#as you can maybe tell from the notes i guess

[adoringhaikyuu]

wait omg i love ur stuff, can u mayyybe do one of the “they think you’re pregnant” ones for terushima, iwa, suga and ukai ?? <3

THEY THINK YOU'RE PREGNANT | 4

characters: iwaizumi + sugawara + terushima + ukai + (gn!reader)

warnings: none, but all of the boys are -for- having babies in this!!

notes: this is probably the last one of these i'll do + this has literally taken me so long (3 years) to find inspiration for the last 3 scenarios ahh

 part one / part two / part three / part four

iwaizumi feels like you're hiding something from him. he doesn't know how to explain it, call it his intuition. but he feels like there's something you're not telling him, and for some reason––aka oikawa, he thinks you're pregnant.

"well if you ask me, iwa-chan, it sounds like y/n might be pregnant."

iwaizumi almost choked on air when his best friend uttered those words. was it true? was he really going to be a father? surely you would have told him, right? why wouldn't you? did you think he'd react badly? did you not want to raise a family with him?

oikawa went on, knowing his friend would get too caught up in his thoughts if they stayed in silence.

"took you long enough anyway, i've been waiting to be your kids' favorite uncle." he waved a hand playfully, "and yeah you'll be wonderful parents too, i'm sure."

that made iwaizumi's familiar oikawa-induced scowl return, earning the volleyball player a half-hearted smack on the back of the head.

iwaizumi's gait slows as he walks into your bedroom, noticing you snuggled in the covers, on your phone. when you notice him you quickly smile and greet him, opening your arms for him to give you a hug and he absentmindedly obliges, his body working on it's own through muscle memory. just the sight of you has him feeling tingly and warm.

you can tell he's not fully there when he pulls away, an almost distant look in his eyes that brings a bubble of concern to your stomach. "are you alright?"

you place a hand on his cheek and he leans into it, tilting his head, his eyes cast down as he sits next to you and wraps his arms around your waist.

his voice is small when he speaks up. "you know you can tell me anything, right?"

you frown, "of course. why?"

you tilt your head to catch his eye and he finally looks up, a hesitant and somewhat fearful look in his gaze. it's not that he was scared that you were pregnant, no. it's that he was worried you wanted to keep it from him.

his hand subconsciously drifted closer to your stomach. "are you pregnant?"

you froze and blinked once, your hand dropping from his face in shock. you don't know what you were expecting but it wasn't that. "wh––no? haji i would have told you if i was. where is this coming from?"

suddenly an embarrassed blush rose to his cheeks as his eyes widened. "uh i don't––" he sighed and let his head drop down, his voice stooping to a mumble. "shittykawa."

you raised a brow, letting out a breath of laughter that brought a smile to his lips. "trust me when i say i would tell you before oikawa if we were having a baby."

iwaizumi nodded, wanting nothing more than to hide his face. so he did, playfully tackling you, the smile on his face widening when you let out a surprised yelp mixed with a laugh as he buried his face in the crook of your neck, wrapping his arms around you to hold you close.

you quickly melted into him, wrapping yourself around him, tangling your legs together in the bed.

his voice was partly muffled as he spoke up, "guess i'll have to tell crappykawa he won't be an uncle as soon as he thought. poor guy was excited too."

you paused, your hand mindlessly playing with his hair. "...i mean...maybe he could be."

iwaizumi's breath hitched and he raised his head to look at the sheepish smile on your face. "yeah?"

you nodded. "yeah." you shrugged, "i'm ready if you are."

his heart started to beat faster, swelling with love as he leaned in to give you a sweet kiss. "i've been ready, doll."

sugawara has had an extra pep in his step all day. he woke up earlier than you to use the bathroom and when he slid back under the covers, you spoke up in your sleep, mumbling.

"mm need to tell...koshi...bout the baby."

his eyes widened, heart rate picking up as he stared at you. should he wake you up? should he call daichi? he was too excited he didn't know what to do.

he kissed you on the cheek and turned on his side to watch you with a smile on his face. he started thinking about what life was going to be like with a mini you with cute chubby cheeks.

he ended up not being able to fall back asleep, so he got an early start to his day. when you finally woke up later, he had already pretty much had a full day, prepping to be the best dad and partner during your pregnancy. he stocked up on all your favorite snacks and ingredients for your favorite meals, along with a bouquet with your favorite flowers. he was also wearing your favorite outfit on him, his softest hoodie for you to cuddle into.

he also made your favorite breakfast, you realized as you walked into the kitchen, a loving smile growing on your face. "kou what's all this for?" you immediately walked into his arms, nuzzling into the fabric of his hoodie. you looked up at him with hearts in your eyes.

"just wanted to remind you how special you are to me, and that i'll always take care of you."

"aw baby."

"so uh is there anything you wanna tell me?" he looked at you hopeful, a smile on his face.

you perked up and his smile widened. "oh, thank you baby, really. you're so sweet to me." you squeezed him tighter.

his smile faltered slightly. "anything else?"

you tilted your head. "um, i love you?"

"i love you too babe." he laughed awkwardly, scratching the back of his head. "nothing uh...nothing else?"

your brows furrowed, an unsure smile on your face. "i don't think so?"

"you know you can tell me anything, right? especially if it's about us?"

"yeah of course i do. but i don't know what you're talking about?"

"the...the baby?"

you blinked. "whose baby?"

he blinked back. "...ours?"

"we don't have a baby...?"

"i thought...i thought we were having one?"

"...why?"

"you said...in your sleep this morning you said you had to tell me about the baby." he smiled, embarrassed. "and now i'm realizing you were probably just mumbling nonsense." he laughed. "sorry babe."

"aw kou," you pouted, both at how cute he is and how thoughful he is to have done all this for you. "you seemed so excited."

he kissed your cheek, smiling "yeah, but i can wait."

you bit your lip. "hm, well maybe...you don't have to wait that long? if you're ready."

he beamed at you, eyes tearing up, heart swelling with love for you. "i've been ready, love."

terushima was seeing signs everywhere. he had a strong suspicion that you were pregnant, and he always trusted his gut.

you'd been moody, clingy sometimes and then absolutely disturbed by his presence within a split second. and then there's the food––

"yujiii"

he came tentatively into the room, slightly afraid. "yes, my love?"

"i'm really craving the sushi from that one place we tried last time."

"the place all the way across town?"

you started to pout, tears forming in your eyes.

"no no no, hey hey, it's okay! we can just order, yeah?"

smiling, you nodded and beckoned him over for a hug. "thank you baby."

he came into your arms, basically sighing in relief. nuzzling into your neck, he mumbled, "this baby's really putting me through the ringer, but i know it'll all be worth it."

you stiffened and he immediately tensed, holding his breath. he didn't mean to say that out loud.

he tried to keep you close but you managed to pull back and look at him. "baby?"

"well yeah..." he looked down to your stomach and back into your eyes.

your eyes narrowed, your left one starting to twitch. "i'm not pregnant."

slowly, he started to back up, eyes wide. "oh–i just..."

"i'm on my period, dumbass!"

he almost tripped on the rug behind him and ran for the door. "i'm gonna order your food baby okay! forget what i just said!"

ukai wasn't a superstitious man. but something about his dream last night was making him think you were pregnant. mainly because you were pregnant in the dream.

he walked into the living room and leaned against the wall as naturally as he could, though he felt more awkward than ever for some reason, glancing at you on the couch and looking away again and again. how should he ask this?

"have you ever thought about what it'd be like if we had one of those little shits running around the house?" he cringed internally, probably not like that.

your brows furrowed in confusion, "you mean a dog?"

a flash of irritation crossed his face, moreso at the fact that he phrased his question so poorly. what was he thinking?

"n-no not like a dog. like...a little minion, you know?"

you tilted your head, even more confused. "a minion?"

he sighed, exasperated "yeah, you know. like...like a kid. our kid."

your brows raised in surprise. "oh––well..." you paused for a moment. "i mean, of course i have."

"i think you're pregnant." he facepalmed in his mind.

"...what?" you looked around, not quite knowing what to think.

he simply nodded, convinced.

"are you saying i've gained weight?"

his eyes widened in panic and he crossed the room in two steps, coming to sit next to you on the couch. "no! no, of course not babe."

"well...then why do you think that?"

"i uh..." he scratched the back of his neck, looking around. "i had a dream."

"a dream?"

"yeah." he looked at you, curious. "have you had any dreams recently?"

"not that i remember..." you looked at him weirdly, slightly concerned by your boyfriend's strangeness. "what happened in your dream?"

"you were pregnant."

you blinked at him. "okay..."

he simply looked at you like you should understand where he was coming from.

"and how did dream you react?"

he placed his chin between his thumb and pointer finger, looking up as he tried to recall. a small smile appeared on his face, "well, i was pretty happy, pretty sure i almost had happy tears." he laughed, almost fondly.

you couldn't help but let a little smile slip at your ridiculous boyfriend. "kei, did you ever stop to think maybe your brain's trying to tell you that you want a baby?"

his lips parted in shock as he looked back to you, eyes blank, blinking as his brain recalibrated. "well...huh, maybe you're right babe."

your smile grew, "i'm always right."

he rolled his eyes playfully, a smirk on his face. "yeah, yeah."

©adoringhaikyuu 2024 please do not repost

[masterqwertster]

I so agree, with your thoughts about Ashton!

It's odd, to me, that Ashton in particular has garnered so much hatred. If you look back on all of Taliesin's characters across every campaign, he's ultimately not that different in personality from the others, save maybe Caduceus. Percy, Molly, and Ashton are all people who have been deeply beaten down by the circumstances they were forced into, and they gained a rough exterior to protect themselves because of it.

They're snarky, and try to act aloof to keep people at an arm's length, but at their core, they still have bleeding hearts that love much more deeply than they probably wish they did. In other words, they are interesting, multilayered characters, that don't just have one note. It's strange then, that these same characteristics are so widely celebrated with Percy and Molly, but are treated as reasons to hate Ashton in the same breath.

Taliesin is a master at making characters that make you think, and I think Ashton deserves to be celebrated as such, just as much as the others!

To be honest, I can't speak much of previous PCs' reception since I only got into CR Tumblr around Bells Hells arriving in Yios, but I think the difference is framing.

Taliesin has stated that his through-line on his PCs is the characteristic Confidently Wrong.

I would guess that the reason Ashton is catching flak is because:

a) they've got shit Charisma and Taliesin plays that as Doesn't Know What to Say and/or Doesn't Know When to Shut Up. Which on a disillusioned/cynical punk is... abrasive to say the least. They tell their truths with little to no filter, or much thought at times about how true those things are for others. Meanwhile, Molly and Percy are charming in carny and nobility ways respectively, while Caduceus has a calm, homey charm. Ashton is semi-intentionally off-putting, and pretty constantly cranky to some degree from chronic pain.

and b) Recently, Ashton is Confidently Wrong about a subject any attentive watcher can tag as being wrong and has major consequences on the world if acted on. Like, yes, you don't want a heartless, powerful murderer to push the Doomsday Button. But your group of caring, weak(? not really anymore) chucklefuck friends pushing the button doesn't change its doomsday nature or really make it any better. Also, all your information on what the Doomsday Button does exactly is suspect. I don't think any of the other's Confidently Wrong subjects were so potentially devastating for more than themselves or their parties rather than the globe. It's easier to grant grace when you're fucking over less people.

Now do I wish Ashton would get a clue that releasing Predathos is bad, period? Absolutely. But I also have been watching him and when they get an idea in their head, he tends to stick to it until proven wrong (think the Spark mess. Fearne hesitated last second, Ashton didn't). And the idea in their head right now is: The gods need to leave, their thrones need to be destroyed.

I think part of Ashton's rage at the gods that fuels this idea is wanting someone to blame that isn't himself for his shit life, and finding the gods a good target for blame, as Taliesin has mentioned on 4-Sided Dive before. And I think part of it is that FCG did a lot of proclaiming to be on the anti-Ludinus/Predathos stuff to save his goddess, and then he died as part of their missions, and then Ashton was shown a video about how the gods absolutely will sacrifice their followers to save their own asses. Which is kind of the situation FCG died in, if you slant it a bit and act like FCG wasn't mainly choosing to save their friends in the moment rather than the gods long-term. So it probably feels better to Ashton to throw some of that anger about FCG making the sacrificial play that he's been trying so hard to prevent at the gods who FCG was trying to serve.

And I get that not everyone wants to do the analysis on why Ashton is picking the path he is. That they don't want to take time to acknowledge his lack of social graces and the bias of his views, and would rather just get to attacking the faulty, insensitive rhetoric Ashton's spouting at the moment. But like, there's reasons Ashton is the way they are, and it doesn't hurt to acknowledge them even as you hard disagree with what's being said or strived for.

[revolu]

I'm dropping (a bit old) john laurens yap here. Please correct anything you must + provide the source.

and we know very limited about John but whatever !!

Laurens was described by Hamilton to have honey blonde hair when clean. His hair was generally said to be light brown/blonde. As seen on portraits, he had soft features, blue eyes, and a big nose. He was described to be very handsome, and IMO I agree!! We don't know exactly how tall he was, but he was most likely over 6 feet. One day before Laurens' 15th birthday, his father wrote to James Grant; ''my Little Jack, now as big as I am...'' (Jack being John's nickname). We don't know Henry Laurens' height, but if he was as tall as Henry at 15, he certainly grew to be taller. In 1778, Henry wrote to John ''A Taylor has cut off as much of your Scarlet as will make he says a Wascoat for 6 feet 3 inches...'' which suggests that John could have been 6'3. It's not clear what exactly Henry means in the letter but as said, John was probably over 6 feet. Laurens was one of the strongest abolitionists of the time despite coming from one of the bigger slave plantations and growing up where slavery was normal. John could speak English, French, Italian, Greek, Spanish and Latin. We know that he was fluent in English and French but we don't know about his fluency in the other languages.

Laurens got Martha Manning pregnant and ended up marrying her out of pity (supposedly to protect her reputation too and to keep illegitimacy of their child.) He wrote to his uncle ''...Pity has obliged me to marry...'', When Laurens left for war, he left his pregnant wife in another country. When John was chosen by congress to be a special minister to France and had him travel there, Martha traveled with their daughter to reconnect with him upon hearing about his arrival in France. But John supposedly made no effort whatsoever to visit them; he completed his mission and went back to America. Martha later died during the trip and their daughter, Frances, was sent to live with her aunt.

John Laurens is believed to have been gay... The man didn't seem to express any attraction towards women, though I think his sexist beliefs played a role in this, as well as his lack of effort to humble his wife. His letters to Alexander Hamilton, and Francis Kinloch also suggest he had an eye for men... ESPECIALLY Kinloch's and his correspondence.

Henry Laurens wrote ''Master Jack is too closely wedded to his studies to think about any of the Miss Nanny's''. But it's important to note that he was a teenager at that time and not every teen develops those feelings at the same time. But I would imagine that since he was as tall as his father at 15, he was early in puberty... Romantic/sexual feelings usually come with puberty, but what do we know? Anyways. John expressed a lot of sexist opinions, even towards his own sisters, which can be read in letters. Most men were sexist, but John seemed to be more ''strict'' on the subject... This definitely plays a part in his supposed ''homosexuality''.

John hid the fact that he had a wife and child from Hamilton for nearly two years. Why? The reason is unknown. It's only up to debate. My guess is that he just wanted to try to ''forget'' them in some way, seeing as he literally left them... Why would you bring up that you have a family that you abandoned? But maybe it was because he never found the right time to tell him, or was it to get a better chance with Hamilton? We will never know, sadly. But what we DO know, is that Laurens referred to his wife as ''dear girl'', and Hamilton, and supposedly ONLY Hamilton, as ''Dear boy''. We know for a fact that Hamilton was close to Laurens and was special to him, but why did he call his wife that? Out of pity? He didn't necessarily show any real attraction towards her... But whatever the reason is, it's kinda cute.

We know that Henry Laurens was emotionally manipulative of John, which is like read in letters... So there is no denying that, really. BUT John was close to his father, attachment issues tsk, tsk tsk... But jokes aside, when John told his father that he wasn't super interested in becoming a lawyer or merchant like his father wanted, Henry wrote this to his brother; ''if he enters upon the plan of Life which he Seemed to pant for when he wrote the 5th. July, I Shall give him up for lost & he will very Soon reproach himSelf for his want of Duty & affection towards me, for abandoning his Brothers & Sisters, for disregarding the Council of his Uncle, & for his deficiency of common understanding, in making Such a choice_ if these reflections prevail not over him, nothing will_ he must have his own way & I must be content with the remembrance, that I had a Son.'' Basically, Henry said he would disown John if he pursued his interests in medicine. So, John ended up becoming a lawyer/statesman to please his father. There are more examples of John trying to please his father, but let's not take that now... HOWEVER, after John had died, Henry wrote of him in response to John Adams' letter; ''Thank God I had a Son who dared to die in defence of his Country'' ... We get a lot of mixed signals from Henry... Though I do believe he loved him, at least somewhat.., even if he was controlling/manipulative. Henry wasn't too nice to his other children either, but since this is about John I'm not gonna talk about that.

John's brother James died at the age of 9-10 (1765-1775)

James, or Jemmy, was supposedly scaling the outside of their house and tried to jump to the landing outside of John’s window but fell. He received life threatening injuries and cracked his skull. The doctors had figured that the injuries were too severe to save him and John described it to his uncle four days later; "At some Intervals he had his senses, so far as to be able to answer single Questions, to beckon to me, and to form his Lips to kiss me, but for the most part he was delirious, and frequently unable to articulate. Puking, Convulsions never very violent, and latterly so gentle as scarcely to be perceived, or deserve the Name, ensued, and Nature yielded."

Since John was supposed to watch over James during this time, John felt guilty and as if it was his fault. James' death was very difficult for John, and it weighed heavily on him.

Henry did little to alleviate those feelings of guilt, which suggests that he either didn't care enough, or that a part of him also blamed John. (I am not saying he 100% did, but it would not be surprising if he so did, considering how he treated John.)

He could also have been in too much grief to console John... Which, as said, would not be too surprising considering his treatment of John. But nevertheless, he did not do much to help John and John's guilt.

TW: mentions of suicide.

It is highly speculated that John was suicidal. We have a couple of written exchanges where John discusses suicide with friends and family. In February 1774, John wrote to Henry Laurens about two men who had attempted suicide. We don't have the whole letter, but here is a part of Henry's response; ''...But, my Dear Son, I trust that your opinion on that Question is So firm, that you are armed with Such irrefragable proofs of the Impiety as well as Cowardice of Self Murther, as puts you out of danger of being made a Convert to Error...'' (Not gonna put all of it). Another time, when John was a prisoner of war and didn't handle imprisonment well, Hamilton wrote to John ''For your own sake, for my sake, for the public sake, I shall pray for the success of the attempt (of being exchanged) you mention; that you may have it in your power to act with us. But if you should be disappointed, bear it like a man; have recourse, neither to the dagger, nor to the poisoned bowl, nor to the rope.'' It is clear that Hamilton (and Henry, despite how he treated John) were worried about John's thoughts of suicide. John's last letter to Hamilton was probably one of the, if not the, most emotional. He wrote ''Adieu, my dear friend; while circumstances place so great distance between us, I entreat you not to withdraw the consolation of your letters. You know the unalterable sentiments of your affectionate Laurens.'' John died about a month later. On the day of his death, John and his men surprised a troop of British soldiers that outnumbered them. Instead of retreating, John chose to immediately attack. He did not really actively end his own life, though it seems as if it was planned or that he was trying. Which is just sad. Also, it's not sure that Hamilton's last letter to Laurens ever got to him before he died. (In that letter he tells John to quit his sword and come to congress with Hamilton)

I don't know what else to add actually but here you have it!! This is as accurate as I can get it, especially cause it's like mostly based on letters... Uhm. But yay!

[0omillo0]

Model! Han Jisung x Interviewer! Reader

Love at first sight

Han is called by Balmain to attend his fashion show, but he doesn't know that that night his eyes will meet the ones of his soulmate

( 🫧 ) fluff!!

masterlist

The air buzzed with excitement in the heart of Paris as fashion enthusiasts and celebrities gathered outside the grand Palais des Congrès. Laughter and chatter filled the space, and the scent of fresh croissants wafted through the air, mingling with the high-end perfumes of the crowd. The sun cast a warm glow over the gathered throng, illuminating the diverse styles decked out for the Balmain fashion show.

Among the crowd, Han Jisung adjusted his tailored Balmain blazer, its sharp lines accentuating his slender frame. He smiled at the cameras flashing around him, but his thoughts drifted beyond the lenses. He was here for more than just the fashion; he craved something real, something he hadn’t found in the industry yet.

As the show began, the atmosphere shifted. Models glided down the runway, showcasing bold silhouettes and vibrant colors. Amidst the dazzle, a voice broke through the sounds of gasps and applause.

“Han Jisung! Over here!”

He turned to see a woman waving a microphone, her eyes sparkling with enthusiasm. She was a reporter, her name tag identifying her as Y/N. Jisung felt a magnetic pull towards her, a warmth that filled the air between them.

“Can we grab a quick interview?” she asked, her voice confident yet friendly.

“Sure!” he replied, taking a step closer. The noise of the crowd faded as their eyes locked. “What do you want to know?”

“First, what’s it like walking the Balmain show?” Y/N asked, her curiosity genuine.

“It’s exhilarating,” he replied, a grin forming. “The energy of the crowd, the designs... it’s all so inspiring. I feel like I’m part of something bigger.”

Y/N noted his passion, her heart fluttering. “What do you think sets Balmain apart from other brands?”

“Balmain is about boldness,” he said, his expression earnest. “Every piece tells a story, and I love being part of that narrative.”

Her pen scribbled notes furiously, but her attention remained on him. “And what story do you want to tell today?”

He paused, considering his words. “Today, I want to show that fashion can be both art and a reflection of self. It’s important to stay true to who you are. Also I’m glad Oliver himself gave me this opportunity.”

“Beautifully said,” Y/N smiled, captivated. “What’s next for you?”

“I’m working on some personal projects,” Jisung replied, his gaze unwavering. “I want to explore music more deeply, and maybe, a collaboration with some artists. Fashion is just one part of my expression.”

Their conversation flowed effortlessly, the buzz of the fashion show becoming a distant hum. Jisung leaned closer, as if sharing a secret. “And what about you? What brought you to Paris?”

Y/N hesitated, then chuckled softly. “I’ve always dreamed of being in the fashion capital, interviewing the most talented people. I guess you could say I’m living my dream, but it’s hard to keep up with all the glamour.”

“Don’t sell yourself short,” he countered, his voice low and sincere. “You’re doing amazing work. And you definitely have a way of making an interview feel... special.”

As the show concluded, the crowd erupted in applause. Jisung glanced at Y/N, who was still watching him, her eyes filled with admiration. “I really appreciate this time, Y/N. It’s not often I feel this connection during interviews.”

“Likewise,” she replied, a blush creeping up her cheeks.

“I just realized,” he said, his expression shifting slightly. “I forgot my phone at the hotel. Could I borrow yours to call someone?”

“Of course!” Y/N responded, handing him her phone, a flutter of excitement swirling in her stomach.

He took the device, his fingers brushing against hers as he dialed a number. But he didn’t call anyone, instead he gave her her phone back. Confused, she looks at her phone reading in the notes his number and ‘Call me when you want :)’

“Wait, you’re giving me your number?” she asked, surprised.

“Yeah, I mean, why not? We had a great conversation,” he replied with a playful smile. “And who knows, maybe I could use your help navigating the Parisian scene.”

Her heart raced as she took the slip of paper he handed her. “I’ll definitely keep this,” she said, tucking it away. “I’d love to help.”

“Great! Maybe we can grab coffee or something?” Jisung suggested, his eyes hopeful.

“Absolutely,” she said, feeling a surge of excitement. “I’d love that.”

As the crowd began to disperse, Y/N felt an urge to seize the moment. “Why don’t you come to my apartment after the show? It’s not far from here. We could talk more, maybe about that collaboration you mentioned. I don’t want to sound to.. hasty tho!! Feel free to refuse!”

“Really?” His face lit up, and a grin spread across his lips. “I’d love to. Just give me a second to change out of this suit.”

“Take your time. I’ll be waiting,” she replied, her heart pounding.

A short while later, they met outside, Jisung now in a casual yet stylish outfit. He walked beside her through the charming Parisian streets, the sun setting and casting a golden glow on everything.

“This city is incredible,” he said, glancing around. “I can see why people fall in love with it.”

“It’s even better when you’re exploring it with someone,” Y/N said, glancing sideways at him, the connection between them palpable.

They arrived at her apartment, a cozy place filled with eclectic decor and soft lighting. Y/N gestured for him to sit as she poured two glasses of wine.

“Cheers to new friendships,” she said, raising her glass.

“Cheers,” he echoed, clinking his glass against hers, their fingers brushing again.

As they sipped their wine, the conversation flowed easily, laughter punctuating the air. Jisung leaned in closer, his voice a soft murmur. “You know, I’ve never felt this way about someone I just met.”

“Me neither,” Y/N confessed, her heart fluttering as she met his gaze. “It’s like... there’s something special here.”

He sighed, a content smile on his lips. “We should enjoy this moment, whatever it is.”

Y/N watched him, captivated by the way his eyes sparkled. “Agreed. But I can’t help but wonder what happens next.”

“Let’s not think about the ‘next’ just yet,” he said, moving a little closer. “Let’s just enjoy what we have right now.”

With the atmosphere thickening, Y/N felt a rush of courage. “Jisung,” she murmured, “would it be too forward if I said I really want to kiss you?”

His breath caught, his eyes widening slightly before a soft chuckle escaped his lips. “I was hoping you’d say that.”

And just like that, the space between them shrank, the world outside fading away. Jisung cupped her face gently, leaning in until their lips met. It was a sweet, tentative kiss that quickly deepened, filled with the promise of something beautiful.

When they finally pulled away, both breathless, Y/N smiled shyly. “Wow. I didn’t expect that.”

“Neither did I,” Jisung admitted, his forehead resting against hers. “But I’m glad it happened.”

Y/N gazed into his eyes, feeling a warmth spread through her. “So, what do we do now?”

“Let’s keep this between us for now,” he suggested, a mischievous glint in his eyes. “I think we have something worth exploring.”

“I like the sound of that,” she said, her heart soaring. “A secret romance in the city of love.”

“Exactly,” he replied, a smile playing on his lips. “Just you, me, and Paris.”

As the sun dipped below the horizon, the city lights began to twinkle, reflecting the magic of their newfound connection—a love that blossomed amidst the glamour and chaos, hidden yet vibrant, waiting to unfold.

As days turned into weeks, their secret meetings became the highlight of both their lives. They strolled through cobblestone streets, shared quiet dinners in tucked-away bistros, and found solace in each other’s laughter.

One evening, as they sat on a balcony overlooking the Seine, Y/N turned to Jisung, her heart full. “What if we told the world?”

He paused, his gaze thoughtful. “I want to, but I’m afraid of how it might change things. The industry can be harsh.”

She nodded, understanding the weight of his words. “But we can’t keep hiding forever. I want to be proud of what we have.”

“Me too,” he admitted, taking her hand. “Let’s give it time. We can enjoy this moment without the pressure of the world watching.”

Y/N smiled, feeling reassured. “Okay. We’ll take it slow.”

Their connection deepened, the love that had sparked in Paris growing into something beautiful and real. They learned to navigate the complexities of their lives, balancing their careers with their devotion to each other, always cherishing the moments stolen beneath the Parisian sky.

And as they embraced the uncertainty of their future, one thing remained clear—their love was worth every risk, every whispered secret, and every stolen kiss. In the city of love, they had found each other, and that was more than enough.

[allzelemonz]

Bears: Bill Williamson X Male Reader

Pronouns: he/him, Reader referred to as ‘guy’ Physical Sex: AMAB Rating: E/Smut Warnings: reader mentioned to be a bigger guy, honestly just two bears fucking, real simple, robbery, forced proximity, groping, oral sex, face sitting, anal sex Summary: After being split from the gang, you get lost between Bill’s legs.

It wasn’t the intention of Dutch to get the gang split by the tracks, but that’s what happened. He, Arthur, and Javier on one side while you and Bill ended up on the other. The train roars past after the failed attempt to stop it and law is already shouting over the hill. Whatever orders Dutch yells are drowned out by everything else. The horses were spooked, leaving you to push Bill along the hill to hide in the trees as the law scrambles to find whatever outlaws linger. They spit the others through the passing train cars and bolt around, forcing the others to run.

“Ah, shit.” Bill grumbles. “Ain’t no way ta catch up now.”

“Camp’s that way, can’t even risk running into trouble without Dutch finding out.” You glance around, looking for a solution. “There’s a cabin.”

“Spendin’ the night? All the damn whiskey’s in my saddlebag”

“Do you want to risk running into the law right now?”

Bill huffs, slinging his rifle over his shoulder and beginning the trudge into the trees. You look back towards the tracks and take note of the minuscule retreating figures. Your horses should find their way back here now that it’s not so loud and you’ll hopefully be back at camp by noon tomorrow at least.

Following after Bill, you find the cabin you spotted to be more of a small shack. Big enough for a single hunter out here alone, but certainly not for two grown men. Bill eyes the bed as you step through the doorway and falls onto it before you can even suggest an alternative.

“Think I’m entitled to a good nap.” Bill sighs, putting his arms behind his head.

Not even a second later, the weak legs give out under him and bed planks fall to the floor. Bill flails, ending up a pile of clothing and hair among the broken wood.

“Looks like no one gets good sleep, great job.”

Bill scoffs at you, rolling himself out of the mess of wood. “Ah, shut it, thing’s made like a cheap shelf.”

“Maybe you shouldn’t have jumped on it.”

Bill scowls up at you from the floor, his face already red from the situation. “I ain’t jumpin’! Damn thing just ain’t built right!”

“Just sleep on the floor, Williamson.” You sigh, kicking the wood against the wall to make room for both of you on the floor. “Ain’t like we don’t both sleep on the ground most nights anyway.”

Bill grumbles as he does when sober and grumpy, but he curls up on his side and tries to sleep all the same. You settle yourself next to him, not much room with all the broken bed taking space. Still, you both find sleep easily after the long day of failed robbery.

Sometime in the night your eyes open, moonlight blinding you for a moment as it streams through the cracks in the poorly built shack. There’s a weight on you, nothing that hasn’t happened before when bunking so close to another member of the gang. Bill has his arm slung over you and his body pressed to your back. Not as clingy as Arthur the last time you ended up sharing a tent with him, but still not easy to wiggle away from.

Nonetheless, you try. But after just the slightest movement, you feel that all telling hardness poking at your leg. And when you still, Bill cuddles closer, bringing the feeling of his whole length up against you. Even from sitting against his softer leg, you can guess how big it really is. Just the thought of it makes your own dick twitch to life in your pants. When bunking with other gang members, you had never been presented with this situation, but something about Bill getting hard and cuddling up to you makes you want to take care of two problems in one.

You twist on the floor, turning onto your back and shake Bill awake. He groans and grumbles before opening his eyes and staring up at you sleepily.

“Wha’ is it?” He slurs.

“You got a hard problem, Bill.”

Bill’s brow furrows for a moment before he feels it against his leg and his face instantly goes a little pink as he blinks rapidly. “I… that… that happens to every man at some point, i-it don’t mean nothin’!”

“Relax.” You say softly. “You have no idea how okay with it I am…”

“You…” Bill stares for a moment. “You’re…”

“Let me help you. Whatever you want.”

“…ain’t a trick?”

You shake your head. “Ain’t a trick.”

Bill shuffles a bit on his side. “So… so I could just… maybe, uh… get on ya an’…”

“Yeah.” You nod, settling onto your back and letting your legs part naturally. “I’m just as hard, don’t worry.”

Bill’s eyes trail past your gunbelt, his hand not hesitating to reach out and squeeze at the bulge like it had a mind all its own. You let your head rest back against the floor, grinding gently back against Bill’s squeezing hand. He seems transfixed by it, just watching the bulging fabric move as he plays with the hardness underneath.

His voice comes out like a croak, quiet and hoarse. “Can… Can I sit on yer face?”

The thought of getting lost between Bill’s thighs and drowning with his dick down your throat makes your voice shake. “Yeah…”

Bill looks up at you like he expected you to beat the shit out of him for giving the suggestion, but in the next few seconds he’s frantically tugging his pants off and throwing his gunbelt aside. You place gentle hands on his thighs as he climbs over you. The thick legs settle on either side of your head and his length dangles just above your face as he looks down with such lit up eyes you’d think he found a million dollars.

You give his thighs a gentle squeeze and Bill shutters as your fingers cling into the thick skin. He takes himself in hand, leaning down to press his tip to your lips. You open without question and press a soft kiss to it, bringing a choked moan from Bill. He leans forward, pressing himself into your mouth as he leans over you. It slides in like it’s home, his hips keeping it out of your throat for now but quivering in anticipation. His stomach presses against your head, giving you the perfect chance to inhale the deep scent of sweat and strong body odor from his groin.

The quivering gives way as he starts to move, letting all his weight onto you as he thrusts down your throat. You relax yourself, letting everything swallow you as Bill simply loses himself in fucking down into the wet hole between his legs. He loses it fast, frantically chasing the feeling building in his gut as he drowns you in thick skin and bushy hair, both topped with sweat and now messed with spit.

You grip onto his ass, stilling the jiggling skin in your hands and squeezing hard as you try to get him as far into your throat as possible before he finishes. Bill encloses thick thighs even tighter around your head, his balls settling down across your chin as he cums down your throat. Little thrusts and twitches escape from his hips as he tries to milk himself through whimpers muffled by his arm. Then he settles, spent and satisfied.

You rub gently at his ass, letting him recover before he picks himself up. He sits up, looking down at the sight of his dick slowly withdrawing from your mouth with hooded eyes. You take a breath through your nose and close your eyes, letting the taste of sweaty gunpowder linger while it can. Bill shifts above you, his weight moving down to your legs from your chest and you can feel his hands unfastening your pants.

Just as he’s pulling you out, you open your eyes. A string of spit falls from his mouth and lands perfectly on your tip. You shudder at the cold, but Bill's hand follows to spread it over you and the shudder is joined by a groan. Bill pumps you a few times with hard squeezes before he climbs over you again, this time settling himself over your legs. Words catch in your throat as he sinks down onto you, his ass so warm and tight it makes your vision white for just a second. You sink into him until he’s sat right on your legs, his hole so wet it must have been pre-prepared.

“Bill…” You groan as he lifts himself up. “You… you’re wet?”

He drops his hands to rest in your chest, squeezing your pecs through your shirt as he starts to bounce in earnest. “Yeah…” He groans as you hit that spot just right. “Stretch before a job… then find something big after…”

You watch, a bit in awe as Bill bounces on you. His body moves in turn, stomach and all jiggling in a way that makes your own stomach twist closer to release. “Damn, you’re so good, Bill… soft and— shit!”

He sinks down into you again, grinding down into your lap and squishing your balls against his ass. “Yeah, you like a big man, don’t ya?” He chuckles, a hand coming up to unbutton his shirt so you can see his hairy torso properly. “Knew you would… heavy guy like you just wants someone that can take him.”

He starts his pace again, the sight of his bare chest and stomach jiggling with each bounce makes your hands reach out on their own. You grip at his stomach and watch as your hands disappear into his chest hair on the way up. It takes only a few more bounces, just a handful of times to sink into Bill, before you’re cumming into him. He makes sure to put all of his weight into you, taking you as deep as possible while you coat his insides.

Your vision is blurry for a moment after, but you feel the loss of heat and know Bill has rolled off. Between rapid blinks, you can see him on his back beside you, a hand on his bare stomach as he pants but with a huge grin plastered on his face. You shuffle closer, tugging his arm until he’s rolled on his side and cuddling into your chest. He’s sweaty and overheated, but everything is too blurry and your brain is still buzzing. You just hurry your nose into his hair and press a kiss to the balding spot on his head before drifting to sleep.

[hanjisungslag]

attack on titan headcanons #13

synopsis: they love you but, you love their best friend.

characters involved: eren, mikasa, armin, sasha, connie, jean, reiner, bertolt, annie, levi, erwin & hange

notes: i made my first ever lengthy fanfic! first 3 episodes are out so, go check it out!!

☆ eren jaeger - armin arlert

his heart is crushed to smithereens but, he’ll never ever show it because as long as your happy, that’s all he can ask for in this dreadful world plus, i’m sure armin would be happy for you so… it’s a bonus. i guess. he’ll be fine watching you two get together (no he won’t) (he’ll cry and punch a lot of things).

☆ armin arlert - mikasa ackerman

he gets it, mikasa is way better than him in several different ways but also, stronger than him. she has the resilience for what it takes to survive in this world, she’s not called a 100 man army for no reason! she can protect you and probably love you better than he could. finding out this news takes a huge toll on his self esteem to be honest 🙁.

☆ mikasa ackerman - eren jaeger

oh, TRUST ME! she’s been there and done that, she gets it, if not more than anyone. she feels very conflicted because she got over eren… developed feelings for you… now, you like eren? it genuinely just feels like someone’s playing a sick joke on her.

☆ jean kirsten - connie springer

okay this actually kind of shocked jean because he thought was IN, he was complimenting you, you seemed to be liking it and taking them well plus, you spent a lot of time together! but then, he found out from reiner that you were gossiping with the girls, giggling about connie… maybe he’s funnier? kinder to you? more… handsome?!

☆ connie springer - sasha braus

wow. he loves sasha but cmon, SHES SO STUPID😭. he starts being really mean about her, not to her face, but he’ll make a sly comment here and there in front of people. oh, she messed up on the training? god, she’s so incapable! she tripped and fell? god, she’s so unaware of her surroundings! how stupid, amirite? don’t fret, jean is always there to wack him over the head and tell him to shape up. he only does it because it genuinely really upset him. he liked you a lot.

☆ sasha braus - jean kirsten

oh! i mean i guess that makes sense, sasha is just kind of a kind of silly food lover but jean… jean is ambitious, strong and motivated. maybe that’s what you want in a partner. she definitely changes her habits just out of feeling sad, like not eating as much, being more quiet, becoming less playful etc. everyone’s super worried but she barely realises she’s doing it.

☆ reiner braun - annie leonhart

well i be damned 💀. reiner never thought he’d see the day but here we are, you like annie and he likes you. he likes annie, don’t get me wrong, and he totally sees her good traits but like… really? you have a CRUSH on annie leonhart? he’s more confused than anything. honestly he’s grateful after a while (not really) because you’re a devil (you’re not to him, you look like you’ve fallen from the heavens) and he has to kill you (he would never).

☆ bertolt hoover - reiner braun

deep sigh. deepest of sighs. QUICK EVERYONE ACT SURPRISED! bertolt has always been in reiners shadow, just because he’s more reserved doesn’t mean he’s any lesser than reiner, cmon! but, he realised that maybe you just want someone like reiner, someone’s who is extroverted and manly.

☆ annie leonhart - bertolt hoover

well then, this is quite the turn of event. annie and bertolt were so close, she can totally see why you’d like him and it’s a TOTAL weight off her shoulders. she would’ve never confessed, girls got too much going on so, thank god your eyes wandered somewhere else. but, it doesn’t make it any less harder watching you and bertolt…

☆ levi ackerman - hange zoë

yeah no, like he totally gets it 😂😂😂. you totally didn’t break his heart FOR THE MILLIONTH TIME IN THIS MANS LIFETIME. bro cannot catch a break… it’s chill though. he’s chill, your chill, everyone’s chill (i’m so upset i have to write this) although, he will act more irritated with hange, even more than usual, he’ll act like they’re a pain in the arse. but, it’s understandable hange is, after all, more fun, talkative, intelligent and an all round better person to be with.

☆ erwin smith - levi ackerman

SECOND PERSON THATS BEEN SNATCHED FROM ERWIN but, at least it’s not nile dok again. he totalllyyy gets it like, it’s the levi ackerman. the worlds strongest soldier? hello?? he may be short but he’s strong, fearless, can protect you and goodness gracious he is handsome!! it’s hard for erwin to watch however, he makes sure to bottle it all up and focus on the task at hand.

☆ hange zoë - erwin smith

erwin smith… wow. maybe hange was just too… annoying for you? that’s the only solution they can come to. you still come to visit them and ask about titans and what not, it’s so hard to hear you talk about all the time you’ve been spending with erwin when you used to spend that time with hange. they’ll divulge fully into their work and become more recluse for a while.

[iid-smile]

waterfall , tomioka giyuu

x gn!reader ! giyuu using his water breathing, he asks for permission to confess and impress you!

author's note: im having writers block with kny specifically (future sunny: thats a bad excuse btw... i just dont because idk what to write for majority of the characters) so literally everything these days is jjk. justice for kny!!!!

double author's note: hi... future sunny here. this message ^^ yeah, that was FOUR WEEKS AGO now its just laziness rather than writers block... thats why the dialogue has literally no description half the time and i really did not want to finish this

triple author's note: ahaha i bet you've never seen three in a row 😈 anyways i forgot to post this after i proofread it half asleep so here u go

"do you like rivers?"

"mhm."

"what about lakes?"

"i like anything to do with water, tomioka. you don't need to worry so much about what i like."

"i'm not worried." giyuu's gaze turns away from you, like it always does, and he looks straight ahead. "there's just something i want to try."

though slightly wary of his intentions, you know that giyuu isn't the type of guy to put you in situations where he doesn't have your consent first. and quite clearly, it's something to do with water, because he's been awfully chatty about different bodies of water, fishes, and just nature in general. it's difficult to make a guess of what he's planning, because sometimes he can just be so unintentionally unpredictable. and weird. he's a weirdo.

you walk behind him so he's able to lead the way. now that he's gone all quiet again, you can't help but furrow your eyebrows a bit. something he wanted to try? what could he possibly want to try in the middle of the night? let alone in a forest...

finally, he comes to a halt. obviously, you're a bit... confused, being stopped in front of a large, and deep body of water surrounded by rocks.

"hold my hand."

"why?"

as if he knew you were going to ask that, he turns to face you with not a single change in his expression, neatly holding out his hand to you. "i'm going to do something, and i don't want you to slip." something. there's that something again.

your eyes flicker from his hand to his face just a few times, then to the surroundings, looking out for anything odd. he wouldn't be the type to prank you, would he?

"do you not trust me?"

"i do. it's just this something that you mention..."

"don't worry. i won't do anything bad."

would it be bad to say that he immediately soothed your worries? he was already speaking more than he usually would, and you noticed his free hand was always on the handle of his sword, so he's vigilant. no worries at all. you take his hand. it's cold, and unexpectedly smooth. "what are you going to do?"

no answer. he takes a step closer to the edge, just one little tip toe away from the surface of the water. "by any chance.." giyuu remains quiet, head bowed to the water below before his eyes move back up to yours. "do you have a significant other?"

"no..."

"then," for a beat, he looks off to the side, and then turns his head back to you. "can i ask for your permission for me to... attempt to court you?"

"ah, is this why you brought me all the way out here? you have feelings for me?"

"...you found me out."

"you just told me that?"

"i didn't mean to."

the back of your hand comes up to your lips, poorly silencing your giggles. "you're a bit silly sometimes."

no response. "come."

giyuu takes a step down from the rocks, and into the body of water. from above, it was difficult to tell how far down the bottom of the lake was. "my clothes—"

he cuts you off. "don't worry. they won't get wet."

maybe he's telling the truth, since his aren't either. one last time, you look down at your covered feet, a nervous twitch running through them as the chill breeze suddenly became so apparent.

immediately, you're met with dreamlike arches of water and splashes surrounding the two of you, frozen in time and unmoving. for the first time, it feels like you're genuinely seeing his breathing technique visually, the sight similar to a vivid lucid dream. except this... this is way better. right in the climax, streams shoot up into the air, curving and twisting to form a heart in the center, then dispersing just as quick, the drops of rain disappearing into nothing as it touches skin.

it was beautiful, but beautiful wasn't even a word good enough to describe it.

"tomioka—?" but as you turn around, giyuu is nowhere to be seen. "huh? tomioka?"

you look left, and you look right. nobody's around: not a single life in sight. the trees are quiet, only the splashing of the waterfall fills in for the lack of noise around. and when you look down at your feet, you only see your legs submerged in water, all the way up to your knees. your haori steadily soaked up the liquid, the material darkening and growing heavier on your shoulders. "my socks!"

yes, you did have to walk home with wet tabi socks and zori with an uncomfortably damp surface. and yes, you did walk home with a constant flutter in your heart, not even knowing when the next time you'll catch a glimpse of him will be.

[medicinemane]

Should make a pain killer that actually kills (or even touches) pain

[wolpatinga]

[todayisafridaynight]

is there anyone you ship ichi with? 👀

dragon quest collection for the nintendo switch 🥰🥰

[coquelicoq]

fascinated to see that this dico calls no especial attention to the fact that you're not supposed to make elision with the words onze or onzième (i.e., you say le onzième rather than l'onzième). i was curious to see if they would take the same route as my english-french dico, which puts an asterisk before the pronunciation like it does with words that begin with an aspirated h, but the only thing this one does is include the example sentence Il est le onzième.

[nostalgia-tblr]

If I could do Fics With A Plot I'd probably attempt An AU Where Lauffey Dies And Odin Goes "Oh Hey, Frost Dudes, I Had Your Heir All Along :D He's Urs Now :D" Except Because This Is A Shit Plan It Does Not Go At All Well. Because it does bother me. Because I worry too much about fictional monarchies having the 'wrong' rules. D:

[threewaysdivided]

hi 3wd. i’ve tried to write before and i’ve never gotten far in the process, despite having many ideas im enthusiastic about. all your blogging about being a planner-writer has got me thinking i might have the same style of writing as you l- and a lot of the reason im struggling to put words on paper is because i don’t have a direction or fleshed out emotional/plot beats to write towards. what would be your advice to any fledgling planner-writers that don’t know where to start? how did you start writing with this writing style?

Hey nonnie 💜

It can be super frustrating to have a bunch of pieces you want to play with but not have them come together in a way that maintains traction.  Outlining could definitely be a potential tool to help sustain momentum, so let’s see if I can get some gears turning for you.

For me personally, the outline-approach is one I just sort of fell into naturally.  Part of it comes from my school days; we were encouraged to write dot-point plans to structure our arguments/ research/ storytelling for assignments ahead of drafting (some teachers even counted evidence of it towards the final grade), which set it as a habit early.  Fun fact: I actually outlined this answer before writing it; I do it for most long posts.  Another part of it is that I tend to come at writing from a very analytical angle - there’s a degree to which I try to solve or understand stories as I consume them.  One of my earliest casual jobs was working as an English/Lit tutor for high-schoolers.  I find a lot of joy in picking narratives apart, figuring out how they work and finding ones that hold up through several layers of examination, so as a writer I like to construct stories that way.

Part of it is also that, when I want to write something for release, I’m conscious of the fact that it will have an audience.  A question that hangs around in the back of my mind is “if I found this story and wasn’t the writer, would I enjoy reading it?”

There’s another aspect that has to do with respect, in a way.  I love the worlds and the characters that I use in my stories, and for me that means writing things that feel true to their spirit, giving significance to the times when that changes and making sure they have a meaningful journey (even if it’s not a happy one).

For me outlining suits this ethos, since having a map of future directions makes it easier to place foreshadowing fairly, identify themes, build character arcs and keep explanations/ lore consistent.

I’m also going to admit that I just got lucky with Deathly Weapons. There was a very specific emotional idea that I wanted to centre a story around, and the inspiration happened to come with both a starting premise and a concept for the ending.  Then I also had wish-lists; some tropes I wanted to play with, and some existing series whose storytelling structure I wanted to emulate and pay homage to.  Something I realised a few years after starting DW is that I’m a very project-and-output-oriented person.  In a way, Deathly Weapons’ came to me as a project brief where I already knew the end-goal and a lot of what I wanted to work towards.

With that said, let’s talk outlining:

The value of having a plan

To me, an outline is a bit like having an itinerary for a road-trip.  It gives you an idea of where you’re going, how long things will take, what key things you want to do, how much it might cost and it helps you anticipate potential problems.  But, like an outline, an itinerary isn’t binding.  There might be some things that take more effort to change (distance to travel, bookings you need to cancel/ reschedule/ extend - key plot points that a story hinges around or that need more preparation/ payoff to be effective) but you can adjust as you go; take extra time to explore an interesting spot, add a detour based on local recommendations, skip things that turn out to be less compelling than they first seemed, take a shorter route to get to a key destination faster, extend the trip to see a few more sights or decide to cut things short because something came up.   The itinerary gives you the security of already knowing where you’re headed, letting you put down the mental burden of having to work out each stop as you go and enjoy the moment more. 

Ways an outline can help:

Reassurance: if you have a tendency to be anxious/ self-critical/ have high standards about characterisation, plot holes etc. then an outline can be a good way to workshop the story and get ahead of potential challenges, as well as to concept-test whether this is a project you feel like committing to.

Scoping: blocking out an overview can help you get an idea of the size and complexity of the project, and how much time/resources/teamwork it might need.

Motivation: having a plan of future story moments that you’re looking forward to can provide a goal to help you push through the less exciting parts (e.g. connective scenes) and/or help you re-find your enthusiasm if you’re returning from a break or are feeling creatively flat for reasons outside the story itself.

Iteration: if you tend to come up with stories primarily by exploring and assembling ideas, then an outline method can be a way to quickly put a concept on paper, examine it and then decide if/how you want to use it, without the restriction of needing to write it all out as polished paragraphs first.

Splitting up the steps: useful if you tend to think faster than you can type full sentences, find that you move between ideas non-sequentially or if prose-writing/ sentence construction is something that takes a lot of mental energy or stop-and-starting from you.  An outline can be a way to separate the processes of story crafting and story telling into more-distinct stages rather than trying to juggle both at once.  Find the story first, then write it.

Non-sequential writing: having a roadmap of your story’s structure and direction can give you more freedom in how you choose to approach it, letting you jump ahead to work on planned future sections/scenes where the inspiration is flowing rather than waiting for the next scene to “come to you”.

For a more direct comparison, Screenwriting Bibles are a form of outline for professional TV/Film production.  These “bibles” are key reference documents used by writers for information on the premise, characters, settings and other project elements, as well as to plan future episodes and seasonal arcs.  (This podcast transcript, article and template are good starting sources if you want to learn more about TV Bibles.) 

Much like a series bible, an outline can help you keep tabs on:

Consistency and continuity: this can be minor stuff like names of background characters or small details (running gags, item descriptions, character trivia) but can also be major stuff like character motivations, who has what abilities, event timelines or story-themes.

Direction: your outline can capture the overall arc(s) and conflict source(s) of your story and their intended resolutions, as well as mapping out how those conflicts are progressing.

Causality: whether planned events and character choices feel consistent and reasonable within the internal logic of your story.

If any of this sounded helpful to you then you might benefit from experimenting with an outliner/ planner approach.  There are a bunch of different planner techiques (here’s a link for some) as well as hybrid “plan-tser” methods that you could try. But for now let's talk about the general process, starting with a focus question:

What is it that makes you want to tell this story?

This might seem like a daunting place to begin but it can help with figuring out the core of your story and what you find compelling.

It’s okay if you don’t have a neat-and-clean answer straight away.  Sometimes inspiration just strikes out of the blue, and that’s fine.  Sometimes you have a vague directional pull but you’ll need to do some story-work before you can identify what’s calling to you.  However, if you did have a specific itch or passion that drove you to write then thinking about what and why that is can help you understand what you want from the story – and in turn what might connect with other people.

I also want to be clear that this is not about judging your motivations or their “artistic merit”.  I had a specific story to tell is fine, as is I wanted to explore this concept/theme/emotion/issue, or this was a gift/commission for someone else, and so is I wanted to try writing a specific genre, or I wanted to experiment with a specific medium, or I wanted to do my own version of [existing idea] or I am fascinated by this character/relationship/world or I needed some vicarious catharsis, or I was horny.  And a whole bunch of other things.

Knowing what you’re trying to get out of a story can help you decide what type of story you want to tell, as well as the overall scope and what medium/format/genre to tell it in.  Maybe it’s a single-scene character/aesthetic study, or a one-shot vignette.  Maybe it’s one long story, or it could be series of connected stories, or it could be a story-anthology centring on a common idea.  Maybe this story would work well as a comic, or art piece(s), or podcast, video, or something interactive like a choose-your-own-adventure or a videogame.

Understanding where you’re coming from can also help you answer the questions of what is your story about? and what happens in your story? which are related but not the same. 

What is your story about concerns the themes and thesis of your story, which can help you figure out the story’s tone, main emotional or thematic conflict(s), and how you want them to resolve by the ending.  Put simply, it’s the message.

What happens in your story is the synopsis of planned events, character actions, worldbuilding and other content.  Put simply, it’s the stuff your story has in it.

Let’s take my Deathly Weapons fanfic as a case study:

What made me want to write this story? Deathly Weapons started with me being unsatisfied with what felt like a gap in the Danny Phantom x Superheroes crossover fanfic space at the time.  There was a trend where stories would kill Danny’s friends and family to justify placing him with the crossover’s other hero team but very few of those stories felt like they acknowledged the emotional consequences of doing so; the ones that allowed him to grieve frequently using it for nonspecific angst about Loss™ or mourning the generic archetypes of A Love Interest™, A Sister™, Parents™ or A Best Friend™ rather than the specific characters and bonds from the series.  There were also some smaller itches around plot construction and mysteries that I couldn’t find many stories to scratch.  I wanted to try writing something to fill those gaps. What is this story about? Thematically Deathly Weapon’s central emotional arc is about grief and healing: in particular the uniqueness of the bonds between people and how grief reflects the specific hole each individual leaves behind, as well as the process of finding closure, making new connections and moving forward in the aftermath of loss. What happens in this story? A lot.  In my youthful hubris and overambition I planned out basically a half-season of a TV show.  For the sake of not dragging this section out by a mile, here’s an arc/mission plot teaser list I made a little while ago.

Since Deathly Weapons Arc II is deliberately structured to emulate a TV show, you can sort of see how that summary has accidentally ended up mirroring parts of a top-down Pitch Deck.  But, of course, that’s not the outline I actually use when writing.

Different levels and types of outline

Like a lot of creative terms, “outlining” covers a pretty broad umbrella’s worth of stuff. 

Methods-wise there are plenty of different approaches: from specific story-writing software (Scrivener, Campfire etc.), to word documents, to binders and notebooks, to honest-to-goodness sticky-notes, thumbtacks and string.  Personally I alternate between a documents folder on my computer and a physical notepad/sketchpad for when I’m on the go, but you should pick whatever format feels most comfortable for how you process/visualise information.

Functionally, I think it helps to conceptualise three main levels of outline: Brainstorming, Structural and Detail.  To be clear, you don’t have to do all three.  A short story or one-shot might be served by writing directly from a brainstorming or light structural outline.  You also don’t have to keep them strictly separate.  A brainstorming document might cover some early structure notes or test paragraphs.  A structural or detailed outline might have some brainstorming or research sections as you uncover and solve smaller questions.  Heck, you can have detail notes inside your initial drafts if they help you keep the story flowing.  These are tools you can use, not prescriptions you need to follow.

Let’s talk about the levels:

Brainstorming

Brainstorming is the least structured.  Like the name suggests it’s mostly about getting concepts down and coming up with ideas – this could include early notes for plots beats/ scenes/ character interactions, sketches, screenshots/quotes and possibly research questions for stuff you want to confirm or find out about (e.g. checking source material, or researching systems and potential setting-locations).  You could consider this like early research notes for a class essay – where you know what your subject is and might start with some initial thoughts or focus questions but are still learning and figuring out the broad strokes of your content and stance.  

Despite that comparison, brainstorming is probably the most creatively fun step in the process.  This is not where you worry about things like “quality”, “cohesiveness”, “accuracy/canon compliance” or “cliches” – this is the time for rolling with whatever inspiration strikes you, pouring out any idea you find interested/compelling/cathartic, asking questions, going down internet rabbit holes and generally just enjoying unabashed creation.  This is your raw material: you’re going to cut and shape it later.

Structural

Structural outlines probably have them most utility in giving your story shape and form, especially if your story is long or has a lot of components.  If you were doing an essay, this is the part where you’d figure out your thesis and start grouping each main argument and its supporting points into planned body paragraphs.  For a story, this is where you start sorting your ideas and putting them in order; deciding on your arcs, conflicts and resolutions, working out the order and causality of events, your character motivations and dynamics, where to place key foreshadowing, major scenes and the like.  This is the level where you’re going to try and solve potential story problems – to come up with in-universe explanations and identify possible plot-holes before you write yourself into them.  You’ll likely do extra brainstorming or research in this phase too but it’ll be more targeted – aimed at filling gaps, connecting dots or serving specific needs. 

For longer or more complex stories you might have multiple structural outlines tracking different levels of granularity; some providing an overview of the whole story/ series arc, while other focus on specific characters/ subplots or break things down into individual plot beats and scenes.  You might also spin some of your initial brainstorming into reference or meta documents – content that you aren’t going to directly cover in-story but that will inform or add depth/consistency to other elements.  If you enjoy puzzle-solving then this can be a very satisfying part of the process: there’s nothing quite like hiding a subtle piece of symbolism/foreshadowing, coming up with a sneaky red-herring or finding a rock-solid explanation to make you feel extremely clever.

It’s also worth repeating that you are not beholden to whatever structural outlines you first come up with – your outlines can and should evolve with you as you develop your story and come up with new or alternate ideas.  (Just last year I re-ordered two major subplots and added an extra character arc for Deathly Weapons).

Some stuff to think about for structural outlining:

Remember that, as the storyteller you have full control of the narrative and what happens inside it.  Like I said at the start of my case study on YJ: Invasion’s writing, even the rules of a fiction piece are made up: there is nothing physically stopping you from making the sky be a different colour every five minutes if you felt like it.  If you want something to happen then you can work backwards to reverse-engineer a specific scenario where those things would reasonably occur.  Start at Scene B and figure out what needs to happen to get there from Established Starting Point A.  If you need a character to act a certain way, then you can tailor a situation to trigger that response based on their established personality/ insecurities/ flaws.  You can manufacture specific story problems whose solutions play toward or against the skills and abilities of different characters, or create scenarios which situationally discourage characters from using skills/abilities/tools that might otherwise be overpowered. You can also make the call to deviate from what has been established in order to facilitate a scene or plot point - temporarily imposing a trait for narrative purposes (sometimes referred to as carrying a ball) or Rules Lawyering your worldbuilding to create a technical loophole.  This risk here is that this can feel artificial, jarring or unfair if not reasonably justified within the story logic.  There’s also a limit on how often/ how far you can push this before it risks breaking the story.  If things start to contradict or situations arbitrarily turn on a dime then your audience can lose trust that the characters and world will follow the expectations set by the narrative – they can start to feel narratively unsafe, until it reaches a point where the only way for them to reconcile the dissonance and inconsistencies in the story is to acknowledge that it’s all an artificial construct being externally steered by the hand of the author.   You can do whatever you want… provided you do the work to make audience to believe it.

That being said, try not go get too wedded to the specifics of your early ideas.  Sometimes an element is just not going to fit with the direction your story ends up taking; whether because it’s not compatible with the eventual trajectory of the characters/events/lore or simply because it would be hard to include without disrupting/diverting/distracting from the flow of the story at that point.  In some instances you can take the core of an idea and modify it to find a new place in the narrative; for example by repurposing a scene or piece of dialogue, repackaging information, rescheduling a conversation, fusing concepts together or deconstructing them and integrating the component parts across other scenes.  But in other cases you may decide that the potential problems (whether structural or narrative) introduced by including an element outweigh the value it could add – in which case it’s time to lovingly set it aside.  This is what they mean when they say kill your darlings.  Having a designated document for future story ideas and/or outtakes can help with this (or you could do what I did with Defining Moment and turn an idea into its own side-story).

This can be also a good place to consider more technical story elements, like pacing.  Think about the peaks and valleys of intensity (suspense, intrigue, action, character drama etc.) across the beats of your story; where you might want to ramp things up or down, and how you might use scene and/or chapter breaks to space out information, create breathing room or hold the audience at a certain level of emotion/anticipation.  (For a good short primer, try these videos about Pacing and Tension Cycles in games).

You may also like to use the structure overview as an opportunity to take stock of Tropes and Patterns.  Not to avoid them – you can’t really avoid tropes – but just to see if any are showing up and what they might be saying, even if you didn’t intend for that to happen.  (For a topical example: consider what tropes are showing up around different minority/minority-analogous characters - either in their depictions or how the story treats them - and what message that might be sending.  There’s a lot of bias to the way certain groups and issues have historically been portrayed in media, some of which have baked themselves into now-common stock plots and archetypes.  That isn’t to say you should never use them; just be conscious and careful, especially if your story intends to make some sort of commentary on those topics.)  On a more positive note, this can be another way to learn about what story mechanics you like, both in your own writing and others’.

Detail

Detail notes are the most granular level of outlining, getting down into the specifics of an individual scene or conversation.  These are the least strictly necessary – depending on the length/ complexity of your story, the granularity of your structural outline(s) and your personal writing preference, you may prefer to jump directly from a structural outline into a first draft.  That said they can still be useful, especially if you want to hammer out the fine details of action, dialogue or information-flow while staying a step back from specific prose.  This is where you get things like a bullet-point breakdown of each line/action/piece of narration (for when you have a detailed idea of what’s going to be said/done but not the specific words to describe it) or script-style notes (for when you have the character voices and lines but not the narration or action surrounding it).  As mentioned earlier, you can blend detail notes and rough drafting together – writing some sections out in prose as the words come to you, then breaking into note-form to keep the ideas flowing in sections where wording might be starting to stick. 

An example

Let’s look at my outlining system for Deathly Weapons:

Now, I want to make it clear: this is not the standard.  This is not even the standard for me.  Deathly Weapons got a bit out of hand, ballooning into a half-season of a TV show: it’s more a series of 12+ self-contained stories in a trench coat than your standard fanfiction.  However, it is a decent example of complex outlining.  I have multiple levels of structural outline – some covering the entire story arc, some covering the individual missions.  I also have quick-notes that I made as a consistency-reference from canon, and some worldbuilding meta I did as a thought exercise to develop one of the character-backstories (the one shown ended up published here on Tumblr).  You can see how I blend the outline types together in my detailed notes, as well as how my approach to outlines has evolved from more brainstorming-focused to more structurally-focussed as the story has solidified.  Again, this is not the standard, but hopefully it gives you an idea of what you can get up to with outlines for a complex long-term project.

Okay, so that’s the basic breakdown of outlining as a process (at least the version I use).  Hopefully it’s got some gears turning. 

However, I also know that it’s more of a framework through which to approach story-building; it’s an organisational tool that helps you set out current and future-planned content in a way that lets you take stock, identify things that need attention and keep track of important details.  On its own it’s not necessarily going to be able to help address the challenges it reveals; in the same way that knowing how to plan an essay won’t necessarily teach you how to research one effectively. 

In Part 2 of this series (yep it's a series now) I'm going to go over some concepts for story-building and editing that might help you during the structural phase. Click here to go to the next part >>

[sea-jello]

i think it’s an issue when i’ve listened to the recordings so much i can tell if similar sounding songs are from 2r or bway from the first couple bars and/or lines, who’s singing what background part, stupid insignificant details, etc etc

[h377b7iss]

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[osaemu]

GOJO SATORU: ❛❛ CAN I PUT YOU ON HOLD? ❜❜

.ೃ࿐ he picks up the phone in the middle of fucking you. NSFW

contents: fem!reader. cunniligus, lil' bit of dirty talk and more... i'm too tired to type it all out </3

author's note: idk personally i wouldn't take that.. but i guess i would if it was satoru. anywaysss enjoy

satoru's a busy man — balancing his responsibilities as a teacher and as a sorcerer is no easy task, but he finds a way to make it work.

anyone who's known him for longer than a minute can easily tell that satoru's committed to his line of work. as much as he complains about it, the truth is that it's one of his top priorities. maybe even the first one.

and you get a taste of just how devoted satoru is when he picks up the phone in the middle of fucking you. 

"hello?" satoru cooes, eyes focused on your indignant expression as he holds a finger to his lips. "yeah, i'm free to talk. what is it?"

"free to talk?" you mouth at him incredulously. satoru replies with a wink and grins, enjoying the show. you're still pinned underneath him, bedsheets haphazardly strewn across your body, and satoru savors the sight of you all needy and pouty.

"yeah, take your time," satoru says amusedly to whoever's on the other side of the phone after a moment. when you reach up and swat satoru's chest indignantly, he uses his free hand to pin your wrists above your head, a clear warning in his eyes.

after a couple of mhm's and of course's, the conversation still isn't over. your patience is waning — who is satoru to just stop in the middle of fucking you to pick up a phone call and say that he's free to talk?

you try to distract yourself by thinking about the mindblowing sex you were having just minutes ago. the longing, glassy stares; the red scratch marks down satoru's back; and of course you couldn't leave out the words.

"fuck, you're taking me so well, sweetheart." "atta girl, you're a natural slut, aren't ya?" "your pussy was made to be fucked by me, wasn't it?"

how did that turn into "yeah, make sure the higher-ups know about this, otherwise they'll give me hell for it. mhm"?

after another bland minute, satoru rolls off of you and sits up with his back against the headboard, sheets falling to expose everything from his waist up. 

you whine in impatience, glaring at him like a sullen child. satoru basically just edged you — one second you're about to get to best orgasm of your life, the next you're forced to watch your boyfriend chat on the phone nonchalantly as if he wasn't just moaning your name like a slut three minutes earlier.

satoru shoots a glare at you and pats his lap, pressing a finger to his lips as a reminder to stay quiet.

well then, he shouldn't have picked up the phone in the middle of fucking you.

you scoot yourself into his lap, purposefully positioning yourself so that your pussy just barely rubs against the head of satoru's still-dripping cock.

it's so worth it when you hear satoru inhale a sharp breath and start to squirm under you, somehow both trying to push himself inside but also trying to inch himself away. it's like he can't decide, but the way his face flushes red speaks volumes.

his voice is breathier than normal as he squeezes his watery eyes shut. "yeah yeah, that's perfect. you mind if i put y'on hold for a sec? alright, thanks."

you glance over at satoru as he retracts the phone from his ear and puts it on mute. not even a second later, he's back on you, manhandling you into a position where he can comfortably eat your pussy, a cheeky smile on his lips.

"you think you're so fucking funny, don't ya?" satoru cooes, looking up at you as he eats you out sloppily. a mixture of his saliva and your essence drips down his chin, and the lewd sounds slipping from his lips are pornworthy. the wail that slips out of your lips when satoru bites down on your thigh hard enough to leave a mark is anything but appropriate, especially when he presses his lips back to your pussy and laughs in the middle of tonguefucking you.

"fuck, you're so lucky my phone's on mute right now," satoru groans, still buried in between your thighs. "god, if my old man could hear you now—"

"your dad's on the other end of the phone?!" you gasp, swatting satoru's head and frantically reaching over him to check if the phone was actually on mute — knowing satoru, it could've just slipped his mind. intentionally.

satoru scowls, muttering a reminder for you to stay still while he eats his dessert before rolling his eyes and grumbling "what does it matter?"

"uh, that's embarrassing!" you whine. when satoru nudges his nose against you again, you reluctantly spread your thighs for him so he can continue his meal. satoru mumbles a thanks, but he doesn't respond beyond that.

"satoru!"

"what??"

"don't you have to finish your call?"

satoru sticks out his bottom lip, fixing his cerulean eyes on you and pouting. "you were just complaining about the call and now you want me to go back??"

"it's your dad, satoru," you groan, pushing his shoulders away from your legs and ignoring his protests. "you don't get any more pussy until you finish that damn call."

"i hate you."

"love you lots, baby."

satoru sighs dramatically and unmutes the call, not bothering to respond to his dad's questions with answers longer than a word or two. after another minute of this, his dad finally hangs up and satoru lets out an elated cheer.

he turns to you with a mischievous smirk. 

"now, where were we?"