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pricetagged · 3 months ago

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that death is a very stable job

Poor little Dormouse, with her cruel father and labourer's hands. You find an unexpected guard dog in one of the passing knights.

Enjoy 4.8k words of half inaccurate-medieval, half poorly-built-fantasy AU. Inspired by a few existing historical AUs (like @bi-writes 1600s au, 391780's 'the rus') and a scene from 'The Serpent Queen'. Also, I stan 'old grizzled dog with a heart Ghost' so here you go.

Warnings/content: implied domestic abuse/sex work (not Ghost), very mild suicidal ideation, violence, power imbalance (social hierarchy ew), kissing & intimacy (no smut. yet.). Reader is described as a young woman, generally body-neutral (one reference to being 'plump').

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What makes betrayal so potent is that, by its very nature, it can only come from someone you trust. Of course, as a child you knew little of the abstracts and intricacies of trust. You knew the warmth of your mother's bosom. You knew the sharp, lingering smell of lye that clung to her chapped hands. You knew that you were not hungry or hurt for those blissful early years, at least.

You did not know that you had a father.

He spent those blissful, early years of yours fighting for a King and cause that meant far less to him than the pocketful of coins he earned and promptly spent on pleasures. But a soldier cannot earn coin in times of peace, not if he weren't a member of the standing army, so with treaties signed he shipped back to neglected wife and babe.

You did not know that fathers could be cruel.

Your mother protected you as best as she could, but slippery riverbanks and lixivium fumes were hardly safe for a little girl. So you learned to scurry about, eyes wide and feet soft as a dormouse. When your mother's whimpers and father's shouts split the silence of dusk you crouched and covered your mouth lest his attention switched to you. On the rare times your father called for you, you remembered your mother's hushed advice - be quiet, be meek, be sweet - and bobbed along to the waves of his fickle moods. When your stomach growled and gnawed you stifled it with a look at your mother's wan face, her fingers worked to the bone for mere pennies that were no longer spent on peat and produce. You lived in a cold house, an empty house. A strained house.

'Look at the size o'her, running wild, eating me out of house and home!' Lies. Your father hunched over your mother's shaking form, three meager brass farthings spilled across the crooked kitchen bench. 'You put her to work, or I will.'

The lye stung your skin. Sometimes you imagined yourself floating off, down in the frigid waters, your funeral clothes being salvinia and your shroud made of pennywort. Those thoughts rose like lily pads, big and blooming and plentiful, the autumn your mother passed.

'You've really got to work now, girl,' your Father sneered. 'Got to earn your keep now that your mother can't cry on your behalf.'

The glint in his eye pricked at your neck, made your spine stiffen and eyes shift away. Be quiet, be meek, be sweet. You wondered if your mother's advice would save you from his basest assertions, or encourage them. You would soon find out.

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Ordinarily the Mid-Autumn festival was a slight reprieve, allowing a few days for your aching, numb fingers to warm and stretch as you enjoyed the city turned to colour. Ordinarily.

This year, you found yourself hauled down to the drinking district, your Father's blunt, filthy fingers digging into the soft meat of your upper arm. It was still daylight, thankfully, but you already felt exposed as he had you linger in the square near the public houses. You could already hear the hoots and laughter of raucous men enlivened by drink and company. The smell of stale ale and piss was not enough to cover the scent of fresh baking and roasted game drifting on the breeze. You shivered, your burned, you hungered.

Meek little dormouse, scurrying around the greasy ferret who held her tail under his claws.

Your Father's chance came as the sun was setting, candlelight just now visible through the slats and windows of taverns. Far from cozy, it reminded you of the lidded eyes of some lazy predator about to watch your ruination.

'I don't care if you are crusader to the gods themselves! Knight of the Realm or not, you can't come into my pub and throw furniture around like you're at the Solstice games!'

The snarling Madame looked comically small next to the absolute beast of a man currently ducking under the doorframe. Watching her chuck the splintered leg of a chair after him you thought her lucky that he didn't want more of a fuss. You had never seen a man so big, so broad, seeming bigger whilst dressed still in his mail and wearing the colours of the King. He merely grunted as he made his way to the tethering post, letting her threats and screeches fizzle into the cool, twilight air. Leather-gloved hands worked at the harness of the dappled stallion you had been admiring earlier, easily more than 18 hands tall and capable of carrying this brute. You had imagined earlier slicing that very harness and riding hard across the cobblestones away from your father. Away anywhere.

'Good sir, are you in need of lodgings?' The words dripped from your Father's lips like ichor. You could smell the sickly underlying rot.

The Knight's hands stilled, head still lowered. His voice rumbled out, deep and rough as gravel.

'You offerin', then? 'ow much will that cost me?'

'Well, it's busy in the Festival. The guest houses are full but my home is open to weary travelers-'

A barked laugh cut him off. The Knight raised his head, pinning your father in place like a moth in a hobbybook. You quickly looked away, pretending to busy yourself with a nearby fruit cart. His face was covered, a dark black slash across his lower face like an empty maw. But his eyes. You could have drowned in those eyes, dark as they were. They pulled you in more than the call of the river on your bad days. If you stared too long you'd never wade out.

'Ain't you charitable,' you couldn’t see his mouth but you were sure that he sneered.

'Well, a former soldier should be willing to support the Crown. Although, with a mouth to feed a few coins wouldn't go amiss..' his hand swept back and you tried not to cringe away.

'Former solider, eh?' Your Father clearly had the Knight's attention now. As did you. Though you continued to look away you felt his gaze like you felt touch. Like he was grasping you, keeping you still. Your head felt heavy as you raised it towards them, now a part of this bargain whether you wanted to be or not.

'I know what it's like to seek the comfort of a warm hearth and soft bed. I would not see you ride off into the cold night.'

The Knight huffed; you could almost mistake it for a laugh. Though quiet, the voices and laughter of the nearby inns seemed quieter, like all sound and light was absorbed by this armoured beast. Once, just after your mother died, you headed to the riverbank as always for work. It was barley daybreak, some of the older more experienced women already beginning their washing, but you walked on. And on. Until the river led you to its mouth, rushing and rocky and dangerous. You wanted to jump in. You felt the same now, gazing at this man.

'How much for the girl, then?' He looked right at you as he said it, catching your wide, staring eyes. You didn't blink, couldn't look away.

'She is my daughter! Sir, I-' that same rot, spewing out of his mouth.

'I didn't ask who she is, I asked 'ow much?'

Your Father took a step towards him, faltering under the weight of his gaze. He leaned, then, trying to seem ashamed. Trying to seem like a father should.

'Sir, she is my daughter. I can do nothing but take offence at what you are suggesting.'

The Knight pulled out a small velvet purse, heavy and distended with coins. They clinked as they smacked into the cobbles at your Father's feet. All pretenses dropped, then, as he scrambled to pick it up with greedily shaking fingers. Prize in hand, he found his courage as he sidled closer to him, thick neck open and exposed as he leaned in to whisper his betrayal. His filicide.

'She's a bit older, yes, but unused to the ways of men, mind. With a firm hand I'm sure she cou-' a gloved fist at his throat turned perfidy to gasps. You watched red bloom instantly under those fingers, and marveled at the strength. The violence.

'Your own daughter,' he sneered. 'What kind of man, soldier at that, would sell his daughter to a man like me?'

Your Father was bigger than you, yes, but looked like a poppet in the hands of this beast, so easily dragged towards him ready to be shaken in his maw.

'I'd love to think that she isn't yours, that she's some whore you peddle out to drunken leches in the alley. But you're slimier than an eel in birdshit, aren't ya?'

You didn't move, didn't speak as you saw his fingernails scrabbling uselessly against the unforgiving strength. You, for a small moment, felt the claw release your tail. Run, you thought. A look at this behemoth and his horse had you thinking again. Run where?

Be quiet, be meek, be sweet.

'Please!' The plea bubbled up your throat like acid.

He said nothing, did not loosen his grasp, as he tilted his head like a dog.

'It is as he says. He is my father,' you continued.

A scoff stilled your words.

'Some father, look at the state of ya.'

You looked down at your chapped, scarred hands. Your patched, slightly-too-short skirts. You felt the throb of the bruises on your upper arms, the beginnings of hollowness eating away at your usually plump cheeks.

'You mistake me, Sir,' You could barely hear your voice over the blood rushing in your ears. 'I am not asking for his life. I am asking you to take me with you. Please.'

Silence. His eyes flickered over you anew, contemplating. Your hummingbird heart fluttered in your chest.

'Close y'r eyes, girl. Until I say.' Your shocked hesitance made him growl. 'Now!'

The imprints of tavern candlelight burned behind your lids. You let the corners of your mouth flick up.

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Your Knight's name was Simon. The Ghost, it was rumoured. You weren't seasoned on the field so you knew not of his reputation, but the reaction of those you encountered gave it away. Even without the blood staining his hands he was imposing. Tall, broad, intense. You still hadn't seen under the kerchief he kept around his face, but you spent many nights imagining. Was his nose crooked, or was it a trick of the light on fabric? Did he have stubble across his jaw that matched the fine, blond strands that decorated the top of his head? Did he smile? Scowl? Was he handsome?

He was gruff, certainly. You spent the first few days obeying your mantra - be quiet, be meek, be sweet -but it didn't provoke anything in him at all. Neither praise nor censure. It seemed, rather, that he was determined that your presence would be nothing more than a fact of circumstance. Not worth much fuss.

'She needs winter clothes. A nice dress. A travelling cloak. And some boots.'

That was how you found yourself perfectly still, getting prodded and pinned in the parlour of a tailor shop in the city's mid-tier. The seamstress' cheeks burned red as she turned her disapproving eyes between her task and the Knight who refused to leave the dressing area. He dwarfed the chaise, leather and chains indenting delicate brocade. After a grunted 'She's my Charge. If you want my coin, then 'm not leavin'' he sat silent. Just kept his eyes on your face. As always.

You couldn't find it in you to feel embarrassed. He'd done no more than see you in your petticoats, even at the guesthouses where you lodged for the night. An altogether better set up that you could've envisioned for yourself. You had thought your Father like a sly weasel, thought any future husband like a carrion crow ready to pick over whatever your Father left. But you thought Simon like a grizzled old guard dog. A dormouse held no interest when bigger prey was to be had. When you didn't pose a threat.

He clothed you. Fed you. Ordered hot bathwater for your room - a luxury you had never experienced - and otherwise left you alone. All he touched you with was his gaze, steady and unashamed. Strange how you now saw your silence -quiet, meek- as a barrier.

'Where are we going?' You worked up the courage to ask as you rode behind him up to the next tier of the city, seeing wooden roofs change to tile.

'The Palace.'

'The Palace? What, but what about me?'

'You asked me to take you wiv me, didn' ya?' you felt the rumble of his words all the way from his chest to your arms.

'Yes, but.. What, what will I do there? How will you explain this?'

You realised now your lack of foresight. You foolishly assumed that someone high-ranking wouldn't be starting brawls in lower-tier taverns. Or magistrating over scoundrels due to the sale of their daughters. You thought, perhaps, of an impoverished country knight who came to the city only for the festivities. You could bargain your way (or slip away) if he turned out to be just as bad as your progenitor, and make a living in one of the towns or hamlets that stretched along the woodlands of the Kingdom. Foolish girl.

'No one will ask questions. No one will bother ya,' You believed him, felt the threat in his words.

'But they'll think. They'll wonder.' I wonder, you thought to yourself.

'Can't stop that,' He snorted. 'Why don't you ask me what you really want to ask?' He pulled sharply on the reigns, causing you to clutch hard around his waist and whisper your words pressed into his back.

'What are you going to do with me?'

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"Ho, Simon! Hard to drag ye from yer hermitage in Northmire,' you stared as a smiling Isleman slapped your Knight hard on the back, hooking his arm and dragging him down into the booth. 'And ye've brought a wee Bonnie thing with y-'

'That'll do, Johnny,' Simon growled. Still, he let himself be handled onto the bench. He looked at you, standing still, staring at the other side of the table. 'Well? You sitting down or wot?'

You scrambled down beside him, too timid to sit next to the laughing stranger. Too wary to put your back to the rest of the tavern. Past Simon's profile, you snuck a peek at the man - Johnny - and found him looking back at you. He looked friendly, sure, but you were reminded of the harriers that plucked young hens from the woods. His eyes were too sharp, too bright. His smile was a little wicked, too. Too intense to be without danger.

'Well, the King'll be happy. He'll finally have a real reason to say naw to all the harpy mothers pecking at him about their single daughters. Cannae say I expected it, but congratulations,' You blinked. 'Cannae believe you beat Garrick to it an' all, thought fer sure he'd be the dutiful one. Well, first that is.'

Simon ignored him as he flagged down the serving girl. He ordered for you, as always.

'Bit bold of ye, though, plastering her in your colours. Scared o' a challenge to her? Like anyone would chance their arm seeing her wi' you, Your Grace,' Johnny laughed again, blue eyes shining as he watched Simon's jaw tick under the scarf. 'Go oan then, introduce us.'

'Dormouse, meet Johnny.'

'Aw, come oan!' Johnny leaned over, then. 'He's forgotten his manners all the way oot in Northmire. I'm John MacTavish, of the Northern Isles. I've known this one fer a while, but never knew him tae settle.'

You squeaked out your own name in return, quickly taking a sip of the weak ale Simon pushed in front of you. Gave yourself more time to take stock. He too had the King's colours in a sash across his chest. Unlike Simon, he wasn't wearing full mail or a face covering. A heavy shirt of forest green, a red tartan kilt, and thick knitted socks were his attire of choice. Blue warpaint swirled from his temples down to his jaw, and he'd shaved his hair only on the sides. Not commonly seen in the Tiered City, but you knew the islanders to the North of the mountain wore similar garb. You let your eyes catch the glint of a dagger in his socks, as well as the hefty broadsword hooked by the table. The warpaint on his face was not just for decoration.

You stayed quiet, munching on thick slices of bread dipped in broth as they talked, Low, rumbling voices and warmth from the hearth lulled you to a wakeful sleep, eyes still open but mind calm. MacTavish had called Simon 'Your Grace'. You were wearing his colours. You were going to the Palace. Something about that niggled at you, deep at the base of your skull.

You woke to Simon gently sliding you along the bench. Big hands and stained fingers so soft, like you were an overripe damson he wanted to preserve.

'Time for bed. C'mon, mouse.'

'Why do you call me that?' You murmured, still feeling his arm around you as he led you to your rooms. 'I never told you that was my Mother's nickname for me. Dormouse.'

You felt him huff out a laugh, pressed close against you.

'Didn't need ya to. It's obvious.' he answered after a pause. He leaned down, bracing you against the room door. Only his scarf separated you from his flesh, close as you were. Wide eyes meeting dark. You shared the same breath.

'You're quiet like one. Seem sweet. But I saw you'd be willing to chew y'r own leg off to escape a trap,' he whispered that horrible truth so tenderly. His blunt, calloused fingers left firetrails on your cheek. 'My mouse. My survivor.'

His thick forearm braced your back as he opened the door, stopping your from tumbling into the emptiness behind. He needn't have bothered; you'd already fallen into him.

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'How many more days' to the Palace?'

'Two, if we don't loiter. Johnny'll meet us at the gates to the Citadel.'

You looked up, seeing the Palace fortress taller and more intimidating than it had ever seemed down at the city's lowest levels. You were awed by the mason and marble buildings up here, the clean streets and cleaner people. Everything seemed to gleam this high-up. This close to the sun. Close to the Palace. Your skin had started to heal, after a week or so without labour and with good meals and rest, but you could see the discolouration that would never fade. It made you pick at your sleeves. Dormice didn't gleam. They hid.

You looked at the wide streets and their sun-bleached stones. Nowhere to hide here.

'And when we get there? What will happen?'

'We'll greet the Court. I have news for the King. They'll be a Ball f' the Festival. And you,' Simon stilled your steps, 'You will be good. You'll do as I tell ya. Not everyone is a friend. And I won't always be wiv ya.'

Perhaps you imagined it but you swore you could see something soft - warm - in those dark eyes of his as you nodded. You had years of experience avoiding the attentions of predators; you could do the same for Simon.

When you reached the Citadel Gates Johnny was waiting as foretold, chatting with a guardsman by the pulleys. He perked up as he spotted Simon's horse, all dappled grey with black skull harness. A proud danse macabre, carrying The Ghost.

'Here they are, the Duke and Duchess of Northmire! Let them pass, go oan. Here, raise his banner.'

It was a good thing that your blood turned to ice in your veins; it prevented you from letting go of Simon's waist. You watched as a square banneret in the same colours as your new travelling cloak - and dresses, and overskirts, and, and - rose to flutter slightly below the banner of the King. The wind lured the heavy fabric to thwack against the sky, echoing the drumbeats of your tambour heart. What were you marching towards?

Johnny had mounted his own stead, canting a light pace next to you and Simon.

'Ye should hae seen the ponces and pricks - sorry, My Lady - who came riding up here in their carriages this mornin'. I ken they think they were showing off but the guards and I were havin' a barry laugh watching the wheels get stuck in the cobbles and streets from the mid-tier all the way up-'

'Y'r point, Johnny?'

'Alright, cool yer blood. The point is, we've got tae change our travel plans. Be at the Palace tomorrow, nae a day later.' He sent Simon a significant look that you weren't so stunned as to miss. 'We've got a night hosted by Garrick's sister, then we'll be off in the morning.'

'Garrick's sister' was a comely, slender woman with sharp eyes and a kind smile. She, or rather the Garrick family, kept a townhouse in the top tier close to the Citadel as well as their estate at Thamesbury. As a close peers and allies of her brother, her doors and hospitality were open to you all. You didn't want to seem like the uncultured urchin you were, but even the entry hall surpassed any luxury you'd seen thus far. You had to suppress an instinctual flinch as her manservant stepped behind you to reach for your cloak. Or perhaps the lessons from the streets were written all over your wide eyes. You saw Johnny chew on a smile as Simon glared down at the man, massive arms crossing across his great oak chest.

'That'll do,' he growled. 'There are saddlebags to be seen to.'

The poor man scarpered with a stuttered, 'Of course, Your Grace.'

You stared after your Knight as he stomped up the stairs, heavy footfalls disturbing the frames of the Garrick ancestors across the walls. He looked back, silhouetted with a hand outstretched.

'C'mon then.'

His rough, warm hand enclosed yours and you followed him to exegesis.

Ensconced in your chambers - shared chambers, marriage chambers - you found your tongue.

'Should I be calling you 'Your Grace'?' Be meek, be sweet.

He snorted, inelegant against the filigree and flowers that bore witness to your unsettled feelings.

Be meek, be sweet. Be meek, be sweet. Be meek-

'I do not speak in jest, Simon. Sorry, 'Your Grace',' Your mouth twisted, trembling with the force of holding back. 'I asked you to take me with you, yes, and I have tried not to inconvenience you beyond…beyond the circumstances of our meeting. But I must demand, now. Tell me what is going on.'

He merely tilted his head, old grizzled dog on a velvet chaise. You could see his lips - what did they look like, what did they feel like? - move under the black of his kerchief.

'We're in a guest room, talkin'. Listenin' to you ask stupid questions.'

'If the question seems stupid it is because you have made it so!' You felt your stubby nails bite into your calloused palms. The feeling made you shake, brought tears to your eyes. Shame and fear turned saliva to acid. You flung your hands towards him. 'Look! You see these. These are not the hands of a girl addressed as 'Duchess'. If this is a joke, I ask you to stop it now. I am grateful to you, I will remain so always, but playing in this manner is lower than whatever my Father had-'

"Do not. Compare me. To that man.' His growl cut you from cutaneous to cartilage, exposing your raw, soft innards. You hoped he'd be kind. Even if he chewed on your heart, popping gristle between sharp canines, perhaps you'd be a part of him, dripping down his throat with an intimacy you longed to initiate.

Viper-quick, your hands were in his. Your lap was in his too. Too warm, too bulky, too close.

'Quit y'r squirmin'. Look at me, no. Look!' Your jaw was turned more gently than you expected from hands made for violence. You couldn't meet his eyes, but that mattered not as he brought your hand and his up to your sight. 'Look. My hands aren't delicate neither.'

You took a deep breath, feeling him pant underneath you, and reached to cup his hand in yours. Butterfly-soft, you turned it, watching candlelight catch on silver scars and pockmarks. Deep gouges and veins raised valleys between knuckles and wrist. One finger seemed slightly too short, like the top joint had been lost in some gruesome accident. When you looked at the palm, it was calloused. You had already felt its roughness, deep imprints from years of work. Of war. He flexed, closing his fingers around yours.

'I'm not 'of the blood'. I'm good at spillin' it, but the stuff inside me isn't worth much. Was a Squire. Then a Knight. Caught some eyes on the battlefield and was sent to defend the borders. Became a Margrave for it an' all. Now I'm a Duke. The titles don't mean much t'me, except I've got more coin and can tell nobles to fuck off without spending a day in the stocks.'

You're not sure whether your sigh was a laugh.

'Then, what? Please, Simon. What are we doing here?'

With your face this close to him you were reminded of the night in the tavern where you first met Johnny. You felt that you were sharing the same breath then. Now, here on his lap, you felt more. The warmth of his body that leeched through your skirts. The hard press of tough leather plackart. The pounding of his heartbeat - or was it yours - as you clutched his hand with trembling strength. That same trembling strength had you meeting his eyes at last, your position allowing you to be equal in height. His pupils dilated under scarred eyebrows, deep brown melting into pitch black.

'I took you wiv' me. It was sealed in blood. You're mine.'

You cupped his jaw, feeling stubble peek through his scarf. The sensation grounded you, kept you from flying off as his words used all the world's gravity.

'Bit of a terrible dowry, blood.' You whispered, a whisker away from his lips.

'I'm not made for anything else.'

Wrong, you thought as you pressed your parted lips to his covered ones. You were made for me.

His hand trailed up your arm as yours trailed across his jaw, two bodies with one mind. With deft, strong fingers you removed the last barrier between you. Black fluttered to the floor, still flesh-warm, and your lips met again. His lips were a little thin, but hungry. He groaned, supplicant to your taste, as you sought to press him closer. You could feel stubble tickling your chin, and the firm outline of another scar close to his cupid's bow. Lightning struck across the back of your neck, making you shudder against him. All you could taste, all you could smell, all you could feel was Simon.

And he all was yours.

After his face mask fell, so too did all barriers. You feel asleep together, entwined on the same bed. You awoke to his face made soft in the morning light. Sunbeams danced in the crevices of his scars, pale and rugged like the mountain you'd looked up at as a child. You watched, sentry, as you mapped the features of his face. Golden hair, golden stubble. A crooked nose that had been broken and set several times. Tributaries of scars running down to a strong jaw. And dark, unwavering eyes that creased a little as you met his gaze.

'G'mornin'.'

'Good morning,' You murmured, still sleep-soft. You traced along his lips, laughing as he nipped softly. 'Why do you cover this up?'

'To preserve my modesty,' he smirked as his tongue flicked out to soothe your nipped fingertips.

'Simon!'

'I'll tell ya. One day. When we get back 'ome. I don't trust everyone in this city.'

'You can trust me,' you whispered as you pressed your tingling digits into his mouth, catching on blunt teeth.

You felt the heat of his gaze bring blood to your cheeks. His eyes didn't leave yours as he pressed his teeth down softly. You knew the dog wouldn't bite.

'I know, Simon. I trust you too,' You leaned your forehead against his. 'Just, wherever you go, take me with you.'

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Got a part ii drafted (palace intrigue, meet John and Gaz, Ghost and his mouse finally enjoy marital rites *wink*, conflict, etc., eventual HEA) but I'm not sure if there's an audience for it. And this is the first writing I've published in y e a r s since my cringe forays into dark videogame smut as a 19 y/o, so I'm not really confident. This is unedited/not proofread. Here ya go~

#wipes rust off hands #anyway yeah lol simon is v much of the 'i found her i keep her' mindset and i love him for it #i am very shy and nervous #can u tell i like alliteration and metaphors and commas?#????????#how do people talk and write dialogue #simon riley/reader #simon ghost riley/reader #ghost/reader #Medieval AU #Knight SImon Riley #cod fanfic #my writing #báirseach writes

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inkskinned · 1 year ago

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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

#every time someones like ''AI will replace u" im like. u will have to fucking KILL ME #there is no replacement here bc i am not filling a position. i am just writing #and the writing is what i need to be doing #writeblr #this probably doesn't make sense bc its sooo frustrating i rarely speak it the way i want to #edited for the typo wrote it and then was late to a meeting lol #i love u people who mention my typos genuinely bc i don't always catch them!!!! :) it is doing me a genuine favor!!!#my friend says i should tell you ''thank you beta editors'' but i don't know what that means #i made her promise it isn't a wolf fanfiction thing. so if it IS a wolf thing she is DEAD to me (just kidding i love her)#hey PS PS PS ??? if ur reading this thinking what it's saying is ''i am financially capable of losing this'' ur reading it wrong #i write for free. i always have. i have worked 5-7 jobs at once to make ends meet.#i did not grow up with access or money. i did not grow up with connections or like some kind of excuse #i grew up and worked my fucking ASS OFF. and i STILL!!! wrote!!! on the side!!! because i didn't know how not to!!!#i do not write for money!!!! i write because i fuckken NEED TO #i could be in the fucking desert i could be in the fuckken tundra i could be in total darkness #and i would still be writing pretentious angsty poetry about it #im not in any way saying it's a good thing. i'm not in any way implying that they're NOT tryna kill us #i'm saying. you could take away our jobs and we could go hungry and we could suffer #and from that suffering (if i know us) we'd still fuckin make art.#i would LOVE to be able to make money doing this! i never have been able to. but i don't NEED to. i will find a way to make my life work #even if it means being miserable #but i will not give up this thing. for the whole world.

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crimeronan · 2 years ago

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i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

#thebibliosphere i apologize for tagging u when we don't know each other at all i just want u to get credit for the initial discussion #given that it is so much more thoughtful and clear than anything i'd think to write.#i did NOT mean to spend multiple hours on this but once i started writing i was like #oh god i actually do have like a lot i can tell monogamous people about writing poly people & the poly perspective #anyway. i mention it in the post but people can send me (respectful. obviously) asks if they have questions #i cant promise to answer all of them bc i am bad at this. but if i'm well enough then i'll try #polyamory #non-monogamy #ethical non-monogamy #writing #my writing #writing advice #relationships

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rottmnt-residuum · 3 months ago

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Hi, I've read the Residuum comic, and I think the characterization of the boys is really good. I was wondering if you have any tips on how to write them? Especially Mikey, please.

I'd actually recommend re-watching the show with one character in mind. All my notes on the turtles come from doing separate re-watches for each of them. The key is to ONLY watch the character you are focusing on.

In the end, you'll probably be happier with your own personal interpretation. As we are with ours lol

TL;DR

Massive post under the cut

To preface: we'll be contrasting (this Mikey) against the fandoms version of Mikey, as our interpretation is very different. Don't worry if you prefer the fandom version, there's nothing… wrong per se with writing him this way. We just find him flat and uninteresting. (Main author: not me, I just hate him, lol).

Every reader or fan comes into a story with their own biases and experiences. A ton of our view of Mikey is based on how our siblings acted. We see Mikey as the young sibling that got preferential treatment from the whole family, simply due to being the youngest, but is now aging out of the privilege. Which all youngest siblings do at some point or another.

The fandoms version of Mikey is empathetic, naive, vulnerable, co-dependent and quite often a door mat who cries at the drop of a hat. And as much as the fandom like to say that people love him… when this particular character archetype is in other media, they seem to attract the most criticism. Mable pines, Bolin from Korra, people rag on Aang all the fucking time, and Steven Universe is a whole other bag. These characters don't deserve it, and yet it happens anyway.

To flatten Mikey to simply 'the baby' is a disservice. We don't see or write Mikey as the fandom “baby” version (cinnamon roll uwu). Part of this comes from having multiple siblings, so we interpret the times when Mikey does the puppy dog eyes as typical younger sibling bullshit, mostly by the way that the other turtles rarely react to it, if at all.

The other turtles traits can also get projected onto Mikey. Mikey being the fandom therapist is in the same category as this. He isn't a therapist, he's a psychology nerd who likes to psychoanalyze people and meddle in their relationships. (Donnie and Shelldons relationship, Splinter and Draxums...) he's not trying to resolve your emotional issues. Of the turtles, the character that cares the most about people's feelings is Raph. And Leo is more of a consoler than Mikey ever is. It flattens all the turtle's characterizations when you start doing this because you are ripping out parts that are integral to another characters' complexity.

Co-author has told me that they've seen people become confused when going into the show after only reading fan fiction or coming from the movie. They see his characterization as inconsistent and become upset when their view of him is contradicted. This also happens when a fandomized version of him becomes the primary characterization that they use. Sometimes when this disconnect happens (or if they just don't like the character), Mikey characterization is swung in the complete opposite direction.

They make him manipulative and abusive, or someone who is hyper violent and avoids being held accountable for anything. This is an uncharitable interpretation of him and can come off as pretty racist depending on the circumstances. (like if someone considers the turtles black or not)

Every version of Mikey is a shithead (affectionate), even this one. Especially this one, really. When Mikey not doing the "baby schtick" hes mean. If you pay attention to what he's saying, and just not his tone of voice, he's consistently saying pretty mean or condescending stuff. (You could take this as simply naïveté, but he still says mean shit pretty often regardless)

The times he does say genuinely nice stuff the turtles don't exactly expect it from him, at least, in the early season. And while he is mean, and seems to find saying mean things to be funny, Mikey isn't cruel. Nor will he ever be.

This shit-headery behavior is found in both 2003 and 18 Mikey. They have a degree of social intelligence that lets them use it to annoy people into doing what they want. 18 just has the advantage of being baby faced and having better tonal control. He's good at using people's perception of him to get what he wants.

Let Mikey have his problematic traits, but don't overexaggerate them. He doesn't revel in fooling people. He loves doing character bits, and the baby faced one just happens to be one of them. However, to infantilize or to deem him incompetent is to piss him off, he wants to be viewed as a competent part of the team and competent as an individual. He's not insecure about being young, he just doesn't want to be treated like he can't do anything.

Mikey above all is an optimistic character, he sees the brighter side quite often and is conscious of the harm his actions have on people. Mostly after the fact, but he consistently attempts to rectify the harm he has personally done to peoples lives. (Todd, Bullhop, Draxum). Food and shelter seems to be a thing that he considers to be a right. He doesn't cross a boundary twice once he learns of it, and he never pushes people too far (if he likes you, that is. if he doesn't know you or doesn't like you, he doesn't give a singular shit. But that is standard to most people.). He doesn't care about people's stuff, though. He breaks things all the time.

Mikey understands boundaries, but he doesn't automatically recognize them. He needs them to verbalized or for there to be a very obvious reaction to the boundary being crossed (unfortunately, for Todd and Donnie). Sometimes people mess up (esp. younger people), and it can take a while for teens to learn where boundary is, but he fully respects the boundaries he does know about. He doesn't act petulant when he's told about boundary, he apologizes, accepts it, and moves on. He doesn't dwell.

Mikey doesn't hold on to distressing emotions. He bounces between emotions quickly, but isn't effected in the long run. One thing Iv'e seen people often conflate is the difference between sensitive and vulnerable. Mikey is sensitive, but I have never seen him vulnerable to others. To be sensitive is to be easily influenced by the current situation. To be vulnerable is to hold that influence for a long time. Characters can have one, both, or neither of these traits. But Mikey is not vulnerable. It is the difference between compressing memory foam and a piece of metal until they deform. One will pop back, the other does not.

Those who are vulnerable but not sensitive will take longer to effect, but once you do, they will hold on to that emotion for a very long time. The vulnerable, are grudge holders. (leo). But like I've said, Mikey bounces back. What a character does has an effect on his emotions, but it doesn't make a lasting impression.

Forgiveness is another thing people like to push on him. It is not that Mikey forgives people easily, it's just that he doesn't hold grudges. He neither forgives nor forgets, but he does not ruminate. He's generally affable, first impressions seem to be a big part of how he views people. He is idealistic, and doesn't assume people are unchanging and/or evil, but he's not a mark.

Mikey isn't so much as naive or overly trusting… it's just that he's inexperienced. He doesn't get fooled by anyone in the series except meat sweats, and that's because Meatsweats is on Todd drugs. Mikey just didn't notice when he started faking. He's not… actually all that aware of people's emotional states, passively. He has to tune in to notice things like that.

Mikey isn't someone who really tries to regulate others emotions, either. The fandom like to make Mikey afraid of his brothers fighting and others being upset, but Mikey doesn't actually care. The most distressed we ever see him in a fight is in the movie, and he's not SCARED, he's just concerned (and then alarmed once it turned physical). If anything, outside extenuating circumstances (like the movie), Mikey actually seems to find their fights annoying.

(Mikey actually seems to have a pretty short fuse, but his bounciness doesn't really let it linger very long, lmao)

(One pet peeve of fandom Mikey is the constant crying, crying at fights, crying at insults, crying for no reason all the time. Sure, he tears up when he gets emotional, but when Mikey is genuinely crying It's when he's desperate, like when he's hungry, or when he's trying to save Leo from certain doom. Same thing, really.)

Mikey respects no one (we love him for this). He admires people, he admires his family: April, the turtles, his dad, Lou Jitsu. He admires Rupert Swaggert, but he respects none of them. No one is sacrosanct to the Mikey.

Above all, the way we write characters is to give them a past that informs how they act now. We view Mikey and the other turtles as teenagers that were kids, and that will be adults. Yes they all have “problematic” traits, but 1) good characters need flaws, and controversial traits are one of the best to use, and 2) they're teenagers, don't expect adult behaviors from them, also don't expect them to be kids. They're minors, not toddlers.

This is getting as long enough as it is, so we'll stop here, but this is a very broad overview of how we characterize him. There's a lot we didn't cover here, but if we even started on hobbies, or the real minutia of his quirks and ticks, or even how he feels about other specific characters... we'd be here all day. So I hope this is good enough lol

If there was something you wanted to know in particular, you'll need to get specific. Feel free to ask again ahahh

#residual asks #rottmnt #rottmnt michelangelo #rise mikey #side note:#do not write the characters based on archetypes ah la heroes journey/hero with a thousand faces #(john campbell is a racist sexist pos)#hollywood was ruined by the attempts to copy Star Wars ad infintium #everyone thank co-author for deleting all my vitriol #i am full of rage and too many opinions on the show and how people handle the characters #but co-author is a patient soul who has removed all my dumbassery and wrote half of this #thank you co-author we love you #honestly there is so much i want to include here but i didn't want to make you wait longer than this ahahahah #if any of you want our stuff on the other characters you'll have to ask for them separately #and then wait a week or two lmao #also we have a list of mikeys verbal ticks if you want #ough.. writing words give me tummy ache

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