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batsplat · 4 months ago

Note

quick follow up to this bit

was also reminded of this valentino quote

He speaks about my shoulder like he was the best shoulder doctor in Melbourne Hospital.

what WERE they cooking

(I can't like. prove this because obviously we simply do not have solid 'evidence' for casey's thinking here either way, but given this is a speculative post about how I'd narrativise these rivalries.... do think the screenshot above is basically my theory for why casey had a thing about valentino's injuries. to such an extent that valentino picked up and commented on it! after laguna and throughout 2009, there were various waves of discourse about casey having been 'broken' by valentino - first due to casey's dip in form in 2008, then because he had to take some time off in 2009. the fact that it was an invisible illness that he himself could not explain in a sport that is all about the big, glaring obvious injuries - one that was treated as a sign of mental weakness, something he was ALWAYS susceptible to being accused of... very much the opposite of valentino's shoulder and leg in that sense, which was way easier to explain and was immediately taken seriously. my suspicion is that for casey, it was about not being extended the same grace as valentino was, being frustrated at how much leniency valentino was being granted when casey was always being harshly judged. of course, valentino (in classic demented rider fashion) was if anything downplaying the severity of the shoulder injury and only admitted after it was more or less healed that he'd been terrified by how long the recovery period had dragged on and had feared he would never be the same rider again. casey's lack of empathy on this count is completely justifiable and he does also obviously have a point, but it's still an interesting part of his character. it's what makes the rivalry with valentino so very interesting - there are lots and lots of ways in which valentino directly made casey's life miserable, but then there are other ways in which valentino's mere presence, his existence, someone whose treatment casey could compare his own to, that also contributed to casey's hatred towards him. firstly by getting more empathy than casey did and the general injustice in how the sport was 'always' on valentino's 'side' in a way it never was for casey, secondly by having this reputation of 'breaking' rivals that... well, y'know, valentino was presumably more than happy to be the beneficiary of the whole thing, but it's not like this was actually a line he spread himself, including with regards to casey. he didn't have to! it's kinda just... an awful coincidence that casey's 2009 absence was always going to be treated with suspicion and he HAPPENED to have a rival with valentino's very specific reputation?? the perfect storm! which gets you to this odd point where... if anything after that casey is the main instigator in terms of the sheer vitriol of the rivalry - but it's built on years of seething resentment that valentino at times almost seems taken aback by... and then reciprocates with interest because of course he does. because that's just how valentino ticks. fundamental lack of understanding for each other!! valentino kinda accidentally being casey's perfect foil!! casey having a million Legitimate Grievances against valentino but still somehow managing to project 85% of his other issues with the sport on valentino too!! they're soooooooooooooo. so!!)

if you were to direct a motogp movie (or make a one season of television) what season or rivalry would you make it about? and more interesting what artistic liberties would you take? it doesn’t have to be a straight up biopic bc imo those are often boring, instead it could be something like velvet goldmine (1998) aka fictional characters whose real life counterparts are pretty obvious, veering in like rpf territory. anyways👀

did you know. one time this guy put a curse on this other guy. and he never won a race again

anyway, look, I do feel like by this point that's the BORING answer from me, but obviously it's where my mind first went. I'm not sure I'd actually want it out there in film form because by now it's badly enough remembered that it's like, my cute little niche story, and I think there's something fun about the Wider World even within the motogp fandom not exactly getting how bonkers the whole thing was. (I know other humans have canonically watched motogp 2004 but I swear even journalists have forgotten some key key details and it's kinda annoying but also fun.) bold words from someone who's been blogging about it!! weird gatekeep-y instinct. but basically my job here is done as far as outreach is concerned - I wrote a very long post, now I get asks about it twice a week that allow me to think about it some more with the four other people who care, perfect balance. that rivalry doesn't need to go mainstream!! the whole point of it is that it's kinda cruel but narratively pleasing that it's gone under the radar, because it's another sign valentino won. but obviously, I cannot literally make a film about this, so the hypothetical repercussions I think maybe we can put aside for a moment here

okay I came back to this bit of the post after I increasingly got into of the spirit of coming up with dumb ideas, but it did make me flesh out what I'd even WANT from something like that. I'm with you anon, a lot of biopics are boring!! if you want to just know what happened, please just literally go and 'watch the races' and 'read books' like what are we actually getting here. you kinda want to give it a purpose for existing, right, a way of portraying real/mildly fictionalised events in a manner that is also taking some kind of stance on the material AND is doing stuff you can't do 'in real life'. thing is, look, you could make 2006 into a film, and I'm sure it'd be perfectly nice because it's fundamentally a solid underdog story (well, inherently winning a title with repsol honda is NOT being an underdog but you can write it that way), but also what are you doing beyond just telling people what happened? I feel like that generally about single seasons, they're not really doing anything for me. I was also turning around the biaggi/valentino rivalry in my head in part because that's the one valentino gave as his answer for 'rivalry he would turn into a film' (marc big wet eyes sitting right next to him), but like. a film about that rivalry from valentino's pov is fundamentally not something I'm interested in. you have all these isolated very memorable moments that make it work as a rivalry, like you can absolutely spin them into a dramatic yarn that goes through the genesis of their conflict to middle finger gate to punching gate to assen + donington + sachsenring + phillip island 2001 and it's basically *insert rousing music* successful coming of age. at most you can lean into the fact valentino became successful at being a dick. like idk it's fine but also what's the point? valentino is challenged in a sports context by biaggi, he's challenged because he realises his words have consequence and the press actually reports the words he says to journalists (the horror), but he is fundamentally not challenged on a personal level. that's the entire point, right? it's the ultimate comfort zone rivalry - biaggi is a dick who it is quite easy to hate and also reacts poorly to valentino's initial provocation. the animosity escalates and it is inherently fun to beat him. valentino is mean to him, but it's not like he even really crosses any lines to beat him. like you can make it into a film, and if you twisted the material a little bit you could make it satisfying, but I don't want to!

now the way the writing process of this post worked was that I was going to breeze through a bunch of non-sete/valentino rivalries and explain why I think some of them don't work for our purposes here, but then I ended up writing myself into changing my mind. so my take on the biaggi rivalry is that actually, you CAN make it work but it has to be from biaggi's perspective. basically, I think you've got to amadeus it (a web weave I have been thinking of making at some point btw). so,,, it's a meditation on talent and how unfair it all is, maybe minus the bit where salieri poisons amadeus (I know that doesn't happen in the film) or dresses up as amadeus' father to, y'know, make him write a requiem on his death bed. and it's not amadeus in that HERE, the clown prince gets a happy ending! but it's more like, in thematic terms, I think you have to zero in on this bit. biaggi didn't have parents who shoved him on a bike when he was three years old, he didn't have parents who were invested in his motorcycling career (or even necessarily particularly invested in him), he started the sport late and discovered that, yes, he did have a prodigious amount of skill in it - but one that he started honing far later than valentino did. he approached his career with a sort of grim resolve, surly and irascible and not interested in making friends with any of his competitors but very, very good. he goes away from the race track and dates all these models, he irritates fellow riders, he's not part of the gang and he's happy about it. he's very successful! four 250cc titles, wins his first ever race in 500cc at a time when doohan was very much winning everything. he's also just like,,,, an interesting and spiky enough character it's not hard to make him come alive

but then of course you have this gradual emergence of the amadeus character, the one who challenges his established position in the court of,, well... motorcycle racing, and also as the guy italians rooted for! and valentino's obviously, y'know, in so many ways the exact opposite from biaggi, and he's super young and cheerful and lively and is doing all his silly celebrations and is being a bit camp and goofy and treats motorcycle racing as a party (you really want to lean into the culture clash here, like in amadeus it's because you have stuffy austrian court vibes but here it's because everyone is having their bones broken every two minutes and just how... kinda grim a lot of motorcycle racing was). and he's also this innocent! yes, he insults biaggi, and yes, in retrospect we know valentino is kinda evil, but at the time he was a kid with a big mouth who was a little taken aback by how that biaggi feud sort of escalated beyond what he'd actually intended it to do! and biaggi just, hates him. and I think, sorry to the real man max biaggi here, but you've got to play with how once they're actually competing with each other, it's miserable how there's just this unbreachable gulf in talent. like, whatever biaggi does he cannot win! he isn't going to defeat valentino over the course of a full season! which is depressing and horrible and CRUEL, because there's this inevitability to the whole thing... and also! because valentino doesn't DESERVE it. and you don't have to go full salieri pleading with god to explain how god could give this CLOWN all this talent, but it's kinda the same vibe! how is it valentino, who is constantly just having a laff and canonically maybe wasn't the biggest gym-goer in the paddock and is just generally seen as, y'know, a bit of a dandy, this foppish clown who everyone loves and who doesn't have to work hard to be good - how is he the one who is winning so much!! it's miserable and unjust... and I think how you portray this is that you really emphasise the kinda, repetitive nature of the defeat. like, I think you probably want to make this into a non-linear narrative where all this biaggi backstory is communicated somehow but you don't just start it when he was born or whatever - you start it in 2001 when they're competing for a title and already hate each other. and then you heavy on the time loop vibes. the whole cinematic language and all that other shit should emphasise how all these weekends are structured in exactly the same way and if you're losing to this one guy, all these different weekends can start feeling the same. it bleeds into each other, it feels inescapable, you're trapped in this narrative you can't change... worst of all, you even return to the same places again and again - like play with that! biaggi keeps coming back to where they had the fist fight, to where valentino first insulted him all those years back. you play up the disorientation and the misery of it all, plus biaggi canonically gives us all this kinda messy freudian shit to play with like how he was dating 'valentina' and his relationship with her was falling apart because of how miserable valentino was making him. it's all there!!

ANYWAYS the way you conclude this story is!! welkom 2004!! so again we can artistic license this a little bit and, uh, ignore sete (though I do also think it's fun if you lean into biaggi being displaced as a rival and staring at them being friendly and happy with each other from the outside) - but the key bit is that valentino is finally making the big error. biaggi wasn't winning titles on a yamaha, since he left yamaha has gotten worse, now valentino is making this big mistake out of his own hubris. language of cinema that shit and make everything brighter and more hopeful.... the time loop is finally over, biaggi has escaped, this year will be different!!!! everyone in his circle agrees, valentino is fucked. step off the plane at welkom (pre season testing didn't happen in this universe) and it's literal dawn of a new day... staring out at the sun and finally, biaggi can move on, can live a new and different life. anyway. obviously we all know what's coming next - you have this big dramatic climactic race where biaggi throws himself at valentino again and again and again and he comes so close to winning it... but he doesn't. and you have valentino living his best life, being delighted, but the film is focusing on how like,,, we're bleaching the joy back out of biaggi's life, how actually he's returning to what he already knew. and it ends on the podium, with the camera focusing on biaggi on that fucking second step or zooming in or whatever (idk how cinema works) and it just finishes on this shot of biaggi dead-eyed in a bleak world, trapped again for eternity aka until the end of the 2005 season. done!! I'm not sure this is quite what valentino had in mind, but. well. that's how I'd do it

this is from the pushkin play from 1832 not the 1984 film but like. low key pushkin already kinda nailed the essence of sports rivalries in the 1830s and we just have to acknowledge that sometimes

right. so the casey rivalry is where I'm going to go completely off the wall. skip this bit to get to the slightly saner stuff. this is also one I fully admit to sometimes playing around with in my mind anyway, but. uh. I'm gonna be taking this one in just. well. places. I do have a vision here but I also don't quite know how to explain it in a way that doesn't make me sound like I've lost my mind, but well if you're still reading this then that's on you. so lemme get this out of the way: the classic sports biopic formula would work well with casey. if I had to point to a single rider I would sports biopic-ify, it's casey. so you have all this kinda,, obvious adversity that's easy to get across, and it's a narrative you can follow chronologically without too much trouble. you've got all the childhood stuff, the australian racing club not letting him join them, the move to britain, the rising through the ranks, it's also this very biopic-friendly 'nobody ever believed in him apart from like three people' stuff. and the premier class is also narratively satisfying, from the rocky rookie season to the kinda shock success to then all the lows of 2008 and 2009 and the physical ailments and the anxiety and then the switch to honda and the title and then him deciding to retire... that's all good stuff! you can absolutely biopic-ify it! gun to my head and sure, I can walk you through exactly what bits of his life I'd focus on and put in what order and so on, and I think ultimately you could make a very good sports biopic from that

[some mild gore to follow in this next section]

but also. thing is. that's fine. it's just not where I want to go here, because again I feel like at that point you can also pick up his autobiography and just read it - because what you're basically doing here is just filming that. and I get how this stuff works, you're bringing the story to a wider audience, you can show stuff in a different way in that medium etc etc, and that's all great but also I don't care about bringing stuff to a wider audience. I care about doing fun stuff in my brain. so what I'd actually do here is just, basically, go in the exact opposite direction and ditch all the realism. genuinely, ditch the live action stuff, we're going animated - what I'm interested in here is stuff where we need to be able to fully suspend our disbelief and lean into some surreal shit. I'm not going to bury the lede here: my idea is that you take that thing where casey said he hated how ducati was ruining the bike by letting valentino's yellow encroach on it and, basically,, just go all in on that bit. like come on, that is so singularly visually evocative, it truly captures a lot of what's going on thematically in that rivalry. (see also x and x for the most relevant casey posts.) casey sees valentino as the malevolent force, this infection! he associates him strongly with a specific colour, one that can be sickly or unnatural or just... evil. malignant, malicious, malevolent, all the m words. to casey, valentino is a personification of everything that is wrong with the sport. valentino is literally the walking manifestation for so many of his issues, from the dangerous riding to the lack of respect to the lying to the cult of personality to the obsession with image and the media to the backroom games to the politics to the injustice of how different riders are treated differently, like!! he's literally all of that! this is a topic for another post, but this plays out in a lot of kinda, weird and funky ways where it's a two way street and sometimes when casey talks about motogp you go 'actually I think that's just valentino?' (btw he also does this about 'europe' right I don't think those are europeans you hate casey that's literally just valentino) and sometimes when he talks about valentino it's kinda? this feels like it's about a little more than the bloke himself? and basically, right, I think you need to take this to its natural conclusion where casey used to admire him and look up to him and want to emulate him on track and then gets disillusioned when valentino's worshippers turn against casey and casey is the one to bring valentino down to earth and... listen, I think you need to play around with valentino being a literal god. and I think you need to have casey stab him to cover up the yellow on the ducati with blood

okay. look. the idea here, right, is that we're basically making the subtext text, and just digging into that process of 'bringing valentino back to earth', of taking on a god and having the audacity to succeed, and also treating valentino as this sort of. infection in his own mind. the bike is literally being infected!! casey may have left the ducati but he STILL has some fidelity and love for this project, those were his people he worked with, and now valentino is coming in and just twisting everything around himself!! but also I think how this functions is that, okay, so you have all this normal stuff that's the actual 'plot' in the 'real world', but the ISSUE with the real world is that there's a lot of stuff that just. isn't possible there. like the thing casey wants in that rivalry but is never going to have is... a captive audience. a big problem casey has in that rivalry is that he doesn't get the chance to actually say a lot of stuff to valentino. he starts using the media more and more and plays the game on valentino's level, but there's still this disconnect where mr straight talking is the valentino rival who valentino never really blanks or freezes out like... there's a disconnect! there's valentino the person, who casey never quite figures out how to just straight up hate, and then there's valentino the character, the racer, the rider, the god who casey DESPISES. but when they're doing small talk at pressers and podiums, casey doesn't get to talk to that version of valentino! he just talks to valentino the person, who obviously isn't literally a different person but is also not going to explain to casey where he's coming from, is he, and also isn't someone who casey can explain to where HE is coming from. and that gulf... it does bother casey. I don't think he can quite verbalise why either, but there's just... this creeping tension. I think it'd be easier for casey if valentino really were more of a caricature, just kinda a dick in all walks of life. and there's just these canonical hints of that... the way casey talks about how he's sure valentino as a guy is fine, but he never knew valentino like that, the whole 'I'd like to go with valentino for dinner to tell him where I was coming from in that rivalry' thing, like!! it's there

so basically EYE think what you should be doing is using the wonders of storytelling to actually. embrace that element. and just leave realism behind now and again. valentino is a god, he is literally worshipped, he's part of this pantheon that casey is trekking to reach. casey is brave enough to take him on in combat, he is the first one who is truly able to draw blood. he sees how valentino isn't just a god of joy or battles or speed or the SUN or any of that other stuff - he's a disease, an illness, a god who is also a false prophet... the worship never quite goes away, because who ever truly gets rid of their valentino rossi complex, but casey eventually is given the chance to face a chained valentino and kinda,,, ritualistically publicly humiliate him using the ducati as both this sick thing that has to be 'cured' and this symbol of valentino's failure. I'm sorry, visual language goes brr here, like chain him up, do weirdly eroticised torture idc!! (psst psst valentino's fucked up shoulder also extremely goes brr here, casey low key a teensy bit weird about valentino's injuries? his thing after the 2010 leg break where he goes 'why's everyone making such a big deal about this other people break their limbs too' and then after 2011 jerez immediately asking whether valentino's shoulder is okay in just a very obviously passive aggressive way. literally he opens with that, valentino isn't using it as an excuse or anything, for some reason it's already on casey's mind and I would politely contest it was out of genuine concern for valentino's wellbeing!! it's just kinda? I'm so compelled by it? I suppose it is kinda about how valentino's suffering gets taken more seriously than his own? how those absences are received differently by the motogp world? idk I find this fun because casey does know this is one thing valentino can't really be blamed for himself, so it just slips out a bit? but yeah, casey + valentino's injuries, nobody's talking about it but I sure will, let casey get weird and mean and a teensy bit sadistic about valentino's injuries in an artistic manner.) crucially I like animation as a medium here because I think it's easier to lean into surrealism when you don't have to hand hold the audience so much through the suspension of realism, also there's just some imagery you can do in cooler ways through animation where in live action it may just look. weird. (I think you can also do one of those things where you have a live action film with only those specific bits animated but also... why? it just feels like in live action you need more 'justifications' for things, like am I saying casey is having some weird hallucinations and is losing his mind? no I just want to have weird vision sequences ffs.) the colour stuff!! valentino/casey is big on the colour coding as a rivalry, to the extent casey is even, y'know, drawing attention to it in the literal text!! yellow and red are banger colours, valentino is big on imagery himself with all his sun + moon motifs, it's kind of all there to make the easy next step to kinda zany surreal imagery. ritualistic stabbing works better in animation, you can kinda get the blood to like. drip down and overwhelm the yellow illness that's slithered out across the bike

and. AND of course what this entire set up allows you to do is.... give them an opportunity to talk. they can't talk in real life! casey CAN'T give him his real thoughts on anything, and fundamentally valentino can't either. they're opponents. they're strangers who chat sometimes. it's not just that they aren't friends, it's that fundamentally they cannot be friends - because their ability to do their actual jobs depends on a certain level of professional distance. valentino of course does have a decent read on casey, and vice versa, because when you're figuring out how to defeat someone then (if you're valentino) you're looking to play the rider too. valentino's entire approach depends on focusing in on his rivals and attempting to throw them off, to make them unravel. he's watching casey closely!! the entire journey of casey's first three seasons in the premier class essentially becomes like, this god of their world focusing in on him. figuring him out. trying to gnaw away at him. obviously, animation also allows you to go big on the panopticon-y imagery which is kinda fundamental to their rivalry, because of their fundamentally oppositional stances to 'performing' for the ever present cameras where there IS a little bit of common ground in they have both struggled with it. but valentino isn't going to ever say that to casey! casey isn't going to open up to valentino! so if you give them,, you know, a different arena to express themselves, where casey actually has this external figure to talk to (as he's like, cutting him open I guess) whereas valentino actually is put in a position where he's allowed to respond, where he can taunt casey a little bit, where he can interrogate casey's approach and also the similarities between the two of them and how casey has been forced to become a little more like valentino to challenge him... because the thing is, right, valentino is so big on message discipline with his rivals and has completely stopped talking about that rivalry post mid 2013 that, first of all, you have this complete imbalance in who's been telling this story for the past decade, but second of all you kinda don't have a sense of what valentino would respond? idk!! I think this is mainly fun as a thought exercise for me specifically but also I do think it's kinda, digging into some of the bits that make this narratively work as a rivalry, how valentino in this rivalry is actually just kinda... removed. like he's not really emotional about it!! at most he's a bit bitchy, but even that just feels about The Game. it's the most extreme in this regard followed by jorge - but with valentino's other feuds you kinda... see a bit more an unguarded moment, see something a little more real there. the casey rivalry feels so uncomfortable precisely because valentino is a little... inhuman in this one. I mean, if you want to have valentino as some kind of cross between a deity and a monster in any of his feuds, this is the one. casey's just an obstacle to him. idk don't you think casey kinda wants to chain valentino down and stab him and make him see casey a little more... well, I think he should want it and I think it'd be fun to see and get them to talk to each other. ugh and also all the implications of making the faith vs non-believer elements more literal... casey the heretic!!!

there's some obvious stuff here you'd have to figure out, like 'how do you make this work as a narrative even to people who aren't familiar with casey stoner at all' and 'who the fuck do you think the target audience is here' and 'you do know this is not the kind of thing that would ever be made, right, go back to the casey stoner sports biopic like a sane person' but!! I do think it's material you can make work if you're just,,, efficient and smart in how you're actually telling the 'real life' version of the rivalry. also in my head this is. idk. an animated limited series not a film, which then brings in other stuff like 'episodic structure' because I'm fundamentally opposed to tv shows that think they're films. and look, I'm not going to write an entire film script treatment here, I just think a good writer can figure this stuff out. blood on the ducati is the framing device for everything else, simple. lots of animated floating eyes I reckon, first casey is watching valentino and then valentino is watching casey and the whole world is watching them... and it does bleed into real life just a little, where you're wondering whether casey is actually imagining/dreaming this stuff or valentino is or if they both know it somehow... you can get away with more ambiguity in animation. anyway, if you do want more thoughts on this one specifically for whatever reason, let me know because this one I do actually have more on

also laguna 2008 is a bit tortoise and the hare coded if you really think about it

[end of gore]

so. on to jorge. hm. the thing about jorge is that he was kinda writing a coming of age film in his own head, so like - yes, that's what you do go for? you can play it straight and follow how jorge has cast his rivals, or you can pin the whole narrative on the fact that jorge has cast them - the kinda artificiality of the narrative, the way jorge is this storyteller who isn't being recognised as much as he thinks he should be, isnt adequately appreciated. the way there's this three way discourse between what jorge thinks the story is and what the public thinks the story is and actual. you know. reality. I think this is a bit more light-hearted, like you know how the best stories about teenagers take their emotions seriously but also let them be kinda silly? because young people are silly! jorge was silly! he's got a lot of CHARM because he's so cocky and naive and full on and intense and awkward and kinda off-putting and tactless and a bit all over the place and so painfully, painfully young, like he's a good protagonist because that's a KID. but also, obviously there's also a lot of extremely not light-hearted bits of his story - everything about his father, his manager... idk this one's another one where, I don't just want to make it a generic sports biopic, and I'm trying to figure out the clear narrative arc here? I mean, you can point to the end of 2010 and really lean into him choosing victory on-track over popularity off it. the problem with 2010 is that it does not work as a dramatic season, yeah sure with the magic of biopics you can hack at it to shit but also. idk. what are we getting out of it. I think for narrative purposes you want to maybe narrow in, and end it at the end of 2008, with the switching of the numbers this kind of moment of emancipation? but also! this feels like we're straying a bit too far away from the fun sports elements and I don't want to REALLY suggest all the ways in which you could mine jorge's personal trauma in a jokey tumblr post, so I'm gonna move on from this one

the problem is 2015 just straight up doesn't work as a jorge-centric narrative, except in a very kinda comic way that leans into how absurd his role in that season was. 2012 as a season is a bit... y'know, it's fine. okay it's mostly terrible, but that's fine too. but it doesn't have a great narrative hook. which kinda leads you to the problem that I do think the valentino rivalry is more... juicy from jorge's pov, because for valentino, jorge is just kinda? an obstacle? idk he's more normal about it, it's just his job to destroy the guy, you know how it is. but also 2009 does work better narratively from valentino's pov, like it's the build up to catalunya specifically you can dramaticise... idk though, I do love catalunya but my heart isn't really in this exercise because I think valentino isn't really being... challenged here? it's a title fight where he's fundamentally using a set of tools he's already perfected, to beat a guy he doesn't really give a shit about. when the italian press is down on him pre catalunya, it doesn't spark any genuine self-doubt - it's just a handy source of extra motivation. there's no epic highs or lows that season, not real ones. and yes I know I was talking about making valentino who gets stabbed repeatedly to cover up an infection a moment ago, but that reflected real EMOTIONAL truths!! I'm committed to thematic fidelity more than I am to literal fidelity

genuinely I think the best way to tackle jorge is with the jorge/dani parallel journeys... what, film? tv show? maybe show actually - you don't have one coherent narrative Statement per se but you're constantly charting those journeys in reference to each other, really rooting it in their respective points of views, no neutral detached cinematic language like I want everything to be very much written to be from their eyes!! going from one to the other and back again. and you're charting these different journeys, right, and how they both captured different flavours of like... emotional successes and failures. I think it's actually about failure, yeah, about having to accept there's something you can't have and might never be able to get - whether that's universal love or a premier class title or whatever - but Actually, that might not be the end of the world. and during this process, they go from being enemies to tentative friends!! guys who realise they can maybe actually understand each other better than they thought!! this real moment of interpersonal connection. you have all these media narratives and the managers and so on and the fact they're competitors as these built in reasons why they've just been pitted against each other from the start... but y'know, again, it is also just a bit about maturing, about being able to set that aside, about making your peace with defeat and failure as an element of growing up. you can't win everything, maybe there's something you really really really want and you're just not going to get it, but at the end of the day it's kinda... yeah. self-acceptance. idk this is the nice one

so with marc you can go several different ways here I guess, and again he's also perfectly decent sports biopic material, probably second to casey in that category like yeah sure do the comeback story. but also, we do already have a very good self-produced documentary about what he thinks the narratives of his career are? idk this is also just a personal taste thing, I'll leave him to doing all the injury stuff himself, I don't have much to add there. we'll get to the obvious one in a second, but I was trying to figure out if there were other places I massively felt like you need the cinematic touch. and, again, the 2013 season is obviously very exciting!! but also, you have it covered in.,,,, multiple documentaries, I don't feel I have a take their either? his rivalries with dani and jorge aren't really substantive enough to sustain a bit of cinema. dovi... I mean, what are you saying there? what's the arc? I feel like if I tackled dovi, I'd go somewhere else and really go all in with the ducati stuff, and make it a bit more... you know, stark, stripped back, basically just the emotional component of how much he gave to that project and how he managed to beat away one rival after the next and how it all ended up falling apart in a kind of anti-climactic way? he's also good sports biopic material, but in a way I think the marc rivalry is the bit of his story I have the least to say on. so eg, 2017 is a dramatic season, but he's also kinda fine after it? he always knew it was a long shot, he tried his best and he got really close and then he lost. you can't amadeus it because dovi isn't (fictional) salieri. basically, I think what I'm saying here is that dovi is too well-adjusted to feature in this post. though I'd totally watch a film about his 250cc seasons, like it's a bit annoying because HE is the underdog who loses both title fights to jorge, but it'd still be kinda fun idk. I wouldn't really know what to do with the material but if someone made the film I'd absolutely watch it

right then. the thing about sepang 2015 is... yeah, sure, of course you can do it, it already exists as a narrative but... yeah, what are you adding!! idk I always think when you're adapting something, you kinda need to have a reason for it? I mean, what are you doing that's not already there in the footage? idk maybe this is just a sign of having been a fan of this sport for one too many years but to me the idea of sepang 2015 can get a bit boring (or maybe just repetitive) where I need a new TAKE on it to really get into the idea of fictionalising it. like where's the auteur's touch y'know, what can I still add to this!! but it also needs to WORK for someone who is new to the story, which kinda just makes you want to tell the story straight.... y'know the story is strong enough and COMPLICATED enough to stand on its own and it IS good but I don't really have anything interesting to say beyond 'yeah sure that'e be neat'. I can't tell you why, but I also don't think the casey approach quite works here? the idea of providing a framing device with which valentino and marc can actually talk to each other... eh. don't like that. hm. okay wait actually I just turned it around in my head for... a while and I think I've got an idea to make the worst motorcycle racing film of all time. so, my central stupid film-making gimmick here is just. centring the fact we're completely reliant on a few guys and what they're telling us in making up our minds, and our removal from that story and the imperfection of their perceptions and so on. so I think you kinda make a point of... not actually showing the motorcycle racing? like, you always show it by showing other people watching it, you're showing the tv screen rather than the actual racing. even in the cinematic medium, you're centring the theatrical aspects, where you drill it down to just a few characters. valentino. marc. uccio. marc's fuck ass manager. maybe a crew chief or two. keep it limited though, all the others are kept at a distance - you're constantly focusing in on the same few characters. and very early on you basically just like... get them to fourth wall break by telling you, the viewer, with their actual words how racing works for them, what meaning they take out of it - and again it's this remove because we're never allowed to actually feel the racing for ourselves (no helmet cams), and it sets up that as the tragedy unfolds, again and again we're just hearing from them what happened. it's all zoomed in on how claustrophobic the entire situation is, like doing the race direction room after the sepang 2015 is perfect for that kind of thing, and crucially they're only ever addressing the audience because they can't address each other. but fourth wall breaks also obviously draw attention to artificiality! I realise they are very much like, lame gimmick central, but also are these men not inherently about lame gimmicks... idk it's basically the same story but at least it feels like a kinda interesting way of telling it. kinda trite, but cinema allows you to get to the point and let valentino actually play with the camera... so literally take it into his own hands and lead it around and tell the story from his point of view. and you can play with how they do both change in what stories they think they're telling, how they're constantly revising their own stories, how their stories completely clash with each other... like. make them literal narrators. that's my pitch

so. one interesting pattern that has come up with my approaches to these rivalries is that with the exception maybe of the 2015 stuff, I feel like I'm more naturally inclined to treat valentino as a narrative device and centre his rivals. a big part of this is that valentino is a fantastic narrative device. he's kinda. this looming presence in every narrative in this sport where you can just sort of use him as a sort of way to poke away at all these other riders. the monster everyone loves who you are trapped with. BOO!! he's gonna eat you! which is fun! but ALSO, crucially, several of these rivalries aren't that emotionally challenging for him!! again, with casey right, he wants to beat him, but he's not having a crisis of faith over losing to casey. he thinks casey is annoying, he wants to beat him because he wants to win. valentino is casey's foil, but casey is not valentino's. valentino makes for an excellent personal antagonist to casey, but the reverse just isn't true. casey isn't forcing valentino to reexamine his approach except 'ramping up the levels of being a dick on-track' - like, yes, that's a serious competitive challenge, but also valentino is very comfortable in his own skin in that rivalry. sure, you could have valentino have some kind of massive revelation about the casey rivalry, but like. he doesn't in canon. he changes his behaviour towards casey in pretty predictable ways depending on what the relationship demands from his perspective at any given time. there's nothing more there

now, obviously you know where I'm going here. there IS a rivalry where you can make the argument he changes as a result of it, there IS a rivalry that tips him over the line and makes him to do stuff he hadn't done before that, there IS a rivalry that happens to coincide with a period of his competitive life that challenges him both personally and professionally. now, look, I have already talked about the sete rivalry. you know what I think about this rivalry - and if you don't, I really already have told the story here and here and here and here and also here. I think this works perfectly well as a narrative in its own right, and it's one you can tell from either perspective... but you kinda need both. I think again you probably naturally lean towards starting it from sete's perspective and that first proper meeting (I mean, idk if it is their first actual meeting, but it's the logical obvious place you start this story) with sete giving valentino advice during his first 500cc test and valentino just, y'know, ignoring him and being a cocky shit and then crashing. so you get to see sete being kinda exasperated by the whole thing. also, obviously ibiza is like, a key framing device here, like it's the most obvious in-your-face way of tracking their relationship with each other. I don't actually know how often they partied there together, but it must have been at least twice and if the commentators are to be believed it must have included 2003. artistic license and you can add one or two more times, but mainly you want to focus in on 2003 onwards right. so you've got this 2002 one where it's, y'know, high point of their friendship and in the name of narrative efficiency, you establish here that sete is looking to make the honda switch. the emphasis is on how valentino has been winning everything but on the flip side you're getting the first insight into his discontent. and there's a bit of a vibe of, what could you possibly have to complain about? like you are winning so much? so it's late one night where they've had this slightly unguarded alcohol-fuelled moment of genuine vulnerability but in the end it's actually characterised by how... unsubstantial the link between them is, because they wouldn't talk about this kind of thing with each other and they might both be similar in some ways but also don't gettttttt each other. it means you can return there as a location in 2003, where you've just had sachsenring and valentino's dramatic loss but they're still partying together and it's like. obviously In The Air that not everything is quite right... their relationship is already gradually altered and twisted because you're introducing this element of actual stakes and competition (obviously in 2004 they do NOT spend that time together, as far as we know anyway, and you can show them being very much not together at ibiza as a very obvious Oooh Things Will Fall Apart and maybe already haveeee)

and I do think basically I've already said what I think the themes here are,,,, several times by this point, so I'm not going to belabour the point. I think all of this fundamentally works as a narrative with like, minimal massaging and rearranging of the elements for dramatic effect. it's all there already, everything from sete's arc with the [insert non-tasteless way of covering a real life tragedy that fundamentally alters the course of sete's career] and how that leads to sete becoming the challenger and how he does want to win and his eventual downfall. with valentino, you have the element of liberation and self-discovery and... well, growing into your own but also kinda having the narrative drawing attention to how 'growing into your own' can involve becoming a fully realised character who is essentially quite cruel? you have this kind of... build up, right, towards this moment of revelation, where you lay bare who these two people actually ARE at sepang 2004, and then again at jerez 2005. valentino has gone his own way, he has freed himself from the chains of honda, he has embraced individualism and the chance to define himself and his own legacy and stand on his own two feet and not rely on the strongest bike or all this stuff within honda where they chose him as their flag bearer, for better or for worse... like he comes to his own here! he takes the step from 'great rider' to 'legend' because he gets to this dramatic moment of stepping into the unknown, he takes this massive risk that could have cost him so much, and it ends up elevating him. but it also puts him under duress, and in that moment he reveals himself - whatever sete did or did not do at qatar 2004, EVEN IF sete did all that shit, what you are left with is valentino vowing to ruin this man. valentino uses sete to make himself 'better', to fuel himself as a competitor. valentino turns sete into a tool in his own story. and again, thematically you've got all this stuff about how sete was managing the image of the rivalry and how valentino took advantage of that - how sete needed it to remain respectful and valentino was completely willing to abandon that. like, you have two protagonists who really are similar in quite a few ways, who think they have this shared understanding with each other, but when it comes down to it? they end up being super painfully different

now I can go on about this and how to play it straight, basically, you can just do that rivalry and I think it'd be cool and fun and very easy to arrange in a good narrative way. BUT I've kind of already. done that. like I don't want to suggest a film that is basically a nicer version of my tumblr posts. so I want to take this in a slightly different direction, and I think what we need to consider with this rivalry is this: what if you made the curse literal? basically, what's always kinda charmed me about this rivalry is that the curse should not work and all the misfortune that befalls sete after that is so comical that it's kinda... what do you do with that? and the answer is you just lean all the way in. my pitch is this: what if valentino sells his soul to the devil?

so, you know faust, right, and you know the bit at the start of goethe's faust where god and mephistopheles are basically making a wager over how corruptible this one human is. and faust is like... he's kinda disillusioned, he feels that everything he's dedicated his life to in academia is fundamentally hollow, gets very close to committing suicide. and faust has gone a bit new age-y, gotten into all this mystical shit and he's got this pentagram that ends up preventing mephistopheles from leaving his presence in their first meeting... and basically what the devil can give him is like, the chance to attain some true pleasure, and for that faust is willing to bet everything - so if faust can just have that, then maybe eternal damnation is worth it. and look, I'm not going to summarise the entire plot of faust here and it does go off the wall a bit with all the gretchen stuff, but the point is you have this version of the devil who is fundamentally a cynic and is attempting to win an argument with god by making this human succumb to his own nihilism. and what faust basically does is like, abandon his normal life where he's trying to live by normal virtues and goes off on this journey with the devil. and there's this little moment where mephistopheles,,, pretends to be faust and takes on the role of an academic adviser (you know how it is) and seduces this random student away from the word of god and sends him down a wretched path, which ends with this bit:

like, a big part of faust's tragedy is supposed to be about... well, hubris, of the relationship of god to man, of no longer being afraid of the devil... and obviously, this is all framed very much in terms of religion, but at the end of the day it's also about, you know, having purpose - faust is living a life that no longer has any meaning to him, all of his knowledge and studies now no longer fill the void inside himself. his nihilism opens the door for mephistopheles, and is what makes him willing to accept the devil's terms. now, and I am so very sorry to goethe here, I think we have some material we can use here to explore the valentino/sete rivalry. obviously, you can't do a one-to-one, you need to get rid of some of like, the depression and all that - there were times when valentino was feeling 'a bit low' in 2003, but not 'faust thinking everything he'd done in his entire life was pointless' low, yeah? also, unless you want to do a real long view here and even then it can't really be justified, there obviously isn't really a 'tragedy' here from valentino's perspective. like, he wins! this isn't valentino's tragedy, it's sete's! I was being a bit facetious when I said he was 'selling his soul to the devil', and you can kinda parse mephistopheles' motivations in different ways depending on what flavour and what interpretation of him you're dealing with here. you don't 'damn' valentino, you essentially just turn him into a tool of the devil!

so, this is how this works out in my head: the devil works more broadly as the manifestation of competitive impulses, the kind of 'how far would you go to win' question as a bloke who shows up and literally talks to the characters about it (magic of cinema). he's also engaging with valentino feeling like his victories no longer having meaning, with being disconnected from honda and from the entire culture there and just feeling like he's going through the motions. there's this element of like... opening the door to what is essentially a journey of self-actualisation, bringing him closer to being a 'god' but also allowing him to fully come into his own and become himself. to win on his own terms. I reckon ibiza is my preferred narrative device where the devil talks both to sete and valentino there (separately), first literally as a mysterious stranger and then... maybe not? he's talking to them at times of their lives when they're not at ibiza and it's not happening there in the physical world and they both end up kinda having to confront they're dealing with some potentially malevolent supernatural entity. but the important elements of the devil is that a) he's not going to do anything the humans don't actually ask for themselves, and b) everyone knows he's following his own agenda and you should be careful of the requests you make of him. so it's kinda like... essentially, the backdrop of this rivalry unfolding is they're constantly being challenged to decide what lines they're willing to cross. which culminates at qatar... and maybe you do have sete making like. a teensy mistake. a teensy error in judgement, one that is both real and deliberate but he could not have known would get that reaction and instantly regrets. and valentino, who is I think inherently sceptical of the devil coming to offer to help him and maybe does crank out the pentagrams (remember, the whole point of faust is that he was too arrogant to be scared of the devil, or one of the points anyway), in a moment of fury does decide - no, actually. I will take that step. I will curse sete. now the thing is, dramatically this is a teensy bit tricky because when you're talking about being damned by the devil, usually the consequences are a bit more severe than 'not winning a motorcycle race again' (yes, you can get into how sete did also seem genuinely cursed after that, cf his ambulance/bus crash situation, but again we are flirting with being in poor taste in this tumblr post). but the thing is, right, you have to lean into the silliness here! qatar 2004 is inherently silly, a CURSE is inherently silly, like real life is already silly here! you have to engage with the people where they are, and for these athletes all this shit is so heightened that the emotions are full on. like, valentino would've sold that guy to the devil! and to him not winning another race is basically the worst thing that can happen

so, obviously, you get to do the actual curse stuff. curses are inherently campy fun, the devil doing curses is campy fun, getting valentino rossi to crank out the pentagrams is inherently campy fun. you get to play around with this, right, like you know that bit in the brno 2005 race commentary where the commentators are talking about how valentino might as well have a little radio to talk into sete's helmet to remind him of how sete had fucked up at the sachsenring. OBVIOUSLY obviously obviously it is just so... idk scrunchy and fun to have this idea of valentino becoming a malevolent enough force to literally do that.... like damn the commentators did kinda eat with that?? ughhhhhh do you ever think about sete leading the qatar 2005 race for most of the way???? like that's SO fucked up because you literally have articles from about the race going 'hey maybe sete can break his curse' and then the commentators are talking about curses having one year expiration dates but obviously they!! do not!!!!! there's one race where sete goes off track and the commentators are talking about how valentino will surely have smiled into his helmet like that's so fucked!! it's so fucked!! but idk I think basically you have all this creeping curse-y stuff and devil stuff and then you get this twist and then it just becomes misery zone for sete until you sort of. compress the timeline and have him retire without getting into what happened at the end of 2006. and valentino just relishing in all his very worst emotions. and you've got sete who was the better man after jerez 2005, who took the high ground again and again and again and it did NOTHING for him.... and then he's cursed and his career is finished and the devil has had his fun getting mixed in with mid noughties motogp. and now obviously this is inherently kinda dumb and corny and silly but it's the devil!! mephistopheles to me is allowed to get up to dumb shit sometimes, let him have some fun!! idk I like curses being literal idc

I think the obvious critique here is 'this doesn't really feel like it gets the message of faust'. which, yes, is true - and obviously the way narratives are structured, a satisfying resolution isn't 'well selling your soul kinda slaps, actually'. and my statement to respond to this argument is as follows:

this is essentially canonically what happened. valentino DID do something kinda evil and it DID work out 100% for him and it DID kinda slap. at least when you add in the devil, you're making explicit the bit where it is a little bit bad. also, is sports not inherently about selling your soul for success... the story of valentino and sete is essentially about how we are twisted by competition, how pretending that we don't wish ill to our opponents is inherently dishonest. it is about lifting a facade for something that is already inherently there in the souls of men. this is obviously inherently a deeply cynical stance, but this is also a deeply cynical story beyond all the fun battles and camp dramatics. the devil is a cynic and he is basically the point of view character of goethe's faust - he's the one who is positioned closest to the audience. sports is all about living out some of humanity's worst instincts in a relatively low stakes setting, which means we get a free pass to have fun with a deeply cynical story that goes 'maybe selling your soul to the devil is fine, actually'

do I stand by this stance? not really, but the whole fun of storytelling is that sometimes you can just be kinda mean. I think goethe would get it... you can tell which character he enjoyed writing the most

the OTHER way you can do this is centre everything around qatar 2004 as like,,, the mystery box element...... okay look I have now made two posts that go WAY too deep on the 'what really happened' element but I do loveeeeee the whole thing like I would just make a film about that very end of the season and we show it from all these different angles as different characters narrate what happened... like fuck all the riders I want to hear from whichever mechanic used the scooter... the gresini mechanic who gave evidence to race direction.... various honda higher ups the crew chiefs like this is jb vs juan martinez it's war!!! obviously you still have the same emotional/thematic hooks as the general rivalry does but idk I would have a LOT of fun figuring out how to structure that, I loveeee mysteries... maybe I'd write it as a mockumentary yeah..... this one's just fun

anyway. a lot of stuff going on in this post, huh! you can probably tell I didn't edit this much. my classic tell when I edit my tumblr posts is I remember how 'paragraphs' work. unfortunately all I have energy for are like. a bunch of rants about things in my brain. I think when tumblr tells you that you've reached the maximum number of characters per paragraph and you need to figure out where to put a break, it's probably a bad thing? on the whole, my stance is I don't have anything AGAINST mildly fictionalised versions, but for me I'm always more of a.... well I want to take advantage of the full specificity of the events as they happened or just come up with a completely original story. kind of person. I know this ask probably wasn't looking for my 'what if you bled out valentino as he's strung up above a red motorcycle' vision but yeah. with a lot of biopics I'm always a bit 'well you could just read about this couldn't you' like I need stuff to take some kind of a stance on the material it's using... all my stuff takes a stance. that's all I've got. obviously all these stances mean that basically none of these things could ever be made. and I know what I said above but if they called me up to write the casey stoner biopic script treatment, I would also do that. if you've actually read to this point, give me a shout - you're a real one and I love you

#spec tag #casey's power is such that after half a decade of having weird hang-ups about valentino #he finally got valentino to have weird hang-ups about him #like sometimes u get these comments where ur like... huh casey doesn't this feel. a bit much. like this is a bit much #and then valentino sees it and goes????? wow FUCK this guy. and then they just keep doing it. like adults #this is the thing right. if i'd broken my leg and the main things one of my two biggest rivals says about me in those months is #a) 'the race in britain was so much nicer because that guy's fans weren't there :)'#and b) 'idk why everyone's making such a big deal about this guy being immediately fast on his extremely premature return'#'it's just a leg break he probably only lost some muscle mass'#i think i'd probably also be a bit ?? especially since the rivalry really wasn't THAT bad before 2010 it really wasn't!!#but then by 2011 casey managed to completely fry valentino's brain and it just goes off the CLIFF like it is so!! undignified!!#it's funny because it's definitely the rivalry valentino got over the quickest #but in terms of sheer hit rate of insults. like just raw frequency. when they were going at it. this ranks number one in vale feuds!!#(btw a big GLARING tell that the marc thing is weird and special is that he is *right* on the opposite end of the spectrum)#(like i think this can be tricky for people to clock but it's actually Notable how little day to day conflict those two had post 2015)#and obviously casey's still not over it. which again is DEEPLY understandable but also a littleeeeee bit funny (love you casey)#the way he still yaps on about jerez 2011!! a racing incident in the wet!! like it is kinda... well yeah. funny. when you contextualise it #idk it's just cute to me how they had completely different experiences of that rivalry #to the point where they just don't Get what's going on for the other guy. they just don't get it!!#hitherto unknown levels of 'what is this guy's PROBLEM' it's so!! they're so!!#this is how you get casey talking about wanting to explain his pov of the rivalry to valentino over dinner. this is how you get that #and it still wouldn't work!! isn't that amazing. they're going to go to their graves being vaguely baffled by the other guy's deal #//#brr brr #i put all my best analysis in tags for a read more x2 post. this one's for the real ones. all two of you #casey has a shorter sample size of a career to work with but do NOT get it twisted that is my number one girl!! my beautiful sister #my poor troubled neurotic paranoid delicate prodigy conspiracy theorist magical girl anime protagonist #casey would have an aneurysm if he read those words but is that not. the point #luminous yellow tag

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thewriteadviceforwriters · 4 months ago

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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.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors.

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sharkylass · 11 days ago

Note

What kind of brushes would you recommend to use when trying to mimic isat's artstyle?

Oooh! Oooh!!

I'd love to answer this one, cause it actually took me a while to get it down!!

The program I use (Medi Bang Paint Pro) is pretty limited in terms of brush functions. If you use something like Clip Studio, I'm sure you can find a brush that suits your needs.

However, through trial and error, I ended up making my own.

The main key is anti-aliasing.

QUICK NOTES I DIDN'T DRAW:

1. NO PEN PRESSURE SENSITIVITY, TURN THAT SHIT OFF, The ISAT artstyle majorly uses round flat brushes (and maybe changes the size for detail accordingly.) 2. The sprites in game experience some corruption (if it's from program corruption or intentional choice on the dev's part is up for debate) 3. There in minor inconsistencies in the style and shapes. You're not gonna get Isa's face shape right, Sif's eye is probably gonna look off, Odile's hair is gonna be too poofy- that's okay. And even if your brush of colors aren't perfect that's okay. 4. The main important thing for ISAT's artstyle is the vibes, and there is no formula to that. Just try to find your own place within those vibes. My last comic, I actually halfway through just stopped trying to imitate the artstyle, as much as I was just trying to express myself within that style's minor guidelines. 5. I also HEAVILY RECOMMEND looking at Tawny's guide on expressions, it's super helpful for GETTING those said vibes

#I feel like I'm forgetting something- but oh well #I might remember later #in stars and time #isat #sharky asks

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solxamber · 2 months ago

Text

Trash Novel Chronicles: I'd Rather Date the Male Lead's Dad - Lilia Vanrouge x reader

When you end up in your best friend's favourite but absurd novel about breaking a fae prince's curse, you didn't expect to get attached to his little family too. Even more unexpected? You fell for the male lead's dad, but hey it looks like he likes you too.

Series Masterlist

You love your best friend. You really, really do. But sometimes—sometimes—the things they drag you into make you question your life choices. This time? It’s a novel. A bad one.

The plot is borderline unreadable, but somehow, it’s now your problem. Because of course it is.

“So, listen,” your friend had said, waving the book around like it was some kind of literary masterpiece. “Malleus Draconia, the fae prince, is cursed—chained up in this forest. The curse can only be broken by someone who isn’t attracted to him. But here’s the kicker: he’s so hot that no one can break the curse. For ten years.”

“Uh-huh.” You’d nodded along, already feeling your brain cells start to wave white flags of surrender. But your friend continued.

“The main character stumbles upon him after years of drama and frees him because they’re the only one not drooling over him. Then they fall in love, blah, blah, blah.”

At this point, you were barely listening. But then they dropped the bomb. Your eyes were shutting and you felt the sweet embrace of sleep call to you.

“Also, there’s this subplot where a magical plague of squirrels overruns the kingdom, the Saint betrays everyone by secretly being a double agent for some shadowy organization, and—get this—there’s a surprise paternity reveal where the devil is the father of the Saint who turns out to be the evil villain controlling everything.”

Your face had hit the pillow as your soul left your body.

And somehow, the next thing you remember is waking up dead. Or, more specifically, reincarnated. In the body of the heroine. In that story.

You can't believe the story was so terrible that it killed you.

The first thing you notice when you wake up is that the room is way too fancy for your tastes. The bed is massive, the sheets feel like they cost more than your entire existence, and the walls are adorned with tacky portraits of people who are probably supposed to be important.

“Oh, no,” you groan, rubbing your eyes. “This can’t be happening.”

But it is. You’re in the novel. The very one your friend had been yammering about. And not only are you in it, but you’ve woken up a full year before the plot is supposed to kick off. A year of waiting for terrible drama, an ex-fiancé who can’t take a hint, and a poor fae prince you’re supposed to rescue.

But you? Yeah, you’re not that patient.

“No way am I waiting a whole year for some garbage plot to unfold,” you mutter, throwing the covers off. “I’m just going to free Malleus now, take my reward, and live a quiet, drama-free life by the beach.”

With that plan firmly in mind, you march out the door.

It takes a bit of wandering through some overly cursed forest, but you eventually find Malleus’s “prison.” And honestly? It’s not nearly as dramatic as you expected.

There he is, sitting in the middle of a clearing, chained up in some kind of spooky-but-also-weirdly-ornate setup. He looks just as the novel described: tall, dark-haired, horns giving him an air of mystery and power. But what you weren’t prepared for? The way his eyes widen slightly in surprise when he sees you.

“I wasn’t expecting… company,” Malleus says, his voice soft, almost tentative.

You pause for a second. He looks intimidating, sure, but there’s something oddly… sweet about him. Like a guy who’d get excited over a party invite and then be too shy to actually show up.

“Yeah, I’m just here to get this whole ‘curse-breaking’ thing out of the way,” you say casually, walking up to the chains. “I’ve got stuff to do.”

Malleus blinks, looking a bit confused. “You… are not attracted to me?”

You snort. “Nah, not really. You’re nice to look at, don’t get me wrong, but I’ve got my own problems. Let’s just get you free so I can collect my reward and move on.”

He still looks mildly surprised but nods. “Very well.”

With a shrug, you reach out and touch the chains. There’s a brief flicker of light, and they dissolve. Just like that.

Malleus looks down at his freed wrists, clearly shocked. “It… it worked.”

“Yeah, wild, right?” you say, brushing off your hands. “So, about that reward…”

Before you can finish, Malleus stands and, in a tone so polite it makes you feel guilty, says, “You have freed me. Please, allow me to invite you to stay at my castle. As a guest.”

You blink at him. “Uh, no thanks. I’m good.”

Malleus’s expression falters for a moment, and you swear he looks a little sad. “But… I would like to repay you for your kindness.”

He’s giving you this look, all wide-eyed and hopeful, and you realize—he just wants to hang out.

Oh no.

“Ugh, fine,” you groan. “I’ll stick around for a bit.”

The way his face lights up is honestly too pure for someone who was supposed to be all intimidating and all-powerful.

When you arrive at Malleus’s castle, things get interesting real fast. You’re greeted by his entourage—Sebek, who looks like he’s one insult away from going Super Saiyan; Silver, who’s napping on his feet; and Lilia, who seems like the embodiment of chaos.

Sebek is the first to speak, scowling at you with righteous fury. “How DARE you approach Lord Malleus with such insolence!”

You roll your eyes. “I just freed him. You’re welcome.”

Sebek looks like he’s about to explode, but Lilia steps forward, his sharp grin making you instantly suspicious. “Oh? You broke the curse? Without being… swayed by our dear Malleus’s charms?”

“Yup,” you say, popping the ‘p.’ “Didn’t even break a sweat.”

Lilia’s eyes gleam with amusement. “Fascinating. You must have quite the willpower. Or perhaps…” He looks you up and down, clearly intrigued. “You simply have different tastes?”

You blink. Then, without thinking, you point at him. “Actually, yeah. You’re hot.”

There’s a beat of stunned silence, during which Sebek looks like he’s been hit with a brick, and Lilia lets out a delighted laugh.

“Oh, you are a delight,” Lilia says, his eyes twinkling with mischief. “Perhaps you should stay longer.”

“You think I’m joking, but I’m not,” you deadpan, earning a grin from Lilia.

Silver, meanwhile, is still half-asleep and completely unfazed by your chaos. “Good job on freeing Malleus,” he mutters, yawning.

Malleus, who has been silent this whole time, finally speaks up. “You… do not find me attractive?”

You turn to him and sigh. “Look, it’s not that you’re not attractive. You’re, like… objectively pretty. But I don’t really go for the whole cursed prince thing.”

Malleus seems to process this slowly, his brows furrowing slightly. “I see…”

“But don’t worry,” you add quickly, feeling a bit bad for the guy. “You’re sweet. It’s a compliment, really.”

Malleus looks a little less confused and a bit more happy. “Sweet? No one has ever called me that before.”

You snort. “Well, I’m calling it now. And hey, you’ve got your freedom, right? Now you can get invited to all those parties you wanted.”

At this, Malleus’s eyes widen slightly, and you realize—oh no, he’s the type who really just wants to be invited to stuff.

“Oh,” you mutter under your breath, “you’re like a giant puppy, aren’t you?”

Malleus tilts his head, clearly confused, but before he can ask, Lilia leans in with a knowing grin. “I think you’ll fit in just fine around here.”

You sigh, rubbing your temples. “This is gonna be a long stay, isn’t it?”

Lilia’s smile widens. “Oh, most definitely.”

Later, you’re sitting around the dining hall with the group when Lilia casually brings up the dreaded plot points.

“So, when do you think the magical plague of squirrels will hit?” he asks, almost too casually.

You nearly choke on your drink. “The what now?”

“Oh, didn’t you know?” Lilia smirks. “There’s a prophecy. The squirrels will overrun the kingdom unless someone stops them.”

You blink. “This is real? I thought that part was a fever dream.”

Malleus nods seriously. “The squirrels are quite the threat.”

You slam your head on the table. “I’m trapped in a nightmare.”

Silver, half-asleep as always, just yawns. “I’ll take care of them. Probably.”

And that’s when you realize: maybe you should have let the curse be.

You didn’t mean for it to happen, but you and Malleus… well, you’ve become friends. It started small, mostly casual conversations where he’d hover around, awkward but eager, just happy to be included. There was this one time you invited him to tea, and the poor guy looked like he was about to cry from happiness. Now? You’re taking your frienship to the next level.

“Hey,” you say, strolling into the throne room where Malleus is doing the farthest thing from brooding. He’s just kind of standing there, staring out the window like he’s daydreaming about a really nice picnic. “Want to go to the market with me?”

The look on his face is priceless. His eyes widen like you’ve just handed him a golden ticket to the best party of the year. “You… want me to accompany you?”

“Yeah,” you shrug, as if this isn’t the biggest deal of his life. “I need to pick up some stuff, and I figured it’d be more fun with a friend. Plus, y’know, maybe someone will actually give me a discount if you’re there.”

Malleus looks like you just offered him the world “I would be honored.”

And that’s how you, Malleus, and the rest of his chaotic entourage—because of course they followed—ended up at the bustling market.

Sebek? Less than thrilled. In fact, you think he might actually be foaming at the mouth. “I cannot believe you are fraternizing with Lord Malleus so casually! Do you not understand the honor you’ve been given?!”

“Sebek,” you sigh, waving a hand dismissively, “we’ve been over this. I’m his friend. Friends do normal stuff together. You know, like going to the market.”

Sebek glares at you like you’ve just insulted his entire bloodline. “Lord Malleus does not engage in such trivialities!”

“Uh,” you glance over at Malleus, who is currently inspecting a row of intricately carved fruit. “He’s literally doing it right now, Sebek.”

Malleus turns to you, holding up a fruit shaped like a tiny dragon. “Would you like to try one? It is said to bring good fortune.”

You grin at him. “If you’re offering, I’m down.”

Sebek looks like he’s about to explode from sheer indignation.

“You dare—!”

“Sebek,” Malleus cuts in, his voice as gentle as ever. “I am quite enjoying myself. There’s no need to worry.”

You grin at the sight. “You’re really into this, huh?”

Malleus glances at you, a little bashful but still smiling. “I have never been invited to something like this before. It is… a new experience.”

Oh god, he’s so sweet. You feel like you’re corrupting a baby deer by dragging him into the real world, but it’s so worth it.

Lilia, however, is having the time of his life. He leans over, grinning like the mischievous little gremlin he is, and whispers in your ear, “I must say, you’ve got quite the charm. Lord Malleus rarely accepts invitations. You might be more important to him than you think.”

You snort. “Yeah, well, maybe he just really likes fruit.”

Lilia laughs, a sound that’s equal parts endearing and dangerous. “Or maybe he enjoys your company, hm?”

“Careful,” you say, flashing a grin. “Keep sweet-talking me like that, and I might start flirting back.”

Lilia’s eyes gleam with amusement. “Oh? I think I’d enjoy that.”

Oh god, he’s not backing down. Now you’re in the deep end. “Listen, if you keep going, I’m gonna have to ask if you’ve got plans for dinner.”

“I’m free this evening,” Lilia replies smoothly. “Shall I prepare a feast? Or perhaps we could have something more… intimate?”

You blink at him, unable to tell if he’s messing with you or if this is just how he operates. Either way, you’re so down to find out.

Before you can respond, Sebek cuts in, voice raised to what can only be described as ‘angry airhorn.’ “You will not speak so casually to Master Lilia!”

“Oh, Sebek, relax,” you say, patting him on the shoulder, which is a mistake because it feels like patting a brick wall. “He likes it.”

Lilia winks at you, thoroughly enjoying the chaos. “Indeed, I do.”

You smirk, shooting Lilia a playful look. “See? The man’s practically begging for attention.”

Malleus, meanwhile, has been watching this entire exchange with mild confusion. “Is this what humans call… flirting?”

You give him an exaggerated nod. “Yup. It’s a sacred tradition. Very serious stuff.”

“I see,” Malleus muses, looking between you and Lilia. “Perhaps I should try it as well?”

“Oh, please don’t,” Sebek groans, looking absolutely horrified at the idea of Malleus flirting. “Lord Malleus, you are above such trivial pursuits!”

Lilia is practically cackling at this point. “Now, now, Sebek. It wouldn’t hurt to let Malleus explore new experiences.”

You grin and elbow Malleus lightly. “Don’t listen to Sebek. You can totally flirt if you want.”

Malleus, sweet as he is, looks completely serious when he asks, “What would I say? I do not wish to offend.”

You pause, trying very hard not to laugh. “Okay, how about this? Try complimenting someone. Like…” You glance around and point at a vendor selling flowers. “Tell them they have lovely flowers.”

Malleus nods, taking this very seriously, and walks over to the vendor. You, Lilia, Sebek, and Silver (who’s been napping the whole time) watch as Malleus, ever the gentleman, says to the vendor, “Your flowers… are as radiant as the moonlight.”

The vendor looks flustered, blushing furiously. “Oh! Thank you, My Lord!”

You can’t help but laugh. “See? You’re a natural.”

Malleus returns to your side, looking pleased with himself. “I believe that went well.”

“Yeah, now you just have to work on *accepting* compliments,” you say with a wink, and Malleus tilts his head slightly in confusion.

“Accepting?”

“Yeah,” you grin, “like, if I were to tell you you’re the sweetest giant fae-dragon puppy I’ve ever met, you’d say…?”

Malleus looks genuinely flustered, his cheeks tinting the faintest shade of pink. “I… would say… thank you?”

“Good enough,” you laugh, nudging him playfully. “We’ll work on it.”

Sebek is muttering to himself about ‘disrespect’ and ‘sacrilege,’ but Malleus looks… happy. Like, really happy. He’s still a little awkward, sure, but you can tell he’s having a good time. Probably more fun than he’s had in years.

Lilia, meanwhile, is back at your side, leaning in close with that smirk of his. “You’re quite the influence, you know.”

“Yeah, well,” you grin, “someone’s gotta drag him into the real world.”

“Perhaps you’ll drag me into something as well?” Lilia purrs, his voice low and teasing.

You blink at him. “Keep talking, and I might actually propose to you.”

“Oh, I’m counting on it,” Lilia says, eyes glinting with mischief. “Perhaps later tonight?”

“Is that an invitation?” you quip, raising an eyebrow.

Sebek practically has steam coming out of his ears. “Master Lilia!”

But Lilia just laughs, utterly unfazed. “Oh, Sebek. You really must learn to loosen up.”

Silver yawns loudly, cutting through Sebek’s rant like a chainsaw through butter. “Can we get food now?”

You snort. “That’s the best idea I’ve heard all day.”

Malleus, ever the polite host, nods eagerly. “Yes, let us dine together. A family outing is not complete without a meal.”

You pause, blinking. Family? Did he just call this a family outing?

Lilia catches your expression and chuckles. “Oh dear, it seems Malleus has grown quite fond of you.”

You shoot him a playful glare. “You make it sound like a bad thing.”

“Not at all,” Lilia says, smiling knowingly. “In fact, I believe it’s quite the opposite.”

Before you can respond, Malleus steps up, still radiating pure joy. “Would you do me the honor of joining me for dinner tonight? I would very much enjoy your company.”

Sebek looks like he’s about to self-destruct from sheer disbelief, but you? You can’t help but grin. “Sure, why not? But if I catch you stealing my dessert, it’s game over.”

Malleus chuckles, his awkwardness fading just a bit. “I shall do my best to restrain myself.”

Lilia leans over, voice low and teasing again. “Perhaps you’ll save dessert for me, hm?”

You snort. “Don’t push your luck, old man.”

“Ah, but I’m a fae. Luck is my specialty.”

You shake your head, grinning as you walk alongside Malleus, who’s positively glowing with happiness. Yeah, this is one weird, dysfunctional family, but maybe you like it that way.

It’s quiet tonight, the kind of quiet that settles deep in your bones, making you feel both peaceful and unbearably restless. You find yourself standing on a balcony, overlooking the courtyard bathed in moonlight. The cool breeze whispers through the trees, the scent of night-blooming flowers drifting lazily through the air.

Lilia stands beside you, leaning against the stone railing, his usual playful demeanor absent. In its place is a rare solemnity, something you’ve only seen glimpses of before. You glance at him, noting the way the moonlight catches in his hair, casting soft shadows across his face. It feels... strange, seeing him like this. So serious, so quiet.

After a long silence, he speaks, his voice soft but weighted with emotion. “I was terrified, you know. Of losing him.”

You don’t need to ask who he’s talking about. Malleus. The curse that had wrapped around him for so long, a dark cloud that threatened to take him away. You had been the unexpected catalyst for breaking it, and while you hadn’t fully understood the gravity of it at the time, you’re beginning to now.

Lilia continues, his gaze fixed on the stars above. “I’ve lived a long time. I’ve seen many things, lost many people... but the thought of losing him...” He trails off, his voice catching in a way that makes your heart ache. “It would have broken me.”

You swallow, unsure of what to say. What can you say to something like that? You’re just... you. You never asked to be involved in any of this, never imagined that you’d become such an important part of these people’s lives. But here you are.

“I didn’t do anything special,” you finally manage, your voice barely more than a whisper. “I was just... there.”

Lilia turns to look at you, and there’s something deep in his eyes—something raw and real that takes your breath away. “Sometimes just being there is enough,” he says quietly. “You saved him. And in doing so, you saved me too.”

You shift uncomfortably, not because of his words, but because of the way they tug at something deep inside of you. A part of you that you’ve been trying to keep buried for as long as you’ve been in this strange, unfamiliar world.

You’re silent for a long time, your gaze fixed on the moonlit sky. The memories of your old life swirl in your mind—your family, your best friend, all the people you’ve left behind. You haven’t spoken about it to anyone here, not in detail. It feels too dangerous, too vulnerable. But standing here, under the moonlight with Lilia, you feel like maybe... just maybe... you can share a piece of it.

“I miss them,” you admit softly, your voice barely above a whisper. “My family. My best friend. I miss... home.”

Lilia doesn’t say anything, but you can feel his presence beside you, warm and steady. He doesn’t press for details, doesn’t ask questions you’re not ready to answer. He just listens, and somehow, that’s enough.

You take a deep breath, the cool night air filling your lungs. “It’s hard,” you continue, your voice shaking slightly. “Being here. Being away from them. Sometimes it feels like... like I’m losing pieces of myself. Like I’m forgetting what it felt like to be... whole.”

Lilia’s hand gently rests on your shoulder, a comforting weight that grounds you. “You haven’t lost yourself,” he says quietly. “Not even a little.”

You close your eyes, letting his words wash over you. You don’t know if he’s right, but in this moment, you want to believe him. You want to believe that despite everything, despite the distance and the pain and the uncertainty, you’re still... you.

For a long time, the two of you stand in silence, the only sounds the soft rustling of the trees and the distant chirping of crickets. The moon hangs heavy in the sky, casting everything in a silvery glow. There’s a quiet understanding between you and Lilia, a shared pain that neither of you needs to fully explain.

Eventually, Lilia speaks again, his voice so soft it almost blends with the wind. “The world can be a cruel place,” he murmurs. “But it can also be kind. And in moments like this... it feels just a little more bearable, doesn’t it?”

You nod, your throat tight with unshed tears. “Yeah,” you whisper. “It does.”

The night stretches on, and though neither of you say anything more, there’s a comfort in the silence. A bond formed in the quiet acknowledgment of each other’s pain. And for the first time in a long while, you feel like you’re not quite so alone.

Maybe, just maybe, you’ll be okay.

You’re not entirely sure how you ended up here, but somehow, you’re on a date with Lilia. Yes, that Lilia—lord of chaos, culinary adventurer, and general source of havoc.

The setting is picturesque enough: a meadow at sunset, complete with wildflowers and a gentle breeze. At least, it would be picturesque if not for the feast Lilia has prepared, which has a worrying amount of color, movement, and mystery.

“Surprise is the key to a romantic evening,” Lilia declares as he gestures proudly over the assortment of dishes.

You take a moment to assess the display. There’s a vibrantly colored stew that seems to be emitting steam with a life of its own. A platter of vegetables is twitching as if they’re reconsidering their life choices. And there’s a pie—definitely a pie—with something that looks suspiciously like an eyeball poking out from under the crust.

Lilia smiles at you, eyes glinting. “Would you like to try the stew first, my dear? It’s my own special concoction.”

You stare at it, then at him. “How many people have survived eating this?”

Lilia leans in, eyes full of mischief. “Define survived.”

You grin. “Only one way to find out, right?” Before he can respond, you reach for the bowl and take a large spoonful of the stew. Lilia’s eyebrows rise, clearly impressed by your boldness.

It tastes... unusual. Like someone mixed spicy peppers, sweet berries, and some kind of very sharp herb. You take another bite, considering.

Lilia watches you, waiting for a reaction. “Well?” he asks, a hopeful glint in his eye.

You swallow, then nod thoughtfully. “It’s... actually good. Really good, in fact.”

Lilia blinks, his expression shifting from mischief to genuine surprise. “Really?”

You nod again, going in for a third bite, savoring the strange combination of flavors. “Yeah! I mean, it’s different, but in a good way. The spice, the sweetness... it kind of works.”

Lilia’s face lights up, his delight palpable. “You truly mean it? My culinary prowess is usually met with... trepidation.”

“Trepidation might be an understatement,” you say with a laugh. “But honestly? I think people don’t give you enough credit.”

From somewhere nearby, a strangled gasp echoes across the meadow.

“Master Lilia!” Sebek’s voice rings out, sounding more horrified than ever. You glance in the direction of the bushes where, sure enough, they’re rustling. Apparently, Sebek has taken it upon himself to supervise this date from afar.

Lilia chuckles, clearly enjoying Sebek's reaction as much as yours. “Oh, my dear Sebek. One day, you shall learn that adventure begins in the kitchen.”

You take a sip of the iridescent liquid before you—a drink that looks more like a potion than anything else. It’s sparkling, and it has the distinct taste of... glittery fruit juice? You’re not sure, but it’s oddly refreshing.

Lilia eyes you, his smile turning softer, more genuine. “I must say, you are full of surprises. Most would have fainted by now.”

“Hey, I can handle a little excitement,” you say, reaching for one of the twitching vegetables.

Lilia watches in awe as you pop it into your mouth and chew. “And?” he asks, almost breathless.

You blink. “Crunchy. Kind of earthy. I like it.”

Lilia’s smile widens, his eyes twinkling with delight. “Oh, how wonderful! My dear, you truly are one of a kind.”

Sebek’s dismayed groan echoes once again, and you laugh, glancing toward the bushes. “I think we’re breaking poor Sebek.”

“Well, that’s part of the fun, isn’t it?” Lilia replies, leaning closer to you. “And speaking of fun, I have something special for you.” He produces a bright blue flower, presenting it to you with a flourish.

You take it, giving it a cautious sniff. It smells like fresh-baked cookies, and you look at Lilia, raising an eyebrow. “A flower that smells like dessert? Now you’re really spoiling me.”

Lilia’s eyes soften, his voice lowering. “Only the best for someone who appreciates my unique touch.”

Before you can reply, there’s another voice—this one distinctly sleepy. “Father, what... what’s going on here?” Silver approaches, looking like he just woke up from a nap. He takes one look at the scene—the half-eaten dishes, the flower in your hand, and Lilia’s delighted expression—and sighs. “Are you actually eating this... willingly?”

You nod, grinning. “Turns out Lilia’s cooking isn’t so bad. It’s actually kind of great.”

Silver looks at you, then at Lilia, then back at you. He blinks, his brain clearly trying to process this information. “Father, are you using magic to manipulate their taste buds?”

Lilia puts a hand over his heart, looking offended. “Silver, how could you suggest such a thing? I assure you, our dear friend here is enjoying my cooking purely of their own volition.”

Silver sighs again, rubbing his temples. “I think I need another nap.”

Lilia laughs, turning his attention back to you, his eyes filled with affection. “You truly are something special, my dear. Few have ever dared, let alone enjoyed, my creations.”

You smile, giving his hand a squeeze. “Well, I guess I’m just full of surprises.”

Lilia leans in closer, his voice dropping to a whisper. “Would it be too much to say I find you... irresistible?”

You chuckle, narrowing your eyes playfully. “Don’t push your luck, old man.”

Lilia smirks, his gaze full of warmth. “Ah, but pushing my luck is what I do best. Perhaps next time, I’ll cook an even more adventurous meal for us.”

You pretend to consider it, tapping your chin. “Define adventurous.”

Lilia’s eyes glint mischievously. “How about roasted phoenix feathers?”

“Phoenix feathers?” you echo, shaking your head with a laugh. “You know what? I think I like you just the way you are—absurd cooking experiments and all.”

Lilia’s expression softens, his smile turning tender. “I’m glad to hear it.”

With that, the two of you rise, arm in arm, leaving behind the bizarre remains of the meal. Somewhere in the bushes, Sebek is probably fuming, and Silver has most likely already fallen asleep again.

But as you glance at Lilia, whose eyes are still filled with excitement and warmth, you think that maybe absurd is just what you need.

You love this little family, but you had to gain equal footing with Sebek before you got attached any further. So you did what you thought would work the best— Challenge him in something he enjoys.

You and Sebek had been circling the field for a while now, your horses galloping side by side as you both tried to outpace each other. The competitive tension was thick in the air, though not hostile—it was more of an unspoken game to see who would crack first.

“So, you’re telling me you’ve been riding horses for *years*?” Sebek shouts over the wind, his eyes sharp with determination.

“Yup,” you reply, grinning as your horse picks up speed. “Equestrian club, since I was a kid. Surprised?”

Sebek huffs, his posture straight and rigid as always, but you can tell he’s impressed. “It’s… commendable. For a human, you’ve got some skill.”

“Some skill?” you tease, glancing over at him with a mischievous smile. “Is that all I get? Come on, Sebek, I thought you were competitive.”

He narrows his eyes at you, spurring his horse faster to pull ahead. “I am competitive! You’ll find I do not lose so easily.”

You laugh, nudging your horse to keep up. There’s a thrill in it—pushing each other, but not in a mean way. Sebek’s passion for horse riding matches your own, and it’s fun to finally find common ground with him. Plus, you’re enjoying the challenge.

The field blurs by as you both race toward the far fence, neither of you backing down. As you approach the finish line (or rather, the arbitrary spot you both decided was the end), you both cross it at nearly the same time, pulling your horses to a halt, panting slightly.

Sebek is the first to speak, wiping a bead of sweat from his brow. “Hmph. You’re not bad.”

“Not bad? I’d say I’m pretty good,” you shoot back, grinning ear to ear.

Sebek scoffs, but there’s a lightness in his tone that wasn’t there before. “You’re still a human, but… I’ll admit, you ride with some honor.”

“Wow, high praise,” you tease, but you soften your smile. “Thanks, Sebek. You’re not half-bad yourself.”

For a split second, you think you catch the ghost of a smile on his face, but it quickly disappears as he straightens in his saddle. “Of course. Riding is in my blood.”

You roll your eyes playfully. “Oh, obviously. I bet you were born in the saddle.”

“Perhaps I was,” Sebek says, completely serious. You stifle a laugh, realizing he probably believes that.

But before you can retort, Lilia rides up, his usual mischievous grin firmly in place. “Ah, what’s this? A friendly competition between two of my favorite people?”

“Master Lilia,” Sebek says, immediately shifting into soldier mode. “We were just—”

“Competing, yes, I can see that.” Lilia’s grin widens as he glances between the two of you. “I must say, the sight of you both racing like that was… quite exhilarating.”

You smirk, not missing a beat. “What, did we impress you?”

Lilia leans closer, voice dropping into a playful tone. “Oh, darling, I’ve been impressed by you for quite some time now.”

Sebek looks like he’s about to faint from sheer mortification. “MASTER LILIA! HUMAN!”

You laugh, waving Lilia off. “Careful, Sebek, you’re gonna scare your horse.”

But surprisingly, Sebek doesn’t snap back. Instead, he looks at you, something softer in his expression. “I admit… you’ve shown me something today. Perhaps you’re not just a reckless human after all.”

You raise an eyebrow. “Wow, Sebek. If I didn’t know better, I’d think you’re starting to like me.”

Sebek grumbles, looking away. “Do not mistake my words. I merely acknowledge your competence. Nothing more.”

“Sure, sure,” you reply, still grinning. “But hey, anytime you wanna ride again, I’m game.”

Sebek glances back at you, his usual harshness softened just a bit. “Perhaps… I will take you up on that.”

Lilia chuckles, clearly pleased with the budding camaraderie. “Ah, it warms my heart to see you two bonding. Who knows? Maybe you’ll become the best of friends.”

You wink at Lilia. “Well, if Sebek keeps up, maybe I’ll make him my official riding partner.”

Sebek, for once, doesn’t argue. Instead, he gives a small, determined nod. “We shall see, human. We shall see.”

As you ride back toward the stables, you can’t help but smile. You’ve earned a bit of respect from Sebek, and who knows? Maybe you’ll turn this into a full-fledged rivalry—one with a bit more fun and a lot less shouting.

Lilia, of course, flirts all the way back, making sure to keep the mood light and teasing, much to Sebek’s increasing exasperation. But even he can't deny that today was fun

The day should've been as normal as you could have these days—your stomach had other plans. There’s this nagging craving in the back of your mind for ramen, but of course, you’re stuck in a medieval isekai world where even the concept of instant noodles would make heads explode.

You groan, pacing back and forth in your room. "Ramen, ramen, ramen..." You’re practically chanting it like a spell. Finally, you snap your fingers. "Alright! Let’s get some ramen going!"

With all the determination of a contestant in a cooking show, you head to the market, a list of makeshift ingredients mentally prepared. You have no clue how you’re going to explain seaweed or soy sauce to the vendors, but hey, you’ve gotten this far in life on sheer audacity.

Except, ten minutes later, you find yourself hopelessly lost. You had been walking with confidence, chest out, head high, until you somehow managed to wander into a part of town that definitely wasn’t on your mental map. Instead of bustling vendors and cheerful shoppers, you’re now looking at a spooky, abandoned-looking area, complete with dense fog and suspiciously creaky trees.

“This... This isn’t the market,” you mutter, pausing in front of a seriously ominous cottage. If there were ever a sign that said "DO NOT ENTER" in flashing neon, this would be it. And yet, for reasons unknown even to yourself, you approach.

Before you can bolt in the opposite direction, the door swings open with the most dramatic creak you’ve ever heard. A woman, dressed in black robes, stands in the doorway with a gaze that could curdle milk. Her aura practically screams witch, and not the cool kind either—the villainous, melodramatic kind.

“Well, well, well,” she sneers, stepping out with all the grace of a Broadway villain, “look who wandered into my lair.”

“Uh, yeah...” You trail off, scratching the back of your head. “So… this isn’t the market?”

The witch gives you a look so condescending it could melt iron. “No,” she hisses, “it most certainly is not. You’ve trespassed on my domain, little fool!”

“Right, so sorry about that,” you say, trying to backpedal. “I’m just trying to make some ramen, and I—wait, hold on, who are you exactly?”

Her eyes flash with annoyance. “You don’t know who I am?”

You blink at her. “Is this the part where you tell me, like in those cartoons? ‘Cause I’m getting major ‘I’m about to monologue’ vibes right now.”

The witch’s face twitches, clearly not used to people interrupting her villain speech. “I,” she says, pausing for dramatic effect, “am the witch who cursed Malleus Draconia!”

Oh, that witch. You’ve heard some stories about her, mostly from half-paying attention when your friend geeked out over the original plot. But now that you’re face-to-face with her... this is not how you pictured it. You tilt your head.

“So, wait,” you begin, trying to suppress a snicker, “you’re the one who came up with that whole 15-year curse plan? And your big finale was… what? Swooping in at the last second to save him and then expecting him to marry you?”

Her eyes narrow. “That was the plan.”

You stare at her for a moment, the absurdity sinking in. “...That’s ridiculous.”

“How dare you mock me?!” she shrieks, her voice reaching a pitch that probably scared some birds out of nearby trees. She raises her hand, dark magic swirling between her fingers, and you swear you can hear thunder crack in the distance.

“Okay, hang on,” you say, taking a cautious step back. “Let’s not get all zappy here. I’m just saying that’s a lot of effort for a plan that has, like, a one percent success rate.”

“Silence!” She’s fuming now, throwing her hand forward to launch the magic at you—and you brace yourself for the worst. You’ve seen this in movies before. This is the part where you get turned into a frog or something equally terrible.

Except… nothing happens.

The magic fizzles out midair like a dud firecracker, leaving a puff of smoke and an awkward silence in its wake. You blink. She blinks. You both stare at the spot where the magic should have been.

“Uh…” you begin, rubbing the back of your neck. “Was that supposed to do something?”

The witch looks at her hand, then at you, then back at her hand again like she’s having a serious identity crisis. “What...?”

“I mean, points for the drama, but I’m still standing here,” you say, waving your hand in front of your face as if checking for damage. “And I don’t think I’m a toad.”

She tries again, gathering more magic in her hands and launching it at you with renewed fury. But once again, nothing. The magic stops short, fizzling out like it’s hitting an invisible barrier around you. Now she’s just staring at you, dumbfounded.

You, on the other hand, are absolutely flabbergasted. “Okay, this is getting weird.”

That’s when Lilia appears—literally, out of nowhere. He casually steps out from behind a tree like this is all a normal Monday for him. “Ah, I thought I sensed some familiar mischief afoot,” he says, his voice cheerful, though his eyes glint with something far more dangerous as they lock onto the witch.

The witch recoils, visibly shaken. “Lilia Vanrouge,” she hisses, sounding more like a disgruntled cat than a fearsome sorceress.

“In the flesh,” he says with a light bow, his grin all sharp teeth and mischief. “What brings you out of your little hidey-hole?”

She glares at him but doesn’t say anything. She’s outmatched, and she knows it. With one last seething look at you, she vanishes into thin air with a dramatic whoosh of smoke, leaving you and Lilia alone in the now eerily quiet forest.

You turn to him, utterly confused. “What the heck was that about? Why didn’t her magic work on me?”

Lilia’s grin softens, his gaze turning fond. “Ah, I see I’ve forgotten to tell you. I placed a fae’s blessing on you some time ago.”

“Wait, what?” You gape at him. “When did you do that?!”

He chuckles, as if you asking when he bestowed a magical shield on you is the most amusing thing he’s heard all week. “You tend to attract trouble, my dear. I thought it best to give you a little extra protection.”

You blink at him, still processing. “So… you’ve been secretly protecting me this whole time?”

His gaze turns a bit more serious, the usual playful air dropping away. “I don’t want to see anything happen to you,” he says softly, the words carrying a weight you hadn’t expected.

For a moment, you’re left speechless, flustered even. The teasing and jokes you’re so used to from Lilia are gone, replaced by something… deeper. It throws you off your game.

“Well, uh…” You clear your throat, desperately trying to recover. “I appreciate not getting turned into a frog or whatever she was planning.”

His grin returns, and the moment passes. “You’re welcome. Now, shall we head back to the market? I believe you were on a quest for... ramen, was it?”

You let out a laugh, shaking your head as the absurdity of it all catches up with you. “Yeah, let’s do that. And maybe next time I’ll avoid wandering into spooky villain lairs.”

“An excellent plan,” he says, offering you his arm. “Shall we?”

And just like that, you’re back on track—albeit a bit more shaken than before, but at least you’ve got a magical blessing you didn’t know about and one very charming fae escorting you through the mess.

You’re sitting under a large tree in the courtyard, soaking up the rare bit of peace and quiet that’s fallen over your life. It’s a nice day, the kind that makes you feel all warm and content, the sun shining gently through the leaves. Beside you, Silver is leaning against the trunk, dozing off as usual. You’ve become used to his tendency to fall asleep mid-conversation, and honestly, it’s kind of adorable.

He stirs a little, blinking his sleepy eyes open and looking at you with a soft smile. “It’s nice to have moments like this,” he says, voice a bit groggy. “Especially after everything.”

“Yeah,” you reply, leaning back on your hands. “It’s been... a lot.”

Silver glances at you, his gaze thoughtful. “You really helped us. My family,” he says, his tone a bit more serious than usual. “Freeing Lord Malleus from that curse... it was no small feat.”

Your stomach twists a little at the mention of Malleus. It still feels surreal that you had a hand in such a monumental event. You shrug, trying to play it cool. “Eh, you know... just another day of accidentally stumbling into chaos.”

He chuckles lightly, his smile softening even more. “I’m not sure if I’ll ever be able to thank you properly for what you’ve done. You really saved us all.”

You wave your hand dismissively. “Stop, you’re going to make me blush. I was just trying to make some money, and suddenly I’m in the middle of an epic quest. You know how it is.”

Silver hums, half-amused, and then casually drops the bomb on you like it’s the most normal thing in the world: “You’d be perfect with Father.”

Your brain short-circuits. “...Sorry, what?”

Silver, utterly oblivious to the internal crisis he’s just unleashed within you, looks at you with that serene, peaceful expression of his. “Father. You’d be perfect with him.”

The world screeches to a halt. *Perfect? With Lilia?* You stare at him, wide-eyed, your mouth hanging open in a most undignified manner. “I’m sorry, did you just—did you just suggest that I—me—should be with your father?!”

Silver nods, looking completely at peace with his assessment, like he’s just commented on the weather. “Yes. You two get along well. You make each other laugh, and he seems fond of you. And Father... well, he deserves someone who can make him smile like that.”

Your mind is racing at 100 miles per hour. “Silver. SILVER.” You clutch your head as if physically holding your brain together will stop it from spiraling into madness. “Do you have any idea what you just said?”

Silver, ever the calm and composed knight, merely tilts his head. “Was it something strange?”

“STRANGE?!” You’re flailing now, completely losing your cool. “You just casually suggested I should date your father! Who, may I remind you, is an ancient fae with enough power to casually toss me into another dimension if he wanted!”

Silver blinks, seeming to consider this for a moment. “I don’t think he’d toss you into another dimension. He’d probably just... laugh and then take you out to dinner.”

You’re having a full-blown existential crisis. Your face is bright red, your heart is doing somersaults, and you’re not sure if you want to scream, faint, or throw yourself into the nearest fountain.

Silver, meanwhile, is just sitting there, serene and utterly oblivious to the emotional chaos he’s just unleashed upon you. “Father’s a good person,” He says softly. “I think you two would be happy together.”

“I... I...” You sputter, trying to form words but utterly failing as images of Lilia’s teasing smile and playful banter run through your mind. And then you imagine the alternative: Lilia’s serious side, the one that is somehow even more terrifyingly attractive, and you feel your heart skip a beat.

“Oh no,” you whisper, clutching your chest. “Oh no, no, no... Silver, what have you done?”

Silver looks at you with concern now, finally noticing that you’re having what can only be described as a breakdown. “Are you alright?"

“NO!” you cry, standing up and pacing back and forth in front of him. “You’ve broken me! You’ve ruined me! I’m—Silver, your father is... He’s... and I... Oh, gods, this is too much. TOO MUCH!”

Silver watches you pace for a moment before quietly saying, “You’re thinking about it, though.”

You freeze mid-step. “I—NO! Maybe? Yes? I—Why would you say that, Silver?!”

He just smiles, a soft, knowing smile. “Because it’s true.”

You slump back down beside him, groaning loudly as you cover your face with your hands. “You’re impossible, you know that?”

Silver chuckles softly, resting his head back against the tree again. “I’ve heard that before.”

And as you sit there, your mind spinning with thoughts of Lilia and all the ridiculous, impossible implications Silver’s comment has brought to life, you can’t help but think that maybe—just *maybe*—he has a point.

But you’re not ready to admit that yet. Not even to yourself.

“I need a drink,” you mumble under your breath, and Silver hums in agreement.

“Father would probably help you make it,” he says, and you let out a loud groan, flopping onto the grass in dramatic defeat.

“Silver, you’re killing me.”

He just smiles that peaceful smile of his.

It’s a quiet afternoon, the sun beginning to dip below the horizon, casting a golden glow over the courtyard. You’re standing with Malleus and Sebek in one of the palace’s gardens, the tranquil hum of life around you contrasting with the more serious conversation that’s about to unfold. You can feel the weight of what Malleus is about to say, and your mind spins as you prepare yourself for another emotionally charged moment.

Malleus takes a deep breath, his gaze fixed on the distant horizon. “For the longest time,” he begins, his voice soft and filled with an unspoken vulnerability, “I thought I would be stuck. Trapped in that cursed state forever. I had resigned myself to it, believing that it was my fate to be alone.”

You shift slightly, unsure how to respond to such raw honesty. Sebek, standing next to Malleus, is silent for once, his usual loud and defensive nature tempered by the gravity of his lord’s words.

“But then you came along,” Malleus continues, turning his glowing eyes toward you. “You broke the curse, something no one had been able to do. You gave me back my freedom, something I had lost hope of ever regaining.”

Sebek clears his throat loudly, his usual dramatic flair coming to the surface despite the tenderness of the moment. “Yes, well,” he says, voice gruff but tinged with the awkwardness of someone who isn’t quite used to expressing gratitude. “I... suppose we should be... grateful. After all, if it weren’t for you, Lord Malleus would still be... cursed, and we wouldn’t be here together as we are now.”

You blink at Sebek’s begrudging admission, feeling a small smile tug at your lips. The fact that he of all people is thanking you, even in such a roundabout way, is oddly touching.

“Wow, Sebek,” you say, voice teasing but soft. “Who knew you had it in you?”

Sebek bristles at your words, his expression a mix of indignation and embarrassment. “D-Don’t misunderstand!” he exclaims, face turning a shade redder than usual. “I’m merely stating the facts! Nothing more!”

Malleus chuckles softly at Sebek’s outburst, his usual gentle smile returning to his face. “Sebek’s gratitude, no matter how begrudging, is indeed a rarity,” he teases lightly before turning his attention back to you. “But truly, I am grateful. You’ve given me back more than just my freedom. You’ve given me back... this.”

He gestures around him, indicating the garden, the palace, the sky above. “This life, this chance to be with those I care about. And for that, I owe you a debt that I may never be able to repay.”

You shift awkwardly, feeling a strange warmth bloom in your chest. “I mean, I didn’t really set out to save anyone,” you admit, your voice light but with an edge of honesty. “I just... wanted the reward. And then maybe to go home.”

Sebek’s eyebrows shoot up in surprise, and he opens his mouth to argue, but Malleus holds up a hand, stopping him before he can launch into one of his dramatic tirades

You hesitate, glancing between Malleus and Sebek. “I didn’t think I’d get attached,” you admit quietly, your voice softening. “But I have. Somehow, I’ve found myself... caring about all of you. This weird little makeshift family.”

Sebek looks as though he’s about to protest the “weird” part, but a stern glance from Malleus keeps him quiet. You can see the begrudging acknowledgment in his eyes, though—he knows it’s true, even if he doesn’t want to admit it.

Malleus hums thoughtfully, his gaze lingering on you for a moment before he speaks again. “Well,” he says casually, as if discussing something as simple as the weather, “if you’re so attached, perhaps we should make it official. Perhaps you should marry into the family."

You freeze. Did he just—?

You whip your head towards Malleus, completely flustered. “M-Marry?! What?!”

Sebek, on the other hand, looks as if someone just punched him in the face. His mouth opens and closes like a fish gasping for air, his eyes wide with outrage. “L-Lord Malleus, what are you suggesting?!” he sputters.

Malleus blinks, as calm as ever. “I’m suggesting marriage,” he repeats, as if it’s the most logical thing in the world. “If they are so attached to us, it seems a reasonable next step. Perhaps they should marry Lilia?”

Your face turns a bright shade of red as your heart pounds in your chest. “Wh-What?!” you stammer. “Lilia?!”

Sebek turns even redder, his face contorting in disbelief. “Master Lilia?!”

Malleus nods sagely, completely unfazed by both of your reactions. “Yes, Lilia. He has shown great affection for them, and they would fit well within our family. Would you not agree, Sebek?”

Sebek looks like he’s about to explode, but there’s an uncomfortable silence as he realizes… he can’t argue. He knows Malleus and Lilia both care about you. He knows that you’ve proven yourself to be a good person, despite his initial distrust. His mouth twitches, the words clearly struggling to escape his throat.

“I—well—Lord Malleus,” Sebek starts, looking every bit as if he’s been defeated by sheer logic. “I… I must admit… They are a suitable companion for Master Lilia… even if the idea of them marrying… well, it is quite… outrageous.”

You feel your soul leave your body as the conversation continues. Sebek can’t quite bring himself to fully agree, yet he doesn’t outright refuse the idea either. His loyalty to his lords binds him, and his begrudging acceptance of your presence has left him caught between duty and outrage.

“I—This—” you stammer, completely overwhelmed. “I—This is insane!”

Malleus looks at you with a calm smile. “Think it over,” he says, voice gentle. “You’ve already become part of our lives. Why not make it official?”

You open your mouth to protest, but the words die in your throat as you see the sincerity in his eyes. This isn’t just a flippant suggestion—it’s Malleus genuinely offering you a place in his family. But the idea of marrying Lilia? That’s… that’s a whole new level of madness.

“I—I think I need to lie down,” you mutter, pressing your hands to your temples. “This is too much.”

Malleus chuckles softly, and even Sebek seems to relax—if only a little. But as you glance between the two of them, you can’t help but feel a strange warmth in your chest. Even with all the absurdity, you know one thing for sure: you’ve found a place with them, whether you intended to or not.

The cat was just sitting there. Innocently perched on the branch, fluffy and regal like a tiny, judgmental king. You don’t even know what possessed you, really. Maybe it was those huge, adorable eyes or the way its tail flicked back and forth. But somehow, someway, you ended up halfway up a tree. Climbing a tree. For a cat.

“I just wanted to pet you,” you mutter, feeling slightly ridiculous as you hug the branch for dear life. “And now I’m stuck. Great.”

The cat stares at you, completely indifferent to your plight. You sigh, glancing down at the ground, which now seems alarmingly far away. Heights were never your thing, but in the moment, with that cute little furball teasing you, logic flew right out the window. Now, you’re clinging to the tree like a cowardly kitten yourself.

“Why did I think this was a good idea?” you groan. The cat blinks at you. “Don’t look at me like that. This is all your fault!”

And then, because fate has a terrible sense of humor, you hear a voice from below. A familiar, unmistakable voice—playful, with a hint of amusement laced through it.

“Well, well, what do we have here? It appears my dear little beastie has gotten themselves stuck.”

You nearly slip off the branch as you glance down to see Lilia standing at the base of the tree, arms crossed and an infuriatingly amused grin on his face. He looks every bit the mischievous fae, eyes twinkling with barely suppressed laughter.

“I—uh—this is—” You stammer, trying to come up with some kind of excuse, but nothing comes. You’re halfway up a tree. Because of a cat. No explanation is going to save your dignity now.

Lilia tilts his head, chuckling. “Were you planning on living up there from now on? Or should I assist you in returning to the ground?”

“Hey, don’t judge me!” you huff, cheeks burning. “The cat—look at the cat! It was really cute, okay?”

Lilia glances up at the feline, which is now licking its paw in complete disinterest. He raises an eyebrow. “Ah, yes, the cat. I see now. How could anyone resist such a noble creature?”

You groan, feeling your face get even hotter. “I—um—I might need help getting down.”

Lilia’s grin widens. “Of course, my dear. I was planning on catching you anyway.”

You freeze. “C-Catching me?”

“Mmhm. Just jump down, and I’ll catch you,” Lilia says, his tone so casual, as if catching people out of trees is just something he does every day. He spreads his arms out, waiting expectantly.

Your heart races as you eye the distance between the branch and the ground again. It’s not terribly high, but… still high enough to make you nervous. But Lilia’s standing there with that easy confidence, and the thought of staying stuck in this tree forever doesn’t exactly appeal to you either.

Taking a deep breath, you inch closer to the edge of the branch. “O-Okay. I’m going to jump.”

“Go ahead,” Lilia says, his voice soft. “I’ll catch you.”

With one last look at the disinterested cat, you finally push yourself off the branch. For a split second, there’s nothing but the rush of air—and then you feel yourself land securely in Lilia’s arms. You’re caught. Easily, gently. Like it was nothing at all.

He looks down at you, his face much closer than you anticipated. “See? I told you I would catch you.”

You’re breathless for a moment, your heart doing flips as you realize just how close you are to him. His arms are around you, holding you steady, and you can feel the warmth of his body through his clothes. He’s staring at you with that soft, amused smile, and you’re suddenly acutely aware of just how handsome he is.

“Oh no,” you whisper to yourself, “I’m swooning.”

Lilia raises an eyebrow. “Hmm?”

“Y-You’re really smooth,” you blurt out before you can stop yourself. “Like, catching me so easily and looking at me like that. It’s—it’s really unfair.”

He chuckles softly, clearly entertained by your flustered state. “Unfair, you say?”

“Yeah, like—like, you’re so effortlessly cool and charming, and I—” You freeze, suddenly realizing what you’re saying. You clamp your mouth shut, but it’s too late. The words are out, and your brain has completely short-circuited.

And then, before you even know what’s happening, the words just spill out of you in a panicked rush. “Okay, I like you! No, wait—I think I’m in love with you! I mean, how could I not be? You’re so amazing, and I just—Oh god, I’m confessing! I’m confessing right now, aren’t I? This is a confession. Oh no, this is terrible. I didn’t mean to—”

You feel your entire body heat up as you bury your face in your hands, completely mortified. Of all the ways you could’ve confessed your feelings to Lilia, this had to be the worst possible way. You weren’t ready! You were supposed to be calm and collected, not blurting it out after getting caught in a tree!

For a moment, there’s silence. And then, you hear the softest chuckle from Lilia. His arms tighten around you slightly, pulling you just a little closer.

“You’re adorable,” he says, his voice soft and full of warmth.

You peek through your fingers, confused. “Huh?”

“I’ve known for a while that your feelings for me were more than friendly,” Lilia continues, his smile gentle. “But hearing you confess like this… it’s endearing.”

You blink, trying to process his words. “Wait—you’ve known?”

Lilia nods. “You’re not as subtle as you think, my dear.”

You groan again, hiding your face in your hands once more. “This is so embarrassing…”

Lilia laughs softly, and before you know it, he leans in and presses a light, gentle kiss to your forehead. Your heart skips a beat, and you lower your hands, looking up at him in surprise.

“There’s no need to be embarrassed,” Lilia says, his eyes soft. “I’m honored to be the one you’ve chosen.”

Your heart flutters as his words sink in, and you realize that, despite your mortification, he’s… accepting your feelings. He’s not teasing you or brushing it off—he’s genuinely acknowledging your confession. And more than that… he’s reciprocating.

“Lilia…” you whisper, your face still burning with embarrassment, but also with a warmth that you can’t quite describe.

He leans in a little closer, his nose brushing against yours. “You don’t need to say anything more, my dear. Just know that I feel the same.”

And with that, Lilia closes the distance between you, his lips meeting yours in a soft, sweet kiss that makes your heart race even faster. All thoughts of your earlier panic melt away, replaced by the warmth of his touch and the feeling of being completely safe in his arms.

As he pulls back, you’re left staring at him, wide-eyed and breathless. Lilia smiles down at you, his eyes twinkling with amusement and affection.

“So,” he says, his voice teasing, “was that worth climbing a tree for?”

You blink, still dazed from the kiss. “I… I think so.”

Lilia laughs softly, pressing another quick kiss to your lips before setting you down on the ground. “Next time, though, perhaps we’ll find a more dignified setting for your confessions, hmm?”

You groan, covering your face again as you mutter, “Please don’t remind me…”

But despite your embarrassment, you can’t help the small, giddy smile that creeps onto your face as you realize that, somehow, things turned out perfectly anyway.

You sit with Lilia on a bench beneath the shade of a massive oak tree, the same one he caught you from, nerves simmering beneath your calm exterior. He’s as composed as ever, leaning back against the tree with a small, amused smile playing on his lips.

Across from you sit Malleus, Silver, and Sebek, all three watching you with varying degrees of curiosity—Malleus with calm interest, Silver with that sleepy, gentle acceptance, and Sebek with what you’re sure is the beginning of a tirade bubbling just beneath the surface.

“We have some news,” Lilia says, breaking the silence with his usual playful tone. His hand slips into yours, squeezing lightly. “About us.”

Malleus’s eyes light up with interest, his draconic gaze honing in on the subtle intertwining of your hands with Lilia’s. “News?” he repeats, leaning forward slightly. “What sort of news?”

You exchange a glance with Lilia, and he gives you a nod, as if to say go on, it’s safe. Taking a deep breath, you steel yourself and blurt out, “We’re together. Like, romantically.”

There’s a beat of silence.

Then Malleus’s eyes widen, his entire face brightening with delight. “Truly?” he asks, a rare, genuine smile spreading across his face. “That is wonderful news! You will be joining the family then?”

You blink, momentarily thrown off by how happy he is. “Uh, well—eventually, I guess. We haven’t exactly planned a wedding yet…”

“But when we do,” Lilia interjects smoothly, eyes glinting with amusement, “you will be the first to receive an invitation, Malleus.”

Malleus beams, the delight practically radiating off him like sunlight. “I would expect no less. To witness your union—ah, it will be a grand day.”

Meanwhile, Silver gives you both a small, approving nod. His expression is calm, though there’s a softness in his eyes that shows he’s happy for you. “I’m glad,” he says, his voice as gentle as ever. “Father deserves someone who makes him happy. And you… you seem to do that.”

Your heart warms at the approval from Silver. “Thanks, Silver,” you say, offering him a smile in return.

And then there’s Sebek.

For a moment, he just stares at you and Lilia, his mouth working as if he’s trying to form words. You brace yourself for the inevitable protest, expecting him to shout something about how inappropriate it is, or how you could never be good enough for Lilia, or—

“You…” Sebek finally speaks, though his tone is less outraged than you anticipated. He scowls, but there’s an undeniable hint of reluctant acceptance in his eyes. “You’re together, then?”

Lilia nods, his smile never wavering. “Indeed, Sebek.”

Sebek inhales deeply, closing his eyes as if preparing for some kind of inner battle. You can almost hear him wrestling with his instincts, wanting to object but also unable to deny the truth of the situation. After a long pause, he finally exhales and mutters, “Well… I suppose… if it makes Master Lilia happy, then…”

You’re about to breathe a sigh of relief when Sebek opens his eyes again, pointing an accusatory finger at you. “But that does not mean you should grow complacent! Just because Master Lilia has chosen you does not mean you are exempt from proving yourself worthy!”

Lilia laughs softly at Sebek’s stubbornness, and you can’t help but grin. “Of course, Sebek,” you say, teasing him lightly. “I’ll do my best to live up to your high standards.”

Sebek huffs, crossing his arms. “See that you do.”

Despite his bluster, you can tell he’s not truly upset. There’s a begrudging acceptance in his stance, the same way someone might finally accept that their favorite hero isn’t perfect, but still worthy of respect. Sebek might not be able to fully wrap his head around the idea of you and Lilia being together, but deep down, you can tell he doesn’t disapprove. Not really.

Malleus, meanwhile, is still beaming. “I look forward to your wedding,” he says, sounding genuinely excited. “It will be a grand celebration. And I will be the first to celebrate your union.”

You laugh, finally feeling the tension melt away. “You’ll be the first to get an invitation, don’t worry.”

Lilia squeezes your hand again, his eyes warm as he looks at you. “Indeed,” he says softly, “and I think it will be a lovely celebration.”

As you sit there, surrounded by Lilia’s peculiar little family, you can’t help but feel a swell of emotion. For all their eccentricities—Malleus’s dragon-like mannerisms, Silver’s sleepy but sincere approval, and Sebek’s stubborn loyalty—you’ve somehow found yourself among people who care. Who, in their own ways, are happy to see you and Lilia together.

And as you glance at Lilia, who’s still watching you with that fond, amused expression, you realize something important: this makeshift family of fae and knights… they’ve accepted you.

Flaws and all.

The living room felt a little too tense for your taste today. You were sprawled out on a chair, arms crossed, listening to the absurd conversation that seemed to have spiraled out of control.

Malleus, sitting at the head of the table, had the "serious prince" expression that made you roll your eyes every time you saw it. Lilia was perched on the back of his chair, his legs dangling, thoroughly amused by the current predicament. Sebek stood in his usual soldier-like stance, ready to protect everyone from... squirrels, apparently. And Silver was doing his best to stay upright while leaning on a wall. He was losing that battle.

“It’s time to discuss the prophecy” Malleus said, his voice carrying an ominous weight you found ridiculous. “The Squirrel Plague will bring misfortune. Entire kingdoms will fall to their tiny paws.”

You blinked. “We’re seriously talking about squirrels?”

Lilia nodded with an overly grave face. “Indeed, my dear. Squirrels are resourceful creatures. Vicious even, if the stories are true.”

Sebek puffed up his chest, eyes blazing with his trademark fervor. “MY LORD, IF THOSE RODENTS BELIEVE THEY CAN THREATEN YOU—"

You leaned forward, waving your hand dismissively. “Alright, alright, let's not hype up the squirrels too much, okay? This whole situation is ridiculous.”

Silver, who had just about managed to pry his eyes open, muttered, “It’s not just the squirrels. I heard some people talking about... uh, the Saint being accused of spying or something.”

The room fell into silence for a second, everyone digesting that little bombshell.

Lilia’s grin widened as if the idea of spies delighted him. “Spies, you say? This is getting quite intriguing.”

You groaned, pinching the bridge of your nose. “Yeah, no thanks. Squirrels are bad enough, but spies? I’m not dealing with this.”

Malleus turned towards you, a slight frown on his lips. “I assumed you wished to stay here. You haven’t mentioned wanting to leave before.”

You sighed, shrugging. “I mean, I don't have any attachments to this place. I stayed because you guys were here. But right now, let's bounce. Immediately. The squirrels can have this place.”

Silver, rubbing his eyes, nodded. “They're right. It’s a lot of hassle, and honestly, the squirrels are starting to weird me out. I saw one trying to chew through the wall this morning.”

Sebek turned to Silver with his mouth agape. “A SQUIRREL DARED TO ATTACK OUR DOMAIN?!”

Lilia chuckled, nodding. “They’re getting bolder, indeed. I even had one throw an acorn at me this morning. It was a declaration of war, I tell you.”

You waved your hands at them. “Guys, seriously. I don’t care if we’re at war with the squirrels. I just don’t want to be here. Briar Valley sounds much nicer, doesn’t it? No plagues, no spy accusations, no rabid rodents.”

Malleus blinked at you, then slowly smiled. “If you wish to leave, then there’s no reason for us to stay. I thought perhaps you'd not want to leave the place you grew up in, that you would be attached.”

“Attached?” You gestured dramatically at the window, where you swore you could see a squirrel watching with beady little eyes. “Nope. I’m only attached to you four, and I’m not risking my life for some acorn-flinging rodents.”

Silver yawned, already giving in. “I say we go. Less hassle, more sleep.”

Lilia gave a theatrical sigh leaning on Malleus. “Well, I suppose the adventure ends here. Back to Briar Valley it is! And I’ll be sure to bring along some acorns... perhaps we can keep the spirit of battle alive.”

Sebek, his voice still full of misplaced enthusiasm, nodded fiercely. “IF MY LORD DECIDES TO RETURN, THEN I SHALL ENSURE OUR JOURNEY IS WITHOUT PERIL! THE SQUIRRELS SHALL NOT—”

You interrupted with a grin. “Yes, yes, Sebek. You’ll protect us from the squirrels. Good job.”

Lilia hopped off Malleus’s chair, already halfway to the door. “I’ll go prepare the portal. Who knows, maybe we can get there in time for the fireflies.”

You got up too, stretching and giving one last look at the living room. “I think I’ve had enough of prophecies, plagues, and espionage.”

Lilia grins "Maybe we could have our wedding in Briar Valley". Malleus, now entirely on board, nodded with regal finality. “Then we shall return to Briar Valley. I trust the squirrels will not miss us.”

Lilia snickered, and you felt him squeeze your shoulder. “Perhaps we should bring a souvenir,” he mused. “A squirrel, perhaps, as a reminder of this peculiar little chapter of our lives.”

You shook your head, laughing. “I think I’d rather forget it altogether.”

With that, you and your four favorite Briar Valley residents left—leaving behind the squirrels, the spies, and every bit of drama that had nothing to do with you. Peace, it turned out, was just a portal away.

With that, the group made their decision—no heroic stand against the prophecy, no attempts to sort out spy dramas. Just a swift, sensible retreat to where things were far less complicated. And honestly? That suited you just fine.

Alright! I liked writing this a lot, It's not as chaotic as my other isekai ones but I like how it turned out!

Also if the formatting is off, I'm so sorry but I fell spectacularly on my ass while ice-skating and can't sit long enough to edit on my laptop.

Also quick poll for the next trash novel one, I'll definitely finish all of them, this is just for which one should I post first. They're all almost done.

Series Masterlist ; My Masterlists

#twst x reader #twisted wonderland #twisted wonderland x reader #twst #lilia vanrouge #lilia x reader #lilia vanrouge x reader #lilia twst #lilia x you #isekai #fem reader

1K notes · View notes

billthedrake · 3 months ago

Text

CAMP DADDY

"You got this, Carter," I heard from behind me. It was Dave, the guy at the camp I'd bonded with the most.

I wasn't sure I had it. Over the last week we'd done a lot of challenging stuff... long hikes, swimming races, rock climbing, you name it. But the spelunking was freaking me out a little, between the darkness and the tight spaces. I didn't realize I had claustrophobia, but I guess I did. I was hyperventilating.

"Come on, relax, bro," my buddy said. "One inch at a time. I'm right behind ya, man."

I pushed through. And once I cleared into a bigger part of the cave, I saw more headlamps ahead. I unclenched my held breath.

***

I'd been a real fuck up of a teenager. That's why I was here at this Outward Bound camp. Strike one was shoplifting and getting caught for it. Strike two was yelling at my dad and calling him a piece of shit, on his birthday no less. Strike three was the ketamine use. The next weekend Dad was shipping me off to this godforsaken place in the woods upstate. He wasn't going to pay for baseball, college, or my car if I didn't go. So I did.

The first couple of days I gave a bunch of lip to the counselors. I couldn't stand their fake-cheery demeanor or their 12-step BS. "Stay strong," we had to say at the end of each "huddle" meeting. Like it was fucking church.

But I was smart, smart enough how to play this. I knew I should just lay low, go along with it enough. It was just three weeks.

It helped that I bonded with Dave the first day. He was another baseball jock and cynical too. We made fun of the Sunday School teacher vibe of the lead counselor Mr. Connell. Only at Outward bound we were supposed to call the counselors by first name.

Dave had been there a week. "At least all the physical stuff is good exercise," he said. "I'm actually getting in really great shape for next season."

It was true. There was a gym, too, in the common room of the main cabin basement. Kind of a basic barbells and benches kind of gym but a lot of us jocks would work out together, until I got annoyed by them too. Other than Dave, they all bought into the 12 step crap.

I started talking to Pete, a punk guy with a shaved head and a permanent snarl on his face. He was cool. He wasn't just cynical, he'd talk back to the counselors. But one day he was just gone. No Pete.

***

Maybe unconsciously I was trying to get Pete's fate. Get out of this fucking place. I thought three weeks would go fast, but a week and a half had drained me. I mouthed off to Mr. Connell. Sorry, to "Mike." He smiled in that fakey way and tried to be zen about it. But I was getting to him. After dinner I sulked on my own. I'd started to realize Dave was in on it. Playing normal to get my confidence and win me over to the Program.

I was wallowing in self-pity sure, because I knew I was crushed out on Dave. I'd hidden the gay thing pretty well my last few years, but now I didn't have booze or pot or drugs to push my feelings down. Maybe that's why I was acting out, I don't know. My body was just a mess of hormones and my brain a bunch of conflicted thoughts.

***

I woke up in a room that was identical to the two-bed cabin I'd been sleeping in with another guy Zach. Only it wasn't the same room and there was no Zach. On the other full bed a man sat reading a book, kind of a big beefy-but trim older man, dressed in joggers and a zip-up athletic top that clung to his thick muscle. I thought it was a sex dream, but the second I realized it was real I jolted awake, sitting up straight in my small bed.

"Wait, who are you?" I blurted out. This man wasn't one of the counselors. He was older, with salt-and-pepper hair trimmed short. Probably in his early 50s.

Patiently the man set down his book. He didn't have that fakey-nice look but was on the sterner side of normal. "You can call me Daddy," he said. He had a smooth tenor voice.

This was weirder than a dream. "What the fuck?!" I yelled. "I'm not fucking calling you Daddy. Where's Zach? Where are the other guys?"

He shrugged. "You didn't like the other guys," Daddy explained. "We had to change plans."

I was freaking out now. More than in that dark cave. I jolted up and ran to the door. This cabin wasn't in a big compound but was attached to a single small room with a window overlooking the mountains. I looked back on the bed. The man was surprisingly calm, like he expected my reaction, or worse. That was one thing that made me try to check my emotion, to use my head. I knew how these fuckers worked.

"This is kidnapping," I said. I was realizing I must have been drugged to be moved entirely to this new place.

Daddy shook his head. "Fraid not. And we suggested to your father that we extend your stay here to two months. He agreed it's needed. We'll add more if takes all summer.

I broke down. Tears welled up in my eyes. I wasn't going to let this asshole see me cry, and yet I already was. Defeated, I sat on the bed facing away from him.

"It's OK," he said, with terse reassurance. "It's tough here. I'll make breakfast for when you're ready."

***

I gave him the silent treatment. Unlike the Outward Bound counselors he didn't try to make me talk. Maybe he was giving me the silent treatment too, maybe he realized a one-way conversation was useless.

I got dressed and while Daddy was showering up, I stepped out of the small cabin. There was a trail, and it had to lead somewhere. I took one look back into the cabin, then took off.

Fortunately the trail split a few times so if Daddy followed me he'd have a hard time catching up. I don't know why I hadn't thought of escaping before.

I got lost. Real fucking lost. The deeper into the woods I got, the less sense I had of where to go. The day went on. I got hungry. I kept walking. I expected to hear a highway or cars or people or some sign of civilization. Nothing.

I was freaking out. I stopped and sat on a tree trunk. Crying. There was no Dave urging me on. No "stay strong" mantra. No other guys. It was just me, fucking up again. My stomach rumbled, and I felt thirsty. It was getting dusk. I couldn't believe I'd have to sleep out here, but my big fear was wondering if I'd ever get back.

I heard rustling on the trail. Then saw a flashlight and the dark imposing figure of a 6'4" man coming my way. It was Daddy.

"Here," he said, offering me a sandwich and water. "Have this, then we'll head back."

I was too grateful and relieved to mouth off. But on our walk back I had a realization. "You knew I was here," I said.

"Yes," Daddy replied. They probably had a tracking chip in my clothes somehow.

"And you made me wait here alone."

"Yes," he admitted. "You had to learn the hard way, Carter." There was an undercurrent of empathy to his voice.

***

It took me a couple of days, but I opened up. And once I started talking, you couldn't shut me up, it felt like. I talked about my problems, and Daddy listened. It was like a therapy session and a buddy conversation, from breakfast till night.

Daddy was the first man I told I was gay. We were sitting on the Adirondack chairs outside, enjoying the view of the mountains and the sunset and I just went there. I confessed my problems dating girls and the times I got erection problems during sex.

"I told them I was drunk, but I wasn't," I said.

"I'd have done the same," Daddy said in his mellow voice.

That caught me off guard. I tried to read him, but he was still an enigma to me. A flash of me wondered if he was into men. The dude was jacked for his age, and I got a flash of excitement imagining him having sex.

Daddy was counselor, captor, friend, and father figure rolled into one. "What's your deal, man?" I asked. Not hostile like before, but probing. "Here I am spilling my guts out and I don't even know your name."

He smiled but just kept his even manner. "You don't need to know name, just Da..."

"I know," I interrupted. "You're 'Daddy.'"

Something about my exasperated tone made him smile. And maybe relent. "I did Outward Bound when I was your age. I acted out, got into trouble," he explained. "The Program set me straight."

"Was the program as unconventional when you did it?" I gestured around to the isolated cabin where I was more or less hostage.

That got a grin. "More so."

I was curious. "Did you have a Daddy?"

He nodded. "I did." He took a sip from the can of soda. "Later he taught me how to be a Daddy."

I still didn't get whatever psychoanalytic babble the Program was tapping into, but Daddy's words did make me think.

"You know what makes me, mad?" I asked.

"What?"

"This shit's probably working."

That got a chuckle. "You'll be glad when it's over Carter."

It was dark now and it felt darker out here in the middle of nowhere. "You ready for bed, kiddo?"

It was the first time Daddy used that nickname. But I replied I was.

We'd talked so much we were pretty quiet now as we went inside and got ready for bed. Normally Daddy slept in a T-shirt and shorts but that evening he peeled off his shirt. In the lamplight I could admire the powerful chest muscle and ripped abs. Best of all that DILF body was covered in a trimmed coat of salt-and-pepper fur. Before Daddy I didn't realize I was into older men. Now, I had to check my gaze.

"It's ok to look, buddy," the man said. His voice was as soft and encouraging as I'd ever heard it.

"What?" I replied in a checked grunt.

He tossed the shirt aside and turned to face me directly. He was a masculine god, even more alluring for his quiet nature. "It's OK to look," he repeated. "That's what Daddies are for."

The words were fucked up but they gave me a boner, instantly. I couldn't help it.

Daddy saw and was unfazed, peeling down his joggers to show off his soft genitals. That cock was meaty and matched the low-hanging full nuts in their shaved-smooth sac. It wasn't the first cock I'd seen of course, but it was the first live one I'd seen in a sort of sexual situation.

He walked over and pulled down the bed sheets. Daddy's backside was just as magnificent as his front. Strong back and a meaty round ass, the kind I didn't know 50-something men had. But Daddy had one.

My body was shaking, nervously, but the man was acting normal, getting into bed and pulling up the sheet to his abdomen. He gave one more look over.

"If you want to join me Carter, that's your move."

I didn't know if this was some Outward Bound trap or mindgame. A part of me didn't care, I was so horny. It's as if my brain couldn't stop my body from slipping out of my bed and crossing over. The one thing that gave me courage was seeing Daddy scoot his bed to the side to give me room to get in as he lifted the sheet a little. I could see a flash of his erection, even, thick and meaty like him.

"Stay strong, kiddo," he said softly and I nodded, getting into the bed to join him, my body shaking.

"There," he grinned as I finally settled into a lying position next to him. I could feel the heat of his body even if I was afraid to touch him still.

"You're first time with a man?" Daddy asked.

"Yes, Daddy." It was the first time I called him that. It made him smile, which made me glad.

His fingers touched my flank. I was still wearing my shorts but was shirtless and the skin contact felt incredible. This wasn't faking it with a girl.

"You're a very handsome young man, Carter," Daddy said in that soft tenor voice of his. "I'm honored to be your Daddy."

With that the mean leaned in and placed his lips against mine. It was my first kiss with a man, and nothing prepared me for it. A tingle went up my body and my prick surged even harder in my shorts. Particularly when Daddy's tongue pressed forward between my lips and into my mouth.

I was following his lead. Daddy was my coach at that moment. Coach in life and Coach in sex. I couldn't have dreamed of a better one. It was intense and sexual and passionate, but we also took our time.

As we got into it, I got the courage to feel him. His hairy, muscular, warm body. I reached down and touched his cock, hard and alive in my grip. My first dick, and one I'd never forget.

The way I moaned made Daddy pull back from the kiss.

"You like that, buddy?" he grinned.

"Yes, sir," I hissed.

"You like dick," he said with assured ease. "Don't let anyone make you think you're a lesser man because of it."

"No, Daddy," I replied, gripping his boner one last time before relinquishing it. I had to feel up the rest of him, too. More.

He slipped my shorts down, at least from one side till I decided to help him out. My dick was sap-wet and as rigid as I had ever remembered it being.

"You're not the only one," he said. "Not the only young man into dick. Your buddy Dave..." he started.

That jolted me in surprise. "For real?"

Daddy nodded. His hand now circled around my crotch before his fingers grazed my boner. "For real."

I don't know if it was jealousy or something else I was feeling. "You do stuff with him?" I asked.

The man shook his head. "No. He has a different Daddy," he explained, pausing before deciding his could share the information. "Connell."

Well, fuck me, I thought. The last thing I would expect.

Now Daddy's lips were on my neck, kissing me as his hand alternated between massaging my smoother body and stroking my cock. "You up for the full ride tonight, Carter?" he asked.

If he'd asked me that even an hour before, I would have chickened out. But the body contact and the sexual intimacy made me want it all.

"Yeah, Daddy, I do," I answered. "Stay strong, right?"

That got a laugh. He leaned up. I'd never seen him look so hot, so handsome. "Yeah, kiddo... that's right. Stay strong." He leaned in for another kiss, softer this time. It felt right. Righter than right.

Then he started working his way down, kissing my chest and abs, feeling me up some, telling me he was going to take his time.

I got my dick sucked for the first time. I got my balls licked. Then Daddy urged me to pull back my legs and proceeded to give me my first rim job.

I decided then and there that two months here wasn't going to be enough. I hoped my Dad would keep me here the whole damn summer.

"Oh fuck!" I hissed. It was stimulating and naughty and tickling at the same time. I loved getting eaten out. I didn't have anyone to compare it to, but Daddy was a pro. Eager, intense yet also working in some finesse to keep it intersting.

I slowly relaxed my hole. My whole body was relaxed, in fact, lying back into the bed, looking up at the ceiling as I kept my legs pulled back for Daddy.

The first finger entry caught me by surprise. I looked down to see Daddy's brown eyes fixed on me, as he worked his finger in and out.

"Stay strong, buddy," he urged softly.

"Fuck yeah, Daddy," I replied. Trying to be his good soldier. Daddy was gonna make me a man that night, and I wanted to be all man for him.

He finally pulled back and reached over. I didn't even notice the little jar there before, but Daddy unscrewed the lid and dug in. There was some liquidy grease that coated his fingers.

And now my asshole. Damn, it made his two fingers feel incredible going in. And out. And in again.

"Yeah, you're hungry, kiddo."

I grunted. Those fingers were feeling intense in a great way, but short circuiting my thought. I flashed to think of Dave, imagining Mike Connell doing this to him.

A third finger now breached my relaxed ring. It gave a few gentle prods then pulled out.

"You're ready."

The man scooted in place, his hard dick standing straight up from his hairy crotch that was still darker brown than his chest hair. I had felt but not gotten a real good look at his cock, but Daddy was real thick and maybe 6.5 inches in length. The guy was horned up, too, judging by how rigid his meat was. He slathered some of that grease on his boner and pushed it down to line himself up.

"The entry might be tough," he warned. "Or not."

"You better not say, 'Stay strong,'" I joked.

That got a laugh out of the man. "You're all man, Carter," he said.

And like that his cock was breaching my hole.

"Unnfg!" I let out, before I caught myself. The sting surprised me. It didn't hurt too bad, but the unfamiliarity of it freaked me out some.

Daddy's hands rand along my abs, gently, coaxing me silently to relax. I tried, until I was successful. More dick slid into me. The man was patient, but I could tell he was really turned on.

I was getting my cherry taken away, and I was thrilled, particularly when Daddy's cock bored deeper. Weirdly, the deeper the man went the better it felt. Daddy felt bigger than 6.5 inches. Maybe I'd underestimated his size, maybe it was just the psychological effect of having him buried inside me.

"Fuck yeah, kiddo," Daddy growled. "Take it."

I looked up at him. The man was a stud who knew what he was doing. "You done this before?" I asked. "Taken a guy's virginity?"

The question caught him off guard. It was almost like he didn't want to answer me. But he looked down with those soulful brown eyes and replied, "I have, Carter. Many times." He pulled his hips back and thrust in. THAT felt fricking amazing and I held onto his meaty arms. Then again. "But I care about each and every one," he added. His thrusts got faster, as Daddy intuited I was receptive. "I care about you, kiddo."

Daddy was taking me there. Physically and psychologically, he was showing me how amazing getting fucked could be. The man wasn't rough, but he pumped faster and harder. He was teaching me I loved it that way. I held on and looked up at him and felt my prick quiver.

"Fuck me, Daddy!" I hissed.

"Yeah, kiddo. Daddy's got ya." His body seemed in control but his breath was ragged and heavy. The man was turned on like hell.

That thick cock seemed a blur inside me now, its way in my tunnel greased up and the heavy hard rod punching some spot inside me.

I dind't realize I was so close to cumming until Daddy's greased fist wrapped around my bone. Not even needing to stroke it, just touching me made me fire off. I saw white, and my body felt hot and tense, then it all got released with a series of cum shots firing out of my young jock body.

I tried to keep my vision, to look up at Daddy in gratitude. To watch his own O face take over form the calm, collected surety of his experience. That got tossed out the window when Daddy came. He was as lost in pleasure as me. That made me happy.

We crashed together. Holding onto one another's hot sweaty bodies, them our lips meeting to kiss again.

"Oh buddy," he hissed finally. Like I was the one who'd done him a favor. Maybe I had.

We didn't talk after, we didn't need to. Instead, Daddy held me in a spoon position and we drifted off to sleep. At least for a few hours before we had sex again.

***

The next week, Daddy had me pack my backpack, and he led me back to main compound. I would have been sad our alone time was over, but I knew it wasn't going to be our last. Daddy didn't have to tell me. I just knew he'd be in my life from now on and me in his.

Punk dude Pete was back. His hair had grown out and was in a military buzz and his snarl was gone. Dave though was the one who welcomed me first with a bro hug. The other guys followed suit.

I wondered how many of them had a Daddy.

***

I was part of the Program now. Welcoming the newcomers. Bonding with the cynical ones. I'd been where they were and knew what they were going through. I'd been a fuck up, too.

Two months went by quickly. My Dad was there to pick me up. He had an apprehensive look on his face. Connell told me that Dad had been updated on my progress, but after what my father had been through maybe he was nervous I'd not been truly changed.

I had my mobile phone back, and I'd already looked at the last messages multiple times. "Stay strong, kiddo - Daddy." Then "You better stay in touch. Love ya, Carter."

I took one last look and tucked my phone into my pocket before running over to give my Dad a big hug.

"Damn, Sport."

Dad hadn't called me Sport in ages.

"Thank you, Dad," I said. There would be more to say later. But the look on his face was a huge reward. His fingers grazed behind my ear as he held my head steady and looked into my eyes. Like he was reunited with a son he'd lost for real.

"OK if we break up the journey home?" he asked, snapping out of his spell and grabbing my bag from me. "It's a long drive."

"Of course," I said.

We got settled into the front seat and Dad started the car. We made some small talk, and Dad caught me up on life back home. Though I didn't miss much, other than maybe Dad re-treating the wood on the back deck.

We were winding down the mountain and re-entering civilization. At least if these small, one-traffic-light towns counted as civilization.

Dad shifted from the small talk. "So... you survived OK, Son?"

I nodded. "More than survived, Dad. Thrived." I had bought into the whole Program now.

He seemed pleased. "I, um... heard from an old Army buddy of mine," he said. Something in his tone seemed laden with meaning. "He said he got to know you real well."

I blushed. I knew damn well my father was talking about Daddy.

"Yes, sir. We got real tight."

Dad had a good idea of what I meant. He gave a gentle nod and glanced over at me. "I'm glad to hear."

I was chubbing up in my jeans now thinking about Daddy. "OK if I go visit him sometime, Dad?" I asked.

Dad's voice got quiet. "That can probably be arranged."

I thought maybe I freaked my dad out. But we were quiet for a lot of that drive. It had been around 3PM when I'd checked out of the Compound, and it was getting dinner time.

I loved diner food and after two months of Outward Bound meals, I was ready for a real restaurant meal. I scarfed down my food, which amused Dad. "Looks like they haven't been feeding you, Sport," he said.

"They definitely don't believe in creature comforts," I said. I pulled out my phone. "This might have been the hardest thing to live without." I mostly was checking to see if Daddy sent me another message.

Dad laughed. Then he got serious. "So... no hard feelings, Carter?"

I sighed. "God, Dad. After what I did to you? What I put your through? I don't know how to make it up to you."

"You don't have to make anything up to me, Son. Just stay on the straight and narrow. At least till you find yourself."

I took that in. "I'm finding myself, Dad. For real."

"That's all a father can ask," he said.

Dad was normally not great at expressing emotion, and already he was itching to get the check and pay for the meal.

We drove a little bit more. Dad had me find an available hotel that wasn't too expensive. I don't think I realized until we checked in how long of a day it had been. Emotionally as much as anything.

I decided not to check my phone again. Daddy and I would find a groove to correspond and to meet again. I trusted him.

After I brushed my teeth, Dad was in one of the beds, watching TV on low volume. He wasn't build quite as strong as Daddy but his upper body was solid, and he had the same soft furry chest. As I stripped down to my briefs, Dad's eyes watched me furtively. Probing me with soft expectation.

I took the initiative this time. Just feeling Dad's eyes on my half-naked body was all the signal I needed. Pausing at my own bed, I turned back to him. "Ok if I join you instead?" I asked.

Dad was too scared to reply. But he nodded and slid over.

Only when I got into bed with him did I realize that Dad's bod was more solid than I initially thought. His clothes always hid the hard tone of his muscle and he had some love handles that stopped shy of a beer belly.

Our kiss was soft and taboo as fuck. Dad's hands clung to my body, like eagle talons. I pushed my tongue into my father's mouth and felt him plunge his back. Dad didn't kiss like Daddy did. It was hard and needy.

Just as impetuously he and I stripped down our underwear. Our dicks were a lot alike. Longer, regular thickness, with a gentle curve to the right, heaving leaking. Like twins. Dad looked down at mine, like I did at his.

"You're all grown up, Carter."

"Yeah, Dad." I reached down and touched his cock. My dad's cock. He wasn't Daddy, he wasn't my first man, but the forbidden aspect made it off the charts. "I gotta learn to be your son again, though."

Dad gulped. His eyes grew misty wet. "You never stopped, sport. Not even this last year."

We kissed. Dad was responding to my soft approach, like I'd responded to Daddy's. My hand ran along his strong chest and his softer middle as we made out. I felt every bit of guilt for how I'd treated Dad and it was coming out in the only way I knew. Like Dad, I wasn't good at expressing emotion.

But I was good at this.

I broke off the kiss with a playful smile. Dad seemed to be trying to read what I was thinking. I let him wonder a minute longer.

I scooted down, kind of kneeling on the bed, till I was face to face with the dick that made me. I touched it again, feeling its poker hot heat and its steel rigidity. I could smell his masculine scent.

"Sport..." he urged, as if telling me something.

His next words caught in his throat as I took his dick into my mouth. I paused a second. Daddy had instructed me in this, but my father's cock felt particularly dry until I summoned up some extra saliva. Then I went down on him, slowly, teasingly.

I was going to make things up to Dad in the way I knew how.

He placed his hand on my head, softly cradling it as I lovingly blew him to completion.

***

The next morning when Dad was in the shower I sent a text.

"Daddy, you didn't tell me you knew my father."

He was up and the reply was quick. "You had to find out for yourself." Then, "I hope you can be a junior counselor next summer."

I thought of what next year would mean. Being off at college, enjoying some independence. Making new friends.

But I knew that meant nothing. "You know I will," I wrote.

"Stay strong," Daddy replied.

"Stay strong," I wrote back, then set down my phone.

#drakestories

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