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slytherinslut0 · 1 month ago

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SLYTHERINSLUT0’S RIDDLEMAS

dec 10th. tom riddle — oral sex, experienced!tom.

RIDDLEMAS MASTERLIST. I 2024

summary: your ex couldn’t make you orgasm, so you were certain you were broken. tom shows you just how wrong you are.

warnings: 18+, SMUTTT MDNI, tom riddle can eat me aliv—sorry who tf said that?, tom riddle is such a realist; he sees a problem and he finds a solution, tom is a munch, praise kink, oral f!receiving, experienced tom, hufflepuff!reader.

Months pass, and your project remains the only thing Tom ever prioritizes when it's you asking.

Progress is slow—slow because you're usually far too busy talking to actually focus—yet, he always stays. He listens, even when the things you say should bore him, even when they mean nothing at all. He sits there—giving you hardly the barest scraps of himself in return as you fill the space between you with everything that crosses your mind.

Things he'd never waste a second hearing from anyone else.

And tonight, to no-one's surprise, you're doing it again—rambling on about nothing and everything all at once. You've got this way of talking—weaving tangents into something almost poetic, and usually, he lets it fade into the background as he works. You're saying something about the differences between the seasons, or maybe it's just some other kind of sentimental nonsense—at this point, he's not entirely sure.

It's easy to tune out. He tells himself he's not really listening.

Until—

"Actually, I guess I should clarify that—it's all hypothetical. I don't date," he doesn't know what you said before this, but he's certainly intrigued by it now. "And really, it has nothing to do with like, self esteem or anything, I'm just broken. Best to save someone the trouble."

That stops him cold. It's not so much the declaration that you don't date—he could have guessed that himself—but more so the way you've just called yourself broken.

It's not a word he's ever heard you use before.

"What do you mean, broken?" He asks, the question coming out far more blunt than he probably intended.

It just seems so out of character for you—you've always been an optimist, far too annoyingly positive to speak of anything this way. He blinks when you freeze, and blinks again when a moment of self consciousness seems to pass over your face—and he notes how that's a first for you, too.

"Broken...as in, uh, not normal," your eyes flit down to your lap, tracing the wood beneath where you're seated on the floor in his dorm. "My ex made that very clear in his assessment of me."

The mention of an ex is something he'd been anticipating—you're in your twenties, after all—but it's the idea that your ex is the source of you calling yourself broken, that he can't quite swallow.

"You're 'broken' because of one ex?" He says, and he can't stop how derisive and skeptical his voice sounds. He doesn't care to try. "I'm not following."

"I'm what you'd call, damaged goods, I think," you murmur, and there's an almost self-deprecating smirk on your face. He can't help but think how he's never seen that look on you, either. "I've got a slew of unhealthy baggage that comes along with me. You know, childhood traumas, abandonment issues, daddy issues—"

He snorts at that—daddy issues—and your head snaps up, smirk deepening despite yourself.

"Don't snort at my daddy issues," you huff, and there's a familiar annoyance in your voice that puts him at ease. "They're valid and real."

"I'm not denying their validity," he counters, his own smirk beginning to surface. "But daddy issues? Come on. You're not some tired cliché ripped out of a teenage romance novel. I refuse to accept your declaration of brokenness until you give me factual reasoning."

You laugh at that—alive and genuine—and for a moment, he's reminded of why he even tolerates you in his space at all.

"Fine," you cross your arms over your chest. "What do you want to know then?"

He makes a low, contemplative sound at that—because there's a million questions that come to mind with the words damaged goods—and after a moment, he settles on the one that falls out first.

"What is it, precisely, that makes you broken?"

You sigh, a bit theatrically—he knows you're just putting on a show and he wants to laugh at you for it—but he reigns that in, for now, while you figure out how you're going to respond to that.

The truth is, you don't know how to tell him the real reason you're broken—the part that has nothing to do with the laundry list of emotional baggage you could rattle off with ease. It's something...different.

Something more physical.

"I don't know, okay?" You're getting defensive. You're not sure why but you are. "Just—forget I said anything. We have this assignment to—"

"You dodging the question tells me it's more than just psychological," he cuts you off, leaning back into the couch. The way he's looking at you makes it clear—there's no way he's letting this go. "You getting defensive tells me you're embarrassed by it."

You sigh again, leaning back on your palms to mirror his body language, though it doesn't feel half as natural on you as it does on him.

"And you, being an insufferable arse, is telling me I never should have mentioned it in the first place."

His smirk at that makes you want to glare at him.

"Stop dodging," he says. "You brought it up. You don't get to take it back."

It's a challenge—the gleam in his eyes is practically screaming so. You're not sure why the sight of it makes something low in your stomach clench, and you're even less sure of why you want to tell him something like this—something you haven't told anyone else—not friends, certainly not family.

Whatever the reasoning, you can feel yourself relent.

"Maybe," you pause, the look on his face makes you second guess yourself. "...maybe I don't want to tell you because I'm afraid you'll look at me differently." You glance down at your lap, fingers twitching against the yellow pleats of your skirt before finally meeting his eyes again. "And I kind of like the way you look at me now."

Something like curiosity passes over his expression at that—but it's quickly hidden by the type of skepticism that tells you he still doesn't believe you're being serious.

"You're overthinking it," he replies, unmoving. "Whatever it is you think you're going to tell me, I'm not going to look at you differently. You're still you—no filter, unabashedly verbal—"

"Too verbal. Too positive, too loud," you finish his sentence for him—because you know that's how he thinks of you. "Too annoyingly optimistic. Far too hufflepuff for your cold snake skin. I know."

"Exactly," he says, tongue running over his bottom lip in attempt to quell his smirk. "So I reiterate. There's nothing you could tell me that would change that."

"Fine," you relent, giving in begrudgingly because you know there's no other option. "But don't say I didn't warn you."

He just lifts a hand at that, as if to say; whatever you think it is, I can handle it. The action makes you suck a breath into your lungs, trapping it there.

"You're right," you say after a long exhale. "I have a slew of psychological bullshit that would take the span of a year for me to fully go over in one sitting—but, I'm fine with it. That's...that's not the thing that made me call myself broken."

He says nothing, just makes a motion with his eyes for you to keep going.

"It's, uhm...physical." You whisper, and your brain is moving too much and too fast and you're not even completely sure how to say it without sounding insane. "And...I don't know, I just...I can't orgasm. No matter what. I just can't—it's frustrating and embarrassing and it's the reason my ex ended things."

There's a silence that follows, and he knows if it were anyone else, they'd probably find a way to comfort you. Reassure you. Tom, however, isn't anyone else—

"You're joking," he says, and his tone is incredulous again.

A self-depreciating laugh leaves your lips involuntarily, the sound of it making you almost want to cringe.

"Would it be less embarrassing if I was?"

He's still just watching you, dissecting your words as if waiting for you to crack a smile and confess this was all some stupid joke—and the vulnerability of it aches like a stab to the gut.

"This is the reason you think you're broken?" Is what he goes with when he finally realizes you're being serious. "Because you haven’t orgasmed?"

The bluntness of it makes you flush, makes you wish you could sink into the floor. "I know it's not normal, okay—"

"It's not an abnormality, either," he asserts, with casualty. "You might just have a disconnect."

You blink, caught off guard—not just by his choice of words, but by how matter-of-fact he sounds, like this isn't the mortifying confession it feels like.

"A disconnect?"

"A disconnect," he repeats, looking you over, something clinical slipping into his eyes. "Between mind and body. And considering how loud your thoughts are—"

"Hey—" you snap, suddenly feeling a bit indignant, but he just continues on.

"—it's not surprising that you can't get out of your own head."

You open your mouth to argue, to tell him he's not a therapist, so what the hell does he know? But the certainty in his expression makes you pause. He doesn't look patronizing or condescending, just...assured. Like he knows exactly what he's talking about.

You hesitate, lips parting, a protest forming on your tongue. Before you can say anything, though, he raises a hand to stop you.

"Come here," he says, standing up from the couch.

You blink, trying to decipher what the hell he's implying—because if anything, the last thing that's going to make you less paranoid about intimacy is proximity.

"What?"

He just looks at you, making a motion with two fingers, beckoning you to stand.

"Don't ask questions. Just come here."

It's an order, and it makes your spine tingle in a way that's definitely not comfortable—but you get up from the floor, and move closer to him anyway, closing the distance between you with only a few steps until you're close enough to him that you can practically feel the heat that seems to come off him in waves.

It's weird—he's suddenly too much all at once—you're so much more aware of him being in front of you than you think you've ever been before and it does not help that he's just looking at you—as if studying you—blinking only once as he raises those same two fingers to your neck, resting them against the pulse point at your throat.

Your entire body tenses. His touch is far more gentle than you ever imagined it being, something disarming that makes your pulse beat faster against his fingers as a result—and because this is Tom, with all his smug and certainty—he gives you a look that tells you he can feel it before he slides his fingers up to rest on your forehead.

You scowl at the motion, but he clicks his tongue, the sound as condescending as it is amused.

"I told you, you're an overthinker." He murmurs, eyes dipping to your lips. "Too much noise."

You want to refute that—mostly because you're not overthinking, you can't be—he's just so unequivocally overwhelming—

"I'm not—"

You start, but he moves his fingers from your forehead and places them against your lips—

"Quiet." He scolds, and that makes something low in your stomach clench. "Your body knows what to do. You're just letting your thoughts get in the way."

You long to protest again, just for the sake of defiance—but then his fingers are against your collarbone, and that motion in your stomach becomes a bit more of a squirm—

"Your body is trying to tell you something," he whispers, watching each little hitch in your breath. "But you're too busy talking over it to hear what it's saying."

You realize��with a sort of horror that's laced with something a little more uncomfortable—that he's right. Your body is trying to say something. It's communicating through the unsteady force of your breaths, through the clench of your fists against your skirt—

Of course, he notices. He's noticing far too much.

"Relax," he murmurs, and now he's trailing those same two fingers in an unhurried path down your shoulder. You suddenly regret every decision that led to you wearing a T-shirt. "I'm not going to bite you."

Something about the way he says it makes you wish he wasn't quite so convincing—the familiar banter you long for gone with the sharp exhale that comes out of your mouth as his fingers encircle your wrist—

"Your pulse is racing," he says casually, far too casually for how much effort it's taking you not to scream. "Does that seem broken to you?"

Gods—you want to respond—you really, really do— but your thoughts flatline when you realize his touch has shifted. He's no longer just holding your wrist; he's guiding your hands to rest against his chest, and—

"There you go," he whispers, and the tone of it tells you he knows exactly what it is he's doing to you. "See? Your body's doing exactly what it's meant to do. You—" his fingers trail up your arms, and his voice gets lower. "—are not broken."

You swallow hard, acutely aware of your hands on his chest and the way your palms are clammy against the fabric of his shirt. He's shifting you now, deliberately crowding you, and it's only when you feel the edge of the couch press against the back of your calves that you realize—perhaps a second too late—exactly what it is he's doing.

You stumble back onto the leather, and he follows—crushing his lips to yours.

You gasp, startled, because despite everything you truly hadn't seen this coming. The kiss is messy, clumsy, and his hand finds the nape of your neck, tugging at your hair with just enough force to make it sting. And inevitably, when you gasp again, he takes it as an invitation to work his tongue into your mouth, other hand slipping under your shirt—trailing up your stomach.

You're trembling now, and he makes a low sound at the realization. Your brain is racing to catch up, and the irony of this isn't lost on you—he'd just claimed you weren't broken, but he might as well be destroying you himself.

He parts from your lips only to trail his own across your jaw—

"You're shaking," he murmurs with a smirk against your throat—as if he's taking immense pleasure in the fact—you hate how smug it makes him sound. "Do you want me to stop?"

You want to tell him he's being a bastard, but then his lips press to that spot on your neck—the one that makes your breath hitch and your pulse stutter—and you find yourself whimpering at the sensation.

"No," you breathe, and you'd be embarrassed by the pleading tone in your voice if you weren't so lost in the moment. "Don't stop."

He makes another low, satisfied noise at that.

"Good," he whispers. "No thinking. Just feel."

You swallow—throat dry. It's unfair how easily he's dismantling you with nothing but his mouth and hands. Unfair how he's leaving you breathless and unraveling while somehow making you feel seen in a way you can't explain, even with your eyes shut.

"Tom," you find yourself whimpering, and you aren't even sure what you're asking for—you just know you want more as his lips trail lower—as his fingers work to tug down your skirt. "Gods."

"Shh. Feel me," he murmurs, almost possessively, his lips brushing lower, grazing over your stomach, then your pelvis. "Let your body do the talking."

You've got your hands tangled in his hair before you even know what you're doing, and you hate the fact that you're pretty sure you'd melt into a puddle if he weren't holding you together.

"I feel you," you whimper as he kisses lower. "You're all I feel."

He makes another low sound at that, and you just know it's the response of ‘yeah, that’s right’—but then he's between your legs, panties shifted out of the way, and the first sweep of his tongue against your clit makes all coherent thought shift to static.

"Oh! God," you gasp, the word barely escaping before dissolving into a whimper when he does something with his tongue that makes your vision blur. "Tom—oh, fuck."

He just makes that smug, satisfied noise against you again before his tongue swirls over your clit and you find yourself almost cursing whatever deity made him so good at this, because it's not fair how quickly he reduced you to a whimpering, shaking mess beneath him and—

"Don't stop," you find yourself babbling, digging your nails into his scalp and knowing you look like a goddamn wreck as he makes a meal out of you—tongue lapping up your slick and swirling your clit before sealing his lips around it and forcing your back off the leather beneath it. "Please, don't stop, please—"

It's all you can manage to say. Your thighs are shaking now, and you're sure he's got you dripping all over his face with how soaked you are. He knows you're falling apart and he just keeps going— your brain ceasing function in favour of just focusing on how fucking close you are—how close you are to something you've never felt before in your life—and you're not even sure what you're begging for anymore but it's incoherent and loud—

"I need—" you whimper, your hands tightening in his hair, pulling just enough to make him groan against you. You don't know what you're asking for, but you know he has it. "I need—I need—“

"Let go," he murmurs against you, the roughness in it vibrating up into your belly. "I dare you."

There's still a little bit of you functioning on autopilot, just enough to tell you that when he murmurs those words—vibrations rattling up your cunt and into your chest—you're completely done for.

It’s merely a few seconds later that your high reaches its peak and he just keeps lapping as you shake apart beneath him with an intensity you've never felt before in your life—orgasm shredding you apart at the seams. Your thighs clamp around his face, your eyes squeezed shut, ears ringing so loud you barely register his low, muttered praises: "good girl," "so good," "there you go."

You’re fairly positive your legs will never be able to support you again when you finally come back down, feeling entirely like jelly as he pulls back, tongue flicking over his lips to clean off whatever's left of you.

And without thinking, you grab him and pull him up, crashing your lips against his in a messy, desperate kiss. He tastes like you, like him, like something you can't quite describe—and it makes everything feel intense and unbearably real all at once.

He gives you a moment, as if letting you recover, just languidly kissing you back—and you have to be honest with yourself and admit that this kind of makes you want to scream.

"A disconnect," he smirks against your mouth, the tone still smug. You manage a weak smack to his shoulder, though it does nothing to wipe the satisfaction off his face. "Still sure you're broken?"

You hate that he's right. Hate that he's managed to pull a reaction from you that you didn't think was possible. But as you sit there, shaky and spent, you know you can't deny the truth: no, you're not broken.

"Not broken." You whisper back. "You will be though, if you don't stop smirking at me like that."

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she-who-fights-and-writes · 10 months ago

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“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation.

The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating.

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut.

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

#writing tips #writing advice #writing help #writeblr #booklr #writers #writing #show #creative writing

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docholligay · 7 months ago

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Do you think authors sometimes don't realize how their, uh, interests creep into their writing? I'm talking about stuff like Robert Jordan's obvious femdom kink, or Anne Rice's preoccupation with inc*st and p*dophilia. Did their editors ever gently ask them if they've ever actually read what they've written?

Firstly, a reminder: This is not tiktok and we just say the words incest and pedophilia here.

Secondly, I don't know if I would call them 'interests' so much as fixations or even concerns. There are monstrous things that people think about, and I think writing is a place to engage with those monstrous things. It doesn't bother me that people engage with those things. I exist somewhere within the whump scale, and I would hope no one would think less of me just because sooner or later I like to rough a good character up a bit, you know? It's fun to torture characters, as a treat!

But, anyway, assuming this question isn't, "Do writers know they're gross when I think they are gross" which I'm going to take the kind road and assume it isn't, but is instead, "Do you think authors are aware of the things they constantly come back to?"

Sometimes. It can be jarring to read your own writing and realize that there are things you CLEARLY are preoccupied with. (mm, I like that word more than concerns). There are things you think about over and over, your run your mind over them and they keep working their way back in. I think this is true of most authors, when you read enough of them. Where you almost want to ask, "So...what's up with that?" or sometimes I read enough of someone's work that I have a PRETTY good idea what's up with that.

I've never read Robert Jordan and I don't intend to start (I think it would bore me this is not a moral stance) and I've really never read Rice's erotica. In erotica especially I think you have all the right in the world to get fucking weird about it! But so, when I was young I read the whole Vampire Chronicles series. I don't remember it perfectly, but there's plenty in it to reveal VERY plainly that Anne Rice has issues with God but deeply believes in God, and Anne Rice has a preoccupation with the idea of what should stay dead, and what it means to become. So, when i found out her daughter died at the age of six, before Rice wrote all of this, and she grew up very very Catholic' I said, 'yeah, that fucking checks out'.

Was Rice herself aware of how those things formed her writing? I think at a certain point probably yes. The character of Claudia is in every way too on the nose for her not to have SOME idea unless she was REAL REAL dense about her own inner workings. But, sometimes I know where something I write about comes from, that doesn't mean I'm interested in sharing it with the class. I would never ever fucking say, 'The reasons I seem to write so much of x as y is that z happened to me years ago' ahaha FUCK THAT NOISE. NYET. RIDE ON, COWBOY.

But I've known some people in fandom works who clearly have something going on and don't seem to realize it. Or they're very good at hiding it. Based on the people I'm talking about I would say it's more a lack of self-knowledge, and I don't even mean that unkindly. I have, in many ways, taken myself down to the studs and rebuilt it all, so I unfortunately am very aware of why I do and write the things I do most of the time. It's extremely annoying not to be able to blame something. I imagine it must be very freeing. But it ain't me, babe.

Anyway, a lot of words to say: Maybe! But that might not stop them from writing it, it might be a useful thing for them to engage with, and you can always just not read it.

Also, we don't censor words here.

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pomefioredove · 4 months ago

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Hello! I was wondering if you could do the Dormleaders' reactions to Yuu who, given that they're from another world, is immune to any and all magic spells.

Example: Riddle's 'Off With Your Head' doesn't make a collar on their neck, 'King's Roar' doesn't affect them at all, 'It's A Deal' doesn't take anything from Yuu and acts like any ordinary contract, etc.

However, this means any healing spells has no effect, forcing Yuu to heal on their own.

Thank you for reading this!

*ੈ✩‧₊˚ magic immune reader

type of post: headcanons characters: riddle, leona, azul, kalim, vil, idia, malleus additional info: romantic or platonic, reader is gender neutral, reader is yuu

out of all the dorm leaders, Riddle would be the most annoyed

...not that 'Off With Your Head' would've done much, anyway

you have no magic to take away

but... it's the meaning!

it's symbolic!

even a plain old collar would be punishment enough

but he can't even do that!

hopefully, you're not the type to misbehave, so he won't have to worry about it

if you are...

...expect to spend a lot of your week trimming the hedges around Heartslabyul as punishment

*ੈ✩‧₊˚

Leona doesn't even know until his overblot

...well...

until after his overblot

everyone keeps going on about how lucky you are

(personally, he doesn't see what's so great about being magic-repellent, but sure)

he's... glad you're okay

not that he'd ever admit that...

just don't let it get to your head, alright?

being immune to magic means both bad and good spells

and he's not going to be sanding you again anytime soon

*ੈ✩‧₊˚

Azul is PISSSSSED lmao

all that work he's put into his latest business venture

and for what??

you're not even BOUND by his contracts!

he has a hard time saying goodbye to Ramshackle...

what a nice cafe it would have made...

but, still

there's got to be some way he can use this to his advantage

he's an adaptable man

and he's always looking for a new assistant

*ੈ✩‧₊˚

Kalim is only a little disappointed

first, you can't even cast a spell

now you can't have any cast on you?

you're missing out on all his great party tricks!!!

but... oh, well

he thinks of it as an adventure, or a fun challenge

magicless parties sound kinda cool, right?

and Jamil says it's probably for the better, and Kalim trusts his judgment

(...for now, at least, cough cough)

*ੈ✩‧₊˚

not counting the... VDC incident, Vil doesn't care

unlike your annoying friends, he has no reason to curse you

and he can certainly think of many magicless punishments should you ever misbehave

so, no

not really something that crosses his mind

even when you're unwell (because, of course, he's the first to tend to you), he prefers using natural remedies before magical ones

to him, it's just another piece of the strange puzzle that is you

*ੈ✩‧₊˚

honestly what is Idia going to do

open the gates of hell on you?

nah

even boring spells would be too much effort for a guy like him

he does find you kinda interesting, though

I mean, being immune to magic in this place is a total buff!

imagine a group of NPCs firing magic at you, and you're like, wham! whew! zoooom!

...in his own words, anyway

(it's not actually that cool)

*ੈ✩‧₊˚

Malleus...

where do I even start?

he's so reliant using magic that he can almost sense there's something different about you right away

one on hand, it's a good thing

he worries about you, you know? the students at this school can get... unruly

on the other hand, knowing that you won't respond to magical healing is... worrying

he tries not to think about it so much

his overblot is a different story, though

if he can't put you to sleep, what can he do? trap you at NRC with him forever?

actually... I take it back, he'd totally do that

#twisted wonderland x reader #twst x reader #queued #riddle rosehearts x reader #leona kingscholar x reader #azul ashengrotto x reader #kalim al asim x reader #vil schoenheit x reader #idia shroud x reader #malleus draconia x reader

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