#because I do it all like... at the same time when I write my outline

[nicodiangelato]

Here's what I do that helps me get stuff done on time without stressing myself sick:

Split tasks up into their bare, basic components. Then, make a checklist of each component. Planners are my best friends, because I have an easier time remembering to do something if I write it down.

I find it a lot easier for me, motivation wise, to get through an essay by writing :

"do research/ find sources,

find quotations and create citations,

create an outline,

write paragraph (1,2,3, etc.),

edit rough draft,

create final draft"

because I can check off each little part and still feel like I'm making real, tangible progress vs. just putting down "turn in essay by (deadline)" in my planner.

Then, figure out what's the absolute *bare minimum* you need to do each day (or any other incriment of time that fits your schedule) to meet your deadline. Whatever it is, make sure to add an extra day or two as padding, so you can meet that deadline even if something comes up. Don't be afraid of asking for extensions or setting up accomodations. Be realistic with your limitations and time constraints.

For example: I have 5 hours of lecture I need to get through over Thanksgiving break to meet a deadline. Over 6 days, I need to watch at least 45 mins of a lecture each day. For me, 45 of lecture time is doable over a day because I know I dont have to do it all in one sitting. Realistically, I know it will take me anywhere from 1-5 hours to watch and take notes for these 45 minutes of lecture, because I am preemptively assuming I will need to take some breaks in between.

Breaks: when I get bored, I dont fight it. Instead, I take time to pivot. This is particularly helpful when I find myself doing something I have no interest in, and my brain does not for any reason want to let me do it. I take the time to scroll aimlessly, but also to get a drink/eat/use the restroom. I'm actually writing this while on a hw break right now. And when I get back from my break, all my stuff is in the same place where I left it at my desk, so I have a much better time easing my way into being productive again. If I still don't wanna work on what I was before, I start working on something relatively quick & easy from my to do list that I *do* want to do and ride the wave of productivity I get from finishing that.

The last part: reward yourself for the small victories. Yes checking things off a to do list is fun, but so are stickers. My planners are FULL of gold stars, smiley faces, and cute character stickers. There's a reason teachers use them, they are amazing motivators.

There's a bunch of adhd advice out there that's like "people with adhd tend to work better under deadlines due to the anxiety so here are ways to artificially induce a stress response in order to get you to get work done" and it's like well what if I don't want to be stressed out all the time in order to function

[sturn777]

skater bf matt x rich reader hcs?

skater!bf!matt x rich!reader headcanons . | ( female reader ) wc ?? ( masterlist ) + ( request )

boyfriend!matt who always has calloused hands from skating but keeps yours soft like it’s his job. he’ll carry your prada bag in one hand while holding yours in the other, even if it gets him teased by his friends. “bro, i’m whipped and i don’t care.”

boyfriend!matt who gives you a skateboard just for aesthetic purposes, even though he knows you’ll never use it. he spray paints your initials on the bottom and makes sure it’s the exact same color as the new gucci loafers you just bought. he secretly loves how out of place it looks propped up in your designer-filled bedroom.

boyfriend!matt who takes you to skateparks but never lets you step foot on a board. “you’ll break an ankle in those heels,” he says, but the real reason is that he’s too scared you’ll get hurt. instead, he’ll let you sit on the sidelines while he shows off. every trick is 10x more impressive because he knows you’re watching.

boyfriend!matt who writes your initials on the grip tape of his board like a lowkey claim. his friends notice, of course, but he plays it off like it’s no big deal. “yeah, so what? she’s my girl.”

boyfriend!matt who gets annoyed when you pay for everything, but secretly loves that you insist. you’ll buy him new skate shoes without a second thought, and he’ll grumble, “you didn’t have to do that,” but he’s already lacing them up and showing them off to nick and chris.

boyfriend!matt who loves that you’re completely out of his league but never lets you feel like it. to him, you’re just his girl, the one who keeps his head on straight and his heart soft.

boyfriend!matt who finds your world so overwhelming but can’t imagine not being in it. he’ll sit stiffly on your cloud couch in your marble-lined living room, wearing his scuffed vans, legs spread wide while your dad tries to make polite conversation. he just smirks at you across the room, mouthing, “this is insane,” and you can’t help but laugh because, yeah, it kind of is.

boyfriend!matt who doesn’t get why you insist on coming to his late-night skate sessions, but secretly loves it when you’re there. you’re perched on the edge of an empty fountain in your oversized blazer, legs crossed, scrolling through your phone. he looks up after nailing a trick, and you’re already grinning at him like he hung the moon.

boyfriend!matt who teaches you how to ollie in your pristine backyard. the board wobbles under your feet, and you let out this little shriek that makes him laugh so hard he falls over in the grass. “you’re hopeless,” he says, but his hands are steady as he holds your waist, guiding you step by step until you kind of get it.

boyfriend!matt who knows nothing about fashion but will stand outside a boutique holding all your shopping bags, grinning like he’s won something. you come out looking effortlessly put-together, and he whistles low under his breath. “damn, babe, you really went all out for me, huh?”

boyfriend!matt who presses stickers from his favorite brands onto your hydro flask and luggage because “you need to roughen it up a little.” you roll your eyes, but he catches you tracing the outline of his thrasher sticker later, and it makes him grin.

boyfriend!matt who has zero shame rolling into your country club brunch with a scraped-up knee and a t-shirt that smells like sweat and asphalt. he’ll kiss your cheek in front of all the pearl-wearing moms just to watch you blush. “what? they should know who you belong to.”

boyfriend!matt who says, “don’t touch that,” every time you try to clean one of his skateboards, but secretly loves when you do. you polish the wheels like they’re vintage car parts, and it makes his heart ache a little.

taglist : ( @emely9274 ; @bluestriips ; @loveparqdise ; @flouqissss ; @st4rcs ; @starwebber9 ; @conspiracy-ash ; @sweetrelieef ; @chris-hallelujah ; @leoslaboratory )

[clubsheartsspades]

oh btw how do i pad out stories i cannot do that

Hi yeah hello, sorry my answer comes this late, this has been sitting in my inbox forever and I've actually been thinking about how to answer it for a while now.

The short answer is: idk I just sit down and keep writing until I accidentally wrote too much... whoops?

The long answer is that, well, it depends on your personal writing style and preferences. (I'm going to assume you mean padding out your stories with plot and all kinds of side stories that follow along and not padding out your writing itself.)

I personally find it easiest to write out all of my plot points, everything that's important to me and that I absolutely want to include, so I have a skeleton outline. This skeleton outline for the Hell AU would look like this:

Kill Pebbles

Reincarnate Pebbles

Artificer teaches him the wonders of being a little guy

Their journey to Moon

From here on, I start adding things. Like what it would take for Pebbles to die and come back, how would Arti even find him, what is their way down the wall and towards Moon going to look like, what are they going to see, who are they going to meet, how are they both reacting to things. That's when my outline takes a clearer shape and gets a lot more detailed. I add chapters and any especially fun things I want to explore in bullet points.

This is the point where I really just go "haha, wouldn't it be funny if" and add everything that I think would be fun or interesting to explore, as well as adding in all the extra details that would need to either happen first or happen as a consequence of whatever cool scene I thought of.

For example, in the Hell AU, Sliver's first appearance was 100% just me going "Oh holy shit wouldn't it be badass if" and adding that in. However, to put the scene I thought of into contexts I had to add the scavengers scaling the wall in search of Pebbles (and if they are there, they would naturally run into Arti and Pebbles climbing down), the missing scavenger chieftain mask, the story about the "King of Vultures" that Hunter tells to give Sliver's introduction more of a sudden epic feel, and the following conversation Pebbles has with her. It also gives me the perfect opportunity to use her as a much more in depth plot point and give her an additional character arc in a future story.

Do this with enough scenes that you just really want to include because they are interesting to you, focus on what exactly you like about them, and add any foreshadowing, consequences, and set-up you want and/or need and tadaa!! Your story is now long enough to be considered an epic!

Unfortunately, this method works best if you write an outline first that you then follow along while you write, which is what I do. And my outline for the Hell AU was over 20 pages. If you don't work with outlines, then I respect you, but I also have no idea lmao

Hope this helps!

[nostalgia-tblr]

What do English people call a close? You know, the stairwell bit where all the flats are in a tenement? If you go to visit someone at their flat, what do you call the bit where you wait for them to answer their door? That communal stairs… area?

("Modern AUs don't require research" MAYBE IF YOU'RE ENGLISH THEY DON'T 😭)

[dufferpuffer]

One hyper-specific version of Hinny, my beloved:

Sorry for this... odd outline for a ship concept? Just sorta spilled out, but I wanted to write it somewhere before it left my brain:

Harry loved Ginny because she seemed so normal. Ginny loved Harry because he seemed anything but.

Both of those were true and were beautiful. They kept each other afloat during the war, even when apart. Something to dream of. But they are still childish dreams. They're not built to last.

They get together after the war, mourn together, lean on each other - and it is wonderful. It is over, finally over... ...Harry doesn't know what to do. Being idle feels... odd. Ginny suggests, since he is so amazing at it, being an Auror. It will keep him busy - he can help people while he calms down.

Good idea, Ginny. That feels... right. Yes. That sounds normal... He wanted to do that before everything ended... it makes sense. Ginny goes back to Hogwarts for her final year, overachieving. Harry... focuses on putting one foot in-front of the other. Breathing.

Being an Auror DID feel right. Constantly preparing for the next crisis, taking orders, staying in motion, ignoring how everyone watches him... stepping into a dance he already knows.

When he came home to Ginny she was still so Normal. Enthusiastic about his day. Always matching his mood with whatever balanced it... as always. Just like always. It was Happy... right? ...No... wait... didn't he want things to be different? Didn't he want things to feel 'Normal'? Was this normal...? Was he even capable of-

No time to think: He's going to be a dad!!! :D :D :D Ginny's upset... but that's just pregnancy, everyone tells him. She seems distant. But he isn't sure how. Did she ever feel close...? Or did she just GET close to him before - where now they don't?

She says she is upset he works so much. He's in hospital too much. He comes home too late and gets up too early... She thought, when she was pregnant, he would be home more.

He tries, he really does - but being idle at home... he feels broken. A job he is good at, a wife he loves, a child on the way... But it's a job that feels the same as fighting. A wife he barely knows. A child he is terrified of failing.

Oh shit. Is this how Remus felt...? Years of being trained to survive till adulthood yet not a single lesson on how to be an adult. He just had to keep going. Like he told Remus to. Like his own father did. Be there for his Wife, be there for his Son... ...even though that trapped both of them. Killed both of them.

Ginny thinks Harry was capable of pretty much anything, that if she just kept propping him up a little he would come good. But the weight of his trauma just gets heavier ontop of her the longer it doesn't actually get understanding and support. And she isn't capable of giving it. She doesn't understand him.

Harry breaks - and he feels pathetic. He feels trapped. He feels broken. He wanted a normal life and now he has it but it hurts. His job as an Auror hurts, but not doing it hurts more. He's never been a civilian before - he's been fighting something since infancy.

He has some serious PTSD and cPTSD shit going on. Symptoms he is only noticing now that his life is quiet. As is common for PTSD. Why does he want to run back to the dark times all the time? To the pain that's familiar, that he at least knows how to deal with...

So Harry goes and fucks Draco, probably B^)

Put this in a chat originally, but I'm still thinking about it so it's going here too. I really think Ginny got done so dirty by how Hinny ended up turning out in the books. She really truly does deserve better imho. It's so tragic because Ginny gets kind of overlooked a lot and diary!Tom seems to be the only person to really listen to her...ever. And he doesn't even actually care about her. And once he's gone she never gets that again. He gloats in the end of book 2 that she once told him "no one's ever understood my like you, Tom" and that's still true.

Harry never tells her anything nor does he seem to bother to learn anything about her. Never mind the Horcrux stuff that he only shares with Ron & Hermione and never even considers telling her about. He doesn't even tell her about the prophecy after book 5. And in book 7 he goes into her room briefly and mentions that he's never been there before. All that time he lived with her and he never looked in.

And he shows no sign of recognition when he sees what posters she has up there. He doesn't think "oh of course she'd have that" because he never even found out basic things like what teams or music groups she likes. The one person who ever bothered to care to actually find out these sorts of things and show interest in her was Tom...who turned out to be using her. It's really sad.

I do actually like hinny happening in the books and find it realistic given both their characterizations - given the way Ginny idolizes Harry and probably feels pressured to change to become his "perfect girl" and to not "bother" him with her problems and the way Harry thinks he might be dead soon and Ginny symbolizes to him all the normalcy he thinks he might never get to have, more an idea that a person, and also seems to be physically attractive to him. I just don't like it as an endgame relationship. I think it's realistic they would get together under the circumstances they did. And i think they would break up after the war when Harry realizes he's not comfortable talking to Ginny and Ginny realizes Harry doesn't respect her and they both realize they don't really know or understand one another.

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[acid-ixx]

platonic yan! dick grayson calling you his baby bird the same way he was named robin by his parents. him seeing you as someone to protect and cherish and love so he pours all his love on you and tries to make up for the fact that he has neglected you for all those years!!!

dick would be so touch-starved for your attention and affection, always kissing your forehead and cheeks whilst you're forced to sit beside him as he snuggles you against his body and his warmth. he wishes you would reciprocate with the same level of love as him but he knows you still need to adjust to your old environment but fret not! dick will give you all the time in the world to forgive him.

dick who tries to redeem himself because he's your dearest older brother and he would do everything to make you idolize him like you did all those years ago, even if it's suffocating for you and even if he doesn't have to, he doesn't want to make empty promises to you anymore!

you'll always find his smile so... endearingly creepy, like your presence alone is enough to make him shiver with delight because! you're his most precious baby bird, the one who dove off of the nest too early, and he's your beloved older brother who makes it his sworn duty to protect you and love you and spoil you as much as you want.

even if you weren't a child anymore, dick would still see you as his baby bird to coddle. you don't need to fly away from your nest anymore, not when dick would be the one providing you with no reason to run away.

a/n: since you guys loved the prequel so much... i am rewarding you all with a very long chapter one and it's a lot more angstier, i promise. i was so shocked seeing how much it blew up and im so happy about it !! thank you lots for the comments, it was what made me motivated to write an entire outline and make it an entire series.

again, if you wish for more of my writing, then i heavily encourage interactions and asks!

[prettieinpink]

NEW YEAR, NEW ME

( A collab with thee lovely lele @bloombabydoll )

If you want to reinvent and rebrand yourself, or just continue to make positive improvements in 2024, the first thing is to evaluate your current year. 

EVALUATION

Reflect on how things went for you. Was there continuous growth? Were there many difficult times? Did you discover anything major about yourself and so on. Try to summarise your year in (a) paragraph(s) at least. 

Oversee your goals. Which ones you didn’t, did achieve, difficult ones, easy ones and the impacts it had on your life. 

Compare your dream girl then and now. Is your visualisation of your life currently different to the one you have now and why? 

List any major losses or successes you’ve had in your life, and how they have helped you or why it matters to you. 

This evaluation can be as detailed or simple as you like, but as long as you have a decent outline of your year. 

PREPARING & PLANNING

To prepare for 2024, you want to know what you want life to be like in 2024. Something realistic to a point, but still is a growth journey. 

Think of something that you can associate with 2024. This can be a word, a symbol, art, a song, a book, a movie, a place, or even just all of these things. When you think about your goals and your journey, this is your theme. This is something that should relate to your goals or your dream girl somehow. 

For me, I chose a word and a song. My word is growth because, for me, 2023 was a year for just being able to shed my old self which I did achieve however I just felt there wasn’t much growth as an actual person and not just in my environment. 

For my song, it is Mayflowers by Proleters and Taskrok. This song is the epitome of what I would imagine, is the most polished mindset. I would say perfect, but having a perfect mindset is near impossible. I want to have a mindset glow up because I’ve just been hard on myself lately which has caused my confidence to plummet. 

Before we get into the fun part of the preparation stage, we have to do some organisation in our life. I want you to take a look at your daily lifestyle and your habits, and be completely unashamed about this. 

Then categorise these habits into two sections; Leave and Leap. Leave habits are habits that you are leaving behind in 2023, leap habits are habits that are leaping into 2024 with you. 

Any habits that are self-destructive, addictive or generally harmful are leave habits. Beneficial habits and self-building are leaping with you into the new year.

I want you to do the same for people in your life, all environments (school, work, online etc) and anything else you believe needs to be sorted out. 

This works better if you can reason with yourself why it is a leaping or leaving habit, but don’t try to convince yourself a bad habit is good or vice versa. 

Now, I want you to document an honest paragraph about who you are right now. List your bad and good habits, your strengths and weaknesses and your behaviours. This one requires a bit more detail. 

Then, write a paragraph about who you will be in 2024, your dream girl. List her habits, lifestyle, behaviours, mindset, strengths and anything else extra. I’ll explain later but do not include materialistic desires in this your dream girl. Once again, this one also requires details. 

Stemming from those paragraphs, I want you to create specific and achievable goals. SMART goals are best, but I want to introduce you to how I set goals. 

I divide my year into quarters. For each 3 months, I have 3-5 goals for those months. Usually, it’s one from each area of my life. Then, I break down these goals. 

Questions and How They Help 

Why do I want to do this goal - For motivation and commitment. 

How it’ll benefit me - For the sake of improvement. 

How can I involve myself in this goal - To achieve your goal.  

I prefer this method because it is a lot simpler for me, as I am just a young girl and my bigger goals are more in the future in which I’ll utilise SMART goals. 

To create good goals; Make sure they align with your current values and life principles first. Try to avoid creating goals that you have just taken from the internet. Those goals just aren’t it and you most likely won’t follow through with it. 

Be specific. Don’t say you want to eat more healthily, instead say you want to include (a certain group of veggies/fruits) in your diet and reduce the intake of ( food/drink). 

E.g using eating healthy example

I want to eat healthy -> I want to start including foods that boost my immunity system and support my skin while reducing those that have the opposite effect. 

Then break down those quarterly goals into monthly, weekly and daily goals. Make these habits that you can establish in your lifestyle and have a way in which you can refer back to your progress. 

EXAMPLE GOAL BREAKDOWN

Quarterly Goal - Read 6 books.  

Monthly Goal - Finish 2 books.

Weekly Goal - Be or near half way of one book.

Daily Goal - 20 minutes of reading per day. 

AREAS TO SET GOALS IN YOUR LIFE

Academics

Spiritual

Fitness/sport

Health and wellbeing

Mental health

Personal life

Relationships

Hobbies and recreation

Now for the best part- vision boards! Collect all of your favourite images that embody your quarters or the whole year, then put them in one place where you can see them regularly!

Some ideas are a scrapbook, Pinterest boards, mood boards, playlists etc. 

Choose your theme; It can be your healthy girl era, your academic come back or whatever you want. You can have more than two btw.

Use quotes! Then actually say them in your daily life as a way to shift your mindset to reflect said quote.

Include inspirational people. It doesn't even have to be a millionaire or a very well established person, it could be your friends or someone on the internet.

Be imaginative. Your vision board doesn't have to realistic in my opinion, as the whole point of it to me is that viewing it daily and considering it to be part of your life one day allows for you to open up to those opportunities.

Materialistic Wants

I feel obligated to make this a separate section. This section is practically tangible objects that you want.

However, when choosing this said object that you want, mindfully think about why you want that thing specifically.

It doesn’t have to be meaningful, but as long as each thing on that list has got a purpose to you, and will serve you, I think it’s all good!

Conclusion

If you want, you can definitely start implementing habits before January. However, I believe that as long as you go into 2024 at least knowing who you want to be and shedding away any limiting beliefs, you’ll be fine.

Make sure to incorporate some self care rituals into your daily life as well✨

To end this, I hope everyone has a very merry Christmas! And that 2024 they will achieve to close that gap with their current selves and their dream girl selves! 💖🙏

[pygmi-cygni]

writing tip - research

research is one of the pillars of writing. a poorly researched fic, essay, short story, novel, etc is immediately apparent because of several things:

lack of depth

stagnant plot or development

confusing or inconsistent setting

it doesn't matter what genre you write, if it's original or fiction, whatever. you need to research. depending on the relevance of your writing, the depth of research may vary, but it needs to happen. you do not know everything.

Fantasy

I see a lot of writers and authors use fantasy as an excuse to avoid research. Shut the fuck up. Every good fantasy is based on a real ocurrence or social dilemma. That's why we like it so much.

'but pygmi, fantasy is made up! it isn't real!'

SHUT UP. Even if you don't realize it, your story will have elements that readers are intimately familiar with. If you flub something, it will be noticed.

Besides, just because you make stuff up doesn't mean you can be inconsistent. You'll just have to fill in the cracks with made up stuff, which will even out to being about the same amount of effort. Pick your poison, either way you're gonna feel it.

Research is not everybody's favorite. I like it, personally, I think it's like going on little side quests for knowledge. But I understand if you wanna skip all the business and get to writing your baby. No shame.

Let me give you some pointers to make sure the time you spend researching is relevant and well spend.

Lists! God I love lists. after you have outlined your story and your characters and everything, make a list of all the things you need to have a deeper understanding of. This means determining priorities. - How important is The Thing? Will it majorly affect plot or character development? Is it a focal point of the setting? If the answer is yes to any of those questions, it's important. research.

Big picture, little picture. How important is The Thing (again)?. How much detail do you need to know? Especially when it comes to royalty or a hierarchal system, I see research being misguided. There are so many nuances to royal interactions that I could give a rat's ass. Big picture, general outline. I don't need to know everything, just basic courtesy, terms of address, appropriate convo. done. but if your MC is a coroner? might wanna put more detail into that; you'll be talking about the job a lot. determine how much the element will affect your story and go from there.

Don't fudge it for the plot. You'll have a preconceived notion of a certain job description, and then research it and think 'oh that's actually boring.' Don't muddle up the rules just to fit the aesthetic. It's sloppy, and your readers will notice.

To practice researching, pick your topic and after learning a bit about it, try teaching a powerpoint to your parents or friends. if you feel comfortable enough with that knowledge to do it successfully, I'd say you have a good enough understanding.

Setting

researching location is a big one that often gets overlooked. You don't always need to memorize maps, but get a general idea of the city/country layout so when you say "they drove 20 minutes from A to B" it makes sense, rather than having a reader think "Uh, A to B is closer to four hours, wtf?"

if you are making up your city, make a list of important streets and locations in relation to each other. This will help you keep it straight and organized in your head.

Get a feel for flora and fauna. Palm trees don't grow in Alaska. Don't write an Alaskan city with palm trees.

Weather? what's it like? Let me tell you, Portland doesn't get higher than 102F. rainy, cloudy, all that stuff.

Atmospheric details really add a lot, especially if your audience is from that location. It adds another layer of relatability. Also, use weather/plants/animals to your advantage! symbolism, possible curse, all that stuff.

Eras

Oh my god stop fucking this up. Baroque, Elizabethan, Edwardian, Middle Ages ARE DIFFERENT FROM EACH OTHER. STOP SLAPPING FANCY CLOTHES ON PEOPLE AND CALLING IT THE OLDEN DAYS.

get an idea of when electricity was widespread in homes. when was the refrigerator invented? did they use the word 'hella' in 1950? this kinda stuff is important for not breaking the illusion of a time difference. If you are writing a period piece and someone is chatting with a neighbor like it's 2015, we'll have some questions.

Unless it's doctor who. you guys can do literally whatever.

Plot and Character Development

If plot and characters are poorly researched, you are limiting the opportunities for growth. In researching your MC's occupation, you may discover a cool side effect that connects to a plot device. Stagnant, stale characters can be spruced up with a more developed backstory.

All in all, research is really important for your story. regardless of how professional it is, tumblr or the new york times. Do your research. As a writer, you are representing the community in your own way. Do us proud.

xox love you

[monzabee]

pon de replay - cl16 (+18)

masterlist ||

Summary: The one where Charles decide to prove to everyone that it is him that you belong to, and only him.

Pairing: charles leclerc x reader 

Word Count: 4.8k

Warnings: smuttt, nothing but pure filth, one might even say it is pwp, unprotected sex (cover your willy don’t be silly), oral (f receiving), kinda exhibitionism?, public sex, jealous charles, possessive charles, carlos being a little shit because he’s bored, poor lando, not even sure if i fulfilled the request or not, minors dni!! 

Request: “HELLOOOO! i have an idea and you don’t have to write it but it’s been rattling around in my brain and im never gonna write it (i constantly have way too many ideas to write them fr) myself so i figured i’d send it to you cause you’ve kinda restored my F1 phase with your work. basically, reader being very goofy, funny, and maybe a little bit too loud at times. just like a very silly and bubbly personality and she hangs out with some of the f1 boys (maybe because she’s famous in her own right like a dancer or something) so naturally EVERYONE ships her with lando. like hardcore, almost as bad as one direction fans ships (iykyk), and it sorta makes sense cause when they’re together it’s pure and utter chaos and they both express themselves with physical touch B U T ! she’s actually with charles. to her it makes total sense to be with charles instead of lando cause while lando is definitely attractive he’s too much like her and it’d be like dating herself whereas charles brings out a new calm side to her and she can bring out a goofier side to him. opposites attract type shit😭. maybe a little angst cause charles hates seeing all the edits and also feels a little insecure cause lando and reader DO make sense together in his mind so why’d you pick him instead? then like soft fluff/smut reassurance that charles is literally the man of her dreams, a literal fucking prince, and the best person she’s ever been with. ANYWAYS, im rambling! again, you don’t have to write this if you don’t connect with it or don’t have time i just needed an outlet SOMEWHERE for all the F1 brain rot.”

Author’s Note: hi, hey, hello!! i first of all want to start by saying that i’m very sorry that this isn’t exactly like the request, like at all, but it took me a criminal amount of time to actually get this finished so we’re not going to focus on that. okay? okay, great!! in all and all it was actually quite fun to work on this at the beginning, it was just kinda hard for some reason to work on the actual smut part, but i hope you guys enjoy! good morning, noon or night wherever you are, xoxobee

Please also note that all of my works are protected under copyright, and not available for reposting on other platforms. 

Charles wouldn’t call himself a possessive person, not a chance. He might be ambitious, and competitive, but possessive? That, he is not. He’s never been the type of get jealous of his partner’s friends, whether male or female, because he likes to think that he is mature enough to understand that people have friends. It’s that simple. And he is most definitely not the type of person to comment on what you wear when you’re going out, he is just not that guy. He’s fairly certain that his mother would materialise out of thin air and give him a good beating if he were to do that. So when you asked him about the dress you have on earlier before you left his apartment, the one that clings to your body so tightly that he can practically make out the outline of your tits from across the room? He just smiled and told you to have fun tonight �� because he’s there to make sure you’re not put off by anyone staring at you in it.

So yeah. He’s not usually the type to let the jealousy take over his ability to think things out rationally, but when his girlfriend is dancing her heart away in the middle of the dance floor while every red-blooded men watch her with the same look in their eyes? Yeah, it’s not easy to keep his emotions in check at the moment given the circumstances. And it’s not that he even intends to pout like a petulant child at the bar, making sure to keep an eye on you, it’s just that he is an expressive person and his face reflects what he’s feeling that well. Totally because of that. It’s scary how utterly focused he is on you, watching your every move to make sure no one is bothering you, though you don’t seem to be in need of his help as he watches you dance with one of the girls you met when you first arrived to the club – and with Lando, though he tries not to focus on that part too much.

It's fine, though, he tries to make himself believe, it’s fine as long as you’re having fun. Though that doesn’t necessarily stop him from throwing daggers into Lando’s direction as covertly as he can. The way he has a friendly arm around you is driving him crazy, and he is not above stomping over there to pull you under his arm, drag you to the nearest bathroom and– Well, maybe he shouldn’t get too far ahead of himself just yet.

“They look good together, no?” He hears someone ask him from the side. He realises it is his teammate when he turns to give the person a glare.

“Who?” He asks, deciding to play dumb, but he can’t help himself as he makes a face while focusing his gaze back on you.

“You know who I’m talking about, cabrón!” Carlos exclaims, laughing as he pats him on the back and points to the two of you with a tilt of his head, “I’m glad he’s finally doing something about it rather than sulking around like a geriatric toddler.”

If he would have turned around any faster, Charles is sure his neck would actually, possibly, break. “What?” he spits out as he turns around, “Do you mean her and Lando?”

Carlos gives his teammate a confused look, “Yes,” he drawls out, “you didn’t know he had a crush on her? I thought the entire paddock knew!” Charles feels a surge of disbelief and a tinge of anger bubbling within him.

He wouldn't call it possessiveness, more like a primal instinct to protect what's his. But this revelation catches him off guard, shattering his carefully constructed facade of nonchalance. With doing his best to keep calm under the situation, he asks, “Are you sure you’re not making things up? I feel like you’re misreading the situation here.”

That receives another confused look from his teammate, and though Charles is quite the perceptive person, he misses Carlos starting to put the pieces together – thanks to his overreaction. “I guess so,” Carlos mumbles, loud enough for Charles to hear him in the loud club, “he’s always talking about her, though. The way she smiles, her hair, her dresses; did you know he even went to see one of her performances in Vegas?” Carlos feels bad, really, but there is also something so fulfilling in confirming his theories as he watches his teammate’s eyes bulge out at the mention of one of your dance shows in Vegas. Because Charles knows what those entail.

“I-in Vegas?” He stutters out, eyes moving to focus on your dancing figure again. And at that moment, he absolutely hates Lando. He hates him for having his arms around you, he hates him for dancing with you to the beat in a rhythm he never seems to be able to keep up with, he hates him for the way everybody seems to think the two of you seem to make a handsome couple, and he absolutely hates him for the way he makes you smile.

Charles Leclerc is not a possessive guy – until it comes to you, that is.

“Charles?” He hears Carlos call out his name, but he’s out of his seat long before he can hear the end of his sentence. He doesn’t mean to stomp across the dance floor to get to you. He really doesn’t. He also doesn’t mean to grab you by your arm and put a pause on your fun. And the smile you give him and the way you wrap your arms around his neck while you call him ‘Charlie’? Makes his heart stutter in a way that makes him forget why he ever came over in this first place. Because this should be normal – you, having male friends and spending time with them should not make him insecure. He should be fine with you and Lando spending time together because you both love the hustle and bustle of a club. But at that moment, he doesn’t care about what should be normal, no. He cares about the fact that someone other than him has managed to make you smile, and that he needs to remind you that he’s the only one who should be on the receiving end of all your smiles.

So when he drags you away from the dancefloor (and Lando, for that matter), he doesn’t listen to your objections. He doesn’t care about the way Carlos is watching from his place from the bar, putting all the pieces together as he shares a look with Lando. And he most definitely doesn’t care about the fact that he’s about to fuck you in the club’s bathroom. Well, maybe he does care about that last part. “Charlie,” you whine, your voice clearly scratched from shouting along the lyrics of the songs playing throughout the night, and he doesn’t miss the way you slur his name ever so slightly – which tells him that you had at least two drinks. Cosmopolitans, if he had to guess. “Pleaaase,” you drag out the word, pulling on his shirt to get his attention, “they are playing my song!”

His first mistake is to look at you, because the way your lips form a pout and the way you’re giving him puppy dog eyes is usually strong enough for him to give in. Though this is no usual situation. So instead of moving the two of you back to the dancefloor, he grabs you by your cheeks and presses his lips against you. In the middle of the club, where everybody can see him doing it. The way his lips move against yours is aggressive, and you’re definitely out of breath when he does move away. Cosmopolitans, he realises after tasting you. You've had cosmopolitans. Then, he just gives you a look, threads his fingers through yours and raises an eyebrow. Then he asks, “Are you going to be a good girl and come with me now, or should I do this the hard way and just carry you on my shoulder?”

If this was any other situation, you would totally say something bratty back. Hell, you might have actually said something rude if it meant him being rough with you, maybe spanking you a few times just enough times for you to learn your lesson. But you understand that this is no ordinary situation from his voice and the expression on his face. Charles is like that, you suppose. He’s an open book – meaning that it is very easy to understand what kind of a mood he’s in just by looking at his face, or listening to the undertone of his voice. And right now? Right now you know he’s pissed. You don’t necessarily know what you did, nor do you care. Mainly because all you want to do is make him feel better simply because of the reason that he is one of those people who’s just meant to smile at all times, not frown.

And so you nod gingerly, squeaking out a thimble, “Yes.” You finally meet his eyes as you wrap yourself around his arm, pushing yourself closer to him in the crowded club. “I’ll be good.”

This thumb does that thing where he caresses your knuckle, and he starts moving you through the crowd again. This time, however, you try to stick to him by matching the speed of his steps rather than trying to stay back. You told him you’d be good, you intend to keep your promise. He’s quiet all the way to the bathroom, and he’s quiet when he motions you to get inside, and he’s quiet when he closes to door and promptly locks it behind your back. You think for a moment you’re just there for a chat, maybe about that something you might’ve done, but Charles takes you by surprise as he grabs your waist and pushes you against the door, causing your eyes to widen with realisation of what you’re about to do in that bathroom.

“Charles, what’s wrong?” You try to ask, but he shuts you up with another kiss. And if you thought the previous kiss was aggressive, this one absolutely consumes you. He doesn’t even give you a fighting chance as his tongue quickly dominates yours, and he is relentless as he nips at your lower lip. You can’t help the mortifying moan that leaves your lips, and you push him away to inhale deeply. “What has gotten into you?” You ask, eyes wide due to the adrenaline coursing through your veins, “What happened?”

“You, happened.” He growls. And by that, you mean that he actually growls. His voice is a few octaves deeper than his usual voice, and you can see that he’s snappy. There is this dark look in his eyes that would otherwise scare you if you didn’t know him, but you do. Because he’s your Charles.

And you know this because the quickly leans into your touch when you bring one of your hands up to cup his cheek, giving him a confused look. “Did I do something?” You ask, voice soft amidst the humid bathroom. “Oh my god, is it my dress? Is it too short?” Your eyebrows draw closer as you start properly spiralling. “I knew I should’ve worn the shorts, why didn’t you say something?”

Your mini monologue about your party attire must have struck a chord because Charles suddenly exhales heavily, his forehead resting against yours as he closes his eyes. “No, non, it's not about the fucking dress,” he lashes out, his voice strained, and lace with something else that you can’t quite catch. “I don’t care what you wear, though I do appreciate the easy access.”

“Easy access?” You repeat, testing out the words as you come to a realisation. “What?” You exclaim, quickly taking your hand away from his face to lightly slap at his chest. “No! We are definitely not doing that here, are you out of your mind? You pulled me away because you can’t keep it in your pants until we’re home?”

“And why not?” He asks, and this time, you can see the unbridled rage behind his look. “Would you rather go back to Lando out there? You looked quite happy in his arms after all.”

And the realisation dawns on you right then and there. That this isn’t about your choice of dress for the evening, no. It is about Lando. Though you don’t get that part, since he’s both of your friend, so why is Charles being like this? And you would ask him, of course. But the look he gives you indicates that he doesn’t want to be tested in that exact moment.

So instead, you attempt to calm him down, by dragging your hand gently down his chest and wrapping your arms around his middle. He is like that, your Charles, sometimes he just wants to be held to see reason. “Charlie,” you call out, voice soft as you give him a pleading look, “why don’t you tell me what this is about, hm?”

You think he’s going to finally give in for a moment, but then he just gives you a blank stare. “I don’t want to talk,” he grunts, pulling you flush against him by the hands he has on your waist. His lips are on your neck faster than you can say anything, working his way towards your collarbones. The faint whimpers that come out of your lips bring a small smile to his lips knowing that he’s the one causing them, not Lando or any other guy.

“Charles,” you gasp, your fingers tangling in his hair as his lips trail along your skin. Despite the confusion and frustration swirling within you, you can't deny the way his touch ignites a fire deep within you, consuming your thoughts and leaving you breathless with desire. But as much as you crave his touch, you know that there are unresolved issues between you, issues that need to be addressed before you can fully give yourself to him in this moment. “Charlie,” you repeat, your voice barely above a whisper as you gently push against his chest, urging him to stop. “Stop, we need to talk about this.”

“Talk about what?” He asks, all breathy and with a wild look in his eyes. You can see that he’s trying to hold himself back, but at the same time his hands keep moving on your body in a way that makes you want to let him lose control and perhaps even join him. He successfully ignores your attempts at pushing him away, sliding his hands down on your body to grab the hem of your dress, clenching the material in his hand while dragging it upwards on your thighs until he reaches the soft skin of your stomach. “I have a thing in mind which might help me feel better.” Unable to take your eyes off of him, you take a stuttered breath as you watch him slowly get down on his knees, his lips pressing kisses starting form your sternum continuing down your body over your dress until you feel his lips on the exposed skin of your stomach. His kisses stop once he’s met with the top lining of your underwear, looking at you with a mischevious glint in his eyes as he nips at the nimble lace adorning the top. You call out his name in a weak whimper – though it is not clear to you, nor him, whether you’re asking him to stop or go on. Charles decides to go with the latter. “You know what to say if you want me to stop.”

You don’t really need his reminder, you realise, but it is a welcome one. Your cheeks blush even further when you feel his gaze on you as he lowers his face towards your core, leaving a sweet kiss onto your clit through the fabric of your thong. Suddenly, you want nothing more than to just rip to whole thing apart so there is nothing separating you from him, but you know the game, and you especially know that the ending is sweeter than what you could ever imagine at that moment. And so you wait – you wait until he eventually makes his move and gives your slit a generous lick through the fabric. Watching you is equal parts thrilling and painful, mainly because he wants to drag out his teasing as long as possible just to see you falling apart for him. It’s second nature to you, the way your hand threads through his hair to move him the way you want to, but it is of course not an option because it’s Charles who is in charge.

He makes this known by the way he pulls away, ignoring the way your hands scramble to guide him back to where you want him to be. He nips at the skin of your thigh in a warning manner, pulling a whine from your lips as he fixes you with a look, “You’re not in control tonight, mon bijou, I’ll stop if you try to take over. You got that?” It’s sobering to see him take control in such a way, you sweet little Charles. Usually, he has no problem just laying back and letting you take all the control, or even just making you believe you do. But now? With the way he’s looking at you with such hunger? You know you’d be soaking through your underwear if you weren’t so wet for him already. All you can do is offer him a meek nod, with your lips hanging open in shock, but he is not satisfied with your answer. No, he needs to hear you say the words. So, being the initiative person that he his, he tips at your skin again, this time earning himself a whimper along a grumble about how he’s being unreasonable. He isn’t, but that’s a topic to discuss another time, he decides. “I said, you got that?”

“Yes! Fine, yes!” You whine, grabbing your dress even tighter with your fist that isn’t buried in his hair, “Please just make me come.”

“See?” He asks, flashing you a sweet smile as he lowers his face back onto where you need him the most, “It wasn’t that hard now, is it?” The grumble about how he’s about to be the hard one, makes him chuckle to himself, the rumbling from it making you moan his name as he finally gives you what you want. His tongue works fast as he laps on the wetness through your underwear, soaking the material even more without a care in the world. If you weren’t wet before, you’re sure you’re definitely wet as he drags his tongue through your slit and back onto your clit to suck it through the fabric, causing you to let out a string of moans, each getting considerably louder as he works on your cunt.

The breath is knocked out of your lungs as the moments pass, as you become closer and closer to your impending release. You don’t even notice the fact that you’ve started to move your hips to match the rythym of his tongue, seeking something more to make you tip over the edge. You’re also very aware of the fact that Charles is letting you what you want to do, and though you’re scared out of you midn that he’ll stop like he threatened to do before, the little nod he gives you when you give him a pleading look assures you that he also wants you to come undone on his face.

Or so you’ve thought.

Because he knows your body so well that jus as you’re about to come he pulls back, leaving you high and dry, and even has the nerve to chuckle when he hears his name coming out of your mouth in a high pitched whine. You’re so lost in the moment that you almost miss the way he gently grabs your hands and removes them from his hair, pinning them above you and pushing you against the wall. “Why?” You whine, lips pushed out in a pout as your voice gets gradually whinier, “I was so close, Charles.”

“Oh, baby,” he cooes, “I know you were, I could feel it too.” He starts peppering your feverish skin with kisses, as if to say sorry for leaving you on the brink of an orgasm, and you find yourself arching your neck to expose more of your skin to his skillfull lips. You should stop him, some part of you screams to you in your head, because with the way he’s disguising the fact that he’s marking you with hickeys, but you don’t care at that moment. Your every breath and moan seem to motivate him to work faster, and harder, and when he eventually pulls back to leave a bruising kiss on your lips. A smirk finds its way onto his lips as he gives you an eyeing down, taking in how breathless you look. “Don’t worry, mon bijou, I’ll fuck you now, okay?”

You don’t even realise the nod you give him, too lost in his eyes to put words together to form a proper sentence. He’s gentle with you as he lets go of your hands and positions you the way he wants. With one of your legs wrapped around his hip he has better access to your soaked underwear, his fingers working quickly to pulling it aside. You don’t know when he managed to get himself free from his pants and underwear, but that doesn’t stop you from letting out a loud moan when you feel the tip of his cock circling your clit. “Please, please, please,” your voice cracks as you frantically beg him to do something more. You’d love nothing more than to scold him for the way he shushes you condescendingly, but any complaint you had evaporates when you feel him nudge your entrance. “Please,” you breathe out again, giving him pleading looks as you try to pull him closer somehow, “You promised me you’d fuck me.”

That manages to pull out a beathy chuckle for him, and as if he’s trying to console you, you feel his fingers gently caressing the skin of your hip. “Why don’t you do it yourself, hm?” A grin widens on his lips when you give him a look of confusion, and he leads one of your hands between your bodies for you to wrap it around his cock. “You want me inside you, right?” He rewards your tentative nod with a series of kisses down the column of your throat, “Come on then,” he mumbles into your skin, “put it in, pretty girl.” Exhaling a shaky breath, you keep your eyes on him as you guide him through your entrance. A gasp is torn from your lips when you feel his tip entering you, the initial stretch being more overwhelming because of the fact that you’re standing up. But Charles is quick to soothe you with his kisses down your neck, letting you control the rhythym and how further he can move inside you at first. With your hand making its way down to his hip, pressing him close to you, he quickly gets the message that you’re ready for him. “You’re ready?” He double-checks, raising his head to fix his eyes to yours.

“I swear to god if you don’t fuck me right now–” Your words are interrupted when you feel him move his hips back, just enough to have his tip inside you, and then he snaps his hips forward to thrust back in, making your breath hitch at the back of your throat. It doesn’t take very long for you to become a moaning mess, in fact, you’re more than ready to fall apart for him then and there, but you know he won’t let you until he gets his point across.   

“Look at you, mon bijou,” Charles darkly chuckles, hips matching the rhythym of the song playing outside at the dance floor, “what would people think if they saw you being such a mess for me in a club’s bathroom?” And the whine you let out in response to his question nothing if pathethic, but you can’t find it in you to care because of how good he’s making you feel. “Yes?” He prompts you, mocking the whiny ‘Yes’, that leaves your mouth before you start begging him to let you come. But he doesn’t, because he knows you can hold it until he’s ready for you too, and he tells you just that.

“So good, Charlie, so good,” you can’t help the broken moans you let out as he fucks you to the brink of an orgasm. But that is not enough for him, no. He needs everyone to know the two of you are together now, needs to get out all of his pent up frustrations out.

So when the opportunity presents itself with Lando knocking on the door asking if you are okay? A knowing smirk find its way onto his lips, and you try to silently plead with him with your eyes. “You want to cum?” He whispers in your ear, his thrusts becoming faster. “Say my name if you want to come, baby.”

“Please–” You gasp, hands grabbing the shirt he’s wearing. It’s no avail even if you try to keep your voice down. Because when Charles finds a way to slither his hand down between your legs and starts rubbing your clit in firm circles? You know there is no way you can stay quiet through your orgasm. “Why?” You manage to get out, “God, Charles please.”

“Tell me who’s making you feel so good, pretty girl.” He encourages you, his rhythym now almost brutal as he tries his best to make you come for him. “Come on, tell me who you belong to.” He chuckles darkly when he sees you shaking your head. “It’s not Lando, it’s me. You hear that?” Uh-huh, is the only answer he receives in return, but he is of course not satisfied with it. So, he gently pinches the inside of your thigh. “Tell me who’s going to make you come, or I’ll stop.”

“N-no!” You exclaim, too overwhelmed to see that his threat is an empty one, because he would never actually do something like that to you. “Please, please don’t stop.”

“Come on,” he cooes, the sweet words he whispers into your skin making you more and more malleable to his request. “Say my name baby, let me hear you.”

“Charles,” your loud moan cuts the heavy air in the bathroom. Cheeks flushed, breath unorganised and with that wild look in your eyes? There’s nothing Charles wouldn’t do for you. With every move of his hips, you moan his name louder, eventually tipping over the edge as he feels you squeezing his cock so tight that he almost loses himself then and there.

That’s not to say he doesn’t, of course. Because just as you’re about done with your orgasm, you feel him come inside you, chanting your name alongside mine, mine mine. It takes a long time for the both of you to get back to your senses, but he’s extremely gentle with you as he helps you down and fixes your underwear. You find yourself snuggling up to him when he eventually takes you into his arms after fixing his own clothing, nuzzling your nose to his neck. “You know, I think I like the jealous side of you.” You mumble, leaving a few kisses across his jaw.

“Yeah?” He asks, a breathy chuckle leaving him as he cradles your face with both of his hands, his thumbs caressing the apples of your cheeks.

“Yeah.” You nod, giving him a small smile, “But I need you to take me home, please, I can feel your cum dripping down my leg.”

“Oh baby,” he coos, tutting as he slides his hands down your body to grab you by the waist, “we’re not going home, it would be rude to leave our friends by themselves. Don’t you think so?” The flabbergasted look that you give him makes another chuckle come from his lips as he slowly turns you towards the door. His lips find the junction between your neck and shoulder again as he announces, “We’re going to go back out there, and we’re going to dance. We wouldn’t want you to miss your song now, would we?”

And when he opens the bathroom door and you hear the first words to a Rihanna song you love? You know it’s going to be a long night ahead of you.

[crimeronan]

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

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

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

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

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

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

so i have outlined some basic important concepts about polyamory.

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

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

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

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

here we go:

compersion!

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

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

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

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

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

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

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

metamours!

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

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

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

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

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

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

open versus closed polyamorous relationships!

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

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

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

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

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

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

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

feelings for multiple people!

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

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

this is perfectly fine!

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

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

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

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

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

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

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

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

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

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

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

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

how does each pair act when alone?

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

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

if so, what are they?

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

if so, what are they?

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

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

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

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

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

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

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

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

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

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

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

AND FINALLY.

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

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

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

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

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

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[nnight-dances]

REPETITION / RARE LOVE

pairings: kim mingyu x fem!reader (ft. yoon jeonghan)

genre: fluff, angst, suggestive & sexual content

tropes: best friends to lovers, idiots to lovers (except mingyu's the only idiot), pining, flirting

warnings: explicit language, banter, alcohol consumption, borderline jeonghan slander but it's okay because i would die for the man, has been proofread by me once but only barely. kazuha (le sserafim) is your roommate, huh yunjin is present.

WHAT TO EXPECT

it's simple enough: you and mingyu are perfect for each other. you've told him as much but after years of him avoiding the topic, you leave him alone. but when your long-time infatuation with jeonghan gets rejected, you have nothing to distract you from your desire to be with mingyu. all it takes is you making out with the wrong person and a can of beer for mingyu to come to his senses. (about 11k)

OR: maybe you don't hate repetition as much as you claim to.

SEQUEL OUT NOW!

“why are men on tinder actually vile?” you question out loud, not quite expecting an answer as your eyes continue to read the offensive opener you’d received from a recent match. mingyu, who’s crouched on the desk across from you, frowns.

“y/n, we’re meant to be studying,” he points out, “but also i thought you were over tinder?”

you look at him blankly, “i am! i just gotta finish what i started you know…”

mingyu looks deeply disappointed in you and you slide your phone across to him, “look at this message i just got! it’s disgusting! i don’t need to know if someone’s wet at the thought of—”

“god, y/n, do you have to scream?” he asks as he takes hold of your phone, busying his fingers probably with blocking the guy. you momentarily look back at your screen where the black document meant to be the outline for your final art history paper taunts you.

you sigh, looking down at your phone when mingyu returns it. “i paused your account and deleted the app.” you sigh yet again, “man! if you were gonna uninstall it without my permission you should’ve just deleted my account.”

“you’d just make another one anyway,” he shrugs, “plus, this way when you go back you’ll remember why you left in the first place.”

you grumble something under your breath but resume your attempts at writing. mingyu smiles a little as he goes back to his own work. a beat passes before, he puts his pen down again and when he sees you’re staring at your screen distantly, he asks, “did you talk to jeonghan yet?”

you gasp at the mention of your years-old crush, glancing around you as if you weren’t in a private study room (because apparently the only way either of you could get anything done was while talking to each other). “what?” mingyu continues, “one of us had to address the elephant in the room.”

“wow, you’re just the worst friend ever, aren’t you? it’s like you can’t read rooms at all. i clearly did not want to talk about jeonghan.”

“well, now you are. so you might as well be honest with me. did you think about confessing to him?”

you deflate, stomach suddenly uneasy, “no. i don’t think i will. i don’t need him to know.”

“you kinda do. y/n, look at me,” mingyu knocks on the wood to demand your attention, “it’s the only way you’ll ever have an answer.”

“i don't want an answer.”

“…”

"because i'm going to move on from him!"

"..."

“okay, well, i’m starting to! just watch me, okay? i have the agency to not be completely consumed by my very shallow attraction to a very attractive and impressive man.”

“right. you just used attractive twice in a sentence— and no, i don’t care if it wasn’t the same form of the word, you absolutely hate redundant things. and yet, you refuse to recognize the way out of this pattern of yours.”

“you are so tiring, mingyu, you know that? exhausting, even. i don’t want to do this anymore.” you shake your head at him, suddenly invigorated to finish this damn preliminary proposal of yours.

—

yunjin cackles as she plops down across from you in the dining hall, finding you scrolling ever so dedicatedly on pinterest. “what’s this?”

you look up at her with a pout, “i need a dress for hoshi’s little party. it’s in two weeks and i have zero options.”

“fuck, i knew i was forgetting something,” she grimaces in her typical huh yunjin way and shifts closer, “i need to find something for that too. can’t just wear a corset and call it day since he’s labelling it a formal and whatnot.”

“he really is the worst,” you agree, pausing to muse over a pretty white dress with red roses all over it. “hmm, what about this one?”

yunjin tilts her head and nods as she looks between you and the dress, probably imagining you in it. then, you sigh, “it’s just i don’t think red is my color like that.”

you’re about to elaborate when you hear a gasp from behind you, “that is simply not true!” you don’t have time to react when a figure slides in next to you. goddamnit, it’s jeonghan, you realize, trying hard to keep it together when his shoulder comes to sit next to yours. “you absolutely fucking rock the color red.”

“i do?” is all you can muster as yunjin chokes out a badly covered laugh. you glare at her, “what’s funny, jen?”

“hah, nothing, i agree with jeonghan, you’d look lovely in red.”

you frown, unconvinced as you scroll some more, feeling dizzy from jeonghan’s presence.

“preparing for hoshi’s party i presume?” jeonghan asks and you nod. “i’m so stressed, i have nothing and it’s approaching so fast.”

“you have time though,” he reassures but you’re quick to protest, “i’m not going to have any time next week because we’re organizing that night flea market. i’ll be running around campus so i need to take a trip this week.” the beauty of going to a college with an isolated campus: peace and you gotta plan every time you leave campus because there’s a singular bus that takes you to the city. it’d be a whole day trip for you if not for mingyu, who thankfully has a car that he can drive.

“ahh, tell me when you’re going into the city, y/n,” yunjin pats you, “i gotta go too.”

you nod and then remember, “right of course, i just remembered kazuha saying she wanted to come too.”

“nice,” yunjin approves, “we need all the opinions we can get. did you get mingyu to agree to drive you yet?”

“i texted him earlier but he hasn’t replied, which is slightly concerning because he may not know how to spell but he does write back very fast.”

jeonghan chuckles, “mind if i join you guys too?”

you stop in your tracks, turning to face him, “you wanna come shopping with us?”

he nods, that sweet smile of his plastered across his face, “yeah, i could use a new formal outfit. i’m tired of wearing the same black suit to everything.” he nudges your side, “plus, you guys could help me out. i can never decide on anything all alone.”

—

“maybe i should just not go,” you groan with your head in your hands. mingyu rolls his eyes, slapping your back, “why would not go? if your problem’s with jeonghan, he should be the one to stay back. not you.”

you sit back up, staring at the eggs in your plate. beside you, mingyu chugs his glass of orange juice, and you lean against him. “god, i hate him so much. do you wanna go see if the playground’s free?”

“right now?” mingyu looks at the time. it’s 11 am on saturday, still an hour from the time everyone agreed to meet in front of mingyu’s car, which is conveniently parked right across from the playground. as if following your line of thought, he grins, “alright. but you finish your food first.”

you sigh, “okay, mom, i will.”

five minutes later find you racing mingyu for the best swing in the playground— months of visiting the place had taught you the first swing was the only one that didn’t creak too loud and experienced the least amount of bumps during the ride. mingyu’s fast but you’re stubborn so you reach out for his arm midway, sticking your nails into the skin, knowing how dramatic he is about these things.

he gasps, “DO NOT CLAW ME.” strong as he might be, he slows down to rip your grip off. you seize the opportunity, getting a headstart and laugh when you reach the swing before him, sitting down firmly before mingyu can pull you away.

“that’s cheating, y/n, you know it!”

“hey, you’re the one that has an advantage. you go to the gym like eight times a week. i go like thrice a month.”

“sounds like someone’s lazy and whiny to me.”

you smile, “someone lazy wouldn’t win that race. and you’re the one that’s whining,” you point to his stance, his arms at his hips like an affronted toddler. he loosens his body with a pout as he walks over to the second swing. “whatever.”

time passes a little too fast for you two when you’re fighting like this because kazuha’s running over to you, breathless. “y/n! what are you guys doing?”

“zuha, hi! did you—”

“yep, i got your lip gloss.”

you chuckle, throwing your arms around her, “why are you the best roommate ever?”

mingyu scoffs, “what about you being the worst roommate ever?”

kazuha laughs, too nice to agree with him, “hey, that’s not true.” you hit him in the side, “you’re just jealous that you’re in a single. i guess money really does make people lonely.”

“i’d go for a double even if i was that rich,” jeonghan’s voice pops up from beside you. he sure has a knack for appearing out of thin air. “i couldn’t handle being alone.”

“not everyone can love themselves as much as i do,” mingyu shrugs, smugly as crosses his arms. “i’m self-sufficient like that.”

“if you guys are done, we should start moving,” comes yunjin’s voice from near mingyu’s car, “it’s already fifteen past 12.”

“i call shotgun!” yunjin shouts and you’re quick to fight back, “no way, i already called it.”

“if i didn’t hear it, then it doesn’t count,” she teases, leaning against the passenger side. you glare at mingyu, “i called it in front of mingyu! the driver is the one that counts.”

mingyu laughs at the petty fight, “y/n did call it earlier this morning.”

“that’s not fair! mingyu’s obviously going to take y/n’s side, you guys spend every breathing minute together. the rest of us don’t stand a chance.”

you smirk, “don’t be a sore loser, huh yunjin, you can call it when we’re coming back. if you remember to.”

“i hate you,” she mutters as everyone settles into the car.

“i’m open to music requests, dear friends,” you announce once you’ve started off. “but i reserve the right to reject any tasteless songs.”

“isn’t this the textbook example of a tyranny?” jeonghan breathes and you shoot him a look over your shoulder, “hey, the power comes with the seat. it’s natural selection.”

mingyu groans through laughter, “you know you don’t make any sense. just play some music.”

you roll your eyes, “he says as he laughs his fat ass off.”

“she’s just salty my ass is fatter than hers,” he mutters under his breath. the three in the backseat break into laughs at that, all at your expense as you gape at them. such betrayal.

“i don’t know why i call you friends. you’re monsters.”

kazuha pipes in, “y/n, are you calling your sweet roommate a monster right now?”

jeonghan is quick to join in, “honestly, i’d say kazuha is the nicest friend among us here.”

“fine, everyone but zuha’s out to get me right now.” the screaming continues for a little bit longer until yunjin and kazuha tire themselves out and pass out. you chuckle when you look at them, yunjin’s head bobs in the middle of the three until it hits kazuha’s shoulder, whose head then rests on top.

swiftly, you pull out your phone camera and capture the moment, sure to tease them later. as you’re clicking the photos, jeonghan’s face sticks into the corner with a sneaky grin and you shift the angle to include him. enjoying the attention, he shoots the camera a peace sign, followed by a little heart, and then a cheek heart and now he’s a bunny and then—

you pull yourself away abruptly with a shaky laugh, “god, jeonghan, this isn’t a photoshoot.”

he laughs back, “ha ha, sorry, i can’t help myself. it’s so fun to tease you like this.”

you feel the blood rush to your face at that, so you turn to face the road completely, a weak, “fuck off” on your tongue. mingyu silently observes the interaction, not without a little side-eye that you don’t know what to think of. “you should get some rest, y/n, you didn’t sleep last night.”

you frown, surprised mingyu knows that and you don’t get to ask him why he knows that because jeonghan interrupts, “you guys sure are close. i was talking to hoshi the other day, he misses y’all a lot.”

“he does? he can just come talk to us whenever though,” mingyu replies, doubt tracing his tone. “i don’t think we’re exclusive like that.”

“right?” you agree, “we used to be so close to hoshi, too, and then he moved to the other side of campus this semester and now i have like one class with him.”

“i don’t know,” jeonghan says, “you should talk to him about it, but there’s always been something stronger about the two of you together.”

you shrug, “we always end up together. it’s not that deep i think. it’s just how it is.”

the topic ends there as jeonghan agrees and dozes off himself too. you, however, feel eerily awake. awake? no, more like unsettled. something in your nerves is off and you feel on edge. you’re a little spaced out after that, as you finally reach the city circle with all the shops crowded next to each other with a little mall in the center.

as everyone gets off and gathers their things, mingyu pulls you aside with a concerned look, “are you okay, y/n?” his grip on your elbow grounds you a little. you inhale, knowing better than to pretend in front of him, “yeah, just a little uneasy. i don’t know why. probably just tired.”

mingyu looks like he knows something more about your condition, “are you sure? we can take a break at one of the restaurants before shopping if you want?”

“nah, i’m okay, don’t worry. i’m a strong girl,” you smile, reasurring him with a pat to his chest, “i feel better now. thanks, mingyu.”

he frowns, hand loosening against your skin, “you never thank me, weirdo. don’t be so formal.”

“man, there’s no winning with you, is there?”

he chuckles as he pulls you after the others, “no, i’m insatiable.”

—

an hour into shopping, you realize why you hate doing this. everything is so overwhelming when you’re in the city, so many people, so many clothes. at least you have friends with you as you scan racks after racks, ending up with three potential dresses on your arm. you mutter a prayer in your head that you can find something nice here so you don’t have to walk more. this is already your third store.

the first one is a classic: a little black dress. it’s satin so it sits smooth against your skin and feels soft when you twirl around. it’s a little short for your liking, perhaps too tight against your ass. you turn to the side to get a better look. you take a photo and send it to mingyu, who you’d been going back and forth with. he’d last sent you a photo ten minutes ago: him in a stupid minion onesie. you’d cursed him out real well in response telling him to stop fucking around. he writes back fast.

big gyu: u look good

big gyu: kinda basic tho

you: yea i thought so too

you agree with that, putting the dress aside in case you don’t find anything else at all.

candidate number two is more over the top: a long red dress with little black patterns on it, with a leg slit on one side. getting into it was a whole struggle but you get it on finally. it fits well thanks to the slit which also shows off some skin. you’re hot in it: like literally. the long sleeves don’t help at all. but you look good too, the flare doing wonders for your figure. you pause, sending a photo hoping mingyu would be of help.

however, when mingyu takes longer than a minute to reply, you groan, already sweating a little. concluding that he’s probably changing or something, you peek out your curtain, hoping yunjin was still in the stall next to yours. you call out her name, straining your neck to see if there was anyone else you could ask for help.

you spot jeonghan walking around the shelves near the fitting rooms and before you can hesitate to call him over, he notices your head poking out. he raises an eyebrow, sending your heartbeat into a spiral. “y/n? do you need help?”

you clear your throat, “um, yeah, i need a second opinion on this dress.” jeonghan approaches your corner and you panic when he reaches for the curtain to draw it back. his eyes question you, “can i look?” you let go of it to let him in, a tiny little rational part of you wondering he needed to come inside the room to see.

“ohhh,” he exclaims as he takes you in, “you look amazing. told ya red was your color.”

you turn away from him a little, “this dress is hot.”

“it sure is,” he agrees and you blush harder, “no i meant, like literally. i’m so hot right now.”

jeonghan presses his lips together, giving away the fact that he understands but being the little bitch he is, he chooses the option that makes you wanna combust. he presses two fingers to your cheek and mumbles, “yeah, you are.”

you push his arm off, “yoon jeonghan! you’re such a damn flirt! get out of here.” you force him out of your space and he’s uncontrollably laughing as he lets you. “i’ve another dress to try so wait outside for me.”

“sure you don’t need a hand changing—”

“no, thank you very much!” you scream, greeted with more pleased chuckling. your phone buzzes, catching your attention. you lean down to look at it.

big gyu: niceee thats hot

big gyu: u should get this dress

big gyu: pls

big gyu: pls

you: …girl why are u begging me

big gyu: because.

big gyu: you’re getting this dress right

you: no i’d die of overheating in it

big gyu: and it’d be worht it

you: i dont like how enthusiastic u are about this...

you: wtv this one's rejected.

you: i still have another dress to try

you put your phone down to try the final dress. this one was a purple slip dress with white flower detailing. it was skin tight against your boobs and a little transparent, giving away your black bra underneath. and to contrast, it sat a little loose on your hips which was honestly not the worst look, keeping from the dress becoming too scandalous. you enjoyed this dress the most so far. that was enough, given the track record.

“you done, y/n?” you’re startled when the voice outside is mingyu’s instead of jeonghan. you pull back the curtains in confusion, “gyu? what’re you doing here?” mingyu stops short, “fuck, i like this one.” you flush a little when you notice his eyes settle on your chest for a beat too long. “that’s stunning, for real.”

you laugh. “look at you using big words. but yeah, i think this is the one.” you look over at him, “did jeonghan leave?”

“um, yeah, he said he had to use the washroom when i ran into him on the way,” he mumbles. you nod, a little relieved because you think you’d die if he saw you right now. “anyway, i’m offended you were showing him your dresses and then all i got was a photo.”

“hey, you were taking so long to reply that i had seek someone else out. he just happened to be her.”

mingyu ignores that and tells you to hurry up, “i need your help choosing something for myself.”

“ugh, alright, give me five.”

in the end, you decided you’d get both the classic black dress and the slip dress, you needed more dresses in general. wouldn’t hurt to have more. when you’re done checking out, you find mingyu in conversation with kazuha who’s smiling with a shopping bag in her hands.

“zuha, you get anything?” you ask. she nods eagerly, “yeah! i got this pink dress that jeonghan helped me find just now. it’s really pretty, i’ll show you later in the room.”

you falter a little at that, glancing at mingyu who’d told you he went to the washroom. ignoring the growing unsettling gut feeling, you inform her you’d found something too. “nice, we should have a try-on in the room later.”

“you guys!!” yunjin joins the group, “this is insane. i hit the jackpot and found the sexiest green dress ever.” you laugh, linking arms with her, “you should come over later and try it on with us.”

“ah, the beauty of womanhood,” mingyu grumbles beside you, and you shove him. “you’re not invited, pervert.”

his jaw falls open, “excuse me? what did you just call me?”

you press an index finger into his bicep, “don’t think i didn’t notice you checking my boobs out earlier.” mingyu’s cheek redden at the light-hearted accusation, worsening when jeonghan appears right at the climax of the argument.

“okay, okay, first of all, i wasn’t checking anything out!” he complains, “and-and well, they—”

jeonghan cuts him off, patting his back with an amused smirk, “it’s alright, buddy, it happens to the best of us.” everyone laughs at that, much to mingyu’s chagrin who then becomes pouty for the rest of the walk to the next shop.

“c’mon,” you pull him into the store, “my turn to stare at your tits.”

“god, would you drop it?” he groans as he follows you in. “it won’t happen again.”

you giggle, “it’s okay with me, gyu, because that just means the girls look good.”

he groans again, “i really don’t need to be a part of this.” he wanders off into the store, embarrassed. you let him go, looking at clothes for him separately. turns out shopping for mingyu is harder than the concept of it sounds. it doesn’t help that he’s an expert at criticizing the small detail in every item you choose for him. half an hour later, you’re tired of him.

as if on cue, kazuha calls you to tell you to come over to an asian restaurant nearby to grab lunch. you thank the lords as you pull mingyu away, “there’s nothing here for me anyway,” he grumbles as you meet up with the rest.

entering the restaurant, you spot kazuha and jeonghan at a table nearby. yunjin’s still on her way it turns out as you sit across from them, heart in throat for the worst reason possible: you’re jealous. you may be down bad for jeonghan but that doesn’t mean you’ve lost your ability to take a hint. trying to keep the thought from completely forming in your head, you make conversation with everyone, wanting to be better than this.

you want to avoid thinking about it so you’re quick to shut jeonghan off. he’s his usual self, joking around with everyone but he picks up when you’re not as receptive as usual. you hope he just thinks nothing of it, but you know that’s not possible when he approaches you after lunch as everyone else is washing up in the bathroom.

you’re outside alone, waiting, when he slightly pushes your shoulder to draw your attention. you gasp lightly. “jeonghan?”

“can i talk to you for a sec?”

you frown, “yeah, you’re talking to me right now.”

“come on, y/n, don’t be cold. let’s go for a walk.”

“but, the others—”

“i let mingyu know we’ll be back in a few.”

out of excuses, you silently follow jeonghan’s stride through the busy street. he makes conversation really well, easing you up in no time as he distracts you from what was on your mind. it’s illegal how smoothly he then proceeds to drop the act.

you’re laughing about what he’d said about hoshi’s drinking habits just now, when he suddenly goes serious, “i think i like kazuha.”

you freeze up at that, fighting the frown that itches closer, looking at him like you didn’t hear him. heart’s out of control right now, but at least you were already expecting this outcome. “huh?”

“sorry, i just thought you should know. i’m really into her and i was planning to ask her out sometime this week.”

you would love to pass away right now. immediately, you think you hate jeonghan for doing this to you. it’s clear from his behavior that he knows you like him and that he’s apologizing— he’s rejecting you before you have a chance to confess. he likes kazuha. he’s going to ask her out. you should know that.

you sputter awkwardly, “that’s great! good for you, jeonghan. and um, you really didn’t have to tell me. i’m sure kazuha would love to be with you.”

you never want to speak a word to anyone ever again and you're sweating ever so profusely, so you speed up a little, “and we should get going, no?”

sensing your mood, jeonghan follows along but says, “i’m sorry, y/n. i- i know you…”

you don’t let him finish because it would genuinely kill you to hear him say he knows you like him. “you don’t have to be sorry.” with that, you essentially leave your body. you move fast enough to reach the car, wordlessly getting into the passenger seat and yunjin somehow knows better than to fight you.

the car ride back is filled with music. not much chatter. you realize it’s partly your fault and silently dread being back in the room with kazuha, but to your relief, when you reach she doesn’t bring anything up. you’re too tired to do a try-on like you promised and when mingyu asks if you want to come over to his place, you tell him you’re feeling sleepy. and for once, you actually sleep after telling him that.

sleep is not as much of a comfort as you’d hope for it to be: less of an escape, more jeonghan-themed content. something about heartbreak and living the rest of your life, lovelessly.

—

the next week starts off hectic and you’re thankful for it this once. you could use the chaos of organizing an event to take your mind off things. a small part of you wonders if jeonghan was being merciful by letting you down and timing it so well. knowing him, that doesn’t seem so impossible.

you feel better than you’d imagined you would. you cried like once since the rejection. you didn’t need to worry much at this point, having realizing that it was less important that you’d made it out to be. mingyu, on the other hand, doesn’t give up his worrying, especially when he doesn’t see you until three days into the week. and that, too, because he gave up and thought it would be a good idea to invade your room, at one in the night.

his knocking wakes you up fairly quickly, since you’d only put your phone down a few minutes ago. you rush to the door, afraid of waking kazuha up. “what the fuck, mingyu?” you ask at the sight of him.

“what the fuck yourself! stop ignoring my messages maybe?”

you groan, stepping outside your room, feeling the cold air hit you in your night clothes. “why’d you have to confront me so late at night? can we do this tomorrow? when i’m coherent and not half-naked?”

mingyu falter as if he just realized the time, noticing your tank top and shorts. “i don’t care. i’ll give you my jacket but we’re doing this right here and right now.”

you sigh, knowing this was coming. “forget it, keep your jacket. i’ll go change and be right back.”

mingyu grabs your arm when you try to go back inside, “how do i know you’re not just gonna leave me here to die?”

“dude, my room’s right here. you can come watch me change if you fucking want.”

he lets you go, flustered when you offer and you laugh as you rush back in. in the darkness, kazuha’s voice startles you, “y/n? is everything okay? are you being abducted?”

“oh god, zuha, you scared me. and no, it’s just stupid little mingyu who wants to have a talk. i’ll settle this. go back to sleep.”

she groans, “god, you guys are just like my parents sometimes.”

you laugh at that as you slip into a hoodie and exchange your shorts for pajamas. when you return, mingyu’s sitting at the stairs in front of your room and you hit him in the back.

“ouch! fuck you!” he stands up with a glare, “also i heard what you said about me. why am i stupid and little? can you just choose one insult?"

“let’s go down if we’re gonna argue. zuha can hear us, too. and did you hear what she said after that?” when he seems clueless, you go on, “she said we remind her of her parents sometimes.”

he coughs, “her parents?? what are we, married?”

you roll your eyes, “married and sick of each other, apparently.”

“being zuha’s parents doesn’t sound so bad honestly. she’d be the easiest child to raise.”

“i feel like zuha would raise you if you were her father,” you laugh, “me too, probably.”

“who’d be the father then?”

your smile falls when an answer occurs to you, you mumble, “jeonghan,” sitting at a bench outside your dorm. mingyu joins you, equally solemn now.

“did something happen between you two?”

“yeah. he rejected me when we went shopping that day.”

mingyu’s eyes widen, “what? you confessed?”

you shake your head, a strained smile, “he already knew. i guess i was obvious, but it’s still driving me insane that he rejected me without even giving me a chance to confess.”

“i can’t believe he did that. that’s conceited as fuck.”

“conceited or impressive, i can’t decide. but he told me likes kazuha and that he’s sorry. i genuinely wanted to die when he said that. he was cool about breaking my heart, too. lowkey fell a little harder for him.” you laugh at your own joke, but mingyu looks unhappy, jaw clenched like he’d tasted something bitter.

you hit his arm, “it’s not a big deal, dude. i was thinking about it the past few days and i realized i barely knew the guy. i just knew what he told me over the last year.”

after a pause, “and he’s one beautiful man, so there was that.” you smile a little.

“but he didn’t have to do it like that. he could just stop flirting with you, you know, or wait for you to come around and confess like a normal person,” mingyu says, “he’s such a little jerk.”

“hey, it’s okay, a little flirting didn’t hurt anyone.”

“yeah but he was leading you on, leaving you in ambiguity by doing that. he should’ve been flirting with kazuha, not you.”

“okay, now that’s starting to hurt,” you whine, pressing your forehead against his shoulder, “but i can’t really blame him, no? kazuha’s so precious.”

“don’t be like that, y/n.”

“what? be like what?” you look up, “didn’t you also used to be into kazuha?”

mingyu bites his lip when you bring his years-old crush up, “when will you forget about that? that was so long ago and it was barely serious. she’s too nice to be my type.” (what does that even mean? you wonder but don't have the time to ask.)

“sure, you didn’t want to change residence halls to be closer to her?”

“alright, how many times do i tell you that i did that because of you? why do you never believe me?”

“it just makes more sense the other way,” you mumble, suddenly feeling teary-eyed and hating that you were feeling teary-eyed, which only intensified the teariness in your eyes. “god, this is stupid.”

mingyu’s arm is around in no time when he notices you curling up, your lip tucked between your lips in anticipation, “hey, hey, c'mon, i thought you said it wasn't a big deal. so how come you're crying?"

“because! i feel lame. and because kazuha’s perfect, by the way. she’d probably cry too if she knew i was crying.”

he pulls you closer, “you’re not lame, y/n. you think i’d keep you around so long if i didn’t think you were insanely cool?”

you breathe through your tears, “you just keep me around because i’m insane?”

“insanely cool! open your ears, idiot.”

“you just called me an idiot. idiots are pretty lame.”

he sighs when he feels his tshirt get damper, your body so weak under his hold. he pats your hair softly, “sorry, that’s not what i meant. but seriously, y/n, you know i’m bad at saying this stuff but i seriously cannot stress enough how highly i think of you.” his hand moves to rub your back, “and you’re so much more than perfect, you know? like sometimes you don’t do a paper till three hours before and still get an A. and then, you come up with comebacks to my arguments in your own unique ways, and trust me, nobody can argue with me like you do.”

you pull away, “all right, now you’re embarrassing me. why do i sound like a bossy nerd or something?”

“you can be that at times. hey, but you forgot the part where you’re hot as shit. and also pretty.”

“i feel like that last part was an afterthought, mingyu,” you bite back a laugh, “you really only keep me around for my tits, don’t you?”

“dude, can you let me wholesome for once? i’m trying to console you, so would you stop playing devil’s advocate?”

“sorry, i’m just,” you hesitate with a heavy sigh and then, you blurt out, "i’m scared i’ll never fall in love. i’ll never find it at all.”

“now that’s some stupid thoughts you’re having,” mingyu shakes you by the shoulders, “you’ve just been blinded by your crush on jeonghan for so long that you haven’t explored anyone else at all.”

“are you volunteering to be my crush right now?” you ask, jokingly.

mingyu’s smirk catches you off-guard, “what if i am? it wouldn’t be the worst thing if i was your boyfriend.”

you feel yourself heating up a little for some reason, head in a daze from his earlier shower of compliments and now this. so instead of trying to make sense of it all, you press yourself into him in a hug. “yeah, it wouldn’t.”

—

“hoshi, you little shit!” you throw yourself around the guy when you spot him on the night of the flea market, the product of a long and actually insane week. he laughs when he realizes it’s you, pulling you into a hug, “bro, y/n, why is this my first time seeing in you in literal years?”

“i don’t know, i just kinda see you walking around sometimes. maybe if you actually showed up to econ class, i’d see you more.”

hoshi flinches, “you can’t be bringing econ up right now. that class is kicking my ass. i can’t keep showing up to that kind of humiliation.”

the two of you catch up at last, as people swarm around the different stalls set up along the college street. you were relieved after having finished this damn event. cheers to sleep, right?

hoshi tells you all about his new situationship with a guy in another class and how he’s regretting inviting him to the party tomorrow night. “why? believe it or not, people are more fun when drunk.”

hoshi rolls his eyes, “yeah, well, i couldn’t get any more fun. so instead i become incontrollable. an absolute animal.”

“right, i remember that. so you’re scared you’re gonna drive him off? i wouldn’t worry honestly. and if you want, i can keep you in check.”

he narrows his eyes in distrust, “you? you’re not much better than me drunk, okay? i feel bad for mingyu who’s gonna have to take care of you the whole time.”

you gasp, “wow, you’re taking mingyu’s side now? over mine? i thought we had something special.”

“you thought wrong,” comes mingyu out of nowhere, slinging his arm around hoshi’s shoulders.

“why are you here suddenly?” hoshi looks between the two of you, “i couldn’t not come to an event my lovely y/n herself planned, could i?”

hoshi laughs, “nice to see you two as jolly as ever. but also i must take your leave. i gotta go grab dinner soon.”

“hey, why don’t you come with us? we were gonna check out the new outlet the college opened.”

“oh, i would love to but i have plans with someone already.”

you nod your head in realization, “right of course, have fun. not too much, though. leave some for tomorrow.” he leaves with a full-toothed smile and you face mingyu.

he playfully pinches your cheek, “you confront him about missing us yet?”

you raise a shoulder in response, and as the flea market starts to fizzle out thanks to the darkening sky, your stomach grumbles. “let’s eat, please.”

ever since that night— you don’t want to say anything had changed between you and mingyu because your friendship had been long enough that even the slightest shift in dynamics would harmoniously just become the new status quo; the two of you had been through a lot together. but ever since that night, you’d been fooling around with him more, if that was possible.

it was along the lines of: less banter, more flirting? although one might argue that the former was just a derivative of the other. but semantics aside, this is what you know to be true: friends flirt with each other all the damn time.

that’s what you’re telling yourself when mingyu asks you to feed him some of the fried rice you’d gotten on your plate. and it was true: you’re almost a 100% certain that you’d flirted with every friend of yours, and that was just how it worked.

but intimacy came differently to everyone and mingyu’s just manifested in clinginess. he was pressed to your side for the entirety of dinner, and you couldn’t complain about the proximity. it was welcome, even, this form of friendship.

“you’re thinking too hard.” mingyu’s voice pulls you out of your little reflection session. “what’re you even thinking about? you should be all burnt out from all the work you did this past week.”

“i am,” you affirm, “but some things just don’t let up.”

he chuckles, patting your head affectionately as if to persuade your thoughts to let up for a while. it doesn’t help really, only gravitating the direction of the said thoughts toward kim mingyu even more.

“maybe repetition isn’t as bad as i always make it out to be,” you say, chin propped up against your fist on the table. mingyu had chosen a corner table of the newly opened eatery, next to a low window that glowed behind you in the remains of sunset as he shifted to completely face you. the sun had finally set. again.

“you’re right. routine is good for people.”

“but it doesn’t have to stay the same forever, you know?”

“hm?” mingyu can’t help but feel like you’re edging toward some underlying topic. you were like this since he could remember: you’d start off with some abstract and vaguely relevant concept (that had no doubt been plaguing you for a long time) and slowly circle around till he caught onto what you meant. you love playing games with him.

“repetition doesn't have to be redundant? i think there's something more subtle about it.”

he doesn’t know where you’re going with this, “but repetition is literally the same thing over and over?”

“yeah, but the ‘same thing’ itself can evolve,” your fingers knock against his, “i don’t know, i was just thinking about… us.”

“us? i guess we would be a good example of repetition.”

your gaze falls from his to find your hand instead, your fingers wrapping around his wrist until you’ve forced his palm open. his hand in your lap upside down, you pull at the fingers, “yeah, but we’ve changed a lot. for one, we fight a lot less. sometimes when i’m going to tell you a thought, you understand mid-sentence what i mean.”

“yeah, well, that’s what we get for knowing each that long. but really, what’s this about, y/n?” he captures your hand in his expertly, pulling your attention back to his face.

“do you ever think we should be more?”

mingyu breathes a laugh at that, a shiver running down his spine when he spots the solemn look on your face. and then, his smile turns grave. “y/n, we’ve talked about this before, haven’t we?”

“have we? every time i’m the one who brings it up and you kinda just shrug it off. no, don’t even try to argue with me. you shrug the serious stuff off. always.”

it’s true, mingyu admits in defeat, mind racing as he considers why you’re bringing this up now. the answer is easy: you were finally available. but he doesn’t say it out loud, like he never does. you’d confronted him about the state of your friendship before, unafraid to wonder out loud what it would be like if you started dating. you’ve received all forms of shut-downs from mingyu before so you figured you were the only one in an ambiguous place about your feelings for him.

if someone was to ask if you like mingyu, you’d probably say yes, but it’s more than that. you know better than to blindly fall for him. witnessing him in his relationships before, you know he can be ruthlessly cold to his partner once he’s out of love. you practice romantic love for mingyu: carefully because too much would definitely be dangerous.

“i have my reasons, y/n.” there it is. the strict mingyu. the rigidity in setting his boundaries was something you admired and aspired for when he exhibited it in the past. right now, you want to punch him.

you’re without a filter with him so it’s unfair when he treats you like this. you let him know as much: “i want to punch you right now. i’ve hidden nothing from you, and yet, there’s this wall you keep yourself behind. is this really one-sided?”

mingyu doesn’t know what to do with you right now, “y/n, why are you—”

“no, because it's not like i can't take a hint. so one minute you're flirting with me and then, you push me away like right now,” you point to his estranged fingers, “but then you act like nothing happened and go right back to being all intimate and touchy.”

“i just…” mingyu lets out an exasperated sigh, “i just don’t see the reason for labels. why do we have force ourselves into a restriction like that? we’ve always been above conforming.”

it’s your turn to sigh heavy enough your head hits the wall behind you. wasn’t this just his way of friend-zoning you back into silence? you’ve always been too embarrassed to push him this far because you don’t mean to hurt him. but you feel as though you’ve hurt yourself long enough now.

“so why’d you say that the other night? that it would be nice if you were my boyfriend?”

this leaves him speechless for a few beats and you continue, “that was just because i was heartbroken from jeonghan? you’re playing prince charming for me so i can go back to being your trusty little best friend?”

“y/n, you know that’s not true. i’m not playing anything in your life. i’m just being myself.”

you scoff, “you really are so fucking—”

“why are we actually fighting right now?” mingyu asks through an incredulous laugh, “this is actually so petty, dude, let’s stop. you know i love you, right?”

mingyu’s last resort makes its presence: a non-committal i love you. because at the end of the day, you’re still best friends. what was a little ‘i love you’ in today’s economy? nothing. especially when you’d hear him throw the phrase around all the time.

you stand up in defeat, “fine, let’s stop. you win.” you gesture for him to move to the side and he does so reluctantly when you glare at him like you’re genuinely mad. (you are.)

he follows you out the door, catching your elbow to slow you down. “don’t be like this. i know you’re mad at me.”

“i’m not mad. i'm tired and i just want to go back to my room,” you seethe, walking faster than him. he grabs hold of your shoulder turning you around.

“if you’re gonna storm off, at least go the right way.” you huff softly and let him steer you the right way to your dorm, hands still on you. you spend the way to the front of your room silently, waiting for mingyu to say something but he just does what he does best: take care of you.

as you reach the door of your room, he pauses, apologetic smile on display. “listen, let’s talk more tomorrow? get some sleep.” he reaches for your hair, tenderly running his fingers through the locks. there it is: the soft mingyu, his eyes wide as he stares you down for signs of stress.

his warm arm pressed againsts yours, you realize you don’t want him to just leave. you know the drill: tomorrow morning, he’ll text you to meet for lunch and everything will go back to being unsaid. maybe he’ll bring along seungcheol so you don’t bring anything up again. either way, it’ll be so natural you’ll think nothing ever happened. but you want something to happen.

so your hand settles around his bicep to hold on and partly to keep him in place. you lean in, “let me do one last thing and if you want to stop, i’m never bringing this up again. i promise.”

you don’t give mingyu a moment to react to your words and instead raise yourself up to his level, other hand on his chest, and press your lips to his. you kiss mingyu after the thirteen years that you’ve known him and the ten that you’ve wanted to. you counted the years just as you count the seconds that it takes for him to come to his senses and pull himself away.

he looks less upset than you imagined: more dazed. like he can’t believe what you’ve done. he looks at you with his lips parted and you have to tear your gaze apart, lest you should tear yourself apart with longing.

“y/n, i…” he looks away and that’s enough evidence you need. you step away from him, your easy smile back in its place, not before you pat his arm as it falls from you.

“it's okay. i understand. let’s be friends, mingyu,” you declare suddenly, catching him off-guard. you'd pulled all the stops and if he genuinely was uncomfortable with pushing the line between platonic and romantic, you would respect that.

he begins to say something but you don’t want to hear him speak, at least not right now when the sound of blood rushing to your head is the loudest it's ever been, and you certainly don’t want to falter again. you’ve decided. “good night."

—

mingyu should feel relieved. he really should be happy that you’re back to normal around him, friendly and playful like you’ve always been. he should count his blessings that you’ve accepted the status of your relationship with him as it is. but as he falls asleep that night, all that comes to his mind is the smile you’d sported as you asked to be friends.

it was all wrong: your lips against his, that was something of his dreams, not a reality he has to be escaping from. it replays in his head, your scent that he’d caught a whiff of now and then, whenever you’d wrap your arms around him. the heat of your skin he’d rationalize as the comforting presence of a friend for days later.

he’ll soon come to know how insanely stupid he’s being right now but until you knock some sense into him, he simply plays along with a sting he hides pretty well. he should, he’s been doing it for years now.

it’s the night of hoshi’s party already and he’s walking over to the location of the pregame, alone because according to a text fifteen minutes ago, you’re still not ready. you’d invited yunjin and some other friends to your and kazuha’s abode to apparently make the process easier, but if mingyu knows anything about the group, you’ve probably spent more time selecting the right song to play than get ready.

the door to dino and hoshi’s shared residence is already open as he strolls in, finding a group already on the floor, taking shots. he makes eye contact with jeonghan who beckons him closer and mingyu takes a seat next to him.

space is scarce so mingyu finds his arm pressed uncomfortably close to jeonghan’s, who oohs at mingyu’s fit, “ooh, you look positively sexy.”

mingyu grimaces, “do you have to put it like that?” he does look … positively sexy, mingyu admits, in the navy blue shirt he wore but— and here’s the punchline— with the buttons undone all the way to right above his navel.

“where’s y/n, by the way?” jeonghan asks, an eye at the entrance as he slides a shot glass toward mingyu. the question irks mingyu for obvious reasons and he keeps him waiting for a minute, waiting to down the liquid in glass (vodka unfortunately for his throat) to answer him. “um, she’s still getting ready. any minute now.”

“ha, that means she’ll be another ten. that’s a shame, i was hoping to pour her first shot.” jeonghan shrugs resentfully.

maybe the alcohol’s working faster since it’s been a while for mingyu, but his mouth runs faster than his head, “why’d you care? i thought you asked kazuha out a while ago.”

jeonghan raises a brow at that, “hmm. i did. but things did not work out so well. what with kazuha feeling guilty about y/n and… well, i also…”

���feel guilty?” mingyu asks, voice strained. he’s annoyed at having to listen to jeonghan’s side of the story. he could not care less about humanizing him and whatnot. he’s watched you suffer for far too long to be empathetic right now.

“yeah. and i thought i might like y/n, too, after all.” jeonghan says it so casually as if discussing his performance in a particularly challenging college course, not his feelings for a person who he’d recently rejected.

the word might pierces mingyu’s ears. the uncertainty behind it is in such stark contrast to his own… feelings toward you that he genuinely feels his breath heat up.

or maybe that’s just jeonghan when he leans over to refill his glass. “drink up, buddy.” mingyu’s just about ready to make a scene right now, shoving jeonghan’s hand off his back but suddenly jeonghan’s standing up, making his way to—

you. you’re here.

almost as soon as he catches sight of you, he looks away, pretending to give the vodka in his hand all the attention in the world, as he puts his lips to it and empties it. head is now light. that’s probably enough for now, he decides as he puts his glass down.

when he looks back up, you’re at the kitchen counter with yunjin and kazuha.. and jeonghan, who’s grinning as he hands out the bottles of fireball to the group, no doubt marketing it so convincingly that you’d think you came up with the idea yourself.

mingyu shoots to his feet, regretting it when his vision darkens but he pushes past, eyes focused on your figure— god, he forgot how hot you look in that dress. he tries to keep his thoughts in check as he approaches you, but it doesn’t help that your makeup’s even more meticulous than usual, eyes glittering and lips delightfully glossy.

he breaks into the space between you and jeonghan, arm against yours, catching your attention.

“my guy!!” you exclaim when you see him and then your eyes trail down to his chest and then back up to his face where his hair sits parted with the help of some gel. “you look like a slut. i love it.”

mingyu laughs, subjecting you to a similar once-over, “you’re one to talk.” your hair’s back in a bun of sorts, a rare occurrence because you seem to prefer have it around your face. he can’t help but pause at your exposed collarbones, the gold shadow you applied there earlier doing wonders to his already dazed headspace.

“is it already that part of the night where mingyu starts hitting on everyone?” yunjin complains, reserving the alternate version of her question (something along the lines of how impolitely he’d been eye-fucking you in front of everyone) for some other time as she nudges you to open the fireball in your hands.

you do so, looking at jeonghan who offers one to mingyu, which he refuses as he leans against the counter, hand silently at your back just in case. “you’re not drinking?” you ask, quietly enough only for the two of you, just in case he wasn’t comfortable sharing.

“nah, i just had two shots of vodka back there. trying not to mix for the sake of me tomorrow,” he mutters, patting your back encouragingly, “but let me know if you need help finishing that.”

jeonghan eyes mingyu on the side as the trio clink their bottles together and get to downing them. later, as things start picking up and more people make their way into the party, mingyu finds your arm. “do you want me to stay close by?” he frames the question in a way that you have an out, because he can tell that you’re still unhappy with him.

but you’re tipsy when your hand interlocks into his, “only if you’re going to dance like you mean it.”

the night goes better than you expect it to, especially since mingyu’s let loose for once. or perhaps… he’s always this carefree when drunk, palms kneading at your waist, keeping you close to his chest, which you try your best to not get too used to touching. he sure knows how to keep you on your toes (sometimes literally) even when wasted because you’re trying not to get too close. for you own sake.

that is until hoshi shows up beside you two, pulling you apart as he introduces you to a friend.. or a partner? you can’t hear in this state and just as you try to lean in closer to hear what he’s saying, you feel a presence at your shoulder, fingers poking you.

you turn to find jeonghan behind you, sloppy smile on his face as he screams something at you. you frown, asking him to repeat himself, hand on his bicep to steady yourself against the movement of the party.

“need to talk to you about something!” his words come at you, clearer. “right now?” you shout back, “what the fuck is it?” your body doesn’t want to stop moving so you groove against his side, and momentarily catching a glimpse mingyu’s heavy gaze on you. you almost completely stop then but jeonghan’s pulling you away, after him to a relatively emptier zone of the house.

you’re breathless, you realize, now that the spell of the music’s been broken. you rest against the damp wall behind you, uncaring as you look around for a liquid to quench your thirst. cunning as ever, jeonghan’s already handing you a plastic cup with a transparent liquid.

you narrow your eyes at him despite how wasted you are. “what’s this?”

he laughs, “i’m glad you’re vigilant as ever. this is water. cold. drink up.”

you comply, your throat throbbing ever so lesser after you’re done and you sigh in relief. “you might have broken my heart but you’re still an angel, jeonghan.”

“ahhh,” he exclaims joining your side against the wall. you frown when you take note of his fingers clasped together, almost fidgeting. yoon jeonghan, fidgety? that’s a first for you.

“actually, that’s what i wanted to talk to you about…”

when mingyu looks away from hoshi and his company to see if you were listening and when he finds out that you’re in fact in jeonghan’s embrace, he’s suddenly sober. and when your eyes find his for a moment, something in them changes and he calls out your name like a warning. but then jeonghan’s already leading you elsewhere.

mingyu wants to follow after you immediately but he realizes hoshi’s still talking to him. “hoshi, bro, can i find you in a while? i gotta make sure y/n’s okay.”

but hoshi stops him in his tracks, hand on his chest, “wait. please tell me you told her…?” he trails off uncertainly as mingyu catches on what he’s saying.

“i haven’t,” he admits, eyes still searching the crowd for you, “but i think it’s time that i do. only so much i can take.”

“that’s the spirit, man! okay, now go kiss y/n for me.” hoshi pushes mingyu with a start, not before the the latter shoots the man a glare and takes off in his search for you.

you’re still in that corner with jeonghan, who’s done narrating the past week’s revelations to you, all about his failed attempts with kazuha and his slow understanding of his real feelings about you. you’re far more unaffected that either of you was expecting, arms crossing in thought.

but then you say, “well, that’s fucking stupid. because i’ve realized i wasn’t as down bad for you as i once thought i was.” jeonghan’s smile falls a little with a disappointed sigh. “but,” you continue, “you know what i’m still curious about?”

when your hand creeps up jeonghan’s shoulder, he thinks he knows where you’re going with this. “i’ve wanted know if you’re really as good at kissing as everyone makes you out to be.” jeonghan’s already moving closer to you, enveloping your face in his hands, and his devilish grin’s spills out as his lips find your ear. “let’s find out?”

and that’s how mingyu finds you wrapped around jeonghan, making out like this was your last day living. and for a moment, he considers giving up and letting you have this. he even stops in his tracks in the crowd, his thoughts so easily drowned out by the music if he just lets go.

but his mind’s reeling when the sight of you kissing someone else just pushes him back a day ago when you were leaning up into him, soft breaths risking your lips against his and the way your body pressed into his just right. his feet move without a thought, then, shouldering through the bodies around the two in the corner.

you’re just pulling away from jeonghan to start to say something about how that wasn’t too bad when his body is lifted away from yours with an unannounced jerk. you gasp and then once again when mingyu’s face comes floating in front of yours.

“mingyu,” you breathe, unsteady from the series of events this past minute, “what the hell do you think you’re doing?”

“what the fuck are you doing?!” he screams in your face, hands on both arms to keep you from moving. jeonghan’s walking to your side and you want to say something to apologize but you’re far too infuriated with the man in front of you to think.

“i don’t know! trying to get laid? finding happiness? love?!” you scream back with as much force. you call out jeonghan’s name, “i’m sorry. mingyu’s too drunk to—”

“jeonghan,” warns mingyu when the guy tries to break you free from his embrace, “can i have a minute with y/n.” it isn't a question.

jeonghan has the nerve to say, “maybe not. i wouldn’t leave you alone with her in this state.”

“oh, she’ll be just fine,” he replies and jeonghan simply looks at you for confirmation. but you’re still looking at mingyu, starting to tear up, head throbbing all at once. you stop fighting against his grip and mumble in defeat, “whatever.”

“if you’re going to lecture me about being bad, i don’t really want to hear it.” you’re back next to the kitchen counters with mingyu beside you. slowly, you sit yourself up on the surface, feeling exhausted. “i’ve heard it before.”

“no, that’s not what i’m doing. i just want you to stop and think clearly—”

you groan when you hear the beginnings of a typical you’ll regret this in the morning type talk, you slide off the counter and to your delight, you run into a guy holding up a can of beer for the taking. you’re quick to jump at it, grabbing it up from him and pulling the tab of the can open. just as you put the beer to your lips, ready to chug it, you feel it being pulled away, the next few moments occuring before you can comprehend anything.

suddenly you’re sitting back on the counter and your dress rides up when you feel mingyu push himself in between your legs. at first, you see his face close on yours and then the taste of beer meets your throat. no, it’s not just beer— it’s mingyu. his tongue spills onto yours, beer mixing with saliva and when you try to pull away, his hand at your neck tightens. you sit up straight and you feel his watch digging into your spine.

your head spins when you can finally breathe, inhaling only to cough out. heart in your throat, you look at mingyu in disbelief, “what the fuck!” but he’s already taking another sip of the beer and some of it slides down your throat into your dress, when his mouth finds yours again.

you’re weak in his arms, and the heat between your legs is only so rational. so you find yourself giving in and kissing him back when the liquid runs out, nails finding his scalp, earning you a deep groan that vibrates against your chest. that’s when he pulls away again, eyes finally meeting yours with an unprecedented intensity.

he leans in again, wet kiss against your cheek, followed by a grunted whisper of, “i love you so fucking much, y/n. it’s so hard to watch you run around with other men.”

you want to think you’re hearing things but mingyu doesn’t let you, another kiss right in the nape of your neck that sends shudders down your back. “i want to be yours so fucking bad. want to spoil you like you deserve.”

you swallow against the moan that rises in your throat, to pull mingyu’s face back to your eye-level, “then why aren’t you mine? why’d you push me away?” your voice breaks, betraying the pretense of indifference you try to prop up. his eyes soften, fingers brushing against your forehead.

his lips quiver and he sighs defeatedly. it’s a miracle you can hear him with all that noise around you. but you hear him clear as day against your hair when he finally says, “i’m scared. of loving you too much, of being too much. and i’m scared of losing you.”

mingyu’s imagined telling you these exact words before and how you’d react to them infinite times before but when you giggle into his collarbone, he pulls away with a blank look. your forehead is against his all over again and for the second time night you say, “that’s fucking stupid! if you were going to lose me, it would’ve happened a while ago.”

of all the things he’d imagine you saying in response, this was the simplest option, so unlike your usual overthinking self. maybe it’s the alcohol and adrenaline in your system speaking but mingyu somehow feels comforted, because maybe it really is that simple. it would’ve happened if it was going to. or maybe mingyu’s too drunk to make sense of it all right now.

so his lips are moving against yours once again, without warning, your breath all his when his arms tighten once against around you. you’re laugh grounds him enough to break away. you open your mouth to complain about the distance when mingyu’s back against your skin.

“shut the fuck up,” he groans, the command making you hotter than you’d like to admit. your legs close around his ass, pulling him closer and his hand slips across your boobs. the friction of his palm against the tight fabric of your dress makes you let out an undignified moan into mingyu.

that’s when he knows he needs to take you to somewhere more private for reasons more than one. you’re too lightheaded to move yourself so mingyu’s carrying out the house without a word anyone you two came with. it’s only when the cold air hits you that you realize you’re outside.

you struggle against mingyu until you're back on your feet and stop. “where are we going? i’m— do i know you, mister guy?” for a second, mingyu’s heart sinks when he wonders if you thought you were just making out with a stranger. then, you say, “i need to go back and find mingyu. gotta kiss him.”

ignoring the blush that colors his face, he grabs hold of your elbow, “i am mingyu, idiot. and we’re going to my room.” you shake your head to clear your vision, eyes widening when you recognize him. your hand finds his face with a light laugh, “ah! it’s my big guy.” the name doesn’t help mingyu’s condition at all, so he’s pulling you after him faster than before.

back at the party, kazuha starts panic when she realizes she’s lost hold of you, unable to locate you anywhere within the party. she tugs at yunjin’s sleeve who looks over in concern, “what happened to y/n? i can’t find her anywhere.” yunjin laughs at that, covering her mouth with her hand. “don’t worry about her. i saw her and mingyu leave together earlier. she’s probably in heaven by now, if i’m right.”

“hmm?” kazuha pauses as a thought pops up into her head, “wait… did they…?” yunjin grins knowingly, “yup. it really was high time they fucked.” the former lets out a satisfied giggle, “i know. they were so obvious without even being together. i was getting tired.”

“you were getting tired?!” you gasp at mingyu later in the night, panting against his pillow. you’re on your back and he throws you a tshirt of his to sleep in now that your dress is… demolished. you look at it sadly out of the corner of your eye. “i really liked that dress,” you whine, as he picks the remains of it up with a somewhat smug grin, “planned to wear it out again.”

“i couldn’t risk that. you looked too good in it,” he chuckles to himself as he jumps into bed with you. you sit up, feigning anger as you slip the cotton over your head, warming up when the smell of mingyu greets you. “i don’t know if i could resist seeing your tits out like that.”

you hit his chest hard with a lighthearted scoff, “i knew it! you’re such a pervert. not just a pervert, you’re also a brute.” you groan as you rub your thighs together gingerly. mingyu props himself up, pulling you down into a hug, rubbing your back. “sorry, does it hurt a lot?”

“it’ll hurt more in the morning,” you relax in his arms, pressing a loving kiss into his hair, “should’ve known you went so rough. asshole.” you giggle when he pulls away in disbelief at the last insult.

“how could you—!” you roll away from him, laughing. he shifts closer, caging you against the wall behind you, “hey, you can’t say stuff like fuck i knew you’d have a big dick and then expect me to go all vanilla! do you know what that does to a guy?”

you shriek in embarrassment, “don’t bring that up now!” your ears redden when mingyu forces you by the chin to look up at him. “besides, where do you think the nicknames like big gyu and big guy came from?”

mingyu’s jaw falls open at the revelation and you break out into a fit of laughter at his mindblown expression. “how- how long have you been thinking about my di-”

you hit him to stop him, “ever since you kept pushing me away,” you run a hand down his side, sly grin on your swollen lips, “and i had to come up with something if i wanted to get myself off alone.”

with an exasperated groan, he falls against you, suffocating you as his body goes limp above yours. you let out a gasp when you feel him hardening against your leg and he speaks into your neck, “you’re seriously telling me i’ve been missing out on taking you like this for… for how long now?”

you kiss his cheek, hand slipping down his boxers with a soft exhale, “a while. and if you hadn’t come to your senses today… well, i’d all but given up on you today. when jeonghan kissed me, i was just going to—”

suddenly your breath escapes you, mingyu’s hand around your throat and his lips on yours with a loud grunt. he stops your hand in its movements, “please tell me you’re not talking about jeonghan while— fuck!” he gasps when you bite his lower lip to protest his hand on yours. his hand gives way and you’re palming the tent in his boxers again, pushing him down against the bed, so thankful he doesn’t have a rooommate in times like this.

you place a kiss at the corner of his lips and trail down his chest, shirt long gone, before muttering, “forgive me?”

—

AUTHOR'S NOTE:

i really want to write a more wholesome ending but have not the time or energy right now, so i'll be back with a shorter spin-off/ epilogue of sorts about how you and mingyu as a couple work out, how your friends react, some skinship, etc.

anyway, this is my official announcement that i've become a baby carat :] didn't know how much i was missing out on before svt so this is very fun. so far, jeonghan's my favorite little guy, although as is clear from this... mingyu makes me do things. on the roster are: minghao and joshua. hopefully there will be more svt fics in the future. no promises <3 goodbye friends and foes!!

[writingwithfolklore]

Making the Most out of your First Draft

As someone who used to write every first draft without planning and then use that to figure out characters and outlines, I have a lot of experience in first drafts that are incredibly helpful to forming an actual story, and drafts that don’t add much.

              So here’s how to make the most out of your first draft:

1. Write what doesn’t make sense

One of the most helpful first drafts I ever wrote abandoned plotlines and started new ones as though they had existed all along like several times. It was also the longest draft I had ever written because I had packed so many ideas into it. The reason why this is helpful is because you can test out what a plot point will look like in the middle or even end of your story without having to go back to the same beginning again and again.

It doesn’t need to make sense, just try things out. Disappear characters who don’t work, add a best friend near the end that acts like they’ve been there the entire time, whatever idea you’re interested in you can try out without worrying too much about what makes sense or what you’d need in place to set it up. It's like literally stream of consciousness writing, and you're going to learn so much more about your world, plot, and characters than trying to make it make sense.

2. Write poorly

I spent a lot of that first draft having characters monologue to themselves or each other about their interests and problems and lives which allowed me to explore their backstories and voice even if that’s not something I would do in a final draft. I had the wackiest plot points to see how my characters would react, what would happen to the plot, and if I didn’t like it I would keep going like nothing had happened, I did a lot of yadda-yaddaing over worldbuilding and setting the scenes and making up things on the spot to see if they’d stick, skipping sometimes to the interesting stuff, or adding in a random scene just for fun.

It doesn’t have to be good. Even a little bit. You’re learning about your world and your characters and the story you want to tell, but you aren’t writing it yet. Allow it to be the worst thing you’ve ever written.

3. Make notes on what you like

As you go through and throw spaghetti at the wall (figuratively speaking), make notes on the things that stick. If you write a line of dialogue you really like, or a piece of backstory or even a vibe, make sure to make a note of it somewhere. This will help you narrow down your ideas to what you want to keep when you start writing your story. And if you’re like me and you want to outline or plan your subsequent drafts, these notes will be invaluable to start forming your planning.

Anything else I missed?

[madfantom]

Full animatic And so, part 2 of my comments, let's start.

◁Part 1 || Part 3 ▷

In the last part, and here, the order in which the children got to William is shown, and I will explain why it is not the order of the murders Here is a MEMO with missing children to make it easier to navigate, since I drew very simplistically.

I mean, when watching usually fnaf animations, I myself had the question "who the fuck are all these kids?" and, either in another animation I understood, or I did not understand at all, or the designs were so simplified that you can guess (I mean a child in all red or with a pirate armband is foxy, Freddy is all brown, etc.) So I just made outlines of their hair and costumes and that's it

It's just a little complaint here, don't pay attention, I'll just say it once, and that's because I didn't think that someone would write the same thing all the time when writing AU And one more thing. Chick's name is SOFIA. Please guys, I know that Suzy from fnaf 6 exists, okay? She's there, hell, she's even in the animation next to Cassidy. I just shifted her from being a chick to another one, not removed. And she also has an interesting role and a different design logic, I just don't have time to do everything. In fact, I even have a reason why Sofia exists and I wrote a very long text post about it, but I haven't finished drawing sketches there, so you won't see it yet. It's just that I'm starting to get a little bit hung up by the same type of comments from Pinterest, although to get rid of this, I write in big letters everywhere that it's AU

Let's go back to the animatic

I have displayed the methods of killing, which will then be reflected in the appearance of the ghosts. In fact, I took the idea from my old horror zine Fnaf art when I was thinking about how the children died there to make their appearance more creepy. Some of the ideas remained, and some were redesigned, as well as some designs

Sofia was placed in a ventilation unit. William caught her and left her there suffocating in the off ventilation , after a light strangulation, suffocating in the off ventilation. She didn't actually die, but she was the first (And I refer to this also in a custom night with the phrase "I was the first, I have seen everything!") And now imagine how the room smelled of chemicals after cleaning it from all kinds of oils and other liquids necessary for mechanisms that are very difficult to wipe off. While ventilation did not work and the girl was locked in a narrow place after she was strangled, forced to watch through the slots for the children who were after her That's why Sofia's ghost makes such a quiet clucking sound, as she coughs as if she's still in the ventilation. She won't die of suffocation, nah, in this comic she's still alive and William can cut her throat.

About the rest it is more obvious, well, not counting the pictures on the Background.

Jeremy was electrocuted, so his ghost hair is pulled up as if by an electric shock. He also has charred lips and eyelid skin and no eyebrows, and his hands have torn and charred stripes from just the same clamp. He looks like the most crippled of the three

Fritz couldn't stand the blows from blunt and sharp objects and in the end they attached a mask to his face with a nail gun or something like that and set it on fire quite a bit. Well, just a little bit. His background is directly related to the comic, which Redraw at the beginning, and now I continue. I'm still doing it, but I need a lot of time for it

Gabriella was basically cut while they wrapped one of those cables around his neck that are forever hanging on the walls in fnaf and pulled out his eye after death

[thechekhov]

Hello! I'm a big fan of your work. I wanted to ask for advice / thoughts about an art problem I've been struggling with that you seem to have at least some sort of solution for?

So basically I'm an animator and digital artist (hobbyist), and I'm constantly coming up with new ideas for things to make. Only problem is that most of these ideas would take up to or longer than 2 months to make because, yknow, animation isn't quick, especially if you want to take your time to make it good. But with so many ideas that all take so long to complete, I often find myself tied and frozen as I can't decide what's most worthwhile to start first. I passionately want to complete all these projects, but my inspiration for each one waxes and wanes in a way I can't control, and I've just been stuck for several months. You juggle a lot of projects- not all of them art, but it still seems applicable here. This is excluding other life responsibilities like work and stuff, I don't have problems with getting that stuff done. This is purely within my creative hobby.

If u can't say anything thats fine I'm just curious- You have a massive output with great quality. Thank you!

This is a very kind message, and one that humbles me a lot, because although I'd love to bestow upon you some sort of advice that might help, or give words of wisdom..............I feel like that would be fake of me because

I also suffer from this very same thing

That is to say, this part of your message:

my inspiration for each one waxes and wanes in a way I can't control

It rings true for me too! I think it might ring true for many others as well.

There are stories in my head all the time. There are stories, and concepts, and IDEAS and they are all so shiny and new in the beginning, and then they slowly peter out and, since I frequently don't have time to do anything about them, they fade into the background.

I have enough trouble with this in terms of COMICS (also a lengthy medium, though less so than animation, which, OOF, you have my condolences, you are stronger than I) that I have started to just come to terms with the fact that some things are not meant to be.

Which is, I think, one of the small bits of advice I can give.

1. Some things may just be ideas, and that's okay.

I think one of the best ways that I've learned to deal with Idea-Death is making it count towards something in the future. That is to say, using them as compost.

In order for this to work, you have to actively put your ideas into the compost pin instead of the trash. That means maybe investing in either a notebook, or a sketchbook, OR just a discord server for yourself where you organize ideas and dump them all into a channel to scroll back through later.

It may seem useless at first, but honestly, it can be satisfying to PUT them somewhere instead of letting them fade away.

Plus, you may one day scroll through them and rediscover an idea at just the right time. OR you may be inspired to take parts of an old idea and repurpose it for a new idea that you DO have motivation for.

However, there's also this part, right?

I've just been stuck for several months

I.......feel this. Sometimes I, too, feel stuck for several months. There are times when even if I WANT to work on something, I just don't have the time. It takes too long to finish!

.........which is why I recommend the following:

2. Don't finish. Just start.

Now, this is the toughie. I can't exactly say that it would work for everyone. But I have learned that I am WAY more likely to return to a project and work on it again sometime in the future if I actually DO something for it the first time I get inspired.

I have SO MANY things that I have not published in my folders. I have sketches of gifs that are 10 frames long. I have concept art sketches boldly labeled with project names that will likely never get off the ground. I have Googledoc files with summary and plot outlines for stories I'll probably never write. I have discord channels with random ass concepts and a few sketches for characters.

And what I have found is that if I just WORK on these ideas when I feel like it, they are more likely to survive, even if they don't thrive right away.

I'm also a huge proponent of Procrastination Rotation.

That is to say, I have so many projects I COULD be working on, that if I ever feel frustrated or stuck on one thing, I just shift myself slightly to the left and do another thing instead. I almost never force myself to work through a block (save for a few money-motivated deadlines) just to complete a thing.

Stuck on a comic? I'll go write a few lines of fic. Unsatisfied with where the fic is going?

I'll go sketch out an illustration. Incapable of finishing an illustration?

I'll go google some references for another comic project and slap them all into an image file for later, so that I have SOMETHING in place for when I want to do studies.

And so on and so forth.

I have comic ideas, and comic sketches, and 30+ pages of original comics sketched. I don't know if they'll make it. It would take a lot of work.

But it also takes very little work - just a few extra pages sketched while I'm bored for an hour. Or a bit of lineart while I listen to a podcast. Or just a doodle somewhere which I snap a pic of and add to my discord channel for that project.

Will it work for everyone? Probably not. But I think that our creative culture is sometimes too attached to a linear production style. The truth is that art, or illustrations, or animation, or comics - none of it has to be on an assembly line. It can be tinkered with and put aside. And then, maybe, picked apart for scraps.........or maybe made into something new!

I don't know if that helps you at all, but I hope it at least helps someone.

And good luck with your animating!