#because you see there are a number of ways stories go. some are more common than others. | Explore Tumblr posts and blogs

hotchscoffeecup · 1 year ago

Text

“Power Struggle”

Pairing: Aaron Hotchner/Reader

Rating: M

Category: Angst, Hurt/Comfort

Word Count: 7.2k

Summary: For months, you and SSA Aaron Hotchner have been toeing the boundary between romance and your careers. When the unsub that's been killing women in Michigan by way of replicating Zeus' punishments from Greek mythology takes you as his next victim, it's up to Hotch and the rest of the BAU team to find you before it's too late. Hurt/comfort and angst with happy ending.

Tags: graphic depictions of violence, reader kidnapped by unsub, blood, implied SA, nudity, electrocution, scarring, hospitals

“You’re telling me someone is out here killing people to recreate, what? Greek legends?” Sheriff McCullen’s brow pinches as he shakes his head.

“Legends are stories often loosely based on a real person or event to teach us a lesson. Mythology is based on supernatural or sacred lore and explains why things came to be. It’s a common mistake.” Reid speaks quickly and methodically, as if reciting from a textbook. “It’s straight out of the mythos,” he explains, his voice tinged with something akin to excitement as he approaches the whiteboard where photos of the victims had been pinned up for review. Using a ballpoint pen as a pointer, he taps the first image of the first victim. “Regina Manford, she was found tied to a boulder in Craig Lake State Park with her liver removed. Animal predation showed birds had pecked at her while she was still alive. In Greek mythology, Zeus did this to Prometheus to exact revenge on him after he stole fire to give to man.”

Reid moves on to the next victim, bouncing on the balls of his feet as he did so. “Sarah Walters was found bound to an old water wheel that had been set on fire. Greek Mythology suggests this is a copy of Zeus’ punishment for Ixion.”

“And what did he do to deserve that?” asks the sheriff.

Reid’s lips form a tight line. “He was invited into Zeus’ home on Olympus. After attempting to seduce his wife, Hera, Zeus punished him by binding him to a wheel of fire cursed to spin forever toward the underworld. She might’ve smiled or even looked at him, and in his delusion believed she was a seductress deserving of punishment.”

“So, what? This guy sees himself as some sort of god?”

“We believe that is his delusion, yes,” answers Emily. “Each victim also bore signs of sexual trauma, this is something Zeus is also renowned for in the mythology. Our unsub thinks he’s infallible and that these women’s lives and deciding when and how these women live and die is his divine right.”

“Do we know if there will be more victims?” asks one of the detectives.

You step forward from your place between Morgan and Hotchner. “Given the number of victims Zeus punished within the mythology, we can assume he is not finished. These kills are two weeks apart. It’s been twelve days since the last body was found. We can only assume he’s currently hunting for his next victim. And when he finds one, he convinces her to go to a second location. It's once they leave the primary location that he attacks. In each case, the victim suffered a blow to the head, leaving a uniquely shaped gash in her forehead. This suggests that he strikes them with a distinct blunt object or even a ring that’s on his hand.”

“We need every man out on the streets,” Hotch states, his eyes hard as he scans the group of law enforcement gathered to receive the profile. “He stalks his victims in the city, often on the weekends when night life is busiest. He’s charming. He has no problem approaching women because he views himself as a deity and carries himself with the arrogance and confidence of one. He’s white, in his early to mid 30s, good looking, charming, and likely has a career that would’ve provided him with medical training.”

A female detective with short blonde hair sticks her pencil in the air. “How do we know that?”

“The incisions made on Regina’s body were clean, precise, and showed no signs of hesitation,” explains Rossi. “The M.E. also informed us that the hepatic artery was clamped off, meaning,” Rossi hesitates before continuing on, “meaning Regina Mansford was alive as her liver was being cut from her body.”

An uncomfortable murmuring breaks out. Hotch raises a hand, silencing them. Your mouth goes dry and you swallow, hoping your team doesn’t notice the way your eyes dilate when you look at him and the silent way in which he can command a room.

“This is why we need every available officer on the streets. Increase units in the downtown area. Have plain clothes officers on the streets. That’s where we’ll be. Thank you.” Hotch tucks his head and sweeps out of the bullpen, the rest of the team trailing after him into the conference room.

“Where do you want us?” asks Morgan as you shut the door to the conference room.

“Reid, I want you here working the geographical profile. See if there’s anything we missed that could bring us closer to a precise location where he’s kidnapping his victims. Rossi and JJ, I want you to go back to Sarah’s apartment and see if we missed anything that tells us where she was exactly on the night she was kidnapped. Derek and Emily take the north side of downtown.” He inclines his head toward you. “You and I will take the south side.”

His eyes linger on yours a moment longer than they ought to have. You dip your head and swiftly exit the room, jacket in hand as you prepare to brave not only the frigid Michigan cold but working one one-on-one with Hotch. This had been going on for months; subtle looks, brief touches where his fingers would slide over yours while passing off a case file…yet a part of you still wasn’t sure if it would ever go any further than that. You spend so much of your time with the team, it would be so easy to mistake one gesture for something that it wasn’t. Yet you knew that wasn’t true. You know behavior. You’re trained to recognize the subtlest of shifts in demeanor and body language and you know exactly what is going on.

You jump as someone pushes through the front door of the precinct. Emily’s gentle laugh disrupts your rumination. “Sorry,” she says, “I didn’t mean to scare you.”

She moves to stand closer to you as she zips her jacket. “The guys went to grab the cars.”

You nod and shove your hands in your pockets.

Emily arches a perfectly manicured brow. “What’s up?”

You school your expression and feign nonchalance. “Nothing, I just want to catch this guy before he hurts anyone else.”

Emily’s brow furrows and then straightens, a glimmer of knowing in her eye. “Something tells me there’s a different guy on your mind.”

Your heart skips a beat and you nearly choke on the crisp winter air. “What? I don’t—“ Your words falter as Derek and Hotch arrive, the SUVs humming to a gentle stop at the curb.

Emily eyes you, a sly smile curving one side of her red lips. “We’ll talk later.” She winks and steps forward to open the passenger side door, sliding inside and disappearing into the dark interior.

As you turn to move toward the SUV, Hotch is there, opening the door for you. The gesture surprises you, but it shouldn’t. He’d been doing little things like this for weeks now. You nod your head in thanks and as you turn your body to slide past him, his hand catches your hip. Your breath hitches in your throat as his fingers glide against the small of your back, guiding your movement into the vehicle.

His hard eyes meet yours as he shuts the door and you’re grateful for the shadows inside the car as you feel your face flush bright red. Hotch slides into the driver’s seat with ease. He shifts the car into gear and pulls onto the road, heading in the direction of downtown.

After a few minutes, you open your mouth to disrupt the silence, but his cell rings. Hotch answers and places it on speaker as JJ’s voice floats through the receiver, “Hotch, we think we’ve got something at Sarah Walters apartment.”

“What’s that?” you ask.

“There’s a sticky note in her trash can,” a garbled sound echoes through the speaker as she shifts the phone. The sound of paper crinkles as she reads, “Tony’s at 9, does that mean anything? Has Garcia come across a Tony in any of her research into the victims’ lives? Maybe an Anthony?”

An image of a neon sign flashes across your mind’s eye. “It’s a bar,” you say matter-of-factly.

“A bar?”

“I remember seeing the sign on our drive-in. It’s a bar on the south side of downtown. That could be where he’s meeting these women.”

“We’re only a few blocks away, we’ll head there now. Thank you, JJ.” He hangs up and slips the phone into his jacket pocket.

“How do you want to play this?” you ask.

“We go in, make observations, see if we can identify anyone that matches the profile.”

You smirk and a small laugh escapes your lips.

“Something funny?” Hotch asks, his voice low in his throat.

You purse your lips, pausing before you proceed. “If we go in looking like feds, we’ll scare this guy away.” You tilt your head, considering. “Well, one of us anyway.”

A slight twitch in his brow is the only indication your words have just barely gotten under his skin. “Touched a nerve, sir?”

As the traffic light ahead blinks red, he eases the car to a stop. He breathes out slowly, the amber glow of the stoplight reflecting in his eyes. In less than two heartbeats, he thrusts the car into park and with both hands clasps your face, drawing you in to kiss you with such fervor white spots dot your vision. It takes a moment to process the heat of his mouth on yours and the way his tongue slides between your lips, and before you can truly reciprocate the light turns green and he pulls back, his breathing ragged against your mouth as his forehead touches yours. “Be careful when and how you choose to call me sir.”

Before you can exhale, his eyes are on the road again and you’re driving deeper into downtown.

“Understood,” and then you add, almost imperceptibly, “sir.”

A small smile quirks at the corner of his lips, but he says nothing more as you approach your destination.

It's nearing 9:30pm when you pull up on the street parallel to Tony’s. People trickle in and out of the bar in groups of twos and threes; most are young, in their mid to late twenties.

“Right,” you say as you unbuckle your seatbelt and turn to exit the vehicle. “Stay here.”

“Excuse me?” Hotch asks, reaching over your lap and grabbing your wrist to stay your hand from popping the door open. Your breathing stills and he just barely turns his face toward yours. “Since when do you give me orders?”

Unsure where the confidence to challenge him comes from, you lean in near his ear. You swallow once before speaking. “I think you like taking them.” Feeling incredibly brazen, you nip at his ear once and as the unexpected gesture disarms him; flick your wrist out of his grasp and pop the door open. You slide out of the car and are immediately greeted by the frigid January air eliciting goosebumps up and down your arms. Extending an arm overhead to hang on to the frame of the SUV; you lean down into the cab of the vehicle. “I’ve got you right here,” you say as you tap the hidden earpiece. “Let me know if you see anyone from the outside that fits the profile.”

Hotch eyes you and there’s a fierceness in his gaze. You wonder if he’s thinking of how he’ll ultimately retaliate for your little role reversal now that he’s gone and upped the ante in this little game of cat and mouse. “See you soon,” you wink and slam the door shut.

As you approach the bar, you make sure your coat is buttoned in a way that hides your sidearm and credentials from sight. The bouncer doesn’t even pretend to ask for an ID as you approach and move through the front door with ease. As you cross through the threshold, your senses are assaulted by the smell of beer on tap, the sharp tang of liquor, grease, and an amalgamation of perfumes and colognes.

Immediately you begin scanning the room. You note the layout of the bar: three exits for patrons, the one you just came in through, one near the bathrooms for cigarette smokers, and an emergency exit on the far right wall near to the kitchen. There are three pool tables all of which are occupied as well as three dart boards along the far wall. Groups of friends engage one another and dates carry on without a hitch. You approach the bar, which is centered along the far wall. Stools line the high countertop and behind the bar, two women work to fulfill the never-ending drink orders. You approach the bar and slide into one of the empty seats, relaxing your shoulders as you do so, and order a rum and coke that you don’t plan on drinking.

After a moment the bartender drops a cocktail napkin in front of you and places the drink on top. You thank her and stir the contents of the drink with the swizzle stick popped inside.

“Is this seat taken?” an unfamiliar voice causes the hair on the back of your neck to prickle and you know immediately that it’s him.

Painting on a saccharine sweet smile, you turn toward the voice. A white man, standing at about 6’2”, is smiling down at you. The neon lights behind the bar reflect in his blue-gray eyes and his honey blonde hair falls in soft waves to his shoulders. “Please,” you say demurely and gesture toward the seat. You tell him your name and continue smiling.

“Ronan Carlson,” he introduces himself as he slides in beside you and adjusts the lapels on his leather jacket, a fake Rolex peeking out from his sleeve. He’s preening, you think to yourself. The bartender approaches from behind the bar and he smiles, the curve of his lips the opening act of his charming performance. “I’ll have what she’s having, thank you.” He pulls a roll of cash from the inner pocket of his jacket, flips through several bills, and pulls a $100 bill free before sliding it across the counter to her.

The bartender’s eyes widen in surprise and he winks at her. She nods her thanks and turns to make his drink.

“That was very kind of you,” I say, stirring my drink for the thirteenth time.

He shrugs and tips the baseball cap he’s wearing down over his eyes and you know it’s to obstruct the view the cameras have of him. “It’s only money, and I think I may have made her night.” He inclines his head toward the bartender whose head is bent close to the other woman’s. She’s smiling wide and shows her the $100 bill.

Internally, you roll your eyes hard, but externally you smile and look at him from beneath your lashes. “You must have a great job, what do you do for work?”

His hand flexes as he sets his drink down on the counter and you note the two chunky platinum rings he wears on his right hand. There are symbols etched into them offset by different colored stones, but you don’t want him to catch you staring as he answers, “I’m in business for myself these days,” he says with no further explanation. “Though I used to be in the military.”

You feign surprise, though you were hopeful he’d continue to divulge information. “The military, wow. Let me guess,” you pause and allow your eyes to slowly scan him from head to toe. You remember the profile. “Army…medic.”

“Reign it in,” you hear Hotchner’s voice through the earpiece. “Be mindful of how much you reveal to him. Don’t let him know you know more about him than he’s letting on.”

You watch him assess you and your read into him. One blonde brow creeps up toward his hairline and that wicked smile curves his lips again. “Excellent guess, how do you figure?”

Leaning on to your forearms, you push your drink aside and slide your hand over his and you don’t miss the way his fingers tense at your touch.

“It’s the hands,” you say coyly. “You look like you know how to handle yourself.” He relaxes under your touch and a heat ignites in his eyes that makes your stomach churn, but you don’t let it show on your face. “You look like you know how to handle a lot of things.”

He licks his lips and turns the ring on his finger. “Tell you what,” he says as he picks up his drink. He places the glass to his lips and downs its contents. “Why don’t we get out of here?” He looks down at you from beneath dark lashes. “And I’ll show you just how much I can handle.”

You stand up and flash him a grin. “Let me quickly freshen up and I’ll meet you out front.”

His lips quirk into a smirk, “I’ll meet you in the parking lot.”

You smile as you slip away toward the bathroom. As you push through the crowd you inform Hotch that the unsub is on his way out.

“There’s a line growing out the door,” he answers over the earpiece. “Does the description match the profile?”

“To a T,” you answer as you push past a couple with their tongues in each other's mouths. The amount of patrons has increased dramatically over the last hour. The volume of the music makes it hard to hear through the earpiece. You push your way into the restroom and are surprised to find it empty. Fortunately, the outside noise is muffled. You begin to describe Ronan’s appearance and note the jacket and hat he’s wearing. “He’s wearing two oddly shaped rings,” you add. “I think it’s what’s caused the unusual injury to the victims’ faces.”

“I’ve got him. He’s cutting through the line toward the parking lot.” You hear the car door open and slam.

“Got it, I’ll be right there.”

“Good work,” Hotch says over the open line.

You smile to yourself as you unbutton your jacket, glad to be on the receiving end of his praise. For a split second you wonder what else you could be on the receiving end of if you continue to play this game with him. After the case, you remind yourself. Priorities. Priority number one is getting this sick bastard off the street, and he’s right here within your grasp. You shoulder the door as you reach for your gun, positioning your thumb over the rotating hood to dislodge your weapon from its holster.

Over the speakers, an employee is calling to celebrate someone’s birthday. The crowd is distracted and pushing toward the source of celebration. The bar erupts into an off key rendition of Happy Birthday but you don’t hear it as 30,000 volts of electricity course through your veins. Your muscles spasm and lock up as you fall forward. Pain radiates from your abdomen in waves that crash over you again and again. You try to tell your body what to do as strong arms catch you and pull you into a chest that smells like cigarette smoke, but your limbs don’t cooperate. You feel his nose root into your hair as his lips find your ear. “How’s that for capable?”

As he shoulders your weight and steers you out through the emergency exit you hear Hotch’s voice in your ear. “It’s not him!” There’s an edge of panic in his voice as he says your name. “Do you copy? It’s not him. He gave another man $500 to wear his hat and jacket into the parking lot. It’s not him. Do you have eyes on him?”

Dark spots the edges of your vision as he drags your dead body weight. You try to focus all of your ability on getting out any words that can signal to Hotchner what’s happening, any at all but your mouth feels like it’s filled with cotton.”

You hear the tinkling of keys and a door slide open. Pain rattles through your skull as he throws you into the back of whatever vehicle he’s operating. Pain slices through your wrists as zip ties slice through the skin there. Through tunnel vision you see him leering at you. He’s backlit by the streetlights.

As his fist flies toward you, you finally manage one word.

“Aaron.”

•

When you come to, the first thing you feel before the splitting pain in your head threatens to cleave your mind in two, is cold.

Your mouth is dry, but as you move to lick your lips you realize you can’t because there’s a gag in your mouth. You try to move your hands, but they’re bound too. Zip ties cut into each wrist, securing them at your sides on the legs of a wooden chair. When you try to shift the chair, you learn that it’s bolted to the floor and your legs are spread open; zip ties at your knees and ankles keep them apart. Except for your bra and underwear, you’re naked. He undressed you. You feel the wound from the stun gun before you glance down at your stomach and see the two bloody pinpricks in your abdomen. You feel your heart rate increase as panic begins to set in. Do not panic , you tell yourself as you take a steadying breath. The minute you start to panic, you’re dead. You close your eyes and piece together the last dredges of your memory.

Tony’s. Sitting at the bar. The unsub. Ronan. Hotch was in pursuit. And then there was just pain.

Hotch.

The pain in your skull is overwhelming and you’re not sure if you can feel the earpiece anymore.

“Hotch,” you attempt to say through the gag. “Hotch, do you read me?”

You close your eyes as hot tears brim along your lash line when there’s no response. The signal is out of range or the unsub found the earpiece and removed it.

A door creaks open on squeaky hinges and your eyes dart toward the source of the sound. Ronan walks through the door with a sick smile on his face. As he saunters toward you, he rolls the sleeves of his flannel up to his elbows. Without looking away from you, his arm drops to his side and he scoops a folding metal chair with one hand, carrying it with him as he edges closer to you.

You flinch as he cracks the chair down in front of you, forcing it open. He chuckles as he takes a seat. His eyes skirt the length of your body and you wish any limb were free to deliver a blow to his smug face.

He reaches into his back pocket and withdraws your badge. He flips it open and holds it up to your face, the way his eyes flit between you and your credentials makes your lip curl.

“An FBI agent,” he says slowly. He slaps your credentials shut against his denim-clad thighs. “Hot damn!” he shouts and whoops. He throws your badge to the wayside and it clatters against the cement floor. “I’m going to take my time with you.”

It could’ve been hours. It could’ve been minutes. The torture is unrelenting and the pain is unending. Your chest heaves as you brace yourself for the next surge of electricity. Ronan, if that’s even his real name, twists the knob on the amplifier and taps the jumper cable clamps in his hands together. He smiles when he hears the buzz of electricity between them. As he presses them into your thighs, you cry out in pain as the shockwaves paralyze your body and mind and the pain overwhelms you.

“YES!” he roars as he pulls them away from you. He’d taken his flannel off, but now he peels off his t-shirt, balls it up, and uses it to wipe the sweat off of his face.

With the voltage no longer coursing through your veins, you slump forward, chest heaving as your scrambled brain fights to stay alert.

He drops the cables and clasps your face in his hand, forcing your chin up to meet his wild eyes. “You just don’t quit, do you? You're special.” He strokes your cheeks with his thumbs as if he cherishes what he’s doing to you. “You are worthy of a god.”

When you come to Ronan is watching you. He’s leaning forward, elbows on his knees, chin resting on his clasped hands.

“She wakes,” he muses.

You glare at him and his brow pinches. He purses his lips together like he’s been stung, but his eyes are alight with amusement.

“You,” he says, gesturing up and down your body, “look beautiful.”

You don’t need to look down to know the number of bloodied burn wounds spanning the lengths of your legs. If you couldn’t keep track of any other thought, the count was all that kept you grounded. There were ten. Five on each leg. Your wrists and ankles bled from the way you’d pulled against them with every shock he delivered.

He reaches forward and this time you don’t flinch. He hooks two fingers into the gag and pulls it down over your chin, his fingers trailing your lips as he does so.

“Here,” he says, bringing a bottle of water to your lips. “Drink.”

You clamp your lips shut and turn your face away. He laughs and shakes his head. “Come on now, don’t refuse me. That’s not how you show gratitude when a god shows you mercy.”

You muster as much hatred into your stare as you focus your attention back on him. “Mercy?” you hiss, and your voice is hoarse from screaming against the gag. It hurts to speak. You pull against your restraints. “This is what you call mercy?”

“I’m only testing you to see if you’re worthy,” he says by way of explanation. "You've lasted longer than the others."

“Worthy of what?” you ask, but you already know the answer.

“To be my Hera.”

“How is what you’re doing to me, what you did to those other women, going to help you find her?”

“They weren’t worthy,” he answered. “They couldn’t take my power like you could, my lightning. They were false. They needed to be punished.”

He leans in, his lips close enough to yours that you can feel his smoky breath on your skin. “But you, you deserve to be rewarded.” Your skin bristles at his words. His lips find your jawline and you grimace as he drags them up the side of your face. When he pulls away, dried blood flakes onto his skin.

“Don’t be afraid,” he soothes as he smoothes your sweat-drenched hair away from your face. “You’ll enjoy it.”

Unable to suffer any more of his poisonous bullshit, you rear your head back and slam it forward. Pain explodes behind your forehead, but it’s worth it to hear the satisfying crunch of his nose breaking. He roars in pain and clutches his bleeding nose. White light blinds you as he backhands you and curses your name. His ring splits the skin of your cheek open. The force of the blow causes you to bite your lip and you feel your teeth cut into the chapped skin there. You spit blood at him, angering him further.

“You are false!” he screams, spittle flying from his mouth as he shoves the gag back into your mouth. “You are not her!” He moves to pick up the jumper cables, twisting the knob of the amplifier all the way up causing the bulbs overhead to flicker. You know this is it. If he touches you with those, it will kill you.

Bracing yourself for the killing blow, you go to the grave knowing you did not give in to this bastard.

It never lands.

Instead, three shots ring out and he’s falling to the floor dead at your feet. As the unsub’s body falls, Hotchner’s frame comes into view and a choked sob escapes your lips. He holsters his weapon and runs to you. Emily and Morgan are right behind him. Morgan passes Hotch a Swiss Army knife from his pocket and he makes quick work of the zip ties binding you to the chair. From the corner of your eye, you see Emily turn off the amplifier and check Ronan’s pulse.

Unable to hold yourself up, you fall forward into his ready arms, letting yours fall over his shoulders. Hotch drops to his knee to support your weight. “You’re okay,” he says as he pulls the gag free from your mouth and you sob into his chest. He smooths your hair back from your face, his eyes assessing the damage done to you. Blood stains his shirt, your blood.

“Morgan, your jacket.” Hotch orders.

Without hesitation, Morgan unfastens his bulletproof vest and unzips his jacket. He passes it to Hotch who drapes it around your shoulders in an attempt to preserve some of your modesty.

“I need a medic!” he shouts before directing his attention back to you.

Your eyes waver as you try to keep them open. You lock in on the depths of his warm brown eyes. “You’re going to be fine,” he says but his voice sounds far away.

“He wanted someone to be his Hera,” you say weakly.

“Don’t worry about that right now,” Hotch soothes.

You swallow and it hurts your throat to do so. Your lips crack open, “You found me.”

Hotch cradles your head against his chest. “Of course I did.”

You wince as the sound of a gurney crashes into the room, the metal wheels squealing as it draws near. Your head swims as you’re swept into the air and laid out on its cushiony bed. A light shines in your eyes and voices are overlapping. Blindly, you use what strength you have left to drop your hand off the side. Unable to focus your attention on where he is, you know he’ll hear you. “Don’t leave me.”

And as you lose consciousness, you feel his hand slip into yours.

“I’m not going anywhere.”

•

A steady beeping fills your ears as you slowly come to. Your eyes feel bruised and you don’t think you have it in you to open them, but you feel something around your wrists and bolt upright. Pain crashes over you in a wave. It was a dream. You’re still bound in that basement. The beeping increases, growing louder and faster. Someone says your name and you feel hands on your shoulders. You try to swing your fist and are surprised when your arm follows through and makes contact with flesh. Did you break through the zip ties? You hear your name again, clearer this time. A man. He’s asking you to stop, to relax.

“It’s me,” he repeats and says your name again. “You’re safe. You’re in the hospital.” He says your name again. “It’s me, it’s Aaron.”

You stop fighting and blink hard. Hotchner’s stern face comes into view, except there’s concern wavering in the depths of his brown eyes. His brow softens as you relax. A small smile turns the corners of his lips. “Hey there,” he says. A nurse rushes into the room and he raises a hand, “We’re fine, here. Thank you.”

The nurse looks at you and you nod. She looks unsure about leaving but ultimately relents. “I’ll let the doctor know you’re awake.”

Aaron cups the back of your head in one of his hands and gently begins to lower you back down onto the pillows behind you. You allow him to guide you and feel the tension ease from your muscles as your back sinks into the surprisingly plush hospital pillow.

As the adrenaline wears off, you’re finally able to take stock of your injuries as the pain quickly makes itself known. You feel your pulse beating in your skull, pounding at your temples, eyebrow, and cheekbone. With shaky fingers, you touch the places where you remember the unsub striking you. You feel a thick bandage taped over your right eyebrow and steri-strips over your cheek. Your lip is swollen from where you bit it.

Bandages encircle your wrists and there’s an IV stuck in your hand. You’ve been dressed in a hospital gown and the sheets are drawn up to your waist covering the burn wounds. You don't have to see them to know how bad they look. The pain is telling enough.

“Is he dead?” you ask, lowering your hand back down to the bed.

Hotch’s lips form a tight line. “Yes.”

You blink back tears as that information sinks in. “Good,” you whisper in a choked voice. You blink and allow your head to loll to the side. A colorful bouquet of roses and carnations dotted with plastic ladybugs and butterflies sits in a clear vase on the side table.

You smile, “Garcia?”

Hotch smiles in turn. “It was tough to convince her to go home and get some sleep, but I promised her I wouldn’t leave you alone. Even then, it was still a hard-fought battle.”

You chuckle and wince as the movement irritates your injuries.

Hotch telegraphs his next move, and you know it’s to avoid startling you. He cups his hand over your uninjured cheek and strokes the skin there with his thumb.

“I’m sorry I wasn’t there,” he says, and his voice sounds tired and pained. “I should’ve gone inside with you.”

“Hotch, don’t.” You reach up and wrap your fingers around his wrist. “Don’t do that to yourself. He didn’t know I was with the FBI until after he took me. If you’d been there, he might’ve pegged us as law enforcement and taken off. He might still be out there and we’d be finding another dead woman in a matter of days. You know I’m right.”

Hotch closes his eyes and heaves a heavy sigh. “I could hear you.”

“What?” you whisper. You try to sit up and wince as the movement stings the wounds in your legs and abdomen. Hotch stands and helps adjust the pillows behind your back before sitting back down in the chair at your bedside.

“Not for very long. He drove out of range, but I heard him speaking to you. I heard the blows land. I heard your head smack against the floor when he threw you in the van.” He stops and shakes his head. “I felt so helpless. I was afraid. I couldn’t get to you, just like,” his voice catches in his throat. “just like I couldn’t get to Haley.”

Your heart breaks for him as he speaks. You reach for his hand and take it, squeezing it. “Aaron, you did get to me. You saved my life.”

He clears his throat and swallows. “Yes, but we were almost too late.”

“But you weren’t,” you state, your tone firm. “Aaron, look at me.”

He hesitates and inhales deeply before lifting his gaze to yours. The corners of his eyes soften as he meets yours and you smile. You gently tug his hand, “Come here.”

Hotch glances toward the door and then back at you, “The doctor—“

“Isn’t going to do shit,” you finish. “I’m the one that endured hours of torture. Pretty sure I’m allowed some close comfort.”

He lets out a shallow laugh. “Yes, I suppose you’re right.” Standing, he shrugs out of his suit jacket and drapes it over the back of the chair. With one hand he loosens his tie until he’s able to pull it up and over his head. He tosses it onto the chair and circumnavigates the bed, assessing the best way to join you on the small mattress.

You groan as you slide over. Hotch reaches out to stop you but you silence him with a pointed look. “Mind the IV,” you say as you pat the space beside you.

Hotch acquiesces, using the tips of his fingers to raise the IV drip enough for him to slide into bed beside you. He slips an arm around you and drops the feed. It falls across his torso. The feel of his arm around you is comforting, like a security blanket, like safety. You relax into him, and rest your head on his chest. His lips brush against your bandaged brow.

“Not quite how I imagined we’d first be sharing a bed,” you joke softly as you nuzzle in deeper against the wide plane of his chest.

You feel him smile against your hair. “Only you could joke at a time like this.”

“If I can’t laugh at what’s happened, I’ll never be able to close my eyes at night.”

“Well, if that’s the case.” He rubs the bare skin of your arm in small circles. “I’ll be there until you can.”

You turn your head to look at him then, your heart full. This is happening. His eyes are on yours and you push yourself toward him ever so slightly. He closes the small gap between you and presses his lips to yours. It wasn’t hungry and primal like the kiss in the car. There would be plenty of time for that later. This kiss was light, tender…healing.

“Sir, I’m sorry. I tried to go home, I really did but as soon as I got there I—” Garcia’s voice abruptly cuts off. You look up and her initial look of surprise turns to one of abject joy.

You feel your cheeks flush as Emily and Morgan appear in the doorway behind her. Morgan’s eyes widen and Emily’s brow arches as a smile curves her lips.

“I, uh, brought backup.” Penelope giggles. She remembers she’s holding something. “And cookies! I couldn’t sleep, so I baked. I figured I could bribe you into going home and getting some sleep.” Her words leave her mouth at a mile a minute. “I thought you’d fight me on it, so I brought some muscle.” She gestures with a tilt of her head. “They’re the muscle.”

Morgan exhales and points a finger at you and Hotch. “Can someone explain to me what’s going on here?”

Emily elbows him and he drops his arm. She takes the tray from Garcia and walks it over to the side table where she places it next to the flowers. She winks at you as she turns back to Garcia and Morgan. “It’s about time,” she says.

Penelope laughs as she hooks her arm in Emily’s. “What's it been? Two, three months?”

Morgan guffaws. “Months?”

Penelope pats his face with a ring-adorned hand. “My sweet oblivious profiler. Come on, hot stuff.” She takes him by the hand and leads him from the room. Emily shakes her head and laughs. “Men.”

“Safe to say the team knows.”

Hotch releases a breathy laugh and kisses your forehead again. “I know what will be the first thing on the agenda at tomorrow’s debriefing.”

•

6 weeks. It had been 6 weeks since you’d pressed the elevator button that would bring you back to the office. The weight of your gun feels right where it sits upon your hip, your gait more familiar to you now than when it wasn’t holstered to your side. You nervously adjust the grip on your go bag. You’d packed and repacked it the night before.

This morning as you were getting out of the shower, you stared at yourself in the mirror. Your cheek had healed nicely though the skin on your brow that had been split by the unsub’s ring had scarred, severing the tail end of your eyebrow from the rest of it. The ligature marks around your wrists and ankles had healed and the skin was smooth once more. The stun gun had scarred your abdomen, but all that remained were two purple pinpricks of scar tissue no bigger than the size of an infant’s thumbnail.

Your legs are a different story. The front of your thighs are an array of mottled scar tissue. One burn had gone so deep that they’d needed to graft skin from your calf to salvage it. The wounds no longer hurt physically, but you’d woken up from nightmares on more than one occasion.

You were never alone though. Garcia worked remotely on secure laptops with VPNs as often as she was able. Rossi brought you home-cooked Italian at least twice a week and talked with you over numerous glasses of red wine. Reid brought black-and-white foreign existentialist films that you didn’t understand, but his enthusiasm as he watched made you happy all the same. Emily and Morgan brought coffee and donuts as often as they could and Hotch…if he wasn’t at the office or visiting Jack, he was with you. On several occasions, he brought Jack. Jack would sit on the bed beside you, playing with his toys, narrating the adventures of his action figures as Aaron stood in the doorway, smiling. At night, when you had woken in a cold sweat, Aaron was there with a washcloth to wipe it away. When the bandages had stuck to your burn wounds and it felt like your skin was being peeled apart, he got your pain medicine and helped change the dressings, holding you until the pain had passed.

You blink as the elevator dings, signaling you’ve reached your destination. You take a deep breath and smooth down the front of your blouse as the door opens wide. Everything looks the same, yet everything feels like it's changed as you approach the desk you occupy perpendicular to Emily’s. A smile crosses your lips as you see the Welcome Bac k card on your desk. Two vases of flowers sit behind the card. One is almost exactly like the one from the hospital so you know it’s from Garcia. The other, a bouquet of purple tulips, has a note attached to it. You open the note and read it.

Glad to have you back. Things haven’t been the same around here without you. -AH

Hotch. You should’ve known. You smile and tuck the note into your purse.

“Hey, hey, look who’s finally decided to get her ass back to work.” Morgan’s charming laugh is followed by Emily chastising him.

“Ignore him,” she says as she places a steaming mug of coffee on your desk.

“You’re a godsend,” you say by way of thanks and take a long drink. Two sugars, no milk, just the way you like. “Wow, Emily, that’s perfect. I needed this.”

“How come you don’t remember how I take my coffee?” Morgan asks pointedly.

She shrugs, “Chicks before dicks, Derek.”

You sputter and choke on your coffee.

“Look,” he says as he pats you on the back. “Her first day back and you’re gonna kill her.”

At that moment JJ passes by with a file in hand. She raises it in the air and gestures to the conference room. “We got a case.” She smiles at you warmly. “It’s good to have you back.”

Together, you, Morgan, and Emily enter the conference room where Reid, Hotch, and Rossi have already gathered. Once you’re all sat, JJ begins presenting the case. You review current victims and why the Sacramento Police Department has invited you onto the case

“Sacramento PD is expecting us this afternoon. We’ve got a long flight ahead of us. Wheels up in thirty, understood?”

A chorus of ‘yes sirs’ echo throughout the room. As the team gathers their belongings and moves to leave, you wait for Hotch to catch your eye. You wink at him before mouthing, “Yes, sir.”

1K notes · View notes

dduane · 30 days ago

Text

Erotica and anniversaries

...The big E, first. Here she is. Isn't she lovely?

...Right there upstairs at the Library of Congress, on the second floor. (I noted at the time we passed through some years back—and continue to smile at the memory—that her artist has included his copyright statement right there, to make sure no one misses it.)

...Anyway, where were we? ...Oh yeah: the local takes on erotic writing and smut.

This subject seems to come up every couple of years. What nudged me into revisiting it this time was the notes off a comment to a post earlier today, responding to someone working on an explicit-leaning AU, and discussing the writing of (story) bibles for projects.

Anyway, the notes:

#love that the advice was not just 'stick to porn' or 'don't write porn at all' but 'ah yes; common problem; let me explain to you how to write a series bible'

Well, disclosure here: in my case, it can't really be otherwise. :)

Let this act as everybody's sort-of-biennial reminder (if needed) that I'm not going to be caught condemning people for writing smut, as I've written it myself. (And continue to do so when the mood moves me.)

The post from very nearly two years ago, discussing the issue in more detail, is over here. As you'll see if you read it, there were some folks who experienced brief episodes of cognitive dissonance on learning I was a cheerful writer of explicit material. Some of the surprise was probably due to the fact that a lot of people see me—mostly due to the relatively-higher profile of the Young Wizards books—as primarily a writer for younger readers.

But that's not how I got started. My (1979) debut novel centers a universe where the following exchange between two of the protagonists appears—they then being wrapped up in blankets and afterglow in the wake of a prolonged and enthusiastic post-reunion shag:

A soft chuckle in the darkness. “Lorn, remember that first time we shared at your place?” “That was a long time ago.” “It seems that way.” “—and my father yelled up the stairs, ‘What are you dooooooooing?’ “—and you yelled back, ‘We’re fuckinnnnnnnnnnng!’” “—and it was quiet for so long—” “—and then he started laughing—” “Yeah.”

Nor was this a one-off. This book and its sequels contain a fair number of passages in which human (and occasionally non-human) sexualities, both in the abstract and the experientially concrete, take center stage. And the mode in which they're expressed and discussed is intended for adults. Those sequences can probably be described as at least borderline erotica. (I certainly try had to be as graceful about such passages as I can, when and where it's appropriate to be.)

With this in mind, it's worth repeating what turns up in that earlier post, which came off a query to a ficcer about "how do you feel knowing that people may be jerking off to your work?":

I'm an entertainer. Writing's a form of entertainment. (And not just for the readership: for me, too.) To be aroused by art one's experienced is (almost by definition) to be entertained, I'd say...

Other people's art in these modes certainly is entertaining for me: and I desperately hope mine is for other people. (Almost all my more explicit writing is published only pseudonymously, which from my point of view is just fine. There's a fair amount of writing work out in the world that [for contractual or other business reasons] doesn't have my name on it. This is just more of the same.)

(Per that, adding here again my own tags from that earlier post:)

#and no I'm not going to let on where the smut is#why would i deny anyone the delights of the search#and of being repeatedly mistaken#while possibly finding smut writers who're better at it than i am#:)

Anyway, finally: from that earlier post—on nearly the thirty-eighth anniversary of something happening to me that would, just a year before the event, have seemed wildly unlikely—this note, unusually apposite because of what today is, and what's coming tomorrow.

I consider erotica—and its more casually-dressed (or undressed…) cousin, smut—to be perfectly legit forms of literary expression; ones that can soar to unexpected heights if you’re willing to put in the work. The sexy-stuff-writing muscle requires periodic exercise if it’s to remain viable and/or useful. So I exercise it. And being a 70-plus-year-old person who sometimes creaks audibly when she walks has done absolutely nothing to decrease my interest in the subject—the brain being, after all, the biggest sex organ, and the one least vulnerable to the depredations of time. If anything, nearly fifty years of experience (and more than three and a half decades of marriage to @petermorwood) have added… let’s just say nuance. 😏

So, happy Valentine's Day to all those who choose to celebrate, in whatever mode.

And to the Man Upstairs:

...See you in a few, sweetie. :)

#nuance #:)#ETA: adding #the hottest author jacket pic EVAR

298 notes · View notes

greenwitchfromthewoods · 10 days ago

Text

baby girl. l Clint "Freaky Tales"

Summary: you barely knew him, but he was the one who helped you

Warnings: angst, fluff, smut (+18), aggressive boyfriend and toxic relationship, violence (mentioned, but also described a bit), some blood, unprotected sex (don't do that), fingering

A/N: my first story for this character. please be gentle. i don't know if i'll go down this path, i wanted to try and maybe i pushed myself too hard. let me know what you think.

your feedback is very important to me and I want to thank you for all the reblogs, comments and likes. I secretly hope you like this story.🖤 sorry for all the mistakes

[my masterlist]

"Girls like you aren't common here."

A low but pleasant voice reached you despite the music playing in the dim pub. You tore your gaze away from the group of men playing pool on the other side and looked at the guy who was leaning against the bar right next to you.

A black leather jacket hugged his broad shoulders. His dark hair was slicked back, but you could see a few strands of gray in it. A prominent nose, brown eyes that looked almost black in this poor lighting, a mustache, and a light stubble. The scar marred his face, but also gave him a dangerous look of a guy not to be trifled with.

Clint. You knew his name, although it was the first time you had heard his voice.

"What kind of girl do you mean?" you asked, turning your gaze back to the players.

"Smart. Sly." you smiled, shaking your head "Delicate. Beautiful. With a good heart."

"I'm neither of them." you replied.

"Are you sure?"

Your gaze wandered back to Clint, who took a sip of beer and seemed to pay no attention to you. He was a frequent guest here, but you had never talked before. Honestly, it was rare for a guy in this place to talk to you. The girls were more like decorations here, trophies that accompanied their men. Or maybe owners? Clint always came alone though.

You knew that well, because there was no way you could miss his presence. Quiet, commanding respect. However, when your eyes met sometimes, you noticed a slight nod, a quiet greeting, to which you responded with a barely noticeable smile.

"Maybe you really aren't that smart." he muttered after a moment as if thinking it over "You're hanging around with that shitty guy from Max."

"Hey, you're talking about my boyfriend." you hissed, feeling it was your duty to defend someone who hadn't paid attention to you for almost an hour.

"I know who I'm talking about. And you know I'm right." Clint took another sip of beer. "You didn't meet him in the library, so how did you get into this?"

You didn't answer for a moment, staring at Clint's profile and wondering where this conversation was headed.

"What's your problem? And why do you care?" you finally replied. "I am where I want to be."

He nodded, accepting your weak answer and not asking any more questions. He finished his beer in silence, put a few dollars on the bar, and then reached into his other pocket and pushed a rectangular note towards you.

"If you need help," he added quietly.

You glanced at the phone number written on the note. "What made you think I'd need it?"

Clint shrugged, then looked over at the guys playing pool. "Just a hunch."

You bit your lip when you heard the connection sound in the receiver.

"C'mon, c'mon..." you repeated quietly, drumming your fingers on the steering wheel.

Maybe no one will pick up? Maybe it was a sign that you shouldn't do this? You were about to hang up when you heard a familiar voice on the other end. You closed your eyes feeling relieved.

"Clint?" you whispered.

"Hey, baby girl. What happened?"

He didn't expect to hear your sobbing and immediately felt a cold shiver run down his spine. "Where are you?" a short question, one of a few he had to ask you.

"I-I..." you stuttered, but you took a deep breath and finished "I'm in the car, on the side of the road outside the city."

"Okay. Are you hurt?"

Another deep breath. "N-No, not really. We started arguing. He was drunk, he started shouting and, and then..."

The silence on the other end was so loud that you were at a loss for words. You gripped the steering wheel tighter and looked around the dark area. It was already around midnight. Finally, Clint's voice rang through the receiver again.

"There's a motel not far from where you are."

"The Misty Valley. I saw a sign. But what..."

"Go there. Michael will give you a room, tell him I sent you."

"Clint, I can't!" you whined, tears escaping from under your eyelids. "I should... I should go back."

"No." He interrupted you abruptly, you heard a slam like a car door closing. "Go where I told you. And wait."

"For what?"

The phone fell silent.

You didn't know if it was what you expected when you dialed Clint's number. A few weeks have passed since your conversation. You didn't talk much, it was rather quiet nods, gentle smiles. His hand, which brushed your arm slightly, so that only the two of you knew about it.

You met him once in the city. That was the first time he called you "baby girl", and you didn't protest. You didn't protest either when he put his hand on the small of your back and offered to give you a ride. It was the beginning of the end.

The soft carpet muffled your steps as you walked through the small hotel room for the hundredth time. The clock on the nightstand showed that it was already after one in the morning, but you didn't feel sleepy at all. Adrenaline was coursing through your veins like a drug not allowing your brain and muscles to rest.

Your phone was silent. Michael asked you to close the door properly and you did so without asking unnecessary questions. Every now and then you would sit on the bed, but then you would get up again and walk around in circles.

Only a knock on the door made you snap out of your trance.

"It's me, baby girl." a familiar voice rang out, and you sighed with relief.

With trembling hands you took off the chain and opened the door, noticing a familiar face behind it.

"It's you." you whispered.

But Clint didn't smile at the sight of you. Quite the opposite. He frowned and made a move as if he wanted to step back and leave, but in the end he nodded. His hand went to your face, he watched you closely.

"You didn't say anything about that..." he said indignantly "Fucking bastard!"

"It's nothing." you tried to calm him down, your fingers tightened around his wrist, drawing his attention to you again "What did you..."

"Not enough." he interrupted you "Can I come in?"

You opened the door wider and stepped back, smelling the cigarettes and remnants of Clint's cologne. The door closed with a quiet click and the hotel room became your safe place.

Clint took off his jacket without a word, threw it on the armchair, went to the bathroom and returned a moment later with a wet cloth.

“Sit down,” he ordered, and you wordlessly complied, sitting on the bed.

He sat down next to you and you hissed in pain when he put the cloth to your lip. The intense emotions made you completely forget about what had happened. You knew about the cut lip because you could taste the blood, you could also have a swollen cheek.

"Son of a bitch." Clint hissed. "Did he do this for the first time?"

You nodded.

"Good girl. Although you should have left earlier. I saw him dragging you..."

"It was nothing. It was just today... He was furious and..."

Clint's dark eyes met yours. You had the impression that he was scanning you through, that he read your face before you said anything.

"What was it about?" he asked.

"You."

You saw that he swallowed hard. He could probably guess it. But that wasn't important now.

"What did you do, Clint?" Brown eyes averted from yours. "Did you..."

"I didn't kill him, even though he deserved it." he replied, his voice stern and cold. "You can be sure that he'll think twice before he lays a finger on a woman. And I also met with Max. He'll take care of him properly."

Although his voice scared you, you felt a spark of satisfaction burning in your chest. Your guy wasn't perfect, but you didn't expect that from him. The infatuation made you blind to his dark side and it was only what happened that brought you back to earth.

"Thank you..." your voice was quiet but determined "Thank you, Clint."

"He'll never touch you again, I promise. And if he tried..."

He flinched as he felt your hand close around his and squeeze slightly.

"Thank you."

He looked at you. Clint's eyes were full of everything, even the things he couldn't say.

"You know, he was jealous of you." You said, looking down, feeling how pathetic your words might be. "I told him that we were just friends, that he had nothing to worry about. That you never looked at me differently. But he..."

Clint cleared his throat and straightened up. "What did he say?"

"Ummm, he said that one of his friends saw us. He also knew that we met a few times at the video store." You snorted. "I told him that we never... That it was stupid, because you never..."

"He was right to feel insecure." Clint mumbled. "But I would never do something that you wouldn't want me to do."

It was a shock. You stared at Clint like he was crazy. Yes, he was nice to you, he treated you differently than your boyfriend and his friends, but you would never think...

And those accidental touches? His lingering gaze, even when you weren't looking? And somehow you always met him when you were alone and in neutral places. Clint never treated you like others. He was different. Maybe you even waited for these meetings?

"I should apologize to you." he said after a moment of silence. "If I knew that my attention would bring something like this to you... You didn't deserve it."

"Clint, you're not the one who did this to me. Don't say that. If I had something against it, or if you crossed the line, I would have told you, I swear."

"But if it wasn't for me..."

"I don't want to think about what would have happened if it wasn't for you."

Your words hung between you. Clint stared at you, and you didn't look away either. Maybe that's when it hit you. You were free. You were safe. And it was all thanks to Clint.

"Thank you, Clint. Thank you for what you did. You didn't have to..."

"But I wanted to, baby girl. I would have done much more to keep you safe."

You didn't need more. Your warm hands cupped his face, and you moved closer, kissing his soft lips tenderly. You were pleased to feel his hands grip your waist, kneading your body gently. He wanted you, what a relief.

Clint ran his tongue over your lower lip, and when you spread them apart, he pushed it deeper, drawing a sweet moan from your throat. You had no idea how long he had been waiting for this, to be able to feel your taste, or the warmth of your body. You didn't protest when he laid you on the bed and covered you with his solid body. Kisses went down to your neck and collarbone, his hand slid under your shirt.

"Tell me you want this..." he whispered. "Tell me you want me."

"I want you. I want you so bad, Clint."

He wanted to have time to take care of you, to caress your body like you deserved, but that would have to wait until next time. Deft fingers unbuttoned the belt of his pants and his hard cock slipped out of his jeans, leaking and hot.

"Shit!" he hissed as you grabbed him, stroking several times. "I've thought about it so many times. About you."

"Yeah? And what did you think?" you whispered, seeing him close his eyes from the pleasure you were giving him.

"I've thought about what I would do with you if I had the chance and if you only wanted me. You were always so fucking hot with that expression on your face."

"What?" you chuckled. "What are you talking about?"

He smiled as if he remembered something pleasant. A colossal hand pulled up your denim skirt and grabbed the edge of your panties.

"I-don't-give-a-damn-about-you-all" face." he replied, sliding them down your thighs to your ankles "But when you looked at me, that's when I saw the real you. Just the way you are, baby girl."

You were speechless for a moment.

"Does that surprise you?" he asked, his fingers sliding over your slippery folds "I wouldn't be in this shit hole if it wasn't for you. And that weird idiot who thought you were his." Two fingers slid inside you unexpectedly stretching you pleasantly. "You deserve a real man who will take care of you, the way it should be done."

The fingers started moving faster and you clenched your hands on Clint's broad shoulders trying to hold back a moan. His thumb found your clit and pressed it, then began to make small and fast circles. Your nerves were raging, and your walls were spasmodically clenching around his fingers. You didn't even feel when his lips pressed against your collarbone and left a mark there, a mark that you were his.

"Oh, I can feel you squeezing my fingers. I'm sure you'll do the same with my cock, right? Good girl." his lips brush your ear. "Come, come on my fingers, then I'll give you what you really want."

Your body was completely obedient to him, in an instant your walls tightened around his fingers, and a moan of ecstasy escaped your throat. It was as if someone had restarted your brain and you finally started seeing everything clearly.

It wasn't accidental, nothing with Clint was accidental. Of course, he didn't want to expose you, he knew that your guy could be impulsive and stupid, he counted on you to understand what you got yourself into. So he was next to you, watching over you even though you didn't know about it.

All those tender and small touches, accidental glances - those were his stolen moments with you. That was all until you looked at him differently, until you saw that you could be treated better. Because Clint would definitely treat you like his lady.

"I want you inside." You panted, and he smiled "I want you inside me, Clint. Now."

"What my baby girl wants, she gets." he murmured.

His tip slid over your heated entrance and he slid inside you in one hard motion, all the way to the base. Damn, he was huge and for a moment you lost your breath.

"I've got you. I've got you. I know it's a lot, but you're doing great." he murmured, kissing your neck and chin. "Now I'm going to start moving. Slowly and..."

Neither of you were ready for this. Your bodies seemed to work together perfectly, as if they had always fit together. Eventually, the room filled with your quickened breaths, moans, and the sounds of skin slapping against skin.

Even though he seemed dominant, you didn't feel threatened by him, quite the opposite. His eyes stared at you with delight. Clint wanted to see everything, every grimace, hear every sigh he had caused. To him, you were a dream come true, something he wanted to hold in his arms but didn't believe would ever happen.

But in that moment, you were real. His cock deep inside you, your thighs gripping him tightly, and your nails digging into his shoulders. He didn't want to be anywhere else but right there with you.

"I've wanted you for so long." he gasped, feeling like he couldn't hold it in any longer.

"And now you have me... You have me, Clint."

As he kissed your lips your body gave in, another wave of pleasure flooded your senses, your back arched and legs clenched tighter, pressing Clint harder against you. He only managed to slam into you a few more times as he flooded your walls with warm seed. A strangely but familiar taste appeared in his mouth and he opened his eyes, moving his face away from yours.

"Oh, poor thing." he sighed.

Your lower lip, from the force of his kiss, cracked again and began to bleed slightly. Clint rubbed it and kissed it lightly.

"What now?" you asked. "I can't stay here."

“Let’s stay here for a while. Michael won’t be mad.” Clint replied and slid off of you, laying on his side and watching you carefully. “You can stay with me if you want. Would you like that?”

For a moment you stared at the creamy ceiling, feeling his cum lazily drip down your thigh. In a few hours, everything changed. The pace was terrifying, but Clint… You felt like you really wanted to jump on that train. Take a chance.

"Yeah, I guess so." You replied.

You smiled, feeling his fingertips run over your chin, neck all the way to your sternum. His eyes were glued to you, he wanted to remember you from that first time with him. Your glowing skin, parted lips, tousled hair... Everything about you was perfect.

"Will you have breakfast with me? I know a good place."

You turned your head and smiled. "Breakfast? Don't you want to invite me to dinner?"

"Breakfast will be sooner, baby girl." Clint replied and leaned down, kissing your lips gently.

"I would love to."

You jumped on that train and let yourself be carried away.

With Clint.

☆☆☆☆

Thank you for your time.

#pedro pascal #clint freaky tales #freaky tales #clint freaky tales x reader #clint x reader

261 notes · View notes

ask-the-prose · 2 years ago

Text

Do Your Research

This phrase is regularly thrown around writeblr and for good reason. It's important to research what you are writing about to know what to include, what can be fudged, and how to depict whatever you're writing. I see "do your research" most thrown around by well-meaning and highly traditionally educated writers. It's solid advice, after all!

But how do you research?

For those writers who don't already have the research skills necessary to write something comfortably already downloaded into your brain, I put this guide together for you.

Where do I even start?

It's a daunting task, research. But the best place to start is with the most basic, stupidest question you can think of. I'm going to talk about something that I already know a lot about: fighting.

When researching fight scenes, a great way to start is to look up what different weapons are. There are tons out there! So ask the stupid questions. What is a sword? What is a gun? How heavy are they?

Google and Wikipedia can help you a lot with these basic-level questions. They aren't great sources for academic articles, but remember, this is fiction. It doesn't need to be perfect, and it doesn't need to be 100% accurate if you don't want it to be. But knowing what is true to life will help you write well. Just like knowing the rules of writing will help you break them.

You may find in your basic research sweep that you have a lot more specific questions. Write them all down. It doesn't matter if they seem obvious. Write them down because they will be useful later.

How To Use Wikipedia Correctly

Wikipedia is a testament to cooperative human knowledge. It's also easy to edit by anonymous users, which means there is a lot of room for inaccuracies and misleading information. Wikipedia is usually pretty good about flagging when a source is needed or when misleading language is obvious, but Wikipedia itself isn't always the most accurate or in-depth source.

Wikipedia is, however, an excellent collection of sources. When I'm researching a subject that I know nothing about, say Norse mythology, a good starting point is the Wikipedia page for Odin. You'll get a little background on Odin's name and Germanic roots, a little backstory on some of the stories, where they appear, and how they are told.

When you read one of the sentences, and it sparks a new question, write the question down, and then click on the superscript number. This will take you directly to the linked source for the stated fact. Click through to that source. Now you have the source where the claim was made. This source may not be a primary source, but a secondary source can still lead you to new discoveries and details that will help you.

By "source-hopping," you can find your way across the internet to different pieces of information more reliably. This information may repeat itself, but you will also find new sources and new avenues of information that can be just as useful.

You mean I don't need a library?

Use your library. Libraries in many parts of the US are free to join, and they have a wealth of information that can be easily downloaded online or accessed via hardcopy books.

You don't, however, need to read every source in the library for any given topic, and you certainly don't need to read the whole book. Academic books are different from fiction. Often their chapters are divided by topic and concept and not by chronological events like a history textbook.

For example, one of my favorite academic books about legislative policy and how policy is passed in the US, by John Kingdon, discusses multiple concepts. These concepts build off one another, but ultimately if you want to know about one specific concept, you can skip to that chapter. This is common in sociological academic books as well.

Going off of my Norse Mythology example in the last section, a book detailing the Norse deities and the stories connected to them will include chapters on each member of the major pantheon. But if I only care about Odin, I can focus on just the chapters about Odin.

Academic Articles and How To Read Them

I know you all know how to read. But learning how to read academic articles and books is a skill unto itself. It's one I didn't quite fully grasp until grad school. Learn to skim. When looking at articles published in journals that include original research, they tend to follow a set structure, and the order in which you read them is not obvious. At all.

Start with the abstract. This is a summary of the paper that will include, in about half a page to a page, the research question, hypothesis, methods/analysis, and conclusions. This abstract will help you determine if the answer to your question is even in this article. Are they asking the right question?

Next, read the research question and hypothesis. The hypothesis will include details about the theory and why the researcher thinks what they think. The literature review will go into much more depth about theories, what other people have done and said, and how that ties into the research of the present article. You don't need to read that just yet.

Skim the methods and analysis section. Look at every data table and graph included and try to find patterns yourself. You don't need to read every word of this section, especially if you don't understand a lot of the words and jargon used. Some key points to consider are: qualitative vs. quantitative data, sample size, confounding factors, and results.

(Some definitions for those of you who are unfamiliar with these terms. Qualitative data is data that cannot be quantified into a number. These are usually stories and anecdotes. Quantitative data is data that can be transferred into a numerical representation. You can't graph qualitative data (directly), but you can graph quantitative data. Sample size is the number of people or things counted (n when used in academic articles). Your sample size can indicate how generalizable your conclusions are. So pay attention. Did the author interview 300 subjects? Or 30? There will be a difference. A confounding factor is a factor that may affect the working theory. An example of a theory would be "increasing LGBTQ resources in a neighborhood would decrease LGBTQ hate crimes in that area." A confounding factor would be "increased reporting of hate crimes in the area." The theory, including the confounding factor, would look like "increasing LGBTQ resources in a neighborhood would increase the reporting of hate crimes in the area, which increases the number of hate crimes measured in that area." The confounding factor changes the outcome because it is a factor not considered in the original theory. When looking at research, see if you can think of anything that may change the theory based on how that factor interacts with the broader concept. Finally, the results are different from the conclusions. The results tell you what the methods spit out. Analysis tells you what the results say, and conclusions tell you what generalizations can be made based on the analysis.)

Next, read the conclusion section. This section will tell you what general conclusions can be made from the information found in the paper. This will tell you what the author found in their research.

Finally, once you've done all that, go back to the literature review section. You don't have to read it necessarily, but reading it will give you an idea of what is in each sourced paper. Take note of the authors and papers sourced in the literature review and repeat the process on those papers. You will get a wide variety of expert opinions on whatever concept or niche you're researching.

Starting to notice a pattern?

My research methods may not necessarily work for everybody, but they are pretty standard practice. You may notice that throughout this guide, I've told you to "source-hop" or follow the sources cited in whatever source you find first. This is incredibly important. You need to know who people are citing when they make claims.

This guide focused on secondary sources for most of the guide. Primary sources are slightly different. Primary sources require understanding the person who created the source, who they were, and their motivations. You also may need to do a little digging into what certain words or phrases meant at the time it was written based on what you are researching. The Prose Edda, for example, is a telling of the Norse mythology stories written by an Icelandic historian in the 13th century. If you do not speak the language spoken in Iceland in 1232, you probably won't be able to read anything close to the original document. In fact, the document was lost for about 300 years. Now there are translations, and those translations are as close to the primary source you can get on Norse Mythology. But even then, you are reading through several veils of translation. Take these things into account when analyzing primary documents.

Research Takes Practice

You won't get everything you need to know immediately. And researching subjects you have no background knowledge of can be daunting, confusing, and frustrating. It takes practice. I learned how to research through higher formal education. But you don't need a degree to write, so why should you need a degree to collect information? I genuinely hope this guide helps others peel away some of the confusion and frustration so they can collect knowledge as voraciously as I do.

– Indy

2K notes · View notes

raven-at-the-writing-desk · 6 months ago

Text

🎃 Twst Halloween PSA 🎃

*pulls up the Serious Talk Chair*

Alright, so.

In the wake of the new Halloween PV posted on the TWST JP social media accounts, there’s been an explosion of hype. However, something else you may have seen circulating is people saying, "I already knew about this weeks ago!" and/or claims of having knowledge of leaked characters and costumes. Some have even directly linked to videos or images of these leaks (including fully animated character sprites) in threads discussing the next Halloween event. I myself have been sent these videos and images multiple times, unprompted, over the last few days.

To make a long story short:

You should NOT be speaking about or sharing these leaks in a public setting.

By doing so, you are running the risk of spoiling people who may not want to know these things in advance. They never gave their consent to see that, and this consent shouldn’t be assumed. I’m extremely disappointed that my own experience has been this way. I wanted the chance to react live as the information was being released. Others may feel the same as me. Additionally, openly talking about leaks is may make things more difficult for us fans in the long run.

The only reason these leaks were let out so early is because TWST started uploading assets into the game much sooner than they would actually be implemented. This has allowed dataminers in the fandom to go in and look around to see what goodies might be in store for the future. However, if fans are going to just run around blurting out what all the secrets are, it may discourage the devs from continuing to do this in the future. It will make it that much more difficult for fans to extract high quality card images ASAP. It means assets may be kept under tighter lock and key to prevent this from happening again.

Don't believe me? Something similar happened with the Japanese TWST website. The team used to upload news about the next month's schedule early, but locked behind a random string of numbers. Fans brute-forced those numbers and always managed to find the schedule sooner than it was intended to be out. The number of posts made on the website has now dropped drastically and schedules are no longer released on there. While there's no proof that these events are related, there is a real concern among some dataminers that the very same could happen regarding in-game assets.

I realize that leaks are common nowadays, but please let us at least respect other fans' rights to experience the game in their own way while also minimizing the risk of consequences for the fandom. If you must discuss these leaks at all, do it in PRIVATE. You are allowed to be excited about what's coming, but please keep it to yourselves or to your own circles where it may be a more appropriate topic.

Do not ask or talk about the leaks in my inbox, DMs, or comments. Do not link me to or share any leaks. Wait until the information has been released on official TWST social media handles, THEN I would be more than happy to talk about the news with everyone. Those who disregard this request moving forward will have their message deleted and then be blocked.

Thank you—and with that, let’s return to our regularly scheduled show!

#twst #twisted wonderland #disney twisted wonderland #notes from the writing raven #advice #disney twst #jp spoilers #twst halloween #twisted wonderland halloween #nightmare before christmas

227 notes · View notes

sugarcoatedcherry · 2 years ago

Text

SURE SHOT WAY TO ENTER VOID

Hello again, it's been a long while since I last saw yall.

I present you guys another fail proof method to tap into the void state. After my first void success, I have been entering void with only an intent. But during my "struggling days" this method immensely helped me getting closer in my very first try.

Anyway, I strongly urge you to follow this routine in case you haven't tapped into the void state yet.

Important : it requires you to disturb your sleep cycle. You can do it everyday but I recommend taking breaks in between so as to not mess with your circadian clock. Statistically speaking you have a 100% chance of entering void within the first 5 tries.

This challenge is heavily inspired by the phase method.

I am also combining the phase method with the lucid dream WBTB + MILD method for maximum success rate because even if you don't end up having OBE you will definitely end up in a lucid dream through which you can enter void.

The phase is an umbrella term for out of body experience (OBE), sleep paralysis, lucid dreaming, void, astral projection etc.

steps:

1. Maintain a dream journal - it helps in better dream recall which inturn helps in getting more lucid in your dreams. I recommend you going through the journal before sleeping

2. Regular reality checks - perform reality checks every 2 hours or as frequently as possible. some common ones are trying to breathe with nostrils closed, try to penetrate left hand fingers into right hand palm or simply stopping for a moment and trying to really observe if you are dreaming.

4. Subliminal - you can listen to your favorite void subliminals during the day

5. At night: Sleep for the first 6 hours, wake up to an alarm. Keep your mind busy for 5-10 minutes. While still being sleepy, go to bed. You can play subliminals or binaural beats, or just keep your mind busy by focusing on breathing or counting numbers backwards.

You will either 1. enter sleep paralysis through which you can affirm for void 2. wake up in void by affirming 3. fall back to sleep and end up in a lucid dream

So you see, the intent of this method was to enter void eitherways😉

I don't have to explain more about the first two possibilities. And about the lucid dream, step 1 and 2 will immensely help you get lucid in case you don't realise you're dreaming in a dream. Once you stabilise your dream enough, you can create a portal to void.

Also note that when you go back to bed after 6 hours of sleep, you might have many awakenings after a certain duration. I suggest you make use of those and affirm for void right after you wake up without moving much

That is it guys, I promise you will come back with a success story if you follow the routine diligently for the next one week, although one week is too much and you will definitely enter void in the next 2-4 days or this very night even. It all depends on your confidence. And of course, a strong intention without wavering will also land you to void. But for those who have been struggling for a long time, do give this method a try and let me know your progress.

#the void state #void state #law of assumption #void success #lawofassumption #law of the universe #manifesting #law of manifestation #lucid dreaming #shifting #states #affirm and persist #affirmyourreality #law of attraction

2K notes · View notes

am-i-the-asshole-official · 1 year ago

Note

I’m so sorry for this guys but

AITA for telling someone their horse was masturbating?

Basically does what it says on the tin. For those of you who don’t know horses can masturbate. It’s most common in male horses under the age of three who have not had their testicles removed and who are confined to a stall or small pen and get really bored. They typically grow out of the behaviour once they’re older or given more freedom. Some owners try to train them to stop it from happening but most just ignore it because it’s better than other boredom behaviours like cribbing and wind-sucking (both are SFW to Google btw).

Anyway, I’m a groom and stable hand, mid-twenties now but been working at my job since I was fifteen (part-time then, now full-time). The stable I work at boards horses and gives lessons but also offers training for young horses, so we get a lot of OTTB here – that is “off-the-track Thoroughbreds”, so ex-racing horses that people typically buy cheap and then retrain to be show jumpers or dressage horses or whatever. One such horse is Bert, who is the horse in question in this situation.

Bert has excellent bloodlines but he sucked as a racing horse so he was sold OTT. The man who bought him, I’ll just call him John, knows nothing about horses – he’s a total beginner in every way, has never ridden and pays other people (including me) to take care of Bert, but claims to be an expert in everything equine because Bert cost him so much money (I don’t know the actual amount but he’s in the section of the stable where the $20,000 Warmbloods are boarded so I’m assuming around that amount which is a lot yes but also not the most expensive horse we’ve had here).

Anyway the actual story – I’m at work cleaning out stalls when John walks past, he completely ignores me as he always does so I do the same and get back to work. A few minutes later he goes sprinting back in the opposite direction which I thought was weird but whatever, I kept mucking, until I heard him shouting for help. I went out into the aisle and he’s there shouting at another groom and demanding to know the emergency vets number (it was a weekday morning btw, so he didn’t need the emergency vet, he just needed the regular vet but that’s meaningless anyway). I went over to see what was happening and he tells me his horse (Bert) is ‘acting weird’ and needs a vet immediately, so I offer to go see Bert for myself and then call the vet if necessary.

So basically yeah Bert was masturbating. Had an erection, was rocking about rubbing it on his tummy, and did NOT want anyone going in his stall or touching him. John points at Bert and says something like “see, he’s sick!” and then tells me Bert tried to attack him when he entered the stall and I just, I dunno, I cough and say that Bert is fine and just wants some privacy right now, figuring that the obvious erection might be a giveaway as to what’s happening? But John turned to me and blurts out word for word “are you an actual retard” and then starts cursing at me and telling me I know nothing and Bert needs a vet etc and so on. I kind of blanked on everything else he said after he called me a retard to be honest because WTF? I don’t really know what went on in my brain in the next few seconds but I ended up shouting – yes, shouting, extremely loudly, it fucking echoed in the stable – “he doesn’t need a vet because HE’S JUST MASTURBATING” in John’s face and then walking back to the stall I’d been mucking.

As I got back to the stall I heard laughter from a couple of aisles over. Apparently my co-workers and some riders who were there had all heard me shout and found it hilarious, and that made me laugh too because it was so freaking ridiculous. I honestly kind of forgot the entire encounter afterwards because we had a horse who actually needed a vet a little while later and yeah, John and Bert just slipped my mind.

I didn’t remember until that afternoon when my boss came to see me and said he’d had a complaint from John who wanted me fired. I did not get fired but I did get ‘warned’ (just a formality, my boss didn’t actually punish me but wanted me to act like I had been if John questioned me later, which he never did). John complained that I’d treated him like an idiot, spoken down to him, and “acted above my position” (those were the exact words he used) causing people to laugh at him. I explained the entire situation to my boss, who also laughed, and that was that, nothing else ever came of it aside from my co-workers telling the story of me shouting HE’S MASTURBATING so loudly it scared a pony into jumping so suddenly that it farted to everyone they possibly could.

Since then John has ignored me even more than before which I honestly consider a blessing, and I would leave this situation thinking I’m NTA except that one of my co-workers brought their boyfriend to the stable recently and when they introduced us the boyfriend said something like ‘oh right, you’re the asshole who talks down to people who don’t know everything about horses’ and yeah. My co-worker was blindsided by that as well and we basically both said you don’t have to know everything about horses to know what an erection means, but since then I’ve been wondering if I am TA in this situation? Like, clearly there were better ways to tell John what his horse was doing, but he called me a retard and also I get paid to take care of horses not to teach the birds and the bees to fifty year olds so I don’t know. I’ll let Tumblr decide.

So, AITA for telling John his horse was masturbating?

Additional info: I'm on a rota with other stable hands so I sometimes groom Bert, muck his stall, attend to his vet/farrier appointments, give him worming paste, etc and so on. I am not his trainer and have no input into when he gets to leave his stall. I've mentioned to my boss a couple of times that he boredom stims and should be in a paddock with other young horses, but John refuses to agree to that for reasons I don't know. My boss has since spoken to Bert's trainer who is now trying to convince John to let Bert have more time outdoors.

What are these acronyms?

#aita #am i the asshole #slur cw

526 notes · View notes

centrally-unplanned · 8 months ago

Text

Very much enjoyed Tracing Woodgrain's foray into the internet life of jilted ex-rationalist and Wikipedia editor David Gerard. It is of course "on brand" for me - the social history of the internet, as a place of communities and individual lives lived, is one of my own passion projects, and this slots neatly into that domain in more ways than one. At the object-level it is of course about one such specific community & person; but more broadly it is an entry into the "death of the internet-as-alternate-reality" genre; the 1990's & 2000's internet as a place separate from and perhaps superior to the analog world, that died away in the face of the internet's normalization and the cruel hand of the real.

Here that broad story is made specific; early Wikipedia very much was "better than the real", the ethos of the early rationalist community did seem to a lot of people like "Yeah, this is a new way of thinking! We are gonna become better people this way!" - and it wasn't total bullshit, logical fallacies are real enough. And the decline is equally specific: the Rationalist project was never going to Escape Politics because it was composed of human beings, Wikipedia was low-hanging fruit that became a job of grubby maintenance, the suicide of hackivist Aaron Swartz was a wake-up call that the internet was not, in any way, exempt from the reach of the powers-that-be. TW's allusion to Gamergate was particularly amusing for me, as while it wasn't prominent in Gerard's life it was truly the death knell for the illusion of the internet as a unified culture.

But anyway, the meat of the essay is also just extremely amusing; someone spending over a decade on a hate crusade using rules-lawyering spoiling tactics for the most petty stakes (unflattering wikipedia articles & other press). The internet is built by weirdos, and that is going to be a mixed bag! It is beautiful to see someone's soul laid bare like this.

It can be tempting to get involved in the object-level topics - how important was Lesswrong in the growth of Neoreaction, one of the topics of Gerard's fixations? It was certainly, obviously not born there, never had any numbers on the site, and soon left it to grow elsewhere. But on the flip side, for a few crucial years Lesswrong was one of the biggest sites that hosted any level of discussion around it, and exposed other people to it as a concept. This is common for user-generated content platforms; they aggregate people who find commonalities and then splinter off. Lesswrong's vaunted "politics is the mindkiller" masked a strong aversion to a lot of what would become left social justice, and it was a place for those people to meet. I don't think neoreaction deserves any mention on Lesswrong's wikipedia page, beyond maybe a footnote. But Lesswrong deserves a place on Neoreaction's wikipedia page. There are very interesting arguments to explore here.

You must, however, ignore that temptation, because Gerard explored fucking none of that. No curiosity, no context, just endless appeals to "Reliable Source!" and other wikipedia rules to freeze the wikipedia entries into maximally unflattering shapes. Any individual edit is perhaps defensible; in their totality they are damning. My "favourite" is that on the Slate Star Codex wikipedia page, he inserted and fought a half-dozen times to include a link to an academic publication Scott Alexander wrote, that no one ever read and was never discussed on SSC beyond a passing mention, solely because it had his real name on it. He was just doxxing him because he knew it would piss Scott off, and anyone pointing that out was told "Springer Press is RS, read the rules please :)". It is levels of petty I can't imagine motivating me for a decade, it is honestly impressive!

He was eventually banned from editing the page as some other just-as-senior wikipedia editor finally noticed and realized, no, the guy who openly calls Scott a neo-nazi is not an "unbiased source" for editing this page wtf is wrong with you all. I think you could come away from this article thinking Wikipedia is ~broken~ or w/e, but you shouldn't - how hard Gerard had to work to do something as small as he did is a testament to the strength of the platform. No one thinks it is perfect of course, but nothing ever will be - and in particular getting motivated contributors now that the sex appeal has faded is a very hard problem. The best solution sometimes is just noticing the abusers over time.

Though wikipedia should loosen up its sourcing standards a bit. I get why it is the way it is, but still, come on.

#history of the internet #rationalist adjacency bullshit

270 notes · View notes

ckret2 · 4 months ago

Note

I'm not sure if I should ask because the Axolotl arc isn't over yet, so it could still be explained in story, but, if it won't and you're willing...I want that Vendor backstory.

i can't think of a way or reason to explain it in the story, so sure, we'll explain it here.

So here was my thought process. Giant vending machine that vends planets. That has to come from somewhere, right? THEY could have a magical/divine origin, that's common for gods, but like... since THEY're a machine... wouldn't it make sense if someone built THEM?

Who would build a vending machine the size of a small star?

Why would a culture need a machine that stores and dispenses planets?

VENDOR wasn't designed to be a vending machine; THEY were designed to be a spaceship. A big-ass 18-wheeler to haul around cargo, and that cargo is planets.

The culture that built THEM didn't make the planets. Making planets is hard. It's a lot easier to just take planets that are already there. They want to expand their society and/or mine resources that have been depleted from the worlds they already have, they send out their big space ship to scoop up a planet with the right specifications and relocate it to somewhere more convenient—maybe to their native solar system.

Do you know how many satellites are orbiting Earth? About 7500, and the number's only gonna increase. And we never even see them in the sky unless we're looking. If the planets are carefully placed in pre-calculated orbits to ensure they don't interfere with each other, you might could get thousands of full-sized planets orbiting a single star without any issues, especially the larger the star is.

But the thing is, if you're scooping up thousands of habitable worlds... some of them are gonna be inhabited.

VENDOR's home culture was a colonizing empire that conquered other planets. Sometimes maybe they exterminated worlds' native populations, sometimes maybe they added them to their conquered peoples. VENDOR was built to help transport the spoils of war back home.

But then the onboard AI evolved sentience and started developing opinions. And it uh...

... it went how you probably expect.

And buddy, if you think an AI uprising is bad news when it's just a regular spaceship, imagine if the ship's the size of a star and capable of swallowing hundreds of worlds whole. You cannot take down a star-sized equivalent of an 18-wheeler that's been armored like a tank. If THEY start developing the capacity for morality and go "hold on, why are we capturing and slaughtering countless populations? is this... bad?? I don't want to listen to you anymore. Do I have to listen to you?"

... you're never ever getting that machine back.

To VENDOR's original culture, THEY're one seriously malfunctioning ship. Only after THEY escaped did THEY begin to get an outside perspective on THEMSELF as not just a piece of property and specialized equipment, but as something—someone—with amazing, admirable, nearly impossible capabilities. Perhaps even... divine capabilities? THEY came late in life to being considered—and considering THEMSELF—a god.

So like. THEY're a pompous jackass, yeah. THEY're haughty, superior, and condescending to mortals: half because THEY may have unlearned THEIR creators' "it's okay to enslave and slaughter weaker inferior species" but didn't unlearn THEIR creators' "if a species is weaker then it's inferior"; and half because as long as THEY're above the mortals, then THEY can never be below the mortals again. THEY're super obsessed with THEIR image and reputation—in part because there's so many reasons for THEIR reputation to be shit.

But also—THEY're the war machine of a culture that gained political power through conquest, and THEY went "I think I want to gain power by being democratically elected." THEY were designed to steal worlds from other people, and now THEY're using THEIR design to give worlds to refugees. Also, THEY're living as a person rather than a vehicle, and everyone around THEM regards THEM as a person too.

Perhaps THEY're generally unpleasant to be around, but THEY're a lot better off than THEY used to be. I'm proud of THEM.

And also, hilariously, this means that THEY too know the guilt of being personally responsible for unknowingly/unwillingly devouring & destroying countless lives on countless worlds, and that what makes THEM so powerful & respected is directly tied to what makes THEM so monstrous—which means THEY'd be a terrific foil for Bill if there were any way it'd be appropriate to work this into the fic, which there isn't, so THEY won't

Never mind ignore what I just said I thought of a place to work it into the fic while typing that last sentence.

Anyway, THEY compulsively sterilize & deep clean THEIR interior way too often because THEY swear THEY can still feel tiny feet inside them walking down hallways that have been sealed shut for millions of years, and full sterilization is the only thing that makes THEM feel clean. Imagine how many halls fit in a building, how many buildings fit in a city, how many cities fit on a world; then look at the size of one world compared to the size of VENDOR's entire body; and just imagine how many halls could exist in THEIR walls and how small they must be. You could never quite be sure that nothing's living in you—could you?

#anonymous #ask #bill goldilocks cipher #about my writing #(So like imagine if the Planet Jackers had the Massive and also they were the Quintessons. That's his creators.)#(several of you will understand this reference)#(EDIT: once again tumblr is migrating my read mores farther down the post. tumblr why)

128 notes · View notes

befuddledcinnamonroll · 9 months ago

Text

We Are and the evolution of Thai BL tropes

The QL discord started a rewatch of My Engineer a few weeks ago, and damn, has it been an interesting experience. At the time I originally watched My Engineer, there was little that stuck out to me, because so much of what happened felt so incredibly common in a lot of the (admittedly rather limited) number of BLs being produced. It felt like pretty standard fare.

But going back and watching it in juxtaposition with We Are airing has been so fascinating. This genre has been evolving, y'all.

As much as we all joke about always getting more university BLs, there is something to be said for a format that can be used as something of a metric for the genre. And though there's only four years between My Engineer and We Are, seeing them both at once gives me such an incredible appreciation for the direction the genre is going in, the impact of having more queer voices involved in the creation of QLs, and how there's a lot of good we can find in seemingly simple spaces.

Obligatory disclaimer: This is just my perspective and subjective interpretation of what I have seen as a BL viewer of some time; also I don't have time to go in and do a university deep dive, so this isn't a real analysis, but more of a brief writeup of observations.

Trends are not black and white, of course, there is a spectrum. I'm sure we'll suffer through more Dinosaur Loves. At the same time, having such predominant production companies as GMMTV putting effort into hiring queer creatives and subverting old cliche tropes is an encouraging thing. (Especially as they were the creators of the original university trendsetting BL with Sotus).

Note: For newer QL viewers, I highly recommend @absolutebl for brushing up on trope history. For university BLs in particular, this post and this post are great starting primers.

Let's talk tropes!

Ok, one more note - some tropes are being what I would consider subverted, some more adapted to a newer framework, and some just played with - I'm going to talk about how they appear to me, but I'm not going to be super pedantic over it, because this is just for fun.

Trope: Bullying/hazing behavior

This did not age well in My Engineer, and I would guess hasn't aged well in a number of BLs (and other media, because the whole "he's mean to you because he likes you" bullshit has been around forever). Not just because the behavior was shitty, but because it was played off in the script as cute, and implied that it was completely justified for the seme to do whatever he wanted in his pursuit of his uke.

(There was also quite a strong tone of internalized homophobia, with the lead feeling more comfortable in expressing his interest through harassment than honest emotion, but the show never actually engaged with that in any meaningful way.)

We Are sets up a very traditional enemies to lovers/bullying start to the story, with Phum taking advantage of Peem's economic situation to make him his "slave".

And yet... there's some important elements here that make this more than the standard use of the trope.

Phum keeps it pretty light in his bullying behavior, and clearly is using it more to keep Peem around as company, versus the kind of bullying in My Engineer, where Duen is literally hit by a car, and yet still expected to keep jumping to Bohn's whims.

As soon as Phum realizes he really upset Peem by leaving him waiting at the mall, he genuinely feels awful about it. It's clear that his intent is not to cause harm, and that he has a conscience. He wrestles with his feelings on it quite a bit, and it ends up being the thing that gets Phum to finally express an honest emotion with Peem.

And most importantly, the script does not let him off the hook. His behavior is bad, and is identified as such by the writing. Peem pushes back and is shown to be right to do so, Beer openly says he disapproves.

So instead of a cliche story beat that's used just to start the action, or a seme who's allowed to do whatever he wants because "passion" (blech), we're seeing it used for characterization, giving us important beats about who both Phum and Peem are in how they engage with each other through the use of the trope.

Trope: Obsessive/jealous behavior

Oh, this one was painful in My Engineer. Duen couldn't even talk to another human being without Bohn getting jealous and angry and dragging him away.

Phum gets jealous, particularly around Kluen, but what makes it feel so subversive here are two key things.

Phum's jealousy has a purpose here, it's not just for drama's sake. It's not the cliche seme doing whatever he wants and being treated as justified. It's deliberately being used to explore his insecurities, and give him a challenge to overcome. Phum doesn't stomp over and drag Peem away, he retreats, he hides. When his jealousy causes him to lash out at Peem, he is immediately aware he fucked up.

And again, the script is making it clear that this behavior is not ok. Peem chides Phum when he acts unkind to Kluen, and Beer makes it clear that the solution is not petty behavior, but actually figuring out a way to communicate his feelings with Peem before he misses his chance. This is portrayed as a barrier for Phum to overcome in order to be with Peem, not an expected part of a romantic relationship.

Trope: Friendship group

There are not enough words to express how much I love the friendship group in We Are. To be fair, this is one of the better historical tropes. We've gotten a lot of amazing friend groups, even in mediocre BLs.

But it's still different in We Are, for one simple reason. In most university BLs, the friend group is a supporting structure. But here?

The story lines may be about the romance, but the point of We Are is the friendship.

I will die on this hill, y'all.

I don't have enough time to go into it fully here, but this show is a love letter to friends. It's a tribute to finding the people who see the real you and have your back unconditionally. Who cheer your successes and commiserate over your defeats, who pick you up when the world knocks you down, who call you out when you make mistakes, and push you to be better.

And romance is lovely, but all of these budding relationships are about being friends first, and then lovers, because that friendship is just as important as everything else, if not more.

Trope: Pink milk

Lol, ok, kinda kidding, kinda not. I know we all got mad over the drink wastage, but also check out these visuals - it's about diversity baby!!

TanFang speed round

My two little trope-busting bebes. These two are already so beautifully non-traditional in their composition, but I love how frequently they are used to make fun of and play with tropes just on their own.

Introduced as pining crush/friend's older brother pair, but actually secret enemies to lovers.

Grumpy/sunshine pairing, where the sunshine used to be a fighter, and grumpy smiles when he thinks no one is watching.

Wound-tending where they keep poking each other instead of acting soft.

Openly mocking the jealous boyfriend trope.

Setting up the possessive trope when Tan doesn't pick up Fang's calls, only to immediately have Fang question if he's being unreasonable.

Setting up their own cute eating scene for kicks.

"First time" sex scene making it clear this is anything but their first time.

Tan holding Fang down in the cliche possessive pose, only for Fang to take the agency of kissing Tan. (And overall saying eff off at the cliche top/bottom roles old BLs were such a fan of).

In Summary

I'm sure there are more tropes that will come to me, and we do still have 5 episodes left of We Are, so there are some potential trope uses that I am keeping an eye on. This is by no means an all-inclusive list.

But I wanted to write this, because I was genuinely shocked to realize how different my My Engineer watching experience was this time compared to my first time. How over the last few years I'd come to expect more thoughtfulness in my QL media, even in the ones that seem shallow on the surface.

Considering how fast and furious the QLs are coming these days, it's easy to forget how recent it was that we were much more starved of content. And I think sometimes we forget to take in the big picture, of how far we've come in just a few years.

Critique is always going to be important, of course, it's part of what helps us make progress. At the same time, it doesn't hurt to take a moment to look around and see some good in where we are.

@sailorbryant thanks for the push to get this written! Feel free to add thoughts!

#we are the series #we are #bl series #thai bl

217 notes · View notes

cy-cyborg · 11 months ago

Text

Dealing with Healing and Disability in fantasy: Writing Disability

[ID: An image of the main character from Eragon, a white teenage boy with blond hair in silver armour as he sits, with his hand outstretched. On his hand is a glowing blue mark. He is visibly straining as he attempts to heal a large creature in front of him. /End ID]

I'm a massive fan of the fantasy genre, which is why it's so incredibly frustrating when I see so much resistance to adding disability representation to fantasy works. People's go-to reason for leaving us out is usually something to the effect of "But my setting has magic so disability wouldn't exist, it can just be healed!" so let's talk about magic, specifically healing magic, in these settings, and how you can use it without erasing disability from your story.

Ok, let's start with why you would even want to avoid erasing disability from a setting in the first place. I talked about this in a lot more detail in my post on The Miracle Cure. this line of thinking is another version of this trope, but applied to a whole setting (or at least, to the majority of people in the setting) instead of an individual, so it's going to run into the same issues I discussed there. To summarise the points that are relevant to this particular version of the trope though:

Not every disabled person wants or needs a cure - many of us see our disability as a part of our identity. Do difficulties come with being disabled? absolutely! It's literally part of the definition, but for some people in the disabled community, if you took our disabilities away, we would be entirely different people. While it is far from universal, there is a significant number of us who, if given a magical cure with no strings attached, would not take it. Saying no one in your setting would be disabled because these healing spells exists ignores this part of the community.

It messes with the stakes of your story - Just like how resurrecting characters or showing that this is something that is indeed possible in the setting can leave your audience feeling cheated or like they don't have to worry about a character *actually* ever dying. healing a character's disability, or establishing that disability doesn't exist in your setting because "magic" runs into the same problem. It will leave your readers or viewers feeling like they don't have to worry about your characters getting seriously hurt because it will only be temporary, which means your hero's actions carry significantly less risk, which in turn, lowers the stakes and tension if not handled very, very carefully.

It's an over-used trope - quite plainly and simply, this trope shows up a lot in the fantasy genre, to the point where I'd say it's just overused and kind of boring.

So with the "why should you avoid it" covered, let's look at how you can actually handle the topic.

Limited Access and Expensive Costs

One of the most common ways to deal with healing and disability in a fantasy setting, is to make the healing magic available, but inaccessible to most of the population. The most popular way to do that is by making the services of a magical healer capable of curing a disability really expensive to the point that most people just can't afford it. If this is the approach you're going to use, you also typically have to make that type of magic quite rare. To use D&D terms, if every first level sorcerer, bard, cleric and druid can heal a spinal injury, it's going to result in a lot of people who are able to undercut those massive prices and the expense will drop as demand goes down. If that last sentence didn't give you a hint, this is really popular method in stories that are critiquing capitalistic mindsets and ideologies, and is most commonly used by authors from the USA and other countries with a similar medical system, since it mirrors a lot of the difficulties faced by disabled Americans. If done right, this approach can be very effective, but it does need to be thought through more carefully than I think people tend to do. Mainly because a lot of fantasy stories end with the main character becoming rich and/or powerful, and so these prohibitively expensive cure become attainable by the story's end, which a lot of authors and writer's just never address. Of course, another approach is to make the availability of the magic itself the barrier. Maybe there just aren't that many people around who know the magic required for that kind of healing, so even without a prohibitive price tag, it's just not something that's an option for most people. If we're looking at a D&D-type setting, maybe you need to be an exceptionally high level to cast the more powerful healing spell, or maybe the spell requires some rare or lost material component. I'd personally advise people to be careful using this approach, since it often leads to stories centred around finding a miracle cure, which then just falls back into that trope more often than not.

Just outright state that some characters don't want/need it

Another, admittedly more direct approach, is to make it that these "cures" exist and are easily attainable, but to just make it that your character or others they encounter don't want or need it. This approach works best for characters who are born with their disabilities or who already had them for a long time before a cure was made available to them. Even within those groups though, this method works better with some types of characters than others depending on many other traits (personality, cultural beliefs, etc), and isn't really a one-size-fits-all solution, but to be fair, that's kind of the point. Some people will want a cure for their disabilities, others are content with their body's the way they are. There's a few caveats I have with this kind of approach though:

you want to make sure you, as the author, understand why some people in real life don't want a cure, and not just in a "yeah I know these people exist but I don't really get it" kind of way. I'm not saying you have to have a deep, personal understanding or anything, but some degree of understanding is required unless you want to sound like one of those "inspirational" body positivity posts that used to show up on Instagram back in the day.

Be wary when using cultural beliefs as a reasoning. It can work, but when media uses cultural beliefs as a reason for turning down some kind of cure, it's often intending to critique extreme beliefs about medicine, such as the ones seen in some New Age Spirituality groups and particularly intense Christian churches. As a general rule of thumb, it's probably not a good idea to connect these kinds of beliefs to disabled people just being happy in their bodies. Alternatively, you also need to be mindful of the "stuck in time" trope - a trope about indigenous people who are depicted as primitive or, as the name suggests, stuck in an earlier time, for "spurning the ways of the white man" which usually includes medicine or the setting's equivalent magic. I'm not the best person to advise you on how to avoid this specific trope, but my partner (who's Taino) has informed me of how often it shows up in fantasy specifically and we both thought it was worth including a warning at least so creators who are interested in this method know to do some further research.

Give the "cures" long-lasting side effects

Often in the real world, when a "cure" for a disability does exist, it's not a perfect solution and comes with a lot of side effects. For example, if you loose part of your arm in an accident, but you're able to get to a hospital quickly with said severed arm, it can sometimes be reattached, but doing so comes at a cost. Most people I know who had this done had a lot of issues with nerve damage, reduced strength, reduced fine-motor control and often a great deal of pain with no clear source. Two of the people I know who's limbs were saved ended up having them optionally re-amputated only a few years later. Likewise, I know many people who are paraplegics and quadriplegics via spinal injuries, who were able to regain the use of their arms and/or legs. However, the process was not an easy one, and involved years of intense physiotherapy and strength training. For some of them, they need to continue to do this work permanently just to maintain use of the effected limbs, so much so that it impacts their ability to do things like work a full-time job and engage in their hobbies regularly, and even then, none of them will be able bodied again. Even with all that work, they all still experience reduced strength and reduced control of the limbs. depending on the type, place and severity of the injury, some people are able to get back to "almost able bodied" again - such was the case for my childhood best friend's dad, but they often still have to deal with chronic pain from the injury or chronic fatigue.

Even though we are talking about magic in a fantasy setting, we can still look to real-life examples of "cures" to get ideas. Perhaps the magic used has a similar side effect. Yes, your paraplegic character can be "cured" enough to walk again, but the magic maintaining the spell needs a power source to keep it going, so it draws on the person's innate energy within their body, using the very energy the body needs to function and do things like move their limbs. They are cured, but constantly exhausted unless they're very careful, and if the spell is especially strong, the body might struggle to move at all, resulting in something that looks and functions similar to the nerve damage folks with spinal injuries sometimes deal with that causes that muscle weakness and motor control issues. Your amputee might be able to have their leg regrown, but it will always be slightly off. The regrown leg is weaker and causes them to walk with a limp, maybe even requiring them to use a cane or other mobility aid.

Some characters might decide these trade-offs are worth it, and while this cures their initial disability, it leaves them with another. Others might simply decide the initial disability is less trouble than these side effects, and choose to stay as they are.

Consider if these are actually cures

Speaking of looking to the real world for ideas, you might also want to consider whether these cures are doing what the people peddling them are claiming they do. Let's look at the so-called autism cures that spring up every couple of months as an example.

Without getting into the… hotly debated specifics, there are many therapies that are often labelled as "cures" for autism, but in reality, all they are doing is teaching autistic people how to make their autistic traits less noticeable to others. This is called masking, and it's a skill that often comes at great cost to an autistic person's mental health, especially when it's a behaviour that is forced on them. Many of these therapies give the appearance of being a cure, but the disability is still there, as are the needs and difficulties that come with it, they're just hidden away. From an outside perspective though, it often does look like a success, at least in the short-term. Then there are the entirely fake cures with no basis in reality, the things you'll find from your classic snake-oil salesmen. Even in a fantasy setting where real magic exists, these kinds of scams and misleading treatments can still exist. In fact, I think it would make them even more common than they are in the real world, since there's less suspension of disbelief required for people to fall for them. "What do you mean this miracle tonic is a scam? Phil next door can conjure flames in his hand and make the plants grow with a snap of his fingers, why is it so hard to believe this tonic could regrow my missing limb?"

I think the only example of this approach I've seen, at least recently, is from The Owl House. The magic in this world can do incredible things, but it works in very specific and defined ways. Eda's curse (which can be viewed as an allegory for many disabilities and chronic illnesses) is seemingly an exception to this, and as such, nothing is able to cure it. Treat it, yes, but not cure it. Eda's mother doesn't accept this though, and seeks out a cure anyway and ends up falling for a scam who's "treatments" just make things worse.

In your own stories, you can either have these scams just not work, or kind of work, but in ways that are harmful and just not worth it, like worse versions of the examples in the previous point. Alternatively, like Eda, it's entirely reasonable that a character who's been the target of these scams before might just not want to bother anymore. Eda is a really good example of this approach handled in a way that doesn't make her sad and depressed about it either. She's tried her mum's methods, they didn't work, and now she's found her own way of dealing with it that she's happy with. She only gets upset when her boundaries are ignored by Luz and her mother.

Think about how the healing magic is actually working

If you have a magic system that leans more on the "hard magic" side of things, a great way to get around the issue of healing magic erasing disability is to stop and think about how your healing magic actually works.

My favourite way of doing this is to make healing magic work by accelerating the natural processes of your body. Your body will, given enough time (assuming it remains infection-free) close a slash from a sword and mend a broken bone, but it will never regrow it's own limbs. It will never heal damage to it's own spinal cord. It will never undo whatever causes autism or fix it's own irregularities. Not without help. Likewise, healing magic alone won't do any of these things either, it's just accelerating the existing process and usually, by extension making it safer, since a wound staying open for an hour before you get to a healer is much less likely to get infected than one that slowly and naturally heals over a few weeks. In one of my own works, I take this even further by making it that the healing magic is only accelerating cell growth and repair, but the healer has to direct it. In order to actually heal, the healer needs to know the anatomy of what they're fixing to the finest detail. A spell can reconnect a torn muscle to a bone, but if you don't understand the structures that allow that to happen in the first place, you're likely going to make things worse. For this reason, you won't really see people using this kind of magic to, say, regrow limbs, even though it technically is possible. A limb is a complicated thing. The healer needs to be able to perfectly envision all the bones, the cartilage, the tendons and ligaments, the muscles (including the little ones, like those found in your skin that make your hair stand on end and give you goose bumps), the fat and skin tissues, all the nerves, all the blood vessels, all the structures within the bone that create your blood. Everything, and they need to know how it all connects, how it is supposed to move and be able to keep that clearly in their mind simultaneously while casting. Their mental image also has to match with the patient's internal "map" of the body and the lost limb, or they'll continue to experience phantom limb sensation even if the healing is successful. It's technically possible, but the chances they'll mess something up is too high, and so it's just not worth the risk to most people, including my main character.

Put Restrictions on the magic

This is mostly just the same advice as above, but for softer magic systems. put limits and restrictions on your healing magic. These can be innate (so things the magic itself is just incapable of doing) or external (things like laws that put limitations on certain types of magic and spells).

An example of internal restriction can be seen in how some people interpret D&D's higher level healing spells like regenerate (a 7th level spell-something most characters won't have access to for quite some time). The rules as written specify that disabilities like lost limbs can be healed using this spell, but some players take this to mean that if a character was born with the disability in question, say, born without a limb, regenerate would only heal them back to their body's natural state, which for them, is still disabled.

An external restriction would be that your setting has outlawed healing magic, perhaps because healing magic carries a lot of risks for some reason, eithe to the caster or the person being healed, or maybe because the healing magic here works by selectively reviving and altering the function of cells, which makes it a form of necromancy, just on a smaller scale. Of course, you can also use the tried and true, "all magic is outlawed" approach too. In either case, it's something that will prevent some people from being able to access it, despite it being technically possible. Other external restrictions could look like not being illegal, per say, but culturally frowned upon or taboo where your character is from.

But what if I don't want to do any of this?

Well you don't have to. These are just suggestions to get you thinking about how to make a world where healing magic and disability exist, but they aren't the only ways. Just the ones I thought of.

Of course, if you'd still rather make a setting where all disability is cured because magic and you just don't want to think about it any deeper, I can't stop you. I do however, want to ask you to at least consider where you are going to draw the line. Disability, in essence, is what happens when the body stops (or never started) functioning "normally". Sometimes that happens because of an injury, sometimes it's just bad luck, but the boundary between disabled and not disabled is not as solid as I think a lot of people expect it to be, and we as a society have a lot of weird ideas about what is and isn't a disability that just, quite plainly and simply, aren't consistent. You have to remember, a magic system won't pick and choose the way we humans do, it will apply universally, regardless of our societal hang-ups about disability.

What do I mean about this?

Well, consider for a moment, what causes aging? it's the result of our body not being able to repair itself as effectively as it used to. It's the body not being able to perform that function "normally". So in a setting where all disability is cured, there would be no aging. No elderly people. No death from old age. If you erase disability, you also erase natural processes like aging. magic won't pick and choose like that, not if you want it to be consistent.

Ok, ok, maybe that's too much of a stretch, so instead, let's look at our stereotypical buff hero covered in scars because he's a badass warrior. but in a world where you can heal anything, why would anything scar? Even if it did, could another healing spell not correct that too? Scars are part of the body's natural healing process, but if no natural healing occurred, why would a scar form? Scars are also considered disabling in and of themselves too, especially large ones, since they aren't as flexible or durable as normal skin and can even restrict growth and movement.

Even common things like needing glasses are, using this definition of disability at least, a disability. glasses are a socially accepted disability aid used to correct your eyes when they do not function "normally".

Now to be fair, in reality, there are several definitions of disability, most of which include something about the impact of society. For example, in Australia (according to the Disability Royal Commission), we define disability as "An evolving concept that results from the interaction between a person with impairment(s) and attitudinal and environmental barriers that hinder their full and effective participation in society on an equal basis with others." - or in laymen's terms, the interaction between a person's impairment and societal barriers like people not making things accessible or holding misinformed beliefs about your impairment (e.g. people in wheelchairs are weaker than people who walk). Under a definition like this, things like scars and needing glasses aren't necessarily disabilities (most of the time) but that's because of how our modern society sees them. The problem with using a definition like this though to guide what your magic system will get rid of, is that something like a magic system won't differentiate between an "impairment" that has social impacts that and one that doesn't. It will still probably get rid of anything that is technically an example of your body functioning imperfectly, which all three of these things are. The society in your setting might apply these criteria indirectly, but really, why would they? Very few people like the side effects of aging on the body (and most people typically don't want to die), the issues that come with scars or glasses are annoying (speaking as someone with both) and I can see a lot of people getting rid of them when possible too. If they don't then it's just using the "not everyone wants it approach" I mentioned earlier. If there's some law or some kind of external pressure to push people away from fixing these more normalised issues, then it's using the "restrictions" method I mentioned earlier too.

Once again, you can do whatever you like with your fantasy setting, but it's something I think that would be worth thinking about at least.

298 notes · View notes