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milkweedman · 2 years ago

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learning to spin on a drop spindle: a beginner’s lengthy yet comprehensive guide

I put this monograph together for a friend, but many other people wanted to read it as well, so here it is !

Fig A: Parts of a Drop Spindle. (image source. notes are mine. Click for higher res !). Apologies in advance for the lack of image descriptions--for the most part I use images because I can’t figure out how to describe the thing in words, so describing the images is kinda the whole issue. If anyone wanted to write them for me I’d add them to the original post in a heartbeat !

How to Get Started Drafting and Spinning

So, you have your fiber and your spindle--now what ?

Friendly pre-tutorial reminder that radfems can fuck right off if they think I’m writing any of this for their benefit. I’m not. I hope they all choke on their spindles <3. This is a safe space for trans people first and foremost.

(Check out this post that goes into picking a spindle and your first fiber, if you don’t have one yet)

First, you might wish to practice drafting a little. Drafting is the process of drawing the fibers out from, for example, a strand of roving or a rolag, into a thinner, airy length. To draft, loosely hold your fiber in your dominant hand, and pinch the very tip of the fiber with your thumb and forefinger of your non dominant hand. Then gently pull. If you pull all the way, you should notice that your fiber detaches from the fiber source eventually. For yarn, we want very very long lengths, so we don’t want that to happen. To get a continuous length of drafted fiber, simply change where you’re pulling from as you go. For example, you can draft out 2 centimeters/1 inch of fiber, and then move your fingers 2 cm/1 in back toward your fiber supply, and draft again.

The thinner you draft (or pre-draft*), the thinner that fiber will spin up. Once we start spinning, you’ll see how adding twist immediately compacts the fiber quite a bit, so you need to draft much thicker than you actually want your yarn to be. When pre-drafting specifically, if in doubt--draft thicker. You can always draft it out a little more as you’re spinning.

Figuring out how to draft smoothly can be one of the harder parts of learning to spin, but even before knowing how to do it perfectly you can still create good yarn.

Check out The Joy of Handspinning website to see drafting in action, as well as several different types of drafting.

Also check out this video explaining pre-drafting roving. 1:00-2:30 is especially helpful. If it’s not clicking from this video, search youtube for “pre drafting fiber for spinning” and watch til you have a better understanding.

*pre-drafting just means drafting before spinning--so it’s the same type of thing as drafting while spinning, but without having to wrangle your spindle at the same time. I’d recommend pre-drafting at least a bit of your fiber until you feel comfortable doing it. Then you can spin with your pre-drafted fiber, and it’ll be easier than if you hadn’t pre-drafted.

Tips: If you have a bottom whorl spindle, you may also want to practice spinning the spindle before it has any fiber on it, just to get a feel for how it moves. You could do this with the bottom point in a bowl or on a flat surface like a book or table. Try rolling the top of the shaft between your thumb and index finger. Don’t worry about it toppling over frequently--your spindle will be suspended by the yarn that you’re spinning, so it won’t topple !

If you have a top whorl spindle, you might have a harder time getting it to spin without being suspended, because the center of gravity is so high. Instead, try tying a piece of thread or scrap yarn to the hook (if it has one) or below the whorl (look for figure B below) and secure it with a half hitch knot. Then try spinning it like that, and let it hang freely to unwind itself whenever it has too much twist before you try again.

You can also try spinning a bottom whorl suspended by scrap yarn or thread. The advantage of trying it while it’s suspended is it can allow you to watch twist being added and see what it does without messing with your handspun, as well as letting you get a feel for how it moves while suspended. If you have a bottom whorl, I’d give both a try !

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Now that you can draft, you’re gonna want to attach your fiber to your spindle. Some people use a leader to do this--it’s a pre-spun loop of yarn that you tie to your spindle. Then you loop some pre-drafted fiber through the loop of the leader, add twist til it holds, and off you go.

Another way to do it is without a leader. I’m much more familiar with this method, and I find it way easier, so I’ll go into more depth on this one:

1. Take the end of your pre-drafted fiber (you will need enough pre-drafted fiber to go from the underside of the whorl to the very top of the spindle, and then back again. If you’ve pre-drafted way more, don’t worry. We’re just working with this short amount for now, but it can stay attached). Make a slip knot at the end. You can roll the fiber between your fingers to add some twist if you’re having trouble making a slip knot with it. (Tip: if you’re having trouble getting the fibers to roll, wet them slightly with water or spit and it will be much easier)

2. Put the slip knot on the bottom point of your spindle, and slide it up so that it’s at the whorl.

3. Gently wind the pre-drafted fiber up the spindle shaft, until you are at the hook or top. Wind it over the hook (or do a half-hitch knot at the top--if there’s a groove near the top your half hitch should sit in there, otherwise it should sit as close to the top as possible while still being secure. You may drop it a few times while learning where the perfect spot is--such is life). Be careful with pre-drafted fiber--depending on staple length and fiber type, it can pull apart quite easily. The trick to keeping that from happening is to keep it a little slack and loose until you have added twist to it.

4. Pinch your pre-drafted fiber between your thumb and forefinger on your dominant hand, about 1 hand’s width from the top of your spindle. Turn the spindle in the direction you intend to spin your yarn (usually this will be clockwise, or to the right). Spin the spindle until you have the desired amount of twist. You should notice that all the fiber above the hook/half-hitch has twist, while the fiber below it has none. You need all of it to have twist, so let’s even it out--pop the half-hitch off with your thumb/unwind the yarn from the hook, unwind the yarn from the shaft so that the entire length you’ve worked with so far is stretched out. This will allow the twist to equalize. Now wind it all back up and put the half-hitch back/wind around the hook again. You may need to repeat this a couple times to get your starting fiber fully twisted (don’t worry though--you only need to do this at the very start. From here on you shouldn’t need to equalize twist like that until the next time you start from an empty spindle).

You’re done attaching the fiber--now you can spin !

Fig B: How your yarn should sit on a spindle, both top and bottom whorl

If that doesn’t make sense, here’s a video showing how to attach it with and without a leader. If that doesn’t help either, search youtube for “how to attach leader to drop spindle” and keep looking until you have a better understanding.

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So you know how to draft and your fiber is attached to your spindle--now it’s time to spin ! There are 3 different parts to spinning a singles on a drop spindle.

1. Adding twist. This can be done with just your hands, but the spindle makes it a whole lot faster. This is the purpose of a spindle--to add twist very quickly (and as a bonus, it’s a handy place to store the yarn as you spin it !). All you have to do is spin the spindle, and the only trick is to make sure you always spin in a consistent direction--don’t start a project spinning clockwise and end it spinning counterclockwise ! You’ll have an impossible time plying it then. There are a lot of different ways to spin a spindle--you’ll see a few watching the videos here, and more if you search out videos of drop spindling yourself. Whatever method is comfortable and practical for you is what you should do.

2. Drafting the fiber. You already know how to do this part !

3. Winding the yarn on. When your yarn is long enough that adding more length will make it hard to work with, you’ll want to wind it onto the spindle so that you can get back to spinning. To do this, pop the half hitch knot off the top/unwind from the hook, unwind along the shaft, and wind it near or at the base of the whorl, in the orientation seen in the very first picture. Always wind in the same direction that you’re spinning, to stop your yarn from flying off.

I would highly recommend starting with the method known as “park and draft” while you learn. In this method, you first add a ton of extra twist (usually as much as you can) and then put the spindle down and draft until that extra twist is used up. Then you wind on, and repeat. This isolates the actions of spinning so that you are only doing one at a time, which makes it a lot easier. Most people move on from this technique once they’ve figured it out, but you don’t have to--the drawback is that it’s typically slower, but hey, spinning is a slow craft anyway. There is no wrong way to spin, and everyone’s hands and bodies have different needs and work in different ways.

How to Park And Draft

First, use your dominant hand to pinch your pre-drafted fiber a few inches/6 cm above the top of the spindle.

Now just spin the spindle clockwise, until it won’t really spin any more. (Don’t try to get ~the most twist ever achieved~ or anything like that--your yarn can potentially snap from too much twist. Take your cue from the spindle--when it stops wanting to spin, you’ve got enough twist.) Don’t let the twist advance beyond where you’re pinching it off.

This is important--if the twist gets into your fiber, it becomes much harder to draft it. But don’t worry, you can undo this by pinching just above where the twist has entered your fiber, and with the other hand just below (pinching the actual yarn here). Now (with the hand that’s pinching the yarn) roll in the opposite direction that you’re spinning in. This will move the twist down into the rest of your yarn. Let go of where you’re pinching the fiber, slide your yarn-pinching hand to where it usually is as you’re spinning, and get back to it.

Your leader/yarn should be very kinked up and wiry. Now put the spindle between your thighs (or between your knees, under one knee, or under something heavy that won’t damage your spindle. Thighs are convenient, but if it’s uncomfortable, try putting the spindle somewhere else. It needs to be held firmly in place and not move around). This is the “park” part of “park and draft”.

Now, you want to be pinching the twist off at the same spot, but using your other hand instead. I usually pinch right above where I’m already pinching and let go with the lower hand.

First we’re going to just bring the twist up the pre-drafted fiber by sliding your pinching hand up the fiber, slowly and gently. You should see the twist follow behind your hand as it enters the fiber. If you have lots of pre-drafted fiber, you might wind on, add more twist, wind on again, etc. You could also draft out your pre-drafted fiber (this is what the majority of more experienced spinners who pre-draft do) while you go.

The “draft” part of “park and draft” is just like pre-drafting, but one end is attached to a spindle. This gives you something to lightly pull against, if you want. Draft slowly and with purpose.

At a certain point, you will run out of excess twist. At this point, wind on. If you’ve only done a short length, you can also add more twist, park it again, and go back to drafting.

If you’ve run out of armspan but still have lots of excess twist, unpark your spindle (let it hang free) and allow it to untwist a little, monitoring it closely. If this happens often, try to put less energy into twisting your spindle, or allow it to twist for less time.

The amount of twist that your yarn has matters a lot--it will impact your finished yarn hugely. A yarn without enough twist will be very limp and might even fall apart as you handle it. A yarn with too much twist will be wiry and inelastic. You want to find a middle ground where it’s got just the right amount for what you intend to use it for--a hard, inelastic wool yarn can make a good bag, but not a very good hat.

To see how much twist you’ve added to your singles as you spin, try a plyback test ! This is really quick to do on spindles--just relax the distance between your fiber supply and the top of the spindle. When the yarn is no longer taut, the live twist will cause it to twist back on itself. With too little twist, you may just get a few sad loops (or no loops, if it’s super undertwisted). With too much twist, you may get tons of tight little curls of yarn. With a good amount of twist, you should have a few good curls (just one if it’s a short length of yarn, or several if it’s your armspan) that aren’t too tight. Those curls are what your yarn will look like once 2 plied, so it’s a great litmus test for whether you’re adding the correct amount of twist or not.

Fig C: What different amounts of twist looks like in your singles.

To fix too little twist, just spin the spindle a little extra until it looks right. To fix too much twist, either draft more fiber or else let the spindle untwist a little.

You can and should do this before winding each new length on, at least while you’re still learning the motions.

Check out this video of how to spin with the park and draft method ! 0:00-4:45 is intro and attaching the leader. 4:46-9:00 is the method itself (note to friend: don’t watch past 9 mins). If this video doesn’t work for you, search “drop spindle park and draft” on youtube.

A few interim tips

1. It’s critical to hold your fiber supply loosely. If you find that you have put a lot of force into drafting, then you are either holding your fiber way too tight or your hands are too close together (or potentially both). Drafting should not require force. If it is requiring force, adjust your grip and your hand placement continually until it gets better, and refine from there.

2. Try to put some tension on the yarn as you wind it on. This will make it sit a little neater and flatter, so that you have a more stable cone of yarn and can fit more on it.

3. If you draft out your fiber so much that it runs thin and just sort of disintegrates, just pull off the most wispy parts from your yarn and the fiber supply, then hold the two together again, making sure to overlap by several inches/6-10cm. Gently draft out a little and add twist before putting that join under the weight of your spindle, or it will fail again. You can join from one fiber source to the next one (necessary with rolags, hand combed top, and strips off of batts) in a similar way; make sure to leave a little unspun fiber for a good join, and overlap the end of the first fiber source with the beginning of the second by about an inch/2.5 cm.

4. If your yarn snaps (rather than your fiber running thin as you draft), it’s because it was A) twisted way too much B) spun too fine for the drop spindle you’re using C) both A and B or D) your spindle has become heavy enough that it can no longer spin as fine as you were spinning.

For A, B, and C: remove as much twist as you can from either end of the snapped yarn, then put both ends in your upturned palm, overlapping them over the whole width of your palm. Add enough either water or spit to get them good and wet (not dripping, but they do need to be wet). Now place your other palm down on top, and rub vigorously for about 30 seconds until the ends have joined together. If necessary, you can also just tie the ends in a knot, although it’s not invisible and you can usually feel it in the finished yarn.

For D: is your whorl removable ? If so, remove the whorl and continue spinning. If not (and for the vast majority of beginner’s drop spindles it won’t be), your spindle is full ! Even if there’s still room, it’s too heavy to continue spinning on for that project. You could keep going spinning a thicker yarn, but that means your yarn will randomly get thicker somewhere near the end, which works for very few projects. If this happens to you when there’s still tons and tons of room on your spindle, that means in general you ought to spin thicker yarn on that particular spindle if you want to fill it up all the way.

Okay, I spun yarn, now what ?

So at the moment, you have what we call a singles (some people just say “single”). That can be used as is, or it can be plied--that is, held together with more strands of singles and twisted in the opposite direction. But either way, you need to get it off your spindle !

If you’re going to leave it as a singles, then you’ll be winding it into a skein (we’ll get into that later). If you want to ply it though, you’ve got a lot of options. (I’ll get to how to actually ply later, this is just discussing those options.)

Many Methods of Plying

Plying Straight Off The Spindles

First, if you’ve got multiple spindles capable of spinning the same weight of yarn, you could just set your full spindle aside and spin another one. You’d need at least 3 spindles (the third, ideally, a bigger plying spindle) to get a 2 ply yarn, and 4 spindles to get a 3 ply with this sort of setup. This is what I do with supported spindles, since I have many, and I can attest that it saves a lot of winding time and is terribly convenient.

But it’s also probably not doable for many people, and it’s ridiculous to buy 3 drop spindles when you’re just getting into it !

Wind And Store

Second, you can wind your singles onto something for storage, and then use your now-empty spindle to spin another singles. Two great things to store yarn on are small rocks and empty toilet paper (loo) rolls.

Winding it around a small rock is better than just winding it into a ball for plying, since the rock will weight it and stop it from flying up in the air once you start plying. A big pebble works great. With this setup, you’d want to put all your balls of singles in a bowl or container of some kind, hold the ends of each, attach it to your spindle, and let them roll around as you ply.

They can tangle (mine usually don’t, but it can happen), so the toilet paper rolls might be an upgrade--these can be put on a stick, and the stick can be put on something (or you can poke two holes in a cardboard box, put the stick through one hole, load the rolls onto it, then put it through the other hole as well) to keep it stationary so that the rolls... well, roll. This requires some storage space (usually if you do this often, you don’t wanna make a new one every time, so keeping it is preferable) and is honestly not a huge upgrade... unless you have a ball winder that can wind the yarn onto the TP rolls for you, in which case this is a big time saver. If you don’t have one and don’t have issues with tangling, the rocks will probably work just as well and take up a lot less space.

Fig D: Diagram of a Simple Ply Box

Ply Bracelet

Thirdly, if you want a 2 ply yarn specifically, you could wind it onto your hand and make something called an Andean Plying Bracelet. Here’s a link to a page that goes into it in detail. I highly, highly recommend learning how to do these. They look a little complex, and I couldn’t tell you the motions if my life depended on it, but I can do them with my eyes closed while not paying a whit of attention. They rely entirely on muscle memory, so once you learn them, they’re easy as pie.

The whole point of a plying bracelet is to get 2 strands of yarn out of 1 singles. You could of course wind a singles into a ball, then wind half of it onto another ball, and then ply from there. But a plying bracelet is a lot faster, and will always match up exactly.

One downside of a plying bracelet is that, as the name implies, it goes on your wrist. So if you keep needing to put your spindle down to take care of other things, you’ll need to pull off the plying bracelet as well (or carry the whole thing with you). They can be stored on a cylindrical object that’s smaller than your wrist, or sometimes also draped on hooks or put on the spindle shaft itself. I don’t usually encounter problems when pulling on or off my plying bracelets--it doesn’t seem to tangle them--but if you’re plying while cooking or watching a child or something else that might require you to stop immediately and hurry over to whatever needs tending, then you might want to save the ply bracelet for another day.

Chain Plying

Fourth, you could wind your singles into one ball, and then chain ply it. Chain plying is a way to turn one singles into a 3 plied yarn. It also preserves stripes in your singles (we’ll talk about this in more detail later), so it can be perfect for a very colorful singles.

Chain plying is simple. Do you know how to tie a slip knot ? Of course, because you needed one to start spinning ! (Although here’s the link to how to tie a slip knot again, if you need it.) So that means you basically know how to chain ply as well.

Step one: tie a slip knot at the end of your singles (you want a very short tail, since that’s basically waste). Make the resulting loop nice and big, and lay it over your singles. Pull the singles through the loop--now you have a new loop ! Make it nice and big as well. Lay it over your singles. Pull the singles through. Repeat until you’re at the end of your singles (try to have your last loop be a very small one). To finish, place the end through the loop, and then just pull on it until it tightens the loop. Note that you typically are adding ply twist and winding on as you do this, but you can also just chain ply an entire single and wind it into a ball as you go, then add twist once you’re done. That can be a lot easier to wrangle, if you’re having difficulties.

You might notice that this is basically a really open crochet chain. Yep ! It needs to be open so that the twist can enter the yarn, but you can do very big or somewhat smaller loops--although no matter what, you need to keep the loops large enough to at least hook a couple fingers through them so that you can make the next loop. Note that sometimes, the bump at the start of each loop can be felt and/or seen. Also note that chain plying is best done with smooth singles that can slide against each other. It can be done with a bumpy, lumpy yarn that sticks to itself, but bumps and lumps will catch as you try to chain, and if the yarn sticks to itself then it won’t slide nicely, which can really slow you down.

You may find that you prefer holding the ball of singles as you chain, or you may want it in a container on your lap/on the floor. You could also make a little wrist pouch to hold it, although take friction into account--if you make it out of wool yarn, choose a smooth one.

Ply Ball

Fifth is a sort of hybrid of a few of the others I’ve already mentioned, called a ply ball. To make a ply ball, simply wind two or more singles together into a ball (I’d suggest winding them around a small rock for a ply ball, too). The number of singles you wind in your ply ball will be the number of plies your yarn will have. A chain plied single wound into a ball is also functionally a ply ball.

Ply balls are extremely portable--you only ever need to work with one at a time, so you can just keep it in your pocket without worry of tangling, and it’s not attached to you or a box or another spindle. The downside is that it generally requires you to either have multiple spindles (ex: fill up two spindles, wind both off into one ply ball) or do extra winding (ex: fill up your spindle, wind it off to a rock for storage, fill up your spindle again, now wind from the spindle and the rock to get your ply ball. Add more winding for more plies).

However, you can also wind a ply ball from plying bracelet (yes, that’s more winding--but now it’s portable, and you’ve just turned one singles into a 2 strand ply ball) or even chain a singles, but wind it into a ply ball instead of plying it then and there to get a 3 strand ply ball (this also might let you play around with really long or really short chains without having to think about ergonomics as much, since your spindle isn’t involved).

Ply balls can also be helpful if you’re having issues wrangling your singles while you try to ply, since they’re laid together already--so they’re worth an attempt if you are having trouble keeping your yarn in line while plying.

There’s a short (but full of tips) article on ply balls here.

There’s even more ways to ply--look into "plying from a center pull ball” (similar to a plying bracelet, but requires a ball winder or a nostepinne) and “ply on the fly” (chain plying at the same time as spinning the singles--highly portable instant gratification). There may also be others that I’ve forgotten or not heard of, hopefully mentioned by others in the notes !

So Many Ways to Ply--How to Choose ?

So, every plying method and every number of plies has its own effects on the finished yarn, and you can use those effects to get the yarn you’re after.

By the way, if you’re not familiar with yarn weights such as lace weight and worsted weight, you should read this first !

A singles is great for your soft, fluffy, luxury stuff--cowls, hats, mittens that won't get a lot of wear, or shawls. It also preserves the colors that you spun exactly--so if you spun a beautiful perfect rainbow singles and the most important thing to you is that it stays a rainbow, you could leave it as a singles ! You can knit, crochet, weave, and nalbind with them like normal (I actually really prefer them for nalbinding--they felt easier so the joining is quicker), although because they haven’t been plied, they’re a lot weaker to abrasion and snapping. So they’re not ideal for things that need to be durable, and if you’re spinning short and/or fine fibers, you may find that even with some care they still don’t last very long, so keep in mind that stuff made from singles probably won’t be passed down or anything like that. But still, I’ve knit several small pouches from singles that have held up just fine being tossed around my room. One advantage to note is that you have the most yardage and the least spinning time this way, so it’s a very ‘time cheap’ yarn--you spin 100 yards/90 meters of singles, and you get 100 yards/90 meters of yarn. No time spent plying. However, it is as thin or thick as you spun it, and however consistent or inconsistent your spinning is, that’s your end result ! A lot of spinners (me) balk at this.

2 ply is next. I use 2 ply for almost everything besides socks--it’s quick, it’s fairly durable, and it looks very pretty (and an error correction: is ideal for lace). A 2 ply halves the amount of yarn you end up with--if you spin 100 yards/90 meters and 2 ply it, you’ll end up with 50 yards/45 meters. It also has a distinct ‘handspun’ look--2 ply knits up to a messier fabric. I really love that effect, but if you want a neat, uniform fabric, don’t do a 2 ply ! I’m not sure how it affects crochet or weaving, unfortunately, but do I suspect it’s similar with crochet. It also bulks up your yarn--it’ll be a little bit less than double the thickness of your singles, usually. 2 ply holds up alright to gentle/moderate daily wear, and is great for hats, gloves that don’t need to be hard wearing, scarves, and bags that won’t need to bear a huge amount of weight. It’s a workhorse yarn--you can use it for almost anything, and it’ll probably be okay. The only thing I would never use it for is socks--that’s a 3 or 4 ply project.

Let’s talk 3 ply ! 3 ply can be achieved either through chain plying or else as a traditional 3 ply--meaning 3 separate singles all plied together. You’ll get very different effects from these two methods in terms of both color and even-ness. If your singles had any stripes of color, with chain ply they will remain as stripes (this could be an alternative to your rainbow singles !). With a traditional 3 ply, your stripes will all blur together, and you’ll get a varied and multicolored yarn. You will get 1/3 of the yardage/meterage of your original singles, so a 3 ply yarn takes longer to make than a singles or a 2 ply. But it is also about 3 times thicker than your singles, so if you’re struggling to spin thick singles but want a thick yarn, 3 ply is a great option.

If your singles are very even, you’ll see no real different between chain ply and traditional 3 ply (except for the bumps at the start of each loop--they are usually visible as well). However, if your singles are kind of all over the place, chain plying magnifies this. On the other hand, a traditional 3 ply really evens out any inconsistencies. Even though I’ve got a few years under my belt, I am not a very consistent spinner, simply because I can neither visualize nor remember the weight I ought to be spinning, so it’s always a total guess (damn aphantasia). Beginners are also often inconsistent spinners, just due to lack of muscle memory. Either way, a traditional 3 ply can be really helpful in creating a fairly smooth, even yarn from really wild, inconsistent singles.

Fig E: comparisons of chain ply and traditional 3 ply, in terms of consistency

Lastly, 4 ply. 4 ply will turn your heavy laceweight singles into a light worsted, if it puffs up in blocking enough. I love 4 ply for my supported spindles mostly, since those spin very fine yarn and I don’t have a use for anything finer than sock weight yarn. It’s also very durable, and a laid 4 ply (like a traditional 3 ply--just 4 strands held together) make good socks. A cabled 4 ply (take two 2 ply yarns and ply them again) makes terrible socks, but is still very durable and has an interesting rope like appearance and texture. 4 ply in general is great for socks, bags, blankets, and especially sweaters, as it doesn’t pill much and will stand up to heavy wear. However, you have to spin 4 times the singles to get your finished yarn--a 100 yard/90 meter 4 ply skein requires 400 yards/360 meters of singles, and then more time for plying. So these are rather slow. They’re an awesome option for a fiber that refuses to spin up to anything other than the finest lace, and they will make great objects and garments that will last for a good long while.

Past 4 ply, you kind of just get rope. I haven’t ventured past 4 ply much--give it a shot if you’re curious !

The Why of Ply is a great article on the different aspects of different plies, and touches on some stuff I don’t mention (like stitch definition and cables) if you want to know more ! Highly recommend it.

How to Ply

So... you know at least a few methods of plying now, know how many plies you want your finished yarn to have, and you may have even already wound a ply ball or filled all of your spindles. Which means it’s finally time to ply everything.

To start, you need to attach all your plies to your spindle. For the methods that I’ve discussed (with the exception of chain plying), you’re going to do the following: gather the ends of your plies together, and make one slipknot with all of them. Then put the slipknot on your spindle below the whorl, the same way you would when spinning singles (and when not using a leader).

For chain plying: chain your singles until you’ve got about a foot or a third of a meter. Now you want to attach it to your spindle. Take the very first slip knot loop and slip it onto the spindle, below the whorl.

Now, secure your yarn by wrapping it around the hook or else with a half hitch knot, and spin the spindle counterclockwise (anticlockwise). You should immediately see the plies twisting together to form plied yarn.

From here, you will proceed basically the same way as you did when spinning singles--you’ll add twist to your plies, then wind on. This can be a really great opportunity to practice doing things while the spindle is in motion; you won’t be drafting, but depending on the type of plying you’re doing, you may be chaining, pulling from a ply bracelet, or simply letting the plies slide through your fingers (you do want to tension them and keep the twist from getting past your hand). If that requires too much coordination, feel free to park and ply--that is, spin the spindle to add excess twist, park it and let it into your yarn, then wind on.

If you try to ply your yarn the same direction that you spun it, you’ll notice that it doesn’t really turn into a cohesive yarn, and instead becomes wiry and the plies don’t slot neatly together. If you notice this happening, turn your spindle in the other direction. A yarn that is both spun and plied in the same direction won’t be stable or strong, and will tangle the second you try to work with it.

This is why it’s helpful to be consistent in which direction you choose to spin your singles, by the way--if you always spin wool clockwise, then you can know with certainty that it will be plied counterclockwise.

We refer to yarn as having either Z twist or S twist (this refers to whatever the finished twist is, so a singles that you’re never going to ply, or a 3 ply yarn, for example). This just makes it a little easier to talk about and recognize what we’re doing.

Fig F: S and Z Twist in plied and singles yarn

It’s essentially a mnemonic device that allows you to glance at your yarn and go “Oh! I spun these three singles counterclockwise, so I should ply them all together clockwise.” I often have to draw an S or Z in the air (just like I sometimes have to draw an L in the air to pretend I can reliably tell left from right), but it is pretty foolproof and will prevent you from, for example, trying to ply an S twist singles with a Z twist singles and then wondering what on earth went wrong.

By the way, this page has a really helpful chart on what direction you might want to spin in based on what you intend to do with the finished yarn. For example, crocheting (right handed style) with S twisted yarn will remove the twist as you work, but knitting in continental or English style (or crocheting left handed style) with that same yarn will add twist. Most spinners spin their singles to have Z twist and ply them with S twist--but if you’re a crocheter or knit Eastern style this will unply your yarn as you work, and you are encouraged to try reversing things to have better results with your handspun projects. The more you know !

Now, back to your plying. You may be wondering how you’re supposed to know how much ply twist to add, which is a great question, because plyback tests don’t work when you’re actually plying. Those are for when you’re spinning your singles. Instead, I do what I call a “hanging test”. Just hold out a length of plied yarn between your hands and let it hang (not pulling it taut--the yarn should have a nice downturned curve). A balanced yarn--that is, a yarn that has equal and correct amounts of spin and ply twist--will just hang nicely. An underplied (or underspun) yarn will usually also hang nicely, but you will see gaps inbetween the plies. This is no good at all. Gaps won’t just make your yarn look bad, they'll also make it split when you work with it, and will be less durable and more prone to pilling, felting, and eventual disintegration after much use.

On the other end of the spectrum, an overplied yarn (which may have both too much spin and ply twist, or may be underspun and then overplied in an attempt to fix ones mistake--which won’t work, by the way. You need to go back and add more spin twist to your singles) will twist in the middle instead of hanging. If it only twists a tiny bit, you’re fine. But if it twists a lot, there’s problems. Overtwisted 2 ply yarns tend to be aggressively smooth--this is only relevant for 2 ply, since those have a sort of pearled silhouette. If your 2 ply is smooth, then you’ve most certainly overplied it. 3 and 4 ply are always smooth, however, so a smooth profile for one of those is to be expected.

Fig G: Ply twist in 2 ply yarns. Do these yarns have S or Z twist ?

Don’t worry if your first yarns aren’t perfectly spun or plied (really--they won’t be). Every spinner is striving for something different with their yarn. Some are aiming for total technical perfection, some aim for exquisite fineness, some aim for beautiful colorways and for finding the softest and most lovely breed of sheep. Some just want to spin, some just want usable yarn, some just want a pair of socks that last on their feet and find commercial sock yarn to be about as durable as wet paper (that would be me). You certainly don’t have to know what you want to get out of spinning right away, but the point is that every single spinner has their own standards that they hold themself to, and you don’t need to (and shouldn’t !) try to meet others standards. Especially when still learning, but also just all the time and forever.

I’ve Plied My Yarn, Now What ? OR I Just Want Singles, Now What ?

Now your yarn needs to come off the spindle ! But not the way we’ve been taking singles to ply off the spindle--we need to make what’s called a hank. A hank is basically a loop of yarn that’s been tied so that it’s nice and secure. These loops can be pretty big (mine are all 2 yards/1.8 meters) or as small as the distance around your hand--it all comes down to what you wind your yarn onto.

I have already made a tutorial that goes into quite a bit of depth (and has pictures, even), so I’m gonna speed through this part a little bit.

1. Find something to wind your yarn around. A Niddy noddy is the preferred tool for the job here, and will make it much faster to wind and thoughtlessly simple to calculate the yardage/meterage of your yarn (I’ve seen people use yarn swifts as well, and they certainly look very speedy), but they are by no means required. Substitutes include: a large hardcover book, the back of one or two chairs, your hand (ideal for very small amounts of yarn), your forearm (for smallish amounts of yarn--wrap between the thumb and forefinger and go down to the elbow, then back up), or anything else that won’t deform with pressure and is holding relatively still.

2. Wind your yarn around that thing. You may need to start with a slipknot to attach it to whatever it is you’re winding on, or else a piece of tape. If you’re using your forearm or hand, you can simply pinch the end to hold it in place. Unlike when winding your yarn onto your spindle, when winding your yarn into a hank, you want to use as little tension as possible so that you can get a more accurate measurement of length later on. Also try to keep your winding tidy--in an ideal world, the yarn should be traveling almost the same path every time, not a few inches to the left one time, then wildly skewed to the right the next time.

3. Tie off your hank. Once you’ve finished winding, you need to secure your hank so that it doesn’t tangle. You can use either scrap yarn or else the ends of the yarn you just made (I prefer the latter, since the ends tend not to be very good anyway, so at least they don’t go to waste. In this case, snap off or cut both ends--the length you should cut depends on how thick your hank is). Find where both ends are--you will need to tie knots near the ends so that you can attach the ends to them. Tie an overhand knot a few inches/5cm below the first end, and then hold that end alongside one of your strands of knot-tying yarn, and tie another overhand knot. Repeat this with the other end. Make sure you haven’t overlooked any strands of yarn and left them out of the tie--that’s a very easy way to get tangles.

4. Remove your hank. Gently push your hank off of whatever you wound it on. Put it to the side--now we want to measure. Use soft measuring tape (or a piece of inelastic string or yarn, if you don’t have one--you will then need to measure that against a rigid measuring tape) to span the entire path that your yarn traveled. Write down that number, and now count the number of strands in your hank. Multiply the two numbers together. Now convert your inches or centimeters into yards or meters, and you have your yardage or meterage !

Ex: You wrapped your yarn around your palm, which measures 10 inches. There are 41 strands. 10x41=410. 410 inches is roughly 11 yards. Or: You wrapped your yarn around a small book, which measured 21 cm. There are 50 strands. 21x50=1050. 1050 cm is of course 10.5 meters.

Fig H: Winding a hank on a hardcover book.

It can be very helpful to label your handspun yarn. The yardage/meterage is critical information when it comes to using patterns, less so if you don’t use patterns. But there’s other info that you might still find handy to know later on, such as what the fiber is, where and when you got it, when you spun it, how you plied it, any info on the dye job, what the yarn weight is, what spindle you spun it on, whether it is part of a set, how much it weighs, etc.

Some of my really verbose labels might look like this: Avocado dye and copper mordant hand dyed in the fleece 2020 Cormo Bought 2019 Spun for 2020 TDF 2 plied on wheel 210 yards 3.4 oz light worsted weight

But most of my labels just have the yardage and breed, if I label them at all. I tend to document things online and also remember spinning my yarn better than I remember anything else going on in my life, so I’m a little lazy about labeling. Your labels should include the information that you think you’ll find helpful in the future, or that you know you won’t have another way to recover if you end up forgetting.

Blocking your yarn

Don’t attach that label just yet--we aren’t totally done with our yarn. It has one or two more steps before it’s ready to be used, and that first step is called blocking. There’s a few ways to block yarn--wet blocking, steam blocking, and resting.

Wet blocking: Get your hank of yarn wet, using anything other than very hot water (this could start felting your yarn). You could run it under the tap for a minute or else let it sit in a bowl of water with a little hair conditioner for about half an hour, if you wanted your yarn to be a little softer, then rinse the yarn. Squeeze as much water out as you can, then hang it to dry. You can (and should) also snap or thwack it--but I've gone into detail on that in a link below.

Steam blocking: Get a source of steam going--like a pot of water simmering or a very hot tap running. Using tongs or a long wooden spoon, hold your yarn over the steam and slowly rotate it until the whole skein has been steamed. Don’t let the yarn touch the water.

Resting: If neither option above is possible, you can also just let your yarn sit for at least a week. This lets the twist settle down, so it’ll be a lot easier to work with. However, it doesn’t do anything else that blocking does, so it won’t really show you your “finished” yarn, and may lead to problems down the road.

So--why did we just do that stuff ? Well, we blocked our yarn to reset the fibers, basically. During the spinning, we put the fibers under tension, and they more or less stay in that slightly stretched state. But it’s not really stable--the next time they get wet, they’ll spring back into the natural crimp that the wool wants to have (this changes drastically depending on breed and even individual sheep), and will often puff up. The hank might lose a little length and your yarn’s weight (not as in ounces or grams, but as in lace, dk, or bulky weight) often increases some. So if you’ve made your yarn into something before blocking it, with the perfect gauge and nice drape, the first time you wash it you’ll find that it’s thicker and a little smaller and has less drape. It might not fit anymore, or the seams might be messed up.

This is all entirely avoidable if you just block it before you do anything with it, so I highly recommend that you do.

The other thing that blocking does is set the twist, so your yarn won’t kink up as you work with it--even a perfect, balanced yarn can kink up as you work if the twist is live--which makes it a lot more pleasant. Resting sets the twist as well, as mentioned above.

I’ve gone into blocking in more detail in this post here, if you’d like to know more--I’d especially recommend reading the last section about snapping and thwacking your yarn.

Once it’s fully dry (and remember--wool can hold a lot of water and still feel dry, so give it a little extra drying time just to be sure) it only needs to be wound into a ball before you can use it ! Congratulations on your handspun yarn--that’s a real achievement.

Storing your yarn

If you don’t plan on using it right away, you may want to skein your hanks up to keep them compact and tidy. To do this, put your thumbs on the inside of your hank, and pull it taut. Then, one thumb at a time, twist in the opposite direction that you plied in. Your hank should start to kind of look like rope. Once it has a lot of twist (enough that you’re struggling to add more), find the center point of the hank, and fold it. With 2 yard hanks I tend to fold it over my knee, but a doorknob or something else would work just as well. It should immediately look like an oversized piece of yarn--that’s because we just twisted it one direction, and then folded it in two and let the excess twist twist it in the other direction, which is the same way you ply yarn ! There should be a loop at each end where your thumb was--take your thumbs out and put one loop through the other. Now you can attach your label and you’re good to go !

If it’s a very small hank (one that’s been wound around the palm, especially) you’ll probably just want to wind it into a ball instead. You could do this with any length of yarn--it’s not an ideal way to store wool yarn ultra long term, since staying wound into a ball can stretch out the fibers again, which means you’d need to wind it into a hank and re-block it if you wanted to make an accurate gauge swatch or something. Short term (a year or less) it’s just fine.

If you’re wondering how to wind up a big hank into a ball without tangling, just sit down with your knees up, and put your knees inside the hank, then move your knees apart until the hank is taut. Now you can wind in relative peace, free from tangles. You can also use a yarn swift, if you’ve got one.

I would recommend, by the way, using up some of your first skeins as soon as possible (you might want to keep your very first skein so that later you can see how far you’ve come--I really wish I kept mine). You won’t know how your spinning is until you’ve used it, so to prevent you from getting to skein #40 thinking you’ve been doing great, only to discover that your yarn is actually unusable... use your early yarn ! Evaluate it, make judgements, and learn from it. Does it need more twist ? Is it very lumpy ? Are there lots of spots where it went thin ? Do you like how the colors turned out with the plying method you chose ? These are all good questions to ask yourself as you use your yarn.

Moving On From Park and Draft

Once you’re comfortable with the park and draft method, you might want to try moving on to true suspended spinning. As I said earlier--it may not be for you, and that’s fine, but you won’t know if you don’t try. True suspended is quite a bit faster than park and draft, so if you want to speed up a little, you should give it a shot.

In park and draft, you first add twist, then park the spindle to draft your fibers into yarn. In true suspended spinning, you set the spindle going and draft while the twist is being added. This eliminates the whole ‘standing/sitting there with your arm outstretched, waiting for your yarn to accumulate twist’ section.

The easiest way to get into true suspended spinning is to work your way up to it--try drafting just a little bit while your spindle is building up twist during park and draft. To give yourself more time, set the spindle spinning slower. Then try drafting a bit more. The goal is to draft at the same rate that twist is added, meaning that you can wind on pretty much as soon as the yarn is too long to keep spinning.

The trick here is to adjust the speed at which your spindle spins rather than the speed at which you draft. You can only draft so fast before your technique gets sloppy, and past that you’ll be focused far more on keeping pace with the twist being added than on drafting evenly.

So if I find that I spun my spindle too aggressively, I still it immediately and try again, but slower this time.

I answered an ask about this a while ago where I went into a little bit more depth, if you’re interested.

And if you haven’t seen it, the pinned post on my blog is a lot of stuff like that all collected into one post for easier perusal. Some of them I’ve already linked to earlier in this post, but others I haven’t.

Small Projects, Scrap Projects, and Big Projects: Tips for All

You may be wondering, What the hell am I supposed to do with this yarn ? This isn’t even enough for a pair of fingerless gloves !

Which is a fair concern--endlessly accumulating small skeins of yarn can be frustrating if you don’t know how to use them up.

Drop spindles are limited in how much yarn you can make on them, and while you can make huge skeins by joining smaller skeins together, they may not all be the same weight ! Or they may not match. Or it may just be really boring.

You may also be doing a lot of experimenting, and ending up with 30 yard/meter skeins that you can’t even make something tiny with.

Small Skeins: For single skeins that are too small for gloves, hats, etc, you may still be able to make things like pouches (for yarn, crochet hooks, dice, coins, etc), baby socks or hats, coasters, or other small items. My spinning wheel oil holder is a little basket crocheted out of some handspun, and I have a mini tape measurer on my keys with a cover crocheted over it from handspun as well. You might have to invent things to do with your handspun, but using items that you made enriches your life--I promise.

Scrap Projects: What about tiny skeins ? Or maybe you’ve already made all the coasters and baby socks and spinning oil holders that you could possibly need, and now the small skeins are piling up again. I humbly submit the Scrap Yarn Project--my favorite type of project by far. I’ve been slowly working on a handspun scrap blanket for about 2.5 years, using tiny scraps, small skeins, and leftovers from projects alike. I knit 5x5 inch stockinette squares (some have colorwork, some have different stitch patterns, but mostly I let the yarn be the star) and for the most part just try make squares that are thick enough to stay warm but thin enough to have a little drape. It’s an incredibly satisfying project.

Fig I: An older image of the author’s handspun scrap blanket in progress. The yarns used range from fingering weight to super bulky, and are spun in all sorts of different ways. But it still feels very cohesive.

I like the square approach (and of course if you wanted to crochet granny squares, that would work perfectly too) because it’s modular, so you can decide halfway through that you don’t want a sweater, you want a bag--and then just sew the squares into a bag, instead. But it doesn’t need to be squares by any means--you could also make scrap yarn sweaters, hats, socks, scarves, etc., that are constructed normally.

The only thing to look out for is yarn weight--in some cases, you might want the weights to all be very similar. Socks, for instance, won’t do well if you have parts that are bulky weight and parts that are light fingering weight. You could hold yarns together to get similar weights if necessary, or just only add to the project when you’ve got another scrap skein of worsted weight or whatever. For squares you can use any weight of yarn if you want, but you should change your hook or needle size to get a fabric that’s a similar density, so your stitch count will change from square to square.

Big Projects: These can be difficult even for experienced spinners, because consistency is key to ending up with an even fabric. Not from armspan of yarn to armspan, but from skein to skein--if the weight changes, things can suddenly get much more complicated while you try to correct for the skeins that are too thick or too thin.

One way to try and mitigate that is to not ply anything until you’ve finished spinning all the singles--that is, if you need 10 skeins of 2 ply, spin 20 spindles worth, then go through and pair off your stored singles, thin with thick and average with average. It can definitely be more tedious to do it this way, but if you’re worried about consistency, it might be a good idea.

It also might not be necessary. Try to let your mind stretch back over the whole course of human history--as a species, we’ve been spinning yarns for pretty much all of it, and until very recently, what you spun was what clothed you. If the skeins you spun for your new cloak were all different weights, well... you probably either repurposed those skeins (IF you could, and that’s a pretty sketchy IF) or you shrugged, wore a lumpy cloak, and got on with life. Perfection isn’t everything, my friend. Either way, do what’s going to make you happy. For me, I’d be just fine with a lumpy cloak.

Out Of The Basics: A Few Further Pushes Into The World of Spinning

There’s many, many techniques out there, and an infinite variety of yarns to be spun. Some require tools, some don’t. Some are very advanced, and some quite simple. There are many other tools to spin on besides drop spindles. There’s also processes related to spinning--such as dyeing, fiber prepping, and wool washing--which can greatly enhance your spinning enjoyment and variety. I can’t teach them to you today, but I can certainly tell you about them so that you can look into them yourself !

Changing Up Your Fiber or Techniques to Get Different Effects

We touched on this earlier in the section about the number of plies--a 2 ply yarn will knit up into a bumpy, slightly irregular fabric, and a 3 or 4 ply will be very regular and neat. But that’s not the extent of what you can do to change your yarn up (without buying anything new). I’m going to throw some terms around now--you’ll need to google them, because this is already absurdly long.

For one thing, if you have roving, you can try splitting it lengthwise and fractal plying your yarn for a very beautiful self-striping but marled effect. You can also try spinning it from the fold on multicolored roving, which keeps the colors separate instead of muddied, which can happen otherwise.

With any fiber, you can always mix and match, or add pops of color ! If you’re spinning a bunch of gray rolags, for instance, you can occasionally detach the rolag, spin a tiny bit of blue roving, reattach the rolag, and go back to spinning. Depending on how you ply it, this could produce almost specks of blue or else slips and streaks.

Speaking of plying, the way you make a 2 ply can really change the colorway of the yarn if your fiber is a gradient or multicolored. Say you’ve got roving that’s a gradient from white to purple--if you do a plying bracelet, your yarn will be part barberpole, part gradient: a purple ply with a white ply at one end, and then gradually transition to the midpoint of lavender-pink in the middle, with both plies the same color. But if you plied it the other way, by wrapping your singles onto storage rocks and then plying from those, you’d get a yarn that’s got one pink ply and one white ply at one end, and one pink ply and purple ply at the other.

Chained 3 ply versus traditional 3 ply will make a huge difference as well. If your fiber has stripes, chain plying it will preserve them perfectly (as long as you’re careful to start a loop at the color change--or if you wanted it to fade in a little, you could start partway through a color change), whereas a traditional 3 ply will always marl them, no matter how careful you are about evenly splitting your fiber into 3 sections.

If you like really colorful and bright yarns, you might enjoy cabled 4 ply (where you ply two 2 plied yarns together). If your starting 2 plies are already colorful, you’ll get super colorful yarn with a cabled 4 ply--to me it always looks like dashed lines in different colors.

A laid 4 ply can also make some interesting color combinations, and is perhaps the ideal candidate for mixing random singles together, since it has 3 other plies each singles can hopefully be tempered by. And a yarn that has 3 plies of one color and 1 ply of another color can be interesting indeed !

It’s not just color that you makes an exciting new yarn, though--you can also try making boucle, or thread plying or autowrapping, or spinning beehives, spinning beads into your yarn, spinning thick and thin yarn... the possibilities are almost endless. I’d highly recommend giving “The Spinner’s Book of Yarn Designs” by Sarah Anderson a read if you can--she discusses all of these and many more, and shows how to do them. Other good books that’ll show you how to make lots of different kinds of yarn, or how to tailor your yarn to your needs, are: “Yarnitecture”, by Jillian Moreno, “Spin Art” by Jacey Boggs, and “Yarn Spinning With A Modern Twist”, by Vanessa Kroening. Your library may well have copies, and if not you could likely request they buy it.

You Don’t Have to Drop Your Spindles

...Because there’s other kinds of spindles ! And things that aren’t spindles, but on which you can also spin !

There are Turkish Spindles, which are functionally almost identical to drop spindles (and you can drop them, to be fair), but you wrap your yarn around two detachable interlocked arms that also function as the whorl. When you remove the arms and spindle shaft from the turtle (not cone) of singles, you can then 2 ply with it immediately using both ends. Turkish spindles are great if you love 2 ply and hate winding.

There are Supported Spindles, which come in many forms but are essentially fancy sticks with pointy tips that you spin in bowls. These have more winding than drop spindles because you spin in very short lengths at a time and wind onto a temporary cop that’s just below the tip (it’s much faster than if you wound all the way down to the cop near the bottom). However, you use them while sitting or even (with a bit of wrangling) laying down, and your arms stay in a comfortable, much more relaxed position while spinning. It also spins, as a default, finer yarn than your average drop spindle (I can achieve a very fine and consistent laceweight on any supported spindle, but have only managed that on my tiniest and lightest drop spindle). And they are very fast tools--with proficiency, they can be much faster than drop spindles. Supported spindles are great if you find drop spindles painful, if you have low energy, if you’re mobility impaired, or if you want to spin finer yarn.

There are Spinning Wheels, which come in many shapes and sizes but are the fastest way to make yarn by hand. There are a few objects which could fall under the umbrella of a spinning wheel (namely Walking Wheels, Charkah Wheels, and Electric Wheels) which do not have treadles, but the majority of spinning wheels are powered by foot treadles and can spin faster than you can spin a drop spindle. They also remove winding from your list of duties (for the most part), since the flyer will wrap your newly spun yarn onto the bobbin as you go. New spinning wheels can be prohibitively expensive, but you can also find used ones for ludicrously cheap on craigslist, at estate or garage sales, at antique shops, or other places where old items might be sold. (You can also often find them at affordable but not cheap prices at fiber festivals). Be sure to research the parts of a spinning wheel before you try to buy a used one from a non-spinner--there are many SWSO’s (Spinning Wheel Shaped Objects) out there that will fool you. Spinning wheels are great if you want to make larger amounts of yarn, or want to make yarn faster.

There are Electric Wheels, which are small machines that will add twist and wind the yarn onto the bobbin for you, so all you have to do is draft. New low end models are much cheaper than new spinning wheels, and they take up far less space. They also remove the element of treadling, so if you are intrigued by spinning wheels but have weak legs in any capacity, these can save you a lot of pain. I have a spinning wheel and can’t spin on it much anymore, because my knees and hips dislocate almost immediately. I switched to supported spinning primarily, but an electric wheel would be a good substitute as well. Electric wheels are great if you want to make more yarn faster, but can’t afford a spinning wheel or don’t have the space for them. They are also one of the more accessible tools for those with severe mobility impairments.

And there’s still more, although I can’t do a pitch for all of them xD. There’s Tahkli Spindles for spinning cotton, Navajo Spindles that are long thigh-spinning tools, Medieval Spindles that are easy to whittle replacements for if you break your spindle a lot, and even more beyond that. Many cultures have their own traditional spinning tool, each with their own techniques and strengths, and if drop spindles aren’t doing it for you but you still want to spin, I implore you to check out other kinds of spindles !

From Sheep To Sweater (Washing and Processing A Raw Fleece)

Most people learn to spin from roving (even if it might not be a very good beginner’s preparation), although there’s also rolags, batts, top (both commercial and hand combed), sliver, and cloud. But what if you could start with a raw fleece (unwashed, with vegetable matter and lanolin and who knows what else) and make things out of that ?

There’s some immediate advantages to starting with a raw fleece (even over a washed fleece). For one, raw fleeces tend to sell very cheap. This will depend on where you live, but the vast majority of fiber that I buy these days is raw fleece, and I’ve never spent less on fiber. At a fiber festival, I once paid $10 USD for 2 pounds (slightly under 1 kilo) of raw Shetland fleece. So--they’re cheap. As soon as someone starts putting work into a fleece, like washing it or dyeing it, the price immediately jumps.

Second, if you’re looking for the most bang for your buck, starting from a raw fleece is the way to go. You need to wash it, skirt it (take out the really terrible or gross bits), perhaps sort or grade it if it’s multicolored or there’s clear variation in fiber quality, dye it (if desired--I only dye my white fleeces, as I quite like brown and gray and black), process it into spinnable fiber, spin it, ply it, and then knit/crochet/nalbind/weave/do whatever else your heart desires with it. A single raw fleece can last me a month even if I work on it tirelessly, and I might have paid $20 USD--a little over an hour of wages for me.

It also brings you a lot closer to your work. I can’t say I felt very attached to my fiber when I worked exclusively with roving, but sorting through a pile of hand washed Southdown Babydoll locks while I comb them into top to spin into sock yarn on supported spindles that I whittled myself--I can tell you, I feel pretty damn connected to my work, to the ridiculous little sheep whose wool I have, to my socks, and to the wool itself. It adds a lot of depth, both to the experience, and to my understanding.

It’s also honestly pretty easy. To wash a fleece, you need a dedicated wool pot (as in, don’t cook in it again), a bit of dish soap, and some time. Put the fleece in--don’t crowd it, just work in batches if your pot can’t easily fit all of the fleece--add cold water and a squirt of dish soap, and let it cook on the stove for about 45 minutes, without a lid. Don’t let it boil--ideally it should be steaming but not quite simmering. You can use a dedicated wool spoon/tongs to gently and infrequently stir the wool. The water should get pretty gross. After 45 minutes, start the tap running (you need to rinse the wool in very hot water--if you let temperature shock happen, it could felt), drain the water, and rinse the fleece. Then repeat--filling up the pot with hot water now--until the water stops looking dirty at the end of the 45 minute cooking time. Rinse it one more time, and then let your wool dry, ideally on a clothesline but over a vent/spread out flat on a towel is fine too.

Yes, it really is that easy. If you’re worried about felting or otherwise ruining the entire fleece, you can always start by washing just a handful, so that way if you ruin it there’s not much waste. But I’ve washed at least a couple dozen fleeces that exact way, and I’ve never ruined one.

After washing and drying your fleece, you need to prepare it. I typically prepare enough to spin for a day at a time, but you could also do it all at once if that’s more your style. There’s many ways to prepare wool, and I’ll discuss most of them at least in brief, but we’ll start with teasing. This is where you take a lock in your hands, and tease it open. Let any VM (vegetable matter) fall out or pick it out yourself, and open the lock up to the point that you can no longer see any lock structure. It’s now spinnable, just like that ! This is a pretty slow method, but if you start out your raw fleece journey buying just a few ounces/50ish grams of fleece, it’s perfectly doable to tease it all open by hand.

If you have money to put into the endeavor, a humble pair of hand cards (70 TPI will card most wools), or you can kind of make do with two pet brushes like these (although at that point, spend $10 USD more and you have a pair of hand cards, so idk what the point of that is, unless you already have them) is a very good place to start. Load the fiber onto one card, card it until it’s uniform, roll it into a rolag, and it’s spinnable !

You also have hand combs, which are a lot more expensive than hand cards, but which can process very long fibers and can get out all the vm. Cards don’t remove a lot of vm, so combs is the way to go for super vm-y fleeces. They also produce hand combed top, which spins up into a very compact, strong, and abrasion resistant yarn--great for socks.

Past that are drum carders, which are machines in the way that spinning wheels are machines--manual, but they certainly automate the processing of fiber for you. These can be expensive indeed, but process fiber very quickly and are a great choice if you plan to sell the fiber, if you want to start with raw fleece but haven’t the dexterity to do it by hand (and there are electric drum carders as well--otherwise, you are turning a hand crank), or if you want to process high volumes of fiber because you just go through it that fast.

Honorable mentions include flick carding (both cheaper and slower than hand cards--you work with a couple locks at a time and open them up by flicking them with a tined brush), blending boards (these don’t process raw fiber, but they turn already processed fiber into batts--so you can blend many wools very easily for different textures or colors. These are like painting with wool--so fun !), and willowing (I haven’t tried this one yet, but you lay out your wool and repeatedly hit it with willow branches or other bendy sticks, which opens the fiber and also sends it flying all over the place. It looks very fun, and rather slow, and is also free as long as you can find a willow tree).

This website describes some of those methods (and one I didn’t get to) if you’d like to check it out.

Colors to Dye For

Wool takes dye very readily, and you probably come into contact with several natural dye materials every day--onion skins, avocado pit and peel, daffodils, coffee, black tea, thyme, even grass ! You don’t have to be working with fleece to dye it (although dyeing fleece gives you so much color variation and is very fun)--you can also dye roving very easily. Batts, rolags, and top less easily, although it’s possible with a lot of care.

For most natural dyes, you need to collect quite a lot of it, and then let it cook overnight on low heat. Boiling (sometimes even simmering) can kill the color, so you’ve got to be patient. Crock pots on low or medium are great for this. If you can cook it two days, all the better. Let it sit and cool for at least 12 hours, then strain it. (Tip: you can store natural dyes in jars in cool, dark places for at least a year without any ill effects--so you don’t need to use the dye immediately)

The majority of dyes need something called a mordant (I go into more detail about mordants in this post if you’re interested). There are many mordants, but some easy household ones are alum, baking soda (bicarb), copper (put a few bits of copper pipe in a jug of white wine vinegar, let sit for a few weeks at least before using), or iron (same as copper, but with rusty nails. Use a plastic jug !!! Metal will rust and glass can break). Most people mordant their wool by putting it in their dedicated wool pot with some water, adding the mordant, and letting it cook on low for an hour. Then drain the water and add the dye.

Natural dyes need to cook for a while to set--I usually let them cook overnight at least.

For batts, rolags, and top, you can do something called solar dyeing--carefully mordant your wool as usual, then place it in a jar with the dye, and put the dye outside in the sun. Over time (at least a week--often months, especially if you don’t live somewhere warm and sunny) the heat from the sun will warm the water and dye the wool. You could also try storing the jar somewhere you know will be warm, such as near the stove or fireplace.

You don’t have to use natural dyes either--there are also acid dyes, or food coloring, kool-aid (sugar-free), etc. I’m a lot less familiar with those, so I can’t go on at length. They can be a good choice if you don’t have the time for natural dyes, or if you want to get specific colors and not guess what your wool will turn out as. Look into them if you have any interest !

Dyeing your own wool is immensely satisfying, and can be a very cheap (or free, in the case of many natural dyes if you’ve collected or grown them yourself) way of obtaining more color, if you find that you keep ending up with a lot of white wool.

Endless Breeds of Sheep

There are many breeds of sheep on there (not endless, sorry--although there will always be new breeds being developed, so endless in a way !), and they all have different qualities, both in terms of the sheep themselves, and the wool they produce.

Do you want your wool to be very hard wearing ? Down breeds such as Southdown (one of my absolute favorites), Shropshire, or Dorset can be quite durable, and are resistant to felting. You could also go for stronger, coarser wools such as Jacob or Romney--coarser means stronger with wool, and softer tends to mean weaker.

Do you yearn for a softer wool ? Cormo is fantastically soft, as are Rambouillet, Debouillet, and Merino. Many lambswools (meaning the fleece from a lamb--the older a sheep gets, the coarser its wool tends to be) can be softer than their breed standard, so seeking out lambswools even from breeds like Jacob or Rya (both usually strong wools) can lead to soft fleeces.

Of course, there are more considerations than just soft and hard wearing, but there’s pretty much a breed for everything. If you’re interested, “The Fleece & Fiber Sourcebook” by Carol Ekarius and Deborah Robson is an incredible resource, and covers just about every breed under the sun (with pictures, samples, notes, recommendations, and interesting bits of history), as well as most non-sheep fiber producing animals as well ! Speaking of...

There’s Not Just Wool

There’s also many non-sheep fibers, and plant fibers too !

Animals with easily usable fiber include: alpaca, llama, angora rabbits, goats, camels, musk ox, and more ! Their properties are usually different from wool--all of the fibers from the animals above have little to no crimp in their fiber, meaning that they aren’t elastic like wool is. They’re also varying degrees of warm (cashmere--the undercoat fibers that come from many different breeds of goats--are extremely warm, but still not as warm as musk ox down), and some are unbelievably soft. If you can, I highly recommend getting a little cashmere, a little camel down, or whatever other exotic fiber strikes your fancy. They’re very fun to experiment with, and small amounts can easily be worked into projects to add warmth, drape, or softness.

We can’t forget about silk, either--produced mainly by certain species of silkworms, although most insects undergoing complete metamorphosis produce silk of varying quality as well. Silk is a very interested fiber to spin--but it can also be reeled instead of spun, which is how you can get extremely thin silk pieces without even needing to spin thread-weight yarn.

But in early human history, before we domesticated sheep and bred them to have better wool than they started out with, we spun things like inner tree bark, flax, nettle, and cotton. These all require very different techniques than wool, but most of them can be spun on the same tools (and all but cotton can be hand twisted into cordage instead, if that’s more up your alley). They are also inherently cooling--fabrics made from linen will keep you very cool indeed--so if you live somewhere hot where having wool objects is mostly pointless, don’t despair ! There’s still stuff for you to spin.

Connect With Others !

I’m about done with this monograph, but there’s a few last things I want to share.

First is the existence of Fiber Festivals--you may or may not have some in your area. They’re extremely fun, and you can meet many spinners there. They’re also usually a very cheap source of fiber, as prices are often a lot lower at festivals.

Second is the existence of Spinning Guilds--again, you may or may not have one locally, but if you do, you might want to join ! There are also spinning clubs and groups, which might be a little lower-key and more welcoming to beginners.

Then there’s TDF, or Tour De Fleece. You may have heard of the biking tournament called Tour de France which happens in July--well, every year a lot of us spinners do a tournament ourselves, but it’s generally not competitive (except on Ravelry--there are teams and points and everything). For the most part, participating in TDF just means setting a spinning goal for yourself from July 1st to July 23rd (the end of the race) and then trying to achieve it. For a lot of people, this means spinning every day. Some set goals like “get through this whole fleece I bought 10 years ago” or “spin a sweater’s worth of yarn” or “learn how to spin flax, finally” (that’s what I did last year). Or maybe it is just spinning every day--even if just for 20 minutes. On tumblr you can see other’s work and post your own under the tag #TourDeFleece2023, or #TDF2023 (there’s many variants as well)--we’d love to have you !

Lastly, there’s International Spin In Public Day ! To be honest, nobody can really agree on what day that is--allegedly, it’s the 3rd Saturday of September. (For me, it’s literally every day that I leave my house, but I digress). But I’ve also seen posters for October, for September 10th or earlier, and just generally lots of different dates. I’d say play it safe--if you see someone say it’s International Spin in Public Day, go spin in public just in case :D. The purpose of a day like this is to bring spinning back into public knowledge--let’s face it, most people in the western world have zero clue how yarn is made, and couldn’t differentiate a spindle from a spatula. This sucks ! Spinning is such a great activity--it can be meditative, calming, fun, exciting, or a background motion to other activities that allows you to actually pay attention (if you have ADHD). And I think a lot more people would spin, and would enjoy it, if only they were exposed to the idea. You certainly don’t have to act as Spinning’s public outreach officer, or anything like that... but when people ask what you’re doing, explaining it patiently and encouraging them to look into it does everyone a favor.

In Conclusion

I hope this has been helpful and not too confusing ! It’s really important to note that I’m just one guy--I don’t know everything, and I might not always have the best techniques. Looking for information on spinning from multiple sources is a good way to get a well-rounded understanding, and to correct common misconceptions that you might have already learned. Perhaps more importantly, there’s pretty much an infinite number of ways to do almost every single step I’ve described here, and if the way I showed you--or the video I linked to showed you--isn’t working, don’t despair ! There’s nothing wrong with you, you probably just need to do it a different way. I must have watched 3 dozen videos of people drop spindling before it finally clicked with me.

I hope I’ve opened up the world of spinning to you at least somewhat ! There are many things I didn’t touch on, and lots of stuff I wish I could talk more about, but at the end of the day I mostly wanted to 1) show you how to make yarn and 2) pique your curiosity about the whole rest of it. If you have questions, I’ll try to answer them (Purple, I will of course answer all your questions and also attempt to mind read your questions before you’ve even asked them so that I have a 10 million slide power point done by the time the question is out of your mouth), but check the comments and replies first ! Someone else might have answered it already.

Thanks for reading, and happy spinning !

Fig J: The author holding his old drop spindle, spinning at a doctor’s appointment. The spindle now belongs to the friend for which this monstrosity of a tutorial was written ! :D

#spinning #drop spindle #beginner spinning #tutorial #handspinning #handspun yarn #fiber arts #i truly have no idea how to tag this #its over 13k im so sorry #swords i did end up adding tipping to this blog bc of your recommendation thank you !#i cant seem to add tips to posts that i made after tipping was enabled tho. which is very annoying. so its just on all my posts for now #hopefully will fix that later #this did take about a week of writing ! so if anyone #(BESIDES PURPLE FOR SEVERAL OBVIOUS REASONS THIS WAS A GIFT FOR YOU <3)#wants to show some appreciation if it helped you at all #i would be very thankful as i am so goddamn broke lol

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oliviaischillin1204 · 3 months ago

Note

Imagine Pre-Accepting Anxiety Virgil walking into the common room and seeing the Light Sides having a tickle fight. Now he has to find a way to keep his tough guy act while dealing with being a secret lee!

HAPPY TICKLETOBER EVERYONE!!! we're starting off strong with this ask, sent to me on jun 18 2020 lmaooooooooooo. if this prompt seems familiar, it's b/c it was also sent to @why-not-a-tickle-blog around the same time! (link to her story here!) and when i tell you've literally been working on this wip on and off ever since i got it,,,,, i am such a wip harder AJDFHGHDJ

and now, without further ado, let's let tickletober 2024 begin!

tickletober day 1- "anticipation"

word count: 7,580 words

So... the Light Sides were weird.

Virgil knew that way before he’d started hanging around their little group. From movie nights to sing-alongs to family dinners, they were overall obnoxiously chummy and irritatingly comfortable with each other.

Case in point: when Virgil finally managed to roll out of bed at about two in the afternoon, there was a strange sound in the air. Not Princey’s singing, or Logic’s lecturing, or even Morality’s incessantly cheerful... whatever he does.

After reapplying his smeared eye shadow, he meandered out of his room and headed to the common area. As he got closer, it sounded like... laughter?

He huffed a sigh as he swung himself down the stairs.

“Can you all please keep it down--”

Virgil froze, one hand on the railing as he took in the scene before him.

There were the three Light Sides, but he’d never seen them like this. Princey-- ugh, fine, Roman-- was lying on the floor, but what caught Virgil’s eye was the state of disarray he seemed to be in. Next to him was Patton, sitting cross legged and looking similarly rumpled, and next to Patton was Logan, who was normal except for the blush riding high on his cheeks.

That wasn’t the weirdest part, though. The weirdest part was the way Logan was pinching at Roman’s knees and thighs with a careful accuracy, or the way Roman was reaching to vibrate his fingers all over Patton’s stomach, or the Patton had a hand on both Logan’s and Roman’s sides and was squeezing away with reckless abandon. Or the way all three were laughing together in delight at the tickle fight Virgil had somehow managed to walk in on.

Speaking of Virgil: when he processed the scene happening before him, he couldn’t help but let out a surprised little gasp. That noise, quiet as it was in the chaotic room, still managed to stop the other three in their tracks, and they all turned to look at him.

Patton, of course, was the first to speak. “Well, hey, Anxiety!”

“Um--” was all Virgil managed to say. His face turned hot, and he prayed that it wasn’t as bright red as it felt. He gripped the railing under his hand and avoided eye contact. “I--”

Roman scoffed, hurriedly sitting up and pulling away from Logan’s tickly hands.

“Is there something we can help you with, villain?” he asked brusquely, but Virgil got the feeling that he was more embarrassed that Virgil saw him getting tickled than annoyed that the anxious side was there. Still, his words were enough to snap Virgil out of his spell, and he managed to roll his eyes.

“I said,” he repeated, hoping his voice wouldn’t fail him, “would you please keep it down? You’re gonna wake the whole Mind Palace with your... game.”

There was the crack in his voice; Virgil knew it was going to come, and he felt himself grow even warmer. Thankfully, no one commented on it.

“Apologies, Anxiety,” Logan said, straightening his glasses. “We didn’t intend to be so loud. We got... carried away.”

Patton giggled, his hands creeping back to Logan and Roman’s sides. “’Carried away’ sure is one way to put it, guys--”

The other two swatted his hands away, but Virgil caught the flustered grins that adorned both of their faces. Their eyes darted back to Virgil, and he swallowed, suddenly feeling very out of place.

“Uh, okay, fine. Whatever. I’m going back to bed.”

He turned on his heel and marched up the stairs, ignoring Logan’s calls about maintaining a proper sleep schedule, as he tried to stop thinking about what he’d just witnessed.

It wasn’t working. All he could think about now was tickling. How often did the Light Sides tickle each other? Was it often? Who was the most ticklish, and who was the best tickler? Was it always the three of them altogether?

Would they let him join, if he asked?

Virgil’s eyes widened at the thought that just ran through his head. No. Absolutely not, no way, don’t pass go and don’t collect $200.

Like, fine, maybe there was a small part of him that was maybe, just a little, interested in the concept of tickling. And... maybe there was an even smaller part of him that found the idea of being tickled by the Light Sides-- any of them-- somewhat intriguing.

But, fuck. He was Anxiety, for fuck’s sake. He couldn’t like stuff like that. If he asked to be a part of their stupid little game, they’d never let him live it down.

... But. Maybe if he didn’t ask?

He slowly stopped walking as he thought it over in his head. It wasn’t an awful idea. The Light Sides were weird enough that maybe, if he played his cards right, he might be able to lure them into tickling him without him asking.

Honestly, if the idea had come to him on another day, he probably would’ve shoved it way back to the back of his mind and pretended it had no appeal to him. But he could practically still hear the Light Sides’ laughter ringing in his ears, and as much as he was loathe to admit it, he kinda wanted to be a part of their game. So his plan was made.

His first target was Patton, which made sense for a lot of reasons. Patton seemed to tolerate him more than the other Light Sides-- more than tolerate, to be honest; it was as if he actually kinda liked him. Another good thing about Patton was his attitude: while Virgil normally found that much cheer to be a little nauseating, he couldn’t deny that if anyone was going to start an impromptu tickle fight, it would be Patton.

“Thanks for helping me with these cookies, Anxiety!” Patton said, bringing Virgil out of his thoughts and back to the present situation. He leaned against the counter, trying his hardest to appear open and approachable.

“Whatever,” he replied. “I don’t really have anything better to do, so. Uh. Yeah.”

Fuck, why was he always so awkward?

Whatever-- at least Patton didn’t seem to notice or care; instead, he was focused on pulling out all of the supplies and ingredients and laying them on the counter.

“Okay, first up is the dry ingredients!” he instructed. “Kiddo, you wanna hand me the flour?”

Virgil nodded, pushing himself off of the counter. “Where is it?”

“It’s, uh...”

Patton paused, looking around he kitchen, and Virgil smirked a little as he was reminded that the paternal figure wasn’t nearly as good at cooking as he implied.

“Oh! It’s right up there!” he finally chirped, pointing past Virgil to one of the cabinets. Virgil followed his finger to the very top shelf of the cabinet.

His eyes widened. Finally, an opportunity.

As casually as possible, he moved to the cabinet and braced on hand on the counter. The other hand, he raised high in the air, stretching out his entire body and putting himself in a very vulnerable position. He even stood on his tiptoes as he stretched, hoping Patton would take the hint and deliver what Virgil wanted.

He reached for the flour for as long as he reasonably could, but after about ten seconds, he had no choice but to grab it and pull it down. He turned around, only to find Patton carefully measuring out baking soda, not even paying attention to Virgil’s attempts at vulnerability.

Virgil kicked himself internally, and after a moment he moved forward and dropped the flour onto the counter.

“Here,” he said shortly. Patton turned, giving him a wide smile.

“Thanks, bud!” he said earnestly, opening the bag and grabbing his measuring cup. “Wanna do this one for me while I get started on the eggs?”

Virgil blinked. He’d kinda forgotten that his whole excuse for hanging out with Patton was baking cookies. “Um, sure.”

Patton gave him yet another sunny smile, and Virgil felt compelled to give him a small one in return as he accepted the measuring cup from him.

The two worked together, measuring and mixing ingredients as Patton chattered away. It was-- kinda nice, to be real? Like, maybe Virgil should offer to do this more often, and if he weren’t in one of the most massive lee moods he’d ever been in in his life, he’d probably be able to appreciate it more.

“Alright, time to get these babies on a cookie sheet!” Patton announced, handing a big spoon for Virgil to use. “And afterwards, don’t tell Logan, but we’re totally gonna lick the bowl.”

Virgil nodded, but he didn’t wanna give up on his mission just yet. “Um... can I, uh, get anything else for you?”

Patton turned and looked at him, blinking in surprise before his smile brightened.

“Well, sure, kiddo!” he replied. “There are some chocolate chips on the top shelf, do we wanna add some of those?”

He pointed to the cabinet that was right above them, and Virgil’s heart beat faster. This was it.

“Sure,” he replied as casually as possible. “I’ll get them.”

He placed a hand on the counter to brace himself, and raised the arm closest to Patton as high as he could reach, pretending to scrabble around for the bag of chocolate chips for a few seconds longer than necessary. He even angled his body as subtly as he could, so that his midriff was practically in Patton’s face as he left himself totally exposed.

But nothing happened.

Virgil frowned, but after a few seconds grabbed the bag from the cabinet anyway, lowering himself back to the floor as he broke the seal on the baggie.

“Here,” he muttered, passing it to Patton without making eye contact. There was the slightest pause, but then the bag was lifted from his hand with no more than a cheery, “Thanks!”

Virgil felt himself suppress a sigh as he helped Patton mix in the chocolate chips. Well. On one hand, he got to spend some time with Patton (and even got cookies out of the deal). On the other hand, his genius plot to get tickled had failed with his first target. It was time for target number two.

The sound of operatic singing through the halls of the Mind Palace lead Virgil directly to his next target.

He sighed as he nibbled on one of the chocolate chip cookies he and Patton had made, trying to dispel some of his nervous energy before he reached the living room. It wasn’t even just nerves about his current... desires (although there were plenty of those inside of him right now) but-- fuck, he didn’t do this, he didn’t hang around in the common areas like the rest of them, and if it would be totally weird for him to even try, and they were gonna get angry at him, and it would make getting to know them even more difficult in the future--

“Oh, Anxiety.”

A voice full of suspicion snapped him back to reality. He blinked and realized that he’d made it to the living room, where Roman was standing with some sheet music in hand, rehearsing for some musical, based on how loudly he’d been singing moments before.

“To what do I owe the displeasure?” he continued, eyes narrowed sharply. Virgil mentally shook himself and put on his trademark ‘evil’ smirk.

“Hey there, Princey,” he drawled, holding out the Tupperware container in his hand. “Wanna cookie?”

Roman peered down at the peace offering like it was a bomb. “From you? What, are they poisoned?”

“Yep, I poisoned the cookies,” Virgil deadpanned. “That’s why I’m eating one right in front of you, genius.”

He counted the look of embarrassed realization on Roman’s face as a small victory.

“Well-- well, you might’ve poisoned all but one of them, just to throw me off!” Roman added haughtily. “So, ha!”

Virgil raised an eyebrow at him. “Ha.” He looked at Roman for a moment more before taking another bite. “Well, you were rude to me, so now you get no cookies.”

“What-- hey!” Roman replied indignantly. He moved to Virgil, but the dark side easily held the box out of reach. “Anxiety! That’s not fair!”

“You’re gonna have to work a lot harder than that to get these cookies,” Virgil said smugly. He was all to aware of how exposed he was making himself-- it would take so little effort for Roman to grab his side, or scribble at his armpit, or...

But, as expected, nothing came of it, and instead Roman moved away with a derisive sniff.

“Whatever,” he said, turning away. “Even if they’re not poisoned, you probably added salt instead of sugar and cumin instead of cinnamon--”

Virgil narrowed his eyes in annoyance. “Hey, Patton and I made them together, and they’re actually good, so--"

Suddenly Roman's arm shot out, taking advantage of Virgil's distraction to swipe a cookie from the box. “Ha! Got one, thank you!”

Virgil blinked. “You--"

He cut himself off at the genuinely triumphant grin on Roman's face, and it took more willpower than he would've admitted to keep from smiling along.

"Yes, yes, you’re very smart," he said, flopping on the couch and rolling his eyes. "Shut up.”

As he reclined against the sofa, he let his eyes drift shut (insomnia's a bitch, even for a man on a mission to get wrecked), but very quickly it became clear that the other side was going to make a fuckin' production out of eating this cookie.

“Mmm... Mmm, mmm, mmm, mmm!" Roman pondered with his mouth full. He waved his arms emphatically as he continued, "This is just the most scrumptious, the most divine, the most splendiferous cookie I’ve ever--”

Virgil's eyes snapped open. “Are you always this dramatic and loud? I’m trying to relax.”

That caught the creative side's attention. Roman turned to look at Virgil with his regular suspicion back in his eyes.

“Relax? Here?”

His tone made Virgil tense up behind his cocky facade. “What about it?”

A few second went by as Roman looked at him skeptically. “Nothing, it’s just... You’re always in your room, hiding away like a hermit in a cave.”

“Hiding?" Virgil repeated, eyes narrowed. "What, from you? Not likely.”

Roman moved closer, suddenly leaning over Virgil's laid out form and coming just inches away from his face.

“Aw, don't tell me that I scare you, little Anxiety?”

With that one sentence, Virgil mood came back even stronger than before. There was something in Roman’s voice-- either his teasing tone or his babyish words-- that made Virgil’s stomach do a completely rude and uncalled-for flip, but he merely rolled his eyes.

“The only thing scary about you is your ego,” he retorted. He scanned Roman up and down before closing his eyes again. “Otherwise, you’re just soft.”

Roman scoffed, turning to leave. “Shut up.”

“Make me, loser.”

He watched Roman’s back as he froze in place, and slowly the creative side turned back around.

“You wanna say that again?”

Virgil felt his breath catch, but he forced himself to stay calm. Now was his chance.

He opened his eyes, shooting Roman the cockiest smile he could muster.

“What, make me?”

The prince was glowering at him, his arms folded across his chest. When he spoke, it was in a deep, smooth voice that sent a shiver down Virgil’s spine.

“You don’t want me to make you.”

Virgil smirked, folding his arms behind his head and gazing up at Roman with a smug look on his face.

“I’d like to see you try, Princey.”

That was it. Roman’s eyes narrowed, dark and competitive, and Virgil had to bite his cheek to keep from laughing preemptively.

“You’re gonna regret that,” he muttered lowly, stalking over to Virgil and-- holy shit, he actually straddled Virgil’s waist and placed his hands on either side of his torso, and this was happening, this was happening, this was--

“Oh my goodness gracious, there it is!”

Roman voice derailed Virgil’s train of thought, and he blinked in confusion at the creative side, who wasn’t even looking at him anymore.

“What--?”

Roman laughed lightly, reaching over Virgil’s head and pulling something out from between the couch cushions.

“My sketchbook!” he said triumphantly, shifting off of Virgil and flipping through the pages. “Finally, I’ve been looking for it forever. I had this great idea where I can use a mix of paint and glitter glue to--”

Virgil’s head spun with the shift in the conversation as Roman rambled about his newest project. The anticipatory tension in his stomach started to lessen, leaving him feeling dazed and confused.

“Um, you-- so-- you--”

Roman wasn’t even listening to him; he easily stood up from the couch-- and Virgil definitely did not try to lean into his touch as he moved away, shut up-- and moved toward the door.

“I must get started right away! My paintbrushes aren’t going to wait any longer!”

He hurried out of the room, leaving Virgil alone on the couch, face flushed and mind full of visions of how exactly he wanted Roman to use those paintbrushes.

He dropped his face into his hands. Why was this so hard?

The rest of the afternoon passed without another little event like that-- Virgil had been so flustered, he’d had to go back to his room for several hours, alternating between screaming into a pillow at his own awkwardness, and daring to reminisce about the feeling of Roman's weight pinning him down.

This was such a bad idea. Not only were there a million ways it could go wrong (he could make a fool of himself, he could genuinely cross someone's boundaries on accident, his plan could be found out and his desires could be rejected-- the list goes on) but now he also had to deal with coming so tantalizing close to what he wants more than anything, only to have it slip just out of his reach.

He sighed for what felt like the hundredth time that night, flopping back on his bed--

pressed against the couch cushions, Roman easily holding you down with one hand as the other searches all over for the exact spot to make you beg for mercy, which you know he won't give you, he wants to make you scream--

Immediately he shot up again, face flushed. God, he was jumpy tonight, and that was saying something. He stood up, stepping cautiously around the piles of clothes on the floor to work some of his jitters out. He tried to recall some of the simple exercises Logan had shown him once to help relax him before bed: rolling his neck and shoulders, twisting back and forth to crack his back, raising his arms and stretching them high to the sky--

Patton right behind you, grabbing your hands and holding them nice and tight as he laughs and whispers in your ear, taking full advantage of your riding-up shirt to spider all over that one tickle spot just above your belly button--

His arms snapped down with a choked-off gasp.

Okay. Being in his room was fucking with him. That was definitely why he was feeling jittery and twitchy and sensitive to his own shirt rubbing against his skin. No other reason.

... He had to get out of there.

Grabbing his phone and flipping up his hood, Virgil slid back out into the hallway. It was later in the evening, past dinner time (well, past the time the Light Sides had dinner-- his dinner would involve cold leftovers eaten in front of the fridge at 2 AM) and the Mind Palace was quiet.

Well... mostly quiet.

Virgil crept down the hall to the top of the stairs. From the top, he could make out some sound coming from the living room-- no laughter this time, thankfully, but some quiet droning noises coming from the TV. Probably Patton or Roman-- Logan didn't watch much TV.

Virgil stood with one hand clasped to the stair railing like a life line. He gnawed on his lip, a fluttery, delicate feeling lighting up his chest.

He wanted to try this. There were very few things Virgil ever, ever wanted to try... but he wanted to try this. It was clearly something that was normal among the Light Sides, and-- and despite what he'd previously thought, they don't actually... seem to despise his company. This was-- this was something he could ask for, even just to ask, and even he could admit that the idea of one of them saying yes wasn't impossible.

All at once he lunged down the stairs, feet thumping loudly as he got closer to the living room. He would do it-- he'd go right over to the couch and shove his feet onto someone's lap and surely then, surely then, someone would take pity on him and just freaking tickle him already!

Virgil rounded the corner into the living room, and before he could question himself he hopped over the arm of the couch and threw himself down on the cushions, shoving his feet directly onto the lap of the side sitting at the other end of the couch.

Immediately, he felt two inquisitive eyes boring into him in bewilderment.

"... Anxiety?" Logan asked. "Are you alright?"

Aaaaaaand there went all of Virgil's confidence. He hadn't planned for Logan to be there, not now, not when his mood was at an all time high and he was face to face with the person least likely to do anything about it.

Virgil ignored the tense, mortified feeling in his stomach. “Yup.” A beat, and then he pulled out his phone, as if he hadn't just jumped over the couch just to put his feet in Logan's lap--

“Can I... do something for you?” Logan continued.

Yes, you can pull my socks off and hold my ankles down and--

“Nope.”

Silence fell once again. Virgil was all too aware of his body, too tense to move a muscle or disrupt Logan any further.

“Is this comfortable for you? To have your feet on my lap?”

But... he'd come this far, he'd already pushed past the walls he'd built between himself and the other sides. If nothing else, if this plan failed and he never got what he wanted, at least he could say that he tried.

He shrugged. “Yeah."

He felt Logan's eyes on him a moment longer.

“Very well, then.”

Logan turned back to the TV, and Virgil felt himself wavering already. This was maybe his most ill-conceived idea yet-- they weren't even doing anything together, not really, and try as he might he couldn't think of any way to engage Logan in conversation about anything, let alone anything related to tickling--

“Hey, gang!”

Virgil froze, his stomach plummeting. He shot a desperate glance at Logan, but the logical side paid him no mind as Patton and Roman entered the room, carrying snacks and blankets.

“Ah,” Logan said, turning to the two of them without another glance in Virgil’s direction. “I had forgotten that was tonight.”

Virgil couldn’t help letting out a sigh of frustration, making Roman raise an eyebrow.

“Oh, and I suppose you’re just too cool to deign to join our movie night, huh, Doom and Gloom?”

“Now, Roman, don’t be mean,” Patton gently chastised, placing the snacks on the table and beaming down at Virgil. “We’re happy to have you with us, Anxiety! It’s about time you start joining our group activities.”

Like tickle fights? Virgil thought but didn't say. His ever-growing lee mood was making him feel all fuzzy, and all he could think about as he looked between the three other sides was Patton’s hands, Logan’s fingers, and Roman’s voice, all teasing and tormenting him in unison.

“Whatever,” he finally said, forcing himself to shrug blithely. “I don’t really care--”

He cut himself off with a choked gasp as Roman leaned down and abruptly picked up Virgil into a bridal carry. They stayed still as Patton sat down next to Logan, rearranging the blankets and chattering innocently about what movie to watch, but all Virgil could focus on was the feeling of Roman’s hands on his body and the teasy, squirmy feeling building up in his chest and stomach.

“Are you staying with us or not?” Roman asked lowly, and Virgil had to fight the urge to squeak as his warm breath hit his ear.

“Uh-- sure.”

Roman hummed, and then he was leaning forward, dropping Virgil into Patton’s lap with his feet resting on Logan’s thighs.

“Woah!” Patton chuckled, looking at Virgil with amusement. “Comfy, kiddo?”

Virgil face flushed red. “I-- I didn’t--”

“He’s gonna stay anyway, and we all know he likes to sit in weird places, so,” Roman explained, flopping down on the couch next to Patton and throwing an arm over the back of the couch. He pulled a pillow into his lap and gently pushed Virgil back by his shoulder, until the Dark Side somehow found himself stretched between all three of them on the couch.

“Anxiety, is this acceptable for you?” Logan asked distantly, and Virgil peeked up to find him observing him closely. Virgil froze in his gaze for what felt like far too long, but eventually managed a short nod.

Patton clapped. “Awesome! Now we all get to hang out together. It’ll be so fun!”

He leaned forward to grab the remote, and Virgil swore he could feel his hands as they ghosted over his stomach. He squirmed minutely, both hoping that no one would call him out on how flustered he was, and praying that they would.

This was way more than he was expecting.

"Ah," Logan said as the movie began playing. "I do love this opening number."

He moved like he was folding his hands in his lap, but really, he placed his hands directly onto the tops of Virgil's ankles. The music started, and Logan-- Logan tapped out a rhythm against Virgil's skin, matching the tempo of the music on the TV.

Virgil clenched his jaw so quickly he wondered if they could hear it. It... didn't tickle, not really. The touch was too light, too quick, too inconsequential to really light his nerves in any way. But the anticipation was there, bubbling inside him, and he found himself shifting his legs restlessly at the touch.

"Is something wrong, Anxiety?" Logan asked, and Virgil paused. It-- it must've been his imagination, that spark in Logan's eye that matched the spark in Virgil's stomach. "No," he said, just slightly breathless. Logan hummed and returned his eyes to the screen.

Then his hands moved: one hand tapping more firmly against his ankle, and the other running its nails along the top of Virgil's foot.

Virgil tensed every muscle in his legs; it was so much worse this time-- not only did being stretched out make Virgil feel so much more vulnerable, but now there were two other people he had to hide his reactions from. Roman was right there, for God's sake, his face mere inches above Virgil's-- Virgil had to turn his head completely toward the TV just to hide the small smile that was already on his face.

He stayed in that position as the movie played, but he couldn't tell you anything that was happening on the screen. All he could focus on was Logan's fingers as they slowly migrated from trailing the top of his foot, to tapping directly over his socked toes, to drawing delicate circles along the ball of his foot. His other hand stayed on Virgil's ankle-- like a restraint.

Virgil felt flushed, and prayed that the dark lighting of the room would cover it. Distantly he heard Patton laughing, and he could feel Roman's chest rumble where it was pressed against his shoulder.

And then he felt Logan take all five fingers right to the center of Virgil's sole and tickle.

"Nah-hahaha!" Virgil screamed, yanking his leg back and just barely missing Patton's face with his knee. He felt both Patton and Roman jump underneath him.

"Anxiety, are you okay?" Patton asked in a panicked voice. He didn't even seem bothered that Virgil had almost thrown his knee into his nose.

Roman looked down at Virgil with bewilderment. "Jiminy Crickets, is the movie that funny to you?"

“Ah,” Logan said. “My hypothesis was correct.”

Virgil froze.

Patton quirked his head. “You have a hypothesis?”

Roman eyed down at Virgil suspiciously for just a moment more before gesturing to Logan. “Please, Teach, explain."

Alarm bells went off in Virgil's head. He was suddenly desperate to leave the entire situation before it was too late, but Logan's hand resting on his ankle felt like a vice he couldn't escape.

“Well," Logan began in his lecture voice, "for the past few hours, Anxiety has been expressing an interest in becoming closer with the three of us through quality time, amicable banter, and excessive physical contact. The physical contact is really what gave it away, but it all comes down to the fact that this change in behavior occurred immediately after Anxiety walked in on our... roughhousing this morning.”

Virgil was distracted by the way Logan tried to avoid saying the word tickle (and man, Virgil thought, it’d be so much fun to see him forced to say it, oh my god shut up brain) but Patton’s gasp of understanding brought him back to his present situation. He looked away from the moral side, but to his distress he found himself face to face with Roman, who was looking at him with a growing interest.

“Wait a minute,” he said slowly. Virgil squirmed.

“Shut up.”

“Are you telling me--”

“Princey, I swear to God, if you don’t stop talking right now--”

Suddenly Patton’s hand was on his leg, his fingers pressing in just above his knee, and Virgil’s words turned into a choked gasp.

Patton quirked his head. “Are you ticklish, kiddo?”

Virgil’s mouth opened and shut. “I-- I--”

And of course, Logan chose that moment to drag his nails all the way down Virgil’s foot, the hand resting on Virgil's ankle suddenly tightening to keep him from jerking away as his fingers wiggled right against Virgil's tickle spots.

Virgil couldn’t help it: he squealed, loudly, and immediately buried his face in his hands.

“That seems to be the answer to that question,” Logan said, sounding far too pleased with himself for Virgil’s taste. “The more important question, however, is whether or not Anxiety wants to be tickled. Although I believe we know that answer to that question, as well.”

Even with his face behind his hands, Virgil felt all three pairs of eyes on him.

"I--" he squeaked, then coughed, blatantly stalling for time as his mind spun in circles. "I-- um-- you don't-- I guess--"

"Kiddo, is that really what you've been trying to do all day long?" Patton asked gently. Virgil made one short, choked sound, and nodded rapidly.

"... So when I told you to be quiet earlier," Roman said slowly, "and you said 'make me'... that was you trying to get tickled?"

A beat, and then Virgil nodded again. He quickly debated the merits of allowing himself to be swallowed by the floor.

"Well..."

Logan's voice was laced with something that Virgil was wholly unprepared for.

"It would be a shame," he continued nonchalantly, "if Anxiety came so far out of his figurative shell only to not receive any recognition or praise for how difficult that must have been. Perhaps some positive reinforcement will help encourage him to continue this behavior in the future."

Logan didn't even have to finish his sentence before Roman dove for Virgil's wrists. Virgil yanked as hard as he could, but Roman was in a better position and easily managed to pull his arms above his head. Immediately Virgil's fight or flight instincts kicked in, and he was about to start literally kicking (even though his brain was screaming at his body to shut up stop it play dead holy shit they're giving you what you want) before Patton leaned as far over his torso as he could manage, keeping his middle pinned in place.

"Anxiety..." he cooed, actually cooed, and yup Virgil was totally gonna die. "Wanna look at me, sweetheart?"

It took Virgil a second to realize that his eyes were screwed shut in anticipation. He peeked out only to find Patton looking at him with the most soft, loving, mughy-gushy expression Virgil had ever seen, especially directed towards him. It made him feel like he was melting.

"When we play our tickle games," he continued, "we always say 'red' when we need a break. Is that okay for you, too?"

Virgil couldn't even speak, so he gave a jerky nod.

"For safety, we should proceed slowly," Logan said, "in order not to overwhelm him." The way Logan was talking to the others like Virgil wasn't there sent a small thrill down his spine.

"I disagree," Roman replied. "I think our poor, sweet Anxiety has waited much too long already." His upside-down grin made Virgil want to spit curses up at him, except he was pretty sure the only thing that would come out if he opened his mouth were pathetic squeals.

"Where should we begin?" the creative side continued, tracing his thumbs around the soft skin of Virgil's wrist. "His... bright red ears? Or his wiggly hips? Or his bouncy little tummy?"

"Fuck off," Virgil gasped.

Roman clicked his tongue. "Temper! Patton doesn't like swearing!"

"Oh, let him fuss," Patton replied. "This is all very overwhelming for him, it's okay! If I had known you liked tickling too, Anxiety, I would've gladly done it for you a long time ago!"

"I don't--"

Then Virgil gasped, and fell into helpless frantic giggles. In unison Roman and Patton swiveled their heads to look at Logan.

"There's no use in lying now, Anxiety," he said calmly, his fingers flicking and fluttering all over Virgil's soles. "We all know that if you didn't like tickling, you wouldn't let us do this at all. Ergo you must enjoy tickling, more specifically being tickled, otherwise you wouldn't have put yourself in this position in the first place. Does that make sense?"

Virgil couldn't answer, because he was in heaven. Or maybe hell. Logan's fingers were deft and torturous, flitting back and forth faster than Virgil could process. Belatedly he wiggled his feet, trying to hide one behind the other and continuously failing. And damn Logan for real for being so observant, because when he noticed the spot on Virgil's arches that made him kick the hardest, he focused all of his attention there, switching between his feet as fast as he could.

"Wait wait wait, waitwaitwhaihaihaiait!" Virgil couldn't believe the noises that were coming out of his mouth right now. He had never laughed like this around the light sides-- had barely ever laughed at all-- and now they were getting to hear him like this, his giggles embarrassing and dorky and loud--

So loud, in fact, that he barely even heard Logan say, "Patton, would you like a turn?" before ten fingers dove in to vibrate all over his vulnerable, ticklish stomach.

"Nah-ahahahaha!" The shriek that left his lips shocked everyone in the room, and Virgil used the confusion to yank his arms out of Roman's grasp, sitting up and trying to launch off the couch in the same motion. He would've gotten away with it, too, if it weren't for Patton's meddling arms around his waist.

"Woah!" Patton laughed out. "Easy now, kiddo! Don't wanna waist this chance to get tickled!" On cue he tazed his fingers where they laid in the divots of Virgil's sides, causing the anxious side to jerk and flop like a worm on a string. His hands grappled desperately for Patton's, but he made no progress getting them off before Roman's hand entered his vision.

"Come back here, Gay-Lee Shrilliams!" Roman sang. Blindly, he grappled for Virgil's wrists, grabbing one and yanking him back towards Roman's end of the couch. Virgil was disoriented, and took the time to inhale greedy breaths before he was suddenly flipped around again. Now Logan was sat straddled over his shins, Patton kneeling on the floor beside him, and Roman's chest was pressed against his back with his wrists in each hand.

For a moment there was silence.

"Well," Logan said curtly. "Let's try that again, shall we?"

And immediately his hands were clamped above Virgil's knees, and they were off to the races.

"Ahahahahahahaha!"

"There we are," Logan said, a hint of smugness in his voice as he prodded up and down Virgil's thighs. "We'll have to avoid any further interruptions if we're going to find all of your ticklish spots, Anxiety. Please behave yourself."

"I'm-- you-- nahahaha!" Virgil squealed; Patton had placed his hands on either side of his ribs, and was now squeezing them as if Virgil were a particularly squeaky bagpipe.

"Hold him down!" he called affectionately. "He's a squirmer!"

Virgil gasped through his laughter as the other two followed Patton's instruction; he could feel them rearranging their positions on his arms and legs in order to keep him even more stuck than he already was. Blearily, he turned onto his side as much as possible, facing the back of the couch and weakly attempting to hide his stomach from his ticklers.

"Uh oh, where are you going?" Roman asked, all sugar sweetness. "Is someone trying to hide away? Hm? Big bad Anxiety trying to run away from the tickles?"

Without warning he released one of Virgil's hands, and took it upon himself to use his free hand to investigate all over Virgil's exposed armpit. Virgil spasmed and shrieked. His free hand might as well have not been there at all, considering how absolutely useless it was at protecting his armpit, or his ribs, or--

"Uh oh," Patton cooed, voice sickeningly sweet, and Virgil could only look on in giddy terror as he wiggled his fingers in the air. "Don't think I just forgot about that tummy, Anxiety!"

Just like before, Patton pressed all ten fingers into Virgil's stomach fat, wiggling mercilessly; unlike before, Virgil couldn't shoot himself off the couch with Patton himself kneeling in the way. Logan and Roman had stopped their tickles, but only so they could restrain him even further to avoid another escape attempt.

"Nihihihiehehehehehe!" Virgil didn't even know what he was begging for anymore. For less tickles, or more?

"A ticky-ticky-ticky-ticky-ticky!" Patton sang. "Who's a ticklish goober? Is it Anxiety? I think it is!" He giggled as he easily avoided Virgil's free hand, darting back and forth as it fruitlessly tried to cover his stomach from Patton's wiggling fingers.

Through his teary eyes, Virgil accidentally made eye contact with Roman. He immediately regretted it: both because he saw something akin to actual affection in Princey's eyes (which, gross) but more because he watched that affection slip away to smug mischief.

"Hey, don't be greedy, Padre!" Roman announced. "I want a turn!"

And with that he let go of Virgil's other hand, but the anxious side had no time to do anything about that before he, too, was digging his fingers into Virgil's stomach. Virgil squealed again, arching hid back and curling in on himself over and over in an endless loop. While Patton had no trouble attending to Virgil's tummy pudge, Roman's hands were positioned at the top of his stomach just below his ribs, and he had no issues at all jumping up to pinch and massage along the sensitive bones every few seconds.

"Fascinating," Logan said, and oh god, why did his voice make Virgil feel even more trapped than he already was? "Patton, scoot down a bit. I'd like to try something."

Virgil felt Patton slide his hands slightly up Virgil's torso, still plucking away at his oversensitive nerves like guitar strings.

"Slow down for a moment," Logan instructed, and the others listened, thank God. Virgil took the opportunity to breathe, his eyes screw tightly shut. He couldn't handle seeing Roman's smirk, or Patton's giddiness, or Logan's studying stare.

"I've noticed something in his reactions," the logical side continued. "And I have another hypothesis."

Virgil should've opened his eyes.

If he had, he might've been prepared for when Logan's fingers descended all around his bellybutton and squeezed.

Virgil shrieked. He screamed. He yelled and hollered and wailed and every other synonym he could think of, except he couldn't think at all because Logan was flexing his fingers over and over and over again with terrible, ruthless accuracy. Virgil used all his strength to try to curl up, but with Logan on his hips, Roman behind his back, and Patton in the middle, there was absolutely nothing he could do to protect his tummy from ticklish agony.

"I think we found his favorite spot!" Patton cooed.

Yeah, no fucking shit, Virgil thought wildly. He could barely breathe, his face hurt from smiling, his head was melty with joy, and his innards felt as if he had swallowed a dozen butterflies that continued to dance around inside of him. He felt trapped, and teased, and embarrassed, and desperate, and he--

And he loved it. Oh my God, he loved it. Had he been missing out on this all along?

It took a long, long time before Virgil realized that Logan had stopped. His hands, warm and heavy, laid flat on his stomach, and his palms rubbed firmly against his skin. He blinked his eyes opened-- when had he closed them?-- and realized he was practically lying down again, having slid so much he'd ended up resting his head against Roman's thigh. It took another minute for him to realize that his hand felt strange; looking over, he flushed anew when he saw Patton's large hand wrapped around his own, fingers intertwined. Did Virgil do that?

Reality jolted back into him, and like a bear trap he sprang up and closed in on himself, shrinking away from any touch.

"Um-- I'm done-- red," he stuttered. God, why was he a loser? They had already stopped tickling him, he didn't need to say the safeword-- but his skin still felt alight with nerves, and despite how the whole experience had made him feel, he really didn't think he could handle anymore tonight.

Virgil didn't know why it surprised him that all three of moved back, Logan and Roman scooting to either end of the couch and Patton leaning back on his haunches. It surprised him, but it shouldn't. Because they're them. The light sides, the "others" as he'd always thought of them-- they were nice. Fun. And they cared.

"So..."

And of course, there was Princey to ruin it. Virgil dared to shoot his eyes over and was met with the smuggest goddamn look he's ever seen on Roman's consistently smug face.

"Was it everything you hoped for, sweet Anxiety?" he crowed. Immediately Virgil dropped his face into his hands and groaned.

"Aw, there he goes! Too much sweet talking for such a sourpuss like you?"

Virgil hissed at him, only to hear twin snorts from the other two Sides. He looked up, betrayed.

"Apologies, Anxiety," Logan said, biting his bottom lip as he smiled. Patton was covering his own mouth with both hands. "I can assure you we hold no judgement or mockery for you. It's just that this entire display was... objectively adorable."

"Noooooo..." Virgil whined. He slid down in his seat and covered his face again. His cheeks burned against his palms.

It was only a few seconds before he felt a tap on his knee, and after a moment he lowered his hands enough to peek out beyond his fingers. Patton was there, ducking his head a bit to catch Virgil's eye.

"Was that fun?" he asked gently. A beat. Virgil nodded. "Would you like to do it again?"

Virgil snapped his arms down to his sides and slammed back against his seat. Patton raised his hands placatingly.

"In the future!" he said. "I just mean..."

He looked at the other two Sides before confirming, "Well, I think we all had fun. And we can work out what exactly you're comfortable with later, but... I hope you'd like to do that again sometime."

"Please--" Virgil blurted. "I mean. Yes. I want to. Again."

"Good," Logan said. "Now lay back down."

He looked over, inquisitive, only to flush again as Logan leaned back and patted his lap.

"You can't seriously think I'm gonna fall for that."

"We are not going to tickle you again unless you explicitly ask for it," Logan said (and wow, now Virgil was gonna have to store that away in his anxiety-fantasies, not getting tickled anymore unless he uses his words). "You've just been exerted very quickly in a very short amount of time, you've been anxious and twitchy all day prior to this evening, and even now you're struggling to remain upright."

Virgil blinked; it was true. His head was lolled back against the cushion. His body was tired, it's true, but his mind felt somewhat hazy, somewhat calm. He blinked slowly.

"... Are you gonna put the movie back on?"

Roman scoffed. "Of course we are. We know you need background noise, Sleeping Beauty."

Right. Of course they knew that. Because they knew him, now.

Virgil fidgeted, then nodded. "I'd... I'd like that."

And he did.

#my posts #my writing #tickling #tickle fics #tickletober 2024 #augtickletober2024 #tt24 #sanders sides tickling #lee!virgil #ler!patton #ler!roman #ler!logan #(technically they all get tickled at one point but for tagging purposes i'm just including their main roles here lol)#prompt #drafting on june 19 2020 #also i really hope none of the light sides called him virgil at any point hhsdghsj #if they did pls tell me so i can fix it

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