from you so quickly before. Even with how angry you were at him it still hurt you how fast he pulled away. Quinn was looking at the floor, for the first time showing emotion since your fight started. "I was just trying to help."

All you could do is sigh. "By telling my father off?" you question defeat clear in your voice. "Quinn I've been over this with you, my family isn't like your family. You can't just voice your opinions to my dad, especially if it's you disagreeing with him or his choices."

Quinn looked up at you finally, he frowned his eyebrows in annoyance but you knew it wasn't at you. "Well I am mad at him. He shouldn't be allowed to talk down to you and blame you for not getting along with your stepmom when all she does is talk down to you. I couldn't sit there and let her talk down to you at dinner. Okay. And I guess I'm sorry for how it came up, but I am not sorry for standing up for you."

"Quinn I know you were trying to stand up for me. But I don't need you or anyone to stand up for me, especially against my family. Okay?" you ask waiting for him to acknowledge you.

"No. I'm sorry because how can you let them tell you that you aren't as far in your career as you should be as if they helped at all with the cost of college. Or the fact that all they did all dinner was telling you everything you were doing wrong with your life?" His tone was accusing and you found yourself taking a step back, your body was exhausted and all you wanted to was get out of this ichy dress and go to bed.

"I don't wanna have this conversation tonight." you begged.

"I just don't understand why do you even keep him around Y/N!"

"Okay since you seem to not be able to understand why I let them talk that way to you let me explain it to you so we never have to talk about this again got it?" you ask waiting for Quinn to nod his head before you continue. "Look my dad might be a piece of shit, but guess what he's my piece of shit father not anyone else's. Everyone always ask me for years 'Y/N if I were you, I'd cut him off why don't you.' For a long time I didn't have an answer for them but as I got older I do and it's this. Because he might be a piece of shit but without him I wouldn't be standing here physically because he is physically half of me. And I know you have lovely parents Quinn and brothers. But not everyone does and I am terrifed that if I do cut him out all the way vs seeing him three times a year like I do now. That one day I will get a call and he will be dead and I will have regret for not at least having him in some capactiy in my life. So because of that fear of regret because I know many people who have it now since their parents passed. I keep him around and if you can't understand that fine, not everyone does."

Taking a step closer to Quinn you add, "but whether you agree or not, you don't get to judge me for the choices I've made when it comes to the relationship between my father and I. Because that is exactly what it is." Pointing to yourself. "It's MY relationship not yours and you also don't get to make it more shaky then it already is by yelling at him in the middle of the steakhouse."

Quinn and you aren't sure how long you stood in your apartment hallway, it could of been seconds it could of been minutes. At some point Quinn looked at you and said "agree to disagree." All you did was nod and you both said true to your word you never talked about your father and your relationship ever again.

[deliciousangelfestival]

The Imperfect Couple - 15

Character: politician!Bucky x ex-wife!reader

Summary: A separated couple must pretend to be happily married while the husband runs for Vice President, dealing with old issues and political pressures during his election campaign.

Warning: The couple's arguments could be triggering.

Series Masterlist

Main Masterlist || If you enjoy my work, please consider buying me a coffee on Ko-fi 🙏🏻

Thank you to everyone who has read this chapter. Leave a comment and Reblog, please. I'd love to hear your thoughts. ❤️

“Seems like you're declaring war on me,” Bucky said, his voice steady but his eyes narrowing slightly.

“Does it sound like that? Forgive me.” Steve set the golf club down, a smirk playing on his lips. “What I meant is, we have to be aware of everything. We're this close to winning.”

“I agree.” Bucky replied, his expression calm, though his mind churned with unspoken thoughts.

“This is why I trust you.” Steve clapped him on the shoulder. “Remember, we're playing in the highest league now.”

Steve paused before adding casually, “By the way, my son wants to visit Nate. Is that okay with you?”

“I'll let my wife and Nate know,” Bucky responded, his voice neutral, though he felt a flicker of unease.

🌸🌸🌸🌸🌸

When Bucky got home, he saw you sitting cross-legged on the floor with Nate, working on a puzzle together. You both seemed relaxed, unaware of the weight he carried from the conversation with Steve. He walked over, his movements deliberate, and knelt beside Nate.

“Nate, buddy, can you go to your room for a bit? I need to talk to your aunt,” Bucky said gently, placing a hand on Nate’s shoulder.

Nate, always obedient, nodded. “Okay, Uncle Bucky,” he said before scooping up a few puzzle pieces and heading inside.

Once it was just the two of you, you glanced at Bucky and noticed his exhausted expression. He looked like he was carrying the weight of the world on his shoulders.

“What? Did something worse just hit you?” you asked, raising an eyebrow.

Bucky took a breath, his jaw tightening. “Did you just involve Ian?” His tone was calm, but his eyes betrayed his frustration.

You widened your eyes, momentarily caught off guard by the question. That single look was enough for him to sigh deeply, running a hand through his hair. “I…” His hands clenched into fists momentarily. He wanted to be angry, knowing full well this would put you on Steve’s radar.

“Just… tell Ian to slow down,” Bucky muttered, clearly uneasy.

“I can’t,” you said softly but firmly. “The way Ian works is far more efficient than anything I could do.”

Bucky rubbed his temples, his frustration mounting. “Then I hope God protects him.”

“Bucky…” you stepped closer, your voice serious. “Be honest with me. Is he in danger?”

Bucky looked down, his hands braced on the counter, his shoulders tense. “Steve just gave me a warning. It won’t matter to him if there’s blood on his hands.”

Your heart dropped. ‘Fuck,’ you thought as panic began to bubble inside. You immediately grabbed your phone and dialed Ian, but there was no answer. Frustration and fear mingled in your chest as you quickly texted him instead: Be careful. Eyes and ears everywhere.

You glanced at Bucky, your stomach twisting. “By the way, the Rogers twins want to come here to play with Nate,” Bucky added as if it were a casual comment, though his voice carried an edge.

“You allowed that?” you asked, the disbelief evident in your tone.

The mention of the twins unsettled you. Your mind flashed back to watching The Shining in secret with Tim, and how the twins in that movie had always given you the creeps. That eerie feeling wasn’t just from the film anymore—it was rooted in real life. You had learned the truth: William and Charles, Steve's sons, had a reputation for bullying other students. The thought of them around Nate made your skin crawl.

Would they be a good influence on Nate? You highly doubted it.

Bucky gave a tired shrug. “I can’t say no to the future president, right?”

You pressed your lips into a thin line, knowing there was little you could do to stop it. But one thing was clear—you would be keeping a very close eye on them when they came to visit.

🌸🌸🌸🌸

The twins arrived at the house, their faces lit up with matching grins, excitement practically radiating off them. Nate, catching sight of them, bolted to the door, his small body bouncing with joy.

"William! Charles!" Nate called out, bouncing on his toes as he welcomed them in. His innocent joy was palpable—he was simply happy to have people he knew coming to play with him.

"Hey, buddy," William said, ruffling Nate’s hair as they walked inside.

After a brief exchange, they settled in front of the game console, and soon, the twins had chosen a violent shooter game. The screen flickered with gunfire and explosions, the sound effects jarring in the otherwise quiet room. Nate, seated between them, initially watched in awe but quickly became uncomfortable.

His tiny hands shot up to cover his eyes, and he flinched with every loud noise, his body tense as he pressed himself into the couch. He covered his ears, trying to block out the unsettling sounds, but he didn’t say a word, not wanting to ruin the moment.

You watched from a distance, trying not to be the nosy adult. You wanted to give them space, but seeing Nate’s frightened reaction twisted something in your gut. Likewise, you couldn’t stand by anymore. Walking over to the boys, you kept your tone polite, but firm.

“Guys,” you said, your voice cutting through the sounds of the game, “is there another game that’s not as scary? Look, Nate’s getting scared.”

William glanced down at Nate, who was huddled close to him. “Oh, why didn’t you say something, buddy?” he said, patting Nate’s shoulder as if that would fix everything.

Charles sighed and turned off the violent game, switching to something more child-friendly. "Here, we’ve got a game for you, Nate." He scrolled through the options and selected a bright, colorful one with cartoon rabbits running a restaurant.

The second the screen changed, Nate’s face lit up. “Wow!” he exclaimed, his fear dissolving as he leaned forward, eager to play. The teenage boys, now seemingly patient, guided him through the simple controls, explaining how to serve food to the cartoon animals. You felt a wave of relief. Maybe—just maybe—the twins weren’t as bad as you had feared.

Later, the boys decided to go swimming. You sat on a poolside chair, keeping a close eye on Nate. He was wearing a floatie around his small frame, happily splashing in the shallow end while William and Charles horsed around further away.

Suddenly, your phone buzzed. It was Ian. "H...ell...o"

You stood up, checking the signal, which was terrible. Frowning, you moved toward the balcony. The pool was indoors, so you stepped outside, hoping for better reception.

“I just got your text,” Ian said when the call finally connected. His voice was rough, but you could hear his smirk through the line. “You know this isn’t going to stop me.”

“I’m serious, Ian,” you replied, leaning against the balcony rail. “Bucky told me directly. You’re in danger.”

A pause, and then Ian’s voice, low and almost teasing, came through. “Hmm… Guess where I am right now?”

You sighed, trying to play along. “London? Since you went home, right?”

“Nope. Paris. And I’ve found something—something lethal enough to kill Steve,” Ian said, his tone dark with implication.

Paris? You froze. Was this related to Hazel? Your heart pounded with a new surge of anxiety. “Ian, don’t—”

But before you could finish, you heard it. A splash—loud, frantic. You turned around, the blood draining from your face. In the water, you saw a small hand desperately reaching out, the floatie floating uselessly nearby. It was Nate.

Panic gripped you like a vice. “Nate!” you screamed, dropping your phone as you sprinted back inside.

Without hesitation, you dove into the pool, your body hitting the cold water like a shock to your system. Your hands reached for him, pulling Nate’s tiny, trembling body to the surface. His arms latched around your neck in a vice grip, coughing and sputtering as you lifted him from the water.

He gasped, burying his face against your shoulder, his small body shaking as he clung to you. “He…he can’t swim!” you snapped at the twins, your voice filled with raw anger.

William and Charles stood there on the edge of the pool, unfazed. “That’s why we were teaching him,” they answered in unison, their tone almost dismissive.

Nate let out a pained cough, his voice weak. “My nose hurts…” he whimpered, rubbing his face against your neck.

Your heart ached at the sight of him, vulnerable and hurt. Anger surged through you like a tidal wave, and you glared at the twins. You remembered that they both just watched while Nate was drowning. Without raising your voice, you pointed to the door, your finger shaking with fury. “Get out. Now.”

The command echoed in the room, sharp and unforgiving. William and Charles flinched, startled by the intensity in your voice. Without a word, they quickly grabbed their things, shooting one last glance at each other before rushing out the door.

You stayed in the pool, holding Nate close, your teeth gritted in anger and your heart still pounding. You knew then—those boys were never going to be allowed near Nate again. Not after this.

🌸🌸🌸🌸🌸

The twins walked into the Roger household, their shoulders slumped, clearly sensing the storm waiting for them. Behind them, Peggy followed with a stern but composed expression. As they stepped further into the room, the tension was palpable—Steve stood there, arms crossed, his face hard as stone. He had heard everything from you, and his sons could feel his fury even before he said a word.

William and Charles instinctively moved closer to Peggy, seeking the safety of her presence as if she could shield them from the inevitable.

Peggy, sensing the mounting tension, stepped forward slightly, her voice calm but firm. “Steve, calm down. I will talk to them.”

Steve let out a frustrated sigh, his clenched jaw releasing only slightly. “I’m not going to yell,” he said through gritted teeth. “But I need to say something.”

He fixed his cold gaze on his sons. “Both of you will be homeschooled from now on.”

The twins’ faces fell in disbelief. “Dad, no!” William blurted, and Charles’ mouth hung open, too stunned to speak.

“I know,” Steve said, his voice quieter now, but there was no softness in it. “I know the main reason for your behavior is because your mother and I have been too busy for you. We never spent time together as a family.” His arms unfolded, and to their surprise, he pulled them into a hug. “So, homeschooling is the best option, isn’t it?” His tone sounded almost tender, but underneath it lay a cold warning.

William and Charles glanced at each other, then back at Peggy, silently pleading for her to intervene. But she didn’t. She stood still, her lips pressed tightly together, offering no rescue.

“Good children don’t question their parents,” Steve said, his voice dropping low. “You just say, ‘Yes, father.’”

The twins swallowed hard, a sinking feeling settling in their chests. “Yes, father,” they muttered in unison, their voices barely above a whisper. It felt as though their every move would now be monitored.

Steve’s lips curled into a smile, but it wasn’t warm—it was the smile of a man in control. “Good. Now, go back to your rooms.”

The boys moved quietly, retreating upstairs, the weight of Steve’s words heavy on their shoulders.

Once they were out of sight, Steve’s smile faded. He turned toward Peggy, his tone biting. “This is why I never wanted to send them to boarding school in the first place. They needed parental guidance, not strict school rules.”

Peggy’s eyes narrowed, a tired look crossing her face. “Don’t start again, Steve. That decision was made by my father.”

Steve’s expression darkened at the mention of her father. His voice dripped with bitterness. “Oh yeah, him. I almost forgot. I’m glad he’s dead.”

Peggy’s face tensed, a flare of anger sparking in her eyes. “When will you stop badmouthing my father?”

Steve’s cold stare met hers. “Never.”

Steve had lived a life bound by duty, his role in the military shaping every part of him. He was a good soldier—respected, disciplined, and obedient. But despite his loyalty, promotions came slowly. His lack of a powerful family background meant he was always overlooked by those with better connections. Essentially, Steve was an orphan—without anyone to vouch for him, he was left behind.

He knew how the system worked. If you didn’t have the right name, the right family, there was always a price to pay. And Steve had paid it, doing the dirty work of his superiors without question, sacrificing his principles just to keep his place. The worst part of it all was that his commanding officer, General Carter, was his father-in-law.

Every step of his career, Steve had been a puppet for the man who held both his professional and personal life in his hands. The weight of it bore down on him every day.

“Good soldiers don’t ask why,” General Carter always said this to him. “They just say, ‘Yes, sir.’”

"Yes, sir." Steve answer it like he's a robot.

At some point, Steve had everything he’d ever thought he wanted—marriage, a steady career, money, and status. On paper, he should have been happy. But he wasn’t. His life felt dull, empty, like the spark had been drained from it.

The day he realized the truth hit him like a punch in the gut. He wasn’t his own man—he was nothing more than a tool for his father-in-law, a puppet dancing to someone else’s tune.

That was the moment he had enough. The frustration, the years of silently obeying, simmered into anger. He wanted to be the one in control. He was tired of taking orders—he wanted to be the one giving them.

Steve’s life had been dull for years, a constant routine of military duties, politics, and the weight of expectations. Until the day he met Hazel. She was much younger than him—vibrant, full of life—and he was supposed to give her advice, to help steer her back home. Julius and Caroline had asked him to help their daughter stop running away. But when Steve sat with Hazel and listened to her story, something shifted. Her reasons for running, the pressures she felt—her life mirrored his own struggles. For the first time in years, he felt empathy.

He told her, quietly, “If you ever need someone to talk to, you can find me.”

And from there, things changed. They grew closer, and eventually, more intimate. He knew it was wrong—cheating on his family, betraying his friends—but for the first time, Steve felt alive again. The numbness of his life vanished in her presence, replaced by something that burned, something real. And then came Nate, the baby born out of that connection, out of a love he hadn’t felt in years.

Steve’s thoughts snapped back to the present. His jaw clenched tightly as he faced Peggy. “Did you tell them to hurt Nate?”

Peggy stood her ground, her face a mix of frustration and cold calculation. “No,” she said flatly. “But they’re smart enough to figure out why their father cares so much about that kid, and why he’s always…” She hesitated, her lips curling into a thin smile. “Spending time with his little girlfriend. Maybe they’re just releasing their anger.”

Steve’s fists tightened until his knuckles turned white. “When I get into the White House, you won’t be coming with me.”

Peggy’s eyes narrowed, but she didn’t flinch. “And what then?” she said with a mocking tilt to her voice. “You think you’re going to put that girl in my place? Have you forgotten who you are? You were a beggar, crawling to my father for help.”

Steve’s eyes darkened, a dangerous calm settling over him. “And this beggar has crawled his way to victory,” he said slowly, his voice low but filled with menace. “You can act high and mighty because of me. Don’t forget that I can take it all away from you.” He stepped closer, his words laced with venom. “Remember how your family got their business permits? How they were saved from corruption charges and tax evasion? That was because of me.”

Peggy let out a scoff, her eyes filled with disdain. “You think you’re a king now?” She crossed her arms, shaking her head. “I actually pity her, you know. Because one day, she’ll feel exactly what I felt. You’ll never be satisfied, Steve. You’ll never have enough.”

She turned to leave, her hand on the door. Before stepping out, Peggy glanced back at him, her eyes filled with cold certainty. “Never.”

🌸🌸🌸🌸🌸

You sat beside Nate, your heart heavy as you watched his small chest rise and fall, his face flushed with fever. The doctor had just left, handing you a bottle of medicine. "Make sure he drinks this, and let him rest completely," he’d said before exchanging a few quiet words with Bucky and leaving the apartment.

Nate’s red, feverish face made your heart ache. He had been through so much in just a few hours. You gently wiped a damp cloth over his forehead as Bucky sat beside you, silent and tense.

"Never, ever let Nate be alone with them again," you said, your voice firm.

Bucky nodded, his expression serious. "I agree. And I’m sorry. I never thought they’d pull something like that."

“Don’t underestimate underage kids,” you warned, your voice sharp. “There are so many cases where perpetrators can’t be jailed because they’re underage.”

Bucky’s jaw tightened. "Noted. I won’t forget that."

A brief silence passed, then you asked, “Have you called Hazel?”

“I tried, but I couldn’t reach her. I called her assistant, though.”

You nodded, your mind still spinning. The memory of Nate sinking beneath the water haunted you, but there was something else gnawing at you—you hadn’t finished your conversation with Ian.

Excusing yourself, you left the room and grabbed your phone, your stomach dropping when you noticed the cracked screen from when you’d dropped it before diving into the pool.

You dialed Ian’s number, your fingers trembling as you pressed it to your ear. The first ring echoed, unanswered. Your heart pounded faster. The second ring—nothing. A cold sense of unease crept into your chest. Why wasn’t he answering?

On the third try, the ringing stopped abruptly, and you exhaled in relief. “Hello? Ian?” you asked quickly, your voice tight with worry.

There was a pause on the other end, then a voice you didn’t expect—familiar, but not Ian’s.

“Y/N?”

You froze, confusion flooding your mind. “Hazel? Why are you answering Ian’s phone?” Panic started to rise inside you, the pieces beginning to fall into place. Ian had gone to Paris. He had found something—something connected to Hazel and Steve.

“He… he can’t answer it,” Hazel whispered, her voice breaking.

Your breath caught in your throat, a chill racing down your spine. “Why?” The word came out in a shaky breath.

There was a long silence before Hazel finally spoke, her words hitting you like a sledgehammer.

“Because he’s dead.”

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